1. Pindar, Nemean Odes, 7.32-7.33, 7.42-7.47 (6th cent. BCE - 5th cent. BCE)
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2. Euripides, Andromache, 100-110, 1106-1107, 111-112, 1129, 113, 1130-1139, 114, 1140, 115, 1153-1155, 116, 127, 147-159, 16, 160-169, 17, 170-179, 18, 180-189, 19, 190-199, 2, 20, 200-259, 26, 260-269, 27, 270-279, 28, 280-289, 29, 290-292, 309-319, 32, 320-332, 334-351, 361-363, 37, 376, 38, 381, 41, 419, 43-44, 445-452, 46-48, 52-53, 537-539, 54, 540-544, 547, 572-659, 66, 660-669, 67, 670-717, 78-80, 83-89, 920, 10 (5th cent. BCE - 5th cent. BCE)
| 10. ῥιφθέντα πύργων ̓Αστυάνακτ' ἀπ' ὀρθίων | |
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3. Euripides, Children of Heracles, 102-113, 123-129, 23, 25, 254-264, 33, 61-79, 101 (5th cent. BCE - 5th cent. BCE)
| 101. εἰκὸς θεῶν ἱκτῆρας αἰδεῖσθαι, ξένε | 101. rend= Copreus 101. Stranger, ’tis but right we should reverence the gods’ suppliants, suffering none with violent hand to make them Reading σφε (Musgrave) for MS. σε . Schmidt, τάδ’ ἀλιτεῖν σ’ ἕδη thee (i.e. Copreus) to transgress against. leave the altars, for that will dread Justice ne’er permit. Copreu |
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4. Euripides, Hercules Furens, 241-246, 967-994, 240 (5th cent. BCE - 5th cent. BCE)
| 240. Calling to his servants Go, some to Helicon, others to the glens of Parnassus , and bid woodmen to cut me logs of oak, and when they are brought to the town, pile up a stack of wood all round the altar on either side, and set fire to it and burn them |
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5. Herodotus, Histories, 8.35-8.39 (5th cent. BCE - 5th cent. BCE)
| 8.35. οὗτοι μὲν δὴ τῶν βαρβάρων ταύτῃ ἐτράποντο, ἄλλοι δὲ αὐτῶν ἡγεμόνας ἔχοντες ὁρμέατο ἐπὶ τὸ ἱρὸν τὸ ἐν Δελφοῖσι, ἐν δεξιῇ τὸν Παρνησὸν ἀπέργοντες. ὅσα δὲ καὶ οὗτοι ἐπέσχον τῆς Φωκίδος, πάντα ἐσιναμώρεον· καὶ γὰρ τῶν Πανοπέων τὴν πόλιν ἐνέπρησαν καὶ Δαυλίων καὶ Αἰολιδέων. ἐπορεύοντο δὲ ταύτῃ ἀποσχισθέντες τῆς ἄλλης στρατιῆς τῶνδε εἵνεκα, ὅκως συλήσαντες τὸ ἱρὸν τὸ ἐν Δελφοῖσι βασιλέι Ξέρξῃ ἀποδέξαιεν τὰ χρήματα. πάντα δʼ ἠπίστατο τὰ ἐν τῷ ἱρῷ ὅσα λόγου ἦν ἄξια Ξέρξης, ὡς ἐγὼ πυνθάνομαι, ἄμεινον ἢ τὰ ἐν τοῖσι οἰκίοισι ἔλιπε, πολλῶν αἰεὶ λεγόντων, καὶ μάλιστα τὰ Κροίσου τοῦ Ἀλυάττεω ἀναθήματα. 8.36. οἱ Δελφοὶ δὲ πυνθανόμενοι ταῦτα ἐς πᾶσαν ἀρρωδίην ἀπίκατο, ἐν δείματι δὲ μεγάλῳ κατεστεῶτες ἐμαντεύοντο περὶ τῶν ἱρῶν χρημάτων, εἴτε σφέα κατὰ γῆς κατορύξωσι εἴτε ἐκκομίσωσι ἐς ἄλλην χώρην. ὁ δὲ θεός σφεας οὐκ ἔα κινέειν, φὰς αὐτὸς ἱκανὸς εἶναι τῶν ἑωυτοῦ προκατῆσθαι. Δελφοὶ δὲ ταῦτα ἀκούσαντες σφέων αὐτῶν πέρι ἐφρόντιζον. τέκνα μέν νυν καὶ γυναῖκας πέρην ἐς τὴν Ἀχαιίην διέπεμψαν, αὐτῶν δὲ οἱ μὲν πλεῖστοι ἀνέβησαν ἐς τοῦ Παρνησοῦ τὰς κορυφὰς καὶ ἐς τὸ Κωρύκιον ἄντρον ἀνηνείκαντο, οἳ δὲ ἐς Ἄμφισσαν τὴν Λοκρίδα ὑπεξῆλθον. πάντες δὲ ὦν οἱ Δελφοὶ ἐξέλιπον τὴν πόλιν, πλὴν ἑξήκοντα ἀνδρῶν καὶ τοῦ προφήτεω. 8.37. ἐπεὶ δὲ ἀγχοῦ ἦσαν οἱ βάρβαροι ἐπιόντες καὶ ἀπώρων τὸ ἱρόν, ἐν τούτῳ ὁ προφήτης, τῷ οὔνομα ἦν Ἀκήρατος, ὁρᾷ πρὸ τοῦ νηοῦ ὅπλα προκείμενα ἔσωθεν ἐκ τοῦ μεγάρου ἐξενηνειγμένα ἱρά, τῶν οὐκ ὅσιον ἦν ἅπτεσθαι ἀνθρώπων οὐδενί. ὃ μὲν δὴ ἤιε Δελφῶν τοῖσι παρεοῦσι σημανέων τὸ τέρας· οἱ δὲ βάρβαροι ἐπειδὴ ἐγίνοντο ἐπειγόμενοι κατὰ τὸ ἱρὸν τῆς Προναίης Ἀθηναίης, ἐπιγίνεταί σφι τέρεα ἔτι μέζονα τοῦ πρὶν γενομένου τέρεος. θῶμα μὲν γὰρ καὶ τοῦτο κάρτα ἐστί, ὅπλα ἀρήια αὐτόματα φανῆναι ἔξω προκείμενα τοῦ νηοῦ· τὰ δὲ δὴ ἐπὶ τούτῳ δεύτερα ἐπιγενόμενα καὶ διὰ πάντων φασμάτων ἄξια θωμάσαι μάλιστα. ἐπεὶ γὰρ δὴ ἦσαν ἐπιόντες οἱ βάρβαροι κατὰ τὸ ἱρὸν τῆς Προναίης Ἀθηναίης, ἐν τούτῳ ἐκ μὲν τοῦ οὐρανοῦ κεραυνοὶ αὐτοῖσι ἐνέπιπτον, ἀπὸ δὲ τοῦ Παρνησοῦ ἀπορραγεῖσαι δύο κορυφαὶ ἐφέροντο πολλῷ πατάγῳ ἐς αὐτοὺς καὶ κατέβαλον συχνούς σφεων, ἐκ δὲ τοῦ ἱροῦ τῆς Προναίης βοή τε καὶ ἀλαλαγμὸς ἐγίνετο. 8.38. συμμιγέντων δὲ τούτων πάντων, φόβος τοῖσι βαρβάροισι ἐνεπεπτώκεε. μαθόντες δὲ οἱ Δελφοὶ φεύγοντας σφέας, ἐπικαταβάντες ἀπέκτειναν πλῆθός τι αὐτῶν. οἱ δὲ περιεόντες ἰθὺ Βοιωτῶν ἔφευγον. ἔλεγον δὲ οἱ ἀπονοστήσαντες οὗτοι τῶν βαρβάρων, ὡς ἐγὼ πυνθάνομαι, ὡς πρὸς τούτοισι καὶ ἄλλα ὥρων θεῖα· δύο γὰρ ὁπλίτας μέζονας ἢ κατʼ ἀνθρώπων φύσιν ἔχοντας ἕπεσθαί σφι κτείνοντας καὶ διώκοντας. 8.39. τούτους δὲ τοὺς δύο Δελφοὶ λέγουσι εἶναι ἐπιχωρίους ἥρωας, Φύλακόν τε καὶ Αὐτόνοον, τῶν τὰ τεμένεα ἐστὶ περὶ τὸ ἱρόν, Φυλάκου μὲν παρʼ αὐτὴν τὴν ὁδὸν κατύπερθε τοῦ ἱροῦ τῆς Προναίης, Αὐτονόου δὲ πέλας τῆς Κασταλίης ὑπὸ τῇ Ὑαμπείῃ κορυφῇ. οἱ δὲ πεσόντες ἀπὸ τοῦ Παρνησοῦ λίθοι ἔτι καὶ ἐς ἡμέας ἦσαν σόοι, ἐν τῷ τεμένεϊ τῆς Προναίης Ἀθηναίης κείμενοι, ἐς τὸ ἐνέσκηψαν διὰ τῶν βαρβάρων φερόμενοι. τούτων μέν νυν τῶν ἀνδρῶν αὕτη ἀπὸ τοῦ ἱροῦ ἀπαλλαγὴ γίνεται. | 8.35. So this part of the barbarian army marched as I have said, and others set forth with guides for the temple at Delphi, keeping Parnassus on their right. These, too, laid waste to every part of Phocis which they occupied, burning the towns of the Panopeans and Daulii and Aeolidae. ,The purpose of their parting from the rest of the army and marching this way was that they might plunder the temple at Delphi and lay its wealth before Xerxes, who (as I have been told) had better knowledge of the most notable possessions in the temple than of what he had left in his own palace, chiefly the offerings of Croesus son of Alyattes; so many had always spoken of them. 8.36. When the Delphians learned all this, they were very much afraid, and in their great fear they inquired of the oracle whether they should bury the sacred treasure in the ground or take it away to another country. The god told them to move nothing, saying that he was able to protect what belonged to him. ,Upon hearing that, the Delphians took thought for themselves. They sent their children and women overseas to Achaia. Most of the men went up to the peaks of Parnassus and carried their goods into the Corycian cave, but some escaped to Amphissa in Locris. In short, all the Delphians left the town save sixty men and the prophet. 