Pausanias Analysis

Passage 5.25.1 Class: Historical

τοσαῦτα ἐντὸς τῆς Ἄλτεως ἀγάλματα εἶναι Διὸς ἀνηριθμησάμεθα ἐς τὸ ἀκριβέστατον. τὸ ἀνάθημα γὰρ τὸ πρὸς τῷ μεγάλῳ ναῷ ὑπὸ ἀνδρὸς Κορινθίου τεθέν, Κορινθίων δὲ οὐ τῶν ἀρχαίων ἀλλʼ οἳ παρὰ βασιλέως ἔχουσιν εἰληφότες τὴν πόλιν, τοῦτο τὸ ἀνάθημα Ἀλέξανδρός ἐστιν ὁ Φιλίππου, Διὶ εἰκασμένος δῆθεν. ὁπόσα δὲ ἀλλοῖα καὶ οὐ μίμησίς ἐστι Διός, ἐπιμνησόμεθα καὶ τούτων· εἰκόνας δὲ οὐ τιμῇ τῇ πρὸς τὸ θεῖον, τῇ δὲ ἐς αὐτοὺς χάριτι ἀνατεθείσας τοὺς ἀνθρώπους, λόγῳ σφᾶς τῷ ἐς τοὺς ἀθλητὰς ἀναμίξομεν.

Proper Nouns:

Ζεύς Κορίνθιοι Κορίνθιος Φίλιππος Ἀλέξανδρος Ἄλτις

We have now enumerated, as accurately as possible, the many statues of Zeus within the Altis. As for the offering placed near the great temple by a Corinthian—though not one of the original Corinthians, but one of those who received the city from the king—this dedication is an image of Alexander, the son of Philip, represented supposedly in the likeness of Zeus. As many other statues as remain, which do not imitate Zeus, we shall also mention these. But those likenesses dedicated, not out of reverence toward divinity but as marks of respect to men themselves, we will include in our account concerning the athletes.

Passage 5.25.2 Class: Historical

Μεσσηνίους τοὺς ἐπὶ τῷ πορθμῷ κατὰ ἔθος δή τι ἀρχαῖον πέμποντας ἐς Ῥήγιον χορὸν παίδων πέντε ἀριθμὸν καὶ τριάκοντα καὶ διδάσκαλόν τε ὁμοῦ τῷ χορῷ καὶ ἄνδρα αὐλητὴν ἐς ἑορτήν τινα ἐπιχώριον Ῥηγίνων, κατέλαβεν αὐτούς ποτε συμφορά, μηδένα ὀπίσω τῶν ἀποσταλέντων σφίσιν ἀποσωθῆναι· ἀλλὰ ἡ ναῦς ἡ ἄγουσα τοὺς παῖδας ἠφανίσθη σὺν αὐτοῖς κατὰ τοῦ βυθοῦ. ἔστι γὰρ δὴ ἡ κατὰ τοῦτον θάλασσα τὸν πορθμὸν θαλάσσης χειμεριωτάτη πάσης·

Proper Nouns:

Μεσσήνιος Ῥήγιον Ῥηγῖνος

Once, according to an ancient tradition, the Messenians were sending a chorus of boys—thirty-five in number—along with a teacher for the chorus and a flute-player, across the strait to Rhegium for a local festival celebrated by the Rhegians. But disaster befell them on one occasion, and none of those dispatched returned home safely. Rather, the ship carrying the boys disappeared with all on board into the depths of the sea. Indeed, this sea passage at the strait is the stormiest part of all seas.

Passage 5.25.3 Class: Mythic

οἵ τε γὰρ ἄνεμοι ταράσσουσιν αὐτὴν ἀμφοτέρωθεν τὸ κῦμα ἐπάγοντες ἐκ τοῦ Ἀδρίου καὶ ἐξ ἑτέρου πελάγους ὃ καλεῖται Τυρσηνόν, ἤν τε καὶ ἀνέμων ἀπῇ πνεύματα, ὁ δὲ καὶ τηνικαῦτα ὁ πορθμὸς κίνησιν βιαιοτάτην αὐτὸς ἐξ αὑτοῦ καὶ ἰσχυρὰς παρέχεται παλιρροίας· θηρία τε τοσαῦτα ἐς αὐτὸν τὰ ἀθροιζόμενά ἐστιν, ὡς καὶ τὸν ἀέρα τὸν ὑπὲρ τῆς θαλάσσης ταύτης ἀναπίμπλασθαι τῶν θηρίων τῆς ὀσμῆς, ὡς σωτηρίας γε ἐκ τοῦ πορθμοῦ μηδὲ ἐλπίδος τι ὑπολείπεσθαι ναυαγῷ. εἰ δὲ ἐνταῦθα συνέπεσε καὶ Ὀδυσσεῖ διαφθαρῆναι τὴν ναῦν, ἄλλως μὲν οὐκ ἄν τις πείθοιτο ἐκνήξασθαι ζῶντα ἐς τὴν Ἰταλίαν αὐτόν· τὸ δὲ ἐκ τῶν θεῶν εὐμενὲς ἐπὶ παντὶ ἐργάζεται ῥᾳστώνην.

