A third source of information is Greek art. When woman figures so largely in the few relics of antiquity which have come down to us intact, what a commentary on ancient womanhood must the art of the Greeks have been, before the ruthless hands of Romans and barbarians and the tooth of time effaced her most precious treasures! The vase paintings of the Greeks illustrate every phase of private life, and abound in representations of the maiden and the matron, in the home, at the loom, in the bridal procession, at the wedding. And Greek sculpture presents ideal types of woman, perfect physically and highly endowed with every intellectual and sensuous charm. From these works of plastic art, abounding in the museums of Europe, we know that the Greek woman was beautiful, the peer of man in physical excellence. In form, the Greek woman was so perfect as to be still taken as the type of her sex. "Her beauty, from whatever cause, bordered closely upon the ideal, or rather was that which, because now only found in works of art, we call the ideal. But our conceptions of form never transcend what is found in nature. She bounds our ideas by a circle over which we cannot step. The sculptors of Greece represented nothing but what they saw; and even when the cunning of their hand was most felicitous, even when love and grace and all the poetry of womanhood appeared to breathe from their marbles, the inferiority of their imitation to the creations of God, in properties belonging to form, in mere contour, in the grouping and development of features, must have sufficed to impress even upon Phidias, that high priest of art, how childish it was to rise above nature." But it is not merely physical perfection which appeals to us in these masterpieces of plastic art. Love and tenderness and every womanly charm find expression in every feature of the countenance; and there is, above all, a moral dignity, an elevation of soul, a spiritual fervor, which lift us from things of earth and impart aspirations toward the eternal. The women who gave insight and inspiration to the sculptor in his portrayal of Hera and of Athena and of Aphrodite must have possessed in some measure the qualities imparted by the artist to his works. The status of woman among the Greeks differs according to the period, tribe, and form of government, and all the various phases of life and civilization arising from these must be taken into consideration in reaching our conclusions. Greek history falls into certain well-defined periods which are distinct in culture and civilization. There is first the Heroic Age, portrayed in Greek mythology and in the Homeric poems, the age of demigods and valiant warriors and noble women. This is the monarchical period in Greek history. Kings presided over the destinies of men, and about them were gathered the nobles. Society was aristocratic; the life portrayed was the life of courts. A court made a