it explains the origin of the ritual unveiling of the bride (anakalypteria). The cloth makes Chthoniê vivid and alive. She is the base matter, but Gê is the form of it. The robe hangs on a winged oak. This passage is unique and has several interpretations. The robust oak was traditionally dedicated to Zeus and presumably indicates the solid structure and foundation of the earth. The roots and branches support the earth's surface. Below is Tartarus, and above it, according to Hesiod, grow "the roots of the earth and the barren sea". Pherecydes followed this archaic representation. The wings refer to the broad spreading branches of the oak. Over this hangs the cloth, which as the earth's surface is thus both smooth and varied in shape. The robe as a mythical image for the earth's surface also appears in some Orphic texts. In the Homeric Hymn to Demeter, Persephone is weaving a rich robe representing the cosmos when she is carried off by Hades to the underworld.Finally, the proverb 'The face of the earth is the garment of Persephone' is in the style of early Pythagoreans, who had sayings like 'tears of Zeus' for rain and 'The sea is the tear of Kronos'. The mythical images of the tree as an earthly structure and a robe as a gift at marriage have Greek cultic counterparts. In Plataeae, for example, the Daedala festival was celebrated, in which an oak was cut down to make a statue of a girl dressed as a bride. Zeus gave Persephone Sicily or Thebes, while Cadmus gave a robe to Harmonia. Still, the images may be oriental in origin. There are Mesopotamian parallels of the palace with a complex of spaces reserved for the bride and groom is built. There are also myths such as the one in which Anu takes heaven as his portion, whereupon Enlil takes the earth and gives it as a dowry to Ereshkigal, 'mistress of the great deep' (chthoniê). Theomachy Pherecydes described a battle between Kronos and Ophion similar to that of Zeus and Typhon in Hesiod's older "Theogony". The stake of the battle is cosmic supremacy and is reminiscent of the Titanomachy and Gigantomachy of traditional theogony, in which the successive conflicts between gods are described with the current world order as a result. In Pherecydes' cosmogony, however, no initial chaos or tyranny is overcome, followed by the establishment of