Pausanias, Description of Greece, ed. Friedrich Spiro, 5.20

Search the Perseus Catalog for:

View: By Section

← Previous Next →

[1]
ἔστι δὲ ἐνταῦθα καὶ ἄλλα ἀναθήματα, κλίνη τε μέγεθος οὐ μεγάλη, τὰ πολλὰ ἐλέφαντι κεκοσμημένη, καὶ ὁ Ἰφίτου δίσκος καὶ τράπεζα ἐφʼ ἧς προτίθενται τοῖς νικῶσιν οἱ στέφανοι. τὴν μὲν δὴ Ἱπποδαμείας λέγουσιν εἶναι παίγνιον· ὁ δὲ τοῦ Ἰφίτου δίσκος τὴν ἐκεχειρίαν, ἣν ἐπὶ τοῖς Ὀλυμπίοις ἐπαγγέλλουσιν Ἠλεῖοι, ταύτην οὐκ ἐς εὐθὺ ἔχει γεγραμμένην, ἀλλὰ ἐς κύκλου σχῆμα περίεισιν ἐπὶ τῷ δίσκῳ τὰ γράμματα.

[2] ἡ τράπεζα δὲ ἐλέφαντος μὲν πεποίηται καὶ χρυσοῦ, Κωλώτου δέ ἐστιν ἔργον· εἶναι δέ φασιν ἐξ Ἡρακλείας τὸν Κωλώτην, οἱ δὲ πολυπραγμονήσαντες σπουδῇ τὰ ἐς τοὺς πλάστας Πάριον ἀποφαίνουσιν ὄντα αὐτόν, μαθητὴν Πασιτέλους, Πασιτέλη δὲ αὐτὸν διδαχθῆναι . καὶ Ἥρα τε καὶ Ζεὺς καὶ θεῶν Μήτηρ καὶ Ἑρμῆς καὶ Ἀπόλλων μετὰ Ἀρτέμιδος πεποίηται· ὄπισθε δὲ ἡ διάθεσίς ἐστιν ἡ τοῦ ἀγῶνος.

[3] κατὰ δὲ ἑκατέραν πλευρὰν τῇ μὲν Ἀσκληπιὸς καὶ τῶν Ἀσκληπιοῦ θυγατέρων Ὑγεία ἐστίν, ἔτι δὲ καὶ Ἄρης καὶ Ἀγὼν παρʼ αὐτόν, τῇ δὲ Πλούτων καὶ Διόνυσος Περσεφόνη τε καὶ Νύμφαι, σφαῖραν αὐτῶν ἡ ἑτέρα φέρουσα· ἐπὶ δὲ τῇ κλειδὶ —ἔχει γὰρ δὴ ὁ Πλούτων κλεῖν—, λέγουσιν ἐπʼ 0 αὐτῇ τὸν καλούμενον Ἅιδην κεκλεῖσθαί τε ὑπὸ τοῦ Πλούτωνος καὶ ὡς ἐπάνεισιν οὐδεὶς αὖθις ἐξ αὐτοῦ.

[4]
λόγον δέ, ὃν Ἀρίσταρχος ἔλεγεν ὁ τῶν Ὀλυμπίασιν ἐξηγητής, οὔ με εἰκὸς ἦν παριδεῖν· ὃς ἐπὶ τῆς ἡλικίας ἔφη τῆς ἑαυτοῦ τὸν ὄροφον τοῦ Ἡραίου πεπονηκότα ἐπανορθουμένων Ἠλείων ὁπλίτου νεκρὸν τραύματα ἔχοντα μεταξὺ ἀμφοτέρων εὑρεθῆναι, τῆς τε ἐς εὐπρέπειαν στέγης καὶ τῆς ἀνεχούσης τὸν κέραμον· τοῦτον τὸν ἄνδρα μαχέσασθαι τὴν μάχην τὴν ἐντὸς Ἄλτεως πρὸς Λακεδαιμονίους Ἠλείων.

[5] καὶ γὰρ ἐπὶ τῶν θεῶν τὰ ἱερὰ καὶ ἐς πάντα ὁμοίως τὰ ὑψηλὰ ἐπαναβαίνοντες ἠμύνοντο οἱ Ἠλεῖοι. οὗτος δʼ οὖν ὁ ἀνὴρ ἐφαίνετο ἡμῖν ὑποδῦναι μὲν ἐνταῦθα λιποψυχήσας ὑπὸ τραυμάτων· ὡς δὲ ἀφῆκε τὴν ψυχήν, οὐκ ἔμελλεν ἄρα οὔτε πνῖγος θέρους οὔτε ἐν χειμῶνι κρυμὸς ἔσεσθαι τῷ νεκρῷ βλάβος ἅτε ἐν σκέπῃ πάσῃ κειμένῳ. ἔλεγε δὲ καὶ τόδε ἔτι ὁ Ἀρίσταρχος, ὡς ἐκκομίσαιντο ἐς τὸ ἐκτὸς τῆς Ἄλτεως τὸν νεκρὸν καὶ ὁμοῦ τοῖς ὅπλοις γῇ κρύψαιεν.

