17.10. Those who have boldly ventured to box are Admetus and Mopsus, the son of Ampyx. Between them stands a man playing the flute, as in our day they are accustomed to play the flute when the competitors in the pentathlum are jumping. The wrestling-bout between Jason and Peleus is an even one. Eurybotas is shown throwing the quoit; he must be some famous quoit-thrower. Those engaged in a running-race are Melanion, Neotheus and Phalareus; the fourth runner is Argeius, and the fifth is Iphiclus. Iphiclus is the winner, and Acastus is holding out the crown to him. He is probably the father of the Protesilaus who joined in the war against Troy.
17.10. οἱ δὲ ἀποτετολμηκότες πυκτεύειν Ἄδμητος καὶ Μόψος ἐστὶν ὁ Ἄμπυκος· ἐν μέσῳ δὲ αὐτῶν ἀνὴρ ἑστηκὼς ἐπαυλεῖ, καθότι καὶ ἐφʼ ἡμῶν ἐπὶ τῷ ἅλματι αὐλεῖν τῶν πεντάθλων νομίζουσιν. Ἰάσονι δὲ καὶ Πηλεῖ τὸ ἔργον τῆς πάλης ἐξ ἴσου καθέστηκε. πεποίηται δὲ καὶ Εὐρυβώτας ἀφιεὶς δίσκον, ὅστις δὴ οὗτός ἐστιν ἐπὶ δίσκῳ φήμην ἔχων. οἱ δʼ ἐς ἅμιλλαν δρόμου καθεστηκότες Μελανίων ἐστὶ καὶ Νεοθεὺς καὶ Φαλαρεύς, τέταρτος δὲ Ἀργεῖος καὶ Ἴφικλος πέμπτος· τούτῳ δὲ νικῶντι ὀρέγει τὸν στέφανον ὁ Ἄκαστος· εἴη δʼ ἂν ὁ Πρωτεσιλάου πατὴρ τοῦ στρατεύσαντος ἐς Ἴλιον.
17.11. Tripods too are set here, prizes of course for the winners; and there are the daughters of Pelias, though the only one with her name inscribed is Alcestis. Iolaus, who voluntarily helped Heracles in his labours, is shown as a victor in the chariot-race. At this point the funeral games of Pelias come to an end, and Heracles, with Athena standing beside him, is shooting at the hydra, the beast in the river Amymone. Heracles can be easily recognized by his exploit and his attitude, so his name is not inscribed by him. There is also Phineus the Thracian, and the sons of Boreas are chasing the harpies away from him.
17.11. κεῖνται δὲ καὶ τρίποδες, ἆθλα δὴ τοῖς νικῶσι, καὶ θυγατέρες εἰσὶν αἱ Πελίου· τὸ δὲ ὄνομα ἐπὶ τῇ Ἀλκήστιδι γέγραπται μόνῃ. Ἰόλαος δέ, ὃς ἐθελοντὴς μετεῖχεν Ἡρακλεῖ τῶν ἔργων, ἔστιν ἵππων ἅρματι ἀνῃρημένος νίκην. τὸ δὲ ἀπὸ τούτου ἀγὼν μὲν ὁ ἐπὶ Πελίᾳ πέπαυται, τὴν ὕδραν δέ, τὸ ἐν τῷ ποταμῷ τῇ Ἀμυμώνῃ θηρίον, Ἡρακλεῖ τοξεύοντι Ἀθηνᾶ παρέστηκεν· ἅτε δὲ τοῦ Ἡρακλέους ὄντος οὐκ ἀγνώστου τοῦ τε ἄθλου χάριν καὶ ἐπὶ τῷ σχήματι, τὸ ὄνομα οὐκ ἔστιν ἐπʼ αὐτῷ γεγραμμένον. Φινεύς τε ὁ Θρᾷξ ἐστι, καὶ οἱ παῖδες οἱ Βορέου τὰς Ἁρπυίας ἀπʼ αὐτοῦ διώκουσιν.
18.1. Now I come to the second space on the chest, and in going round it I had better begin from the left. There is a figure of a woman holding on her right arm a white child asleep, and on her left she has a black child like one who is asleep. Each has his feet turned different ways. The inscriptions declare, as one could infer without inscriptions, that the figures are Death and Sleep, with Night the nurse of both.
18.1. τῆς χώρας δὲ ἐπὶ τῇ λάρνακι τῆς δευτέρας ἐξ ἀριστερῶν μὲν γίνοιτο ἂν ἡ ἀρχὴ τῆς περιόδου, πεποίηται δὲ γυνὴ παῖδα λευκὸν καθεύδοντα ἀνέχουσα τῇ δεξιᾷ χειρί, τῇ δὲ ἑτέρᾳ μέλανα ἔχει παῖδα καθεύδοντι ἐοικότα, ἀμφοτέρους διεστραμμένους τοὺς πόδας. δηλοῖ μὲν δὴ καὶ τὰ ἐπιγράμματα, συνεῖναι δὲ καὶ ἄνευ τῶν ἐπιγραμμάτων ἔστι Θάνατόν τε εἶναι σφᾶς καὶ Ὕπνον καὶ ἀμφοτέροις Νύκτα αὐτοῖς τροφόν.
18.2. A beautiful woman is punishing an ugly one, choking her with one hand and with the other striking her with a staff. It is Justice who thus treats Injustice. Two other women are pounding in mortars with pestles; they are supposed to be wise in medicine-lore, though there is no inscription to them. Who the man is who is followed by a woman is made plain by the hexameter verses, which run thus:—Idas brings back, not against her will,Fair-ankled Marpessa, daughter of Evenus, whom Apollo carried off.
18.2. γυνὴ δὲ εὐειδὴς γυναῖκα αἰσχρὰν κολάζουσα καὶ τῇ μὲν ἀπάγχουσα αὐτήν, τῇ δὲ ῥάβδῳ παίουσα, Δίκη ταῦτα Ἀδικίαν δρῶσά ἐστι· δύο δὲ ἄλλας γυναῖκας ἐς ὅλμους καθικνουμένας ὑπέροις, φάρμακα εἰδέναι σφᾶς νομίζουσιν, ἐπεὶ ἄλλως γε οὐδὲν ἐς αὐτάς ἐστιν ἐπίγραμμα. τὰ δὲ ἐς τὸν ἄνδρα τε καὶ γυναῖκα ἑπομένην αὐτῷ τὰ ἔπη δηλοῖ τὰ ἑξάμετρα· λέγει γὰρ δὴ οὕτως·Ἴδας Μάρπησσαν καλλίσφυρον, ἃν οἱ Ἀπόλλωνἅρπασε, τὰν Εὐανοῦ ἄγει πάλιν οὐκ ἀέκουσαν.
18.3. A man wearing a tunic is holding in his right hand a cup, and in his left a necklace; Alcmena is taking hold of them. This scene represents the Greek story how Zeus in the likeness of Amphitryon had intercourse with Alcmena. Menelaus, wearing a breastplate and carrying a sword, is advancing to kill Helen, so it is plain that Troy has been captured. Medeia is seated upon a throne, while Jason stands on her right and Aphrodite on her left. On them is an inscription:—Jason weds Medeia, as Aphrodite bids.
18.3. χιτῶνα δὲ ἐνδεδυκὼς ἀνὴρ τῇ μὲν δεξιᾷ κύλικα, τῇ δὲ ἔχων ἐστὶν ὅρμον, λαμβάνεται δὲ αὐτῶν Ἀλκμήνη· πεποίηται δὲ ἐς τὸν λόγον τῶν Ἑλλήνων ὡς συγγένοιτο Ἀλκμήνῃ Ζεὺς Ἀμφιτρύωνι εἰκασθείς. Μενέλαος δὲ θώρακά τε ἐνδεδυκὼς καὶ ἔχων ξίφος ἔπεισιν Ἑλένην ἀποκτεῖναι, δῆλα ὡς ἁλισκομένης Ἰλίου. Μηδείας δὲ ἐπὶ θρόνου καθημένης Ἰάσων ἐν δεξιᾷ, τῇ δὲ Ἀφροδίτη παρέστηκε· γέγραπται δὲ καὶ ἐπίγραμμα ἐπʼ αὐτοῖς·Μήδειαν Ἰάσων γαμέει, κέλεται δʼ Ἀφροδίτα.
