Much turns on the date of the François vase, for many critics, with Studniczka, consider that the costume of the female figures is like that which Homer's women wear, and is a "Doric peplos." Thus Miss Abrahams, in her Greek Dress (1908, pp. 29, 30) studies the arraying of Hera.[14] Of her dress Homer says, χρυσείῃς δ' ἐνετῇσι κατὰ στῆθος περονᾶτο: "And she fastened it _over her breast_ with clasps of gold." "We gather from this passage," says Miss Abrahams, "that the garment was fastened _on the shoulders_ by brooches or pins inserted κατὰ στῆθος, which Studniczka rightly interprets as '_down towards the breast_,' a method of fastening which is represented on the François vase and elsewhere." "The material," Miss Abrahams goes on, "is drawn from the back, and wraps over that which covers the front, _the pins are then inserted downwards_, and hold the two thicknesses of material together...." But (see fig. 11) the pins are inserted _upwards_; we observe the long ribbed head of the pin, of known form like that of the 1450-1200 B.C. pins of Egypt and Enkomi, stuck into the fabric above the right breast. It penetrates the fabric, and passes upwards into a large oval shoulder piece, perhaps the tail of the piece of cloth which covers the decorated collar over the shoulder-joint. The Homeric phrase "pins inserted _down towards_ the _breast_" does not indicate this mode of fastening, which is _upwards from_ the breast. "A method practically impossible--the pin would fall out," says Mr. Dawkins. "If so, blame the artist." Neither the "overfold" (ἀπόπτυγμα) nor the curious oval piece on the shoulder-joint (perhaps a portion of the fabric) is mentioned by Homer. Again, when we read,[15] "the dress is held into the figure by a girdle worn round the waist, over which any superfluous length of material could be drawn, forming a κόλπος or pouch," we must remember that in the dress on the François vase _there is no superfluous material_. The dress ends just above the heels, there is no "tunic-trailing"; as in Homer. A woman who drew her dress up to form a κόλπος or pouch, would show much more of her legs than was fashionable in the archaic period, and would destroy the collant fit over the breast. The costume fits tightly to the bust; and in art of 600-550 B.C. this is the rule. We see no women "with deep κόλπος or pouch," whereas the nurse of Eumaeus could conceal three cups in her pouch. Here, again, Mr. Dawkins thinks that the limitations of the artist cause the absence of the _kolpos_. "He made any dress look tight, because he could only draw his idea of the body and then indicate dress on the body. The artist has two mental images, one of the natural body and the other of the dress, and he could only carry out his work by combining the two."