As time went on, the dimensions of the Doric dress became more ample, or at least were represented so in art; both pouch and overfold become deeper and the folds of the garment generally grow fuller; the distance of the shoulder pins from the points which hang immediately under the arms becomes proportionately larger, no longer being an exact sixth of the whole width of the dress. The most perfect examples in art of the Doric dress in its full development are to be found in the maidens of the Parthenon frieze and the Caryatids of the Erechtheum. Here the pouch is emphasized, and its graceful curve dipping over the hips, though idealized, is at the same time perfectly naturalistic, as can be shown at once by practical experiment. The Munich copy of Cephisodotus’s Eirene holding the infant Plutus presents a very good example of the closed Doric dress as it was worn in the fourth century; it will be seen that the folds are more ample, and the overfold and pouch fall to a distance considerably below the waist, so that the garment must be larger than that originally worn, if we are to accept early monuments as faithful representations of the style of dress actually worn. The simpler form of the Doric dress, namely, that which is unsewn and left open down the side, is not found represented in art before the fifth century; it becomes fairly common on red-figured vases, where it is very frequently depicted ungirt.[82] Sometimes it is the only garment worn; in other cases it is worn over an under-dress. A sculptured example is to be found in an Artemis in Dresden,[83] for the original of which Furtwängler claims Praxitelean authorship. This was probably the dress worn by Laconian girls, to whom the term φαινομηρίς, “showing the thigh,” was applied by some ancient writers.[84] [82] Fig. 12. [83] Furtwängler, _Masterpieces_, p. 324. [84] Pollux, II., 187. [Illustration: FIG. 12.—Vase-painting—British Museum. _Face page_ 46.]