Primitive demonology constantly in flux. Various connotations of the word Ker. The Ker as evil sprite, the Ker as bacillus of disease. The Keres of Old Age and Death. The Ker as Harpy and Wind-Daimon. The Ker as Fate in Homer and Hesiod. The Ker as Gorgon. Origin of the Gorgoneion. Apotropaic masks. The Gorgon developed from the Gorgoneion. The Graiae. The Evil Eye. The Ker as Siren. The Sirens of Homer. Problem of the bird-form in art. The Siren as midday daimon. The Siren on funeral monuments. The bird-form of the soul in Greece and Egypt. Plato’s Sirens. The Ker as Sphinx. Mantic aspect of Sphinx. The Sphinx as Man-slaying Ker, as Funeral Monument. The Ker as Erinys. The Erinyes as angry Keres. Erinys an adjectival epithet. The Erinyes primarily the ghosts of slain men crying for vengeance. The Erinyes developed by Homer and Herakleitos into abstract ministers of vengeance. The Erinyes of Aeschylus more primitive than the Erinyes of Homer. The blood-curse in the _Choephoroi_. The Erinyes of the stage. The Erinyes analogous to Gorgons and Harpies, but not identical. The wingless Erinyes of Aeschylus. The winged Erinyes of later art. The Poinae. The Erinys as snake. The _Semnai Theai_. New cult at Athens. New underworld ritual. The transformation of Erinyes into Semnai Theai. The Eumenides at Colonos, at Megalopolis, at Argos, pp. 163-256. CHAPTER VI. THE MAKING OF A GODDESS. Anthropomorphism. Gradual elimination of animal forms. The gods begin to mirror human relations and at first those of ‘matriarchal’ type. The Mother and the Maid, two forms of one woman-goddess. The Great Mother as Πότνια θηρῶν, as Kourotrophos. Influence of agriculture. Relation of women to primitive agriculture. Demeter and Kore as Mother and Maid rather than Mother and Daughter. Gradual predominance of the Maid over the Mother. The Anodos of the Maiden. Influence of mimetic agricultural rites. The evidence of vase-paintings. Pandora Mother and Maid. The Hesiodic story. The Maiden-Trinities. Origin of Trinities from the duality of Mother and Maid. Korai, Charites, Aglaurides, Nymphs. The Judgment of Paris a rivalry of three dominant Korai—Hera, Athene and Aphrodite. Evidence of vase-paintings. Development of Athene, her snake- and bird-forms. Athene finally a frigid impersonation of Athens. Developement of Aphrodite. Myth of her sea-birth. Its origin in a ritual bath. The Ludovisi throne. Ultimate dominance of the mother-form of Aphrodite as Genetrix. Hera as maiden. Her marriage with Zeus. Intrusion of Olympian ‘patriarchal’ cults on the worship of the Mother and the Maid. Evidence from art, pp. 257-322. CHAPTER VII.