18.4. There are also figures of Muses singing, with Apollo leading the song; these too have an inscription:—This is Leto's son, prince Apollo, far-shooting;Around him are the Muses, a graceful choir, whom he is leading.Atlas too is supporting, just as the story has it, heaven and earth upon his shoulders; he is also carrying the apples of the Hesperides. A man holding a sword is coming towards Atlas. This everybody can see is Heracles, though he is not mentioned specially in the inscription, which reads:—Here is Atlas holding heaven, but he will let go the apples.
18.4. πεποίηνται δὲ καὶ ᾄδουσαι Μοῦσαι καὶ Ἀπόλλων ἐξάρχων τῆς ᾠδῆς, καί σφισιν ἐπίγραμμα γέγραπται·Λατοΐδας οὗτος τάχʼ ἄναξ ἑκάεργος Ἀπόλλων·Μοῦσαι δʼ ἀμφʼ αὐτόν, χαρίεις χορός, αἷσι κατάρχει.Ἄτλας δὲ ἐπὶ μὲν τῶν ὤμων κατὰ τὰ λεγόμενα οὐρανόν τε ἀνέχει καὶ γῆν, φέρει δὲ καὶ τὰ Ἑσπερίδων μῆλα. ὅστις δέ ἐστιν ὁ ἀνὴρ ὁ ἔχων τὸ ξίφος καὶ [ὁ] ἐπὶ τὸν Ἄτλαντα ἐρχόμενος, ἰδίᾳ μὲν ἐπʼ αὐτῷ γεγραμμένον ἐστὶν οὐδέν, δῆλα δὲ ἐς ἅπαντας Ἡρακλέα εἶναι. γέγραπται δὲ καὶ ἐπὶ τούτοις·Ἄτλας οὐρανὸν οὗτος ἔχει, τὰ δὲ μᾶλα μεθήσει.
18.5. There is also Ares clad in armour and leading Aphrodite. The inscription by him is “Enyalius.” There is also a figure of Thetis as a maid; Peleus is taking hold of her, and from the hand of Thetis a snake is darting at Peleus. The sisters of Medusa, with wings, are chasing Perseus, who is flying. Only Perseus has his name inscribed on him.
18.5. ἔστι δὲ καὶ Ἄρης ὅπλα ἐνδεδυκώς, Ἀφροδίτην ἄγων· ἐπίγραμμα δὲ Ἐνυάλιός ἐστιν αὐτῷ. πεποίηται δὲ καὶ Θέτις παρθένος, λαμβάνεται δὲ αὐτῆς Πηλεύς, καὶ ἀπὸ τῆς χειρὸς τῆς Θέτιδος ὄφις ἐπὶ τὸν Πηλέα ἐστὶν ὁρμῶν. αἱ δὲ ἀδελφαὶ Μεδούσης ἔχουσαι πτερὰ πετόμενον Περσέα εἰσὶ διώκουσαι· τὸ δὲ ὄνομα ἐπὶ τῷ Περσεῖ γέγραπται μόνῳ.
18.6. On the third space of the chest are military scenes. The greater number of the figures are on foot, though there are some knights in two-horse chariots. About the soldiers one may infer that they are advancing to battle, but that they will recognize and greet each other. Two different accounts of them are given by the guides. Some have said that they are the Aetolians with Oxylus and the ancient Eleans, and that they are meeting in remembrance of their original descent and as a sign of their mutual good will. Others declare that the soldiers are meeting in battle, and that they are Pylians and Arcadians about to fight by the city Pheia and the river Iardanus.
18.6. στρατιωτικὰ δὲ ἐπὶ τῇ τρίτῃ χώρᾳ τῆς λάρνακος· τὸ μὲν πολύ εἰσιν ἐν αὐτοῖς οἱ πεζοί, πεποίηνται δὲ καὶ ἐπὶ συνωρίδων ἱππεῖς. ἐπὶ δὲ τοῖς στρατιώταις ἔστιν εἰκάζειν συνιέναι μὲν σφᾶς ἐς μάχην, συνιέναι δὲ καὶ ἀσπασομένους τε καὶ ἀναγνωριοῦντας ἀλλήλους. λέγεται δὲ καὶ ἐς ἀμφότερα ὑπὸ τῶν ἐξηγητῶν, καὶ τοῖς μέν ἐστιν εἰρημένον Αἰτωλοὺς τοὺς μετὰ Ὀξύλου καὶ Ἠλείους εἶναι τοὺς ἀρχαίους, ἀπαντᾶν δὲ σφᾶς γένους τε μνήμῃ τοῦ ἐξ ἀρχῆς καὶ εὔνοιαν ἐνδεικνυμένους ἐς ἀλλήλους· οἱ δὲ συνιέναι φασὶν ἐς ἀγῶνα τὰ στρατιωτικά, Πυλίους δὲ εἶναι καὶ Ἀρκάδας παρά τε Φειὰν πόλιν καὶ ποταμὸν μαχουμένους Ἰάρδανον.
18.7. But it cannot for a moment be admitted that the ancestor of Cypselus, a Corinthian, having the chest made as a possession for himself, of his own accord passed over all Corinthian story, and had carved on the chest foreign events which were not famous. The following interpretation suggested itself to me. Cypselus and his ancestors came originally from Gonussa above Sicyon, and one of their ancestors was Melas, the son of Antasus.
18.7. ταῦτα μὲν δὴ οὐδὲ ἀρχὴν ἀποδέξαιτο ἄν τις, ὡς ὁ τοῦ Κυψέλου πρόγονος Κορίνθιός τε ὢν καὶ τὴν λάρνακα αὑτῷ ποιούμενος κτῆμα, ὁπόσα μὲν Κορινθίοις ἦν ἐπιχώρια, ἑκὼν ὑπερέβαινεν, ἃ δὲ ξενικά τε καὶ οὐδὲ ἄλλως ἥκοντα ἐς δόξαν, ἐτεχνᾶτο ἐπὶ τῇ λάρνακι· αὐτῷ μέντοι παρίστατο ἐμοὶ ταῦτα εἰκάζειν. Κυψέλῳ καὶ τοῖς προγόνοις ἐκ [τῶνδε] ⟨Γονούσσης⟩ ἦν γένος ἐξ ἀρχῆς [γονούσης ] τῆς ὑπὲρ Σικυῶνος, καὶ πρόγονός σφισιν ἦν Μέλας ὁ Ἀντάσου·
18.8. But, as I have already related in my account of Corinth, Aletes refused to admit as settlers Melas and the host with him, being nervous about an oracle which had been given him from Delphi; but at last Melas, using every art of winning favours, and returning with entreaties every time he was driven away, persuaded Aletes however reluctantly to receive them. One might infer that this army is represented by the figures wrought upon the chest.
18.8. Μέλανα δὲ καὶ τὸν σὺν αὐτῷ στρατὸν κατὰ τὰ προειρημένα μοι καὶ ἐν τῇ Κορινθίᾳ συγγραφῇ οὐκ ἤθελεν Ἀλήτης συνοίκους δέξασθαι, γεγονός οἱ μάντευμα ἐκ Δελφῶν ὑφορώμενος, ἐς ὃ θεραπείᾳ τε τῇ πάσῃ χρώμενον [καὶ] Μέλανα καὶ ὁπότε ἀπελασθείη σὺν δεήσει ἐπανιόντα αὖθις ἐδέξατο καὶ ἄκων Ἀλήτης. τοῦτο τὸ στρατιωτικὸν τεκμαίροιτο ἄν τις τοὺς ἐπὶ τῇ λάρνακι εἰργασμένους εἶναι.
19.1. In the fourth space on the chest as you go round from the left is Boreas, who has carried off Oreithyia; instead of feet he has serpents' tails. Then comes the combat between Heracles and Geryones, who is represented as three men joined to one another. There is Theseus holding a lyre, and by his side is Ariadne gripping a crown. Achilles and Memnon are fighting; their mothers stand by their side.
