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Peplos

The peplos was a traditional garment worn by women in ancient Greece, consisting of a large rectangular piece of woolen fabric draped around the body and fastened at the shoulders with fibula brooches, featuring a distinctive overfold known as the apotygma that created a capelet-like upper layer.^[1]^[2] The term derives from Ancient Greek πέπλος (péplos), meaning a type of robe.^[3] It emerged as one of the earliest forms of women's attire during the Archaic period, around the 8th century BCE following the Mycenaean collapse, and became emblematic of Doric Greek fashion, often distinguished from the lighter Ionic chiton by its heavier material and simpler construction.^[4] Typically made from wool, though occasionally linen, the peplos was designed as a "one-size-fits-all" wrap that could be adjusted by folding excess length at the top and belting at the waist if desired, resulting in a sleeveless, tubular silhouette that fell to the ankles.^[1]^[2] In its construction, the peplos was formed by folding a single rectangle of cloth in half vertically to encircle the torso, with the upper edge then folded down to form the apotygma, and secured open on one side (open peplos) or sewn closed (closed peplos) for modesty.^[4]^[1] This garment regained popularity in the 5th century BCE during the Classical period, often depicted in vibrant colors and patterns such as reds, greens, and blues, as seen in sculptures like the Erechtheion caryatids.^[4] According to ancient accounts, including those by Herodotus, the peplos began to decline in everyday use by the late Archaic period, possibly due to social or political events in Athens, though it persisted in religious and artistic contexts, particularly associated with goddesses like Athena in the Panathenaic festival's peplos offering.^[2]^[4] Culturally, the peplos symbolized modesty and Greek identity, frequently appearing in votive statues (korai) and architectural sculptures such as the Erechtheion caryatids on the Acropolis, where it underscored the wearer's dignified and timeless femininity.^[4]^[1] Its fibula fastenings and overfold not only provided practical coverage but also allowed for decorative elements like elaborate brooches, reflecting the wearer's status, while variations in pinning along the arms could create short sleeves for added functionality.^[1]^[4]

Overview and Description

Definition and Etymology

The peplos was a traditional garment worn by women in ancient Greece, consisting of a large rectangular sheet of heavy woolen fabric draped around the body from the shoulders to the ankles. It was wrapped around the body under the arms to create a sleeveless, tube-like form that could be left open at the sides or sewn closed for modesty, with the upper edge folded down to form the apoptygma overfold across the chest, providing additional layering and allowing adjustment for the wearer's height; a belt might be added at the waist to cinch the fabric and define the silhouette. This construction emphasized simplicity and functionality, distinguishing it from later, more tailored garments like the Ionic chiton.^[1] Also referred to as the Doric chiton due to its association with Dorian regions and stylistic preferences, the peplos emerged as one of the earliest documented forms of women's attire in post-Mycenaean Greece, appearing prominently in Archaic art from the 8th century BCE onward. It was usually made from undyed or naturally colored wool, though dyed and patterned versions existed for ceremonial use, and its rectangular shape reflected the geometric simplicity of early Greek textile production. The word peplos (Ancient Greek: πέπλος) originates from the Proto-Indo-European root pl̥h₁-, meaning "to fold" or "to plait," which underscores the garment's method of fabrication through folding and draping rather than sewing. This etymology connects it to related terms such as haploûs ("simple" or "single-folded," from sṃ-pl̥h₁-os) and diplax ("double cloth" or "folded in two"), highlighting contrasts in textile manipulation within Greek vocabulary. Scholarly analyses trace this root through Homeric descriptions, such as in the Iliad, where a peplos is depicted as a woven, folded offering to Athena, linking the term to both material culture and poetic metaphors of weaving.