Proper Nouns:

Τυρσηνόν Ἀδρίας Ἰταλία Ὀδυσσεύς

For the winds disturb this sea from both sides, driving waves upon it from the Adriatic and from the other sea called Tyrrhenian. Even when the winds cease to blow, the strait itself still violently fluctuates and produces powerful tidal currents from its own nature. Moreover, such great numbers of monstrous creatures gather there that even the air above the sea becomes heavy with their odor, leaving no hope whatsoever for survival to any shipwrecked sailor. If it happened that Odysseus' ship was destroyed there, under normal circumstances no one would be convinced that he could swim alive to Italy. But the favor of the gods makes every task effortless.

Passage 5.25.4 Class: Historical

τότε δὲ ἐπὶ τῇ ἀπωλείᾳ τῶν παίδων οἱ Μεσσήνιοι πένθος ἦγον, καὶ ἄλλα τέ σφισιν ἐς τιμὴν αὐτῶν ἐξευρέθη καὶ εἰκόνας ἐς Ὀλυμπίαν ἀνέθεσαν χαλκᾶς, σὺν δὲ αὐτοῖς τὸν διδάσκαλον τοῦ χοροῦ καὶ τὸν αὐλητήν. τὸ μὲν δὴ ἐπίγραμμα ἐδήλου τὸ ἀρχαῖον ἀναθήματα εἶναι τῶν ἐν πορθμῷ Μεσσηνίων· χρόνῳ δὲ ὕστερον Ἱππίας ὁ λεγόμενος ὑπὸ Ἑλλήνων γενέσθαι σοφὸς τὰ ἐλεγεῖα ἐπʼ αὐτοῖς ἐποίησεν. ἔργα δέ εἰσιν Ἠλείου Κάλλωνος αἱ εἰκόνες.

Proper Nouns:

Κάλλων ὁ Ἠλεῖος Μεσσήνιος Μεσσήνιος Ἕλλην Ἱππίας Ὀλυμπία

At that time the Messenians grieved over the loss of their children, and they devised various other honors for them. Among these, they dedicated bronze statues at Olympia, depicting the boys along with their chorus-master and flute-player. The original inscription upon them made clear that the dedication was from the Messenians settled at Rhegium. Later, Hippias, whom the Greeks considered wise, composed elegiac verses about these statues. The statues themselves were works by Callon of Elis.

Passage 5.25.5 Class: Historical

ἔστι δὲ κατὰ τὴν ἄκραν ἐν Σικελίᾳ τὴν τετραμμένην ἐπὶ Λιβύης καὶ Νότου, καλουμένην δὲ Πάχυνον, Μοτύη πόλις· οἰκοῦσι δὲ Λίβυες ἐν αὐτῇ καὶ Φοίνικες. τούτοις τοῖς ἐν Μοτύῃ βαρβάροις Ἀκραγαντῖνοι καταστάντες ἐς πόλεμον καὶ λείαν τε καὶ λάφυρα ἀπʼ αὐτῶν λαβόντες ἀνέθεσαν τοὺς παῖδας ἐς Ὀλυμπίαν τοὺς χαλκοῦς, προτείνοντάς τε τὰς δεξιὰς καὶ εἰκασμένους εὐχομένοις τῷ θεῷ. κεῖνται δὲ ἐπὶ τοῦ τείχους οὗτοι τῆς Ἄλτεως· Καλάμιδος δὲ εἶναι σφᾶς ἔργα ἐγώ τε εἴκαζον καὶ ἐς αὐτοὺς κατὰ τὰ αὐτὰ εἶχεν ὁ λόγος.

Proper Nouns:

Καλάμις Λίβυες Λιβύη Μοτύη Μοτύη Νότος Πάχυνον Σικελίη Φοίνικες Ἀκραγαντῖνοι Ἄλτις Ὀλυμπία

On the promontory of Sicily facing Libya and the south, called Pachynos, is a city called Motye; it is inhabited by Libyans and Phoenicians. The people of Akragas went to war with these foreign inhabitants of Motye, and having taken plunder and booty from them, dedicated bronze statues of boys at Olympia. These statues have their right hands stretched out, as if they were praying to the god. They stand along the wall of the Altis. I myself conjectured that these were works of Kalamis, and the same tradition concerning them was generally held.

