22.5. A little farther on is a Zeus turned towards the rising sun; he holds an eagle in one hand and in the other a thunderbolt. On him are set spring flowers, with a crown of them on his head. It is an offering of the people of Metapontum. The artist was Aristonus of Aegina, but we do not know when he lived nor who his teacher was.
22.5. προελθόντι δὲ ὀλίγον Ζεύς ἐστι πρὸς ἀνίσχοντα τετραμμένος τὸν ἥλιον, ἀετὸν ἔχων τὸν ὄρνιθα καὶ τῇ ἑτέρᾳ τῶν χειρῶν κεραυνόν· ἐπίκειται δὲ αὐτῷ καὶ ἐπὶ τῇ κεφαλῇ στέφανος, ἄνθη τὰ ἠρινά. Μεταποντίνων δέ ἐστιν ἀνάθημα, Αἰγινήτου δὲ ἔργον Ἀριστόνου· τοῦ δὲ Ἀριστόνου τούτου διδάσκαλον, ἢ καθʼ ὅντινα χρόνον ἐγένετο, οὐκ ἴσμεν.
22.6. The Phliasians also dedicated a Zeus, the daughters of Asopus, and Asopus himself. Their images have been ordered thus: Nemea is the first of the sisters, and after her comes Zeus seizing Aegina; by Aegina stands Harpina, who, according to the tradition of the Eleans and Phliasians, mated with Ares and was the mother of Oenomaus, king around Pisa; after her is Corcyra, with Thebe next; last of all comes Aesopus. There is a legend about Corcyra that she mated with Poseidon, and the same thing is said by Pindar of Thebe and Zeus.
22.6. ἀνέθεσαν δὲ καὶ Φλιάσιοι Δία καὶ θυγατέρας τὰς Ἀσωποῦ καὶ αὐτὸν Ἀσωπόν, διακεκόσμηται δὲ οὕτω σφίσι τὰ ἀγάλματα. Νεμέα μὲν τῶν ἀδελφῶν πρώτη, μετὰ δὲ αὐτὴν Ζεὺς λαμβανόμενός ἐστιν Αἰγίνης, παρὰ δὲ τὴν Αἴγιναν ἕστηκεν Ἅρπινα—ταύτῃ τῷ Ἠλείων καὶ Φλιασίων λόγῳ συνεγένετο Ἄρης, καὶ Οἰνομάῳ δὲ μήτηρ τῷ περὶ τὴν Πισαίαν βασιλεύσαντί ἐστιν Ἅρπινα—, μετὰ δὲ αὐτὴν Κόρκυρά τε καὶ ἐπʼ αὐτῇ Θήβη, τελευταῖος δὲ ὁ Ἀσωπός. λέγεται δὲ ἐς μὲν Κόρκυραν ὡς μιχθείη Ποσειδῶν αὐτῇ· τοιαῦτα δὲ ἕτερα ᾖσε Πίνδαρος ἐς Θήβην τε καὶ ἐς Δία.
22.7. Men of Leontini have set up a Zeus, not at public expense but out of their private purse. The height of the image is seven cubits, and in its hands are an eagle and the bolt of Zeus, in accordance with the poets' tales. It was dedicated by Hippagoras, Phrynon, and Aenesidemus, who in my opinion was some other Aenesidemus and not the tyrant of Leontini.
22.7. ἰδίᾳ δὲ ἄνδρες Λεοντῖνοι καὶ οὐκ ἀπὸ τοῦ κοινοῦ Δία ἀνέστησαν· μέγεθος μὲν τοῦ ἀγάλματος πήχεις εἰσὶν ἑπτά, ἐν δὲ ταῖς χερσὶν ἀετός τέ ἐστιν αὐτῷ καὶ τὸ βέλος τοῦ Διὸς κατὰ τοὺς τῶν ποιητῶν λόγους. ἀνέθεσαν δὲ Ἱππαγόρας τε καὶ Φρύνων καὶ Αἰνεσίδημος, ὃν ἄλλον πού τινα Αἰνεσίδημον δοκῶ καὶ οὐ τὸν τυραννήσαντα εἶναι Λεοντίνων.
23.1. As you pass by the entrance to the Council Chamber you see an image of Zeus standing with no inscription on it, and then on turning to the north another image of Zeus. This is turned towards the rising sun, and was dedicated by those Greeks who at Plataea fought against the Persians under Mardonius. On the right of the pedestal are inscribed the cities which took part in the engagement: first the Lacedaemonians, after them the Athenians, third the Corinthians, fourth the Sicyonians, fifth the Aeginetans; after the Aeginetans, the Megarians and Epidaurians, of the Arcadians the people of Tegea and Orchomenus, after them the dwellers in Phlius, Troezen and Hermion, the Tirynthians from the Argolid, the Plataeans alone of the Boeotians, the Argives of Mycenae, the islanders of Ceos and Melos, Ambraciots of the Thesprotian mainland, the Tenians and the Lepreans, who were the only people from Triphylia, but from the Aegean and the Cyclades there came not only the Tenians but also the Naxians and Cythnians, Styrians too from Euboea, after them Eleans, Potidaeans, Anactorians, and lastly the Chalcidians on the Euripus.
23.1. παρεξιόντι δὲ παρὰ τὴν ἐς τὸ βουλευτήριον ἔσοδον Ζεύς τε ἕστηκεν ἐπίγραμμα ἔχων οὐδὲν καὶ αὖθις ὡς πρὸς ἄρκτον ἐπιστρέψαντι ἄγαλμά ἐστι Διός· τοῦτο τέτραπται μὲν πρὸς ἀνίσχοντα ἥλιον, ἀνέθεσαν δὲ Ἑλλήνων ὅσοι Πλαταιᾶσιν ἐμαχέσαντο ἐναντία Μαρδονίου τε καὶ Μήδων. εἰσὶ δὲ καὶ ἐγγεγραμμέναι κατὰ τοῦ βάθρου τὰ δεξιὰ αἱ μετασχοῦσαι πόλεις τοῦ ἔργου, Λακεδαιμόνιοι μὲν πρῶτοι, μετὰ δὲ αὐτοὺς Ἀθηναῖοι, τρίτοι δὲ γεγραμμένοι καὶ τέταρτοι Κορίνθιοί τε καὶ Σικυώνιοι, πέμπτοι δὲ Αἰγινῆται, μετὰ δὲ Αἰγινήτας Μεγαρεῖς καὶ Ἐπιδαύριοι, Ἀρκάδων δὲ Τεγεᾶταί τε καὶ Ὀρχομένιοι, ἐπὶ δὲ αὐτοῖς ὅσοι Φλιοῦντα καὶ Τροίζηνα καὶ Ἑρμιόνα οἰκοῦσιν, ἐκ δὲ χώρας τῆς Ἀργείας Τιρύνθιοι, Πλαταιεῖς δὲ μόνοι Βοιωτῶν, καὶ Ἀργείων οἱ Μυκήνας ἔχοντες, νησιῶται δὲ Κεῖοι καὶ Μήλιοι, Ἀμβρακιῶται δὲ ἐξ ἠπείρου τῆς Θεσπρωτίδος, Τήνιοί τε καὶ Λεπρεᾶται, Λεπρεᾶται μὲν τῶν ἐκ τῆς Τριφυλίας μόνοι, ἐκ δὲ Αἰγαίου καὶ τῶν Κυκλάδων οὐ Τήνιοι μόνοι ἀλλὰ καὶ Νάξιοι καὶ Κύθνιοι, ἀπὸ δὲ Εὐβοίας Στυρεῖς, μετὰ δὲ τούτους Ἠλεῖοι καὶ Ποτιδαιᾶται καὶ Ἀνακτόριοι, τελευταῖοι δὲ Χαλκιδεῖς οἱ ἐπὶ τῷ Εὐρίπῳ.
23.3. Of these cities the following are at the present day uninhabited: Mycenae and Tiryns were destroyed by the Argives after the Persian wars. The Ambraciots and Anactorians, colonists of Corinth, were taken away by the Roman emperor to help to found Nicopolis near Actium. The Potidaeans twice suffered removal from their city, once at the hands of Philip, the son of Amyntas, and once before this at the hands of the Athenians. Afterwards, however, Cassander restored the Potidaeans to their homes, but the name of the city was changed from Potidaea to Cassandreia after the name of its founder. The image at Olympia dedicated by the Greeks was made by Anaxagoras of Aegina. The name of this artist is omitted by the historians of Plataea.