Materials and Construction

The peplos, a traditional garment in ancient Greek women's attire, was primarily constructed from a single large rectangular piece of woolen fabric, which provided the necessary weight and drape for its characteristic folds. Wool was the predominant material due to its availability from local sheep herding and its suitability for the warp-weighted loom, the standard weaving technology employed in ancient Greece. This loom produced fabrics with a vertical warp and horizontal weft, resulting in a sturdy, rectangular cloth typically measuring at least twice the wearer's elbow-to-elbow span in length and neck-to-floor plus an additional overfold in width. Linen variants were less common for the peplos, as they were lighter and more associated with the chiton, though occasional use of finer linens or imported silks occurred in elite or ceremonial contexts.^[5]^[2]^[6] Construction began with folding the rectangle vertically along the top edge to form a deep cuff, known as the apoptygma or overfold, which created a capelet-like layer draping over the bust and back for added modesty and aesthetic effect. The fabric was then wrapped around the body to form a cylindrical shape, with the open sides brought together and secured at the shoulders using fibulae—brooch-like pins often decorated with elaborate designs in bronze, gold, or ivory. These fasteners not only held the front and back layers together but also defined the garment's silhouette, allowing the overfold to hang freely while the lower portion clung to the figure. A belt, typically of wool or leather, was cinched at the waist or slightly below the bust to gather the fabric and prevent slippage, resulting in a versatile yet simple design that required no sewing or cutting.^[1]^[6]^[5] Variations in construction reflected regional and temporal differences; for instance, the Archaic peplos often featured heavier wool for fuller drapery, while Classical examples might incorporate embroidered borders or lighter weaves for mobility. The garment's ankle-length form for mortal women contrasted with shorter, knee-length versions depicted on goddesses in art, emphasizing its adaptability. Overall, the peplos exemplified the ancient Greek emphasis on draped rather than tailored clothing, prioritizing ease of production by female household weavers and symbolic simplicity.^[2]^[6]

Historical Development

Origins in Archaic Greece

The peplos emerged during the Archaic period (c. 800–480 BCE) as one of the earliest documented forms of women's attire in ancient Greece, developing in the aftermath of the Bronze Age Collapse and the Greek Dark Ages (c. 1100–800 BCE). This transition marked a shift from the more elaborate, tailored garments of the Mycenaean era to simpler draped fabrics, reflecting a loss of advanced textile technologies and a return to basic wool production by women in household settings. The peplos consisted of a large rectangular woolen cloth, typically heavy and unbleached, draped around the body from the shoulders downward, with the top edge folded down to create an overfold known as the apotygma, which typically reached the hipline or waist. It was secured at the shoulders with large bronze or iron fibulae (safety pins), leaving the arms free and often exposing one side of the body unless the edges were sewn together for a closed version.^[7]^[4] Literary evidence from the Homeric epics, composed in the 8th century BCE at the dawn of the Archaic period, attests to the peplos as a standard garment for women, described as a full-length dress reaching the ground and worn directly on the skin, sometimes leaving one side open for mobility. In the Iliad and Odyssey, it appears on figures like goddesses and mortal women, symbolizing femininity and often adorned with decorative borders or patterns woven in vibrant dyes such as madder red or saffron. These texts suggest the peplos was already a culturally significant item by the early Archaic era, likely originating in mainland Greek communities influenced by Dorian migrations, where it served both practical and ritual purposes in a society recovering from economic and technological disruptions.^[8]^[7] Archaeological finds, particularly terracotta figurines and marble korai (statues of young women) from sanctuaries like the Athenian Acropolis, illustrate the peplos's form and popularity throughout the Archaic period. The so-called Peplos Kore, a Parian marble statue dated to c. 530 BCE from the late Archaic phase, is named for its apparent peplos but recent paint analysis reveals a chiton with similar drapery and a pronounced apotygma, pinned at the shoulders, with traces of paint indicating colorful geometric or floral motifs on the wool.^[9] Such sculptures, often votive offerings, show the peplos as a marker of elite female status, with variations in length and openness reflecting regional styles—shorter and open-sided in Dorian areas like the Peloponnese, versus more modest closed forms in Attica. Fibulae recovered from graves further confirm its construction, with examples from 7th-century BCE sites demonstrating the garment's evolution from a basic wrap to a more structured drape.^[10]^[4] Often termed the Doric peplos to distinguish it from the lighter Ionic chiton that gained favor later, this garment embodied the Archaic emphasis on modesty and durability, suited to the wool-centric economy of the time. Its prevalence in Dorian-influenced regions, as opposed to the eastern Greek islands' preference for sewn chitons, underscores cultural divisions within Archaic Greece, though it remained versatile across poleis for daily wear and early religious dedications. By the mid-6th century BCE, refinements like finer wool and added belts allowed for a more fitted silhouette, paving the way for its persistence into the Classical period.^[4]^[7]

