by Pausanias
[41.5] Eurynome is believed by the people of Phigalia to be a surname of Artemis. Those of them, however, to whom have descended ancient traditions, declare that Eurynome was a daughter of Ocean, whom Homer mentions in the Iliad, saying that along with Thetis she received Hephaestus. On the same day in each year they open the sanctuary of Eurynome, but at any other time it is a transgression for them to open it.
[6] τηνικαῦτα δὲ καὶ θυσίας δημοσίᾳ τε καὶ ἰδιῶται θύουσιν. ἀφικέσθαι μὲν δή μοι τῆς ἑορτῆς οὐκ ἐξεγένετο ἐς καιρὸν οὐδὲ τῆς Εὐρυνόμης τὸ ἄγαλμα εἶδον: τῶν Φιγαλέων δ᾽ ἤκουσα ὡς χρυσαῖ τε τὸ ξόανον συνδέουσιν ἁλύσεις καὶ εἰκὼν γυναικὸς τὰ ἄχρι τῶν γλουτῶν, τὸ ἀπὸ τούτου δέ ἐστιν ἰχθύς. θυγατρὶ μὲν δὴ Ὠκεανοῦ καὶ ἐν βυθῷ τῆς θαλάσσης ὁμοῦ Θέτιδι οἰκούσῃ παρέχοιτο ἄν τι ἐς γνώρισμα αὐτῆς ὁ ἰχθύς: Ἀρτέμιδι δὲ οὐκ ἔστιν ὅπως ἂν μετά γε τοῦ εἰκότος λόγου μετείη τοιούτου σχήματος.
[41.6] On this occasion sacrifices also are offered by the state and by individuals. I did not arrive at the season of the festival, and I did not see the image of Eurynome; but the Phigalians told me that golden chains bind the wooden image, which represents a woman as far as the hips, but below this a fish. If she is a daughter of Ocean, and lives with Thetis in the depth of the sea, the fish may be regarded as a kind of emblem of her. But there could be no probable connection between such a shape and Artemis.
MT COTILIUS
[7] περιέχεται δὲ ἡ Φιγαλία ὄρεσιν, ἐν ἀριστερᾷ μὲν ὑπὸ τοῦ καλουμένου Κωτιλίου, τὰ δὲ ἐς δεξιὰν ἕτερον προβεβλημένον ἐστὶν αὐτῆς ὄρος τὸ Ἐλάιον. ἀπέχει δὲ τῆς πόλεως ἐς τεσσαράκοντα τὸ Κωτίλιον μάλιστα σταδίους: ἐν δὲ τῷ αὐτῷ χωρίον τέ ἐστι καλούμενον Βᾶσσαι καὶ ὁ ναὸς τοῦ Ἀπόλλωνος τοῦ Ἐπικουρίου, λίθου καὶ αὐτὸς καὶ ὁ ὄροφος.
[41.7] Phigalia is surrounded by mountains, on the left by the mountain called Cotilius, while on the right is another, Mount Elaius, which acts as a shield to the city. The distance from the city to Mount Cotilius is about forty stades. On the mountain is a place called Bassae, and the temple of Apollo the Helper, which, including the roof, is of stone.
[8] ναῶν δὲ ὅσοι Πελοποννησίοις εἰσί, μετά γε τὸν ἐν Τεγέᾳ προτιμῷτο οὗτος ἂν τοῦ λίθου τε ἐς κάλλος καὶ τῆς ἁρμονίας ἕνεκα. τὸ δὲ ὄνομα ἐγένετο τῷ Ἀπόλλωνι ἐπικουρήσαντι ἐπὶ νόσῳ λοιμώδει, καθότι καὶ παρὰ Ἀθηναίοις ἐπωνυμίαν ἔλαβεν Ἀλεξίκακος ἀποτρέψας καὶ τούτοις τὴν νόσον.
[41.8] Of the temples in the Peloponnesus, this might be placed first after the one at Tegea for the beauty of its stone and for its symmetry. Apollo received his name from the help he gave in time of plague, just as the Athenians gave him the name of Averter of Evil for turning the plague away from them.