19.1. τέταρτα δὲ ἐπὶ τῇ λάρνακι ἐξ ἀριστερᾶς περιιόντι Βορέας ἐστὶν ἡρπακὼς Ὠρείθυιαν—οὐραὶ δὲ ὄφεων ἀντὶ ποδῶν εἰσὶν αὐτῷ—καὶ Ἡρακλέους ὁ πρὸς Γηρυόνην ἀγών· τρεῖς δὲ ἄνδρες Γηρυόνης εἰσὶν ἀλλήλοις προσεχόμενοι. Θησεὺς δὲ ἔχων λύραν καὶ παρʼ αὐτὸν Ἀριάδνη κατέχουσά ἐστι στέφανον. Ἀχιλλεῖ δὲ καὶ Μέμνονι μαχομένοις παρεστήκασιν αἱ μητέρες·
19.2. There is also Melanion by whom is Atalanta holding a young deer. Ajax is fighting a duel with Hector, according to the challenge, and between the pair stands Strife in the form of a most repulsive woman. Another figure of Strife is in the sanctuary of Ephesian Artemis; Calliphon of Samos included it in his picture of the battle at the ships of the Greeks. On the chest are also the Dioscuri, one of them a beardless youth, and between them is Helen.
19.2. ἔστι δὲ καὶ Μελανίων καὶ Ἀταλάντη παρʼ αὐτὸν ἔχουσα ἐλάφου νεβρόν. μονομαχοῦντος δὲ Αἴαντι Ἕκτορος κατὰ τὴν πρόκλησιν, μεταξὺ ἕστηκεν αὐτῶν Ἔρις αἰσχίστη τὸ εἶδος ἐοικυῖα· πρὸς δὲ ταύτῃ καὶ Καλλιφῶν Σάμιος ἐν Ἀρτέμιδος ἱερῷ τῆς Ἐφεσίας ἐποίησεν Ἔριν, τὴν μάχην γράψας τὴν ἐπὶ ταῖς ναυσὶν Ἑλλήνων. εἰσὶ δὲ ἐπὶ τῇ λάρνακι Διόσκουροι, ὁ ἕτερος οὐκ ἔχων πω γένεια, μέση δὲ αὐτῶν Ἑλένη·
19.3. Aethra, the daughter of Pittheus, lies thrown to the ground under the feet at Helen. She is clothed in black, and the inscription upon the group is an hexameter line with the addition of a single word:The sons of Tyndareus are carrying of Helen, and are dragging AethraFrom Athens.
19.3. Αἴθρα δὲ ἡ Πιτθέως ὑπὸ τῆς Ἑλένης τοῖς ποσὶν ἐς ἔδαφος καταβεβλημένη μέλαιναν ἔχουσά ἐστιν ἐσθῆτα, ἐπίγραμμα δὲ ἐπʼ αὐτοῖς ἔπος τε ἑξάμετρον καὶ ὀνόματός ἐστιν ἑνὸς ἐπὶ τῷ ἑξαμέτρῳ προσθήκη·Τυνδαρίδα Ἑλέναν φέρετον, Αἴθραν δʼ ἕλκετονἈθάναθεν.
19.4. Such is the way this line is constructed. Iphidamas, the son of Antenor, is lying, and Coon is fighting for him against Agamemnon. On the shield of Agamemnon is Fear, whose head is a lion's. The inscription above the corpse of Iphidamas runs:Iphidamas, and this is Coon fighting for him.The inscription on the shield of Agamemnon runs:
19.4. τοῦτο μὲν δὴ τὸ ἔπος οὕτω πεποίηται· Ἰφιδάμαντος δὲ τοῦ Ἀντήνορος κειμένου μαχόμενος πρὸς Ἀγαμέμνονα ὑπὲρ αὐτοῦ Κόων ἐστί· Φόβος δὲ ἐπὶ τοῦ Ἀγαμέμνονος τῇ ἀσπίδι ἔπεστιν, ἔχων τὴν κεφαλὴν λέοντος. ἐπιγράμματα δὲ ὑπὲρ μὲν τοῦ Ἰφιδάμαντος νεκροῦ,Ἰφιδάμας οὗτός τε Κόων περιμάρναται αὐτοῦ·τοῦ Ἀγαμέμνονος δὲ ἐπὶ τῇ ἀσπίδι, οὗτος μὲν Φόβος ἐστὶ βροτῶν, ὁ δʼ ἔχων Ἀγαμέμνων.
19.5. This is the Fear of mortals: he who holds him is Agamemnon.There is also Hermes bringing to Alexander the son of Priam the goddesses of whose beauty he is to judge, the inscription on them being:Here is Hermes, who is showing to Alexander, that he may arbitrateConcerning their beauty, Hera, Athena and Aphrodite.On what account Artemis has wings on her shoulders I do not know; in her right hand she grips a leopard, in her left a lion. Ajax too is represented dragging Cassandra from the image of Athena, and by him is also an inscription:Ajax of Locri is dragging Cassandra from Athena.
19.5. ἄγει δὲ καὶ Ἑρμῆς παρʼ Ἀλέξανδρον τὸν Πριάμου τὰς θεὰς κριθησομένας ὑπὲρ τοῦ κάλλους, καὶ ἔστιν ἐπίγραμμα καὶ τούτοις·Ἑρμείας ὅδʼ Ἀλεξάνδρῳ δείκνυσι διαιτῆντοῦ εἴδους Ἥραν καὶ Ἀθάναν καὶ Ἀφροδίταν.Ἄρτεμις δὲ οὐκ οἶδα ἐφʼ ὅτῳ λόγῳ πτέρυγας ἔχουσά ἐστιν ἐπὶ τῶν ὤμων, καὶ τῇ μὲν δεξιᾷ κατέχει πάρδαλιν, τῇ δὲ ἑτέρᾳ τῶν χειρῶν λέοντα. πεποίηται δὲ καὶ Κασσάνδραν ἀπὸ τοῦ ἀγάλματος Αἴας τῆς Ἀθηνᾶς ἕλκων, ἐπʼ αὐτῷ δὲ καὶ ἐπίγραμμά ἐστιν·Αἴας Κασσάνδραν ἀπʼ Ἀθαναίας Λοκρὸς ἕλκει.
19.6. Polyneices, the son of Oedipus, has fallen on his knee, and Eteocles, the other son of Oedipus, is rushing on him. Behind Polyneices stands a woman with teeth as cruel as those of a beast, and her fingernails are bent like talons. An inscription by her calls her Doom, implying that Polyneices has been carried off by fate, and that Eteocles fully deserved his end. Dionysus is lying down in a cave, a bearded figure holding a golden cup, and clad in a tunic reaching to the feet. Around him are vines, apple-trees and pomegranate-trees.
19.6. τῶν δὲ Οἰδίποδος παίδων Πολυνείκει πεπτωκότι ἐς γόνυ ἔπεισιν Ἐτεοκλῆς. τοῦ Πολυνείκους δὲ ὄπισθεν ⟨γυνὴ⟩ ἕστηκεν ὀδόντας τε ἔχουσα οὐδὲν ἡμερωτέρους θηρίου καί οἱ τῶν χειρῶν εἰσιν ἐπικαμπεῖς οἱ ὄνυχες· ἐπίγραμμα δὲ ἐπʼ αὐτῇ εἶναί φησι Κῆρα, ὡς τὸν μὲν ὑπὸ τοῦ πεπρωμένου τὸν Πολυνείκην ἀπαχθέντα, Ἐτεοκλεῖ δὲ γενομένης καὶ σὺν τῷ δικαίῳ τῆς τελευτῆς. Διόνυσος δὲ ἐν ἄντρῳ κατακείμενος, γένεια ἔχων καὶ ἔκπωμα χρυσοῦν, ἐνδεδυκώς ἐστι ποδήρη χιτῶνα· δένδρα δὲ ἄμπελοι περὶ αὐτὸν καὶ μηλέαι τέ εἰσι καὶ ῥόαι.
19.7. The highest space—the spaces are five in number—shows no inscription, so that we can only conjecture what the reliefs mean. Well, there is a grotto and in it a woman sleeping with a man upon a couch. I was of opinion that they were Odysseus and Circe, basing my view upon the number of the handmaidens in front of the grotto and upon what they are doing. For the women are four, and they are engaged on the tasks which Homer mentions in his poetry. There is a Centaur with only two of his legs those of a horse; his forelegs are human.