Evolution in the Classical Period

During the early Classical period, following the Persian Wars (492–449 BCE), the peplos experienced a notable revival in Athens and other Greek city-states, supplanting the more prevalent Ionic chiton that had gained favor in the late Archaic era due to Eastern influences around 550 BCE.^[4]^[11] This resurgence aligned with the Severe style in sculpture (ca. 480–450 BCE), where the garment appeared on female figures, including goddesses like Athena, often over-girded to emphasize a columnar silhouette.^[12] Scholars interpret this revival as a cultural assertion of panhellenic identity and Dorian heritage in response to the Persian threat, as noted in Herodotus' accounts of dress transitions from heavier Dorian styles to lighter Ionian ones.^[12]^[11] In terms of construction, the Classical peplos retained its basic form as a rectangular woolen cloth, typically folded over at the top to create an apotygma reaching the hipline, fastened at the shoulders with fibulae (brooches), and optionally belted to form a kolpos pouch at the hips.^[13]^[4] Compared to its Archaic predecessor, which used heavier wool, the Classical version employed lighter fabrics for greater drape and mobility, with armholes sometimes left open or sewn closed for a more fitted appearance.^[4] This adaptation reflected practical needs for women's roles in religious and domestic spheres, while maintaining the garment's unsewn, draped simplicity that distinguished it from the sewn, sleeved chiton.^[13] Artistic representations further illustrate these evolutions, with the peplos frequently depicted on korai (maiden statues) and deities in the Acropolis sculptures, such as the so-called Peplos Kore (ca. 530 BCE, transitional to Classical style) evolving into more fluid, elongated forms by the mid-5th century BCE.^[4]^[12]^[9] By the late Classical period (4th century BCE), the peplos coexisted with the chiton but symbolized modesty and traditional femininity, often paired with a himation for layered ensembles in vase paintings and reliefs.^[11] Its prominence waned toward the Hellenistic era as Hellenistic fashions introduced more elaborate drapery, marking the peplos as a hallmark of Classical restraint.^[13]

Role in Women's Daily Attire

The peplos functioned as a staple outer garment for women in ancient Greece from the Archaic period onward, offering a practical and modest covering for daily domestic and social activities. Typically crafted from a single rectangular sheet of wool or linen—materials readily available through household production—it was folded vertically around the torso to form a tube-like shape, with the upper edge doubled over to create an apotygma, or overfold, that draped from the shoulders to the hips. Secured at the shoulders by fibulae (large brooch-like pins) and often cinched at the waist or under the bust with a belt, the peplos allowed for easy adjustment to accommodate different body sizes and movements, making it versatile for everyday wear across social strata.^[1]^[6]^[4] In practical terms, the garment's design supported women's routine tasks, such as managing households, child-rearing, and textile work on warp-weighted looms, which were central to female labor in Greek society. The sleeveless construction and weighted wool provided durability and warmth, especially in cooler climates, while enabling sufficient mobility for physical chores; its ankle-length hemline ensured coverage in line with cultural expectations of female modesty. Variations existed, such as the open-sided Doric peplos that revealed one leg for ease during activity or a closed-sewn version for fuller enclosure, reflecting regional or personal preferences in daily use. Iconographic evidence, including terracotta figurines and korai statues like the Peplos Kore (c. 530 BCE), illustrates women in this attire in poised, everyday stances, highlighting its integration into ordinary life rather than solely ceremonial contexts.^[4]^[14]^[2] Socially, the peplos reinforced gender norms by symbolizing feminine restraint and domesticity, with its simplicity underscoring women's roles within the oikos (household) while allowing subtle displays of status through dyed colors, woven patterns, or added embroidery on finer examples. However, its prominence in daily attire waned in the mid-6th century BCE after an incident described by Herodotus, in which Athenian women reportedly used the fibulae as improvised weapons to kill the sole survivor of an Athenian military expedition against Aegina, prompting authorities to ban the pinned style in favor of the safer, sewn Ionian chiton. This shift not only addressed security concerns but also reflected evolving influences from Eastern fashions and broader socio-political changes, gradually phasing the peplos out of routine female wardrobes by the Classical period.^[11]^[2]^[15]

