figures are left rough at the back. Moreover, even in the visible
portions there are surprising evidences of carelessness, as in the
portentously long left thigh of the Lapith in Fig. 112. It is,
again, evidence of rapid, though not exactly of faulty, execution,
that the hair is in a good many cases only blocked out, the form
of the mass being given, but its texture not indicated (e.g., Fig.
111). In the pose of the standing figures (e.g., Fig. 108), with
the weight borne about equally by both legs, we see a modified
survival of the usual archaic attitude. A lingering archaism may
be seen in other features too; very plainly, for example, in the
arrangement of Apollo's hair (Fig 110). The garments represent a
thick woolen stuff, whose folds show very little pliancy. The
drapery of Sterope (Fig. 108) should be especially noted, as it is
a characteristic example for this period of a type which has a
long history She wears the Doric chiton, a sleeveless woolen
garment girded and pulled over the girdle and doubled over from
the top. The formal, starched-looking folds of the archaic period
have disappeared. The cloth lies pretty flat over the chest and
waist; there is a rather arbitrary little fold at the neck. Below
the girdle the drapery is divided vertically into two parts; on
the one side it falls in straight folds to the ankle, on the other
it is drawn smooth over the bent knee.

Another interesting fact about these sculptures is a certain
tendency toward realism. The figures and faces and attitudes of
the Greeks, not to speak of the Centaurs, are not all entirely
beautiful and noble. This is illustrated by Fig. 109, a bald-
headed man, rather fat. Here is realism of a very mild type, to be
sure, in comparison with what we are accustomed to nowadays; but
the old men of the Parthenon frieze bear no disfiguring marks of