The new possibilities of ‘Physiognomy’ in differentiating character by the facial type, however, brought the expression of divine nature to its fullest expansion, and helped not merely to make men more human but also gods more divine. A London white-ground kylix from Rhodes (Fig. 129) is connected with the Bonn lekythos and the Berlin kylix of Euphronios by the common name of Glaukon. The goddess of love, riding through the air on her sacred bird, the goose, is of more than earthly beauty: her hands, not only the one with the flower but the unoccupied left hand, speak the same expressive language as her face and whole form. The effect of this picture is comparable to that of a song. Now for the first time the inner kinship of the art of words with that of pictures presses itself on the observer of works of art. No one will think of comparing the Geometric style with the Homeric Epic in value of expression, or the ornamental style of the 7th century with contemporary Lyric poetry, though one may see a reflection of Anacreontic and ballad feeling in the art of the later 6th century. But the weight of the Aeschylean pathos is as little to be mistaken in works of graphic and plastic art as the Sophoclean glow and pure beauty of line. The more delicate animation, which this period could bestow on its forms, of itself pointed away from archaic loquacity and pleasure in narration. The genre scene is certainly as old as the historical, and we have seen that there was no difference of principle. The nearer the red-figured style came, the more representations of feeling were combined with representations of action, and towards the end of the archaic style they are no longer rarities. With the new liberation of the style, especially with the enlivening of the eye, a different sort of inward feeling asserts itself. Figures devoid of action, occupied with themselves or contemplating another figure, are themes which the painters of lekythoi in particular were never tired of inventing; and in later times, when the cemetery scenes replaced the domestic ones on these vases, and the privacy of the indoor scenes was transferred to the visit to the grave, the harmony of soul between the visitor and the dead, whose living likeness fancy could not separate from the grave, often found an unspeakably intimate expression (p. 145).