8.37. Now when the barbarians drew near and could see the temple, the prophet, whose name was Aceratus, saw certain sacred arms, which no man might touch without sacrilege, brought out of the chamber within and laid before the shrine. ,So he went to tell the Delphians of this miracle, but when the barbarians came with all speed near to the temple of Athena Pronaea, they were visited by miracles yet greater than the aforesaid. Marvellous indeed it is, that weapons of war should of their own motion appear lying outside in front of the shrine, but the visitation which followed was more wondrous than anything else ever seen. ,When the barbarians were near to the temple of Athena Pronaea, they were struck by thunderbolts from the sky, and two peaks broken off from Parnassus came rushing among them with a mighty noise and overwhelmed many of them. In addition to this a shout and a cry of triumph were heard from the temple of Athena. 8.38. All of this together struck panic into the barbarians, and the Delphians, perceiving that they fled, descended upon them and killed a great number. The survivors fled straight to Boeotia. Those of the barbarians who returned said (as I have been told) that they had seen other divine signs besides what I have just described: two men-at-arms of stature greater than human,they said, had come after them, slaying and pursuing. 8.39. These two, say the Delphians, were the native heroes Phylacus and Autonous, whose precincts are near the temple, Phylacus' by the road itself above the shrine of Athena Pronaea, and Autonous' near the Castalian spring, under the Hyarapean Peak. ,The rocks that fell from Parnassus were yet to be seen in my day, lying in the precinct of Athena Pronaea, from where their descent through the foreigners' ranks had hurled them. Such, then, was the manner of those men's departure from the temple. |
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6. Apollonius of Rhodes, Argonautica, 1.1048 (3rd cent. BCE - 3rd cent. BCE)
| 1.1048. ἐνναέται τιμαῖς ἡρωίσι κυδαίνουσιν. < | |
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7. Heliodorus, Ethiopian Story, 2.34 (2nd cent. CE - 4th cent. CE)
| 2.34. After the god had said thus, those that stood by cast many doubts, but knew not what the oracle should mean. Every man had his several exposition, and as he desired so he conjectured. But none could attain to the true meaning thereof; for oracles and dreams for the most part are only understood when they be come to pass. Yet though the men of Delphi were in amaze as to what was said, they hastened to go to this gorgeous solemnity, not caring to make any diligent enquiry regarding the oracle that had been given them. |
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8. Pausanias, Description of Greece, 10.8.7, 10.25-10.31 (2nd cent. CE - 2nd cent. CE)
| 10.8.7. τῶν μὲν δὴ Μασσαλιωτῶν χαλκοῦν τὸ ἀνάθημά ἐστι· χρυσοῦ δὲ ἀσπίδα ὑπὸ Κροίσου τοῦ Λυδοῦ τῇ Ἀθηνᾷ τῇ Προνοίᾳ δοθεῖσαν, ἐλέγετο ὑπὸ τῶν Δελφῶν ὡς Φιλόμηλος αὐτὴν ἐσύλησε. πρὸς δὲ τῷ ἱερῷ τῆς Προνοίας Φυλάκου τέμενός ἐστιν ἥρωος· καὶ ὁ Φύλακος οὗτος ὑπὸ Δελφῶν ἔχει φήμην κατὰ τὴν ἐπιστρατείαν σφίσιν ἀμῦναι τὴν Περσῶν. | 10.8.7. The votive offering of the Massiliots is of bronze. The gold shield given to Athena Forethought by Croesus the Lydian was said by the Delphians to have been stolen by Philomelus. Near the sanctuary of Forethought is a precinct of the hero Phylacus. This Phylacus is reported by the Delphians to have defended them at the time of the Persian invasion. 10.25. , Beyond the Cassotis stands a building with paintings of Polygnotus. It was dedicated by the Cnidians, and is called by the Delphians Lesche (Place of Talk, Club Room), because here in days of old they used to meet and chat about the more serious matters and legendary history. That there used to be many such places all over Greece is shown by Homer's words in the passage where Melantho abuses Odysseus:— And you will not go to the smith's house to sleep, Nor yet to the place of talk, but you make long speeches here. Hom. Od. 18.328, Inside this building the whole of the painting on the right depicts Troy taken and the Greeks sailing away. On the ship of Menelaus they are preparing to put to sea. The ship is painted with children among the grown-up sailors; amidships is Phrontis the steersman holding two boat-hooks. Homer Hom. Od. 3.278 foll. represents Nestor as speaking about Phrontis in his conversation with Telemachus, saying that he was the son of Onetor and the steersman of Menelaus, of very high repute in his craft, and how he came to his end when he was already rounding Sunium in Attica . Up to this point Menelaus had been sailing along with Nestor, but now he was left behind to build Phrontis a tomb, and to pay him the due rites of burial., Phrontis then is in the painting of Polygnotus, and beneath him is one Ithaemenes carrying clothes, and Echoeax is going down the gangway, carrying a bronze urn. Polites, Strophius and Alphius are pulling down the hut of Menelaus, which is not far from the ship. Another hut is being pulled down by Amphialus, at whose feet is seated a boy. There is no inscription on the boy, and Phrontis is the only one with a beard. His too is the only name that Polygnotus took from the Odyssey; the names of the others he invented, I think, himself., Briseis is standing with Diomeda above her and Iphis in front of both; they appear to be examining the form of Helen. Helen herself is sitting, and so is Eurybates near her. We inferred that he was the herald of Odysseus, although he had yet no beard. One handmaid, Panthalis, is standing beside Helen; another, Electra, is fastening her mistress' sandals. These names too are different from those given by Homer in the Iliad, Hom. Il. 3.144 where he tells of Helen going to the wall with her slave women., Beyond Helen, a man wrapped in a purple cloak is sitting in an attitude of the deepest dejection; one might conjecture that he was Helenus, the son of Priam, even before reading the inscription. Near Helenus is Meges, who is wounded in the arm, as Lescheos of Pyrrha, son of Aeschylinus, describes in the Sack of Troy . For he says that he was wounded by Admetus, son of Augeias, in the battle that the Trojans fought in the night., Beside Meges is also painted Lycomedes the son of Creon, who has a wound in the wrist; Lescheos says he was so wounded by Agenor. So it is plain that Polygnotus would not have represented them so wounded, if he had not read the poem of Lescheos. However, he has painted Lycomedes as wounded also in the ankle, and yet again in the head. Euryalus the son of Mecisteus