There is no mention of musical contests previous to the third century B.C., when a certain Nicocles of Tarentum won six victories as kitharodos.[[364]] He claims apparently to have been the first victor in this competition, but the existence of musical competitions from the earliest days of the festival is rendered probable by the tradition that in mythical times Olympus was victorious in flute-playing, Orpheus on the lyre, Linus in song, and Eumolpus in singing to the lyre and the flute.[[365]] In Roman times there were numerous musical competitions. There must also have been poetical competitions. The poetess Aristomacha of Erythrae is stated to have won a prize at the Isthmia, and a pupil of Herodes won a prize for an enkomion.[[366]] During the Hellenistic age it seems probable that there were dramatic competitions held in connexion with the guilds of Dionysiac players, but these competitions must have disappeared under the Empire. Finally, Pliny asserts that at the Isthmus as at Delphi, a competition in painting existed in the time of Panaenus.[[367]]
The only evidence for the regatta is the statement that in mythical times the Argo won the boat-race at the Isthmus. The Isthmus was certainly a fitting place for such a race: there were boat-races at the Panathenaea, and the Athenian theoria came to the Isthmia in a ship. But we have no definite information on the point.
In Pindar’s time the Isthmian crown[[368]] was made of wild celery, dry celery, as the scholiast explains, to distinguish it from the fresh celery of which the Nemean crown was made. According to later writers the Isthmian crown was of pine leaves; the pine tree was sacred to Poseidon, and an avenue of pines lined the sacred road at the Isthmus. It seems not unlikely that the original crown was of pine leaves, and this practice was revived under the Empire. On the coins of Augustus and Nero the celery crown is still represented, while on those of Antoninus Pius and Verus, we see the inscription Ἴσθμια encircled by a crown of pine leaves[[369]] (Fig. [28]).
Fig. 30. Scene from Silver Vase (Fig. 29).
A scene connected with the Isthmian games occurs on a silver cup, which was part of an offering dedicated to Mercurius of Canetum by Q. Domitius Tutus (Figs. [29], [30]). To the left is a victorious athlete crowned, and holding in his hands a palm branch. Before him is a table on which stands a herm, to which he has dedicated a fillet and a crown, which curiously appears to be of oak leaves, not of pine or celery. Beyond the table is seated an Agonothetes; and a woman holding a torch stands next to him. In spite of the crown of oak, the identification of the scene with the Isthmia is rendered certain by the representation of the Acrocorinthus and Pegasus, to whom a nymph gives water from the fountain of Peirene.[[370]]
Fig. 31. Imperial coin of Argos, in British Museum (enlarged).
(3) The Nemea
Little is known of the history of the Nemean games. Their importance dates from the year 573 B.C., when they were re-organized as a Panhellenic festival. This year was reckoned as the first Nemead, and from this date the games were held regularly every two years in the deep-lying vale of Nemea, “beneath the shadeless hills of Phlious.” The presidency of the games belonged to the neighbouring town of Cleonae, until about the year 460 B.C. it was usurped by the Argives, and in spite of rival claims it remained in their hands ever afterwards. The control of a Panhellenic festival was of considerable political importance, and the Argives had no scruple in manipulating the sacred truce to their own interests. On more than one occasion, it seems, a Spartan invasion had been met by sacred heralds proclaiming the sacred truce.[[371]] At last, Agesipolis in 390 B.C. appealed to Olympian Zeus and Pythian Apollo for leave to disregard the fraudulent truce, and, having obtained their approval, marched through Nemea, and gave such a lesson to the Argives that they never again tried to shelter themselves behind the truce.