25. I have hitherto spoken only of deities of the winds. We pass now to a far more important group, the deities of cloud. Both of these are subordinate to the ruling power of the air, as the demigods of the fountains and minor seas are to the great deep; but, as the cloud-firmament detaches itself more from the air, and has a wider range of ministry than the minor streams and seas, the highest cloud deity, Hermes, has a rank more equal with Athena than Nereus or Proteus with Neptune; and there is greater difficulty in tracing his character, because his physical dominion over the clouds can, of course, be asserted only where clouds are; and, therefore, scarcely at all in Egypt;* so that the changes which Hermes undergoes in becoming a Greek from an Egyptian and Phœnician god, are greater than in any other case of adopted tradition In Egypt Hermes is a deity of historical record, and a conductor of the dead to judgment; the Greeks take away much of this historical function, assigning it to the Muses; but, in investing him with the physical power over clouds, they give him that which the Muses disdain,--the power of concealment and of theft. The snatching away by the Harpies is with brute force; but the snatching away by the clouds is connected with the thought of hiding, and of making things seem to be what they are not; so that Hermes is the god of lying, as he is of mist; and yet with this ignoble function of making things vanish and disappear is connected the remnant of his grand Egyptian authority of leading away souls in the cloud of death (the actual dimness of sight caused by mortal wounds physically suggesting the darkness and descent of clouds, and continually being so described in the Iliad); while the sense of the need of guidance on the untrodden road follows necessarily. You cannot but remember how this thought of cloud guidance, and cloud receiving souls at death, has been elsewhere ratified. * I believe that the conclusions of recent scholarship are generally opposed to the Herodotean ideas of any direct acceptance by the Greeks of Egyptian myths: and very certainly, Greek art is developed by giving the veracity and simplicity of real life to Eastern savage grotesque; and not by softening the severity of pure Egyptian design. But it is of no consequence whether one conception was, or was not, in this case, derived from the other; my object is only to mark the essential difference between them.