has also received a wound in the head and another in the wrist., These are painted higher up than Helen in the picture. Next to Helen comes the mother of Theseus with her head shaved, and Demophon, one of the sons of Theseus, is considering, to judge from his attitude, whether it will be possible for him to rescue Aethra. The Argives say that Theseus had also a son Melanippus by the daughter of Sinis, and that Melanippus won a running-race when the Epigoni, as they are called, held the second celebration of the Nemean games, that of Adrastus being the first., Lescheos says of Aethra that, when Troy was taken, she came stealthily to the Greek camp. She was recognized by the sons of Theseus, and Demophon asked for her from Agamemnon. He was ready to grant Demophon the favour, but said that Helen must first give her consent. He sent a herald, and Helen granted him the favour. So in the painting Eurybates appears to have come to Helen to ask about Aethra, and to be saying what he had been told to say by Agamemnon., The Trojan women are represented as already captives and lamenting. Andromache is in the painting, and near stands her boy grasping her breast; this child Lescheos says was put to death by being flung from the tower, not that the Greeks had so decreed, but Neoptolemus, of his own accord, was minded to murder him. In the painting is also Medesicaste, another of Priam's illegitimate daughters, who according to Homer Hom. Il. 13.171 left her home and went to the city of Pedaeum to be the wife of Imbrius, the son of Mentor., Andromache and Medesicaste are wearing hoods, but the hair of Polyxena is braided after the custom of maidens. Poets sing of her death at the tomb of Achilles, and both at Athens and at Pergamus on the Calcus I have seen the tragedy of Polyxena depicted in paintings., The artist has painted Nestor with a cap on his head and a spear in his hand. There is also a horse, in the attitude of one about to roll in the dust. Right up to the horse there is a beach with what appear to be pebbles, but beyond the horse the sea-scene breaks off. 10.26. , Above the women between Aethra and Nestor are other captive women, Clymene, Creusa, Aristomache and Xenodice. Now Stesichorus, in the Sack of Troy, includes Clymene in the number of the captives; and similarly, in the Returns, he speaks of Aristomache as the daughter of Priam and the wife of Critolaus, son of Hicetaon. But I know of no poet, and of no prose-writer, who makes mention of Xenodice. About Creusa the story is told that the mother of the gods and Aphrodite rescued her from slavery among the Greeks, as she was, of course, the wife of Aeneas. But Lescheos and the writer of the epic poem Cypria make Eurydice the wife of Aeneas., Beyond these are painted on a couch Deinome, Metioche, Peisis and Cleodice. Deinome is the only one of these names to occur in what is called the Little Iliad ; Polygnotus, I think, invented the names of the others. Epeius is painted naked; he is razing to the ground the Trojan wall. Above the wall rises the head only of the Wooden Horse. There is Polypoetes, the son of Peirithous, his head bound with a fillet; by his side is Acamas, the son of Theseus, wearing on his head a helmet with a crest on it., There is also Odysseus...and Odysseus has put on his corselet. Ajax, the son of Oileus, holding a shield, stands by an altar, taking an oath about the outrage on Cassandra. Cassandra is sitting on the ground, and holds the image of Athena, for she had knocked over the wooden image from its stand when Ajax was dragging her away from sanctuary. In the painting are also the sons of Atreus, wearing helmets like the others; Menelaus carries a shield, on which is wrought a serpent as a memorial of the prodigy that appeared on the victims at Aulis ., Under those who are administering the oath to Ajax, and in a line with the horse by Nestor, is Neoptolemus, who has killed Elasus, whoever Elasus may be. Elasus is represented as a man only just alive. Astynous, who is also mentioned by Lescheos, has fallen to his knees, and Neoptolemus is striking him with a sword. Neoptolemus is the only one of the Greek army represented by Polygnotus as still killing the Trojans, the reason being that he intended the whole painting to be placed over the grave of Neoptolemus. The son of Achilles is named Neoptolemus by Homer in all his poetry. The epic poem, however, called Cypria says that Lycomedes named him Pyrrhus, but Phoenix gave him the name of Neoptolemus (young soldier) because Achilles was but young when he first went to war., In the picture is an altar, to which a small boy clings in terror. On the altar lies a bronze corselet. At the present day corselets of this form are rare, but they used to be worn in days of old. They were made of two bronze pieces, one fitting the chest and the parts about the belly, the other intended to protect the back. They were called gyala. One was put on in front, and the other behind; then they were fastened together by buckles., They were thought to afford sufficient safety even without a shield. Wherefore Homer Hom. Il. 17.312 speaks of Phorcys the Phrygian as without a shield, because he wore a two-piece corselet. Not only have I seen this armour depicted by Polygnotus, but in the temple of Ephesian Artemis Calliphon of Samos has painted women fitting on the gyala of the corselet of Patroclus., Beyond the altar he has painted Laodice standing, whom I do not find among the Trojan captive women enumerated by any poet, so I think that the only probable conclusion is that she was set free by the Greeks. Homer in the Iliad speaks of the hospitality given to Menelaus and Odysseus by Antenor, and how Laodice was wife to Helicaon, Antenor's son. See Hom. Il. 3.205 and Hom. 3.123 ., Lescheos says that Helicaon, wounded in the night battle, was recognized by Odysseus and carried alive out of the fighting. So the tie binding Menelaus and Odysseus to the house of Antenor makes it unlikely that Agamemnon and Menelaus committed any spiteful act against the wife of Helicaon. The account of Laodice given by the Chalcidian poet Euphorion is entirely unlikely., Next to Laodice is a stone stand with a bronze washing-basin upon it. Medusa is sitting on the ground, holding the stand in both hands. If we are to believe the ode of the poet of Himera, Medusa should be reckoned as one of the daughters of Priam. Beside Medusa is a shaved old woman or eunuch, holding on the knees a naked child. It is represented as holding its hand before its eyes in terror. 