- Source
- Pausanias. Pausaniae Graeciae descriptio, Volumes 1-3. Spiro, Friedrich, editor. Leipzig: Teubner, 1903.
- 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:tlg0525.tlg001.humanitext-grc2:5.17.1-5.17.6
- Generated
- Humanitext Reader · reader.humanitext.ai · 2026-10-27
Describes the various divine statues housed in the temple of Hera, including Zeus, Hera, the Horae, and Themis, as well as the later-dedicated Hermes of Praxiteles, and begins to explain the origin of the chest of Cypselus and its boustrophedon inscriptions.
ταῦτα μὲν δὴ ἔχει κατὰ τὰ προειρημένα· τῆς Ἥρας δέ ἐστιν ἐν τῷ ναῷ Διός,1 τὸ δὲ Ἥρας ἄγαλμα καθήμενόν ἐστιν ἐπὶ θρόνῳ· παρέστηκε δὲ γένειά τε ἔχων2 καὶ ἐπικείμενος κυνῆν ἐπὶ τῇ κεφαλῇ, ἔργα δέ ἐστιν ἁπλᾶ. τὰς δὲ ἐφεξῆς τούτων καθημένας ἐπὶ θρόνων Ὥρας ἐποίησεν Αἰγινήτης Σμῖλις. παρὰ δὲ αὐτὰς Θέμιδος ἅτε μητρὸς τῶν Ὡρῶν ἄγαλμα ἕστηκε Δορυκλείδου τέχνη, γένος μὲν Λακεδαιμονίου, μαθητοῦ δὲ Διποίνου καὶ Σκύλλιδος.
These matters are indeed as previously stated. Inside the temple of Hera there is a statue of Zeus, and the statue of Hera is seated upon a throne; and he stands beside her, wearing a beard and having a helmet upon his head, and these are simple works. Next to these, the Horae seated upon thrones were made by Smilis of Aegina. Beside them stands a statue of Themis as the mother of the Horae, a work of Dorycleidas, a Lacedaemonian by birth, and a pupil of Dipoenus and Scyllis.
τὰς δὲ Ἑσπερίδας πέντε ἀριθμὸν Θεοκλῆς ἐποίησε, Λακεδαιμόνιος μὲν καὶ οὗτος, πατρὸς Ἡγύλου, φοιτῆσαι δὲ καὶ αὐτὸς παρὰ Σκύλλιν καὶ Δίποινον λέγεται. τὴν δὲ Ἀθηνᾶν κράνος ἐπικειμένην καὶ δόρυ καὶ ἀσπίδα ἔχουσαν Λακεδαιμονίου λέγουσιν ἔργον εἶναι Μέδοντος, τοῦτον δὲ ἀδελφόν τε εἶναι Δορυκλείδου καὶ παρὰ ἀνδράσι διδαχθῆναι τοῖς αὐτοῖς.
The Hesperides, five in number, were made by Theocles, who was also a Lacedaemonian, the son of Hegylus, and he himself is said to have studied under Scyllis and Dipoenus. The Athena wearing a helmet and having a spear and a shield they say is the work of Medon, a Lacedaemonian, and they say he was a brother of Dorycleidas and was taught by the same masters.
Κόρη δὲ καὶ Δημήτηρ καὶ Ἀπόλλων καὶ Ἄρτεμις, αἱ μὲν ἀλλήλων εἰσὶν ἀπαντικρὺ καθήμεναι, Ἀπόλλων δὲ ἐναντίος ἑστώσῃ τῇ Ἀρτέμιδι ἕστηκεν. ἀνάκειται δὲ ἐνταῦθα καὶ Λητὼ Τύχη τε καὶ Διόνυσος καὶ ἔχουσα Νίκη πτερά· τοὺς δὲ εἰργασμένους αὐτὰ οὐκ ἔχω δηλῶσαι, φαίνεται δὲ εἶναί μοι καὶ ταῦτα ἐς τὰ μάλιστα ἀρχαῖα. τὰ μὲν δὴ κατειλεγμένα ἐστὶν ἐλέφαντος καὶ χρυσοῦ, χρόνῳ δὲ ὕστερον καὶ ἄλλα ἀνέθεσαν ἐς τὸ Ἡραῖον· Ἑρμῆν λίθου, Διόνυσον δὲ φέρει νήπιον, τέχνη δέ ἐστι Πραξιτέλους, καὶ Ἀφροδίτη χαλκῆ Κλέωνος ἔργον Σικυωνίου.
As for Core and Demeter, Apollo and Artemis, the former two are seated opposite one another, while Apollo stands opposite Artemis who is standing. There are also dedicated here Leto, Tyche, Dionysus, and a winged Nike; who made these I cannot declare, but they also seem to me to be among the most ancient. The statues catalogued are of ivory and gold, but in later times they dedicated other things to the Heraeum: a stone Hermes carrying the infant Dionysus, which is the art of Praxiteles, and a bronze Aphrodite, the work of Cleon of Sicyon.
