Delphi Complete Works of Pausanias

by Pausanias

  [5] καὶ γὰρ ἐπὶ τῶν θεῶν τὰ ἱερὰ καὶ ἐς πάντα ὁμοίως τὰ ὑψηλὰ ἐπαναβαίνοντες ἠμύνοντο οἱ Ἠλεῖοι. οὗτος δ᾽ οὖν ὁ ἀνὴρ ἐφαίνετο ἡμῖν ὑποδῦναι μὲν ἐνταῦθα λιποψυχήσας ὑπὸ τραυμάτων: ὡς δὲ ἀφῆκε τὴν ψυχήν, οὐκ ἔμελλεν ἄρα οὔτε πνῖγος θέρους οὔτε ἐν χειμῶνι κρυμὸς ἔσεσθαι τῷ νεκρῷ βλάβος ἅτε ἐν σκέπῃ πάσῃ κειμένῳ. ἔλεγε δὲ καὶ τόδε ἔτι ὁ Ἀρίσταρχος, ὡς ἐκκομίσαιντο ἐς τὸ ἐκτὸς τῆς Ἄλτεως τὸν νεκρὸν καὶ ὁμοῦ τοῖς ὅπλοις γῇ κρύψαιεν.

  [20.5] The Eleans in fact climbed to defend themselves on to all high places alike, including the sanctuaries of the gods. At any rate this soldier seemed to us to have crept under here after growing faint with his wounds, and so died. Lying in a completely sheltered spot the corpse would suffer harm neither from the heat of summer nor from the frost of winter. Aristarchus said further that they carried the corpse outside the Altis and buried him in the earth along with his armour.

  THE PILLAR OF OENOMAUS

  [6] ἣν δὲ καλοῦσιν Οἰνομάου κίονα καὶ οἱ Ἠλεῖοι καλοῦσιν, ἔστι μὲν πρὸς τὸ ἱερὸν τοῦ Διὸς ἰόντι ἀπὸ τοῦ μεγάλου βωμοῦ: τέσσαρες δέ εἰσιν ἐν ἀριστερᾷ κίονες καὶ ἐπ᾽ αὐτῶν ὄροφος, πεποίηνται δὲ ἔρυμα εἶναι ξυλίνῳ κίονι πεπονηκότι ὑπὸ τοῦ χρόνου καὶ τὰ πολλὰ ὑπὸ δεσμῶν συνεχομένῳ. οὗτος ὁ κίων ἐν οἰκίᾳ τοῦ Οἰνομάου, καθὰ λέγουσιν, εἱστήκει: κεραυνώσαντος δὲ τοῦ θεοῦ τὴν μὲν ἄλλην ἠφάνισεν οἰκίαν τὸ πῦρ, ὑπελίπετο δὲ τὸν κίονα ἐξ ἁπάσης μόνον.

  [20.6] What the Eleans call the pillar of Oenomaus is in the direction of the sanctuary of Zeus as you go from the great altar. On the left are four pillars with a roof on them, the whole constructed to protect a wooden pillar which has decayed through age, being for the most part held together by bands. This pillar, so runs the tale, stood in the house of Oenomaus. Struck by lightning the rest of the house was destroyed by the fire; of all the building only this pillar was left.

  [7] πινάκιον δὲ πρὸ αὐτοῦ χαλκοῦν ἐλεγεῖα ἔχει γεγραμμένα: “καὶ γὰρ ἐγὼ κεινῶν εἴμ᾽ ὦ ξένε λείψανον οἴκων,

  στυλὶς ἐν Οἰνομάου πρίν ποτ᾽ ἐοῦσα δόμοις:

  νῦν δὲ παρὰ Κρονίδην κεῖμαι τάδ᾽ ἔχουσα τὰ δεσμὰ

  τίμιος: οὐδ᾽ ὀλοὴ δαίσατο φλόξ με πυρός.

  “συνέβη δὲ καὶ ἄλλο κατ᾽ ἐμὲ τοιόνδε.

  [20.7] A bronze tablet in front of it has the following elegiac inscription:–

  Stranger, I am a remnant of a famous house,

  I, who once was a pillar in the house of Oenomaus;

  Now by Cronus’ son I lie with these bands upon me,

  A precious thing, and the baleful flame of fire consumed me not.

  In my time another incident took place, which I will relate.

