The second relief[925] in fig. 111 tells in slightly different and more elaborate form the same tale. The design is from a relief in the Museum at Naples, and is an instance of a type long known as the ‘Ikarios reliefs.’ Its style dates it as about the 2nd cent. B.C. It clearly presents a blend of the ‘Hero-Feast’ to the left and the triumphal entry of Dionysos, drunken, elderly, attended by a train of worshippers to the right. The immigrant god is received by the local hero. What local hero receives him we cannot say. Legend tells of such receptions by Ikarios, by Pegasos, by Amphictyon, by Semachos. The hero must remain unnamed; anyhow he plays to Dionysos the part played by Sophocles, he is _Dexion_, Receiver, Host. It is a Theoxenia, a feasting of the god. The ‘Ikarios’ reliefs are late, and, in the euphemistic manner of the time, the representation is all peace and harmony. The hero, be he who he may, receives in awe and reverence and gladness the incoming divine guest. But Herodotus tells another tale—a tale of the forcible wresting of the honours of the hero to the glory of the god. In telling the early history of Sekyon under the tyrant Cleisthenes he[926] makes this notable statement: ‘The inhabitants of Sekyon paid other honours to Adrastos and they celebrated his misfortunes by tragic choruses, for at that time they did not honour Dionysos, but honoured Adrastos. Now Cleisthenes _transferred these choruses_ (from Adrastos) _to Dionysos_, but the rest of the sacrifice he gave to Melanippos.’ It is a sudden glimpse into a very human state of affairs. To put down the cult of Adrastos, the hero of a family alien to his own, Cleisthenes introduced the worship of a Theban hero Melanippos. He dared not for some reason give the tragic choruses to Melanippos; rather than the local enemy should still have them he hands them over to a popular immigrant god, Dionysos. [Illustration: FIG. 111.] The recumbent hero in the ‘Hero-Feasts’ is usually represented as reclining at a feast and as drinking from a large wine-cup, attended by a cupbearer. It may be conjectured that this type, which does not appear till late in the 5th century, came in with the worship of Dionysos. The idea of future bliss as an ‘eternal drunkenness’ came, it will later be seen (Chap. XI.), with the religion of Dionysos from the North. By anticipation we may note a curious fact. On the late Roman coins of the Bizuae[927], a Thracian tribe, the type of the Hero-Feast occurs. An instance is given in fig. 112. A hero is represented—of that we are sure from the cuirass suspended on the tree, from the horse and from the snake—but a hero, I would conjecture, conceived of as transfigured into the feasting god, Dionysos himself. [Illustration: FIG. 112.] To the examination in detail of the cult of Dionysos we must now turn. CHAPTER VIII. DIONYSOS. ‘ὦ μάκαρ ὅστις εὐδαί- μων τελετὰς θεῶν εἰδὼς βιοτὰν ἁγιστεύει.’