19.7. ἡ δὲ ἀνωτάτω χώρα—πέντε γὰρ ἀριθμόν εἰσι— παρέχεται μὲν ἐπίγραμμα οὐδέν, λείπεται δὲ εἰκάζειν ἐς τὰ ἐπειργασμένα. εἰσὶν οὖν ἐν σπηλαίῳ γυνὴ καθεύδουσα σὺν ἀνδρὶ ἐπὶ κλίνῃ, καὶ σφᾶς Ὀδυσσέα εἶναι καὶ Κίρκην ἐδοξάζομεν ἀριθμῷ τε τῶν θεραπαινῶν, αἵ εἰσι πρὸ τοῦ σπηλαίου, καὶ τοῖς ποιουμένοις ὑπʼ αὐτῶν· τέσσαρές τε γάρ εἰσιν αἱ γυναῖκες καὶ ἐργάζονται τὰ ἔργα, ἃ ἐν τοῖς ἔπεσιν Ὅμηρος εἴρηκε. Κένταυρος δὲ οὐ τοὺς πάντας ἵππου πόδας, τοὺς δὲ ἔμπροσθεν αὐτῶν ἔχων ἀνδρός ἐστιν.
19.8. Next come two-horse chariots with women standing in them. The horses have golden wings, and a man is giving armour to one of the women. I conjecture that this scene refers to the death of Patroclus; the women in the chariots, I take it, are Nereids, and Thetis is receiving the armour from Hephaestus. And moreover, he who is giving the armour is not strong upon his feet, and a slave follows him behind, holding a pair of fire-tongs.
19.8. ἑξῆς καὶ ἵππων συνωρίδες καὶ γυναῖκες ἐπὶ τῶν συνωρίδων εἰσὶν ἑστῶσαι· πτερὰ δὲ τοῖς ἵπποις χρυσᾶ ἐστι, καὶ ἀνὴρ δίδωσιν ὅπλα μιᾷ τῶν γυναικῶν. ταῦτα ἐς τὴν Πατρόκλου τελευτὴν ἔχειν τεκμαίρονται· Νηρηίδας τε γὰρ ἐπὶ τῶν συνωρίδων εἶναι καὶ Θέτιν τὰ ὅπλα λαμβάνειν παρὰ Ἡφαίστου. καὶ δὴ καὶ ἄλλως ὁ τὰ ὅπλα διδοὺς οὔτε τοὺς πόδας ἐστὶν ἐρρωμένος καὶ ὄπισθεν οἰκέτης ἕπεταί οἱ πυράγραν ἔχων·
19.9. An account also is given of the Centaur, that he is Chiron, freed by this time from human affairs and held worthy to share the home of the gods, who has come to assuage the grief of Achilles. Two maidens in a mule-cart, one holding the reins and the other wearing a veil upon her head, are thought to be Nausicaa, the daughter of Alcinous, and her handmaiden, driving to the washing-pits. The man shooting at Centaurs, some of which he has killed, is plainly Heracles, and the exploit is one of his.
19.9. λέγεται δὲ καὶ ἐς τὸν Κένταυρον ὡς Χίρων, ἀπηλλαγμένος ἤδη παρὰ ἀνθρώπων καὶ ἠξιωμένος εἶναι σύνοικος θεοῖς, ῥᾳστώνην τινὰ ἥκοι τοῦ πένθους Ἀχιλλεῖ παρασκευάσων. παρθένους δὲ ἐπὶ ἡμιόνων τὴν μὲν ἔχουσαν τὰς ἡνίας, τὴν δὲ ἐπικειμένην κάλυμμα ἐπὶ τῇ κεφαλῇ, Ναυσικᾶν τε νομίζουσιν εἶναι τὴν Ἀλκίνου καὶ τὴν θεράπαιναν, ἐλαυνούσας ἐπὶ τοὺς πλυνούς. τοξεύοντα δὲ ἄνδρα Κενταύρους, τοὺς δὲ καὶ ἀπεκτονότα ἐξ αὐτῶν, δῆλα Ἡρακλέα τε τὸν τοξεύοντα καὶ Ἡρακλέους εἶναι τὸ ἔργον.
19.10. As to the maker of the chest, I found it impossible to form any conjecture. But the inscriptions upon it, though possibly composed by some other poet, are, as I was on the whole inclined to hold, the work of Eumelus of Corinth. My main reason for this view is the processional hymn he wrote for Delos.
19.10. τὸν μὲν δὴ τὴν λάρνακα [κατ]εἰργασμένον ὅστις ἦν, οὐδαμῶς ἡμῖν δυνατὰ ἦν συμβαλέσθαι· τὰ ἐπιγράμματα δὲ τὰ ἐπʼ αὐτῆς τάχα μέν που καὶ ἄλλος τις ἂν εἴη πεποιηκώς, τῆς δὲ ὑπονοίας τὸ πολὺ ἐς Εὔμηλον τὸν Κορίνθιον εἶχεν ἡμῖν, ἄλλων τε ἕνεκα καὶ τοῦ προσοδίου μάλιστα ὃ ἐποίησεν ἐς Δῆλον.
20.1. 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.
20.1. 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.
20.2. The table is made of ivory and gold, and is the work of Colotes. 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.
20.2. 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.
20.3. 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.
20.3. 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 αὐτῇ τὸν καλούμενον Ἅιδην κεκλεῖσθαί τε ὑπὸ τοῦ Πλούτωνος καὶ ὡς ἐπάνεισιν οὐδεὶς αὖθις ἐξ αὐτοῦ.
20.4. 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.
20.4. 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.
20.5. 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.
20.5. 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.
20.6. 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.
20.6. 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.
20.7. 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.
20.7. πινάκιον δὲ πρὸ αὐτοῦ χαλκοῦν ἐλεγεῖα ἔχει γεγραμμένα·καὶ γὰρ ἐγὼ κεινῶν εἴμʼ ὦ ξένε λείψανον οἴκων,στυλὶς ἐν Οἰνομάου πρίν ποτʼ ἐοῦσα δόμοις·νῦν δὲ παρὰ Κρονίδην κεῖμαι τάδʼ ἔχουσα τὰ δεσμὰτίμιος· οὐδʼ ὀλοὴ δαίσατο φλόξ με πυρός.συνέβη δὲ καὶ ἄλλο κατʼ ἐμὲ τοιόνδε.
20.8. 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.
20.8. 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.
20.9. 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, 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.
20.9. 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.
20.10. 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.
20.10. 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.
21.1. From this point my account will proceed to a description of the statues and votive offerings; but I think that it would be wrong to mix up the accounts of them. For whereas on the Athenian Acropolis statues are votive offerings like everything else, in the Altis some things only are dedicated in honor of the gods, and statues are merely part of the prizes awarded to the victors. The statues I will mention later; I will turn first to the votive offerings, and go over the most noteworthy of them.
21.1. τὸ δὲ ἀπὸ τούτου μοι πρόεισιν ὁ λόγος ἔς τε τῶν ἀνδριάντων καὶ ἐς τῶν ἀναθημάτων ἐξήγησιν. ἀναμῖξαι δὲ οὐκ ἀρεστὰ ἦν μοι τὸν ἐπʼ αὐτοῖς λόγον. ἐν ἀκροπόλει μὲν γὰρ τῇ Ἀθήνῃσιν οἵ τε ἀνδριάντες καὶ ὁπόσα ἄλλα, τὰ πάντα ἐστὶν ὁμοίως ἀναθήματα· ἐν δὲ τῇ Ἄλτει τὰ μὲν τιμῇ τῇ ἐς τὸ θεῖον ἀνάκεινται, οἱ δὲ ἀνδριάντες τῶν νικώντων ἐν ἄθλου λόγῳ σφίσι καὶ οὗτοι δίδονται. τῶν μὲν δὴ ἀνδριάντων ποιησόμεθα καὶ ὕστερον μνήμην· ἐς δὲ τὰ ἀναθήματα ἡμῖν τραπήσεται πρότερα ὁ λόγος, τὰ ἀξιολογώτατα αὐτῶν ἐπερχομένοις.
21.2. As you go to the stadium along the road from the Metroum, there is on the left at the bottom of Mount Cronius a platform of stone, right by the very mountain, with steps through it. By the platform have been set up bronze images of Zeus. These have been made from the fines inflicted on athletes who have wantonly broken the rules of the contests, and they are called Zanes (figures of Zeus) by the natives.
