5.17.1 These things, then, are as I have already described. In the temple of Hērā is a statue [agalma] of Zeus, and the statue [agalma] of Hērā is sitting on a throne with Zeus standing by her, bearded and with a helmet on his head. They are crude works of art. The figures of Seasons next to them, seated upon thrones, were made by the Aeginetan Smilis.^* Beside them stands a statue [agalma] of Themis, as being mother of the Seasons. It is the work of Dorykleidas, a Lacedaemonian by birth and a disciple of Dipoinos and Skyllis.

5.17.2 The Hesperides, five in number, were made by Theokles, who like Dorykleidas was a Lacedaemonian, the son of Hegylus; he too, they say, was a student under Skyllis and Dipoinos. The Athena wearing a helmet and carrying a spear and shield is, it is said, a work of Medon, a Lacedaemonian, brother of Dorykleidas, and a pupil of the same masters.

5.17.3 Then the Maiden and Demeter sit opposite each other, while Apollo and Artemis stand opposite each other. Here too have been dedicated Leto, Fortune, Dionysus and a winged Nike. I cannot say who the artists were, but these figures too are in my opinion very ancient. The figures I have enumerated are of ivory and gold, but at a later date other statues [agalmata] were dedicated in the Hēraion, including a marble Hermes carrying the baby Dionysus, a work of Praxiteles, and a bronze Aphrodite made by Kleon of Sikyon.^*

5.17.4 The master of this Kleon, called Antiphanes, was a pupil of Periklytos, who himself was a pupil of Polyclitus [Polykleitos] of Argos. A nude gilded child is seated before Aphrodite, a work fashioned by Boethus of Calchedon. There were also brought here from what is called the Philippeion other statues [agalmata] of gold and ivory, Eurydikē, the wife of Aridaios, and Olympias, the wife of Philip.

5.17.5 There is also a chest made of cedar with figures on it, some of ivory, some of gold, others carved out of the cedar-wood itself. It was in this chest that Kypselos, the tyrant of Corinth, was hidden by his mother when the Bakkhidai were anxious to discover him after his birth. In gratitude for the saving of Kypselos, his descendants, the Kypselidai as they are called, dedicated the chest at Olympia. The Corinthians of that age called chests kypselai, and from this word, they say, the child received his name of Kypselos.

5.17.6 On most of the figures on the chest, there are inscriptions, written in the ancient characters. In some cases the letters read straight on, but in others, the form of the writing is what the Greeks call.^* It is like this: at the end of the line the second line turns back, as runners do when running the double race. Moreover, the inscriptions on the chest are written in winding characters difficult to decipher. Beginning our survey at the bottom, we see in the first space of the chest the following scenes.

5.17.7 Oinomaos is chasing Pelops, who is holding Hippodameia. Each of them has two horses, but those of Pelops have wings. The next thing that is worked in is the house of Amphiaraos, and baby Amphilokhos is being carried by some old woman or other. In front of the house stands Eriphyle with the necklace, and by her are her daughters, Eurydikē and Demonassa, and the boy, Alkmaion, naked.

5.17.8 Asios in his poem makes out Alkmene also to be a daughter of Amphiaraos and Eriphyle. Baton is driving the chariot of Amphiaraos, holding the reins in one hand and a spear in the other. Amphiaraos already has one foot on the chariot and his sword drawn; he is turned towards Eriphyle in such a transport of anger that he can scarcely refrain from striking her.

5.17.9 After the house of Amphiaraos come the Games at the funeral of Pelias, with the spectators looking at the competitors. Hēraklēs is seated on a throne, and behind him is a woman. There is no inscription saying who the woman is, but she is playing on a Phrygian, not a Greek, aulos [‘double-reed’]. Driving chariots drawn by pairs of horses are Pisos, son of Perieres, and Asterion, son of Cometas (Asterion is said to have been one of the Argonauts), Polydeukes, Admetos, and Euphemos. The poets declare that the last was a son of Poseidon and a companion of Jason on his voyage to Kolkhis. He it is who is winning the chariot race.

5.17.10 Those who have boldly ventured to box are Admetos and Mopsos, the son of Ampyx. Between them stands a man playing the aulos [‘double-reed’], as in our day they are accustomed to play the aulos [‘double-reed’] when the competitors in the pentathlon are jumping. The wrestling bout between Jason and Peleus is an even one. Eurybotas is shown throwing the discus; he must be some famous discus thrower. Those engaged in a running race are Melanion, Neotheus, and Phalareus; the fourth runner is Argeios, and the fifth is Iphiklos. Iphiklos is the winner, and Akastos is holding out the garland to him. He is probably the father of the Protesilaos, who joined in the war against Troy.

5.17.11 Tripods too are set here, prizes, of course, for the winners; and there are the daughters of Pelias, though the only one with her name inscribed is Alcestis. Iolaos, who voluntarily helped Hēraklēs in his labors, is shown as a victor in the chariot race. At this point, the funeral Games of Pelias come to an end, and Hēraklēs, with Athena standing beside him, is shooting at the hydra, the beast in the river Amymone. Hēraklēs can be easily recognized by his exploit and his attitude, so his name is not inscribed by him. There is also Phineus, the Thracian, and the sons of Boreas are chasing the harpies away from him.