Pausanias Analysis

Passage 5.10.1 Class: Historical

πολλὰ μὲν δὴ καὶ ἄλλα ἴδοι τις ἂν ἐν Ἕλλησι, τὰ δὲ καὶ ἀκούσαι θαύματος ἄξια· μάλιστα δὲ τοῖς Ἐλευσῖνι δρωμένοις καὶ ἀγῶνι τῷ ἐν Ὀλυμπίᾳ μέτεστιν ἐκ θεοῦ φροντίδος. τὸ δὲ ἄλσος τὸ ἱερὸν τοῦ Διὸς παραποιήσαντες τὸ ὄνομα Ἄλτιν ἐκ παλαιοῦ καλοῦσι· καὶ δὴ καὶ Πινδάρῳ ποιήσαντι ἐς ἄνδρα Ὀλυμπιονίκην ᾆσμα Ἄλτις ἐπωνόμασται τὸ χωρίον.

Proper Nouns:

Ζεύς Πίνδαρος Ἄλτις Ἄλτις Ἐλευσίς Ἕλληνες Ὀλυμπία Ὀλυμπιονίκης

Indeed one could observe many other notable things among the Greeks, and also hear many things worthy of wonder; but above all, the mysteries performed at Eleusis and the contest held at Olympia receive special care from the god. As for the sacred grove of Zeus, its name has long ago been altered, and it has been called the "Altis" since ancient times. Indeed, even in a poem composed by Pindar about an Olympic victor, this place is called "Altis."

Passage 5.10.2 Class: Historical

ἐποιήθη δὲ ὁ ναὸς καὶ τὸ ἄγαλμα τῷ Διὶ ἀπὸ λαφύρων, ἡνίκα Πίσαν οἱ Ἠλεῖοι καὶ ὅσον τῶν περιοίκων ἄλλο συναπέστη Πισαίοις πολέμῳ καθεῖλον. Φειδίαν δὲ τὸν ἐργασάμενον τὸ ἄγαλμα εἶναι καὶ ἐπίγραμμά ἐστιν ἐς μαρτυρίαν ὑπὸ τοῦ Διὸς γεγραμμένον τοῖς ποσί· Φειδίας Χαρμίδου υἱὸς Ἀθηναῖός μʼ ἐποίησε. τοῦ ναοῦ δὲ Δώριος μέν ἐστιν ἡ ἐργασία, τὰ δὲ ἐκτὸς περίστυλός ἐστι·

Proper Nouns:

Δώριος Ζεύς Ζεύς Πισαῖοι Πῖσα Φειδίας Φειδίας Χαρμίδης Ἀθηναῖος Ἠλεῖοι

The temple and the statue of Zeus were made from the spoils when the Eleans defeated Pisa in war, along with all the neighboring peoples who joined in revolt with the Pisatans. That Phidias was the craftsman of the statue is attested also by an inscription written under the feet of Zeus: "Phidias the Athenian, son of Charmides, made me." The temple is Doric in style and has columns standing around its exterior.

Passage 5.10.3 Class: Historical

πεποίηται δὲ ἐπιχωρίου πώρου. ὕψος μὲν δὴ αὐτοῦ τὸ ἐς τὸν ἀετὸν ἀνῆκον, εἰσίν οἱ ὀκτὼ πόδες καὶ ἑξήκοντα, εὖρος δὲ πέντε καὶ ἐνενήκοντα, τὰ δὲ ἐς μῆκος τριάκοντά τε καὶ διακόσιοι· τέκτων δὲ ἐγένετο αὐτοῦ Λίβων ἐπιχώριος. κέραμος δὲ οὐ γῆς ὀπτῆς ἐστιν, ἀλλὰ κεράμου τρόπον λίθος ὁ Πεντελῆσιν εἰργασμένος· τὸ δὲ εὕρημα ἀνδρὸς Ναξίου λέγουσιν εἶναι Βύζου , οὗ φασιν ἐν Νάξῳ τὰ ἀγάλματα ἐφʼ ὧν ἐπίγραμμα εἶναι Νάξιος Εὔεργός με γένει Λητοῦς πόρε, Βύζεω παῖς, ὃς πρώτιστος τεῦξε λίθου κέραμον. ἡλικίαν δὲ ὁ Βύζης οὗτος κατὰ Ἀλυάττην ἦν τὸν Λυδὸν καὶ Ἀστυάγην τὸν Κυαξάρου βασιλεύοντα ἐν Μήδοις.

