Delphi Complete Works of Pausanias

by Pausanias

  [5] ἐνταῦθα ἄλλα τε καὶ Σαυροματικὸς ἀνάκειται θώραξ: ἐς τοῦτόν τις ἰδὼν οὐδὲν ἧσσον Ἑλλήνων τοὺς βαρβάρους φήσει σοφοὺς ἐς τὰς τέχνας εἶναι. Σαυρομάταις γὰρ οὔτε αὐτοῖς σίδηρός ἐστιν ὀρυσσόμενος οὔτε σφίσιν ἐσάγουσιν: ἄμικτοι γὰρ μάλιστα τῶν ταύτῃ βαρβάρων εἰσί. πρὸς οὖν τὴν ἀπορίαν ταύτην ἐξεύρηταί σφισιν: ἐπὶ μὲν τοῖς δόρασιν αἰχμὰς ὀστεΐνας ἀντὶ σιδήρου φοροῦσι, τόξα τε κράνινα καὶ ὀιστοὺς καὶ ὀστεΐνας ἀκίδας ἐπὶ τοῖς ὀιστοῖς: καὶ σειραῖς περιβαλόντες τῶν πολεμίων ὁπόσους καὶ τύχοιεν, τοὺς ἵππους ἀποστρέψαντες ἀνατρέπουσι τοὺς ἐνσχεθέντας ταῖς σειραῖς.

  [21.5] Among the votive offerings there is a Sauromatic breast plate. On seeing this a man will say that no less than Greeks are foreigners skilled in the arts. For the Sauromatae have no iron, neither mined by them selves nor yet imported. They have, in fact, no dealings at all with the foreigners around them. To meet this deficiency they have contrived inventions. In place of iron they use bone for their spear-blades, and cornel-wood for their bows and arrows, with bone points for the arrows. They throw a lasso round any enemy they meet, and then turning round their horses upset the enemy caught in the lasso.

  [6] τοὺς δὲ θώρακας ποιοῦνται τὸν τρόπον τοῦτον. ἵππους πολλὰς ἕκαστος τρέφει, ὡς ἂν οὔτε ἐς ἰδιωτῶν κλήρους τῆς γῆς μεμερισμένης οὔτε τι φερούσης πλὴν ὕλης ἀγρίας ἅτε ὄντων νομάδων: ταύταις οὐκ ἐς πόλεμον χρῶνται μόνον, ἀλλὰ καὶ θεοῖς θύουσιν ἐπιχωρίοις καὶ ἄλλως σιτοῦνται. συλλεξάμενοι δὲ τὰς ὁπλὰς ἐκκαθήραντές τε καὶ διελόντες ποιοῦσιν ἀπ᾽ αὐτῶν ἐμφερῆ δρακόντων φολίσιν: ὅστις δὲ οὐκ εἶδέ πω δράκοντα, πίτυός γε εἶδε καρπὸν χλωρὸν ἔτι: ταῖς οὖν ἐπὶ τῷ καρπῷ τῆς πίτυος φαινομέναις ἐντομαῖς εἰκάζων τὸ ἔργον τὸ ἐκ τῆς ὁπλῆς οὐκ ἂν ἁμαρτάνοι. ταῦτα διατρήσαντες καὶ νεύροις ἵππων καὶ βοῶν συρράψαντες χρῶνται θώραξιν οὔτε εὐπρεπείᾳ τῶν Ἑλληνικῶν ἀποδέουσιν οὔτε ἀσθενεστέροις: καὶ γὰρ συστάδην τυπτόμενοι καὶ βληθέντες ἀνέχονται.

  [21.6] Their breastplates they make in the following fashion. Each man keeps many mares, since the land is not divided into private allotments, nor does it bear any thing except wild trees, as the people are nomads. These mares they not only use for war, but also sacrifice them to the local gods and eat them for food. Their hoofs they collect, clean, split, and make from them as it were python scales. Whoever has never seen a python must at least have seen a pine-cone still green. He will not be mistaken if he liken the product from the hoof to the segments that are seen on the pine-cone. These pieces they bore and stitch together with the sinews of horses and oxen, and then use them as breastplates that are as handsome and strong as those of the Greeks. For they can withstand blows of missiles and those struck in close combat.