10.27. , There are also corpses: the naked man, Pelis by name, lies thrown on his back, and under Pelis lie Eioneus and Admetus, still clad in their corselets. of these Lescheos says that Eioneus was killed by Neoptolemus, and Admetus by Philoctetes. Above these are others: under the washing-basin is Leocritus, the son of Pulydamas, killed by Odysseus; beyond Eioneus and Admetus is Coroebus, the son of Mygdon. of Mygdon there is a notable tomb on the borders of the Phrygians of Stectorium, and after him poets are wont to call Phrygians by the name of Mygdones. Coroebus came to marry Cassandra, and was killed, according to the more popular account, by Neoptolemus, but according to the poet Lescheos, by Diomedes., Higher up than Coroebus are Priam, Axion and Agenor. Lescheos says that Priam was not killed at the hearth of the Courtyard God, but that he was dragged away from the altar and fell an easy prey to Neoptolemus at the gate of his own palace. As to Hecuba, Stesichorus says in the Sack of Troy that she was brought by Apollo to Lycia . Lescheos says that Axion was a son of Priam, killed by Eurypylus, the son of Euaemon. According to the same poet Agenor was slain by Neoptolemus. So it would appear that Echeclus the son of Agenor was slaughtered by Achilles, and Agenor himself by Neoptolemus., The body of Laomedon is being carried off by Sinon, a comrade of Odysseus, and Anchialus. There is also in the painting another corpse, that of Eresus. The tale of Eresus and Laomedon, so far as we know, no poet has sung. There is the house of Antenor, with a leopard's skin hanging over the entrance, as a sign to the Greeks to keep their hands off the home of Antenor. There are painted Theano and her sons, Glaucus sitting on a corselet fitted with the two pieces, and Eurymachus upon a rock., By the latter stands Antenor, and next to him Crino, a daughter of Antenor. Crino is carrying a baby. The look upon their faces is that of those on whom a calamity has fallen. Servants are lading an ass with a chest and other furniture. There is also sitting on the ass a small child. At this part of the painting there is also an elegiac couplet of Simonides Polygnotus, a Thasian by birth, son of Aglaophon, Painted a picture of Troy 's citadel being sacked. Simonides, unknown location. 10.28. , The other part of the picture, the one on the left, shows Odysseus, who has descended into what is called Hades to inquire of the soul of Teiresias about his safe return home. The objects depicted are as follow. There is water like a river, clearly intended for Acheron, with reeds growing in it; the forms of the fishes appear so dim that you will take them to be shadows rather than fish. On the river is a boat, with the ferryman at the oars., Polygnotus followed, I think, the poem called the Minyad . For in this poem occur lines referring to Theseus and Peirithous:— Then the boat on which embark the dead, that the old Ferryman, Charon, used to steer, they found not within its moorings. The Minyad, an unknown work. For this reason then Polygnotus too painted Charon as a man well stricken in years., Those on board the boat are not altogether distinguished. Tellis appears as a youth in years, and Cleoboea as still a maiden, holding on her knees a chest such as they are wont to make for Demeter. All I heard about Tellis was that Archilochus the poet was his grandson, while as for Cleoboea, they say that she was the first to bring the orgies of Demeter to Thasos from Paros ., On the bank of Acheron there is a notable group under the boat of Charon, consisting of a man who had been undutiful to his father and is now being throttled by him. For the men of old held their parents in the greatest respect, as we may infer, among other instances, from those in Catana called the Pious, who, when the fire flowed down on Catana from Aetna, held of no account gold or silver, but when they fled took up, one his mother and another his father. As they struggled on, the fire rushed up and caught them in the flames. Not even so would they put down their parents, and it is said that the stream of lava divided itself in two, and the fire passed on, doing no hurt to either young men or their parents. These Catanians even at the present day receive honors from their fellow countrymen., Near to the man in Polygnotus' picture who maltreated his father and for this drinks his cup of woe in Hades, is a man who paid the penalty for sacrilege. The woman who is punishing him is skilled in poisonous and other drugs., So it appears that in those days men laid the greatest stress on piety to the gods, as the Athenians showed when they took the sanctuary of Olympian Zeus at Syracuse ; they moved none of the offerings, but left the Syracusan priest as their keeper. Datis the Persian too showed his piety in his address to the Delians, and in this act as well, when having found an image of Apollo in a Phoenician ship he restored it to the Tanagraeans at Delium . So at that time all men held the divine in reverence, and this is why Polygnotus has depicted the punishment of him who committed sacrilege., Higher up than the figures I have enumerated comes Eurynomus, said by the Delphian guides to be one of the demons in Hades, who eats off all the flesh of the corpses, leaving only their bones. But Homer's Odyssey, the poem called the Minyad, and the Returns, although they tell of Hades, and its horrors, know of no demon called Eurynomus. However, I will describe what he is like and his attitude in the painting. He is of a color between blue and black, like that of meat flies; he is showing his teeth and is seated, and under him is spread a vulture's skin., Next after Eurynomus are Auge of Arcadia and Iphimedeia. Auge visited the house of Teuthras in Mysia, and of all the women with whom Heracles is said to have mated, none gave birth to a son more like his father than she did. Great honors are paid to Iphimedeia by the Carians in Mylasa . 