τούτου δὲ ὁ διδάσκαλος τοῦ Κλέωνος, ὄνομα Ἀντιφάνης, ἐκ φοιτήσεως Περικλύτου, Πολυκλείτου δὲ ἦν τοῦ Ἀργείου μαθητὴς ὁ Περίκλυτος. παιδίον δὲ ἐπίχρυσον κάθηται γυμνὸν πρὸ τῆς Ἀφροδίτης· Βοηθὸς δὲ ἐτόρευσεν αὐτὸ Καλχηδόνιος. μετεκομίσθη δὲ αὐτόσε καὶ ἐκ τοῦ καλουμένου Φιλιππείου, χρυσοῦ καὶ ταῦτα καὶ ἐλέφαντος, Εὐρυδίκη τε ἡ Ἀριδαίου γυνὴ καὶ Ὀλυμπιὰς ἡ Φιλίππου.
The teacher of this Cleon, named Antiphanes, was a pupil of Periclytus, and Periclytus was a disciple of Polyclitus of Argos. A gilded naked boy sits in front of Aphrodite; Boethus of Chalcedon carved it. There were also transferred to that place from the so-called Philippeum, these also being of gold and ivory, Eurydice the wife of Aridaeus and Olympias the wife of Philip.
λάρναξ δὲ κέδρου μὲν πεποίηται, ζῴδια δὲ ἐλέφαντος ἐπʼ αὐτῆς, τὰ δὲ χρυσοῦ, τὰ δὲ καὶ ἐξ αὐτῆς ἐστιν εἰργασμένα τῆς κέδρου· ἐς ταύτην τὴν λάρνακα Κύψελον τὸν Κορίνθου τυραννήσαντα ἀπέκρυψεν ἡ μήτηρ, ἡνίκα τεχθέντα ἀνευρεῖν αὐτὸν σπουδὴν ἐποιοῦντο οἱ Βακχίδαι. τῆς μὲν δὴ σωτηρίας ἕνεκα τοῦ Κυψέλου τὸ ἀπʼ αὐτοῦ γένος οἱ ὀνομαζόμενοι Κυψελίδαι τὴν λάρνακα ἐς Ὀλυμπίαν ἀνέθεσαν, τὰς δὲ λάρνακας οἱ τότε ἐκάλουν Κορίνθιοι κυψέλας· ἀπὸ τούτου δὲ καὶ ὄνομα Κύψελον τῷ παιδὶ θέσθαι λέγουσι.
The chest is made of cedar, and upon it are figures, some of ivory, some of gold, and some carved from the cedar itself; in this chest his mother hid Cypselus, who became tyrant of Corinth, when the Bacchiadae were making diligent search to find him after his birth. On account of the escape of Cypselus, his descendants, called Cypselidae, dedicated the chest at Olympia; and the Corinthians of that time called chests “cypselae,” from which they say they also gave the name Cypselus to the child.
τῶν δὲ ἐπὶ τῇ λάρνακι ἐπιγράμματα ἔπεστι τοῖς πλείοσι, γράμμασι τοῖς ἀρχαίοις γεγραμμένα· καὶ τὰ μὲν ἐς εὐθὺ αὐτῶν ἔχει, σχήματα δὲ ἄλλα τῶν γραμμάτων βουστροφηδὸν καλοῦσιν Ἕλληνες. τὸ δέ ἐστι τοιόνδε· ἀπὸ τοῦ πέρατος τοῦ ἔπους ἐπιστρέφει τῶν ἐπῶν τὸ δεύτερον ὥσπερ ἐν διαύλου δρόμῳ. γέγραπται δὲ ἐπὶ τῇ λάρνακι καὶ ἄλλως τὰ ἐπιγράμματα ἑλιγμοῖς συμβαλέσθαι χαλεποῖς. ἀρξαμένῳ δὲ ἀνασκοπεῖσθαι κάτωθεν3 τοσάδε ἐπὶ τῆς λάρνακος ἡ πρώτη παρέχεται χώρα.
On most of the figures upon the chest there are inscriptions, written in ancient characters; and some of them run straight, while other arrangements of the letters the Greeks call boustrophedon. It is of this kind: from the end of the verse the second of the verses turns back, just as in the double race-course. The inscriptions on the chest are also written in other ways, with winding patterns difficult to decipher. To one who begins to examine it from below, the first space on the chest presents the following.
- 5.17.1τῆς Ἥρας δέ ἐστιν ἐν τῷ ναῷ Διός
The genitive τῆς Ἥρας modifies the noun τῷ ναῷ within the prepositional phrase, meaning "in the temple of Hera." Additionally, the noun ἄγαλμα (statue) is omitted as the subject after the genitive Διός.
- 5.17.1παρέστηκε δὲ γένειά τε ἔχων
παρέστηκε is the perfect tense of παρίστημι with a present meaning, and its omitted subject is the previously mentioned (statue of) Zeus. The participles ἔχων and ἐπικείμενος modify this subject, describing his standing posture.
- 5.17.6ἀρξαμένῳ δὲ ἀνασκοπεῖσθαι κάτωθεν
The dative participle ἀρξαμένῳ is used as a dative of reference (or dative of the person judging), meaning "for one who begins to examine from below."