Proper Nouns:

Βύζης Βύζος Βύζος Κυαξάρης Λίβων Λητώ Λυδός Μῆδοι Νάξιος Νάξιος Εὔεργος Νάξος Πεντελη Ἀλυάττης Ἀστυάγης

It is constructed from local limestone. The height of the structure, up to the eagle, measures sixty-eight feet, its breadth is ninety-five feet, and its length two hundred and thirty. The architect was Libon, a native of the region. The roof tiles are not made of baked clay, but rather of marble from Mount Pentelikon, worked into the shape of regular tiles. This innovation, they say, was the invention of a Naxian man named Byzes, who is credited with statues in Naxos engraved with the inscription: "Naxian-born Byzes, son of Euergus, Was first to fashion tiles from marble, Dedicated by the offspring of Leto." This Byzes lived in the time of Alyattes the Lydian and Astyages, the son of Cyaxares, king of the Medes.

Passage 5.10.4 Class: Historical

ἐν δὲ Ὀλυμπίᾳ λέβης ἐπίχρυσος ἐπὶ ἑκάστῳ τοῦ ὀρόφου τῷ πέρατι ἐπίκειται καὶ Νίκη κατὰ μέσον μάλιστα ἕστηκε τὸν ἀετόν, ἐπίχρυσος καὶ αὕτη. ὑπὸ δὲ τῆς Νίκης τὸ ἄγαλμα ἀσπὶς ἀνάκειται χρυσῆ, Μέδουσαν τὴν Γοργόνα ἔχουσα ἐπειργασμένην. τὸ ἐπίγραμμα δὲ τὸ ἐπὶ τῇ ἀσπίδι τούς τε ἀναθέντας δηλοῖ καὶ καθʼ ἥντινα αἰτίαν ἀνέθεσαν· λέγει γὰρ δὴ οὕτω· ναὸς μὲν φιάλαν χρυσέαν ἔχει, ἐκ δὲ Τανάγρας τοὶ Λακεδαιμόνιοι συμμαχία τʼ ἀν έ θεν δῶρον ἀπʼ Ἀργείων καὶ Ἀθαναίων καὶ Ἰώνων, τὰν δεκάταν νίκας εἵνεκα τῶ πολέμω. ταύτης τῆς μάχης μνήμην καὶ ἐν τῇ Ἀτθίδι ἐποιησάμην συγγραφῇ, τὰ Ἀθήνῃσιν ἐπεξιὼν μνήματα.

Proper Nouns:

Γοργών Λακεδαιμόνιοι Μέδουσα Νίκη Τάνᾰγρα Ἀθηναῖοι Ἀθῆναι Ἀργεῖοι Ἀτθίς Ἴωνες Ὀλυμπία

In Olympia stands a tripod plated with gold placed upon each end of the roof, and a Victory, likewise gilded, is set conspicuously in the very center upon the eagle. Beneath this statue of Victory lies a golden shield bearing a relief of Medusa the Gorgon finely wrought into it. The inscription upon the shield indicates both those who dedicated it and the cause of its dedication; for it runs thus: "The temple holds a golden bowl; from Tanagra the Lacedaemonians and their allies dedicated this gift taken from the Argives, the Athenians, and the Ionians, a tithe for victory in war." I have also made mention of this battle in my account on Attica, when describing the monuments existing at Athens.