23.3. τούτων τῶν πόλεων τοσαίδε ἦσαν ἐφʼ ἡμῶν ἔρημοι· Μυκηναῖοι μὲν καὶ Τιρύνθιοι [ὑπὸ] τῶν Μηδικῶν ὕστερον ἐγένοντο ὑπὸ Ἀργείων ἀνάστατοι· Ἀμβρακιώτας δὲ καὶ Ἀνακτορίους ἀποίκους Κορινθίων ὄντας ἐπηγάγετο ὁ Ῥωμαίων βασιλεὺς ἐς Νικοπόλεως συνοικισμὸν πρὸς τῷ Ἀκτίῳ· Ποτιδαιάτας δὲ δὶς μὲν ἐπέλαβεν ἀναστάτους ἐκ τῆς σφετέρας ὑπὸ Φιλίππου τε γενέσθαι τοῦ Ἀμύντου καὶ πρότερον ἔτι ὑπὸ Ἀθηναίων, χρόνῳ δὲ ὕστερον Κάσσανδρος κατήγαγε μὲν Ποτιδαιάτας ἐπὶ τὰ οἰκεῖα, ὄνομα δὲ οὐ τὸ ἀρχαῖον τῇ πόλει, Κασσάνδρεια δὲ ἐγένετο ἀπὸ τοῦ οἰκιστοῦ. τὸ δὲ ἄγαλμα ἐν Ὀλυμπίᾳ τὸ ἀνατεθὲν ὑπὸ τῶν Ἑλλήνων ἐποίησεν Ἀναξαγόρας Αἰγινήτης· τοῦτον οἱ συγγράψαντες τὰ ἐς Πλαταιὰς παριᾶσιν ἐν τοῖς λόγοις.
23.4. In front of this Zeus there is a bronze slab, on which are the terms of the Thirty-years Peace between the Lacedaemonians and the Athenians. The Athenians made this peace after they had reduced Euboea for the second time, in the third year of the eighty-third Olympiad, when Crison of Himera won the foot-race. One of the articles of the treaty is to the effect that although Argos has no part in the treaty between Athens and Sparta, yet the Athenians and the Argives may privately, if they wish, be at peace with each other. Such are the terms of this treaty.
23.4. ἔστι δὲ πρὸ τοῦ Διὸς τούτου στήλη χαλκῆ, Λακεδαιμονίων καὶ Ἀθηναίων συνθήκας ἔχουσα εἰρήνης ἐς τριάκοντα ἐτῶν ἀριθμόν. ταύτας ἐποιήσαντο Ἀθηναῖοι παραστησάμενοι τὸ δεύτερον Εὔβοιαν, ἔτει τρίτῳ τῆς ⟨τρίτης πρὸς τὰς ὀγδοήκοντα⟩ Ὀλυμπιάδος, ἣν Κρίσων Ἱμεραῖος ἐνίκα στάδιον. ἔστι δὲ ἐν ταῖς συνθήκαις καὶ τόδε εἰρημένον, εἰρήνης μὲν τῆς Ἀθηναίων καὶ Λακεδαιμονίων τῇ Ἀργείων μὴ μετεῖναι πόλει, ἰδίᾳ δὲ Ἀθηναίους καὶ Ἀργείους, ἢν ἐθέλωσιν, ἐπιτηδείως ἔχειν πρὸς ἀλλήλους. αὗται μὲν λέγουσι τοιαῦτα αἱ συνθῆκαι, Διὸς δὲ ἄλλο ἄγαλμα παρὰ τὸ ἅρμα ἀνάκειται τὸ Κλεοσθένους·
23.5. There is yet another image of Zeus dedicated beside the chariot of Cleosthenes. This chariot I will describe later; the image of Zeus was dedicated by the Megarians, and made by the brothers Psylacus and Onaethus with the help of their sons. About their date, their nation and their master, I can tell you nothing.
23.5. τούτου μὲν δὴ ἡμῖν καὶ ἐν τοῖς ἔπειτα ἔσται μνήμη, τὸ δὲ ἄγαλμα τοῦ Διὸς Μεγαρέων μέν ἐστιν ἀνάθημα, ἀδελφοὶ δὲ αὐτὸ Ψύλακός τε καὶ Ὄναιθος καὶ οἱ παῖδες οἱ τούτων εἰργάσαντο· ἡλικίαν δὲ αὐτῶν ἢ πατρίδα ἢ παρʼ ᾧ τινι ἐδιδάχθησαν, οὐκ ἔχω δηλῶσαι.
23.6. By the chariot of Gelon stands an ancient Zeus holding a scepter which is said to be an offering of the Hyblaeans. There were two cities in Sicily called Hybla, one surnamed Gereatis and the other Greater, it being in fact the greater of the two. They still retain their old names, and are in the district of Catana. Greater Hybla is entirely uninhabited, but Gereatis is a village of Catana, with a sanctuary of the goddess Hyblaea which is held in honor by the Sicilians. The people of Gereatis, I think, brought the image to Olympia. For Philistus, the son of Archomenides, says that they were interpreters of portents and dreams, and more given to devotions than any other foreigners in Sicily.
23.6. πρὸς δὲ τῷ ἅρματι τῷ Γέλωνος Ζεὺς ἕστηκεν ἀρχαῖος ἔχων σκῆπτρον, Ὑβλαίων δέ φασιν εἶναι ἀνάθημα· αἱ δὲ ἦσαν ἐν Σικελίᾳ πόλεις αἱ Ὕβλαι, ⟨ἡ μὲν⟩ Γερεᾶτις ἐπίκλησιν, τὴν δὲ—ὥσπερ γε καὶ ⟨ἦν⟩ —ἐκάλουν Μείζονα. ἔχουσι δὲ καὶ κατʼ ἐμὲ ἔτι τὰ ὀνόματα, ἐν τῇ Καταναίᾳ δὲ ἡ μὲν ἔρημος ἐς ἅπαν, ἡ δὲ κώμη τε Καταναίων ἡ Γερεᾶτις καὶ ἱερόν σφισιν Ὑβλαίας ἐστὶ θεοῦ, παρὰ Σικελιωτῶν ἔχον τιμάς. παρὰ τούτων δὲ κομισθῆναι τὸ ἄγαλμα ἐς Ὀλυμπίαν ἡγοῦμαι· τεράτων γὰρ σφᾶς καὶ ἐνυπνίων Φίλιστος ὁ Ἀρχομενίδου φησὶν ἐξηγητὰς εἶναι καὶ μάλιστα εὐσεβείᾳ τῶν ἐν Σικελίᾳ βαρβάρων προσκεῖσθαι.
23.7. Near the offering of the Hyblaeans has been made a pedestal of bronze with a Zeus upon it, which I conjecture to be about eighteen feet high. The donors and sculptors are set forth in elegiac verse:—The Cleitorians dedicated this image to the god, a titheFrom many cities that they had reduced by force.The sculptors were Aristo and Telestas,Own brothers and Laconians.I do not think that these Laconians were famous all over Greece, for had they been so the Eleans would have had something to say about them, and the Lacedaemonians more still, seeing that they were their fellow-citizens.
23.7. πλησίον δὲ τοῦ Ὑβλαίων ἀναθήματος βάθρον τε πεποίηται χαλκοῦν καὶ ἐπʼ αὐτῷ Ζεύς· τοῦτον ὀκτὼ μάλιστα εἶναι ποδῶν καὶ δέκα εἰκάζομεν. οἵτινες δὲ αὐτὸν ἔδοσαν τῷ θεῷ καὶ ὧντινών ἐστιν ἔργον, ἐλεγεῖον γεγραμμένον σημαίνει·Κλειτόριοι τόδʼ ἄγαλμα θεῷ δεκάταν ἀνέθηκαν,πολλᾶν ἐκ πολίων χερσὶ βιασσάμενοι.†καιμετρειτ Ἀρίστων ἠδὲ Τελέσταςαὐτοκασίγνητοι καλὰ Λάκωνες ἔθεν.τούτους οὐκ ἐς ἅπαν τὸ Ἑλληνικὸν ἐπιφανεῖς νομίζω γενέσθαι· εἶχον γὰρ ἄν τι καὶ Ἠλεῖοι περὶ αὐτῶν λέγειν, καὶ πλέονα ἔτι Λακεδαιμόνιοι πολιτῶν γε ὄντων.
