Delphi Complete Works of Pausanias

by Pausanias

  [1.18.9] Hadrian constructed other buildings also for the Athenians: a temple of Hera and Zeus Panellenios (Common to all Greeks), a sanctuary common to all the gods, and, most famous of all, a hundred pillars of Phrygian marble. The walls too are constructed of the same material as the cloisters. And there are rooms there adorned with a gilded roof and with alabaster stone, as well as with statues and paintings. In them are kept books. There is also a gymnasium named after Hadrian; of this too the pillars are a hundred in number from the Libyan quarries.

  [1.19.1] XIX. Close to the temple of Olympian Zeus is a statue of the Pythian Apollo. There is further a sanctuary of Apollo surnamed Delphinius. The story has it that when the temple was finished with the exception of the roof Theseus arrived in the city, a stranger as yet to everybody. When he came to the temple of the Delphinian, wearing a tunic that reached to his feet and with his hair neatly plaited, those who were building the roof mockingly inquired what a marriageable virgin was doing wandering about by herself. The only answer that Theseus made was to loose, it is said, the oxen from the cart hard by, and to throw them higher than the roof of the temple they were building.

  [1.19.2] Concerning the district called The Gardens, and the temple of Aphrodite, there is no story that is told by them, nor yet about the Aphrodite which stands near the temple. Now the shape of it is square, like that of the Hermae, and the inscription declares that the Heavenly Aphrodite is the oldest of those called Fates. But the statue of Aphrodite in the Gardens is the work of Alcamenes, and one of the most note worthy things in Athens.

  [1.19.3] There is also the place called Cynosarges, sacred to Heracles; the story of the white dog may be known by reading the oracle. There are altars of Heracles and Hebe, who they think is the daughter of Zeus and wife to Heracles. An altar has been built to Alcmena and to Iolaus, who shared with Heracles most of his labours. The Lyceum has its name from Lycus, the son of Pandion, but it was considered sacred to Apollo from the be ginning down to my time, and here was the god first named Lyceus. There is a legend that the Termilae also, to whom Lycus came when he fled from Aegeus, were called Lycii after him.

  [1.19.4] Behind the Lyceum is a monument of Nisus, who was killed while king of Megara by Minos, and the Athenians carried him here and buried him. About this Nisus there is a legend. His hair, they say, was red, and it was fated that he should die on its being cut off. When the Cretans attacked the country, they captured the other cities of the Megarid by assault, but Nisaea, in which Nisus had taken refuge, they beleaguered. The story says how the daughter of Nisus, falling in love here with Minos, cut off her father’s hair.

  [1.19.5] Such is the legend. The rivers that flow through Athenian territory are the Ilisus and its tributary the Eridanus, whose name is the same as that of the Celtic river. This Ilisus is the river by which Oreithyia was playing when, according to the story, she was carried off by the North Wind. With Oreithyia he lived in wedlock, and be cause of the tie between him and the Athenians he helped them by destroying most of the foreigners’ warships. The Athenians hold that the Ilisus is sacred to other deities as well, and on its bank is an altar of the Ilisian Muses. The place too is pointed out where the Peloponnesians killed Codrus, son of Melanthus and king of Athens.

  [1.19.6] Across the Ilisus is a district called Agrae and a temple of Artemis Agrotera (the Huntress). They say that Artemis first hunted here when she came from Delos, and for this reason the statue carries a bow. A marvel to the eyes, though not so impressive to hear of, is a race-course of white marble, the size of which can best be estimated from the fact that beginning in a crescent on the heights above the Ilisus it descends in two straight lines to the river bank. This was built by Herodes, an Athenian, and the greater part of the Pentelic quarry was exhausted in its construction.

  [1.20.1] XX. Leading from the prytaneum is a road called Tripods. The place takes its name from the shrines, large enough to hold the tripods which stand upon them, of bronze, but containing very remarkable works of art, including a Satyr, of which Praxiteles is said to have been very proud. Phryne once asked of him the most beautiful of his works, and the story goes that lover-like he agreed to give it, but refused to say which he thought the most beautiful. So a slave of Phryne rushed in saying that a fire had broken out in the studio of Praxiteles, and the greater number of his works were lost, though not all were destroyed.