10.29. , Higher up than the figures I have already enumerated are Perimedes and Eurylochus, the companions of Odysseus, carrying victims for sacrifice; these are black -rams. After them is a man seated, said by the inscription to be Ocnus (Sloth). He is depicted as plaiting a cord, and by him stands a she-ass, eating up the cord as quickly as it is plaited. They say that this Ocnus was a diligent man with an extravagant wife. Everything he earned by working was quickly spent by his wife., So they will have it that Polygnotus has painted a parable about the wife of Ocnus. I know also that the Ionians, whenever they see a man labouring at nothing profitable, say that such an one is plaiting the cord of Ocnus. Ocnus too is the name given to a bird by the seers who observe birds that are ominous. This Ocnus is the largest and most beautiful of the herons, a rare bird if ever there was one., Tityos too is in the picture; he is no longer being punished, but has been reduced to nothing by continuous torture, an indistinct and mutilated phantom. Going on to the next part of the picture, you see very near to the man who is twisting the rope a painting of Ariadne. Seated on a rock she is looking at her sister Phaedra, who is on a swing grasping in either hand the rope on each side. The attitude, though quite gracefully drawn, makes us infer the manner of Phaedra's death., Ariadne was taken away from Theseus by Dionysus, who sailed against him with superior forces, and either fell in with Ariadne by chance or else set an ambush to catch her. This Dionysus was, in my opinion, none other than he who was the first to invade India, and the first to bridge the river Euphrates . Zeugma (Bridge) was the name given to that part of the country where the Euphrates was bridged, and at the present day the cable is still preserved with which he spanned the river; it is plaited with branches of the vine and ivy., Both the Greeks and the Egyptians have many legends about Dionysus. Underneath Phaedra is Chloris leaning against the knees of Thyia. He will not be mistaken who says that all during the lives of these women they remained friends. For Chloris came from Orchomenus in Boeotia, and the other was a daughter of Castalius from Parnassus . Other authorities have told their history, how that Thyia had connection with Poseidon, and how Chloris wedded Neleus, son of Poseidon., Beside Thyia stands Procris, the daughter of Erechtheus, and after her Clymene, who is turning her back to Chloris. The poem the Returns says that Clymene was a daughter of Minyas, that she married Cephalus the son of Deion, and that a son Iphiclus was born to them. The story of Procris is told by all men, how she had married Cephalus before Clymene, and in what way she was put to death by her husband., Farther within from Clymene you will see Megara from Thebes . This Megara married Heracles, but was divorced by him in course of time, on the ground that he had lost the children he had by her, and so thought that his marriage with her was unlucky. Above the heads of the women I have enumerated is the daughter of Salmoneus sitting on a rock, beside whom is standing Eriphyle, who is holding up the ends of her fingers along her neck through her tunic, and you will conjecture that in the folds of her tunic she is holding in one of her hands the famous necklace., Beyond Eriphyle have been painted Elpenor and Odysseus. The latter is squatting on his feet, and holding his sword over the trench, towards which the seer Teiresias is advancing. After Teiresias is Anticleia, the mother of Odysseus, upon a rock. Elpenor has on instead of clothes a mat, such as is usual for sailors to wear., Lower down than Odysseus are Theseus and Peirithous sitting upon chairs. The former is holding in his hands the sword of Peirithous and his own. Peirithous is looking at the swords, and you might conjecture that he is angry with them for having been useless and of no help in their daring adventures. Panyassis the poet says that Theseus and Peirithous did not sit chained to their chairs, but that the rock grew to their flesh and so served as chains., The proverbial friendship of Theseus and Peirithous has been mentioned by Homer in both his poems. In the Odyssey Odysseus says to the Phaeacians:— And now I should have seen more men of former days, whom I wished very much to see, Theseus and Peirithous, renowned children of gods. Hom. Od. 11.631 foll. And in the Iliad he has made Nestor give advice to Agamemnon and Achilles, and speaking among others the following verses:— I have never yet seen such men, and I am never likely to see As were Peirithous, Dryas, shepherd of the folk, Caeneus, Exadius, god-like Polyphemus, And Theseus, son of Aegeus, like to the immortals. Hom. Il. 1.262 foll. 10.30. , Next Polygnotus has painted the daughters of Pandareos. Homer makes Penelope say in a speech Hom. Od. 20.66-78 that the parents of the maidens died because of the wrath of the gods, that they were reared as orphans by Aphrodite and received gifts from other goddesses: from Hera wisdom and beauty of form, from Artemis high stature, from Athena schooling in the works that befit women., He goes on to say that Aphrodite ascended into heaven, wishing to secure for the girls a happy marriage, and in her absence they were carried off by the Harpies and given by them to the Furies. This is the story as given by Homer. Polygnotus has painted them as girls crowned with flowers and playing with dice, and gives them the names of Cameiro and Clytie. I must tell you that Pandareos was a Milesian from Miletus in Crete, and implicated in the theft of Tantalus and in the trick of the oath., After the daughters of Pandareos is Antilochus, with one foot upon a rock and his face and head resting upon both hands, while after Antilochus is Agamemnon, leaning on a scepter beneath his left armpit, and holding up a staff in his hands. Protesilaus is seated with his gaze fixed on Achilles. Such is the posture of Protesilaus, and beyond Achilles is Patroclus standing. With the exception of Agamemnon these figures have no beard., Beyond them has been painted Phocus as a stripling, and Iaseus, well bearded, is taking off a ring from the left hand of Phocus. The story about this is as follows. When Phocus, the son of Aeacus, had crossed from Aegina into