Delphi complete works of.., p.325
Delphi Complete Works of Pausanias, page 325
[27.3] This is the horse in which is, say the Eleans, the hippomanes (what maddens horses). It is plain to all that the quality of the horse is the result of magic skill. It is much inferior in size and beauty to all the horses standing within the Altis. Moreover, its tail has been cut off which makes the figure uglier still. But male horses, not only in spring but on any day, are at heat towards it.
[4] καὶ γὰρ ἐσθέουσιν ἐς τὴν Ἄλτιν ἀπορρηγνύοντες τὰ δεσμὰ ἢ καὶ ἐκφεύγοντες τοὺς ἄγοντας καὶ ἐπιπηδῶσιν αὐτῷ πολλῷ δή τι ἐμμανέστερον ἢ ἐπὶ τὴν καλλίστην ἵππον ζῶσάν τε καὶ ἠθάδα ἀναβαίνεσθαι: ἀπολισθάνουσί τε δὴ αὐτοῖς αἱ ὁπλαὶ καὶ ὅμως οὐκ ἀπαγορεύουσι χρεμετίζοντές τε μᾶλλον καὶ ἐπιπηδῶντες μετὰ βιαιοτέρας τῆς ὁρμῆς, πρὶν ἂν ὑπὸ μαστίγων καὶ ἀνάγκης ἰσχυρᾶς ἀφελκυσθῶσι: πρότερον δὲ οὐκ ἔστιν ἀπαλλαγή σφισιν οὐδεμία ἀπὸ τοῦ χαλκοῦ.
[27.4] In fact they rush into the Altis, breaking their tethers or escaping from their grooms, and they leap upon it much more madly than upon a living brood mare, even the most beautiful of them. Their hoofs slip off, but nevertheless they keep on neighing more and more, and leap with a yet more violent passion, until they are driven away by whips and sheer force. In no other way can they be separated from the bronze horse.
[5] καὶ ἄλλο ἐν Λυδίᾳ θεασάμενος οἶδα διάφορον μὲν θαῦμα ἢ κατὰ τὸν ἵππον τὸν Φόρμιδος, μάγων μέντοι σοφίας οὐδὲ αὐτὸ ἀπηλλαγμένον. ἔστι γὰρ Λυδοῖς ἐπίκλησιν Περσικοῖς ἱερὰ ἔν τε
Ἱεροκαισαρείᾳ καλουμένῃ πόλει καὶ ἐν Ὑπαίποις, ἐν ἑκατέρῳ δὲ τῶν ἱερῶν οἴκημά τε καὶ ἐν τῷ οἰκήματί ἐστιν ἐπὶ βωμοῦ τέφρα: χρόα δὲ οὐ κατὰ τέφραν ἐστὶν αὐτῇ τὴν ἄλλην.
[27.5] There is another marvel I know of, having seen it in Lydia; it is different from the horse of Phormis, but like it not innocent of the magic art. The Lydians surnamed Persian have sanctuaries in the city named Hierocaesareia and at Hypaepa. In each sanctuary is a chamber, and in the chamber are ashes upon an altar. But the color of these ashes is not the usual color of ashes.
[6] ἐσελθὼν δὲ ἐς τὸ οἴκημα ἀνὴρ μάγος καὶ ξύλα ἐπιφορήσας αὖα ἐπὶ τὸν βωμὸν πρῶτα μὲν τιάραν ἐπέθετο ἐπὶ τῇ κεφαλῇ, δεύτερα δὲ ἐπίκλησιν ὅτου δὴ θεῶν ἐπᾴδει βάρβαρα καὶ οὐδαμῶς συνετὰ Ἕλλησιν: ἐπᾴδει δὲ ἐπιλεγόμενος ἐκ βιβλίου: ἄνευ τε δὴ πυρὸς ἀνάγκη πᾶσα ἁφθῆναι τὰ ξύλα καὶ περιφανῆ φλόγα ἐξ αὐτῶν ἐκλάμψαι.
[27.6] Entering the chamber a magician piles dry wood upon the altar; he first places a tiara upon his head and then sings to some god or other an invocation in a foreign tongue unintelligible to Greeks, reciting the invocation from a book. So it is without fire that the wood must catch, and bright flames dart from it.
