Of these diskoi No. 1 is ornamented with concentric circles and bears on one side a dedication by the Corinthian pentathlete Publius Asclepiades, on the other side the name of the alytarch. The difference in the date, which is given respectively as Ol. 255 and 456, has been already explained.[567] From its style and weight it is probable that it was purely a votive offering and was never intended for use. Nos. 9 and 11 are of cast bronze, engraved on one side with the figure of a jumper, on the other with that of a javelin-thrower (Fig. 72). The engraving belongs to the best period except that of the javelin-thrower on the British Museum diskos, which, if not actually spurious, is probably a late addition. Though in weight and size they approximate closely to Nos. 8 and 10, their flatness and the sharpness of their edges makes it doubtful if they were ever actually used. No. 11 is also ornamented with concentric circles. No. 3 had originally an inlaid dolphin, possibly of silver. No. 12 is of lead and has probably lost considerably in weight. No. 15, which is very badly worn, must also have been considerably heavier (Fig. 73). It bears the following inscription in archaic letters of the sixth century:[568] “Exoïdas dedicated me to the twin sons of Great Zeus, the bronze diskos wherewith he conquered the high-souled Cephallenians.” The dimensions of the diskos as represented in art correspond with those given in our table. On the vases, too, the diskos is often ornamented with concentric circles, as in Nos. 1 or 2, or with various forms of crosses and dots; while the dolphin on the diskos from Gela has its counterpart in the owl, the symbol of Athens, which is frequently depicted on Attic vases.[569] When not in use, the diskos was kept in a sort of sling, the two ends of which were tied in a knot. In such a sling the diskos is often represented hanging on the wall or carried in the hands of some youth (Fig. 17). [Illustration: Fig. 73. Diskos of Exoïdas. British Museum, 3207.]