| February 9, 2010 |
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| Monuments reported by ancient authors
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|  ILIS (Ancient city) ILIA |
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Altar of Zeus Saviour
Cylon it was who with his own hand killed the despot when he had sought sanctuary at the altar of Zeus the Saviour.
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| | OLYMPIA (Ancient city) ILIA |
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Altar of Zeus
The altar of Olympic Zeus is about equally distant from the Pelopium and the sanctuary of Hera, but it is in front of both. It has been made from the ash of the thighs of the victims sacrificed to Zeus. The total height of the altar reaches to twenty-two feet. The victims themselves it is the custom to sacrifice on the lower stage, the prothysis. But the thighs they carry up to the highest part of the altar and burn them there. The ascent to the prothysis may be made by maidens, and likewise by women, when they are not shut out from Olympia, but men only can ascend from the prothysis to the highest part of the altar. Every year the soothsayers, keeping carefully to the nineteenth day of the month Elaphius, bring the ash from the town-hall, and making it into a paste with the water of the Alpheius they daub the altar therewith, for the Alpheius is thought to be of all rivers the dearest to Olympic Zeus.
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Altar of Zeus
They sacrifice to Hestia first, secondly to Olympic Zeus, going to the altar within the temple.
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Altar of Zeus Laoetas and Poseidon Laoetas
They sacrifice to Hestia first, secondly to Olympic Zeus, going to the altar within the temple, thirdly to Zeus Laoetas and to Poseidon Laoetas. This sacrifice too it is usual to offer on one altar.
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Altar of Artemis
Fourthly and fifthly they sacrifice to Artemis and to Athena, Goddess of Booty.
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Altar of Athena Goddess of Booty
Fourthly and fifthly they sacrifice to Artemis and to Athena, Goddess of Booty.
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Altar of the Worker Goddess
Fourthly and fifthly they sacrifice to Artemis and to Athena, Goddess of Booty, sixthly to the Worker Goddess. The descendants of Pheidias, called Cleansers, have received from the Eleans the privilege of cleaning the image of Zeus from the dirt that settles on it, and they sacrifice to the Worker Goddess before they begin to polish the image.
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Altar of Athena
There is another altar of Athena near the temple.
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Altar of Artemis
There is another altar of Athena near the temple, and by it a square altar of Artemis rising gently to a height.
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Altar of Alpheus and Artemis
After the altars I have enumerated there is one on which they sacrifice to Alpheius and Artemis together. The cause of this Pindar , I think, intimates in an ode, and I give it in my account of Letrini.
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Altar of Alpheus
After the altars I have enumerated there is one on which they sacrifice to Alpheius and Artemis together. Not far from it stands another altar of Alpheius.
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Altar of Hephaistos
Not far from it stands another altar of Alpheius, and by it one of Hephaestus. This altar of Hephaestus some Eleans call the altar of Warlike Zeus. These same Eleans also say that Oenomaus used to sacrifice to Warlike Zeus on this altar whenever he was about to begin a chariot-race with one of the suitors of Hippodameia. [
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Altar of Heracles Parastates (assistant)
After this stands an altar of Heracles surnamed Parastates (Assistant).
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Altar of Epimedes
There are also altars of the brothers of Heracles--Epimedes, Idas, Paeonaeus, and Iasus.
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Altar of Idas
There are also altars of the brothers of Heracles--Epimedes, Idas, Paeonaeus, and Iasus. I am aware, however, that the altar of Idas is called by others the altar of Acesidas.
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Altar of Paeonaeus
There are also altars of the brothers of Heracles--Epimedes, Idas, Paeonaeus, and Iasus.
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Altar of Zeus Courtyard
At the place where are the foundations of the house of Oenomaus stand two altars: one is of Zeus of the Courtyard, which Oenomaus appears to have had built himself.
