“All sorts of suffering and endless bloodshed having taken place recently throughout Asia, Europe, the Libyan hordes, the island cities, I publish to the Greek world, without breach of trust, a ‘History of our own Times,’ in order that my countrymen may learn, by my means, what hosts of evils arise from political charlatanry and financial greed, quarrels in a nation, and acts of treachery, and so, by the recital of other people’s miseries, may, without pain or grief to themselves, put their own lives in order, as occasions arise.”
It is somewhat interesting to find the Boule of Epidauros thus doing special honour to a historian, and at the same time warning the Greek people against those political faults to which the nation was specially prone. The governing bodies of our health resorts do not show so large-minded an appreciation of letters or of political morals.[6]
A number of the later inscriptions are in honour of distinguished Romans.
There are numerous inscriptions regarding laws, or judicial decrees. Others, again, refer to the contests of the Stadium, while another and especially voluminous class relates to the construction of the temples and other buildings. In addition to the names of the architects and contractors, and the sums paid, these records contain many interesting details, e.g., the statement that the pediment groups and acroteria on the temple of Asklepios were cut in marble by Hektoridas and another artificer, from models designed by the great sculptor Timotheus, the artist who, along with Scopas, designed parts of the mausoleum of Halicarnassus.
The minute details concerning the building of the Tholos, the amounts paid for marble and other materials, the names of architects and contractors, the report of the commissioners who inspected the work, and who formed a sort of lay buildings committee; their journeys to Athens, Corinth, Megara, and other places in quest of material, workmen, etc., the exact sums expended on these journeys, and other details, are curious and interesting. One can only regret that no hint is given of the use and purpose of the building on which so much care and thought were expended.
I might occupy much time in showing and describing the scores of sculptured votive tablets which have been recovered. In most, of course, the figure of Asklepios has been destroyed or damaged by the iconoclastic zeal of the early Christian.
PLATE XXXIII—Group of Suppliants approaching Asklepios and his Family[7]
In [Plate XXXIII] an almost uninjured example is shown. A group of four suppliants with their children approach the god, who leans on his staff with entwining serpent. Behind Asklepios is seen the head of (probably) his wife Epione, then come Machaon and Podalirius, his sons, then, probably Hygieia, Panakeia, and Iaso, his daughters. The whole Asklepian family are of heroic stature.
Every fourth year a great festival was held at the Hieron, the Megala Asklepieia, at which athletic contests, races, processions, music, plays in the theatre, holy (perhaps also unholy) vigils, lasting all night (especially if the Thracian Kotyttia were enacted in the portico of Kotys), gorgeous rites, sacrifices, decoration of the temples and precincts, together with feasts, took place. Most probably the priests would arrange for the performance of a few miracles. Other festivals were also held, as the Megala Apolloneia.