Though as a festival the Pythia were second only to the Olympia, it may be doubted whether from a purely athletic point of view they equalled in importance the Nemea or even the Isthmia. The Peloponnese was, as we have seen, the real home of Greek athletics, and, moreover, musical competitions seem always to have held the chief place at Delphi, as was but fitting in the precinct of Apollo. The chief event in the musical programme remained throughout all time the ancient Hymn to Apollo, sung to the lyre (κιθαρωδία), recounting his victory over the Python. Chrysothemis, Philammon, and Thamyris were among the legendary victors in this competition, which was said to have been won in the seventh century four times in succession by Terpander of Lesbos. In 582 two competitions were added: one in singing to the flute (αὐλωδία)—a competition which was, however, at once discontinued—and a solo on the flute, which, like the ancient hymn, represented the various phases in the contest between Apollo and the Python. This was the celebrated Pythian nome. The prize was won in 582, and on two subsequent occasions, by Sacadas of Argos; and Pythocritus of Sicyon is credited with no less than six successive victories, probably at the close of the sixth century. Pindar’s twelfth Pythian ode was written to celebrate the victory of Midas of Agrigentum in flute-playing. The musical programme was completed in 558 B.C. by the introduction of a competition in playing on the lyre, of a somewhat similar character. The first winner was Agesilaus of Tegea. Under the Empire dramatic and poetical competitions took place at the Pythia; but we cannot say whether they existed at an earlier date. If we may trust Pliny’s[333] statement, there must have been a competition in painting in the fifth century; for he tells us that Timagoras of Chalcis defeated Panaenus, the brother or nephew of Pheidias.