- Source
- Strabo. Strabonis Geographica, Vols. 1-3. Meineke, August, editor. Leipzig: Teubner. 1877.
- Translation
- AI-generated (gemini-3.5-flash) — machine translation; may contain errors
- Languages
- 日本語 · English · 简体中文 · 한국어
- CTS URN
- urn:cts:greekLit:tlg0099.tlg001.humanitext-grc2:8.3.30#1
- Generated
- Humanitext Reader · reader.humanitext.ai · 2026-10-23
Describes the temple of Olympia, its location, and the colossal chryselephantine statue of Zeus made by Pheidias, before starting to explain how the Eleians later became responsible for the sanctuary's prosperity.
λοιπὸν δʼ ἐστὶν εἰπεῖν περὶ τῆς Ὀλυμπίας καὶ τῆς εἰς τοὺς Ἠλείους ἁπάντων μεταπτώσεως. ἔστι δʼ ἐν τῇ Πισάτιδι τὸ ἱερὸν σταδίους τῆς Ἤλιδος ἐλάττους ἢ τριακοσίους διέχον· πρόκειται δʼ ἄλσος ἀγριελαίων ἐν ᾧ τὸ στάδιον· παραρρεῖ δʼ ὁ Ἀλφειὸς ἐκ τῆς Ἀρκαδίας ῥέων εἰς τὴν Τριφυλιακὴν θάλατταν μεταξὺ δύσεως καὶ μεσημβρίας. τὴν δʼ ἐπιφάνειαν ἔσχεν ἐξ ἀρχῆς μὲν διὰ τὸ μαντεῖον τοῦ Ὀλυμπίου Διός· ἐκείνου δʼ ἐκλειφθέντος οὐδὲν ἧττον συνέμεινεν ἡ δόξα τοῦ ἱεροῦ, καὶ τὴν αὔξησιν ὅσην ἴσμεν ἔλαβε διά τε τὴν πανήγυριν καὶ τὸν ἀγῶνα τὸν Ὀλυμπιακόν, στεφανίτην τε καὶ ἱερὸν νομισθέντα, μέγιστον τῶν πάντων. ἐκοσμήθη δʼ ἐκ τοῦ πλήθους τῶν ἀναθημάτων, ἅπερ ἐκ πάσης ἀνετίθετο τῆς Ἑλλάδος· ὧν ἦν καὶ ὁ χρυσοῦς σφυρήλατος Ζεύς, ἀνάθημα Κυψέλου τοῦ Κορινθίων τυράννου. μέγιστον δὲ τούτων ὑπῆρξε τὸ τοῦ Διὸς ξόανον, ὃ ἐποίει Φειδίας Χαρμίδου Ἀθηναῖος ἐλεφάντινον, τηλικοῦτον τὸ μέγεθος ὡς καίπερ μεγίστου ὄντος τοῦ νεὼ δοκεῖν ἀστοχῆσαι τῆς συμμετρίας τὸν τεχνίτην,1 καθήμενον ποιήσαντα, ἁπτόμενον δὲ σχεδόν τι τῇ κορυφῇ τῆς ὀροφῆς ὥστʼ ἔμφασιν ποιεῖν, ἐὰν ὀρθὸς γένηται διαναστάς, ἀποστεγάσειν τὸν νεών.2 ἀνέγραψαν δέ τινες τὰ μέτρα τοῦ ξοάνου, καὶ Καλλίμαχος ἐν ἰάμβῳ τινὶ ἐξεῖπε. πολλὰ δὲ συνέπραξε τῷ Φειδίᾳ Πάναινος ὁ ζωγράφος, ἀδελφιδοῦς ὢν αὐτοῦ καὶ συνεργολάβος, πρὸς τὴν τοῦ ξοάνου διὰ τῶν χρωμάτων κόσμησιν καὶ μάλιστα τῆς ἐσθῆτος. δείκνυνται δὲ καὶ γραφαὶ πολλαί τε καὶ θαυμασταὶ περὶ τὸ ἱερὸν ἐκείνου ἔργα. ἀπομνημονεύουσι δὲ τοῦ Φειδίου, διότι πρὸς τὸν Πάναινον εἶπε πυνθανόμενον πρὸς τί παράδειγμα μέλλοι ποιήσειν τὴν εἰκόνα τοῦ Διός, ὅτι3 πρὸς τὴν Ὁμήρου διʼ ἐπῶν ἐκτεθεῖσαν τούτων "ἦ καὶ κυανέῃσιν ἐπʼ ὀφρύσι νεῦσε Κρονίων· ἀμβρόσιαι δʼ ἄρα χαῖται ἐπερρώσαντο ἄνακτος κρατὸς ἀπʼ ἀθανάτοιο, μέγαν δʼ ἐλέλιξεν Ὄλυμπον." ἄξιοι δὲ μάλιστα τὴν αἰτίαν ἔχειν τῆς περὶ τὸ Ὀλυμπίασιν ἱερὸν μεγαλοπρεπείας τε καὶ τιμῆς Ἠλεῖοι.4 κατὰ μὲν γὰρ τὰ Τρωικὰ καὶ ἔτι πρὸ τούτων οὐκ ηὐτύχουν, ὑπό τε τῶν Πυλίων ταπεινωθέντες καὶ ὑφʼ Ἡρακλέους ὕστερον, ἡνίκα Αὐγέας ὁ βασιλεύων αὐτῶν κατελύθη. σημεῖον δέ· εἰς γὰρ τὴν Τροίαν ἐκεῖνοι μὲν τετταράκοντα ναῦς ἔστειλαν, Πύλιοι δὲ καὶ Νέστωρ ἐνενήκοντα. ὕστερον δὲ μετὰ τὴν τῶν Ἡρακλειδῶν κάθοδον συνέβη τἀναντία. Αἰτωλοὶ γὰρ συγκατελθόντες τοῖς Ἡρακλείδαις μετὰ Ὀξύλου καὶ συνοικήσαντες Ἐπειοῖς κατὰ συγγένειαν παλαιὰν ηὔξησαν
It remains to speak of Olympia and of the transfer of everything to the Eleians. The temple is in Pisatis, distant less than three hundred stades from Elis; in front of it lies a grove of wild olive trees, in which is the stadium; and the Alpheios flows past, running from Arcadia into the Triphylian Sea between west and south. It acquired its renown from the beginning because of the oracle of Olympian Zeus; and when that failed, the glory of the temple remained none the less, and it received all the growth we know because both of the festive assembly and of the Olympic games, which were considered crowned and sacred, the