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Altar of Zeus of the Thunderbolt
At the place where are the foundations of the house of Oenomaus stand two altars: one is of Zeus of the Courtyard, which Oenomaus appears to have had built himself, and the other of Zeus of the Thunderbolt, which I believe they built later, when the thunderbolt had struck the house of Oenomaus.
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Altar of Unknown Gods
By it (the altar of Olympian Zeus) is an altar of Unknown Gods (Paus. 5,14,8). In the Roman times people used to build altars for gods whose names or existence they were ignorant of (Ekd. Athinon, Pausaniou Periegissis, vol. 3, p. 269, note 3).
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Altar of Zeus Purifier
By it is an altar of Unknown Gods, and after this an altar of Zeus Purifier.
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Altar of Nike (victory)
By it is an altar of Unknown Gods, and after this an altar of Zeus Purifier, one of Victory, and another of Zeus.
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Altar of Zeus Chthonius (underground)
By it is an altar of Unknown Gods, and after this an altar of Zeus Purifier, one of Victory, and another of Zeus--this time surnamed Underground.
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Altar of Hera Olympian
There are also altars of all gods, and of Hera surnamed Olympian, this too being made of ashes. They say that it was dedicated by Clymenus.
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Altar of Apollo and Hermes
After this comes an altar of Apollo and Hermes in common, because the Greeks have a story about them that Hermes invented the lyre and Apollo the lute.
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Altar of Omonoea (concord)
Next comes an altar of Concord.
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Altar of the Mother of the gods
Next come an altar of Concord, another of Athena, and the altar of the Mother of the gods.
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Altar of Athena
Next come an altar of Concord, another of Athena, and the altar of the Mother of the gods.
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Altar of Hermes of the Games
Quite close to the entrance to the stadium are two altars; one they call the altar of Hermes of the Games.
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Altar of Heracles
Near the treasury of the Sicyonians is an altar of Heracles, either one of the Curetes or the son of Alcmena, for both accounts are given.
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Altar of Zeus Descender
All round the altar of Zeus Descender runs a fence; this altar is near the great altar made of the ashes.
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Altar of Dionysus and the Graces
By the sacred enclosure of Pelops is an altar of Dionysus and the Graces in common.
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Altar of the Muses
By the sacred enclosure of Pelops is an altar of Dionysus and the Graces in common; between them is an altar of the Muses.
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Altar of the Nymphs
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Altar of all the gods
Outside the Altis there is a building called the workshop of Pheidias, where he wrought the image of Zeus piece by piece. In the building is an altar to all the gods in common.
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Altar of Aphrodite
Well, there is in the Altis, when you are about to pass to the left of the Leonidaeum, an altar of Aphrodite.
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Altar of the Seasons
Well, there is in the Altis, when you are about to pass to the left of the Leonidaeum, an altar of Aphrodite, and after it one of the Seasons.
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Altar of the Nymphs of the Beautiful Crowns
About opposite the rear chamber a wild olive is growing on the right. It is called the olive of the Beautiful Crown, and from its leaves are made the crowns which it is customary to give to winners of Olympic contests. Near this wild olive stands an altar of Nymphs; these too are styled Nymphs of the Beautiful Crowns.
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Altar of Artemis of the Market
Outside the Altis, but on the right of the Leonidaeum, is an altar of Artemis of the Market.
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Altar of the Mistresses
Outside the Altis, but on the right of the Leonidaeum, is an altar of Artemis of the Market, and one has also been built for Mistresses, and in my account of Arcadia I will tell you about the goddess they call Mistress.
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Altar of Zeus of the Market
After this is an altar of Zeus of the Market.
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Altar of Apollo Pythian
Before what is called the Front Seats stands an altar of Apollo surnamed Pythian.
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Altar of Dionysus
Before what is called the Front Seats stands an altar of Apollo surnamed Pythian, and after it one of Dionysus. The last altar is said to be not old, and to have been dedicated by private individuals.