  [1.20.2] Praxiteles at once started to rush through the door crying that his labour was all wasted if indeed the flames had caught his Satyr and his Love. But Phryne bade him stay and be of good courage, for he had suffered no grievous loss, but had been trapped into confessing which were the most beautiful of his works. So Phryne chose the statue of Love; while a Satyr is in the temple of Dionysus hard by, a boy holding out a cup. The Love standing with him and the Dionysus were made by Thymilus.

  [1.20.3] The oldest sanctuary of Dionysus is near the theater. Within the precincts are two temples and two statues of Dionysus, the Eleuthereus (Deliverer) and the one Alcamenes made of ivory and gold. There are paintings here – Dionysus bringing Hephaestus up to heaven. One of the Greek legends is that Hephaestus, when he was born, was thrown down by Hera. In revenge he sent as a gift a golden chair with invisible fetters. When Hera sat down she was held fast, and Hephaestus refused to listen to any other of the gods save Dionysus – in him he reposed the fullest trust – and after making him drunk Dionysus brought him to heaven. Besides this picture there are also represented Pentheus and Lycurgus paying the penalty of their insolence to Dionysus, Ariadne asleep, Theseus putting out to sea, and Dionysus on his arrival to carry off Ariadne.

  [1.20.4] Near the sanctuary of Dionysus and the theater is a structure, which is said to be a copy of Xerxes’ tent. It has been rebuilt, for the old building was burnt by the Roman general Sulla when he took Athens. The cause of the war was this. Mithridates was king over the foreigners around the Euxine. Now the grounds on which he made war against the Romans, how he crossed into Asia, and the cities he took by force of arms or made his friends, I must leave for those to find out who wish to know the history of Mithridates, and I shall confine my narrative to the capture of Athens.

  MITHRIDATES OF ASIA, HISTORY

  [1.20.5] There was an Athenian, Aristion, whom Mithridates employed as his envoy to the Greek cities. He induced the Athenians to join Mithridates rather than the Romans, although he did not induce all, but only the lower orders, and only the turbulent among them. The respectable Athenians fled to the Romans of their own accord. In the engagement that ensued the Romans won a decisive victory; Aristion and the Athenians they drove in flight into the city, Archelaus and the foreigners into the Peiraeus. This Archelaus was another general of Mithridates, whom earlier than this the Magnetes, who inhabit Sipylus, wounded when he raided their territory, killing most of the foreigners as well. So Athens was invested.

  [1.20.6] Taxilus, a general of Mithridates, was at the time besieging Elatea in Phocis, but on receiving the news he withdrew his troops towards Attica. Learning this, the Roman general entrusted the siege of Athens to a portion of his army, and with the greater part of his forces advanced in person to meet Taxilus in Boeotia. On the third day from this, news came to both the Roman armies; Sulla heard that the Athenian fortifications had been stormed, and the besieging force learnt that Taxilus had been defeated in battle near Chaeronea. When Sulla returned to Attica he imprisoned in the Cerameicus the Athenians who had opposed him, and one chosen by lot out of every ten he ordered to be led to execution.

  [1.20.7] Sulla abated nothing of his wrath against the Athenians, and so a few effected an escape to Delphi, and asked if the time were now come when it was fated for Athens also to be made desolate, receiving from the Pythia the response about the wine skin. Afterwards Sulla was smitten with the disease which I learn attacked Pherecydes the Syrian. Although Sulla’s treatment of the Athenian people was so savage as to be unworthy of a Roman, I do not think that this was the cause of his calamity, but rather the venge
ance of the suppliants’ Protector, for he had dragged Aristion from the sanctuary of Athena, where he had taken refuge, and killed him. Such wise was Athens sorely afflicted by the war with Rome, but she flourished again when Hadrian was emperor.

  [1.21.1] XXI. In the theater the Athenians have portrait statues of poets, both tragic and comic, but they are mostly of undistinguished persons. With the exception of Menander no poet of comedy represented here won a reputation, but tragedy has two illustrious representatives, Euripides and Sophocles. There is a legend that after the death of Sophocles the Lacedaemonians invaded Attica, and their commander saw in a vision Dionysus, who bade him honor, with all the customary honors of the dead, the new Siren. He interpreted the dream as referring to Sophocles and his poetry, and down to the present day men are wont to liken to a Siren whatever is charming in both poetry and prose.

  [1.21.2] The likeness of Aeschylus is, I think, much later than his death and than the painting which depicts the action at Marathon Aeschylus himself said that when a youth he slept while watching grapes in a field, and that Dionysus appeared and bade him write tragedy. When day came, in obedience to the vision, he made an attempt and hereafter found composing quite easy.

