‘Keep solemn silence. Keep solemn silence. Pray to the two Thesmophoroi, to Demeter, and to Kore, and to Plouton, and to Kalligeneia, and to Kourotrophos, and to Hermes, and the Charites.’ Discussion from the time of the scholiast onwards has raged as to who Kourotrophos is—is she Hestia, is she Ge? The simple truth is never faced that she is _Kourotrophos_, an attribute become a personality. Her personality, it is true, faded before the dominant personality of the Mother of Eleusis, but her presence in the ancient ritual-formulary speaks clearly for her original actuality. Once she had faded, all the other more successful goddesses, Ge, Artemis, Hekate, Leto, Demeter, Aphrodite, even Athene, contend for her name as their epithet. There is no controversy so idle and apparently so prolific as that which seeks to find in these ancient inchoate personalities, such as Kourotrophos and Kalligeneia, the epithets of the Olympians they so long predated. * * * * * The figure of the Mother as Kourotrophos lent itself easily to later abstractions. Themis is one of the earliest, and she attains a real personality; her sisters Eunomia and Dike are scarcely flesh and blood, they are beautiful stately shadows. The ‘making of a goddess’ is always a mystery, the outcome of manifold causes of which we have lost count. At the close of the 5th century B.C. at the end of the weary, fatal Peloponnesian war, Eirene, Peace, almost attained godhead, and godhead as the Mother. Cephisodotos, father of Praxiteles, made for the market-place at Athens a statue of her carrying the child Ploutos, the Athenians built her an altar and did sacrifice to her, Aristophanes brings her on the stage, but it is all too late and in vain, she remains an abstraction as lifeless as Theoria or Opora, and finds no place among the humanities of Olympus. [Illustration: FIG. 65.] Tyche, Fortune, another late abstraction of the Mother, though she is scarcely more human than Eirene, obtained a wide popularity. Pausanias[708] saw at Thebes a sanctuary of Tyche; he remarks after naming the artists, ‘it was a clever plan of them to put Ploutos in the arms of Tyche as his mother or nurse, and Cephisodotos was no less clever; he made for the Athenians the image of Eirene holding Ploutos.’