j'jo-.
50.— Boys
at Soliool.
Vase signed ty
X)wt:>i.
Berlin,
CHAPTERS ON
GREEK DRESS BY
MARIA MILLINGTON EVANS
ILLUSTRATED
S-oxxboxi
MACMILLAN AND AND NEW TOEK 1893 \_AU rights
P
reserved']
CO.
!
- Vl-I
i'
A.
I
ozo*f»f
GT Sso y
TO THE
OXFOED UNIVERSITY DRAMATIC SOCIETY IN EEHIEMBEANCE OF
THEIR PERFORMANCE OF
THE FROGS OF
ARISTOPHANES, 1892.
CONTENTS.
CHAPTEE
I.
PAGE
Homeric Deess
1
'
.
.
CHAPTEE n. DeESS
EN"
HiSTOEIC GeBECE
Women
—UnDEE-GAEMENTS
....
CHAPTEE
or
THE 15
III.
Deess oe the Female Figtjees in the Aceopolis MrsBUM,
....
Athens
CHAPTEE
IV.
Unbee-gaements or the Men
CHAPTEE
35
43
V.
OUTEE GaEMENTS OE BOTH MeN AND WOMEN OE GeEECE IN HiSTOEic Times
CHAPTEE GlEDLES,
FaBEICS,
Feet, etc
....
...
CoVEEINGS
48
VI.
FOE
THE
HeAD AND 5"
LIST OF ILLUSTEATIO:^S. SUBJECT
•
'
a.
"Pallium," h.
c.
AND
SOURCE.
vol.
ii.,
(Smitli's
6
1891.)
Plute-player, from Gerhard's " Auserl: Vasenb.,"
" Apollo Citharoedus."
.
Mmray,
p. 318.
Apollo with tbe lyre. Pub. in Gerhard's "Etrus. and Campan. Vasenb.," T. 3 (Studniczka's " Beitrage." Kg. 15, p. 66.) T. 272 (Studniozka's " Beitrage."
2.
PAGE
Peleus, from a Vase Painting. Pub. in Heydemann's " Griech. Vasenb.," T. 6, 4 (Smitli's "Diet, of G-reek and Eoman Autiq.," s.v.
6
iv.,
6 Pig. 16, p.
66.)
Vatican
7
"Diet, of Greek and Roman Antiq.," vol. ii., p. 318. Murray, 1891.)
s.v.
" Palla," 3.
"Hermes," from the Prangois Vase, Florence (Smith's "Diet, of Greek and Roman Antiq.," .
.
" a.
^
Pellis," vol.
.^
6.
Murray,
p. 362.
Eutenu
No. 530.) 11
Pig. 11, p. 34.)
Gem
from Vapheio. Pub. '£(J. 'Ap^., 1889. (Prom a drawing by Mr. Anderson.)
6.
.
.
.
PI. x., 34
"MoirsB," from the Frangois Vase. Florence (Smith's " Diet, of Greek and Roman Antiq.," " Palla," vol. ii., p. 316. Murray, 1891.) .
.
S. Birch.
Vol.
i.,
p. 273,
No.
11
12
s.v.
Women ataFountain. Froma Vase, British Museum,/ace ("Aneient Pottery," Murray, 1858.)
7.
10 1878,
Woman
(Studmezka'B "Beitrage."
5.
8
1891.)
Gold Seal from Mycenae (Schliemami's "Myeenae and Tiryns." Murray, p. 354,
4.
ii.,
.
s.v.
12
130.
Santangelo Coll., Naples Museum. Pub. in the " Mittheil. des Kais, Deutsch. ArchEieoL
From a Terra-cotta.
Band vi., 1891, p. 253. face Instituts. Eom. Abtheil." (Prom a photograph of the cut in the " Mittheil.")
13
X FIG.
—
LIST OF ILLUSTRATIONS.
.
9.
.
10.
.
.....
SUBJECT AND SOUECB.
NO.
8.
Scheme
of the Dorian Chiton (Studniezka's "Beitrage," p.
PAGE
17
6, fig. 1.)
face Selene, from the great altar, Pergamos (Reproduction from Baumeister's "Deiikmaler,"p. 1238, .
.
.
17
fig. 1423.)
face Hesperid, from one of the Metopes. Olympia (Reproduction from Bamneister'B"Dentinaler," p. 1081, .
18
fig. 1286.)
"11. \2.
.
.
Chiton fastened on the Shoulders (Studniezka's " Beitrage," p. 99,
Dress Open at the Side
18
(Studniezka's "Beitrage," p. 13.
.
"
T.5.
16.
.
.
.
7, fig. 2.)
.18
Dress Open at the Side (Studniezka's "Beitrage," p.
- 14.
18 fig. 30.)
7, fig. 3.)
Scheme
of the closed Dorian Chiton (Studniezka's "Beitrage," p. 10, fig.
6.)
Girl wearing the closed Dorian Chiton (Studniezka's " Beitrage," p. 10, fig.
5.)
Naples Musetrm
.
(Studniezka's "Beitrage," p. 10, .
.
.
.
.
.
Girl putting on the partially-closed Dorian Chiton.
Herculaneum. 17.
.
.
.19
.20
Prom .
.20
fig. 4.)
Bronze Figure from Herculaneum.
Naples Museum. face
20
(From a photograph.) 18.
.
Figui-e of Athena,
from one
of the Metopes.
Olympia. precede
21
(BVom a photograph.)
Procne and Philomela (From a photograph.)
19.
.
Vase Painting.
20.
.
Scheme
21.
.
22.
.
23.
.
of the " Peplos " of Athena (Studniezka's "Beitrage," p. 142,
.
" Statuette. Athens (Studniezka's "Beitrage," p. 142, fig. 45.) .
Dress of Modern Egyptian
Woman
.
.
.
.
.
.
.
.
.
.
.22
.
.22
.23
fig. 47.) .
(Studniezka's " Beitrage," p. 118, fig. 42.) 24.
.21
fig. 46.)
The " Varvakeion
Statuette of Athena. Athens (Studniezka's "Beitrage," p. 142,
.
.23
Illustration of Sleeve of Chiton made by placing pins at intervals. From a Vase . . (Reproduction from Schreiber's " BUderatlas, " Taf xii .
10.)
.
.
.24
LIST OF ILLUSTKATIONS. PIG.
NO.
25.
.
SUBJBCT AND SOURCE.
Mounted Amazon.
PAGE
Athens
face
24
(From a photograpli.) 26.
-
27.
.
.
Scheme
of the Ionian Chiton (Studniczka's "Beitrage," p. 13,
Women
24 fig. 7.)
wearing the Ionian Chiton
.
.
28.
.
The
J.
29
[ a.
\
h.
{
c.
I
d.
I
.
1.)
....
E. Harrison.
Maomillan, 1890, p. 375,
ia.
^
Evans
}
.
c.
From
Amazon.
32
Originals.)
33
a Vase Painting
(Reproduction from Schreiber's "Bilderatlas," bfxxiY. 31.
31
\ b.
(d.
Medea.
26
fig. 13.)
Etruscan Fibulae from the collection of Sir John
(From the 30.
"vii.
Belief in the Vatican Mythology and Monuments of Ancient Athena."
Charites. ("
.25
.
(Eieproduotion from Schreiber'a " Bilderatlas,"
In the Berlin
1.)
Museum
33
" Dictionary of Classical Antiquities." Swan SonTranslated by Nettleship and Sandys. nenschein & Co., London, 1891, p. 25. s.v. " Ama-
(Seyffert's
zons.") 32.
.
33.
.
34.
.
The Eunning
Girl. Vatican (From a photograph.)
face
Figure ascribed to a base with the name of the Antenor. Athens (From a photograph.)
Female Figure discovered on the
Acropolis,
34
artist
face
36
Athens face
36
(From a photograph.) 35.
.
Female Figure discovered on the Acropolis, Athens precede 37
36.
.
Female Figure discovered on the
(From a photograph.) Acropolis, Athens face
38
(From a photograph.) 37.
.
Bacchante.
From
a Vase Painting
.
precede
.
39
(Keproduotion from Baumeister's " Denkmaler," p. 847, fig. 928.;
38.
.
Female Figure found on the
Acropolis, Athens
face
41
(Prom a photograph.) -
39.
.
Bas-relief.
Soldier in a short Chiton "Dictionary," p. 130 (1).
(Seyfflert's
-40.
.
... s.v.
•'
.
Charon, wearing the Exomis (Reproduction from Schreiber's " Bilderatlas," p. 10,
Vign.
9.)
.45
Chiton.")
47 Introd.,
LIST OF ILLUSTRATIONS. Fla.
NO.
41.
.
(Seyffert's" Dictionary," p. 295
42.
43.
.
.
.
.
(2).
Terra-Cotta Figurine from Tanagra (Seyffert's " Dictionary," p. 610 (3). Central
Slab.
Lateran Museum,
Sophocles.
.
Eome
.49
.
'•Himation.")
s.v. .
.
.49
.
"Pottery.")
s.v.
....
Museum, Athens
(From a photograph.) 44.
PAGE
SUBJECT AND SOURCE.
Terra-Cotta Figurine from Tanagra
.
.
face
50
precede
51
"Dictionary," p. 597. s.v. "Sophocles." permission of Messrs. Longman.)
(Seyffert's
By 45.
.
46.
.
Penelope and Telemaohos. From a Vase Painting (Reproduction from Schreiber's " BUderatlas," Ixxt.
Figure from the Francois Vase.
Florence "Dictionary of Antiq.," vol. Murray, 1891. s.v. "Pallium.")
47.
.
Caryatid
(Seyffert's .
.
the
Brechtheum,
"Dictionary," p. 116.
Athens.
s.v.
.
Boys
.
53
" Caryatides.")
.
Youth wearing a Chlaiuys
53
54 vol.
ii.,
p.
428.
Vase signed by Duris. Berlin Frontispiece "Dictionary," p. 674. s.v. "Vases.")
at School.
(Seyffert's
-51.
British
Glyptothek, Munich "Dictionary," p. 208. s.v. "Eirene.")
(Smith's "Dictionary of Antiq.," Murray, 1891. s.i;. " PiUeus.'') 50.
319.
Eirene with the Infant Ploutos. (Seyffert's
49.
p.
..........
from
Museum 48.
ii.,
51
.52
.
.
(Smith's
.
1.)
Greek Babies.
Terra- Cottas from Boeotia
.
.54
.
(From a photograph.) 51a.
52.
.
.
of Gabii. Fastening the " Diplax." (Studniozifa's " Beitrage," p. 78, fig. 21.)
Diana
Athens ("Mythology and Monmnents
Stele of Hegeso.
.
Athena.
Part of slab from the great
.
Fragment
of
a Eobe.
55.
.
Vase signed by Hieron.
.
'
face
60
Bilderatlas," Ixxiv. 11.)
.......
" Departure of Triptolemos." British Museum (Harrison's " Mythology and Monuments," p. l.,'fiff 8* t a MacmiUan.)
56.
'
58
" Pergamene
s.v.
....
Crimea
(Reproduction from Schreiber's
56
Pergamos.
altar,
face
" Dictionary," p. 470. Sculptures.")
(Seyffert's
55
Ancient Athens." Macmillan.)
Berlin
54.
.
face of
J. E. Harrison, p. 691, fig. 25.
53.
Louvre
'
G2
,
Athlete with his hair bound up. OljTnpia (Reproduction from Schreiber's "Bilderatlas," Ixxxv.
64
.
I.)
LIST OF ILLUSTRATIONS. ^la.
NO.
57.
.
xiif
SUBJECT AND 80DE0K.
Hair bound with a
fillet.
PAGE
Coin of Syracuse.
British
Museum
66
(British Museum " Catalogue of Greek Coins, Sicily," ed. by R. S. Poole, Loudon, 1876, p. 161.)
'
58.
.
59.
.
Female Head, from a Ooia of Syracuse. British Museum (British Museum "Catalogue of Greek Coins, SioUy," ed. byE. S. Poole, London, 1876, p. 162.) Pemale Head. Syracuse.
.
R.
(British ed. by .
R.
67 of
Greek Coins, Sicily,"
London, 1876,
a "Sphendone."
Museum. Museum " Catalogue
British
61.
S. Poole,
Hairbound with
Coin of
Museum
Museum " Catalogue
(British ed. by
60.
The hair bound with beads.
British
S. Poole,
66
p. 154.)
Coin of Segesta. 67
of
Greek Coins, Sicily,"
London, 1876,
p. 133.)
"Sphendone," wound several times round the head. Coin of Syracuse. British Museum .68 .
.
.
(British Museum "Catalogue of Greek Coins, Sicily," ' ed. by R. S. Poole, London, 1876, p. 160.)
62.
.
63.
.
Instance of a short, wide " Sphendone." Tetradrachm of Syracuse. British Museum (British Museum " Catalogue of Greek Coins, SioUy," ed. by E. S. Poole, London, 1876, p. 167.)
Head bound with a "Sphendone." Tetradrachm of Syracuse, by Phrygillos. British Museum 69 (British Museum " Catalogue of Greek Coins, Sicily," .
ed.
^
64.
.
68
by R.
S. Poole,
London, 1876,
p. 168.)
Female Head wearing the "Ampyx." cuse.
British
.
Coin of Syra-
Museum
69
(British Museum "Catalogue of Greek Coins, Sicily," ed. by R. S. Poole, London, 1876, p. 164.)
65.
.
Female Head wearing "Ampyx" jomed to hair-net by a buckle. Coin of Syracuse. British Museum (British Museum "Catalogue of Greek Coins, Sicily," .
ed.
66.
.
by R.
S. Poole,
London, 1876,
p. 162.)
Hair in a Net, with Frontlet. Decadrachm British
70
of Syracuse.
Museum
70
(British Museum " Catalogue of Greek Coins, Sicily," ed. by R. 8. Poole, London, 1876, p. 175.)
67.
.
Female Head wearing the "Sakkos." British
(British ed. by
68.
.
Fragment
Coin of Syracuse.
Museum Museum "
71
Catalogue cf Greek Coins, Sicily,"
R. S. Poole, London, 1876,
of a
p. 160.)
.......
Vase with Female Figures and
metrical Patterns (" Tiryns," by H. Sohliemann. No. 18.)
Murray, 1886,
Greo-
p. 95,
72
"
LIST OF ILLUSTKATIONS.
XIV FIG.
.
PAGE
SUBJECT AND SOOECE.
NO,
69.
Varieties of Boots, Shoes, (Smitli's
and Sandals
.
"Dictionary of Antiquities," s.v. "Calceus.")
vol.
.74
.
.
i.,
p. 332.
Mvirray, 1891. 70.
.
Female Figure found on the Acropolis, Athens
.
face
74
(From a photograph.) 71.
72.
.
.
Varieties of the " Petasos " (Smith "Dictionary of Antiquities," vol. Murray," 1891. s.». " PiUens.")
"The Foot-washing of Odysseus." "EilQs." From a Vase painting
75 ii.,
p. 428.
Weariag
of the
.
.
.
(Reproduction from Schreiber's " Bilderatlas," hdii. 73.
.
Sailors wearing the " Pilos . (Smith's "Dictionary of Antiquities," vol. .
Murray, 1891. 74.
.
.
ii.,
.77
p. 427.
«.«»." Pilleus.")
Hephaistos wearing the " Pilos " (Seyfiert's
.
.76 3.)
.
"Dictionary," p. 277.
.
s.v.
.
.
.78
"Hephaestus.")
INTRODUCTION. In attempting
to give a sketcli of the
main
principles
on which the ordinary dress of the ancient Greeks was based, I do not propose to deal with the subject in an
exhaustive manner, nor do I for a
moment pretend that
But, having noticed
materials used are entirely original. in pictures of classical scenes
and
the
in
Greek costume when
exhibited on the stage, some ignorance of the elements of the subject, I venture to
make
pages in the hope that they
may
who, from archseological or
public the following
be of service to those
artistic causes,
wish to obtain
a correct insight into the character of the Greek dress in classical times.
lections
as
In the desire
useful as
possible,
to
make
the national col-
made frequent Museum, Blooms-
I have
reference to examples in the British
bury, or in the collection of casts at the South Kensington
Museum.
My
debt to the labours of others, specially of German
To Dr. Studniczka
archaeologists, is great.
best thanks for permission to reproduce
from his work.
My
my
many illustrations
thanks are also due to Messrs.
Murray, Macmillan,- and Swan Sonnenschein, the trustees of the British
The
I tender
as well as to
Museum for the loan of woodcuts.
sources of the illustrations are acknowledged in the
INTEOnUCTION.
XVI
list
My
at p. ix.
has added to his
friend Professor Gardner, of Oxford,
many
kindnesses that of reading
my
proofs.
I subjoin a
list
of works consulted that
may
be of use
to other students of the subject.
"Beitrage zur Greschichte der Altgriechisclien Tracht," von Franz Studniczka. Karl Gerold's Sohn. Wien, 1886. " Quaestiones de re Vestiaria Graecorum." J. Boehlau.
Weimar.
1884. " Quaestiones Vestiariae."
W.
Miiller.
Gottingen, 1890.
" Lehrbuch der GriecHschen Privatalterthiimer." Hermann. Dritte Auflage von H. Blumner. (Band iv. of Hermann's Lehrbuch der Griech. Antiquitaten.) J. C. B. Mohr. Freiburg, 1882.
" Die Tracht bei Homer." Friederich. " Eealien " (p. 248 and zweite Ausgabe. F. Enke. Erlangen, 1856. " Das Homerische Epos." Helbig. Leipzig, 1884. "Social Life in Greece." J. P. Mahaffy. 5th edition. MacLondon, 1888. millan.
foil.),
"Journal of Hellenic Studies,"
vol.
viii.,
p. 170.
E. Gardner.
1887. Published for the Society for Promoting Hellenic Studies,
by Maomillan & Co. " Histoire de
la
Sculpture Grecque."
Maxime
Colligijon.
Paris, 1882.
"
A Companion
to
the
Iliad."
Walter Leaf
Macmillan.
1892. " Olympia," "Bronzen." A. Furtwaengler, Taf. xxi. and (Band iv. of " Olympia," herausgegeben von E. Curtius foil. und F. Adler). A. Asher. Berlin, 1890.
Hope's "Costume of the Ancients." London, 1812. on special garments in Daremberg and Saglio's " Dictionnaire des Antiquites Grecques et Komaines." Hachette & Articles
Co., Paris
(still
in progress).
Similar articles in Baumeister's "
Altertums."
the " Jahrbuch des Kais. Inst." Berlin, 1892. by Mayer, and 1891, vn. 1., by Hauser.
Articles in vii. 4.,
Denkmaler des Klassischen Munich and Leipzig, 1885J etc.
— XVll
INTEODirCTION.
" Observations sur les statues arehaiques do type feminin du Musee de TAcropole." H. Lechat in the " Bulletin de Correspond. Hellenique," 1890. " Die Qriecliischen Meisterschalen," by Paul Hartwig. lished
Pub-
by Spemann, Stuttgart and Berlin, 1893.
The following
table of the
periods of Greek Art
given for convenience of reference I.
II,
:
Pbbhistoeic (Mycenae, Tiryns, &c.). To about 700 Aechaic.
700
to
(Artists
460
is
as Antenor,
Calamis, &c.)
b. c.
Circa
Period of the Vases with Black
B.C.
Figures. III.
Eakly Fine Art.
(Sculptures of Temple of Olympia, Circa 460 to 400
Parthenon, &c.)
the earlier vases with
IV.
Late Fine Art. Scopas, &c.)
(Artists of the
Red
(Artists
b.c.
Period of
Figures.
Mausoleum,
Circa 400 to 300 b.c.
later vases with
Decline.
V.
Bed
Praxiteles,
Period of the
Figures.
of
Circa 300 to 100 b.c.
Pergamene
sculptures,
&c.)
Period of the vases of Apulia
and Campania.
Maria Milijngton Evans. Nash
Mills,
Hemd
Hempstead, November, 1893.
GREEK
DRESS.
HOMEEIC DRESS. To some persons it may seem a trivial undertaking to set to work to describe the garments worn by a people so far removed in time from our own day as the ancient Greeks. But though removed in time, there is no race whose
spirit is
more
modern- thought.
vitally present as
an influence in
True, that the spirit of a great past
can be caught without technical accuracy as to
—
as witness the fact that Mrs. Siddons, in
ball-dress of the period, could so play the part of speare's
heroines
as to
anachronism of her clothes.
make But
that a clearer idea of ancient picture the people
"in
dress
its
an ordinary
Shak-
spectators
forget
there can be
little
life
is
obtained
if
the
doubt
we can To
their habit as they lived."
use the words of quaint old Hope,^ " To clothe, as Paul
Yeronese has done, Alexander in French brocade and Statira in Grenoa cut velvet, is beforehand wantonly
mar
to
the best fruits of one's labour, the applause of the
judicious.
It is
offering
a masquerade instead of a
historic subject, a riddle in place of a tale clearly told."
But the subject '
is
not without
its
difficulties.
Costume of the Ancients, 1812.
It
is
— !
GREEK DRESS.
2
easy to speak of the " Greeks," but Greece was at no
common
period a uniform whole, with customs part of
two towns could have been more
No
it.
every
to
similar in habits and thought than Sparta,
dis-
where every-
thing was subservient to the military ideal, and Athens
How
with her " grace without softness."
were
the differences
great, even,
between Corinth the commercial and
Thebes the prosperous, and those more distant centres, Miletus, Cyrene, Syracuse, each tinged
by influences of
their surroundings
The sources of information,
too, are
not quite so numer-
ous as those available for other branches of ancient history.
example
For in
—
inscriptions,
Greek matters, throw but
though certainly one
list
gives the wardrobe of the
usually such little
sure
guides
light on the subject,
of the temple treasures at
image of Hera,^ a
list
Samos
almost as
long as the inventory of the ornaments and apparel of a mediaeval abbey, or as that of the clothes
Other
Elizabeth.
lists
left
by Queen
of garments dedicated in temples
also occur.
But the
sources readily available for our inquiry are
mainly two,
The
1.
viz.
:
literary,
i.e.
mention of garments, in Greek
and especially the express statements of some
literature,
ancient Greek historians on the subject.
The
2.
shown
in
paintings.
made
by far the larger class, i.e. garments as ancient Greek sculpture, terra-cottas and vaseBut here some allowance has constantly to be
artistic,
either for the personal vagaries of the artist, or for
the limitations of his art. *
Curtius
15—16.
Urkunde tind Studien
;
"Samos,"
p.
15;
Taf.,
HOMERIC DRESS. In the case of dress in Homer,
by the
6
it is difficult
light of existing monumerits
how
to conclude
far the state of
culture represented in the poems actually existed,
much
of
what
how
described was a setting of past and
is
present realities tinged by the glamour of poetry, and in the case of
monuments, how long forms were retained
had fallen out of daily use. Thus much, however, may be safely inferred from the Homeric writings. Garments (cf^ara, ea6'yji) are woven
in art after they
Athena,
by the lady of the house and her maidens.^ the patron of the arts
among
Among
such womanly pursuits. are conspicuous.
The
treasure are the "
work
They form part
When
mortals the Phoenicians
finest robes in the
of Sidonian
Homer
garment-stufis in
the gods, does not disdain
stored in large
are
of the treasure
the body of Hector
is
(A-e(/x//Aia)
Woven quantity.
of a house.
ransomed from Achilles,
They
robes are part of the price paid. offerings to the gods.*
Trojan king's
women."*
are
favourite
These robes were each woven as
one garment, separate and complete in
no weaving of a long piece of
stuff
There was
itself.
from which a length
could be cut as required, a method with which
nowadays was
so familiar.
alien to the
we
are
Such commercial convenience
Greek idea of simple
fitness
and com-
pleteness.
These woven materials are stated to have been of wool.^
There
is
no special record of the working of
Homer, but yet
linen (\ivov)
388
'
Iliad,
*
Iliad, vi., 289.
iii.,
Od., xviii.,
;
is
316
;
IHad,
5
Cf. Iliad, xxiv., 229, VI., 90, 271.
'
Iliad, xvi.,
224
;
Od., iv., 50, 135, &c.
R 2
flax in
mentioned, as in the case xxii.,
511, &c.
GREEK
DRESS.
of bed-clothes/ a linen corslet/ a fishing-line,^
and
fish-
ing nets^" of flaxen twine. The thread of the Fates was of
From
flax.-"
this frequent
mention of flax
conjectured that linen cloth was a
has been
home production
may have thread may have
Homer's time, though
Greece in
it
imported from the East, or the
imported and woven in Greece by the women.
was known in the East
Roman
in classical
at a very early period,
of
been
it
been
Linen
and even
times the wearing of linen garments
In those
was considered a sign of oriental effeminacy.
days Cos was the centre of a manufacture of transparent garments, as may be gathered from the mention of " Coae vestes" by Tibullus and Propertius.
With
chiton {yj.Twv) played an
its
appearance
is
its
have
material or form,
By
as its brilliancy is insisted upon.^^
and other
human
relics
Greece, the
figure 'on
accounts
it
{cf.
made
of linen,
In the representa-
some of the gems,
vases,
belonging to the prehistoric period of
men wear
double apron
all
been a sewn, shirt-like garment, not
fastened with fibulae or pins, and probably
tions of the
Homer, the
denoted by various epithets, as
" shining," " soft," and the like.*^
seems to
in
important part, but the text
gives no precise information as to
though
men
regard to the dress of the
a kind of bathing-drawers or short
the "
Man and
Bull " wall-painting
from Tiryns^* and the gold cups from Vapheio^®). 7
"
Iliad, ix., 661.
»
539. xn^ij^^ ^vi., 408. " Iliad, xx., 128; Od., vii., 198.
j/,-„f;_ ii_^
Iliad, v., 487.
" Cf. Iliad, xviii., 595. 42, &e. Sehuchhardt's Sf/i&);7a)m's Excavations. translation by E. Sellers. Macmillan, 1891, p. 120. '*
Iliad,
^'
Given
1^
Schuchha.rdt, op.
In
s
ii.,
in
cit.
p.
850
;
cf.
chapter to that same work, pp. xxvii.
English
Dr. Leaf.'s Introductory
— xxix.
;
HOMERIC DRESS.
Greek
art
what
of
known
is
5
as the early
"archaic"
period, the short chiton sits closely, jersey-fashion, to the skin.
On
Greek monuments the short chiton
later archaic
worn under armour
is fuller
of west pediment of
and
Temple
Museum, Archaic Room,
Warrior
falls in folds {cf.
of Aegina, cast in British
The length
of the
Homeric
chiton does not seem to have been uniform in
all cases.
That worn by Odysseus
160).
as a beggar (Od., xiii.,
434
xix.,
;
450) must have only reached to the knee, or else the soar
would not have been taken to imply
visible,
that,
may be
but some passages'®"
at least in the
case of elder
and
more venerable wearers and the " lonians," it was longer and this is borne out by the evidence of archaic monuments, where the long chiton
falls to
the feet.
(Fig- 1,
a, h, c.)
The ordinary daily dress of middle-aged men in Homer, when engaged in active pursuits, such as war or hunting, seems to have been a kind of jerkin, perhaps of leather, skin,
worn under the harness
and
to
This dress
wounded
1st
{cf.
Museum,
British
Vase Room, Case D, No.
evidently
is
short.
When
in the side, the blood runs
implying that these are bare.
word "chiton," instead
of
or
to prevent friction to the
promote general comfort
"Euphorbos pinax,"
felt
A
268).
Menelaos
down over
Sometimes,
is
his legs,
even, the
being used for the jerkin,
designates the actual coat of mail.
Idomeneus wounds
Alcathoos through his yj.Twva. yoKKeov^^ but the word
is
not generally used in this sense.
As we now 15°^
Iliad, v.,
find
represented on early black-figured
,734—736, but cf. W. Miiller xiii., 685 Od., xix,, 242.
Vestiariae," p. 1 '«
it
;
Iliad, xiii., 439.
;
:
" Quaestiones
GREEK
DKBSS.
made in Greece (for example, in the British Museum, Vase-room II., No. B.
vases
instances in the 53, pedestal 1
pub. in Miss Harrison's Myths and Monuments,
!Fig. 1
(a).
— Peleus,
Fig.
from a Vase Painting.
and as
shown
peace
ungirdled.
is
1
{h).
— From
Vase Painting.
in Fig.
1,
a
Kg.
1
(«).
p.
;
432)
—From
a
Vase Painting.
the long Homeric chiton of
This custom of wearing the long
chiton was retained for all " cultus " garments of classical
Greece, that
is
for
garments worn on solemn and religious
HOMERIC DRESS. occasions
/
for example, in representations of Apollo play-
;
ing the lyre (" Citharoedus ") as in Fig.
known
god
statue of this
1
1),
or in the well-
in the Vatican (Fig. 2), or in the
figure of the priest of the east frieze of the Parthenon
(British
Museum, Elgin Eoom, Slab No.
V., Fig. 33).
For ordinary informal dress in the house in
woven
the
Homeric times long
chiton,
or
seems to have been worn
short,
Out
alone.
of doors a cloak
{yXalva), apparently an early variety of the later himation
made
{Ifxdmo}'),
dyed
of wool and
was put on
colours,
in
scarf fashion or like a shawl
folded lengthwise (Fig. 1, Being evidently rather a, b). long and cumbrous ofi'
to
speed.
Odysseus
tells
discarded for
in
moving
about to
actively
make
bow, "rising, puts
how
it
among
the
when
Ms.
2.
-Apollo Citharoedus. Vatican.
of the
trial off
from his shoulder his purple cloak."
outer covering the skins of animals were worn
Homeric
laos^'
of
convenience
Telemachos,'*
men.-*^
As an
thrown
facilities
is
in
it is
increase
times.
Agamemnon,^® Diomedes,^* Mene-
wear the skins of
lions
tions of such skins, with the
" Od.,
xiv.,
500.
i»
Iliad, X., 23.
''
Iliad, X., 29.
and leopards.
paws
Representa-
of the animal
'«
"
hanging
Od., xxi., 118. Iliad, X., 177.
;
GREEK
DRESS.
as a finish in front, are not at all rare
down
on some early
Greek vases (Fig. 3), where Heracles, Meleager, Iris, and Hermes all wear them. In the country men wear goat
hymn
Pan, as a country god in the Homeric
ekins.'''^
(19,
23), wears on his shoulders the pelt
of a spotted lynx.
The
dress
women
of the
Homer
in
consists chiefly of the " Peplos,"
i.e.
an
under-garment which probably reached to the feet
and sometimes trailed behind,
worn with a is
one that occurs in the Greek tragedians
also, Fig.
3.
— Hermes.
From the
but by them
the same sense
Francois
The word " peplos "
girdle.
Aeschji-lus
uses
it is
not used in quite
by Homer.
as
Thus
both of men's and
it
Vase, Florence.
women's
In
dress.^^
dians the words
TreTrAos', -neTvXwfxa
poetic term for
"garment."
may
the trage-
fact, in
seem
to
be the general
The "peplos"
later times as the "
dress of Greece, of It is
by the
fact that,
on like a
Dorian " chiton, the typical
which I
shall
shirt,
whereas theirs
pins.
chiton of the
is
The peplos presented by (jrepovai).^*
one piece, and was probably
all of
men
a piece of cloth
Antinoos to Penelope had twelve such pins
The garment was
to say
a sewn garment put
is
the women's peplos
merely fastened with
classical
have a good deal
distinguished from the
later.
Homer known in
in
be taken as the equivalent of that dress
left
open at one side like the dress of the Dorian maidens that ^'-
I
shall
subsequently describe.
"When Aphrodite
Od., xiv., 530.
" Persae, 468. 1031 Hec, 465—473.
Cf.
Soph.
Track.,
'
'
Od.,
xviii.,
292.
602;
and Eur.
"
HOMERIC DRESS. would protect her son Aineias, she and veils him in its shining folds the darts.^®
Homer
in
is
The most frequent
9
flings
open her peplos
as a protection against
epithet applied to
women
" white-armed " (\evKw\evos), which implies This was also a characteristic of
the absence of a sleeve.
the true Dorian chiton, which originally seems to have
been without sleeves and therefore
distinct
from the dress
of the Easterns.
The
stuff
of the
Homeric peplos
mentioned.
Its
colour
(ttoikiXov),^^
and
it
is
is
never expressly spoken of as " variegated is
described as jxaXaKOi,
Hence
XeTtTos,^^ thin or fine.
soft,
and
may, in some degree,
it
have resembled our Indian shawls.
For an
demnon" by
stuff, the " Kre" " or Kaluptre {KaXvTTTpr]), is worn
over-dress, a veil-like piece of (Kprjiefjivov),
Homer ;^® Penelope and
ladies in
degree are mentioned as wearing
Nausicaa lay
it aside.
Perhaps
it
other ladies of high
it.
The maidens
may have
of
been an addi-
worn by women of rank. The mourning Thetis^^ when preparing to go to Olympus wears a dark-coloured veil, tion
but
it
seems that only in the direst grief was the councompletely covered.
tenance
The
veils
spoken of as white and shining, and
may
in
Homer
are
probably have
been linen, inasmuch as wool would have been too heavy.
The
veil of Hera^" is
compared
to the
sun for brilliancy, a
simile that would hardly be applied to the dead surface of
wool, and evidence for silk in
forthcoming.
Many
Homeric times
is
hardly
pieces of small, generally folded,
drapery occur in the Homeric descriptions, such as the 2=
Iliad, v., 315.
" Od., »"
vii.,
97.
Iliad, xxiv., 94.
"' '' '"
Iliad, v., 735.
Od., l, 334. Iliad, xiv., 185.
GREEK
10
"lope"
and
(X^TTi/)'"
DKESS.
others,
well as those I have
as
mentioned, but I will not linger over a detailed consideration of them. It is not easy to reconcile the account
with
very
the
earliest
prehistoric
Homer
given in
representations
of
women's dress found in Greece, though a fairly close parallel may be established between the decorations of early black-figured vases and the
Fig
On seem
4 (")-
Homeric account.
— Gold Seal from Mjxenae.
Twicu
the gold seal from Mj^cenae (Fig.
frilled or
tucked
skirt.
These
dress of the period, or the
frills
A
A
curious parallel
women
may
gem may be
manship denoting foreign, probably llutenu
4, a)
the
women
wear an extremely tight-fitting bodice and a
to
dress.
linear measure.
is
represent the
of foreign work-
oriental,
styles
of
found in the dress of the
of Egyptian wall-paintings (Fig. 4,
h).
similar dress seems to be represented in a wall-picture '
(>
xiii.,
224.
HOMERIC DRESS.
11
from the group of buildings on the south
and on the gem from Vapheio
(Fig. 4,
Mycenae,
wall,^^ c).^^"
It
n^y,
perhaps, be assumed that the inhabitants of Greece at the period represented by the tombs of the " shaft " form at
Mycenae, wore a somewhat similar
dress,
though the
pin,
one of the necessities of the Doric chiton, has been found
In the tombs outside the citadel, fibulae of the " safety-pin " form have lately been discovered.
there.
Some
Pig. i
authorities (as Studniczka
{/>).
—Rutenu "Woman.
the Homeric peplos
is
pretty
and
Miiller) find that
—
{r). Gem from Vapheio. Twiue linear measure.
Pig. i
much
the same as the women's
Museum at may be referred to about
dress on the Francois vase in the Etruscan
Florence, a piece of painting that B.C.
550 or
Fig.
6.
earlier,
some
figures
from which are given in
On other early black-figured vases also the women's
garments frequently agree very closely in
Homeric
description.
chiton, shorter or longer as girdle, '"
'-"
detail
They generally show
may
be,
with the
the straight
sometimes with a
sometimes without, but frequently of so narrow a Figured in Schuchhardt,
op. cit. p. 291, fig. 288.
Cf. ^cj>r]fj.€pk ApxaioXoyiKTi, 1889, '
pi. X.,
84.
GREEK DRESS.
12
shape that walking comfortably in such garments would have been out of the question. This excessive narrowness can hardly have existed as a as in a great measure due
and the
difficulty it
Fig.
5.
From
sentation of falling folds.
reader
is
Down
6.
referred to
Room, Nos. B
but must be
down
the FraiKjois Vase, Florence.
Instances of such garments
For further instances of them the the British Museum, 2nd Vase
333, Case 45, or
B
379, Case H.
the front of these garments
decoration are
set
experienced in the adequate repre-
—Moirae.
are given in Fig.
fact,
to the limitations of early art
frequently found.
broad bands of
Some
writers think
HOMERIC DRESS. tHat these
down
13
served as an edging to an actual opening
the front, or were, at any rate, a survival from an
opening that once existed and was so trimmed. is
But
it
a well-known fact in archaic art that, like a child
attempting to depict the
human
figure, the early artist
loves to represent the upper part of the body full-face.
Fig.
7.
—From an archaic Terra Cotta.
Santangelo CoUeetion,
Naples Museum.
and the lower in
profile,
and
vice versa.
It has been sug-
gested by Helbig that to this custom the stripe centre of either the body or skirt drapery
may be
down the referred,
being derived from an opening that really ran down the side
of
the wearer
Dorian chiton later.
—
—
a characteristic in the Laconian-
a pattern
of which I propose to give
In archaic black-figured
vases, as in Figs. 5
and
:
GREEK
14 6, it
is
DKESS.
usual to find the surface of the dresses co-vered
with minute, elaborately scratched patterns. of a richly-decorated
"chores" subject
robe
instance
7,
where a
given in Fig.
is
dancing men and maidens and a Homeric
of
are represented on the
(?)
An
stiff foldless
surface of
a dress. Occasionally, as I shall subsequently have to these patterns on dresses in
same
and
surface,
it
is
insist,
Greek Art vary suddenly on the
not unreasonable to suppose that
make his work as pretty as possible, may have been moved to add a band of decoration here and there regardless of the actual make of the garment.
the
artist,
wishing
to
Or, such bands of embroidery
from the East and sewn on similar
in
fashion
to
as a
may have
been imported
trimming by the Greeks,
" orphreys "
the
But
chasubles in mediaeval days.
on copes and
time to return
it is
to
the Homeric description.
From what main
have said I hope
divisions of dress in
The
class of
it
Homeric
men and women,
two, both for 1.
I
" endymata "
is
clear that
the
time, were broadly
viz.
('cvSiJ^iora), i.e.
near or next the skin. 2. The class of " epiblemata "
garments worn
(cVt^SA.'^/AaTa)
,
i.e.
mantles
of various cut thrown over these in shawl or veil fashion as a suitably modest out-of-doors dress and a protection against the
weather.
These two classes of garments prevailed also in toric
Greek
times, both for
men and women.
two garments were generally
women
these
three others.
sufficient.
his-
For men
In the case
of
two were often supplemented by two or This
may
easily be seen in the course of a
walk round the galleries of the British Cast Collection at South Kensington.
Museum
or the
IT.
DRESS IN HISTORIC GREECE. UNDER-GARMENTS OF THE WOMEN.
NOW
I
propose to enter more
in detail
the two
into
classes of garments, the "endymata," or garments worn next the skin, and the " epiblemata," or wraps thrown
over these, which prevailed in Historic as they seem to
have done in Homeric .
exceedingly
Dates in such matters are
tim^es.
to give.
difficult
They have
from the evidence than
extracted
For
arbitrary fashion.
commencement
rather to be
down
in
any
instance, the date assigned for the
the
of
laid
" Historic "
period
in
Greek
history has changed a good deal even since Grote's day,
and
is still
ever liable to be shifted in consequence of
But I will from the excavator's spade. endeavour to give a few " milestone " dates, leaving the fresh
results
rest to the reader's
Taking
first
own
industry.
the class of
"endymata" to which the may be given. The
generic name of " chiton " (-^itwu) origin of the dress
The word used
is
{xiruiv
and Kittun (Chald.), op.
cit.),
not to be affirmed with certainty.
=
Kuttonet, Kethoneth (Heb.),
as given
seems to point
short chiton, according to
to
by Dr. Studniczka an oriental source.
Dr. Miiller
(p. 15,
The
(p. 8, op. cit.),
is
— GREEK
16
DRESS.
found among the peoples in Asia Minor before the ascenIn a dency of the kingdoms of Lydia and Persia.
among
slightly longer form it is found
From
the East this garment
Greece through Phoenician agency.
Homer
as
It is
may have come
into Greece
From
ancient inhabitants of Asia Minor.
the
is
not found, so far as
monuments
is at
times,
known
have obtained
it
from the
the fact that
present known, on
was, in the very
it
Greeks in Greece.
to the
Asiatic peoples mentioned above Miiller)
into
Mycenae and other
of prehistoric art at
centres, it can hardly be supposed that earliest
way
its
mentioned in
an accepted and ordinary garment for the
" lonians," and
the chiton
the Egyptians.
may have madq
may
(I
again
cite
The Dr.
from Babylon, for the short
chiton appears on some of their very oldest rock-sculptures
having been worn by the Babylonians.
as
The long
tunic or chiton
seems to have come into
Greece later than the short, though
it
among very much
viz.,
the same people,
occurs in the East the Chaldeeans
and the Assyrians.^* Dr. Miiller assumes
that the long
chiton
probably
passed from Assyria to the Phoenicians, thence to the coast of the Asiatic side of the JEgean, itself.
for
After the age of
Homer
and
so to Greece
the Greeks seem, except
wear on solemn and religious occasions,
to
have pre-
ferred the short woollen tunic to the long linen one.
The following is a description of the Dorian or long woollen chiton of the women, the '^nwv 7ro5i'/o}y?, which in the main seems to correspond with the peplos of Homer, together with what appears ancient method of arranging ''
it
Cf. Hdt.,
:
I.,
195.
to
have been the
Fiy.
9.— Suleiu'.
From
tliu
eiicat Altar, Pcrjrar
UNDER-GARMENTS OF THE WOMEN.
A
large piece of material
is
chosen, a b c
a d and B
8), in the direction
c
17
b
(of.
Fig.
about a foot longer
than the extreme height of the figure of the wearer, and in the direction b
from
a and
it
d
as long as
the distance
hands with the arms stretched out
tip to tip of the
to their widest extent.
upper edge of
c
This piece
is
then taken, and the
folded over (aTrorvy fia, apotygma) about
the depth of from the neck to the waist, a
piece
is
e,
b
of
f,
Then the whole
the diagram.
doubled at G h, and the
lengths F G, E G, are divided into
three.
It
is
generally-
supposed that these were three equal parts, but
found in
it is
practice that this leaves too
much when
for the neck,
put on again.
garment
a
immediately
it
falls off
This difiiculty seems
have been
to
and that
so divided is
felt by the
Greeks, and at a later period
— Scheme of the
Fig. 8.
—
Dorian CHton.
168 b.c.) some(about 200 thing very like " gathers " is found on the monuments in
and even then
this part of the dress,
At
off! (Fig. 9.)
I
L (Fig. 10), but
may have The
seems slipping
the finest period a pleated fold occurs
in the front of the neck,
It
it
how
this
i.e.
in the middle section
was produced
is
not very
k
m,
clear.
been secured by pinning.
points
i
L and
folded round the body
km ;
being taken, the garment
these points are
made
is
to corre-
spond, and are fastened on the shoulder by means of pins (Fig. 11).
