The answer to our first question is to be found in a compromise lying somewhere between the two hypotheses suggested. The early artist, struggling with the technical difficulties of his art, is always ready, as soon as he has solved one problem to his satisfaction, to pass on to something which presents still greater difficulties and demands the exercise of still greater skill. The makers of the Acropolis maidens have advanced so far as to be able to infuse some sort of life into their work;—witness the lively expression on some of the faces. Moreover, in the modelling of some parts of the human figure they have reached a high degree of excellence. In the few cases in which the feet of the statues are preserved, a great degree of delicacy and refinement is displayed, which shows that the artists had attained some considerable power over their material. Having advanced so far, they feel themselves equal to facing the problem of representing drapery in sculpture. It is not to be supposed that at this stage of artistic development they would invent difficulties which did not naturally present themselves, nor would they attempt to represent anything that they had not actually seen; therefore, we must conclude that the Athenian ladies of the period actually wore a dress corresponding closely to that reproduced in art. At the same time, it must be remembered that the Greek artist in all probability did not work with a model constantly before him, so that we must expect some slight differences in detail on that account; furthermore, we must make some allowance for archaism; for example, in all the statues under discussion, the drapery does not fall freely away from the figure, but follows the lines of the form beneath in a manner impossible in real life. [Illustration: _Photo. by English Photographic Co., Athens._ FIG. 31.—Archaic Statue—Athens, Acropolis Museum. _Face page_ 75.]