pose is seen on the stele of Aristion in the National Museum at Athens, the work of the sculptor Aristokles, which represents a warrior with a spear in the left hand.[977] Another torso of an ephebe in the Akropolis Museum represents Ionic work from Paros.[978] Another head, the so-called Rayet head in the Jakobsen collection in Copenhagen, one of the most remarkable specimens of Greek archaic art[979] (Fig. 22), somewhat later in date than the Rampin head, represents quite a different tendency in Attic art. While the Rampin head represents Ionic influence, this head represents pure Attic work untrammeled by foreign influence, a true development of the old Attic sculpture in _poros_, the best examples of which are to be found in the decorative sculptures of the Old Temple of Athena on the Akropolis, enlarged by the Peisistratidai. Comparing it with the head of the _Athena_ of the gable of that temple,[980] we see great similarity in the simple execution and reserve in the treatment of details—characteristics of pure Attic sculpture—especially in the deep lines on either side of the mouth in the Jakobsen head. The hair is pictorially treated like a cap, traces of red appearing on it as well as on the lips and eyes. The Copenhagen and Rampin heads, together with the famous portrait head in the old Sabouroff collection,[981] and the head of a woman in the Louvre,[982] form our best examples of old Attic art outside of the museums of Athens.[983] The swollen ears of the Jakobsen head show that it is from the funerary statue of a victor, perhaps a boxer. Furtwaengler wrongly classed it as a portrait head.[984] A much discussed Attic work is the archaic relief of a charioteer in the Akropolis Museum (Fig. 63).[985] This was formerly thought (_e. g._, by Schrader) to be a block from the later Ionic frieze of the old Hekatompedon which many believe survived the Persian sack, but it is more likely a part of a frieze belonging to a small shrine or altar. It represents a draped person entering a two-horse chariot with the left foot, the hands outstretched to hold the reins, the head and body leaning forward. Because of the _krobylos_ treatment of the hair, fitted for both sexes, and the long flowing robe, the sex has been needlessly doubted, some calling it an Apollo or a mortal charioteer, others an Athena or a Nike, even though the line of the breast, so far as it is visible, shows no fullness, and the long chiton is common in representations of male charioteers.[986] However, for the appreciation of the relief it is of no consequence whether the figure is male or female. It may be merely a dedicatory offering of a Panathenaic victor in chariot racing, very possibly assimilated to the type of Apollo,[987] as the god often appears in vase-paintings of the same period in similar costume mounting a chariot.[988] We shall discuss its interpretation more fully later on.[989] While Ionism was prone to represent richly draped figures which concealed the form of