[9] ἔπαυσε δὲ ὑπὸ τὸν Πελοποννησίων καὶ Ἀθηναίων πόλεμον καὶ τοὺς Φιγαλέας καὶ οὐκ ἐν ἑτέρῳ καιρῷ: μαρτύρια δὲ αἵ τε ἐπικλήσεις ἀμφότεραι τοῦ Ἀπόλλωνος ἐοικός τι ὑποσημαίνουσαι καὶ Ἰκτῖνος ὁ ἀρχιτέκτων τοῦ ἐν Φιγαλίᾳ ναοῦ γεγονὼς τῇ ἡλικίᾳ κατὰ Περικλέα καὶ Ἀθηναίοις τὸν Παρθενῶνα καλούμενον κατασκευάσας. ἐδίδαξε δὲ ὁ λόγος ἤδη μοι τὸ ἄγαλμα εἶναι τοῦ Ἀπόλλωνος Μεγαλοπολιτῶν ἐν τῇ ἀγορᾷ.
[41.9] It was at the time of the war between the Peloponnesians and the Athenians that he also saved the Phigalians, and at no other time; the evidence is that of the two surnames of Apollo, which have practically the same meaning, and also the fact that Ictinus, the architect of the temple at Phigalia, was a contemporary of Pericles, and built for the Athenians what is called the Parthenon. My narrative has already said that the tile image of Apollo is in the market-place of Megalopolis.
[10] ἔστι δὲ ὕδατος ἐν τῷ ὄρει τῷ Κωτιλίῳ πηγή, καὶ ὅπου συνέγραψεν ἤδη τις ἀπὸ ταύτης τῷ ποταμῷ τὸ ῥεῦμα τῷ Λύμακι ἄρχεσθαι, συνέγραψεν οὔτε αὐτὸς θεασάμενος οὔτε ἀνδρὸς ἀκοὴν ἰδόντος: ἃ καὶ ἀμφότερα παρῆσαν ἐμοί: τὸ μὲν ποταμοῦ ῥεῦμα ὂν ἑωρῶμεν, τῆς δὲ ἐν τῷ Κωτιλίῳ πηγῆς οὐκ ἐπὶ πολὺ
ἐξικνούμενον τὸ ὕδωρ ἀλλὰ ἐντὸς ὀλίγου παντάπασιν ἀφανὲς γινόμενον. οὐ μὴν οὐδὲ ὅπου τῆς Ἀρκάδων ἐστὶν ἡ πηγὴ τῷ Λύμακι, ἐπῆλθε πολυπραγμονῆσαί μοι. ἔστι δὲ ὑπὲρ τὸ ἱερὸν τοῦ Ἀπόλλωνος τοῦ Ἐπικουρίου χωρίον Κώτιλον μὲν ἐπίκλησιν, Ἀφροδίτη δέ ἐστιν ἐν Κωτίλῳ: καὶ αὐτῇ τε ναός τε ἦν οὐκ ἔχων ἔτι ὄροφον καὶ ἄγαλμα ἐπεποίητο.
[41.10] On Mount Cotilius is a spring of water, but the author who related that this spring is the source of the stream of the river Lymax neither saw it himself nor spoke to a man who had done so. But I did both. We saw the river actually flowing, and the water of the spring on Mount Cotilius running no long way, and within a short distance disappearing altogether. It did not, however, occur to me to take pains to discover where in Arcadia the source of the Lymax is. Beyond the sanctuary of Apollo the Helper is a place named Cotilum, and in Cotilum is an Aphrodite. She also has a temple, the roof of which is now gone, and an image of the goddess.
MT ELAIUS
42. τὸ δὲ ἕτερον τῶν ὀρῶν τὸ Ἐλάιον ἀπωτέρω μὲν Φιγαλίας ὅσον τε σταδίοις τριάκοντά ἐστι, Δήμητρος δὲ ἄντρον αὐτόθι ἱερὸν ἐπίκλησιν Μελαίνης. ὅσα μὲν δὴ οἱ ἐν Θελπούσῃ λέγουσιν ἐς μῖξιν τὴν Ποσειδῶνός τε καὶ Δήμητρος, κατὰ ταὐτά σφισιν οἱ Φιγαλεῖς νομίζουσι, τεχθῆναι δὲ ὑπὸ τῆς Δήμητρος οἱ Φιγαλεῖς φασιν οὐχ ἵππον ἀλλὰ τὴν Δέσποιναν ἐπονομαζομένην ὑπὸ Ἀρκάδων:
[42.1] XLII. The second mountain, Mount Elaius, is some thirty stades away from Phigalia, and has a cave sacred to Demeter surnamed Black. The Phigalians accept the account of the people of Thelpusa about the mating of Poseidon and Demeter, but they assert that Demeter gave birth, not to a horse, but to the Mistress, as the Arcadians call her.
