Fig. 82 shows another Athenian work, found on the Acropolis in 1864-65.  It is of marble and is obviously of later date than the poros sculptures.  In 1887 the pedestal of this statue was found, with a part of the right foot.  An inscription on the pedestal shows that the statue was dedicated to some divinity, doubtless Athena, whose precinct the Acropolis was.  The figure then probably represents the dedicator, bringing a calf for sacrifice.  The position of the body and legs is here the same as in the “Apollo” figures, but the subject has compelled the sculptor to vary the position of the arms.  Another difference from the “Apollo” figures lies in the fact that this statue is not wholly naked.  The garment, however, is hard to make out, for it clings closely to the person of the wearer and betrays its existence only along the edges.  The sculptor had not yet learned to represent the folds of drapery

The British Museum possesses a series of ten seated figures of Parian marble, which were once ranged along the approach to an important temple of Apollo near Miletus.  Fig. 83 shows three of these.  They are placed in their assumed chronological order, the earliest furthest off.  Only the first two belong in the period now under review.  The figures are heavy and lumpish, and are enveloped, men and women alike, in draperies, which leave only the heads, the fore-arms, and the toes exposed.  It is interesting to see the successive sculptors attacking the problem of rendering the folds of loose garments.  Not until we reach the latest of the three statues do we find any depth given to the folds, and that figure belongs distinctly in the latter half of the archaic period.

Transporting ourselves now from the eastern to the western confines of Greek civilization, we may take a look at a sculptured metope from Selinus in Sicily (Fig. 84).  That city was founded, according to our best ancient authority, about the year 629 B.C., and the temple from which our metope is taken is certainly one of the oldest, if not the oldest, of the many temples of the place.  The material of the metope, as of the whole temple, is a local poros, and the work is executed in high relief.  The subject is Perseus cutting off the head of Medusa.  The Gorgon is trying to run away—­the position given to her legs is used in early Greek sculpture and vase-painting to signify rapid motion—­but is overtaken by her pursuer.  From the blood of Medusa sprang, according to the legend, the winged horse, Pegasus; and the artist, wishing to tell as much of the story as possible, has introduced Pegasus into his composition, but has been forced to reduce him to miniature size.  The goddess Athena, the protectress of Perseus, occupies what remains of the field.  There is no need of dwelling in words on the ugliness of this relief, an ugliness only in part accounted for by the subject.  The student should note that the body of each of the three figures is seen from the front, while the legs