In the face of a steady and almost uniform ancient tradition that Dionysos came from without, it might scarcely be necessary to emphasize this point but for a recent modern heresy. Anthropologists have lately recognized[928], and rightly, that Dionysos is in one of his aspects a nature-god, a god who comes and goes with the seasons, who has like Demeter and Kore, like Adonis and Osiris, his Epiphanies and his Recessions. They have rashly concluded that these undoubted appearances and disappearances adequately account for the tradition of his immigration, that he is merely a new-comer year by year, not a foreigner; that he is welcomed every spring, every harvest, every vintage, exorcised, expelled and slain in the death of each succeeding winter. This error is beginning to filter into handbooks. A moment’s consideration shows that the actual legend points to the reverse conclusion. The god is first met with hostility, exorcised and expelled, then by the compulsion of his might and magic at last welcomed. Demeter and Kore are season-goddesses, yet we have no legend of their forcible entry. Comparative anthropology has done much for the understanding of Dionysos, but to tamper with the historical fact of his immigration is to darken counsel. Ancient tradition must be examined, and first as to the lateness of his coming. * * * * * In Homer Dionysos is not yet an Olympian. On the Parthenon frieze he takes his place among the seated gods. Somewhere between the dates of Homer and Pheidias his entry was effected. The same is true of the indigenous Demeter, so that this argument alone is inadequate, but the fact must be noted. [Illustration: FIG. 113.] The earliest monument of art showing Dionysos as an actual denizen of Olympus is the curious design from an amphora[929] now in the Berlin Museum. The scene depicted is the birth of Athene and all the divinities present are carefully and sometimes curiously inscribed. Zeus with his thunderbolt is seated on a splendid throne in the centre. Athene springs from his head. To the right are Demeter, Artemis, Aphrodite, and last of all Apollo. To the left Eileithyia, Hermes, Hephaestos, and last Dionysos holding his great wine cup. From the style of the inscriptions the design can scarcely date later than the early part of the sixth century. The position and grouping of the different gods is noteworthy. Of course someone must stand on the outside, but Dionysos is markedly aloof from the main action. Hermes seems to come as messenger to the furthest verge of Olympus to tell him the news. At the right, the other Northerner, Apollo, occupies the last place. [Illustration: FIG. 114.]