It is quite certain, therefore, that, in the graphic arts, which either determine or accentuate the values "ugly" and "beautiful," every artist who sets up his notion of what is subject-beauty, like every lover about to marry, either assails or confirms and consolidates the values of his people.[61] Examples of this, if they were needed, are to be found everywhere. See how the Gothic school of painting, together with men like Fra Angelico, Filippo Lippi, Botticelli, El Greco, and subsequently Burne-Jones, set up the soulful person, the person of tenuous, nervous and heaven-aspiring slenderness, as the type of beauty, thus advocating and establishing Christian values in a very seductive and often artistic manner; while the Pagans, with Michelangelo, Titian, and even Rubens, represented another code of values--perhaps even several other codes-- and sought to fix their type also. Note, too, how hopeless are the attempts of artists who stand for the Pagan ideal, when they paint Christian saints and martyrs, and how singularly un-Pagan those figures are which appear in the pictures of the advocates of the Christian ideal when they attempt Pagan types. Christ by Rubens is not the emaciated, tenuous Person suffering from a wasting disease that Segna represents him to be; while the Mars and Venus of Botticelli in the National Gallery would have been repudiated with indignation by any Greek of antiquity. When values are beginning to get mixed, then, owing to an influx of foreigners from all parts of the world, we shall find the strong biological idea of absolute beauty tending to disappear, and in its place we shall find the weak and wholly philosophical belief arising that beauty is relative. Thus, in Attica of the fifth century B.C., when 300,000 slaves, chiefly foreigners, were to be counted among the inhabitants, the idea that beauty was a relative term first occurred to the "talker" Socrates.