he was taken to another house of a Piræus acquaintance; and how, while his captors were keeping guard at the peristyle door in front, he had escaped by a back door to the house of a friend, the shipmaster, with the appropriate name of Archenaus. So, while his less fortunate brother, Polemarchus, is led off to Athens, thrown into prison, and “bidden by the Thirty their usual bidding—to drink hemlock,” Lysias, by the aid of his nautical friend, is embarked for Megara under cover of night. We should like to have fuller details of that escape of the young Lysias, yesterday a wealthy manufacturer, to-day a plundered fugitive but destined to become one of the greatest of the “ten” orators and a master architect of Attic style. Perhaps a small boat put off from some lonely spot on Akte, perhaps from the Great Harbour itself, shooting through the moles in the darkness and, wind and weather permitting, kept to starboard of the Psyttaleia reef, passed up through the strait of Salamis, on through the beautiful Bay of Eleusis, and landed the fugitive at Megara. Plato’s account of the visit of Socrates to the Piræus homestead carries us back to the days of security before the reign of the Thirty. We see old Cephalus welcoming Socrates cordially, delivering a monologue on his own gracious old age, telling a story about Sophocles in his later years, and finally withdrawing to supervise a sacrifice to the gods. The introduction of a foreign divinity like Bendis of the Thracians was not unusual. The celebration, described at the opening of the Republic, was at least no more exotic than a St. Patrick’s day in America. Foreigners and natives united in it as they did in the celebration of the Mother of the Gods. The customs inspection of foreign deities was lenient. The Greeks were free traders both in art and religion, though the finished product imported was likely enough to be used as new material. Into the smelting furnace of the classic period was cast the old, the new, the foreign, and the domestic, to reappear in fairer form, stamped with the Hellenic hall-mark. Among the various imported deities, Cybele is well vouched for at Piræus where a number of marble votive shrines of the Great Mother have been found. One of these archaic Cybele reliefs, brought from Piræus to the National Museum in Athens, shows the goddess with her lion in her lap, her cymbals in her hand. The “new theology,” fostered by Euripides and domiciled in daily life by the “New Comedy,” could treat these cymbals as typical of “a creed out-worn.” One of Menander’s characters exclaims:— “No god, my wife, saves one man through another’s help, For if a human being can by cymbals’ clash Deflect the god to whatsoever is desired, Then greater than the god is he that doeth this.”