  [8] ἀνὴρ βουλῆς τῆς Ῥωμαίων ἀνείλετο Ὀλυμπικὴν νίκην: ἐθέλων δὲ ὑπολιπέσθαι τῆς νίκης ὑπόμνημα χαλκῆν εἰκόνα σὺν ἐπιγράμματι, ὤρυσσεν ἐς ποίησιν βάθρου: καὶ ὡς ἐγένετο ἐγγύτατα τὸ ὄρυγμα αὐτῷ τῆς τοῦ Οἰνομάου κίονος, ἐνταῦθα εὕρισκον οἱ ὀρύσσοντες καὶ ὅπλων καὶ χαλινῶν καὶ ψαλίων θραύματα.

  [20.8] A Roman senator won an Olympic victory. Wishing to leave behind, as a memorial of his victory, a bronze statue with an inscription, he proceeded to dig, so as to make a foundation. When his excavation came very close to the pillar of Oenomaus, the diggers found there fragments of armour, bridles and curbs.

  THE METROUM & TOWN HALL AT OLYMPIA

  [9] ταῦτα μὲν δὴ αὐτὸς ἑώρων ὀρυσσόμενα: ναὸν δὲ μεγέθει οὐ μέγαν καὶ ἐργασίᾳ Δώριον Μητρῷον καὶ ἐς ἐμὲ καλοῦσιν ἔτι, τὸ ὄνομα αὐτῷ διασώζοντες τὸ ἀρχαῖον: κεῖται δὲ οὐκ ἄγαλμα ἐν αὐτῷ θεῶν Μητρός, βασιλέων δὲ ἑστήκασιν ἀνδριάντες Ῥωμαίων. ἔστι δὲ ἐντὸς τῆς Ἄλτεως τό τε Μητρῷον καὶ οἴκημα περιφερὲς ὀνομαζόμενον Φιλιππεῖον: ἐπὶ κορυφῇ δέ ἐστι τοῦ Φιλιππείου μήκων χαλκῆ σύνδεσμος ταῖς δοκοῖς.

  [20.9] These I saw myself as they were being dug out. A temple of no great size in the Doric style they have called down to the present day Metroum, keeping its ancient name. No image lies in it of the Mother of the gods, but there stand in it statues of Roman emperors. The Metroum is within the Altis, and so is a round building called the Philippeum. On the roof of the Philippeum is a bronze poppy which binds the beams together.

  [10] τοῦτο τὸ οἴκημα ἔστι μὲν κατὰ τὴν ἔξοδον τὴν κατὰ τὸ πρυτανεῖον ἐν ἀριστερᾷ, πεποίηται δὲ ὀπτῆς πλίνθου, κίονες δὲ περὶ αὐτὸ ἑστήκασι: Φιλίππῳ δὲ ἐποιήθη μετὰ τὸ ἐν Χαιρωνείᾳ τὴν Ἑλλάδα ὀλισθεῖν. κεῖνται δὲ αὐτόθι Φίλιππός τε καὶ Ἀλέξανδρος, σὺν δὲ αὐτοῖς Ἀμύντας ὁ Φιλίππου πατήρ: ἔργα δέ ἐστι καὶ ταῦτα Λεωχάρους ἐλέφαντος καὶ χρυσοῦ, καθὰ καὶ τῆς Ὀλυμπιάδος καὶ Εὐρυδίκης εἰσὶν αἱ εἰκόνες.

  [20.10] This building is on the left of the exit over against the Town Hall. It is made of burnt brick and is surrounded by columns. It was built by Philip after the fall of Greece at Chaeroneia. Here are set statues of Philip and Alexander, and with them is Amyntas, Philip’s father. These works too are by Leochares, and are of ivory and gold, as are the statues of Olympias and Eurydice.

  VOTIVE OFFERINGS AT OLYMPIA

  21. τὸ δὲ ἀπὸ τούτου μοι πρόεισιν ὁ λόγος ἔς τε τῶν ἀνδριάντων καὶ ἐς τῶν ἀναθημάτων ἐξήγησιν. ἀναμῖξαι δὲ οὐκ ἀρεστὰ ἦν μοι τὸν ἐπ᾽ αὐτοῖς λόγον. ἐν ἀκροπόλει μὲν γὰρ τῇ Ἀθήνῃσιν οἵ τε ἀνδριάντες καὶ ὁπόσα ἄλλα, τὰ πάντα ἐστὶν ὁμοίως ἀναθήματα: ἐν δὲ τῇ Ἄλτει τὰ μὲν τιμῇ τῇ ἐς τὸ θεῖον ἀνάκεινται, οἱ δὲ ἀνδριάντες τῶν νικώντων ἐν ἄθλου λόγῳ σφίσι καὶ οὗτοι δίδονται. τῶν μὲν δὴ ἀνδριάντων ποιησόμεθα καὶ ὕστερον μνήμην: ἐς δὲ τὰ ἀναθήματα ἡμῖν τραπήσεται πρότερα ὁ λόγος, τὰ ἀξιολογώτατα αὐτῶν ἐπερχομένοις.