  [7] οἱ δὲ θώρακες οἱ λινοῖ μαχομένοις μὲν οὐχ ὁμοίως εἰσὶ χρήσιμοι, διιᾶσι γὰρ καὶ βιαζόμενοι τὸν σίδηρον: θηρεύοντας δὲ ὠφελοῦσιν, ἐναποκλῶνται γάρ σφισι καὶ λεόντων ὀδόντες καὶ παρδάλεων. θώρακας δὲ λινοῦς ἰδεῖν ἔν τε ἄλλοις ἱεροῖς ἔστιν ἀνακειμένους καὶ ἐν Γρυνείῳ, ἔνθα Ἀπόλλωνος κάλλιστον ἄλσος δένδρων καὶ ἡμέρων καὶ ὅσα τῶν ἀκάρπων ὀσμῆς παρέχεταί τινα ἢ θέας ἡδονήν.

  [21.7] Linen breastplates are not so useful to fighters, for they let the iron pass through, if the blow be a violent one. They aid hunters, how ever, for the teeth of lions or leopards break off in them. You may see linen breastplates dedicated in other sanctuaries, notably in that at Gryneum, where there is a most beautiful grove of Apollo, with cultivated trees, and all those which, although they bear no fruit, are pleasing to smell or look upon.

  22. μετὰ δὲ τὸ ἱερὸν τοῦ Ἀσκληπιοῦ ταύτῃ πρὸς τὴν ἀκρόπολιν ἰοῦσι Θέμιδος ναός ἐστι. κέχωσται δὲ πρὸ αὐτοῦ μνῆμα Ἱππολύτῳ: τοῦ δέ οἱ βίου τὴν τελευτὴν συμβῆναι λέγουσιν ἐκ καταρῶν. δῆλα δέ, καὶ ὅστις βαρβάρων γλῶσσαν ἔμαθεν Ἑλλήνων, ὅ τε ἔρως τῆς Φαίδρας καὶ τῆς τροφοῦ τὸ ἐς τὴν διακονίαν τόλμημα. ἔστι δὲ καὶ Τροιζηνίοις Ἱππολύτου τάφος: ἔχει δέ σφισιν ὧδε ὁ λόγος.

  [22.1] XXII. After the sanctuary of Asclepius, as you go by this way towards the Acropolis, there is a temple of Themis. Before it is raised a sepulchral mound to Hippolytus. The end of his life, they say, came from curses. Everybody, even a foreigner who has learnt Greek, knows about the love of Phaedra and the wickedness the nurse dared commit to serve her. The Troezenians too have a grave of Hippolytus, and their legend about it is this.

  [2] Θησεὺς ὡς ἔμελλεν ἄξεσθαι Φαίδραν, οὐκ ἐθέλων εἴ οἱ γένοιντο παῖδες οὔτε ἄρχεσθαι τὸν Ἱππόλυτον οὔτε βασιλεύειν ἀντ᾽ αὐτῶν, πέμπει παρὰ Πιτθέα τραφησόμενον αὐτὸν καὶ βασιλεύσοντα Τροιζῆνος. χρόνῳ δὲ ὕστερον Πάλλας καὶ οἱ παῖδες ἐπανέστησαν Θησεῖ: τούτους κτείνας ἐς Τροιζῆνα ἔρχεται καθαρσίων ἕνεκα, καὶ Φαίδρα πρώτη ἐνταῦθα εἶδεν Ἱππόλυτον καὶ τὰ ἐς τὸν θάνατον ἐρασθεῖσα ἐβούλευσε. μυρσίνη δέ ἐστι Τροιζηνίοις τὰ φύλλα διὰ πάσης ἔχουσα τετρυπημένα: φῦναι δὲ οὐκ ἐξ ἀρχῆς αὐτὴν λέγουσιν, ἀλλὰ τὸ ἔργον γεγενῆσθαι τῆς ἐς τὸν ἔρωτα ἄσης καὶ τῆς περόνης ἣν ἐπὶ ταῖς θριξὶν εἶχεν ἡ Φαίδρα.

  [22.2] When Theseus was about to marry Phaedra, not wishing, should he have children, Hippolytus either to be their subject or to be king in their stead, sent him to Pittheus to be brought up and to be the future king of Troezen. Afterwards Pallas and his sons rebelled against Theseus. After putting them to death he went to Troezen for purification, and Phaedra first saw Hippolytus there. Falling in love with him she contrived the plot for his death. The Troezenians have a myrtle with every one of its leaves pierced; they say that it did not grow originally in this fashion, the holes being due to Phaedra’s disgust with love and to the pin which she wore in her hair.

