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There were temples in honour of Aphrodite Pandemos, the goddess of illicit love, and festivals celebrated in her honour; statues were erected of famous courtesans, of Phryne for example, at Delphi, between two kings; and philosophers and statesmen lived with their mistresses openly, without any loss of public reputation.
One night she visited for the last time the temple of Venus Pandemos raised by Solon in the great square of the Piræus, and deposited an obolus as her final offering before the statues of Venus and her companion Peitho, the two divinities of the courtesans, before whom she went many times with her lemans of the moment, before giving herself up to them on the seashore or near the long wall constructed by Themistocles to unite the port with Athens.
From the fragment of a torso the true critic can say whether it belongs to the athletic or the erotic species. A limb of Bacchus differs from a limb of Poseidon. The whole psychological conception of Aphrodite Pandemos enters into every muscle, every joint, no less than into her physiognomy, her hair, her attitude. There is, however, a limit to the domain of sculpture.
He said that the poor lady became desperately enamored of his beauty and day by day assailed his continence, but that he was as deaf to her amorous entreaties as Adonis to the dear blandishments of Venus Pandemos. Finally she became so importunate that he was compelled to seek safety in flight. He saved his virtue but lost his vestments.
Carnal relationship and carnal love are transposed into spiritual relationship and spiritual love. The hands are the hands, in both poems, of Aphrodite: the voices are respectively those of Cypris and of Urania. It is also worth observing that the fragmentary poem of Shelley named Prince Athanase, written in 1817, was at first named Pandemos and Urania; and was intended, as Mrs.
If not always constant with the constancy of Milton to the service of Urania, he never turns into a dirtier byway or back alley than the beaten path trodden occasionally by most of his kind which leads them on a passing errand of no unnatural devotion to the shrine of Venus Pandemos.
The cross, once an obscene pagan symbol, has been transformed from an emblem of reproduction into one of destruction; the "tents of the maidens" are struck; Corinth no longer implores the gods to increase the number and enhance the beauty of its courtesans; Venus Pandemos has given place to Our Lady of Pain, and the obscene Dionysius fled before a crucified Christ.
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