Pausanias Analysis - Current Sentence Tags 1.15

Chapter 1.15

Passage	Sentence	Bucket	Confidence	Greek	English	Rationale
1.15.1	1	other	high	ἰοῦσι δὲ πρὸς τὴν στοάν, ἣν Ποικίλην ὀνομάζουσιν ἀπὸ τῶν γραφῶν, ἔστιν Ἑρμῆς χαλκοῦς καλούμενος Ἀγοραῖος καὶ πύλη πλησίον·	As you proceed towards the colonnade called "Painted" from its pictures, you will see a bronze Hermes named Agoraios ("of the Market") and a gate nearby.	Route and landmark description of the approach to the Painted Stoa, with no mythic or historical event.
1.15.1	2	historical	high	ἔπεστι δέ οἱ τρόπαιον Ἀθηναίων ἱππομαχίᾳ κρατησάντων Πλείσταρχον, ὃς τῆς ἵππου Κασσάνδρου καὶ τοῦ ξενικοῦ τὴν ἀρχὴν ἀδελφὸς ὢν ἐπετέτραπτο.	Upon it stands a trophy raised by the Athenians when they defeated in a cavalry battle Pleistarchus, who had been entrusted with the command of Cassander's cavalry and foreign troops, being Cassander's brother.	Refers to an Athenian trophy for victory over Pleistarchus, a post-classical historical military event.
1.15.1	3	historical	high	αὕτη δὲ ἡ στοὰ πρῶτα μὲν Ἀθηναίους ἔχει τεταγμένους ἐν Οἰνόῃ τῆς Ἀργεία; ἐναντία Λακεδαιμονίων·	This portico first depicts Athenians arrayed at Oinoe in Argive territory, opposite the Lacedaemonians.	Depicts Athenians at Oinoe, a historical military scene rather than mythic material.
1.15.1	4	other	high	γέγραπται δὲ οὐκ ἐς ἀκμὴν ἀγῶνος οὐδὲ τολμημάτων ἐς ἐπίδειξιν τὸ ἔργον ἤδη προῆκον, ἀλλὰ ἀρχομένη τε ἡ μάχη καὶ ἐς χεῖρας ἔτι συνιόντες.	The battle scene portrayed is not at the height nor stage when bold deeds can already be fully demonstrated, but at its very beginning, with the fighters still advancing together into combat.	Describes the staging of a battle scene in a work of art, not a mythic or historical event itself.
1.15.2	1	mythic	high	ἐν δὲ τῷ μέσῳ τῶν τοίχων Ἀθηναῖοι καὶ Θησεὺς Ἀμαζόσι μάχονται.	In the middle of the paintings, the Athenians and Theseus are depicted fighting against the Amazons.	Depicts Theseus and the Amazons, a mythic conflict shown in wall paintings.
1.15.2	2	mythic	high	μόναις δὲ ἄρα ταῖς γυναιξὶν οὐκ ἀφῄρει τὰ πταίσματα τὸ ἐς τοὺς κινδύνους ἀφειδές, εἴ γε Θεμισκύρας τε ἁλούσης ὑπὸ Ἡρακλέους καὶ ὕστερον φθαρείσης σφίσι τῆς στρατιᾶς, ἣν ἐπʼ Ἀθήνας ἔστειλαν, ὅμως ἐς Τροίαν ἦλθον Ἀθηναίοις τε αὐτοῖς μαχούμεναι καὶ τοῖς πᾶσιν Ἕλλησιν.	Indeed, reckless bravery in dangers did not exempt even the women alone from disasters; for, after Themiscyra had been captured by Heracles, and subsequently after the army they sent against Athens had been destroyed, nevertheless they came to Troy to fight the Athenians themselves along with all the Greeks.	Mentions Heracles capturing Themiscyra and the Amazons' expedition to Troy, both mythic events.
1.15.2	3	mythic	high	ἐπὶ δὲ ταῖς Ἀμαζόσιν Ἕλληνές εἰσιν ᾑρηκότες Ἴλιον καὶ οἱ βασιλεῖς ἠθροισμένοι διὰ τὸ Αἴαντος ἐς Κασσάνδραν τόλμημα·	Adjacent to the Amazons are the Greeks who captured Ilium, and the kings assembled due to the outrage of Ajax against Cassandra;	Refers to the Trojan War, the Greeks capturing Ilium, and Ajax's outrage against Cassandra, all mythic events.
