Pausanias, Description of Greece, ed. Friedrich Spiro, 6.20

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[1]
τὸ δὲ ὄρος τὸ Κρόνιον κατὰ τὰ ἤδη λελεγμένα μοι παρὰ τὴν κρηπῖδα καὶ τοὺς ἐπʼ αὐτῇ παρήκει θησαυρούς. ἐπὶ δὲ τοῦ ὄρους τῇ κορυφῇ θύουσιν οἱ Βασίλαι καλούμενοι τῷ Κρόνῳ κατὰ ἰσημερίαν τὴν ἐν τῷ ἦρι, Ἐλαφίῳ μηνὶ παρὰ Ἠλείοις.

[2] ἐν δὲ τοῖς πέρασι τοῦ Κρονίου κατὰ τὸ πρὸς τὴν ἄρκτον ἔστιν ἐν μέσῳ τῶν θησαυρῶν καὶ τοῦ ὄρους ἱερὸν Εἰλειθυίας, ἐν δὲ αὐτῷ Σωσίπολις Ἠλείοις ἐπιχώριος δαίμων ἔχει τιμάς. τὴν μὲν δὴ Εἰλείθυιαν ἐπονομάζοντες Ὀλυμπίαν, ἱερασομένην αἱροῦνται τῇ θεῷ κατὰ ἔτος ἕκαστον· ἡ δὲ πρεσβῦτις ἡ θεραπεύουσα τὸν Σωσίπολιν νόμῳ τε 0 ἁγιστεύει τῷ Ἠλείων καὶ αὐτὴ λουτρά τε ἐσφέρει τῷ θεῷ καὶ μάζας κατατίθησιν αὐτῷ μεμαγμένας μέλιτι.

[3] ἐν μὲν δὴ τῷ ἔμπροσθεν τοῦ ναοῦ—διπλοῦς γὰρ δὴ πεποίηται—τῆς τε Εἰλειθυίας βωμὸς καὶ ἔσοδος ἐς αὐτό ἐστιν ἀνθρώποις· ἐν δὲ τῷ ἐντὸς ὁ Σωσίπολις ἔχει τιμάς, καὶ ἐς αὐτὸ ἔσοδος οὐκ ἔστι πλὴν τῇ θεραπευούσῃ τὸν θεὸν ἐπὶ τὴν κεφαλὴν καὶ τὸ πρόσωπον ἐφειλκυσμένῃ ὕφος λευκόν· παρθένοι δὲ ἐν τῷ τῆς Εἰλειθυίας ὑπομένουσαι καὶ γυναῖκες ὕμνον ᾄδουσι, καθαγίζους αι δὲ καὶ θυμιάματα παντοῖα αὐτῷ ἐπισπένδειν οὐ νομίζουσιν οἶνον. καὶ ὅρκος παρὰ τῷ Σωσιπόλιδι ἐπὶ μεγίστοις καθέστηκεν.

[4] λέγεται δὲ καὶ Ἀρκάδων ἐς τὴν Ἠλείαν ἐσβεβληκότων στρατιᾷ καὶ τῶν Ἠλείων σφίσιν ἀντικαθημένων γυναῖκα ἀφικομένην παρὰ τῶν Ἠλείων τοὺς στρατηγούς, νήπιον παῖδα ἔχουσαν ἐπὶ τῷ μαστῷ, λέγειν ὡς τέκοι μὲν αὐτὴ τὸν παῖδα, διδοίη δὲ ἐξ ὀνειράτων συμμαχήσοντα Ἠλείοις. οἱ δὲ ἐν ταῖς ἀρχαῖς—πιστὰ γὰρ τὴν ἄνθρωπον ἡγοῦντο εἰρηκέναι—τιθέασι τὸ παιδίον πρὸ τοῦ στρατεύματος γυμνόν.

