The distinguished athlete Theagenês is affirmed to have gained twelve hundred prizes in these various agônes: according to some, fourteen hundred prizes (Pausan. vi, 11, 2; Plutarch, Præcept. Reip. Ger. c. 15, p. 811). An athlete named Apollonius arrived too late for the Olympic games, having stayed away too long, from his anxiety to get money at various agônes in Ionia (Pausan. v, 21, 5). [130] See, particularly, the treaty between the inhabitants of Latus and those of Olûs in Krête, in Boeckh’s Corp. Inscr. No. 2554, wherein this reciprocity is expressly stipulated. Boeckh places this Inscription in the third century B. C. [131] Timæus, Fragm. 82, ed. Didot. The Krotoniates furnished a great number of victors both to the Olympic and to the Pythian games (Herodot. viii, 47; Pausan. x, 5, 5–x, 7, 3; Krause, Gymnastik und Agonistik der Hellenen, vol. ii, sect. 29, p. 752). [132] Herodot. viii, 65. καὶ αὐτῶν ὁ βουλόμενος καὶ τῶν ἄλλων Ἑλλήνων μυεῖται. The exclusion of all competitors, natives of Lampsakus, from the games celebrated in the Chersonesus to the honor of the œkist Miltiadês, is mentioned by Herodotus as something special (Herodot. vi, 38). It was thus that the simplicity and strict local application of the primitive religious festival, among the greater states in Greece, gradually expanded, on certain great occasions periodically recurring, into an elaborate and regulated series of exhibitions,—not merely admitting, but soliciting the fraternal presence of all Hellenic spectators. In this respect Sparta seems to have formed an exception to the remaining states: her festivals were for herself alone, and her general rudeness towards other Greeks was not materially softened even at the Karneia,[133] or Hyakinthia, or Gymnopædiæ. On the other hand, the Attic Dionysia were gradually exalted, from their original rude spontaneous outburst of village feeling in thankfulness to the god, followed by song, dance, and revelry of various kinds,—into costly and diversified performances, first, by a trained chorus, next, by actors superadded to it;[134] and the dramatic compositions thus produced, as they embodied the perfection of Grecian art, so they were eminently calculated to invite a Pan-Hellenic audience and to encourage the sentiment of Hellenic unity. The dramatic literature of Athens, however, belongs properly to a later period; previous to the year 560 B. C., we see only those commencements of innovation which drew upon Thespis[135] the rebuke of Solon, who himself contributed to impart to the Panathenaic festival a more solemn and attractive character, by checking the license of the rhapsodes, and insuring to those present a full, orderly recital of the Iliad. [133] See the remarks, upon the Lacedæmonian discouragement of stranger-visitors at their public festivals, put by Thucydidês into the mouth of Periklês (Thucyd. ii, 39).