A Pausanias Reader in Progress

An ongoing retranslation of the Greek text of Pausanias, with ongoing annotations, primarily by Gregory Nagy from 2014 to 2022, and continued since 2022 by Nagy together with an intergenerational team. Based on an original translation by W. H. S. Jones, 1918 (Scroll 2 with H. A. Ormerod), containing some of the footnotes added by Jones. Editors: Keith DeStone, Elizabeth Gipson, Charles Pletcher Editor Emerita: Angelia Hanhardt Web Producer: Noel Spencer Consultant for images: Jill Curry Robbins To cite this work, use the following persistent identifier: http://nrs.harvard.edu/urn-3:hlnc.prim-src:A_Pausanias_Reader_in_Progress.2018-.

urn:cts:greekLit:tlg0525.tlg001.aprip-en


7.20.1 The surname [epiklēsis] of the god [theos] inside the chest [larnax] is Aisymnetes [‘apportioner’], and his chief attendants [therapeuontes] are nine men, elected by the people [dēmos] on the basis of their reputation [axiōma], and there are also [attendants who are] women, equal in number to the men. On one night of the festival [heortē] the priest [hiereus] carries-in-procession [pherein] the chest [larnax], heading outside. Now this is a special privilege [geras] assigned to this night. Going-down [kata-bainein] to the river Meilikhos are a certain number of the local [epikhōrioi] boys-and-girls [paides], garlanded [stephanoûsthai] with garlands of wheat-ears [astakhues] on their heads. It was in this way that they used to adorn [kosmeîn] in the old times those whom they were leading [agein] [in procession] so as to sacrifice [thuein] them to Artemis.

7.20.2 As for our own era, they lay-aside [apo-tithenai] garlands [stephanoi] of wheat-ears [astakhues] next to the goddess [theos (feminine)], and, after bathing in the river and putting on garlands [stephanoi] all over again, this time made of ivy [kissos], they go to the sanctuary [hieron] of the Aisymnetes [= Dionysus]. This then is the established way for them to-do-the-ritual [drân], and within the enclosure [peribolos] of Laphria is a temple [nāos] of Athena having the surname [epiklēsis] Pan-akhaiïs. The statue [agalma] is of ivory and gold.

7.20.3 On the way to the lower city there is a sanctuary of the Dindymenian Mother, and in it Attis too is worshipped. Of him they have no image to show; that of the Mother is of stone. In the marketplace is a temple of Olympian Zeus; the god himself is on a throne with Athena standing by it. Beyond the Olympian is an image of Hērā and a sanctuary of Apollo. The god is of bronze, and naked. On his feet are sandals, and one foot stands upon the skull of an ox.

7.20.4 That Apollo takes great pleasure in oxen is shown by Alcaeus* in his hymn to Hermes, who writes how Hermes stole cows of Apollo, and even before Alcaeus was born Homer made Apollo tend cows of Laomedon for a wage. In the Iliad he puts these verses in the mouth of Poseidon:

7.20.5 “Verily I built a wall for the Trojans about their city,

7.20.6 Next to the marketplace is the Music Hall, where has been dedicated an Apollo well worth seeing. It was made from the spoils taken when alone of the Achaeans the people of Patrai helped the Aetolians against the army of the Gauls. The Music Hall is in every way the finest in Greece, except, of course, the one in Athens. This is unrivalled in size and magnificence, and was built by Herodes, an Athenian,in memory of his dead wife. The reason why I omitted to mention this Music Hall in my history of Attica is that my account of the Athenians was finished before Herodes began the building.

7.20.7 As you leave the marketplace of Patrai, where the sanctuary of Apollo is, at this exit is a gate, upon which stand gilded statues, Patreus, Preugenes, and Atherion; the two latter are represented as boys, because Patreus is a boy in age. Opposite the marketplace by this exit is a precinct and temple of Artemis, the Lady of the Lake.

7.20.8 When the Dorians were now in possession of Lacedaemon and Argos, it is said that Preugenes, in obedience to a dream, stole from Sparta the image of our Lady of the Lake, and that he had as partner in his exploit the most devoted of his slaves. The image from Lacedaemon is usually kept at Mesoa, because it was to this place that it was originally brought by Preugenes. But when the festival of our Lady is being held, one of the slaves of the goddess comes from Mesoa bringing the ancient wooden image to the precinct in the city.

7.20.9 Near this precinct the people of Patrai have other sanctuaries. These are not in the open, but there is an entrance to them through the porticoes. The image of Asklepios, save for the drapery, is of stone; Athena is made of ivory and gold. Before the sanctuary of Athena is the tomb of Preugenes. Every year they sacrifice to Preugenes as to a hero, and likewise to Patreus also, when the festival of our Lady is being held. Not far from the theater is a temple of Nemesis, and another of Aphrodite. The images are colossal and of white marble.

1 Alcaeus Fr. 7 (Bergk).