Necromancy, the multiple phases of the black arts, were normally believed to have come from Thessaly or to have found their sources there. Thessaly, in fact, is, throughout ancient Greek literature, the fountain-head of magic. The Greek tragic poet Sophocles, for instance, and, later, the comic writer Menander allude to Thessalian magicians. The Thessalian witch became almost a stock character, in bucolic poetry, in the drama, in legend. She is the supreme adept, and is so acknowledged. Among the later Romans, in particular, her stature is established. The elegiac poets Tibullus and Propertius, as well as Ovid, Vergil, Horace, and Lucan cite her for her ubiquity, her constant participation in furtive manoeuvres, her intimacy with the foul and obscene and malevolent forces of the cosmos. The Thessalian witch had notable skill in the selection and preparation of love potions. One of the most effective elements in such philtres was catancy, a plant often mentioned in this connection. It should here be observed that many factors in the composition of the potion are no longer completely identifiable. Organic matter of course has universal denotations: but obscure herbs, roots, spices, drugs belonged to a secretive traditional pharmacopoeia that is no longer available in its original intact form. * * * * * In the obscure depths and the furtive sinuosities of folk traditions and transmitted superstitions and rites and formulas that succeeding generations accepted and cherished, the sex motif was always pervasive, unalterably dominant. The quest for amatory power, for refreshment and recovery of the physiological apparatus, was uniformly directed to the tenebrous forces, the prescriptions and suggestions that would arouse the erotic faculties and effect consummation of the passions of love or affection or desire.