by Pausanias
[8] εἴχετο ἔτι τῆς μητρὸς καὶ ἐκ τῶν μαστῶν εἷλκεν αὐτῆς γάλα πολὺ καὶ ἄφθονον, καὶ — ἦν γὰρ τοῦ Ἄρεως γνώμῃ τὰ γινόμενα — τούτων ἕνεκα Ἀφνειὸν τὸν θεὸν ὀνομάζουσι: τῷ δὲ παιδίῳ ὄνομα τεθῆναί φασιν Ἀέροπον. ἔστι δὲ κατὰ τὴν ἐς Τεγέαν ὁδὸν Λευκώνιος καλουμένη κρήνη: θυγατέρα δὲ Ἀφείδαντος λέγουσιν εἶναι τὴν Λευκώνην, καὶ οὐ πόρρω τοῦ Τεγεατῶν οἱ ἄστεως μνῆμά ἐστιν.
[44.8] She died in giving birth to a child, who clung to his mother even when she was dead, and sucked great abundance of milk from her breasts. Now this took place by the will of Ares, and because of it they name the god Aphneius (Abundant); but the name given to the hill was, it is said, Aeropus. There is on the way to Tegea a fountain called Leuconian. They say that Apheidas was the father of Leucone, and not far from Tegea is her tomb.
TEGEA
45. Τεγεᾶται δὲ ἐπὶ μὲν Τεγεάτου τοῦ Λυκάονος τῇ χώρᾳ φασὶν ἀπ᾽ αὐτοῦ γενέσθαι μόνῃ τὸ ὄνομα, τοῖς δὲ ἀνθρώποις κατὰ δήμους εἶναι τὰς οἰκήσεις, Γαρεάτας καὶ Φυλακεῖς καὶ Καρυάτας τε καὶ Κορυθεῖς, ἔτι δὲ Πωταχίδας καὶ Οἰάτας Μανθυρεῖς τε καὶ Ἐχευήθεις: ἐπὶ δὲ Ἀφείδαντος βασιλεύοντος καὶ ἔνατός σφισι δῆμος προσεγένετο Ἀφείδαντες: τῆς δὲ ἐφ᾽ ἡμῶν πόλεως οἰκιστὴς ἐγένετο Ἄλεος.
[45.1] XLV. The Tegeans say that in the time of Tegeates, son of Lycaon, only the district got its name from him, and that the inhabitants dwelt in parishes, Gareatae, Phylacenses, Caryatae, Corythenses, Potachidae, Oeatae, Manthyrenses, Echeuethenses. But in the reign of Apheidas a ninth parish was added to them, namely Apheidantes. Of the modern city Aleus was founder.
[2] Τεγεάταις δὲ παρὲξ ἢ τὰ Ἀρκάδων κοινά, ἐν οἷς ἔστι μὲν ὁ πρὸς Ἰλίῳ πόλεμος, ἔστι δὲ τὰ Μηδικά τε καὶ ἐν Διπαιεῦσιν ὁ πρὸς Λακεδαιμονίους ἀγών, παρὲξ οὖν τῶν καταλελεγμένων ἰδίᾳ Τεγεάταις ἐστὶν αὐτοῖς τοσάδε ἐς δόξαν. τὸν γὰρ ἐν Καλυδῶνι ὗν Ἀγκαῖος ὑπέμεινεν ὁ Λυκούργου τρωθείς, καὶ Ἀταλάντη τοξεύει τὸν ὗν καὶ ἔτυχε πρώτη τοῦ θηρίου: τούτων ἕνεκα αὐτῇ ἡ κεφαλή τε τοῦ ὑὸς καὶ τὸ δέρμα ἀριστεῖα ἐδόθη.
[45.2] Besides the exploits shared by the Tegeans with the Arcadians, which include the Trojan war, the Persian wars and the battle at Dipaea with the Lacedaemonians, the Tegeans have, besides the deeds already mentioned, the following claims of their own to fame. Ancaeus, the son of Lycurgus, though wounded, stood up to the Calydonian boar, which Atalanta shot at, being the first to hit the beast. For this feat she received, as a prize for valor, the head and hide of the boar.
[3] Ἡρακλειδῶν δὲ ἐς Πελοπόννησον κατιόντων Ἔχεμος ὁ Ἀερόπου Τεγεάτης ἐμονομάχησεν ἰδίᾳ πρὸς Ὕλλον, καὶ ἐκράτησε τοῦ Ὕλλου τῇ μάχῃ. Λακεδαιμονίους τε οἱ Τεγεᾶται πρῶτοι Ἀρκάδων σφίσιν ἐπιστρατεύσαντας ἐνίκησαν καὶ αἰχμαλώτους αἱροῦσιν αὐτῶν τοὺς πολλούς.
