τούτων δὲ ἀντικρὺ τῶν κατειλεγμένων ἔστιν ἄλλα ἀναθήματα ἐπὶ στοίχου, τετραμμένα μὲν πρὸς μεσημβρίαν, τοῦ τεμένους δὲ ἐγγύτατα ὃ τῷ Πέλοπι ἀνεῖται. ἐν δὲ αὐτοῖς καὶ τὰ ἀνατεθέντα ἐστὶν ὑπὸ τοῦ Μαιναλίου Φόρμιδος, ὃς ἐκ Μαινάλου διαβὰς ἐς Σικελίαν παρὰ Γέλωνα τὸν Δεινομένους καὶ ἐκείνῳ τε αὐτῷ καὶ Ἱέρωνι ὕστερον ἀδελφῷ τοῦ Γέλωνος ἐς τὰς στρατείας ἀποδεικνύμενος λαμπρὰ ἔργα ἐς τοσοῦτο προῆλθεν εὐδαιμονίας, ὡς ἀναθεῖναι μὲν ταῦτα ἐς Ὀλυμπίαν, ἀναθεῖναι δὲ καὶ τῷ Ἀπόλλωνι ἄλλα ἐς Δελφούς.
τὰ δὲ ἐς Ὀλυμπίαν δύο τέ εἰσιν ἵπποι καὶ ἡνίοχοι δύο, ἑκατέρῳ τῶν ἵππων παρεστὼς ἀνὴρ ἡνίοχος· ὁ μὲν δὴ πρότερος τῶν ἵππων καὶ ὁ ἀνὴρ Διονυσίου τοῦ Ἀργείου, τὰ δεύτερα δὲ ἔργα ἐστὶν Αἰγινήτου Σίμωνος. τῷ προτέρῳ δὲ τῶν ἵππων ἐπίγραμμα ἔπεστιν ἐπὶ τῇ πλευρᾷ, τὰ πρῶτα οὐ σὺν μέτρῳ· λέγει γὰρ δὴ οὕτω· Φόρμις ἀνέθηκεν / Ἀρκὰς Μαινάλιος, νῦν δὲ Συρακόσιος. /
οὗτός ἐστιν ὁ ἵππος ὅτῳ καὶ τὸ ἱππομανὲς λόγῳ τῷ Ἠλείων ἔγκειται· δῆλα δὲ καὶ ἄλλως ἐστὶν ἀνδρὸς μάγου σοφίᾳ γενέσθαι τὰ συμβαίνοντα τῷ ἵππῳ. μέγεθος μὲν ἢ εἶδος ἵππων ἀποδεῖ πολλῷ, ὅσοι τῆς Ἄλτεως ἐντὸς ἑστήκασι, πρὸς δὲ ἀποκέκοπταί τε τὴν οὐρὰν καὶ ἔστιν ἐπὶ τῷ τοιῷδε ἔτι αἰσχίων· οἱ δὲ ἵπποι οἱ ἄρσενες οὔτι που τοῦ ἦρος μόνον ἀλλὰ καὶ ἀνὰ πᾶσαν ἐπʼ αὐτὸν ὀργῶσιν ἡμέραν.
καὶ γὰρ ἐσθέουσιν ἐς τὴν Ἄλτιν ἀπορρηγνύοντες τὰ δεσμὰ ἢ καὶ ἐκφεύγοντες τοὺς ἄγοντας καὶ ἐπιπηδῶσιν αὐτῷ πολλῷ δή τι ἐμμανέστερον ἢ ἐπὶ τὴν καλλίστην ἵππον ζῶσάν τε καὶ ἠθάδα ἀναβαίνεσθαι· ἀπολισθάνουσί τε δὴ αὐτοῖς αἱ ὁπλαὶ καὶ ὅμως οὐκ ἀπαγορεύουσι χρεμετίζοντές τε μᾶλλον καὶ ἐπιπηδῶντες μετὰ βιαιοτέρας τῆς ὁρμῆς, πρὶν ἂν ὑπὸ μαστίγων καὶ ἀνάγκης ἰσχυρᾶς ἀφελκυσθῶσι· πρότερον δὲ οὐκ ἔστιν ἀπαλλαγή σφισιν οὐδεμία ἀπὸ τοῦ χαλκοῦ.
