[12,81] ἀέρα γὰρ ἢ πῦρ ἐργάσασθαι καὶ τὴν ἄφθονον πηγὴν ὕδατος {ἔν τισι θνητοῖς ὀργάνοις} ὅσον τε ἐν ἅπασι τούτοις στερεὸν ἕρμα· λέγω δὲ οὐ χρυσοῦ καὶ λίθου, ταῦτα μὲν γὰρ σμικρὰ καὶ φαῦλα, ἀλλὰ τὴν πᾶσαν ἰσχυρὰν καὶ βαρεῖαν οὐσίαν· ἰδίᾳ τε ἕκαστον διακρίνοντα καὶ συμπλέκοντα εἰς {ταὐτὸ} γένεσιν ζῴων καὶ φυτῶν, οὐδὲ θεοῖς πᾶσι δυνατὸν ἢ μόνῳ τούτῳ σχεδὸν ὃν πάνυ καλῶς ποιητὴς προσεῖπεν ἕτερος, Δωδωναῖε μεγασθενὲς ἀριστοτέχνα πάτερ.

[12,81] To work up air, at any rate, or fire, or the copious source of water, what tools possessed by mortal men can do that? These can work upon nothing but whatever hard residuary substance is held bound within all these elements. I do not mean gold or silver, for these are trivial and worthless things, but the essential substance, tough all through and heavy; and to select each kind of material and entwining them together to compose every species, both of animals and of plants—this is a thing which is impossible for even the gods, all except this God alone, one may almost say, whom another poet quite beautifully has addressed as follows : "Lord of Dodona, father almighty, consummate artist".

[12,82] οὗτος γὰρ δὴ πρῶτος καὶ τελειότατος δημιουργός, χορηγὸν λαβὼν τῆς αὑτοῦ τέχνης οὐ τὴν Ἠλείων πόλιν, ἀλλὰ τὴν πᾶσαν τοῦ παντὸς ὕλην. Φειδίαν δὲ ἢ Πολύκλειτον οὐκ ἂν εἰκότως ἀπαιτοῖτε πλέον οὐδέν, ἀλλὰ καὶ ταῦτα μείζω καὶ σεμνότερα τῆς ἡμετέρας χειρωναξίας.

[12,82] For he is indeed the first and most perfect artificer, who has taken as his coadjutor in his art, not the city of Elis, but the entire material of the entire universe. But of a Pheidias or of a Polycleitus you could not reasonably demand more than they have done ; nay, even what they essayed is too great and august for our handiwork.