21.2. ἰόντι γὰρ ἐπὶ τὸ στάδιον τὴν ὁδὸν τὴν ἀπὸ τοῦ Μητρῴου, ἔστιν ἐν ἀριστερᾷ κατὰ τὸ πέρας τοῦ ὄρους τοῦ Κρονίου λίθου τε πρὸς αὐτῷ τῷ ὄρει κρηπὶς καὶ ἀναβασμοὶ διʼ αὐτῆς· πρὸς δὲ τῇ κρηπῖδι ἀγάλματα Διὸς ἀνάκειται χαλκᾶ. ταῦτα ἐποιήθη μὲν ἀπὸ χρημάτων ἐπιβληθείσης ἀθληταῖς ζημίας ὑβρίσασιν ἐς τὸν ἀγῶνα, καλοῦνται δὲ ὑπὸ τῶν ἐπιχωρίων Ζᾶνες.
21.3. The first, six in number, were set up in the ninety-eighth Olympiad. For Eupolus of Thessaly bribed the boxers who entered the competition, Agenor the Arcadian and Prytanis of Cyzicus, and with them also Phormio of Halicarnassus, who had won at the preceding Festival. This is said to have been the first time that an athlete violated the rules of the games, and the first to be fined by the Eleans were Eupolus and those who accepted bribes from Eupolus. Two of these images are the work of Cleon of Sicyon; who made the next four I do not know.
21.3. πρῶτοι δὲ ἀριθμὸν ἓξ ἐπὶ τῆς ὀγδόης ἔστησαν καὶ ἐνενηκοστῆς Ὀλυμπιάδος· Εὔπωλος γὰρ Θεσσαλὸς χρήμασι διέφθειρε τοὺς ἐλθόντας τῶν πυκτῶν, Ἀγήτορα Ἀρκάδα καὶ Πρύτανιν Κυζικηνόν, σὺν δὲ αὐτοῖς καὶ Φορμίωνα Ἁλικαρνασσέα μὲν γένος, Ὀλυμπιάδι δὲ τῇ πρὸ ταύτης κρατήσαντα. τοῦτο ἐξ ἀθλητῶν ἀδίκημα ἐς τὸν ἀγῶνα πρῶτον γενέσθαι λέγουσι, καὶ πρῶτοι χρήμασιν ἐζημιώθησαν ὑπὸ Ἠλείων Εὔπωλος καὶ οἱ δεξάμενοι δῶρα παρὰ Εὐπώλου. δύο μὲν δὴ ἐξ αὐτῶν ἔργα Κλέωνος Σικυωνίου· τὰ δὲ ἐφεξῆς τέσσαρα ὅστις ἐποίησεν, οὐκ ἴσμεν.
21.4. Except the third and the fourth these images have elegiac inscriptions on them. The first of the inscriptions is intended to make plain that an Olympic victory is to be won, not by money, but by swiftness of foot and strength of body. The inscription on the second image declares that the image stands to the glory of the deity, through the piety of the Eleans, and to be a terror to law-breaking athletes. The purport of the inscription on the fifth image is praise of the Eleans, especially for their fining the boxers; that of the sixth and last is that the images are a warning to all the Greeks not to give bribes to obtain an Olympic victory.
21.4. τῶν δὲ ἀγαλμάτων τούτων παρέντι τρίτον τε ἐξ αὐτῶν καὶ τέταρτον, γεγραμμένα ἐλεγεῖά ἐστιν ἐπὶ τοῖς ἄλλοις. ἐθέλει δὲ τὸ μὲν πρῶτον τῶν ἐλεγείων δηλοῦν ὡς οὐ χρήμασιν ἀλλὰ ὠκύτητι τῶν ποδῶν καὶ ὑπὸ ἰσχύος σώματος Ὀλυμπικὴν ἔστιν εὑρέσθαι νίκην, τὸ δὲ ἐπὶ τῷ δευτέρῳ φησὶν ὡς τὸ ἄγαλμα ἕστηκε τιμῇ τε τῇ ἐς τὸ θεῖον καὶ ὑπὸ εὐσεβείας τῆς Ἠλείων καὶ ἀθληταῖς παρανομοῦσιν εἶναι δέος· πέμπτῳ δὲ καὶ ἕκτῳ, τῷ μέν ἐστιν ἡ τοῦ ἐπιγράμματος γνώμη τά τε ἄλλα ἐς ἔπαινον Ἠλείων καὶ οὐχ ἥκιστα ἐπὶ τῇ ζημίᾳ τῶν πυκτῶν, ἐπὶ δὲ τῷ ὑπολοίπῳ διδασκαλίαν πᾶσιν Ἕλλησιν εἶναι τὰ ἀγάλματα μηδένα ἐπὶ Ὀλυμπικῇ νίκῃ διδόναι χρήματα.
21.5. Next after Eupolus they say that Callippus of Athens, who had entered for the pentathlum, bought off his fellow-competitors by bribes, and that this offence occurred at tie hundred and twelfth Festival. When the fine had been imposed by the Eleans on Callippus and his antagonists, the Athenians commissioned Hypereides to persuade the Eleans to remit them the fine. The Eleans refused this favour, and the Athenians were disdainful enough not to pay the money and to boycott the Olympic games, until finally the god at Delphi declared that he would deliver no oracle on any matter to the Athenians before they had paid the Eleans the fine.
21.5. Εὐπώλου δὲ ὕστερόν φασιν Ἀθηναῖον Κάλλιππον ἀθλήσαντα πένταθλον ἐξωνήσασθαι τοὺς ἀνταγωνιουμένους χρήμασι, δευτέραν δὲ ἐπὶ ταῖς δέκα τε καὶ ἑκατὸν Ὀλυμπιάδα εἶναι ταύτην. ἐπιβληθείσης δὲ τῷ Καλλίππῳ καὶ τοῖς ἀνταγωνισαμένοις ζημίας ὑπὸ Ἠλείων, ἀποστέλλουσιν Ὑπερείδην Ἀθηναῖοι πείσοντα Ἠλείους ἀφεῖναί σφισι τὴν ζημίαν· ἀπειπόντων δὲ Ἠλείων τὴν χάριν, ἐχρῶντο ὑπεροψίᾳ τοιᾷδε ἐς αὐτοὺς οἱ Ἀθηναῖοι, οὔτε ἀποδιδόντες τὰ χρήματα καὶ Ὀλυμπίων εἰργόμενοι, πρὶν ἤ σφισιν ὁ θεὸς ⟨ὁ⟩ ἐν Δελφοῖς οὐ πρότερον ἔφησεν ὑπὲρ οὐδενὸς χρήσειν πρὶν ἢ τὴν ζημίαν ἀποδοῖεν Ἠλείοις.
21.6. So when it was paid, images, also six in number, were made in honor of Zeus; on them are inscribed elegiac verses not a whit more elegant than those relating the fine of Eupolus. The gist of the first inscription is that the images were dedicated because the god by an oracle expressed his approval of the Elean decision against the pentathletes; on the second image and likewise on the third are praises of the Eleans for their fining the competitors in the pentathlum.
21.6. οὕτω δὴ ἀποδόντων ἐποιήθη τῷ Διὶ ἀγάλματα, ἓξ μὲν καὶ ταῦτα, γέγραπται δὲ ἐπʼ αὐτοῖς ἐλεγεῖα οὐδέν τι δεξιώτερα ἐς ποίησιν ἢ τὰ ἔχοντα τὴν ζημίαν τὴν Εὐπώλου. γνῶμαι δέ εἰσι τῶν ἐπιγραμμάτων, πρῶτον μὲν ἀνατεθῆναι ⟨τὰ⟩ ἀγάλματα μαντείᾳ τοῦ θεοῦ τιμήσαντος τὰ ἐς τοὺς πεντάθλους δόξαντα Ἠλείοις, τὸ δὲ ἐπὶ τῷ δευτέρῳ καὶ ὡσαύτως ἐπὶ τῷ τρίτῳ Ἠλείους ἐπαινοῦντά ἐστιν ἐπὶ τῶν πεντάθλων τῇ ζημίᾳ·
21.7. The fourth purports to say that the contest at Olympia is one of merit and not of wealth; the inscription on the fifth declares the reason for dedicating the images, while that on the sixth commemorates the oracle given to the Athenians by Delphi.