what is now called Phocis, and wished to gain the rule over the men living on that part of the mainland, and to settle there himself, Iaseus conceived a great friendship for him. Among the gifts that Iaseus gave (as friends will) was a seal-ring, a stone set in gold. But when Phocus returned, not long afterwards, to Aegina, Peleus at once plotted to kill him. This is the reason why in the painting, as a reminder of their great friendship, Iaseus is anxious to look at the ring and Phocus has let him take it., Beyond these is Maera sitting on a rock. About her the poem Returns says that she was still a maid when she departed this life, being the daughter of Proetus, son of Thersander, who was a son of Sisyphus. Next to Maera is Actaeon, son of Aristaeus, together with the mother of Actaeon; they hold in their hands a young deer, and are sitting on a deer's skin. A hunting dog lies stretched out beside them, an allusion to Actaeon's mode of life, and to the manner of his death., Turning our gaze again to the lower part of the picture we see, next after Patroclus, Orpheus sitting on what seems to be a sort of hill; he grasps with his left hand a harp, and with his right he touches a willow. It is the branches that he touches, and he is leaning against the tree. The grove seems to be that of Persephone, where grow, as Homer thought, Hom. Od. 10.510 black poplars and willows. The appearance of Orpheus is Greek, and neither his garb nor his head-gear is Thracian., On the other side of the willow-tree Promedon is leaning against it. Some there are who think that the name Promedon is as it were a poetic invention of Polygnotus; others have said that Promedon was a Greek who was fond of listening to all kinds of music, especially to the singing of Orpheus., In this part of the painting is Schedius, who led the Phocians to Troy, and after him is Pelias, sitting on a chair, with grey hair and grey beard, and looking at Orpheus. Schedius holds a dagger and is crowned with grass. Thamyris is sitting near Pelias. He has lost the sight of his eyes; his attitude is one of utter dejection; his hair and beard are long; at his feet lies thrown a lyre with its horns and strings broken., Above him is Marsyas, sitting on a rock, and by his side is Olympus, with the appearance of a boy in the bloom of youth learning to play the flute. The Phrygians in Celaenae hold that the river passing through the city was once this great flute-player, and they also hold that the Song of the Mother, an air for the flute, was composed by Marsyas. They say too that they repelled the army of the Gauls by the aid of Marsyas, who defended them against the barbarians by the water from the river and by the music of his flute. 10.31. , If you turn your gaze again to the upper part of the painting, you see, next to Actaeon, Ajax of Salamis, and also Palamedes and Thersites playing with dice, the invention of Palamedes; the other Ajax is looking at them as they play. The color of the latter Ajax is like that of a shipwrecked sailor with the brine still rough on the surface of his skin., Polygnotus has intentionally gathered into one group the enemies of Odysseus. Ajax, son of Oileus, conceived a hatred of Odysseus, because Odysseus urged the Greeks to stone him for the outrage on Cassandra. Palamedes, as I know from reading the epic poem Cypria, was drowned when he put out to catch fish, and his murderers were Diomedes and Odysseus., Meleager, the son of Oeneus, is higher up in the picture than Ajax, the son of Oileus, and he seems to be looking at Ajax. Palamedes has no beard, but the others have. As to the death of Meleager, Homer Hom. Il. 1.566 says that the Fury heard the curses of Althaea, and that this was the cause of Meleager's death. But the poem Eoeae, as it is called, and the Minyad agree in giving a different account. For these poems say that Apollo helped the Curetes against the Aetolians, and that Meleager was killed by Apollo., The story about the brand, how it was given by the Fates to Althaea, how Meleager was not to die before the brand was consumed by fire, and how Althaea burnt it up in a passion—this story was first made the subject of a drama by Phrynichus, the son of Polyphradmon, in his Pleuronian Women :— For chill doom He escaped not, but a swift flame consumed him, As the brand was destroyed by his terrible mother, contriver of evil. Polyphradmon, Pleuronian Women, unknown location. However, it appears that Phrynichus did not elaborate the story as a man would his own invention, but only touched on it as one already in the mouths of everybody in Greece ., In the lower part of the picture, after the Thracian Thamyris, comes Hector, who is sitting with both hands clasped about his left knee, in an attitude of deep grief. After him is Memnon, sitting on a rock, and Sarpedon next to Memnon. Sarpedon has his face buried in both hands, and one of Memnon's hands lies on Sarpedon's shoulder., All are bearded; and on the cloak of Memnon are embroidered birds. Their name is Memnonides, and the people of the Hellespont say that on stated days every year they go to the grave of Memnon, and sweep all that part of the tomb that is bare of trees or grass, and sprinkle it with the water of the Aesepus from their wet wings., Beside Memnon is depicted a naked Ethiopian boy, because Memnon was king of the Ethiopian nation. He came to Troy, however, not from Ethiopia, but from Susa in Persia and from the river Choaspes, having subdued all the peoples that lived between these and Troy . The Phrygians still point out the road through which he led his army, picking out the shortest routes. The road is divided up by halting-places. With the suggested emendations: “is cut through the mountains” or “is cut through the territory of the people of Meros.”, Beyond Sarpedon and Memnon is Paris, as yet beardless. He is clapping his hands like a boor, and you will say that it is as though Paris were calling Penthesileia to him by the noise of his hands. Penthesileia too is there, looking at Paris, but by the toss of her head she seems to show her disdain and contempt. In appearance Penthesileia is a maiden, carrying a bow like Scythian bows, and wearing a leopard's skin on her shoulders., The women beyond Penthesileia are carrying water