24.1. By the side of the altar of Zeus Laoetas and Poseidon Laoetas is a Zeus on a bronze pedestal. The people of Corinth gave it and Musus made it, whoever this Musus may have been. As you go from the Council Chamber to the great temple there stands on the left an image of Zeus, crowned as it were with flowers, and with a thunderbolt set in his right hand. It is the work of Ascarus of Thebes, a pupil of Canachus of Sicyon. The inscription on it says that it is a tithe from the war between Phocis and Thessaly.
24.1. παρὰ δὲ τοῦ Λαοίτα Διὸς καὶ Ποσειδῶνος Λαοίτα [δὲ], παρὰ τούτων τὸν βωμὸν Ζεὺς ἐπὶ χαλκοῦ βάθρου δῶρον μὲν τοῦ Κορινθίων δήμου, Μούσου δέ ἐστι ποίημα, ὅστις δὴ οὗτός ἐστιν ὁ Μοῦσος. ἀπὸ δὲ τοῦ βουλευτηρίου πρὸς τὸν ναὸν ἐρχομένῳ τὸν μέγαν ἔστιν ἄγαλμα ἐν ἀριστερᾷ Διός, ἐστεφανωμένον δὲ οἷα δὴ ἄνθεσι, καὶ ἐν τῇ δεξιᾷ χειρὶ αὐτοῦ κεραυνὸς πεποίηται. τοῦτο δέ ἐστιν Ἀσκάρου τέχνη Θηβαίου, διδαχθέντος παρὰ τῷ Σικυωνίῳ ⟨Κανάχῳ· τὸ δὲ ἐπίγραμμα τὸ ἐπʼ αὐτῷ δεκάτην ἀπὸ τοῦ πολέμου Φωκέων⟩ καὶ Θεσσαλῶν φησιν εἶναι.
24.2. If the Thessalians went to war with Phocis and dedicated the offering from Phocian plunder, this could not have been the so-called “Sacred War,” but must have been a war between the two States previous to the invasion of Greece by the Persians under their king. Not far from this is a Zeus, which, as is declared by the verse inscribed on it, was dedicated by the Psophidians for a success in war.
24.2. εἰ δὲ Φωκεῦσιν ἐς πόλεμόν τινα οὗτοι κατέστησαν καὶ ἔστιν ἀπὸ Φωκέων αὐτοῖς τὸ ἀνάθημα, οὐκ ἂν ⟨ὅ γε⟩ ἱερὸς καλούμενος εἴη πόλεμος, ὃν δὲ πρότερον ἔτι ἐπολέμησαν πρὶν ἢ Μήδους καὶ βασιλέα ἐπὶ τὴν Ἑλλάδα διαβῆναι. τούτου δὲ οὐ πόρρω Ζεύς ἐστιν, ὅντινα ἀναθεῖναι Ψωφιδίους ἐπὶ πολέμου κατορθώματι τὸ ἔπος τὸ ἐπʼ αὐτῷ γεγραμμένον δηλοῖ.
24.3. On the right of the great temple is a Zeus facing the rising of the sun, twelve feet high and dedicated, they say, by the Lacedaemonians, when they entered on a war with the Messenians after their second revolt. On it is an elegiac couplet:Accept, king, son of Cronus, Olympian Zeus, a lovely image,And have a heart propitious to the Lacedaemonians.
24.3. τοῦ ναοῦ δέ ἐστιν ἐν δεξιᾷ τοῦ μεγάλου Ζεὺς πρὸς ἀνατολὰς ἡλίου, μέγεθος μὲν δυόδεκα ποδῶν, ἀνάθημα δὲ λέγουσιν εἶναι Λακεδαιμονίων, ἡνίκα ἀποστᾶσι Μεσσηνίοις δεύτερα τότε ἐς πόλεμον κατέστησαν· ἔπεστι δὲ καὶ ἐλεγεῖον ἐπʼ αὐτῷ,Δέξο ἄναξ Κρονίδα Ζεῦ Ὀλύμπιε καλὸν ἄγαλμαἱλάῳ θυμῷ τοῖς Λακεδαιμονίοις.
24.4. We know of no Roman, either commoner or senator, who gave a votive offering to a Greek sanctuary before Mummius, and he dedicated at Olympia a bronze Zeus from the spoils of Achaia. It stands on the left of the offering of the Lacedaemonians by the side of the first pillar on this side of the temple. The largest of the bronze images of Zeus in the Altis is twenty-seven feet high, and was dedicated by the Eleans themselves from the plunder of the war with the Arcadians.
24.4. Ῥωμαίων δὲ οὔτε ἄνδρα ἰδιώτην οὔτε ὁπόσοι τῆς βουλῆς οὐδένα Μομμίου πρότερον ἀνάθημα ἴσμεν ἐς ἱερὸν ἀναθέντα Ἑλληνικόν, Μόμμιος δὲ ἀπὸ λαφύρων ἀνέθηκε τῶν ἐξ Ἀχαΐας Δία ἐς Ὀλυμπίαν χαλκοῦν· οὗτος ἕστηκεν ἐν ἀριστερᾷ τοῦ Λακεδαιμονίων ἀναθήματος, παρὰ τὸν πρῶτον ταύτῃ τοῦ ναοῦ κίονα. ὃ δὲ ἐν τῇ Ἄλτει μέγιστον τῶν χαλκῶν ἐστιν ἀγαλμάτων τοῦ Διός, ἀνετέθη μὲν ὑπὸ αὐτῶν Ἠλείων ἀπὸ τοῦ πρὸς Ἀρκάδας πολέμου, μέγεθος δὲ ἑπτὰ καὶ εἴκοσι ποδῶν ἐστι.
24.5. Beside the Pelopium is a pillar of no great height with a small image of Zeus on it; one hand is outstretched. Opposite this are other offerings in a row, and likewise images of Zeus and Ganymedes. Homer's poem tells how Ganymedes was carried off by the gods to be wine-bearer to Zeus, and how horses were given to Tros in exchange for him. This offering was dedicated by the Thessalian Gnathis and made by Aristocles, pupil and son of Cleoetas.
24.5. παρὰ δὲ τῷ Πελοπίῳ κίων τε οὐχ ὑψηλὸς καὶ ἄγαλμα Διός ἐστιν ἐπʼ αὐτῷ μικρόν, τὴν ἑτέραν τῶν χειρῶν προτεῖνον. τούτου δὲ ἀπαντικρὺ ἄλλα ἐστὶν ἀναθήματα ἐπὶ στοίχου, ὡς δὲ αὔτως Διὸς καὶ Γανυμήδους ἀγάλματα· ἔστι δὲ Ὁμήρῳ πεποιημένα ὡς ἁρπασθείη τε ὑπὸ θεῶν Γανυμήδης οἰνοχοεῖν Διὶ καὶ ὡς Τρωὶ δῶρα ἵπποι δοθεῖεν ἀντʼ αὐτοῦ. τοῦτο ἀνέθηκε μὲν Γνᾶθις Θεσσαλός, ἐποίησε δὲ Ἀριστοκλῆς μαθητής τε καὶ υἱὸς Κλεοίτα.
24.6. There is also another Zeus represented as a beardless youth, which is among offerings of Micythus. The history of Micythus, his family, and why he dedicated so many offerings at Olympia, my narrative will presently set forth. A little farther on in a straight line from the image I have mentioned is another beardless image of Zeus. It was dedicated by the people of Elaea, who live in the first city of Aeolis you reach on descending from the plain of the Caicus to the sea.
24.6. ἔστι δὲ καὶ ἄλλος Ζεὺς οὐκ ἔχων πω γένεια, κεῖται δὲ ἐν τοῖς ἀναθήμασι τοῖς Μικύθου. τὰ δὲ ἐς Μίκυθον, γένος τε ὁποῖον ἦν αὐτῷ καὶ ἀνθʼ ὅτου τὰ ἀναθήματα ἐς Ὀλυμπίαν τὰ πολλὰ ἀνέθηκεν, ὁ ἐφεξῆς μοι λόγος δηλώσει. ἀπὸ δὲ τοῦ ἀγάλματος τοῦ εἰρημένου προελθόντι ὀλίγον κατʼ εὐθεῖαν ἄγαλμά ἐστι Διὸς οὐκ ἔχον γένεια οὐδὲ αὐτό, Ἐλαϊτῶν δὲ ἀνάθημα, οἳ καταβάντι ἐκ Καΐκου πεδίου ἐς θάλασσαν πρῶτοι ⟨ἐν⟩ τῇ Αἰολίδι οἰκοῦσι.