[7] τάδε μὲν ἐς τοσοῦτο ἡμῖν δεδηλώσθω: ἔστι δὲ ἐν τοῖς ἀναθήμασι τούτοις καὶ αὐτὸς ὁ Φόρμις ἀνδρὶ ἀνθεστηκὼς πολεμίῳ, καὶ ἐφεξῆς ἑτέρῳ καὶ τρίτῳ γε αὖθις μάχεται. γέγραπται δὲ ἐπὶ τούτοις τὸν στρατιώτην μὲν τὸν μαχόμενον Φόρμιν εἶναι τὸν Μαινάλιον, τὸν δὲ ἀναθέντα Συρακόσιον Λυκόρταν: δῆλα δὲ ὡς οὗτος ὁ Λυκόρτας κατὰ φιλίαν ἀναθείη τοῦ Φόρμιδος. τὰ δὲ ἀναθήματα τοῦ Λυκόρτα καλεῖται Φόρμιδος καὶ ταῦτα ὑπὸ Ἑλλήνων.
[27.7] So much for this subject. Among these offerings is Phormis himself opposed to an enemy, and next are figures of him fighting a second and again a third. On them it is written that the soldier fighting is Phormis of Maenalus, and that he who dedicated the offerings was Lycortas of Syracuse. Clearly this Lycortas dedicated them out of friendship for Phormis. These offerings of Lycortas are also called by the Greeks offerings of Phormis.
[8] ὁ δὲ Ἑρμῆς ὁ τὸν κριὸν φέρων ὑπὸ τῇ μασχάλῃ καὶ ἐπικείμενος τῇ κεφαλῇ κυνῆν καὶ χιτῶνά τε καὶ χλαμύδα ἐνδεδυκὼς οὐ τῶν Φόρμιδος ἔτι ἀναθημάτων ἐστίν, ὑπὸ δὲ Ἀρκάδων τῶν ἐκ Φενεοῦ δέδοται τῷ θεῷ: Ὀνάταν δὲ τὸν Αἰγινήτην, σὺν δὲ αὐτῷ Καλλιτέλην ἐργάσασθαι λέγει τὸ ἐπίγραμμα, δοκεῖν δέ μοι τοῦ Ὀνάτα μαθητὴς ἢ παῖς ὁ Καλλιτέλης ἦν. οὐ πόρρω δὲ τοῦ Φενεατῶν ἀναθήματος ἄλλο ἐστὶν ἄγαλμα, κηρυκεῖον Ἑρμῆς ἔχων: ἐπίγραμμα δὲ ἐπ᾽ αὐτῷ Γλαυκίαν ἀναθεῖναι γένος Ῥηγῖνον, ποιῆσαι δὲ Κάλλωνα Ἠλεῖον.
[27.8] The Hermes carrying the ram under his arm, with a helmet on his head, and clad in tunic and cloak, is not one of the offerings of Phormis, but has been given to the god by the Arcadians of Pheneus. The inscription says that the artist was Onatas of Aegina helped by Calliteles, who I think was a pupil or son of Onatas. Not far from the offering of the Pheneatians is another image, Hermes with a herald’s wand. An inscription on it says that Glaucias, a Rhegian by descent, dedicated it, and Gallon of Elis made it.
[9] βοῶν δὲ τῶν χαλκῶν ὁ μὲν Κορκυραίων, ὁ δὲ ἀνάθημα Ἐρετριέων, τέχνη δὲ Ἐρετριέως ἐστὶ Φιλησίου: καὶ ἀνθ᾽ ὅτου μὲν οἱ Κορκυραῖοι τόν τε ἐν Ὀλυμπίᾳ καὶ ἕτερον βοῦν ἐς Δελφοὺς ἀνέθεσαν, δηλώσει μοι τὰ ἐς Φωκέας τοῦ λόγου, ἐπὶ δὲ τῷ Ὀλυμπίασιν αὐτῶν ἀναθήματι συμβῆναι τοιόνδε ἤκουσα.
[27.9] Of the bronze oxen one was dedicated by the Corcyraeans and the other by the Eretrians. Philesius of Eretria was the artist. Why the Corcyraeans dedicated the ox at Olympia and another at Delphi will be explained in my account of Phocis. bout the offering at Olympia I heard the following story.
