We begin with the vase-painting in fig. 68, where happily an inscription makes the interpretation certain. The design is from a red-figured krater, now in the Albertinum Museum at Dresden[722]. To the right is a conventional earth-mound (χῶμα γῆς). In front of it stands Hermes. He holds not his _kerykeion_, but a rude forked _rhabdos_. It was with the _rhabdos_, it will be remembered (p. 44), that he summoned the souls from the grave-_pithos_. Here, too, he is present as Psychagogos; he has come to summon an earth-spirit, nay more, _the_ Earth-goddess herself. Out of the artificial mound, which symbolizes the earth itself, rises the figure of a woman. At first sight we might be inclined to call her Ge, the Earth-_Mother_, but the figure is slight and maidenly, and over her happily is written (Phe)rophatta. It is the Anodos of Kore—the coming of the goddess is greeted by an ecstatic dance of goat-horned _Panes_. They are not Satyrs: these, as will later be seen (p. 380), are horse demons. By the early middle of the 5th century B.C., the date of this red-figured vase, the worship of the Arcadian Pan was well-established at Athens, and the goat-men, the Panes, became the fashionable and fitting attendants of the Earth-Maiden. The inscriptions above their heads can, unfortunately, not be read. [Illustration: FIG. 69.] A vase of much later date (fig. 69) shows us substantially the same scene. The design is from a red-figured krater[723] in the Berlin Antiquarium. The goddess again rises from an artificial mound decorated with sprays of foliage. The attendant figures are different. A goat-legged Pan leans eagerly over the mound, but Dionysos himself, with his thyrsos, sits quietly waiting the Anodos, and with him are his real attendants, the horse-tailed Satyrs. In the left-hand corner a little winged Love-god plays on the double flutes. The rising goddess is not inscribed, and she is best left unnamed. She is an Earth-goddess, but the presence of Dionysos makes us suspect that there is some reminiscence of Semele (p. 407). The presence of the Love-god points, as will be explained later (Chap. XII.), to the influence of Orphism. [Illustration: FIG. 70.] More curious, more instructive, but harder completely to explain, is the design in fig. 70, from a black-figured lekythos in the Bibliothèque Nationale[724] at Paris. The colossal head and lifted hands of a woman are rising out of the earth. This time there is no artificial mound, the scene takes place in a temple or sanctuary, indicated by the two bounding columns. Two men, not Satyrs, are present, and this time not as idle spectators. Both are armed with great mallets or hammers, and one of them strikes the head of the rising woman.