But the tendency towards an increased interest in the needs of the individual citizen is even more strongly exemplified by the growth of home life. Home life had been sacrificed to public life in the age of Themistocles and Pericles. The victors of Salamis lived in small houses, which were particularly dark and uncomfortable owing to the lack of glass. The poorer citizens lived in a single “cella.” Families of moderate means had two sets of rooms, the upper floor for the women, and the lower set apart for the men. In the fifth century only a few rich men could afford the series of rooms grouped round the two courts which enabled the wealthy Athenian to receive his friends and enjoy some of the privileges of home life. Under the circumstances, we cannot wonder that the Greek left his home early and preferred the gymnasium or the market-place, the law courts or the covered corridors. A few met in the courtyards of their friends but, as a whole, social life in Athens was public. In the fourth century, however, the richer members of the community began to build magnificent houses in the suburbs of Athens. Attempts at decorating the interiors followed as a matter of course. It is said that Alcibiades was the first Athenian to try, calling in Agatharchus, the painter, to his aid. The poorness of the light in the majority of the houses doomed the painters’ efforts to failure, but the sculptor had a better chance. His work could be used, at any rate, for the decoration of the courtyards. He was employed to supply portrait busts and a host of single figures, which, appealing as they did to the individual taste alone, would have had no place in the art of the preceding century. The range of subjects was still further increased by the popular sculptor being no longer chiefly engaged upon huge chryselephantine statues of deities, in which it was manifestly impossible to depart far from the popular types which had been fixed by sculptors like Phidias and Polyclitus. Moreover, the sculptor was no longer compelled to spend most of his time in filling a triangular pediment, a square metope, or shaping his design to the long narrow frieze. The consequence was the discovery of numbers of mythical subjects capable of objective realisation in bronze and marble.