[5] ἐπῄεσάν τε δὴ οἱ Ἀρκάδες καὶ τὸ παιδίον ἐνταῦθα ἤδη δράκων ἦν· ταραχθεῖσι δὲ ἐπὶ τῷ θεάματι τοῖς Ἀρκάσι καὶ ἐνδοῦσιν ἐς φυγὴν ἐπέκειντο οἱ Ἠλεῖοι, καὶ νίκην τε ἐπιφανεστάτην ἀνείλοντο καὶ ὄνομα τῷ θεῷ τίθενται Σωσίπολιν. ἔνθα δέ σφισιν ὁ δράκων ἔδοξεν ἐσδῦναι μετὰ τὴν μάχην, τὸ ἱερὸν ἐποίησαν ἐνταῦθα· σὺν δὲ αὐτῷ σέβεσθαι καὶ τὴν Εἰλείθυιαν ἐνόμισαν, ὅτι τὸν παῖδά σφισιν ἡ θεὸς αὕτη προήγαγεν ἐς ἀνθρώπους.

[6] τοῖς δὲ τῶν Ἀρκάδων 0 ἀποθανοῦσιν ἐν τῇ μάχῃ ἐστὶ τὸ μνῆμα ἐπὶ τοῦ λόφου διαβάντων τὸν Κλάδεον ὡς ἐπὶ ἡλίου δυσμάς. πλησίον δὲ τῆς Εἰλειθυίας ἐρείπια Ἀφροδίτης Οὐρανίας ἱεροῦ λείπεται, θύουσι δὲ καὶ αὐτόθι ἐπὶ τῶν βωμῶν.

[7]
ἔστι δὲ ἐντὸς τῆς Ἄλτεως κατὰ τὴν πομπικὴν ἔσοδον Ἱπποδάμειον καλούμενον, ὅσον πλέθρου χωρίον περιεχόμενον θριγκῷ· ἐς τοῦτο ἅπαξ κατὰ ἔτος ἕκαστον ἔστι ταῖς γυναιξὶν ἔσοδος, αἳ θύουσι τῇ Ἱπποδαμείᾳ καὶ ἄλλα ἐς τιμὴν δρῶσιν αὐτῆς. τὴν δὲ Ἱπποδάμειάν φασιν ἐς Μιδέαν τὴν ἐν τῇ Ἀργολίδι ἀποχωρῆσαι, ἅτε τοῦ Πέλοπος ἐπὶ τῷ Χρυσίππου θανάτῳ μάλιστα ἐς ἐκείνην ἔχοντος τὴν ὀργήν· αὐτοὶ δὲ ὕστερον ἐκ μαντείας κομίσαι φασὶ τῆς Ἱπποδαμείας τὰ ὀστᾶ ἐν Ὀλυμπίᾳ.

[8] ἔστι δὲ ἐπὶ τῷ πέρατι τῶν ἀγαλμάτων ἃ ἐπὶ ζημίαις ἐποιήσαντο ἀθλητῶν, ἐπὶ τούτῳ τῷ πέρατί ἐστιν ἣν Κρυπτὴν ὀνομάζουσιν ἔσοδον· διὰ δὲ αὐτῆς τούς τε Ἑλλανοδίκας ἐσιέναι ἐς τὸ στάδιον καὶ τοὺς ἀγωνιστάς. τὸ μὲν δὴ στάδιον γῆς χῶμά ἐστι, πεποίηται δὲ ἐν αὐτῷ καθέδρα τοῖς τιθεῖσι τὸν ἀγῶνα. ἔστι δὲ ἀπαντικρὺ τῶν Ἑλλανοδικῶν βωμὸς λίθου λευκοῦ·

[9] ἐπὶ τούτου καθεζομένη τοῦ βωμοῦ θεᾶται γυνὴ τὰ Ὀλύμπια, ἱέρεια Δήμητρος Χαμύνης, τιμὴν ταύτη ν ἄλλοτε ἄλλη ν λαμβάνουσα παρὰ Ἠλείων. παρθένους δὲ οὐκ εἴργουσι θεᾶσθαι. πρὸς δὲ τοῦ σταδίου τῷ πέρατι, ᾗ τοῖς σταδιαδρόμοις ἄφεσις πεποίηται, Ἐνδυμίωνος μνῆμα ἐνταῦθα λόγῳ Ἠλείων ἐστίν.