  [21.1] XXI. From this point my account will proceed to a description of the statues and votive offerings; but I think that it would be wrong to mix up the accounts of them. For whereas on the Athenian Acropolis statues are votive offerings like everything else, in the Altis some things only are dedicated in honor of the gods, and statues are merely part of the prizes awarded to the victors. The statues I will mention later; I will turn first to the votive offerings, and go over the most noteworthy of them.

  [2] ἰόντι γὰρ ἐ�
�ὶ τὸ στάδιον τὴν ὁδὸν τὴν ἀπὸ τοῦ Μητρῴου, ἔστιν ἐν ἀριστερᾷ κατὰ τὸ πέρας τοῦ ὄρους τοῦ Κρονίου λίθου τε πρὸς αὐτῷ τῷ ὄρει κρηπὶς καὶ ἀναβασμοὶ δι᾽ αὐτῆς: πρὸς δὲ τῇ κρηπῖδι ἀγάλματα Διὸς ἀνάκειται χαλκᾶ. ταῦτα ἐποιήθη μὲν ἀπὸ χρημάτων ἐπιβληθείσης ἀθληταῖς ζημίας ὑβρίσασιν ἐς τὸν ἀγῶνα, καλοῦνται δὲ ὑπὸ τῶν ἐπιχωρίων Ζᾶνες.

  [21.2] As you go to the stadium along the road from the Metroum, there is on the left at the bottom of Mount Cronius a platform of stone, right by the very mountain, with steps through it. By the platform have been set up bronze images of Zeus. These have been made from the fines inflicted on athletes who have wantonly broken the rules of the contests, and they are called Zanes (figures of Zeus) by the natives.

  [3] πρῶτοι δὲ ἀριθμὸν ἓξ ἐπὶ τῆς ὀγδόης ἔστησαν καὶ ἐνενηκοστῆς Ὀλυμπιάδος: Εὔπωλος γὰρ Θεσσαλὸς χρήμασι διέφθειρε τοὺς ἐλθόντας τῶν πυκτῶν, Ἀγήτορα Ἀρκάδα καὶ Πρύτανιν Κυζικηνόν, σὺν δὲ αὐτοῖς καὶ Φορμίωνα Ἁλικαρνασσέα μὲν γένος, Ὀλυμπιάδι δὲ τῇ πρὸ ταύτης κρατήσαντα. τοῦτο ἐξ ἀθλητῶν ἀδίκημα ἐς τὸν ἀγῶνα πρῶτον γενέσθαι λέγουσι, καὶ πρῶτοι χρήμασιν ἐζημιώθησαν ὑπὸ Ἠλείων Εὔπωλος καὶ οἱ δεξάμενοι δῶρα παρὰ Εὐπώλου. δύο μὲν δὴ ἐξ αὐτῶν ἔργα Κλέωνος Σικυωνίου: τὰ δὲ ἐφεξῆς τέσσαρα ὅστις ἐποίησεν, οὐκ ἴσμεν.

  [21.3] The first, six in number, were set up in the ninety-eighth Olympiad. For Eupolus of Thessaly bribed the boxers who entered the competition, Agenor the Arcadian and Prytanis of Cyzicus, and with them also Phormio of Halicarnassus, who had won at the preceding Festival. This is said to have been the first time that an athlete violated the rules of the games, and the first to be fined by the Eleans were Eupolus and those who accepted bribes from Eupolus. Two of these images are the work of Cleon of Sicyon; who made the next four I do not know.