[6]
ἣν δὲ καλοῦσιν Οἰνομάου κίονα καὶ οἱ Ἠλεῖοι καλοῦσιν, ἔστι μὲν πρὸς τὸ ἱερὸν τοῦ Διὸς ἰόντι ἀπὸ τοῦ μεγάλου βωμοῦ· τέσσαρες δέ εἰσιν ἐν ἀριστερᾷ κίονες καὶ ἐπʼ αὐτῶν ὄροφος, πεποίηνται δὲ ἔρυμα εἶναι ξυλίνῳ κίονι πεπονηκότι ὑπὸ τοῦ χρόνου καὶ τὰ πολλὰ ὑπὸ δεσμῶν συνεχομένῳ. οὗτος ὁ κίων ἐν οἰκίᾳ τοῦ Οἰνομάου, καθὰ λέγουσιν, εἱστήκει· κεραυνώσαντος δὲ τοῦ θεοῦ τὴν μὲν ἄλλην ἠφάνισεν οἰκίαν τὸ πῦρ, ὑπελίπετο δὲ τὸν κίονα ἐξ ἁπάσης μόνον.

[7] πινάκιον δὲ πρὸ αὐτοῦ χαλκοῦν ἐλεγεῖα ἔχει γεγραμμένα· 0

καὶ γὰρ ἐγὼ κεινῶν εἴμʼ ὦ ξένε λείψανον οἴκων,

στυλὶς ἐν Οἰνομάου πρίν ποτʼ ἐοῦσα δόμοις·

νῦν δὲ παρὰ Κρονίδην κεῖμαι τάδʼ ἔχουσα τὰ δεσμὰ

τίμιος· οὐδʼ ὀλοὴ δαίσατο φλόξ με πυρός.

συνέβη δὲ καὶ ἄλλο κατʼ ἐμὲ τοιόνδε.

[8] ἀνὴρ βουλῆς τῆς Ῥωμαίων ἀνείλετο Ὀλυμπικὴν νίκην· ἐθέλων δὲ ὑπολιπέσθαι τῆς νίκης ὑπόμνημα χαλκῆν εἰκόνα σὺν ἐπιγράμματι, ὤρυσσεν ἐς ποίησιν βάθρου· καὶ ὡς ἐγένετο ἐγγύτατα τὸ ὄρυγμα αὐτῷ τῆς τοῦ Οἰνομάου κίονος, ἐνταῦθα εὕρισκον οἱ ὀρύσσοντες καὶ ὅπλων καὶ χαλινῶν καὶ ψαλίων θραύματα.

[9]
ταῦτα μὲν δὴ αὐτὸς ἑώρων ὀρυσσόμενα· ναὸν δὲ μεγέθει οὐ μέγαν καὶ ἐργασίᾳ Δώριον Μητρῷον καὶ ἐς ἐμὲ καλοῦσιν ἔτι, τὸ ὄνομα αὐτῷ διασώζοντες τὸ ἀρχαῖον· κεῖται δὲ οὐκ ἄγαλμα ἐν αὐτῷ θεῶν Μητρός, βασιλέων δὲ ἑστήκασιν ἀνδριάντες Ῥωμαίων. ἔστι δὲ ἐντὸς τῆς Ἄλτεως τό τε Μητρῷον καὶ οἴκημα περιφερὲς ὀνομαζόμενον Φιλιππεῖον· ἐπὶ κορυφῇ δέ ἐστι τοῦ Φιλιππείου μήκων χαλκῆ σύνδεσμος ταῖς δοκοῖς.

