Cap. 2.

"In the ascent from Piraeus' are the ruins of the walls which Conon raised after the sea-fight at Cnidus; for the walls of Themistocles, built after the departure of the Medes, were destroyed under the government of the men called the Thirty. The most illustrious tombs on the road are those of Menander, son of Diopeithes, and of Euripides, the latter of which is empty, Euripides having been buried in Macedonia. Near the gates' is a monument, upon which is the statue of a soldier standing by a horse. Who it is, I know not; but Praxiteles made both the horse and the soldier.

"At the entrance into the city' is a building set apart for the equipment of certain processions, some of which occur every year, and others at longer intervals. Adjacent to it is a temple of Ceres,

captive by Theseus, when, in company with Hercules, he took Themiscyra on the Thermodon; that, when the Amazones invaded Attica, Antiope was slain by an arrow from Molpadia, and that Molpadia was slain by Theseus. For various legends on

this subject, see Plutarch in Thes. 26 et seq.

1 'Ανιόντων ἐκ Πειραιῶς.

3 Ἐσελθόντων ἐς τὴν πόλιν.

2

οὐ πύῤῥω τῶν πυλῶν.

4 By the latter, Pausanias seems to allude to the greater Panathenæa, which were celebrated at the end of every four years. The Пoμπεiα, or vases of gold and silver used in the sacred processions (V. Meurs. Attic. Lect. 2, 15), were kept in this building, which itself also bore the name of Pompeium, and contained a brazen statue of Socrates by Lysippus (Diogen. Laërt. 2, 43), a picture of Isocrates (Vit. X. Rhet. in Isocrat.), and the portraits of certain comedians by Craterus. Plin. H. N. 35, 11, (40). At the beginning of the Peloponnesian war, the value of the vases of the Pompeium formed a large portion of the πλησίον.

5

1

containing statues of Ceres, of Proserpine, and of Cap. 2. Iacchus holding a torch. It is written on the wall,

500 talents at which the public plate, together with the Persian spoils, was estimated by Pericles. Thucyd. 2, 13. Diod. 12, 40. They were renewed or augmented out of the property of the Thirty Tyrants (Philochor. ap. Harpocrat. in Пloμжɛła), and again by Lycurgus, son of Lycophron (Vit. X. Rhet. in Lycurg. Pausan. Att. 29, 16), and again by Androtion. Demosth. c. Androt. p. 615, Reiske. Alcibiades was accused of applying some of them to his own use. Plutarch. Alcib. 13. Andocid. c. Alcib. p. 126, Reiske. The Pompeium was one of the buildings in which corn and flour were deposited, and measured before the proper officers. Demosth. c. Phormion. p. 918.

1 It may be right to remark, in entering upon this description of Athens, that Pausanias has four words to express our words statue, image, figure, namely, ἄγαλμα, ξόανον, ανδριάς and εἰκών ; the two former are applied by him to gods, or deified or ideal persons, the two latter to portraits of men. Ξόανον, though employed by Strabo (p. 396), in speaking of one of the most celebrated works of Phidias in marble, was reserved by Pausanias exclusively for rude statues, and principally those of wood: Eiky is the only general word applicable to figures of animated beings of every kind. When Pausanias makes mention of detached and entire statues, he joins one of the four substantives above mentioned to the verbs ἵστημι, κείμαι: in speaking of works in relief (which he sometimes calls rúro) he employs the verb ἐπεργάζομαι οι ἐπεξεργάζομαι. Paintings are always described by ypapw and its derivatives; To is applied to all the arts, to poetry, painting, and sculpture. Naoe was properly a closed building, or temple properly so called, and might thus be applied to a cella, exclusive of the exterior; but iɛpòv (a sanctuary of any kind) is frequently used by Pausanias, in speaking of a building which we know to have been a vaòs, as of the temples of Theseus and of Mars at Athens, and of Ceres at Phalerum; of the temple of Jupiter Panhellenius, in Ægina; of the temple of Latona at Argos, &c. So that in Pausanias iɛpòv, without any other designation, may generally be taken in the

Cap. 2. in Attic letters, that these statues are the works of Praxiteles. Not far from the temple is a Neptune on horseback, hurling his trident' at the giant Polybotes; but the inscription which is now upon the statue ascribes it to another, and not to Neptune. From the city gates to the Cerameicus, extend porticoes, before which are brazen images of illustrious men and women. One of these porticoes contains certain temples of the gods, the gymnasium of Mercury, and the house of Polytion, wherein some noble Athenians are said to have imitated the Eleusinian ceremony 5. The house is now sacred to Bacchus, who is surnamed Melpomenus, for the same reason that Apollo is called Musagetes. Here are statues of Minerva Pæonia, of Jupiter, of Mnemosyne, of the Muses, and of Apollo, the works and dedications of Eubulides ". Here also

same sense as vaòs, and the more so as he has the expressions, ἱερὸν τέμενος, and ἱερὸς περίβολος, to describe sanctuaries where there was no vaòs, or where the vaòs is not particularly referred to. In like manner we find σῆμα, μνῆμα, τάφος, applied to one and the same monument in the Achaica (25, 7. 8).

