Pausanias Analysis

Passage 5.11.1 Class: Non-skeptical

καθέζεται μὲν δὴ ὁ θεὸς ἐν θρόνῳ χρυσοῦ πεποιημένος καὶ ἐλέφαντος· στέφανος δὲ ἐπίκειταί οἱ τῇ κεφαλῇ μεμιμημένος ἐλαίας κλῶνας. ἐν μὲν δὴ τῇ δεξιᾷ φέρει Νίκην ἐξ ἐλέφαντος καὶ ταύτην καὶ χρυσοῦ, ταινίαν τε ἔχουσαν καὶ ἐπὶ τῇ κεφαλῇ στέφανον· τῇ δὲ ἀριστερᾷ τοῦ θεοῦ χειρὶ ἔνεστι σκῆπτρον μετάλλοις τοῖς πᾶσιν ἠνθισμένον, ὁ δὲ ὄρνις ὁ ἐπὶ τῷ σκήπτρῳ καθήμενός ἐστιν ὁ ἀετός. χρυσοῦ δὲ καὶ τὰ ὑποδήματα τῷ θεῷ καὶ ἱμάτιον ὡσαύτως ἐστί· τῷ δὲ ἱματίῳ ζῴδιά τε καὶ τῶν ἀνθῶν τὰ κρίνα ἐστὶν ἐμπεποιημένα.

Proper Nouns:

Ζεύς Νίκη ἀετός

The god sits on a throne fashioned of gold and ivory; upon his head is placed a crown imitating branches of olive. In his right hand he carries a Victory, this too made of ivory and gold, holding a ribbon and having a crown upon her head. In the left hand of the god he holds a sceptre adorned with all manner of metals, and an eagle stands upon this sceptre. The sandals of the god, as well as his robe, are also of gold; and woven into the robe are figures of animals and lilies among other flowers.

Passage 5.11.2 Class: Non-skeptical

ὁ δὲ θρόνος ποικίλος μὲν χρυσῷ καὶ λίθοις, ποικίλος δὲ καὶ ἐβένῳ τε καὶ ἐλέφαντί ἐστι· καὶ ζῷά τε ἐπʼ αὐτοῦ γραφῇ μεμιμημένα καὶ ἀγάλματά ἐστιν εἰργασμένα. Νῖκαι μὲν δὴ τέσσαρες χορευουσῶν παρεχόμεναι σχῆμα κατὰ ἕκαστον τοῦ θρόνου τὸν πόδα, δύο δέ εἰσιν ἄλλαι πρὸς ἑκάστου πέζῃ ποδός. τῶν ποδῶν δὲ ἑκατέρῳ τῶν ἔμπροσθεν παῖδές τε ἐπίκεινται Θηβαίων ὑπὸ σφιγγῶν ἡρπασμένοι καὶ ὑπὸ τὰς σφίγγας Νιόβης τοὺς παῖδας Ἀπόλλων κατατοξεύουσι καὶ Ἄρτεμις.

Proper Nouns:

Θῆβαι Νίκη Νιόβη Ἀπόλλων Ἄρτεμις

The throne is decorated with gold and precious stones, and also ornamented with ebony and ivory. Upon it animals are represented in painting and carved figures have been worked in relief. Four Victories in dancing postures form supports beneath each foot of the throne, while two additional Victories stand beside each foot. On each of the front feet are sculpted Theban youths being seized by sphinxes, and beneath these sphinxes Apollo and Artemis are depicted shooting down the children of Niobe with arrows.

Passage 5.11.3 Class: Skeptical

τῶν δὲ ἐκ τοῦ θρόνου μεταξὺ ποδῶν τέσσαρες κανόνες εἰσίν, ἐκ ποδὸς ἐς πόδα ἕτερον διήκων ἕκαστος. τῷ μὲν δὴ κατʼ εὐθὺ τῆς ἐσόδου κανόνι, ἑπτά ἐστιν ἀγάλματα ἐπʼ αὐτῷ, τὸ γὰρ ὄγδοον ἐξ αὐτῶν οὐκ ἴσασι τρόπον ὅντινα ἐγένετο ἀφανές· εἴη δʼ ἂν ἀγωνισμάτων ἀρχαίων ταῦτα μιμήματα, οὐ γάρ πω τὰ ἐς τοὺς παῖδας ἐπὶ ἡλικίας ἤδη καθειστήκει τῆς Φειδίου. τὸν δὲ αὑτὸν ταινίᾳ τὴν κεφαλὴν ἀναδούμενον ἐοικέναι τὸ εἶδος Παντάρκει λέγουσι, μειράκιον δὲ Ἠλεῖον τὸν Παντάρκη παιδικὰ εἶναι τοῦ Φειδίου· ἀνείλετο δὲ καὶ ἐν παισὶν ὁ Παντάρκης πάλης νίκην Ὀλυμπιάδι ἕκτῃ πρὸς ταῖς ὀγδοήκοντα.