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Altar of Bringer of Fate
As you go to the starting-point for the chariot-race there is an altar with an inscription "to the Bringer of Fate". This is plainly a surname of Zeus, who knows the affairs of men, all that the Fates give them, and all that is not destined for them.
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Altar of Fates
Near there is also an oblong altar of Fates.
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Altar of Hermes
Near there is also an oblong altar of Fates, after it one of Hermes.
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Altars of Zeus Most High
Near there is also an oblong altar of Fates, after it one of Hermes, and the next two are of Zeus Most High.
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Altar of Poseidon Hippios (horse-god)
At the starting-point for the chariot-race, just about opposite the middle of it, there are in the open altars of Poseidon Horse-god and Hera Horse-goddess.
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Altar of Hera Hippia (horse-goddess)
At the starting-point for the chariot-race, just about opposite the middle of it, there are in the open altars of Poseidon Horse-god and Hera Horse-goddess
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Altar of the Dioscuri
At the starting-point for the chariot-race, just about opposite the middle of it, there are in the open altars of Poseidon Horse-god and Hera Horse-goddess, and near the pillar an altar of the Dioscuri.
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Altar of Ares Hippios (horse-god)
At the entrance to what is called the Wedge there is on one side an altar of Ares Horse-god.
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Altar of Athena Hippia (horse-goddess)
At the entrance to what is called the Wedge there is on one side an altar of Ares Horse-god, on the other one of Athena Horse-goddess.
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Altar of Good Luck
On entering the Wedge itself you see altars of Good Luck, Pan and Aphrodite.
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Altar of Pan
On entering the Wedge itself you see altars of Good Luck, Pan and Aphrodite.
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Altar of Aphrodite
On entering the Wedge itself you see altars of Good Luck, Pan and Aphrodite.
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Altar of Blooming Nymphs
At the innermost part of the Wedge an altar of the Nymphs called Blooming.
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Altar of Artemis
An altar of Artemis stands on the right as you return from the Portico that the Eleans call the Portico of Agnaptus.
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Altar of Cladeus
After re-entering the Altis by the processional gate there are behind the Heraeum altars of the river Cladeus and of Artemis.
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Altar of Artemis
After re-entering the Altis by the processional gate there are behind the Heraeum altars of the river Cladeus and of Artemis.
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Altar of Apollo
After re-entering the Altis by the processional gate there are behind the Heraeum altars of the river Cladeus and of Artemis; the one after them is Apollo's.
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Altar of Artemis Coccoca
The fourth is of Artemis surnamed Coccoca. Why Artemis is surnamed Coccoca I could not discover.
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Altar of Apollo Thermius
The fourth (altar) is of Artemis surnamed Coccoca, and the fifth is of Apollo Thermius. As to the Elean surname Thermius, the conjecture occurred to me that in the Attic dialect it would be thesmios (god of laws).
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Theecoleon
Building at Olympia.
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| | ILIS (Ancient city) ILIA |
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The marketplace of Elis
The market-place of Elis is not after the fashion of the cities of Ionia and of the Greek cities near Ionia; it is built in the older manner, with porticoes separated from each other and with streets through them. The modern name of the market-place is Hippodromus, and the natives train their horses there.
