(Harrison 1922:284). Robert Graves, quoting Harrison, asserts of the Hesiodic episode that "Pandora is not a genuine myth, but an anti-feminist fable, probably of his own invention." H.J. Rose wrote that the myth of Pandora is decidedly more illiberal than that of epic in that it makes Pandora the origin of all of Man's woes with her being the exemplification of the bad wife. The Hesiodic myth did not, however, completely obliterate the memory of the all-giving goddess Pandora. A scholium to line 971 of Aristophanes' The Birds mentions a cult "to Pandora, the earth, because she bestows all things necessary for life". And in fifth-century Athens, Pandora made a prominent appearance in what, at first, appears an unexpected context, in a marble relief or bronze appliqués as a frieze along the base of the Athena Parthenos, the culminating experience on the Acropolis. Jeffrey M. Hurwit has interpreted her presence there as an "anti-Athena." Both were motherless, and reinforced via opposite means the civic ideologies of patriarchy and the "highly gendered social and political realities of fifth-century Athens"—Athena by rising above her sex to defend it, and Pandora by embodying the need for it. Meanwhile, Pausanias (i.24.7) merely noted the subject and moved on. Artistic representations Images of Pandora began to appear on Greek pottery as early as the 5th century BC, although identification of the scene represented is sometimes ambiguous. An independent tradition that does not square with any of the Classical literary sources is in the visual repertory of Attic red-figure vase-painters, which sometimes supplements, sometimes ignores, the written testimony; in these representations the upper part of Pandora is visible rising from the earth, "a chthonic goddess like Gaia herself." Sometimes, but not always, she is labeled Pandora. In some cases the figure of Pandora emerging from the earth is surrounded by figures carrying hammers in what has been suggested as a scene from a satyr play by Sophocles, Pandora, or The Hammerers, of which only fragments remain. But there have also been alternative interpretations of such scenes. In the late Pre-Raphaelite painting by John D. Batten, hammer-wielding workmen appear through a doorway, while in the foreground Hephaestus broods on the as yet unanimated figure of "Pandora". There were also earlier English paintings of the newly created Pandora as surrounded by the heavenly gods presenting gifts, a scene also depicted on ancient Greek pottery. In one case it