Proper Nouns:

Παντάρκης Παντάρκης Παντάρκης Φειδίας Ἤλειος Ὀλυμπιάς

Between the feet of the throne there are four cross-bars, each stretching from one foot to another. On the bar directly facing the entrance stand seven figures, for the eighth among them has disappeared in some unknown manner. These represent, perhaps, imitations of ancient athletic contests, since contests involving boys had not yet been established at the time of Pheidias. They say that the figure binding its head with a ribbon resembles Pantarkes in appearance; Pantarkes was a youth from Elis beloved by Pheidias. This Pantarkes also won a victory in wrestling among the boys at the eighty-sixth Olympiad.

Passage 5.11.4 Class: Non-skeptical

ἐπὶ δὲ τῶν κανόνων τοῖς λοιποῖς ὁ λόχος ἐστὶν ὁ σὺν Ἡρακλεῖ μαχόμενος πρὸς Ἀμαζόνας· ἀριθμὸς μὲν δὴ συναμφοτέρων ἐς ἐννέα ἐστὶ καὶ εἴκοσι, τέτακται δὲ καὶ Θησεὺς ἐν τοῖς συμμάχοις τῷ Ἡρακλεῖ. ἀνέχουσι δὲ οὐχ οἱ πόδες μόνοι τὸν θρόνον, ἀλλὰ καὶ κίονες ἴσοι τοῖς ποσὶ μεταξὺ ἑστηκότες τῶν ποδῶν. ὑπελθεῖν δὲ οὐχ οἷόν τέ ἐστιν ὑπὸ τὸν θρόνον, ὥσπερ γε καὶ ἐν Ἀμύκλαις ἐς τὰ ἐντὸς τοῦ θρόνου παρερχόμεθα· ἐν Ὀλυμπίᾳ δὲ ἐρύματα τρόπον τοίχων πεποιημένα τὰ δὲ ἀπείργοντά ἐστι.

Proper Nouns:

Θησεύς Ἀμαζόνες Ἀμύκλαι Ἡρακλῆς Ὀλυμπία

On the crossbars between the legs is carved the company fighting alongside Heracles against the Amazons. The total number of figures on both sides amounts indeed to twenty-nine, and Theseus too is depicted among the allies of Heracles. The throne is not supported only by the legs, but between them stand evenly spaced columns equal in length to the legs. It is not possible to pass beneath the throne, unlike the throne at Amyclae where one can pass into what lies within it; at Olympia, however, barriers resembling walls block it off.

Passage 5.11.5 Class: Non-skeptical

τούτων τῶν ἐρυμάτων ὅσον μὲν ἀπαντικρὺ τῶν θυρῶν ἐστιν, ἀλήλιπται κυανῷ μόνον, τὰ δὲ λοιπὰ αὐτῶν παρέχεται Παναίνου γραφάς. ἐν δὲ αὐταῖς ἔστι μὲν οὐρανὸν καὶ γῆν Ἄτλας ἀνέχων, παρέστηκε δὲ καὶ Ἡρακλῆς ἐκδέξασθαι τὸ ἄχθος ἐθέλων τοῦ Ἄτλαντος, ἔτι δὲ Θησεύς τε καὶ Πειρίθους καὶ Ἑλλάς τε καὶ Σαλαμὶς ἔχουσα ἐν τῇ χειρὶ τὸν ἐπὶ ταῖς ναυσὶν ἄκραις ποιούμενον κόσμον, Ἡρακλέους τε τῶν ἀγωνισμάτων τὸ ἐς τὸν λέοντα τὸν ἐν Νεμέᾳ καὶ τὸ ἐς Κασσάνδραν παρανόμημα Αἴαντος,

