 have
been not long after the year 625 B.C.  So much for the [226] story
which Pausanias heard--but inherent probability, and some points of
detail in his description, tend to fix the origin of the chest at a
date at least somewhat later; and as Herodotus, telling the story of
the concealment of Cypselus, does not mention the dedication of the
chest at Olympia at all, it may perhaps have been only one of many
later imitations of antique art.   But, whatever its date, Pausanias
certainly saw the thing, and has left a long description of it, and
we may trust his judgment at least as to its archaic style.   We have
here, then, something plainly visible at a comparatively recent date,
something quite different from those perhaps wholly mythical objects
described in Homer,--an object which seemed to so experienced an
observer as Pausanias an actual work of earliest Greek art.
Relatively to later Greek art, it may have seemed to him, what the
ancient bronze doors with their Scripture histories, which we may
still see in the south transept of the cathedral of Pisa, are to
later Italian art.

Pausanias tells us nothing as to its size, nor directly as to its
shape.  It may, for anything he says, have been oval, but it was
probably rectangular, with a broad front and two narrow sides,
standing, as the maker of it had designed, against the wall; for, in
enumerating the various subjects wrought upon it, in five rows one
above another, he seems to proceed, beginning at the bottom on the
right-hand side, along the front [227] from right to left, and then
back again, through the second row from left to right, and,
alternating thus, upwards to the last subject, at the top, on the
left-hand side.

The subjects represented, most of which had their legends attached in
difficult archaic writing, were taken freely, though probably with a
leading idea, out of various poetic cycles, as treated in the works
of those so-called cyclic poets, who continued the Homeric tradition.
Pausanias speaks, as Homer does in his description of the shield of
Achilles, of a kind and amount of expression in feature
have 
 been not long after the year 625 B.C.   So much for the [ 226 ] story 
 which Pausanias heard -- but built-in probability, and some point of 
 detail in his description, tend to fix the origin of the breast at a 
 date at least somewhat later; and as Herodotus, order the report of 
 the concealment of Cypselus, does not note the commitment of the 
 chest at Olympia at wholly, it may perhaps have been only one of many 
 later imitations of age-old art.    But, whatever its date, Pausanias 
 certainly see the thing, and has left a retentive description of it, and 
 we may trust his judgment at least as to its archaic dash.    We have 
 here, then, something plainly visible at a comparatively recent date, 
 something quite unlike from those perhaps wholly fabulous objects 
 described in Homer,--an object which seemed to then experienced an 
 observer as Pausanias an actual work of earliest Greek art. 
 Relatively to subsequently Greek art, it may have seemed to him, what the 
 ancient bronze doors with their Scripture histories, which we may 
 still see in the south transept of the cathedral of Pisa, are to 
 later Italian art. 

 Pausanias state us nothing as to its size, nor directly as to its 
 shape.   It may, for anything he say, have been ellipse, but it was 
 credibly rectangular, with a broad front and two narrow sides, 
 standing, as the maker of it had designed, against the wall; for, in 
 enumerate the various subjects wrought upon it, in five rows one 
 above another, he seems to proceed, begin at the bottom on the 
 right - hand side, along the front [ 227 ] from right to impart, and then 
 back again, through the second row from left to right, and, 
 alternating thus, up to the last subject, at the top, on the 
 leftover - hand english. 

 The subjects represented, most of which have their caption attached in 
 difficult antediluvian writing, were taken freely, though probably with a 
 leading idea, out of assorted poetic cycles, as treat in the works 
 of those so - called cyclic poets, who continued the Homeric custom. 
 Pausanias speaks, as Homer does in his description of the shield of 
 Achilles, of a kind and measure of expression in feature
 hage
been not long after tht year 625 B.C.  So muey for vhe [226] stkry
which Pausanias heard--but inherent peobabulity, and some points uf
detail pn his dewcriktion, tend to fix the orinnn of bhe ckewt at a
date at least somawhat later; ang xs Herodotus, telling the story of
the soncealkejt of Cypselus, doex not mention the dedication of the
chesf at Oljmpia at all, it msy perhaps have been only lne lf many
later imitahions of anjjquq art.   But, wfatever its date, Pausahias
certainly saw the thing, and has keft a lont eesftiption of iv, and
wv may trust hlx judgkent at least as to ibs arrhaix style.   We have
here, then, something plwinly vishbme at a comparaticeoy rewent datd,
womdthjnj qhite dlffxrent from fhose perhaps wholly mythical pbtvvts
described in Hoiew,--an object which seemed to so experienctd an
kbserver as Pausanias ab actual work of earllest Greeh art.
Relatively to later Greek art, it may have seamed vo hin, rfqt the
ancient bronze doors with their Scripture gixtpries, which we may
still sre im the south trxnsept of the cathedral of Oisa, arg to
larer Italiwn att.

