One other point remains. On the Ludovisi relief we have no Eros. The relief is archaic. The straight folds of the drapery, the delicate over-long feet, the strong chin, the over-emphasis of the lovely breasts, all remind us vividly of red-figured vases of the severe style; they belong to the last bloom of archaism just before the perfect utterance of Pheidias. Pheidias[811] on the pedestal of the image of Zeus at Olympia sculptured ‘Eros receiving Aphrodite as she rises from the sea and Peitho crowning Aphrodite.’ Pheidias was much, perhaps over, inspired by Homeric tradition, hence a certain sense of literary chill in his conceptions. He forgets the ritual Bath, and remembers the mythological Birth. The artist of the Genoa hydria is very near to his tradition, but the drapery held by Peitho, the altar and the palm-tree, recall rather the Bath than the Birth. But the sculptor of the relief embodies a tradition more theological, less mythological, than either Pheidias or the vase-painter. He is inspired by the Anodos[812] and the Bath, which was but one of its ritual humanized forms, and a form that we may venture to call matriarchal. What he is concerned to show is the birth and re-birth of Aphrodite, Aphrodite untouched of Eros, eternally virgin, central figure of a Trinity of Maidens and, as Ourania, She of the Heavens. Aphrodite as island queen comes to have a birth from the sea, but a poet remembers that, though she is of the sea and of the air, she is of earth also: ‘We have seen thee, O Love, thou art fair, thou art goodly, O Love, Thy wings make light in the air as the wings of a dove; Thy feet are as winds that divide the stream of the sea, Earth is thy covering to hide thee, the garment of thee.’ * * * * *