Proper Nouns:

Αἴας Γῆ Θησεύς Κασσάνδρα Νεμέα Οὐρανός Πάναινος Πειρίθοος Σαλαμίς Ἄτλας Ἄτλας Ἑλλάς Ἡρακλῆς

Of these walls, the portion directly opposite the doors is merely painted in blue, but the rest display paintings by Panainos. Among these paintings is Atlas supporting heaven and earth, and beside him stands Heracles willingly accepting the burden from Atlas. In addition are depicted Theseus and Peirithous, Hellas, and Salamis, holding in her hand the ornament for the prows of vessels. Also shown are Heracles' contest with the lion in Nemea, and the sacrilege committed by Ajax against Cassandra.

Passage 5.11.6 Class: Non-skeptical

Ἱπποδάμειά τε ἡ Οἰνομάου σὺν τῇ μητρὶ καὶ Προμηθεὺς ἔτι ἐχόμενος μὲν ὑπὸ τῶν δεσμῶν, Ἡρακλῆς δὲ ἐς αὐτὸν ἦρται· λέγεται γὰρ δὴ καὶ τόδε ἐς τὸν Ἡρακλέα, ὡς ἀποκτείναι μὲν τὸν ἀετὸν ὃς ἐν τῷ Καυκάσῳ τὸν Προμηθέα ἐλύπει, ἐξέλοιτο δὲ καὶ αὐτὸν Προμηθέα ἐκ τῶν δεσμῶν. τελευταῖα δὲ ἐν τῇ γραφῇ Πενθεσίλειά τε ἀφιεῖσα τὴν ψυχὴν καὶ Ἀχιλλεὺς ἀνέχων ἐστὶν αὐτήν· καὶ Ἑσπερίδες δύο φέρουσι τὰ μῆλα ὧν ἐπιτετράφθαι λέγονται τὴν φρουράν. Πάναινος μὲν δὴ οὗτος ἀδελφός τε ἦν Φειδίου καὶ αὐτοῦ καὶ Ἀθήνῃσιν ἐν Ποικίλῃ τὸ Μαραθῶνι ἔργον ἐστὶ γεγραμμένον.

Proper Nouns:

Καύκασος Μαραθών Οἰνόμαος Πάναινος Πενθεσίλεια Ποικίλη (Στοά) Προμηθεύς Προμηθεύς Φειδίας Ἀθῆναι Ἀχιλλεύς Ἑσπερίδες Ἡρακλῆς Ἱπποδάμεια

Hippodameia, daughter of Oinomaos, with her mother, and Prometheus still bound in chains are represented, and Herakles is depicted approaching him. For indeed it is also said of Herakles that he slew the eagle which tormented Prometheus in the Caucasus, and freed Prometheus himself from his chains. Lastly, the painting shows Penthesileia breathing her last and Achilles supporting her. Two of the Hesperides are bearing the apples whose guarding is said to have been entrusted to them. This painting was by Panaenos, who was the brother of Pheidias, who himself painted the Battle of Marathon in the 'Poikile' (Painted) Colonnade at Athens.

Passage 5.11.7 Class: Non-skeptical

ἐπὶ δὲ τοῖς ἀνωτάτω τοῦ θρόνου πεποίηκεν ὁ Φειδίας ὑπὲρ τὴν κεφαλὴν τοῦ ἀγάλματος τοῦτο μὲν Χάριτας, τοῦτο δὲ Ὥρας, τρεῖς ἑκατέρας. εἶναι γὰρ θυγατέρας Διὸς καὶ ταύτας ἐν ἔπεσίν ἐστιν εἰρημένα· Ὅμηρος δὲ ἐν Ἰλιάδι ἐποίησε τὰς Ὥρας καὶ ἐπιτετράφθαι τὸν οὐρανὸν καθάπερ τινὰς φύλακας βασιλέως αὐλῆς. τὸ ὑπόθημα δὲ τὸ ὑπὸ τοῦ Διὸς τοῖς ποσίν, ὑπὸ τῶν ἐν τῇ Ἀττικῇ καλούμενον θρανίον, λέοντάς τε χρυσοῦς καὶ Θησέως ἐπειργασμένην ἔχει μάχην τὴν πρὸς Ἀμαζόνας, τὸ Ἀθηναίων πρῶτον ἀνδραγάθημα ἐς οὐχ ὁμοφύλους.

