The Prytaneum of the Eleans, trustees of the land and of the games, was enclosed within the Altis at the northwest corner of the Heræum. It was built over in Roman times, but the Greek structure beneath seems to have been of very early date. Here were sung ancient songs in the Doric dialect, and here, in the banquet-hall, the Olympic victors were feasted. Next in historic order come the remains of a row of twelve treasuries, ranged along close to the Kronos hill from the Heræum to the Stadium entrance. They are ascribed to the sixth century B. C. or, in the case of part of the most easterly one, to the beginning of the fifth century. These little buildings are of great architectonic and historic import. Half of them were dedicated by communities from over the seas; five by Italian and Sicilian Greeks. The fragments from the treasury of Selinus recall at once the archaic temples and sculpture on the shore of Sicily that faces Carthage. The Syracusan Treasury was re-named “Carthaginian” by reason of spoils, taken by the Syracusans from their Punic enemies in the battle of Himera and placed here to unite at this common shrine the victors of Salamis with their brothers in the west. In the fifth century B. C. the flush of victory at Salamis not only lit up the Acropolis at Athens but spread to this green valley in Elis. The great Zeus temple was built. Its pediments, as we have already seen, were adorned with sculptured myths appealing at once to local pride and to wider Hellenic patriotism. In the eastern gable Zeus stood upright as arbiter in the chariot contest of Pelops; in the western gable the archaic yet majestic Apollo appeared as the defender against the Centaurs, the barbarian invaders. To emphasize the honour due to Athens there was painted on the throne within the temple a representation of Pirithöus, the bridegroom of Hippodameia, and his friend, the Athenian Theseus. The victories over the Persians were again symbolized by the contest between Theseus and the Amazons wrought upon the footstool of the seated god, and, as if to put the meaning beyond all doubt, here too were Greece and Salamis personified, the latter holding in her hand the figurehead of a ship. The metope sculptures represented the labours of Heracles who, as founder of the games, typified to patriot and athlete bodily powers and indomitable will. The cella of the temple was reserved for the great gold-ivory statue of Zeus, who was seated while others stood. Phidias established his workshop by the sacred enclosure and wrought. And the result of his handiwork was a world’s wonder for long centuries. Into his creation were breathed Homeric dignity, Attic beauty, and Hellenic pride. Dio Chrysostom in the first century of the Christian era could say of it: “Methinks that if any one who is heavy-laden in mind, who has drained the cup of misfortunes and sorrows in life, and whom sweet sleep visits no more, were to stand before this