Like names, the ‘physiognomy’ attributed to the gods by the Greeks helps to differentiate divine entities from one another or, conversely, to link them together, making explicit the nature and the scope of their powers. This chapter addresses the meaning of the adjective khruskomas, ‘with golden hair’, frequently attributed to Apollo: does it mean that the Greeks had in mind a blond god? The analysis of texts and images shows that it is much more complicated. First, onomastic attributes and iconographic attributes do not necessarily coincide. Depending on the media, craftsmen may represent a dark-haired Apollo without this being seen as a contradiction with the images conveyed by the poets. Immortals, unlike humans, take on any appearance they want. Second, the colour of gold is not exactly equivalent to blondness (for example, that of Demeter xanthe): the brilliance of the incorruptible metal expresses the radiance that emanates from the young god, notably through his eternally young hair. Khrusokomas thus expresses one of the manifold facets of Phoibos by summoning the image of his delphic sanctuary, where opulence reigns. The chapter thus shows that the colour of Apollo’s hair deserves to be taken seriously.

This chapter compares Philicus’ Demeter of ca. 275 BC (which, at the time of writing, I followed all scholars since Medea Norsa in classifying as a hymn) with the Delphic paeans of Philodamus (ca. 340 BC) and Limenius (between 128 and 108 BC). It argues that Philicus’ poem locates the exchange between Iambe and the Demeter not at Eleusis but at Prospalta, where a cult of Demeter and Persephone is attested, and that it may have proposed a role for that cult in the development of ritual αὶσχρολογία in Attica. The interest in Attic cults shown by a Corcyrean domiciled in Alexandria matches Callimachus’ decision to compose his very Attic Hecale. By contrast the Delphic paean of Philodamus is focussed chiefly on its place of performance and monumental inscription, albeit setting Dionysus’ arrival at Delphi, where he is be honoured alongside Apollo with cyclic choruses, in a wider geographical frame. Geography is important for the paean of Limenius too, offering a very Athenian version of Apollo’s reaching mainland Greece and proceeding to Delphi, a version appropriate for the Pythais from Athens by which we know it to have been performed.

This chapter embarks from the observation that ancient Greek settlements occupied three categorically separate yet interwoven landscapes: the natural, the human, and the imagined environment. It traces their presence at Hermione in the south-eastern Argolid to disclose multiple levels and layers of localisation and steers the investigation to places where all of these vectors combined. In the highly inclusive cult of Demeter Chthonia, the blend included communal preference, local vegetation, and a deliberately local variant of underworld conceptions. The cult of Demeter Chthonia at Hermione involved the killing of a frisky cow with sickles by four old women. It appears impossible to explain why the cow ritual took the idiosyncratic form that it did. Yet the comparison with cults of Demeter Chthonia elsewhere suggests the close interplay between agricultural and eschatological aspects. Although united with other Demeter cults under the same epiclesis and in accordance with the polymorphous nature of Greek religion, the cult in Hermione attests to lively conversations with the specific features of the local landscape, and the desire of the community to make sense of it.

This chapter embarks from the observation that ancient Greek settlements occupied three categorically separate yet interwoven landscapes: the natural, the human, and the imagined environment. It traces their presence at Hermione in the south-eastern Argolid to disclose multiple levels and layers of localisation and steers the investigation to places where all of these vectors combined. In the highly inclusive cult of Demeter Chthonia, the blend included communal preference, local vegetation, and a deliberately local variant of underworld conceptions. The cult of Demeter Chthonia at Hermione involved the killing of a frisky cow with sickles by four old women. It appears impossible to explain why the cow ritual took the idiosyncratic form that it did. Yet the comparison with cults of Demeter Chthonia elsewhere suggests the close interplay between agricultural and eschatological aspects. Although united with other Demeter cults under the same epiclesis and in accordance with the polymorphous nature of Greek religion, the cult in Hermione attests to lively conversations with the specific features of the local landscape, and the desire of the community to make sense of it.

The ancient Athenians held two major Panhellenic festivals: the Great Panathenaia in celebration of the goddess Athena and the Great Mysteries in honor of Demeter. This chapter compares and contrasts the rituals of these two festivals in relation to the topography and monuments of Athens, focusing on how the celebrations drew together different parts of the community of Athens.