The statement of Pausanias, that about the cultus images of the Semnae there was nothing frightful, is important, as showing how foreign to the Semnae was the terror-haunted conception of the tragic Erinys. Aeschylus might fuse the Erinyes and the Semnae at will, but the cultus images of the Semnae take on no attribute of the Erinyes. About these cultus images we learn something more from the scholiast on Aeschines[621]. Commenting on the Semnae he says ‘These were three in number and were called Venerable Goddesses, or Eumenides, or Erinyes. Two of them were made of lychnites stone by Scopas the Parian, but the middle one by Kalamis.’ Here again we must of course discount the statement as regards the triple appellation, at least for a date preceding Aeschylus. The number of the statues is noticeable. At the time when the scholiast or his informant[622] wrote the images were unquestionably three. The origin and significance of the female trinities will be considered later (p. 286). For the present it is sufficient to note that the trinity was probably a later stage of development than the duality. From the notice of the scholiast we cannot be certain that the images were _originally_ three; nay more, it looks as if there was some reminiscence of a duality. Moreover the scholiast on the _Oedipus Coloneus_[623] expressly states that according to Phylarchus the images of the Semnae at Athens were two in number. He adds that according to Polemon they were three. That the number three ultimately prevailed is highly probable, indeed practically certain. The scholiast on Aeschines goes on to say ‘the court of the Areopagos adjudged murder cases on three days in each month, assigning one day to each goddess.’ The three days were probably a primitive institution, three being a number sacred to the dead, and these three days may have helped the development of the threefold form of the Semnae. Later in considering the Charites and other kindred shapes (p. 286) it will be shown that many different strands went to the weaving of a trinity. The strictly definite number of the Semnae, be it two or three, is in marked contrast to the indefinite ‘wondrous throng’ (θαυμαστὸς λόχος) of the Aeschylean Erinyes. The contrast may have been softened, if in the concluding scene the chorus of Erinyes filed away in groups of three.