[10]
ὑπερβάλλοντι δὲ ἐκ τοῦ σταδίου, καθότι οἱ
Ἑλλανοδίκαι καθέζονται, κατὰ τοῦτο τὸ χωρίον ἐς τῶν ἵππων ἀνειμένον τοὺς δρόμους καὶ ἡ ἄφεσίς ἐστι τῶν ἵππων. παρέχεται μὲν οὖν σχῆμα ἡ ἄφεσις κατὰ πρῷραν νεώς, τέτραπται δὲ αὐτῆς τὸ ἔμβολον ἐς τὸν δρόμον· καθότι δὲ τῇ Ἀγνάπτου στοᾷ προσεχής ἐστιν ἡ πρῷρα, κατὰ τοῦτο εὐρεῖα γίνεται, δελφὶς δὲ ἐπὶ κανόνος κατὰ ἄκρον μάλιστα τὸ ἔμβολον πεποίηται χαλκοῦς.

[11] ἑκατέρα μὲν δὴ πλευρὰ τῆς ἀφέσεως πλέον ἢ τετρακοσίους πόδας παρέχεται τοῦ μήκους, ᾠκοδόμηται δὲ ἐν αὐταῖς οἰκήματα· ταῦτα τὰ κλήρῳ τὰ οἰκήματα διαλαγχάνουσιν οἱ ἐσιόντες ἐς τὸν ἀγῶνα τῶν ἵππων. πρὸ δὲ τῶν ἁρμάτων ἢ καὶ ἵππων τῶν κελήτων, διήκει πρὸ αὐτῶν καλῴδιον ἀντὶ ὕσπληγος· βωμὸς δὲ ὠμῆς πλίνθου τὰ ἐκτὸς κεκονιαμένος ἐπὶ ἑκάστης Ὀλυμπιάδος ποιεῖται κατὰ τὴν πρῷραν μάλιστά που μέσην, ἀετὸς

[12] δὲ ἐπὶ τῷ βωμῷ χαλκοῦς κεῖται τὰ πτερὰ ἐπὶ μήκιστον ἐκτείνων. ἀνακινεῖ μὲν δὴ τὸ ἐν τῷ βωμῷ μηχάνημα ὁ τεταγμένος ἐπὶ τῷ δρόμῳ· ἀνακινηθέντος δὲ ὁ μὲν ἐς τὸ ἄνω πεποίηται πηδᾶν ὁ ἀετός, ὡς τοῖς ἥκουσιν ἐπὶ τὴν θέαν γενέσθαι σύνοπτος, ὁ δελφὶς δὲ ἐς ἔδαφος πίπτει.

[13] πρῶται μὲν δὴ ἑκατέρωθεν αἱ πρὸς τῇ στοᾷ τῇ Ἀγνάπτου χαλῶσιν ὕσπληγες, καὶ οἱ κατὰ ταύτας ἑστηκότες ἐκθέουσιν ἵπποι πρῶτοι· θέοντές τε δὴ γίνονται κατὰ τοὺς εἰληχότας ἑστάναι τὴν δευτέραν τάξιν, καὶ τηνικαῦτα χαλῶσιν αἱ ὕσπληγες αἱ ἐν τῇ δευτέρᾳ τάξει· διὰ πάντων τε κατὰ τὸν αὐτὸν λόγον συμβαίνει τῶν ἵππων, ἔστʼ ἂν ἐξισωθῶσιν ἀλλήλοις 0 κατὰ τῆς πρῴρας τὸ ἔμβολον· τὸ ἀπὸ τούτου δὲ ἤδη καθέστηκεν ἐπίδειξις ἐπιστήμης τε ἡνιόχων καὶ ἵππων ὠκύτητος.

[14] τὸ μὲν δὴ ἐξ ἀρχῆς Κλεοίτας ἐστὶν ἄφεσιν μηχανησάμενος, καὶ φρονῆσαί γε φαίνεται ἐπὶ τῷ εὑρήματι, ὡς καὶ ἐπίγραμμα ἐπὶ ἀνδριάντι τῷ Ἀθήνῃσιν ἐπιγράψαι

ὃς τὴν ἱππάφεσιν ἐν Ὀλυμπίᾳ εὕρατο πρῶτος,

τεῦξέ με Κλεοίτας υἱὸς Ἀριστοκλέους·

Κλεοίτα δέ φασιν ὕστερον Ἀριστείδην σοφίαν τινὰ καὶ αὐτὸν ἐς τὸ μηχάνημα ἐσενέγκασθαι.