24.7. Yet another image of Zeus comes next, and the inscription on it says that it was dedicated by the Chersonesians of Cnidus from enemy spoils. On either side of the image of Zeus they have dedicated images of Pelops and of the river Alpheius respectively. The greater part of the city of Cnidus is built on the Carian mainland, where are their most noteworthy possessions, but what is called Chersonnesus is an island lying near the mainland, to which it is joined by a bridge.
24.7. τούτου δὲ αὖθις ἄλλο ἄγαλμα ἔχεται Διός, τὸ δὲ ἐπίγραμμα τὸ ἐπʼ αὐτῷ τοὺς ἐν Κνίδῳ Χερρονησίους ἀπὸ ἀνδρῶν ἀναθεῖναι πολεμίων φησίν· ἀνέθεσαν δὲ ἑκατέρωθεν παρὰ τὸν Δία Πέλοπά τε καὶ τὸν Ἀλφειὸν ποταμόν. Κνιδίοις δὲ τῆς πόλεως τὸ μὲν πολὺ ἐν τῇ ἠπείρῳ πεπόλισται τῇ Καρικῇ, ἔνθα καὶ τὰ λόγου μάλιστα ⟨ἄξια⟩ αὐτοῖς ἐστιν, ἡ δὲ καλουμένη Χερρόνησός ἐστιν ἐπὶ τῇ ἠπείρῳ κειμένη νῆσος γεφύρᾳ διαβατὸς ἐξ αὐτῆς·
24.8. It is the inhabitants of this quarter who dedicated to Zeus the offerings at Olympia, just as if Ephesians living in what is called Coresus were to say that they had dedicated an offering independently of the Ephesians as a body. There is also by the wall of the Altis a Zeus turned towards the setting of the sun; it bears no inscription, but is said to be another offering of Mummius made from the plunder of the Achaean war.
24.8. καὶ τὰ ἀναθήματα ἀνέθεσαν ἐν Ὀλυμπίᾳ τῷ Διὶ ⟨οἱ⟩ ἐνταῦθα οἰκοῦντες, ὡς εἰ τῆς Ἐφεσίων πόλεως οἱ ἔχοντες τὸν ὀνομαζόμενον Κόρησον ἀνάθημα ⟨φαῖεν⟩ ἰδίᾳ τι ἀναθεῖναι τοῦ Ἐφεσίων κοινοῦ. ἔστι δὲ καὶ πρὸς τῷ τείχει τῆς Ἄλτεως Ζεὺς ἐπὶ ἡλίου τετραμμένος δυσμάς, ἐπίγραμμα οὐδὲν παρεχόμενος· ἐλέγετο δὲ καὶ οὗτος Μομμίου τε καὶ ἀπὸ τοῦ Ἀχαιῶν εἶναι πολέμου.
24.9. But the Zeus in the Council Chamber is of all the images of Zeus the one most likely to strike terror into the hearts of sinners. He is surnamed Oath-god, and in each hand he holds a thunderbolt. Beside this image it is the custom for athletes, their fathers and their brothers, as well as their trainers, to swear an oath upon slices of boar's flesh that in nothing will they sin against the Olympic games. The athletes take this further oath also, that for ten successive months they have strictly followed the regulations for training.
24.9. ὁ δὲ ἐν τῷ βουλευτηρίῳ πάντων ὁπόσα ἀγάλματα Διὸς μάλιστα ἐς ἔκπληξιν ἀδίκων ἀνδρῶν πεποίηται· ἐπίκλησις μὲν Ὅρκιός ἐστιν αὐτῷ, ἔχει δὲ ἐν ἑκατέρᾳ κεραυνὸν χειρί. παρὰ τούτῳ καθέστηκε τοῖς ἀθληταῖς καὶ πατράσιν αὐτῶν καὶ ἀδελφοῖς, ἔτι δὲ γυμνασταῖς ἐπὶ κάπρου κατόμνυσθαι τομίων, μηδὲν ἐς τὸν Ὀλυμπίων ἀγῶνα ἔσεσθαι παρʼ αὐτῶν κακούργημα. οἱ δὲ ἄνδρες οἱ ἀθληταὶ καὶ τόδε ἔτι προσκατόμνυνται, δέκα ἐφεξῆς μηνῶν ἀπηκριβῶσθαί σφισι τὰ πάντα ἐς ἄσκησιν.
24.10. An oath is also taken by those who examine the boys, or the foals entering for races, that they will decide fairly and without taking bribes, and that they will keep secret what they learn about a candidate, whether accepted or not. I forgot to inquire what it is customary to do with the boar after the oath of the athletes, though the ancient custom about victims was that no human being might eat of that on which an oath had been sworn.
24.10. ὀμνύουσι δὲ καὶ ὅσοι τοὺς παῖδας ἢ τῶν ἵππων τῶν ἀγωνιζομένων τοὺς πώλους κρίνουσιν, ἐπὶ δικαίῳ καὶ ἄνευ δώρων ποιεῖσθαι κρίσιν, καὶ τὰ ἐς τὸν δοκιμαζόμενόν τε καὶ μή, φυλάξειν καὶ ταῦτα ἐν ἀπορρήτῳ. τῷ κάπρῳ δὲ ὅ τι χρῆσθαί σφισι μετὰ τῶν ἀθλητῶν τὸν ὅρκον καθέστηκεν, οὐκ ἐμνημόνευσα ἐπερέσθαι, ἐπεὶ τοῖς γε ἀρχαιοτέροις ἐπὶ ἱερεῖα ἦν καθεστηκός, ἐφʼ ᾧ τις ὅρκον ἐποιήσατο, μηδὲ ἐδώδιμον εἶναι τοῦτο ἔτι ἀνθρώπῳ. δηλοῖ δὲ οὐχ ἥκιστα καὶ Ὅμηρος·
24.11. Homer proves this point clearly. For the boar, on the slices of which Agamemnon swore that verily Briseis had not lain with him, Homer says was thrown by the herald into the sea.He spake, and cut the boar's throat with ruthless bronze;And the boar Talthybius swung and cast into the great depthOf the grey sea, to feed the fishes.Such was the ancient custom. Before the feet of the Oath-god is a bronze plate, with elegiac verses inscribed upon it, the object of which is to strike fear into those who forswear themselves.
24.11. τὸν γοῦν κάπρον καθʼ ὅτου τῶν τομίων Ἀγαμέμνων ἐπώμοσεν ἦ μὴν εἶναι τὴν Βρισηίδα ἑαυτοῦ τῆς εὐνῆς ἀπείρατον, τοῦτον τὸν κάπρον ἀφιέμενον ὑπὸ τοῦ κήρυκος ἐποίησεν ἐς θάλασσαν·ἦ, καὶ ἀπὸ σφάραγον κάπρου τάμε νηλέι χαλκῷ.τὸν μὲν Ταλθύβιος πολιῆς ἁλὸς ἐς μέγα λαῖτμαῥῖψʼ ἐπιδινήσας, βόσιν ἰχθύσιν.οὕτω μὲν τὸ ἀρχαῖον τὰ τοιαῦτα ἐνόμιζον· ἔστι δὲ πρὸ τῶν ποδῶν τοῦ Ὁρκίου πινάκιον χαλκοῦν, ἐπιγέγραπται δὲ ἐλεγεῖα ἐπʼ αὐτοῦ, δεῖμα ἐθέλοντα τοῖς ἐπιορκοῦσι παριστάναι.
25.1. I have enumerated the images of Zeus within the Altis with the greatest accuracy. For the offering near the great temple, though supposed to be a likeness of Zeus, is really Alexander, the son of Philip. It was set up by a Corinthian, not one of the old Corinthians, but one of those settlers whom the Emperor planted in the city. I shall also mention those offerings which are of a different kind, and not representations of Zeus. The statues which have been set up, not to honor a deity, but to reward mere men, I shall include in my account of the athletes.
25.1. τοσαῦτα ἐντὸς τῆς Ἄλτεως ἀγάλματα εἶναι Διὸς ἀνηριθμησάμεθα ἐς τὸ ἀκριβέστατον. τὸ ἀνάθημα γὰρ τὸ πρὸς τῷ μεγάλῳ ναῷ ὑπὸ ἀνδρὸς Κορινθίου τεθέν, Κορινθίων δὲ οὐ τῶν ἀρχαίων ἀλλʼ οἳ παρὰ βασιλέως ἔχουσιν εἰληφότες τὴν πόλιν, τοῦτο τὸ ἀνάθημα Ἀλέξανδρός ἐστιν ὁ Φιλίππου, Διὶ εἰκασμένος δῆθεν. ὁπόσα δὲ ἀλλοῖα καὶ οὐ μίμησίς ἐστι Διός, ἐπιμνησόμεθα καὶ τούτων· εἰκόνας δὲ οὐ τιμῇ τῇ πρὸς τὸ θεῖον, τῇ δὲ ἐς αὐτοὺς χάριτι ἀνατεθείσας τοὺς ἀνθρώπους, λόγῳ σφᾶς τῷ ἐς τοὺς ἀθλητὰς ἀναμίξομεν.
