In a Boston lekythos (Figs. 143 and 144) we have an ‘existence’ picture in the manner of the new period (p. 136). The dead warrior stands in Polygnotan attitude, with bent arm resting on his hip (cp. Fig. 135, last to left), beside his altar-shaped tomb, and looks over it to the girl, who without perceiving him approaches with funeral offerings. One notices in the treatment of the nude, that he is the product of an age which already had the perspective sense: so vividly do the few lines of his contour, his muscles, and his knee-pan, give the suggestion of a rounded body; and also the drawing of the female nude, which accident has freed from the drapery added in perishable dull paint, in its very realistic outline goes beyond anything previous. Since the Circe and Phineus kylikes, and the numerous black-figured and red-figured pictures of bathing, dancing, and drinking hetairai, art had busied itself with the naked bodies of women as much as of men: and where nudity could not be represented, it indicated the outlines of the body through [Illustration: PLATE LXXXVII. Figs. 143 & 144. YOUTH AND MAIDEN ON A WHITE-GROUND LEKYTHOS. Fig. 145. WOMAN SEATED AT A GRAVESTONE: FROM A WHITE-GROUND LEKYTHOS.] the cover of the drapery (p. 119). For Polygnotos we have the express tradition of women with transparent garments, and on the Argonaut krater even Athena’s grand forms are indicated; the great liberator of wall-painting must also have been a pioneer in the drawing of the female body. The new style here too brings perfection and fills the form of women with its noble greatness and simplicity. That it too, in contrast with the 4th century, eschews all that is typically feminine, soft and unformed, is a proof how strong was the ideal of male beauty.