Fig. 86, we find that even Hera, before showing herself to Paris, finds it necessary, with the help of her hand-mirror, to make some slight alteration in her veil. A similar scene is depicted by the pretty terra-cotta from Tanagra (Fig. 89). Fig. 90 represents [Illustration: FIG. 90.] a lady fully dressed, perhaps a bride, attended by two lady’s-maids, one of whom holds an open jewel casket before her, in order that she may choose something more out of it, in spite of the fact that she is so carefully veiled that all ornament seems superfluous. Besides these toilet scenes, Fig. 91 represents a vase picture giving other scenes from the life of women, which, however, have not yet been clearly interpreted. The woman represented here is seated on a chair, her right leg is uncovered, and the foot is placed on a curious rest; in her hand she holds a bandage, as though she intended to fasten it round her foot. Another woman stands and looks on; a spinning-basket and a stool are also included in the picture. It is impossible to say whether this should also be regarded as a toilet scene. [Illustration: FIG. 91.] Greek women made use of many cosmetics for their toilet. They not only anointed their bodies with fragrant essences and their hair with sweet-scented oils and pomades, but the practice of rougeing was also a very common one. The Spartan women, whose healthy complexions were celebrated, probably made little use of it; but the ancient writers supply sufficient testimony to its commonness at Athens. This practice probably originated in the East, and its great popularity among the women of the Ionic-Attic race is probably due to the fact that want of fresh air and exercise gave them a pale, sickly complexion, and they therefore considered it necessary to improve it artificially, though it were only to please their own husbands. They supplied the tender colouring of forehead and chin with white lead, the redness of their cheeks with cinnabar, fucus, and bugloss, or other (usually vegetable) dyes; there was a special flesh tint used for painting below the eyes. The eyebrows were dyed with black paint, which was made of pine blacking or pulverised antimony, and dyeing the hair was quite common as early as the fifth century B.C., and by no means unusual even among men. The rouge was put on either with the finger or a little brush. In vain the poets, especially the comic writers, aimed the sharpest arrows of their wit at this evil practice; in vain they described in drastic colours how, in the heat of summer, two little black streams poured down from the eyes over the face, while the red colour from the cheeks ran down to the neck; and the hair falling over the forehead was dyed green by the white lead. The best cure would doubtless have been found, if every man had been as sensible as the young husband described in Xenophon’s story alluded to above (p. 130), who cured his wife of rougeing by