[10] παῖς μικρὸς ὑπὸ τούτῳ καθήμενος τῷ βοῒ ἐς τὸ κάτω νενευκὼς ἔπαιζεν: ἀνασχὼν δὲ ἐξαίφνης τὴν κεφαλὴν κατεάγη τε αὐτὴν πρὸς τὸν χαλκὸν καὶ ἐκ τοῦ τραύματος ἡμέραις ὕστερον ἀπέθανεν οὐ πολλαῖς. Ἠλεῖοι μὲν δὴ τὸν βοῦν ἅτε αἵματι ἔνοχον ἐβουλεύοντο ἐκκομίσαι τῆς Ἄλτεως: ὁ δὲ σφᾶς ὁ θεὸς ὁ ἐν Δελφοῖς κατὰ χώραν ἐᾶν τὸ ἀνάθημα καθάρσια ἔχρα ἐπ᾽ αὐτῷ ποιησαμένους, ὁπόσα Ἕλληνες ἐπὶ ἀκουσίῳ φόνῳ νομίζουσιν.
[27.10] Sitting under this ox a little boy was playing with his head bent towards the ground. Suddenly lifting his head he broke it against the bronze, and died a few days later from the wound. So the Eleans were purposing to remove the ox from out the Altis as being guilty of bloodshed. But the god at Delphi gave an oracle that they were to let the offering stay where it was, after performing upon it the purificatory rites that are customary among the Greeks for unintentional shedding of blood.
[11] ἔστι δὲ ὑπὸ ταῖς ἐν τῇ Ἄλτει πλατάνοις κατὰ μέσον μάλιστά που τὸν περίβολον τρόπαιον χαλκοῦν καὶ ἐπίγραμμα ἐπὶ τοῦ τροπαίου τῇ ἀσπίδι, Ἠλείους ἀπὸ Λακεδαιμονίων ἀναστῆσαι. ἐν ταύτῃ τῇ μάχῃ καὶ τὸν ἄνδρα ἐπέλαβεν ἐκεῖνον ἀφεῖναι τὴν ψυχήν, ὃς τοῦ Ἡραίου τῆς ὀροφῆς κατ᾽ ἐμὲ ἀνασκευαζομένης ἐνταῦθα ὁμοῦ τοῖς ὅπλοις εὑρέθη κείμενος.
[27.11] Under the plane trees in the Altis, just about in the center of the enclosure, there is a bronze trophy, with an inscription upon the shield of the trophy, to the effect that the Eleans raised it as a sign that they had beaten the Lacedaemonians. It was in this battle that the warrior lost his life who was found lying in his armour when the roof of the Heraeum was being repaired in my time.
[12] τῶν δὲ ἐν Θρᾴκῃ Μενδαίων τὸ ἀνάθημα ἐγγύτατα ἀφίκετο ἀπατῆσαί με ὡς ἀνδρὸς εἰκὼν εἴη πεντάθλου: καὶ κεῖται μὲν παρὰ τὸν Ἠλεῖον Ἀναυχίδαν, ἔχει δὲ ἁλτῆρας ἀρχαίους. ἐλεγεῖον δὲ ἐπ᾽ αὐτὸ γεγραμμένον ἐστὶν ἐπὶ τοῦ μηροῦ: “Ζηνὶ θεῶν βασιλεῖ μ᾽ ἀκροθίνιον ἐνθάδ᾽ ἔθηκαν
Μενδαῖοι, Σίπτην χερσὶ βιασσάμενοι.
“τὸ μὲν δὴ Θρᾴκιόν τι εἶναι τεῖχος καὶ πόλις ἔοικεν, ἡ Σίπτη: Μενδαίοις δὲ αὐτοῖς γένος τε Ἑλληνικὸν καὶ ἀπὸ Ἰωνίας ἐστίν, οἰκοῦσι δὲ ἀπὸ θαλάσσης ἄνω τῆς πρὸς Αἴνῳ πόλει.
[27.12] The offering of the Mendeans in Thrace came very near to beguiling me into the belief that it was a representation of a competitor in the pentathlum. It stands by the side of Anauchidas of Elis, and it holds ancient jumping-weights. An elegiac couplet is written on its thigh:–
To Zeus, king of the gods, as first-fruits was I placed here
By the Mendeans, who reduced Sipte by might of hand.
Sipte seems to be a Thracian fortress and city. The Mendeans themselves are of Greek descent, coming from Ionia, and they live inland at some distance from the sea that is by the city of Aenus.
BOOK VI.
Ἠλιακῶν Β
BOOK VI.