Passage 5.10.5 Class: Historical

τοῦ δὲ ἐν Ὀλυμπίᾳ ναοῦ τῆς ὑπὲρ τῶν κιόνων περιθεούσης ζώνης κατὰ τὸ ἐκτὸς ἀσπίδες εἰσὶν ἐπίχρυσοι μία καὶ εἴκοσιν ἀριθμόν, ἀνάθημα στρατηγοῦ Ῥωμαίων Μομμίου κρατήσαντος Ἀχαιῶν πολέμῳ καὶ Κόρινθόν τε ἑλόντος καὶ Κορινθίους τοὺς Δωριέας ποιήσαντος ἀναστάτους.

Proper Nouns:

Δωριεῖς Κορίνθιοι Κόρινθος Μόμμιος Ἀχαιοί Ὀλυμπία Ῥωμαῖοι

On the temple at Olympia, around the outside of the band that runs above the columns, there are twenty-one gilded shields—these are an offering of the Roman general Mummius, who defeated the Achaeans in war, captured Corinth and utterly destroyed the Dorian inhabitants of Corinth.

Passage 5.10.6 Class: Mythic

τὰ δὲ ἐν τοῖς ἀετοῖς, ἔστιν ἔμπροσθεν Πέλοπος ἡ πρὸς Οἰνόμαον τῶν ἵππων ἅμιλλα ἔτι μέλλουσα καὶ τὸ ἔργον τοῦ δρόμου παρὰ ἀμφοτέρων ἐν παρασκευῇ. Διὸς δὲ ἀγάλματος κατὰ μέσον πεποιημένου μάλιστα τὸν ἀετόν, ἔστιν Οἰνόμαος ἐν δεξιᾷ τοῦ Διὸς ἐπικείμενος κράνος τῇ κεφαλῇ, παρὰ δὲ αὐτὸν γυνὴ Στερόπη, θυγατέρων καὶ αὕτη τῶν Ἄτλαντος· Μυρτίλος δέ, ὃς ἤλαυνε τῷ Οἰνομάῳ τὸ ἅρμα, κάθηται πρὸ τῶν ἵππων, οἱ δέ εἰσιν ἀριθμὸν οἱ ἵπποι τέσσαρες. μετὰ δὲ αὐτόν εἰσιν ἄνδρες δύο· ὀνόματα μέν σφισιν οὐκ ἔστι, θεραπεύειν δὲ ἄρα τοὺς ἵππους καὶ τούτοις προσετέτακτο ὑπὸ τοῦ Οἰνομάου.

Proper Nouns:

Ζεύς Μυρτίλος Οἴνομαος Οἴνομαος Οἴνομαος Πέλοψ Στερόπη Ἄτλας

On the gables, in front, the chariot race between Pelops and Oenomaus is depicted as yet impending, with the preparations for the action by both participants still underway. Zeus is portrayed exactly in the middle of the pediment, and immediately to the right of Zeus stands Oenomaus wearing a helmet on his head. Beside him is his wife Sterope, herself one of the daughters of Atlas. Myrtilus, who served as Oenomaus’s charioteer, sits before the horses, which number four. Behind him are two men whose names are unknown, but who are evidently appointed by Oenomaus to tend to the horses.