in broken pitchers; one is depicted as in the bloom of youth, the other is already advanced in years. There is no separate inscription on either woman, but there is one common to the pair, which states that they are of the number of the uninitiated., Higher up than these is Callisto, daughter of Lycaon, Nomia, and Pero, daughter of Neleus. As her bride-price Neleus asked for the oxen of Iphiclus. Instead of a mattress, Callisto has a bearskin, and her feet are lying on Nomia's knees. I have already mentioned that the Arcadians say that Nomia See Paus. 8.38.11 . is a nymph native to their country. The poets say that the nymphs live for a great number of years, but are not altogether exempt from death. After Callisto and the women with her is the form of a cliff, and Sisyphus, the son of Aeolus, is trying his hardest to push the rock up it., There is also in the painting a jar, and an old man, with a boy and two women. One of these, who is young, is under the rock; the other is beside the old man and of a like age to his. The others are carrying water, but you will guess that the old woman's water-jar is broken. All that remains of the water in the sherd she is pouring out again into the jar. We inferred that these people too were of those who had held of no account the rites at Eleusis . For the Greeks of an earlier period looked upon the Eleusinian mysteries as being as much higher than all other religious acts as gods are higher than heroes., Under this jar is Tantalus, enduring all the pains that Homer Hom. Od. 11.582 speaks of, and in addition the terror of the stone that hangs over him. Polygnotus has plainly followed the account of Archilochus, but I do not know whether Archilochus borrowed from others the story of the stone or whether it was an invention of his that he introduced into his poem. So great is the number of the figures and so many are their beauties, in this painting of the Thasian artist. |
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9. Epigraphy, Ig Ii2, 1358
| 1358. Face A col. 1 . . . [fourth] quarter, (5) [Mounichion], for - Prakterios, a ram, 12 dr.; [Thargelion], . . . by the tower, a sheep, 12 dr.; [Skirophorion], (10) . . . in the agora, a ram, 12 dr., [on the eleventh or twelfth?], for Zeus Horios, a sheep, 12 dr., for . . . , a sheep, 11 dr., [...?] the following . . . . . . in the year of the - in (?) . . . each (15) . . . in order as is written . . . the one on the . . . by the Eleusinion . . . in Kynosoura . . . by the Herakleion;[11] (20) [...?] fourth [quarter], Mounichion, . . . a sheep, 12 dr.; [...?] first [quarter], Hekatombaion, (25) on the [date], [for Apollo?] Apotropaios, a goat, 12 dr.; [second] quarter, Pyanopsion, . . . a pregt sheep, 17 dr.; [fourth] quarter, Mounichion, (30) . . . a goat, 12 dr., . . . 12 dr.; [...?] fourth [quarter], Mounichion, . . . -aios, a goat, 12 dr., (35) . . . , a sheep, 12 dr., . . . , a sheep, 12 dr., . . . , a sheep, 12 dr.; . . . [prior?] sequence (dramosunē), (40) [second] quarter, Pyanopsion, . . . , a bovine, 90 dr.; [third] quarter, Gamelion, . . . -idai, a pregt sow, 70 (?) dr.; [fourth quarter], Mounichion, (45) . . . Nymphagetes, a goat, 12 dr.; [Thargelion?] . . . river (?), a ram, 12 dr., . . . a goat, 12 dr., . . . a ram, 12 dr., (50) . . . a goat, 12 dr., . . . a sheep, 12 dr., . . . a sheep, 11 dr.; [Skirophorion?], . . . a sheep, 12 dr., (55) for Athena Hellotis,[10] a piglet, 3 dr., . . . col. 2 . . . [these the demarch] of Marathon sacrifices . . . within ten days, for the hero . . . a piglet, 3 dr., table for the hero, [1 dr.?]; (5) Boedromion, before the Mysteries . . . a bovine, 90 dr., a sheep, 12 dr., for Kourotrophos [a sheep, 11 dr.?]; second quarter, Posideon . . . a bovine, 150 dr., a sheep, 12 dr., for the heroine [a sheep, 11 dr.?, priestly dues (hierōsuna)], 7 dr., for Earth in the fields (Gēi eg guais), a pregt bovine, 90 (?) dr., [priestly dues (hierōsuna), 4 dr.?], (10) at the rite (teletēi), baskets (?) (spuridia??), 40 dr.; third quarter, Gamelion . . . for Daira, a pregt sheep, 16 dr., priestly dues (hierōsuna), 1 dr., for Earth at the oracle (Gēi epi tōi manteiōi), a sheep, 11 dr., for Zeus Hyp[atos?] . . . for Ioleus, a sheep, 12 dr., for Kourotrophos, a piglet, [3 dr., a table], (15) 1 dr., priestly dues (hierōsuna), 2 dr. 1½ ob., for the hero Pheraios [a sheep, 12 dr. ?], for the heroine, a sheep, 11 dr., priestly dues (hierōsuna), 3 dr.; Elaphebolion, on the tenth, [for] [Earth at the] oracle (Gēi epi tōi manteiōi), a completely black he-goat, 15 dr., priestly dues (hierōsuna) . . . ; fourth quarter, Mounichion, for Aristomachos, (20) a bovine, 90 dr., a sheep, 12 dr., for the heroine, a sheep, 11 dr., priestly dues (hierōsuna), 7 dr., for the Youth (Neaniai), a bovine, 90 dr., a sheep, 12 dr., a piglet [3 dr.], for the heroine, a sheep, 11 dr., priestly dues (hierōsuna), 7 dr. 1½ ob.; these the demarch of Marathon sacrifices, for the hero in [D]rasileia, a sheep, 12 dr., a table, 1 dr., for the heroine, a sheep, 11 dr., (25) for the hero by the marsh sanctuary (Hellōtion), a sheep, 12 dr., a table, 1 dr., for the heroine, a sheep, 11 dr.; Thargelion, for Achaia, a ram, 12 dr., a female (i.e. a ewe), 11 dr., priestly dues (hierōsuna), 3 dr., for the Fates (Moirais), a piglet, 3 dr., priestly dues (hierōsuna), 1½ ob.; (30) Skirophorion, before Skira, for Hyttenios, the annual offerings (hōraia), a sheep, 12 dr., for Kourotrophos, a piglet, 3 dr., priestly dues (hierōsuna), 2 dr. 1½ ob., for the Tritopatreis, a sheep, 12 dr.?, priestly dues (hierōsuna), 2 dr., for the Akamantes, a sheep, 12 dr., priestly dues (hiereōsuna), 2 dr.; these every other year, prior sequence (protera dramosunē), (35) Hekatombaion, for Athena Hellotis,[10] a bovine, 90 dr., three sheep, 33 dr., a piglet, 3 dr., priestly dues (hierōsuna), 7 dr. 1½ ob., for Kourotrophos, a sheep, 11 dr., a piglet, 3 dr., priestly dues (hierōsuna), 1 dr. 1½ ob., for the laurel-bearers (daphnēphorois), 7 dr.; these are sacrificed every other year, after the archonship of Euboulos (40) for the Tetrapoleis, posterior sequence (hustera dramosunē), Hekatombaion, for Athena Hellotis,[10] a sheep, 11 dr., for Kourotrophos, a piglet, 3 dr., priestly dues (hierōsuna), 1 dr. 1½ ob.; Metageitnion, for Eleusinia, a