quality of the material was thus largely or wholly concealed.

Fig. 82 shows another Athenian work, found on the Acropolis in
1864-65. It is of marble and is obviously of later date than the
poros sculptures. In 1887 the pedestal of this statue was found,
with a part of the right foot. An inscription on the pedestal
shows that the statue was dedicated to some divinity, doubtless
Athena, whose precinct the Acropolis was. The figure then probably
represents the dedicator, bringing a calf for sacrifice. The
position of the body and legs is here the same as in the "Apollo"
figures, but the subject has compelled the sculptor to vary the
position of the arms. Another difference from the "Apollo" figures
lies in the fact that this statue is not wholly naked. The
garment, however, is hard to make out, for it clings closely to
the person of the wearer and betrays its existence only along the
edges. The sculptor had not yet learned to represent the folds of
drapery

The British Museum possesses a series of ten seated figures of
Parian marble, which were once ranged along the approach to an
important temple of Apollo near Miletus. Fig. 83 shows three of
these. They are placed in their assumed chronological order, the
earliest furthest off. Only the first two belong in the period now
under review. The figures are heavy and lumpish, and are
enveloped, men and women alike, in draperies, which leave only the
heads, the fore-arms, and the toes exposed. It is interesting to
see the successive sculptors attacking the problem of rendering
the folds of loose garments. Not until we reach the latest of the
three statues do we find any depth given to the folds, and that
figure belongs distinctly in the latter half of the archaic