[102] For Anios see Meineke, An. Alex. 16–17; Wentzel in Pauly-Wissowa Anios. Apollo taught him the mantic art and gave him great τιμάς: D.S. 5, 62, 2. He is called μάντις also by Clem. Al., Strom. i, p. 400 P. Perhaps he was also a mantic Hero in the cult that was paid to him at Delos; in giving a list of the δαίμονας ἐπιχωρίους, Clem. Al., Protr. ii, p. 35 P., mentions also παρὰ δ’ Ἠλείους Ἄνιον, which Sylburg corrected to παρὰ Δηλίοις. A priest of Anios ἱερεὺς Ἀνίου at Delos is given CIA. ii, 985 D 10; E 4, 53.
[103] D.S. 5, 63, 2. There she is identified with Molpadia, daughter of Staphylos. In that case ἡμιθέα would more probably be an adjectival title of a Heroine whose real name was unknown, like the names of the unknown Heroes mentioned above, [nn. 60]–2. The daughter of Kyknos of the same name is quite a different person.
[104] Plut., Agis, 9, cf. Cic., Div. i, 43. At Thalamai we hear of a dream-oracle of Ino in front of which was a statue of Pasiphaë: Paus. 3, 26, 1. This probably means, as Welcker, Kl. Schr. iii, 92, says, that the same oracle had once belonged to Pas., but had then been afterwards dedicated to Ino. (Not of course that Pasiphaë = Ino, and this is not suggested by W., but merely that Ino may have taken the place of Pas.) A μαντεῖον τῆς Πασιφίλης is also mentioned by Apollon., Mir. 49: see also Müller, FHG. ii, 288 [see Keller, Paradoxogr., p. 55, 15].
[105] Something of the kind seems to be suggested by Pi., P. viii, 57: I praise Alkmaion γείτων ὅτι μοι καὶ κτεάνων φύλαξ ἐμῶν ὑπάντασέ τ’ ἰόντι γᾶς ὀμφαλὸν παρ’ ἀοίδιμον μαντευμάτων τ’ ἐφάψατο συγγόνοισι [153] τέχναις. Those much-discussed words I can only interpret as follows. Alkmaion had a ἡρῷον near Pindar’s house: he could only be “Guardian of his possessions” if he were either the guardian spirit of his neighbour or if Pindar had deposited money for safe keeping in his temple—the custom is well known, see Büchsenschütz, Besitz in Cl. Alt., p. 508 ff. As Pindar was once thinking of going to Delphi “Alk. applied himself to the prophetic arts traditional in his family” (τέχναις to be connected with ἐφάψ., a construction common in Pind.): i.e. he made him a revelation in a dream—on what subject Pindar does not say—as was customary in the family of the Amythaonidai, though not generally undertaken by Alkmaion (elsewhere) who unlike his brother Amphilochos nowhere seems to have had a dream-oracle of his own. (It seems to be a mere slip when Clem. Al., Str. i, p. 400 P. attributes the Oracle in Akarnania to Alk. instead of Amphil.)
[106] Plu., Q. Gr., 40, 300 D.
[107] Thus no herald might approach the heroön of Okridion in Rhodes, Plu., Q. Gr., 27, 297 C. No flute-player might approach, nor the name of Achilles be mentioned in the heroön of Tenes at Tenedos, ib., 28, 297 D. How an old grievance of a Hero might be continued into his after-life as a spirit is shown by an instructive example given by Hdt. v, 67.
[108] Paus. 9, 38, 5. The fetters were no doubt intended in such cases to fasten the statue (as the abode of the Hero himself) to the site of his worship. Thus in Sparta an ἄγαλμα ἀρχαῖον of Enyalios was kept in fetters. About this the γνώμη τῶν Λακεδαιμονίων was that οὔποτε τὸν Ἐνυάλιον φεύγοντα οἰχήσεσθαί σφισιν ἐνεχόμενον ταῖς πέδαις, Paus. 3, 15, 7. Similar things elsewhere: Lob., Agl. 275; cf. again Paus. 8, 41, 6. The striking effect of the statue fastened to the rocks may then very well have given rise to the (aetiological) legend of the πέτραν ἔχον εἴδωλον.
[109] Hdt. vii, 169–70.
[110] Hdt. vii, 134–7.
[111] Sanctity of trees and groves dedicated to a Hero: Ael., VH. v, 17: Paus. 2, 28, 7; but esp. 8, 24, 7.