[2] τὸ δὲ ἀπὸ τούτου λέγουσι θυμῷ τε ἅμα ἐς τὸν Ποσειδῶνα αὐτὴν καὶ ἐπὶ τῆς Περσεφόνης τῇ ἁρπαγῇ πένθει χρωμένην μέλαιναν ἐσθῆτα ἐνδῦναι καὶ ἐς τὸ σπήλαιον τοῦτο ἐλθοῦσαν ἐπὶ χρόνον ἀπεῖναι πολύν. ὡς δὲ ἐφθείρετο μὲν πάντα ὅσα ἡ γῆ τρέφει, τὸ δὲ ἀνθρώπων γένος καὶ ἐς πλέον ἀπώλλυτο ὑπὸ τοῦ λιμοῦ, θεῶν μὲν ἄλλων ἠπίστατο ἄρα οὐδεὶς ἔνθα ἀπεκέκρυπτο ἡ Δημήτηρ, τὸν δὲ Πᾶνα ἐπιέναι μὲν
[42.2] Afterwards, they say, angry with Poseidon and grieved at the rape of Persephone, she put on black apparel and shut herself up in this cavern for a long time. But when all the fruits of the earth were perishing, and the human race dying yet more through famine, no god, it seemed, knew where Demeter was in hiding,
[3] τὴν Ἀρκαδίαν καὶ ἄλλοτε αὐτὸν ἐν ἄλλῳ θηρεύειν τῶν ὀρῶν, ἀφικόμενον δὲ καὶ πρὸς τὸ Ἐλάιον κατοπτεῦσαι τὴν Δήμητρα σχήματός τε ὡς εἶχε καὶ ἐσθῆτα ἐνεδέδυτο ποίαν: πυθέσθαι δὴ τὸν Δία ταῦτα παρὰ τοῦ Πανὸς καὶ οὕτως ὑπ᾽ αὐτοῦ πεμφθῆναι τὰς Μοίρας παρὰ τὴν Δήμητρα, τὴν δὲ πεισθῆναί τε ταῖς Μοίραις καὶ ἀποθέσθαι μὲν τὴν ὀργήν, ὑφεῖναι δὲ καὶ τῆς λύπης. σφᾶς δὲ ἀντὶ τούτων φασὶν οἱ Φιγαλεῖς τό τε σπήλαιον νομίσαι τοῦτο ἱερὸν Δήμητρος καὶ ἐς αὐτὸ ἄγαλμα ἀναθεῖναι ξύλου.
[42.3] until Pan, they say, visited Arcadia. Roaming from mountain to mountain as he hunted, he came at last to Mount Elaius and spied Demeter, the state she was in and the clothes she wore. So Zeus learnt this from Pan, and sent the Fates to Demeter, who listened to the Fates and laid aside her wrath, moderating her grief as well. For these reasons, the Phigalians say, they concluded that this cavern was sacred to Demeter and set up in it a wooden image.
[4] πεποιῆσθαι δὲ οὕτω σφίσι τὸ ἄγαλμα: καθέζεσθαι μὲν ἐπὶ πέτρᾳ, γυναικὶ δὲ ἐοικέναι τἄλλα πλὴν κεφαλήν: κεφαλὴν δὲ καὶ κόμην εἶχεν ἵππου, καὶ δρακόντων τε καὶ ἄλλων θηρίων εἰκόνες προσεπεφύκεσαν τῇ κεφαλῇ: χιτῶνα δὲ ἐνεδέδυτο καὶ ἐς ἄκρους τοὺς πόδας: δελφὶς δὲ ἐπὶ τῆς χειρὸς ἦν αὐτῇ, περιστερὰ δὲ ἡ ὄρνις ἐπὶ τῇ ἑτέρᾳ. ἐφ᾽ ὅτῳ μὲν δὴ τὸ ξόανον ἐποιήσαντο οὕτως, ἀνδρὶ οὐκ ἀσυνέτῳ γνώμην ἀγαθῷ δὲ καὶ τὰ ἐς μνήμην δῆλά ἐστι: Μέλαιναν δὲ ἐπονομάσαι φασὶν αὐτήν, ὅτι καὶ ἡ θεὸς μέλαιναν τὴν ἐσθῆτα εἶχε.
