It was during the fifth century that the _dromenon_ and the Dionysiac Dithyramb passed to some extent away and were merged into the drama. "Homer came to Athens, and out of Homeric stories playwrights began to make their plots." The chief agent in effecting this important change was the so-called "tyrant" Pisistratus, who was probably a free-thinker and "cared little for magic and ancestral ghosts," but who for political reasons wished to transport the Dionysia from the country to the town. "Now," Miss Harrison says, "to bring Homer to Athens was like opening the eyes of the blind." Independently of the inevitable growth of scepticism which was the natural result of increased knowledge and more acute powers of observation, it is no very hazardous conjecture to assume that the quick-witted and pleasure-loving Athenians welcomed the relief afforded to the dreary monotony of the ancient _dromena_ by the introduction of the more lively episodes drawn from the heroic sagas. "Without destroying the old, Pisistratus contrived to introduce the new, to add to the old plot of Summer and Winter the life-stories of heroes, and thereby arose the drama." Having established her case so far, Miss Harrison makes what she herself terms "a great leap." She passes from the thing _done_, whether _dromenon_ or drama, to the thing _made_. She holds that as it was the god who arose from the rite, similarly it was the ritual connected with the worship of the god which gave birth to his representation in sculpture. Art, she says, is not, as is commonly supposed, the "handmaid of religion." "She springs straight out of the rite, and her first outward leap is the image of the god." Miss Harrison gives two examples to substantiate her contention. In the first place, she states at some length arguments of irrefutable validity to show that the Panathenaic frieze, which originally surrounded the Parthenon, represents a great ritual procession, and she adds, "Practically the whole of the reliefs that remain to us from the archaic period, and a very large proportion of those of later date, when they do not represent heroic mythology, are ritual reliefs, 'votive' reliefs, as we call them; that is, prayers or praises translated into stone."