The same origin of the maiden trinity is clearly indicated in the relief[756] in fig. 74, found during the ‘Enneakrounos’ excavations in the precinct of Dionysos, at Athens. The main field of the relief is occupied by two figures of _Panes_, with attendant goats; between them an altar. The Panes are twofold, not because they are father and son, but because there were two caves of Pan, and the god is thought of as dwelling in each. After the battle of Marathon the worship of Pan was established in the ancient dancing-ground of the Agraulids; by the time of Euripides[757], Pan is thought of as host and they as guests: ‘O seats of Pan and rock hard by To where the hollow Long Rocks lie, Where before Pallas’ temple-bound Agraulos’ daughters three go round Upon their grassy dancing-ground To nimble reedy staves, When thou, O Pan, art piping found Within thy shepherd caves.’ But Pan was a new-comer; the Agraulids were there from the beginning, as early as Cecrops, their snake-tailed father. Busy though he is with Pan, the new-comer, the artist cannot, may not forget the triple maidens. He figures them in the upper frieze, and in quaint fashion he hints that though three they are one. In the left-hand corner he sets the image of a threefold goddess, a Hecate[758]. [Illustration: FIG. 74.] But, as time went on, the fact that the three were one is more and more forgotten. They become three single maidens, led by Hermes in the dance; by Hermes _Charidotes_, whose worship as the young male god of fertility, of flocks and herds, was so closely allied to that of the Charites. [Illustration: FIG. 75.] There is no more frequent type of votive relief[759] than that of which an instance is given in fig. 75. The cave of Pan is the scene, Pan himself is piping, and the three maidens, led by Hermes, dance. The cave, the artist knows, belonged in his days to Pan, but the ancient dwellers there, the Maidens, still bulk the largest. As a rule the reliefs are not inscribed, sometimes there is a dedication ‘to the Nymphs.’ The personality of the Agraulids has become shadowy, they are merely Maidens or Brides. The ancient threefold goddesses, as all-powerful Charites, paled before the Olympians, faded away into mere dancing attendant maidens; but sometimes, in the myths told of these very Olympians, it is possible to trace the reflection of the older potencies. A very curious instance is to be found in the familiar story[760] of the ‘Judgment of Paris,’ a story whose development and decay are so instructive that it must be examined in some detail. THE ‘JUDGMENT OF PARIS.’ The myth in its current form is sufficiently patriarchal to please the taste of Olympian Zeus himself, trivial and even vulgar enough to make material for an ancient Satyr-play or a modern _opera-bouffe_. ‘Goddesses three to Ida came Immortal strife to settle there— Which was the fairest of the three, And which the prize of beauty should wear.’