  [1.21.3] Such were his words. On the South wall, as it is called, of the Acropolis, which faces the theater, there is dedicated a gilded head of Medusa the Gorgon, and round it is wrought an aegis. At the top of the theater is a cave in the rocks under the Acropolis. This also has a tripod over it, wherein are Apollo and Artemis slaying the children of Niobe. This Niobe I myself saw when I had gone up to Mount Sipylus. When you are near it is a beetling crag, with not the slightest resemblance to a woman, mourning or otherwise; but if you go further away you will think you see a woman in tears, with head bowed down.

  [1.21.4] On the way to the Athenian Acropolis from the theater is the tomb of Calos. Daedalus murdered this Calos, who was his sister’s son and a student of his craft, and therefore he fled to Crete; afterwards he escaped to Cocalus in Sicily. The sanctuary of Asclepius is worth seeing both for its paintings and for the statues of the god and his children. In it there is a spring, by which they say that Poseidon’s son Halirrhothius deflowered Alcippe the daughter of Ares, who killed the ravisher and was the first to be put on his trial for the shedding of blood.

  [1.21.5] Among the votive offerings there is a Sauromatic breast plate. On seeing this a man will say that no less than Greeks are foreigners skilled in the arts. For the Sauromatae have no iron, neither mined by them selves nor yet imported. They have, in fact, no dealings at all with the foreigners around them. To meet this deficiency they have contrived inventions. In place of iron they use bone for their spear-blades, and cornel-wood for their bows and arrows, with bone points for the arrows. They throw a lasso round any enemy they meet, and then turning round their horses upset the enemy caught in the lasso.

  [1.21.6] Their breastplates they make in the following fashion. Each man keeps many mares, since the land is not divided into private allotments, nor does it bear any thing except wild trees, as the people are nomads. These mares they not only use for war, but also sacrifice them to the local gods and eat them for food. Their hoofs they collect, clean, split, and make from them as it were python scales. Whoever has never seen a python must at least have seen a pine-cone still green. He will not be mistaken if he liken the product from the hoof to the segments that are seen on the pine-cone. These pieces they bore and stitch together with the sinews of horses and oxen, and then use them as breastplates that are as handsome and strong as those of the Greeks. For they can withstand blows of missiles and those struck in close combat.

  [1.21.7] Linen breastplates are not so useful to fighters, for they let the iron pass through, if the blow be a violent one. They aid hunters, how ever, for the teeth of lions or leopards break off in them. You may see linen breastplates dedicated in other sanctuaries, notably in that at Gryneum, where there is a most beautiful grove of Apollo, with cultivated trees, and all those which, although they bear no fruit, are pleasing to smell or look upon.

  [1.22.1] XXII. After the sanctuary of Asclepius, as you go by this way towards the Acropolis, there is a temple of Themis. Before it is raised a sepulchral mound to Hippolytus. The end of his life, they say, came from curses. Everybody, even a foreigner who has learnt Greek, knows about the love of Phaedra and the wickedness the nurse dared commit to serve her. The Troezenians too have a grave of Hippolytus, and their legend about it is this.

  [1.22.2] When Theseus was about to marry Phaedra, not wishing, should he have children, Hippolytus either to be their subject or to be king in their stead, sent him to Pittheus to be brought up and to be the future king of Troezen. Afterwards Pallas and his sons rebelled against Theseus. After putting them to death he went to Troezen for purification, and Phaedra first saw Hippolytus there. Falling in love with him she contrived the plot for his death. The Troezenians have a myrtle with every one of its leaves pierced; they say that it did not grow originally in this fashion, the holes being due to Phaedra’s disgust with love and to the pin which she wore in her hair.

  [1.22.3] When Theseus had united into one state the many Athenian parishes, he established the cults of Aphrodite Pandemos (Common) and of Persuasion. The old statues no longer existed in my time, but those I saw were the work of no inferior artists. There is also a sanctuary of Earth, Nurse of Youth, and of Demeter Chloe (Green). You can learn all about their names by conversing with the priests.

  THE ACROPOLIS OF ATHENS

  [1.22.4] There is but one entry to the Acropolis. It affords no other, being precipitous throughout and having a strong wall. The gateway has a roof of white marble, and down to the present day it is unrivalled for the beauty and size of its stones. Now as to the statues of the horsemen, I cannot tell for certain whether they are the sons of Xenophon or whether they were made merely to beautify the place. On the right of the gateway is a temple of Wingless Victory. From this point the sea is visible, and here it was that, according to legend, Aegeus threw him self down to his death.

