Certain allusions in Plutarch and Lucian[1\7] would lead us to suppose that the "mystery-drama" of Eleusis included also a visual exhibition of the underworld and its blest, or unblest, inhabitants. But these contemporaries of a final and luxuriant flowering of mystery-religions of every kind can serve as reliable witnesses only for their own period. In their day the Eleusinian festival, in competition it may be with other secret worships which were invading the Greco-Roman world in ever-increasing numbers, seems to have undergone a considerable alteration and extension of its primitive and traditional shape. We may doubt whether in earlier, classical times the Eleusinia can have attempted to bind the imagination with what were always petty details, or confine within formal limits what lay beyond all human experience. Still the solemn promise of future blessedness made in the mystic festival may, at any rate, have stimulated the imagination of its worshippers and given a more definite turn to their own natural efforts to picture the life to come. The ideas cultivated at Eleusis unmistakably contributed to the process by which the picture of Hades acquired colour and distinctness. Even without such stimulus, the natural instinct of the Greeks at all periods to give form even to what was essentially formless, worked in the same direction. The limits set by Homeric beliefs about the future world had made the Odyssean description of a descent to Hades seem a risky experiment only to be undertaken with the greatest caution. Now, however, since the re-establishment of the belief in a conscious after-life of the disembodied soul, such imaginative bodyings-forth of the invisible realm of shadows had become apparently the most natural and innocent employment of poetic fancy.