in rather closely to the figure. The same kind of treatment appears on many of the red-figured vases of the best period. One from a vase by Euphronios is reproduced by Kalkmann (_Jahrbuch_, vol. ix.); it occurs also on the well-known Troilus vase by the same artist, and in numerous other instances (Klein, _Euphronios_, p. 215). Above the girdle the folds are represented by fine parallel wavy lines drawn very close together below by straight lines. In these cases there is no questioning the fact that only one garment is intended, so that we may conclude that in the case of the Acropolis statues too, there is no need to suppose that the difference in texture represents two separate garments of different materials. [129] See Fig. 32. [Illustration: _Photo. by Mansell & Co._ FIG. 32.—Archaic Statue—Athens, Acropolis Museum _Face page_ 78.] It has been suggested that there may be an intention on the part of the artist to indicate some kind of material that had a crinkled texture, such as that of some of the modern Greek stuffs; but if this were so, we might reasonably expect to find the same technique all over the garment, and the comparison with the vases shows that the supposition is not necessary. We may conclude, then, that in those cases where the himation is omitted altogether, the figure is draped in a single garment, namely, the long Ionic chiton described above. In the case of these statues, the chiton is exceptionally long; there is still some material left trailing on the ground after the formation of the deep “kolpos,” which necessitates the skirt being held up in one hand, so as not to impede walking. We are at once reminded of the Ἰάονες Ἑλκεχίτωνες of the Homeric Hymn to Apollo.