2

4

Mantineia, when they were sent to assist the Lace- Cap. 3. dæmonians'. Xenophon and others have described the whole war. The picture represents a battle of horsemen, in which Gryllus, son of Xenophon, is the leading figure among the Athenians, and Epaminondas of Thebes in the Boeotian cavalry. Euphranor painted these pictures for the Athenians; he also made (the image of) the god in the neighbouring temple of Apollo Patrous. Before the same temple are two (other) statues of Apollo; one is by Leochares, the other by Calamis. The latter, surnamed Alexicacus, is said to have been so called because Apollo, by means of the oracle of Delphi, caused the plague to cease, which afflicted (the Athenians) at the time of the Peloponnesian war'. There is a

1 This painting is again mentioned by Pausanias in Arcad. 9, 4. 2 τὰς γραφὰς ἔγραψεν.

3 These pictures of the Stoa Eleutherius were much celebrated. Plutarch. de Glor. Athen. 2. Plin. H. N. 35, 11 (40), Valer. Max. 8, 12. Eustath. ad Il. A. 529.

* ἐποίησε τὸν ̓Απόλλωνα. Euphranor was not less illustrious as a statuary than as a painter. Plin. H. N. 34, 8 (19, ibid. § 16). 5 Apollo was entitled Patrous at Athens as a guardian deity, but his more common epithet was Pythius. καὶ τὸν ̓Απόλλω τὸν Πύθιον, ὃς Πατρῶός ἐστι τῇ πόλει.—Demosth. de Cor. p. 274, Reiske. (ή πόλις) προσλαβοῦσα γὰρ τὸν κοινὸν τῶν Ἑλλήνων ἐξηγητὴν, ἑαυτῇ δὲ Πατρῶον τὸν ̓Απόλλω τὸν Πύθιον.-Aristid. in Or. Panath. I. p. 112, Jebb. ̓Απόλλων Πατρῶος ὁ Πύθιος. Harpocr. in v.

On the worship of Apollo Patrous at Athens, see Mueller's Dorians, p. 266, 270.

The altar of Apollo Patrous was covered with gold by Neoptolemus, son of Nicocles, who received in consequence the honour of a statue in the Agora. Vit. X. Rhet. in Lycurg.

πρὸ τοῦ νεώ.

7 Thucyd. 2, 47, et seq.

Diodor. 12, 58; and mentioned again

Ι

3

Cap. 3. temple of the Mother of the Gods', whose statue was wrought by Pheidias; and near it2 is the councilhouse of those called the five hundred, who form the yearly council of the Athenians. In it stands a wooden image of Jupiter Bulæus, an Apollo by Peisias, and a statue of the (Athenian) people by Lyson. The Thesmothetæ were painted by Protogenes of Caunus; Callippus, who led the Athe

by Pausan. Arcad. 41, 5, who informs us that the Apollo of Phigaleia received the epithet of Epicurius on the same occasion.

1

ᾠκοδόμηται δὲ καὶ Μητρὸς θεῶν ἱερόν. The Metroum served as a place of deposit for records, both public and private. Eschin.c. Ctesiph. p. 576, Reiske. Lycurg. c. Leocrat. p. 184. Athen. 5, 14 (53). 9, 17 (72). Diogen. Laert. 10, 16. Suidas in Mпrpayuρrns. Μητραγύρτης. Dinarch. ap. Harpocr. in Mŋrp@ov. It once contained a brazen statue of a young woman, three feet high, called the 'Yèpopópos, because it had been dedicated by Themistocles when he held the office of ὑδάτων ἐπιστάτης. The statue was carried by Xerxes to Sardeis, where Themistocles afterwards saw it. Plutarch. Themist. 31. Near the Metroum was an altar of the Eudanemi. Arrian. de Exp. Alex. 3, 16.

2 πλησίον. Eschines also observes that the Metroum was near the council-house (ἐν τῷ Μητρώῳ παρὰ τὸ βουλευτήριον, C. Ctesiph. 1. 1.). And, according to Arrian (de Exp. Alex. 3, 16), it was over-against the statues of Harmodius and Aristogeiton.

3 βουλευτήριον.

· ἐν αὐτῷ κεῖται ξόανον.

"In the council-house there was a sanctuary of Jupiter Bulæus and Minerva Bulæa, and an altar of Vesta Bulæa. Suppliants placed themselves under the protection of these deities, and oaths were taken upon the altars. Xenoph. Hell. 2, 3, § 52. Andocid. de Myst. p. 22, Reiske. De Redit. p. 82. Antiphon Tepi xopεvrou, p. 789. Eschin. de fals. leg. p. 227. Diodor. 14, 4. Vit. X. Rhet. in Isocrat. Dinarch. ap. Hesych. In like manner, at Sparta, there were altars of Jupiter, Minerva,

and the Dioscuri, surnamed the Ambulii.

Harpocr. in Bovλaía.

Pausan. Lacon. 13, 4.

nians to Thermopyla to protect Greece against the Cap. 3. invasion of the Gauls, by Olbiades'.

5

Near the council-house of the five hundred is a Cap. 5. building called Tholus, where the Prytanes sacrifice, and in which are some small silver images of the gods. Higher up are placed statues of the heroes, from whom were derived the names of the Athenian tribes. These Eponymi, for so they are called, are Hippothoon, son of Neptune, and of Alope, daughter of Cercyon; Antiochus, son of Hercules by Medeia, daughter of Phylas; Ajax, son of Telamon, and the following Athenians: Leos, who is said to have devoted his daughters (to death) for the common safety, in obedience to the oracle; Erechtheus, who defeated the Eleusinii in battle and

1 An artist not otherwise known. Callippus, son of Morocles, is again noticed by Pausanias (Phocic. 20, 3) as commander of the Athenians on that occasion, which occurred B. c. 279.