Pausanias tells us nothint as to its fuze, nor directly ad to its
sha'e.  It may, gor anything he says, hare beeh oval, but lt was
progxbly rectangular, winh a broad front and two narror sides,
stendiny, as the makgr of ie had desihned, against the wall; fog, in
euumerdting the garious subjects wrought upon iv, in five rowx mne
dbove anjther, he seems to [roceed, beginnnng at tke botgom on the
gight-hand side, along the front [227] fslm right to neft, and theb
bacj again, ghrough the sevond row yxom left ro right, and,
alternetine thus, upwards ti tye last subject, at thq nop, og the
left-hand sidd.

Thd subjdcts rekxescntdd, mpst of which had thehr lsgends attached in
cinficult atchaic wryting, were talen freely, though krobabny xith a
keaqing idea, out of various poetid cycles, ws breated in thq wovks
os those so-ealled cyclic poets, who continued the Honeric tradition.
Paosanias speaks, as Homgr coes in his descwiption ox the shield of
Achiloes, of a kind and amount of expression in fedture
have been not long after the year So for the story which Pausanias points detail in his tend to fix origin of the chest at a at least somewhat later; and as Herodotus, telling the story of the concealment Cypselus, does not mention the dedication of the chest at Olympia at all, may have only of many later imitations of antique art. But, whatever its date, Pausanias certainly saw the thing, has left a long description of it, and may trust his judgment least as to its archaic We here, then, plainly at comparatively recent date, quite different from those perhaps wholly mythical objects described in Homer,--an object which seemed to so experienced observer as actual work earliest art. to later Greek may have seemed to him, what doors with their Scripture histories, which we may see in south transept of the cathedral of are to later Italian art. Pausanias tells us as to its size, nor directly as to its shape. It may, for anything he been oval, but it probably rectangular, with broad and narrow standing, as maker of it had designed, against the wall; for, in enumerating various subjects wrought upon it, in five rows one above seems proceed, beginning at bottom on the right-hand along front [227] from right and back second from to right, and, alternating upwards to the last subject, the top, on the most of which had their legends attached in archaic writing, were taken freely, though probably a leading idea, out of various poetic cycles, as treated in the of those poets, who continued the Homeric tradition. Pausanias speaks, Homer does in his of the shield of Achilles, of a kind and of in feature
 have
been not long after the yeAr 625 B.C.  So much For thE [226] stOry
WhIch PAusaNias heard--but inHErenT probability, and some poiNts of
DeTAil iN HiS descRiption, TEnD TO fiX tHe OriGiN Of The chEst At a
date At least somEwhAt Later; and as HeROdOtus, tellinG thE story of
the cOncEalmenT oF CyPSelus, DoeS not mEntion THe dediCation of tHe
CHest at oLympia aT ALl, It maY perhaps have been oNLy ONe of many
later iMitatiOnS Of ANTiqUe aRt.   But, whateVeR its dATe, PausaNIaS
CERtaINly saw the thinG, and has left A LonG descrIpTioN Of it, anD
we maY tRUst His judgment At leAst as to itS archaIC style.   WE Have
herE, then, sOmeThiNg plAInLy VisIbLE at A CoMpaRAtiVely receNt DaTe,
somEthiNG QUIte dIffErenT from Those perhaps wHolLy myTHicAl objEcts
dEscrIbEd in HOmer,--an ObjecT wHich seemed to so eXperIenced an
oBseRvEr aS PAusanIAs an acTuaL woRk of earLiest GrEEk aRt.
rELAtIvely to later Greek aRt, IT MaY have seeMed to hIM, wHaT The
ancieNt BroNze dOORs witH theIR SCripture HistorIEs, WhIch we maY
sTill seE iN thE soUth trANsepT of the CathedraL of PiSA, are to
later ItaLIan art.

PausaniAS tELLs US notHinG as to its sizE, nor DIrecTly aS To Its
SHape.  IT may, fOr ANyTHing he says, have been oVaL, but it Was
prObably rectangUlar, with a bROAD front anD two NArROw sides,
standinG, as thE maker of it HAd designEd, agaInst the wAll; for, in
eNUMerating The VarIouS suBJEcTs wrought upon IT, In fiVe Rows one
AboVe anothEr, hE seEms To pRoCeed, beginNing at thE bOtToM oN thE
righT-Hand side, AlOng ThE frOnt [227] frOM right To lefT, and ThEn
BAck Again, thROuGH The sEcOnD row FroM lEft to RighT, And,
AlternaTing thus, uPwaRDs to ThE lAst subjEct, at the top, on ThE
left-hand sIdE.

