Contemporaneously with this change in female dress, the elaboration of the folds mentioned above with cut-out corners and regular zigzag folds, produced by stiffening and ironing, becomes more and more apparent, especially round the hems of the lower garments. It is true we must not depend too much on the monuments, for we often observe on these that only the front hem of the garment has the zigzag folds, while the back hem is quite plain, with only a suggestion of the necessary stiff folds. (Compare Figs. 17 and 19.) It is evident, therefore, especially in the case of the vase painters, that this drapery is not so much an imitation of actual costume as a peculiarity of the artist’s style. If we may draw any conclusion from the above-mentioned facts as to the differences between Doric and Ionic costume, these do not appear to be fundamental, affecting the shape and appearance of the whole dress, but rather to have depended essentially on the mode of wearing, for the Doric chiton was shaped by pinning, the Ionic constructed by sewing. There is, however, a difference of material, since the Doric chiton was woollen and the Ionic linen. Nor must we understand Herodotus to mean that the Doric dress disappeared entirely after the introduction of the Ionic, for the monuments show us clearly that both kinds existed side by side; so that just at the time of Herodotus the chiton, which, at any rate in its upper part, was not sewn, but fastened by pins or buttons, was the more common. It is true that fashion, which was just as important in antiquity as now, is apparent in various changes, and these are especially conspicuous in pictures by the vase painters of the fifth century, such as Hiero, Duris, Brygos, etc. On these monuments (compare Figs. 4, 18, 19) the female dress is much wider and fuller than before, the kolpos goes all round the [Illustration: FIG. 17.] body, and falls down below the hips almost to the knees. There is a sort of mantle, which falls a little way below the breast; there are almost always sleeves, as there were in the previous fashion, but they are generally less puffed and have no narrow armhole, but a wide opening at the arms. The mode of putting on the chiton is also different, and corresponds to the Doric fashion; the sleeves are not sewn together all round, but have a slit at the top, so that when the chiton is put on it is quite open there. The drawing together of the sleeve openings by little fibulae or buttons fastens the chiton together at the neck, and gives the whole dress consistency. Fig. 17, a cithara player about to tie, or possibly to unloose, the girdle which fastens her upper garment, shows this method of putting on and fastening the upper garment very plainly. However, the bib, which is usually found, is absent here. [Illustration: FIG. 18.]