over the whole
world--earth, sea, and air alike. Her cult was first established in
Cythera, probably in connexion with the purple trade, and at Athens it
is associated with the legendary Porphyrion, the purple king. At Thebes,
Harmonia (who has been identified with Aphrodite herself) dedicated
three statues, of Aphrodite Urania, Pandemos, and Apostrophia. A few
words must be added on the second of these titles. There is no doubt
that Pandemos was originally an extension of the idea of the goddess of
family and city life to include the whole people, the political
community. Hence the name was supposed to go back to the time of
Theseus, the reputed author of the reorganization of Attica and its
demes. Aphrodite Pandemos was held in equal regard with Urania; she was
called [Greek: semue] ("holy"), and was served by priestesses upon whom
strict chastity was enjoined. In time, however, the meaning of the term
underwent a change, probably due to the philosophers and moralists, by
whom a radical distinction was drawn between Aphrodite Urania and
Pandemos. According to Plato (_Symposium_, 180), there are two
Aphrodites, "the elder, having no mother, who is called the heavenly
Aphrodite--she is the daughter of Uranus; the younger, who is the
daughter of Zeus and Dione--her we call common." The same distinction is
found in Xenophon's _Symposium_ (viii. 9), although the author is
doubtful whether there are two goddesses, or whether Urania and Pandemos
are two names for the same goddess, just as Zeus, although one and the
same, has many titles; but in any case, he says, the ritual of Urania is
purer, more serious, than that of Pandemos. The same idea is expressed
in the statement (quoted by Athenaeus, 569d, from Nicander of Colophon)
that after Solon's time courtesans were put under the protection of
Aphrodite Pandemos. But there is no doubt that the cult of Aphrodite was
on the whole as pure as that of any other divinities, and although a
distinction may have existed in later times between the goddess of legal
marriage and the goddess of free love, these titles do not express the
idea. Aphrodite Urania was represented in Greek art on a swan, a
tortoise or a globe; Aphrodite Pandemos as riding on a goat, symbolical
of wantonness. (For the legend of Theseus and Aphrodite hepitagia, "on
the goat," see Farnell, _Cults_, ii. p. 633.)

To her oriental attributes the following may be added: the sparrow and
hare (productivity), the wry-ne