GREEK
18
Thus one
DKESS.
by the
gets one side of the person covered
closed side g h, and the side
and B F
Epithets, such ("
A ED
remains open.
c
as
showing the thigh
(j)aivofj.ripU
"),
used of
Laconian maidens, imply that Fig. 11.
on
—Dress fastened
tlie
Shoulder.
From a Vase
Painting.
side
was
open among
so left
and instances of
this
custom are
found in Art (Figs. 12, 13). Iris "
Pig. 12.
of
the Parthenon Pediment
—Dress open at the
side.
Elgin Room, No. G) and the
Fig. 13.
the Temple at Bassae (British
Cf.
Dorians,
Museum,
side.
in the group from
side.
Eur. Androm. 598, and Hec. 933. iv., 2, 3.
The
Museum, Phigaleia Poora,
No. 524) wear chitons open at the "
(British
—Dress open at the
woman
this
them,^*
Of. also Miiller's
Fig'. 10.
— FiguiX'
of
:i
Husperid.
Olympiii.
UNDEK-GARMENTS OF THE WOMEN.
But
in practice
modified.
this seems to
The open
sewing or pins),
have
19
been generally
was closed by some means
side
d
partially, at
n,
(either
c o (see Fig.
8), or
wholly (Figs. 14, 15). After putting on the chiton, the wearer of the garment stands up, with extended arms, and a girdle
passed
is
round the waist by some one standing behind, and the superfluous length
is
pulled
allowed to hang over
up through the
girdle,
and
in
it
a kind of bag, the koXttos,
"kolpos"
(Fig.
this class of
the
To
15).
wholly or
partially closed Dorian chiton belongs the dress of the maidens of the Parthenon frieze (British Museum, Elgin
Eoom, VIIL,
JSTo.
324, Slabs VII.,
Figs. 52
—
60),
the
Caryatid of the Erechtheum
porch (same room, No. 407), Fig. 14.
the
bronzes from Hercula-
—Scheme of the closed Dorian Chiton.
neum, now in the Naples
Museum
(Figs. 16, 17),
and the metope from the Temple
of Zeus,
Olympia
18), of
in
(Fig.
which a
the South Kensington collection.
No.
cast
may
be seen
(Perry's Catalogue,
78e.)
Sometimes the piece of the apotygma falling down The girl, the back is drawn over the head as a veil. in Fig. 17, seems about to
draw hers up.
Another way of dealing with the large square material is to omit the folding over of a e, b f, and take points parallel to
i
l,
k
of to
m, in the upper edge of the
c 2
GEEEK
20 unfolded
stuff,
DKESS.
thus having no apotygma, and then to
draw the whole superfluous length through the
Fig.
15.— G-irl wearing the
closed
Mg.
16.
— Girl
girdle
putting on partially
closed Dorian Chiton.
Dorian Chiton.
(c/.
Naples
Museum,
the figure with the child in Fig. 19). over at A E, B r,
may
required, since there
be
is
made
nothing
Or the
so deep that left to
piece folded
no girdle
is
be drawn through
J
yijj,-.
IS.
—
Atlit'iiJL wuiiriii,!;'
the clu-sed Dorian Chitini,
(.)lyiii}iia.
TJNDEE-GAKMENTS OF THE WOMEN. it,
Figs. 12, 13
(c/.
21
the " Iris " of the East Pediment
Museum, Elgin Eoom, No. G). known by the name of the " Peplos
of the Parthenon, British
A third
method,
of Athena," since the goddess generally affects this form of chiton,
Kg.
at
is
19.
larger
and
Figs.
in
—Procne and Philomela.
the scheme,
clear,
Fig.
20,
show that
"apotygma"
scheme Fig. is
given
8,
will
the
(or
20,
From
A
glance
a Vase Painting.
make
girdle
22.
is
the arrangement
put
on
over
a
"folded-over piece") than in
and that no hanging bag, or koXtto^,
drawn over the
girdle.
Fig. 21
vakeion " statuette, in the Central
which may
21,
is
from the "Var-
Museum
at
Athens,
be a far-away echo of the celebrated gold and
22
GREEK
DRESS.
ivory statue set up by Pheidias in the Parthenon about the
middle of the
century
fifth
B.C.
(A
cast of the
Varvakeion statuette will be found in the corner of the Elgin Eoom, British Museum, No. 300).
In Figs.
21,
22, over the peplos the goddess wears her "aegis," with
the head of
Tig.
Medusa
20.— Scheme
in the centre of the chest.
of the
"Peplos
Kg.
21.
of Athena."
The Dorian chiton was made kind more or
A
modern
less
common
parallel also
— From the Varvakeion
Statuette.
of fine wool,
to all
still
and was of a
Indo-Germanic
exists
by some Egyptian women (Fig.
Athens.
in the dress
23).
Very
tribes.
worn
often
a
formed, in the Greek edition of the garment, by placing buttons or pins at intervals from i k, l m, downwards to the elbow (of. the woman with the goat, sleeve
is
UNDER-GARMENTS OF THE WOMEN. Fig. 24
23
or the -woman with the child, Fig. 19
;
or the
;
so-called figure of " Alcestis," British Museum, Ephesus
Room,
H
More
1).
elaborate girdlings formed
by the
addition of extra cords crossed on the breast, and attached to the ordinary girdle, are often found.
On monuments
Fig. 22.
it
is
(Fig. 25.)
not always easy sharply to dis-
—Statuette of Athena.
—
Dress of modern Egyptian Woman.
Fig. 23.
Athens.
tinguish the closed Dorian chiton from the variety that
must now be
discussed, viz., the Ionian chiton.
The
chief
distinctive feature of the Dorian chiton consists in the
pins seen
on the shoulders.
received the
name irepovarpU
From {cf.
this
peculiarity
it
Theocritus, xv., 21).
The Ionian chiton was entirely a sewn garment, with no It
was made of
linen,
and came
to Greece,
more
GREEK
24
DRESS.
especially to Athens, ia the first half of the sixth century,
from the lonians
of Asia Minor,
who borrowed
from
it
the peoples of Asia proper.
Fig. 24.— Illustration of Sleeve of intervals.
A plan pf it is given
Prom
in Fig. 26.
the piece of material, whole,
is
less
Chiton, made by placing a Vase Painting.
as
pins at
It will be seen that
a
than that re-
quired for the several varieties of the
chiton, being
Dorian
at least a foot less in height.
This garment either
of
may
consist
two pieces (one in
front and one at back), or of
one piece double the size and folded.
Instead of the one .
side being closed
by pins
as in
26.
D —Scheme of the
Ionian Chiton.
Fig. 14, these two pieces are joined,
and both
sides are closed
by sewing
at
g
c,
h
d.
Fig. 25.
—Amazon, with crossed bands from the
gii'Jle.
Athens.
UNBEE-GARMENTS OF THE WOMEN. and
a e, f b, The distance from a
also at the shoulders
dotted lines.
as indicated to b being
by the
hSi
the
span of the wearer with the arms stretched out, a
full
long hanging sleeve girdle
is
length
form
is
thus obtained (Fig. 27).
drawn up through
is
it
so as to
Por an example of
— "Women wearing- the Ionian Chiton.
own
The
put on, as in the Dorian variety, and the extra
a "kolpos."
Fig. 27.
her
25
girdle, the
reader
may
hang over and a girl arranging
From
a Vase Painting.
be referred to the vase
from the Branteghem Collection lately acquired by the British
Good
Museum.
(Third Vase Room, Turret Case C).
instances of this Ionian chiton
the British
Museum
Archaic Room, Cast
the figures of the so-called
same room.
may
be studied in
'No. 156, or
"Harpy Tomb," No.
This dress seems
to
on
94, in the
have been generally made
GREEK
26 of linen.
DRESS.
The material, judging from the
on monuments,
is
instances depicted
of a finely crinkled kind, apparently
elastic in nature, similar to a stuff still to
the off
home productions
of
with a selvage, not
Fig.
would
28.— Relief
be found among
modern Greece. a hem.
It is finished
This elastic material
of the Charites (Graces).
Vatican.
round the neck of a wearer of the Ionian chiton after the head had been inserted, as in the case of our modern vests and jerseys. A band of decoration is close
occasionally seen round the neck, as in Fig. 27.
The two great Ionian,
may
varieties of chiton, the
Dorian and the
be clearly seen side by side in Fig. 28,
UNDER-GARMENTS OF THE WOMEN.
27
from the " Chiaramonti " collection in the Vatican, Rome, of which a cast will be found in the South Kensington collection (Perry's Catalogue,
No. 54). In this group of " Graces " the figure to the extreme left wears the ordinary closed Dorian chiton with " kolpos " and " apotygma," as given in Fig. 14. centre has the same chiton, apparently open side,
and arranged
That in the
down
the left
as in Fig. 16, while the one to the
right wears the Ionian chiton of Figs. 26, 27,
made
of
the crinkled fine linen material just described.
In the two figures of this dress, I
am bound
Fig. 15, but the
heavy, and
it
relief that
to say I
wear the Dorian
cannot see the pins as in
work
of the relief is coarse and the style only be an " archaistic " copy of an
may
The
archaic original.
artist in
such a case might not
be very careful to represent exactly what he was copying, but there
is
small doubt of the fact of these two being
instances of the Dorian chiton.
With regard
to these
and the " Ionian in his history.^*
")
two kinds of dress (the "Dorian
Herodotus makes a
The land
"
definite statement
of the Epidaurians, he says,
yielded no fruit, so the oracle at Delphi was consulted as to a
remedy, and the Epidaurians were bidden to
set
up
images of Damia and Auxesia (goddesses of increase).
The
material of which these statues were to be
made was
The Epidaurians therefore to be cultivated olive wood. besought the Athenians to allow them to take some from The petition their olive-trees as they had a large supply. was granted on condition of their sending, in return, yearly ofi'erings to Athena Polias and Erechtheus in
Athens.
These terms were agreed upon, the wood was ^ Herod.,
v.,
82;
cf.
Pausanias,
ii.,
xxx.,
5.
GKBEK
28
DRESS.
gods appeased, and the earth
cut, the statues carved, the
due season.
of the Epidaurians yielded her fruit in
But
came
it
to pass that the Aeginetans subdued the
Epidaurians by
own
sea,
and carried
ofF the statues to their
Thereupon no more tribute was paid to Athens
land.
by the Epidaurians, and the Athenians, complaining of cessation,
were referred to the Aeginetans, who possessed
company
the images. In consequence, the Athenians sent a of
men
to
its
Aegina
was refused.
demand the
to
Then
force
was
statues.
Their request
and the Athenians
tried,
attempted to drag the images from their pedestals. dreadful consequences ensued.
It
But
thundered, and the
earth shook, the statues are said to have fallen upon their knees, and madness to have overtaken the men, so that they slew one another, and only one returned alive to Athens.
When de.ad
he got there and told his
men were
round him demanding their
lost
their rage, stabbed
him with
of their garments
he
at the
tale,
the widows of the
very indignant at his safety.
till
women's deed,
as the
husbands, and
the pins, or clasps
died.
most
They came
The Athenians, terrible
finally, in
(7Tep6i'i](Tt),
in horror
punishment they
could devise, changed the fashion of women's dress from the " Dorian " to the " Ionian," so that they might have
no further need
of clasps or pins, while the Greeks of Argos and Aegina made their fastenings larger than before.
As
to this statement
of the historian's there
doubt that somewhere about 570
B.C.,
is little
war was raging
between the two alwiiys hostile peoples of Aegina and Athens, and that somewhere about the same time a change took place in the dress of Athenian women, and the fame of the
two things was connected.
evidence
it
From monumental
would appear that one of the early forms of
UNDER-GAKMENTS OF THE WOMEN. women's dress
is
of a "
29
sewn " kind, while dress on monu-
ments that must be dated after the Persian Wars is of the " Dorian " variety, as may be seen in the instances quoted points out
(v.,
88),
" Dorian,"
The
above. Figs. 10, 12, 13.
was in
all
as Herodotus
probability the old universal
women. Afterwards
in Athens, about " Ionian " the sixth century, the so-called the first half of
dress of all Hellenic
kind
came
into fashion,
and was in vogue, contem-
poraneously with the Dorian, Persian Wars, 490
— 479
about the time of the
till
b.c.
Then, in the wave of
renewed Hellenism which spread national
Hellenic fashion revived, bearing the (ly
Greece in the
over
reaction against everything Eastern,
avTTj TJv TVjv vvv
Awptia
KaKe.oiJ.ev.
Hdt.
was among such conservative people that it had been preserved.
it
the old
name " Dorian " v. 88),
because
as the Spartans
But, strong as the reaction was, the " Ionian " dress
was not absolutely ousted from its influence was still too powerful
place,
since
Oriental
for its radical
rejec-
tion.
The among
original pin used for the fastening of garments
early races appears to have been one
made from name
the small bone of the leg of an animal, whence the
" fibula," or
This
-Tiepovrj.
is
next reproduced in metal,
furnished with a round head, and decorated with balls of bronze, a characteristic Greek type of which may be seen
on the shoulder of the woman to the
left in Fig. 5.
In
some instances the point of such a pia has been bent back, evidently to prevent
once stuck
in.
its
It is a
falling out of the
garment when
tempting hypothesis that from this
bending back of the point arose that developed form of " fibula" of which the modern " safety-pin"
is
the direct
GREEK
30
DRESS.
Such safety-pins
and almost unmodified descendant.
in
bronze have lately been discovered at Mycenae during the works carried on by the Greek Archaeological Society
and following
in 1888
Fibulae occur among
years.^^
the oldest bronzes of Olympia, as will be seen in the
works of Dra. Furtwangler and Curtius, published by the German Archaeological Institute, and included in the list
my
of books in
They
Introduction.
are also found in the
early graves of Thebes, Athens, Austria, Sicily, and other
Golden fibulae
places. (as
in
V.
II.
{-jrepovai)
425, &c.), but
whether the Homeric form
is
are mentioned in
it is
difficult to
Homer
determine
that of the straight pin or
the " safety-pin."
Most representations on vases seem
to depict in long or
short variety the characteristic Greek type of pin found in tombs reason,
(cf.
The "
Fig. 5).
safety-pin " type, for some
seems almost or altogether absent from Greek
tombs of the sixth and
fifth
Wounds would be more by such pins as those " safety-pin."
century
B.C.
deadly and more easily inflicted
of Fig. 5
than by the point of a
The Greek tragedians mention
dresses
worn
by women both with and without pins. Polyxena, in the Hecuba of Euripides, takes hold of her dress near the shoulder and tears
it
open to the waist, implying a sewn
garment that could not be simply unpinned sho alder
by means the
but in the same play Polymnestor
;
of the pins or brooches (TropTrij
women
is
the
at
blinded
— Trepoi/i])
that
take from their garments for the purpose.
In
Schuchhardt, op, cit. pp. 296, 313 Daremberg and " Dictionnaire," art. " Fibula," p. 2004, Fig. 2977 and Montelius " Arcbiv fiir Anthropologie," Brunswick, 1892, p. 31, '"
Cf.
Saglio's
Fig. 35.
;
;
U>fDER-GAKMENTS OF THE WOMEN. the Perscw
of
Aeschylus
472
{circa
b.c.)
31
Hellas wears
the " Dorian " as the real Greek dress.
Some form from
tj^pical instances of
the developed "safety-pin"
of fibula are given full-size in Fig. 29,
my
Fig. 29
Fig. 29
(fi).
(b).
Existing specimens of pins and fibulae in
any good
Room
of
a, h, c, d,
husband's collection.
the
collection,
British
Museum, Oxford.
such
as
Museum,
or
that in
Those of very large
may be in
studied
the Bronze
the Ashmolean size
in these col-
GREEK
32
may
lections
DRF.SS.
perhaps used not have been worn, but were offerings in temples,^' or for fastening
for " ex -votes," or
curtains or other decorative
found in graves,
or,
they may have been made
tion of the dead.
A fibula
as they are
for the decora-
from Halstatt belonging
husband was evidently made
Fig. 29
still
hangings,
and the edge of
and rough
its
decoration
still
to the finger, in evidence that it
previously to
its
my
its
feels
manusharp
was not worn
interment.
In later times, when the conquests of Alexander had loose a style
new
with
it
(rf).
contains some of the clay used as a core in
facture,
to
for funeral purposes, as
let
flood of Orientalism on Greece, the " Ionian"
many
rich varieties " Hdt.,
of Eastern decoration
V. 88.
UNDER- GARMENTS OF THE WOMEN. seems to have been largely worn. figure,
however, represents Medea,
hardly counted of rich dress
Kg. 30.— Medea.
{Cf. Fig. 30.)
a Vase
Fig. 31.
Other instances British
— Amazon.
Museum
Berlin
Museum.
Paintino".
(Fourth Yase Room.
This
who can perhaps be
among the pure Greeks. may be found in the
From
33
Vase signed by Python
Case 18.
(no number), and case 54,
F
326, and
F
117 pedestal
case.)
The
short chiton of the
women
is
also
found on monu-
GREEK
34
DRESS. It follows the longer
ments, together with the long.
and arranging,
style in its varieties of sewing, pinning,
but
it is
not so
Ml, and only reaches
worn by women and
when speed
is
girls
Iris the messenger,
desired.
huntress, girls in running contests all
wear
to the
knee.
Artemis the
Instances are numerous in the frieze from
it.
casts exist at
No. 137).
statue
{cf.
Fig. 32)
and the figure
may
is
it is
of
fastened on one shoulder
supported by a broad
represent one of the girls
to Pausanias (v.
Festival of
Museum,
South Kensington (Perry's Catalogue,
Others are given in Figs. 25, 31, 32.
Sometimes only,
is
and warring Amazons,
the Mausoleum, Halicarnassos, in the British
which
It
engaged in active exercise or
Hera
16, 2), at
who
belt.
This
used, according
to take part in a race at the
Olympia, wearing a garment that
hardly reached to the knee and
left
part of the breast uncovered.
The
stadium, but only over Fig. 31, a second belt
the right shoulder and race
was run in the
one-sixth of the course. is
In
put on over the top of the
" kolpos," or bag of material drawn up through the girdle
beneath
it.
Fi.'. :i-J.— Till-
•EuiiniiK/
Ttirl."
Vatioan.
III.
DRESS OF THE FEMALE FIGUEES IN THE ACROPOLIS MUSEUM, ATHENS. At
this point,
before proceeding to a discussion of the
men
the
dress of
of Greece in historic times and
outer garments {epihlemata) of both
wiU be
men and women,
the it
I think, to notice the garments on that
well,
remarkable series of statues of archaic female figures, found in the course of the excavations conducted on the Acropolis, under the direction of
M. Cavvadias
years 1882-8, of which a description lignon's History of Greek
Gardner's
These
is
Sculpture^ and in Professor
book.'^^
which were discovered between the
statues,
Erechtheum and the north boundary wall lis,
in the
given in M. Col-
of the Acropo-
have, owing to the variety of surfaces represented in
their
garments and their
much
attention
brilliant colouring, attracted
and have given
rise to opposite opinions,
Their brilliant polychromatic decoration
is
very remark-
able, hair, eyes, and borders of garments sharing in the
^ Histoire de ''
[Cf.
New
M. Collignon,
p.
Chapters in Greek History, Percy Gardner,
p.
Cavvadias'
ap-^atoXoyiKifj,
la Sculpture Grecque,
Les
1883
—
Musees
d'Athhnes,
88).
D 2
and
the
340, &o.
247, &c. " e^?;ju6pk
36
GKEEK
DRESS.
colours which do not always follow natural laws
;
for
instance, the eyes of the figures are sometimes coloured red, a tint that seems, to our notions,
most abnormal and
undesirable.
I have on an earlier page spoken of the great difficulty
In the case of these
of giving precise dates in Greek art. figures
this
difficulty
is,
to
great extent, removed.
a
After the Acropolis was sacked by the Persians in 480 b.c, once more come into the
and, spoiled and ruined, had
hands of
its
rightful owners, the victorious Greeks buried
the fragments of statues and other objects that had decorated their citadel before
its spoliation.
This was done partly in reverence to the gods, since
anything once dedicated
,to
a deity was always sacred and
could not be put to profane usage; partly to hide: the
triumph
traces of the Oriental invaders' brief
from
;
and partly
utilitarian motives to increase the level space
summit of the Acropolis,
since, in
on the
the full spring of
renewed patriotism, the Athenians desired
to
make " all
things new," and required other and enlarged temples filled
Probably
with fresh statues.
many
of the objects
found in these excavations had only just been made at the time of their destruction.
Be
this as
it
may, the
last of
the series, which ranges over a considerable period of time,
cannot be later than 480 is
B.C.
One
of the series, Fig. 33,
held to belong to a base inscribed with the
the sculptor Antenor.'^"
know
that he
made the
geiton,
who
statues
must have been
^"^
No.
With
statues of
regard to this
up soon
Of. Collignon's Histoire, p. 6, PI. IV., p.
81
;
and C.
I.
artist
we
iv.
373.
£07;/x,
Those
B.C.
murder, and
after the
365 and A.
of
Harmodius and Aristo-
slew the tyrant Hipparchus, 514 set
name
:
dpx
:
1886
;
name
-Figure ascribed to a Tjush with the of the artist Anterior. Atliciis.
^'^K-
''''^-
— Female
disemeird Athens
tiy-iirc
on thr Aoropiih.s.
Fifj. 35.
— Fciiuilo figure disc•o^'ercd on
tlir
Acropolis.
Athens.
THE FEMALE FIGUEES IN THE ACROPOLIS MUSEUM. probably ascribed
Acropolis figure to which the Anterior base
tlie is
of the
same
By this means we
period.
points of date for the Acropolis series,
514
to circa B.C.
—510.
Another
viz., B.C.
came
these figures
February, 1886,
having been buried together in a single
The
later.
series
480 back
Fourteen of
B.C.
to light at once in
is
get two
may, on the
of'the series
evidence of style, even go back to 600
were found
37
has given
pit,
rise to
and others
much
dis-
cussion as to whether the figures represent portraits of
the priestesses of the goddess, of the actual goddess, or of the votaries
who
Whomsoever
dedicated the images.
they are intended to represent, thej' doubtless portray for us the costume of Athenian ladies of good position in the years preceding the great Persian invasion of 480
Some
of the
more
typical varieties of dress found on
b.c.
them
It cannot, however, be
are given in Figs. 34, 35, 36.
denied that the. sculptor has allowed himself considerable latitude in the treatment of the garments.
In consequence
of this latitude two schools of disputants on their dress
one
have
arisen,
the
other
by Dr.
Miiller.*^
typified It
observer that the drapery fact,
a
way
the
not always true to actual
the curves going across the body
Again,
Lechat,*"
evident to the most casual
is
is
by M.
when
in repose in
that could only be produced by rapid motion.*^ it is
not unusual to find a garment that shows
some special and well -defined pattern or border covering one part of the body, while where we should expect to find the
same garment continued, another pattern
or
^ Bulletin de Corr. Hell, 1890.
W.
Miiller.
^'
Quaestiones Vestiariae.
^^
See notes on these figures, by Ernest
Journal of Hellenic Studies,
viii.
1, p. 170.
Gardner, in the
GREEK
38
DRESS.
border suddenly comes out without apparent reason. There
can be
little
doubt that the upper and lower portions of
such a dress {endyma) do really belong to one and the
same garment fitting
—the
Ionian chiton
—with
sleeves
and often elaborately bordered, while over
thrown the
close
this is
(epiblema). But some M. Lechat, already mentioned) have
ordinary himation
archaeologists (like
endeavoured to make out a separate garment for every piece represented
by a
different pattern or border
four separate garments, of a kind otherwise
which
have
distinctive titles
critics a difference oi pattern
Thus
of material.
till,
by
seems to be clothed in three or
this means, each figure
to
unknown,
for
To such
be invented.
always implies a difference the existence
for Fig. 34,
of
an
under-chiton and a " chitoniscus," or knitted vest put over the chiton under the himation
For
my own
part, I
is
must confess
assumed. that, in spite of its
apparent absurdity, the possibility of such a multiplication of garments as that indicated
by M. Lechat, and
adopted by M. CoUignon, did remain in in April, 1892, I cruise
among
had the good
Mykonos, where
are
museum
in the little island of
housed some fragments of the
objects found on neighbouring sites.
visit
came
mind, until
the Greek islands, to visit the rough wooden
shed that does duty for a
difficulty,
my
fortune, in the course of a
owing
to the
intense
There, with some
interest
taken in our
by every man, woman, and child of the across
a piece of sculpture that,
solved the question.
to
my
i.e.
mind,
I found a headless female figure,
apparently belonging to the same period of dressed in the same
place, I
manner
as the Acropolis
in the Ionian chiton, with a himation over
art,
and
statues, it.
On
Fiy. oG.
— Fei)]ale figure discovered on AtheuK.
tlio
Aurojiolin.
IIl', 37.
— A Bacchante.
From
a Vase Painting
THE FEMALE FIGURES IN THE ACEOPOLIS MUSEUM. the
39
breast of the figure, for a space of about six
left
inches square, without the slightest semblance of a join in the material of the chiton, the sculptor
had suddenly
changed the pattern of the garment- stuff from one of three deeply-crinkled lines,
with interspaces of plain
material, to a patch of close
and continuous wavy
with no interspaces.
and I cannot give an
this figure is not published,
tration of
But
it.
my
after
Museum
in the Acropolis
visit to
35,
at Athens, a similar instance
may
1891), and the same thing
where the
side in a
my
"Woman
in
fact.'
catalogue,
is
Since then I have had
an excellent
notice, in
Hauser,*^ that the same called "
official
be noticed in Fig.
lines of the pattern coalesce on the right
way impossible
brought to
illus-
Mykonos, I found,
on a female statue (No. 598 in the edit.
lines
Unfortunately, so far as I know,
it
by Dr.
article
the case in the dress of the so-
getting into a Chariot " (cast in British
Museum, Archaic E-oom, No.
155), where the sleeve only
of an under-garment that falls in heavy folds to the feet is
shown with a crinkled
smooth.
This figure (be
it
remainder being
surface, the
a
woman
or a male charioteer)
seems to me, as Dr. Hauser suggests, to wear a long, " chiton, with a shawl-like wrap
linen, sleeved, " Ionian
over
it.
These differences of creased or crinkled surface,
therefore, occurring irregularly, do not
ference
of material, and
represent a dif-
consequently a separate gar-
ment, but are attempts to show the various ways in which the same garment it
may
appear, owing to the folds which
assumes and the shape of the body
in close, fine folds over the chest
" Jahrhuch p. 55.
des
Kais.
Deutsch.
and
Arch.
it
covers
;
falling
shoulders, and in Inst.
vii.
1,
1892,
GREEK
40 larger,
style
freer
over
DRESS.
the legs
instances, both in sculpture
(Fig.
Other
37).
and vase-painting, might be
cited.
By lau,**
this
view the " chitoniscus " of Lechat and Boeh-
or
the
"woUene Warns" of the catalogue of by Dr. Furtwangler, dis-
vases in the Berlin collection,
appears as a separate garment, and becomes merely the
upper portion of the Ionian chiton, arranged over the girdle in a " kolpos," in the
manner described
previous chapter. Figs. 26, 27.
There
that the " chitoniscus," mentioned
by
is
is
my
in
doubt
little
classical writers,^**
the short form of chiton given above (Figs. 25, 31, 32).
In the case of
artists
who could
so indiscriminately use
their colours as to paint the eyes of a
sculptors of the Acropolis figures did, tation to imagine that the lines
woman it
red, as the
seems an
affec-
and patterns on the gar-
ments, graved by their tools and coloured by their brush,
must necessarily be exactly true fore,
to reality.
It
is,
there-
unwise to argue from their productions a subservience
to the exact representation of actual material, only to be
equalled in the
of the
In such early
fashion-plate.
which these
work
draughtsman
of the
modern
art as that of the period to
figures belong the artist
was free and un-
trammelled, and could change at will from one pattern to
another in the same garment, without thereby giving
good grounds different.
series
**
for inferring that the material
The
fact that the
was
really
garments themselves of
this
vary in a parallel manner cannot be taken to count
Cf. Boehlau's
Quaestiones de re vestiaria Graecorum,
fig.
14, p. 38, &c.
"»
E.I/,
403, &c.
by Aristoph. Birds, 94G, 955
;
Demosth., 583, 21,
Fi^^
38.— Female
fi<j:iii'o
Acropolis.
found uu the
Athens,
THE FEMALE FIGURES IN THE ACROPOLIS MUSEUM. for much, as evidence, since, sent,
41
whomsoever they maj' repre-
they were dedicated to the divinity, and the intense
conservatism of the Greeks in matters of religion
is
well
known. That these statues vary from each other they do
is
as
much
as
an important advance on statues of the
class that precedes
them
—
a class
marked by an almost
unvarying similarity of treatment down
to the smallest
details.
One to
wear the Dorian chiton, very
girdle
from
by exception, seems
figure of the series. Fig. 38,
is
it
depicted.
stiffly
The
noticeable for curious hanging bands depending
to relieve the severity of the drapery.
The outer garment
of these female figures is the ordi-
nary himation that I shall shortly describe.
In these
arm
and, cross-
instances
it is
often passed under the left
ing the chest, secured on the right shoulder (Figs. 35,
Sometimes
36).
(Fig. 34).
it is
laid over both shoulders like a cloak
In either case the himation seems of a shape
more oblong than the square
it
exact true to
life,
as these folds occur
of a certain period,
and are the
and conventionality.
be
another
everywhere in Greek art
The curious way
folds as
not necessarily
is
results of a rigid archaism
comes from out of the cloak (Fig.
any such hanging
The
usually assumes.
regularity of the zigzag folds
in
34),
which the arm
without causing
would be expected, may either
instance of the
artist's
limitations,
or the
garment may have been scalloped in some manner or holes cut in it to allow the arms to pass through. Across the breast in Figs. 35, 36, some of the length of the himation seems drawn up through the band caused
by
its
being fastened tightly on the shoulder, and a
frill-
"
GKEBK DRESS.
42
like effect is thus gained. is
The key
to this
arrangement
found in the right-hand figure of the Chiaramonti
relief (Fig. 28),
where
its
scheme can be very plainly
made out. The chitons worn by the Acropolis figures {cf. Fig. 34) are girdled in the same manner as that suggested for putting on the Ionian chiton, but after the " kolpos " or
bag has been drawn up, the folds of the " petticoat
part are neatly arranged in series, as
pleats.
Sometimes in
this
on the right shoulder of Fig. 35 no very rigid
distinction is
the himation.
made between the
lines of
the chiton and
IV.
UNDER- GARMENTS OF THE MEN. Herodotus, in his narrative mentioned above, is, as we have seen, only concerned with the dress of Hellenic women.*^
Thucydides, in the arch^ological preface to
his history,*^ deals with the dress of the
His words are as follows
:
—
*'
arms among these continental
"
men.
The fashion of wearing
tribes is
a relic of their
For in ancient times all Hellenes carried weapons because their homes were undefended and intercourse was unsafe. They went armed old predatory habits.
.
in their everyday
life.
And
.
.
the
continuance of the
custom in certain parts of the country proves that prevailed everywhere. laid aside
way
of
The Athenians were the
first
once
who
arms and adopted a more easy and luxurious
life.
Quite recently the old-fashioned refinement
among the who wore under-garments
men
of dress still lingered
elder
class,
of linen
their hair in a knot
among
of their richer
and bound back
with golden clasps in the form of
grasshoppers (Gr. TerTi'ywi'). survived
it
The same customs long
the elders of Ionia, having been derived
from their Athenian ancestors. " Thue., « Hdt., v., 82. " Professor Jowett's translation.
i.,
6.
—
—a
GREEK DEESS.
44 "
the other hand the simple dress which
On
common was anywhere
first
else,
worn
the
and
at Sparta,
is
now
more than
there,
of the rich was assimilated to that
life
of the people."
This review of the dress of Greek falls into
The
(1.)
worn
three periods
oldest period,
in ordinary
life,
when armour was
universally
a period to which the references
Homer may belong with more
in
men by Thucydides
:
or less accuracy
day
fashion preserved in Thucydides'
(b.c.
circ.
404) only in the country parts of Greece,
Aearnania, and the
—
471
as Epirus,
like.
The succeeding period when, as he puts it, " men adopted a more easy and luxurious way of life," probably (2.)
denoting by these words that influx of Oriental customs
from Ionia typified by the linen chiton of the women (the " Ionian chiton " of Chapter II.) worn also by men, and the wearing of the long hair bound with gold. (3.)
The fashion
Peloponnesian
War
of the date of the
outbreak of the in 431 B.C., " the present fashion "
vvv TpoTTOi) of Thucydides' day,
(6
^
called
revival
" Dorian " chiton,
made
from older days, due
of
to
i.e.
the simple so-
woollen material, a
the Hellenic reaction
against Orientalism after the victory over the Persians,
480—79. Wool probably then became
B.C.
the prevailing fashion,
partly as " un-Oriental," and partly as being considered
more healthy
at a period when the " sound mind in sound body " was the aim of the Athenian state on behalf
of her citizens. short, giving
The
The
hair at this period, too,
more freedom and
was cut
ease.
short woollen chiton of the third
period was a
UNDER- GARMENTS OF THE MEN.
45
moderately wide garment on the same lines as the Dorian chiton of the
women given
in Fig. 8, with the part below
the girdle sewn together, the upper part left open and fastened on the shoulders with fibulae or buttons. girdling was done in the same
way
as for the
The
women, but
seems to have been no " folded-over " piece or
there
" apotygma," such as was general in their case.
But, contemporaneously with this practical and useful
garment of everyday
life,
the longer
and more dignified linen chiton of the Period II. of Thucydides was retained dress for religious and festival
a
as
occasions in
which men took
part.
Period III. of Thucydides, therefore, carries
on many of the characteristics
of Period II., but puts
them on a
retaining
of solemnity,
—
service of religion
basis
them in the
always the most
conservative of mistresses.
In Fig. 39 the short,
„
girdled
*
soldier wears
chiton with
a
the
"kol.
Fig.
39.
-
Soldier
drawn over the girdle rearing Short Chiton. a way that was usual when the From a bas-relief.
pos,
in
free
or bag,
use
of
the
was wanted manual work, or speed.
limbs
(Cf.
Brit.
In the text of Hartwig's Meisterschalen, mentioned
in the
for war, hunting,
Mus., 3rd Vase Boom, No.
list
of books ih
30&,
E
463, Case G.)
my Introduction, there occurs,
at p. 219, Fig.
an instance from a painting on a vase representing a
youth putting on a short chiton. This dress is very curiously drawn as if the wearer was about to put it on after it has been drawn in at the waist by a girdle.
The
lines of the
GREEK
46
DRESS.
folds of the chiton, too, above the waist are differently
drawn
to those
below
but I hope I have said enough to
;
prove that this need not necessarily denote two sorts of material. "With regard to the chiton having the appearance of being already drawn in at the waist before being suggestion
put on. Dr. Hartwig makes the ingenious that
it
is
probably due to the fact that the artist was
when in wear, when he wished to represent
accustomed to see the chiton so drawn in
and therefore so depicted it
it
in process of being put on.
Artisans and fisher-folk fastened the short chiton on
one shoulder only, the
was given
to
Fig. 4:0.""
it.
left,
when the name
l^r«/xtV
(exomis)
Charon, the ferryman, so wears
(Cf. Brit.
Mus. 3rd Vase Room,
JSTo.
it
D
in 24,
Case F.)
The long chiton remained B.C.) as
the dress of
rank.
It
was
also
men
same period
at the
of middle
(c.
431
and distinguished
life
worn by younger men when engaged
in certain functions, as,
for
instance,
when
For a
priests, flute-players, or charioteers.
acting as
figure of a
charioteer so clothed, of a period slightly later than this,
the
reader
British
is
of
beautiful
referred
the
to
whole
the slab, perhaps the most
from
series,
Museum, Mausoleum Room
the
(cast at
Mausoleum, South Ken-
sington, Perry's Catalogue, No. 137).
In the chitons on vases of the Red-figured periods the same cernible
that can be
(Figs. 34,
student
3rd Vase
35, 36).
late Black-figured
and
fine fan-like folds are dis-
noticed in the Acropolis figures
Endless instances will reward the
who looks, even casually, through the 2nd and Rooms of the British Museum. They are pro-
"" Ircpo/xarrj^aAos ^tTu)v SovXikoi,
ijt'
i^wfjuSn Xiyovcri, Photius, s.v.
UNDER-GARMENTS OF THE MEN. bably due to the
artist's desire to
archaic conventionality.
show
47
his skill,
But some German
and
critics
to
have
conjectured that these folds were actually so worn and
Fig. 40.
produced by some
— Charon,
wearing the "exomis."
artificial
process akin to our plan of
starching, goffering, or ironing.
The evidence
for such a
practice in the case of the Greeks does not, I believe, exist,
though similar customs were well known
in
Egypt.
Y.
OUTER GAEMENTS OF BOTH MEN AND WOMEN OF GREECE IN HISTORIC TIMES. Under
this
head come
all
kinds of garments put on in
shawl or wrap fashion both by men and women, to which the general term " epiblemata " (eTrtjSA^yjuttTa) was applied.
The
chief of these
garments
is
the Himation
{Ijxcvtiov),
which I have from time to time referred in the foregoing pages. The " chlaina " (-^aiva), of Homeric times to
must have been merely a variety Both men and women seem of the
same shape
—a
large
oblong than square, varying in
to
of the himation.
have worn a himation
square, sometimes size
rather
according to the taste
Both sexes
of the wearer and the state of the weather.
followed in the main the rules of arrangement given below, but the
men
women
to these rules,
did not adhere so rigidly as the
and were addicted to coquettish varia-
tions in their draperies. Their himation
must usually have
been larger than that worn by the men, since
it
drawn over the head
41 and 42,
terra-cottas
as a covering.
from Tanagra, Boeotia,
Fig. 43, a slab
now
in the Central
Figs.
was often
illustrate this
Museum
shows another pretty way of arranging the
use.
at Athens, folds.
In
deep grief the mantle was used to completely muffle the
OUTER GARMENTS OF MEN AND WOMEN OF GREECE. figure of the wearer.
when going
Demeter, in the Homeric hymn,
Metaneira's house as an old nurse,
to
" wrapped and covered from head
Fig. 41. fiorurine
49
—Terra cotta
Fig. 42.
to foot so that
is
her dark
—Terra-cotta figurine from Tanagra.
from Tanagra.
robe clung to her as she walked."
The general
rule for
putting on the himation in classical times seems to have
been as follows
:
— One corner of the square, or oblong, was
folded or gathered up and grasped by the hand and pulled
E
GREEK
50
DRESS.
over the left shoulder from the back, then tucked in
body and the
securely and held firmly between the
upper arm pressed against the
ribs.
left
Then, with the
right hand, the mantle was pulled out across the wearer's
right-hand top corner, opposite the corner
back by
its
already
secured,
hung about
half
way
of the
garment
across the calf of the leg.
Then
brought round over the right side of
the wrap was the body
the lower edge
till
(cTrtSe'^ia)^
when two ways
the front,
to
of
disposing of this right-hand corner were possible, viz. (a)
If the right
hand and arm were wanted
:
to be free,
the himation was brought under the right shoulder, drawn across the chest,
shoulder, for
(b)
and
thrown over the
end
the
left
In the way considered the more suitable
honourable citizens, the mantle was brought over the
right
arm and shoulder
so that only the right
(the
arm being bent
hand appeared in a
at the elbow)
sling-like fold
thrown over the
in the front, and then the end was
left
Fig. 44, from the well-known figure of the
shoulder.
Sophocles of the Lateran, illustrates this second method.
The youth
in Fig. 45 has
begun
to
put his himation on
in the first method, but, standing at ease, the superfluous
end has slipped from his
who
find
it
left
shoulder to his arm.
necessary to use pins
himation for a wearer stage or elsewhere,
it is
who has
To
us
we try to drape a move rapidly on the
if
to
matter for marvel how the ancient
The himation was the
Greeks kept theirs in position. dress of the dignified citizen,
and
he,
though an excitable
Southern in disposition, had to learn to control his feelings in a suitable fashion.
Aristotle,
in his picture of the
great and high-souled gentleman, takes **
Plato, Thaeet.,
175 E.,
eVtSe'^ta
it
dvaftaWea-Oai
for granted iX.evOipu}';.
OUTKR GARMENTS OF MEN AND WOMEN OF GREECE. that
it
51
would not become him to walk " swinging his
arms about."
''^
But
all
the same
it
would be very clever
of anyone, however dignified, to keep a himation well in position through a long
day in the jury-courts or the
senale of Athens, without a sly pin inserted craftily some-
Fig. 45.
where
to
—Penelope and Telemaohos.
From a Vase
keep his drapery steady.
Painting.
Little weights of clay
or lead fastened to the corners of garments were certainly
The himation, however, may have been thrown on and off at will, or readjusted from time to time. But used.*^
the arrangement of this garment was always considered *8
Aris., Nic. Eth., iv.,
3—15.
«
Cf. Figs. 21, 22, 45,
50 (Frontispiece).
E 2
GREEK DRESS.
52
A
a difficulty, requiring practice and assistance. character and culture were judged from
man's
In
folds.
its
the " Characters" of Theophrastus the boor's himation does not reach to his knee his gracefully adjusted. trail
;
the oligarch goes about with
Alcibiades
is
have
said to
let his
behind him.
The narrow doubled himation may be seen on archaic vases,
for
as,
example,
Eoom, No. B
the
in
Museum, 2nd
British
Vase
Case K.
197,
Another instance from the Francois
vase
(Fig.
taken to be
has
46)
been
of Ionian origin,
coming in with the longer Ionian chiton,
which did not require
so
complete an outside wrap as the sTiorter
Dorian
But
men.
still
some of the Fig.
46.— From the
of the
found on
is
(from
oldest vases
one of which our figure
Franijoia Vase.
is
taken),
and women on the most archaic
Attic vases also wear
A
chiton it
it
curious survival of
put on cloak-wise from the back. it
to later classical
days
may
be
noticed in the dress of the maidens of the Parthenon frieze
(British
Museum, Elgin Room, No.
VII., VIII., Figs.
52—60), the
324,
Slabs
figure of the Caryatid of
the Erechtheum (same room. No. 407 given in Fig. 47) and in the " Eirene " of Munich, reproduced here in Fig. 48.
They,
it
will be
noticed,
wear the Dorian
chiton of Fig. 14 with apotygma, kolpos, and shoulderfastening complete.
made
to
But these shoulder-fastenings
are
do double. duty and to support an extra piece of
OUTER GARMENTS OF MEN AND WOMEN OF GREECE. 63 oblong drapery at the back himation of older days
now
—in
fact the long,
fixed
coming cloak-wise over the shoulders
narrow
instead of
securely
as in the dress of
the Acropolis statue, Fig. 34.
The chlamys (^Aa/xw) was another wrap
for
men's use,
originating in Thessaly as a rider's dress worn over armour.