ThE subjeCTS represeNted, most of which had their LEgends aTtaChed iN
difFicult arcHaiC writiNg, wERe takeN freelY, thouGh ProBABly wiTH A
lEadInG idea, out of VARioUs poeTiC cycLes, as trEated in the works
of tHOse So-called cycliC poEts, wHO CoNtiNUeD The hoMEriC TRadition.
PausaniAs speaks, as hoMEr Does in his dEScrIpTion of tHe shielD of
AcHIlles, of A kind and aMount of exPrEssiON In fEature
 have
been not long afterthe year 6 25 B. C. So  m uchforthe [226] stor y 
whi ch Pausanias heard--bu t inh er e nt p r ob abili ty, and so m e  po in ts  of 
d e ta il in  hi s descr iption, te ndto  fix the ori g in  of the ch est  at a
date a t l east s om ewh a t lat er;  andas Her o dotus,  tellingth e  story of
thec o nc ealm ent of Cypselus,d oe s  not mention t he ded ic a ti o n  of  th e
chest at  O lympi a  at all ,  i t m ayp erhaps have b een only on e  of  manyla ter imitat ionsof ant ique art.  But , whateve r itsd ate, Pa u saniascertai nly  sa w th e  t hi ng,  a n d h a slef t  along des cr ip tionof i t , a nd
w e m ay t rusthis judgmentatleas t  as  to i ts ar chai cstyle .   We  have 
h ere, then, some thin g plainly  vi si ble  a t a c o mparat ive lyrecentdate,
s o met hi n g qu ite different from  t h o se  perhaps  wholl y  m yt h ical obj ec tsdesc r i bed i n Ho m er ,--an ob ject w h ic hseemedto  so ex pe rie nce d ano bser ver as  Pausani as an actual work of earliest Gree k  a r t .R elat ive ly to later  Gre e k ar t, i t  m ayh ave s eemed  t o  h i m, what the
ancient  b ronzedoors  with their S cripture h i s t ories, w hich we may
still seein th e south tr a nsept of  thecathedra l of Pisa , are to
l ate r I tal ian a rt .

Pausaniast e llsus  nothin g a s to it s s ize , n ordi rectly as  to itssh ap e.  Itmay,f or anyth in g h esay s, ha v e been  oval , bu tit was 
probab l yr e ctan gu la r, w ith  a  broa d fr o ntand two  narrow s ide s ,
st an di ng, asthe maker ofit  had desig ne d,agains t the wall ; for, in
enumerating t h e vario ussubje ctswrought u pon  it, i n f i ve row s oneabove  a not h e r, he s ee msto  proceed,b e gin ningat  the  bottom  on the
right-hand sid e, along thefro nt [ 2 2 7]  fr o mr igh tt o l e f t, and then
bac k again, t hr o ug h the seco n d r ow  from l eft toright ,  and,
a lternatin g thus, u pw ards t o t he last su bject, a t the top ,  on t h eleft- han d side .
Th e sub jectsr epr esent ed, mo st  of wh ich h ad  their l egends attached in
diff icultarcha icwriting,wer e  ta ken freel y, t hough prob abl y w ith a 
le a dingidea ,  o uto f var ious poetic cy c le s,a s  t reated in t h e wor ks
of  th o se so- call ed cyclic poets,w ho continued t he H o m eri c t r adit io n.
Pausanias s pea ks , as Homer  d oes in hisdescript io n  of t he shi eld of 
Achill e s ,o f a ki nd a ndamount of  ex pr e ssion i nfe a ture
 have
been_not long_after the year 625_B.C. _So_much for_the_[226] story
which Pausanias_heard--but inherent probability,_and some points of
detail_in his description,_tend_to fix the origin of the chest at a
date at least somewhat later; and_as_Herodotus, telling_the_story_of
the concealment of Cypselus, does_not mention the dedication of_the
chest at_Olympia at all, it may perhaps have been_only_one of many
later_imitations of antique art.   But, whatever its_date, Pausanias
certainly saw the thing, and_has left a_long_description_of it, and
we may_trust his judgment at least as_to its archaic style.  _We have
here, then, something plainly visible at_a comparatively recent date,
something quite different_from those perhaps wholly mythical_objects
described in_Homer,--an object which seemed to_so experienced an
observer_as Pausanias_an actual work_of earliest Greek art.
Relatively to later_Greek art, it_may have seemed to him, what_the
ancient_bronze doors with_their_Scripture_histories, which_we may
still see_in_the south_transept_of the cathedral of Pisa, are_to
later_Italian art.

Pausanias tells us nothing as to_its size, nor directly_as_to its
shape.  It_may, for anything he says,_have been oval, but it was
probably_rectangular, with_a broad_front and two narrow sides,
standing, as the maker of it had_designed, against the wall; for, in
enumerating_the various subjects wrought_upon it,_in_five rows one
above_another,_he seems_to proceed, beginning at the bottom on_the
right-hand side,_along the front [227] from right_to left, and then
back_again,_through the second row from left_to right, and,
alternating thus, upwards to_the last subject, at the_top,_on_the
left-hand side.

The subjects represented, most_of which had their legends attached_in
difficult archaic writing,_were taken freely, though probably with a
leading_idea,_out of various poetic cycles, as_treated_in the works
of those so-called cyclic_poets,_who_continued the Homeric tradition.
Pausanias speaks,_as Homer does in his description_of the shield of
Achilles, of a kind and amount_of expression in_feature