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Pausanias · Description of Greece §1.26.1-1.26.7

Exploits of Olympiodorus and the Erechtheum

Passage 29 of 465 · Greek

Summary

The author describes the liberation of Athens under Olympiodorus and his achievements, followed by a description of the Erechtheum, the ancient wooden image of Athena, and Callimachus' golden lamp on the Acropolis.

§1.26.1χρόνῳ δὲ ὕστερον ἄνδρας ἐσῆλθεν οὐ πολλοὺς μνήμη τε προγόνων καὶ ἐς οἵαν μεταβολὴν τὸ ἀξίωμα ἥκοι τῶν Ἀθηναίων, αὐτίκα τε ὡς εἶχον αἱροῦνται στρατηγὸν Ὀλυμπιόδωρον.
Sometime later, a remembrance of their ancestors and of the great change to which the prestige of the Athenians had come entered into not many men, and immediately, just as they were, they chose Olympiodorus as general.
ὁ δὲ σφᾶς ἐπὶ τοὺς Μακεδόνας ἦγε καὶ γέροντας καὶ μειράκια ὁμοίως, προθυμίᾳ πλέον ἢ ῥώμῃ κατορθοῦσθαι τὰ ἐς πόλεμον ἐλπίζων· ἐπεξελθόντας δὲ τοὺς Μακεδόνας μάχῃ τε ἐκράτησε καὶ φυγόντων ἐς τὸ Μουσεῖον τὸ χωρίον εἷλεν.
He led them against the Macedonians, old men and youths alike, hoping that military affairs would succeed more through enthusiasm than through strength; and having defeated the Macedonians who came out to meet them in battle, he captured the place when they fled to the Museum.
§1.26.2Ἀθῆναι μὲν οὕτως ἀπὸ Μακεδόνων ἠλευθερώθησαν, Ἀθηναίων δὲ πάντων ἀγωνισαμένων ἀξίως λόγου Λεώκριτος μάλιστα ὁ Πρωτάρχου λέγεται τόλμῃ χρήσασθαι πρὸς τὸ ἔργον· πρῶτος μὲν γὰρ ἐπὶ τὸ τεῖχος ἀνέβη, πρῶτος δὲ ἐς τὸ Μουσεῖον ἐσήλατο, καί οἱ πεσόντι ἐν τῇ μάχῃ τιμαὶ παρʼ Ἀθηναίων καὶ ἄλλαι γεγόνασι καὶ τὴν ἀσπίδα ἀνέθεσαν τῷ Διὶ τῷ Ἐλευθερίῳ, τὸ ὄνομα τοῦ Λεωκρίτου καὶ τὸ κατόρθωμα ἐπιγράψαντες.
In this way Athens was liberated from the Macedonians, and though all the Athenians fought in a manner worthy of mention, Leocritus the son of Protarchus is said to have displayed the greatest courage in the deed; for he was the first to mount the wall, and the first to leap into the Museum, and for him, having fallen in the battle, other honors also came from the Athenians, and they dedicated his shield to Zeus the Liberator, inscribing upon it the name of Leocritus and his success.
§1.26.3Ὀλυμπιοδώρῳ δὲ τόδε μέν ἐστιν ἔργον μέγιστον χωρὶς τούτων ὧν ἔπραξε Πειραιᾶ καὶ Μουνυχίαν ἀνασωσάμενος· ποιουμένων δὲ Μακεδόνων καταδρομὴν ἐς Ἐλευσῖνα Ἐλευσινίους συντάξας ἐνίκα τοὺς Μακεδόνας.
For Olympiodorus, this is his greatest achievement, apart from those things which he accomplished by recovering Peiraeus and Munychia; and when the Macedonians made a raid into Eleusis, he organized the Eleusinians and defeated the Macedonians.
πρότερον δὲ ἔτι τούτων ἐσβαλόντος ἐς τὴν Ἀττικὴν Κασσάνδρου πλεύσας Ὀλυμπιόδωρος ἐς Αἰτωλίαν βοηθεῖν Αἰτωλοὺς ἔπεισε, καὶ τὸ συμμαχικὸν τοῦτο ἐγένετο Ἀθηναίοις αἴτιον μάλιστα διαφυγεῖν τὸν Κασσάνδρου πόλεμον.
Even before this, when Cassander invaded Attica, Olympiodorus sailed to Aetolia and persuaded the Aetolians to bring help, and this alliance became the chief reason for the Athenians to escape the war of Cassander.
Ὀλυμπιοδώρῳ δὲ τοῦτο μὲν ἐν Ἀθήναις εἰσὶν ἔν τε ἀκροπόλει καὶ ἐν πρυτανείῳ τιμαί, τοῦτο δὲ ἐν Ἐλευσῖνι γραφή· καὶ Φωκέων οἱ Ἐλάτειαν ἔχοντες χαλκοῦν Ὀλυμπιόδωρον ἐν Δελφοῖς ἀνέθεσαν, ὅτι καὶ τούτοις ἤμυνεν ἀποστᾶσι Κασσάνδρου.
For Olympiodorus, there are honors in Athens both on the Acropolis and in the Prytaneum, and in Eleusis there is a painting; and those of the Phocians who occupy Elateia dedicated a bronze statue of Olympiodorus at Delphi, because he also came to their defense when they revolted from Cassander.
§1.26.4τῆς δὲ εἰκόνος πλησίον τῆς Ὀλυμπιοδώρου χαλκοῦν Ἀρτέμιδος ἄγαλμα ἔστηκεν ἐπίκλησιν Λευκοφρύνης, ἀνέθεσαν δὲ οἱ παῖδες οἱ Θεμιστοκλέους· Μάγνητες γάρ, ὧν ἦρχε Θεμιστοκλῆς λαβὼν παρὰ βασιλέως, Λευκοφρύνην Ἄρτεμιν ἄγουσιν ἐν τιμῇ.
Near the statue of Olympiodorus stands a bronze statue of Artemis surnamed Leucophryne, dedicated by the children of Themistocles; for the Magnesians, whom Themistocles ruled, having received them from the King, hold Artemis Leucophryne in honor.
δεῖ δέ με ἀφικέσθαι τοῦ λόγου πρόσω, πάντα ὁμοίως ἐπεξιόντα τὰ Ἑλληνικά.
But I must proceed further with my account, traversing all the affairs of the Greeks in like manner.