From
Fig.
the fifth century onwards
47.
— Caryatid.
Britisli
it
was universal
Fig. 48.
—Eirene,
Ploutos.
Museum.
in Greece.
with infant Munich.
was a short light mantle, made of wool, oblong in shape, with square or rounded corners, fastened with a clasp It
either in front or
"Petasos"
on the right shoulder.
(or flat traveller's hat
the general dress for
young men
the
flaps), it became Ephebos " standing
with
of "
With
GREEK DRESS.
54 {i.e.
"just at the threshold of manhood")
in Athens,
Endless
serving in the cavalry. instances
can be
this dress
of
the frieze of the
discovered in
Parthenon in the British Museum.
An
painting British
is
example from a vase given in Fig. 49.
(Cf.
Museum, 3rd Vase Eoom,
Case A, No.
E
3.)
Gods of " Ephebos age " in art, as Hermes and Apollo, and
men both young and the chlamys, pursuits.
if
engaged in active
Boys below
wear a wide
old wear
this
age
himation (Fig. 50,
Frontispiece), quite covering the
49.— Youth
Fig.
Chlamys.
in
person, since
it
was not correct for
a boy of good rank to have his
hands free
—
perhaps a wise precaution for other nations
than the Greeks. Italian fashion
,
Fig. 51.
Infants were closely swaddled in modern
and wore conical caps (Fig.
— Greek Babies.
51).
Terra-cottas from Boeotia.
In Sparta, from their twelfth year onwards,
men wore
OUTER GARMENTS OF MEN AND WOMEN OF GREECE. 55
summer
winter and
as
an only
dress, the Trihon {jpi^wv),
This was worn in Athens as a special dress for active military work. But in the city this old dress, except for such the small oblong shawl of the Doric tribes.
i.e.
also
was considered boorish and
occasions,
affected,
and was
only worn by philosophers and persons of peculiar yiews. It
was not correct for a dignified citizen to go beyond his
own door
the
in
only
chiton
without an upper garment.
was
also considered
It
improper to
wear chlamys or himation with-
Yet instances of one garment
out the chiton.
such wearing of
only are undoubtedly found in
some
and
art,
figured in these
of
them
pages,
as,
are for
example, the Sophocles of Fig. 44.
These
may
only be instances of
artistic latitude
and of the
at the fine period in
show
to
the
much
as
human
desire,
Greek
art,
as possible of
form, for in real
life
in Athens only poor people and
Mg.
wore the upper
Gabii."
without the under garment in
Diplax.
philosophers
51fl.
— "Diana
of
Fastening the
public or vice versa.^^"
A
pretty variety of outdoor wrap
much on
the lines of
the
for
women, very
men's "chlamys,"
is
the
" diplax'' (gtTrXag) of Fig. 61a, where, as its name implies, doubled " before being adjusted. the garment.is '•'
«" Cf. Dio. Chr. Or.,
Ixxxii., p. 628,
M.
Xen. Mem.,
1, G, 2.
GREEK
56
The custom among men in page 52 (Fig.
DRESS.
of doubling the himation that prevailed early times has already been mentioned at 46.).
Curious isolated instances of garments are often found represented in Greek
They
art,
In the British
Museum
to a consideration of the
woman on
E
the Vase
vase paintings.
and have rather
They occur
sidered individually. tion.
especially in
are difficult to classify,
in almost
to be con-
any
curious jacket
120, Case 25
;
worn by the
or to the chequered
top garment that looks almost as if distended by
means worn by the Case H.
flute-player
collec-
I would refer the student
on the Vase
E
artificial
286, Turret
When trousers are found in Greek art they denote unGreek peoples, as Scythians or Persians. Long sleeves to the wrist are, in the case of slave.
women, a mark of the
In the accompanying Fig. 52, from a tombstone
Museum, Athens (cast in the British Museum, Phigaleia Room, No. 619), the maid, in a longrelief in the Central
sleeved dress, toilet for
is
assisting
the last time.
her mistress to prepare her
When men
are represented as
wearing long sleeves they are generally foreigners.
The
may be assigned to the fashion of On the Tower of the Winds, Athens,
origin of such sleeves
the Asiatic Greeks.
the fierce outlandish god of the north-west wind (Skiron)
and
his fellow of the
An
instance of a
Athenian, but
north
(Boreas), wear long sleeves.
young man, however, who
who may
after
all
is
presumably
be merely a colonist
possibly from the Euxine, in a long-sleeved chiton, will be
found in the British
Museum
(Elgin
Frieze, No. 325, Slab 42, Fig. 109).
Eoom, Parthenon
Fig. 52.
— Stele of Hegeso.
Athens.
'
VI.
GIEDLES, FABRICS, COVERINGS FOR
HEAD AND The in to
girdle
Homeric
THE
FEET, ETC.
was an important part of the women's dress times.
Those of Calypso and of Circe seem
have been decorated with gold.^° This custom of decoration of the girdle lasted on to
classical times.
The Acropolis
figure,
No. 38, has her
girdle decorated with pendent ornaments, very probably of leather,
with gold or silver studs, in the way that
Greek peasants'
The
belts are decorated at the present time.
wears a girdle fringed
figure given in cut No. 7,
below the
waist.
The height
of the
girdling of the
chiton in Greek art varies at different times and fairly safe
guide for assigning a date to monuments.
archaic times,
when found with
the
stifi",
garments of the Black-figured vases line.
At the
it
narrow
slightly lower,
as
may
be
maidens of the Parthenon time the girdle creeps up, 5"
Ocl., v.,
a
In
foldless
at the waist
is
period of the finest art (circa
is
B.o.
450),
it is
noticed in the dress of the
Gradually, after this
frieze.
till
at the period of the frieze of
231; Od.,
x.,
544, &e.
GREEK
58
DRESS.
the great altar of Pergamos, Fig. 53 (circa it
b.c.
200
— 168),
has almost reached the arm-pits.
With
regard to material there
and a certain amount of eyidence Greek monuments can be extracted from
ence at different times as to the date of
considerahle differ-
is
;
the stuff of which garments appear to be made.
have already mentioned, in quite early art and up time of the Persian invasions, 480
B.C.,
As
I
to the
chitons are fre-
quently made of a soft crinkled material, very like crape,
edged with a woven selvage which drapes beautifully.
But
this
Pheidias.
material in
use about the time of
material goes out of It
still
Athens,
no doubt very like the crape-like
was
woven
in the
very elastic
Greek and
islands,
and procurable
I
have slept in
fine.
a peasant's cottage in Arcadia in fine creamy crape-like sheets, each sheet finished off
lines occasionally crossed
even of gold.
with selvages, and the crape
with single threads of red or
This was in a village where old forms were
very likely to have come down from remote times.
There
the peasant proprietor existed in an ideal fashion, and
nearly everything in his house was itself or in
made by
the familjr
the village, an excellent example of Aristotle's
avrapKeia, or " self-containedness."
Apart from the use of wool and
linen, a sort of cotton
(Byssus) was used for head-dresses and smaller pieces of the
women's
dress.
It
grew in
in colour, and so expensive that
Elis,
its
was rather yellow
use for large garments
must have been out of the question. Some of the earliest gold staters of Tarentum have as their obverse a beautiful .
head of Demeter or Persephone-Gaia wearing a stephane
from which hangs a diaphanous
veil.
the Tapavriov or TapavTivlhiov,
woven from the " byssus "
This veil
is
doubtless
bb
bo
GIRDLES, FABRICS, COVERINGS FOR of the "
Pinna "
survives
among
shell, a
form
HEAD AND
FEET.
59
of textile industry that still
the inhabitants of modern Taranto."
After the time of Pheidias, the woven selvage of garments
seems to have been cut the ordinary hem.
hanging by the Hernjes
and the edges finished with
off,
may
This
be noticed on the drapery
of Praxiteles at Olympia.
(Cast
K 2,
also in
Museum, Ephesus Room, No.
in the British
the South Kensington Cast Collection, Perry's Catalogue,
No. 114.)
This
hem
does away with a great deal of the
grace of the falling folds of the Parthenon draperies (as
No. 324, Slabs VII., VIII., Figs
edge
much
Finest of
clumsier and materials
all
Amorgos which
50—60) making
the
stiffer.
must have been the muslins of
are mentioned in Attic Comedy, and were
no doubt extraordinarily
These, together with
dear.®^
the garments from Cos, remarkable for their transparency,
and frequently mentioned by authors, specially by the Latin poets of the Augustan age,^^ were worn, in all probability, chiefly by the class of the " hetairae," though
may have used them
respectable married ladies
extreme heat,
in.
vases of the severe and fine Red-figured period
usual to find the forms of the garments.
may
This
transparent garments, or
it
*i
it
it is
On very
the body showing through reflect a current fashion of
may
be due to an
custom of drawing the nude figure on the clothing
in the
the strict privacy of the house.
clay,
artistic
before
with appropriate draperies.
Cf. Pliny., N.H., xix., 20, J. E. Forster de Bysso Anti-
quorum, London, 1776 and The Horsemen of Tarentum, by Arthur J. Evans in the Numismatic Chronicle, 3rd series, vol. ix., ;
1889, p. 66. 52
Aristoph., Lysist., 736.
°3
Hor., Carm.,
iv.,
13, 13; Ov.,
Ars Am.,
ii.,
298.
GREEK
60
DEESS.
by some
Silk has been supposed
critics to
have been
the material of which the " Coae Testes " were composed.
seems to have been spun and woven at Cos
It certainly
at
andrian times,
it
Mr. Eennell Eodd- notes the present
East. of
was rare and dear in Alexand not improbably imported from the
an early period,** but
modern
silk industry
Greece^^ at Achmetaga, a village in Euboea,
" an industry of historic antiquity in Greece which might
be
much developed
tree flourishes as
it
the mulberry
country where
in a
Perhaps some of the
does here."
"shining" garments of which Homer makes such frequent mention were, after
all,
The discovery of
of silk, though imported.
Mycenae and
oriental objects at
else-
where, and the finding of " Mycenaean " objects far up the
have made
Nile,
unwise to
it
much on
insist too
the
impossibility of close contact with the East in the very earliest
of
But the
days of Greece.
silk in
Greece
is
prehistoric presence
a debateable point, and I leave
it
with the Homeric commentators.
Gibbon points
Greek climate
the
when the
twelfth century,
King
out
curious
to silk-worms,
of Sicily, carried
victorious Roger, the
off'
to
countries, possessed the silk-worm. to
the
Norman
Palermo the weavers of
Thebes, Argos, and Corinth, Greece alone of
by some not
of
suitability
and notices that until the
It
is,
all
European
however, said
have been introduced into Greece before
Byzantine times.
The Eastern fashion across the material
" *^
is
of embroidering or
weaving
stripes
of high antiquity in Greece.
The
Arist., Hist. An., y., 19.
Customs and Lore of Modern Greece, by R. Eodd. London, 2nd Edit., 1892.
Stott,
Fjo-. 54.
— Pracnnent of a robe.
Crimea.
HEAD AND
GIRDLES, FABRICS, COVERINGS FOR
the garments on countless archaic vases
decoration of testifies to
61
FEET.
the prevalence of this fashion
(c/.
The Naples
Fringes were also largely used on
terra-cotta of Fig. 7).
the edges of garments, a fashion derived more or less from Asiatic styles.
In Fig. 45, where Penelope
sits
sadly at her loom, a
winged human and animal forms
curious pattern of
process of production in a frieze-like
This vase idea of
band on the web.
exceedingly interesting as giving a good
is
The threads at the be seen, by small weights.
an ancient Greek loom.
bottom are held down,
will
it
am aware
So far as I
only one
^set of
Greek dress, on which a pattern can be survives.
It
a grave in
is
much
given in Fig.
54.
fragments of a
made
It
out, still
was found
in
one of the Greek colonies in the Crimea.
The decoration is
in
is
like
(human
figures
between
floral
what may be found on many Greek
In the British Museum, 3rd Vase Room, No.
E
bands) vases.
137, Case
E, on a vase signed by Hieron (Fig. 55), Demeter wears a gorgeous himation covered with small figures.
drapery becomes more
in art, plainer stuffs as a rule for their effect
As
the
graceful, after the archaic period
come
into use, depending
on the hanging of their folds rather ihaA
on the pattern of the material.
As
to colour, saffron
seems to have been a favourite Gentlemen wore white,
with women, together with red. as is specially
mentioned by Theophrastus."^
These white
garments were frequently cleaned by the fuller,^' their Workmen spotlessness being a test of good breeding. the white On and field labourers wore grey or brown. 5« *'
Characters, 7, &c., Jebb's Translation, Maemillan, 1870. Theoph., Characters, 23, 24. Cf.
GREEK
62
Athenian
41, 42) the
Museum
fine
specimens can be
(3rd Vase E,oom, Cases
easily
made
clear that very brilliant colours
out.
From them
and
— Vase
.
is
when we should
by Hieron. Departure British Museum.
expect to find black or neutral
it
were often worn by the
relations of a deceased person at times
Eig. 65.
F
colours of the garments are very well pre-
and can be
served,
which some
lecythi, 6f
seen in the British
DRESS.
tints.
of Triptolemos.
In fact I believe
that on the whole series of these white lecythi, of which
some thousands
exist in the
museums
of Europe, only a
very few of the figures of mourners appear dressed in black.^8 '^
Of.
•which
M.
Pottier's book, Les Lecythes Blancs (Paris, 1883),
deals at
some length with the whole subject of
particular class of vases.
this
GIRDLES, FABRICS, COVERINGS FOR HEAT)
The
AND FEET.
63
statues of the Acropolis series (Chap. III.) have
garments of very noticeable
The
brilliancy.
used are blue, red, and green.
chief colours
It is unfortunate that
these colours are surely if slowly fading from exposure to the light
and
both from the
but they are extremely interesting
air,
way
in
which they
illustrate
Greek dress
and from the evidence they afford of the Greek method of tinting statues.
The
hair of the
men
in
Homeric times
are the " long-haired Achaeans."
locks with gold
and
long.
is
Little spirals of gold
silver.
They
Euphorbos^^ binds his
have
been found lying beside the heads of skeletons in graves at
Mycenae and other
which,
it is
sites
excavated by Dr. Schliemann,
conjectured, were used to encircle locks of hair,
though they
may
Mr. Leaf®" points
be only girdle rings.
may have
out that various fashions of hair-dressing vailed as distinguishing tribal
marks
;
pre-
for example, the
Thracians " wear the top-knot," &c.®^
In the account
given by Thucydides of the dress of the
men
in early
remembered
that ornaments in the form
of the tettix are mentioned.
It used to be thought that
times
this
it
will be
meant a kind of
tettix,
fibula or clasp in the
and that the Athenians chose
this as a
their being " earth-born " (autochthonous)
by descent from any other times,
it
in various places
has been found that the long hair of the
athlete before the middle of the fifth century in a
symbol df
and not tainted
But, in more recent
nation.
by the aid of marbles discovered
in Greece,
form of the
was braided
heavy lump behind, bound round and round with bands till it resembled the ringed body of
of gold or other metal 59
'»
Iliad, xvii., 51.
" Iliad,
iv.,
583.
Op.
cit., p.
82.
GREEK DRESS.
64 the tettix, which
is
more properly the "
not the " grasshopper."
tree cricket"
and
Fig. 66 gives an instance of such
a method of hair-dressing. Athletes often
bound
up with a simple ribbon or
Another plan
of
men when engaged
in
only.
fillet
disposing of the long hair of the active exercise
was
to plait
in one or two long tails
it
and wind these round the head. studied in the British
An
instance can be
Museum, Archaic Lobby,
Fig. 56.— Athlete with hia hair
bound up.
tion,
in the
is
some
critical
its
209,
A
cast
of a
South Kensington Cast Collec-
Perry's Catalogue, No. 34.
often dedicated by
N"o.
Olympia.
the so-called " Choiseul-Goufiier Apollo." similar coiffure
their hair
owner
moment.
This long plait was
to a river or
marine god at
The companions
sacrifice their hair at his
pyre
;
of Patroclus
Orestes offers his to the
Inachos.^^
In the British
Museum (Mausoleum Annexe,
No. 163 in "Gr. Insc. in Brit. Mus.") '•
II. xxiii.,
is
185, and Aesch. Cho.
ISTo.
798,
an interesting 6.
GIRDLES, FABRICS, COVKRINGS FOE
HEAD AND
FEET.
65
votive tablet from Phthiotic Thebes in Thessaly, dedi-
cated by two
young men, Philombrotos and Aphtho-
netos, to Poseidon,
with a curious representation of two
long straight plaits of
hair
(eminently suggestive of
the Misses Kenwigs), typical of the owners sacrificing this proof of
their
who was supposed under his
to
manly vigour have
life
to
the marine deity
and growth more especially
care.
From the time of men in Greece wore not too short
—
the Persian "Wars, 490
—479
B.C.,
their hair shorter than before, but
that was the
mark
of the slave.
It will
be remembered that one of the things that astonished the Persian spies at Thermopylae was the care with which
the Spartans were seen to be dressing their long hair before the engagement.*^
The hair
of
Greek women in
classical
times was
arranged in an endless variety of ways, which are best studied
from the monuments themselves,
sible to
illustrations.
Many
interesting varieties can be found
in the vase-rooms of the British
tions of which,
now
dressing.
Museum.
The
terra-
of Tanagra, reproduc-
cotta statuettes (or "figurines")
are
as it is impos-
give any adequate idea of them by means of
from the museums of Berlin and Yienna,
so universal,
abound in varied methods
of hair-
Similar instances exist in the terra-cotta room
of the British
Museum.
Young
girls. in
Greece seem
" have worn the hair loose. In the so-called " Homeric hymn to Demeter, " the daughters of Celeus, like fawns to
gambolling through a spring meadow, rushed down the
narrow way, holding up the folds of their lovely garments, and their hair waved about their shoulders like "^
Herod.,
F
vii.,
208.
GREEK
66 saffron-coloured
ornaments
to
bloom."
DRESS.
women wore
Older
keep the hair in place.
sizes, for this use,
are found in
Gold
various
pins,
of all
A
women's graves.
fine
specimen, in elaborate gold-work, set with a fresh-water
M
!Fig. 57.
—Hair "bound with a
fillet.
Coin of Syracuse.
British
Museum.
pearl,
rewarded the excavators in Cyprus a few years
affo.
It
British tion,
now in the " Gold Ornament Room " of the Museum. A visit to this room will, I may menis
give
all
necessary information
on the subject of
Greek jewellery.
M
Fig. 58.
—Female head, from a coin of Syracuse.
The Greek the head,
is
fillet,
or braid
wound
British
Museum.
several times round
proverbial as a classical head-dress.
It
is
given in Fig. 57 from a coin of Syracuse of the Fine Period, in the British
Museum.
A
similar arrangement
of a cord passing five times round the hair, leaving loose
GIRDLES, FABRICS, COVERINGS FOR
HEAD AND
FEET.
67
locks at the crown, appears in Fig. 58, also from a coin
Syracuse in the same collection.
of
keeping the hair
Fig. 59 gives an
with one simple row of beads
earlier version of the same, in place.
Al
Fig
59.
— Female
head, with hair bound with beads. British
The "Stephane,"
or metal circlet rising in front and
narrowing at the back, where either
forming
a
— CoLQ of Segesta.
suitable
wears
it.
A
Elgin Room,
was
tied
or one
by a ribbon
concealed by
adornment of
a
dignified,
Hair bound with a " Sphendone."
British
noble matrons.
it
bow
visible
knot of hair, was the
Fig. 60.
Coin of Syracuse.
Museum.
Museum.
,
Hera, the Queen of Heaven, generally
fine instance occurs in the British N"o.
Museum,
504.
Casts of similar ornaments
f2
may
be found in the South
GREEK
68
DRESS.
Kensington Collection, from the well-known busts of Hera
museums. The " Sphendone "
in foreign
implies)
(like a sling in shape, as its
name
was a band of ornamented cloth or leather put
on either from the back or front, and ending in a
tie
M
Kg.
61.
— Coin of
" Sphendone" -wound several times round
Syracuse.
the head.
British
Museum.
Fig. 60 gives an example of the art of the
or band.
Finest Period on a coin of Segesta,
Museum.
Fig.
a
61,
coin of
National Collection, shows
how
now
in the British
Syracuse, also the
in
the
long ends of the
Al
Pig. G2.
— Tetradrachm of
Syracuse, with legend " Evuivov."
of a wide, short "
Sphendone."
British
sphendone might be wound several
head
a
as
signed by
done
is
finish.
Eumenos
shorter
In
Fig.
Instance
Museum.
times
round the
62, from a tetradrachm
in the British
Museum, the sphen-
and wider than in tbe previous ex-
ample, ornamented with stars, and tied on the top of
GIRDLES, FABRICS, COVERINOS FOR
the head with a small bow. at the
HEAD AND
In Fig. 63
it
FEET.
69
comes lower
back of the head, and ends in a band across the
brow.
The
"
Ampyx "
was
a metal
I
rig. 63.
— Tetradrachm of
diadem or snood, of which
Al
Syracuse,
by Phiygillos.
" Sphendoue."
British Museiun.
an instance
is
given in Fig. 64, also
from a coin of
Syracuse signed by Eumenos. The " ampyx " is sometimes worn in conjunction with the hair-net, as in Fig. 65, again from a coin of Syracuse
M
Fig. 64.- Coin of Syracuse.
Female head wearing the " ampyx.'
British
Museum.
The two ornaments
in the British
Museum.
nected by a
buckle above the
The
flat
" net, with the
frontlet,
ampyx
"
are con-
ear.
reduced to a very small
occurs on the famous decadrachm of Syracuse
GREEK
70 signed by
the artist
DRESS.
Kimon, of which the Museum
is
justly proud (Fig- 66).
A
Kg.
head-dress very similar to
65.
the " sphendone "
— Coin of Syracuse. hair-net
Female head wearing "ampyx," joined by a buckle. British Museum.
more completely covering the head, from the goat's-hair cloth
of
which
archaic monuments,
— Decadrachm of
as,
it
was made, wiU be In
for example, in the Acropolis series
Syracuse.
with frontlet.
(cf.
to
called the " sakkos,"
found in the cut (Fig. 67) also from a Syracusan coin.
Fig. 66.
but
Signed by Kimon. British
Hair
in a net
Museum.
and curlThe forehead is covered
Figs. 33, 34, 35, 36,) very elaborate crimping
ing seems to have been in vogue.
with neatly-set wig-like locks that sometimes look almost
GIRDLES, FABRICS, COVERINGS FOR
Long
like snail-shells.
HEAD AND
tresses that
71
FEET.
have been compared
variously to ropes of pearls or of onions are depicted in a
painstaking way, very dear to the early later period
much
freer
our illustrations (Figs. 57
A
— 67)
At
prevailed,
a as
have shown.
great deal has been written and said about the great
beauty of the figures of the Greek severe disregard of
the
artist.
modes of treatment
modern
corset.
any garment
But there
women owing
to their
at all
corresponding to
is little
doubt that under
the chiton, ladies often wore a broad supporting band round
Fig.
G7.— JFemale head wearing the " Sakkos." British Museum.
the body over the ribs or breast, toralis").
An
Coin of Syracuse.
(arijOooeafjiO';,
" fascia pec-
instance of such a support can be clearly
made out on a vase in the British Museum (3rd Vase Room, No. E 246, Case 29), where a lady is either putting on or taking off her chiton at the bath.
band was probably leather
—occasionally
stiffened in it
seems
to
worn nest the
{II.
xiv.,
214)
skin, but its elaborateness
thing that could be seen, therefore outer girdle.
C!/'.
Fig. 31).
of
be supported over the
shoulders by strings and buttons, like braces.
"cestus" of Aphrodite
This
some way or made
it
The famed
may have been suggests some-
may have been an
GREEK
72
DRESS.
In later times some kind of band was used to repress a
tendency to over-stoutness.^*
In
verj' early vase-paintings
the waists of the
women
with geometrical patterns
are so unnaturally narrow that
they have raised a suspicion of tight-lacing, even at that
remote period, but as the
Fig. 68.
— Fragment of a Vase,
peculiarity
it
is
share in this anatomical
with female figures and geometrical patterns.
probably
endeavours to portray the art
men
due
to
human
the
artist's
early
form, emerging as his
was from purely geometrical forms
of
triangles and
squitres (Fig. 68).
As may Vatican
be seen in Fig. 32, the "
Running Girl
iluseum wears a deep supporting " Man., 16, 66.
" of the
belt
when
GIRDLES, FABRICS, COVERINGS FOR actively exereising,
been usual for
and
women
HEAD AND FEET.
at sucli times
must have
this
The
of all ages.
73
elaborate cross-
girdlings to which I have referred (Fig. 25), and which
remain in the popular mind as the recognised Greek
stjde,
were probably a reminiscence or repetition of a similar girdling^beneath the chiton.
Sunshades occur with considerable frequency on Greek
monuments, but,
as in the case of the East,
fashion probably
came
by an attendant over the heads of persons Eros, in the Parthenon frieze (British
Eoom, No. 324, Slab In the Berlin
whence the
to Greece, they are generally held
6,
Museum
of importance.
Museum, Elgin
Fig. 41), holds one for Aphrodite. a vase on which is painted a
is
satyr advancing with mincing steps behind a veiled lady, carefully holding a parasol to shield her.
On
later vases
of post-Alexandrine times (as for instance, in Nos.
Case 55
;
F
236,
Case 50-51
Case 13, of the 4th Vase
Room
;
F
336, Case 12
of the British
they can be noticed in great numbers
among
;
F F
276, 375,
Museum)
the various
adjuncts of beauty used by the ladies of the time.
In the house the Greeks seem frequently barefooted,
especially
in
followed by philosophers sans
summer.
who
to have
gone
This fashion was
affected simplicity,
by
arti-
when working out of doors, as well as by Spartans But in Athens the feet were generally
old and young.
covered out of doors either by sandals, or mere soles tied
on with
straps, or
"made"
boots and shoes of leather.
Hunters, country-folk, and travellers wore high boots.
Shoemaking
is
frequently mentioned by Greek authors,
and various kinds of cut are spoken of as the " Laconian," the " Amyclean," and others but, although Greek monuments sbow an extensive variety of boots and shoes, the ;
GEEEK
74
DRESS.
cannot be identified with any certainty.
difEerent kinds
Fig, 69 gives a few of the varieties fitting shoes
mended
met
with.
Well-
were a token of
good breeding in Athens;
given in
Theophrastus® as one of
shoes are
the signs of avarice,
over-large
or nailed
shoes were
" boorish " except for military wear. Ladies out of doors covered the head with a fold of the himation.
On some
of the Tanagra figurines outside
the himation a parasol-like disc ladies,
Kg.
42).
is
seen on the heads of
balanced in a manner impossible in reality (Fig.
69.
—Varieties of boots, shoes, and sandals.
Foreign catalogues
hats," but
it
still
define these discs as " straw-
has been suggested that they
instances of a survival.
On many
on the Acropolis an iron spike the head (Fig. 70), in a
way
is
may
be curious
of the figures found
inserted in the crown of
that seemed unnecessary and
puzzling, until the view was propounded that these spikes
probably supported a wooden conical disc which served to protect the fine colouring of the figures from rain or birds.
And
so,
when the
damage by
artist of the smaller
kind
of statue, the " figurine " of Tanagra, set to work, he copied ^^
Characters, Nos. 14, 25.
Fig. 70.
— Female figure found on the Aoropoli.s.
Athen.s.
GIRDLES, FABRICS, COVERINGS FOR
the disc on occasions
when
it
HEAD AND
FEET.
75
was no longer wanted
as a
protection from the weather, and
made
it
appear as part of
the dress of ladies of the period.
Against this view it may, perhaps, be urged that the art of the figurines of Tanagra is too fresh to be merely a " derived " art. In that case the puzzle of the head-dress
A
covering for the head for
use
is
men
the "Petasos" (TreTacro?), or
at the front
and back and over the
Fig. 71.
—
is
still
unsolved.
in Greece of very general
^Varieties of the
flat felt
hat with flaps
ears, these flaps
being
" Petasos.
sometimes tied on the crown or under the chin in the fashion of the gives Iti
modern
" fore-and-aft "
71
Fig.
cap.
some of the various ways of wearing the Petasos.
later times ladies
seem
to
have occasionally donned
as it
occurs on some of the
With
the chlamys the Petasos
travellers and hunters, and
figurines is
worn
in
therefore,
it
from Tanagra.
Greek
art
by
all
by Hermes, the
travelling messenger of the gods.
Artisans and fishermen wear the "Pilos" (tt/Ao?) a conical cap of felt or leather.
and
seafarer,
Charon
as
Odysseus as a
ferryman of
the
wanderer dead, and
76
GREEK DRESS.
Hephaistos as the workman god,
all
wear
it
in
Greek
art.
Fig. 72 from a vase (being the reverse of the vase, Fig. 45, representing Penelope at the web), shows Odysseus in
GIRDLES, FABRICS, COVERINGS FOR HEAD
AND
77
FEET.
the Pilos undergoing the foot- washing at the hands of
the aged attendant, Eurycleia.
wear
it,
filled
and
The
aistos.
in
Fig. 74
it
is
In Fig. 73 some
sailors
the headgear of
Hephnow
Pilos seems to have taken the place
by the skull-cap
as a
head covering
for invalids
and
hypochondriacal patients. Plato'^'^ thus amusingly refers " When a carpenter is ill he expects to to the custom :
a draught from his doctor that will expel the
receive disease to
him
and get rid of
it,
but
if
anyone were
a long course of diet, and to order
caps {TTiXicia) upon
to
put
little
— Sailors wearing the Pilos.
respond, he would soon ill,
to presci-ibe
his head with other treatment to cor-
Fio-. 73.
time to be
him
tell
and wishing
such a doctor that he had no his physician a good
morning
he would enter on his usual course of life, or, should his constitution prove unable to bear up, death puts an end to his troubles."
doubt that Greek ladies were in the habit complexion of rectifying, by artificial means, any defects of
There
is little
exercise. induced by their confined indoor life and want of Case 43) is a In the British Museum (3rd Vase Room, in Egypt, Naucratis, of colony found at the Greek
pot,
which
still
contains some of the rouge «"
Republic, Bk.
iii.
it
used to hold.
GREEK
78
DRESS.
In the Oeoonomics of Xenophon, where the whole duty of a Greek wife
the bride
is
is
set forth in
most delightful terms,
admonished by her husband
-irf
Pig. 74.
i^,
to abjure
rouge
;w rf-/-
— Hephaistos with the Pilos.
or powder, false or dyed hair, and high-heeled shoes, if
as,
she manages well, she will not need artificial aids to
beauty, for time will not
These
artificial
ever, hardly
damage her
influence.
additions to personal charms can,
how-
be regarded as properly forming part of
my
GIRDLES, FABRICS, COVERING FOR subject.
task
The
HEAD AND
FEET.
object I had in view in undertaking the
which I have now completed was threefold,
desired,
if
79
possible,
to
concentrate the light
I
already
thrown on the nature and character of the dress of Ancient Grreece, if not indeed to increase
in view the necessities of those
it
;
but I also had
who from taking
part in
dramatic representations, or from other causes, wished to impersonate ancient Greeks, whether male or female. thi^d desire was to induce
Museums
my readers to visit the National
to study the subject at first hand.
succeeded in any of these aims vain.
My
my
If I have
work has not been in
.
INDEX C.
statues from,
Acropolis, Athens,
35
seqq
et
Cestus, the, 71.
63, 70, 74.
:
their feud with
Aeginetans,
the
Museum,
Amorgos, muslins
Ampyx,
etymology in
artist, 36.
Homer,
origin
on demeanour,
of, 16.
men, 44
short, of
6, 13, 35.
Athena, from Athens,
50.
'vromen, 33,
,,
,,
Chitonisous, the, 38, 40.
23.
,,
„
Olympia, 21.
Chlaiua, the,
,,
,,
Pergamos, 58.
Chlamys, the, 53.
Athens, Persian conquest ,,
of, 15.
4.
Ionian, 23.
7.
17.
Arohaic dress,
5.
6, 45.
Dorian, 16, 41, 44.
of, 59.
Apollo Citharoedus,
Apotygma, Aristotle
ceremonial,
33.
the, 69.
Antenor, the
of, '47.
Chiton on archaic momunents,
Athens, 24.
in Berlin
,,
Charites, the, 26.
Charon, figure
Athenians, 28.
Amazon from
Caryatid, figure of, 52.
of, 36.
slab from, 50.
Athlete, head of, from Olympia, 64.
7,
48.
Colour, use of, 35, 40, 61, 62, 63. Cos, transparent garments
Crape-Ute material,
of, 4, 69.
58.
Crimea, robe from, 61.
B. Babies, dress of, 54.
Bacchante on vase, Bands, decorated,' Belts, 34, 71.
et seqq :
Diana
12, 51, 60, 61.
robes, 14, 33, 61.
Demeter on of, 54.
Brooches, 30 Byssus, 58.
Decorated bands, ,,
Boots, 73.
Boys, dress
D.
39.
12, 51, 60, 61.
vase, 61.
of Grabii, 65.
Diplax, the, 55.
Disc on head, 49, 74.
:
INDEX.
82 Dorian chiton, 16 ,,
et
Hair-net, 69.
seqq
on AoropoKs figure,
„
Hartwig, Dr., quoted,
Hauser Dr., quoted,
41.
Dress open at
Head, coverings
side, 18.
Hegeso,
of, 57.
stele of, 56.
Hem, use E.
of, 69.
Hephaistos, figure
Egyptian woman, dress
Hera, wardrobe
of, 22.
45.
39.
77.
of,
of, 2.
Eirene, figure of, 52.
Herculanenm, figure from,
Endymata,
Hermes on
14.
Ephebos, dress Epiblemata,
20.
vase, 8.
Herodotus on Athenian women's
of, 53.
dress, 27.
14, 48.
Epidaurians and their statues, 27.
Hesperid, figure
Exomis,
Hieron, vase signed by, 62.
the, 46.
of, 18.
Himation, the, 41, 48.
method
,,
et
seqq
Homeric
Fabrics, 57.
wearing, 49
of
:
dress, 1.
Eeet, coverings of, 57, 73.
Fibulae, 29 ,,
et
seqq
:
at Mycenae, 11, 30.
FiUet for hair, 66.
Ionian chiton, 23
Folds, zigzag, 41, 46.
,,
Frangois vase, the, 11, 12, 52.
et seqq
et seqq
its
,,
:
introduction, 27
:
Frilled skirts, 10.
K.
a. Geometrical vase, 72.
Kaluptre, the,
G-irdles, 19, 21, 25, 34, 42, 45, 57. ,,
varying height
of, 57.
9.
Kolpos, the, 19, 45.
Kredemnon,
the, 9.
Girdlings, crossed, 23, 73. Girls, dress of, 20, 34, 65.
H.
Leaf, Mr., quoted, 63.
Hair, the, 63. ,,
dedication of, 64.
,,
of
women, arrangement
65, et seqq
:
of,
Leohat on Acropolis
figures, 37.
Linen as a material,
3.
Loom, representation Lope, the, 10.
of, 51, 61.
INDEX.
83
M. Materials, varieties
Medea on
R. 58
of,
et seqq
:
vase, 33.
Men, under-garments
Rouge, use
of, 77.
Running girl, Vatican, 34, 72. Rutenu women, dress of, 10.
of, 43.
MoiTEe, the, 12.
Dr. on Acropolis figures,
Miiller,
,
,,
,,
Mushn,
,,
37.
the chiton, 15.
59.
Mycenas, fibulae from, 11, 30.
Sailors
wearing
gold spirals from, 63.
Sakkos, the, 70.
,,
seal from, 10.
Sandals, 73.
,,
tombs
Scheme
„
of, 11.
Mykonos, statue
at, 38.
Narrow
dresses,
1
of Dorian chiton, 17.
,,
„ closed do. do. 19. Ionian chiton, 24. ,,
„
,,
,,
N.
piles, 77.
peplos of Athena, 22.
Selene, figure of, 17.
Shoes, 73.
2.
Silk, 60.
Skins worn in Homeric times,
O.
Odysseus on vase, 76.
Sleeves, absence of, 9.
Outer garments, 48. ,,
formed by buttons,
,,
P.
,,
Peleus on vase,
of,
38
et seqq
:
6.
Penelope on vase,
„ sewing, 25.
,,
long, 56.
Sophocles, statue of, 50, 55.
Sparta, dress ia, 18, 54. 51, 61.
Sphendone, the, 68.
Peplos, the, 8.
Spike on head, 74.
of Athena, 21.
,,
22.
„ pins, 24.
,,
Patterns, variety
7.
Skirts, friUed, 10.
Stephane, the, 67.
Pergamos, Athena from,
58.
Persian conquest of Athens, 36. Petasos, the, 53, 75.
Stripes
down
dress, 13.
Sunshades, 73. Syracuse, coins of, 66
«<
seqq
:
Piles, the, 75.
Pinna, byssus Pins, ,,
8,
of, 59.
23, 29.
for hair, 66.
Plato on invalidB, 77.
Tanagra, figurines from,
Prehistoric dress, 4, 10.
Tarentum, byssus fabrics
Procne and Philomela,
Telemachos on vase,
21.
51.
48, 63, 74. of, 69.
GREEK DRESS
GREEK DRESS A STUDY OF THE COSTUMES WORN
IN
ANCIENT GREECE, ^ROM PRE-HELLENIC TIMES TO THE HELLENISTIC AGE
BY ETHEL
B.
ABRAHAMS,
M.A.
WITH ILLUSTRATIONS
LONDON JOHN MURRAY, ALBEMARLE STREET, W. 1908
A..nr-
•2-
&T
sso f\\S
D.B
TO MY FRIEND
ETHEL STRUDWICK
PREFACE The
book is to give a continuous account of the dress worn by the people inhabiting Greek lands, from the earliest times of which we have any record down to the Hellenistic age. The first chapter stands somewhat apart from the rest, since it deals with the costume of the race which object of this
occupied the races arrived
^gean
shores before the real Hellenic
on the
abundant remains
in
and of which we have Crete and elsewhere within
scene,
JEgean area. The remains found at Mycenae, Tiryns, and other so-called Mycensan sites, seem the
to be the last efforts of this dying civilization,
was replaced
in the period of invasion
recorded in the
unable to trace
which
and conquest I have been
Homeric poems. any continuous development from
the dress of this pre- Hellenic people to that of classic
Greece, and the marked difference in the
type of costume between the two periods bears out the theory of a difference of race. I
have endeavoured to show that the dress
described in the Homeric poems
is
of the
same
type as the dress of classic Greece, and of this I
have traced the historic development, classifying
PREFACE
viii
two main divisions, namely, Doric and Ionic. The simple and severe Doric dress contrasts with the more luxurious costume of the Ionian Greeks,
it
into
although there are
many
instances, from the fifth
century and onwards, in which the two styles are blended.
I
have noted also the elements which
probably came in from Northern Greece
these
;
are chiefly the chlamys and petasos.
The
approved
thesis in
bulk of the following pages constituted a for the
degree of Master of Arts
the University of London.
work
for the press,
the addition
of
the
have
the
revising
however, some alterations and
The
additions have been made.
illustrations
In
section
been
chief of these
on
the
carefully
toilet
is
the
;
from
selected
extant monuments.
My dress
Evans
sources
for
the
on
chapter
pre- Hellenic
have been mainly the finds of
Mr
A.
J.
had the opportunity of seeing in the Candia Museum these have been supplemented by the figures found at Petsofa, in Crete, and by various Mycenaean objects, notably rings and gems. The papers published by Mr Evans and Mr J. L. Myres in the British School at Knossos, which
I
;
Annual have been
of very great value.
For the chapter on Homeric dress, my chief poems themselves in the absence of contemporary monuments, I have used authority has been the
;
the Frangois vase to illustrate this section, since the figures upon
it
seem
to tally
most
closely with
the descriptions of dress found in the poems.
Of
PREFACE modern been
ix
most valuable has zur Geschichte der
literary authorities, the
Studniczka's
Beitrdge
Aitgriechischen Trackt.
For the
of
dress
the
evidence from extant art
my
based
study chiefly upon
the
period,
classical
abundant, and
is
I
have
Sculpture and
it.
my
vase-paintings have furnished the majority of illustrations.
many
have noted
I
references
to
up and down the ancient authors, and a passage from the fifth book of Herodotus dress scattered
has furnished a starting-point for the tion into Doric
My
and Ionic
theory as to the shape and "cut" of the
by
himation
worn
Acropolis
Museum
one
;
classifica-
dress.
it
is
archaic
the
Athens
at
is,
ladies
the
in
think,
I
a new
based on a very careful examination supplemented
of the statues,
by some
practical
experiments in draping a living model.
For the footgear, literature,
I
sections on head-dress, materials,
have referred
and
have
to
used
passages in ancient
fragments of
fabric
remains
extant
illustrations, chiefly vase-paintings
case of materials, for which
I
found
and
;
for
except in the
have cited the actual in Greek tombs at
Kertch, in the Crimea. In describing individual garments,
each case suggested grams, which, use to those
it
is
I
have
in
dimensions and given diahoped,
who wish
to
may be
of practical
make Greek
dresses
for themselves.
Throughout the work,
in
addition
to
ancient
PREFACE
X authorities,
have consulted the various
I
articles
These include Pauly-Wissowa's Real-Encyclopiidie, Daremberg and Saglio's Dictionnaire des AntiquiUs grecques Smith's Dictionary of Greek and et romaines, in the current classical dictionaries.
Gardner and Jevons' Manual of Greek Antiquities, and the Companion to Greek Studies. Other works, to which single references have been made, are mentioned in the footnotes. In addition to written authorities, I have received personal help from several scholars and
Roman
Antiquities,
to
friends,
whom
should like
I
to
express
my
thanks.
In the
my
first place, I
should like to acknowledge
indebtedness to the Reid Trustees of Bedford
College,
who
and to
me
elected
to a Fellowship in 1905,
work for my second degree, spend some months in Greece as a student
which enabled
me
to
of the British School at Athens.
The
suggestion that a thesis on the subject
of Greek Dress might be of getting
me a
for three
was due
degree,
of Cambridge, under
whom
constant readiness to stimulate
Archaeology encouraged in that direction.
work
in
me
to
Mr Cook
to
Mr
my leanings towards continue my studies
very kindly read this
manuscript for me, and gave
of his criticisms.
I
me
owe a very great
Professor Ernest Gardner,
A. B. Cook,
had already worked College, and whose
I
Bedford
years at
some value beyond
the benefit
deal, also, to
of University College,
London, whose M.A. courses
I
attended regularly
;
PREFACE for
whom
two years, and from
xi
constantly received
I
help and guidance.
While
Athens,
in
devoted
I
my
attention chiefly
to the dress of the archaic statues in the Acropolis
Museum, and had this subject with
the opportunity of discussing
Mr
R. C. Bosanquet, then director
of the British School.
German
Rohrig, the
Fritz
Athens
his studio in
must
I
a model for me, for
my
also
sculptor,
thank Herr
who
placed
and procured the purpose of making my
at
disposal,
experiments in reproducing the archaic style
first
of draping the himation. Special acknowledgments are due to
Evans,
Mr
British
allowing
them
J.
to
;
to
Mr
Museum,
and, particularly, to
the
J.
courtesy in
published by to the Trustees
for permission
in the
Cecil Smith, for
to the library of the
through
their
Annual ;
School
photographs of objects tion
for
reproduce subjects
in the British
of the British
A.
L. Myres, and the Committee of the
School at Athens,
me
Mr
to
secure
Museum for publicagiving me free access
Department of Antiquities Mr H. B. Walters, who went
illustrations
with
me, and
greatly
facilitated the task of securing suitable ones.
my
due to
Mr
John Murray, for undertaking to publish the book, and to Mr A. H. Hallam Murray, for his constant Lastly,
grateful thanks are
courtesy and assistance the
work of
during
the
progress of
publication.
E. B. A. July 1908.
LIST OF ILLUSTRATIONS PAOK
— Cupbearer of Knossos 2 and —Snake Goddess and — Fresco of a Dancing Girl — Statuette from Petsofa —Studniczka's Diagram — Vase— British Museum,
Fig.
I.
Figs.
3.
Fig.
4.
Fig.
5.
Fig.
6.
Fig.
7.
Fig.
8.
Fig.
9.
Votary
..
.
KHitias
12
»
12 18
{fi
and
c)
Vase-paintings
and Ergotimos, Florence
face
— From the Frangois Vase
26
30
— Diagram of the Doric Peplos — Metope from the Temple of Zeus, at Olympia — Bronze Statue from Herculaneum, Naples —Vase-painting— British Museum —Vase-painting in the Polygnptan Style— Louvre —Vase-painting by Hieron— British Museum —Terra-cotta Statuette — British Museum —Vase-painting by Euxitheos— British Museum —Vase-painting by Falerii— Rome, Villa Giulia
Fig. 10.
6 II
„
.
(a)
by
Fig.
face
.
43
.
face
44
1 1.
45
Fig. 12.
46
Fig. 13. Fig. 14. Fig. 15.
Fig. 16. Fig. 17. Fig.
47
49
.
49 SO SO
18.—Athena of Velletri
SI
— Bronze Statuette— British Museum —Vase-painting—British Museum —The Doric Himation Fig. Fig. —Vase-painting by Euphronios—Munich —The Chlamys and Petasos Fig. —Diagram of the Chlamys Fig. —^Vase-painting from Lucania— British Museum Fig. — Diagram of the Ionic Chiton Fig. —The Delphi Charioteer Fig. Fig. —Vase-painting— Munich Fig. 29.— Vase-painting by Brygos — British Museum Fig. 19.
S3
Fig. 20.
S4
21.
S4
22.
SS
23.
SS
24.
25.
26.
27.
28.
face
61
.
.
SS 61
face
62 63
66
—
.
LIST OF ILLUSTRATIONS
xvi
PACK
— Diagram of the Sleeved Chiton with Overfold Fig. —Archaic Statue—Athens, Acropolis Museum —Archaic Statue—Athens, Acropolis Museum Fig. — Diagram of the Archaic Ionic Himation Fig. Fig. 34. — Drapery in the Style of the Archaic Statues
66
Fig. 30.
face
31.
90
33.
Acropolis Fig. 35.
Fig. 36. Fig. 37. Fig. 38. Fig. 39. Fig. 40.
in the
Museum, Athens
face
— Vase-paintings-British Museum —Vase-painting— Ionic Dress —The Artemis of Gabii — Louvre —Vase-painting— Dress with two Overfolds — Fragments of a Sarcophagus Cover from Kertch — Embroidered Fragment from Kertch
94 95
96 103 105
Fragments of a Sarcophagous Cover from Kertch. {f) Embroidered Fragment from Kertch
[fl
and
V)
106
— Men's Head-dress —Archaic
Fig. 42. Fig. 43.
{a)
Head
of Apollo from the
Olympia. polis
(p)
Museum
Head
108
Temple of
of an Athlete
Zeus, at
—Athens Acro»
.
—Archaic form of Petasos Fig. 45. — Women's Head-dress Fig. 46. — Sandals and Shoes Fig. 47. — Boot
face 113
.
„ .
A Bronze in the British Museum,
ifi) Foot of the of Praxiteles (from a cast in the British Museum), (c) A Terra-cotta Flask in the British
{fl)
Hermes
....
Museum Fig. 49.
Fig. 50. Fig. 51.
^^^^^
.
— Sandals — Diagrapi of an Aryballos — Diagram of a Lekythos .
Fig. 52.
(a)
A Pyxis
box
in the British
in the British
Museum.
Museum
—W Bronze Box Mirror— British Museum, Stand Mirror — British Museum — Diagram of an Alabastron
F'g- S3. Fig. 54.
.
no in
Fig. 44.
Fig. 48.
91
93
.
Fig. 41.
7S
78
32.
face
116
nS
GREEK DRESS I
INTRODUCTION PRE-HELLENIC In seeking to conjure up a vivid picture of the of an ancient people, ologist to
it
is
life
the task of the archae-
neglect no point that can in any
way
throw light on the manners and customs which that people practised from
day to day, both
exercise of their public duties their
and
in the
in the privacy of
own homes.
Just as the habits and dress of an individual frequently give a true impression of his character
and type of mind, so the
salient characteristics of
a nation are reflected in the external details of their
manners and
their costume.
careful study of the Greeks, therefore,
feeling for beauty
In making a
whose innate
was part of their very being, and
whose sense of the fitness of things rarely if ever played them false, we shall expect to find our efforts amply repaid, both by the satisfaction given to the aesthetic sense and by the knowledge we
A
;
PRE-HELLENIC
2 shall
have
gained
of
the
the
of
development
national character. The study of costume has, moreover, an ethnological significance which in
a detailed investigation of the subject.
itself justifies
Ridgeway,
Professor
has
Greece, reflected
pointed the
in
in
out
The Early Age of
Homeric poems from that which
essential points
the
that
civilization
in
differs
is
many
revealed by the
monuments found at Mycenaean sites on the mainConland of Greece and in the yEgean islands. firmation has since been added to his convincing
arguments by the discoveries of remains were but
culture revealed
efforts
sites
the
before
of a
dying
least
as far
our
era.
The
by the excavations at Knossos in
Crete presents a striking con-
trast to that of the
whereas
last
millennium
third
and other
the
which stretched back at
civilization
the
Arthur Evans
which prove that the so-called Mycenaean
in Crete,
as
Mr
state
Greeks of the of
Homeric poems seems
society to
classic period
described
the
in
contain analogies with
both periods.
The
palace
of
Alcinous and
the
house
of
Odysseus, as described in the Odyssey, correspond in
plan to the palace of Mycenae excavated
by
the Greek Archaeological Society in 1886, which
undoubtedly belongs to the older stratum of lization
;''
on the other hand, the methods of
civi-
dis-
1 Cp. also, for J. L. Myrts, Journal of Hellenic Studies, vol. xx. general principles of ground plan, " The Palace at Knossos," British
School Annual, VI 1 1.
;
PRE-HELLENIC CIVILIZATION
8
posing of the dead, and the underlying principles of costume, are utterly different in the two cases.
The Homeric
heroes burn their dead, whereas the
remains found in Mycenaean graves prove that in the state of society to which they belong burial
was the common method of disposing of the dead. The difference in costume is equally striking the women's dress, illustrated by the Mycenaean gems and the wall-paintings and faience statuettes from ;
Knossos, consists of elaborately made garments, with tight jackets the waist, and there
is
fitting closely to the figures at
and frequently flounced skirts no indication of fastening by means of
brooches or
full
fibulse.
Homer
In
the
almost invariably mentioned as an
brooch
is
essential detail
of female costume, and the garments described are of a simple character, and such that they can be
For for other purposes. when protecting yEneas from his assailants, shields him from their weapons by drawing a fold of her peplos over him {Iliad, v., 315) and again, at the funeral rites of Hector, the spread out and
used
example. Aphrodite,
;
body
is
covered, vop^vpiois
xxiv., 796),
The sented
"with
ireirKoLcn fiaXaKoicriv {Iliad,
soft purple robes."
contrast between the forms of dress reprein
Mycenaean
art
and
in
the
Homeric
poems can only be explained by supposing that there is a difference in race between the two peoples, entirely
and that the older civilization was almost swept away by a great series of invasions
carried out
by men
of
a
different
race.
The
PRE-HELLENIC
4
Homeric dress
is
closely akin to that of the
Greeks
of the classic period, whereas that represented on Mycen^an rings and gems belongs, as will be
shown later, to the stratum of civilization revealed by the Cretan excavations.^ We must suppose, then, that the Homeric heroes belonged to the invading race, which was full of youthful vigour and succeeded in superimposing its manners and customs upon those of the
and
finally
in
decadent society,
older,
ousting the older inhabitants from
The process was one homes altogether. which must have lasted over some centuries, and it is probable that the Homeric poems were composed whilst it was still incomplete, and that the siege of Troy represents one incident in the long wars which were waged between the two peoples. This view accounts for the fact that the Homeric their
house belongs to the older
costume
is
civilization, while the
The
that of the later.
invaders, having
conquered or driven out the inhabitants, finding houses
their
strongly
and
built
luxuriously
decorated,
would
and
themselves peacefully and comfortably
settle
refrain
from
there, naturally retaining their
and customs of disposing of houses
destroying
own
them
style of dress
their dead.
Any new
would be conand so the Homeric
built after their settlement
structed after their
own
plans,
house would gradually give place to the Hellenic. The absence of brooches and fibulae from the graves
on the Acropolis of Mycenae, and '
Cp. Busolt, Griechiscke Geschichte,
vol.
their presence in i.,
2nd
ed.,
chap.
i.
MEN'S DRESS those of the lower theory.
The
others,
which
adds confirmation to
city,
in all probability
when the invaders had
fibula
is
belong to the time
already imposed
customs upon
Mycenae and elsewhere
the
this
Acropolis graves are earlier than the
their characteristic
at
5
common
The
in Greece.
Achaean
the
use of
the early peoples of
to
Central Europe, from which region
been introduced by
some of
their predecessors
it
must have
invaders
into
Greece.^
The
remains found on Greek
earliest
Mr
those which have been unearthed by
are
soil
A.
J.
Evans, in his series of excavations at Knossos,
in
They
Crete.
civilization
Mycenaean.
represent
which has
hitherto
The costume
this pre- Hellenic it
earlier
stages
been
of
known
by the
revealed
age forms a study
that
as
art of
in itself, since
presents a striking contrast to that of the classic
period in Greece, and also to that of contemporary Asiatic
peoples.
The costume
simple
when not
entirely nude, they
;
of
the
men
is
wear some-
times a waist-cloth rolled round a girdle, with a loose end hanging
down
like
an apron
in front
^ ;
a lead statuette of the same period found near
in
Abbia, in Laconia, the waist-cloth appears to take the form of a triangular piece of material wrapped
round the
girdle,
the apex of the triangle being
drawn up between the legs and tucked '
Ridgeway, Early Age of Greece, chap.
viii.
;
into the
S. Mtiller, Urges-
chichte Europas, pp. gj, 96, 2
Fig.
Perrot
1,
and
Cupbearer of Knossos.
Chipiez, VI., 426. 21.
Cp. also, Vaphio Cup, gems,
;
PRE-HELLENIC
6 belt in front.
some
In
Petsofa,^ a third
terra-cotta figurines from
garment appears, consisting of a
rectangular piece of material with the long side
tucked into the belt
round and the short sides
all
In the hanging down perpendicularly in front. later Mycenaean period, the garment takes the form of short breeches reaching half-way
down
the thigh.
These are probably a development from the
earlier
waist-cloth.*
In most cases
the upper
part of
body
the
appears to be quite bare, but in some instances a line
is
drawn
at
the neck and wrists which
indicate the edges of a close-fitting, tunic.
long-sleeved
is more probable, however, that these meant to represent a necklace and brace-
It
lines are lets,
may
such
as
have
been found in
considerable
Mycenaean graves. On a siege scene represented on a fragment of a silver vase from
numbers
in
Mycenae,^ the majority of the fighting warriors are represented quite nude
;
but in one case (at the
lower right-hand corner) a tunic and head-dress are worn
;
but in this instance the tunic has sleeves
reaching only half-way to the elbow, as case with the inhabitants,
who
is
also the
are watching the
progress of the battle from behind the city wall
two
figures, which appear to be just leaving the city, wear square cloaks fastened on the right shoulder and leaving both arms free they do not appear to ;
'
British School Annual, IX., pis.
*
nagger blade from Mycenae.
xviii., 3. '
Perrot and Chipiez, VI.,
fig.
365.
ix.
and
x.
Perrot and
Chipiez,
VI.,
pi.
Fig.
I.
— Cupbearer
of Knossos.
[Face page
6.
;;
FOOTGEAR
7
be fighting, and probably represent heralds about to
make some
The
proposal to the enemy.
cover-
ing here described as a cloak has been regarded as representing an oblong shield (^ure vvpyoi)
view of the fatt that the
men
arms are exposed,
that both
;
but in
no weapons and seems more reason-
carry it
able to suppose that a mantle
intended.
is
The
warriors in front are fighting without protection
and it
if
to
any
shield were represented,
we should expect
Mycensean shape, which
be of the usual
appears as a decoration on the upper left-hand corner of the fragment.
A
fragment of a Wall-
painting from Mycense represents a warrior wearing
a short-sleeved tunic and having a double bracelet at the wrist
;
it
appears, then, that
man wore
when
the pre-
was not furnished with long sleeves, and even when his clothing was of the scantiest possible nature, he was not far enough removed from primitive barbarism to prevent his adorning his person with bracelet and necklace. The indication of some kind of footgear is frequent it is represented on the Vaphio cups and on a wall-painting from Tiryns depicting the Hellenic
a tunic,
it
f
:
capture of a
bull, it
takes the form of pointed shoes
turned up at the toes and fastened by a series of
Such pointed shoes were common to the Assyrians and the Hittites, and are worn to this day by Greeks and Turks, and bands above the ankles.
frequently also in other rocky countries.^
In '
The
the wall-painting from characteristic Cretan boots
Tiryns, and on a
may possibly be
a direct survivaL
PRE-HELLENIC
8
Mycenaean 21),
intaglio (Perrot
a number of bands
is
and Chipiez, VI,, 426. indicated just below the
Possibly the boots were fastened by leather
knee.
laces crossed
round the legs and then passed two
or three times round under the knees.
At
present
these bands have only been found in cases where
the wearer
is
engaged
in
some
such as the bull-taming scene
;
violent occupation, it
has been sug-
gested that they represent a leather thong
wound
round the knees to act as a protection on stony ground some such guard would be necessary. ;
The
head-dress, of conical shape, finished by a
button or flattened knob on the top, represents a
the
made sometimes probably of metal, as was case in Assyria, but in some cases certainly of
felt
or leather, covered with rows of overlapping
helmet,
boar's tusks, turned alternately in opposite directions.
A
number of
large
boar's tusks were found
by Dr Schliemann^ at Mycenae, flattened on one side and with several holes in them, which obviously served to fasten them to some object such a helmet ;
is
to
be seen in an ivory fragment from Mycenae,^
and would exactly correspond
to that described in
Iliad, X., 261.
S
afk^i
pivov
TroitjTrtv
evreTaro
'
(rrepea)?,
apytoSovTOi
01 Kvvetiv
-TroXia-iv S'
vog.
Ke^aX^tpiv edtjKev
evToadev
i/uiaariv
eKTOtrde Se XevKoi oSovrei Oafiees exov evOa Kot evQa
ev Kal eirKTrafievwi. 1
2
Schliemann, Mycena, pp. 272, 273. Perrot and Chipiez, VI., fig. 380
pi. viii.
;
'E
'^/upi.s
'A/>x<"oXo7«t},
1888,
CRETANS AND KEFTIU "
And about
leather
;
and
head he
his
inside
it
was
9
set a helmet
made of
wrought with many-
stiffly
thongs, and outside the white teeth of a boar with
shining tusks were set close together, this
way and
and cunningly arranged." In some cases the helmet presents a strikingly Egyptian appearance, and may quite possibly have
that, well
been derived from Egypt
evidence of direct inter-
;
course between the Cretans and Egyptians
wanting
;
is
not
indeed the clearest representation of the
costume of the pre-Hellenic inhabitants
of
the
JEgean shores is to be found on an Egyptian tomb fresco,* where the Kefts are depicted bringing vases as tribute to the Egyptian monarch, their costume identical
is
Knossian
with that of the cupbearer from the
fresco,
and they are carrying
vessels of
same shapes as many which have been found in It has been Crete and on other Mycenaean sites. pointed out by Mr H. R. HalP that the Keftiu were the
the people of the
^gean
islands, including Crete,
and that sometimes the name was applied exclusively to the Cretans.
mistaken for Phoenicians
The ;
Keftiu were formerly
but their whole appear-
ance and costume on the Egyptian fresco unlike anything Phoenician
considering
in
faithfully
as
that
they
they
;
so
we to
utterly
are quite justified
represent the
appeared
is
the
Cretans
Egyptians,
especially in view of their similarity to the cup*
"
Perrot and Chipiez, III., fig. 303. British School Annual^ IX., " Keftiu
and the Peoples of the
Sea."
B
PRE-HELLENIC
10
bearer of the fresco at Knossos, a native product
of Cretan
A
art.
striking analogy to
costume
the pre- Hellenic male
Etruscan
to be observed in the
is
now
paintings from the tombs at Corneto, British
The
Museum.
wall-
in the
and head-
waist-cloth, shoes,
dress are there represented in a form almost identical
Mycensean
with that found in
known
to say whether this
any
indicates
peoples
it is
;
little
of the Etruscans, that
of the origin
difficult
So
art.
similarity
it
is is
of dress
connection between the two
racial
interesting to note that
among
ancient
Hellanicus of Lesbos states that the
authorities
Etruscans were of Pelasgian origin, and modern writers
have claimed a Pelasgian origin
Cretans
;
coming
at present to determine
right or
wrong
that both
there
;
the
branches of a itself all
is
evidence
sufficient
but in any case,
forth-
whether they are
it is
not improbable
Etruscans and the Cretans were
common
which spread
civilization,
round the shores of the Mediterranean Sea
pre- Hellenic
in
not
for the
and
times,
that
the
Etruscans
maintained some of their early characteristics down to a later date than
other peoples of the same
race.^
Turning Hellenic age,
to
we
the female costume of the pre-
complicated to deal is
we have something far more with. The same style of dress
find
found on the early faience figures from Knossos '
Daremberg
" Etrusci."
and
Saglio,
Dictionnaire
des
Antiguith,
s.v.
Figs. 2 and
3.
— Snake Goddess and Votary. figs.
(^British School
Annual, IX.,
54 and 56.)
[Focepoffe 11.
THE JACKET AND SKIRT TYPE and Petsofa, and extends right on Mycenaean times. It consists
11
until quite late
of a short-sleeved jacket, fitting closely
and a full skirt, standing out round the feet in a manner suggestive of the hoops of the early Victorian age. The juncture of the two garments is hidden by a thick double girdle worn round the waist, which is pinched into the smallest to the figure,
possible compass.
The snake goddess and Knossos have,
her
votary^
from
a kind of apron reaching
in addition,
almost to the knees in front and behind, and rising
The costume
to the hips at the sides.
is
completed
by the addition of a high hat or turban. Looking at the snake goddess more in detail, we find that the jacket is cut away into a V-shape from the neck to the waist, leaving both the breasts quite
bare
;
the two edges are laced across below the
breast, the laces being fastened in
The
jacket
is
a
series of
bows.
covered with an elaborate volute
and bordered with a horizontal lines on the skirt
pattern, the apron with spots
The
"guilloche."
probably represent stripes in the material, the edge being ornamented with a reticulated band. girdle of the
goddess
intertwined.
The
is
The
composed of two snakes
head-dress here
consists
of a
high turban, probably made of cloth or linen wound
round some kind of framework. the costume
is
Figs. 2
principle of
always the same, though the fashions
vary considerably in detail '
The
:
for example, the skirt of
and 3 from British School Annual, IX.
PRE-HELLENIC
12
the votary
is
composed of a
series of seven flounces, ^
one above the other, the lower edge
in
each case
just covering the upper edge of the flounce below,
the whole being probably sewn on to a foundation.
On
a fresco
^
representing a lady dancing, the skirt
On
seems to consist of three such flounces.
same
figure
the
chemisette seems
breast to
is
not
left
bare,
the
but
a
be worn under the jacket,
possibly
made of some
of which
is
fine linen material, the
distinctly indicated at the neck.
edge
In one
of the statuettes from Petsofa ^ the jacket terminates at the back in a high " Medici " collar, and in
another fresco, from Knossos, a high sash appears
on the back, the loop reaching to the nape of the neck, and the fringed edge hanging down to the waist
;
at first sight this sash recalls the Japanese
The
"Obi."^
of the Cretan ladies,
millinery
as
by the terra-cotta fragments from Petsofa, an' abundant variety of styles. The hat
illustrated
exhibits
seems to have consisted of a piece of material pinched
the taste of the wearer
down towards
;
up into any shape to suit sometimes it is fastened
the nape of the neck, and curves
round the head, rising high up face
;
in
circular, or oval
flat,
in front
over the
one case * the brim has a wavy edge and
trimmed with rosettes underneath
;
frequently
is
it is
' Fig. 4, only a very small fragment of the skirt remains ; but the painting has been restored. Reproduced from the British School
Annual, VIII., fig. 28. ^ Fig. 5 from British School Annual, IX., pi. viii. ^ The large sash worn over the " Kimono " and tied rather high up * British School Annual, IX., pis. xi. and at the back. xii.
[Face page 12.
Fig.
5.— Statuette from
Petsota.
[Face page 12.
MODERN INSTANCES
13
done up into a large " toque " shape, narrowing to a point in front this form occurs also on late Mycenaean terra-cottas. ;
On above
none of the examples of costume quoted there any indication of fastening the
is
;
garments are obviously constructed by an elaborate system of sewing, but the means by which they were held in place on the figure is not represented, except in the case of the bodices of the goddess and
The
her votary, which are laced across by cords.
use of fibulae
fibulae is
nowhere indicated
have been found, except
graves, which in
all
and no Mycenaean
in art
in the later
;
probability belong to the Achaean
civilization introduced into
Greece by the invasions
A
fragmentary hand from
from Central Europe.^
Petsofa has a bracelet represented in white paint,
which
is
by means of a button and method of fastening was known to
clearly fastened
loop
;
the
Cretans,
since this it
is
probable that the
ladies' skirts
were fastened at the waist by buttons and
loops,
the fastening being concealed by the
is
belt,
as
the
modern blouse and skirt costume. It has been pointed out by Mr J. L. Myres^ that this jacket and apron type of dress is commonly worn at the present day by the peasants of the case with the
mountainous
districts of
Europe, chiefly
in
Italy,
Switzerland, the Tyrol, Norway, and the Pyrenees.
In
Norway and
Switzerland, moreover,
we
find the
1 On " fibulae," see Sophus Miiller, Urgeschichte Europas, O. Montelius, Civilization of Sweden in Heathen Times. 2 British School Annual^ IX.
p. 95.
;
PRE-HELLENIC
14
addition of a fan-like head-dress analogous to that
represented in
Minoan
same kind of costume
The appearance
art.
in
nium before our era merely serves type of dress need not
development, but quity
than
has
may
to
necessarily
show that the be a modern
possibly claim greater anti-
been
hitherto
Tournefort's
^
supposed.
^gean
question of survival in the as late as
of the
Crete in the third millen-
is
The
interesting
time, the inhabitants of
—
—
some of the islands for example, Mycone appear to have worn a dress composed of a tight jacket and flounced skirt, with the addition of somq Turkish elements a possibility
— that
this
—but
in the
;
it
may be a
remoter islands there
is little
more than a
case of survival
;
is
possibility
in
any
case,
the type seems to have disappeared in the eighteenth
or early nineteenth century.* 1
Tournefort,
I.,
109.
See also, Choiseul-GoufKer, Voyage pitioresqite de la Grke, Paris, 1809, where the women of the islands are represented wearing a tight corslet over a chemisette. A high head-dress, not unlike that of the Petsofa statuettes, was commonly worn by the island women as late ^
as the eighteenth century.
II
HOMERIC Turning to the various passages poems which refer to dress, we is
very
little
in the
find
Homeric
that
there
likeHhood that they can be intended
costume dealt with above under the name of " Pre- Hellenic Dress." The to describe the kind of
words used, and the accounts of the process of
no meaning, unless we suppose them to refer to the draped type of costume as opposed both to the close-fitting jacket type and to the dressing, have
dressing-gown type, consisting of a loose-sleeved
garment opening down the
front.
The
question
of the kind of dress actually worn by the Trojan
and Achaean heroes here; possibly
it
;
indeed,
not one to be entered into
may have been
reflected in the art
peoples
is
if
same as that of the Minoan and Mycenaean the
the Trojans represent the older
race which inhabited the shores of the yEgean, and
the Achaeans the invaders
them from the
north,
who came down upon
there
is
every probability
that the former wore the pre- Hellenic dress, and
the latter introduced the
The use 16
new
Hellenic draped type.
of the epithets /3aQvKo\Tos and
fiaOv^wvoi,
HOMERIC
16 " deep
bosomed " and "deep-girdled," in the Homeric poems perhaps has some bearing on this -
Referring respectively to the deep hollow
point.
between the breasts and to the girdle cutting deep into the figure, they
wasp-waisted ladies
that ^advK6\Tro9
to notice
women,^
only
^adv^wvos
is
used only of Trojan barbarian
of
may be
possibly the poet to
might well be applied to the of Knossos. It is significant
and that of
their
;
unconsciously referring
the difference between the dress
race
^
captives
of,
the older
Achaean conquerors.
However that may be, in most cases Homer same kind of costume to Achaeans and
ascribes the
Trojans alike
many
he
;
is
singing of deeds that happened
years, perhaps even
before
his
two or three centuries, day, and being no archaeologist, he
imagines his heroes to have dressed as his
contemporaries did the Italian masters,
;
he
is
who
own
acting no differently from
painted their
Madonnas
in
medieval costume.
We
find
in
Homer many
differences
in
the
nomenclature used when speaking of men's and
women's dresses
respectively.
The words x'tw and
xaXim are applied exclusively to men's costume, TreVXo? and KpriSefivov exclusively to women's, whereas the word ^apo^ either;
both
is
the only one used indifferently for
men and women
alike
fasten
their
garments with brooches or pins of some kind {Ttepovri, everri) and with girdles (fwci?, fwo-Tvp). Many of the words applied to articles of wearing-apparel '
Iliad, i8. 122, 389, 24. 215.
2
ii^a., 9.
594
;
Odyssey,
3.
154.
:
:
MEN'S DRESS
17
are also used to signify coverings for beds, seats, etc. is
:
such are
used
of
also
sails
This being the
Laertes.^
xeVXoy, ^apoi; the last
x^"*^"". iO'Jyea,
and
of
case,
we must
the
shroud
of
infer that
they were not made-up garments, but large square or oblong pieces of material which could be used for other purposes besides clothing; the
Homeric
must belong to the draped type any other.
dress, therefore,
rather than to
The men's two pieces
Homer
dress in
—the
x'twv, or
regularly consists of
undergarment, and a cloak
called variously x^«»'aj ^apos, or, in one case, Awttj;.^ Warriors sometimes wore a skin instead of the
mantle. is
For example,
Agamemnon
in I/iad, x., 22,
described as putting on a lion's skin, and a few
lines
on
further
Menelaus
appears
wearing
a
dappled leopard's skin.
The in
the
of
description
Ih'ad
is
and
simple
Agamemnon awakes ^
process
the
in the
of dressing
straightforward.
morning, and prepares
to meet the assembly of the Achseans e^ero
S'
6p6a>6eii fiaXuKov
KoXov vriyaTeov, •TTOtTori
afjL^i
S'
evSvve X'TWi/a
S'
irepl 6e fieya
jSaXXexo 0apoj"
iiro XiTapoieriv eSrjaaTO /caXa ireSiXa,
S ap
wfioicnv
^aXero
$l(poi apyvpoijXov.
He sat upright and drew on his soft tunic, fair and new, and threw around him his great cloak and beneath his shining feet he bound fair sandals, and around his shoulders he slung his silver-studded "
sword." '
Odyssey,
xix., 137.
^ lii'd, xiii., 22.
' Iliad,
C
ii.,
42.
:
HOMERIC
18
was apparently, then, a garment which could be drawn on (evSwe) while in a sitting posi-
The
x'Twj/
No
tion.
mention
is
made, either
or girdle to fasten the
passages, of pins
similar
in this or other
we may infer that it was a rather narrow garment sewn up at the two sides, with openings
XiTwv,
so
left for
the head and arms.
Studniczka
gives a diagram of such a garment,
^
which he describes as a sack
left
open
at the bottom,
with openings
in
and side-seams
for
the
top
head and
arms.
The words
evSvvto, eKSvvo),
commonly used for "to put on" and "to take off" are
a
x'Twj/,
which seems to imply
garment was drawn the head although
that the Fig.
6.
The
Studniczka's Diagram.
EF
mark
dotted lines
being
and head
left
over
;
tlie
A
B,
C
open
for
arms
seams, the spaces
occasionally
D,
the simple verb
respectively.
compound
of the
no case
is
Odyssey,
used with
Sww instead ivSvm.^
that
it
xxiv.,
x't'<'»'>
so
we
are justified in
was a sewn garment; 227,
actually described as
the
x^'^'^"
of
and
in
Laertes
is
sewn
pvTowvTa
6e ecrro
X'Twva
paiTTOv aeiKeXiov,
"
He '
"
In
there any mention of pins or brooches in
connection with the inferring
irepl is
wore a sewn
tunic, dirty
and unseemly."
Beitrdge zur Geschichte der altgriechischen Tracht, Odyssey, xv., 60.
p. 13.
THE CHITON
19
As a rule, the x*'^'"'' was worn ungirdled, except when the wearer was engaged in vigorous action, when he is usually described as girding himself for the purpose. For example, in the Odyssey^ when Eumaeus is going to slay pigs, he prepares himself by confining
his
wj eVwrni Little
xnm with
a girdle
:
^axrrijpi 6ouis arvveepye X'Twi/a.
mention
is
made
in the
Homeric poems
of the length of the x'™"' but the distinguishing epithet of the
chitons
—so
lonians
is
eKKexiTme^
—with
trailing
that trailing garments were evidently
customary only among the lonians
warriors while
;
and slaves occupied in active work would probably wear very short garments reaching only to the thigh, as they are to be seen on the earliest vase-paintings. The princes and elders of the people, engaged in peaceful pursuits, in all probThe word ability wore them reaching to the ankles.
fighting
repfiioeis,
is
applied to the
usually taken to
and
to
mean "reaching
be equivalent to
With
Odyssey, xix., 242,
x't*^" in
iroSi^ptu,
to the feet,"
used by later writers.
regard to the material of which the x'™"
was made, the word
itself
connected with a
is
and from various epithets applied to it in Homer, reasonable to infer that the garment was Semitic
narily
root
made
a-iyaXoeis,
signifying
linen
of that material.
"shining" or
the
It
is
it
is
ordi-
described as
"glossy"; and although
'
xiv. 72.
2
Pauly-Wissowa, Real Encyclopddie,
iSf.
;
^
s.v.
"
X"''''',"
Studniczka, p.
HOMERIC
20
this particular epithet
" dazzlingly clean,"
its
need mean no more than comparison for softness and
brightness with the skin of an onion
would hardly
^
were made of a stuff that did not a hand-woven present a very smooth surface woollen material might possibly be called /*aXaKoy, be very
apt, if
it
;
"soft," but
could hardly be described as shining
Two
like the sun.
that
oil
passages in
was used
in the
Homer show clearly
weaving of
which
linen,
would have the effect of producing a shiny appearThe maidens in the palace of Alcinous are ance. described as weaving linen from which the oil runs off: Kaipov(T(re(Ov S' oOovitov onroKeifieTai
vypov eXaiov.
[Odyssey,
"And runs
close- woven
from the
and
off,"
dancing
Iliad,
in
on
place
the
described as wearing
596,
linen
of
shield
The
107.]
the liquid oil
the youths
in
Achilles
the are
x'TcSva? ewvjjTow, ^/co (rrlxPovTas
"well spun, shining softly with
eXaltp,
vii.,
oil."
epithet o-T/oeVToy applied to the
x'''''^''^
I'e-
was taken by Aristarchus, the grammarian, to mean a coat of chain mail. There is no evidence to show that such a piece of defensive armour was known to the early Greeks, and we find quires
*
comment
Odyssey,
232
xix.,
it
;
:
ToV Si x'™"'
if6riara
oXbv re Kpofiioto TiJjs
"And onion 2
I
—
lUv
ti)v
wepl xpot iTi.ya\6evra
\ot6v
/card l
fioKaKos, \afnrp6s S' ^v
saw the shining tunic on his body, so soft it was, and bright as the sun."
Iliad, v., 113
;
xxi., 31.
^A(o: &s, like the skin of
a dried
— THE STPEHTOS XITON no reference to therefore,
no
until
it
Roman
times
;
there
for
the inference
Homec means
a coat of mail.
justification
ffrpiiTTOi x'TftSv in
21 is,
that
The word (rrpeirTos means primarily "twisted," and could be applied to a coarse kind of linen whose texture showed very clearly the separate threads of was woven but other uses of the word Homer, and the second of the two passages
which
it
which
it
;
In Odyssey,
interpretation.
of
tion
rigging of
the
^oeveriv
very well retain the
its
a
occurs.
"
—that
is
ii.,
426, in the descrip-
The
to
else
expression
the
ship,
simple meaning
noun can mean nothing
hide
in
applied to a x'™"! suggest a different
is
ev(TTpi-7rToi(Ti
in
adjective here can
—
" well- twisted "
;
but "ropes of jox-
say, the whole expression
will
made of well-twisted thongs of leather. The passage referred to in the I/mcl runs as
signify ropes
follows
:
S^cre S' oTTitriru) x^'P"? evTfi^TOKriv ifiatri
Tovs avToi
<j>opee(rKov eirt orTpeirToitn x'T«i)(rt.
[Iliad,
The
subject
is
xxL,
30.]
the sacrifice of the twelve boys at
the funeral of Patroclus.
hands behind them with the well-cut thongs which they wore on their The word t/xao-t implies leather, twisted chitons. and the only kind of chiton which would be likely Achilles
bound
their
to have leather thongs attached to
jerkin
made of
leather,
it
some way Such a laces.
perhaps plaited
and fastened by means of leather
would be a in
HOMERIC
22
war under a metal very stoutly made might even
garment might be worn or
breast-plate,
if
in
serve as defensive armour, without the addition of
any case, it would afford more protection than an ordinary linen chiton such as was worn by those engaged in the pursuits of any
corslet
;
in
peace.
Another garment worn by men which appears at
first
sight to
is
the
fw/ua,
mean simply a girdle,
but in one or two passages signifies something more.
verb
The word
^mvvfxi,
is
obviously connected with the
"to gird on," and means a "thing
The word might
on."
girt
well apply to a girdle, but
it
might also be used of anything put on round the
and so of a waist-cloth there can be little it has this meaning in Iliad, xxiii., 683, where a description is being given of the preparations for a boxing match and a few lines further on the participle ^wa-afiivw, applied to the wrestlers, in all probability means putting on their In other passages where the word waist-cloths. occurs, its meaning is less obvious, although here too there is nothing to render the same interpretation impossible. In I/tad, iv., 186, a weapon is waist,
;
doubt that
;
described as not inflicting a mortal
wound
:
elpveraro ^ceerrrjp re iravaioXoi ^S' inrevepQev
^wfid T€ KOI
/x/t/m;,
rhv xa^f^ej mfiov avSpeg.
" But the shining belt checked
beneath,
and the
fashioned."
kirtle
it,
and the waist-cloth
which the
coppersmiths
Fig. 2c.
— Vase-painting — British
Museumv
[Face page 54.
Fig.
21.— The Doric Himation.
[Face page 54.
Fig. 22.
— Vase-painting
by Euphronios
— Munich,
[Fiirtwangler and Reichhold, Griechische Vasenmalereiy 22.]
\Vact Taaga 66.
Fig. 23.
— The
Chlamys and Petasos.
[Face page S5.
:
THE WAIST-CLOTH Here the
and the
fwffT^p
23
are obviously
m't/oj;
and the ^wna is a garment worn and can very well bear the meanunder the ing of a waist-cloth. Such garments were worn at
pieces of armour, ^wa-rrip,
all
periods
men
they formed the regular dress of the
;
of the pre- Hellenic age
;
they occur also on
There
vases of the classical period.^
no
is
necessity,
therefore, to suppose, as Studniczka does, that the
word here
is
supports his
synonymous with
x'twi'-
interpretation of
this
Odyssey,
another,
xiv.,
478
where Eumaeus
f.,
in the
by
passage
open
is
when he and
describing to Odysseus an occasion
comrades had to sleep
Studniczka
and he
air,
the cold because he had foolishly
left
felt
his cloak
behind him, and had only his shield and
ftS/ta 4>aeiv6v.
The
signification
of
expression could here maintain
"waist-cloth";
yap
oioxtTtov
"
I
eyu) "xKalvav
meaning
the simple
only,
obscured by a phrase some when Eumaeus continues ov
its
five lines
irapa
'
ft,'
is
further on,
^ira^te SaifAwv
efjLevai.
had no cloak
:
some god beguiled me
to
go
with only a single garment."
The
simple meaning of oioxlrm
only a chiton," or under-garment stretching the
we can
;
is,
but
"wearing without
meaning of the expression very
easily suppose its being applied to
clad only in a waist-cloth
;
a
so that even here
not necessary to suppose that fw/ua
is
far,
man it is
another word
for x'Tts". '
Cp. Fig, 7
{a)
;
the
human
figure struggling with the Minotaur.
;
HOMERIC
24
We
must next consider the over-garment worn by the Homeric heroes, for which several words are used, the most common being x^"*^"" and ^Spos.
The
x^a'"»'«
was used not only as an
dress, but also as a blanket to sleep
rug to cover couches and seats
article of
under
;
^
as a
a constant epithet
^ ;
was evidently w6ollen and the adjectives aheiavefjios and avefioa-Keirni, "warding off winds," show that it was worn for warmth, as a protection against cold winds.* It was thrown is
so that
ovXij,
The
act of putting
it
which the x^diva was worn
on are
" ;
a/A^tjSaXXw
and
irepi^aWto also occurs,
described as
is
running was
in
the verbs regularly used for the
;
it
throw round
times
when speed
style in
somewhat
varied " to
or
exercise
off for
required.*
material
its
being placed
afi(j>iewvfu^
and someeir
wixoia-i,
"
upon the shoulders " for taking it off, atro^aXKu) and aTTOTid^fit are used, and in one case e/c^ww occurs, though this word should more correctly be applied ;
to the
The
x'TttSv.
constant use of
afi^l,
" around,"
shows that the )(\aiva was not a garment which was drawn on over the head, like the x'''"'^''! but was a square or rectangular piece of material wrapped
round the figure or the x^a'»'« sion
laid over the shoulders.
Homer of the xXatm airXoii,
read in
SiirX^,
"double cloak
must mean a cloak worn
" ;
We
" single cloak," and
the former expres-
single, without being
such a garment might possibly be put on as the himatiom was in later time, one end over
folded
;
»
Odyssey,
*
Hid.,
iii.,
349.
xvii., 86.
s 73^-^^ ^iv., «
liiad,
ii.,
522.
183.
THE CLOAK
25
being laid on the shoulder, so that the mass of the
hung down towards
mass of material would then be drawn across the back under the arm which was then left exposed, and across the chest, and the end would be thrown over the shoulder towards the back. The garment could easily be drawn up so as to cover both arms
material
the back
;
this
the temperature required greater warmth, or it might be worn over both shoulders like a shawl, without being doubled, and the frequent mention of the shoulders in connection with the x'^"'"" seem
if
to point to this style as the xXaiva
mentioned twice
SittXi] is
The
most common.^
—once
Homer
in
the //tad and once in the Odyssey ; in both cases is
described as being fastened with a brooch a/U0(
apa
S'
:
[Iliad, x., 133.]
him he fastened a purple doubled, with no folds." about
xKalvav nrop^vpetiv ovKriv exe Sios SittXjiv
avrap
'
it
)(Kaivav irepov^
SiwXIjv eKxaSlriv.
"And
in
01 irepovt] XP^"'^^^
cloak,
'OSva-crevs,
tctukto
[Odyssey, xix., 225.]
avXoia-iv SiSv/xoia-i.
"Goodly Odysseus had a purple cloak, woollen and doubled and it had a brooch wrought of gold, ;
with a double groove for th^ pins." In these cases the over double, though in stated '
;
if
wa» obviously folded what way is not expressly
x'^"'"""
the garment consisted of a wide rect-
See Fig. 7
(a),
where the second
sented wearing only the
figure
from the right
x'^"'"'* dirWis.
D
is
repre-
HOMERIC
26
angular piece of material, its
might be doubled along
it
length horizontally and fastened with a brooch
on one shoulder, like Apollo's hinfation in the Thasos relief.^ This method, however, is not found on the earliest vases, which, though, not contemporary with Homer, are yet the nearest
monumental evidence obtainable
moreover,
;
the
additional expression, eKraSlnv, seems to be against this interpretation
;
the meaning of eKTaSlnv seems
be "stretched out
to
could hardly be applied to
such a way as to therefore,
able,
fall
and the word a garment draped in
straight,"
in
many
to suppose
folds
that
;
it
the
is
reason-
x^«'•'« ^"rX5
consisted of a large square
'^
folded along
so that two opposite
the diagonal,
corners lay on each other
;
it
of woollen material
would be
shoulders so that these two corners the middle of the {eKTaSitiv),
no
back,
folds
laid
hung down
in
being formed
and the other two points hung down one a brooch would prevent
on each side of the front
;
from slipping off the shoulders
the cloak
method of wearing the mantle quently represented on the black figured shawl-like
The
on the
SItttvxov
XwTTi/i',
;
is
this fre-
vases.'
"double cloak," which Athena
when disguised as a shepherd,* is probably a garment worn in this same fashion. wears,
a/t^'
wfji.oc
E. A. Gardner, Handbook of Greek Sculpture, p. 128. Unless the garment were square, the diagonally opposite corners would not coincide when folded corner to corner ; they are invariably represented on the vases as coinciding. ' Fig. 7 " Frangois " vase. (J>) is taken from the >
'
*
Odyssey,
xiii.,
223.
(^ and c) Vase-paintings by and Ergotimos, Florence. [Furtwangler and Reichhold, Griechische Vasenmakrei, 1 and 11.]
Fig.
7.— (a) Vase— British Museum. Klitias
[Face page 26
THE CLOAK and the
dlirXaices
27
which Helen and Andromache are
described as weaving in the Iliad'^ are perhaps
intended for cloaks to be so worn.
The the
place of the x^"'"""
"fine" and
iueya,
"large,"
clude that the ^apoq
luxurious garment.
an
frequently taken
is
article
con-
was an ample and somewhat The word is used not only for
of wearing apparel,
but also for the sails
that Studniczka's conjecture that is
we may
so that
shroud of Laertes,^ and for the linen
by
constant epithets of which are koKov and
f^apo^,
it
of a ship," so
was made of
probably right, and the difference of material
probably constitutes the chief distinction between
The
the ^apo^ and the x^"'""-
times described
and
as
and
x«/"'e»',
"silvery,"
used of the
which are
"graceful,"
$ayooy is the
only word
for the dress of both
men and
than to a woollen garment. in
Homer
When worn by
women; all
several
of Calypso, are more applicable to a linen
4>apoi
used
is
"white" and "well-washed,"
the epithets apyv^eov, Xiirrov,
"fine,"
^apos
men, the ^Spos was
probability draped in the
but the woman's
xXaiva,
in
same fashion as the
^o/jos
would be
draped
be shown the ^apos were not worn in and x^"*^"" battle, since they would encumber the wearer too much armour was put on over the chiton, or in some cases warriors wore the skin of some wild differently, as will
later.
The ;
beast slain in combat ' iii.,
126
;
xxii.,
440.
;
we ^
2 Ih'ii., v.,
hear, Odyssey, 257.
for example, ii.,
97
;
xix., 137.
of
HOMERIC
28
Agamemnon wearing and
Paris
wearing
a
and of Menelaus
lion's skin,^
costume was completed by
A
skins.^
leopards'
man's
sandals, veSiKa, which
we are told were made of leather ^ no mention made of any head-covering worn in the pursuit ;
is
of
any protection were needed, a fold of the mantle might easily be drawn up over the head in battle, of course, some kind of helmet was worn, which was made usually of bronze, or peaceful occupations
;
if
;
sometimes of
hide,* covered with boars' tusks, such
as have been found at Mycenae.
The women's
dress in
Homer
garments, the TreVXo? and the called also in
which of
one case the
consists of two
Kpj^Sefxvov
KoiXv/Afjia
;
^
or Kd\vTrrp^,
the word
eavos
used sometimes as a substantive instead
is
ireVXo?,
sometimes as an adjective, simply means
" something to be worn."
The
principal
The
TreVAoj.
garment of the women was the word is uncertain it
derivation of the
;
probably connected with some root meaning to
is
cover or wrap
;
the word
is
used
signify things other than dress
in
the //tad to
for the covering of
;
a chariot* and for the wrappings of the vessel
which held the ashes of Hector fore, like
;
"
the
nreirKos,
or rectangular piece of material which
used
for
garment, »
there-
the x^"'"" and ^apoy, consisted of a square
various it
Iliad, X., 22. * Iliad, X.,
in place
2 Ibid.,
261
6 Ibid., v., 194.
When worn
purposes.
was held
f.
29
;
iii.,
could be as
a
by means of brooches 17.
'
Odyssey,
6
j^fi_^ xxiv., 93.
1
Ibid., xxiv., 795.
kIv., 23.
—
:
WOMEN'S DRESS
29
A
or pins (irepomt, everai) and a girdle.
the Iliad^ gives a description toilette
an
of
made by Hera when she
passage
in
elaborate
setting out to
is
beguile Zeus ajU9^t
S
e^vcr
curKT^vaera, rlQei S' eve
ap
Xpvcreijis
5'
a.ft.^p6(riov
eavov e
'A0>5«"?
SaiSaXa ttoXXci
•
iver^a-i /caret arTtjdos irepovuTO,
f«(raTO Se ^wvriv eKarov dvcrdvoig apapviav, ev
^ apa epmara
^Kev euT/o^TOtcrt Xo^otiriv,
rpiyXtiva /iopoevra' X"P'J Kpi]Se/Ji,vui &'
KoXw
vvo
KoKa
\nrapoi(riv eSiqaaro
ireSika.
her in her fragrant robe that
she clad
Athena wrought
many
ttoXXj/.
Sia deawi/
/caXi^'t/raTO
vriyareif, Xa/j.irpov S' ^v iJeXtoy wy.
irovtrt S'
"Then
e^vTrepde
^' aTreXd/j.irero
and therein
delicately for her,
things beautifully made, and fastened
And
her breast with clasps of gold.
she girdled
with a girdle arrayed with a hundred tassels
she set ear-rings in her pierced ears three drops
and
glistering
gracfe abundantly.
peerless
And
goddess veiled
—and
with a herself,
set
over
it
;
it
and
—ear-rings
of
therefrom shone veil
a
over
all
new
fair,
the veil,
bright as the sun, and beneath her shining feet
she
Lang,
bound goodly sandals."
Leaf,
and
Myers.
We gather from this
passage that the garment
was fastened on the shoulders by brooches or pins inserted, Kara arr^Oos, which Studniczka rightly explains^ as meaning
"down towards
a method of fastening which »
xiv.,
175
f-
is
the breast,"
represented on the '
P-
97
f.
HOMERIC
30
Frangois vase^ and
the
elsewhere;
material
drawn from the back, and wraps over that covers the front
is
whi<:h
the pins are then inserted down-
;
wards, and hold the two thicknesses of material together; the dress girdle
held in to the figure by a
is
worn round the
which any super-
waist, over
fluous length of material could be drawn, forming a
No
KoXvoi or pouch.
the aTTOTTvyna, feature of the
from
made
which
overfold,
women's dress
is
Homer of a common
in
is
in historic times
but
;
constant appearance on the earliest monu-
its
ments,
or
mention
is
it
formed
an
not unreasonable to suppose that
it
element in women's costume of the
draped type from the very
earliest
times.
It
is
formed by folding over the upper edge of the
garment before
it
is
put on, in such a way that a
double thickness of material covers the figure from the neck to a distance a front
and behind.
overfold
The
may have been
little
above the waist
in
original purpose of this to secure greater
either
warmth, or to prevent the dress from tearing at the points where the brooches were inserted
thing might easily happen,
if
;
such a
only the single stuff
were used, since the whole mass of material hung
down from
the two points where
it
was secured on
the shoulders.
Another question which arises in connection with the Homeric peplos is as to whether it was
worn open or closed
at the side
has been much discussed >
;
a passage which
in this relation is the
Fig. 8.
one
^
Fig. 8
—From
pA
the Fran9ois Vase.
[Face page 30
THE PEPLOS
31
which describes the peplos given by Aiitinous to Penelope, with KvTivoop
voiKiXov
:
eveiKe fieyav irepiKaXKia veiiKov
fjLev '
twelve brooches
its
ev 6
ap
Xpv(reiai, kXtjictiv
earav irepovai
SvoKaiSeKa vacrai
evyvdnwrois apapviai. [Odyssey,
xviii., 292.]
"
For Antinous, his henchman, bare a broidered robe, great and very fair, wherein were golden brooches, twelve in
— Butcher and The
fitted
all,
with well-bent clasps."
Lang,
point in dispute
twelve brooches.
is
the purpose of the
Studniczka maintains that two
were used to fasten the dress on the shoulders,
and the remaining ten the open side
;
to hold
he states
together
it
down
in support of this theory
was not commonly practised by the Homeric women, although he has previously pointed out that the men's chiton was always sewn this being the case, it is only natural to that sewing
;
suppose that the to
their
There
is
own
women
garments
no example
fastened in this
applied the art of sewing also
early
in
where art
way with brooches
;
of it is
necessary.
a
peplos
invariably
joined round, the seam being covered by a band of
edge of the material
ornament either woven
in the
or embroidered upon
afterwards.
it
In
fifth
century
we sometimes find representations of the peplos worn open down the side it may have been worn so also in Homeric times; if the garment were art
;
wide, one edge could easily be
wrapped over the
other and held in place by the girdle, so as not to
HOMERIC
32 leave
much
the figure too
exposed.
probable that the twelve brooches
It
more
is
in question
were
used to fasten the dress on the shoulders and down the upper arms six on each side, forming a kind of
That the ample Ionic chiton was worn in this way in later times is manifest from the numerous vase-paintings and other monuments of the late sixth and early fifth centuries it may sleeve to the elbow.
;
have been a
East in and customs were not unknown to the author of the Homeric poems. We read ^ of rich robes that were the work
Homeric
Sidonian
of
fashion
the
to
peculiar
times, but Eastern fashions
Sidon, and
it
women whom is
Paris brought
from
not unlikely that Antinous, wish-
ing to offer Penelope some rich
gift,
would choose
a luxurious garment brought from the East,
However, we must regard the use of twelve brooches as
exceptional,
and
consider that
the
peplos was ordinarily fastened with only two, and
That it was a fairly ample garment and trailed on the ground behind, is proved by the epithets rawTreTrXos and eXKea-iTeTXos, "with trailing robes," frequently applied to women. Athena finds it certainly too cumbersome to fight in for when she is preparing for battle, we are told that she lets her peplos slip to the ground, and puts with a girdle round the waist.
;
on the chiton of her
father,* Zeus.
epithet of the peplos
is
Trot/c/Xo?,
intensified form, irafATroiKiXoi,^ >
Iliad,
3
Odyssey, xv., 105
vi.,
;
xviii.,
292.
or sometimes the
The meaning
2 7^2-^_^
289.
A very constant
^^ y^^
.
of the
y-^^^ ^Ss-
BROOCHES AND GIRDLE adjective
"bright, varied, covered with patterns."
is,
Whether these at the
33
patterns were
loom or embroidered
woven is
in the material
a question not easy
to decide.^
In
some cases they were apparently woven,
in
others probably embroidered.
The
on ^ takes the place of the peplos, and was probably worn in the same way,* with the overfold and girdle, over which the superfluous length was drawn, forming the koKttos, or pouch, which varied in depth accordThat it was sometimes ing to the wearer's fancy. silver-shining ^apoy which Calypso puts
roomy is proved by the fact that the nurse of Eumaeus was able to hide three cups viro KoXirw*
fairly
"
under the folds of her dress."
The
material of which the girdle
We hear
uncertain.
is
(fwvj;)
was made
of golden girdles of Calypso
and Circe, and of a fringed girdle of Hera with a hundred tassels, but these are exceptional. The ordinary girdle may have been of metal, or cord, or leather; this last material is suggested by the magic
KecTToy tVa?
been a girdle
of Aphrodite,
or, since
;
we
which
may have
are told that the goddess
"from her bosom," and that took Hera received it and ew iyKdrOero koXttui, "put it on her own bosom," perhaps it was something of the nature of Athena's aegis, which also possessed magic it airo (TTriQn<^4>iv,^
power. 1
On
a vase in the British
Museum ®
a god-
See section on " Materials and Ornamentation."
*
Odyssey,
3
The passage
*
Odyssey, xv., 469.
v.,
230. is
repeated word for word of Circe, Odyssey, x., 543. * B., 254. ^ Utad, xiv., 214.
E
HOMERIC
84
dess
is
represented wearing an
aegis,
and would
naturally be interpreted as Athena, were
has
vase-painter
the
"Aphrodite," by her
clearly side.
It
has been suggested
and meant
;
was doing, and
was
it
Aphrodite wearing her
not that
her name,
written
that he has made a " Athena " but in all probability he slip,
it
his intention
to
write
knew what he to
represent
/ceo-ro? tVa?.
The second garment which was essential to the completion of a woman's dress, at least when she appeared in public, was the Kp^Senvov or KaXinrrpn,^ which served both as cloak and veil. It was probably put on over the shoulders like a shawl, without
being folded, in such a
way
that
it
could be drawn
and across the face, serving as a veil.^ Sometimes it may have been doubled corner to corner diagonally and laid on the over the head without
That
shoulder.
from Odyssey, ^apoi; Ke^aXy
head a
was worn over the head is clear 229, where Calypso puts on her
it
v., S'
difficulty,
epvirepQe KaXvTrrpijv,
From the appears among
veil."
when she
was customary
for
her
the suitors " holding her
shining veil before her cheeks," it
"and over
description of Penelope,
women
we may gather to
veil
that
themselves
No woman would think of leaving before men.^ ' The K^Kv/iiia Kvdveov, "dark blue veil," of Thetis (Iliad, xxiv., 93) is same garment. Hera is represented wearing it so on the Frangois vase. Fig. 7 (c), and although her head is not covered, yet, from the way in which the folds lie high upon the nape of the neck, it is clear that they could easily be drawn up over the head (cp. also, Aphrodite, on the same vase). the
^
represented in the Frangois vase just about to veil or though the head is missing, it is clear, from the ; position of the arm, that the KpiiS^iuiov was worn over the head. ^
Thetis
is
unveil her face
HEAD-DRESS the house without her
KpriSenvov.
her house in haste,
quits
shining linen, ^
first
35
Helen, though she
when they
with
veils herself
apyewtja-i KaXuxfra/jLev^ 606v{i(Tiv,
and
it is
town and enjoying the quietude of the river bank, that Nausicaa and her attendant maidens throw off their veils for the only
are far from the
ballplay.*
From
the constant use of the epithets 'Kivapos and Xa/ATrpo'?, " shining " or " bright," we may infer
was usually made of linen, and, in summer at least, it was probably a fine, light garment, possibly even semi-transparent. In no case are any pins or brooches mentioned in connecand from the ease with which it can tion with it be slipped off,* it is reasonable to infer that it was worn without fastening of any kind, like a shawl or In the passage where Andromache casts off scarf that the
KpriSefuvov
;
her head-dress
in
her anguish at the death
Hector,* Studniczka supposes
because
that
of
the
mentioned as falling off last, the other must have been worn over it and held it in place this seems to be putting a too literal and even prosaic interpretation upon the lines. There is no occasion to suppose that the poet enumerated Kp'^Sefivov is
Sea-nara ;
the various parts of the head-dress in the order in
which they
fell
;
and
frequently find that
we read in that spirit, we shall the Homeric heroes put on their if
cloaks before their undergarments
once the ^apos or x^"'"" 1
Iliad,
3
Cp. Iliad,
iii.,
*
is
406, 470.
Odyssey,
xvi.,
for
more than
mentioned before the xirm.^
141. xxii.,
;
173
;
^
Odyssey,
*
Ibid., xxii.,
xxiii., 155, etc.
vi.,
100.
468
f.
:
HOMERIC
36
various parts which composed this head-
The dress
have given
much
to
rise
The
discussion.
passage runs T?Xe
S'
afXTrvKa
ctTTo
KeKpv^aXov re
KpriSefjivov
"
And
diadem and
[Iliad, xxii., 468.]
and meshy net and
kerchief,
follow,
No
is
question
and which stand
the
afiirvi;
worn across
Kp^Sef^vov
has already been
KeKpv(f>a\oi
and the
TrXeKx^ avaSivfiti
taken to
mean
that this
meaning the word
;
in apposition.
like the a-re^avij,
The former
need some comment.
avaSia-fAij
the
The
the front of the hair. ;
by
raised as to the nature of the
was a metal diadem
explained
veil."
are explained
Secrnara a-iyaKoevra
words which
it
ISe irXeKTtjv avaSecrf/-*]"
6'.
from her head she flung the shining bonds,
far
The
Kparog jSdXe Sitrftara cnyaXoevra,
a "net," but is
it
is
sometimes
be shown
will
later
better applied to the irXeKTh
KeKpv^aXos
is
obviously connected
with the verb KpvTrrm to cover, and therefore means
"something which covers," "a covering." probability, then, the KeKpv^aXos
is
In
all
simply a kerchief
worn on top of the head behind the afnirv^. The obviously something which serves to bind up (avaSem) the hair and hold it in place, which is
avaSea-fxri is
the proper function of a net.
which Helbig^ has
tried to
The
epithet
explain
as
TrXeKTj;,
"folded,"
means primarily "plaited"; it is applied elsewhere in the Homeric poems to baskets,* which shows its perfect appropriateness to the '
Die Homerische Epos,
p.
1
57,
£
meshes of a ^
net.
Iliad, xviii., 40,
We
COLOURS
37
need give no other meaning, then, to the but can easily explain
amSia-firi,
confined the long hair behind.
head-dress proper, the
it
as a
irXeKrri
net that
This completes the
Kp^Se/xvov
being a separate
worn over it. The women's dress in Homer is completed by sandals, and for ornament they wore, in addition to
scarf or shawl
the brooches which fastened their clothes, ear-rings
and necklaces of varied workmanship the yvaft.irTa.i eXtKes and KoXvKei of which we read^ are perhaps ;
spiral-shaped brooches and ear-rings or necklaces in the
shape of
lilies,
such as have been found
in
the later Mycenaean graves.
Few
Homer
colours are mentioned in
nection with
The
dress.
epithets
"shining" are frequently applied
and
KpriSefjLvov
and
to
the
in con-
" white "
the
to
and
chiton
and
^oiviKoeis
(papoi.
and the and StirXai, the former meaning "red," the latter probably " dark purple " the word is used also of iroptpvpeoi
are frequently used of the xXatva
;
The
the sea and of clouds. described as since
Kvavios,
veil
of Thetis^
is
indigo, probably, or blue-black,
we hear immediately
garment ever was blacker."
afterwards
The dark
that veil
"no
may be
a sign of mourning; but in any case, the epithet
might be used of the garments of the sea-goddess, just
as
KvavoxotLT^i,
Poseidon.
" blue-haired,"
Only once
is
applied
is
yellow mentioned,
that in the case of "saffron robed dawn."
of Hera, that was " bright as the sun," >
Odyssey,
ix.,
247.
^ Jlt'ad,
xxiv., 93.
'
^
The
to
and veil
might have
Iliad, xiv., 182.
;
HOMERIC
38
been
yellow-gold.
among
the
Yellow
is
favourite
a
women
Greek peasant
colour
of to-day for
the kerchiefs with which they- cover their heads
and
in the clear
of Greece,
it is
atmosphere and
sunshine
natural to wear bright colours.
The embroidered naturally
brilliant
be worked
women would colours, among
robes of the various
in
which red and blue probably predominated, as they
do on the sixth century statues on the Acropolis at Athens, and also in more modern Greek embroideries.
Enough
has
Homeric dress
to
been
show
on
said that
it
the
subject
differs entirely
of
from
the pre- Hellenic type of costume which appears on
monuments from Knossos and elsewhere. The absence of conternporary monumental evidence renders it impossible to make any very definite statements as to the details of Homeric dress but the poems themselves afford sufficient proof of the fact that it was of the draped type, and resembled Greek dress as we know it from the monuments the
;
dating from historic times period
is
;
the dress of the classical
simply a development of that described
in
Homeric poems, with the addition of some foreign elements which blended with it and somewhat transformed it in its details, while still preserving the main types unaltered. the
Ill
DORIC When we
come
to the question of
Greek dress
during the classical period, we find that the literary evidence
is
somewhat scanty
;
however,
in addition
to the various casual references to dress that are to
be found chiefly passages
which
development
the
in
bear
of
dress
important of these
is
plays,
directly
there are a
on the
The most
Greece.
in
few
historical
a passage in Herodotus,^ in
which he describes a disastrous expedition against
JEg'ma undertaken by the Athenians during the first half of the sixth century, probably in the year 568 B.C. only one man returned alive to Athens, to meet with an ignominious death at the hands of ;
who had perished. in his own words
the wives of those shall tell the story Kofiia-Oeti
yap
TvOofievas Se ras avSpiov
Seivov
:
e?
ras ^AB^vas onr^yyeiXe to Tradog'
ywaiKag
Ti
tSiv eir
Trotrja-afJievas
AHyivav
eKeivov
trrpaTeva-a/j.ii'ODV
fiovvov
(Twdtjvai, Tripi^
tov avQpayirov tovtov \aj3ovcras
T^
twv
o
eayvTtjs avfip.
Herodotus
i$ airavTWv icai
Kevreva-as
IfnaTuav elpurrav eKcurTijv avrecov o Ky
KaJ tovtov '
v.,
/jlev
87.
ovtw
e'ltf
Sia
—
'
DORIC
40 aloKTi
tov rrdOeos SetvoTepov ti So^ai
Se eTi
"AXXw
yvvaiKoov epyov.
yvvaiKUS,
(lev Stj
to
etvai
laSa
Se etrOiJTa fieTe/SaXov avretov ey rrjv
Ttiv
tHov
ovk exeiv oreo) ^tifAtw&axri to?
yap St] irpo tov at toov KQtfvaiwv ywdwce? ecrQtJTa AwptSa T^ ILopivdin irapaTrXtja-ioiTaTijv fieTelSaXov Sv eg tou e<j>6peov
'
'
Xlveov KiQma, iva
Sri
irepovyvi
\6yo] ypeodnevoia'i ovk 'lay
Kaetpa,
e-Trei
ye
rj
fir;
ai/Vij
'^XXtjviKri
'
xp^f^vTai. fj
eiTdi]g
ecrd^s
Eorrt ^e aXtiOet
to
d\Xa
TraXaiov,
iraa-a
tj
apxai^
Ttiv
t^v vvv AwpiSa KaXev/nev.
ywaiKwv
ij
"When
he came back to Athens bringing word of
avTri ^v
the calamity, the wives of those
out on the expedition took
it
who had been
sent
sorely to heart, that
he alone should have survived the slaughter of
all
they therefore crowded round the
man
and struck him with the brooches by which
their
the rest
;
dresses were fastened, each, as she struck, asking
And
him where he had
left
died in this way.
The Athenians thought
women more
of the
her husband.
man
the deed
horrible even than the fate of
As, however, they did not
the troops.
the
know how
punish them, they changed their dress, and
else to
compelled them to wear the costume of the lonians. time the Athenian
Till this
Dorian
dress,
shaped nearly
the
linen
which
like that
a
pre-
Henceforth they were made to
vails at Corinth.
wear
women had worn
which
tunic,
does
not
require
brooches.
"In very ally
Ionian,
women
all
truth,
however, this dress
but Carian
;
is
not origin-
for anciently the
wore the costume which Rawlinson.
is
now
Greek called
the Dorian."
He
goes on to say that after this the Argive
TWO TYPES OF
DRESS
41
and iEginetan women, out of rivalry with the Athenians, wore much larger brooches than before.
The importance
of the passage
is
that
it
tells
us of the two types of dress worn by Greek women.
We learn
down
that
to the early years of the sixth
Greek women wore the Dorian dress fastened with pins of such size and strength that they could become dangerous weapons in the hands of women excited by grief or passion. Later the Athenian women adopted a different dress, century
all
the
which did not need these large pins to fasten
and which Herodotus
calls
it,
the linen Ionic chiton,
afterwards correcting himself and explaining that this kind of dress
The
was
really
Carian in
its origin.
story of the slaying of the sole survivor of
^ginetan
and of the punishment meted out to the Athenian women, seems in itself but there is far-fetched and highly improbable the
expedition,
;
probably some
foundation of truth in
it.
Possibly
was invented by Herodotus, or, more probably, was current in his day as an explanation of a change in the style of dress which actually took place in Athens at the beginning of the sixth century, or more probably even earlier. Among the sumptuary laws introduced by Solon was one regulating women's dress, and forbidding them to wear more than three garments when they the tale
went out to funerals or festivals.^ such a law could only be necessary
women had
already 1
adopted
a
Plutarch, " Solon," 21.
The if
passing of
the Athenian
luxurious
and
;
DORIC
42
Now, the essence of be shown later, is simplicity
extravagant style of dress.
Doric dress, as
will
did not admit of great variety or elaboration.
the ;
it
On
the other hand, that the Ionic dress was somewhat
luxurious
may
clear
is
from Thucydides,
6
i.,
;
so
we
by the time of Solon's archonship, 594 B.C., the Athenian women had already adopted the Ionic dress, and had perhaps elaborated it by some modifications added by their own invention. infer that
Herodotus's story places the change at
If this is so,
a generation later than
least
but as he
is
he
is
actual occurrence
writing at a distance of
more than a
we need not be
century from the event, if
its
surprised
a generation or so out in his dating.
The simple Doric
dress mentioned by Herodotus
worn by Greek women down the sixth century, finds abundant illustration in
as being universally to
early art, especially in the Attic black-figured vases. It consists
of a large oblong piece of material, in
length about wearer, in
i
ft.
more than the height of
the
width about twice the distance from
elbow to elbow when the wearer's arms are held out horizontally at shoulder foot in height
is
The
additional
used up by folding the upper edge
over so that the material
The garment body and pinning
waist.
the
level.
is it
is
double from neck to
put on by folding
the edges respectively.
a,
b,
c,
round
on the shoulders at points
a third of the distance from the middle
arrangement
it
A
diagram
will
line
and
make
the
clear.
d
represents
the
original
rectangular
— WOMEN'S DORIC DRESS of
piece
being
ab
material,
twice
—that
distance from elbow to elbow 5
ft.
9
height
in.
ac being
—namely, about 6
ft.
Fig.
the
is
wearer's
to say,
about
more than the wearer's
ft.
i
43
6
in.
9.
After the upper edge ab has been folded over to a width of about
i
ft.,
shoulders at the points e
covers the back front,
/ and
drawn
is
is
pinned on the
/"/"',•
the part which
the dress
slightly forward over the
so that there are four thicknesses of material
where the pins are inserted
;
the garment
girded at the waist, the position of which
by
the points
g
and
drawn up over the
The etc.,
k,
is
is
then
indicated
and any superfluous length
girdle.
distance between the points a' f,
varies slightly,
but
is
f
e,
^ /',
always approximately
one-sixth of the whole width of the material. practice, a better effect is stuff
^ f, which
is
produced
if
the width of
covers the back of the neck,
shorter than the other sections.
In
is
DORIC
44
The garment
as being
usually represented
is
sewn up along the side, sometimes along the whole length ac, bd, sometimes only along the length
— that
from the waist to the
feet
hd; sometimes it only by the girdle.
is left
gc,
is
On
is,
along the edges
open, being held in place
the black-figured vases
usually the closed Doric dress which
sented, probably because
it
good example
on the
is
repre-
is
offered the least difficulty
to a technique which necessarily imposed close limitations
it
artists
who
somewhat
practised
it.
A
to be found in the figures of the
Fates from the Francois vase, which has already
been quoted in
A
freer
be found
illustration of the
and more
metopes from the temple
Athena
of Zeus, at Olympia.
senting the cleaning of the
Doric dress
the kolpos
is
;
in the
Augean
here the
metope
repre-
stables wears airoirrvyfia,
or
below the waist, and below
overfold, falls slightly it
peplos.
realistic representation is to
in the sculptured
the closed
Homeric
clearly visible,
the slight pouch
formed by drawing the superfluous length of the material over the girdle.^ is
On
the vases the pouch
almost invariably absent, and the girdle
This
visible.
is
also the case in
is
always
one of the archaic
statues on the Acropolis at Athens, where the Doric
dress
is
worn over an
tion of the dress
is
Ionic chiton.
A
be seen on the
to
slight varia-
nymph
of the
Atlas metope at Olympia, where the overfold hangs considerably below the waist and no girdle or pouch is
visible
;
here the additional length of the overfold •
Fig. 10.
Photo, by The English Photographic Co.]
Fig. io.
—Metope
from the Temple of Zeus, at Olympia.
[Face page 44.
Photo, hy llrogi^ Napleb.]
Fig.
II.
— Bronze
Statue from Herculaneum, Naples.
[
^ace page 45.
THE CLOSED DORIC DRESS
45
probably obviated the necessity of a pouch, and the girdle, which is hidden, simply served to hold the
A
dress in to the figure.
bronze statuette from
Herculaneum shows the dress sewn up only from the waist downwards (Fig. 1 1). 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.
most perfect examples its full
in art of
The
the Doric dress in
development are to be found in the maidens
of the Parthenon frieze and the Caryatids of the
Erechtheum.
Here the pouch
curve
graceful
dipping
is
over
emphasized, and the
hips,
its
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
be seen that the folds
will
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
v/
DORIC
46
not found represented in art before the it
becomes
where
it is
century
fifth
red-figured
worn
the only garment
is
worn over an under-dress.
is
to
be found
Some-
in other cases
it
A sculptured example
an Artemis
in
;
;
vases,
very frequently depicted ungirt.^
it is
times
common on
fairly
in
Dresden,^ for the
original of
which FiirtwSngler claims Praxitelean
authorship.
This was probably the dress worn
by Laconian girls, to whom the term atvo/At]plf, "showing the thigh," was applied by some ancient writers.*
A
variety of this dress appears in art about the
middle of the
fifth
century
it is
;
sometimes known
as the "peplos of Athena," because Pheidias chose it
as the style in which to drape his statue of the
Athena Parthenos.
The word "peplos"
is
usually
reserved for the Doric dress whether open or closed, the
" chiton " for the Ionic,
word
though the
latter
and is invariably used of the under-dress, when the two styles became The "peplos of Athena" is similar to confused. is
frequently applied to the Doric,
the ordinary open Doric dress, except that the overfold is longer
girdle
is
and reaches
worn over
to the thighs
The
it.*
material
is
and the pulled up
very slightly over the girdle, but not sufficiently to hide
it
in
the purpose of the slight pouch
front,
being merely to prevent the dress from dragging
under the arms, and from the sides. '
Fig. 12.
s
Pollux,
The
girdle "
II.,
187.
is
trailing
at first
on the ground
at
worn round the
Fiirtwangler, Masterpieces, p. 324. * Fig. 13.
Fig.
12.
— Vase-painting— British
Museuin.
[Face page 46.
Fig.
13.
— Vase-painting
in the
Polygnotan Style— Louvre
[Face page 47.
THE "PEPLOS OF ATHENA" waist, but later
put on higher,
is
it
Athena from the frieze of the is worn immediately under clearest representation in art
altar at
is
the
47
on the
until,
Pergamon,
The
breasts.
to be found in the
Varvakeion copy of the Athena Parthenos, and occurs also in
many representations girdle
is
passed not only
"torso Medici"^ this overgirt peplos
is
The
type.
the
In
over the overfold, but also round the aegis
an under-dress of the Ionic
it
of Athena which
were obviously influenced by Pheidias.
Dresden " Lemnia," ^ the
it
;
in the
worn over date of the
introduction of this style of wearing the Doric dress
a point of some uncertainty.
is
The
question arises
it was invented by Pheidias or was commonly worn and adopted by him as
as to whether
already
being most appropriate for his great representation of the maiden goddess.
have no example of unless
of
we
Certainly, in sculpture
it
assign an earlier date to the
"mourning Athena,"
the
probable
;
we
before the time of Pheidias,
which
little
seems
relief
im-
the Iris of the Parthenon frieze wears
and among slightly later works the Victory of Paeonius at Olympia is a good example, though here the dress is slightly varied by being fastened it
;
only on one shoulder.
Further evidence
afforded
is
by the vases, but even these do not give any certain proof; the dress does not appear before the middle of the
fifth
century, but after that date
fairly frequent,
and
is
it
becomes
given not only to Athena but
to other divine or mythological personages, such as '
Fiirtwangler,
pi.
ii.
'
Ibid., fig. 6.
DORIC
48
Persephone/ Nike, Cassandra, and also to hand-
maids
on
attending
ladies
in
more
elaborate
some of these vases the work is obviously post-Pheidian, but many of them were probably made before the completion of the Athena Parthenos, and the fact that the overgirt dress is so In
costume.
frequently represented that
it
was a
on slaves renders
style of dress actually worn,
it
likely
and not
merely the invention of the great sculptor's imagination
;
it
was
probably selected
Parthenos because of the possibilities
its
for
the
extreme simplicity and dignity which
statuesque
of
by him
it
contained. It
has been mentioned incidentally that the
Doric peplos
is
sometimes found worn over another
garment, but
it
is
indoors,
and
put on over
for
ordinarily the only
outdoor wear another
The
it.
garment worn sometimes
is
overfold of the peplos could
by drawing the back part up over the head it is so used by a woman on a redfigured vase in the British Museum.^ itself
be used as a
veil
;
The
worn by women in classical the Homeric Kp^Sepvov and is
outer garment
times corresponds to called the luarlov,
although
this
term
is
applied by
Herodotus to the Doric peplos. By derivation the word simply means "a piece of clothing," being connected with el/na and epwfu. It consisted of a large
oblong
feet in length,
wearer's height. 1
of
piece
and
in
about
material
7
or
8
breadth about equal to the
Considerable variety was possible
B.M., E. 183.
»
E, 307.
[Face page 49
Fig.
15.— Terra-cotta Statuette—British Museum.
[Face page 49.
THE HIMATION
49
arrangement of it. It could be worn both as head covering and cloak, by placing the middle of the. upper edge over the head and letting the two
in the
sides
fall
down over
the shoulders like a shawl
;
it is
often so depicted on the vases both black- and redfigured
the figure of Eleusis wears
;
Triptolemus vase by Hieron
it
in the British
so on the
Museum.^
was frequently worn over the shoulders in this fashion without covering the head, and could easily be pushed back or drawn up over the head at will. It
A
second
very
common way
of
arranging the
himation was to draw one end over the
from the back towards the
down
left
front, so that
shoulder it
hung
a point in front, then to pass the mass of
in
material across the back and under the right
and throw the other end over the so that the second point
left
arm
shoulder again,
hung down towards the
style both for men was a very and women.* If additional warmth were required, it could easily be obtained by drawing the cloak up
back:
common
this
over the right shoulder, so as not to leave the right
arm and
chest exposed.
A
combination of these
some of the Tanagra statuettes, where the himation is put on over the head. Both two
styles is seen in
shoulders are covered
;
but instead of the two ends
being allowed to hang
down symmetrically one on
each side of the
one
front,
is
taken up and thrown
over the other shoulder, so that the whole figure
covered in the ample folds of the cloak.* 1
2
Fig. 14, the figure to the right in the upper band. ' Fig. 15. See Fig. 20.
G
is
DORIC
50
A
rather exceptional variant of the second style
of wearing the himation
Euxitheos
in the British
represented wearing
is
be seen on a vase of
to
Museum,^ where
Briseis
is
with one end placed on the
it
mass of the cloak being drawn across the back the other end is passed under the right arm, but instead of being thrown over the left shoulder again, is turned back over the right shoulder, and so leaves the front of the figure
left
shoulder,
the ;
exposed.
A
third
fashion
second, except that
is
it
somewhat
similar
to
the
leaves the front of the figure
exposed to the waist or a
little
below.
Instead of
being drawn across the chest and thrown over the left
shoulder, the second end
is
simply thrown over
the forearm and held in place by the bend of the
A cloak worn
elbow.^
likely to slip, so
in this style
would be very
another fashion was adopted, which
produced approximately the same
effect,
prevented the possibility of slipping.
throwing the end over the secured
it
at the waist
left
but which Instead of
arm, the wearer
under the arm either by a
brooch or more probably by simply tucking the girdle.
down
To
it
under
prevent the garment from hanging
too low and dragging on the ground, a large
corner was usually doubled over
before
it
was
The part thus fastened was sometimes passed over the end which hung down from the left shoulder, sometimes under it. The secured at the waist.
himation '
is
so worn by Mausolus and Artemisia
E. 258,
fig. i6.
2
Fig. 17.
in
Fig. i6,
— Vase-painting
by Euxitheos
— British
[Face page &0.
Museum.
Fig. 17.
—Vase-painting by
Falerii
— Rome,
Villa Giulia.
[Furtwangler and Reichhold, Griechische Vasenmakrei, 17 and 18.]
{Toice
page
fiO,
Photo, hy A. Giraudon.]
Fig.
i8.— Athena
of Velletri.
[Face page SI.
METHODS OF WEARING THE HIMATION
A very
from the Mausoleum.
their portrait statues
51
good example is the Athena of Velletri published by Flirtwangler.^ On many of the monuments of the Pheidian period and the time immediately preceding it, we find that the Doric peplos is worn alone or with a small cloak or shawl laid on the shoulders and hanging down the back, as in the case of the maidens carrying sacrificial vessels on the Parthenon frieze. This small shawl was perhaps worn more for ornament than for the sake of warmth, and an ample peplos of warm woollen material might be found
sufficient protection.
may
It
be objected that
in the majority of the
examples chosen as illustrations the himation is worn not over the Doric peplos, but over the Ionic chiton,
and
it
has indeed been sometimes regarded as an
element of the Ionic dress rather than of the Doric. It does, however, appear over the Doric peplos, in
e.g.,
Fig.
i8 and on
many
black-figured Attic
and it is not difficult to trace its development from the Homeric Kp^Sefivov worn symmetrically over It is an easy step in the head and shoulders. advance to throw one end of the cloak over the opposite shoulder, push it back off the head, and vases, ^
bring one arm out free instead of letting
it
remain
serve to illustrate
an
inter-
mediate stage between those represented
in
Figs.
Fig.
covered.
1
5
might
14 and 17.
An >
attempt
will
Masterpieces, p. 142,
be made
fig. 18.
later to
show ^
that the
B.M., B. 331.
DORIC
52
was fastened with brooches, and had development. The wearing of the un-
Ionic himation
a different
pinned himation over the Ionic chiton
is
an instance
of the blending' of pone and Ionic dress,-^
The Doric
dress of
men was
similar to that of
women, both with regard to under-dress and
cloak.
The name x'''"^''
it
is
used for the under-dress, as
was
Homer, the word peplos being restricted women's garments. The outer garment of men in
well as of
women
is
to
as
called the himation.
The Doric men's chiton is fastened by brooches on the shoulders and girt in at the waist. It was a short garment reaching midway down the thighs, or to a distance just above the knees, had no overfold,
and was narrower than the women's peplos. No
kolpos was worn, there being no superfluous length
The
was sewn up so that the garment before being pinned was cylindrical in This somewhat scanty garment was the shape. to dispose of.
side
men engaged in active and workmen frequently wore it fastened only on one shoulder, leaving the other bare and the arm quite free. When worn in this way it was called the x*™" eiwfiis or eTepofidaxaXos the god Hephaistos only one worn by slaves, and
pursuits
;
is
usually represented wearing
capacity as craftsman. 47, that the eimfxn evSvixa,
was a
from which we
it
in
We learn
may
this
way
in his
from Pollux,
vepifixiiixa
vii.,
as well as an
gather that a small cloak
was sometimes worn fastened on one shoulder and girt round the waist, but left unsewn down the side. Fig. 19 represents the
x'''""'*'
e#«A«y.
Pig. ig.
— Bronze
Statuette— British Museum.
[Face page 53.
;
DRESS OF AMAZONS
53
Amazons and
Representations of
the huntress are frequent, wearing the
but in these cases
than that worn by men, and is
drawn up over the
then a second girdle
«?«/«?
its
superfluous length
forming a pouch
girdle,
worn over
is
x*'^'''''
usually a longer garment
is
it
of Artemis
;
and
this to prevent
The Amazons
it
from flapping
in the wind.
Mausoleum
wear the short Doric dress withand unsewn down the side this,
out
overfold
however,
is
of the
frieze
;
perhaps merely a device on the part of
the sculptor to afford an opportunity of displaying the physical forn^, as well as the drapery. references
in
women wore Athenians
;
show
literature
more scanty
that
Various
Spartan
the
clothing
than
the
they are described as hovoxItodv, " wearing
a single garment," and we learn from Pausanias that the girls
who competed
Olympia wore the short
in
x'twi/
the running races at
As monumental statement, we have
eicofiis.
testimony to the truth of this
the statue of a girl runner in the Vatican Museum.
The
worn by Spartans and people of austere or Laconizing tendencies, like Socrates and the Cynic philosophers, was probably a scanty Doric chiton made in some coarse homespun material men of leisure and elderly men preferred t/m'j8wi/
;
to wear a longer chiton with sleeves either
fastened with brooches after the reaction
;
this
sewn or
was the case even
against anything savouring of
Orientalism which followed the Persian wars.
If
we
are to consider the monuments, both sculpture and vases, as giving a realistic picture of
Greek
life,
we
DORIC
54 that
shall see
tion
;
but
it is
men
frequently wore only the hima-
difficult to believe
except, perhaps, in the height of
The methods same for men as men
so,
summer.
of draping the himation were the
women, except that
for
wearing
represented
shoulders like a shawl
;
it
after the
we do
period of the early black-figured vases find
was
that this
laid
on
not
both
nor do they ever wear
it
drawn up over the head, although in the sunshine of a southern summer some such protection against the heat might be considered indispensable. The favourite style for men was that of laying the one end on the left shoulder and drawing the rest round the body from the back and throwing the other end either across the left forearm or over the This was called wearing the himation eirJ shoulder.^ drawn closely Seiia, presumably because it was round the right side of the body. It was considered a mark of good breeding to throw it over the shoulder and let it hang down in such a way as to cover the left arm completely.^ To wear it eV apiarrepa, " over the left side," was a mark of boorishness, as we gather from Aristophanes Birds^ where Poseidon taunts the barbarian Triballus it
for
wearing
so.
Another variety of ov^r-garment worn by men is
the X'^^Mw, a cloak used for riding or travelling.
It is
considered to be of Macedonian origin,* another
form of '
it
being the
Figs. 20 *
and
21.
fe*/oa,
'
a rough Thracian ridingFig. 20.
Pauly-Wissowa, Real EncyclopiXdie.
'i.,
1567.
THE CHLAMYS
55
cloak sometimes depicted on Greek vases.^
was probably brought into Greece from the north by the Dorian invaders when they came down, and in its origin may have been no different from the Homeric x^"'""- In classical times it was always worn over the short chiton by travellers and riders, and was the characteristic dress of Ephebl^ The Parthenon frieze affords abundant illustration of the It
Fig. 24.
way
which
in
was worn.
it
Like the himation,
it
consisted of a rectangular piece of material, but was
being rather more
of a slightly different shape,
oblong
;
in fact,
when doubled
it
would form almost
Its normal dimensions would be a perfect square. about 6 to 7 feet long by 3I feet wide. In putting it
on, the wearer
stand inside
it,
the back of the '
would double
it
round him and
so that the middle line came along left
Fig. 22.
arm and shoulder Fig. 23.
;
he would
DORIC
56
then fasten the two sides together with a brooch on the right shoulder, close to the neck, at the points
and y in the accompanying diagram the corners d and b would hang down in front and behind respece
;
at
tively
a distance of about
ground, and the corners a and
i
c
foot
from
the
would hang down
together along the right side the left arm which held the reins in riding would thus be covered, ;
while the right would be free to hold spear or whip.
The
left
chin instead of on the shoulder
a and
c
by swinging came under the
could easily be freed also
the cloak round so that the brooch ;
the two corners
could then be thrown back over the arms.
The
x^"/*"? is frequently
this
way, especially in cases where the wearer
represented in art worn in
occupied in vigorous action.
is
;
IV
IONIC
We must dress,
now
turn to a consideration of the Ionic
which Herodotus
Athenian women
us was adopted by the
tells
in the sixth
century
Accord-
b.c.
was Carian in its origin our is somewhat vague and learn from Thucydides^ that they
ing to his account,
it
;
knowledge of the Carians
We
indefinite.
originally inhabited the Cyclades, but were driven
out by Minos of Crete
and a
;
little
later
on ^ he
speaks of them, together with the Phoenicians, as islanders
who
practised piracy.
Herodotus* gives
a slightly different account, saying that the Carian inhabitants of the islands were subjected by Minos
and used by him
to
man
and were not by the Dorian and Ionian
driven out until later
He
immigrants.
his ships,
also mentions the
belief of the
Carians themselves that they were autochthonous in Caria,
and attributes
to
them various inventions According to
afterwards adopted by the Greeks.
Thucydides,
their
seems to have
method
differed
of burying
» i.,
4.
dead
from that of the Greeks
and from the various accounts of the two ''
the
' i., 8.
3
i.,
historians,
171.
H
IONIC
58
we may gather
that
their Ionian neighbours.
the Greeks adopted
If,
different,
soon hellenized by
possibly they were
although
was
race
their
as Herodotus
some Carian
tells us,
inventions,
is
it
may also have adopted the least may have modified their
not unlikely that they
Carian dress, or at
own by assuming some Carian elements/ < In his account of the assumption of '
the Ionic
dress by the Athenians, Herodotus speaks only of the women but we know that it was worn by men ;
also,
partly from the evidence of the
and partly from Thucydides, who
tells
monuments us
long previously to the time at which he the elder
that not
is
writing
men of the wealthy classes gave up wearing and fastening
chitons
linen
^
reTTii, "cicala,"
a luxurious
their
hair with
the
mode of dress common
to
them and their kinsfolk the lonians. The Ionic dress was probably discarded by the Athenians shortly after the outbreak of the Persian war,
a
reaction
set
in
against
when Orientalism and a
tendency towards greater simplicity began to mani-
Thucydides
more than a generation after the Persian wars, but his expresitself;
fest
is
writing
xpovoi, "no great length of time," is vague, and he probably recollected the change which took place in his youthful days
sion, ov
TToXi/s
sufficiently
;
moreover, he speaks only of the elder
wealthy classes, >
who would
men
of the
naturally be of conserva-
According to Ridgeway, Early Age of Greece, the Carians,
the Leleges, were a Pelasgian people.
M.,6.
like
THE
and the
tive tendencies
mode
their
of
IONIC CHITON
life
last to
or dress.
59
adopt any change
The
in
exact period at
which the Athenians adopted the Ionic dress
is
unknown
of
the
;
^ginetan expedition of 568
which Herodotus makes use is
too
we know that already in dress had reached such a
late, for
luxury in
it,
pitch as
to
Doric dress was
reached so long as the simple retained.
Solon's days
the passing of a sumptuary law to and such luxury could hardly have been
necessitate
regulate
B.C.,
change,
in dating the
may
It
not be unreasonable to assume,
then, that constant intercourse with the lonians in
the islands on
Athenians
to
the
adopt
coast of Asia Minor led the their
dress
at
some time
towards the end of the seventh century.
The
Ionic
length, material,
Homer
in
chiton differed from
and method of
robed lonians," and Pollux -TToSijpt],
tells
We read "long-
eX/cex'Twi/e?,
us of the Xtvow x'™" " the linen
Koi a5dis"I(>}ues,^
the Athenians wore reaching to the
tunic which feet,
fastening.
already of the 'laWe?
ov 'Adrjvaloi e<j)6povv
the Doric in
and the lonians
too."
This
long chiton reaching to the feet
x'"''""' ;
that
"^oS^ptis
its
is
a
material
was linen is testified by Thucydides and Pollux, as The story of Herodotus well as other writers.^ shows that
its
fastening was different from that of
the Doric, since the Athenian
adopt
to
1
Poll.,
it,
vii.,
iVa
Sri irepovija-i ft-n
women were
x/oetoi/rat,
forced
" so as not tO
49.
Studniczka has pointed out that the word X'Tiii' is of Semitic origin, and connected with a root signifying "linen," Beitrdge, p. 17 f. 2
IONIC
60
This expression
need brooches." to
usually taken
is
that the characteristic difiference between
mean
the Doric and Ionic chitons
that the Doric
is,
is
means of pins or brooches, the Ionic is That this is not always sewn on the shoulders. invariably the case is proved by many examples fastened by
and vase-painting, where a chiton is represented, which, from its length and fulness and the fine texture of its material, is clearly Ionic, but which is not sewn on the shoulders, but fastened together down the upper arm by a series of small round brooches this fastening forms a kind of
both
in sculpture
;
loose slefeve which reaches frequently to the elbow. fit
is
the formation of this sleeve, whether sewn or
pinned, which, apart from size or material, distin-
guishes the Ionic from the Doric chiton, which sleeveless.
The
cylindrical
in
length, but
is
wearer
Ionic chiton in
shape,
and varies considerably
is
in
always longer than the height of the
the superfluous length
;
simplest form
its
is
is
drawn up through
the girdle to form a kolpos, which varies in depth
according to the length of the chiton/
The Maenad
vase of Hieron gives a good idea of the size to
which
made
this
kolpos
sometimes
attained.^
|
Being
of a fine linen material, the Ionic chiton
naturally
fuller
than
the
coarser
woollen
is
Doric
and its folds are consequently more numerous and more delicate it is the greater width of the garment which necessitates the formation of garment,
;
the sleeve, as a single fastening from the shoulder '
Cp. Fig. 14, the second figure to the right
in the
lower band.
Fig. 25.
—Vase-painting
from Lucania
— British
Museum.
[Face page 61.
THE
IONIC CHITON
61
would leave too great a mass of material hanging down under the arms. The sleeve is made by joining the two top edges of the garment together and
gathering them up so as to form regular folds
opening
is left in
an
;
the middle for the neck and one at
armgj The arm-holes were probably not formed, as some believe, by lateral openings in the side-seams, since this method produces a clumsy effect in practice and moreover, in many each end
for the
;
vase-paintings
the ornamental border which runs
^
along the neck and upper arm passes also round the
arms
being
without
tinued
down
con-
the side, which
was embroidered or woven along the top edge of the chiton
shows
that
it
before the sleeves were made.
A
diagram
how
best
will
show
the sleeves were formed,
and the position of the openings for neck and arms ab :
represents the upper edge of Fig. 26.
the chiton,
border
is
along which a
woven
frequently
or
embroidered
ef
;
represents the space for the neck, through which the
head
arm-holes,
is
ad and hang down
thrust
which
wearer's sides
when
normal position
;
;
represent
parallel
the arms are held
to
down
the the in
a
the side-seams ag and bh are sewn
along their whole length '
be
E.g., B.M., E. 73
;
;
the distances de fc are
cp. Fig. 25, the
two male
figures.
IONIC
62
joined and gathered to form the fulness
is
addition
sides,
sleeve.
frequently held close to the figure
of cross-bands,
either
and behind and attached
front
full
The
by the
crossing both
in
to the girdle at the
the back and passing
only at
or crossing
I
round the front of the shoulders^^
A very excellent
sculptured representation of this, the simplest form
of the Ionic chiton,
Delphi
charioteer,
sleeves
is
the sleeve
by a
where the gathering
famous of
the
In cases where
very clearly marked.^
not sewn, the spaces de a.nd/c are joined
is
series of brooches,
to six
to be found in the
is
on each
taking up a
side.
little
varying in number from four
The
fulness
group of
is
folds at
produced by
each fastening
and leaving the spaces between quite plain
;
the two
edges are usually parted in these spaces, so as to
show the arm through. These groups of folds are perhaps more effective than the continuous row of gathers which
we
get with the sewn sleeve.
Euxitheos vase reproduced above ^ illustration of the chiton
The
will furnish
with pinned sleeves.
an
A
short chiton, with sleeves pinned in several places,
was frequently worn by men, as
We
vase-paintings.
sented
wearing
a
is proved by many sometimes find women repre-
chiton
full
without overfold,
fastened only once on each shoulder, like the Doric dress.
This
is
one of the
the Ionic dress underwent
mainland of Greece. figures
rapid
in '
Fig. 27.
We
many modifications which when introduced
into the
frequently find on vases
motion wearing the long Ionic a
Fig. 16.
Fig. 27.
— The
Delphi Charioteer.
[Face page 62.
Fig. 28. [
— Vase-painting — Munich.
Fiirtwangler and Reichhold, Griechische Vasenmakrei, 33.]
[Fme paje
68.
THE
IONIC CHITON
chiton with lines, in
many
folds,
WITH OVERFOLD
63
represented by fine close
which the lower edge of the chiton
in front
drawn up to an angle on one or often more places. It was supposed by Bohlau^ that this was meant to indicate that the garment had been cut at is
the bottom in a series of points. cutting
to see,
is difficult
The
object of this
and on examination
it
will
be found that wherever the lower edge of the chiton is
so drawn up, immediately above
it
the kolpos
hangs down deeper over the girdle the figures are usually in rapid motion, and the lower edge of the back of the garment, which shows behind the feet, is ;
represented by a continuous curve, without being
drawn up anywhere.^ artist
It is
obvious, then, that the
intended to indicate that the wearer had
drawn the dress up through the
girdle, so as not to
impede progress. Anyone who has ever moved about freely wearing a chiton of this kind, will
know
that unless the girdle
is
uncomfortably tight
the dress has a habit of slipping down, so that necessary to pull treadjng on
^
it
it
up sometimes, so as
it is
to prevent
in front.
feature of the Ionic chiton not very easy to
understand
is
the overfold, which occurs very fre-
quently, especially in vase-paintings of the severe
red-figured class Ionic
chiton,
;
it is
not a normal feature of the
and may very possibly have been
added by the Athenian women when they adopted the dress, since they had always been accustomed to wearing >
it
with the Doric peplos. V
QfUBStiones vestiaries.
^
Fig. 28.
The view
IONIC
64 that
Herodotus
(v.,
87)
is
wrong, and that the
Athenian women never wore the Doric dress at is hardly tenable in the face of
Frangois vase and others like
all,
such evidence as the
it,
which are certainly
of Attic workmanship.
\The Ionic chiton with overfold is really, then, an instance of the blending of the two types of dress, which later became so complete that it is frequently difficult to decide whether a particular garment should more correctly be called Doric or Ionic, In some instances the overfold of the ionic chiton is formed in exactly the same way as that of !
the Doric dress, only
it
is
frequently shorter
:
it
is
turned over before the garment is put on, then back and front are fastened together along the arm, either by sewing or by brooches. In this latter case the only distinction from the Doric dress, in addition to those of size and material,
is
that instead of being
pinned only once on each shoulder, and so being sleeveless, it is pinned along from shoulder to elbow,
An
so as to form sleeves.
example of
this
is
to be
seen in a figure of Aphrodite from a vase-painting in Paris
reproduced by Miss Harrison.^
This
style
of dress, with the sleeyes sewn instead of pinned, foikid
on the
first
is
of the so-called Fates of the
Parthenon pediment, and on one of the Nereids from the Nereid monument, on a torso at Epidaurus, and on many vase-paintings. Although not always represented in
art,
shoulder-cords or cross-bands
were probably actually worn with this dress, as a '
Prolegomena
to
Greek Religion,
p. 292.
— THE SLEEVED CHITON general rule, since without
would
A is
65
some such contrivance
it
slip inconveniently.
type of dress very
that which has
commonly found on vases
sleeves to the elbow
full
and an
overfold covering the chest and back, and passing
under the arms without covering the the case in the
chiton
sleeves, as
described
was
The
above.
Maenads on the famous Hieron vase are represented wearing this kind of dress, and numerous examples could be quoted from other vase-paintings.^ Some such effect might be produced with the ordinary cylindrical-shaped chiton with overfold,
if
shoulder-bands were worn such as those worn by the Delphi Charioteer and by one of the so-called
Fates of the east pediment of the Parthenon in actual practice
;
but
such an arrangement would pro-
duce a somewhat clumsy mass of folds under the arm, and could not be managed at all unless the overfold were considerably deeper than that usually
We must
represented on the vases.
look, therefore,
some other explanation and it will not be seek, if we allow the Ionian women and for
;
Athenian imitators a
freer
use
of
far to
their
scissors
and
needle than their Doric sisters were accustomed to
A
make.
show
close examination of the
will
that although the sleeve of the Ionic chiton
manner described a very large number of cases, in
was frequently formed above, yet
almost sleeve
monuments
all
is
in
of which
more
like
in
the
the overfold
is
present,
the
our modern notion of a sleeve >
Cp. Fig. 29. I
IONIC
66
that
is
to say,
shaped
garment painter
fits
it
some
to fits
is
this kind of dress is
to
the
fond
of
:
figure.
depicting
though of
while the rest
extent,
closer
Brygos
closer to the arm, as
the
The vasewomen in
the accompanying illustration
taken from his representation of Hera and
^
Iris
pursued by Silenoi.
This dress
composed simply of a
cylindrical piece of material
is
obviously not
folded over at the top
and fastened on the arms, for the rather
deep overfold leaves the sleeves quite
free,
and covers only the body of the wearer. This
effect
could be
produced in two ways, in
both
of
which,
however, the sleevepieces
must be sewn
in separately. first
method, we
may suppose
In the
that two rectangular
pieces of material are taken, equal in size
and shape,
represented in the diagram as abed.
These are sewn together along the sides up to the points e and yj at a distance of about 5 feet from the lower edge points will
may
;
when
the dress
is
worn, these
come immediately under the arms.
We
next suppose that two rectangular pieces of
material measuring about 18 by 20 inches are taken '
Fig. 29.
Fig, 29.
—Vase-pamting
by Brygos
— British
Museum.
[Face page
Oti.
THE SLEEVED CHITON for the sleeves
longer sides
6V
these are folded double, so that the
;
upon each
and then sewn on to the body of the chiton at the points y^ h,g, and e, so that the fold lies in the position indicated by the lines y? and el' in the diagram the openings kl and lie
other,
;
}^l' will
form the arm-holes
abgh which
still
that part of the chiton
;
extends above the sleeve-pieces
then folded over, so that position gha'b'.
The
hangs down
it
now
kk!
line
is
in
the
represents
the
upper edges of the garment, which are fastened together (leaving the space
mn
for the neck) either
by sewing and gathering or by groups of folds held in place by a series of brooches. The front and back part of the overfold would then hang down separately, but they could be joined together under
the arms, provided that the space round the shoulder
were
left free for
the
arm
to pass through into the
sleeve.
The second method
making
of
nothing but a modification of the
this dress
of taking two smaller rectangles in the
ghcd, to form the body of the chiton
abgk are sewn on back and pieces, to
form a sort of
have exactly the same
is
It consists
first.
first place,
two pieces
;
front, after the sleeve-
false overfold,
effect
as
if
it
which
were
in
will
one
piece with the rest of the chiton. It
is
possible to conceive of the sleeve-pieces
being originally
in
one piece with the
rest of the
which would then be a dress composed of two cross-shaped pieces of material sewn together
chiton,
along the edges dfl and
eel!
;
it
is
more reasonable
IONIC
68
however, that the sleeve-pieces were
suppose,
to
sewn on
That such
separately.
sleeve-pieces were
attached to the ordinary Ionic chiton without overfold
seems
likely
addition of sleeves was
the Greeks, for
we
certainly not unfamiliar to
find slaves
wearing a narrow,
ungirt chiton, with tight sleeves reaching
A familiar example of this
wrists.
The
from many vase-paintings.
is
to the
to be found in
Hegeso's attendant on the well-known grave relief in
Athens.
In an
dating from the
inscription,
middle of the fourth century,^ and recording
number of garments dedicated
large
to
Artemis
Brauronia, the expression
x^'P'^fTo's occurs,
can only mean "sleeved."
In the
special
mention
the chiton,
or
from which we
is
frequently
x'-'^oovla-Kos,
may
made
same
it
which
inscription
of the fact that
efi-KKaialw,
is
infer that
a
"oblong,"
was not always
Now, the ordinary simple Ionic chiton would be oblong in shape when not worn, so that we
so.
may
take the others, which are not described as
oblong, to
be chitons with separate sleeve-pieces
attached.
The
false overfold
was sometimes attached
to the simple cylindrical
cases
it
Ionic
chiton.
In
also
these
covered the chest only, leaving the arms
covered only by the sleeves
;
it
was probably simply
sewn on
at the
collected
and stated the evidence for this false overfold an article in the Jahrbuch, vol. xi.,
neck in front only.
Kalkmann has
to the chiton in
where he shows that 1
it
was sometimes applied
C. I. A.,
ii.,
7S4.
to
THE SHORT the over-garment also.
IONIC CHITON
Very
clear
69
examples of
it
some of the archaic female statues on the Acropolis at Athens, especially in those cases where the himation is worn like a shawl over are to be seen in
both shoulders.'
That the long Ionic chiton with sleeves was worn by men as well as women, is abundantly evident from the monuments. On the vases, Zeus and Dionysus and other gods are almost invariably represented wearing it and in sculpture also, kings, priests, and others are represented so dressed. Together with the himation, it probably constituted a sort of state dress for priests and other officials, even after it had been discarded for daily use, as ;
being too luxurious.
A
short chiton, with or without sleeves, and
made of some
fine material, is to
vases worn by
men engaged
sometimes has an overfold
;
be found on the
in active pursuits.
It
although, with the long
chiton, this feature is usually confined to
women.
A
good example of the men's short chiton with overfold is to be seen on the vase of Brygos representing the exploits of TheSeus.
The
and shoulder-cords already strictly speaking, an element of the
cross-bands
mentioned
are,
Ionic chiton, though they are sometimes represented in art
over the Doric peplos.
the ample folds of the
and
full
Their object
is
to hold
chiton close to the figure,
to prevent the sleeves from slipping or flapping
about with every movement of the wearer. 1
Nos. 687 and 688.
The
IONIC
70
cross-bands are usually attached to the girdle and
can be of one piece with
it
their place is
;
some-
times taken by a second girdle, worn rather high
over the kolpos, as
is
the case with the Artemis of
Gabii reproduced below (Fig.
37).
This high girdle was known as the aiToBea-fxoi,
or
raivla,
whereas the low girdle was called
Trepi^Zfta,
A broad band, known as the iov, was sometimes worn by women under the breasts, to serve the purpose of modern corsets/ A word or two must be said about the diminutives of xiT
—
to
The
be the case.
frequently described as
Eustathius
x*''*'^''""'
Siaaves,
^iid
^rs
x'''"'*''"/"'"'
"transparent,"^ and
1166) explains the words as refer-
(iii.,
ring to a fine and luxurious dress worn by women.'
In the inscription to Artemis Brauronia
^
we
read
—
more than once of a x''^'^''^ov a/xopytvov that is, a garment made of linen from Amorgos, which we know was very fine and expensive we may infer, then, that the diminutives x'twwoi/ and x'Twi/a/atoi/ refer ;
to fineness of material rather than to shortness of cut.
The is
case of the
x''^'^'"''^*^"^
is
somewhat
different
not referred to as being transparent, and
;
it
is
usually described in the inscription cited above as
being very ornate. '
" 3
Women
are frequently repre-
B.M., Vase, E. 230. Ar. Lys., 48 Menander Meineke. frag, incert, ;
C. /. A.,
ii.,
7S4.
141.
THE on
sented
IONIC HIMATION
vases ^ wearing over
71
the long
Ionic
chiton a short and sometimes very ornate garment,
which cannot be described as a himation.
Possibly
garment indicated by similar garment was worn
this short over-chiton is the
the
name
A
x^'^^v^c'^os.^
by musicians over the long ungirt chiton (op^oo-Td^to?).' Another instance of a special dress worn for a special purpose is the costume worn by actors it had long sleeves, and was probably padded to complete the impression of increased size produced by the high masks and buskins. The himation worn over the Ionic chiton presents considerable variety of shape and arrangement. In very many cases we find that the Doric ;
himation
is
worn, whether over both shoulders or
In the Harpy monument, where we might have looked for Ionic dress in its purest form, we find the Doric himation worn over the fine linen-sleeved chiton, and on very maoy of the
only over one.
red-figured vases of the severe style this
There
may
one set
is
is
the case.
of monuments, however, which
be considered as Ionic in origin, or at least of
Ionizing tendencies, where a far less simple garment
takes the place of the Doric himation. includes
the
archaic
female statues
victories of the Acropolis
Museum
This
and
set
flying
at Athens,
and
a large number of small painted terra-cotta statuettes ^
Jahrbuch,
i.,
pi.
102a
;
Gerhard, Anserlesem Vasenbilder, 79, 80
Dumont and Chaplain, pi. 8 Journal of Hellenic 2 Cp. Amelung in Pauly-Wissowa's Real ;
" Chiton," p. 2322. 3 B.M., E. 270.
;
Studies, 1890, pi. 12.
Encyclopadie,
s.v.
72
IONIC
same museum, the sculptures of the Treasury of the Cnidians at Delphi, and a number of other statues and reliefs from Athens, Eleusis, Delos, and elsewhere. The dress presents a somewhat complicated appearance at first sight, and has given rise to a considerable amount of discussion. The following section is based upon a careful study of the original monuments and of the literature already written on the subject. in the
V
THE MAIDENS OF THE ACROPOLIS THE DEVELOPMENT OF THE IONIC HIMATION
The
problem of the drapery of the archaic female figures in the Acropolis Museum has been con-
by various
sidered
archaeologists, but has not yet
been satisfactorily solved of them. are
we
The questions
by any
in all its details
to be decided are
Firstly,
:
to suppose that the draperies of the statues
give us a faithful and realistic reproduction of a
costume actually
among
in fashion
the Athenian
must we
ladies at the close of the sixth century, or
take into account the fact that the work archaic and
the artists have not
yet
is
still
sufificiently
mastered their material to be able to reproduce
what they saw before them ? Secondly, what are the separate garments which constitute the elaborately complicated whole? And thirdly, exactly
how
are these garments arranged so as to produce
the effect seen in the statues
The answer in
to our
first
?
question
is
to
be found
a compromise lying somewhere between the two
hypotheses suggested. 73
The
early artist, struggling
K
THE MAIDENS OF THE ACROPOLIS
74
with the technical
difficulties
of his art,
is
always
ready, as soon as he has solved one problem to his satisfaction, to pass still still
on to something which presents
demands the
greater difficulties and greater
The makers
skill.
maidens have advanced so infuse
some
sort of
lively expression in the
life
of the Acropolis
far as
into their
to be able to
work
on some of the
exercise of
;
—witness the Moreover,
faces.
modelling of some parts of the
human
figure
they have reached a high degree of excellence.
In
the few cases in which the feet of the statues are preserved, a great degree of delicacy
and
refine-
ment is displayed, which shows that the artists had attained some considerable power over their Having advanced so far, they feel themmaterial. problem of representing
selves equal to facing the
drapery in sculpture.
It is
at this stage of artistic
not to be supposed that
development they would
invent difficulties which did not naturally present themselves, nor would they attempt to represent
anything that they had not actually seen
we must conclude
;
therefore,
that the Athenian ladies of the
period actually wore a dress corresponding closely
At
same time, it must be remembered that the Greek artist in all probability did not work with a model constantly before him, so that we must expect some slight differences in detail on that account furthermore, we must make some allowance for archaism for to that reproduced in art.
the
;
;
example, in
all
the statues under discussion,
drapery does not
fall
freely
away from
the
the figure.
Fhoto, by English Photographic Co., Athens.]
Fig, 31.
— Archaic
Statue
—Athens,
Acropolis
Museum, ^Face -none
7fS.
DESCRIPTION OF THE ACROPOLIS STATUES but follows the lines of the form beneath
75
in
a
manner impossible in real life. Having determined that the artists have represented a dress which was actually worn, we must proceed to consider the character of the dress as a whole, and of the parts of which
giving a general description
it
an example which exhibits characteristics
No. 594
various statues.
(Perrot and Chipiez,
pi.
de
16.)^
HAcropole,
will
all,
be
can
that
it
be best to take
or nearly
collected
will serve
xii.
;
In
consisted.
all,
from
the the
our purpose.
Lechat,
Au
Mus4e
The under-garment neck and left arm is repre-
fig.
which appears on the
by a series of fine wavy lines, running to one another, which give a crinkled
sented parallel
and
appearance,
possibly
material which
a
indicate
may
This garment
is
border, originally painted,
but from which the colour has
The
to
and down the upper part of the
arm by an ornamental disappeared.
meant
has undergone some
special treatment in the making.
finished at the neck
be
now almost
lower part
of
the
entirely
figure
is
covered by a very long and ample garment, which I
hope to prove to be the same as that which
shall
covers
the
garment
is
left
shoulder and upper arm.
This
ornamented with a broad and elaborate
meander pattern down the middle of the front and if the statue were not broken, we should probably ;
see another border round the bottom.
costume
is
comparatively simple *
Fig. 31.
;
So
far,
the
but above this
THE MAIDENS OF THE ACROPOLIS
76
worn a cloak which passes under the left arm and is drawn up to the right shoulder, where it is fastened so as to hang in heavy vertical
under-garment
folds
down
and
front
cloak
is
is
the right-hand side of the figure, back
most cases we
in
;
by a
fastened
series of buttons far as the
upper part of the arm, as
The example
elbow.
before
The
under the but
curve of the
of the cloak, passing
rest
arm, hangs in a series of oblique
left
almost
along the
now has an fastening down
us
additional wrap, which conceals the
the right arm.
find that the
shall
vertical
running parallel to a
folds,
These folds are apparently held in place by a band passing under the left arm and fixed on the other shoulder. The upper edge of the cloak hangs box-pleat which starts from the shoulder.
over this band in a sort of edge.
The mass
under the
represents the material which
The
forms the sleeve of the chiton.
wrap seen
in
simple matter
one or two of the statues ;
it
;
additional
a very consists of a large scarf worn
over the shoulders, hanging left-hand side
with a zigzag
of folds lying close to the figure
arm
left
little frill
it
down
leaves the
is
to a point
left
on the
arm uncovered,
passes round the back, and over the right shoulder.
down
Instead of hanging straight
to a point in
the right-hand side, the end of the scarf
is
turned
up and thrown over the arm. The end is broken away in No. 594, but appears in another instance (No. 684, Acropolis fig-
297,
p.
592).
Museum Both
;
Perrot and Chipiez,
cloak
and
scarf
are
COMPOSITION OF THE DRESS
77
bordered with patterns, of which the colour
still
remains to some extent.
Many
have been advanced as
theories
to the
various garments which compose the costume. will
It
be well to give a brief summary of them, and to
point out wherein they substitute one that
The
fall
more
is
short, and, if possible, to
satisfactory.
chief point at issue
is
whether the
part of the drapery belongs to the chiton
skirt
— that
is
garment which appears on the neck arm or whether it is part of the cloak
to say, to the
and
left
—
which passes under the
arm and
is
he believes that the
;
fastened on
Collignon even distinguishes
the right shoulder. three garments
left
skirt is the
chiton proper, and that the crinkled texture of the
meant of woollen jersey worn over
piece which appears above the himation to represent
some
sort
is
the chiton, which he calls the " chitoniscus."
The
difference
in
texture
comes
over the shoulders like a shawl,
omitted altogether
;
or
for example, in
very
out
where the himation
plainly in those cases
is
worn
where
it
is
Nos. 670 and
671.^
At
first
sight
it
appears as though two separate
garments were intended, but on close examination it will be found that the curved line which terminates the
wavy
lines of the
upper section has not the
appearance of an edge, but appears rather to turn
under and to represent a pouch, formed by pulling Moreover, in the garment up through the girdle. 1
Lechat,
figs.
8
and 9
;
Perrot and Chipiez, 290 and 292.
THE MAIDENS OF THE ACROPOLIS
78
some cases these parallel wavy lines appear on the skirt as well, and cover the whole surface with the exception of the mass of folds hanging down the middle This can
of the front.
(Lechat,
p. 161), in
from Eleusis, now
and
be seen
No. 687
in
a small statue of the same type
in the
National Museum, Athens,
in the relief of the Charites in the Acropolis
Museum is
clearly
(Lechat,
Again, the same technique
pi. 3).
found sometimes introduced into the rendering of Frequently on the shoulder, when
the himation. the cloak
is
fastened, a succession of these
wavy
parallel lines begins to appear, then stops suddenly,
and the
of the garment presents a smooth
rest
There can be no question here of a
surface.^
difference of material, nor of a
separate piece of
we must look
for
some other
explanation of the different treatment.
Lechat has
drapery,
so
that
and which finds confirmation in other monuments. He says "the difference in the appearance of the upper and lower part of the same garment is due to this that in the offered
one which
satisfactory
is
:
lower part,
all
the superfluous material
together in a single mass, and the rest tightly across the legs
the material, being
He
round the body."
regularity of the folds
some
;
while in
left free, falls in
gathered
is
is
drawn
the upper part, regular folds
all
further suggests that the
may be meant
to represent
treatment of the dress, such as
is
applied to the modQicn fusianella.
The archaism
of
the work, however,
account
artificial
is •
sufficient to See Fig.
32.
for this
Photo, by MansPll
Fig. 32.
(& Co.']
— Archaic
Statue
— Athens,
Acropolis
Museum
[Face page 78.
TEXTURE OF THE CHITON regularity in representing in
a
79
series of very full folds
*a
fine material held in rather closely to the figure.
The same
many of the red-figured vases of the best period. One from a vase by Euphronios is reproduced by Kalkmann kind of treatment appears on
{Jfahrbuch, vol.
ix. )
it
;
occurs also on the well-known
Troilus vase by the same
and
artist,
in
Euphronios,
numerous
other
instances
Above
the girdle the folds are represented by fine
wavy
parallel
lines
below by straight questioning
(Klein,
drawn
lines.
It
in
is
that in the case
of the Acropolis statues too, there
suppose that the difference
no
is
garment
one
only
we may conclude
two separate garments of
together
close
In these cases there
the fact that
intended, so that
very
215).
p.
no need
is
texture
to
represents
different materials.
has been suggested that there
may
be an
some
intention on the part of the artist to indicate
kind of material that had a crinkled texture, such as
some of the modern Greek
that of this
were
same
so,
we might
technique
all
stuffs
;
but
if
reasonably expect to find the over
the garment,
and the
comparison with the vases shows that the supposition
is
not necessary.
We may where figure
the is
conclude, then,
himation
is
that
omitted
in
those cases
altogether,
the
draped in a single garment, namely, the
long Ionic chiton described above. In
the
case of these statues,
exceptionally long
;
there
is
still
the chiton
some material
is
left
trailing on the ground after the formation of the
THE MAIDENS OF THE ACROPOLIS
80
deep "kolpos," which necessitates the skirt being held up in one hand, so as not to impede walking.
We
are at once reminded of the 'Idova
Hymn
the Homeric
We have
E\/fex*T5i/ey
to Apollo.
next to consider those cases
are in the majority
over the chiton
;
of
—and they
—where another garment
and
it is
on
worn
this point that archaeo-
Many
logists are at variance.
is
maintain that the
chiton only appears on the upper left-hand side of the figure, and that a very large cloak it,
which covers the whole of the
worn over
is
rest of the chiton,
and has a deep overfold at the top and trails on the ground behind, being held up in front and drawn aside in the view,
left
Studniczka supports
hand.
this
and calls the garment an "ionisirende Peplos."
in an article in the Jahrbuch for 1904, some drawings of some practical experiments he has made in draping a model in a garment of
Holwerda,
gives
this kind.
He supposes that it is
with a deep overfold, which
is
cylindrical in shape,
shorter on the shoulder
than elsewhere, and so produces a zigzag line along its
lower edge when draped
underneath
the
superfluous length
overfold, left
;
through
the garment was drawn
arm, and that
which we see
in
its
many
is
worn
which
the
by shortening the overfold
on the shoulder can be drawn. left
a girdle
tightly
He
supposes that
round under the
upper edge formed the
frill
A
of the Acropolis statues.
comparison between his finished model and statue
which he reproduces beside
show the points wherein
it
the
serves
his theory falls short
;
it
to in
;
THE OVER-GARMENT no way accounts
81
for the vertical folds of the cloak,
band which appears passing under the left arm and fastened on the right shoulder. Amelung, writing in Pauly-Wissowa's Real Encyclop'ddie, and Professor E. A. Gardner, in his Handbook of Greek Sculpture, maintain that the garment is simply a Doric peplos fastened on one shoulder instead of both, and held in place by a tight band, under which the width of the peplos is arranged in vertical folds. The main objections to nor
for
the
tight
to this theory are that the Doric peplos
is
invari-
ably fastened in one place only on the shoulder,
whereas the fastening of the garment in question
down
continued by a series of bfooches the elbow
is
as far as
the result would be to leave a very
;
heavy and cumbersome mass of material hanging from the right arm, which would seriously impede
any active motion.
Moreover,
it
leaves out
of
account a piece of material which appears almost invariably in front, below the zigzag edge, where
drawn up girdle, it
but
highest.^ it
Holwerda takes
it
it is
to be
a
has not the appearance of a girdle
hangs over the material that
falls
from below
it,
and does not cut into the soft stuff in the way in which a girdle would. That the makers of these statues
knew how
to represent a girdle
No. 679,* where the Doric peplos Ionic chiton. >
Perrot and Chipiez, VIII.,
pis. 5
Perrot and Chipiez, VIII.,
and
12.
;
plain from
worn over the
In this case the peplos
This feature comes out clearly in *
is
is
is
consider-
Lechat, 22, 29, 30, etc.
fig. 31.
fig.
303
;
Lechat,
fig.
31.
L
THE MAIDENS OF THE ACROPOLIS
82
ably shorter than the chiton,
garment
hangs down
which only
a distance somewhat above the
to
The Caryatid
ankles.
so that the latter
plainly seen below the peplos,
is
of the Cnidian Treasury at
Delphi has the girdle clearly represented below the box-pleat by two parallel, horizontal, incised
On
the frieze of the
figures are represented
an over-garment
;
lines.
same building some of the wearing the Doric peplos as
in these cases also
shorter
is
it
than the chiton, which invariably appears below the
An
feet.
now
Attica,
archaic
statue
in the British
chiton showing at the
Museum, has the
feet,
it
from Rhamnus,
and over
it
at in
crinkly
a himation
with a deep overfold reaching considerably below the waist
appears over the breast, but no band
frill
the
addition to this overfold a pleated
in
;
however,
frill,
is
deeper than
in the Acropolis statues,
side,
and
in that respect
It is significant
visible
is
;
usually the case
and might be intended
This over-dress
conceal a band.
is
is
sewn up
to
at the
resembles the Doric peplos.
that in this case, where the garment
might with more reason be regarded as a Doric let down from one shoulder, the chiton is
peplos
seen appearing below
it
at the feet,
and the over-
dress does not reach to the ankles.
In the few
cases where the feet of the Acropolis statues are preserved, fairly
it
will
be noticed that the skirt
high towards one fa
ankle.
I
expect
its
instance
is
side,
is
held up
so as to display the
long under-garment were worn,
lower edge to be seen here that the case, so that
;
we should but in no
we may conclude
APPLICATION OF COLOUR TO SCULPTURE that the skirt itself
who maintain
the under-garment.
is
»
83
Those
that the skirt belongs to the upper
garment support
their opinion
by the
fact that
very
frequently the ornamentation on the two different
parts is left
is
the
same
;
the natural colour of the marble
as a ground, and the decoration consists of
coloured
borders and patterns dotted somewhat
sparsely over the surface.
The
which appears on the
shoulder
left
part of the dress frequently
is
and we might have expected that if the skirt belonged to the same garment it would also be painted all over. But before accepting this argument as conclusive, it will be well to consider the nature and purpose of polychromy as painted
all
over,
applied to Greek sculpture.
In the early days
when
inferior materials
were
used for sculpture, colour was applied to them to conceal the poverty of the stone and to produce a
more pleasing surface than that offered by the rough material at the artist's disposal. These coarser materials were not capable of such careful finish, or of producing such a lively play of light and shade, as the marbles later used, and the only
way
to give
them animation was by the application of colour all It became, therefore, a regular over the surface. practice statues.
Greek sculptors to paint their When, however, they began to use more
for
early
beautiful materials, such as marble, they recognised
that
it
was a pity
to conceal its texture
extensive application of colour.
They
by the therefore
adopted the practice of submitting the surface of
THE MAIDENS OF THE ACROPOLIS
84
the marble to a process of polishing, and adding colour only in parts, the effect being that the beauty
of the marble its
is
enhanced by the contrast between
polished surface and the coloured parts of the
The range
statue.
limited
of colours used
and conventional.
is
For example,
somewhat
in the early
pediment groups from the Acropolis, we find red used
for
human
flesh
and the colours used
;
in the
draperies of the Acropolis female statues are limited to red
and
We
red.
blue.
may
Both eyes and hair are invariably therefore, that colour was not
infer,
added with a view to reproducing nature
faithfully,
but simply to decorate the statues.
therefore,
the artist
felt
If,
that a white surface of marble with a
few patterns sprinkled over
it
produced a more
pleasing effect than a surface coloured
would use if it
this
were not
all over,
he
method of decorating his work, even and he would prefer to treat
realistic
;
large surfaces of drapery in this way, rather than
them all over. When, therefore, in these statues, we find that the small surface of the chiton which appears on the upper part of the figure is coloured all over, we need not conclude that the skirt belongs to another garment because it is differently ornamented had so large a surface been painted all over, the effect would have been far less colour
;
pleasing.
The
difference
different parts of the
surprise us
;
it
in
the
decoration
same garment need
in
of
no way
occurs very frequently in the black-
where we get purple used for the upper part of a garment and black for the lower. figured vases,
TERRA-COTTA FIGURES OF SIMILAR STYLE simply with the object of producing variety.
85
The
argument from the application of coloured ornament not help us, then, in this case, especially
will
we
find that
it
when
can be used to support either view.
Professor Baldwin terra-cotta figures
Brown has pointed out that some in the Acropolis Museum, which
^
are draped in the same style as the archaic statues,
have the under-garment covering the shoulder and the skirt painted in one colour, and the part which passes
round the figure under the
another,
show
to
and he uses
this fact as
that the skirt
is
left
arm
in
a piece of evidence
part of the chiton and the
rest a separate garment.^
It will
in considering the different
be
safer, therefore,
garments which consti-
tute the dress, to leave the question of colour out of
account altogether, and to base our arguments only
on
their form.
Many who
maintain that the skirt
is
part of the chiton, are of the opinion that the upper
garment fold,
is
the ordinary himation with a small over-
fastened on the shoulder and
down
the arm.
Lechat supposes that the upper edge is taken up and drawn from beneath and folded over on itself, so as to form a sort of thick pad at the top, and he suggests that the pleats were folded before the cloak
was put on, and perhaps even ironed but this arrangement would not produce the vertical folds which we find in almost all the statues. ;
Cp. Jahrbuch, 1893 Arch. Anz., H. 519 Winter. Another possibility which suggests itself is that the sculptor may not have painted the statue himself, but may have handed it over to a painter who did not understand how the drapery was >
2
constituted.
;
;
THE MAIDENS OF THE ACROPOLIS
86
Kalkmann^ calls the garment a "stili^irte himation," and suggests that the vertical lines are continued round the figure because the artist had great
in
difficulty
between the vertical
arm and the
the
folds
transition
the
representing
which hang down from
horizontal ones of the overfold.
This explanation, however, does not account the
edge which
frill-like
himation.
for
appears at the top of the
Professor Baldwin
Brown ^ has published
some good photographs of a model draped
in this
Ionian himation, but has not given a very
full
explanation
satisfactory
He
produced.
of
the
it,
He
all
the folds,
is is
is
shortened in the
same time the
folds are kept in
tightly rolled over so that front, while at the
with
or
was
says that the secret of the dress
that "the upper edge of
their places."
how
effect
it
admits that the folds
will
only
keep in place on a "motionless wearer of imperturbable patience," and therefore supposes that the dress was evolved for use on the It
wooden xoana.
seems unlikely that a special dress of such an
elaborate nature should have been evolved to drape these early to
wooden images, and there
is
no reason
suppose that the series of Acropolis statues are
merely reproductions of such images.
much who
They appear
rather to represent the grand Athenian ladies
dedicated
themselves
symbolically
to
their
patron goddess by setting up statues of themselves in
her honour.
Since the statues were probably
intended to be set up permanently in a conspicuous '
/ahrbuck,
xi.
^
ffg^ Greek
Women
Dressed.
;
THE CHITON WITH OVERFOLD place,
it
is
87
natural that the votaries would like to
see themselves appearing in their best clothes.
A
and a
careful study of the statues themselves
consideration of
all
the evidence bearing on the
question leads to the conclusion that the complete
costume consists of two garments, a long underdress,
which
may
be regarded as the usual indoor
costume of the Athenian and a mantle worn over sionally a scarf or shawl
ladies of the sixth century, it
for out of doors
worn as
is
;
occa-
well over the
mantle, perhaps for additional warmth, perhaps only for
The
ornament.
under-dress consists of the
long linen Ionic chiton, a wide cylindrical garment fastened by brooches or sewn as to form sleeves
;
a girdle
is
down both arms so worn round the
waist,
and the superfluous length of the material is drawn up over this girdle so as to form a deep pouch sometimes this pouch is worn all round the figure, sometimes, as
apparently the case in a large
is
seated figure of Athena, the pouch in
front.
chiton,
On some
occasions^
we
is
formed only
find
in addition to the pouch, has
that the
an overfold
from the neck resembling the airoTrrvyfi.a of the Doric peplos. This overfold sometimes only covers the chest and sometimes hangs
down
considerably
Such an overfold is very frequently found on vases in some cases its material may be of one piece with that of the rest of the chiton, as it appears on one of the Nereids from the so-called Nereid monument but in those many cases where it only appears lower.
;
;
'
E.g., Lechat,
fig. 12.
THE MAIDENS OF THE ACROPOLIS
88
between the shoulders and does not extend also along the arms,
it
is
be a separate piece of the neck.
It is
quite possible that
stuff
sewn on
it
may
to the chiton at
probably the edge of such an over-
fold that appears at the waist
on the Acropolis statues
;
below the himation
no other satisfactory
explanation of this detail of the costume has at present
been
suggested.
It
unlikely
is
represents the "kolpos," because in
all
edge and not a pouch.
It
it
cases, with
one possible exception (No. 676 Lechat, a border is painted on it, indicating that ;
that
fig. 29), it
is
an
has been suggested that
was sometimes made of a different kind of material from the chiton on to which it was sewn, and that this material was a silk or linen of a crinkled texture, indicated by the wavy parallel lines which appear on the statues. The fact that this treatment appears sometimes also on the skirt and on the upper part of the mantle, diminishes the probability of this hypothesis, and makes it appear more likely that this kind of technique was simply this
overfold
used to represent very
full
folds in a fine material.
Such a treatment may have been suggested to the by familiarity with some material of a crinkled texture, such as that used for sheets and table-cloths in some Greek villages to-day. With regard to the ornamental patterns which adorn the chiton, we find borders at the feet and at artist
the edge of the overfold, also strips of ornamentation running
round the neck and along the arms
and round the arm-holes, and almost invariably a
THE ORNAMENTAL PATTERNS broad band running
vertically
down
89
the front of the
lower part of the chiton,.J In addition to these strips
and borders we scattered
also get stars or small floral designs
whole
over the
which appear
The bands
garment.
at the edges are easy to understand
;
they were either woven in the material of which
they were made, to
it
afterwards
;
or,
more probably, embroidered on
but in those cases where the over-
worn and a pattern appears at its edge and also along the neck and arms, we must suppose that this latter was applied after the sleeves were formed and the overfold attached. Possibly, also, the vertical band on the lower part of the chiton represents a separate strip of embroidery sewn on fold
to
is
garment.
the
occupied
a
embroidery
when
large
;
proportion
of
their
time
in
and since a good piece of embroidery
very
lasts for
The Greek women probably
many
years,
it
is
quite possible that
worn out, they may good work, and sewn it
the original garment was
have cut
off the strip of still
on to a new
dress.
The
only other explanation of
the numerous patterns which appear on the statues, is
that
the artist
wherever
it
simply applied
ornamentation
pleased his fancy to do so
satisfactory than to suppose that he
;
this is less
was represent-
ing something which he actually saw.
Turning
to the himation or mantle
worn over
the chiton, the simplest method of producing the effect
seen
in the Acropolis statues
was found by
experiment to be by taking a piece of material between 5 and 6 yards long and about 18 or 20
M
THE MAIDENS OF THE ACROPOLIS
90
inches wide.
This was folded double, as in the
diagram at the point
Then
met.
a,
so that the points b and
at the points c
and
U
d, at equal distances
from the corners, and cutting off at
than
little less
one-third of the wide length of the
stuff,
the two
upper edges were fastened together on the model's right shoulder, a few pleats or gathers being taken in
the
on each
material
A
side.
series
of such
was made along the upper arm, as far as the points d and cH, which reached to the model's fastenings
elbow b\
;
the rest of the
was allowed
J
to
stuff,
as far as the points b and
The
hang down from the elbow.
d.
V
i
Fig. J3.
part of the material c to
and was arranged
d passed under
the
left
in a series of regular oblique folds
running parallel to the box-pleat, which formed naturally at the is
first
fastening on the shoulder
to say, at the points c
held in place breast,
arm
and d
;
itself
—
these folds were
by a band passing under the
drawn rather
tightly
that
left
round the figure and
secured firmly on the right shoulder.
In order to
make
the lower edge of the cloak rise in the middle,
as
does invariably in the statues,
it
necessary to draw the folds let
the upper edge
The
frill,
fall
was found up over the band and it
over, forming a kind of
however, hung
down
too low, and
it
frill.
was
Fig. 34.
—Drapery
in the Style of the Archaic Statues in the Acropolis
Museum,
Athens.
[Face page 01
THE SHAPE OF THE HIMATION
91
suggested cutting the upper edge of the cloak out m a curve, or rather in two curves,
this fact that
one at the back and one at the part under the
left
front, leaving the
arm longer than
that in front
and behind. When these curves were cut out and the garment once more arranged in its pleats, the little
edge hung of itself over the band, way in which it appears in some of the The band alone held the folds fairly well in
frill-like
just in the statues.
place
;
but in order to prevent the possibility of their the Athenian ladies probably had them
slipping,
stitched on to the band.
would be quite easy to slip the garment on and off over the head without even unfastening it on the shoulder.^
The
variations
It
which appear
in detail
ing the folds in a slightly different fashion, cases, as for folds
hang
example
in
No, 674 (Lechat, the middle
hanging from the shoulder produced by turning the folds
this
;
in
the opposite.
sometimes hang
first
mistake on the part of the does not appear at
(Lechat,
fig. 37),
•
Figs. 34, a
and
the
some
i),
The
of
be
one direction
folds of the
artist.
all,
for
'
b,
frill
those
simply a
this is
;
and
easily
can in
the
instead
Occasionally the
example
No. 686
in
but the cloak hangs straight
from the broad band.
manner.
pi,
in the opposite direction to
of the main part of the mantle
fVill
In
quite upright instead of obliquely,
the box-pleat appears in
and then
in
can easily be produced by arrang-
different statues
In this instance
down
we must
are photographs of a model draped in this
THE MAIDENS OF THE ACROPOLIS
92
suppose that the overhanging mass of material has
away
been cut
the
before
entirely
folds
were
attached to the band.
Sometimes the two ends were sewn together along the lines be and /5V, and in this case the last
by the letters a^and d', approached the points b and b', so as to leave an opening
fastening, indicated
nearer to
arm
only sufficient for the
The variety
detail is
the
of the cloak which presents most
edge which
little frill-like
Sometimes
the band.
to pass through.
falls
over
appears to be a natural
it
continuation of the vertical folds which
hang down
band so as almost to hide it it is shorter, and reveals the band and forms a sort of leaf-like pattern above it in other cases it disappears entirely. Its most below
it, ;
and it falls sometimes
ovei* the
;
one of the Victories
realistic representation is in
in
Museum, where the corners c and c', formed by cutting the curves, are actually indicated on the Acropolis
the shoulder, and the
almost exactly as In
two
it
cases
frill
lies in
was found in
the
an irregular zigzag,
to
fall
in practice.
Acropolis
Museum
at
Athens, and in a statue at Delphi, the band does not pass
under the arm, but from shoulder
to
and the cloak covers both arms symmetribeing fastened down both alike with a series
shoulder, cally,
of brooches. the middle,
In these cases the box-pleat
and the curve must necessarily have
been considerably smaller, lies
much
cloak was
falls in
since
the upper edge
higher up towards the neck.
worn
in this
way,
it
When
the
was probably sewn up
Fig. 35,
— Vase-painting— British
Museum.
[Face page 93.
DATE OF THE CHANGE TO A SIMPLER DRESS
93
down both
sides, and the curves for the neck, back were naturally equidistant from the two side-seams. The openings for the arms would come
and
front,
at the ends of the top edge, as in the case of the
lonicghiton.
f'The
by
style of dress represented
monuments is certainly the most we find in Greek art at any period.
this
set
luxurious
Now
of
which
the date of
the Acropolis maidens can be fixed at some period certainly not later than the last quarter of the sixth
century.
dress
Solon's sumptuary law regulating women's
must have been enacted during the
of the sixth century, so that
first
years
we may conclude
that
these dainty ladies with their chitons, cloaks, and scarfs represent the height of luxury in dress
was possible
after the passing of that
law
which :
their
self-satisfied smile seems to be inviting approval of
the degree of elegance to which
their
ingenuity
could attain, even though a stern
law-giver had
number of
to three.
limited the
their
garments
This style of dress seems to have passed out of fashion at the end of the sixth century, or in the early years of the
fifth,
for
we
find
it
only in the
works of sculpture already mentioned. An attempt to render it is frequently made by the artists early
of the early red-figured vases
success
;
—sometimes with some
but more often the attempt results in a
confusion between this somewhat elaborate style of cloak and the simpler development which
it
took
Fig. 35 shows a fairly successful attempt to later. represent the dress. Here we have the band passing
THE MAIDENS OF THE ACROPOLIS
94
round the right shoulder and the from
falling
the
right
the artist's
it,
but the
vertical
folds
and the fastening down
frill
arm
are omitted.
skill
too greatly
;
Possibly
they taxed
possibly the style had
already passed out of fashion in real
But he
life.
would be moderately familiar with the maidens on the Acropolis, although perhaps not sufficiently so to
be able to reproduce their costume
Working
daily in his
shop down below
little
Cerameicus, perhaps he
mount the
in detail.
did
in the
not very frequently
where he might study the art Possibly even the vase treasures that adorned it. is not earlier than 480 B.C., and the picture is but a citadel,
reminiscence of the statues that the artist had seen
on the Acropolis previous to their burial at the coming of the Persians. Very often on the vases
we
find the vertical folds represented falling
beneath
a
of
series
horizontal
folds
from
obviously
formed by turning over the top of the cloak before on the shoulder.
fastening
it
fastening
down
the
arm
Here the band and
are omitted.^
The
place of
the frill is taken by an overfold of the cloak before it is put on, and it is fastened by a single brooch on
the shoulder
;
the material
is
allowed to hang in
natural folds, and the necessity of cutting a curve
upper edge
in the
band ficial
is
is
obviated by the fact that no
worn, and the stuff
vertical folds.
This
is
not arranged in
style
arti-
of cloak appears
already on the figure of Apollo, on the relief from
Thasos
in the
Louvre '
;
it
is
Fig. 36.
seen most clearly in
Fig. 36.
— Vase-painting— Ionic
Dress.
[Face page 94.
Photo, hy Mansell
Fig, 37.
<&
Co.]
— The
Artemis of Gabii
— Louvre. [Face page 95.
LATER DEVELOPMENT OF THE HIMATION
95
the Artemis of Gabii.^
It was probably developed and more elaborate form of cloak by gradual stages, first by omitting the artificial folds and the band which held them in place, and then by omitting the numerous fastenings on the arm. This would necessitate an alteration in the shape of the
from the
cloak
earlier
would naturally
it
;
Kalkmann,
become more square.
in the article already referred to, fig.
1
7,
represents an intermediate stage in this development,
where a large cloak
and
is
worn without band or
is
fastened by a series of several brooches
Were
one arm.
transition stage,
frill,
down
not for this representation of the
it
we might be
inclined to class the
cloak of the Artemis of Gabii as a development of the
Doric peplos, which
it
resembles in having an overfold
and being fastened by a single large brooch on the shoulder and indeed these two elements are probably ;
due
to the influence of the Doric dress,
therefore, perhaps,
more
and we should
rightly call the final form of
the cloak a blending of the two styles rather than a
development of either the one or the other.
As
early as the beginning of the fifth century
becoming confused and mingled together. The Doric peplos is worn as an over-dress over the Ionic chiton, even by one of the "Maidens" of the Acropolis, and later on the commonest form of outdoor dress for women was
we
find
the
two
styles
the Ionic chiton with the Doric himation over
it.
This combination appears in the so-called Fates of the Parthenon pediment. '
Frequently we find this
Fig- 37-
THE MAIDENS OF THE ACROPOLIS
96
blending of the two styles find also
a single garment
in
we
;
on vases the overgirt Doric peplos with by a number of brooches ^ and
sleeves formed
;
again, with cross-bands, which belong properly to the Ionic
chiton.^
faith
entirely
the brooch
Some to
pinning
authorities,
consider
Herodotus,
that
an element which belongs
is
only to the Doric dress
their
the
strictly
they therefore regard the
;
chiton with pinned sleeves as a mixture of the two.
An
over-garment not very simple in form, which
can be regarded as neither Doric nor Ionic, but a mixture of both, regards
it
as a
is
illustrated
by Fig.
number of overfolds
separately on to the chiton.
It
Kalkmann
or flounces
sewn
seems more reason-
however, to regard the part of the dress which
able,
appears on the arms and at the
made which
feet,
and which
is
of a plain material, as the chiton, and the rest is
ornamented with a pattern, as a separate
over-garment. at
38.
the waist,
obviously
not
garment has
This hips,
and
ankles,
an
merely
three
so
ordinary
edges,
that
it
is
rectangular
himation, nor a simple Doric peplos with overfold. It
seems simplest to explain
with deep
overfold,
ungirt,
it
as a Doric peplos
having a short
false
overfold to the waist sewn on over the real one at
Such over-garments never occur in and only rarely on the vases, and may possibly be an error or invention on the part of the vase-painter if commonly worn, they would the neck.
sculpture
;
probably be more frequently represented in 1
B.M., E. 336.
2
Athens Central Museum,
art.
1285.
aiBlllBBIlllE Fig. 38.
—Vase-painting—Dress
with two Overfolds,
[Face page 96.
VI
MATERIALS AND ORNAMENTATION The
fabrics in use for
Greek dresses presented con-
The commonest
siderable variety.
naturally woollen, but linen
and
materials were
were used for more luxurious garments, and a kind of leather
known
jerkin
as
Si(}>Olpa^
silk
was sometimes worn by
peasants.
That
the woollen
materials
varied considerably in texture,
is
used
themselves
proved by some
fragments actually found in a tomb at Kertch in the Crimea, and published in the Comptes rendus in
These date for the most part from the fourth century B.C., but one at least probably goes back to 1878.
the
fifth
They
century.
are in most cases rather
woven, so that the separate threads are
loosely
and a bright object could be seen through the material. The oldest piece is composed
clearly visible,
of such fine threads that other
pieces
woollen crepe.
it
is
almost transparent
;
have a texture not unlike that of
A
somewhat coarser
piece,
the
threads of which are very strong, has a portion of
a seam remaining, which '
is
Aristophanes, The Clouds, Tz »^
oversewn with strong ;
Plato, Crito, 53 D.
N
;
MATERIALS AND ORNAMENTATION
98
In addition to very finely woven
woollen thread.
woollen materials, the more luxurious of the Greeks
wore also many even
varieties of linen,
Pollux
silk.
and
in
some cases
us that the long linen chiton
tells
was worn by the Athenians and lonians, and many references are to be found in ancient literature to
coming from places usually in Asia or the more easterly of the JEgean islands. Of these the most commonly mentioned are aij.6pytva, different kinds of linen,
garments made of linen from the flax of Amorgos, and ^ua-a-im, made of ^va-a-os, a yellowish kind of flax, coming especially from India and Egypt. We learn from Aristophanes-' that the x'™""*" anopyivov was transparent, so that
from which perhaps
it
we may conclude
was made was very
resembled a very
it
fine
that the linen fine
indeed
That we are told by
cambric.
was a linen of some kind, Pausanias,^ and Pollux gives us the information that it came from India. That it was known in
/3Jo-o-o9
Egypt
by Herodotus,* who tells us of its use for mummy-cloths. It was probably rather a mark of luxury when worn by the Greeks, also, is testified
Simsetha*
for
tells
us that she wore a
when going out on a
Of silk,
of
it
festiye occasion.
come under the heading of kinds were known to the ancients. We
materials which
three
read in Latin authors of vestes sericce,
x''^"'"
cocb,
and these were also known
Aristotle^
is
1
Lys., ISO.
*
Theocritus,
the
first
2
II., 73.
bombycincs,
of the ancient writers 3
VI,, 21. s
and
to the Greeks.
ii_^86.
Hist. Anim.,
v., 19.
who
— SILK tells
99
us anything of the production of
After
silk.
describing the various changes undergone by the
worm
before becoming a
following information
moth, he gives us the
:
'Ek Se TOVTOv Tov ^wov KOI Ta Pofi^vKia avdXvovcn twv
yvvaiKwv Tives
Xeyerai
avairtivi^o/jievat,
v<pr)vai ev
Km Jlafi^iXti
"Some women undo winding
the
off
KaireiTa
to
first
manufacture of information
is
it
silk
irpwrtj Se
the cocoons of this creature,
and
silk,
weave
'
IlXaTeco dvyarijp.
then weave
Pamphile, daughter of Plateus, the
v<j>aivovcriv
is
it
;
and
said to have been
This implies that the was carried on in Cos, but no
in Cos."
worm was
given as to whether the
reared in that island or whether the raw silk was
imported.
Pliny
seems
distinguish
to
*
strictly
he
three kinds of silk " these three, only " sericum
—that
speaking, silk
made by unwinding
;
the
Of
mentioned above. is,
us more on the subject
tells
is
to say, a material
the cocoon of the silkworm
reared on the mulberry tree.
This worm
is
first
was the Chinese who discovered this method of procuring the silk, and it was apparently unknown to the Greeks and Romans. The " coa " and " bombycina " were procured by piercing and carding the cocoon instead of unwinding them entire the result was a substance mentioned by Pausanias.*
It
;
coarser and less brilliant than distinction between
silk.
Pliny draws a
"coa" and "bombycina,"
telling
us that the latter was a product of Assyria and
came from the ordinary mulberry worm, whereas the >
msf. Nat,
xi.
2
VI., xxvi.,
6.
MATERIALS AND ORNAMENTATION
100
worm from which coan reared on other trees,
was procured was notably the oak, ash, and silk
cypress.^
by the Latin and Propertius, and
Coee vestes are frequently mentioned poets, chiefly Horace, TibuUus,
from them we learn that they were chiefly worn by Hetair
^ ;
some-
times they were purple and had gold threads inter-
woven or embroidered.^ One piece of silk was found amongst other materials at Kertch. In colour it is a bronze-gold, and is woven in a lozenge pattern. If
Greek dress
material,
lacked
variety
of
cut
the deficiency was to some extent
and
made
up by considerable gaiety of colour and ornamentaProbably none but slaves and artisans would tion. wear garments of one colour without pattern or ornamentation of any kind, and even they would sometimes have their dresses adorned with a simple
From the numerous up and down through extant
border, such as a broad stripe.
references scattered literature, it
appears that the favourite colours were
and yellow. Pollux* gives us a list of the colours most comnlonly used. This list includes green (parpayli) and gray {kIXKiov, ovaypwov), in
purple, red,
addition
to those mentioned above, but strangely
enough no mention
is
made
of blue.
The word
1 For silk generally, see Daremberg and Saglio, s.v. "coa"; Smith, Dictionary of Antiquities^ s.v. " sericum " ; Yates, Textrinum Antiquorum, pp. i6o f. ; Pariset, Histoire de la Soie, Part I., chap. i. Propertius, I., 2 ; Horace, Satires, I., ii., loi. ' Horace, Odes, IV., xiii. ; TibuUus, II., 6. * Chap. Iviii. '^
COLOURS Kvdveoi,
"dark
garments, yet
was unknown
blue," is
it
101
seldom
is
if
ever applied to
scarcely likely that the colour
to the Greeks.
Possibly
some shades
described as
7rop4>vpeo
red
we
word
find the
especially
"dark
^otviKeos,
of the military cloak of
red," used
the
Lacedee-
monians,' and kokko^u^^s, " scarlet " for yellow KpoKtaroi and Odyfrivoi. Barpaxh, " frog-coloured," is ;
the is
word applied
a green garment, and this
to
probably the colour described as
unripe grapes."
Pollux^
the Greeks wore ^atw
and
tells
koI fiiXav
us that for mourning
aW^Xois
learn that ^ai6f
was a very dark
eyyvs,
From
very like each other."
black,
"like
6fi<paKivoi,
"gray
this
we
colour, probably
gray or dun. ---nre ornamentation
applied
Greeks was very varied
to
by
dress
in character
;
is
it
the
com-
Greek vases a dress that is entirely free from decorations, and the patterns Sometimes the represented are very numerous. ornament consists of a simple border, often of a pattern distributed all over the dress, and these paratively rare to find on
designs are frequently of a very elaborate character, including
animal
and
even
human
In
forms.
was not neglected the maidens of the Acropolis at Athens all have some pattern on their draperies added in colour, and one sculpture, too, this feature
;
of them has no less than seven different designs distributed over her costume. »
Aristophanes, Pax, 1173
;
We
Lys., 1140.
know
that the ^
58.
;
MATERIALS AND ORNAMENTATION
102
himation of the Olympian Zeus by Pheidias was richly
decorated,
and the fragment from Damo-
phon's great group at Lycosura
will
serve as a later
example of sculptured drapery highly ornamented with patterns in
and is
floral
relief.
This has not only geometric
designs as borders, but
tlie
whole surface
covered with fantastic dancing figures of
human
and hybrid forms. References in literature are not very frequent
most noteworthy occurs in the Iliad^ where Helen is described as working at a great loom
the
:
ri
Se fieyav l
SiirXaKa irop^vpetiv, iroKeas
Tpwwv
6' l-mroSafAtov
km
S'
eve-Tracraev
ae&Kovs
'A.xatwv x'^'^oxiTwvwv.
"
She was weaving a great purple web of double fold, and over it she spread many battles of horsetaming Trojans and bronze-clad Achaeans."
The epithet Trom'Xoy, applied to dress, undoubtedly means
" richly decorated,"
garments,"
frequently
presumably
refers
to
and the
mentioned
avQiva,
in
" flowered
inscriptions,
garments ornamented with
In connection with the passage in
floral designs.
Homer, the question has been raised as to whether these complex designs were woven into the material or embroidered afterwards. It seems hardly likely that they were woven in, unless the work were a heavy tapestry, such as would hardly be suitable moreover, the word e/^Trao-orw means for a costume ;
"to sprinkle on," and
is
more
easily applicable to
the distribution of a design over a piece of material ' iii.,
125.
Fig. 39.
— Fragments
of a
Sarcophagus Cover from Kertch.
[Face page 103.
PROCESSES OF APPLYING DESIGNS
103
already woven than to the formation of a pattern in
The words
the course of the weaving.
j«e'ya«',
ia-rov,
and v^aivev would still be applicable, because when the garment was at this stage, it would still be regarded as incomplete, and the designs, however applied,
would probably be at was still on the loom.
Among
least sketched out while
it
fragments of materials found at
the
Kertch were some which were embroidered, others which had simple geometrical designs woven into the borders
in addition to these there
;
were some
considerable fragments of a large sarcophagus cover,
the ornamentation of which
is
strongly remini-
scent of Greek vase-painting of the fourth century.
The ground
is
black and
is
red and light terra-cotta divided into bands,
and
;
covered with designs in the ornamentation
is
consists of battle scenes
with chariots, and birds and beasts scattered about the field of the design
many
different patterns,
ivy
the bands are separated by of which are frequently
met
These include the &gg and dart
with on vases. pattern,
;
and
wreaths, large palmettes,
laurel
and many others.^ Names are inscribed against some of the figures, among others NIKH, A0HNAIH lOKASTH, (I)rrOMEAON, etc.
These designs are not embroidered, nor are they produced in the course of weaving the cloth they are apparently drawn out by means of some pigment applied after the material was woven. ;
Herodotus 1
tells
Figs. 39
us
^
that the people of the Caucasus
and 41 a and
b.
' I.,
203.
MATERIALS AND ORNAMENTATION
104
used to paint animals on their clothes with some vegetable pigment which they mixed with water.
Some such procedure, then, must have been practised by the Greeks of the fourth century, which is the date assignable to the fragment in question, on the evidence of the inscriptions.
The
designs applied to Greek dresses presented
abundant
by extant monu-
variety, as is evidenced
ments, especially by the vases classed as geometric,
animal and
human
floral,
forms.
some are rectilinear, others rectilinear borders are
;
lines,
many
forms
Of the geometric designs The favourite
curvilinear.
broad
varying
lines, parallel
from
borders
we
stars or chequers.
frequently
find
In addition to these
a
of net pattern, often seen on vases, in dresses also.
Of the
running
broken at
fret,
chequer
covering the whole surface of a garment.
used
rows of
pattern in very
simple
the
maeander to a complicated double
by
roughly
and those containing
the mseander or key
zigzag
intervals
may be
they
pattern
A
kind
was very probably
curvilinear designs the
most common are the "guilloche" or plait-band, the simple spiral, and the KVfiariov or wave pattern.
On
the black-figured vases a kind of scale pattern
frequently occurs covering a wide surface.
A
very great variety of
by the Greeks
for
floral
designs was used
ornamentation of
all
kinds
;
they
are very frequent as part of the scheme of decoration
of vases, especially of those of Ionic favourite pattern
a simple laurel wreath
is
depicted in Fig. 39
origin.
;
A
like that
the ivy also forms the basis of
;
FLORAL, ANIMAL, AND
HUMAN FORMS
105
more than design. Sometimes it takes the form of a row of leaves on either side of a straight line more often the leaves alternate with tendrils and berries. By far the commonest and the most beautiful of floral designs are those made up of lotus buds and flowers and palmettes. Sometimes
we
find the lotus alone forming the motive of the
design, sometimes
very
graceful
alternates with palmettes.
pattern
turned
palmettes
it
in
is
composed
of
A
oblique
opposite directions and con-
That these designs so commonly
nected by spirals.^
used for the decoration of pottery were employed also in the textile arts
is
proved by some of the frag-
ments found at Kertch. Quite considerable remains were found of a piece of woollen material elaborately embroidered with a large the main motive of which
floral
design (Fig. 40),
is
a graceful palmette,
from the base of which spring
spirals terminating in
heart-shaped leaves and flowers.
The
design
is
executed in gold and green on a violet ground.^
and human forms are naturally less common than geometric and floral designs. Mention
Animal
has already been made of the wonderful diplax
woven by Helen, battle
in
which she represented scenes of
between Trojans and Achseans.
find that
In art
we
goddesses are frequently depicted wearing
garments covered with elaborate ornamentation of this
1
kind.
Frangois vase
several
will afford
For patterns generally, see H. B. Walters, History of Ancient
Pottery, ^
The
ii.,
209-235
;
Riegl, SHlfragen.
For colouring, see Comptes rendus,
1878.
O
106
MATERIALS AND ORNAMENTATION
examples, and in later art the dress of Demeter on the Triptolemus vase by Hieron,^
and the sculptured
drapery from Damophon's group at Lycosura,
That mortals
be quoted.
ornamentation
luxurious
Kertch fragments.
is
also '
may
indulged in such
proved again by the
One of the most charming pieces
found there had a very naturalistic design of ducks
embroidered
in
gold and green on a dark-brown
ground (Fig. 41 c) another piece had a figure and mention of an Amazon riding on horseback ;
;
has already been made of the sarcophagus cloth covered with battle scenes. ^
British
Museum,
E. 140.
Fig. 14, above.
''s**^^''?^''^^^
^«iiiy^~
Fig. 41.
jsi'jk;'
— (a and ^) (c)
Fragments of a Sarcophagus Cover from Kertch. Embroidered Fragment from Kertch. [Face page
lOfl
VII
HAIR AND HEAD-DRESS The manner
of wearing the hair
seems to have
varied considerably at different periods, both for
men
and women. In pre- Hellenic times it was, for the most part, if not invariably, allowed to grow long.
On the frescoes
from Knossos we find the cupbearer and other male figures represented wearing their hair in long,
wavy
thereabouts.
On
tresses reaching to the waist or
Mycenaean gems and
rings,
where
warriors are represented wearing helmets, the hair concealed, so
frequently
that
it
is
impossible
is
to
it was worn short or bound up some manner, so as to be out of the way. The ivory statuettes of athletes from Knossos have long hair,^ so that in all probability that was the
determine whether in
prevailing fashion
women
in
among men
pre-Hellenic
wear the hair long
;
in
times, the fashion was to
the snake goddess and her
votary have hair that reaches far past
and the
in
almost
women
frequently '
See 107
is
all
Among
Crete.
the waist,
extant art of the period the hair of
represented as being abundant.
worn Bf'itish
in
long tresses
down
School Annual, 1901-3, VIlI., 72,
It is
the back fig.
37.
HAIR AND HEAD-DRESS
108
and arranged rather elaborately in front in curls, which sometimes suggest artificial treatment sometimes the hair is done up at the back or top of the head, in modern (compare the dancing
Fig. 4)
girl,
;
fashion.
In the Homeric
poems we read of the "long-
haired Achaeans,"^ so that the sight of
men
with
From
long hair was obviously familiar to the poet.
the passage which describes Andromache's swoon,^
however,
is
it
day bound
women
clear that the
their hair up, using nets
of the poet's
and
kerchiefs
and other appurtenances both useful and ornamental.
Coming down
before the Persian wars both
a change took place,
the most part,
for
The
up.
the
story
their long hair
of the
when
find that
men and women wore
After the middle of the
their hair long.
short
we
times,
to historic
men
fifth
cutting their hair
women
the
century
binding
it
Lacedaemonians combing
the Persians were close upon
them is familiar (Herodotus, VH., 208). Extant monuments show us that before the Persian wars the men adopted various methods of disposing of their long hair
sometimes we see
worn loose with a simple fillet tied round the head * sometimes the long ends are turned up and tucked in under the :
it
;
fillet
* ;
sometimes they are turned up and held
together by an additional band.
This
is
the case
with a bronze head from Olympia,^ where, however,
some locks seem *
Iliad,
=
Fig. 42
ii.,
to
have been
on the neck.
2 Ibid., xxii.,
443, 472.
ifl).
left free
*
Fig. 42
{b).
s
468
f.
Fig. 42
(c).
Fig. 42.
—Men's
Head-dress
—Archaic,
[Face paye 108.
THE TETTIX
A
relief in
109
Athens, representing a Digcobolus hold-
ing the " discus
"
behind his head,^ shows the hair
probably divided and twisted together fastened tightly at a
a ribbon,
little
or possibly
two
in
coils
distance from the end by
by a metal
The
spiral.^
golden reTTii mentioned by Thucydides
was
6)
(I.,
obviously some kind of ornament inserted in the
"chignon" in place. It has been shown by Helbig ' that this was probably a metal hair to hold the
spiral or series of rings
used to bind together the
ends of the long hair
such a style
;
frequently
is
represented in the art of the end of the sixth century
and beginning of the 42
rings.
Helbig's view
(c)
The bands
fifth.
represented
are possibly intended for such metal
in Fig.
is
supported and confirmed
by Studniczka.* Probably the knot of hair bound up on the nape of the neck, as in the above examples, represents the
Kpa)/3vXos
or Kopvfi^os mentioned in Thucydides and
elsewhere in literature.
In later times this
name was
applied to the knot of hair on the top of the head
which occurs so frequently there
is
in statues of
no evidence to show that
it
Apollo
was worn
;
but
in this
position before the fourth century at the earliest.
A
style very
commonly
exemplified by extant
statues of Apollo, dating from the early part of the 1
Fig. 42
2
The
(rf).
hair of Euphorbus, described in /had,
dressed in this fashion. ^ Die Homerische Epos, 166-170 InsHtuts in Athen, vi., pi. 7, p. 186. *
;
cp.
was possibly
Mittheilungen des Deutschen
Jahrbtuh des kaiserlich Deutschen
284-291.
xvi., 52,
Instituts,
xi.,
1896,
pp.
HAIR AND HEAD-DRESS
110
century,
fifth
to tie a
is
fillet
the long hair tightly over
roll
in usually
behind the
ears.-*
sometimes allowed
ever,
to
round the head and tucking the ends
it,
These ends are, howhang down on the neck.
Athletes very frequently disposed of their long hair
by braiding
two
into
it
plaits
from behind
these
;
they crossed or brought round the head, fastening the two ends together in
Sometimes the
front.^
was combed down over the plaits,
short hair in front
so as to conceal their union.
to
The
date of the change of fashion
fix.
We
with short
after the Persian
Ephebi
for
their
after
;
it
date.
shortly
place, in all probability,
wars
Poly-
but long-haired
hair,
ApoUos are found considerably
The change took
impossible
Myron and
find the athletes of
cleitus represented
is
then became the fashion
to cut off their long hair,
which they
consecrated to Apollo and Artemis or to a river god.^
When
once the change had come about,
long hair was considered, in Athens at
mark of
designated by the the
'
Amynias, the
chignon,' "
the TCTTi^
and
we might
some uncertainty as wore >
^
Fig. 43 {a\ Fig. 43 {b).
3
It is
wear
Pausanias,
fop,
rwv Kpce^vXov,
"he
is
of
TAe Clouds the wearing of say, antediluvian.
I.,
There
or
long
some
;
interesting to note that
little
authorities
Atheniaa school-
their hair in this fashion.
xxxvii., 2
;
is
whether the Lacedaemonians
to
hair short
their
girls of to-day
in
ou/c
typical
spoken of as a fashion quite out of
is
date, or, as
name of
as a
In The Wasps
affectation or effeminacy.
of Aristophanes,*
least,
JEsc^. Ckoeph.,
6.
*
1267.
—
Fig. 43.
Head of Apollo from the Temple of Zeus, at Olympia. Head of an Athlete Athens Acropolis Museum.
(a)
(J>)
—
[FoAX -page 110.
WOMEN'S HEAD-DRESS state that even in the fourth century they
111 still
wore
long as a mark of freedom, and since they were more conservative than the rest of the Greeks, it is quite possible that this was the case. With this possible exception, the custom of wearing the hair short continued, though Alexander probably set the fashion of wearing rather long and mane-like hair. A covering for the head was rarely worn by
jt
men, except when riding or travelling long distances in these cases the veraa-os
against sun and rain.
;
was worn as a protection
This consisted of a
felt
hat
with broad brim, which could be turned up or down. Figs. 44, 2 2,
and 23 represent
its
various shapes. Fig.
The
ireTao-o?, like the 44 being the earliest form. xAaVw, which it almost invariably accompanies, prob-
Northern
ably came originally from
Greece, Thrace, or Thessaly, where
more protection was needed against cold and inclement weather. Another head-covering, worn by sailors and I*
by the god Hephaistos, a
felt
is
the
IG« 44*
TrtXog,
cap of conical shape resembling the modern
fez.^
Extant monuments show that before the Persian wars women for the most part wore their hair down, although instances occur where it is fastened up with bands or fillets. When worn down it was
by a
usually held in place
metal ornament, rather high
in
towards the back, was added. »
and frequently a front and narrowing
fillet,
Fig. 19.
This was known as
HAIR AND HEAD-DRESS
112
the
a/jLTTv^,
gold
;
wear
or
it,
and
and was probably made of
a-re^dvri,
almost
all
the " Maidens
"
in several instances
floral patterns.^
The high
Tro'Xoy
of the Acropolis it is
adorned with
or crown
worn by
Hera (Fig. 45 (a)) was probably also made of metal. Sometimes when the hair was worn down, the ends were prevented from flying in the wind by being which reminds one of one of the many fashions adopted by men in Sometimes, like the Georgian period in England. tied together in a kind of little bag,^
the men, the the
The a
fillet
tucked the long ends up under
them hang out over it at the back. itself frequently assumed the dimensions of
and
fillet,
women let
the ends of which were tucked up at the
scarf,
and allowed to hang down behind the ears. When the hair was done up, the " chignon " was at first worn low on the nape of the neck and held in place by bands variously arranged.* Sometimes the a-re^avr] alone was worn,* and very often the hair was held up by a kerchief or snood (jiirpa, o-a/c/co?). The styles in which it was worn present abundant sides
variety
:
sometimes
it
covered the hair completely,®
except for a curl or two allowed to escape in front of the ears
;
sometimes
the forehead only
it
left
the hair visible over
sometimes over the forehead and
* ;
on the crown of the head, and the ends of the kerchief might be tucked through at the side and allowed to hang down in front of the ears.'^ Fig. 45 (/) gives an example of the 'Fig. 32. '
2
Fig. 45
Fig. 45 {£).
(3). »
»
a-re^dvii
worn
Fig. 45
and
Fig. 4S (A).
(<:
'
in addition to «
rf).
Fig. 45
(i
Fig. 45
and/).
(e).
Fig, 45.
—Women's
Head-dress,
[Face page 112.
HELLENISTIC STYLES: HATS the snood.
113
In the fourth century fashion seems to
have dictated that the " chignon " should be worn higher up at the back of the head, and a small kerchief was used to hold it up, folded in such a
way
narrowed almost to a point over the foreApparently a net was sometimes worn over
that
head.*
it
the back of the hair.
Fig. 45
(/),
from the Meidias
an illustration of this. In Hellenistic and Roman times the styles of dressing the hair became very numerous. The snood seems to have been discarded altogether, and adornment by means of artificial waving and curling apparently took its place. The modes of " coiffure " of the Alexandrian Greeks are as varied as those of modern Europe. Probably cosmetics were used for the hair and paint and powder for the face for we learn from Xenophon's CEconomicus that as far back as his vase, furnishes
;
date, not only hetairae but married
to artificial
women
resorted
means of beautifying the complexion.
made in literature to some kind of hat worn by women in Theocritus {Idylly XV., 39), Praxinoa, when going out to the More than one
allusion
is
;
festival
hat
of Adonis, asks her maid for her wrap and
(fioXla).
In the (Edipus Coloneus^ Antigone recognises
Ismene from a distance by the Thessalian hat which she wears as a protection against the heat The words used are kw^ Geo-o-aXi'?, which of the sun.
seem to imply that the hat was made of some kind of skin, probably felt, and resembled the men's '
Fig. 4S
{fi)-
'
313-
HAIR AND HEAD-DRESS
114
"petasos," which originated in Thessaly or Thrace its
shape
Tanagra
may have been statuettes
;
The women
slightly different.
frequently
represent
wearing a broad-brimmed hat with high pointed crown.^ 1
Fig. IS.
VIII
FOOTGEAR The
practice of covering the feet seems to have
varied ability
somewhat among the Greeks. In all probit was the custom to go barefoot indoors,
and the habit prevailed among certain going always unshod in the street also.
classes of It
was a
mark of hardihood in the Spartan youths always to barefoot, and at Athens, in addition to the
go
lower
philosophers
were
who probably never wore shoes, and those who affected a simple life
orders,
in the habit of
going unshod.
rarely covered his feet
is
reference in Plato's Dialogues
him as
ael avvTroSirros,
Symposium'^
we
That Socrates
proved by more than one ;
— Phsedrus
^
speaks of
"always unshod," and
learn
that
for
in the
the occasion
of
Agathon's banquet Socrates has washed and put
on
his shoes, a oXtyawy
eTTo/et,
"which he seldom
did."
Other references
in literature
not the only philosopher feet
who
show
that he
preferred to have his
untrammelled.^ Phadrus, 229
»
Plato,
3
Aristophanes, 116
The
^174
A.
Clouds, 103
was
;
A.
Theocritus, XIV.,
6.
—
;
FOOTGEAR
116
The normal
good
fashion, however, for people of
breeding was to wear sandals or shoes out of doors,
and we learn from Aristophanes^ that the at least were particular about the
about"
in large
Xenophon^
fit
;
Athenian.'!
—to
"
swim
boots was a mark of boorishness.
notices the division of labour
the
in
shoemakers' trade, where he mentions at least four different
The the
hands employed
in
making a pair of shoes. was the sandal,
simplest form of footgear
of Homer, the
ireSiXov
this consisted of
viroSrifta
of later times
a leather sole cut to the shape of
means of straps
the foot and fastened on by
or
thongs, passing sometimes round the instep, some-
times between the toes and round the heel and ankle.*
At times a
piece of skin
was attached
to
the sandal at the back, so as to cover the back of the heel, or even to
wrap round the instep bare
leaving only the toes
sandal the
This
is
QpcLKiov
efj-^a^,
or slipper,
TO
from this form of
^
as evreKh
"a cheap
evptifia,
name
invention."
Its
was inserted
into the
shoe,
suffices to
/xev {nroStifia,
of Thracian
show that the
it
foot
in contradistinction to
e^M/Saj,
the sandal, which was bound under the foot epithet signifies that
entirely,
was probably developed.
described by Pollux Se
;
*
;
and the
covered the foot completely.
This description could be applied to many varieties of shoes and boots represented in extant
46
{e
1
and/)
gives two examples of shoes
Knights, 321. '
<
Fig. 46
(tf
art.
and
2
Fig. 46 (a rf).
and
b)
;
Cyropadia,
Fig. 48 *
if).
VII., 85.
Fig.
e being
xviii., 2, 5.
J
i
Fig. 46.
— Sandals
and Shoes.
I
Fii^s,
page
117.
SHOES AND BOOTS an ordinary
soft
shoe covering the foot completely
to the ankle,
f
modern Greek
shoe,
A
the back.
a
woman
turned up at the toes, like a
is
and reaches above the ankle
vase at the British
at
Museum represents
cleaning a shoe of this shape.
from Aristophanes^ blacking
117
We learn
that shoes were cleaned with
made of pitch and
applied with a sponge
;
they were usually black, except when the leather was allowed to retain
natural colour.
its
The word
seems to have been used for various kinds of foot-covering in Aristophanes it refers sometimes
6/itj8a9
;
worn by old men,^ and in other instances it is used of any ordinary shoe or boot. The mention by Pollux of its Thracian to a kind of easy slipper
origin perhaps refers to the high boot turned over at
the
frequently
top,
paintings
represented
on
vase-
being worn by horsemen with the
as
Thracian cloak and petasos.*
Different varieties
of this kind of boot are to be seen in Fig. 46 {g, h,
i,
An
andy). article
in
Daremberg and
Saglio's
Dic-
tionnaire suggests an Asiatic origin, and indeed the
resemblance between Greek boots and those represented on Assyrian
comparison
is
actually
monuments is striking. A made by Herodotus * between
Assyrian boots and Bceotian It is
eV/3a(5e?.
quite possible that boots of this kind
may
have come to Greece from the East by way of Thrace, and the fact that Dionysus '
The Wasps, *
600.
Fig. 22.
*
The Wasps, 274 *
very frequently
is
I.,
;
The Clouds, 195.
719.
FOOTGEAR
118
represented wearing them seems to add confirmation to this conjecture.
A
variety of the iin^aSes
is
to be found in the
a kind of boot worn by runners, as also by Hermes, Artemis, and the Amazons. They seem to have had no flap at the top, and to have ivSpofitSes,
been
through
round
or
holes
tongue
a
over
laced
Another kind seems sisted
either
buttons.^
to
have con-
of strips of cloth
or leather,
or possibly like the
wound round
felt,
modern
The word
the legs
puttees. KptjTriSes
frequently
is
used of some kind of foot-covering,
and we learn from Theocritus^ and from Pollux^ that these were worn by soldiers. The Kp^TTis was probably some kind of sandal with a thick sole and stout straps interlacing one another in
such a way as to form a protection for the heel
and
Pliny
instep.*
had
nails in
Many
^
tells
us that sometimes they
them.
by Pollux® and other ancient ap^vXai, ap^vXiSes,
journeys
;
KoviTToSei,
feet
to
We
read of
a cheap kind of boot worn on
from the fact that they allowed the
get covered with dust
slippers of yellow kid
worn by women, *
writers.
^Xavrou, light sandals with latchets, called
also
I
mentioned
varieties of shoes or boots are
;
by
especially
Figs. 47 and 48 (.a). Figs. 48 (6) and 49 (a
and
ev/jidpiSef,
;
6).
Persian
cheap white shoes
Hepa-iKal,
hetairse
^
XV.,
^
XXXV.,
6.
25.
AuKmiKal,
;
'
VII., 85.
«
VI I.,
84-93.
)
"i^
Fig. 48.
—
(fl)
A
Bronze
in the British
Museum, (i^) Foot of the Hermes Museum), (c) A Terra-cotta
of Praxiteles (from a cast in the British
Flask in the British Museum.
[Face page 118.
WOODEN SANDALS
119
—
by their red colour these were probably the same as the 'A/mukAo/ mentioned by
distinguished
One of the archaic female Acropolis Museum at Athens wears
Theocritus.
the
Wood was
sometimes used
for
statues in
red shoes.
sandals.
Pollux
Fig. 49.
tells
us that
Kpovtre^ia
were a special kind of wooden
sandal used for dancing, and that Pheidias repre-
sented Athene Parthenos wearing with
high
rectangular
wooden
TvpptjvtKa,
soles
sandals
and
gold
latchets.
Other shoes are too numerous to mention, and cannot be identified with certainty.
IX
THE TOILET CONCLUSION
The
toilet
of the ancient Greeks was quite as
modern people, and much That of the time and care was bestowed upon it. men was usually performed at the barber's shop (Kovpeiov), which became, as we gather from frequent elaborate as that of any
allusions
Aristophanes,
in
a
regular
resort
for
lounging and picking up news and scraps of gossip of
all
A
kinds.
fashionable Athenian would prob-
ably spend a whole morning at the barber's shop, where, in addition to having his hair cut and beard clipped or shaved, he could submit to the various
An epigram
operations of manicure and chiropody. in the palatine
anthology^ gives a
list
of barber's
implements, some of which have survived in a few examples, and list
includes
:
may be scissors
seen in our museums.