25.2. The Messenians on the Strait in accordance with an old custom used to send to Rhegium a chorus of thirty-five boys, and with it a trainer and a flautist, to a local festival of Rhegium. On one occasion a disaster befell them for not one of those sent out returned home alive, but the ship with the boys on board went to the bottom.
25.2. Μεσσηνίους τοὺς ἐπὶ τῷ πορθμῷ κατὰ ἔθος δή τι ἀρχαῖον πέμποντας ἐς Ῥήγιον χορὸν παίδων πέντε ἀριθμὸν καὶ τριάκοντα καὶ διδάσκαλόν τε ὁμοῦ τῷ χορῷ καὶ ἄνδρα αὐλητὴν ἐς ἑορτήν τινα ἐπιχώριον Ῥηγίνων, κατέλαβεν αὐτούς ποτε συμφορά, μηδένα ὀπίσω τῶν ἀποσταλέντων σφίσιν ἀποσωθῆναι· ἀλλὰ ἡ ναῦς ἡ ἄγουσα τοὺς παῖδας ἠφανίσθη σὺν αὐτοῖς κατὰ τοῦ βυθοῦ. ἔστι γὰρ δὴ ἡ κατὰ τοῦτον θάλασσα τὸν πορθμὸν θαλάσσης χειμεριωτάτη πάσης·
25.3. The sea in fact at this strait is the stormiest of seas; it is made rough by winds bringing waves from both sides, from the Adriatic and the other sea, which is called the Tyrrhenian, and even if there be no gale blowing, even then the strait of itself produces a very violent swell and strong currents. So many monsters swarm in the water that even the air over the sea is infected with their stench. Accordingly a shipwrecked man has not even a hope left of getting out of the strait alive. If it was here that disaster overtook the ship of Odysseus, nobody could believe that he swam out alive to Italy, were it not that the benevolence of the gods makes all things easy.
25.3. οἵ τε γὰρ ἄνεμοι ταράσσουσιν αὐτὴν ἀμφοτέρωθεν τὸ κῦμα ἐπάγοντες ἐκ τοῦ Ἀδρίου καὶ ἐξ ἑτέρου πελάγους ὃ καλεῖται Τυρσηνόν, ἤν τε καὶ ἀνέμων ἀπῇ πνεύματα, ὁ δὲ καὶ τηνικαῦτα ὁ πορθμὸς κίνησιν βιαιοτάτην αὐτὸς ἐξ αὑτοῦ καὶ ἰσχυρὰς παρέχεται παλιρροίας· θηρία τε τοσαῦτα ἐς αὐτὸν τὰ ἀθροιζόμενά ἐστιν, ὡς καὶ τὸν ἀέρα τὸν ὑπὲρ τῆς θαλάσσης ταύτης ἀναπίμπλασθαι τῶν θηρίων τῆς ὀσμῆς, ὡς σωτηρίας γε ἐκ τοῦ πορθμοῦ μηδὲ ἐλπίδος τι ὑπολείπεσθαι ναυαγῷ. εἰ δὲ ἐνταῦθα συνέπεσε καὶ Ὀδυσσεῖ διαφθαρῆναι τὴν ναῦν, ἄλλως μὲν οὐκ ἄν τις πείθοιτο ἐκνήξασθαι ζῶντα ἐς τὴν Ἰταλίαν αὐτόν· τὸ δὲ ἐκ τῶν θεῶν εὐμενὲς ἐπὶ παντὶ ἐργάζεται ῥᾳστώνην.
25.4. On this occasion the Messenians mourned for the loss of the boys, and one of the honors bestowed upon them was the dedication of bronze statues at Olympia, the group including the trainer of the chorus and the flautist. The old inscription declared that the offerings were those of the Messenians at the strait; but afterwards Hippias, called “a sage” by the Greeks, composed the elegiac verses on them. The artist of the statues was Callon of Elis.
25.4. τότε δὲ ἐπὶ τῇ ἀπωλείᾳ τῶν παίδων οἱ Μεσσήνιοι πένθος ἦγον, καὶ ἄλλα τέ σφισιν ἐς τιμὴν αὐτῶν ἐξευρέθη καὶ εἰκόνας ἐς Ὀλυμπίαν ἀνέθεσαν χαλκᾶς, σὺν δὲ αὐτοῖς τὸν διδάσκαλον τοῦ χοροῦ καὶ τὸν αὐλητήν. τὸ μὲν δὴ ἐπίγραμμα ἐδήλου τὸ ἀρχαῖον ἀναθήματα εἶναι τῶν ἐν πορθμῷ Μεσσηνίων· χρόνῳ δὲ ὕστερον Ἱππίας ὁ λεγόμενος ὑπὸ Ἑλλήνων γενέσθαι σοφὸς τὰ ἐλεγεῖα ἐπʼ αὐτοῖς ἐποίησεν. ἔργα δέ εἰσιν Ἠλείου Κάλλωνος αἱ εἰκόνες.
25.5. At the headland of Sicily that looks towards Libya and the south, called Pachynum, there stands the city Motye, inhabited by Libyans and Phoenicians. Against these foreigners of Motye war was waged by the Agrigentines, who, having taken from them plunder and spoils, dedicated at Olympia the bronze boys, who are stretching out their right hands in an attitude of prayer to the god. They are placed on the wall of the Altis, and I conjectured that the artist was Calamis, a conjecture in accordance with the tradition about them. Sicily is inhabited by the following races:
25.5. ἔστι δὲ κατὰ τὴν ἄκραν ἐν Σικελίᾳ τὴν τετραμμένην ἐπὶ Λιβύης καὶ Νότου, καλουμένην δὲ Πάχυνον, Μοτύη πόλις· οἰκοῦσι δὲ Λίβυες ἐν αὐτῇ καὶ Φοίνικες. τούτοις τοῖς ἐν Μοτύῃ βαρβάροις Ἀκραγαντῖνοι καταστάντες ἐς πόλεμον καὶ λείαν τε καὶ λάφυρα ἀπʼ αὐτῶν λαβόντες ἀνέθεσαν τοὺς παῖδας ἐς Ὀλυμπίαν τοὺς χαλκοῦς, προτείνοντάς τε τὰς δεξιὰς καὶ εἰκασμένους εὐχομένοις τῷ θεῷ. κεῖνται δὲ ἐπὶ τοῦ τείχους οὗτοι τῆς Ἄλτεως· Καλάμιδος δὲ εἶναι σφᾶς ἔργα ἐγώ τε εἴκαζον καὶ ἐς αὐτοὺς κατὰ τὰ αὐτὰ εἶχεν ὁ λόγος.
25.6. Sicanians, Sicels, and Phrygians; the first two crossed into it from Italy, while the Phrygians came from the river Scamander and the land of the Troad. The Phoenicians and Libyans came to the island on a joint expedition, and are settlers from Carthage. Such are the foreign races in Sicily. The Greeks settled there include Dorians and Ionians, with a small proportion of Phocians and of Attics.
25.6. Σικελίαν δὲ ἔθνη τοσάδε οἰκεῖ, Σικανοί τε καὶ Σικελοὶ καὶ Φρύγες, οἱ μὲν ἐξ Ἰταλίας διαβεβηκότες ἐς αὐτήν, Φρύγες δὲ ἀπὸ τοῦ Σκαμάνδρου ποταμοῦ καὶ χώρας τῆς Τρῳάδος· οἱ δὲ Φοίνικες καὶ Λίβυες στόλῳ ἀφίκοντο ἐς τὴν νῆσον κοινῷ καὶ ἄποικοι Καρχηδονίων εἰσὶ. τοσαῦτα μὲν ἐν Σικελίᾳ ἔθνη βάρβαρα· Ἑλλήνων δὲ Δωριεῖς τε ἔχουσιν αὐτὴν καὶ Ἴωνες καὶ τοῦ Φωκικοῦ καὶ τοῦ Ἀττικοῦ γένους ἑκατέρου μοῖρα οὐ πολλή.
