Pausanias Analysis

The sanctuary of Despoina lies four stades from Akakesion. At first there stands the temple of Artemis Hegemone, housing a bronze statue holding torches—we estimate it to stand around six feet tall. From there, one enters the sacred enclosure of Despoina. Approaching the temple, there is a portico on the right side, and on its wall are reliefs carved in white marble. On the first relief are portrayed the Fates and Zeus surnamed Moiragetes; on the second is depicted Herakles taking away Apollo's tripod. As for the tradition associated with these scenes, I will recount that too, when I come to the relevant point in my narrative concerning Delphi in the Phocian account.

In the portico by the sanctuary of Despoina, among the statues previously mentioned, there is a tablet with an inscription, giving the details of the mysteries. On the third panel there are depicted Nymphs and figures of Pan, and on the fourth is Polybius son of Lycortas. The inscription says plainly that Greece would never have gone astray from the beginning if she had fully trusted Polybius; and even after her mistakes, only through him did she receive assistance. Before the temple, there is an altar for Demeter, another one for Despoina, and after that, one dedicated to the Great Mother.

The images of the goddesses themselves—Despoinē and Demeter—as well as the throne on which they are seated and the footstool beneath their feet, are all alike carved from a single stone. Neither the decoration upon their garments nor any ornamentation around the throne is made from any different stone joined by iron clamps or adhesive; rather, everything is formed from one single stone. This stone was not brought in to them from elsewhere; instead, they state that in obedience to a dream's vision, they discovered it by digging up the ground within the sanctuary enclosure. Regarding the size of the statues, each one is about equal in size to the statue of the Mother at Athens.

These are also works by Damophon. Demeter carries a torch in her right hand, while she has placed her other hand upon Despoina. Despoina herself holds a scepter and what is called the kiste upon her knees, and with her right hand she grasps the kiste. On each side of the throne stands a figure: Artemis beside Demeter, clad in a deer-skin, a quiver upon her shoulders, holding a torch in one hand and two serpents in the other. Beside Artemis reclines a hound, of the kind suitable for hunting.

Beside the statue of Despoina stands Anytos, depicted with the form of one armed. Those who dwell around the sanctuary say that Despoina was nurtured by Anytos, who himself is reckoned amongst those called Titans. Homer was the first to introduce the Titans into poetry, describing them as gods dwelling beneath what is called Tartarus; this is found in the passage concerning Hera's oath. From Homer, Onomacritus borrowed the name of the Titans, composed rites in honor of Dionysus, and made the Titans responsible for the sufferings inflicted upon Dionysus.

Such are indeed the Arcadians' accounts concerning Anytus. That Artemis is the daughter of Demeter and not of Leto is originally an Egyptian tradition, and it was Aeschylus, son of Euphorion, who taught it to the Greeks. Regarding the Curetes—for these figures have been carved under the statues—and the Corybantes depicted upon the base (who are a different race entirely and distinct from the Curetes), knowing these matters, I willingly pass them by.

Of cultivated trees, the Arcadians bring all kinds into the sanctuary except the pomegranate. On the right as one exits the temple is fixed a mirror upon the wall; if someone gazes into this mirror, he will either see himself very indistinctly or perhaps not at all, whereas the images of the gods and the throne itself are clearly visible.

Near the temple of Despoina, after ascending a little, there is, on the right, a building called the Megaron. Here the Arcadians perform their rites and sacrifice to Despoina many rich offerings. Each devotee sacrifices whatever he possesses; however, they do not cut the throats of the victims as in other sacrifices, but instead each severs from the animal whatever limb the chance may bring.

The Arcadians especially venerate this goddess, Despoina, whom they say is the daughter of Poseidon and Demeter. Her popular title among most people is Despoina, in the same manner as they also call by the name Kore the daughter of Zeus, but whose personal name is Persephone, as Homer and still earlier Pamphos composed. As for the name of Despoina, I feared to record it for those who are uninitiated.

Above the building called the Megaron there is a grove sacred to Despoina, enclosed by a stone wall; within it various trees are growing, including an olive and a holm-oak, sprung from a single root. This marvel is not due to any skill of a gardener. Above the grove there are altars to Poseidon Hippios—as father of Despoina—and to other gods; on the last of these altars there is an inscription stating that it is shared among all the gods.

From here you ascend by a staircase to a sanctuary of Pan. A colonnade also leads into this sanctuary, and within it stands an image of no great size, yet this god shares equally with the mightiest deities the power of fulfilling human prayers and granting suitably deserved punishments upon wrongdoers. Beside this Pan a fire is kept burning that is never extinguished. It is said that in still earlier times this god gave oracles, and that the nymph Erato served him as prophetess—this same Erato who was married to Arcas, the son of Callisto.

They also recall certain verses by Erato, which I myself have read. Here there is an altar dedicated to Ares, and within a temple there stand images of Aphrodite, one made of white marble, and the other, which is older, carved of wood. Likewise, here there are also wooden statues of Apollo and of Athena; and for Athena a sanctuary has been constructed.