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| | OLYMPIA (Ancient city) ILIA |
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Oracle of Zeus at Olympia
This is an instance of a true and very ancient oracle, slowly metamorphosed under the influence of a system of divination which had grown up under the shelter of the oracle, but yet was not strictly oracular. Pausanias saw at Olympia an enclosure sacred to Zeus the Thunderer (Zeus Kataibates), close to the great altar; and also an altar dedicated to Earth, and another to Themis, close by the mouth (stomion) of a hollow chasm. Here we have something that sounds like the primary form of the Delphic oracle; perhaps a still nearer reminiscence of Dodona. But a family of priestly diviners, the Iamidae, whose origin is far removed in the legendary past, in which their first father Iamus was said to have been a son of Apollo (Pindar, Olymp. vi. 47-121), introduced methods of divination unknown to the earliest times; by the observation of the entrails of victims (Herod. i. 59; viii. 134) and of the flames of sacrifices (Pindar, Olymp. viii. 4); and the true oracle gave way before the new-comers. With the Iamidae were joined the Clytiades (Pausan. vi. 17, § 6). The divination, according to these rites, was performed before the altar of Zeus Olympius (Pindar,. Olymp. vi. 118, 119). Yet the oracle did not cease to be called an oracle; Sophocles (Oed. Tyr. 900) assigns to it a high dignity; and the change was perhaps not distinctly recognised by most. From what Strabo says (viii. p. 353), and Lucian. Icar. 24, we conclude that it was hardly consulted at all on ordinary occasions, in the historical period; this impression is, however, removed by the interesting story in Xen. Hell. iv. 7. 2
| This text is from: A Dictionary of Greek and Roman Antiquities (1890) (eds. William Smith, LLD, William Wayte, G. E. Marindin). Cited July 2004 from The Perseus Project URL below, which contains interesting hyperlinks |
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| | ANCIENT OLYMPIA (Small town) ILIA |
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Sanctuary of Artemis Cordax
Going forward about a stade from the grave one sees traces of a sanctuary of Artemis, surnamed Cordax because the followers of Pelops celebrated their victory by the side of this goddess and danced the cordax, a dance peculiar to the dwellers round Mount Sipylus. Not far from the sanctuary is a small building containing a bronze chest, in which are kept the bones of Pelops.
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| | ILIS (Ancient city) ILIA |
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Sanctuary of Artemis Philomeirax
The way from the gymnasium to the baths passes through the Street of Silence and beside the sanctuary of Artemis Philomeirax. The goddess is so surnamed because she is neighbor to the gymnasium; the street received, they say, the name of Silence for the following reason. Men of the army of Oxylus were sent to spy out what was happening in Elis. On the way they exhorted each other, when they should be near the wall, themselves to keep a strict silence, but to listen attentively if perchance they might learn aught from the people in the town. These men by this street reached the town unobserved, and after hearing all they wished they went back again to the Aetolians. So the street received its name from the silence of the spies
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Sanctuary of Fortune
The Eleans have also a sanctuary of Fortune. In a portico of the sanctuary has been dedicated a colossal image, made of gilded wood except the face, hands and feet, which are of white marble.
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Sanctuary of Dionysus
Between the market-place and the Menius is an old theater and a shrine of Dionysus. The image is the work of Praxiteles.
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Sanctuary of Athena
On the Acropolis of the Eleans is a sanctuary of Athena. The image is of ivory and gold. They say that the goddess is the work of Pheidias. On her helmet is an image of a cock, this bird being very ready to fight. The bird might also be considered as sacred to Athena the worker.
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Sanctuary of the Graces
There is also a sanctuary to the Graces; the images are of wood, with their clothes gilded, while their faces, hands and feet are of white marble. One of them holds a rose, the middle one a die, and the third a small branch of myrtle. The reason for their holding these things may be guessed to be this. The rose and the myrtle are sacred to Aphrodite and connected with the story of Adonis, while the Graces are of all deities the nearest related to Aphrodite. As for the die, it is the plaything of youths and maidens, who have nothing of the ugliness of old age. On the right of the Graces is an image of Love, standing on the same pedestal.
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| | KYLLINI (Ancient city) ILIA |
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Sanctuary of Asclepius
In Cyllene is a sanctuary of Asclepius, and one of Aphrodite.
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| | OLYMPIA (Ancient city) ILIA |
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Gaeum
Sanctuary of Earth at Olympia.