25.7. On the same wall as the offerings of the Agrigentines are two nude statues of Heracles as a boy. One represents him shooting the lion at Nemea. This Heracles and the lion with him were dedicated by Hippotion of Tarentum, the artist being Nicodamus of Maenalus. The other image was dedicated by Anaxippus of Mende, and was transferred to this place by the Eleans. Previously it stood at the end of the road that leads from Elis to Olympia, called the Sacred Road.
25.7. ἐπὶ δὲ τοῦ αὐτοῦ τείχους τά τε Ἀκραγαντίνων ἀναθήματα καὶ Ἡρακλέους δύο εἰσὶν ἀνδριάντες γυμνοί, παῖδες ἡλικίαν· τὸν δὲ ἐν Νεμέᾳ τοξεύοντι ἔοικε λέοντα. τοῦτον μὲν δὴ τόν τε Ἡρακλέα καὶ ὁμοῦ τῷ Ἡρακλεῖ τὸν λέοντα Ταραντῖνος ἀνέθηκεν Ἱπποτίων, Νικοδάμου δέ ἐστι Μαιναλίου τέχνη· τὸ δὲ ἄγαλμα τὸ ἕτερον Ἀναξίππου μέν ἐστιν ἀνάθημα Μενδαίου, μετεκομίσθη δὲ ἐνταῦθα ὑπὸ Ἠλείων· τὰ πρὸ τούτου δὲ ἔκειτο ἐπὶ τῆς ὁδοῦ τῷ πέρατι, ἣ ἄγει μὲν ἐξ Ἤλιδος ἐς Ὀλυμπίαν, καλεῖται δὲ Ἱερά.
25.8. There are also offerings dedicated by the whole Achaean race in common; they represent those who, when Hector challenged any Greek to meet him in single combat, dared to cast lots to choose the champion. They stand, armed with spears and shields, near the great temple. Right opposite, on a second pedestal, is a figure of Nestor, who has thrown the lot of each into the helmet. The number of those casting lots to meet Hector is now only eight, for the ninth, the statue of Odysseus, they say that Nero carried to Rome, but Agamemnon's statue is the only one of the eight to have his name inscribed upon it; the writing is from right to left.
25.8. ἔστι δὲ καὶ ἀναθήματα ἐν κοινῷ τοῦ Ἀχαιῶν ἔθνους, ὅσοι προκαλεσαμένου τοῦ Ἕκτορος ἐς μονομαχίαν ἄνδρα Ἕλληνα τὸν κλῆρον ἐπὶ τῷ ἀγῶνι ὑπέμειναν. οὗτοι μὲν δὴ ἑστήκασι τοῦ ναοῦ τοῦ μεγάλου πλησίον, δόρασι καὶ ἀσπίσιν ὡπλισμένοι· ἀπαντικρὺ δὲ ἐπὶ ἑτέρου βάθρου πεποίηται Νέστωρ, τὸν ἑκάστου κλῆρον ἐσβεβληκὼς ἐς τὴν κυνῆν. τῶν δὲ ἐπὶ τῷ Ἕκτορι κληρουμένων ἀριθμὸν ὄντων ὀκτώ—τὸν γὰρ ἔνατον αὐτῶν, τὴν τοῦ Ὀδυσσέως εἰκόνα, Νέρωνα κομίσαι λέγουσιν ἐς Ῥώμην —, τῶν δὲ ὀκτὼ τούτων ἐπὶ μόνῳ τῷ [ἀγάλματι] Ἀγαμέμνονι τὸ ὄνομά ἐστι γεγραμμένον·
25.9. The figure with the cock emblazoned on the shield is Idomeneus the descendant of Minos. The story goes that Idomeneus was descended from the Sun, the father of Pasiphae, and that the cock is sacred to the Sun and proclaims when he is about to rise.
25.9. γέγραπται δὲ καὶ τοῦτο ἐπὶ τὰ λαιὰ ἐκ δεξιῶν. ὅτου δὲ ὁ ἀλεκτρυών ἐστιν ἐπίθημα τῇ ἀσπίδι, Ἰδομενεύς ἐστιν ὁ ἀπόγονος Μίνω· τῷ δὲ Ἰδομενεῖ γένος ἀπὸ Ἡλίου τοῦ πατρὸς Πασιφάης, Ἡλίου δὲ ἱερόν φασιν εἶναι τὸν ὄρνιθα καὶ ἀγγέλλειν ἀνιέναι μέλλοντος τοῦ ἡλίου.
25.10. An inscription too is written on the pedestal:—To Zeus these images were dedicated by the Achaeans,Descendants of Pelops the godlike scion of Tantalus.Such is the inscription on the pedestal, but the name of the artist is written on the shield of Idomeneus:—This is one of the many works of clever Onatas,The Aeginetan, whose sire was Micon.
25.10. γέγραπται δὲ καὶ ἐπίγραμμα ἐπὶ τῷ βάθρῳ·τῷ Διὶ τἈχαιοὶ τἀγάλματα ταῦτʼ ἀνέθηκαν,ἔγγονοι ἀντιθέου Τανταλίδα Πέλοπος.τοῦτο μὲν δὴ ἐνταῦθά ἐστι γεγραμμένον· ὁ δὲ ἀγαλματοποιὸς ὅστις ἦν, ἐπὶ τοῦ Ἰδομενέως γέγραπται τῇ ἀσπίδι·πολλὰ μὲν ἄλλα σοφοῦ ποιήματα καὶ τόδʼ Ὀνάτα[ἔργον] Αἰγινήτεω, τὸν γείνατο παῖδα Μίκων.
25.11. Not far from the offering of the Achaeans there is also a Heracles fighting with the Amazon, a woman on horseback, for her girdle. It was dedicated by Evagoras, a Zanclaean by descent, and made by Aristocles of Cydonia. Aristocles should be included amongst the most ancient sculptors, and though his date is uncertain, he was clearly born before Zancle took its present name of Messene.
25.11. οὐ πόρρω δὲ τοῦ Ἀχαιῶν ἀναθήματος καὶ Ἡρακλῆς ἐστιν ὑπὲρ τοῦ ζωστῆρος μαχόμενος πρὸς τὴν Ἀμαζόνα ἔφιππον γυναῖκα· τοῦτον Εὐαγόρας μὲν γένος Ζαγκλαῖος ἀνέθηκεν, ἐποίησε δὲ Κυδωνιάτης Ἀριστοκλῆς. ἐν δὲ τοῖς μάλιστα ἀρχαίοις καταριθμήσασθαι καὶ τὸν Ἀριστοκλέα ἔστι· καὶ σαφῶς μὲν ἡλικίαν οὐκ ἔχοι τις ἂν εἰπεῖν αὐτοῦ, δῆλα δὲ ὡς πρότερον ἔτι ἐγένετο πρὶν ἢ τῇ Ζάγκλῃ τὸ ὄνομα γενέσθαι τὸ ἐφʼ ἡμῶν Μεσσήνην.
25.12. The Thasians, who are Phoenicians by descent, and sailed from Tyre, and from Phoenicia generally, together with Thasus, the son of Agenor, in search of Europa, dedicated at Olympia a Heracles, the pedestal as well as the image being of bronze. The height of the image is ten cubits, and he holds a club in his right hand and a bow in his left. They told me in Thasos that they used to worship the same Heracles as the Tyrians, but that afterwards, when they were included among the Greeks, they adopted the worship of Heracles the son of Amphitryon.
25.12. Θάσιοι δέ, Φοίνικες τὸ ἀνέκαθεν ὄντες καὶ ἐκ Τύρου καὶ Φοινίκης τῆς ἄλλης ὁμοῦ Θάσῳ τῷ Ἀγήνορος κατὰ ζήτησιν ἐκπλεύσαντες τὴν Εὐρώπης, ἀνέθεσαν Ἡρακλέα ἐς Ὀλυμπίαν, τὸ βάθρον χαλκοῦν ὁμοίως τῷ ἀγάλματι· μέγεθος μὲν δὴ τοῦ ἀγάλματός εἰσι πήχεις δέκα, ῥόπαλον δὲ ἐν τῇ δεξιᾷ, τῇ δὲ ἀριστερᾷ χειρὶ ἔχει τόξον. ἤκουσα δὲ ἐν Θάσῳ τὸν αὐτὸν σφᾶς Ἡρακλέα ὃν καὶ Τύριοι σέβεσθαι, ὕστερον δὲ ἤδη τελοῦντας ἐς Ἕλληνας νομίσαι καὶ Ἡρακλεῖ τῷ Ἀμφιτρύωνος νέμειν τιμάς.