Proper Nouns:

Ζεύς Θησεύς Φειδίας Χάριτες Ἀθηναῖοι Ἀμαζόνες Ἀττική Ἰλιάς Ὅμηρος Ὧραι

On the highest parts of the throne, above the head of the statue, Phidias has fashioned on one side the Graces and on the other side the Seasons, three of each. Indeed, in poetry these too are said to be daughters of Zeus. Homer, in the Iliad, depicted the Seasons as having charge over heaven, like guardians of a royal court. The footstool beneath the feet of Zeus—called thranion by the Athenians—is decorated with golden lions and shows the battle of Theseus against the Amazons, the Athenians' earliest heroic deed against foreign foes.

Passage 5.11.8 Class: Skeptical

ἐπὶ δὲ τοῦ βάθρου τοῦ τὸν θρόνον τε ἀνέχοντος καὶ ὅσος ἄλλος κόσμος περὶ τὸν Δία, ἐπὶ τούτου τοῦ βάθρου χρυσᾶ ποιήματα, ἀναβεβηκὼς ἐπὶ ἅρμα Ἤλιος καὶ Ζεύς τέ ἐστι καὶ Ἥρα, ἔτι δὲ Ἥφαιστος, παρὰ δὲ αὐτὸν Χάρις· ταύτης δὲ Ἑρμῆς ἔχεται, τοῦ Ἑρμοῦ δὲ Ἑστία· μετὰ δὲ τὴν Ἑστίαν Ἔρως ἐστὶν ἐκ θαλάσσης Ἀφροδίτην ἀνιοῦσαν ὑποδεχόμενος, τὴν δὲ Ἀφροδίτην στεφανοῖ Πειθώ· ἐπείργασται δὲ καὶ Ἀπόλλων σὺν Ἀρτέμιδι Ἀθηνᾶ τε καὶ Ἡρακλῆς, καὶ ἤδη τοῦ βάθρου πρὸς τῷ πέρατι Ἀμφιτρίτη καὶ Ποσειδῶν Σελήνη τε ἵππον ἐμοὶ δοκεῖν ἐλαύνουσα. τοῖς δέ ἐστιν εἰρημένα ἐφʼ ἡμιόνου τὴν θεὸν ὀχεῖσθαι καὶ οὐχ ἵππου, καὶ λόγον γέ τινα ἐπὶ τῷ ἡμιόνῳ λέγουσιν εὐήθη.

Proper Nouns:

Ζεύς Ζεύς Πειθώ Ποσειδῶν Σελήνη Χάρις Ἀθηνᾶ Ἀμφιτρίτη Ἀπόλλων Ἀφροδίτη Ἄρτεμις Ἑρμῆς Ἑρμῆς Ἑστία Ἔρως Ἡρακλῆς Ἥλιος Ἥρα Ἥφαιστος

Upon the base, which supports both the throne and all the other decorative elements around Zeus, are golden scenes worked upon it: there is Helios ascending by chariot, Zeus and Hera, and also Hephaestus, who is accompanied by Charis; next to her stands Hermes, and beside Hermes is Hestia. After Hestia is Eros, who is receiving Aphrodite as she rises from the sea; and Peitho crowns Aphrodite. Also depicted are Apollo along with Artemis, Athena, and Heracles. At the extremity of the base are Amphitrite and Poseidon, and Selene who is—so it seems to me—driving a horse. Some, however, claim that the goddess rides upon a mule rather than a horse, telling a foolish story in explanation of the mule.

