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middle of an extensive ashes forest, without deforesting the zone; it is understood then,
that the pilgrims received the immediate impression that such terrible sculpture was made by
the Gods. But not only the Menhir was work of the Gods, because the conformation of the
Countenance proceeded from that notable capacity to degrade the Divine that exhibited the
Lydian; craftily, the Tartessians were always worried to inform about the origin of the
disquieting sculpture.
Who achieved to recover from the first impression, and became aware in the details of
the extraordinary Countenance, had to appeal to all his forces to not be won, earlier or later, by
the panic. Remember, Dr. that, for their worshippers, what they had in front was not just a
mere representation of an inert stone but the Alive Image of the Goddess: Pyrene was
manifested in the Countenance and the Countenance participated of Her. And was that hieratic
Countenance what stole the breath. Probably, if someone would have achieved, with a powerful
abstraction act, to separate the Face, from the Head of the Goddess, would have found it of
beautiful traits; in first place, and although of the green coloration of the stone, due to the
form of the traits it undoubtedly belonged to the White Race; in the next order, would need to
be recognized in the general countenance an archetypal Indo-Germanic beauty or directly
Aryan: the Oval of the Visage rectangular; broad Forehead; thick Eyebrows, horizontal and
slightly curved; the Eyelids, as we already said that the Eyes remained closed, demonstrated by
their expression a Frontal Gaze, of orbed and perfect Eyes; the Nose straight and
proportionate; strong and prominent chin; strong and thin Neck; the Mouth, with the lower lip
thicker and a little more protrusive than the upper, was perchance the most beautiful note: was
lightly opened and curved in an scarcely outlined Smile, in an unequivocal gesture of cosmic
irony.
Naturally, no one without the needed capacity of abstraction would be aware of these
signalized traits. On the contrary, undoubtedly all his attention would be absorbed
immediately by the Hair of Goddess; and this primary observation surely would neutralize the
aforementioned esthetic appreciation: when contemplating the Head on its conjunction, Hair
and Face, the Goddess presented that frightening Aspect which produced panic in the redu
pilgrims. But what was in her Hair able to paralyze those rude pilgrims, normally habituated to
danger? Serpents; Serpents of exceptional realism. Her Hair was composed by eighteen
Serpents of stone: eight, of different length, fell on both sides of the Face and other two, much
smaller, were curly on her forehead.
Each pair of eight Serpents were at the same height: two in the height of the Eyes, two in
the Nose, two in the Mouth and two in the Chin; emerging from a previous level of Hair, the
other eight serpentines returned and situated their heads within the anterior. And each
Serpent, when separating from the other forelocks, formed in the air with its body two opposed
curves, as an (S), which permitted to announce the next movement: the mortal attack. And the
two Serpents of the Forehead, although smaller, also evidenced identical aggressive attitude. In
sum, when the Countenance of the Smiling Goddess was admired frontwards, emerged with
strength the arch of the eighteen Serpent heads of Her Hair; and all the heads were forward
turned, accompanying with her eyes the Gaze without Eyes of the Goddess; and all the heads
had the jaw horribly opened, exposing the mortal fangs and abysmal throats. Therefore, must
not surprise, that such impressive apparition of the Goddess terrified her most loyal
worshippers.

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