21.7. τὸ τέταρτον δὲ ἐθέλει λέγειν τὸν Ὀλυμπίασιν ἀγῶνα ἀρετῆς εἶναι καὶ οὐ χρημάτων, τὰ δὲ ἐπιγράμματα ⟨τὰ⟩ ἐπὶ τῷ πέμπτῳ τε καὶ ἕκτῳ, τὸ μὲν αὐτῶν δηλοῖ καθʼ ἥντινα αἰτίαν ἀνετέθη τὰ ἀγάλματα, τὸ δὲ ἀναμιμνήσκει τοῦ χρησμοῦ τοῦ Ἀθηναίοις ἐλθόντος ἐκ Δελφῶν.
21.8. The images next to those I have enumerated are two in number, and they were dedicated from a fine imposed on wrestlers. As to their names, neither I nor the guides of the Eleans knew them. On these images too are inscriptions; one says that the Rhodians paid money to Olympian Zeus for the wrongdoing of a wrestler; the other that certain men wrestled for bribes and that the image was made from the fines imposed upon them.
21.8. τῶν δὲ κατειλεγμένων τὰ ἐφεξῆς ἀγάλματα δύο μέν ἐστιν ἀριθμόν, ἀνετέθη δὲ ἐπιτεθείσης παλαισταῖς ἀνδράσι ζημίας· οἵτινες δὲ ἐκαλοῦντο, ἐμέ γε ἢ τοὺς Ἠλείων λέληθεν ἐξηγητάς. ἐπιγράμματα μὲν γὰρ καὶ ἐπὶ τούτοις τοῖς ἀγάλμασιν ἔπεστι, λέγει δὲ τὸ μὲν πρῶτον αὐτῶν ὡς τῷ Ὀλυμπίῳ Διὶ Ῥόδιοι χρήματα ὑπὲρ ἀνδρὸς ἀδικίας ἐκτίσαιεν παλαιστοῦ, τὸ δὲ ἕτερον ὡς ἀνδρῶν ἐπὶ δώροις παλαισάντων ἀπὸ τῶν ἐπιβληθέντων χρημάτων αὐτοῖς γένοιτο τὸ ἄγαλμα.
21.9. The rest of the information about these athletes comes from the guides of the Eleans, who say that it was at the hundred and seventy-eighth Festival that Eudelus accepted a bribe from Philostratus, and that this Philostratus was a Rhodian. This account I found was at variance with the Elean record of Olympic victories. In this record it is stated that Strato of Alexandria at the hundred and seventy-eighth Festival won on the same day the victory in the pancratium and the victory at wrestling. Alexandria on the Canopic mouth of the Nile was founded by Alexander the son of Philip, but it is said that previously there was on the site a small Egyptian town called Racotis.
21.9. τὰ δὲ ἐπίλοιπα ἐς τοὺς ἀθλητὰς τούτους οἱ ἐξηγηταὶ λέγουσιν οἱ Ἠλείων, ὀγδόην μὲν ἐπὶ ταῖς ἑβδομήκοντα καὶ ἑκατὸν Ὀλυμπιάδα εἶναι, λαβεῖν δὲ Εὔδηλον παρὰ Φιλοστράτου χρήματα, τοῦτον δὲ εἶναι τὸν Φιλόστρατον Ῥόδιον. τούτῳ τῷ λόγῳ διάφορα ὄντα εὕρισκον τὰ Ἠλείων ἐς τοὺς Ὀλυμπιονίκας γράμματα· ἔστι γὰρ δὴ ἐν τοῖς γράμμασι τούτοις Στράτωνα Ἀλεξανδρέα Ὀλυμπιάδι ὀγδόῃ μετὰ τὰς ἑβδομήκοντα καὶ ἑκατὸν ἐπὶ ἡμέρας ἀνελέσθαι τῆς αὐτῆς παγκρατίου καὶ πάλης νίκην. Ἀλεξανδρείας δὲ τῆς ἐπὶ τῷ Κανωβικῷ τοῦ Νείλου στόματι Ἀλέξανδρος μὲν οἰκιστὴς ἐγένετο ὁ Φιλίππου, λέγεται δὲ καὶ πρότερον ἔτι πόλισμα Αἰγυπτίων ἐνταῦθα οὐ μέγα εἶναι Ῥακῶτιν·
21.10. Three Competitors before the time of this Strato, and three others after him, are known to have received the wild-olive for winning the pancratium and the wrestling: Caprus from Elis itself, and of the Greeks on the other side of the Aegean, Aristomenes of Rhodes and Protophanes of Magnesia on the Lethaeus, were earlier than Strato; after him came Marion his compatriot, Aristeas of Stratoniceia (anciently both land and city were called Chrysaoris), and the seventh was Nicostratus, from Gilicia on the coast, though he was in no way a Gilician except in name.
21.10. Στράτωνος δὲ τούτου τρεῖς μὲν ἡλικίᾳ πρότερον, τοσοῦτοι δὲ ἄλλοι μετʼ αὐτόν εἰσι δῆλοι τὸν κότινον παγκρατίου τε ἆθλα εἰληφότες καὶ πάλης, Κάπρος μὲν ἐξ αὐτῆς Ἤλιδος, Ἑλλήνων δὲ τῶν πέραν Αἰγαίου Ῥόδιός τε Ἀριστομένης καὶ Μαγνήτων τῶν ἐπὶ Ληθαίῳ Πρωτοφάνης. οἱ δὲ ὕστερον τοῦ Στράτωνος Μαρίων τε πόλεως ἐκείνῳ τῆς αὐτῆς καὶ Στρατονικεὺς Ἀριστέας—τὰ δὲ παλαιότερα ἥ τε χώρα καὶ ἡ πόλις ἐκαλεῖτο Χρυσαορίς—, ἕβδομος δὲ Νικόστρατος ἐκ τῶν ἐπὶ θαλάσσῃ Κιλίκων, οὐδὲν τοῖς Κίλιξιν αὐτοῦ μετὸν εἰ μὴ ὅσα τῷ λόγῳ.
21.11. This Nicostratus while still a baby was stolen from Prymnessus in Phrygia by robbers, being a child of a noble family. Conveyed to Aegeae he was bought by somebody or other, who some time afterwards dreamed a dream. He thought that a lion's whelp lay beneath the pallet-bed on which Nicostratus was sleeping. Now Nicostratus, when he grew up, won other victories elsewhere, besides in the pancratium and wrestling at Olympia.
21.11. τοῦτον τὸν Νικόστρατον νήπιον παῖδα ἔτι ἐκ Πρυμνησσοῦ λῃσταὶ τῆς Φρυγῶν ἥρπασαν, οἰκίας ὄντα οὐκ ἀφανοῦς· κομισθέντα δὲ αὐτὸν ἐς Αἰγέας ὠνήσατο ὅστις δή. χρόνῳ δὲ ὕστερον τῷ ἀνδρὶ τούτῳ ὄνειρον γίνεται· λέοντος δὲ ἔδοξεν ὑπὸ τῷ σκίμποδι κατακεῖσθαι σκύμνον, ἐφʼ ᾧ ἐκάθευδεν ὁ Νικόστρατος. Νικοστράτῳ μὲν δή, ὡς ηὐξήθη, καὶ ἄλλαι νῖκαι ⟨καὶ⟩ Ὀλυμπίασιν ἐγένοντο παγκρατίου καὶ πάλης.
21.12. Afterwards others were fined by the Eleans, among whom was an Alexandrian boxer at the two hundred and eighteenth Festival. The name of the man fined was Apollonius, with the surname of Rhantes—it is a sort of national characteristic for Alexandrians to have a surname. This man was the first Egyptian to be convicted by the Eleans of a misdemeanor.