[45.3] When the Heracleidae returned to the Peloponnesus, Echemus, son of Aeropus, a Tegean, fought a duel with Hyllus, and overcame him in the fight. The Tegeans again were the first Arcadians to overcome Lacedaemonians; when invaded they defeated their enemies and took most of them prisoners.
[4] Τεγεάταις δὲ Ἀθηνᾶς τῆς Ἀλέας τὸ ἱερὸν τὸ ἀρχαῖον ἐποίησεν Ἄλεος: χρόνῳ δὲ ὕστερον
κατεσκευάσαντο οἱ Τεγεᾶται τῇ θεῷ ναὸν μέγαν τε καὶ θέας ἄξιον. ἐκεῖνο μὲν δὴ πῦρ ἠφάνισεν ἐπινεμηθὲν ἐξαίφνης, Διοφάντου παρ᾽ Ἀθηναίοις ἄρχοντος, δευτέρῳ δὲ ἔτει τῆς ἕκτης καὶ ἐνενηκοστῆς Ὀλυμπιάδος, ἣν Εὐπόλεμος Ἠλεῖος ἐνίκα στάδιον.
[45.4] The ancient sanctuary of Athena Alea was made for the Tegeans by Aleus. Later on the Tegeans set up for the goddess a large temple, worth seeing. The sanctuary was utterly destroyed by a fire which suddenly broke out when Diophantus was archon at Athens, in the second year of the ninety-sixth Olympiad, at which Eupolemus of Elis won the foot-race.
[5] ὁ δὲ ναὸς ὁ ἐφ᾽ ἡμῶν πολὺ δή τι τῶν ναῶν, ὅσοι Πελοποννησίοις εἰσίν, ἐς κατασκευὴν προέχει τὴν ἄλλην καὶ ἐς μέγεθος. ὁ μὲν δὴ πρῶτός ἐστιν αὐτῷ κόσμος τῶν κιόνων Δώριος, ὁ δὲ ἐπὶ τούτῳ Κορίνθιος: ἑστήκασι δὲ καὶ ἐντὸς τοῦ ναοῦ κίονες ἐργασίας τῆς Ἰώνων. ἀρχιτέκτονα δὲ ἐπυνθανόμην Σκόπαν αὐτοῦ γενέσθαι τὸν Πάριον, ὃς καὶ ἀγάλματα πολλαχοῦ τῆς ἀρχαίας Ἑλλάδος, τὰ δὲ καὶ περὶ Ἰωνίαν τε καὶ Καρίαν ἐποίησε.
[45.5] The modern temple is far superior to all other temples in the Peloponnesus on many grounds, especially for its size. Its first row of pillars is Doric, and the next to it Corinthian; also, outside the temple, stand pillars of the Ionic order. I discovered that its architect was Scopas the Parian, who made images in many places of ancient Greece, and some besides in Ionia and Caria.
[6] τὰ δὲ ἐν τοῖς ἀετοῖς ἐστιν ἔμπροσθεν ἡ θήρα τοῦ ὑὸς τοῦ Καλυδωνίου: πεποιημένου δὲ κατὰ μέσον μάλιστα τοῦ ὑὸς τῇ μέν ἐστιν Ἀταλάντη καὶ Μελέαγρος καὶ Θησεὺς Τελαμών τε καὶ Πηλεὺς καὶ Πολυδεύκης καὶ Ἰόλαος, ὃς τὰ πλεῖστα Ἡρακλεῖ συνέκαμνε τῶν ἔργων, καὶ Θεστίου παῖδες, ἀδελφοὶ δὲ Ἀλθαίας, Πρόθους καὶ Κομήτης:
[45.6] On the front gable is the hunting of the Calydonian boar. The boar stands right in the center. On one side are Atalanta, Meleager, Theseus, Telamon, Peleus, Polydeuces, Iolaus, the partner in most of the labours of Heracles, and also the sons of Thestius, the brothers of Althaea, Prothous and Cometes.