καὶ ἄλλο ἐν Λυδίᾳ θεασάμενος οἶδα διάφορον μὲν θαῦμα ἢ κατὰ τὸν ἵππον τὸν Φόρμιδος, μάγων μέντοι σοφίας οὐδὲ αὐτὸ ἀπηλλαγμένον. ἔστι γὰρ Λυδοῖς ἐπίκλησιν Περσικοῖς ἱερὰ ἔν τε Ἱεροκαισαρείᾳ καλουμένῃ πόλει καὶ ἐν Ὑπαίποις, ἐν ἑκατέρῳ δὲ τῶν ἱερῶν οἴκημά τε καὶ ἐν τῷ οἰκήματί ἐστιν ἐπὶ βωμοῦ τέφρα· χρόα δὲ οὐ κατὰ τέφραν ἐστὶν αὐτῇ τὴν ἄλλην.
ἐσελθὼν δὲ ἐς τὸ οἴκημα ἀνὴρ μάγος καὶ ξύλα ἐπιφορήσας αὖα ἐπὶ τὸν βωμὸν πρῶτα μὲν τιάραν ἐπέθετο ἐπὶ τῇ κεφαλῇ, δεύτερα δὲ ἐπίκλησιν ὅτου δὴ θεῶν ἐπᾴδει βάρβαρα καὶ οὐδαμῶς συνετὰ Ἕλλησιν· ἐπᾴδει δὲ ἐπιλεγόμενος ἐκ βιβλίου· ἄνευ τε δὴ πυρὸς ἀνάγκη πᾶσα ἁφθῆναι τὰ ξύλα καὶ περιφανῆ φλόγα ἐξ αὐτῶν ἐκλάμψαι.
τάδε μὲν ἐς τοσοῦτο ἡμῖν δεδηλώσθω· ἔστι δὲ ἐν τοῖς ἀναθήμασι τούτοις καὶ αὐτὸς ὁ Φόρμις ἀνδρὶ ἀνθεστηκὼς πολεμίῳ, καὶ ἐφεξῆς ἑτέρῳ καὶ τρίτῳ γε αὖθις μάχεται. γέγραπται δὲ ἐπὶ τούτοις τὸν στρατιώτην μὲν τὸν μαχόμενον Φόρμιν εἶναι τὸν Μαινάλιον, τὸν δὲ ἀναθέντα Συρακόσιον Λυκόρταν· δῆλα δὲ ὡς οὗτος ὁ Λυκόρτας κατὰ φιλίαν ἀναθείη τοῦ Φόρμιδος. τὰ δὲ ἀναθήματα τοῦ Λυκόρτα καλεῖται Φόρμιδος καὶ ταῦτα ὑπὸ Ἑλλήνων.
ὁ δὲ Ἑρμῆς ὁ τὸν κριὸν φέρων ὑπὸ τῇ μασχάλῃ καὶ ἐπικείμενος τῇ κεφαλῇ κυνῆν καὶ χιτῶνά τε καὶ χλαμύδα ἐνδεδυκὼς οὐ τῶν Φόρμιδος ἔτι ἀναθημάτων ἐστίν, ὑπὸ δὲ Ἀρκάδων τῶν ἐκ Φενεοῦ δέδοται τῷ θεῷ· Ὀνάταν δὲ τὸν Αἰγινήτην, σὺν δὲ αὐτῷ Καλλιτέλην ἐργάσασθαι λέγει τὸ ἐπίγραμμα, δοκεῖν δέ μοι τοῦ Ὀνάτα μαθητὴς ἢ παῖς ὁ Καλλιτέλης ἦν. οὐ πόρρω δὲ τοῦ Φενεατῶν ἀναθήματος ἄλλο ἐστὶν ἄγαλμα, κηρυκεῖον Ἑρμῆς ἔχων· ἐπίγραμμα δὲ ἐπʼ αὐτῷ Γλαυκίαν ἀναθεῖναι γένος Ῥηγῖνον, ποιῆσαι δὲ Κάλλωνα Ἠλεῖον.
