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In the V Athenian century, in the period of 465 - 410 a. C., the polychromatic white lékythos had only funerary function. A set of these images portrays an intriguing association between the rites of passage of marriage and death through the representation of the marriage of a dead bride. Through the method of semiotic reading of the images, I argue that the presence of women beside the boatman Charon has the function of humanizing and sweetening death through the intensification of ideas associated with liminality that are typical of the margin phase of the rites of passage. [ABSTRACT FROM AUTHOR]