On the morning after the wedding, the newly-married pair received visits and congratulations from their relations and friends. The husband presented his young wife with gifts, and so also did the visitors, but this ceremony sometimes did not take place till the second day after the wedding; for a curious custom existed (only at Athens, however) for the husband on the day after the wedding to move into his father-in-law’s house, and there spend a night apart from his wife; she then sent him a new garment, whereupon he returned to her. With the wedding presents the dowry was often presented, along with various objects belonging to the trousseau, such as jars, ointments, sandals, toilette implements, etc. The wedding festivities were then concluded by a banquet given either by the bridegroom’s father in his house or by the bridegroom himself; but it does not appear that there were any women present on this occasion. Still, this banquet was of a certain importance for the young wife; at Athens it was connected with her formal admission among the clansmen to whom the bride now belonged by her marriage. Every tribe (φυλή) at Athens was divided into three clans (φρáτραι), each of these into thirty households (γένη); the members of the clans examined into the purity of descent of citizens, and every new-born child had to be entered in their register. This ceremony gave a sort of official, or at any rate public, legitimation to the marriage. [Illustration: FIG. 78.] Among the monuments which have been preserved to us, there are several which refer to marriage; but, as a rule, they adhere to a mythological form, and do not represent a real scene from daily life. Thus, for instance, we often see the bridal pair driving in a car, but those who attend them are the Marriage gods in person, especially Apollo and Artemis, and when the presentation of marriage gifts to the newly-wedded pair is represented, it is usually the celebrated couple, Peleus and Thetis, that we see depicted, while those who offer them the gifts are gods, such as Hephaestus and the Horae, etc. The vase painting, which is here given as Fig. 78, also bears a mythological character, though it, no doubt, adheres very closely to the forms of reality. It represents the arrival of the bride at the bridegroom’s house. The latter stands leaning on a spear (which, however, must be an heroic attribute, and not customary at marriages in the historic period) before the door of his house. On the left comes the bride, who is recognised by the veil covering her head. She approaches with a hesitating step, and the bridesmaid attending her is pushing her gently forward with both hands, while the groomsman, who goes before her, holds her left hand. Apollo, with his laurel staff, and Artemis, with quiver and bow, are gazing sympathetically at the bride; in front of them a woman, either the match-maker or the bride’s mother, holds out both her arms to welcome the bridegroom.