[7] κατὰ δὲ τοῦ ὑὸς τὰ ἕτερα Ἀγκαῖον ἔχοντα ἤδη τραύματα καὶ ἀφέντα τὸν πέλεκυν ἀνέχων ἐστὶν Ἔποχος, παρὰ δὲ αὐτὸν Κάστωρ καὶ Ἀμφιάραος Ὀικλέους, ἐπὶ δὲ αὐτοῖς Ἱππόθους ὁ Κερκυόνος τοῦ Ἀγαμήδους τοῦ Στυμφήλου: τελευταῖος δέ ἐστιν εἰργασμένος Πειρίθους. τὰ δὲ ὄπισθεν πεποιημένα ἐν τοῖς ἀετοῖς Τηλέφου πρὸς Ἀχιλλέα ἐστὶν ἡ ἐν Καΐκου πεδίῳ μάχη.
[45.7] On the other side of the boar is Epochus supporting Ancaeus who is now wounded and has dropped his axe; by his side is Castor, with Amphiaraus, the son of Oicles, next to whom is Hippothous, the son of Cercyon, son of Agamedes, son of Stymphalus. The last figure is Peirithous. On the gable at the back is a representation of Telephus fighting Achilles on the plain of the Caicus.
46. τῆς δὲ Ἀθηνᾶς τὸ ἄγαλμα τῆς Ἀλέας τὸ ἀρχαῖον, σὺν δὲ αὐτῇ κα
ὶ ὑὸς τοῦ Καλυδωνίου τοὺς ὀδόντας ἔλαβεν ὁ Ῥωμαίων βασιλεὺς Αὔγουστος, Ἀντώνιον πολέμῳ καὶ τὸ Ἀντωνίου νικήσας συμμαχικόν, ἐν ᾧ καὶ οἱ Ἀρκάδες πλὴν Μαντινέων ἦσαν οἱ ἄλλοι.
[46.1] XLVI. The ancient image of Athena Alea, and with it the tusks of the Calydonian boar, were carried away by the Roman emperor Augustus after his defeat of Antonius and his allies, among whom were all the Arcadians except the Mantineans.
[2] φαίνεται δὲ οὐκ ἄρξας ὁ Αὔγουστος ἀναθήματα καὶ ἕδη θεῶν ἀπάγεσθαι παρὰ τῶν κρατηθέντων, καθεστηκότι δὲ ἐκ παλαιοῦ χρησάμενος. Ἰλίου τε γὰρ ἁλούσης καὶ νεμομένων τὰ λάφυρα Ἑλλήνων, Σθενέλῳ τῷ Καπανέως τὸ ξόανον τοῦ Διὸς ἐδόθη τοῦ Ἑρκείου: καὶ ἔτεσιν ὕστερον πολλοῖς Δωριέων ἐς Σικελίαν ἐσοικιζομένων, Ἀντίφημος ὁ Γέλας οἰκιστὴς πόλισμα Σικανῶν Ὀμφάκην πορθήσας μετεκόμισεν ἐς Γέλαν ἄγαλμα ὑπὸ Δαιδάλου πεποιημένον.
[46.2] It is clear that Augustus was not the first to carry away from the vanquished votive offerings and images of gods, but was only following an old precedent. For when Troy was taken and the Greeks were dividing up the spoils, Sthenelus the son of Capaneus was given the wooden image of Zeus Herceius (Of the Courtyard); and many years later, when Dorians were migrating to Sicily, Antiphemus the founder of Gela, after the sack of Omphace, a town of the Sicanians, removed to Gela an image made by Daedalus.
[3] βασιλέα τε τῶν Περσῶν Ξέρξην τὸν Δαρείου, χωρὶς ἢ ὅσα ἐξεκόμισε τοῦ Ἀθηναίων ἄστεως, τοῦτο μὲν ἐκ Βραυρῶνος καὶ ἄγαλμα ἴσμεν τῆς Βραυρωνίας λαβόντα Ἀρτέμιδος, τοῦτο δὲ αἰτίαν ἐπενεγκὼν Μιλησίοις, ἐθελοκακῆσαι σφᾶς ἐναντία Ἀθηναίων ἐν τῇ Ἑλλάδι ναυμαχήσαντας, τὸν χαλκοῦν ἔλαβεν Ἀπόλλωνα τὸν ἐν Βραγχίδαις: καὶ τὸν μὲν ὕστερον ἔμελλε χρόνῳ Σέλευκος καταπέμψειν Μιλησίοις, Ἀργείοις δὲ τὰ ἐκ Τίρυνθος ἔτι καὶ ἐς ἐμὲ τὸ μὲν παρὰ τῇ Ἥρᾳ ξόανον, τὸ δὲ ἐν τοῦ Ἀπόλλωνός ἐστιν ἀνακείμενον τοῦ Λυκίου:
[46.3] Xerxes, too, the son of Dareius, the king of Persia, apart from the spoil he carried away from the city of Athens, took besides, as we know, from Brauron the image of Brauronian Artemis, and furthermore, accusing the Milesians of cowardice in a naval engagement against the Athenians in Greek waters, carried away from them the bronze Apollo at Branchidae. This it was to be the lot of Seleucus afterwards to restore to the Milesians, but the Argives down to the present still retain the images they took from Tiryns; one, a wooden image, is by the Hera, the other is kept in the sanctuary of Lycian Apollo.
