she was mated with the old Peloponnesian god Karneios, in Arcadia more than once with Poseidon, elsewhere with Zeus, Apollo, Dionysus, and so on.”​[141] The truth is, that the word _parthenos_ applied to Artemis, which we commonly translate virgin, means no more than an unmarried woman,​[142] and in early days the two things were by no means the same. With the growth of a purer morality among men a stricter code of ethics is imposed by them upon their gods; the stories of the cruelty, deceit, and lust of these divine beings are glossed lightly over or flatly rejected as blasphemies, and the old ruffians are set to guard the laws which before they broke. In regard to Artemis, even the ambiguous _parthenos_ seems to have been merely a popular epithet, not an official title. As Dr. Farnell has well pointed out, there was no public worship of Artemis the chaste; so far as her sacred titles bear on the relation of the sexes, they shew that, on the contrary, she was, like Diana in Italy, specially concerned with the {p37} loss of virginity and with child-bearing, and that she not only assisted but encouraged women to be fruitful and multiply; indeed, if we may take Euripides’s word for it, in her capacity of midwife she would not even speak to childless women. Further, it is highly significant that while her titles and the allusions to her functions mark her out clearly as the patroness of childbirth, we find none that recognise her distinctly as a deity of marriage.​[143] Nothing, however, sets the true character of Artemis as a goddess of fecundity, though not of wedlock, in a clearer light than her constant identification with the unmarried, but not chaste, Asiatic goddesses of love and fertility, who were worshipped with rites of notorious profligacy at their popular sanctuaries.​[144] At Ephesus, the most celebrated of all the seats of her worship,​[145] her universal motherhood was set forth unmistakably in her sacred image. Copies of it have come down to us which agree in their main features, though they differ from each other in some details. They represent the goddess with a multitude of protruding breasts; the heads of animals of many kinds, both wild and tame, spring from the front of her body in a series of bands that extend from the breasts to the feet; bees, roses, {p38} and sometimes butterflies, decorate her sides from the hips downward. The animals that thus appear to issue from her person vary in the different copies of the statue; they include lions, bulls, stags, horses, goats, and rams. Moreover, lions rest on her upper arms; in at least one copy, serpents twine round her lower arms; her bosom is festooned with a wreath of blossoms, and she wears a necklace of acorns. In one of the statues the breast of her robe is decorated with two winged male figures, who hold sheaves in both hands.​[146] It would be hard to devise a more expressive symbol of exuberant fertility, of prolific maternity, than these remarkable images.