1.15.2	4	mythic	high	καὶ αὐτὸν ἡ γραφὴ τὸν Αἴαντα ἔχει καὶ γυναῖκας τῶν αἰχμαλώτων ἄλλας τε καὶ Κασσάνδραν.	the painting includes Ajax himself and some of the captive women, Cassandra among them.	Ajax and Cassandra are mythic figures, and the sentence describes a painting depicting their mythic aftermath.
1.15.3	1	historical	high	τελευταῖον δὲ τῆς γραφῆς εἰσιν οἱ μαχεσάμενοι Μαραθῶνι· Βοιωτῶν δὲ οἱ Πλάταιαν ἔχοντες καὶ ὅσον ἦν Ἀττικὸν ἴασιν ἐς χεῖρας τοῖς βαρβάροις.	At the end of the painting are those who fought at Marathon, including the Plataeans from Boeotia and all the forces from Attica who engaged in direct combat against the barbarians.	Refers to the Battle of Marathon and participants in a historical event after 500 BC.
1.15.3	2	historical	low	καὶ ταύτῃ μέν ἐστιν ἴσα τὰ παρʼ ἀμφοτέρων ἐς τὸ ἔργον· τὸ δὲ ἔσω τῆς μάχης φεύγοντές εἰσιν οἱ βάρβαροι καὶ ἐς τὸ ἕλος ὠθοῦντες ἀλλήλους, ἔσχαται δὲ τῆς γραφῆς νῆές τε αἱ Φοίνισσαι καὶ τῶν βαρβάρων τοὺς ἐσπίπτοντας ἐς ταύτας φονεύοντες οἱ Ἕλληνες.	Here the two sides are evenly matched in the fighting.	Describes a battle scene in a painted or narrated historical context rather than mythic narrative.
1.15.3	3	historical	high	ἐνταῦθα καὶ Μαραθὼν γεγραμμένος ἐστὶν ἥρως, ἀφʼ οὗ τὸ πεδίον ὠνόμασται, καὶ Θησεὺς ἀνιόντι ἐκ γῆς εἰκασμένος Ἀθηνᾶ τε καὶ Ἡρακλῆς· Μαραθωνίοις γάρ, ὡς αὐτοὶ λέγουσιν, Ἡρακλῆς ἐνομίσθη θεὸς πρώτοις.	Within the scene of battle itself, the barbarians are depicted fleeing and pushing one another into the marsh.	The sentence describes the Marathon battlefield and the barbarians fleeing into the marsh, a historical Persian War scene.
1.15.3	4	historical	high	τῶν μαχομένων δὲ δῆλοι μάλιστά εἰσιν ἐν τῇ γραφῇ Καλλίμαχός τε, ὃς Ἀθηναίοις πολεμαρχεῖν ᾕρητο, καὶ Μιλτιάδης τῶν στρατηγούντων, ἥρως τε Ἔχετλος καλούμενος, οὗ καὶ ὕστερον ποιήσομαι μνήμην.	At the very edge of the painting appear the Phoenician ships and the Greeks killing those of the barbarians who rush aboard.	Refers to Marathon figures and a historical battle scene in the painting, not mythic narrative.
1.15.4	1	historical	high	ἐνταῦθα ἀσπίδες κεῖνται χαλκαῖ, καὶ ταῖς μέν ἐστιν ἐπίγραμμα ἀπὸ Σ κιωναίων καὶ τῶν ἐπικούρων εἶναι,	Here lie bronze shields; some of them bear inscriptions stating they are from the Sicyonians and their allies.	Refers to shields from the Sicyonians and their allies, an identifiable historical dedication rather than myth or geography.
1.15.4	2	historical	high	τὰς δὲ ἐπαληλιμμένας πίσσῃ, μὴ σφᾶς ὅ τε χρόνος λυμήνηται καὶ ὁ ἰός, Λακεδαιμονίων εἶναι λέγεται τῶν ἁλόντων ἐν τῇ Σφακτηρίᾳ νήσῳ.	But those covered with pitch—to protect them from time and rust—are said to belong to the Lacedaemonians taken prisoner on the island of Sphacteria.	Refers to the captured Lacedaemonians from the historical Battle of Sphacteria, with a note about preservation of the objects.