Korai of the Acropolis of Athens

The hand that held out the offering is detached from the bust to extend forwards, while the arm at her side gathers her skirts, after the model seen in Ionian female figures, like the Group of Geneleos.

[1] Acropolis 669 seems to Payne to be a transitional figure; the kore has a body structure close to the older model, but the eyes have been reduced in size and the Nasolacrimal ducts are marked, as in all later korai.

From this kore onwards, the Ionian costume assumes a standardised form based on the depth and looseness of the drapery of the himation and on the playful representation of the material.

The last thirty years of the 6th century are characterised by great attention to the shaping of the face and to the decoration of surfaces, especially visible in the treatment of hair and clothes.

[2] The "Archaic smile" disappears with Acropolis 685, which has a similar structure but has an unusual pose: both hands were extended with offering and as a result her clothing is not gathered up and falls vertically, following the line of her body.

As the statue's outfit is notably different from the rest of the Acropolis Korai, Dr. Steven Zucker and Dr. Beth Harris theorize that the sculpture's missing arm could have been carrying a bow which is often associated with the Greek deity Artemis.

A new way of thinking replaced the old and many of the forms characteristic of this new style seem to come from Peloponnesian bronzes, just as the Euthydikos Kore, through the Blonde Ephebe, seems stylistically similar to the Apollo of the pediment of the Temple of Zeus at Olympia.