  [3] Ἀφροδίτην δὲ τὴν Πάνδημον, ἐπεί τε Ἀθηναίους Θησεὺς ἐς μίαν ἤγαγεν ἀπὸ τῶν δήμων πόλιν, αὐτήν τε σέβεσθαι καὶ Πειθὼ κατέστησε: τὰ μὲν δὴ παλαιὰ ἀγάλματα οὐκ ἦν ἐπ᾽ ἐμοῦ, τὰ δὲ ἐπ᾽ ἐμοῦ τεχνιτῶν ἦν οὐ τῶν ἀφανεστάτων. ἔστι δὲ καὶ Γῆς Κουροτρόφου καὶ Δήμητρος ἱερὸν Χλόης: τὰ δὲ ἐς τὰς ἐπωνυμίας ἔστιν αὐτῶν διδαχθῆν
αι τοῖς ἱερεῦσιν ἐλθόντα ἐς λόγους.

  [22.3] When Theseus had united into one state the many Athenian parishes, he established the cults of Aphrodite Pandemos (Common) and of Persuasion. The old statues no longer existed in my time, but those I saw were the work of no inferior artists. There is also a sanctuary of Earth, Nurse of Youth, and of Demeter Chloe (Green). You can learn all about their names by conversing with the priests.

  THE ACROPOLIS OF ATHENS

  [4] ἐς δὲ τὴν ἀκρόπολίν ἐστιν ἔσοδος μία: ἑτέραν δὲ οὐ παρέχεται, πᾶσα ἀπότομος οὖσα καὶ τεῖχος ἔχουσα ἐχυρόν. τὰ δὲ προπύλαια λίθου λευκοῦ τὴν ὀροφὴν ἔχει καὶ κόσμῳ καὶ μεγέθει τῶν λίθων μέχρι γε καὶ ἐμοῦ προεῖχε. τὰς μὲν οὖν εἰκόνας τῶν ἱππέων οὐκ ἔχω σαφῶς εἰπεῖν, εἴτε οἱ παῖδές εἰσιν οἱ Ξενοφῶντος εἴτε ἄλλως ἐς εὐπρέπειαν πεποιημέναι: τῶν δὲ προπυλαίων ἐν δεξιᾷ Νίκης ἐστὶν Ἀπτέρου ναός. ἐντεῦθεν ἡ θάλασσά ἐστι σύνοπτος, καὶ ταύτῃ ῥίψας Αἰγεὺς ἑαυτὸν ὡς λέγουσιν ἐτελεύτησεν.

  [22.4] There is but one entry to the Acropolis. It affords no other, being precipitous throughout and having a strong wall. The gateway has a roof of white marble, and down to the present day it is unrivalled for the beauty and size of its stones. Now as to the statues of the horsemen, I cannot tell for certain whether they are the sons of Xenophon or whether they were made merely to beautify the place. On the right of the gateway is a temple of Wingless Victory. From this point the sea is visible, and here it was that, according to legend, Aegeus threw him self down to his death.

  [5] ἀνήγετο μὲν γὰρ ἡ ναῦς μέλασιν ἱστίοις ἡ τοὺς παῖδας φέρουσα ἐς Κρήτην, Θησεὺς δὲ — ἔπλει γὰρ τόλμης τι ἔχων ἐς τὸν Μίνω καλούμενον ταῦρον — πρὸς τὸν πατέρα

  προεῖπε χρήσεσθαι τοῖς ἱστίοις λευκοῖς, ἢν ὀπίσω πλέῃ τοῦ ταύρου κρατήσας: τούτων λήθην ἔσχεν Ἀριάδνην ἀφῃρημένος: ἐνταῦθα Αἰγεὺς ὡς εἶδεν ἱστίοις μέλασι τὴν ναῦν κομιζομένην, οἷα τὸν παῖδα τεθνάναι δοκῶν, ἀφεὶς αὑτὸν διαφθείρεται: καί οἱ παρὰ Ἀθηναίοις ἐστὶ καλούμενον ἡρῷον Αἰγέως.