Symbolism of Modesty and Status

The peplos, as a fully enveloping woolen garment folded over the body and secured at the shoulders, embodied ideals of female modesty in ancient Greek society by concealing the form and limiting exposure of the limbs and torso. This design contrasted sharply with more revealing attire like the Ionic chiton, underscoring cultural expectations of aidos (shame or modesty) for women in public and domestic spheres. The garment's inherent coverage amplified the dramatic effect in artistic depictions of violation or seduction, where its dishevelment symbolized the disruption of social norms and female propriety.^[5] Beyond modesty, the peplos reinforced traditional gender roles, positioning women as guardians of domestic virtue and textile production, activities central to their societal identity. Worn predominantly by freeborn women, it distinguished them from male garments and from the attire of slaves or foreigners, thereby affirming feminine restraint and moral integrity as markers of respectable womanhood. Scholarly analysis highlights how the peplos' simplicity and functionality reflected patriarchal structures, where women's visibility was controlled to maintain social harmony.^[11]^[5] In terms of status, the peplos served as an indicator of social hierarchy, with its quality—such as finer wool, dyes, or decorative borders—signaling elite standing among Athenian and other Greek women. High-status examples, often seen in votive statues of korai on the Acropolis, conveyed dignity and authority, linking the wearer to civic and religious prestige without overt ostentation. This subtle display of wealth through craftsmanship aligned with Greek values of restrained elegance for women of means, differentiating them from lower classes who wore coarser versions.^[5]

Religious and Ritual Uses

The Panathenaic Peplos

The Panathenaic peplos was a specially woven woolen garment dedicated to Athena Polias during the Panathenaea festival in ancient Athens, serving as the central offering in the ritual procession.^[16] This heavy, rectangular cloth, typically featuring embroidered scenes from the Gigantomachy depicting Athena's victory over giants, symbolized the city's triumph and devotion to its patron goddess.^[17] Introduced around 560 BCE as part of the festival's expansion under Peisistratos, the peplos was presented annually but held greater prominence in the quadrennial Greater Panathenaea.^[17] The creation of the peplos began nine months prior to the festival at the Chalkeia on Pyanepsion 30, when the priestess of Athena and the arrhephoroi—two young noble girls aged seven to eleven—initiated the weaving by setting up the loom.^[18] The garment was then woven by a group of noblewomen known as ergastinai, selected from prominent Athenian families, who worked under the goddess's patronage as weavers (Athena Ergane).^[16] Crafted from fine wool fleeces sheared according to ancestral traditions, the peplos was adorned with elaborate tapestries illustrating mythological themes relevant to Athena's protective role.^[19] The Praxiergidae, a priestly genos, bore responsibility for dressing Athena's ancient olive-wood xoanon statue with the completed peplos every four years during the Greater Panathenaea, preceded by sacrifices to the Fates, Zeus, and Earth.^[20] During the festival's climax on the last day of the Greater Panathenaea (28 Hekatombaion), the peplos was transported in the grand procession from the Dipylon Gate to the Acropolis, affixed to the mast of a wheeled ship-cart modeled after a trireme to evoke Athena's naval patronage.^[21] Athenian citizens, including men on horseback, charioteers, and women carrying hydriai, participated in this communal display of piety and civic unity, culminating in the garment's dedication at the Erechtheion or Old Temple of Athena.^[21] This scene is famously immortalized in the central east block of the Parthenon frieze (circa 440 BCE), where robed figures fold and present the folded peplos, underscoring its role as a communal artifact bridging ritual and artistry.^[16] Religiously, the peplos embodied annual renewal, marking the Athenian new year and reinforcing Athena's guardianship over the polis amid post-Persian War resurgence.^[17] Its dedication cleansed and reclothed the xoanon, symbolizing purification and the city's enduring alliance with the goddess, while the weaving process highlighted women's ritual contributions to public cult life.^[18] Evidence from Attic vases and inscriptions confirms its continuity from the Archaic period into the Classical era, evolving from a simple dedication to a elaborate tapestry of civic identity.^[17]

