Bulle[499] has gone carefully into the technique of the hair by different Greek artists. In archaic times this was “_ein, man darf sagen, unmoegliches Problem_.” The primitive means at the disposal of the early artist made it impossible to render the hair naturally and hence it was conventionalized. Two styles arose in archaic times, which endured with modifications all through Greek art. The one was the pictorial (_malerisch_), where only the general appearance of the hair was represented, the merest necessary plastic form being added.[500] Painting here helped the shortcomings of the sculptor to some extent. The second style was the plastic (_plastisch_), where individual locks were attempted. The plastic use of light and shade made the use of color now less necessary. Such examples as the _Korai_ of the Akropolis Museum and the Rampin head in the Louvre show the difficulty which the early artist encountered in representing hair plastically. In the Rampin head[501] we see examples of three sorts of plastic hair treatment: the pearl-string (_Perlschnuerre_) on the neck, grained hair (_Koerner_) in the beard, and snail-volutes (_geperlte Schnecken_) on the forehead. None of the three seems to belong integrally to the head, but each appears to have been pasted on. The pearl-string fashion was first used in the soft _poros_ stone and was only later successfully transferred to marble. During the severe style of Greek sculpture, both fashions, pictorial and plastic, were used, as we see them in the pediment groups from the temple of Zeus at Olympia. In the period of Pheidias the plastic treatment was used almost exclusively, as we see in the _Lemnian Athena_. In the next century impressionism came in, though the plastic treatment still continued, for we see it in the bronze work of Lysippos and the marble work of Praxiteles. The old pictorial treatment was revived again in the later Hellenistic age. ICONIC AND ANICONIC STATUES.