146 MYTHOLOGY AND RELIGIOUS RITES. 
altar lamp (pl. 16, fig. 27), made of burnt clay, having the form of a bull’s 
head with pendants and fillets, and employed in the sacrifice of the same 
animal; and finally, numerous ladle-, pan-, and shovel-formed implements 
( figs. 28-33 ab). On a coin which has reference to the worship (pi. 15, 
jig. 24.46), we see on one side Poseedon, on the other (probably) Zagreus. 
Among the festivals of Greece none excelled in magnificence and import- 
ance the Panathenwan. They were instituted by Arichthonzos in honor of 
Pallas Athene. At first they were called Athenwa, but after all the inde- 
pendent communities of Attica united in the celebration, they took the 
name of Panathenca (pl. 20, fig. 23). The Smaller Athenzea were cele- 
brated in April of each year, the Greater every fifth year. In both the 
proceedings were somewhat similar. On the first day torch-races took 
place, the second was spent in gymnastic exercises, and the third was 
devoted to intellectual contests, the rehearsal of Homeric songs, and the 
delivery of dramatic poems and orations. Then followed the sacrifices and 
the banquet. At the Greater Athenea, the principal ceremonies consisted 
of a solemn procession, in which the saffron-colored peplos, or sacred robe 
of Athene, woven by maidens of the first families, and illustrative of the 
deeds of the goddess, was carried to the temple on the Acropolis and folded 
around her image. After this, the peplos was taken down and hung like a 
sail upon a ship, which was moved by concealed machinery around the Par- 
thenon. The whole festival was deemed so sacred that the inmates of the 
prisons were released to take part in it. 
Among the feasts in honor of Dzonysos (Bacchus) were prominent the 
Orgies, a mixture of mystic rites and drunken revelry. They are illustrated 
by an engraving copied from the lid of a sarcophagus (pl. 29, jig. 2), in 
which Dionysos and Ariadne are represented sitting opposite to each other, 
and between them appears a Faun blowing upon a horn. Near Ariadne 
we see a Menad playing upon a double flute, and treading with her foot 
an instrument which marks the time. -Ampelos, a youthful favorite of 
Dionysos, stands in a car drawn by tigers, which are guided by a Cupid who 
plays on alyre. To the right are seen the drunken Silenos supported by 
Nymphs, and a Faun retreating in terror from a mystic box which a 
Menad has opened, and out of which aserpent is crawling. A picture of 
Bacchanalia similar to this is given in pl. 19, fig. 138. The intoxicated 
Dionysos is carried by Pans and Genii, a Faun playing on a tambourine 
leads the procession, one Meenad plays a double flute, and another appears 
to be placing a wreath on Dionysos, under whose feet walks a goat, the 
destined victim of the day. 
In pl. 25, fig. 7, we have copied a picture referring to the Dzonysian 
Mysterves. One of the initiated women sits on the back of a bull, which 
is adorned with garlands for the sacrifice. Her hair is ornamented by a 
pointed crown ; with her left hand she holds up her flowing mantle, while 
with the right she secures herself on the back of the bull. Behind her 
walks a man, probably Aazeros (the Hephestos of Samothracia), with a 
conical cap, a lance, and wreath. The other man with a lance probably 
stands for Aaochersos (the Ares of Samothracia). The figure sitting on the 
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