FIG. 61. BOY, FROM STELE.
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
Plate XVI
Page 156
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.