Jane Ellen Harrison also turned to the repertory of vase-painters to shed light on aspects of myth that were left unaddressed or disguised in literature. On a fifth-century amphora in the Ashmolean Museum (her fig.71) the half-figure of Pandora emerges from the ground, her arms upraised in the epiphany gesture, to greet Epimetheus. A winged "ker" with a fillet hovers overhead: "Pandora rises from the earth; she "is" the Earth, giver of all gifts," Harrison observes. Over time this "all-giving" goddess somehow devolved into an "all-gifted" mortal woman. A.H. Smith, however, noted that in Hesiod's account Athena and the Seasons brought wreaths of grass and spring flowers to Pandora, indicating that Hesiod was conscious of Pandora's original "all-giving" function. For Harrison, therefore, Hesiod's story provides "evidence of a shift from matriarchy to patriarchy in Greek culture. As the life-bringing goddess Pandora is eclipsed, the death-bringing human Pandora arises." Thus, Harrison concludes "in the patriarchal mythology of Hesiod her great figure is strangely changed and diminished. She is no longer Earth-Born, but the creature, the handiwork of Olympian Zeus." (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.