Ἔνδοιος ἦν γένος μὲν Ἀθηναῖος, Δαιδάλου δὲ μαθητής, ὃς καὶ φεύγοντι Δαιδάλῳ διὰ τὸν Κάλω θάνατον ἐπηκολούθησεν ἐς Κρήτην· τούτου καθήμενόν ἐστιν Ἀθηνᾶς ἄγαλμα, ἐπίγραμμα ἔχον ὡς Καλλίας μὲν ἀναθείη, ποιήσειε δὲ Ἔνδοιος.
Endoeus was an Athenian by birth, and a disciple of Daedalus, whom he followed to Crete when Daedalus fled because of the death of Calos; by him there is a seated statue of Athena, which has an inscription saying that Callias dedicated it, and Endoeus made it.
§1.26.5—ἔστι δὲ καὶ οἴκημα Ἐρέχθειον καλούμενον· πρὸ δὲ τῆς ἐσόδου Διός ἐστι βωμὸς Ὑπάτου, ἔνθα ἔμψυχον θύουσιν οὐδέν, πέμματα δὲ θέντες οὐδὲν ἔτι οἴνῳ χρήσασθαι νομίζουσιν.
There is also a building called the Erechtheum; before the entrance is an altar of Zeus the Most High, where they sacrifice nothing living, but having placed cakes, they do not think it right to use any wine.
ἐσελθοῦσι δέ εἰσι βωμοί, Ποσειδῶνος, ἐφʼ οὗ καὶ Ἐρεχθεῖ θύουσιν ἔκ του μαντεύματος, καὶ ἥρωος Βούτου, τρίτος δὲ Ἡφαίστου· γραφαὶ δὲ ἐπὶ τῶν τοίχων τοῦ γένους εἰσὶ τοῦ Βαυταδῶν καὶ—διπλοῦν γάρ ἐστι τὸ οἴκημα— ὕδωρ ἐστὶν ἔνδον θαλάσσιον ἐν φρέατι.
To those who enter there are altars: one of Poseidon, upon which they also sacrifice to Erechtheus in accordance with an oracle, one of the hero Butes, and a third of Hephaestus; and on the walls are paintings of the family of the Butadae, and—for the building is double—within there is sea-water in a well.
τοῦτο μὲν θαῦμα οὐ μέγα· καὶ γὰρ ὅσοι μεσόγαιαν οἰκοῦσιν, ἄλλοις τε ἔστι καὶ Καρσὶν Ἀφροδισιεῦσιν· ἀλλὰ τόδε τὸ φρέαρ ἐς συγγραφὴν παρέχεται κυμάτων ἦχον ἐπὶ νότῳ πνεύσαντι.
This is no great wonder; for even among those who inhabit the inland, it exists both for others and for the Carians of Aphrodisias; but this well provides for description the sound of waves when the south wind blows.
καὶ τριαίνης ἐστὶν ἐν τῇ πέτρᾳ σχῆμα· ταῦτα δὲ λέγεται Ποσειδῶνι μαρτύρια ἐς τὴν ἀμφισβήτησιν τῆς χώρας φανῆναι.
And there is the shape of a trident in the rock; these are said to have appeared as testimonies for Poseidon in his dispute over the land.
§1.26.6ἱερὰ μὲν τῆς Ἀθηνᾶς ἐστιν ἥ τε ἄλλη πόλις καὶ ἡ πᾶσα ὁμοίως γῆ—καὶ γὰρ ὅσοις θεοὺς καθέστηκεν ἄλλους ἐν τοῖς δήμοις σέβειν, οὐδέν τι ἧσσον τὴν Ἀθηνᾶν ἄγουσιν ἐν τιμῇ—, τὸ δὲ ἁγιώτατον ἐν κοινῷ πολλοῖς πρότερον νομισθὲν ἔτεσιν ἢ συνῆλθον ἀπὸ τῶν δήμων ἐστὶν Ἀθηνᾶς ἄγαλμα ἐν τῇ νῦν ἀκροπόλει, τότε δὲ ὀνομαζομένῃ πόλει· φήμη δὲ ἐς αὐτὸ ἔχει πεσεῖν ἐκ τοῦ οὐρανοῦ.
Both the rest of the city and the whole land alike are sacred to Athena; for even those who are established to worship other gods in their demes nevertheless hold Athena in no less honor. But the most sacred object, which was held in common many years before they came together from the demes, is the statue of Athena on what is now the Acropolis, but was then called the polis; and a rumor has it that it fell from heaven.
καὶ τοῦτο μὲν οὐκ ἐπέξειμι εἴτε οὕτως εἴτε ἄλλως ἔχει, λύχνον δὲ τῇ θεῷ χρυσοῦν Καλλίμαχος ἐποίησεν·
This I will not discuss further, whether it is so or otherwise, but Callimachus made a golden lamp for the goddess.
§1.26.7ἐμπλήσαντες δὲ ἐλαίου τὸν λύχνον τὴν αὐτὴν τοῦ μέλλοντος ἔτους ἀναμένουσιν ἡμέραν, ἔλαιον δὲ ἐκεῖνο τὸν μεταξὺ ἐπαρκεῖ χρόνον τῷ λύχνῳ κατὰ τὰ αὐτὰ ἐν ἡμέρᾳ καὶ νυκτὶ φαίνοντι.
Having filled the lamp with oil, they wait for the same day of the following year, and that oil suffices for the lamp for the intervening time as it shines in like manner by day and by night.
καί οἱ λίνου Καρπασίου θρυαλλὶς ἔνεστιν, ὃ δὴ πυρὶ λίνων μόνον οὐκ ἔστιν ἁλώσιμον· φοῖνιξ δὲ ὑπὲρ τοῦ λύχνου χαλκοῦς ἀνήκων ἐς τὸν ὄροφον ἀνασπᾷ τὴν ἀτμίδα.
And in it is a wick of Carpasian flax, which is the only kind of flax not consumable by fire; and a bronze palm-tree rising above the lamp to the roof draws up the smoke.
ὁ δὲ Καλλίμαχος ὁ τὸν λύχνον ποιήσας, ἀποδέων τῶν πρώτων ἐς αὐτὴν τὴν τέχνην, οὕτω σοφίᾳ πάντων ἐστὶν ἄριστος ὥστε καὶ λίθους πρῶτος ἐτρύπησε καὶ ὄνομα ἔθετο κατατηξίτεχνον, ἢ θεμένων ἄλλων κατέστησεν ἐφʼ αὑτῷ.
Callimachus, who made the lamp, though falling short of the very first in the art itself, is so superior to all in ingenuity that he was the first to drill stones, and took the name of Catatexitechnos, or established it for himself when others had given it.

