Pausanias Analysis

Above the Cassotis there is a building containing paintings by Polygnotus, dedicated by the people of Cnidus. This structure is called the Lesche by the Delphians, because originally people gathered here and discussed serious matters and also such topics as myths. Homer shows that similar meeting-places existed throughout Greece, when Melanthius reproaches Odysseus, saying: "You will not go to sleep in the smithy nor in some meeting-hall, but here you remain, endlessly speaking aloud." (Homer, Odyssey 18.328)

Upon entering this building, the whole scene depicted on the right side shows Ilium after its fall and the departure of the Greeks. They are preparing for the voyage of Menelaus, and there is painted a ship with sailors and, mingled among them, boys as well. In the center of the ship stands the pilot, Phrontis, holding two boat-hooks. Homer has Nestor speaking to Telemachus about several matters, among them the story of Phrontis, the son of Onetor, who was pilot to Menelaus and renowned above all others for his skill; death overtook him as he was sailing past Sounion in Attica. And Menelaus was sailing in company with Nestor until he was forced to remain behind due to this very matter, so that he might honor Phrontis properly with a tomb and all other rituals befitting the dead.

This man, therefore, is depicted in Polygnotus' painting, and below him is a certain Ithaemenes carrying clothing, and Echöiax descending a ladder, holding a bronze pitcher. Nearby, Polites, Strophius, and Alphius dismantle Menelaus' tent, situated not far from the ship. Amphialus, too, is shown taking down another tent, and at Amphialus' feet sits a youth. There is no inscription identifying this youth, and Phrontis alone is represented with a beard. Only his name have I learned from the verses concerning Odysseus; it seems to me that Polygnotus himself invented the names of the others.

Briseïs stands there, and Diomede stands above her, and Iphis before both of them; they are portrayed as examining the beauty of Helen. Helen herself is seated, with Eurybates near her. We conjecture this Eurybates to be the herald of Odysseus, though he does not yet have a beard. The servant women Electra and Panthalis are also present; Panthalis stands beside Helen, and Electra is putting sandals on her mistress. These names, however, differ from those Homer assigns in the Iliad, where he describes Helen and her handmaidens going up to the wall together.

Above Helen sits a man draped with a purple cloak, appearing exceedingly sorrowful; you might guess him to be Helenus, the son of Priam, even before reading the inscribed epitaph. Next to Helenus stands Meges, wounded in his arm, as described by Lescheos, son of Aeschylinus, of Pyrrha, in his "Sack of Troy." Lescheos says that Meges was wounded by Admetus, son of Augeias, during the battle the Trojans waged by night.

Lycomedes is also depicted near Meges, son of Creon, with a wound on his wrist. According to Lescheos, he was wounded by Agenor. It is thus evident that Polygnotus would not have represented their wounds in such detail if he had not closely followed the poem of Lescheos. Polygnotus, however, added further injuries to Lycomedes: one wound on the ankle and another—the third—upon his head. Euryalus, son of Mecisteus, is also portrayed wounded in the head and on the wrist of his hand.

These figures, then, are painted above Helen. Next beside Helen is the mother of Theseus, depicted with close-cropped hair, and Demophon, one of the sons of Theseus, who appears deep in thought, at least judging by his posture, considering whether or not it might be possible to rescue Aethra. The Argives relate that Theseus had a son named Melanippus by the daughter of Sinis; and they recount that Melanippus was victorious in the footrace at the games established by the Epigoni, the second Nemean Games, first instituted by Adrastus.

But Lescheos depicted Aethra, at the moment Troy was being captured, slipping away and reaching the Greek encampment, where she was recognized by the sons of Theseus. He showed how Demophon asked Agamemnon for her, and how Agamemnon indicated he wished to grant Demophon this favor, yet stated he would not do so before securing Helen's consent. Accordingly, he sent a herald to Helen, and she granted the request. Thus, Eurybates, as portrayed in the painting, seems to have come to Helen on account of Aethra, declaring the instructions which Agamemnon had given him.

The Trojan women appear here as though already captives and lamenting their fate. Among them is represented Andromache, and by her side stands her child clinging to her breast—Lescheos says this child was cast down from the wall and thus met his death; this act was not performed by decree of the Greeks, but by Neoptolemus, willingly, by his own hand. Also depicted is Medesicaste, who was likewise one of Priam's illegitimate daughters; Homer says that she departed for the city of Pedaeum to dwell there as the wife of Imbrius, son of Mentor.

Andromache and Medesicaste are depicted wearing veils on their heads, while Polyxena’s hair is arranged in the manner customary for maidens. Poets sing of her death at Achilles' tomb, and I myself have seen paintings depicting the sufferings of Polyxena both at Athens and at Pergamum above the Caicus.

He has depicted also Nestor, wearing a cap upon his head and holding a spear in his hand; a horse nearby is presented in a posture about to roll in the dust. Up to the point of the horse there appear a shore and the pebbles upon it; beyond this, however, it no longer resembles the sea.