[4] Κυζικηνοί τε, ἀναγκάσαντες πολέμῳ Προκοννησίους γενέσθαι σφίσι συνοίκους, Μητρὸς Δινδυμήνης ἄγαλμα ἔλαβον ἐκ Προκοννήσου: τὸ δὲ ἄγαλμά ἐστι χρυσοῦ, καὶ αὐτοῦ τὸ
πρόσωπον ἀντὶ ἐλέφαντος ἵππων τῶν ποταμίων ὀδόντες εἰσὶν εἰργασμένοι. βασιλεὺς μὲν δὴ Αὔγουστος καθεστηκότα ἐκ παλαιοῦ καὶ ὑπό τε Ἑλλήνων νομιζόμενα καὶ βαρβάρων εἰργάσατο: Ῥωμαίοις δὲ τῆς Ἀθηνᾶς τὸ ἄγαλμα τῆς Ἀλέας ἐς τὴν ἀγορὰν τὴν ὑπὸ Αὐγούστου ποιηθεῖσαν, ἐς ταύτην ἐστὶν ἰόντι.
[46.4] Again, the people of Cyzicus, compelling the people of Proconnesus by war to live at Cyzicus, took away from Proconnesus an image of Mother Dindymene. The image is of gold, and its face is made of hippopotamus teeth instead of ivory. So the emperor Augustus only followed a custom in vogue among the Greeks and barbarians from of old. The image of Athena Alea at Rome is as you enter the Forum made by Augustus.
[5] τοῦτο μὲν δὴ ἐνταῦθα ἀνάκειται ἐλέφαντος διὰ παντὸς πεποιημένον, τέχνη δὲ Ἐνδοίου: τοῦ δὲ ὑὸς τῶν ὀδόντων κατεᾶχθαι μὲν τὸν ἕτερόν φασιν οἱ ἐπὶ τοῖς θαύμασιν, ὁ δ᾽ ἔτι ἐξ αὐτῶν λειπόμενος ἀνέκειτο ἐν βασιλέως κήποις ἐν ἱερῷ Διονύσου, τὴν περίμετρον τοῦ μήκους παρεχόμενος ἐς ἥμισυ μάλιστα ὀργυιᾶς.
[46.5] Here then it has been set up, made throughout of ivory, the work of Endoeus. Those in charge of the curiosities say that one of the boar’s tusks has broken off; the remaining one is kept in the gardens of the emperor, in a sanctuary of Dionysus, and is about half a fathom long.
47. τὸ δὲ ἄγαλμα ἐν Τεγέᾳ τὸ ἐφ᾽ ἡμῶν ἐκομίσθη μὲν ἐκ δήμου τοῦ Μανθουρέων, Ἱππία δὲ παρὰ τοῖς Μανθουρεῦσιν εἶχεν ἐπίκλησιν, ὅτι τῷ ἐκείνων λόγῳ γινομένης τοῖς θεοῖς πρὸς γίγαντας μάχης ἐπήλασεν Ἐγκελάδῳ ἵππων τὸ ἅρμα: Ἀλέαν μέντοι καλεῖσθαι καὶ ταύτην ἔς τε Ἕλληνας τοὺς ἄλλους καὶ ἐς αὐτοὺς Πελοποννησίους ἐκνενίκηκε. τῷ δὲ ἀγάλματι τῆς Ἀθηνᾶς τῇ μὲν Ἀσκληπιός, τῇ δὲ Ὑγείᾳ παρεστῶσά ἐστι λίθου τοῦ Πεντελησίου, Σκόπα δὲ ἔργα Παρίου.
[47.1] XLVII. The present image at Tegea was brought from the parish of Manthurenses, and among them it had the surname of Hippia (Horse Goddess). According to their account, when the battle of the gods and giants took place the goddess drove the chariot and horses against Enceladus. Yet this goddess too has come to receive the name of Alea among the Greeks generally and the Peloponnesians themselves. On one side of the image of Athena stands Asclepius, on the other Health, works of Scopas of Paros in Pentelic marble.
