In the vase-painting in fig. 7 from a lekythos in the University Museum of Jena[92] we see a Pithoigia of quite other and more solemn intent. A large _pithos_ is sunk deep into the ground. It has served as a grave. In primitive days many a man, Diogenes-like, lived the ‘life of the jar’ (ζωὴ πίθου), but not from philosophy, rather from dire necessity. During the Peloponnesian war, when the city was crowded with refugees, a jar (πιθάκνη) was a welcome shelter[93]. A man’s home during his life is apt to be his grave in death. In the Dipylon Cemetery at Athens, at Aphidna[94], at Corfu, at Thoricus, and in many another burying place, such grave _pithoi_ have come to light. From the grave-jar in fig. 7 the lid has been removed; out of it have escaped, fluttering upward, two winged Keres or souls, a third soul is in the act of emerging, a fourth is diving headlong back into the jar. Hermes Psychopompos, with his magic staff in his hand, is evoking, _re_voking the souls. The picture is a speaking commentary on the Anthesteria; we seem to hear the mandate ‘Out of the doors! ye souls; it is no longer Anthesteria!’ The Pithoigia of the Anthesteria is the primitive Pithoigia of the _grave_-jars, later overlaid by the Pithoigia of the _wine_-jars. The vase-painting in fig. 7 must not be regarded as an actual conscious representation of the Athenian rite performed on the first day of the _Anthesteria_. It is more general in content; it is in fact simply a representation of ideas familiar to every Greek, that the _pithos_ was a grave-jar, that from such grave-jars souls escaped and to them necessarily returned, and that Hermes was Psychopompos, Evoker and Revoker of souls. The vase-painting is in fact only another form of the scene so often represented on Athenian white lekythoi, in which the souls flutter round the grave-stele. The grave-jar is but the earlier form of sepulture; the little winged figures, the Keres, are identical in both classes of vase-painting. The nature of these Keres will be further analysed when we come to the discussion of primitive demonology. For the present it is enough to note that the Keres in the vase-paintings and the Keres of the Anthesteria are regarded as simply souls of dead men, whereas the little winged phantoms that escape from Pandora’s jar are indeed ghosts, but ghosts regarded rather as noisome sprites than as spirits; they are the source of disease and death rather than dead men’s souls. The jar of Pandora is not so much a grave as a store-house of evil; the _pithos_ as store-house not only of wine but of grain and all manner of provisions was familiar to the Greeks. The ordinary _pithos_ was pointed at the base and buried permanently in the earth like a Turkish cistern; a row of such pithoi, like those recently unearthed at Cnossus, might serve equally as a wine-cellar or a granary or a cemetery.