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Description of Greece

§10.25.1-10.25.5

Polygnotus' Painting of the Fall of Troy at the Cnidian Lesche

Pausanias visits the Lesche (Club) dedicated by the Cnidians, beginning his detailed description of the famous paintings by Polygnotus representing the capture of Troy and the departure of the Greeks. He describes the preparations of Menelaus and lists various characters, commenting on the origins of their names and comparing them with Homeric tradition.

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§10.25.1

ὑπὲρ δὲ τὴν Κασσοτίδα ἐστὶν οἴκημα γραφὰς ἔχον τῶν Πολυγνώτου, ἀνάθημα μὲν Κνιδίων, καλεῖται δὲ ὑπὸ Δελφῶν Λέσχη, ὅτι ἐνταῦθα συνιόντες τὸ ἀρχαῖον τά τε σπουδαιότερα διελέγοντο καὶ ὁπόσα μυθώδη· τοιαῦτʼ εἶναι πολλὰ1 ἀνὰ πᾶσαν τὴν Ἑλλάδα Ὅμηρος ἐν Μελανθοῦς λοιδορίᾳ πρὸς Ὀδυσσέα ἐδήλωσεν· "οὐδʼ ἐθέλεις εὕδειν χαλκήιον ἐς δόμον ἐλθὼν ἠέ που ἐς λέσχην, ἀλλʼ ἐνθάδε πόλλʼ ἀγορεύεις."

​Above the Cassotis is a building containing paintings by Polygnotus, a dedication of the Cnidians, and it is called Lesche (Club) by the Delphians, because meeting here in ancient times they used to discuss both the more serious matters and those that are legendary; Homer showed in the abuse of Melantho towards Odysseus that there are many such places throughout all Greece: “And you do not wish to go and sleep in a bronze smithy or in a lesche somewhere, but here you talk much.”

§10.25.2

ἐς τοῦτο οὖν ἐσελθόντι τὸ οἴκημα2 τὸ μὲν σύμπαν τὸ ἐν δεξιᾷ τῆς γραφῆς Ἴλιός τέ ἐστιν ἑαλωκυῖα καὶ ἀπόπλους ὁ Ἑλλήνων. Μενελάῳ δὲ τὰ ἐς τὴν ἀναγωγὴν εὐτρεπίζουσι, καὶ ναῦς ἐστι γεγραμμένη καὶ ἄνδρες ἐν τοῖς ναύταις καὶ ἀναμὶξ παῖδες, ἐν μέσῃ δέ ἐστι τῇ νηὶ ὁ κυβερνήτης Φρόντις κοντοὺς δύο ἔχων. Ὅμηρος δὲ Νέστορα ἐποίησεν ἄλλα τε διαλεγόμενον πρὸς Τηλέμαχον καὶ περὶ τοῦ Φρόντιδος· πατρὸς μὲν Ὀνήτορος,3 Μενελάου δὲ ἦν κυβερνήτης, δοκιμώτατος δὲ ἐς τὴν τέχνην, καὶ ὡς Σούνιον ἤδη τὸ ἐν τῇ Ἀττικῇ παραπλέοντα ἐπέλαβεν αὐτὸν τὸ χρεών· καὶ τέως ὁμοῦ Νέστορι ὁ Μενέλαος πλέων τότε κατὰ αἰτίαν ἀπελείφθη ταύτην, ἵνα μνήματος καὶ ὅσα ἐπὶ νεκροῖς ἄλλα ἀξιώσειε τὸν Φρόντιν.

​So to one who has entered this building, the whole of the scene on the right of the painting is Troy captured and the departure of the Greeks. For Menelaus they are preparing the things for the voyage, and a ship is painted, and men among the sailors and boys mixed with them, and in the middle of the ship is the helmsman Phrontis holding two punting-poles. And Homer made Nestor converse with Telemachus about other things and about Phrontis: that he was the son of Onetor, and was the helmsman of Menelaus, most approved in his art, and how, as he was already sailing past Sunium in Attica, his fate overtook him; and Menelaus, who up to that time was sailing together with Nestor, was then left behind for this reason, in order that he might honor Phrontis with a tomb and with whatever other things are due to the dead.

§10.25.3

οὗτός τε οὖν ἐν τοῦ Πολυγνώτου τῇ γραφῇ καὶ ὑπʼ αὐτὸν Ἰθαιμένης τέ τις κομίζων ἐσθῆτα καὶ Ἐχοίαξ διὰ τῆς ἀποβάθρας κατιών ἐστιν, ὑδρίαν ἔχων χαλκῆν. καταλύουσι δὲ καὶ τοῦ Μενελάου τὴν σκηνὴν οὐ πόρρω τῆς νεὼς οὖσαν Πολίτης καὶ Στρόφιός τε καὶ Ἄλφιος. καὶ ἄλλην διαλύων σκηνήν ἐστιν Ἀμφίαλος, ὑπὸ δὲ τοῦ Ἀμφιάλου τοῖς ποσὶ κάθηται παῖς· ἐπίγραμμα δὲ οὐκ ἔστι τῷ παιδί, γένεια δὲ μόνῳ τῷ Φρόντιδι. καὶ μόνου τούτου τὸ ὄνομα ἐκ τῆς ἐς Ὀδυσσέα ποιήσεως ἔμαθε, τῶν δὲ ἄλλων ἐμοὶ δοκεῖν4 τὰ ὀνόματα συνέθηκεν αὐτὸς ὁ Πολύγνωτος.

