First we may take a stone (Pl. XVI), the very form of which, with the rough surface of the lower half, sufficiently proves that it was placed directly in the ground or the mound of earth which covered the grave[183]. The device is simple, a veiled matron seated, holding in her hands attributes the nature of which is not easily determined, but which may be [Illustration: PLATE XVI _Page 156_ ] [Illustration: FIG. 62. PORTRAIT OF MYNNO.] a cake and a bird, and in any case must be regarded as gifts of the survivors. The work is archaic, even earlier in character than the Persian Wars, according to the editors of the _Corpus_. In another early relief (Fig. 62), which bears the name of Mynno[184], we may see under the seat of the lady a work basket, such as we have already observed placed under the so-called Penelope’s seat. With both hands Mynno twists her thread on a distaff, which is visible immediately under her left arm. The form of the stele indicates the fifth century; and it is noteworthy that the art of the time had not yet mastered the problem of presenting the breast in true profile: while Mynno’s face is turned to the right, her bosom appears to be turned rather towards the spectator, and even the further knee is represented with some clumsiness. Beside these simple and characteristic portraits of seated women we must place a standing figure. The stele bears the name of Amphotto, and comes from Thebes (Pl. XVII). There is here, as in many Boeotian monuments, a pleasing absence of convention. The dress of Amphotto is arranged in an unusual manner; her hair streams down her back. She seems at first sight quite an ordinary mortal; yet there are features in the representation which belong to another sphere. On the girl’s head is a tall circular crown, of the kind called by archaeologists the _polus_, which is a distinguishing mark of goddesses in early art. In her hands also are perhaps a flower (represented in painting and so lost) and a fruit, which are the characteristic offerings to the dead, and remind us of the Lycian and Spartan monuments of the cultus of heroes. The Amphotto stele belongs to the middle of the fifth century. Of the same age is an interesting slab at the British Museum[185], on which is depicted a woman seated, also wearing the polus. She holds in one hand a leaf-shaped fan, of the same kind which the statuettes of Tanagra commonly hold; and in the other hand a cup from which a serpent feeds. The serpent here takes us still nearer to the ideas which gave rise to the Spartan stelae. A class of reliefs must not be omitted which represents [Illustration: PLATE XVII _Page 158_ ] [Illustration: FIG. 63. GIRL WITH DOLL.] [Illustration: FIG. 64. PRIESTESS OF ISIS.]