25.13. On the offering of the Thasians at Olympia there is an elegiac couplet:—Onatas, son of Micon, fashioned me,He who has his dwelling in Aegina.This Onatas, though belonging to the Aeginetan school of sculpture, I shall place after none of the successors of Daedalus or of the Attic school.
25.13. τῷ δὲ ἀναθήματι τῷ ἐς Ὀλυμπίαν Θασίων ἔπεστιν ἐλεγεῖον·υἱὸς μέν ⟨με⟩ Μίκωνος Ὀνάτας ἐξετέλεσσεναὐτὸς ἐν Αἰγίνῃ δώματα ναιετάων.τὸν δὲ Ὀνάταν τοῦτον ὅμως, καὶ τέχνης ἐς τὰ ἀγάλματα ὄντα Αἰγιναίας, οὐδενὸς ὕστερον θήσομεν τῶν ἀπὸ Δαιδάλου τε καὶ ἐργαστηρίου τοῦ Ἀττικοῦ.
26.1. The Dorian Messenian who received Naupactus from the Athenians dedicated at Olympia the image of Victory upon the pillar. It is the work of Paeonius of Mende, and was made from the proceeds of enemy spoils, I think from the war with the Arcarnanians and Oeniadae. The Messenians themselves declare that their offering came from their exploit with the Athenians in the island of Sphacteria, and that the name of their enemy was omitted through dread of the Lacedaemonians; for, they say, they are not in the least afraid of Oeniadae and the Acarnanians.
26.1. Μεσσηνίων δὲ τῶν Δωριέων οἱ Ναύπακτόν ποτε παρὰ Ἀθηναίων λαβόντες ἄγαλμα ἐν Ὀλυμπίᾳ Νίκης ἐπὶ τῷ κίονι ἀνέθεσαν· τοῦτό ἐστιν ἔργον μὲν Μενδαίου Παιωνίου, πεποίηται δὲ ἀπὸ ἀνδρῶν πολεμίων, ὅτε Ἀκαρνᾶσι καὶ Οἰνιάδαις ἐμοὶ δοκεῖν ἐπολέμησαν. Μεσσήνιοι δὲ αὐτοὶ λέγουσι τὸ ἀνάθημά σφισιν ἀπὸ τοῦ ἔργου τοῦ ἐν τῇ Σφακτηρίᾳ νήσῳ μετὰ Ἀθηναίων ⟨πραχθέντος εἶναι⟩, καὶ οὐκ ἐπιγράψαι τὸ ὄνομα τῶν πολεμίων σφᾶς τῷ ἀπὸ Λακεδαιμονίων δείματι, ἐπεὶ Οἰνιαδῶν γε καὶ Ἀκαρνάνων οὐδένα ἔχειν φόβον.
26.2. The offerings of Micythus I found were numerous and not together. Next after Iphitus of Elis, and Echecheiria crowning Iphitus, come the following offerings of Micythus: Amphitrite, Poseidon and Hestia; the artist was Glaucus the Argive. Along the left side of the great temple Micythus dedicated other offerings: the Maid, daughter of Demeter, Aphrodite, Ganymedes and Artemis, the poets Homer and Hesiod, then again deities, Asclepius and Health.
26.2. τὰ δὲ ἀναθήματα Μικύθου πολλά τε ἀριθμὸν καὶ οὐκ ἐφεξῆς ὄντα εὕρισκον, ἀλλὰ Ἰφίτου μὲν τοῦ Ἠλείου καὶ Ἐκεχειρίας στεφανούσης τὸν Ἴφιτον, τούτων μὲν τῶν εἰκόνων ἔχεται τοσάδε ἀναθήματα τῶν Μικύθου, Ἀμφιτρίτη καὶ Ποσειδῶν τε καὶ Ἑστία· Γλαῦκος δὲ ὁ ποιήσας ἐστὶν Ἀργεῖος. παρὰ δὲ τοῦ ναοῦ τοῦ μεγάλου τὴν ἐν ἀριστερᾷ πλευρὰν ἀνέθηκεν ἄλλα, Κόρην τὴν Δήμητρος καὶ Ἀφροδίτην Γανυμήδην τε καὶ Ἄρτεμιν, ποιητῶν δὲ Ὅμηρον καὶ Ἡσίοδον, καὶ θεοὺς αὖθις Ἀσκληπιὸν καὶ Ὑγείαν.
26.3. Among the offerings of Micythus is Struggle carrying jumping-weights, the shape of which is as follows. They are half of a circle, not an exact circle but elliptical, and made so that the fingers pass through as they do through the handle of a shield. Such are the fashion of them. By the statue of Struggle are Dionysus, Orpheus the Thracian, and an image of Zeus which I mentioned just now. They are the works of Dionysius of Argos. They say that Micythus set up other offerings also in addition to these, and that they formed part of the treasures taken away by Nero.
26.3. Ἀγών τε ἐν τοῖς ἀναθήμασίν ἐστι τοῖς Μικύθου φέρων ἁλτῆρας, οἱ δὲ ἁλτῆρες οὗτοι παρέχονται σχῆμα τοιόνδε· κύκλου παραμηκεστέρου καὶ οὐκ ἐς τὸ ἀκριβέστατον περιφεροῦς εἰσιν ἥμισυ, πεποίηται δὲ ὡς καὶ τοὺς δακτύλους τῶν χειρῶν διιέναι καθάπερ διʼ ὀχάνων ἀσπίδος. τούτων μὲν δὴ σχῆμά ἐστι τὸ εἰρημένον· παρὰ δὲ τοῦ Ἀγῶνος τὴν εἰκόνα Διόνυσος καὶ ὁ Θρᾷξ ἐστιν Ὀρφεὺς καὶ ἄγαλμα Διός, οὗ δὴ καὶ ὀλίγῳ πρότερον ἐπεμνήσθην. ταῦτα ἔργα ἐστὶν Ἀργείου Διονυσίου· τεθῆναι δὲ ὑπὸ τοῦ Μικύθου καὶ ἄλλα ὁμοῦ τούτοις λέγουσι, Νέρωνα δὲ ἀφελέσθαι φασὶ καὶ ταῦτα.
26.4. The artists are said to have been Dionysius and Glaucus, who were Argives by birth, but the name of their teacher is not recorded. Their date is fixed by that of Micythus, who dedicated the works of art at Olympia. For Herodotus in his history says that this Micythus, when Anaxilas was despot of Rhegium, became his slave and steward of his property afterwards, on the death of Anaxilas, he went away to Tegea.
26.4. τοῖς δὲ ἐργασαμένοις αὐτά, γένος οὖσιν Ἀργείοις, Διονυσίῳ τε καὶ Γλαύκῳ, διδάσκαλόν σφισιν οὐδένα ἐπιλέγουσιν· ἡλικίαν δὲ αὐτῶν ὁ τὰ ἔργα ἐς Ὀλυμπίαν ἀναθεὶς ἐπιδείκνυσιν ὁ Μίκυθος. τὸν γὰρ δὴ Μίκυθον τοῦτον Ἡρόδοτος ἔφη ἐν τοῖς λόγοις, ὡς Ἀναξίλα τοῦ ἐν Ῥηγίῳ τυραννήσαντος γενόμενος δοῦλος καὶ ταμίας τῶν Ἀναξίλα χρημάτων ὕστερον τούτων ἀπιὼν οἴχοιτο ἐς Τεγέαν τελευτήσαντος Ἀναξίλα.
26.5. The inscriptions on the offerings give Choerus as the father of Micythus, and as his fatherland the Greek cities of Rhegium and Messene on the Strait. The inscriptions say that he lived at Tegea, and he dedicated the offerings at Olympia in fulfillment of a vow made for the recovery of a son, who fell ill of a wasting disease.
26.5. τὰ δὲ ἐπὶ τοῖς ἀναθήμασιν ἐπιγράμματα καὶ πατέρα Μικύθῳ Χοῖρον καὶ Ἑλληνίδας αὐτῷ πόλεις Ῥήγιόν τε πατρίδα καὶ τὴν ἐπὶ τῷ πορθμῷ Μεσσήνην δίδωσιν· οἰκεῖν δὲ τὰ μὲν ἐπιγράμματα ἐν Τεγέᾳ φησιν αὐτόν, τὰ δὲ ἀναθήματα ἀνέθηκεν ἐς Ὀλυμπίαν εὐχήν τινα ἐκτελῶν ἐπὶ σωτηρίᾳ παιδὸς νοσήσαντος νόσον φθινάδα.