  [4] τῶν δὲ ἀγαλμάτων τούτων

  παρέντι τρίτον τε ἐξ αὐτῶν καὶ τέταρτον, γεγραμμένα ἐλεγεῖά ἐστιν ἐπὶ τοῖς ἄλλοις. ἐθέλει δὲ τὸ μὲν πρῶτον τῶν ἐλεγείων δηλοῦν ὡς οὐ χρήμασιν ἀλλὰ ὠκύτητι τῶν ποδῶν καὶ ὑπὸ ἰσχύος σώματος Ὀλυμπικὴν ἔστιν εὑρέσθαι νίκην, τὸ δὲ ἐπὶ τῷ δευτέρῳ φησὶν ὡς τὸ ἄγαλμα ἕστηκε τιμῇ τε τῇ ἐς τὸ θεῖον καὶ ὑπὸ εὐσεβείας τῆς Ἠλείων καὶ ἀθληταῖς παρανομοῦσιν εἶναι δέος: πέμπτῳ δὲ καὶ ἕκτῳ, τῷ μέν ἐστιν ἡ τοῦ ἐπιγράμματος γνώμη τά τε ἄλλα ἐς ἔπαινον Ἠλείων καὶ οὐχ ἥκιστα ἐπὶ τῇ ζημίᾳ τῶν πυκτῶν, ἐπὶ δὲ τῷ ὑπολοίπῳ διδασκαλίαν πᾶσιν Ἕλλησιν εἶναι τὰ ἀγάλματα μηδένα ἐπὶ Ὀλυμπικῇ νίκῃ διδόναι χρήματα.

  [21.4] Except the third and the fourth these images have elegiac inscriptions on them. The first of the inscriptions is intended to make plain that an Olympic victory is to be won, not by money, but by swiftness of foot and strength of body. The inscription on the second image declares that the image stands to the glory of the deity, through the piety of the Eleans, and to be a terror to law-breaking athletes. The purport of the inscription on the fifth image is praise of the Eleans, especially for their fining the boxers; that of the sixth and last is that the images are a warning to all the Greeks not to give bribes to obtain an Olympic victory.

  [5] Εὐπώλου δὲ ὕστερόν φασιν Ἀθηναῖον Κάλλιππον ἀθλήσαντα πένταθλον ἐξωνήσασθαι τοὺς ἀνταγωνιουμένους χρήμασι, δευτέραν δὲ ἐπὶ ταῖς δέκα τε καὶ ἑκατὸν Ὀλυμπιάδα εἶναι ταύτην. ἐπιβληθείσης δὲ τῷ Καλλίππῳ καὶ τοῖς ἀνταγωνισαμένοις ζημίας ὑπὸ Ἠλείων, ἀποστέλλουσιν Ὑπερείδην Ἀθηναῖοι πείσοντα Ἠλείους ἀφεῖναί σφισι τὴν ζημίαν: ἀπειπόντων δὲ Ἠλείων τὴν χάριν, ἐχρῶντο ὑπεροψίᾳ τοιᾷδε ἐς αὐτοὺς οἱ Ἀθηναῖοι, οὔτε ἀποδιδόντες τὰ χρήματα καὶ Ὀλυμπίων εἰργόμενοι, πρὶν ἤ σφισιν ὁ θεὸς ὁ ἐν Δελφοῖς οὐ πρότερον ἔφησεν ὑπὲρ οὐδενὸς χρήσειν πρὶν ἢ τὴν ζημίαν ἀποδοῖεν Ἠλείοις.

  [21.5] Next after Eupolus they say that Callippus of Athens, who had entered for the pentathlum, bought off his fellow-competitors by bribes, and that this offence occurred at tie hundred and twelfth Festival. When the fine had been imposed by the Eleans on Callippus and his antagonists, the Athenians commissioned Hypereides to persuade the Eleans to remit them the fine. The Eleans refused this favour, and the Athenians were disdainful enough not to pay the money and to boycott the Olympic games, until finally the god at Delphi declared that he would deliver no oracle on any matter to the Athenians before they had paid the Eleans the fine.

  [6] οὕτω δὴ ἀποδόντων ἐποιήθη τῷ Διὶ ἀγάλματα, ἓξ μὲν καὶ ταῦτα, γέγραπται δὲ ἐπ᾽ αὐτοῖς ἐλεγεῖα οὐδέν τι δεξιώτερα ἐς ποίησιν ἢ τὰ ἔχοντα τὴν ζημίαν τὴν Εὐπώλου. γνῶμαι δέ εἰσι τῶν ἐπιγραμμάτων, πρῶτον μὲν ἀνατεθῆναι τὰ ἀγάλματα μαντείᾳ τοῦ θεοῦ τιμήσαντος τὰ ἐς τοὺς πεντάθλους δόξαντα Ἠλείοις, τὸ δὲ ἐπὶ τῷ δευτέρῳ καὶ ὡσαύτως ἐπὶ τῷ τρίτῳ Ἠλείους ἐπαινοῦντά ἐστιν ἐπὶ τῶν πεντάθλων τῇ ζημίᾳ:

  [21.6] So when it was paid, images, also six in number, were made in honor of Zeus; on them are inscribed elegiac verses not a whit more elegant than those relating the fine of Eupolus. The gist of the first inscription is that the images were dedicated because the god by an oracle expressed his approval of the Elean decision against the pentathletes; on the second image and likewise on the third are praises of the Eleans for their fining the competitors in the pentathlum.