[10] τοῦτο τὸ οἴκημα ἔστι μὲν κατὰ τὴν ἔξοδον τὴν κατὰ τὸ πρυτανεῖον ἐν ἀριστερᾷ, πεποίηται δὲ ὀπτῆς πλίνθου, κίονες δὲ περὶ αὐτὸ ἑστήκασι· Φιλίππῳ δὲ ἐποιήθη μετὰ τὸ ἐν Χαιρωνείᾳ τὴν Ἑλλάδα ὀλισθεῖν. κεῖνται δὲ αὐτόθι Φίλιππός τε καὶ Ἀλέξανδρος, σὺν δὲ αὐτοῖς Ἀμύντας ὁ Φιλίππου πατήρ· ἔργα δέ ἐστι καὶ ταῦτα Λεωχάρους ἐλέφαντος καὶ χρυσοῦ, καθὰ καὶ τῆς Ὀλυμπιάδος καὶ Εὐρυδίκης εἰσὶν αἱ εἰκόνες. 0

Description of Greece. Pausanias. ed. Friedrich Spiro. Leipzig. 1903.

Sponsored by Perseus Project, Tufts University.

Funding provided by The Annenberg CPB/Project.

Current edition Perseus

Ἑλλάδος Περιηγήσεως (Greek) (Pausanias. Pausaniae Graeciae descriptio, Volumes 1-3. Spiro, Friedrich, editor. Leipzig: Teubner, 1903.)

Translations (2)

Description of Greece Perseus (Pausanias. Pausanias Description of Greece, Volumes 1-4. Jones, W.H.S. (William Henry Samuel), translator; Ormerod, Henry Arderne, translator. London, New York: W. Heinemann, G.P. Putnam's Sons, 1918-1935.) — 5.20 focus

[1]
There are here other offerings also: a couch of no great size and for the most part adorned with ivory; the quoit of Iphitus; a table on which are set out the crowns for the victors. The couch is said to have been a toy of Hippodameia. The quoit of Iphitus has inscribed upon it the truce which the Eleans proclaim at the Olympic festivals; the inscription is not written in a straight line, but the letters run in a circle round the quoit.

[2] The table is made of ivory and gold, and is the work of Colotes.¹ Colotes is said to have been a native of Heracleia, but specialists in the history of sculpture maintain that he was a Parian, a pupil of Pasiteles, who himself was a pupil of.... There are figures of Hera, Zeus, the Mother of the gods, Hermes, and Apollo with Artemis. Behind is the disposition of the games.

[3] On one side are Asclepius and Health, one of his daughters; Ares too and Contest by his side; on the other are Pluto, Dionysus, Persephone and nymphs, one of them carrying a ball. As to the key (Pluto holds a key) they say that what is called Hades has been locked up by Pluto, and that nobody will return back again therefrom.

[4]
I must not omit the story told by Aristarchus, the guide to the sights at Olympia . He said that in his day the roof of the Heraeum had fallen into decay. When the Eleans were repairing it, the corpse of a foot-soldier with wounds was discovered between the roof supporting the tiles and the ornamented ceiling. This soldier took part in the battle in the Altis between the Eleans and the Lacedaemonians.²

[5] The Eleans in fact climbed to defend themselves on to all high places alike, including the sanctuaries of the gods. At any rate this soldier seemed to us to have crept under here after growing faint with his wounds, and so died. Lying in a completely sheltered spot the corpse would suffer harm neither from the heat of summer nor from the frost of winter. Aristarchus said further that they carried the corpse outside the Altis and buried him in the earth along with his armour.

[6]
What the Eleans call the pillar of Oenomaus is in the direction of the sanctuary of Zeus as you go from the great altar. On the left are four pillars with a roof on them, the whole constructed to protect a wooden pillar which has decayed through age, being for the most part held together by bands. This pillar, so runs the tale, stood in the house of Oenomaus. Struck by lightning the rest of the house was destroyed by the fire; of all the building only this pillar was left.

[7] A bronze tablet in front of it has the following elegiac inscription:—

Stranger, I am a remnant of a famous house,

I, who once was a pillar in the house of Oenomaus;

Now by Cronus' son I lie with these bands upon me,

A precious thing, and the baleful flame of fire consumed me not.

In my time another incident took place, which I will relate.

[8] A Roman senator won an Olympic victory. Wishing to leave behind, as a memorial of his victory, a bronze statue with an inscription, he proceeded to dig, so as to make a foundation. When his excavation came very close to the pillar of Oenomaus, the diggers found there fragments of armour, bridles and curbs.

[9]
These I saw myself as they were being dug out. A temple of no great size in the Doric style they have called down to the present day Metroum,³ keeping its ancient name. No image lies in it of the Mother of the gods, but there stand in it statues of Roman emperors. The Metroum is within the Altis, and so is a round building called the Philippeum. On the roof of the Philippeum is a bronze poppy which binds the beams together.