Passage 5.10.7 Class: Mythic

πρὸς αὐτῷ δὲ κατάκειται τῷ πέρατι Κλάδεος· ἔχει δὲ καὶ ἐς τὰ ἄλλα παρʼ Ἠλείων τιμὰς ποταμῶν μάλιστα μετά γε Ἀλφειόν. τὰ δὲ ἐς ἀριστερὰ ἀπὸ τοῦ Διὸς ὁ Πέλοψ καὶ Ἱπποδάμεια καὶ ὅ τε ἡνίοχός ἐστι τοῦ Πέλοπος καὶ ἵπποι δύο τε ἄνδρες, ἱπποκόμοι δὴ καὶ οὗτοι τῷ Πέλοπι. καὶ αὖθις ὁ ἀετὸς κάτεισιν ἐς στενόν, καὶ κατὰ τοῦτο Ἀλφειὸς ἐπʼ αὐτοῦ πεποίηται. τῷ δὲ ἀνδρὶ ὃς ἡνιοχεῖ τῷ Πέλοπι λόγῳ μὲν τῷ Τροιζηνίων ἐστὶν ὄνομα Σφαῖρος, ὁ δὲ ἐξηγητὴς ἔφασκεν ὁ ἐν Ὀλυμπίᾳ Κίλλαν εἶναι.

Proper Nouns:

Ζεύς Κίλλας Κλάδεος Πέλοψ Πέλοψ Πέλοψ Σφαῖρος Ἀλφειός Ἀλφειός Ἠλεῖοι Ἱπποδάμεια Ὀλυμπία

Near this boundary flows the Cladeus river, which is honored by the Eleans above all other rivers, except the Alpheus. To the left of the image of Zeus stand Pelops and Hippodameia, along with Pelops' charioteer, two horses, and two men who serve as Pelops' grooms. At this point, the vaulted roof narrows again, and above this narrow part an eagle sits, while below the eagle the river Alpheus is depicted. Regarding the man who drives the chariot for Pelops, according to the tradition of the Troezenians, his name is Sphairos; but the guide at Olympia stated that his name was Killas.

Passage 5.10.8 Class: Mythic

τὰ μὲν δὴ ἔμπροσθεν ἐν τοῖς ἀετοῖς ἐστι Παιωνίου , γένος ἐκ Μένδης τῆς Θρᾳκίας, τὰ δὲ ὄπισθεν αὐτῶν Ἀλκαμένους , ἀνδρὸς ἡλικίαν τε κατὰ Φειδίαν καὶ δευτερεῖα ἐνεγκαμένου σοφίας ἐς ποίησιν ἀγαλμάτων. τὰ δὲ ἐν τοῖς ἀετοῖς ἐστιν αὐτῷ Λαπιθῶν ἐν τῷ Πειρίθου γάμῳ πρὸς Κενταύρους ἡ μάχη. κατὰ μὲν δὴ τοῦ ἀετοῦ τὸ μέσον Πειρίθους ἐστίν· παρὰ δὲ αὐτὸν τῇ μὲν Εὐρυτίων ἡρπακὼς τὴν γυναῖκά ἐστι τοῦ Πειρίθου καὶ ἀμύνων Καινεὺς τῷ Πειρίθῳ, τῇ δὲ Θησεὺς ἀμυνόμενος πελέκει τοὺς Κενταύρους· Κένταυρος δὲ ὁ μὲν παρθένον, ὁ δὲ παῖδα ἡρπακώς ἐστιν ὡραῖον. ἐποίησε δὲ ἐμοὶ δοκεῖν ταῦτα ὁ Ἀλκαμένης, Πειρίθουν τε εἶναι Διὸς ἐν ἔπεσι τοῖς Ὁμήρου δεδιδαγμένος καὶ Θησέα ἐπιστάμενος ὡς εἴη τέταρτος ἀπὸ Πέλοπος.

Proper Nouns:

Εὐρυτίων Ζεύς Θησεύς Θησεύς Θρᾴκη Κένταυροι Καινεύς Λαπίθαι Μένδη Πέλοψ Παιώνιος Πειρίθους Πειρίθους Πειρίθους Πειρίθους Φειδίας Ἀλκαμένης Ἀλκαμένης Ὅμηρος

The figures in the front pediment are by Paeonius, who was from Mende in Thrace, while those in the pediment at the back are by Alcamenes, a contemporary of Pheidias, who was considered second only to him in the skill of creating statues. The sculptures in this pediment depict the battle between the Lapiths and the Centaurs, at the wedding-feast of Peirithous. In the center of the pediment is Peirithous himself. Beside him, on one side, Eurytion is shown seizing the wife of Peirithous, while Caeneus comes to his aid; and on the other side, Theseus defends himself against the Centaurs with an axe. One Centaur is depicted carrying away a maiden, another a handsome boy. It is my opinion that Alcamenes crafted these scenes having learned from Homer's verses that Peirithous was a son of Zeus, and knowing also that Theseus was fourth in descent from Pelops.