​This man, then, is in the painting of Polygnotus, and below him is a certain Ithaimenes carrying clothing, and Echoiax coming down the gangway, having a bronze water-jar. And Polites, Strophius, and Alphius are taking down the tent of Menelaus, which is not far from the ship. And Amphiatus is dismantling another tent, and at the feet of Amphiatus sits a boy; there is no inscription for the boy, and Phrontis alone has a beard. And he learned the name of this man alone from the poetry concerning Odysseus, but of the others, in my opinion, Polygnotus himself invented the names.

§10.25.4

Βρισηὶς δὲ ἑστῶσα καὶ Διομήδη τε ὑπὲρ αὐτῆς καὶ Ἶφις πρὸ ἀμφοτέρων ἐοίκασιν ἀνασκοπούμενοι τὸ Ἑλένης εἶδος. κάθηται δὲ αὐτή τε ἡ Ἑλένη καὶ Εὐρυβάτης πλησίον· τὸν δὲ Ὀδυσσέως εἶναι κήρυκα εἰκάζομεν, οὐ μὴν εἶχεν ἤδη γένεια. θεράπαινα δὲ Ἠλέκτρα5 καὶ Πανθαλίς, ἡ μὲν τῇ Ἑλένῃ παρέστηκεν, ἡ δὲ ὑποδεῖ τὴν δέσποιναν ἡ Ἠλέκτρα· διάφορα δὲ καὶ ταῦτα τὰ ὀνόματα ἢ Ὅμηρος ἔθετο ἐν Ἰλιάδι, ἔνθα καὶ Ἑλένην καὶ ἰούσας ὁμοῦ τῇ Ἑλένῃ τὰς δούλας ἐπὶ τὸ τεῖχος πεποίηκεν.

​And Briseis standing, and Diomede above her, and Iphis in front of both, seem to be contemplating the beauty of Helen. And Helen herself is sitting, and Eurybates near her; we guess that he is the herald of Odysseus, but indeed he did not yet have a beard. And the handmaids are Electra and Panthalis; the one stands beside Helen, while the other, Electra, is putting on the shoes of her mistress. These names also are different from those which Homer gave in the *Iliad*, where he has represented both Helen and the slave-women going along with Helen to the wall.

§10.25.5

κάθηται δὲ ὑπὲρ τὴν Ἑλένην πορφυροῦν ἀνὴρ ἀμπεχόμενος ἱμάτιον καὶ ἐς τὰ μάλιστα κατηφής· Ἕλενον εἶναι τεκμήραιο ἂν6 τὸν Πριάμου καὶ πρὶν ἢ τὸ ἐπίγραμμα ἐπιλέξασθαι. πλησίον δὲ τοῦ Ἑλένου Μέγης ἐστί· τέτρωται δὲ τὸν βραχίονα ὁ Μέγης, καθὰ δὴ καὶ Λέσχεως ὁ Αἰσχυλίνου Πυρραῖος ἐν Ἰλίου πέρσιδι ἐποίησε· τρωθῆναι δὲ ὑπὸ τὴν μάχην τοῦτον, ἣν ἐν τῇ νυκτὶ ἐμαχέσαντο οἱ Τρῶες, ὑπὸ Ἀδμήτου φησὶ τοῦ Αὐγείου.

​Above Helen sits a man clothed in a purple cloak, and exceedingly downcast; even before reading the inscription, you would guess that he is Helenus, the son of Priam. And near Helenus is Meges; and Meges is wounded in the arm, just as Lesches, the son of Aeschylinus, of Pyrrha, wrote in the *Sack of Troy*; and he says that this man was wounded during the battle which the Trojans fought in the night, by Admetus, the son of Augeas.

Syntax notes6 items
  1. 10.25.1τοιαῦτʼ εἶναι πολλὰ

    τοιαῦτʼ (τοιαῦτα) is the subject (neuter plural) of the infinitive εἶναι in the accusative-and-infinitive construction, which serves as the object clause in indirect speech dependent on the verb ἐδήλωσεν. πολλά is its predicate adjective.

  2. 10.25.2ἐς τοῦτο οὖν ἐσελθόντι τὸ οἴκημα

    The participle ἐσελθόντι (aorist active dative singular masculine) is used as a dative of reference (dative of the person judging), representing the perspective of the reader or observer: "to one having entered."

  3. 10.25.2πατρὸς μὲν Ὀνήτορος

    The genitive πατρός (father) is a genitive of origin or source dependent on the context or on the verb ἦν supplied from the next clause, indicating "[having] Onetor as father" or "son of Onetor."

  4. 10.25.3ἐμοὶ δοκεῖν

    An idiomatic absolute infinitive construction used parenthetically to mean "in my opinion" or "as it seems to me," restricting the assertion of the sentence.

  5. 10.25.4ἡ μὲν τῇ Ἑλένῃ παρέστηκεν, ἡ δὲ ὑποδεῖ τὴν δέσποιναν ἡ Ἠλέκτρα

    The articles with particles, ἡ μὲν and ἡ δὲ, contrast the two handmaids mentioned previously. The latter (ἡ δὲ) has the appositive ἡ Ἠλέκτρα explicitly attached to it, clearly assigning the actions: one (Panthalis) stands by, while the other (Electra) puts on the shoes.

  6. 10.25.5τεκμήραιο ἂν

    The optative τεκμήραιο (second person singular middle) with the particle ἄν is a potential optative, expressing a mild assertion or probability: "you (the reader) might/would infer."

Translated by Gemini 3.5 Flash (published 2026-05-25)urn:cts:greekLit:tlg0525.tlg001.humanitext-grc2:10.25.1-10.25.5