[15]
παρεχομένου δὲ τοῦ ἱπποδρόμου παρήκουσαν ἐς πλέον τὴν ἑτέραν τῶν πλευρῶν, ἔστιν ἐπὶ τῆς μείζονος πλευρᾶς, οὔσης χώματος, κατὰ τὴν διέξοδον τὴν διὰ τοῦ χώματος τὸ τῶν ἵππων δεῖμα ὁ Ταράξιππος. σχῆμα μὲν βωμοῦ περιφεροῦς ἐστι, παραθέοντας δὲ κατὰ τοῦτο τοὺς ἵππους φόβος τε αὐτίκα ἰσχυρὸς ἀπʼ οὐδεμιᾶς προφάσεως φανερᾶς καὶ ἀπὸ τοῦ φόβου λαμβάνει ταραχή, τά τε δὴ ἅρματα καταγνύουσιν ὡς ἐπίπαν καὶ οἱ ἡνίοχοι τιτρώσκονται· καὶ τοῦδε ἡνίοχοι ἕνεκα θυσίας θύουσι καὶ γενέσθαι σφίσιν ἵλεων εὔχονται τὸν Ταράξιππον.

[16] Ἕλληνες δὲ οὐ κατὰ τὰ αὐτὰ νομίζουσιν ἐς τὸν Ταράξιππον, ἀλλʼ οἱ μὲν εἶναι τάφον ἀνδρὸς αὐτόχθονος καὶ ἀγαθοῦ τὰ ἐς ἱππικήν— καὶ ὄνομα Ὠλένιον αὐτῷ τίθενται, ἀπὸ τούτου δὲ καὶ τὴν Ὠλενίαν ἐν τῇ Ἠλείᾳ πέτραν φασὶν ὀνομασθῆναι—, οἱ δὲ τὸν Φλιοῦντος Δαμέωνα μετασχόντα Ἡρακλεῖ τῆς ἐπὶ Αὐγέαν καὶ Ἠλείους στρατείας αὐτόν τε ἀποθανεῖν καὶ τὸν ἵππον ἐφʼ ᾧ ἐπωχεῖτο ὑπὸ Κτεάτου λέγουσι 0 τοῦ Ἄκτορος, καὶ τὸ μνῆμα κοινὸν Δαμέωνι καὶ τῷ ἵππῳ γενέσθαι.

[17] λέγουσι δὲ καὶ ὡς Μυρτίλῳ κενὸν ἐνταῦθα ἠρίον ποιήσειε Πέλοψ καὶ θύσειέ τε αὐτῷ τὸ ἐπὶ τῷ φόνῳ μήνιμα ἰώμενος καὶ ἐπονομάσαι Ταράξιππον, ὅτι τῷ Οἰνομάῳ διὰ τοῦ Μυρτίλου τῆς τέχνης ἐταράχθησαν αἱ ἵπποι· τοῖς δέ ἐστιν εἰρημένον ὡς αὐτὸς Οἰνόμαος ὁ τοὺς ἱππεύοντάς ἐστιν ἐν τῷ δρόμῳ βλάπτων. ἤκουσα δὲ καὶ ἐς τὸν Πορθάονος Ἀλκάθουν ἀγόντων τὴν αἰτίαν, ὡς ἐνταῦθα μέρη λάβοι γῆς ὁ Ἀλκάθους ἀποθανὼν ὑπὸ Οἰνομάου τῶν Ἱπποδαμείας γάμων ἕνεκα· ἅτε δὲ ἀτυχήσαντα ἐν ἱπποδρόμῳ, βάσκανόν τε εἶναι τοῖς ἱππεύουσι καὶ οὐκ εὐμενῆ δαίμονα.