21.12. χρήμασι δὲ ὑπὸ Ἠλείων ἕτεροί τε ὕστερον καὶ Ἀλεξανδρεὺς ἐζημιώθη πύκτης Ὀλυμπιάδι ἐπὶ ταῖς διακοσίαις ὀγδόῃ τε καὶ δεκάτῃ. ὄνομα μὲν τῷ ζημιωθέντι Ἀπολλώνιος, ἐπίκλησις δὲ ἦν Ῥάντης· καί πως καὶ ἐπιχώριον τὸ ἐς τὰς ἐπικλήσεις τοῖς Ἀλεξανδρεῦσίν ἐστιν. οὗτος ὁ ἀνὴρ ἀδικεῖν ὑπὸ Ἠλείων κατεγνώσθη πρῶτος Αἰγυπτίων·
21.13. It was not for giving or taking a bribe that he was condemned, but for the following outrageous conduct in connection with the games. He did not arrive by the prescribed time, and the Eleans, if they followed their rule, had no option but to exclude him from the games. For his excuse, that he had been kept back among the Cyclades islands by contrary winds, was proved to be an untruth by Heracleides, himself an Alexandrian by birth. He showed that Apollonius was late because he had been picking up some money at the Ionian games.
21.13. κατεγνώσθη δὲ οὐ δοῦναι χρήματα ἢ λαβεῖν αὐτός, ἀλλὰ τοιόνδε ἄλλο ἐς τὸν ἀγῶνα ἐξυβρίσαι. ἀφίκετο οὐκ ἐς τὸν εἰρημένον καιρόν, καὶ αὐτὸν ὑπὸ Ἠλείων πειθομένων τῷ νόμῳ ἐλείπετο τοῦ ἀγῶνος εἴργεσθαι· τὴν γάρ οἱ πρόφασιν, ὡς ἐν ταῖς Κυκλάσι νήσοις ὑπὸ ἀνέμων κατείχετο ἐναντίων, Ἡρακλείδης γένος καὶ αὐτὸς Ἀλεξανδρεὺς ἤλεγχεν ἀπάτην οὖσαν· ὑστερῆσαι γὰρ χρήματα ἐκ τῶν ἀγώνων αὐτὸν ἐκλέγοντα τῶν ἐν Ἰωνίᾳ.
21.14. In these circumstances the Eleans shut out from the games Apollonius with any other boxer who came after the prescribed time, and let the crown go to Heracleides without a contest. Whereupon Apollonius put on his gloves for a fight, rushed at Heracleides, and began to pummel him, though he had already put the wild-olive on his head and had taken refuge with the umpires. For this light-headed folly he was to pay dearly.
21.14. οὕτω δὴ τόν τε Ἀπολλώνιον καὶ εἰ δή τις ἄλλος ἧκεν οὐ κατὰ προθεσμίαν τῶν πυκτῶν, τούτους μὲν οἱ Ἠλεῖοι τοῦ ἀγῶνος ἀπελαύνουσι, τῷ Ἡρακλείδῃ δὲ τὸν στέφανον παριᾶσιν ἀκονιτί· ἐνταῦθα ὁ Ἀπολλώνιος κατεσκευάσατό τε τοῖς ἱμᾶσιν ὡς ἐς μάχην καὶ ἐσδραμὼν ἐπὶ τὸν Ἡρακλείδην ἥπτετο ἐπικειμένου τε ἤδη τὸν κότινον καὶ καταπεφευγότος ἐς τοὺς Ἑλλανοδίκας. τούτῳ μὲν δὴ ἔμελλε τὸ κοῦφον τοῦ νοῦ βλάβος μέγα ἔσεσθαι, ἔστι δὲ καὶ ἄλλα δύο τέχνης τῆς ἐφʼ ἡμῶν [τὰ] ἀγάλματα·
21.15. There are also two other images of modern workmanship. For at the two hundred and twenty-sixth Festival they detected that two boxing men, in a fight for victory only, had agreed about the issue for a sum of money. For this misconduct a fine was inflicted, and of the images of Zeus that were made, one stands on the left of the entrance to the stadium and the other on the right. Of the boxers, the one bribed was called Didas, and the briber was Sarapammon. They were from the same district, the newest in Egypt, called Arsinoites.
21.15. ἕκτῃ γὰρ ἐπὶ ταῖς εἴκοσι καὶ διακοσίαις Ὀλυμπιάδι πύκτας ἄνδρας, ὑπὲρ αὐτῆς μαχομένους τῆς νίκης, ἐφώρασαν συνθεμένους ὑπὲρ λήμματος. ἀντὶ τούτων μὲν ἐγένετο ζημία· ποιηθέντων δὲ ἀγαλμάτων Διὸς τὸ μὲν ἐν ἀριστερᾷ τῆς ἐς τὸ στάδιον ἐσόδου, τὸ δὲ ἕτερον αὐτῶν ἕστηκεν ἐν δεξιᾷ. τοῖς δὲ πύκταις τούτοις Δίδας τε ὄνομα ἦν καὶ τῷ τὰ χρήματα δόντι αὐτῶν Σαραπάμμων· νομοῦ δὲ ἦσαν τοῦ αὐτοῦ, νεωτάτου τῶν ἐν Αἰγύπτῳ, καλουμένου δὲ Ἀρσινοΐτου.
21.16. It is a wonder in any case if a man has so little respect for the god of Olympia as to take or give a bribe in the contests; it is an even greater wonder that one of the Eleans themselves has fallen so low. But it is said that the Elean Damonicus did so fall at the hundred and ninety second Festival. They say that collusion occurred between Polyctor the son of Damonicus and Sosander of Smyrna, of the same name as his father; these were competitors for the wrestling prize of wild-olive. Damonicus, it is alleged, being exceedingly ambitious that his son should win, bribed the father of Sosander.
21.16. θαῦμα μὲν δὴ καὶ ἄλλως ἐν οὐδενὸς λόγῳ τὸν θεὸν θέσθαι τὸν ἐν Ὀλυμπίᾳ καὶ δέξασθαί τινα ἢ δοῦναι δῶρα ἐπὶ τῷ ἀγῶνι· μείζονος δὲ ἔτι θαύματος, εἴ γε καὶ αὐτῶν ἐτόλμησεν ἤδη τις Ἠλείων. λέγεται δὲ ὡς Δαμόνικος τολμήσειεν Ἠλεῖος δευτέρᾳ πρὸς ταῖς ἑκατὸν καὶ ἐνενήκοντα Ὀλυμπιάδι· συνεστηκέναι μὲν γὰρ παλαίοντας ἐπὶ τῷ στεφάνῳ τόν τε τοῦ Δαμονίκου παῖδα Πολύκτορα καὶ Σώσανδρον γένος Σμυρναῖον, ὁμώνυμον τῷ πατρί· Δαμόνικον δέ, ἅτε περισσῶς ἐπιθυμοῦντα γενέσθαι τῷ παιδὶ τὴν νίκην, δοῦναι τοῦ Σωσάνδρου τῷ πατρὶ χρήματα.
21.17. When the transaction became known, the umpires imposed a fine, but instead of imposing it on the sons they directed their anger against the fathers, for that they were the real sinners. From this fine images were made. One is set up in the Elean gymnasium; the other is in the Altis in front of what is called the Painted Portico, because anciently there were pictures on the walls. Some call this Portico the Echo Portico, because when a man has shouted his voice is repeated by the echo seven or even more times.
21.17. ὡς δὲ ἐγεγόνει τὰ πραχθέντα ἔκπυστα, ἐπιβάλλουσιν οἱ Ἑλλανοδίκαι ζημίαν, ἐπιβάλλουσι δὲ οὐ τοῖς παισίν, ἀλλὰ ἐς τοὺς πατέρας ἔτρεψαν τὴν ὀργήν· οὗτοι γὰρ δὴ καὶ ἠδίκουν. ἀπὸ ταύτης τῆς ζημίας ἀγάλματα ἐποιήθη· καὶ τὸ μὲν ἐν τῷ Ἠλείων ἀνάκειται γυμνασίῳ, τὸ δὲ τῆς Ἄλτεως πρὸ τῆς Ποικίλης στοᾶς καλουμένης, ὅτι ἦσαν ἐπὶ τῶν τοίχων γραφαὶ τὸ ἀρχαῖον. εἰσὶ δʼ οἳ τὴν στοὰν ταύτην καὶ Ἠχοῦς ὀνομάζουσι· βοήσαντι δὲ ἀνδρὶ ἑπτάκις ὑπὸ τῆς ἠχοῦς ἡ φωνή, τὰ δὲ καὶ ἐπὶ πλέον ἔτι ἀποδίδοται.
21.18. They say that a pancratiast of Alexandria, by name Sarapion, at the two hundred and first Festival, was so afraid of his antagonists that on the day before the pancratium was to be called on he ran away. This is the only occasion on record when any man, not to say a man of Egypt, was fined for cowardice.