[10] This building is on the left of the exit over against the Town Hall . It is made of burnt brick and is surrounded by columns. It was built by Philip after the fall of Greece at Chaeroneia. Here are set statues of Philip and Alexander, and with them is Amyntas, Philip's father. These works too are by Leochares, and are of ivory and gold, as are the statues of Olympias and Eurydice.

English (Jones and Ormerod; retranslated Gregory Nagy, CHS, 2018) (OCR draft) Experimental (CHS Pausanias Reader retranslation by Gregory Nagy, based on Jones and Ormerod, with marked Greek terms, notes, quotations, and bibliographic attributions preserved.) — 5.20 focus

[1] There are here other offerings also: a couch of no great size and for the most part adorned with ivory; the discus of Iphitos; a table on which are set out the garlands for the victors. The couch is said to have been a toy of Hippodameia. The discus of Iphitos has inscribed upon it the truce which the Eleians proclaim at the Olympic festivals; the inscription is not written in a straight line, but the letters run in a circle round the discus.

[2] The table is made of ivory and gold, and is the work of Kolotes. Kolotes is said to have been a native of Herakleia, but specialists in the history of sculpture maintain that he was a Parian, a pupil of Pasiteles, who himself was a pupil of There are figures of Hērā, Zeus, the Mother of the gods, Hermes, and Apollo with Artemis. Behind is the disposition of the Games.

[3] On one side are Asklepios and Hygieia, one of his daughters; Ares too and Contest by his side; on the other are Pluto [Ploutōn], Dionysus, Persephone and nymphs, one of them carrying a ball. As to the key (Pluto [Ploutōn] holds a key) they say that what is called Hades has been locked up by Pluto [Ploutōn], and that nobody will return back again therefrom.

[4] I must not omit the story told by Aristarkhos, the guide to the sights at Olympia. He said that in his day the roof of the Hēraion had fallen into decay. When the Eleians were repairing it, the corpse of a foot soldier with wounds was discovered between the roof supporting the tiles and the ornamented ceiling. This soldier took part in the battle in the Altis between the Eleians and the Lacedaemonians.

[5] The Eleians in fact climbed to defend themselves on to all high places alike, including the sanctuaries of the gods. At any rate, this soldier seemed to us to have crept under here after growing faint with his wounds, and so died. Lying in a completely sheltered spot, the corpse would suffer harm neither from the heat of summer nor from the frost of winter. Aristarkhos said further that they carried the corpse outside the Altis and buried him in the earth along with his armor.

[6] What the Eleians call the column of Oinomaos is in the direction of the sanctuary of Zeus as you go from the great altar. On the left are four columns with a roof on them, the whole constructed to protect a wooden column which has decayed through age, being for the most part held together by bands. This column, so runs the tale, stood in the house of Oinomaos. Struck by lightning the rest of the house was destroyed by the fire; of all the building only this column was left.

[7] A bronze tablet in front of it has the following elegiac inscription:

Stranger, I am a remnant of a famous house,
I, who once was a column in the house of Oinomaos;
Now by Kronos’ son I lie with these bands upon me,
A precious thing, and the baleful flame of fire consumed me not.
In my time another incident took place, which I will relate.

[8] A Roman senator won an Olympic victory. Wishing to leave behind, as a memorial of his victory, a bronze statue with an inscription, he proceeded to dig, so as to make a foundation. When his excavation came very close to the column of Oinomaos, the diggers found there fragments of armor, bridles and curbs.

[9] These I saw myself as they were being dug out. A temple of no great size in the Doric style they have called down to the present day Mētrōon, keeping its ancient name. No image lies in it of the Mother of the gods, but there stand in it statues of Roman emperors. The Mētrōon is within the Altis, and so is a round building called the Philippeion. On the roof of the Philippeion is a bronze poppy which binds the beams together.

[10] This building is on the left of the exit over against the Town Hall. It is made of burned brick and is surrounded by columns. It was built by Philip after the fall of Greece at Khairōneia. Here are set statues of Philip and Alexander, and with them is Amyntas, Philip’s father. These works too are by Leokhares and are of ivory and gold, as are the statues of Olympias and Eurydikē.

New Alexandria Commentaries

Gregory Nagy, Editors: Angelia Hanhardt and Keith DeStone, Web producer: Noel Spencer, Consultant for images: Jill Curry Robbins, \[\[Noel gives this a separate URN\]\]

Pausanias Description of Greece 5.20

ed. Friedrich Spiro

Search the Perseus Catalog for:

Current edition Perseus

New Alexandria Commentaries

Stable identifiers