[42.4] The image, they say, was made after this fashion. It was seated on a rock, like to a woman in all respects save the head. She had the head and hair of a horse, and there grew out of her head images of serpents and other beasts. Her tunic reached right to her feet; on one of her hands was a dolphin, on the other a dove. Now why they had the image made after this fashion is plain to any intelligent man who is learned in traditions. They say that they named her Black because the goddess had black apparel.
[5] τοῦτο μὲν δὴ τὸ ξόανον οὔτε ὅτου ποίημα ἦν οὔτε ἡ φλὸξ τρόπον ὅντινα ἐπέλαβεν αὐτό, μνημονεύουσιν: ἀφανισθέντος δὲ τοῦ ἀρχαίου Φιγαλεῖς οὔτε ἄγαλμα ἄλλο ἀπεδίδοσαν τῇ θεῷ καὶ ὁπόσα ἐς ἑορτὰς καὶ θυσίας τὰ πολλὰ δὴ παρῶπτό σφισιν, ἐς ὃ ἡ ἀκαρπία ἐπιλαμβάνει τὴν γῆν: καὶ ἱκετεύσασιν αὐτοῖς χρᾷ τάδε ἡ Πυθία:
[42.5] They cannot relate either who made this wooden image or how it caught fire. But the old image was destroyed, and the Phigalians gave the goddess no fresh image, while they neglected for the most part her festivals and sacrifices, until the barrenness fell on the land. Then they went as suppliants to the Pythian priestess and received this response:–
[6] “Ἀρκάδες Ἀζᾶνες βαλανηφάγοι, οἳ Φιγάλειαν
νάσσασθ᾽, ἱππολεχοῦς Δῃοῦς κρυπτήριον ἄντρον,
ἥκετε πευσόμενοι λιμοῦ λύσιν ἀλγινόεντος,
μοῦνοι δὶς νομάδες, μοῦνοι πάλιν ἀγριοδαῖται.
Δῃὼ μέν σε ἔπαυσε νομῆς, Δῃὼ δὲ νομῆας
ἐκ δησισταχύων καὶ ἀναστοφάγων πάλι θῆκε,
νοσφισθεῖσα γέρα προτέρων τιμάς τε παλαιάς.
καί σ᾽ ἀλληλοφάγον θήσει τάχα καὶ τεκνοδαίτην,
εἰ μὴ πανδήμοις λοιβαῖς χόλον ἱλάσσεσθε
σήραγγός τε μυχὸν θείαις κοσμήσετε τιμαῖς.
“
[42.6]
Azanian Arcadians, acorn-eaters, who dwell
In Phigaleia, the cave that hid Deo, who bare a horse,
You have come to learn a cure for grievous famine,
Who alone have twice been nomads, alone have twice lived on wild fruits.
It was Deo who made you cease from pasturing, Deo who made you pasture again
After being binders of corn and eaters of cakes,
Because she was deprived of privileges and ancient honors given by men of former times.
And soon will she make you eat each other and feed on your children,
Unless you appease her anger with libations offered by all your people,
And adorn with divine honors the nook of the cave.