1 Αττικοῖς γράμμασιν; meaning the characters in use before the archonship of Eucleides in B. c. 404-3. See Pausan. El. post. 19, 3. Harpocrat., Hesych, Phavorin. in v. Lex. ap. Bekker. Anecd. Gr. I. p. 461. This was the more remarkable, as Praxiteles lived after the archonship of Eucleides.

2 τοῦ ναοῦ οὐ πόῤῥω.

3 δόρυ.

4 στοαὶ δέ εἰσιν ἀπὸ τῶν πυλῶν ἐς τὸν Κεραμεικόν.

Pausanias here alludes to Alcibiades, and his companions, who were accused of having privately represented in derision the Eleusinian mysteries. Thucyd. 6, 27. Plutarch. Alcib. 19. Andocid. de Myst. p. 7, 19, Reiske.

* Ενταῦθά ἐστιν ̓Αθηνᾶς ἄγαλμα Παιωνίας καὶ Διὸς καὶ Μνημοσύνης καὶ Μουσῶν, ̓Απόλλωνός τε, ἀνάθημα καὶ ἔργον

is seen the face of Acratus, one of the companions Cap. 2. of Bacchus, projecting from the wall'. Next to the sanctuary of Bacchus there is a building containing images of clay, which represent Amphictyon, king of the Athenians, entertaining Bacchus and other gods. Here also is Pegasus of Eleuthera, who introduced the worship of Bacchus among the Athenians.

3

"The district named Cerameicus is so called Cap. 3. from the hero Ceramus, who is said to have been the son of Bacchus and Ariadne. The first portico on the right is that named Basileius, where the Archon Baoλeve holds his court 5. His office, called Baoilla, lasts for one year. Upon the earthen roof of this Stoa' are statues of baked clay, representing Theseus throwing Scyron into the sea, and Aurora

8

Ευβουλίδου. This passage has generally been translated as meaning that the statue of Apollo only had been the work and gift of Eubulides. We have a similar expression in Attic. 1, 3, τῆς στοᾶς ὄπισθεν ἑστᾶσι Ζεὺς καὶ Δῆμος, Λεωχάρους ἔργον.

2

4

· ἐνῳκοδομημένον τοίχῳ.

1 μετὰ τοῦ Διονύσου τέμενος.

3 χωρίον.

The Greeks were fond of tracing their names of places to heroes: but Herodotus (5, 88), in alluding to the Athenian pottery manufactured for exportation in very ancient times, suggests a more probable derivation of Cerameicus than that given by Pausanias.

5 καθίζει.

In the Lexicon Rhet. ap. Bekker. Anecd. Gr. I. p. 222, the name of this Stoa is derived not from the archon, but from Jupiter Baoteus. Before the Stoa Basileius was a brazen statue of Pindar, wrapt in a cloak, and seated in a chair, with an open book lying upon his knees. Eschin. in Epist. 4.

* ἔπεστι τῷ κεράμῳ τῆς στοᾶς.

8 Ημέρα.

Cap. 3. carrying away Cephalus. Near the same portico stand statues of Conon, of his son Timotheus, and of Evagoras, king of the Cyprii'. Here likewise are figures of Jupiter Eleutherius, and of the Emperor Hadrian. Behind (them) is a portico2, which contains paintings of the gods, called the Twelve, and other paintings on the further walls of Theseus, Democracy, and the People, signifying that Theseus first established equal rights of citizenship among the Athenians. There is also a picture of the action of the Athenians near

1 The statue of Conon was of brass (Demosth. c. Leptin. p. 487, Reiske. Apsin. de Art. Rhet.), and the others were probably of the same material. Those of Conon and his son are mentioned by Corn. Nepos (Timoth. 2). Evagoras was here honoured, says Pausanias, because, as deriving his genealogy from Salamis, he had been friendly to the Athenians, and had persuaded Artaxerxes to place his Phoenician ships under the command of Conon. 2 στοὰ ὄπισθεν ᾠκοδόμηται. This was the Stoa Eleutherius, as appears from the pictures which Pausanias describes in it, and which are referred to by other authors. See p. 113, n. 3. The statue of Jupiter Eleutherius therefore stood in front of the portico, which was named from him. Hypereides (ap. Harpocr. in 'Eλevlépios Zεúç) described the Stoa as near the statue (noiov avrov). For this celebrated portico see also Plato (Theag. in init.), and Xenophon (Econom. 7, 1). This Jupiter Eleutherius was sometimes called Jupiter Soter. Isocrat. Evagor. p. 200, Steph. Hesych. in 'EXɛv@épios. Menandrus ap. Harpocr. in 'EXɛv0. The statue was erected after the Persian

war.

Aristid. in Or. Panathen. p. 125, Jebb. The proximity of the Basileian and Eleutherian stoæ is confirmed by Harpocration and Hesychius (in Baσíλetoç Zroά), and Eustathius (in Od. A. 395), and that of the portico of Jupiter Eleutherius, and the Pompeium, by Diogenes Laërtius (6, 22). Shields of distinguished warriors were hung up in the portico of Jupiter Eleutherius. They were carried off by the soldiers of Sylla. Pausan. Attic. 26, 2. Phocic. 21, 3.

3 ἐπὶ τῷ τοίχῳ τῷ πέραν.