21.18. παγκρατιαστὴν δέ φασιν Ἀλεξανδρέα, ὄνομα δὲ εἶναί οἱ Σαραπίωνα, τοῦτον ἐν Ὀλυμπιάδι τῇ πρώτῃ μετὰ τὰς διακοσίας ἐς τοσοῦτο δεῖσαι τοὺς ἀνταγωνιστὰς ὥστε ἡμέρᾳ μιᾷ πρότερον ἢ ἐσκληθήσεσθαι τὸ παγκράτιον ἔμελλεν ἀποδράντα οἴχεσθαι. τοῦτον ζημιωθέντα ἐπὶ δειλίᾳ μόνον τῶν τε ἄλλων ἀνθρώπων καὶ αὐτῶν μνημονεύουσιν Αἰγυπτίων. ταῦτα μὲν τὰ κατειλεγμένα ἐπὶ αἰτίαις τοιαῖσδε ποιηθέντα εὕρισκον·
22.1. These were the causes for which I found that these images were made. There are also images of Zeus dedicated by States and by individuals. There is in the Altis an altar near the entrance leading to the stadium. On it the Eleans do not sacrifice to any of the gods, but it is customary for the trumpeters and heralds to stand upon it when they compete. By the side of this altar has been built a pedestal of bronze, and on it is an image of Zeus, about six cubits in height, with a thunderbolt in either hand. It was dedicated by the people of Cynaetha. The figure of Zeus as a boy wearing the necklace is the votive offering of Cleolas, a Phliasian.
22.1. ἔστι δὲ καὶ ἀγάλματα Διὸς δημοσίᾳ τε καὶ ὑπὸ ἀνδρῶν ἀνατεθέντα ἰδιωτῶν. ἔστι δὲ βωμὸς ἐν τῇ Ἄλτει τῆς ἐσόδου πλησίον τῆς ἀγούσης ἐς τὸ στάδιον· ἐπὶ τούτου θεῶν μὲν οὐδενὶ θύουσιν Ἠλεῖοι, σαλπιγκταῖς δὲ ἐφεστηκόσιν αὐτῷ καὶ τοῖς κήρυξιν ἀγωνίζεσθαι καθέστηκε. παρὰ τοῦτον τὸν βωμὸν βάθρον τε πεποίηται χαλκοῦν καὶ ἄγαλμα ἐπʼ αὐτῷ Διός, μέγεθος μὲν ὅσον ἓξ πήχεις, κεραυνὸν δὲ ἐν ἑκατέρᾳ τῇ χειρὶ ἔχει· ἀνέθεσαν δὲ αὐτὸ Κυναιθαεῖς. ὁ δὲ περικείμενός τε τὸν ὅρμον καὶ ἡλικίαν παῖς ἔτι ἀνάθημα ἀνδρός ἐστι Φλιασίου Κλεόλα.
22.2. By the side of what is called the Hippodamium is a semicircular stone pedestal, and on it are Zeus, Thetis, and Day entreating Zeus on behalf of her children. These are on the middle of the pedestal. There are Achilles and Memnon, one at either edge of the pedestal, representing a pair of combatants in position. There are other pairs similarly opposed, foreigner against Greek: Odysseus opposed to Helenus, reputed to be the cleverest men in the respective armies; Alexander and Menelaus, in virtue of their ancient feud; Aeneas and Diomedes, and Deiphobus and Ajax son of Telamon.
22.2. παρὰ δὲ τὸ Ἱπποδάμιον καλούμενον λίθου τε βάθρον ἐστὶ κύκλος ἥμισυς καὶ ἀγάλματα ἐπʼ αὐτῷ Ζεὺς καὶ Θέτις τε καὶ Ἡμέρα τὸν Δία ὑπὲρ τῶν τέκνων ἱκετεύουσαι. ταῦτα ἐπὶ μέσῳ τῷ βάθρῳ· οἱ δὲ ἤδη σχῆμα ἀντιτεταγμένων ὅ τε Ἀχιλλεὺς παρέχεται καὶ ὁ Μέμνων ἐπὶ ἑκατέρῳ τοῦ βάθρου τῷ πέρατι ἑκάτερος. ἀνθεστήκασι δὲ καὶ ἄλλος ἄλλῳ κατὰ τὰ αὐτά, ἀνὴρ βάρβαρος ἀνδρὶ Ἕλληνι, Ὀδυσσεὺς μὲν Ἑλένῳ, ὅτι οὗτοι μάλιστα ἐπὶ σοφίᾳ δόξαν ἐν ἑκατέρῳ τῷ στρατεύματι εἰλήφεσαν, Μενελάῳ δὲ κατὰ τὸ ἔχθος τὸ ἐξ ἀρχῆς Ἀλέξανδρος, Διομήδει δὲ Αἰνείας καὶ τῷ Τελαμῶνος Αἴαντι Δηίφοβος.
22.3. These are the work of Lycius, the son of Myron, and were dedicated by the people of Apollonia on the Ionian sea. There are also elegiac verses written in ancient characters under the feet of Zeus.As memorials of Apollonia have we been dedicated, which on the Ionian seaPhoebus founded, he of the unshorn locks.The Apollonians, after taking the land of Abantis, set up hereThese images with heaven's help, tithe from Thronium.The land called Abantis and the town of Thronium in it were a part of the Thesprotian mainland over against the Ceraunian mountains.
22.3. ταῦτά ἐστιν ἔργα μὲν Λυκίου τοῦ Μύρωνος, Ἀπολλωνιᾶται δὲ ἀνέθηκαν οἱ ἐν τῷ Ἰονίῳ· καὶ δὴ καὶ ἐλεγεῖον γράμμασίν ἐστιν ἀρχαίοις ὑπὸ τοῦ Διὸς τοῖς ποσί·μνάματʼ Ἀπολλωνίας ἀνακείμεθα, τὰν ἐνὶ πόντῳἸονίῳ Φοῖβος ᾤκισʼ ἀκερσεκόμας·οἳ γᾶς τέρμαθʼ ἑλόντες Ἀβαντίδος ἐνθάδε ταῦταἔστασαν σὺν θεοῖς ἐκ Θρονίου δεκάταν.ἡ δὲ Ἀβαντὶς καλουμένη χώρα καὶ πόλισμα ἐν αὐτῇ Θρόνιον τῆς Θεσπρωτίδος ἦσαν ἠπείρου κατὰ ὄρη τὰ Κεραύνια.
22.4. When the Greek fleet was scattered on the voyage home from Troy, Locrians from Thronium, a city on the river Boagrius, and Abantes from Euboea, with eight ships altogether, were driven on the Ceraunian mountains. Settling here and founding the city of Thronium, by common agreement they gave the name of Abantis to the land as far as they occupied it. Afterwards, however, they were conquered in war and expelled by the people of Apollonia, their neighbors. Apollonia was a colony of Corcyra, they say, and Corcyra of Corinth, and the Corinthians had their share of the spoils.
22.4. σκεδασθεισῶν γὰρ Ἕλλησιν, ὡς ἐκομίζοντο ἐξ Ἰλίου, τῶν νεῶν, Λοκροί τε ἐκ Θρονίου τῆς ἐπὶ Βοαγρίῳ ποταμῷ καὶ Ἄβαντες ἀπὸ Εὐβοίας ναυσὶν ὀκτὼ συναμφότεροι πρὸς τὰ ὄρη κατηνέχθησαν τὰ Κεραύνια. οἰκήσαντες δὲ ἐνταῦθα καὶ πόλιν οἰκίσαντες Θρόνιον, καὶ τῆς γῆς ἐφʼ ὅσον ἐνέμοντο Ἀβαντίδος ὄνομα ἀπὸ κοινοῦ λόγου θέμενοι, ἐκπίπτουσιν ὕστερον ὑπὸ Ἀπολλωνιατῶν ὁμόρων κρατηθέντες πολέμῳ. ἀποικισθῆναι δὲ ἐκ Κορκύρας τὴν Ἀπολλωνίαν, ⟨τὴν δὲ Κορινθίων εἶναί φασιν ἀποικίαν,⟩ οἱ δὲ Κορινθίοις αὐτοῖς μετεῖναι λαφύρων.