Passage 5.11.9 Class: Skeptical

μέτρα δὲ τοῦ ἐν Ὀλυμπίᾳ Διὸς ἐς ὕψος τε καὶ εὖρος ἐπιστάμενος γεγραμμένα οὐκ ἐν ἐπαίνῳ θήσομαι τοὺς μετρήσαντας, ἐπεὶ καὶ τὰ εἰρημένα αὐτοῖς μέτρα πολύ τι ἀποδέοντά ἐστιν ἢ τοῖς ἰδοῦσι παρέστηκεν ἐς τὸ ἄγαλμα δόξα, ὅπου γε καὶ αὐτὸν τὸν θεὸν μάρτυρα ἐς τοῦ Φειδίου τὴν τέχνην γενέσθαι λέγουσιν. ὡς γὰρ δὴ ἐκτετελεσμένον ἤδη τὸ ἄγαλμα ἦν, ηὔξατο ὁ Φειδίας ἐπισημῆναι τὸν θεὸν εἰ τὸ ἔργον ἐστὶν αὐτῷ κατὰ γνώμην· αὐτίκα δʼ ἐς τοῦτο τοῦ ἐδάφους κατασκῆψαι κεραυνόν φασιν, ἔνθα ὑδρία καὶ ἐς ἐμὲ ἐπίθημα ἦν ἡ χαλκῆ.

Proper Nouns:

Ζεύς Φειδίας Ὀλυμπία

Although I am familiar with the recorded measurements of Zeus at Olympia, both in height and breadth, I will not include praise of those who measured it; for even the dimensions they state fall greatly short of the impression conveyed to those who behold the statue. Indeed, it is said that the god himself provided testimony to the art of Pheidias. For after the statue had already been completed, Pheidias prayed that the god might reveal a sign whether his work was pleasing to him; at once, they say, a thunderbolt descended onto that spot of the floor, where even in my time stood a bronze hydria covering the place.

Passage 5.11.10 Class: Non-skeptical

ὅσον δὲ τοῦ ἐδάφους ἐστὶν ἔμπροσθεν τοῦ ἀγάλματος, τοῦτο οὐ λευκῷ, μέλανι δὲ κατεσκεύασται τῷ λίθῳ· περιθεῖ δὲ ἐν κύκλῳ τὸν μέλανα λίθου Παρίου κρηπίς, ἔρυμα εἶναι τῷ ἐλαίῳ τῷ ἐκχεομένῳ. ἔλαιον γὰρ τῷ ἀγάλματί ἐστιν ἐν Ὀλυμπίᾳ συμφέρον, καὶ ἔλαιόν ἐστι τὸ ἀπεῖργον μὴ γίνεσθαι τῷ ἐλέφαντι βλάβος διὰ τὸ ἑλῶδες τῆς Ἄλτεως. ἐν ἀκροπόλει δὲ τῇ Ἀθηναίων τὴν καλουμένην Παρθένον οὐκ ἔλαιον, ὕδωρ δὲ τὸ ἐς τὸν ἐλέφαντα ὠφελοῦν ἐστιν· ἅτε γὰρ αὐχμηρᾶς τῆς ἀκροπόλεως οὔσης διὰ τὸ ἄγαν ὑψηλόν, τὸ ἄγαλμα ἐλέφαντος πεποιημένον ὕδωρ καὶ δρόσον τὴν ἀπὸ τοῦ ὕδατος ποθεῖ.

Proper Nouns:

Πάριος Παρθένος ἀκρόπολις Ἀθηναῖοι Ἄλτις Ὀλυμπία

The section of ground immediately before the statue is constructed not of white stone, but of black stone. Around the black stone runs a ledge of Parian marble, serving as a barrier to contain the oil that is poured out. For oil is beneficial for the statue at Olympia, and it is this oil that prevents damage to the ivory on account of the marshy nature of the Altis. In the acropolis of the Athenians, however, for the statue called the Parthenos, it is not oil but water that preserves the ivory. Because the acropolis, due to its great height, is excessively dry, the statue, made of ivory, requires water and the moisture that comes from the water.

Passage 5.11.11 Class: Non-skeptical

ἐν Ἐπιδαύρῳ δὲ ἐρομένου μου καθʼ ἥντινα αἰτίαν οὔτε ὕδωρ τῷ Ἀσκληπιῷ σφισιν οὔτε ἔλαιόν ἐστιν ἐγχεόμενον, ἐδίδασκόν με οἱ περὶ τὸ ἱερὸν ὡς καὶ τὸ ἄγαλμα τοῦ θεοῦ καὶ ὁ θρόνος ἐπὶ φρέατι εἴη πεποιημένα.

Proper Nouns:

Ἀσκληπιός Ἐπίδαυρος

When I was in Epidaurus, asking for what reason neither water nor olive oil was poured as an offering to their Asclepius, the attendants of the sanctuary informed me that both the statue of the god and the throne had been constructed over a well.

Legend:

Chapter 5.11