[18] ἀνὴρ δὲ Αἰγύπτιος Πέλοπα ἔφη παρὰ τοῦ Θηβαίου λαβόντα Ἀμφίονος κατορύξαι τι ἐνταῦθα, ἔνθα καλοῦσι τὸν Ταράξιππον, καὶ ὑπὸ τοῦ κατορωρυγμένου ταραχθῆναι μὲν τῷ Οἰνομάῳ τότε, ταράσσεσθαι δὲ καὶ ὕστερον τοῖς πᾶσι τὰς ἵππους· ἠξίου δὲ οὗτος ὁ Αἰγύπτιος εἶναι μὲν Ἀμφίονα, εἶναι δὲ καὶ τὸν Θρᾷκα Ὀρφέα μαγεῦσαι δεινόν, καὶ αὐτοῖς ἐπᾴδουσι θηρία τε ἀφικνεῖσθαι τῷ Ὀρφεῖ καὶ Ἀμφίονι ἐς τὰς τοῦ τείχους οἰκοδομίας τὰς πέτρας. ὁ δὲ πιθανώτατος ἐμοὶ δοκεῖν τῶν λόγων Ποσειδῶνος ἐπίκλησιν εἶναι τοῦ Ἱππίου φησίν.

[19] ἔστι δὲ καὶ ἐν Ἰσθμῷ Ταράξιππος Γλαῦκος ὁ Σισύφου· γενέσθαι δὲ αὐτῷ τὴν τελευτὴν λέγουσιν ὑπὸ τῶν ἵππων, ὅτε Ἄκαστος τὰ ἆθλα ἔθηκεν ἐπὶ τῷ πατρί. ἐν Νεμέᾳ δὲ τῇ Ἀργείων ἥρως μὲν ἦν οὐδεὶς ὅστις ἔβλαπτε τοὺς ἵππους· πέτρας δὲ ὑπὲρ τῶν ἵππων τὴν καμπὴν ἀνεστηκυίας χρόαν πυρρᾶς, ἡ ἀπʼ 0 αὐτῆς αὐγὴ κατὰ ταὐτὰ καὶ εἰ πῦρ ἐνεποίει φόβον τοῖς ἵπποις. ἀλλὰ γὰρ ὁ ἐν Ὀλυμπίᾳ Ταράξιππος πολὺ δή τι ὑπερηρκώς ἐστιν ἐς ἵππων φόβον. ἐπὶ δὲ νύσσης μιᾶς Ἱπποδαμείας ἐστὶν εἰκὼν χαλκῆ, ταινίαν τε ἔχουσα καὶ ἀναδεῖν τὸν Πέλοπα μέλλουσα ἐπὶ τῇ νίκῃ.

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.) — 6.20 focus

[1]
Mount Cronius, as I have already said, extends parallel to the terrace with the treasuries on it. On the summit of the mountain the Basilae, as they are called, sacrifice to Cronus at the spring equinox, in the month called Elaphius among the Eleans.

[2] At the foot of Mount Cronius, on the north...,¹ between the treasuries and the mountain, is a sanctuary of Eileithyia, and in it Sosipolis,² a native Elean deity, is worshipped. Now they surname Eileithyia Olympian, and choose a priestess for the goddess every year. The old woman who tends Sosipolis herself too by an Elean custom lives in chastity, bringing water for the god's bath and setting before him barley cakes kneaded with honey.

[3] In the front part of the temple, for it is built in two parts, is an altar of Eileithyia and an entrance for the public; in the inner Part Sosipolis is worshipped, and no one may enter it except the woman who tends the god, and she must wrap her head and face in a white veil. Maidens and matrons wait in the sanctuary of Eileithyia chanting a hymn; they burn all manner of incense to the god, but it is not the custom to pour libations of wine. An oath is taken by Sosipolis on the most important occasions.

[4] The story is that when the Arcadians had invaded the land of Elis , and the Eleans were set in array against them, a woman came to the Elean generals, holding a baby to her breast, who said that she was the mother of the child but that she gave him, because of dreams, to fight for the Eleans. The Elean officers believed that the woman was to be trusted, and placed the child before the army naked.

[5] When the Arcadians came on, the child turned at once into a snake. Thrown into disorder at the sight, the Arcadians turned and fled, and were attacked by the Eleans, who won a very famous victory, and so call the god Sosipolis. On the spot where after the battle the snake seemed to them to go into the ground they made the sanctuary. With him the Eleans resolved to worship Eileithyia also, because this goddess to help them brought her son forth unto men.

[6] The tomb of the Arcadians who were killed in the battle is on the hill across the Cladeus to the west. Near to the sanctuary of Eileithyia are the remains of the sanctuary of Heavenly Aphrodite, and there too they sacrifice upon the altars.