STATUES OF OLYMPIC VICTORS
1. ἕπεται δέ μοι τῷ λόγῳ τῷ ἐς τὰ ἀναθήματα τὸ μετὰ τοῦτο ἤδη ποιήσασθαι καὶ ἵππων ἀγωνιστῶν μνήμην καὶ ἀνδρῶν ἀθλητῶν τε καὶ ἰδιωτῶν ὁμοίως. τῶν δὲ νικησάντων Ὀλυμπίασιν οὐχ ἁπάντων εἰσὶν ἑστηκότες ἀνδριάντες, ἀλλὰ καὶ ἀποδειξάμενοι λαμπρὰ ἐς τὸν ἀγῶνα, οἱ δὲ καὶ ἐπὶ ἄλλοις ἔργοις, ὅμως οὐ τετυχήκασιν εἰκόνων:
[1.1] I. After my description of the votive offerings I must now go on to mention the statues of racehorses and those of men, whether athletes or ordinary folk. Not all the Olympic victors have had their statues erected; some, in fact, who have distinguished themselves, either at the games or by other exploits, have had no statue.
[2] τούτους ἐκέλευσεν ἀφεῖναί με ὁ λόγος, ὅτι οὐ κατάλογός ἐστιν ἀθλητῶν ὁπόσοις γεγόνασιν Ὀλυμπικαὶ νῖκαι, ἀναθημάτων δὲ ἄλλων τε καὶ εἰκόνων συγγραφή. οὐδὲ ὁπόσων ἑστήκασιν ἀνδριάντες, οὐδὲ τούτοις πᾶσιν ἐπέξειμι, ἐπιστάμενος ὅσοι τῷ παραλόγῳ τοῦ κλήρου καὶ οὐχ ὑπὸ ἰσχύος ἀνείλοντο ἤδη τὸν κότινον: ὁπόσοις δὲ ἢ αὐτοῖς τι εἶχεν ἐς δόξαν ἢ καὶ τοῖς ἀνδριᾶσιν ὑπῆρχεν ἄμεινον ἑτέρων πεποιῆσθαι, τοσαῦτα καὶ αὐτὸς μνησθήσομαι.
[1.2] These I am forced to omit by the nature of my work, which is not a list of athletes who have won Olympic victories, but an account of statues and of votive offerings generally. I shall not even record all those whose statues have been set up, as I know how many have before now won the crown of wild olive not by strength but by the chance of the lot. Those only will be mentioned who themselves gained some distinction, or whose statues happened to be better made than others.
[3] ἔστιν ἐν δεξιᾷ τοῦ ναοῦ τῆς Ἥρας ἀνδρὸς εἰκὼν παλαιστοῦ, γένος δὲ ἦν Ἠλεῖος, Σύμμαχος Αἰσχύλου: παρὰ δὲ αὐτὸν ἐκ Φενεοῦ τῆς Ἀρκάδων Νεολαΐδας Προξένου, πυγμῆς ἐν παισὶν ἀνῃρημένος νίκην: ἐφεξῆς δὲ Ἀρχέδαμος Ξενίου, καταβαλὼν καὶ οὗτος παλαιστὰς παῖδας, γένος καὶ αὐτὸς Ἠλεῖος. τούτων τῶν κατειλεγμένων εἰργάσατο Ἄλυπος τὰς εἰκόνας Σικυώνιος, Ναυκύδους τοῦ Ἀργείου μαθητής.
[1.3] On the right of the temple of Hera is the statue of a wrestler, Symmachus the son of Aeschylus. He was an Elean by birth. Beside him is Neolaidas, son of Proxenus, from Pheneus in Arcadia, who won a victory in the boys’ boxing-match. Next comes Archedamus, son of Xenius, another Elean by birth, who like Symmachus overthrew wrestlers in the contest for boys. The statues of the athletes mentioned above were made by Alypus of Sicyon, pupil of Naucydes of Argos.
