The passing from the old to the new is very curiously and instructively shown in the two designs in figs. 110 and 111. The design in fig. 110 is from a relief found in the harbour of Peiraeus and now in the National Museum at Athens[922]. The material is Pentelic marble; in places the surface has suffered considerably from the corrosion of sea-water. The fine style of the relief dates it as probably belonging to the end of 5th century B.C. [Illustration: FIG. 110.] The general type of the relief is of course the same as that of the ‘Hero-Feast[923].’ A youth on a couch holds a rhyton, the usual woman is seated at his feet, the usual procession stands to the left. But it is a ‘Hero-Feast’ with a difference. The group of ‘worshippers’ are not worshippers; they are talking among themselves, they hold not victims or other offerings, but the implements of the drama—a mask, a tambourine. This is clearly seen in the case of the middle figure, a woman[924]. The worshippers are tragic actors. This prepares us for the fact disclosed by the inscriptions beneath the figures of the youth and the attendant woman. Under the youth is written quite clearly _Dionysos_: under the woman was an inscription of which only two certain letters remain, the two last, ια. These inscriptions, it should clearly be noted, are later than the relief itself, probably not earlier than 300 B.C. The name of the woman attendant cannot certainly be made out: the most probable conjecture is (Paid)ia, Play, a natural enough name for a nymph attendant on Dionysos. The name of the god is certain, and, though the inscription is an afterthought, it certainly voices the intention of the original artist. It is to the honour of Dionysos, not to that of a hero, that the actors with their masks assemble—to his _honour_ rather than to his definite worship. But none the less there remains the significant fact that the god has taken over the art-type of the ‘Hero-Feast.’