Dedications to Other Deities

While the peplos is most famously associated with dedications to Athena during the Panathenaic festival, similar textile offerings were made to other female deities in ancient Greek religious practice, often symbolizing fertility, protection in childbirth, and communal piety. These dedications typically involved woven garments presented as votive gifts, reflecting women's roles in textile production and ritual. Evidence comes primarily from literary sources, temple inventories, and inscriptions, indicating that peploi and related garments were draped over cult statues or hung in sanctuaries to honor the gods' benevolence.^[22] A prominent example is the quadrennial weaving of a peplos for Hera at her sanctuary in Olympia, organized by a council of sixteen women selected from the districts of Elis. This robe, woven specifically for the goddess, was displayed in Hera's temple during the Olympic festival, paralleling the Athenian practice but emphasizing Hera's domains of marriage, women, and legitimate rule. Pausanias describes the sixteen women as overseeing both the Heraea games for maidens and the robe's production, underscoring the ritual's integration of athletic and textile elements as acts of devotion. The practice likely dated to the Archaic period and continued into the Classical era, reinforcing communal bonds and divine favor for the region's women.^[23]^[24] Dedications to Artemis frequently involved personal peploi offered in gratitude for safe childbirth or protection during transitions to adulthood. In one attested case, the woman Themistodice dedicated the folds of her peplos to Artemis after a successful delivery, as recorded in the Palatine Anthology; her husband Leon complemented this with a dedication of his shoes, highlighting familial reciprocity in votive practice. Temple inventories from Brauron and Delos further document multiple garments, including chitons and peploi, draped on Artemis's statues, with up to five items per image noted in the Brauron records. These offerings, often from women or their kin, were common in Artemis's sanctuaries across Attica and the islands, linking the garment's modesty to the goddess's role as protector of young females. Literary evidence from Euripides's Iphigenia in Tauris also mentions peploi hung by priestesses for women who died in childbirth, transforming personal attire into communal memorials.^[22]^[25] For Demeter, peplos dedications were less explicitly documented but tied to fertility rites. Inventories from sites like Corinth and Eleusis list textile votives alongside other items, suggesting peploi were among the garments dedicated to Demeter and her daughter Kore during mysteries celebrating renewal. These practices, evident from the 5th century BCE onward, emphasized the peplos's role in agrarian and life-cycle rituals, though archaeological preservation of perishable textiles limits direct evidence.^[26]

Representations in Art

Archaic Sculptures

In the Archaic period (c. 700–480 BCE), the peplos—a rectangular woolen garment folded over the shoulders, pinned with fibulae, and often belted at the waist with an overfold (apoptygma)—was prominently featured in marble sculptures of korai, idealized female figures typically serving as votive offerings to deities like Athena. These statues, concentrated on sites such as the Athenian Acropolis, employed stylized drapery techniques to render the peplos, with incised lines creating geometric patterns of folds that suggested the fabric's weight and texture while adhering to frontal, rigid poses characteristic of early Greek sculpture. Polychromy, including reds, blues, and greens, enhanced the garments, highlighting decorative elements like borders or motifs, though much has faded over time.^[4]^[9]^[27] The Peplos Kore (Acropolis Museum inv. 679, c. 530 BCE), standing 1.2 meters tall, exemplifies this representation, depicting a young woman or goddess in a heavy, draped garment initially identified as a peplos but revealed through technical analysis to include layered elements: a pleated chiton beneath, a decorated sheath with animal friezes (such as lions and sphinxes), and a short cloak secured by a sash. The overfold falls in columnar folds from the shoulders, pinned at the top, with remnants of vibrant paint and attachment holes indicating metal jewelry or accessories. This sculpture, found buried in a Persian destruction layer on the Acropolis, demonstrates advancing naturalism in Archaic drapery, with subtle asymmetries in posture adding liveliness to the traditional rigid stance.^[10]^[9]^[28] Other Acropolis korai further illustrate peplos variations. Kore no. 589 (c. 570 BCE) shows a figure in a close-fitting peplos cinched by a wide belt, overlaid with a long epiblema (mantle) featuring tassels and preserved red pigment on the folds, emphasizing the garment's modesty and ornamental role. Similarly, Kore no. 675, known as the Chian Kore (c. 520 BCE), displays a peplos-like drapery with painted geometric patterns and heavy wool simulation through deep, parallel incisions, reflecting Ionian influences in its more fluid hem lines. These examples highlight the peplos's prevalence in Attic workshops, where it symbolized maidenhood and ritual purity.^[29]^[30]^[12] Beyond Athens, the Hera of Samos (c. 570–560 BCE, from the Heraion sanctuary) portrays the goddess in a peplos with smooth, vertical folds cascading from shoulders to ankles, underscoring the garment's columnar form and its adaptation for divine figures to convey solemnity. In these sculptures, the peplos drapery evolved from abstract, pattern-based rendering in the early Archaic phase to more anatomical integration by the late period, foreshadowing Classical realism while maintaining symbolic ties to Dorian cultural identity.^[27]^[12]

