The name of Glaukon, which we have met with on the Euphronios kylix of Berlin, recurs on a series of vases, almost always in the two-line arrangement, which comes now into vogue, and often in combination with his father Leagros’ name. Lekythoi, or slender oil-flasks, which now become the regular offering for graves, and when so employed invariably use the white-ground technique of the Berlin kylix, afford several examples of this favourite’s name, which has become the hinge of vase-chronology. On a Bonn fragment (Fig. 128), which in the older style has a domestic scene, not one taken from the cemetery, and paints the flesh in white, a woman is sitting in an arm-chair and putting on a golden necklace, which the handmaid in front of her has offered in a box. The face of this woman signifies a new world: the archaic types are discarded, the old traditions replaced by a quite individual almost portrait-like conception. The eye, which has hardly any traces of the old full-view and puts the pupil entirely into the open inner corner, gives the face a very natural and living effect, it is really looking: and the hair hanging out from the cap in confusion, the profile not dominated by any canon of beauty, and the drawing of the hands, show the painter penetrated by the same effort after truth. It is perhaps an idle question, what period inaugurates the history of Greek portraiture, since each innovation taken from the model individualizes the traditional type; but it is just the vase-paintings of the post-Persian, Kimonian age, which went further than the later ones in thus individualizing. The woman of the Glaukon lekythos, the old woman on a skyphos in Schwerin from the workshop of Pistoxenos (Fig. 127) and on a loutrophoros in Athens, the head of a warrior from a krater in New York (Fig. 130) may be taken as symptoms of a very personal portraiture in the age of Kimon. The effort to get rid of the traditional ideal types led a series of these [Illustration: PLATE LXXVII. Fig. 127. OLD WOMAN: FROM A SKYPHOS WITH THE SIGNATURE OF THE POTTER PISTOXENOS. Fig. 128. DETAIL OF A FRAGMENTARY WHITE-GROUND LEKYTHOS.] [Illustration: PLATE LXXVIII. Fig. 129. APHRODITE ON A GOOSE: FROM A KYLIX WITH WHITE-GROUND INTERIOR. BEARING THE “LOVE-NAME” OF GLAUKON. Fig. 130. WARRIOR: FROM A RED-FIGURED KRATER.] masters to recast even the divine figures with a strikingly individual, coarse and almost common effect. The master of the Boston ‘Eos’ kylix, a successor of Makron in Hieron’s studio, makes his undistinguished goddess of the morning be carried off by a spindly street-lad; the Demeter, who on a Munich hydria attends the departure of Triptolemos, betrays little of the sacred beauty of the motherly goddess; and other vase-paintings have almost the effect of conscious caricatures of ideal types.