  [7] τὸ τέταρτον δὲ ἐθέλει λέγειν τὸν Ὀλυμπίασιν ἀγῶνα ἀρετῆς εἶναι καὶ οὐ χρημάτων, τὰ δὲ ἐπιγράμματα τὰ ἐπὶ τῷ πέμπτῳ τε καὶ ἕκτῳ, τὸ μὲν αὐτῶν δηλοῖ καθ᾽ ἥντινα αἰτίαν ἀνετέθη τὰ ἀγάλματα, τὸ δὲ ἀναμιμνήσκει τοῦ χρησμοῦ τοῦ Ἀθηναίοις ἐλθόντος ἐκ Δελφῶν.

  [21.7] The fourth purports to say that the contest at Olympia is one of merit and not of wealth; the inscription on the fifth declares the reason for dedicating the images, while that on the sixth commemorates the oracle given to the Athenians by Delphi.

  [8] τῶν δὲ κατειλεγμένων τὰ ἐφεξῆς ἀγάλματα δύο μέν ἐστιν ἀριθμόν, ἀνετέθη δὲ ἐπιτεθείσης παλαισταῖς ἀνδράσι ζημίας: οἵτινες δὲ ἐκαλοῦντο, ἐμέ γε ἢ τοὺς Ἠλείων λέληθεν ἐξηγητάς. ἐπιγράμματα μὲν γὰρ καὶ ἐπὶ τούτοις τοῖς ἀγάλμασιν ἔπεστι, λέγε�
� δὲ τὸ μὲν πρῶτον αὐτῶν ὡς τῷ Ὀλυμπίῳ Διὶ Ῥόδιοι χρήματα ὑπὲρ ἀνδρὸς ἀδικίας ἐκτίσαιεν παλαιστοῦ, τὸ δὲ ἕτερον ὡς ἀνδρῶν ἐπὶ δώροις παλαισάντων ἀπὸ τῶν ἐπιβληθέντων χρημάτων αὐτοῖς γένοιτο τὸ ἄγαλμα.

  [21.8] The images next to those I have enumerated are two in number, and they were dedicated from a fine imposed on wrestlers. As to their names, neither I nor the guides of the Eleans knew them. On these images too are inscriptions; one says that the Rhodians paid money to Olympian Zeus for the wrongdoing of a wrestler; the other that certain men wrestled for bribes and that the image was made from the fines imposed upon them.

  [9] τὰ δὲ ἐπίλοιπα ἐς τοὺς ἀθλητὰς τούτους οἱ ἐξηγηταὶ λέγουσιν οἱ Ἠλείων, ὀγδόην μὲν ἐπὶ ταῖς ἑβδομήκοντα καὶ ἑκατὸν Ὀλυμπιάδα εἶναι, λαβεῖν δὲ Εὔδηλον παρὰ Φιλοστράτου χρήματα, τοῦτον δὲ εἶναι τὸν Φιλόστρατον Ῥόδιον. τούτῳ τῷ λόγῳ διάφορα ὄντα εὕρισκον τὰ Ἠλείων ἐς τοὺς Ὀλυμπιονίκας γράμματα: ἔστι γὰρ δὴ ἐν τοῖς γράμμασι τούτοις Στράτωνα Ἀλεξανδρέα Ὀλυμπιάδι ὀγδόῃ μετὰ τὰς ἑβδομήκοντα καὶ ἑκατὸν ἐπὶ ἡμέρας ἀνελέσθαι τῆς αὐτῆς παγκρατίου καὶ πάλης νίκην. Ἀλεξανδρείας δὲ τῆς ἐπὶ τῷ Κανωβικῷ τοῦ Νείλου στόματι Ἀλέξανδρος μὲν οἰκιστὴς ἐγένετο ὁ Φιλίππου, λέγεται δὲ καὶ πρότερον ἔτι πόλισμα Αἰγυπτίων ἐνταῦθα οὐ μέγα εἶναι Ῥακῶτιν: