Olympos too, is subject to these vicissitudes. Its gods live a human life among men, the only difference being that some representative scenes give them a stiffer and more elaborate appearance than that of ordinary mortals. In early times the divinity is chiefly betokened by inscriptions and attributes. On the painting of the Corinthian Kleanthes stood Poseidon with a fish in his hand beside Zeus in labour. Late observers of this picture failed to understand this external characterization of the sea-god, and saw an act of brotherly sympathy with the god’s pains in this holding up of the tunny; and thus a great deal beside must have appeared strange to them, _e.g._ Apollo with the great lyre still bearded in the 7th century (Fig. 52), Herakles without lion-skin (Fig. 64), the unarmed Athena, who only at the beginning of the 6th century, in contrast with the Chigi vase (Fig. 37), the Aegina bowl and the Gorgon lebes (p. 49), begins to express her bellicose nature by attributes, and much besides. The favourite god of the drinking vessels is the wine-god with cup and vine. He makes Hephaistos drunk and leads him back to Olympos to liberate Hera from the magic chair. The big-bellied dancers and purely human creatures, who form his escort on Corinthian vases, in the first third of the century are superseded by the Ionic horse-men, the Satyrs, who become ever more closely associated with Dionysos, celebrate feasts with the Maenads, never despise the gifts of their master, and make fair nymphs pay for it. The half-bestial creature in whom ancient Greek fancy vigorously incorporates man’s pleasure in wine and women with all its comic effects, is quite the patron of archaic vase-painting.