[7]
There is within the Altis by the processional entrance the Hippodameium, as it is called, about a quarter of an acre of ground surrounded by a wall. Into it once every year the women may enter, who sacrifice to Hippodameia, and do her honor in other ways. The story is that Hippodameia withdrew to Midea in Argolis , because Pelops was very angry with her over the death of Chrysippus. The Eleans declare that subsequently, because of an oracle, they brought the bones of Hippodameia to Olympia .

[8] At the end of the statues which they made from the fines levied on athletes, there is the entrance called the Hidden Entrance. Through it umpires and competitors are wont to enter the stadium. Now the stadium is an embankment of earth, and on it is a seat for the presidents of the games. Opposite the umpires is an altar of white marble;

[9] seated on this altar a woman looks on at the Olympic games, the priestess of Demeter Chamyne, which office the Eleans bestow from time to time on different women. Maidens are not debarred from looking on at the games. At the end of the stadium, where is the starting-place for the runners, there is, the Eleans say, the tomb of Endymion.

[10]
When you have passed beyond the stadium, at the point where the umpires sit, is a place set apart for the horse-races, and also the starting-place for the horses. The starting-place is in the shape of the prow of a ship, and its prow is turned towards the course. At the point where the prow adjoins the porch of Agnaptus it broadens and a bronze dolphin on a rod has been made at the very point of the ram.

[11] Each side of the starting-place is more than four hundred feet in length, and in the sides are built stalls. These stalls are assigned by lot to those who enter for the races. Before the chariots or race-horses is stretched a cord as a barrier. An altar of unburnt brick, plastered on the outside, is made at every Festival as near as possible to the center of the prow,

[12] and a bronze eagle stands on the altar with his wings stretched out to the fullest extent. The man appointed to start the racing sets in motion the mechanism in the altar, and then the eagle has been made to jump upwards, so as to become visible to the spectators, while the dolphin falls to the ground.

[13] First on either side the barriers are withdrawn by the porch of Agnaptus, and the horses standing thereby run off first. As they run they reach those to whom the second station has been allotted, and then are withdrawn the barriers at the second station. The same thing happens to all the horses in turn, until at the ram of the prow they are all abreast. After this it is left to the charioteers to display their skill and the horses their speed.

[14] It was Cleoetas who originally devised the method of starting, and he appears to have been proud of the discovery, as on the statue at Athens he wrote the inscription:—

Who first invented the method of starting the horses at Olympia ,

He made me, Cleoetas the son of Aristocles.

It is said that after Cleoetas some further device was added to the mechanism by Aristeides.

[15]
The race-course has one side longer than the other, and on the longer side, which is a bank, there stands, at the passage through the bank, Taraxippus, the terror of the horses. It has the shape of a round altar, and as they run along the horses are seized, as soon as they reach this point, by a great fear without any apparent reason. The fear leads to disorder; the chariots generally crash and the charioteers are injured. Consequently the charioteers offer sacrifice, and pray that Taraxippus may show himself propitious to them.

[16] The Greeks differ in their view of Taraxippus. Some hold that it is the tomb of an original inhabitant who was skilled in horsemanship; they call him Olenius, and say that after him was named the Olenian rock in the land of Elis . Others say that Dameon, son of Phlius, who took part in the expedition of Heracles against Augeas and the Eleans, was killed along with his charger by Cteatus the son of Actor, and that man and horse were buried in the same tomb.

[17] There is also a story that Pelops made here an empty mound in honor of Myrtilus, and sacrificed to him in an effort to calm the anger of the murdered man, naming the mound³ Taraxippus (Frightener of horses) because the mares of Oenomaus were frightened by the trick of Myrtilus. Some say that it is Oenomaus himself who harms the racers in the course. I have also heard some attach the blame to Alcathus, the son of Porthaon. Killed by Oenomaus because he wooed Hippodameia, Alcathus, they say, here got his portion of earth; having been unsuccessful on the course, he is a spiteful and hostile deity to chariot-drivers.