[4] Κλεογένην δὲ Σιληνοῦ τὸ ἐπίγραμμα τὸ ἐπ᾽ αὐτῷ φησιν εἶναι τῶν ἐπιχωρίων, ἐκ δὲ ἀγέλης αὐτὸν οἰκείας ἵππῳ κρατῆσαι κέλητι. πλησίον δὲ τοῦ Κλεογένους Δεινόλοχός τε κεῖται Πύρρου τε καὶ Τρωίλος Ἀλκίνου. τούτοις γένος μὲν καὶ αὐτοῖς ἐστιν ἐξ Ἤλιδος, γεγόνασι δέ σφισιν οὐ κατὰ ταὐτὰ αἱ νῖκαι: ἀλλὰ τῷ μὲν ἑλλανοδικεῖν τε ὁμοῦ καὶ ἵππων ὑπῆρξεν ἀνελέσθαι νίκας τῷ Τρωίλῳ δὲ τελείᾳ τε συνωρίδι καὶ πώλων ἅρματι — Ὀλυμπιάδι δὲ ἐκράτει δευτέρᾳ πρὸς ταῖς ἑκατόν,
[1.4] The inscription on Cleogenes the son of Silenus declares that he was a native, and that he won a prize with a riding-horse from his own private stable. Hard by Cleogenes are set up Deinolochus, son of Pyrrhus, and Troilus, son of Alcinous. These also were both Eleans by birth, though their victories were not the same. Troilus, at the time that he was umpire, succeeded in winning victories in the chariot-races, one for a chariot drawn by a full-grown pair and another for a chariot drawn by foals. The date of his victories was the hundred and second Festival.
[5] ἀπὸ τούτου δὲ καὶ νόμος ἐγένετο Ἠλείοις μηδὲ ἵππους τοῦ λοιποῦ τῶν ἑλλανοδικούντων καθιέναι μηδένα — , τούτου μὲν δὴ τὸν ἀνδριάντα ἐποίησε Λύσιππος: ἡ δὲ τοῦ Δεινολόχου μήτηρ εἶδεν ὄψιν ὀνείρατος ὡς ἔχοιτο τοῦ παιδὸς ἐν τοῖς κόλποις ἐστεφανωμένου, καὶ τοῦδε ἕνεκα ἐς τὸν ἀγῶνα ὁ Δεινόλοχος ἠσκήθη καὶ τοὺς παῖδας παρέθει τρέχων. Σικυωνίου δὲ Κλέωνός ἐστιν ἡ εἰκών.
[1.5] After this the Eleans passed a law that in future no umpire was to compete in the chariot-races. The statue of Troilus was made by Lysippus. The mother of Deinolochus had a dream, in which she thought that the son she clasped in her bosom had a crown on his head. For this reason Deinolochus was trained to compete in the games and outran the boys. The artist was Cleon of Sicyon.
[6] ἐς δὲ τὴν Ἀρχιδάμου Κυνίσκαν, ἐς τὸ γένος τε αὐτῆς καὶ ἐπὶ ταῖς Ὀλυμπικαῖς νίκαις, πρότερον ἔτι ἐδήλωσα ἐν τοῖς λόγοις οἳ ἐς τοὺς
βασιλέας τοὺς Λακεδαιμονίων ἔχουσι: πεποίηται δὲ ἐν Ὀλυμπίᾳ παρὰ τὸν ἀνδριάντα τοῦ Τρωίλου λίθου κρηπὶς καὶ ἅρμα τε ἵππων καὶ ἀνὴρ ἡνίοχος καὶ αὐτῆς Κυνίσκας εἰκών, Ἀπελλοῦ τέχνη, γέγραπται δὲ καὶ ἐπιγράμματα ἐς τὴν Κυνίσκαν ἔχοντα.
[1.6] As for Cynisca, daughter of Archidamus, her ancestry and Olympic victories, I have given an account thereof in my history of the Lacedaemonian kings. By the side of the statue of Troilus at Olympia has been made a basement of stone, whereon are a chariot and horses, a charioteer, and a statue of Cynisca herself, made by Apelles; there are also inscriptions relating to Cynisca.
[7] εἰσὶ δὲ Λακεδαιμόνιοι καὶ ἐφεξῆς ἀνακείμενοι τῇ Κυνίσκᾳ, ἵππων νῖκαι γεγόνασιν αὐτοῖς: Ἀνάξανδρος μὲν ἅρματι ἀνηγορεύθη πρῶτος, τὸ δὲ ἐπίγραμμά φησι τὸ ἐπ᾽ αὐτῷ τοῦ πατρὸς τοῦ Ἀναξάνδρου πρότερον ἔτι στεφανωθῆναι τὸν πατέρα πεντάθλῳ. οὗτος μὲν δὴ ἔοικεν εὐχόμενος τῷ θεῷ, Πολυκλῆς δὲ ἐπίκλησιν λαβὼν Πολύχαλκος τεθρίππῳ μὲν καὶ οὗτος ἐκράτησεν, ἡ δὲ εἰκὼν ἐπὶ τῇ χειρὶ ἔχει οἱ τῇ δεξιᾷ ταινίαν:
