arms. This blanket was first folded over along its upper edge, so that its height was only from the feet to the neck, the overlap reaching to the waist. It was next doubled down the middle in the other direction, with the overlap outside. Then the wearer stood inside the folded cloth, and, having the open ends on her right, pinned the two sides together above each shoulder (see the diagram in fig. 108). The tunic then fell into position about the figure, leaving the arms bare, as in the illustration, which is taken from a toilet-box (E 772) in the Third Vase Room (fig. 109). The dress in its simplest form was now complete, but as one side of it was open, a girdle was usually worn to keep the edges together. Still a great part of the nude figure was visible, and at Sparta, where Dorian manners were preserved in their primitive severity, the white thighs of the maidens were uncovered FIG. 108.-DIAGRAM ILLUS- pletely sewn up, and in this case the tunic could no longer be folded See Plut., Lycurg. et Num. Comp., iii. 5. round the body, but was put on over the head. Often when a girdle was worn the dress was pulled up underneath it, and then dropped over to form a loose blouse. Sometimes there were two girdles, and the chiton was twice pulled up, or the overlap was longer, and a girdle was tied over it. It is easily understood that such a dress was capable of infinite variety of arrangement. The dangerous method of fastening the shoulders with long straight pins (see the specimens illustrated on page 140), of which the points were usually stuck up towards the cheeks of the wearer, is alluded to by ancient writers. In the Iliad, when Aphrodite has been wounded in the hand by Diomedes, and returns to Olympos complaining of the hurt, Athena mocks her by saying that in caressing one of the long-robed Achaean women she has torn her hand on a golden pin. According to Herodotus,2 it was the long pin which brought about the disuse of the Dorian dress at Athens. As the native costume of Greek women, this tunic was universally worn down to the beginning of the sixth century B.C. About that time Athens was disputing the command of the sea with the island state of Aegina, and in a raid into the neighbouring territory the Athenians were overtaken by a disaster from which only one man escaped. He returned alone to Athens and told his tale; but when the wives of his lost companions heard it, they crowded round him, each asking where her husband was, and stabbing him with the long pins of her garment until he died. In horror at this deed the Athenians ordered their women-folk to change the fashion of their dress from the Dorian to the Ionian chiton, which, being not of wool but linen, was not fastened with these long pins. But the Dorian chiton was not altogether superseded. It continued in use as the dress of young girls, while the Ionian fashion was adopted by women of maturer age. The Ionian chiton, which was thus introduced, became the ordinary undergarment of women, in Italy as well as Greece, throughout the classical period. It was of the same shape as the Dorian tunic, but being of fine linen instead of wool its arrangement was slightly modified, and a mantle or wrap was worn over it to make up for the thinness of the cloth. It was much fuller than the Dorian dress, and is represented as hanging in a multitude of crinkled folds. The overlap was usually omitted, and the side on which the two ends met was always sewn up, while on the shoulders the top edges were fastened together by stitches or buttons or brooches to form loose sleeves on the upper 1 1 Il, v. 421 ff. 2 v. 87, arms. This construction is plainly shown in a drawing on the inside of a cup (E 44) by the artist Euphronios, which represents a woman in the act of adjusting her tunic (fig. 110). She is tying the girdle round her waist, while with her arms she holds up above the girdle the loose folds which form the blouse. In this picture the peculiar texture of the Ionian chiton is also shown: above the girdle, where the weight is taken off the stuff, it shrinks together in elastic creases, while underneath, the skirt of the garment hangs by its own weight in tightly stretched folds. The material was soft and heavy, yet thin and transparent enough to reveal the forms of the figure beneath it. It is only in a dressing scene, such as this, that the Ionian chiton is represented alone. Otherwise a heavier dress was worn above it; sometimes this was the Dorian chiton in its usual form or pinned on one shoulder only; sometimes the cloth of the Dorian chiton was draped round the body in a different way, and became not a tunic but a mantle (himation). These mantles were of various shapes and sizes, though always rectangular, and their arrangement did not follow any fixed rule. Distinct fashions, however, in the wearing of the overmantle can be remarked at FIG. 110.-THE IONIAN Chiton. certain periods. Thus, when the Ionian dress first came into use at Athens, an extraordinary elaboration was cultivated, the folds being arranged with such precision as to suggest that the garment is not a rectangular wrap, but a made-up shawl artificially pressed and gathered. If this opinion is right, it was the only time in the history of Greek dress that such a departure from simplicity occurred. The shawl was hung over the right shoulder and under the left arm; from this the folds fell in points of uneven length as far as the waist or the knees. This style of dress is best known from a large series of statues which were discovered in excavations on the Acropolis of Athens. They are relics of the city which was destroyed by the Persians in 480 B.C., and give an accurate date for the prevalence of the fashion. The type is represented in a statuette in the Bronze Room (fig. 111): the lady stands in an attitude of archaic severity, and holds up with her left hand the skirt of the soft Ionian chiton which is underneath the shawl. The outer garment was afterwards larger than this, as well as more simply arranged. Often the whole figure was wrapped in the mantle, which was also drawn over the mouth and the back of the head. This heavy style was favoured in the fourth and third centuries B.C., and constantly appears in the most numerous products of that period, the terracotta statuettes from Tanagra and elsewhere. Fig. 112 is from one of these, and others in the Terracotta Room show very clearly the beautiful and varied draperies of the himation. A similar dress was worn by men in early times, when the women wore the Dorian chiton, and it continued in use as a ceremonial and festal attire of elderly men, minstrels and charioteers. It is illustrated in a drawing of Peleus by the vase-painter Amasis (?) (fig. 113), in which the soft texture of the long white Ionian chiton is indicated by wavy lines, and the heavy mantle hangs stiffly across the shoulders. Thucydides says that the Spartans were the first to adopt a simpler dress, in which the differences of rank and wealth were less strongly emphasised. By this change the long tunic was discarded, and either a short form of the same garment, which had been in use before for outdoor exercise, was adopted in its place, or the outer cloak was worn alone. The short tunic was worn as before by men engaged in active FIG. 113-PELEUS WEARING THE pursuits, and by boys, workmen and slaves. A common fashion of wearing it was to fasten the shoulder on one side only, so that the right arm and breast were free for violent movement. A series of statuettes in the Bronze Room represents the blacksmith god Hephaestos in this working garb (fig. 114). Artemis, the goddess of the chase, wears a similar tunic, and it was the dress which the soldier wore beneath his armour (figs. 66, 71). The ordinary costume of the citizen was the himation or a mantle of smaller size. With this the right shoulder was usually left free, as with the tunic; it is the common dress of men on the red-figure Athenian vases (see the Third Vase Room), from one of which (E 61) the illustration is taken (fig. 115). Men of leisure or high rank affected a more elaborate |