Notes

  1. §1.26.1ἄνδρας ἐσῆλθεν — The verb ἐσῆλθεν (aorist of εἰσέρχομαι) expresses a memory or thought entering someone's mind, taking the accusative ἄνδρας as its object. The subjects are μνήμη (remembrance) and the indirect question clause ἐς οἵαν... ἥκοι. The optative ἥκοι is an oblique optative triggered by the past governing verb.
  2. §1.26.1ὡς εἶχον — The phrase consisting of the conjunction ὡς and the imperfect of ἔχω idiomatically means "just as they were," implying "immediately" or "without preparation."
  3. §1.26.5ἐσελθοῦσι — The participle ἐσελθοῦσι (aorist active dative plural of εἰσέρχομαι) is a dative of reference (dative of the person judging), frequently used in geographical descriptions to mean "for those entering" (i.e., "as you enter").
  4. §1.26.7κατατηξίτεχνον — A compound of κατατήκω (to melt down, waste, ruin) and τέχνη (art, craft). It refers to someone who ruins art by excessive refinement or, conversely, someone who wears out (wastes) his own craft/himself by over-refinement.

Cite this passage

Pausanias, Description of Greece §1.26.1-1.26.7. Humanitext Reader, https://reader.humanitext.ai/en/text/urn:cts:greekLit:tlg0525.tlg001.humanitext-grc2:1.26.1-1.26.7

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