βοῶν δὲ τῶν χαλκῶν ὁ μὲν Κορκυραίων, ὁ δὲ ἀνάθημα Ἐρετριέων, τέχνη δὲ Ἐρετριέως ἐστὶ Φιλησίου· καὶ ἀνθʼ ὅτου μὲν οἱ Κορκυραῖοι τόν τε ἐν Ὀλυμπίᾳ καὶ ἕτερον βοῦν ἐς Δελφοὺς ἀνέθεσαν, δηλώσει μοι τὰ ἐς Φωκέας τοῦ λόγου, ἐπὶ δὲ τῷ Ὀλυμπίασιν αὐτῶν ἀναθήματι συμβῆναι τοιόνδε ἤκουσα.
παῖς μικρὸς ὑπὸ τούτῳ καθήμενος τῷ βοῒ ἐς τὸ κάτω νενευκὼς ἔπαιζεν· ἀνασχὼν δὲ ἐξαίφνης τὴν κεφαλὴν κατεάγη τε αὐτὴν πρὸς τὸν χαλκὸν καὶ ἐκ τοῦ τραύματος ἡμέραις ὕστερον ἀπέθανεν οὐ πολλαῖς. Ἠλεῖοι μὲν δὴ τὸν βοῦν ἅτε αἵματι ἔνοχον ἐβουλεύοντο ἐκκομίσαι τῆς Ἄλτεως· ὁ δὲ σφᾶς θεὸς ὁ ἐν Δελφοῖς κατὰ χώραν ἐᾶν τὸ ἀνάθημα καθάρσια ἔχρα ἐπʼ αὐτῷ ποιησαμένους, ὁπόσα Ἕλληνες ἐπὶ ἀκουσίῳ φόνῳ νομίζουσιν.
ἔστι δὲ ὑπὸ ταῖς ἐν τῇ Ἄλτει πλατάνοις κατὰ μέσον μάλιστά που τὸν περίβολον τρόπαιον χαλκοῦν καὶ ἐπίγραμμα ἐπὶ τοῦ τροπαίου τῇ ἀσπίδι, Ἠλείους ἀπὸ Λακεδαιμονίων ἀναστῆσαι. ἐν ταύτῃ τῇ μάχῃ καὶ τὸν ἄνδρα ἐπέλαβεν ἐκεῖνον ἀφεῖναι τὴν ψυχήν, ὃς τοῦ Ἡραίου τῆς ὀροφῆς κατʼ ἐμὲ ἀνασκευαζομένης ἐνταῦθα ὁμοῦ τοῖς ὅπλοις εὑρέθη κείμενος.
τῶν δὲ ἐν Θρᾴκῃ Μενδαίων τὸ ἀνάθημα ἐγγύτατα ἀφίκετο ἀπατῆσαί με ὡς ἀνδρὸς εἰκὼν εἴη πεντάθλου· καὶ κεῖται μὲν παρὰ τὸν Ἠλεῖον Ἀναυχίδαν, ἔχει δὲ ἁλτῆρας ἀρχαίους. ἐλεγεῖον δὲ ἐπʼ αὐτὸ γεγραμμένον ἐστὶν ἐπὶ τοῦ μηροῦ· Ζηνὶ θεῶν βασιλεῖ μʼ ἀκροθίνιον ἐνθάδʼ ἔθηκαν / Μενδαῖοι, Σίπτην χερσὶ βιασσάμενοι. / τὸ μὲν δὴ Θρᾴκιόν τι εἶναι τεῖχος καὶ πόλις ἔοικεν, ἡ Σίπτη· Μενδαίοις δὲ αὐτοῖς γένος τε Ἑλληνικὸν καὶ ἀπὸ Ἰωνίας ἐστίν, οἰκοῦσι δὲ ἀπὸ θαλάσσης ἄνω τῆς πρὸς Αἴνῳ πόλει.