Passage 5.25.6 Class: Historical

Σικελίαν δὲ ἔθνη τοσάδε οἰκεῖ, Σικανοί τε καὶ Σικελοὶ καὶ Φρύγες, οἱ μὲν ἐξ Ἰταλίας διαβεβηκότες ἐς αὐτήν, Φρύγες δὲ ἀπὸ τοῦ Σκαμάνδρου ποταμοῦ καὶ χώρας τῆς Τρῳάδος· οἱ δὲ Φοίνικες καὶ Λίβυες στόλῳ ἀφίκοντο ἐς τὴν νῆσον κοινῷ καὶ ἄποικοι Καρχηδονίων εἰσὶ. τοσαῦτα μὲν ἐν Σικελίᾳ ἔθνη βάρβαρα· Ἑλλήνων δὲ Δωριεῖς τε ἔχουσιν αὐτὴν καὶ Ἴωνες καὶ τοῦ Φωκικοῦ καὶ τοῦ Ἀττικοῦ γένους ἑκατέρου μοῖρα οὐ πολλή.

Proper Nouns:

Δωριεῖς Καρχηδόνιοι Λίβυες Σικανοί Σικελία Σικελία Σικελοί Σκάμανδρος Τρῳάς Φοίνικες Φρύγες Φωκικόν Ἀττικόν Ἕλληνες Ἰταλία Ἴωνες

Sicily is inhabited by the following peoples: the Sicanians, Sicels, and Phrygians—the first two groups migrated there from Italy, but the Phrygians came from the Scamander river and the region of the Troad. The Phoenicians and Libyans together sailed to the island in an expedition, and they are colonists sent from Carthage. These, then, are the barbarian nations in Sicily. As for the Greeks, the island is inhabited by both Dorians and Ionians, along with small communities descended from the Phocians and from Attica.

Passage 5.25.7 Class: Mythic

ἐπὶ δὲ τοῦ αὐτοῦ τείχους τά τε Ἀκραγαντίνων ἀναθήματα καὶ Ἡρακλέους δύο εἰσὶν ἀνδριάντες γυμνοί, παῖδες ἡλικίαν· τὸν δὲ ἐν Νεμέᾳ τοξεύοντι ἔοικε λέοντα. τοῦτον μὲν δὴ τόν τε Ἡρακλέα καὶ ὁμοῦ τῷ Ἡρακλεῖ τὸν λέοντα Ταραντῖνος ἀνέθηκεν Ἱπποτίων, Νικοδάμου δέ ἐστι Μαιναλίου τέχνη· τὸ δὲ ἄγαλμα τὸ ἕτερον Ἀναξίππου μέν ἐστιν ἀνάθημα Μενδαίου, μετεκομίσθη δὲ ἐνταῦθα ὑπὸ Ἠλείων· τὰ πρὸ τούτου δὲ ἔκειτο ἐπὶ τῆς ὁδοῦ τῷ πέρατι, ἣ ἄγει μὲν ἐξ Ἤλιδος ἐς Ὀλυμπίαν, καλεῖται δὲ Ἱερά.

Proper Nouns:

Μένδαιος Μαιναλίον Νεμέα Νικόδαμος Ταραντῖνος Ἀκραγαντῖνοι Ἀναξίππος Ἠλεῖοι Ἡρακλῆς Ἦλις Ἱερά Ἱπποτίων Ὀλυμπία

On the same wall are dedications from the people of Acragas and two bronze statues of Heracles, depicted nude as youths. The one at Nemea is represented shooting at the lion. This representation of Heracles along with the lion was dedicated by Hippotion of Tarentum and crafted by Nicodamus of Maenalus. The other statue is a dedicated offering from Anaxippus of Mende, and was brought here by the Eleans. Previously, it stood at the end of the road called "Sacred," which leads from Elis to Olympia.