greatest of all. And it was adorned by the multitude of offerings, which were dedicated from the whole of Greece; among which was also the golden beaten-work Zeus, an offering of Cypselus the tyrant of the Corinthians . The greatest of these was the wooden statue of Zeus, which Pheidias the son of Charmides, an Athenian, made of ivory, of such great size that, although the temple was very large, the artist seemed to have missed the symmetry, having made him sitting, but touching the roof almost with his crown, so that he created the impression that if he should stand upright, he would unroof the temple. And some recorded the measurements of the statue, and Callimachus declared them in a certain iambic poem. And Panainos the painter, being his nephew and fellow-contractor, cooperated much with Pheidias toward the adornment of the statue with colors, and especially of the drapery. And many wonderful paintings, works of his, are also shown about the temple. And they relate of Pheidias that, when Panainos asked him after what model he was going to make the image of Zeus, he replied that it was after that exhibited by Homer in these verses: “He spoke, and the son of Cronos nodded with his dark brows; and the ambrosial locks of the king waved from his immortal head, and he shook great Olympus.” But the Eleians are most worthy to have the credit for the magnificence and honor concerning the temple at Olympia. For in the times of the Trojan War and even before these, they were not fortunate, having been humbled by the Pylians and later by Heracles, when Augeas their king was overthrown. And this is a sign: for to Troy they indeed sent forty ships, but the Pylians and Nestor ninety. But later, after the return of the Heracleidae, the contrary happened. For the Aetolians, having returned together with the Heracleidae under Oxylus, and having settled with the Epeians because of an ancient kinship, increased
- 8.3.30ὡς καίπερ μεγίστου ὄντος τοῦ νεὼ δοκεῖν ἀστοχῆσαι τῆς συμμετρίας τὸν τεχνίτην
The conjunction ὡς (expressing result, "so great that...") governs the infinitive δοκεῖν, with τὸν τεχνίτην acting as its subject accusative. καίπερ μεγίστου ὄντος τοῦ νεὼ is a concessive genitive absolute construction ("although the temple was very large").
- 8.3.30ὥστʼ ἔμφασιν ποιεῖν, ἐὰν ὀρθὸς γένηται διαναστάς, ἀποστεγάσειν τὸν νεών
ὥστε introduces the infinitive ποιεῖν to express result ("so as to create the impression"). The future infinitive ἀποστεγάσειν (with the statue of Zeus as its implied subject) depends on ἔμφασιν ποιεῖν to describe the content of the impression, serving as the apodosis of a future conditional projection whose protasis is ἐὰν ὀρθὸς γένηται ("if he should stand upright").
- 8.3.30ἀπομνημονεύουσι δὲ τοῦ Φειδίου, διότι πρὸς τὸν Πάναινον εἶπε ... ὅτι ...
The verb ἀπομνημονεύουσι ("they relate/recall") governs the genitive τοῦ Φειδίου ("of Pheidias"). After ὅτι, which introduces the reported speech, the verb (such as ποιήσει or ποιήσειν μέλλοι) is omitted, leaving only the prepositional phrase πρὸς τὴν Ὁμήρου... ("after that of Homer...") to complete the sense.
- 8.3.30ἄξιοι δὲ μάλιστα τὴν αἰτίαν ἔχειν τῆς περὶ τὸ Ὀλυμπίασιν ἱερὸν μεγαλοπρεπείας τε καὶ τιμῆς Ἠλεῖοι.
The adjective ἄξιοι at the beginning of the sentence modifies the subject Ἠλεῖοι ("the Eleians") at the end, with the copula εἰσί ("are") omitted. ἄξιοι ... τὴν αἰτίαν ἔχειν means "are most worthy to have the credit/responsibility".
