The _contaminatio_ of the myths of the Making of Pandora and the Anodos of Kore may explain also another difficulty. In the making and moulding of Pandora, Hephaistos the craftsman uses his characteristic implement, the hammer[729]. This hammer he also uses to break open the head of Zeus, in representations of the birth of Athene (p. 366). On vases with the Anodos of Kore the Satyrs or _Panes_ carry and use sometimes an ordinary pick, sometimes a hammer, like the hammer of Hephaistos. The pick is the natural implement for breaking clods of earth, the spade appears to have been unknown before the iron age—the hammers have always presented a difficulty. May they not have arisen in connection with the myth of the making of Pandora, and then, by confusion, passed to the Anodos of Kore? Finally, returning to the difficult design in fig. 70, I would offer another suggestion. The fact that the scene takes place in a sanctuary seems to me to indicate that we have here a representation of some sort of mimetic ritual. The Anodos of Kore was, as has already been seen (p. 131), dramatized at certain festivals; exactly how we do not know. At the festival of the _Charila_ (p. 107) a puppet dressed as a girl was brought out, beaten, and ultimately hanged in a chasm. Is it not possible that at some festival of the Earth-goddess there was a mimetic enactment of the Anodos, that the earth or some artificially-formed chasm was broken open by picks, and that a puppet or a real woman emerged. It is more likely, I think, that the vase-painter had some such scene in his mind than that the Satyrs with their picks or hammers represent the storm and lightning from heaven beating on the earth to subdue it and compel its fertility[730]. At Megara, near the Prytaneion, Pausanias[731] saw ‘a rock which was called Anaklethra[732], “Calling Up,” because Demeter, if anyone like to believe it, when she was wandering in search of her daughter, called her up there.’ He adds, ‘the women of Megara to this day perform rites that are analogous to the legend told.’ Unhappily he does not tell us what these rites were. Lucian devotes a half-serious treatise to discussing the scope and merits of pantomimic dancing, Xenophon[733] in his _Banquet_ lets us see that educated guests after dinner preferred the acting of a myth to the tumbling of a dancing girl, but the actual _ritual_ pantomime of the ancients is to us a sealed book. Of one thing we may be sure, that the ‘things done’ (δρώμενα) of ritual helped to intensify mythological impersonation as much as, or perhaps more than, the ‘things spoken’ (ἔπη) of the poet. PANDORA. To the primitive matriarchal Greek Pandora was then a real goddess, in form and name, of the Earth, and men did sacrifice to her. By the time of Aristophanes[734] she had become a misty figure, her ritual archaic—matter for the oracles of ‘Bakis.’ The prophet instructing Peisthetairos reads from his script: ‘First to Pandora sacrifice a white-fleeced ram.’