Classical Vase Paintings and Reliefs

In the Classical period (c. 480–323 BCE), the peplos—a rectangular woolen garment folded at the upper edge to create an overfold (apoptygma) reaching the waist, pinned at the shoulders, and often belted—was prominently featured in Athenian vase paintings and sculptural reliefs, reflecting its prevalence in women's attire for both secular and sacred purposes. These depictions transitioned from the more rigid Archaic styles to more fluid, naturalistic renderings, showcasing the peplos's adaptability, such as its use as a veil or in high-girded forms for movement. Vase painters and sculptors emphasized the garment's texture and drapery, distinguishing it from the lighter Ionic chiton, and often associated it with modesty, maidenhood, or divine figures like Athena. Athenian red-figure vase paintings of the mid-5th century BCE provide vivid examples of the peplos in everyday and mythological contexts. For instance, on a terracotta bell-krater attributed to the Persephone Painter (ca. 440 BCE), female figures wear peploi with prominent overfolds, illustrating the garment's heavy folds and shoulder pins in a scene depicting the return of Persephone from the underworld. Similarly, a white-ground lekythos by the Phiale Painter (ca. 440 BCE) shows a woman in a diaphanous peplos variant, rendered with delicate lines to suggest transparency, in a funerary or domestic setting that highlights the garment's versatility over an undergarment. Another early Classical example is a red-figure pelike in the J. Paul Getty Museum (ca. 460–450 BCE), depicting a woman in a checkered peplos (karierten Peplos) alongside mythological figures like Omphale, where the patterned decoration and high girding underscore the peplos's ornamental potential in narrative scenes. These vases, primarily from Attic workshops, rarely show the pins explicitly but convey the peplos's construction through stylized folds, aligning with post-Persian War artistic trends toward panhellenic ideals. Sculptural reliefs from the same era further illustrate the peplos in ritual and commemorative roles, often in low-relief formats that accentuate its columnar form and symbolic weight. The most iconic depiction appears in the Parthenon East Frieze (c. 447–432 BCE), specifically the central "peplos scene" (Blocks XXXI–XXXV), where two seated female figures fold the sacred Panathenaic peplos—a large woolen cloth woven annually for Athena's cult statue—while accompanied by a priestess, an archon, and a boy attendant. The garment is shown as a voluminous rectangle with intricate folds, symbolizing civic piety and the labor of the ergastinai (weaving maidens), and is rendered in high relief to emphasize its ceremonial importance amid the procession. In Late Classical funerary reliefs (c. 400–300 BCE), such as those from Athens' Kerameikos cemetery, standing female figures frequently wear the peplos combined with a back-mantle (himation draped over the back), portraying deceased women or maidens in poses of quiet dignity; this costume evokes modesty and transition to the afterlife, with the peplos's overfold softly modeled to suggest emotional restraint. Votive reliefs, like those dedicated to deities at sanctuaries (e.g., Acropolis examples in the Athens Acropolis Museum, such as the Relief of the Graces, Acr. 2756), also feature maidens in peploi over sleeved chitons, associating the garment with purity and devotion in scenes of offering. These reliefs, carved in Pentelic marble, prioritize the peplos's vertical lines to convey stability and virtue, influencing later Hellenistic interpretations.

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[27]
[PDF] Research on the Drapery in Ancient Greek Sculptures
May 31, 2021 · In "Homer's Epic", peplos is a kind of daily garment, usually composed of a large rectangular wool fabric without cutting and sewing. The wearer ...
[28]
Peplos Kore (article) | Daedalic and Archaic | Khan Academy
The Peplos Kore represents an idealized young woman. Her face is smooth and symmetrical, embodying the Archaic ideal of female perfection.
[29]
Statue of a Kore | Acropolis Museum | Official website
She is clad in a peplos tighten around the waist with a wide belt and a long epiblema over it decorated with tassels. Traces of red colour have been preserved ...Missing: drapery | Show results with:drapery
[30]
Painted garments on sculptures from Acropolis, 6th C BCE, Greece
Jun 20, 2021 · The two watercolours render preserved polychromy on the so-called Peplos Kore and Chios Kore (Athens, Acropolis Museum, inv. no. 679 and 675), ...