Opposite the offerings which I have enumerated there are other offerings in a row: they face the south, and are close to the precinct which is consecrated to Pelops. Amongst them are the offerings dedicated by the Maenalian Phormis, who from Maenalus crossed over to Sicily to the court of Gelo, son of Dinomenes, and by distinguishing himself in the campaigns of Gelo, and afterwards of Gelo’s brother Hiero, attained to such wealth that he dedicated these offerings at Olympia, and others to Apollo at Delphi. The offerings at Olympia are statues of two horses and two charioteers, a charioteer standing by each of the horses. The first horse and man are by Dionysius the Argive, the second are by Simon an Aeginetan. On the side of the first of the horses is an inscription, the beginning of which is not in metre, for it runs thus :— Dedicated by Phormis, An Arcadian of Maenalus, but now a Syracusan. 2. This is the horse in which, according to the Eleans, resides the Hippomanes (‘that which makes horses mad’). Any one can see that the horse is under the influence of a magician’s art. In size and shape the horse is much inferior to all the other statues of horses in the Altis ; besides, its tail is cut off, and this makes it still uglier. But the stallions are at heat for it, not in spring only, but every day. For breaking their tethers, or escaping from their drovers, they rush into the Altis and leap on the statue much more madly than on the handsomest brood-mare. Their hoofs […] off, but nevertheless they keep whinnying more and more vehemently, and leaping on it with more and more violence till they are driven away by whips and physical force: till that is done they cannot leave the bronze statue.
I have seen another marvel in Lydia, different, indeed, from that of the horse of Phormis, but like it partaking of magic art. The Lydians, who are surnamed Persian, have sanctuaries in the cities of Hierocaesarea and Hypaepa, and in each of the sanctuaries is a chapel, and in the chapel there are ashes on an altar, but the colour of the ashes is not that of ordinary ashes. A magician, after entering the chapel and piling dry wood on the altar, first claps a tiara on his head, and next chants an invocation of some god in a barbarous and, to a Greek, utterly unintelligible tongue: he chants the words from a book. Then without the application of fire the wood must needs kindle and a bright blaze shoot up from it. So much for this subject. 4. Amongst these offerings is a statue of Phormis himself confronting an enemy, and in a row with it are two other statues of him fighting a second and yet a third foe. Inscriptions on them declare that the soldier who is fighting is Phormis the Maenalian, and that the statues were dedicated by Lycortas, a Syracusan. Clearly Lycortas dedicated them out of friendship for Phormis ; but these offerings of Lycortas are also called by the Greeks offerings of Phormis.
The image of Hermes carrying the ram under his arm, and wearing a helmet on his head, and clad in a tunic and cloak, is not one of the offerings of Phormis, but was presented to the god by the Arcadians of Pheneus. The inscription declares that the image is the joint work of Onatas the Aeginetan and Calliteles : I suppose Calliteles was a pupil or son of Onatas. Not far from the offering of the Pheneatians is another image, Hermes holding a herald’s staff: an inscription on it declares that it was dedicated by Glaucias of Rhegium, and made by Callon, an Elean.
Of the bronze oxen one is an offering of the Corcyraeans, the other of the Eretrians: the artist was Philesius an Eretrian. Why the Corcyraeans dedicated the ox at Olympia and another ox at Delphi will be shown in my description of Phocis. I was told the following story about their offering at Olympia. A little boy was sitting under the ox: he had stooped down and was playing. Suddenly lifting his head he broke it against the bronze image, and not many days afterwards he died of the wound. The Eleans took counsel to remove the ox from the Altis, on the ground that it was guilty of blood ; but the god at Delphi bade them to leave it where it was, but first to perform the same purification for the bull which the Greeks observe in the case of involuntary homicide.
Under the plane-trees in the Altis, just about the middle of the close, is a bronze trophy, and on the shield of the trophy is an inscription declaring that the Eleans erected it for a victory over the Lacedaemonians. It was in this battle that the man lost his life who was found lying in his armour when the roof of the Heraeum was being repaired in my time.
The offering of the people of Mende, in Thrace, very nearly deceived me into thinking that it was a statue of a pentathlete: it stands beside the statue of the Elean Anauchidas, and it has ancient leaping-weights. A couplet is inscribed on its thigh :— To Zeus, the king of the gods, as a first-fruit, here was I placed by The Mendeans when they conquered Sipte by force of arms. Sipte appears to be a Thracian fortress and city. The Mendeans themselves are a Greek stock from Ionia, and they dwell in a city that lies inland from the maritime town of Aenus.
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