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| | ILIS (Ancient city) ILIA |
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Bronze statue of Satrap
In the most thickly-populated part of Elis is a statue of bronze no taller than a tall man; it represents a beardless youth with his legs crossed, leaning with both hands upon a spear. They cast about it a garment of wool, one of flax and one of fine linen. [6] This image was said to be of Poseidon, and to have been worshipped in ancient times at Samicum in Triphylia. Transferred to Elis it received still greater honor, but the Eleans call it Satrap and not Poseidon, having learned the name Satrap, which is a surname of Corybas, after the enlargement of Patrae.
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Images of the Sun and the Moon
In another part are the stone images of the sun and of the moon; from the head of the moon project horns, from the head of the sun, his rays.
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| | KYLLINI (Ancient city) ILIA |
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Statue of Hermes
In Cyllene is a sanctuary of Asclepius, and one of Aphrodite. But the image of Hermes, most devoutly worshipped by the inhabitants, is merely the male member upright on the pedestal.
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| | OLYMPIA (Ancient city) ILIA |
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Statue of Zeus holding thunderbolts
There is a clan of the Arcadians, called the Cynaetheans, the same folk who dedicated the image of Zeus at Olympia with a thunderbolt in either hand.
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Statue of the olympic victor Chilon of Patras
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Victor Statues and a portrait of Pythes
Andrew Stewart, One Hundred Greek Sculptors- Pythes of Abdera, the boxer Cheilon of Patras, the boy-boxer Kallikrates of Magnesia, the pankratiast Poulydamas of Skotoussa, the charioteer Troilos of Elis, the pankratiast Philandridas of Stratos (works of Lysippos)
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Statues of Hiero
(...) The statues of Hiero at Olympia, one on horseback and the other on foot, were dedicated by the sons of Hiero, the artist being Micon, a Syracusan, the son of Niceratus.
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| | ILIS (Ancient city) ILIA |
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Temple of Roman Emperors
Adjoining the market-place is an old temple surrounded by pillars; the roof has fallen down, and I found no image in the temple. It is dedicated to the Roman emperors.
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Temple of Heavenly Aphrodite
Behind the portico built from the spoils of Corcyra is a temple of Aphrodite. The goddess in the temple they call Heavenly; she is of ivory and gold, the work of Pheidias, and she stands with one foot upon a tortoise.
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Temple of Hades
The sacred enclosure of Hades and its temple (for the Eleans have these among their possessions) are opened once every year, but not even on this occasion is anybody permitted to enter except the priest. The following is the reason why the Eleans worship Hades; they are the only men we know of so to do. It is said that, when Heracles was leading an expedition against Pylus in Elis, Athena was one of his allies. Now among those who came to fight on the side of the Pylians was Hades, who was the foe of Heracles but was worshipped at Pylus.
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Temple of Apollo Healer
The most notable things that the Eleans have in the open part of the market-place are a temple and image of Apollo Healer. The meaning of the name would appear to be exactly the same as that of Averter of Evil, the name current among the Athenians.
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Temple of Silenus
Here there is also a temple of Silenus, which is sacred to Silenus alone, and not to him in common with Dionysus. Drunkenness is offering him wine in a cup. That the Silenuses are a mortal race you may infer especially from their graves, for there is a tomb of a Silenus in the land of the Hebrews, and of another at Pergamus.
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| | LETRINI (Ancient city) PYRGOS |
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Temple of Artemis Alpheiaea
In my time were left a few buildings, with an image of Artemis
Alpheiaea in a temple. Legend has it that the goddess received the surname for
the following reason. Alpheius fell in love with Artemis, and then, realizing
that persuasive entreaties would not win the goddess as his bride, he dared to
plot violence against her. Artemis was holding at Letrini an all-night revel with
the nymphs who were her playmates, and to it came Alpheius. But Artemis had a
suspicion of the plot of Alpheius, and smeared with mud her own face and the faces
of the nymphs with her. So Alpheius, when he joined the throng, could not distinguish
Artemis from the others, and, not being able to pick her out, went away without
bringing off his attempt. The people of Letrini called the goddess Alpheian because
of the love of Alpheius for her.
