Demeter as Thesmophoros has for her sphere more and more the things of this life, laws and civilized marriage; she grows more and more human and kindly, goes more and more over to the humane Olympians, till in the Homeric Hymn she, the Earth-Mother, is an actual denizen of Olympus. The Daughter, at first but the young form of the mother, is in maiden fashion sequestered, even a little _farouche_; she withdraws herself more and more to the kingdom of the spirit, the things below and beyond: ‘She waits for each and other, She waits for all men born, Forgets the earth her mother, The life of fruits and corn. And spring and seed and swallow Take wing for her and follow Where summer song rings hollow And flowers are put to scorn.’ And in that kingdom aloof her figure waxes as the figure of the Mother wanes: ‘O daughter of earth, my mother, her crown and blossom of birth, I am also I also thy brother, I go as I came unto earth.’ She passes to a place unknown of the Olympians, her kingdom is not of this world. ‘Thou art more than the Gods, who number the days of our temporal breath, For these give labour and slumber, but thou, Proserpina, Death.’ All this is matter of late development. At first we have merely the figures of the Two Goddesses, the Two Thesmophoroi, the Two Despoinae. Demeter at Hermione is Chthonia, in Arcadia[721] she is at once Erinys and Lousia. But it is not surprising that, as will later be seen, a religion like Orphism, which concerned itself with the abnegation of this world and the life of the soul hereafter, laid hold rather of the figure of the underworld Kore, and left the prosperous, genial Corn-Mother to make her way alone into Olympus. THE ANODOS OF THE MAIDEN EARTH-GODDESSES. In discussing the Boeotian plate (fig. 67), it has been seen that it is not easy always to distinguish in art the figures of the Mother and the Maid. A like difficulty attends the interpretation of the series of curious representations of the earth-goddess now to be considered (figs. 68-72). [Illustration: FIG. 68.]