Passage 5.25.8 Class: Mythic

ἔστι δὲ καὶ ἀναθήματα ἐν κοινῷ τοῦ Ἀχαιῶν ἔθνους, ὅσοι προκαλεσαμένου τοῦ Ἕκτορος ἐς μονομαχίαν ἄνδρα Ἕλληνα τὸν κλῆρον ἐπὶ τῷ ἀγῶνι ὑπέμειναν. οὗτοι μὲν δὴ ἑστήκασι τοῦ ναοῦ τοῦ μεγάλου πλησίον, δόρασι καὶ ἀσπίσιν ὡπλισμένοι· ἀπαντικρὺ δὲ ἐπὶ ἑτέρου βάθρου πεποίηται Νέστωρ, τὸν ἑκάστου κλῆρον ἐσβεβληκὼς ἐς τὴν κυνῆν. τῶν δὲ ἐπὶ τῷ Ἕκτορι κληρουμένων ἀριθμὸν ὄντων ὀκτώ---τὸν γὰρ ἔνατον αὐτῶν, τὴν τοῦ Ὀδυσσέως εἰκόνα, Νέρωνα κομίσαι λέγουσιν ἐς Ῥώμην ---, τῶν δὲ ὀκτὼ τούτων ἐπὶ μόνῳ τῷ ἀγάλματι

Proper Nouns:

Νέρων Νέστωρ Ἀχαιοί Ἕκτωρ Ἕλλην Ὀδυσσεύς Ῥώμη

There are also offerings set up in common by the Achaean nation, representing those Greeks who drew lots and stood prepared to fight when challenged by Hector to single combat. These figures stand near the great temple, armed with spears and shields; opposite, on another pedestal, is depicted Nestor placing the lot of each man into the helmet. Although the number of those who drew lots to face Hector was originally nine—since they say Nero carried away the ninth figure, that of Odysseus, to Rome—only eight of these statues remain.

Passage 5.25.9 Class: Mythic

Ἀγαμέμνονι τὸ ὄνομά ἐστι γεγραμμένον· γέγραπται δὲ καὶ τοῦτο ἐπὶ τὰ λαιὰ ἐκ δεξιῶν. ὅτου δὲ ὁ ἀλεκτρυών ἐστιν ἐπίθημα τῇ ἀσπίδι, Ἰδομενεύς ἐστιν ὁ ἀπόγονος Μίνω· τῷ δὲ Ἰδομενεῖ γένος ἀπὸ Ἡλίου τοῦ πατρὸς Πασιφάης, Ἡλίου δὲ ἱερόν φασιν εἶναι τὸν ὄρνιθα καὶ ἀγγέλλειν ἀνιέναι μέλλοντος τοῦ ἡλίου.

Proper Nouns:

Μίνως Πασιφάη Ἀγαμέμνων Ἥλιος Ἰδομενεύς

The name of Agamemnon is inscribed there; and it is written from right to left. As for the warrior who has a cock as a device upon his shield, he is identified as Idomeneus, the descendant of Minos. Idomeneus traces his lineage from Helios, the father of Pasiphae. They say that the bird is sacred to Helios, and announces beforehand the rising of the sun.

Passage 5.25.10 Class: Mythic

γέγραπται δὲ καὶ ἐπίγραμμα ἐπὶ τῷ βάθρῳ· τῷ Διὶ τἈχαιοὶ τἀγάλματα ταῦτʼ ἀνέθηκαν, ἔγγονοι ἀντιθέου Τανταλίδα Πέλοπος. τοῦτο μὲν δὴ ἐνταῦθά ἐστι γεγραμμένον· ὁ δὲ ἀγαλματοποιὸς ὅστις ἦν, ἐπὶ τοῦ Ἰδομενέως γέγραπται τῇ ἀσπίδι· πολλὰ μὲν ἄλλα σοφοῦ ποιήματα καὶ τόδʼ Ὀνάτα ἔργον Αἰγινήτεω, τὸν γείνατο παῖδα Μίκων.

Proper Nouns:

Αἰγινήτης Ζεύς Μίκων Πέλοψ Τάνταλος Ἀχαιοί Ἰδομενεύς Ὀνάτας

An epigram is also written upon the pedestal: "These statues the Achaeans dedicated to Zeus, Descendants of divine Pelops, son of Tantalus." That inscription is indeed found here. The name of the sculptor, whoever he was, is engraved upon the shield of Idomeneus: "Many other skilful works as well as this one are by Onatas, The Aeginetan, whom Mikon begot as his son."