bovine, 90 dr., for the Girl (Korēi), a ram, 12 dr., 3 piglets, 9 dr., priestly dues (hierōsuna), (45) 6 dr. 4½ ob., a sixth (hekteus) of barley, 4 ob., a chous of wine [1 dr.], for Kourotrophos, a sheep, 11 dr., priestly dues (hierōsuna), 1 dr., for Zeus Anthaleus, a sheep, 12 dr., priestly dues (hierōsuna), 2 dr.; Anthesterion, for Eleusinia, a pregt sow, 70 (?) dr., priestly dues (hierōsuna), 1 dr., for Chloe by the property of Meidylos, a pregt sow, [70 dr.?], (50) priestly dues (hierōsuna), 1 dr., a sixth (hekteus) of barley, 4 ob., a chous of wine [1 dr.]; Skirophorion, before Skira, for Galios, a ram, 12 dr., priestly dues (hierōsuna), 2 dr., for the well (?) (phreatos), 6 dr., for the Tritopatreis, a table, 1 dr.. At Trikorynthos these every year, first quarter, (55) Metageitnion, for Hera,[12] a bovine, 90 dr., a sheep, 11 dr. . . . for Kourotrophos . . . Face B . . . -sistratos of Marathon . . . of Marathon, 20 dr., Archenautes of Marathon, 22 (?) dr., . . . (≥) 10 dr., Hegesistratos of Marathon, . . . -doros . . . Isodikos of Oinoe, (≥) 10 dr., (5) . . . -gonos, Hagnostratos of Marathon, . . . , Patrokles of Oinoe, (≥) 10 dr., . . . 612 dr. 3 ob. (?), . . . of Marathon, . . . of Oinoe, . . . . . . -chos . . . of Marathon . . . . . . (≥) 30 dr. (?) . . . (≥) 20 dr. (?) (10) . . . (≥) 20 dr. (?) . . . . . . of Marathon . . . . . . (≥) 11 dr. (?) . . . (15) . . . (≥) 20 dr. (?) . . . . . . . . . (≥) 3 dr. (?) . . . of Marathon, 60 dr. (?) . . . of Marathon, 12 dr. (?) (20) . . . . . . About 28 lines illegible (50) . . . Hagetor of Probalinthos (?) . . . . . . (≥) 70 dr. . . . . . . . of Marathon, 11 dr. (?), . . . About 8 lines illegible (61) . . . (≥) 2 dr. (?) . . . . . . text from Attic Inscriptions Online, IG II2 1358 - The sacrificial calendar of the Marathonian Tetrapolis |
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10. Epigraphy, Seg, 33.147
| 33.147. Face A (front) . . . Hekatombaion: . . . and for the . . . to provide lunch (aristom) . . . a drachma each (5) . . . the Proerosia offering (?) (tēn prēro-), . . . the Delphinion, a goat . . . for Hekate . . . _ . . . a full-grown victim (teleom), to be sold (praton). (10) [Metageitnion]: for Zeus Kataibates in the sacred enclosure (sēkōi) by the [Delphini?]on, a full-grown victim (teleon), to be sold (praton). _ An oath victim (horkōmosion) is to be provided for the audits (euthunas). Boedromion: the Proerosia; for Zeus Polieus, a select (kriton) sheep, a select piglet; at Automenai (?) (ep' Automenas), (15) a bought piglet, burnt whole (holokauton); the priest[10] is to provide lunch for the attendant (akolouthonti); for Kephalos, a select sheep; for Prokris, a table;[11] for Thorikos, a select sheep; for the Heroines of Thorikos, a table;[12] at Sounion, for Poseidon a select lamb (amnon); (20) for Apollo, a select young billy goat (chimaron); for Kourotrophos,[13] a select (kritēn) piglet; for Demeter, a full-grown victim;[15] for Zeus Herkeios, a full-grown victim; for Kourotrophos,[13] a piglet; ⟦for Athena, a sheep, to be sold (praton)⟧;[14] at the salt-pan (eph' halēi), for Poseidon, _ a full-grown victim; for Apollo, a piglet. (25) Pyanopsion: for Zeus Kataibates, at [Philom]elidai, a full-grown victim, to be sold (praton), on the six[teen]th; _ for Young Man (Neaniai), a full-grown victim, at the Pyanopsia, [to be sold (praton) or boiled seed mix (puana)]. Maimakterion: for Thorikos, a bovine of no less than forty, and up to fifty drachmas; (30) _ for the Heroines of Thorikos, a table. _ Posideon: the Dionysia.[15] _ Gamelion: for Hera, at the Sacred Marriage (Hierōi Gamōi), . . . Anthesterion: for Dionysos, on the twelfth, a goat, lacking age-marking teeth (leipegnōmona), tawny or black;[16] (35) _ at the Diasia, for Zeus Meilichios, a sheep, to be sold (praton); Elaphebolion: for the Herakleidai, a full-grown victim, for Alkmene, a full-grown victim; for the Anakes, a full-grown victim; for [Helen?], a full-grown victim;[17] for Demeter, the Chloia offering (tēn chloian), a select sheep, _ pregt;[18] for Zeus, a select lamb (arna). (40) Mounichion: for Artemis [at?] Mounichia, a full-grown victim; at (the sanctuary) of Pythian Apollo, a triple offering (trittoan), for Kourotrophos,[13] a piglet; for Leto, a goat; for Artemis, a goat; for Apollo, a goat, lacking age-marking teeth (leipognōmona); for Demeter, a sheep, pregt, as the Antheia offering (antheian);[18] for Philonis,[19] (45) a table;[12] for Dionysos, at Mykenos or Mykenon, a he-goat, _ tawny or black. Thargelion: for Zeus, at Automenai (?) (ep Automenas), a select lamb (arna); for “Over-the-Plain” (Hyperpediōi),[19] a sheep; for the Heroines of Hyperpedios, a table; for Nisos,[19] a sheep; for Thras-, (50) a sheep; for Sosineos,[19] a sheep; for Rhogios,[19] a sheep; for Gate-holder (Pylochōi),[19] _ a piglet; for the Heroines of Pylochos, a table. Skirophorion: an oath victim (horkōmosion) is to be provided; at the Plynteria, for Athena, a select sheep; for Aglauros, a sheep; for Athena, a select lamb (arna); for Kephalos, (55) a bovine of no less than forty and up to fifty drachmas; for P[rokris], a sheep, 20 dr. (?) (oiΔΔn); the auditor and his deputies (paredros) are to swear (omosai), 'I shall audit the office that was allotted to me for auditing in accordance with the decrees by which the office [has been established?]'; (60) oaths shall be (omnunai) to Zeus, Apollo, Demeter, calling down utter destruction; and his deputies in the same way; to inscribe the oath on a stele and set it up [by the -]ion. All offices for which officials are elected [or allotted] (65) shall be subject to audits (hupeuthunos). Face B (right) [20] at the level of ll. 4-6 at Mykenos or Mykenon, [a full-grown victim] . . . , sacrifice a sheep at the Panathenaia, to be sold at the level of l. 12 for Phoenix or the Phoenician, a full-grown victim; at the level of l. 44 for Zeus Herkeios, a sheep; Face C (left) [20] at the level of l. 31 for Apollo, a full-grown victim at the between the level of ll. 31-32 Pyanopsia; at the level of l. 42 for Zeus Herkeios, a sheep; at the level of l. 58 for the Heroines of Koroneia, a sheep; text from Attic Inscriptions Online, SEG 33.147 - Sacrificial calendar of Thorikos |
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