  [22.5] For the ship that carried the young people to Crete began her voyage with black sails; but Theseus, who was sailing on an adventure against the bull of Minos, as it is called, had told his father beforehand that he would use white sails if he should sail back victorious over the bull. But the loss of Ariadne made him forget the signal. Then Aegeus, when from this eminence he saw the vessel borne by black sails, thinking that his son was dead, threw himself down to destruction. There is at Athens a sanctuary dedicated to him, and called the hero-shrine of Aegeus.

  [6] — ἔστι δὲ ἐν ἀριστερᾷ τῶν προπυλαίων οἴκημα ἔχον γραφάς: ὁπόσαις δὲ μὴ καθέστηκεν ὁ χρόνος αἴτιος ἀφανέσιν εἶναι, Διομήδης ἦν, ὁ μὲν ἐν Λήμνῳ τὸ Φιλοκτήτου τόξον, ὁ δὲ τὴν Ἀθηνᾶν ἀφαιρούμενος ἐξ Ἰλίου. ἐνταῦθα ἐν ταῖς γραφαῖς Ὀρέστης ἐστὶν Αἴγισθον φονεύων καὶ Πυλάδης τοὺς παῖδας τοὺς Ναυπλίου βοηθοὺς ἐλθόντας Αἰγίσθῳ: τοῦ δὲ Ἀχιλλέως τάφου πλησίον μέλλουσά ἐστι σφάζεσθαι Πολυξένη. Ὁμήρῳ δὲ εὖ μὲν παρείθη τόδε τὸ ὠμὸν οὕτως ἔργον: εὖ δέ μοι φαίνεται ποιῆσαι Σκῦρον ὑπὸ Ἀχιλλέως ἁλοῦσαν, οὐδὲν ὁμοίως καὶ ὅσοι λέγουσιν ὁμοῦ ταῖς παρθένοις Ἀχιλλέα ἔχειν ἐν Σκύρῳ δίαιταν, ἃ δὴ καὶ Πολύγνωτος ἔγραψεν. ἔγραψε δὲ καὶ πρὸς τῷ ποταμῷ ταῖς ὁμοῦ Ναυσικᾷ πλυνούσαις ἐφιστάμενον Ὀδυσσέα κατὰ τὰ αὐτὰ καθὰ δὴ καὶ Ὅμηρος ἐποίησε. γραφαὶ δέ εἰσι καὶ ἄλλαι καὶ Ἀλκιβιάδης,

  [22.6] On the left of the gateway is a building with pictures. Among those not effaced by time I found Diomedes taking the Athena from Troy, and Odysseus in Lemnos taking away the bow of Philoctetes. There in the pictures is Orestes killing Aegisthus, and Pylades killing the sons of Nauplius who had come to bring Aegisthus succor. And there is Polyxena about to be sacrificed near the grave of Achilles. Homer did well in passing by this barbarous act. I think too that he showed poetic insight in making Achilles capture Scyros, differing entirely from those who say that Achilles lived in Scyros with the maidens, as Polygnotus has re presented in his picture. He also painted Odysseus coming upon the women washing clothes with Nausicaa at the river, just like the description in Homer. There are other pictures, including a portrait of Alcibiades,

  [7] ἵππων δέ οἱ νίκης τῆς ἐν Νεμέᾳ ἐστὶ σημεῖα ἐν τῇ γραφῇ: καὶ Περσεύς ἐστιν ἐς Σέριφον κομιζόμενος, Πολυδέκτῃ φέρων τὴν κεφαλὴν τὴν Μεδούσης. καὶ τὰ μὲν ἐς Μέδουσαν οὐκ εἰμὶ πρόθυμος ἐν τοῖς Ἀττικοῖς σημῆναι: ἔτι δὲ τῶν γραφῶν παρέντι τὸν παῖδα τὸν τὰς ὑδρίας φέροντα καὶ τὸν παλαιστὴν ὃν Τιμαίνετος ἔγραψεν, ἐστὶ Μουσαῖος. ἐγὼ δὲ ἔπη μὲν ἐπελεξάμην, ἐν οἷς ἐστι πέτεσθαι Μουσαῖον ὑπὸ Βορέου δῶρον, δοκεῖν δέ μοι πεποίηκεν αὐτὰ Ὀνομάκριτος καὶ ἔστιν οὐδὲν Μουσαίου βεβαίως ὅτι μὴ μόνον ἐς Δήμητρα ὕμνος Λυκομίδαις.