  [1.22.5] For the ship that carried the young people to Crete began her voyage with black sails; but Theseus, who was sailing on an adventure against the bull of Minos, as it is called, had told his father beforehand that he would use white sails if he should sail back victorious over the bull. But the loss of Ariadne made him forget the signal. Then Aegeus, when from this eminence he saw the vessel borne by black sails, thinking that his son was dead, threw himself down to destruction. There is at Athens a sanctuary dedicated to him, and called the hero-shrine of Aegeus.

  [1.22.6] On the left of the gateway is a building with pictures. Among those not effaced by time I found Diomedes taking the Athena from Troy, and Odysseus in Lemnos taking away the bow of Philoctetes. There in the pictures is Orestes killing Aegisthus, and Pylades killing the sons of Nauplius who had come to bring Aegisthus succor. And there is Polyxena about to be sacrificed near the grave of Achilles. Homer did well in passing by this barbarous act. I think too that he showed poetic insight in making Achilles capture Scyros, differing entirely from those who say that Achilles lived in Scyros with the maidens, as Polygnotus has re presented in his picture. He also painted Odysseus coming upon the women washing clothes with Nausicaa at the river, just like the description in Homer. There are other pictures, including a portrait of Alcibiades,

  [1.22.7] and in the picture are emblems of the victory his horses won at Nemea. There is also Perseus journeying to Seriphos, and carrying to Polydectes the head of Medusa, the legend about whom I am unwilling to relate in my description of Attica. Included among the paintings – I omit the boy carrying the water-jars and the wrestler of Timaenetus – is Musaeus. I have read verse in which Musaeus receives from the North Wind the gift of flight, but, in my opinion, Onomacritus wrote them, and there are no certainly genuine works of Musaeus except a hymn to Demeter written for the Lycomidae.

  [1.22.8] Right at the very entrance to the Acropolis are a Hermes (called Hermes of the Ga
teway) and figures of Graces, which tradition says were sculptured by Socrates, the son of Sophroniscus, who the Pythia testified was the wisest of men, a title she refused to Anacharsis, although he desired it and came to Delphi to win it.

  [1.23.1] XXIII. Among the sayings of the Greeks is one that there were seven wise men. Two of them were the despot of Lesbos and Periander the son of Cypselus. And yet Peisistratus and his son Hippias were more humane than Periander, wiser too in war fare and in statecraft, until, on account of the murder of Hipparchus, Hippias vented his passion against all and sundry, including a woman named Leaena (Lioness).

  [1.23.2] What I am about to say has never before been committed to writing, but is generally credited among the Athenians. When Hipparchus died, Hippias tortured Leaena to death, because he knew she was the mistress of Aristogeiton, and therefore could not possibly, he held, be in ignorance of the plot. As a recompense, when the tyranny of the Peisistratidae was at an end, the Athenians put up a bronze lioness in memory of the woman, which they say Callias dedicated and Calamis made.

  [1.23.3] Hard by is a bronze statue of Diitrephes shot through by arrows. Among the acts reported of this Diitrephes by the Athenians is his leading back home the Thracian mercenaries who arrived too late to take part in the expedition of Demosthenes against Syracuse. He also put into the Chalcidic Euripus, where the Boeotians had an inland town Mycalessus, marched up to this town from the coast and took it. Of the inhabitants the Thracians put to the sword not only the combatants but also the women and children. I have evidence to bring. All the Boeotian towns which the Thebans sacked were inhabited in my time, as the people escaped just before the capture; so if the foreigners had not exterminated the Mycalessians the survivors would have afterwards reoccupied the town.

  [1.23.4] I was greatly surprised to see the statue of Diitrephes pierced with arrows, because the only Greeks whose custom it is to use that weapon are the Cretans. For the Opuntian Locrians, whom Homer represents as coming to Troy with bows and slings, we know were armed as heavy infantry by the time of the Persian wars. Neither indeed did the Malians continue the practice of the bow; in fact, I believe that they did not know it before the time of Philoctetes, and gave it up soon after. Near the statue of Diitrephes – I do not wish to write of the less distinguished portraits – are figures of gods; of Health, whom legend calls daughter of Asclepius, and of Athena, also surnamed Health.