On the market-place is a votive offering, a bronze she-goat for the most part covered with gold. The following is the reason why it has received honors among the Phliasians. The constellation which they call the Goat on its rising causes continual damage to the vines. In order that they may suffer nothing unpleasant from it, the Phliasians pay honors to the bronze goat on the market-place and adorn the image with gold. Here also is the tomb of Aristias, the son of Pratinas.fl. c. 500 B.C. This Aristias and his father Pratinas composed satyric plays more popular than any save those of Aeschylus.
Behind the market-place is a building which the Phliasians name the House of Divination. Into it Amphiaraus entered, slept the night there, and then first, say the Phliasians, began to divine. According to their account Amphiaraus was for a time an ordinary person and no diviner. Ever since that time the building has been shut up. Not far away is what is called the Omphalos （Navel）, t
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,
e things worth seeing in Amyclae include a victor in the pentathlon,See Paus. 1.29.5. named Aenetus, on a slab. The story is that he won a victory at Olympia, but died while the crown was being placed on his head. So there is the statue of this man; there are also bronze tripods. The older ones are said to be a tithe of the Messenian war.
Under the first tripod stood an image of Aphrodite, and under the second an Artemis. The two tripods themselves and the reliefs are the work of Gitiadasc. 500 B.C.. The third was made by Gallon of Aegina, and under it stands an image of the Maid, daughter of Demeter. Aristander of Paros and Polycleitus of Argosc. 440 B.C. have statues here; the former a woman with a lyre, supposed to be Sparta, the latter an Aphrodite called “beside the Amyclaean.” These tripods are larger than the others, and were dedicated from the spoils of the victory at Aegospotami.
Bathycles of Magnesia,c. 550 B.C. who made the throne of the Amyclaean, dedicated, on the completi
mountain. These nymphs are said to have bathed Zeus here, after he was stolen by the Curetes owing to the danger that threatened from his father, and it is said that it has its name from the Curetes' theft. Water is carried every day from the spring to the sanctuary of Zeus of Ithome.
The statue of Zeus is the work of AgeladasSee also Paus. 6.8.6; Paus. 6.10.6; Paus. 6.14.11, where the athletes commemorated were victorious between the years 520 and 508 B.C. An inscription from Olympia （c. 500 B.C.; Inschr. v. Olymp., 631） mentions the slave or son of Hagelaidas the Argive. The Scholiast on Aristoph. Frogs 504, who calls Ageladas the master of Pheidias, states, however, that he was the artist who made the Heracles set up in Melite to commemorate the deliverance from the “great plague” （430-427 B.C. Cf. Pliny NH 34.49）. and was made originally for the Messenian settlers in Naupactus. The priest is chosen annually and keeps the image in his house.Cf. Paus. 7.24.4 They keep an annu