26.6. Near to the greater offerings of Micythus, which were made by the Argive Glaucus, stands an image of Athena with a helmet on her head and clad in an aegis. Nicodamus of Maenalus was the artist, but it was dedicated by the Eleans. Beside the Athena has been set up a Victory. The Mantineans dedicated it, but they do not mention the war in the inscription. Calamis is said to have made it without wings in imitation of the wooden image at Athens called Wingless Victory.
26.6. πλησίον δὲ τῶν μειζόνων ἀναθημάτων Μικύθου, τέχνης δὲ τοῦ Ἀργείου Γλαύκου, Ἀθηνᾶς ἄγαλμα ἕστηκε κράνος ἐπικειμένη καὶ αἰγίδα ἐνδεδυκυῖα· Νικόδαμος μὲν εἰργάσατο ὁ Μαινάλιος, Ἠλείων δέ ἐστιν ἀνάθημα. παρὰ δὲ τὴν Ἀθηνᾶν πεποίηται Νίκη· ταύτην Μαντινεῖς ἀνέθεσαν, τὸν πόλεμον δὲ οὐ δηλοῦσιν ἐν τῷ ἐπιγράμματι· Κάλαμις δὲ οὐκ ἔχουσαν πτερὰ ποιῆσαι λέγεται ἀπομιμούμενος τὸ Ἀθήνῃσι τῆς Ἀπτέρου καλουμένης ξόανον.
26.7. By the smaller offerings of Micythus, that were made by Dionysius, are some of the exploits of Heracles, including what he did to the Nemean lion, the Hydra, the Hound of Hell, and the boar by the river Erymanthus. These were brought to Olympia by the people of Heracleia when they had overrun the land of the Mariandynians, their foreign neighbors. Heracleia is a city built on the Euxine sea, a colony of Megara, though the people of Tanagra in Boeotia joined in the settlement.
26.7. πρὸς δὲ τοῖς ἐλάσσοσιν ἀναθήμασι τοῦ Μικύθου, ποιηθεῖσι δὲ ὑπὸ Διονυσίου, πρὸς τούτοις Ἡρακλέους ἐστὶ τῶν ἔργων τὸ ἐς τὸν λέοντα τὸν ἐν Νεμέᾳ καὶ ὕδραν τε καὶ ἐς τὸν κύνα τοῦ Ἅιδου καὶ τὸν ἐπὶ Ἐρυμάνθῳ ποταμῷ κάπρον· ἐκόμισαν δὲ αὐτὰ ἐς Ὀλυμπίαν Ἡρακλεῶται Μαριανδυνῶν ὁμόρων βαρβάρων καταδραμόντες τὴν χώραν. ἡ δὲ Ἡράκλεια πεπόλισται μὲν ἐπὶ Εὐξείνῳ πόντῳ, ἀπῳκίσθη δὲ ἐκ Μεγάρων· μετέσχον δὲ καὶ Βοιωτῶν Ταναγραῖοι τοῦ οἰκισμοῦ.
27.1. Opposite the offerings I have enumerated are others in a row; they face towards the south, and are very near to that part of the precinct which is sacred to Pelops. Among them are those dedicated by the Maenalian Phormis. He crossed to Sicily from Maenalus to serve Gelon the son of Deinomenes. Distinguishing himself in the campaigns of Gelon and afterwards of his brother Hieron, he reached such a pitch of prosperity that he dedicated not only these offerings at Olympia, but also others dedicated to Apollo at Delphi.
27.1. τούτων δὲ ἀντικρὺ τῶν κατειλεγμένων ἔστιν ἄλλα ἀναθήματα ἐπὶ στοίχου, τετραμμένα μὲν πρὸς μεσημβρίαν, τοῦ τεμένους δὲ ἐγγύτατα ὃ τῷ Πέλοπι ἀνεῖται. ἐν δὲ αὐτοῖς καὶ τὰ ἀνατεθέντα ἐστὶν ὑπὸ τοῦ Μαιναλίου Φόρμιδος, ὃς ἐκ Μαινάλου διαβὰς ἐς Σικελίαν παρὰ Γέλωνα τὸν Δεινομένους καὶ ἐκείνῳ τε αὐτῷ καὶ Ἱέρωνι ὕστερον ἀδελφῷ τοῦ Γέλωνος ἐς τὰς στρατείας ἀποδεικνύμενος λαμπρὰ ἔργα ἐς τοσοῦτο προῆλθεν εὐδαιμονίας, ὡς ἀναθεῖναι μὲν ταῦτα ἐς Ὀλυμπίαν, ἀναθεῖναι δὲ καὶ τῷ Ἀπόλλωνι [δὲ] ἄλλα ἐς Δελφούς.
27.2. The offerings at Olympia are two horses and two charioteers, a charioteer standing by the side of each of the horses. The first horse and man are by Dionysius of Argos, the second are the work of Simon of Aegina. On the side of the first of the horses is an inscription, the first part of which is not metrical. It runs thus:—Phormis dedicated me,An Arcadian of Maenalus, now of Syracuse.
27.2. τὰ δὲ ἐς Ὀλυμπίαν δύο τέ εἰσιν ἵπποι καὶ ἡνίοχοι δύο, ἑκατέρῳ τῶν ἵππων παρεστὼς ἀνὴρ ἡνίοχος· ὁ μὲν δὴ πρότερος τῶν ἵππων καὶ ὁ ἀνὴρ Διονυσίου τοῦ Ἀργείου, τὰ δεύτερα δὲ ἔργα ἐστὶν Αἰγινήτου Σίμωνος. τῷ προτέρῳ δὲ τῶν ἵππων ἐπίγραμμα ἔπεστιν ἐπὶ τῇ πλευρᾷ, τὰ πρῶτα οὐ σὺν μέτρῳ· λέγει γὰρ δὴ οὕτω·Φόρμις ἀνέθηκενἈρκὰς Μαινάλιος, νῦν δὲ Συρακόσιος.
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.
27.3. οὗτός ἐστιν ὁ ἵππος ὅτῳ καὶ τὸ ἱππομανὲς λόγῳ τῷ Ἠλείων ἔγκειται· δῆλα δὲ καὶ ἄλλως ἐστὶν ἀνδρὸς μάγου σοφίᾳ γενέσθαι ⟨τὰ⟩ συμβαίνοντα τῷ ἵππῳ. μέγεθος μὲν ἢ εἶδος ἵππων ἀποδεῖ πολλῷ, ὅσοι τῆς Ἄλτεως ἐντὸς ἑστήκασι, πρὸς δὲ ἀποκέκοπταί τε τὴν οὐρὰν καὶ ἔστιν ἐπὶ τῷ τοιῷδε ἔτι αἰσχίων· οἱ δὲ ἵπποι οἱ ἄρσενες οὔτι που τοῦ ἦρος μόνον ἀλλὰ καὶ ἀνὰ πᾶσαν ἐπʼ αὐτὸν ὀργῶσιν ἡμέραν.
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.
27.4. 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.
27.5. 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.
27.5. 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.
27.6. 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.
27.6. 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.
27.7. 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.
27.7. 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.
27.8. 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.
27.8. 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 ἐπʼ αὐτῷ Γλαυκίαν ἀναθεῖναι γένος Ῥηγῖνον, ποιῆσαι δὲ Κάλλωνα Ἠλεῖον.
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.
27.9. βοῶν δὲ τῶν χαλκῶν ὁ μὲν Κορκυραίων, ὁ δὲ ἀνάθημα Ἐρετριέων, τέχνη δὲ Ἐρετριέως ἐστὶ Φιλησίου· καὶ ἀνθʼ 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.
27.10. 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.
27.10. 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 ἐπʼ αὐτῷ ποιησαμένους, ὁπόσα Ἕλληνες ἐπὶ ἀκουσίῳ φόνῳ νομίζουσιν.
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.
27.11. 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 κατʼ ἐμὲ ἀνασκευαζομένης ἐνταῦθα ὁμοῦ τοῖς ὅπλοις εὑρέθη κείμενος.
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 hereBy 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.
27.12. 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 ἐπʼ αὐτὸ γεγραμμένον ἐστὶν ἐπὶ τοῦ μηροῦ·Ζηνὶ θεῶν βασιλεῖ μʼ ἀκροθίνιον ἐνθάδʼ ἔθηκανΜενδαῖοι, 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.