Several of the groups figured in our plates belong to this age. As examples, we may take Pl. XVII, the stele of Amphotto, which is a work of the earlier half of the fifth century, and Plates X, XIII, XVIII, XX, XXI, XXVI, all of which were probably executed in the latter half of that century. The form of these stelae is simple, even clumsy, the gable above usually surmounted by three acroteria, on which an acanthus pattern was probably painted. The subjects consist of few figures in simple groups. The perspective is by no means perfect; for instance, the breasts of Tynnias (Pl. X) and of Mica (Pl. XXI) are too fully turned to the spectator. Nevertheless these reliefs have an extraordinary nobility and dignity. Tynnias might almost have sat for a model of the Zeus at Olympia: Lysander (Pl. XX) is the model of a modest and well-bred Athenian boy: Mica (Pl. XXI), in spite of her fanciful name, has not a touch of levity. Like the maidens of the Parthenon frieze, all these human beings behave as if in the immediate presence of the gods. They embody nobility and repose. In the fourth century, the conditions of sculpture at Athens again underwent a great change. No new and splendid temples rose from the ground. No great public buildings offered a wide field to the architect, the painter, and the sculptor. Art worked mainly in the service of individuals. And, at the same time, the sepulchral monuments of Athens became far more sumptuous. It is therefore quite natural that they should have been sometimes undertaken by artists of renown. We have the testimony of Pausanias to the fact that Praxiteles himself sometimes made the sculptural adornment of the great Attic sepulchres. Outside the Peiraeus gate, among other noteworthy tombs, Pausanias[235] found one which he thus describes: ‘Not far from the gates is a tomb, whereon stands a soldier standing by his horse: who he was I know not, but it was Praxiteles who made both man and horse.’ The contemporary painter Nicias also undertook tombs. Pausanias[236] tells us that outside the gates of Triteia in Achaia was ‘a tomb of white marble worthy of note in all respects, but particularly remarkable for the paintings on the marble, the work of Nicias. There is a throne of ivory, and seated on it a young and beauteous woman, behind whom stands a maid-servant holding a sunshade. Also a young man standing, not bearded as yet, clad in a chiton with a purple chlamys over it: beside him is an attendant carrying hunting-spears and leading dogs of hunting breed.