Description of Greece

for Heracles at the time was driving these away, and when they swam across to Sicily he too crossed over in search of them near the bent olive-tree. The favour of heaven was more partial to Heracles than it was afterwards to Dorieus the son of Anaxandrides; Heracles killed Eryx, but Dorieus himself and the greater part of his army were destroyed by the Egestaeans.

The Lacedaemonians have also made a sanctuary for Lycurgus, who drew up the laws, looking upon him as a god. Behind the temple is the grave of Eucosmus, the son of Lycurgus, and by the altar the grave of Lathria and Anaxandra. Now these were themselves twins, and therefore the sons of Aristodemus, who also were twins likewise, took them to wife; they were daughters of Thersander son of Agamedidas, king of the Cleonaeans and great-grandson of Ctesippus, son of Heracles. Opposite the temple is the tomb of Theopompus son of Nicander, and also that of Eurybiades, who commanded the Lacedaemonian warships that fought the Persians at Artemisium and Salamis. Near is what is called the hero-shrine of Astrabacus.

The place named Limnaeum (Marshy) is sacred to Artemis Orthia (Upright). The wooden image there they say is that which once Orestes and Iphigenia stole out of the Tauric land, and the Lacedaemonians say that it was brought to their land because there also Orestes was king. I think their story more probable than that of the Athenians. For what could have induced Iphigenia to leave the image behind at Brauron? Or why did the Athenians, when they were preparing to abandon their land, fail to include this image in what they put on board their ships?

And yet, right down to the present day, the fame of the Tauric goddess has remained so high that the Cappadocians dwelling on the Euxine claim that the image is among them, a like claim being made by those Lydians also who have a sanctuary of Artemis Anaeitis. But the Athenians, we are asked to believe, made light of it becoming booty of the Persians. For the image at Brauron was brought to Susa, and afterwards Seleucus gave it to the Syrians of Laodicea, who still possess it.

I will give other evidence that the Orthia in Lacedaemon is the wooden image from the foreigners. Firstly, Astrabacus and Alopecus, sons of Irbus, son of Amphisthenes, son of Amphicles, son of Agis, when they found the image straightway became insane. Secondly, the Spartan Limnatians, the Cynosurians, and the people of Mesoa and Pitane, while sacrificing to Artemis, fell to quarreling, which led also to bloodshed; many were killed at the altar and the rest died of disease.

Whereat an oracle was delivered to them, that they should stain the altar with human blood. He used to be sacrificed upon whomsoever the lot fell, but Lycurgus changed the custom to a scourging of the lads, and so in this way the altar is stained with human blood. By them stands the priestess, holding the wooden image. Now it is small and light,

but if ever the scourgers spare the lash because of a lad's beauty or high rank, then at once the priestess finds the image grow so heavy that she can hardly carry it. She lays the blame on the scourgers, and says that it is their fault that she is being weighed down. So the image ever since the sacrifices in the Tauric land keeps its fondness for human blood. They call it not only Orthia, but also Lygodesma (Willow-bound), because it was found in a thicket of willows, and the encircling willow made the image stand upright.

Not far from the Orthia is a sanctuary of Eileithyia. They say that they built it, and came to worship Eileithyia as a goddess, because of an oracle from Delphi.The Lacedaemonians have no citadel rising to a conspicuous height like the Cadmea at Thebes and the Larisa at Argos. There are, however, hills in the city, and the highest of them they call the citadel.

Here is built a sanctuary of Athena, who is called both City-protecting and Lady of the Bronze House. The building of the sanctuary was begun, they say, by Tyndareus. On his death his children were desirous of making a second attempt to complete the building, and the resources they intended to use were the spoils of Aphidna. They too left it unfinished, and it was many years afterwards that the Lacedaemonians made of bronze both the temple and the image of Athena. The builder was Gitiadas, a native of Sparta, who also composed Dorian lyrics, including a hymn to the goddess.[*]( c. 500 B.C)

On the bronze are wrought in relief many of the labours of Heracles and many of the voluntary exploits he successfully carried out, besides the rape of the daughters of Leucippus and other achievements of the sons of Tyndareus. There is also Hephaestus releasing his mother from the fetters. The legend about this I have already related in my history of Attica.[*](See Paus. 1.20.3.) There are also represented nymphs bestowing upon Perseus, who is starting on his enterprise against Medusa in Libya, a cap and the shoes by which he was to be carried through the air. There are also wrought the birth of Athena, Amphitrite, and Poseidon, the largest figures, and those which I thought the best worth seeing.

There is here another sanctuary of Athena; her surname is the Worker. As you go to the south portico there is a temple of Zeus surnamed Cosmetas (Orderer), and before it is the tomb of Tyndareus. The west portico has two eagles, and upon them are two Victories. Lysander dedicated them to commemorate both his exploits; the one was off Ephesus, when he conquered Antiochus, the captain of Alcibiades, and the Athenian warships and the second occurred later, when he destroyed the Athenian fleet at Aegospotami.

On the left of the Lady of the Bronze House they have set up a sanctuary of the Muses, because the Lacedaemonians used to go out to fight, not to the sound of the trumpet, but to the music of the flute and the accompaniment of lyre and harp. Behind the Lady of the Bronze House is a temple of Aphrodite Areia (Warlike). The wooden images are as old as any in Greece.

On the right of the Lady of the Bronze House has been set up an image of Zeus Most High, the oldest image that is made of bronze. It is not wrought in one piece. Each of the limbs has been hammered separately; these are fitted together, being prevented from coming apart by nails. They say that the artist was Clearchus of Rhegium, who is said by some to have been a pupil of Dipoenus[*](See Paus. 2.15.1 and Paus. 2.32.5.) and Scyllis, by others of Daedalus himself. By what is called the Scenoma (Tent) there is a statue of a woman, whom the Lacedaemonians say is Euryleonis. She won a victory at Olympia with a two-horse chariot.

By the side of the altar of the Lady of the Bronze House stand two statues of Pausanias, the general at Plataea. His history, as it is known, I will not relate. The accurate accounts of my predecessors suffice; I shall content myself with adding to them what I heard from a man of Byzantium. Pausanias was detected in his treachery, and was the only suppliant of the Lady of the Bronze House who failed to win security, solely because he had been unable to wipe away a defilement of bloodshed.

When he was cruising about the Hellespont with the Lacedaemonian and allied fleets, he fell in love with a Byzantine maiden. And straightway at the beginning of night Cleonice —that was the girl's name—was brought by those who had been ordered to do so. But Pausanias was asleep at the time and the noise awoke him. For as she came to him she unintentionally dropped her lighted lamp. And Pausanias, conscious of his treason to Greece, and therefore always nervous and fearful, jumped up then and struck the girl with his sword.

From this defilement Pausanias could not escape, although he underwent all sorts of purifications and became a suppliant of Zeus Phyxius (God of Flight), and finally went to the wizards at Phigalia in Arcadia but he paid a fitting penalty to Cleonice and to the god. The Lacedaemonians, in fulfillment of a command from Delphi, had the bronze images made and honor the spirit Bountiful, saying that it was this Bountiful that turns aside the wrath that the God of Suppliants shows because of Pausanias.