A still more amazing instance where the use of drapery allows the artist to vary the recognized proportions of the feminine form to an extent which would be impossible with nude figures, is the celebrated Ariadne at the Vatican.[a] This beautiful work, which is of the Hellenistic period, shows the daughter of Minos attired in a light flowing single garment, and reclining on a couch, asleep. The upper part of her body leans against the head of the couch, but the remainder is extended nearly at full length. The extraordinary feature of the work is that the length of the figure is altogether out of proportion with the head and with the breadth of the torso, being much too great, and yet so skilfully is the drapery arranged that this very defect becomes an advantage, for it enables a lofty grace, almost approaching grandeur, to be given to the figure, which would be impossible without the exaggeration. By the excellent device of a closely arranged cross fold of drapery passing round the middle of the figure, the artist apparently shortens it, so that the eye of the observer is not held by its great length. Only one other example of the supreme use of drapery in this way seems to be known--a bronze sitting figure of Calliope,[b] which is of the late Hellenistic period, and is obviously of the same school as the Ariadne marble. [a] See Plate 29. [b] Dreicer Collection, New York. NOTE 45. PAGE 112 Praxiteles is known to have executed at least four other statues of Aphrodite besides the Cnidian example, but this last is the only one as to which we have fairly complete records, and of which copies have been closely identified. It is also the most celebrated. We may therefore accept the work as typical for comparative purposes. NOTE 46. PAGE 113