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| | LOUVRO (Village) ANCIENT OLYMPIA |
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Temple of Asclepius
Forty stades beyond the ridge of Saurus is a temple of Asclepius, surnamed Demaenetus after the founder. It too is in ruins. It was built on the height beside the Alpheius.
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| | OLYMPIA (Ancient city) ILIA |
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Temple of Cronus
The most learned antiquaries of Elis say that Cronus was the first king of heaven, and that in his honor a temple was built in Olympia by the men of that age, who were named the Golden Race.
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Temple of Hera
It remains after this for me to describe the temple of Hera and the noteworthy objects contained in it. The Elean account says that it was the people of Scillus, one of the cities in Triphylia, who built the temple about eight years after Oxylus came to the throne of Elis. The style of the temple is Doric, and pillars stand all round it. In the rear chamber one of the two pillars is of oak. The length of the temple is one hundred and sixty-nine feet, the breadth sixty-three feet, the height not short of fifty feet. Who the architect was they do not relate.
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Temple of Zeus
The temple and the image were made for Zeus from spoils, when Pisa was crushed in war by the Eleans and with Pisa such of the subject peoples as conspired together with her. The temple is in the Doric style, and the outside has columns all around it. It is built of native stone. Its height up to the pediment is sixty-eight feet, its breadth is ninety-five, its length two hundred and thirty. The architect was Libon, a native. The tiles are not of baked earth, but of Pentelic marble cut into the shape of tiles. A gilt caldron stands on each end of the roof, and a Victory, also gilt, is set in about the middle of the pediment. Under the image of Victory has been dedicated a golden shield, with Medusa the Gorgon.
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The temple is in Pisatis, less than three hundred stadia distant from Elis. In front of the temple is situated a grove of wild olive trees, and the stadium is in this grove. Past the temple flows the Alpheius, which, rising in Arcadia, flows between the west and the south into the Triphylian Sea. At the outset the temple got fame on account of the oracle of the Olympian Zeus; and yet, after the oracle failed to respond, the glory of the temple persisted none the less, and it received all that increase of fame of which we know, on account both of the festal assembly and of the Olympian Games, in which the prize was a crown and which were regarded as sacred, the greatest games in the world. The temple was adorned by its numerous offerings, which were dedicated there from all parts of Greece. Among these was the Zeus of beaten gold dedicated by Cypselus the tyrant of Corinth.
But the greatest of these was the image of Zeus made by Pheidias of Athens, son of Charmides; it was made of ivory, and it was so large that, although the temple was very large, the artist is thought to have missed the proper symmetry, for he showed Zeus seated but almost touching the roof with his head, thus making the impression that if Zeus arose and stood erect he would unroof the temple. Certain writers have recorded the measurements of the image, and Callimachus has set them forth in an iambic poem. Panaenus the painter, who was the nephew and collaborator of Pheidias, helped him greatly in decorating the image, particularly the garments, with colors. And many wonderful paintings, works of Panaenus, are also to be seen round the temple.
It is related of Pheidias that, when Panaenus asked him after what model he was going to make the likeness of Zeus, he replied that he was going to make it after the likeness set forth by Homer in these words: "Cronion spoke, and nodded assent with his dark brows, and then the ambrosial locks flowed streaming from the lord's immortal head, and he caused great Olympus to quake."
A noble description indeed, as appears not only from the "brows" but from the other details in the passage, because the poet provokes our imagination to conceive the picture of a mighty personage and a mighty power worthy of a Zeus, just as he does in the case of Hera, at the same time preserving what is appropriate in each; for of Hera he says, "she shook herself upon the throne, and caused lofty Olympus to quake."
This extract is from: The Geography of Strabo, ed. H. L. Jones, Cambridge. Harvard University Press. Cited Aug 2002 from Perseus Project URL bellow, which contains comments & interesting hyperlinks.
