likely that, as the oil was collected every year by the archons, the inscription merely records the name of the archon who collected the oil. On two vases we also find the name of the vase-painter.[422] [Illustration: Fig. 37. Panathenaic amphora, in British Museum, B. 144. Sixth century.] The scene on the reverse usually represents the actual contest. Occasionally the name of the event is added. On some of the sixth-century amphorae, made perhaps before the tradition was absolutely fixed, the painter seems to have allowed himself more licence in his choice of subject. Thus a British Museum amphora represents the proclamation of a victory in the horse-race (Fig. 37). The victorious youth is mounted on his horse, and in front of him stands a herald in full official robes, from whose lips issue the words: “The horse of Dyneicetus is victorious”: ΔΥΝΕΙΚΕΤΥ: ΗΙΠΠΟΣ: ΝΙΚΑΙ. Behind the rider an attendant bears a wreath and a tripod: we often hear of tripods as prizes; perhaps in early days they may have been given as prizes at the Panathenaea. On another amphora in the British Museum (Fig. 38) a seated athlothetes binds a fillet of wool on a youthful victor’s head. The latest of the signed vases has a more fanciful representation of victory.[423] Two naked youths have just received palm branches from an athlothetes, by whom a herald stands. One of the youths is standing still, the other, who is perhaps a victor in the foot-race, runs off joyfully. Occasionally the reference to the contest is more obscure. For example, on one early Panathenaic vase in the British Museum the battle of the Giants is depicted, on another an acrobatic scene[424] (Fig. 39). The Athenians were intensely fond of acrobatic performances, and, as we know from the story of Hippocleides,[425] even high-born Athenians did not disdain to acquire proficiency in them. The scene is certainly in keeping with all that we know of Athenian festivals, where such side-shows must have been common. Are we, however, to suppose that a sacred prize amphora was actually given as a prize for acrobats? or was this a special mark of honour bestowed on some popular acrobat, like the statue erected at a later age at Athens in honour of a professional ball-player? Perhaps the simplest course is to regard the vase as an imitation Panathenaic amphora. It was found at Camirus in Rhodes, and its provenance, its general character, and the absence of the usual inscription render this explanation probable.[426] Imitation Panathenaic amphorae are numerous: many of them bear representations of musical contests for which, in Aristotle’s time at least, a different prize was given. There are also numerous small amphorae, the object of which is uncertain. Were they prizes for boys’ events, or second prizes? These are some of the numerous questions with regard to these interesting vases which still await solution. [Illustration: Fig. 38. Panathenaic amphora, in British Museum, B. 138. Sixth century.]