Passage 5.25.11 Class: Mythic

οὐ πόρρω δὲ τοῦ Ἀχαιῶν ἀναθήματος καὶ Ἡρακλῆς ἐστιν ὑπὲρ τοῦ ζωστῆρος μαχόμενος πρὸς τὴν Ἀμαζόνα ἔφιππον γυναῖκα· τοῦτον Εὐαγόρας μὲν γένος Ζαγκλαῖος ἀνέθηκεν, ἐποίησε δὲ Κυδωνιάτης Ἀριστοκλῆς . ἐν δὲ τοῖς μάλιστα ἀρχαίοις καταριθμήσασθαι καὶ τὸν Ἀριστοκλέα ἔστι· καὶ σαφῶς μὲν ἡλικίαν οὐκ ἔχοι τις ἂν εἰπεῖν αὐτοῦ, δῆλα δὲ ὡς πρότερον ἔτι ἐγένετο πρὶν ἢ τῇ Ζάγκλῃ τὸ ὄνομα γενέσθαι τὸ ἐφʼ ἡμῶν Μεσσήνην.

Proper Nouns:

Εὐαγόρας Ζάγκλη Ζάγκλη Κυδωνιά Μεσσήνη Ἀμαζών Ἀριστοκλῆς Ἀριστοκλῆς Ἀχαιοί Ἡρακλῆς

Not far from the dedication of the Achaeans is a figure of Heracles fighting for the belt against an Amazon, a mounted woman. This was dedicated by Euagoras, a native of Zancle, and made by Aristocles of Cydonia. Aristocles may also be counted among the oldest sculptors. Although no one could exactly determine his date, it is clear that he lived before the time when Zancle was renamed Messene, the name by which we know it today.

Passage 5.25.12 Class: Mythic

Θάσιοι δέ, Φοίνικες τὸ ἀνέκαθεν ὄντες καὶ ἐκ Τύρου καὶ Φοινίκης τῆς ἄλλης ὁμοῦ Θάσῳ τῷ Ἀγήνορος κατὰ ζήτησιν ἐκπλεύσαντες τὴν Εὐρώπης, ἀνέθεσαν Ἡρακλέα ἐς Ὀλυμπίαν, τὸ βάθρον χαλκοῦν ὁμοίως τῷ ἀγάλματι· μέγεθος μὲν δὴ τοῦ ἀγάλματός εἰσι πήχεις δέκα, ῥόπαλον δὲ ἐν τῇ δεξιᾷ, τῇ δὲ ἀριστερᾷ χειρὶ ἔχει τόξον. ἤκουσα δὲ ἐν Θάσῳ τὸν αὐτὸν σφᾶς Ἡρακλέα ὃν καὶ Τύριοι σέβεσθαι, ὕστερον δὲ ἤδη τελοῦντας ἐς Ἕλληνας νομίσαι καὶ Ἡρακλεῖ τῷ Ἀμφιτρύωνος νέμειν τιμάς.

Proper Nouns:

Εὐρώπη Θάσιος Θάσος Τύριος Τύρος Φοινίκη Φοῖνιξ Ἀγήνωρ Ἀμφιτρύων Ἕλλην Ἡρακλῆς Ἡρακλῆς Ὀλυμπία

The Thasians, who were Phoenicians originally and who had sailed from Tyre together with other Phoenicians along with Thasos, son of Agenor, during the search for Europa, dedicated a statue of Heracles at Olympia. Its pedestal, like the image itself, is made of bronze. The height of the statue is ten cubits; he holds a club in his right hand, and a bow in his left. I heard that these same Thasians honored originally the same Heracles worshipped by the Tyrians, but later, after entering into Greek customs, they resolved to pay reverence also to the Heracles who was the son of Amphitryon.

Passage 5.25.13 Class: Historical

τῷ δὲ ἀναθήματι τῷ ἐς Ὀλυμπίαν Θασίων ἔπεστιν ἐλεγεῖον· υἱὸς μέν με Μίκωνος Ὀνάτας ἐξετέλεσσεν αὐτὸς ἐν Αἰγίνῃ δώματα ναιετάων. τὸν δὲ Ὀνάταν τοῦτον ὅμως, καὶ τέχνης ἐς τὰ ἀγάλματα ὄντα Αἰγιναίας, οὐδενὸς ὕστερον θήσομεν τῶν ἀπὸ Δαιδάλου τε καὶ ἐργαστηρίου τοῦ Ἀττικοῦ.

Proper Nouns:

Αἴγινα Αἴγινα Δαίδαλος Θάσιος Μίκων Ἀττικός Ὀλυμπία Ὀνάτας

On the dedication of the Thasians at Olympia there is an elegiac couplet inscribed: "Onatas himself, son of Mikon, fashioned me, dwelling in Aegina within his house." Yet, though this Onatas belonged to the school of Aeginetan sculpture, I would place him second to none among artists since Daedalus and the Attic workshop.

Legend:

Chapter 5.25