In the same temple where that chest was placed, there were statues, altars, treasures, and vases innumerable. However, there is but one more that I shall notice on account of the fitness of the figures that adorned it. It was the table of gold and ivory upon which the crowns of the victors in the Olympic games were placed, and was the work of Colotes, who, like his master Phidias, was a painter as well as a sculptor. That is, they both of them designed, and sometimes carried on their drawings, so far as to make them real monochrome pictures[87]. This appears to have been sometimes done as a preparation for working in relief, as on the famous shield of Minerva, designed by Pantænus the brother of Phidias. On the front of the table or altar were the six greater gods more particularly patrons of the games; namely, Cybele, Juno, Jupiter, Mercury, Apollo, and Diana. On the back the Olympic games were carved or inlaid--it is not very clear which, as the word used is only _representation_--and we know there were both carving and inlaying in the chest. One side contained a battle under the direction of Mars; and close by, were Esculapius and Hygeia; the other side was filled by Pluto, Proserpine, Bacchus and two nymphs, one of whom held a globe, the other a key: both symbolical of the mastery of Pluto or death over the world. The earliest names of Greek painters, discovered by the indefatigable Pliny, are those of Dynas, Hygiænon, and Charmas. What their works might be we can scarcely conjecture; for it is accounted a great improvement that after them Eumanus the Athenian distinguished man from woman in his figures[88], and undertook to draw any object he could see; and Cimon the Cleonian proceeded so far as to place his figures in different positions, and to give the proper direction to the eyes. These all preceded Bularchus, whose picture of the battle of the Magnetes must have very far surpassed the works of those artists. It was esteemed so highly, that Candaules, the last King of Lydia, of the race of the Heraclidæ, bought it at a very high price--it is reported, at its weight in gold--and regarded it as a treasure. This was about the eighteenth Olympiad, or nearly 730 years before our era. If the description given by Lucian of the picture in the temple of Diana in Taurica, and which he ascribes to some very ancient unknown painter, be anything but imaginary, it must have been painted about this time[89]. In the half century after Bularchus, the arts of design, and especially painting, had made large and rapid progress. Somewhere about the eightieth Olympiad, or between four and five hundred years before Christ, prizes for painting were instituted at Delphi and at Corinth; and we find Pantænus, the brother of Phidias, contending at Delphi with Timagros, among the first of the exhibitors for the prize.