Above it Aphrodite, literally ‘_over_ Hippolytos’ (Ἱππολύτῳ δ’ ἔπι). It is as Euripides[915] knew it: ‘And Phaedra then, his father’s Queen high born, Saw him, and as she saw her heart was torn With great love by the working of my will. And there, when he was gone, on Pallas’ hill Deep in the rock, that Love no more might roam, She built a shrine and named it _Love-at-Home_. And the rock held it, but its face always Seeks Trozen o’er the seas.’ It is worth noting that the relief, now in the Torlonia Museum at Rome, was found not far from Aricia, where the hero Virbius, the Latin equivalent of Hippolytos, was worshipped. It is possible that in the tragedy of the wrath of Aphrodite against the hero who worshipped Artemis, and in the title of the goddess ‘over Hippolytos,’ later misunderstood as ‘because of,’ ‘for the sake of’ Hippolytos, we have a reminiscence of a superposition of cults—that the actual contest was between a local hero and Aphrodite who had waxed to the glory of an Olympian. Such a view can however scarcely be deduced from the relief in question, which seems to present relations merely topographical and perfectly peaceful. * * * * * The design in fig. 108, from a relief in the Jacobsen[916] collection at Ny Carlsberg, Copenhagen, shows a clearer case of supersession. The design is not earlier than the 4th century B.C. and of the usual type of ‘Hero-Feast’; we have the reclining man, seated wife, attendant cupbearer, and, to make the scene quite complete, three worshippers of smaller size. The procession of worshippers is a frequent, though not uniform, element in the reliefs representing ‘Hero-Feasts.’ When present they serve to show very clearly that the hero and his wife are objects of worship. As a rule it is, we have seen, safest not to name the hero. In the cases so far where he or the heroine is inscribed, the name has been that of a mortal. In the present case the inscription has a surprise in store for us. Assuredly no one, without the inscriptions, would have ventured to conjecture the inscribed names. The inscription runs as follows: ‘Aristomache and Theoris dedicated (it) to Zeus Epiteleios Philios, and to Philia the mother of the god, and to Tyche Agathe the wife of the god.’ [Illustration: FIG. 108.]