[18] A man of Egypt said that Pelops received something from Amphion the Theban and buried it where is what they call Taraxippus, adding that it was the buried thing which frightened the mares of Oenomaus, as well as those of every charioteer since. This Egyptian thought that Amphion and the Thracian Orpheus were clever magicians, and that it was through their enchantments that the beasts came to Orpheus, and the stones came to Amphion for the building of the wall. The most probable of the stories in my opinion makes Taraxippus a surname of Horse Poseidon.

[19] There is another Taraxippus at the Isthmus, namely Glaucus, the son of Sisyphus. They say that he was killed by his horses, when Acastus held his contests in honor of his father. At Nemea of the Argives there was no hero who harmed the horses, but above the turning-point of the chariots rose a rock, red in color, and the flash from it terrified the horses, just as though it had been fire. But the Taraxippus at Olympia is much worse for terrifying the horses. On one turning-post is a bronze statue of Hippodameia carrying a ribbon, and about to crown Pelops with it for his victory.

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.) — 6.20 focus

[1] Mount Kronion, as I have already said, extends parallel to the terrace with the treasuries on it. On the summit of the mountain the Basilai, as they are called, sacrifice to Kronos at the spring equinox, in the month called Elaphios among the Eleians.

[2] Within the periphery of [Mount] Kronion, on the north, between the treasuries [ thēsauroi] and the mountain [ oros, = Mount Kronion], is a sanctuary [ hieron] of Eileithuia, and in it Sosipolis [‘savior of the polis’], a local [ epi-khōrios] superhuman force [ daimōn] of Elis, receives honors [ tīmai]. Now they give to Eileithuia the surname Olympian [ Olumpiā], and choose a priestess for the goddess every year. As for the senior priestess who cares for [ therapeuein] Sosipolis, she lives a pure ritual life [ hagisteuei], in accordance with the customary laws of Elis, bringing to the god [ theos] water for washing, and she deposits for him barley cakes [ mazai] kneaded with honey [ meli].

[3] In the front part of the temple [ nāos], for it is built in two parts, is an altar [ bōmos] of Eileithuia and an entrance for humans [ anthrōpoi]; in the inner part, Sosipolis receives honors [ tīmai], and no one may enter it except the woman who cares for [ therapeuein] the god [ theos], and she must wrap her head and face in a white fabric [ huphos]. Girls [ parthenoi] and women [ gunaikes] wait in the sanctuary of Eileithuia, singing a hymn [ humnos]; they burn all manner of incense to him [Sosipolis], but it is not the custom to pour libations of wine. An oath is taken in the name of Sosipolis on the most important occasions.

[4] The story is that when the Arcadians had invaded the land of Elis, and the Eleians were set in array against them, a woman came to the Eleian generals, holding a baby to her breast, who said that she was the mother of the child but that she gave him, because of dreams, to fight for the Eleians. The Eleian officers believed that the woman was to be trusted, and placed the child before the army naked.

[5] When the Arcadians attacked, the child turned at once into a snake [ drakōn]. Thrown into disorder at the sight, the Arcadians turned and fled, and were attacked by the Eleians, who won a very famous victory, and so call the god Sosipolis [‘savior of the polis’]. On the spot where after the battle the snake [ drakōn] seemed to them to go into the ground, they made the sanctuary [ hieron]. Along with him, the Eleians established the custom [ nomizein] of worshipping [ sebesthai] Eileithuia also, because this goddess [ theos] produced her son for humans [ anthrōpoi].

[6] The tomb of the Arcadians who were killed in the battle is on the hill across the Kladeos to the west. Near to the sanctuary of Eileithuia are the remains of the sanctuary of Aphrodite, the celestial one [ Ourania], and there too they sacrifice upon the altars.

[7] There is within the Altis by the processional entrance the Hippodameion, as it is called, about a quarter of an acre of ground surrounded by a wall. Into it once every year the women may enter, who sacrifice to Hippodameia, and do her honor in other ways. The story is that Hippodameia withdrew to Midea in Argolis, because Pelops was very angry with her over the death of Khrysippos. The Eleians declare that subsequently, because of an oracle, they brought the bones of Hippodameia to Olympia.