Passage 5.10.9 Class: Mythic

ἔστι δὲ ἐν Ὀλυμπίᾳ καὶ Ἡρακλέους τὰ πολλὰ τῶν ἔργων. ὑπὲρ μὲν τοῦ ναοῦ πεποίηται τῶν θυρῶν ἡ ἐξ Ἀρκαδίας ἄγρα τοῦ ὑὸς καὶ τὰ πρὸς Διομήδην τὸν Θρᾷκα καὶ ἐν Ἐρυθείᾳ πρὸς Γηρυόνην, καὶ Ἄτλαντός τε τὸ φόρημα ἐκδέχεσθαι μέλλων καὶ τῆς κόπρου καθαίρων τὴν γῆν ἐστιν Ἠλείοις· ὑπὲρ δὲ τοῦ ὀπισθοδόμου τῶν θυρῶν ὁ τοῦ ζωστῆρος τὴν Ἀμαζόνα ἐστὶν ἀφαιρούμενος καὶ τὰ ἐς τὴν ἔλαφον καὶ τὸν ἐν Κνωσσῷ ταῦρον καὶ ὄρνιθας τὰς ἐπὶ Στυμφήλῳ καὶ ἐς ὕδραν τε καὶ τὸν ἐν τῇ γῇ τῇ Ἀργείᾳ λέοντα.

Proper Nouns:

Γηρυονής Διομήδης Θρᾷξ Κνωσός Στύμφαλος Ἀμαζών Ἀργεία Ἀρκαδία Ἄτλας Ἐρύθεια Ἠλεῖοι Ἡρακλῆς Ὀλυμπία

At Olympia also are depicted many of the Labors of Heracles. Above the doors of the temple is represented the hunting of the boar from Arcadia, the deed concerning Diomedes the Thracian, and the encounter on Erytheia with Geryon; there is Atlas about to transfer his burden onto Heracles' shoulders, and Heracles cleansing the land of Elis from the dung. Above the doors of the opisthodomos he is depicted taking the girdle away from the Amazon, the deed involving the hind, the bull in Knossos, the birds of Lake Stymphalus, and also those labors concerning the Hydra and the lion in the Argive territory.

Passage 5.10.10 Class: Mythic

τὰς θύρας δὲ ἐσιόντι τὰς χαλκᾶς, ἔστιν ἐν δεξιᾷ πρὸ τοῦ κίονος Ἴφιτος ὑπὸ γυναικὸς στεφανούμενος Ἐκεχειρίας, ὡς τὸ ἐλεγεῖον τὸ ἐπʼ αὐτοῖς φησιν. ἑστήκασι δὲ καὶ ἐντὸς τοῦ ναοῦ κίονες, καὶ στοαί τε ἔνδον ὑπερῷοι καὶ πρόσοδος διʼ αὐτῶν ἐπὶ τὸ ἄγαλμά ἐστι. πεποίηται δὲ καὶ ἄνοδος ἐπὶ τὸν ὄροφον σκολιά.

Proper Nouns:

Ἐκεχειρία Ἴφιτος

Upon entering the bronze doors, on the right-hand side before the column is Iphitos being crowned by a woman named Ekecheiria (Truce), as the elegiac verses upon them state. Columns also stand within the temple, and there are inner colonnades with upper floors, through which there is a passage leading to the statue. There is also a winding stairway constructed, ascending to the roof.

Legend:

Chapter 5.10