[2] ἀναθήματα δὲ ἐν τῷ ναῷ τὰ ἀξιολογώτατα, ἔστι μὲν τὸ δέρμα ὑὸς τοῦ Καλυδωνίου, διεσήπετο δὲ ὑπὸ τοῦ χρόνου καὶ ἐς ἅπαν ἦν τριχῶν ἤδη ψιλόν: εἰσὶ δὲ αἱ πέδαι κρεμάμεναι, πλὴν ὅσας ἠφάνισεν αὐτῶν ἰός, ἅς γε ἔχοντες Λακεδαιμονίων οἱ αἰχμάλωτοι τὸ πεδίον Τεγεάταις ἔσκαπτον: κλίνη τε ἱερὰ τῆς Ἀθηνᾶς καὶ Αὔγης εἰκὼν γραφῇ μεμιμημένη Μαρπήσσης τε ἐπίκλησιν Χοίρας, γυναικὸς Τεγεάτιδος, ἀνάκειται τὸ ὅπλον.
[47.2] Of the votive offerings in the temple these are the most notable. There is the hide of the Calydonian boar, rotted by age and by now altogether without bristles. Hanging up are the fetters, except such as have been destroyed by rust, worn by the Lacedaemonian prisoners when they dug the plain of Tegea. There have been dedicated a sacred couch of Athena, a portrait painting of Auge, and the shield of Marpessa, surnamed Choera, a woman of Tegea;
[3] ταύτης μὲν δὴ ποιησόμεθα καὶ ὕστερον μνήμην: ἱερᾶται δὲ τῇ Ἀθηνᾷ παῖς χρόνον οὐκ οἶδα ὅσον τινά, πρὶν δὲ ἡβάσκειν καὶ οὐ πρόσω, τὴν ἱερωσύνην. τῇ θεῷ δὲ ποιηθῆναι τὸν βωμὸν ὑπὸ Μελάμποδος τοῦ Ἀμυθάονος λέγουσιν: εἰργασμ
έναι δὲ ἐπὶ τῷ βωμῷ Ῥέα μὲν καὶ Οἰνόη νύμφη παῖδα ἔτι νήπιον Δία ἔχουσιν, ἑκατέρωθεν δέ εἰσι τέσσαρες ἀριθμόν, Γλαύκη καὶ Νέδα καὶ Θεισόα καὶ Ἀνθρακία, τῇ δὲ Ἴδη καὶ Ἁγνὼ καὶ Ἀλκινόη τε καὶ Φρίξα. πεποίηται δὲ καὶ Μουσῶν καὶ Μνημοσύνης ἀγάλματα.
[47.3] of Marpessa I shall make mention later. The priest of Athena is a boy; I do not know how long his priesthood lasts, but it must be before, and not after, puberty. The altar for the goddess was made, they say, by Melampus, the son of Amythaon. Represented on the altar are Rhea and the nymph Oenoe holding the baby Zeus. On either side are four figures: on one, Glauce, Neda, Theisoa and Anthracia; on the other Ide, Hagno, Alcinoe and Phrixa. There are also images of the Muses and of Memory.
[4] τοῦ ναοῦ δὲ οὐ πόρρω στάδιον χῶμα γῆς ἐστι, καὶ ἄγουσιν ἀγῶνας ἐνταῦθα, Ἀλεαῖα ὀνομάζοντες ἀπὸ τῆς Ἀθηνᾶς, τὸν δὲ Ἁλώτια, ὅτι Λακεδαιμονίων τὸ πολὺ ἐν τῇ μάχῃ ζῶντας εἷλον. ἔστι δὲ ἐν τοῖς πρὸς ἄρκτον τοῦ ναοῦ κρήνη, καὶ ἐπὶ ταύτῃ βιασθῆναι τῇ κρήνῃ φασὶν Αὔγην ὑπὸ Ἡρακλέους, οὐχ ὁμολογοῦντες Ἑκαταίῳ τὰ ἐς αὐτήν. ἀπωτέρω δὲ τῆς κρήνης ὅσον σταδίοις τρισίν ἐστιν Ἑρμοῦ ναὸς Αἰπύτου.
[47.4] Not far from the temple is a stadium formed by a mound of earth, where they celebrate games, one festival called Aleaea after Athena, the other Halotia (Capture Festival) because they captured the greater part of the Lacedaemonians alive in the battle. To the north of the temple is a fountain, and at this fountain they say that Auge was outraged by Heracles, therein differing from the account of Auge in Hecataeus. Some three stades away from the fountain is a temple of Hermes Aepytus.