in burial) up until the beginning of the Peloponnesian War in 431. Around this time, sculptors once again began creating grave monuments with considerable skill and quality. Periboloi, or family grave enclosures, were used more often in the fourth century to emphasize sentiments of democracy and family ideals/values. However, these ostentatious representations ended abruptly in 317, when Demetrios of Phaleron banned any more elaborate mausolea. A peribolos tomb has a high wall facing onto a road, which essentially retains the earth fill piled behind it. The front wall is far higher than the three rubble walls surrounding the rectangular burial area, which contain the graves and provide space for family gatherings at funerals or other celebrations for the dead. Since people on the street could only view the front wall, families often created a facade of careful and elaborate masonry work, also shown in the reliefs of the funerary markers that would face the street in a row above, just behind the front wall. From the interior of the plot, one could only see the roughly cut backs of the stelae. Closterman has analyzed the iconography from classical Athenian tombstones within the periboloi plots, and found that these stelae most often do not focus on representing dead individuals, but rather display "the ideal roles of the family in the context of the civic world." As one can see from the modern replica in the Kerameikos, the monument of Hegeso would have been viewed within a peribolos tomb, facing the Street of Tombs on the left of the stele for Koroibos of Melite, a deme in the west of Athens. Though his rosette stele only lists Koroibos, his sons, and grandson (up to possibly five generations) in the inscription, most label Hegeso as the wife of Koroibos. The ambiguity in the inscription and depiction could also have been purposeful, so that Hegeso could memorialize not just one woman, but instead represent the qualities of all the unnamed wives of male descendants from the Koroibos stele. Since Athenians measured the level of public responsibility a citizen felt for the polis by his private actions, a citizen would feel motivated to create stelae in periboloi (like that of Hegeso) in order to convey persistent care for family members by displaying them together in a row, connecting numerous generations. Furthermore, the size and quality of Hegeso's stele indicate that her family was more wealthy