[8] At the end of the statues which they made from the fines levied on athletes, there is the entrance called the Hidden Entrance. Through it, umpires and competitors are accustomed to enter the stadium. Now the stadium is an embankment of earth, and on it is a seat for the presidents of the Games. Opposite the umpires is an altar of white marble;

[9] seated on this altar, a woman looks on at the Olympic Games, the priestess of Demeter, Khamyne, which office the Eleians bestow from time to time on different women. Girls are not debarred from looking on at the Games. At the end of the stadium, where is the starting-place for the runners, there is, the Eleians say, the tomb of Endymion.

[10] When you have passed beyond the stadium, at the point where the umpires sit, is a place set apart for the horse races, and also the starting place for the horses. The starting place is in the shape of the prow of a ship, and its prow is turned towards the course. At the point where the prow adjoins the porch of Agnaptos it broadens and a bronze dolphin on a rod has been made at the very point of the ram.

[11] Each side of the starting-place is more than four hundred feet in length, and in the sides are built stalls. These stalls are assigned by lot to those who enter for the races. Before the chariots or race-horses is stretched a cord as a barrier. An altar of unburned brick, plastered on the outside, is made at every Festival as near as possible to the center of the prow,

[13] First, on either side the barriers are withdrawn by the porch of Agnaptos, and the horses standing thereby run off first. As they run they reach those to whom the second station has been allotted, and then are withdrawn the barriers at the second station. The same thing happens to all the horses in turn, until at the ram of the prow, they are all abreast. After this, it is left to the charioteers to display their skill and the horses, their speed.

[14] It was Kleoitas who originally devised the method of starting, and he appears to have been proud of the discovery, as on the statue in Athens he wrote the inscription:

“Who first invented the method of starting the horses at Olympia,
He made me, Kleoitas the son of Aristokles.”

It is said that after Kleoitas some further device was added to the mechanism by Aristeides.

[15] The race course has one side longer than the other, and on the longer side, which is a bank, there stands, at the passage through the bank, Taraxippos, the terror of the horses. It has the shape of a round altar, and as they run along, the horses are seized, as soon as they reach this point, by a great fear without any apparent reason. The fear leads to disorder; the chariots generally crash and the charioteers are injured. Consequently, the charioteers offer sacrifice, and pray that Taraxippos may show himself propitious to them.

[16] The Greeks differ in their view of Taraxippos. Some hold that it is the tomb of an original inhabitant who was skilled in horsemanship; they call him Olenios, and say that after him was named the Olenian rock in the land of Elis. Others say that Dameon, son of Phleious, who took part in the expedition of Hēraklēs against Augeias and the Eleians, was killed along with his charger by Kteatos, the son of Aktor, and that man and horse were buried in the same tomb.

[17] There is also a story that Pelops made here an empty mound in honor of Myrtilos and sacrificed to him in an effort to calm the anger of the murdered man, naming the mound Taraxippos (Frightener of horses) because the mares of Oinomaos were frightened by the trick of Myrtilos. Some say that it is Oinomaos himself who harms the racers in the course. I have also heard some attach the blame to Alkathos, the son of Porthaon. Killed by Oinomaos because he wooed Hippodameia, Alkathos, they say, here got his portion of earth; having been unsuccessful on the course, he is a spiteful and hostile deity to chariot drivers.

[18] A man of Egypt said that Pelops received something from Amphion the Theban and buried it in a place that they call Taraxippos, adding that it was the buried thing which frightened the mares of Oinomaos, as well as those of every charioteer since. This Egyptian thought that Amphion and the Thracian Orpheus were clever magicians, and that it was through their enchantments that the beasts came to Orpheus, and the stones came to Amphion for the building of the wall. The most probable of the stories in my opinion makes Taraxippos a surname of Horse Poseidon.

[19] There is another Taraxippos at the Isthmus, namely Glaukos, the son of Sisyphus. They say that he was killed by his horses, when Akastos held his contests in honor of his father. At Nemeā of the Argives there was no hero who harmed the horses, but above the turning-point of the chariots rose a rock, red in color, and the flash from it terrified the horses, just as though it had been fire. But the Taraxippos at Olympia is much worse for terrifying the horses. On one turning-post is a bronze statue of Hippodameia carrying a ribbon, and about to garland Pelops with it for his victory.

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 6.20

ed. Friedrich Spiro

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