[7] ὡς δὲ οἱ Φιγαλεῖς ἀνακομισθὲν τὸ μάντευμα ἤκουσαν, τά τε ἄλλα ἐς πλέον τιμῆς ἢ τὰ πρότερα τὴν Δήμητρα ἦγον καὶ Ὀνάταν τὸν Μίκωνος Αἰγινήτην πείθουσιν ἐφ᾽ ὅσῳ δὴ μισθῷ ποιῆσαί σφισιν ἄγαλμα Δήμητρος: τοῦ δὲ Ὀνάτα τούτου Περγαμηνοῖς ἐστιν Ἀπόλλων χαλκοῦς, θαῦμα ἐν τοῖς μάλιστα μεγέθους τε ἕνεκα καὶ ἐπὶ τῇ τέχνῃ. τότε δὴ ὁ ἀνὴρ οὗτος ἀνευρὼν γραφὴν ἢ μίμημα τοῦ ἀρχαίου ξοάνου — τὰ πλείω δέ, ὡς λέγεται, καὶ κατὰ ὀνειράτων ὄψιν — ἐποίησε χαλκοῦν Φιγαλεῦσιν ἄγαλμα, γενεαῖς μάλιστα δυσὶν ὕστερον τῆς ἐπὶ τὴν Ἑλλάδα ἐπιστρατείας τοῦ Μήδου.
[42.7] When the Phigalians heard the oracle that was brought back, they held Demeter in greater honor than before, and particularly they persuaded Onatas of Aegina, son of Micon, to make them an image of Demeter at a price. The Pergamenes have a bronze Apollo made by this Onatas, a most wonderful marvel both for its size and workmanship. This man then, about two generations after the Persian invasion of Greece, made the Phigalians an image of bronze, guided partly by a picture or copy of the ancient wooden image which he discovered, but mostly (so goes the story) by a vision that he saw in dreams. As to the date, I have the following evidence to produce.
[8] μαρτυρεῖ δέ μοι τῷ λόγῳ: κατὰ γὰρ τὴν Ξέρξου διάβασιν ἐς τὴν Εὐρώπην Συρακουσῶν τε ἐτυράννει καὶ Σικελίας τῆς ἄλλης Γέλων ὁ Δεινομένους: ἐπεὶ δὲ ἐτελεύτησε Γέλων, ἐς Ἱέρωνα ἀδελφὸν Γέλωνος περιῆλθεν ἡ ἀρχή: Ἱέρωνος δὲ ἀποθανόντος πρότερον πρὶν ἢ τῷ Ὀλυμπίῳ Διὶ ἀναθεῖναι τὰ ἀναθήματα ἃ εὔξατο ἐπὶ τῶν ἵππων ταῖς νίκαις, οὕτω Δεινομένης ὁ Ἱέρωνος ἀπέδωκεν ὑπὲρ τοῦ πατρός.
[42.8] At the time when Xerxes crossed over into Europe, Gelon the son of Deinomenes was despot of Syracuse and of the rest of Sicily besides. When Gelon died, the kingdom devolved on his brother Hieron. Hieron died before he could dedicate to Olympian Zeus the of
ferings he had vowed for his victories in the chariot-race, and so Deinomenes his son paid the debt for his father.
[9] Ὀνάτα καὶ ταῦτα ποιήματα, καὶ ἐπιγράμματα ἐν Ὀλυμπίᾳ, τὸ μὲν ὑπὲρ τοῦ ἀναθήματός ἐστιν αὐτῶν,”σόν ποτε νικήσας, Ζεῦ Ὀλύμπιε, σεμνὸν ἀγῶνα
τεθρίππῳ μὲν ἅπαξ, μουνοκέλητι δὲ δίς,
δῶρα Ἱέρων τάδε σοι ἐχαρίσσατο: παῖς δ᾽ ἀνέθηκε
“Δεινομένης πατρὸς μνῆμα Συρακοσίου:
[42.9] These too are works of Onatas, and there are two inscriptions at Olympia. The one over the offering is this:–
Having won victories in thy grand games, Olympian Zeus,
Once with the four-horse chariot, twice with the race-horse,
Hieron bestowed on thee these gifts: his son dedicated them,
Deinomenes, as a memorial to his Syracusan father.
[10] τὸ δὲ ἕτερον λέγει τῶν ἐπιγραμμάτων: “υἱὸς μέν με Μίκωνος Ὀνάτας ἐξετέλεσσεν,
νάσῳ ἐν Αἰγίνᾳ δώματα ναιετάων.
“ἡ δὲ ἡλικία τοῦ Ὀνάτα κατὰ τὸν Ἀθηναῖον Ἡγίαν καὶ Ἀγελάδαν συμβαίνει τὸν Ἀργεῖον.
[10] The other inscription is:–
Onatas, son of Micon, fashioned me,
Who had his home in the island of Aegina.