not yet opened or
expanded in the sky.

154. Next (S. 205), you have Athena, again unhelmeted and crowned with
leaves, walking between two nymphs, who are crowned also with leaves;
and all the three hold flowers in their hands, and there is a fawn
walking at Athena's feet.

This is still Athena as the morning air, but upon the earth instead of
in the sky, with the nymphs of the dew beside her; the flowers and
leaves opening as they breathe upon them. Note the white gleam of light
on the fawn's breast; and compare it with the next following
examples:--(underneath this one is the contest of Athena and Poseidon,
which does not bear on our present subject).

Next (S. 206), Artemis as the moon of morning, walking low on the hills,
and singing to her lyre; the fawn beside her, with the gleam of light
and sunrise on its ear and breast. Those of you who are often out in the
dawntime know that there is no moon so glorious as that gleaming
crescent, though in its wane, ascending _before_ the sun.

Underneath, Artemis, and Apollo, of Phidian time.

Next (S. 207), Apollo walking on the earth, god of the morning, singing
to his lyre; the fawn beside him, again with the gleam of light on its
breast. And underneath, Apollo, crossing the sea to Delphi, of the
Phidian time.

155. Now you cannot but be struck in these three examples with the
similarity of action in Athena, Apollo, and Artemis, drawn as deities of
the morning; and with the association in every case of the fawn with
them. It has been said (I will not interrupt you with authorities) that
the fawn belongs to Apollo and Diana because stags are sensitive to
music; (are they?). But you see the fawn is here with Athena of the dew,
though she has no lyre; and I have myself no doubt that in this
particular relation to the gods of morning it always stands as the
symbol of wavering and glancing motion on the ground, as well as of the
light and shadow through the leaves, chequering the ground as the fawn
is dappled. Similarly the spots on the nebris of Dionysus, thought of
sometimes as stars (+apo tes ton astron poikilias+, Diodorus, I.
11), as well as those of his panthers, and the cloudings of the
tortoise-shell of Hermes, are all significant of this light of the sky
broken by cloud-shadow.

156. You observe also that in all the three examples the fawn has light
on its ears, and face, as well as its breast. In the earliest Greek
drawings of animals, bars of white are