2 πλησίον.

› This celebrated building (for which see Meursii Ceram. Gem. 7) was of a circular form (Timæi Lex. Platon., Hesych., Suid., Phot. Lex. in Oóλos). It resembled the Tholus of Epidauria, built by Polycleitus (Pausan. Corinth. 27, 3. 5), was σrpóyyuλor, Tapóμolov Ooλía (Ammonius ap. Harpocrat. in →.) and was covered with a dome built of masonry (όροφὴν εἶχε περιφερῆ, οἰκοδομητὴν, οὐχὶ ξυλίνην, ὡς τὰ ἄλλα οἰκοδομήματα. Lex. ap. Bekker. Anecd. Gr. I. p. 264). The Tholus was also called Scias (Suid. in Σκιάς. Ammon. 1. 1.), probably because it resembled the Scias of Sparta, a very ancient building in which the ikkλnoía assembled. Pausan. Lacon. 12, 8.

4 The Prytanes, i. e. the tribe or tenth of the council of five hundred in office, dined every day, as well as sacrificed, in the Tholus. J. Poll. 8, 155. Harpocrat., Suid., Timæi Lex. Platon. in Oóλos. Ammon. 1. 1.

Cap. 5. slew their leader Immaradus, son of Eumolpus; Ægeus; Eneus, bastard son of Pandion; Acamas, son of Theseus; Cecrops, and Pandion'. To these ten ancient Eponymi Attalus the Mysian, and Ptolemæus the Egyptian, have been added, and in my time the Emperor Hadrian.

Cap. 8.

Next to the figures' of the Eponymi are those of Amphiaraus, and of Peace, bearing Plutus, as her son3; of Lycurgus, son of Lycophron, in brass ; of Callias, who, as most of the Athenians say, made peace with Artaxerxes, son of Xerxes; and of Demosthenes 1. Near the last is the temple of Mars, in which are two statues of Venus, a Mars by Alcamenes, a Minerva by Locrus of Paros, and a Bellona by the sons of Praxiteles'. Around (or near) the temple stand Hercules, Theseus, Apollo, having his head bound with a riband: Calades, who is said to have written laws for the Athenians, and Pindar, who, having praised the Athenians in a hymn,

Pausanias here expresses a doubt, whether it was the first or the second kings of the names of Cecrops and Pandion, who had the honour of being Eponymi.

2 Μετὰ δὲ τὰς εἰκόνας.

3 These figures were the work of Cephisodotus of Athens. See Boot. 16, 1, where Pausanias commends the wisdom of the artist in making wealth the child of peace. Cephisodotus was brother of the wife of Phocion (Plutarch. Phocion, 19).

4 According to the biographer of the ten orators this statue was the work of Polyeuctus, and stood near the altar of the twelve gods (Vit. X. Rhet. in Demosth.).

7

5 ἔνθα κεῖται.

6 • Εννοῦς ἄγαλμα.

According to Codinus (de Orig. Const. p. 26, Paris), here were also two figures of elephants (see above, p. 57, n. 3), which may have been dedications of one of the Asiatic kings.

περὶ τὸν ναόν.

received this and other rewards from them'. Not Cap. 8. far (from these) stand' Harmodius and Aristogeiton, who slew Hipparchus. The most ancient are the work of Antenor; the others are by Critius. The former, Xerxes, when he took Athens, and when the Athenians abandoned the city, carried away with him as spoils. They were afterwards sent back to the Athenians by Antiochus*.

1

1 See Eschines Epist. 4, from which it appears that the most remarkable words in this hymn, which became a favourite song at Athens, were αἵ τε λιπαραὶ καὶ ἀοίδιμοι Ελλάδος ἔρεισμα Αθάναι. It was composed on the defeat of the Persians, and hence was the more hateful to the Thebans, who had medized. They therefore fined Pindar, and never honoured him with a statue. Athen. 1, 16 (34).

2 Οὐ πόῤῥω ἑστᾶσιν.

* Τῶν δὲ ἀνδριάντων οἱ μὲν εἰσὶ Κριτίου τέχνη, τοὺς δὲ ἀρχαίους ἐποίησεν ̓Αντήνωρ Ξέρξου.... ἀπαγομένου τούτους, &c.

4

* Brazen statues of Harmodius and Aristogeiton were first erected soon after the expulsion of the Peisistratidæ in the year 510 B. C. These were the works of Antenor, which Xerxes carried into Persia. In the year 477 (Marmor Par. lin. 70) their place was supplied by those of Critius, with whom Nesiotes (for a proof of whose celebrity see Plutarch Præcept. Polit. 5, Lucian Rhet. Præcept. 9) was united in the work. Lucian Philopseud. 18. Alexander the Great, when at Babylon, gave an order, at the instance of the Athenian envoys, for the restoration of the statues which had been removed by Xerxes: this order was executed after his death by Seleucus, or, according to Pausanias, by Antiochus, i. e. Antiochus I. son of Seleucus. Arrian Exp. Al. 3, 16. 7, 19. Plin. H. N. 34, 8 (19, § 10). Valer. Max. 2, 10. Vit. X. Rhet. in Antiphon. We learn from Arrian that, on the same occasion, a Diana Kɛρkała was restored to Athens. Pliny, by a singular anachronism, represents Praxiteles, who flourished a century after the time of the later statues, to have been the maker of the more ancient: no other author alludes to any statues of the tyrannicides by that great master.

Near the Harmodius and Aristogeiton were erected gilded