[1843] Anaxilas of Rhegion, whose victory fell sometime between Ols. (?) 70 and 76 ( = 500 and 476 B. C.), and was celebrated by Simonides, frag. 7 (= P. l. G., III, p. 390); Agesias of Syracuse, whose victory fell Ol. (?) 77 ( = 472 B. C.), and was celebrated by Pindar, Ol., VI; and Psaumis of Kamarina, whose victory, falling Ol. (?) 81 ( = 456 B. C.), was sung by the pseudo-Pindar, Ol., V (= P. l. G., I, pp. 109 f.); he also won in the chariot-race in Ol. (?) 82 ( = 452 B. C.), a victory sung by Pindar in Ol., IV. See Foerster, nos. 173, 210, 234, and 238.
[1844] Inschr. v. Ol., 220, 221; Foerster, 601.
[1845] The corrupt text of Africanus is here corrected by Gelzer, S. Jul. Afr. und die byzant. Chronographie, 1880, I, pp. 168 f. Gardiner, p. 165, n. 3, wrongly gives the victory of Germanicus as Ol. 194, thus confusing it with that of Tiberius.
[1846] Foerster, 642–647.
[1847] Ol. 208 ( = 53 A. D.); Foerster, 634.
[1848] Most of the gems representing such contests, however, refer to the Roman circus.
[1849] For illustrations of the two, see Dar.-Sagl., I, 2, pp. 1636 f., figs. 2203 f., and cf. Gardiner, pp. 458 f.; an excellent illustration of a four-horse chariot and driver is seen on an Attic-Corinthian goblet (dinos) in the Louvre: Perrot-Chipiez, X, Pl. II, opp. p. 116; also several at rest and racing on the François Vase: Perrot-Chipiez, X, p. 141, fig. 93, p. 154, fig. 101 (= Furtw.-Reichhold, Griech. Vasenmalerei, 1904–1912, Pls. III, 10, and XI-XII.).
[1850] Von Mach, no. 5.
[1851] See, e. g., P. Gardner, Sculptured Tombs of Hellas, 1896, figs. 18–20.
[1852] C. Smith, B. S. A., III, 1896–7, pp. 183 f., dates these prize amphoræ from the middle of the sixth to the close of the fourth centuries B. C., as the last of the series is dated 313 B. C. In this article he publishes a mosaic found on Delos (Pl. XVI, a) and dating from the early second century B. C., which reproduces a Panathenaic amphora with an illustration of a chariot-race—the latest date at which either a prize-amphora (or picture of one) can be proved to have been used. He believes (p. 187) that it is the representation of an amphora won long before by the ancestor of the owner of the mosaic, carefully preserved in his family.