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| | ILIS (Ancient city) ILIA |
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Theatre of Elis
Between the market-place and the Menius is an old theater.
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| | ANCIENT OLYMPIA (Small town) ILIA |
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The grave of the suitors of Hippodameia
A little farther on is a high mound of earth, the grave of the suitors of Hippodameia. Now Oenomaus, they say, laid them in the ground near one another with no token of respect. But afterwards Pelops raised a high monument to them all, to honor them and to please Hippodamaeia. I think too that Pelops wanted a memorial to tell posterity the number and character of the men vanquished by Oenomaus before Pelops himself conquered him.
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| | ILIS (Ancient city) ILIA |
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Tomb of Achilles
One of the two ways from the gymnasium leads to the market-place, and to what is called the Umpires' Room; it is above the grave of Achilles.
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Tomb of Oxylus
In the market-place of Elis I saw something else, a low structure in the form of a temple. It has no walls, the roof being supported by pillars made of oak. The natives agree that it is a tomb, but they do not remember whose it is. If the old man I asked spoke the truth, it would be the tomb of Oxylus.
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| | OLYMPIA (Ancient city) ILIA |
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The images of the Temple of Zeus
In the front pediment there is the chariot-race between Pelops and Oenomaus. An image of Zeus has been carved in the middle of the pediment; on the right is Oenomaus with a helmet on his head, and by him Sterope. Myrtilus too, and after him two men. At the very edge lies Cladeus. On the left are Pelops, Hippodameia, the charioteer of Pelops, horses and two men. In the narrow part the Alpheius is represented. What the sculptor carved on the pediment is the fight between the Lapithae and the Centaurs. In the center of the pediment is Peirithous. On one side of him is Eurytion, who has seized the wife of Peirithous, with Caeneus bringing help to Peirithous, and on the other side is Theseus defending himself against the Centaurs with an axe. One Centaur has seized a maid, another a boy in the prime of youth. Most of the labours of Heracles are represented at Olympia. As you enter the bronze doors you see on the right, before the pillar, Iphitus being crowned by a woman, Ececheiria (Truce).
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Offerings to the Temple of Zeus
In Olympia there is a woollen curtain, adorned with Assyrian weaving and Phoenician purple, which was dedicated by Antiochus. The offerings inside, or in the fore-temple include: a throne of Arimnestus, king of Etruria and bronze horses of Cynisca. There is also a tripod, plated with bronze, upon which were displayed the crowns for the victors. There are statues of emperors: Hadrian and Trajan. Of the statues set up in the round buildings, the amber one represents Augustus the Roman emperor, the ivory one they told me was a portrait of Nicomedes, king of Bithynia. In the temple at Olympia are four offerings of Nero--three crowns representing wild-olive leaves, and one representing oak leaves. Here too are laid twenty-five bronze shields, which are for the armed men to carry in the race. Tablets too are set up, including one on which is written the oath sworn by the Eleans to the Athenians, the Argives and the Mantineans, that they would be their allies for a hundred years.
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Philippeum
It was built by Philip after the fall of Greece at Chaeroneia (Paus. 5.20.10).
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| Seven Wonders of the world |
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The Statue of Zeus at Olympia
The temple and the image were made for Zeus from spoils, when Pisa was crushed in war by the Eleans. The image itself was wrought by Pheidias, as is testified by an inscription written under the feet of Zeus: Pheidias, son of Charmides, an Athenian, made me.
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| | ILIS (Ancient city) ILIA |
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Precinct of Common Aphrodite
The precinct of the other Aphrodite is surrounded by a wall, and within the precinct has been made a basement, upon which sits a bronze image of Aphrodite upon a bronze he-goat. It is a work of Scopas, and the Aphrodite is named Common.
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| | OLYMPIA (Ancient city) ILIA |
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Pelopium
Precinct of Pelops at Olympia.
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