[68] V, 17.5–19.10. The description of the throne (P., III, 18.9 f; cf. Apollodoros, I, 9.28) is merely summary, as Pausanias only mentions the games represented on it without describing them in detail.
[69] The best reconstruction of the scenes on the chest is by H. Stuart Jones: J. H. S., XIV, 1894, pp. 30–80 and Pl. I (repeated by Frazer, III, Pl. X, opp. p. 606). See also Robert, Hermes, XXIII, 1888, pp. 436 f.; Pernice, Jb., III, 1888, pp. 365 f.; Studniczka, Jb., IX, 1894, pp. 52 f., n. 16; Collignon, I, pp. 93–100; Furtw., Mw., pp. 723–32.
The best attempt to reconstruct the scenes on the throne is by Furtwaengler: Mw., fig. 135, opposite p. 706; text, pp. 689–719; cf. the best of the older attempts by Brunn, Rhein. Mus., N. F., V, 1847, p. 325; id., Kunst bei Homer, pp. 22 f.; id., Griech. Kunstgesch., 1893, I, pp. 178 f. Cf. also Klein, Arch.-epigr. Mitt. aus Oesterr.-Ungarn, IX, 1885, pp. 145 f.; against Klein, see Pernice, as above, p. 369. Cf. Collignon, I, pp. 230–2; Murray, I, pp. 89 f.
[70] If we followed Pausanias’ account that this was the very chest made to save the infant Kypselos, father of Periandros and future tyrant of Corinth, and that it was dedicated at Olympia by the Kypselid family (for the story, see Hdt., V, 92), the chest would belong to the eighth century B. C., and must have been dedicated before 586–5 B. C., when the Kypselid dynasty ended at Corinth; see Busolt, Griech. Gesch.,2 I, pp. 638 and 657. However, the chest at Olympia had nothing to do with the legendary one, but was merely a richly decorated offering to the gods, the work of a Corinthian artist of the end of the seventh or beginning of the sixth century B. C., and one who knew the epic poems well.
[71] Vasen, 1655; Perrot-Chipiez, IX, p. 637, fig. 348 (departure of Amphiaraos); p. 639, fig. 349 (chariot-race); Gardiner, p. 29, fig. 3; Frazer, III, p. 609, fig. 77; Baum. I, fig. 69; and see Robert Annali, XLVI, 1874, pp. 82 f.; Mon. d. I., X, 1874–1878, Pls. IV, V. The discovery of this vase at Cerveteri (Caere) in 1872 proved the Corinthian workmanship of the chest.
[72] Micali, Monumenti per servire all’historia degli antichi popoli Italiani2, 1833, Pl. XCV; described by Jahn, Archaeol. Aufsaetze, pp. 154 f. (quoted by Frazer, III, p. 610). For scenes representing the departure of Amphiaraos and a four-horse chariot-race, see also an Attic-Corinthian vase in Florence: Perrot-Chipiez, X, pp. 109 and 111, figs. 78, 79 ( = Thiersch, Tyrrhenische Amphoren, Pl. IV); the latter also gives us the oldest representation of a Greek stadion.
[73] A. Z. XLIII, 1885, Pl. VIII; Gardiner, p. 30, fig. 4 (one side).
[74] Cited by Gardiner, pp. 30–31; Inghirami, Mon. Etr., 1821–1826, III, 19, 20; Schreiber, Bilder-atlas, Pl. XIII, 6; M. W., I, Pl. LX, fig. 302b.
[75] Reproduced by Gardiner, p. 21, fig. 2.
[76] Cf. on this topic, Gardiner, pp. 31–2; cf. B. S. A., XXII, 1916–18, p. 86, where, in speaking of the disputed origin of the custom of funeral games, he says: “It is at least conceivable that it originated from different causes in different places and among different peoples.”