The artist of the Genoa hydria _probably_ knew of the birth of Aphrodite from the sea, he _certainly_ knew of her reception by Eros; but that he remembered also the ritual bath is, I think, clear from the fact that the scene is laid in a sanctuary, indicated in the vase-painter’s fashion by the altar and sacred palm-tree standing to the right just below the handle. Probably the sanctuary at Paphos is intended. The Genoa hydria is of great importance because it helps to the understanding of another monument, earlier and far more beautiful. The design in fig. 89 is from a sculptured slab[810], one of three that served to decorate the so-called ‘Ludovisi Throne’ now in the Boncompagni collection in the Museo delle Terme at Rome. Again we have manifestly an Anodos, again the like uncertainty as to who the goddess is and whence she uprises. The two women who support her, and to whom in her uprising she clings, stand on a sloping bank of shingle. Between the edges of the banks is no indication of the sea, simply a straight line. Is the goddess rising from earth or sea or sacred river or ritual bath? Archaeologists offer explanations apparently the most diverse, and it is this doubt and diversity that instruct. One sees in the design the Birth of Aphrodite from the Sea, another a ceremonial Bath at the lesser mysteries of Agrae, another the Anodos of Kore. No one, so far as I am aware, sees that the artist is haunted by, is as it were halting between, reminiscences of each and all. Or rather the Anodos, the Bath, the Birth are as yet undifferentiated. By their articulation and separation we have immeasurably lost. [Illustration: FIG. 89.]