A careful study of the statues themselves and a consideration of all the evidence bearing on the question leads to the conclusion that the complete costume consists of two garments, a long under-dress, which may be regarded as the usual indoor costume of the Athenian ladies of the sixth century, and a mantle worn over it for out of doors; occasionally a scarf or shawl is worn as well over the mantle, perhaps for additional warmth, perhaps only for ornament. The under-dress consists of the long linen Ionic chiton, a wide cylindrical garment fastened by brooches or sewn down both arms so as to form sleeves; a girdle is worn round the waist, and the superfluous length of the material is drawn up over this girdle so as to form a deep pouch; sometimes this pouch is worn all round the figure, sometimes, as is apparently the case in a large seated figure of Athena, the pouch is formed only in front. On some occasions[136] we find that the chiton, in addition to the pouch, has an overfold from the neck resembling the ἀπόπτυγμα of the Doric peplos. This overfold sometimes only covers the chest and sometimes hangs down considerably lower. Such an overfold is very frequently found on vases; in some cases its material may be of one piece with that of the rest of the chiton, as it appears on one of the Nereids from the so-called Nereid monument; but in those many cases where it only appears between the shoulders and does not extend also along the arms, it is quite possible that it may be a separate piece of stuff sewn on to the chiton at the neck. It is probably the edge of such an overfold that appears at the waist below the himation on the Acropolis statues; no other satisfactory explanation of this detail of the costume has at present been suggested. It is unlikely that it represents the “kolpos,” because in all cases, with one possible exception (No. 676; Lechat, fig. 29), a border is painted on it, indicating that it is an edge and not a pouch. It has been suggested that this overfold was sometimes made of a different kind of material from the chiton on to which it was sewn, and that this material was a silk or linen of a crinkled texture, indicated by the wavy parallel lines which appear on the statues. The fact that this treatment appears sometimes also on the skirt and on the upper part of the mantle, diminishes the probability of this hypothesis, and makes it appear more likely that this kind of technique was simply used to represent very full folds in a fine material. Such a treatment may have been suggested to the artist by familiarity with some material of a crinkled texture, such as that used for sheets and table-cloths in some Greek villages to-day. [136] _E.g._, Lechat, fig. 12.