readily moulded it in his own corporeal as well as in his moral image.
So Holda, changed from a heavenly to an earthly deity, was transformed
into the goddess of wells and lakes, and assumed a perfectly human and
even artistic form. She loved to bathe at noon-day, and was often seen
to issue from the water and then plunge anew into the waves, appearing
as a very fair and lovely woman.

Again, we know that in the gradual mythical evolution which found its
climax in Apollo, the animation of this type, so fruitful in special
instances, extended even to the form of his arms, his bow and arrows,
and to the place of his habitation at Delphos. He was armed, according
to Schwartz, with the rainbow and with thunderbolts, and Delphos was
esteemed to be the centre and navel of the world.

These mythical ideas have their special reproduction in the mythology of
the Finns. (Castren.) The god _Ukko_ with his great bow of fire sends
forth trees as darts against his enemies; while fighting, he stands
erect upon a cloud, called the _umbilicus_ of heaven. Thus we see that
the process of myth is similar, even in different races.

By the primitive personification of the special fetishes whence he was
evolved, the _Indra_ of Vedic India is shepherd of the herd of heavenly
kine. _Vritra_, a three-headed monster in the form of a serpent, steals
away the herd and hides it in his cave. Indra pursues the robber, enters
the cave with fury, overwhelms the monster with his thunderbolt, and
leads back the kine to heaven, their milk sprinkling the earth. This
myth gradually assumed in the Vedic hymns more splendid and artistic
forms, and more amazing personifications. The original motive of the
myth, as it has been interpreted even by Indian commentators, was the
storm with all its alternations which bursts forth with more terrific