  [22.7] and in the picture are emblems of the victory his horses won at Nemea. There is also Perseus journeying to Seriphos, and carrying to Polydectes the head of Medusa, the legend about whom I am unwilling to relate in my description of Attica. Included among the paintings – I omit the boy carrying the water-jars and the wrestler of Timaenetus – is Musaeus. I have read verse in which Musaeus receives from the North Wind the gift of flight, but, in my opinion, Onomacritus wrote them, and there are no certainly genuine works of Musaeus except a hymn to Demeter written for the Lycomidae.

  [8] κατὰ δὲ τὴν ἔσοδον αὐτὴν ἤδη τὴν ἐς ἀκρόπολιν Ἑρμῆν ὃν Προπύλαιον ὀνομάζουσι καὶ Χάριτας Σωκράτην ποιῆσαι τὸν Σωφρονίσκου λέγουσιν, ᾧ σοφῷ γενέσθαι μάλιστα ἀνθρώπων ἐστὶν ἡ Πυθία μάρτυς, ὃ μηδὲ Ἀνάχαρσιν ἐθέλοντα ὅμως καὶ δι᾽ αὐτὸ ἐς Δελφοὺς ἀφικόμενον προσεῖπεν.

  [22.8] Right at the very entrance to the Acropolis are a Hermes (called Hermes of the Gateway) and figures of Graces, which tradition says were sculptured by Socrates, the son of Sophroniscus, who the Pythia testified was the wisest of men, a title she refused to Anacharsis, although he desired it and came to Delphi to win it.

  23. Ἕλληνες δὲ ἄλλα τε λέγουσι καὶ ἄνδρας ἑπτὰ γενέσθαι σοφούς. τούτων καὶ τὸν Λέσβιον τύραννον καὶ Περίανδρον εἶναί φασι τὸν Κυψέλου: καίτοι Περιάνδρου Πεισίστρατος καὶ ὁ παῖς Ἱππίας φιλάνθρωποι μᾶλλον καὶ σοφώτεροι τά τε πολεμικὰ ἦσα�
� καὶ ὅσα ἧκεν ἐς κόσμον τῶν πολιτῶν, ἐς ὃ διὰ τὸν Ἱππάρχου θάνατον Ἱππίας ἄλλα τε ἐχρήσατο θυμῷ καὶ ἐς γυναῖκα ὄνομα Λέαιναν.

  [23.1] XXIII. Among the sayings of the Greeks is one that there were seven wise men. Two of them were the despot of Lesbos and Periander the son of Cypselus. And yet Peisistratus and his son Hippias were more humane than Periander, wiser too in war fare and in statecraft, until, on account of the murder of Hipparchus, Hippias vented his passion against all and sundry, including a woman named Leaena (Lioness).

  [2] ταύτην γάρ, ἐπεί τε ἀπέθανεν Ἵππαρχος, — λέγω δὲ οὐκ ἐς συγγραφὴν πρότερον ἥκοντα, πιστὰ δὲ ἄλλως Ἀθηναίων τοῖς πολλοῖς — Ἱππίας εἶχεν ἐν αἰκίᾳ ἐς ὃ διέφθειρεν, οἷα ἑταίραν Ἀριστογείτονος ἐπιστάμενος οὖσαν καὶ τὸ βούλευμα οὐδαμῶς ἀγνοῆσαι δοξάζων: ἀντὶ δὲ τούτων, ἐπεὶ τυραννίδος ἐπαύθησαν οἱ Πεισιστρατίδαι, χαλκῆ λέαινα Ἀθηναίοις ἐστὶν ἐς μνήμην τῆς γυναικός, παρὰ δὲ αὐτὴν ἄγαλμα Ἀφροδίτης, ὃ Καλλίου τέ φασιν ἀνάθημα εἶναι καὶ ἔργον Καλάμιδος.

  [23.2] What I am about to say has never before been committed to writing, but is generally credited among the Athenians. When Hipparchus died, Hippias tortured Leaena to death, because he knew she was the mistress of Aristogeiton, and therefore could not possibly, he held, be in ignorance of the plot. As a recompense, when the tyranny of the Peisistratidae was at an end, the Athenians put up a bronze lioness in memory of the woman, which they say Callias dedicated and Calamis made.