The
razor [ivpov),
some
(t/raXtj),
sharp, pointed instrument for paring nails (a-Towi).
{^^KTpa), which
Mention
also
and cleaning the
made
was probably used '
liO
is
AntA, Pal.,
vi.,
307.
of a scraper
after bathing.
TOILET IMPLEMENTS
121
An it
ancient razor differs from a modern one, in that is crescent shaped. In addition to these implements, various oint-
ments were used, one of which, arsenic,
was
employed
moving superfluous
When
for
\lrl\wdpov,
containing
re-
hairs.
repairing to the wrest-
ling school or the
gymnasium, a Greek would invariably be provided with an oil-flask (apv^aXKoi, XijKvdog) and a strigil (iua-rpa).
The
aryballos
(Fig.
was a with an opening
50)
small globular vessel,
enough
just large
to allow the oil to trickle slowly out, the
lekythos being a long narrow bottle with a foot
and a narrow
Both were used to carry the with which athletes were accus-
neck.^
olive oil
tomed to anoint themselves. The strigil was a curved metal instrument used for scraping the oil and sand from the body after wrestling. The famous statue of the
Apoxyomenos represents
in
an
the
athlete
Museum
Vatican
engaged
in
this
operation. iG. SI.
"Yhe processes and requisites of the
feminine toilet were
many and
various,
and
toilet
scenes are frequently represented in vase-paintings.
Sometimes we may see the process of the bath
:
an
attendant slave pouring water from a large vessel
over the crouching figure of the bather >
;
in other
Fig. 51.
Q
THE TOILET
122
we
instances
hair with a
fillet,
There
sandal.
tying her girdle, or fastening her
almost
is
who
attendance,
a lady engaged in binding her
find
invariably
a
maid
in
assists in the operations, holding
a scent-bottle, or a casket from which her mistress One vase-painting shows a lady selects jewels.^
applying powder or colour to her cheeks with a brush.
Many
and
allusions in literature,
especially
in
Aristophanes, show that paint and cosmetics of various kinds were in use in
century hetairae
B.C.
It
Athens
in the fifth
not surprising to learn that
is
these artificial aids to beauty
made use of
;
but from a passage in Xenophon's CEconomicus ^ we gather that the wives and daughters of respected citizens did not despise
and preserving describes
ttoXXw
SoKolti elvai % ^v,
fiev
ttoXXw
i'7re
with
much
" with
ottoos
wife
en
\evKOTepa
ipvdpoTepa
much white
rouge, to
young
his
S' e'xovcrav v'yfrrjXa,
make her
her skin, to
yJAifAvOlw
ey)(ov(ry ottws
S'
T^? aX)j0eta?, vwoSrifxaTa f]
The passage
appearance.
their
how Ischomachus found
ei>Terpiiui.fievt]v
etvai
such means of enhancing
(j>aaioiro
oirwg fieiQoov SoKoit]
lead rubbed into ;
and
;
and
look fairer than she was
make her appear
rosier
wearing high sandals, to add to her natural height."
Ischomachus persuades her to give up these vanities,
goes
asking her
about
inraXei^ofjLevof,
she
will like
aXenpofjtevos
koI
him
better
tow?
if
he
o^OaX/iouy
"anointed with red ochre, and with
pigment under his >
if
/«/Xt^
eyes.''
Fig. 52 (a).
2 X., 2.
^ mxss!
Fig. 52.
—(a)
A
Museum. Museum.
P3rxis in the British
British
(i5)
A
Toilet-box in the
[Face page 122.
PIGMENTS AND UNGUENTS
123
White lead was commonly used for producing a complexion it was prepared by laying lead in vinegar, scraping off, powdering, and heating the fair
;
white rust thus formed.*
Various substances were
used
—some
producing rouge
for
vegetable
of the
;
latter,
mineral,
the root of a plant
(tpvKos),
were common.
{a-vKanivov),
(eyxo^'^'^
and That some
or ayxova-a), certain kinds of seaweed
mulberry juice
some
kind of pigment was used for darkening the eyelids
by Pollux^ and
further testified
is
Aristophanes.'
Lamp-black and a sulphuret of antimony (a-rlfi/xn), were used for blackening eyebrows and eyelids. Perfumed powders and unguents were used for skin and hair, scented with myrrh or roses or other products. The simplest and most common unguent was, of course, olive
complexions,
we
{irtiviKv, TTpoKoixiov),
came from the
In addition to
oil.
learn
false hair
that
artificial
and wigs
were not unknown, and that these
East.*
Many articles
examples have survived of the various pertaining to the equipment of a Greek
lady's
toilet-table.
boxes, and bottles
Combs, hair-pins, mirrors, are numerous in our museums.
Combs
made
are usually
of ivory or bone, with a
Hair-pins of bone, double row of rather fine teeth. ivory, or metal consist of a single pin with an
ornamental head. metal,
usually bronze,
found in 1
Mirrors are of highly polished
silver.
The
Theophr. de Lapidibus, *
56.
though mirrors '^
some have been
may be
VI I., 95
See Xenophon's Cyropadeia,
divided into ^
I., iii., 2.
Fragment
695.
THE TOILET
124
two classes— disk-mirrors and box-mirrors. The former consists of a single disk polished on one side,
The
the reverse being usually engraved. furnished with a handle,
which
is
disk
sometimes so
can serve also as a foot
constructed that
it
mirror can so be
made
on a
to stand
is
;
the
The
table.
handle of a mirror of this kind very frequently takes the form consists
a
of
human
two
of
disks,
The
figure.^
box-mirror
the lower one,
with
its
polished upper surface, serving as the mirror, the
upper one as a cover to protect
sometimes quite separate and
The two
it.
are
on to one another, but more often they are joined by a hinge the cover is usually ornamented with relief work, a favourite subject being Aphrodite and fit
closely
;
Eros, although other mythological scenes are also found."
Of
the various receptacles used for containing
trinkets,
hair-bands,
cosmetics,
and so
the
on,
commonest is the pyxis, although we find also baskets and little square caskets represented in vase-paintings and on the Attic grave reliefs. A box for cosmetics in the British Museum is in the shape of a
a
lid
;
its
bird.*
The
pyxis
is
a circular box with
sides are sometimes straight, but
and material was
it
Its
originally
name, wvin
;
is
boxwood, hence
in ivory, alabaster, Fig. 53
W-
its
but the majority of those which are
extant are terra-cotta, though they are
'
more
frequently raised on a foot.
often concave,
and precious metals. '
Fig- 53
(«)•
'
known
also
A common Fig. 52
(*).
[Face page 124.
TOILET BOTTLES AND JEWELLERY subject on a terra-cotta pyxis
is
a
toilet
125
scene or a
marriage procession.^
The
alabastron used to contain unguents or
perfumes
is
a long narrow bottle with a spreading
neck and small opening
;
it
has no
foot,
and
is
round at the bottom, so that some kind of stand
must have been necessary to hold it upright when not in use.^ It was usually made of stone, alabaster, The lekythos also was sometimes or terra-cotta. used for the same purpose.
That Greek ladies wore abundant jewellery is s^= proved by frequent representations both in sculpture and vase-paintings, as also by finds of jewellery,
actual
notably in the
Greek graves of the fourth century at Kertch. These objects have been described and discussed by Mr A. B. Walters, in his book on Tke Art of the Greeks? FIG. 54. Rings, bracelets, necklaces, brooches, and ear-rings, were commonly worn, as well as ornamental hair-pins and metal diadems for the hair. Many examples of goldsmith's work are extant including some gold ornaments set with precious stones.
summing up the results of the foregoing enquiry, we find that the nature and development In
of the costume of the Greeks
ance
with
what
we know
is
of
entirely in accord-
the
development of the national character. J
Fig. 52
(a).
?
Fig. 54.
'
nature
and
The
chief
Page 259
ff.
THE TOILET
126
of
characteristics
Doric
the
probably worn in early days by of the mainland
alike, is
dress, all
which
was
the inhabitants
a certain broad simplicity
;
was worn by the Asiatic Greeks, and for a short period at least by the Athenians also, is graceful elegance. These characteristics distinguish the Doric and Ionic that of the Ionic dress, which
temperaments as exhibited in art also, notably in architecture, and to some extent also in sculpture.
Athens appears
to
have occupied a middle position
between the Peloponnese and Ionia.
The
Pelopon-
nesians seem to have clung throughout their history to the
Dorian
Ionic
the
;
dress, as the lonians
probably did to
but in Athens we find change and
development most strongly marked.
In very early
days the Athenians wore the Doric dress then in the course of the seventh and sixth centuries their ;
intercourse with the East brought
them
into con-
tact with Eastern ideas and Eastern customs, and
they appear to have
caught
something
of
the
luxury which was characteristic of the East.
At
any
rate, for
dress,
and
a time at least they adopted the Ionic
carried
extravagance.
it
to a great degree of luxury
Then with
the Persian wars
and
came a
reaction against anything savouring of Orientalism,
and a return
to greater simplicity.
This
led to a
resumption of the Doric dress, with certain modifica-
and the retention of some Ionic elements. It can hardly be questioned that the freedom and simplicity of their dress was to a great extent tions
the
cause
of
the
development of the splendid
MENS SANA IN CORPORE SANO
127
physique which the Greeks undoubtedly enjoyed.
Their loose draperies allowed their limbs perfect freedom,
and
their
bodies were unhampered by
constraint of any kind.
gymnasium, exercise
air
their
and
In the palaestra and the sunlight
salutary
were
influence,
for
allowed
to
the Greeks
own naked skin," and so discarded their clothing when in pursuit of their The healthy state of body athletic occupations. were not "ashamed of
their
thus preserved no doubt had
mind
its
share in fostering
which are due the sanity and sobriety that characterise all Greek thought, whether expressed in literature, art, or that healthy state of
philosophy.
to
ENGLISH INDEX Abbia, statuette from, Achaeans,
5,
Barber, 120
5
13, 15, 16,
17, 102, 105,
108
Bombycina, 99 Boots,
Achilles, 21
;
shield of, 20
Acropolis of Athens,
8,
116, 117, 118, 119
Bottles, 121, 123
78
38,
;
archaic
Bracelets, 6, 7, 13, 125
statues from, 44, 69, 71, 73-96, loi,
Breeches, 6
112, 119
Briseis,
50 Brooches, 3, 4, 16, 18, 25, 26, 28, 29, 31,
Actor's dress, 71
/Sgean
islands, 2, 9, 14, 98
32, 35. 37, 40. 41, 52. 53, 56. 60, 62, 64, 67, 81, 87, 92, 94, 95, 125
iEgina, 39, 41 *:gis, 33, 34. 47
Agamemnon,
17, 28
Alabastron, 125 Aldnous, palace
Alexander,
Brygos, 66, 69 Bull-taming, 7, 8 Buttons, 13, 76
of, 2,
20
in
Calypso,
Amazons, 53, 106, 118 Andromache, 27 head-dress ;
of, 35,
lo8
Charites, relief of the, 78
Antinous, 31, 32 Aphrodite, 3, 33, 34, 64, 124 Apollo, 26, 80, 94, 109,
Chiton, Homeric, 18, 21, 22, 27, 31, 32,
no
37
Apron, 5, II, 13 Argive women, 40 Aiistarchus, 20
;
Doric, 51, 52, 53, 60
79, 80, 81, 82, 84, 87, 89, 93, 96,
no,
115,
Circe, 33 6, 7, 17, 24, 26, 34, 49, 52, 55,
76, 77, 78, 80, 92, 93. 95
Arsenic, 121
Artemis, Brauronia, 68, 70 46, 53 ; of Gabii, 7°, 95
;
in Dresden,
Coa, 99 Co(e vestes, 98, 100
Colour, applied to sculpture, 83, 84, 85 Colours, 37, 100, loi
Artemisia, 50
Aiy hallos, 121
"7
Combs, 123
Athena, 26, 29, 32, 33, 44. 461 47i 48,
Corsets, 70
51, 87,
"9
Athenians, 39, 40, 41, 42, 53, 57, 58, 59, 63, 65> 73, 74. 86, 91. 98.
126 129
98
Chlamys, 54 Cloak,
99
7, 8, 99i
Ionic, 19,
Chitoniscus, 77
54, 98, loi, 116, 117, 120, 122, 123
Assyria,
;
32, 41, 44, 46. 51. 58. 59-70, 76, 77,
Aristophanes,
Aristotle, 98,
27, 33, 34
Carians, 40, 41, 57, 58 Cassandra, 48
"6,
120,
Cos, silk from, 99 Cosmetics, 113, 122 Crete, 2, 3, 4. 5, 9. 14. 57. io7 Crossbands, 62, 64, 69, 70, 96
R
5
ENGLISH INDEX
130 Cupbearer of Knossos,
3, 9,
Hieron, 49, 60, 65, 106
107
Homeric,
Himation,
Delphi charioteer,
62, 65
Demeter, 106 Dionysus, 69, 117 Doric dress, 39-56, 59
48-52,
25 52,
Doric,
;
69,
71,
Hittites, 7 ;
blended with
type, 15, 17, 38
Dressing-gown type,
24,
Ionic,
73-96
Ionic, 52, 64, 95
Draped
95;
54,
Homeric civilization, 2 Homeric dress, 4, 15-38 Homeric house, 4
1
Iliad, 3, 8, 17, 20, 21, 22, 25, 27, 28,
Ear-rings,
29, 33, 34, 35, 36, 37, 102, 108,
29, 37, 125
109
India, 98
Egypt, 9, 98 tomb fresco from, 9 Eirene and Plutus, 45
lonians, 19, 57, 58, 59, 65, 98, 126
Eleusis, 49, 72, 78
Ionic dress, 40, 42, 51, 57-72, 73-96
;
Embroidery, 31,
32, 38, 61,89, 10°) '02,
Jacket type,
103
Kerchief, 36, 38, 113 Kertch, fragments of fabrics from, 97, 103, 105, 106 ; jewellery from, 125
Kimono, 12
False hair, 123 3. 4> 5.
Knossos,
13
2, 3, 5, 10, II, 12, 16, 38,
no, in,
Flounces,
3, 12, 14, 7,
96 115-119
Laertes,
Footgear,
Leather,
112, 122
Frills, 76, 80, 82, 86, 90, 91, 92, 94,
95
Fringes, 12, 29, 33 Fustanella, 78
116,
n,
12, 19, 20, 21, 22, 27, 35, 40,
nets, 36, 37, 108, 113 12, III, 113
Head-dress,
37, 107-114
Hector,
3, 28, 35 Helen, 27, 35, 102 Hellanicus of Lesbos, 10
51, 53 Mausolus, 50 Medici collar, 12 Menelaus, 17, 28
17-28
;
Doric, 52-56
art, 13,
;
Ionic, 58-72
15
Mirrors, 123, 124
Modern Greeks,
7,
38
Mourning, 37, loi Mycenaean dress, 3, 7, 107 Mycenaean remains, 2, 3, 4,
28, 107
in
Hera, 29, 33, 37, 66, II2 Hermes, 118 Herodotus, 39, 41, 42, 48, 64,96, 98, 103, 108, 117
97-
Mausoleum,
Minoan
Hephaistos, 52,
19, 60, 70, 75, 79, 88,
Men'sdress,pre-Hellenic,5-io; Homeric,
6, 8, 10, II, 13, 14, 28, 36,
8, 9,
Materials,
99, 100, 105
Hairpins, 123, 125
Helmets,
33, 97, 98,
41, 58, 59, 60, 70, 88, 97, 98
Gold, 29, 31, 33, 34, 100, 112, 119, 125
n,
28,
117 Lekythos, 121, 125 Linen,
70. 77, 79, 80, 81, 87, 122
Hats,
18; shroud of, 17, 27
8, 9, 21,
5, 11, 16, 19, 22, 29, 30, 31,
33, 34. 43, 44, 45, 46, 5°, 53, 62, 63,
Hair
107
Kolpos, 44, 52, 60, 63, 70, 80, 88
Fillets, 108,
Girdles,
12, 13, 15
Kefts, 9
Euphronius, 79 Eustathius, 70 Euxitheos, 50, 62
Fibulae,
n,
3,
Jewellery, 122, 125
Ephebi, 55, no Etruscans, 10
13, 15, 28, 37,
Mycone, 14 57, 58, 59,
Nausicaa, 35
107
5, 6, 8, 10,
ENGLISH INDEX Necklaces,
6, 7, 37,
131
Rouge, 122, 123
125
Nereids, 64, 87 Nike, 48, 103
Rings, 4, 109, 125
Sandals, Obi, 12
17, 28, 29, 37, 116, 118, 119,
122
Odysseus, 23 house of, 2 Odyssey, 18, 19, 20, 21, 23, 25, 26, 27, ;
28, 31, 32, 33, 34, 35, 37 Oil-flasks, 121
Ointments, 121 Olive-oil, 121, 123
Open Doric
dress, 31, 44,
46
Ornamentation, 101-106 Overfold, 30, 33, 44, 45, 46, 48, 63, 64, 65, 66, 67, 68, 69, 80, 82, 85, 87, 88,
Scarf, 37, 76, 87, 93, 112 Scissors, 65, 120
Scraper, 120 Seaweed, rouge prepared from, 123 Sericum, 99
Sewn garments,
12, 18, 31, 52, 60, 64,
66, 67, 87, 91, 96,
Shoes,
7, 10, 115,
Silk, 88, 97, 98,
97
116, 117, iig
99
Silkworm, 99 Skins, 17, 27
96
89, 94,
Sash, 12
PjEONIUS, 47
Skirt, 3, II, 12, 13, 83, 88
Paris, 28, 32
Sleeves, 6, 11, 32, 53, 60, 61, 62, 64, 65,
Parthenon, 45, 47, 51, 55, 64, 65, 95 Patroclus, funeral of, 21
Slippers, 116, 118
Patterns, II, 32, 33, 61, 75, 77, 83, 88, 89, 96, 100-106, 112
Pausanias, 53, 98, 99, Pelasgians, 10, 58
no
Penelope, 31, 32, 34 Peplos, 3, 28-33, 44, 48, 51, 52, 63, 69, 80, 81,' 82, 87, 96 ; of Athena, 46,
66, 67, 68, 69, 71, 87
Snake-goddess,
107
Socrates, 53, 115 Solon, 41, 42, 59, 93 Spartans, 53
121
Strigil,
Sulphuret of antimony, 123
Sumptuary
47 Perfume, 123
II,
Snood, 113
laws, 41, 59, 93
Survivals, 8, 13
Pergamon, 47 Persephone, 48
Tanagra statuettes,
Petasos, III, 114, 117
Theocritus, 98, 114, 115, 118, 119
Petsofa, terra-cottas from, 6, 11, 12, 13,
Thessaly, III, 114
49, 114
Thessalian cloak, 54
14
Thetis, 34, 37 54, III, 116, 117
Pheidias, 46, 47, 102, 119 Phoenicians, 9, 57
Thrace,
Pigments, 104, 122, 123
Thucydides, 42, 57, 58,
Pins, 16, 18, 28, 29, 30, 35, 43, 45
Tiryns, wall-painting from, 7
Plaits,
no
59,
log
Toilet, 120-125
Plato, 115
Toilet-boxes, 123, 124
Pollux, 46, 52, 59, 96, 100, lOI, 116,
Toilet scenes on vases, 121, 122, 125
118, 123
Trojans, 15, 16, 102, 105
Poseidon, 37, 38, 54
Tunic,
Powder, 113, 122
Turks, 7
6, 7,
17
Pre-Hellenic dress, 1-14, 15, 23, 38, 107 Pyxis, 124
Unguents,
Razors,
Vaphio cups,
Red
120, 121
ochre, 122
123
7
Veil, 29, 34, 35, 35, 37,
48
;
ENGLISH INDEX
132 Velletri,
Athena
of,
Woollen garments,
51
Victory, 47, 92
Waistcloth, 5, 6, 10, White lead, 122, 123
22, 23
Xenophon,
Wigs, 123
Women's
113, 116, 122
Xoana, 86 dress,
Homeric, 28-J8 57-96
24, 25, 26, 27, 51,
60, 97, 98, 105
pre-Hellenic, ;
Doric, 39-52
10-14 ;
Ionic,
Zeus, 29, 32, 44, 69, 102
1
GREEK INDEX iKTaSlr/v, 25,
123
S,yxpv
AKeffiWirXos, 32
dXo0/)7os, loi dfiopyivov, 70,
AK6X'™''fSi I9i 59i 80 116, 117, 118
98
112
4yonru|, 36,
ifi^i^iWu,
17,
?/ij3as,
dv€fiO(7KeT'^s,
102
i/iwdcriru,
24
24, 29
aii.(j>iivvvii.i,
26
?XtKes, 37
24
dXefiii'E/ios,
24
ilxirKaialtf,
68
ivSpofitSes,
118
dySii'd,
102
(vSv/t,a,
d7rX6ij,
24
ivSivw, 17, 18
7°
d7ro7rn57/ta, 30, 44,
24 ipPiXai, 118 dp^vMdes, 118 diroTWrifU,
29
^ver^, 16,
dTTojSdXXu, 24, 36 diro5^(r|Hos,
52
87
^VVVfltj
48
Ifoi/iis,
52,
53
fre/)0;ud(rxaXo!,
52
118
eifidpiSes,
eidTpiirroim
/SoeC(riv,
12
d/)i)/3aXAos,
f«pd, 54 paBiiiavm, 15, 16 padiKoXTos, 15, 16
fffiAia,
22, 23
fii;-!;,
16, 29, 33
parpaxis, lOO, lOI
j^dvfVfu, 22,
jSXaurai, I18
fuffT^^p, 16, 19,
piffffiva,
29 23
98
piaaoi, 98
6dfi.voi, loi
SoXfa, 113 Sicriiwra,
35 21
Biaipavh, 70
i/iai>Tes,
5(TXaf, 27, 37, 102
l/iaTlov, 39,
54irX^, 24, 25,
48
26
Smrixov, 26
cdXu/tes, 37
Si^Bipa, 97
KdXv/^/ta,
28
Kd\v7rrpri, 28,
^afos, 28,
29
lyxovira, 122, 123 ei/ta,
/card ar^Bos,
KeKpi(pd\os, 36
Kearis
48
iKdiva, 18, 24 18S
34
29
l/xas,
k(XX(Oc,
100
34
21
'
GREEK INDEX
134 KOKKO|8o0lJs, 101
ttoikIXos, 32,
k6\tos, 30, 33
ttAXos,
118
KovuirbSes,
102
112
Trop
K6pv/ipos,
109 Kovpelov, 120
102
wpoKOfdov, 123
124
in5fis,
Kpi^Sep.vov, 16, 28, 29, 34, 35, 36, 37, 48,
51
^^eo, 17 118
KptjirlSes,
KpoKOirds, lOI
112
(ydKKOs,
Kpoviri^M, 119
Kpu^iXos, 109,
1
iri7oX6eis, 19,
10
KvAveos, 37, loi
37 104
Ku/tdrioi',
Kw^
ee
123
arlfi/iis,
Kvapoxct^TJjs,
ffrdw^j 120
XTTpiwTOS 113
X"'''''i
20, 21
70—
trrphtpiov,
crvKd/uvov, \ap,irp6s, 29,
36
36, 112
i7TedvTi,
123
35
XOTopSs, 35
Xii7r57,
To»i/5r^7rXos,
36
17,
70
Taivla,
X^KuSos, 121
Tepp,loeu,
rirn^, 58, I09, IIO
/wXaKJs, 20
Tpi^W!',
112
idrpn}, 23,
53
-rvpprjvixd,
fiovoxtriav, 53
iw6Srip,a,
^vp&v, 120 ^iffrpa,
32
19
1
119 16
121 <j)aivop.riph,
iWi-i;, 20,
oJoxirwj',
35
aibi,
23
0apos, 16, 17, 24, 27, 28, 33, 35, 37 lOI
101
6/j:.(pdKLvos,
(poivlKeos,
100
dp&ypivos,
0oii'iK6eis, 25,
dp8o(TTdS(,os, 71 otfX^, 24,
46
101
00/cos,
25 xei/)iSi
ira^TrotK^Xos, 32
jCiTii-,
viSiKov, 17, 28, 29, 116 t^ttXos, 16, 17, 28, 29, 31
TepipdXKo), 17, 24
irc/jtfwyua,
59, 70,
98
XiTui/ ?|w/xis, 52, 53
70 98
Xiriiz/iox, 70,
70
Xt-ruvtffKOS, 68, 70,
irepicij, 16, 29, 31, 39,
irep
68
16, 17, 18, 19, 21, 23, 24, 35, 52,
X'Tuwi/jiov,
52
Trepi^XTJfia,
18
59
VtlvlKTI,
TrXficT'i)
^dXts, 120
123
III &vaS4
voS^prjs, 19, 59
^ijxrpa,
36
71
XXaira, 16, 17, 23, 24-28, 35, 37, 55 XXd/iws, 54, 56, III
T^rairos, ill
iriXos,
37
123
120
\pi\a8pov, 121 ^i/MvOiov,
122
PRINTED EV OLIVBBAND BOYD,
EDINBURGH*
j 1
i
Wm MK
4'iijttwel
Anartl.
NOV 2
9 1994
APR- 31997 JUH 3
1999
1 ^'
i
\
COSTU M E
THE ANCIENTS.
Price Two Guineas, Boards.
:
COSTUME THE ANCIENTS. THOMAS
HOPE.
IN TWO FOLU3fES. VOL.
A
I.
NKW EDITION ENLARGED.
LONDON PHI NT ED FOR
WILLIAM MILLER,
A LB EM A RLE-street;
BY W. BUL.MEll AND
CO.
CLEVELAND-ROW,
ST. James's.
1812.
ERINOALE COLLEGE LIBRARY
COSTUME OF THE ANCIENTS.
A THOROUGH ternal
proficiency in drawing the ex-
anatomy of the human frame must be
confessed
the
painting.
It
is
first
requisite of
all
historical
indispensible to the correct re-
presentation not only of the parts that are left
which others
bare, but even of the clothing in
are enveloped.
rectly
the
If the painter cannot
naked
according to truth
figure, ;
draw cor-
he cannot array
it
since the very folds of the
raiment must depend on the forms and motions of the body and limbs underneath
cannot
attire
it
:
above
all,
he
with elegance ;-since, in order to
render his figure pleasing to the eye, the general attitude
and proportions of the frame
itself
should ever remain distinctly perceptible even
through the
fullest drapery.
figure, instead
Where
the
of only beiug covered,
human is
con-
— ON THE COSTUME OF THE ANCIENTS.
VI
cealed by the garment, ties
superior to what
it
no longer
offers
beau-
the various articles
apparel might have displayed, collected in
mere
of a
buiiu'c.
Even
how-
the most thorough knowledge,
ever, of those peculiarities of the
human
ske-
leton and muscle which remain unvaried from
age to age,
is
not yet alone sufficient to consti-
tute a correct historical painter.
To attempt
representing a real event, and to
violate in the execution all truth of costume, to clothe
ander
in
Veronese has done) Alex-
(as Paul
French brocade, and Statira
cut velvet,
is
in
Genoa
before-hand wantonly to mar the
best fruits of one's labour, the applause of the judicious.
masquerade. instead
It is offering a
of a historic subject, a riddle in place of a tale clearly told.
The ignorant and the
only notice
the
vulgar,
brilliancy of the hues,
who
who
hardly enquire into the particulars of the subject,
may applaud
who
expects that the performance should accord
with the name,
;
but the
will
man of discernment,
remain
dissatisfied.
How-
ever masterh' the touch, however fascinating the colours, he
still
will consider the
work
as
being at best but a splendid absurdity, calculated
to
excite at least as
much
lau2:hter as
ON THE COSTUME OF THE ANCIENTS. admiration.
Those who
Vll
to a fine natural feeling-
joiu a cultivated taste, can only receive unqualified
pleasure from that scrupulous imitation of
historical truth, carried
even into the minutest
accessory parts, which alone gives every per-
every
sonage the peculiar physiognomy and
scene the individual locality that serve to distinguish
them from
all
others
;
and that bring
the place and the action at once
mind of a It
home
to the
well informed observer.
must be owned, indeed, that the knowledge
of costume
for this
requisite
always as easily attainable
anatomy above urged.
purpose
is
not
as the proficiency in
For while the natural
forms of the human body remain nearly the same in all ages
and climes; while the English youth,
well shaped,
may
Adam
garden of Eden,
in the
with the
artificial
still
if
serve for the model of an it
fares otherwise
clothing of that person. Every
clime and every period have seen this latter vary, and have oifered
some modification of
dress and furniture diff'ereut from others.
thentic descriptions
and
faithful
Au-
monuments
alone can convey the accurate knowledge of these variations
ages the
who
artist
:
and to these records of past
of our times must have access,
wishes to retrace them in his works.
Vm
ON THE COSTUME OF THE ANCIENTS.
This communication, at least with the of
rials
tlie
more
classic eras
Rome, whose subjects
ofl'er
memo-
of Greece and
the happiest mixture
of beautiful naked forms with grand features of
and armour, has always been rendered
attire
easier in France than in
A
most other countries.
magnificent library, ever open to
most cies
in the
of representation which the graver could
offer of originals not in
far
all
way, supplied at Paris every spe-
liberal
back
Academy
as
the country
;
and so
Lewis XIV. a branch of the French
of Arts was established in the heart
of Rome, in order that young painters of pro-
mise might there have an opportunity of studying at the public expense the originals themselves,
of which elsewhere they
behold the finest
transcripts.
could only
Even now
of the moveable works of
art,
Italy, are transplanted to Paris, this
Rome
in
order that
its
native I
at
inmates might
be enabled to study with greater
whose
Academy
has recently been placed on a better foot-
ing than before,
vaster
that the
formerly in
monuments of ancient
fruit
those
magnificence,
roots are too deeply implanted in the soil to
bear being wrested from
shall not dwell
it.
on the total want of
similar provision with us.
I shall
all
not expatiate
ON THE COSTUME OF THE ANCIEN'TS. on the penurious
spirit
ment has hitherto
IX
with M'hich our govern-
suffered
struggle unassisted with
its
native artists to
their difficulties
all
;
on the scanty means of information the young painter and sculptor find at
sence of
all
home
on the ab-
;
public assistance they labour under
The theme
to pursue their studies abroad.
ungrateful; and the circumstance causes
a young
is
many
of an aspiring mind to curb his
artist
native genius, to throw aside his canvass ready to
teem with gods and heroes, or
to people
it
at
best with clowns and beggars.
With a view
to supply at least in a small de-
gree the deficiencies here stated, and to afford artists a
convenient and a cheap collection of
those leading features of ancient costume of
which the knowledge can with,
was
this
be dispensed
least
work undertaken.
I
had
in
former
days had the good fortune frequently to
most of the celebrated
some pains
]\Iusea
to distinguish,
abroad
among
;
visit
had taken
their contents,
from the genuine antique stock remaining, the spurious and often Avretched tions engrafted
upon
it;
modern
restora-
and had lamented that
these indifferent additions should so seldom be
pointed out as such in the engravings executed
ON THE COSTUME OF THE ANCIENTS.
X
from the originals
in question,
and should con-
consequently render these latter so
much more
frequently calculated to mislead than to instruct the youthful student.
had moreover preserved
I
memorials of several curious specimens of ancient art not hitherto published rials
and the mate-
;
thus collected abroad, together with what
my own
assemblage particularly of Gre-
little
cian fictile vases aiforded at home, proved of
They enabled
great utility in the execution.
me a
my
to trace
way
sketches,
however
as to offer separated
distinct
groups
different
eras,
bined together
the forms
rude, in such
from each other that
in
belonged to
and com-
climes,
or
in the
same compositions the
stations,
features that appertained to the same region, period, or profession.
of
Tiius
was the substance
many expensive and cumbersome works con-
densed in
the
small
compass of a
volume or two, containing necessary to g-ive to
artists,
all
that
portable
night be
nay even to dramatic
performers, and to others engaged in classic representations, an idea ofancieut costume, suffi-
ciently ample to prevent their offending in their
performances by gross and obvious blunders. Small and
restricted
however must remain
;
ON THE COSTUME OF THE ANCIENTS. even to the
we
while
use of
artist the
my
little
XI
book,
continue to give to landscape and
low-life subjects so decided a preference over
the sublimer scenes of history and of mytho-
logy little
while individuals in general testify so
;
feeling for the beauties of historical
position, that the
performances
com-
most excellent and laborious
in that class,
remain precisely the
longest unsold on the walls of our yearly exhibitions
;
while corporate bodies never dream of
encouraging the production of historical works,
by adorning with them places ful
;
their halls
and meeting-
while the nation at large seems unmind-
of the importance of a sedulous cultivation of
the higher branches of
art,
not merely to the
promoting the national industry, but to the higher purpose of humanising the national manners, exalting the national character,
creasing
the
national
spirit
and
and
in-
happiness
while ministers, however lavish and profuse in
other respects, continue so penurious with re-
gard to what
is
most conducive
and splendour of the country,
to the pride
as to
withhold
the comparatively trifling sums necessary to en-
courage by adequate premiums, those performances that inspire future heroes, by nobly dis-
playing the achievements
of past worthies;
ON THE COSTUME OF THE ANCIENTS.
XU
while, consequently, the painter dares not en-
counter the expense and the labour attendant,
on high-wrought the
fire
damped by the bread
;
historical compositions, unless
of his genius be so vivid as not to be
want of
chilling prospect of
by the
nay, not even
still
more discou-
raging dread of a total lack of well deserved
and hardly earned fame.
To
the professed but purely theoretic antiqua-
rian I
presume not
thing
likely
to
either immediately,
A
whatever.
in these
pages to offer any
prove interesting or useful, or
at
any future period
work, intended solely for the easy
reference and the ready application of actual practitioners in art, not only required not but
admitted not specimens so
uncommon
or
specu-!>
lations so recondite as to absorb all the leisure
of
the student, without proportionably increasing the store of essential forms transferable to his canvass.
That very mode, besides, which
I
thought
best suited to the painter's purpose, of frequently
combining
in a single figure the representations
of articles collected from nals, has
proving
many
different origi--
been precisely the greatest bar to in
imitations,
every instance the faithfulness of
by quoting
my
authorities.
A
my my
list
of
these would have added to the trouble of the
;
ON THE COSTUME OF THE ANCIENTS. artist, in
the same proportion in which
have afforded satisfaction
it
X1H
might
the antiquary
to
since I must often, for the truth of a single collective transcript, have had to refer to so
many
would greatly have
distinct originals, as
swelled the volume, and encreased the labour of the verification.
Most
difficult is
it,
even
in the slightest copies
from the antique, entirely to obliterate
trace
all
of the exalted and manifold perfections of the
admirable originals.
Perhaps, therefore, with
regard to the single figures of portrait painters,
even the sketches here presented, slight are,
may still
offer
as
they
some hints not wholly without
value, towards attaining in a greater degree than
we usually
find
them displayed the more general
beauties of mere ease, and grace, and unaffected simplicity of attitude. tailed
But
as to the
more de-
and minute excellencies of the ancient
workmanship, such
as that
thorough knowledge
of anatomy, that exquisite selection of forms, that sublimity of expression,
that prodigious
diversity in the texture of the stuffs and in the
forms of the folds, which ancient
where exemplify, of these
a
rfelics
every
compendium
like
the one here offered cannot be expected to retain the least vestige.
This species of ancient
ON THE COSTUME OF THE ANCIENTS.
XIV
superiority, in order to be faithfully represented,
would have required a work almost as the originals themselves
;
as elaborate
and thence the
student should ever remember that this small
hand book, only intended most
to instill a
essential rudiments, can afford
few of the
no dispen-
sation from studying either the antique
the sent
itself,
or
more important modern works which repre-
more
beauties
its
explicitly, Avhenever
he
finds either of these accessible. I shall
my
begin the order of
with re-
figures
presentations of the inhabitants of that corner
of Africa, called Egypt, because these stand
most aloof from the nations of the other parts of the ancient world, and would elsewhere break that uninterrupted
endeavoured
connection which I have
preserve throughout.
to
I
shall
thence pass over to the Asiatics, inasmuch as the dresses, the manufactures,
and the civilization
of the natives of Asia were, in their commence-
ment, of a
much remoter
date than those of any
Europeans, and experienced
quent changes,
apparel recorded
ments,
day
still
in the
much fewer
—many of the in the
Asiatic
subse-
modes of
most ancient monu-
resembling such as are worn to this
same regions.
to the Greeks,
Next
I shall
proceed
because these not only were
ON THE COSTUME OF THE ANCIENTS.
Romans, but the very
prior in civilization to the
people
who
in process
XV
of time became the prin-
and fashion-mongers
cipal arbitri elegantiarum
of the Romans themselves, and of
all
the later
and more barbarous nations successively blended
Romans
with, or sprung from the
whence, on
;
the one hand, the modification of attire and of building of the Greeks, offer an uninterrupted transition to those of the
other, those of the jeras,
Romans
Romans of
and, on the
;
the more civilized
can only be considered as those belonging
to the
Greeks of the same periods.
Roman works
In truth the
of art only present those peculiar
deviations from the purer primitive Greek models
of prior ages, which the subsequent corruption
and degeneracy of
taste, insensibly
introduced
in the very cradle of art itself.
A
hundred new
those of the
first
have been added to
plates
edition
;
and
I regret that I
could not arrange these so as to enable their
being purchased separately, and bound up with those before published. possible, since, to perfect it
This however was im-
and complete the work,
was found necessary to alter and to improve
many of to many
the old plates themselves, to substitute
of these entire
the old and
new
in
new
ones, to intermix
an entire
new
order,
and
XVI
ON THE COSTUME OF THE ANCIENTS.
consequently, to
The only
new number
the vhole series.
thing, consistent with the improve-
ment of the work, endeavoured to do as possible.
that depended on me, I have
—namely, to mak£
it
as
cheap
COSTUME OF THE EGYPTIANS.
J
HE
ancient Egyptians were descended from
the Ethiopians, and while their blood remained free
from any mixture with that of European or
Asiatic nations, their race seems to have retained
obvious traces of the aboriginal Negro form and features.
Not only
all
the
human
figures in their
coloured hieroglyphics display a deep swarthy
complexion,
but
every
Egyptian
monument
whether statue or bas-relief presents the splay feet,
the spreading toes, the bow-bent shins, the
high meagre calves, the long swinging arms, the sharp shoulders, the square
when
flat
hands, the head,
seen in profile, placed not vertically but
obliquely on the spine, the jaws and chin con-
sequently very prominent,
skinny large
lips,
together with the
depressed nose, high cheek bones,
unhemmed
ears raised far
B
above the level
COSTUME OF THE EGYPTIANS.
2
of the nostrils, and
all
characteristic of the
the other peculiarities
Negro conformation.
It
among
the
true that the practice prevalent
is
Egyptians of shaving their heads and heards close to the skin (which they
from when statues to
only de\iated
mourning) seldom allows their
in
shew that most undeniable symptom
of Negro extraction, the woolly hair; the heads of
tlieir
with some sort of cap,
or,
when
bare, closely
In the few Egyptian sculptured per-
shaven.
sonages, however, in which the ^air
duced,
covered
generally appearing
figures
it
intro-
is
uniformly offers the woolly texture^
and the short crisp curls of that of the Negroes
nor do
I
know
;
a single specimen of genuine
Egyptian workmanship, in which are seen any indications of
tiie
long sleek hair or loose wavy
ringlets of Europeans or Asiatics. streak,
which
in the
The black
masks or faces carved and
painted on the cases of the mummies,
is
carried
from the outside corner of the eye-lids to the temple, seems
to denote that anciently, as
this day, the natives
of
artificially
to
of Egypt were in the habit
deepening the hue and increasing
the length of their eye lashes, by means of some species of pigment.
The
inferior classes
seem
in
Egypt
to
have
COSTUME OF THE EGYPTIANS. gone nearly naked
and
;
all
the different orders little
and
The lower extremities of
the
of the community alike to have worn thin clothing.
body appear
Many
3
have been covered the most.
to
male figures display no other garment
than a short apron or piece of
round the waist by a
belt,
fastened
stuff,
and descending half
many
representa-
tions of personages of both sexes,
the whole
way down
the thighs; and in
upper part of the body appears entirely bare, or only adorned with a profusion of necklaces, belts, armlets,
said
and bracelets; while the afore-
apron, wrapped round the loins, descends
like a petticoat
down
plete tunic, reaching to the feet, seems to
the
is
way from
the neck
have been reserved for the
higher orders, and even
Egyptian statues
The com-
to the ancles. all
so
this
in the
scanty, and
tight round every part of the
genuine
drawn
body and
so
limbs,
that not a crease appears throughout, and that all it
the natural forms shew themselves through
most distinctly
conceive
how
;
so as to leave
the wearers could
without rending
it
from top
to
it
difficult to
move
a step,
bottom.
In later times, however, the Egyptian vest-
ments seem,
in imitation
of those of the Greeks
and the Romans, to have acquired more
fulness.
COSTUME OF THE EGYPTIANS.
4
The in
statues of Isis and of her priestesses found
under the Roman domi-
Italy, indicate that
nion the ladies of Egypt not only wore more
ample
tunics, falling in easy folds like those
of
their neighbours, but cast over these a fringed veil
drawn from
or mantle; of which the ends
behind the back over the shoulders across the chest,
were made
in front
by means of
a large
knot, to tie with and to uphold the middle part.
The byblus
or papyrus plant seems to have
furnished the material for some of the shorter
and tighter coverings as of the
head and
as well of the
feet, if
itself
we may judge from
the narrow ribs which even the
wound round
body
little
aprons
the thighs frequently display.
The
ampler dresses were in general made of flax
more
rarely of cotton
believe, until after the
:
and never of
Roman
conquest.
dies of green, yellow, red, and blue,
silk,
;
I
Rich
seem to
have been very common.
The Egyptians adorned variety of caps,
their heads
with a
sometimes rising to a great
height above the head, sometimes descending
very low on the chest, in the shape of lappets. Tliose of the priests and of their attendants are
often loaded with a profusion of symbolical decorations,
composed of
feathers,
lotus
leaves.
COSTUME OF THE EGYPTIANS. and other natural productions; and the head-dresses of
Isis
some of
and of her followers
easily recognize the disk
sentative
in
5
we
and the horns, repre-
of the orb and
the
phases
of the
moon. In religious processions
It
was common to
wear masks that encompassed the whole head and neck down to the shoulders.
These repre-
sented the head and bust of various sacred animals, such as the
ibis,
the hawk, the bull, the
dog, and the ram.
Numerous rows of
rich beads
both sexes round the neck
;
were worn by
a belt encircled the
body immediately under the paps of the
breast,
and another confined the small of the waist. Gorgeously worked shoulders, and
straps or braces crossed the
met or supported these zones.
Armlets, manacles, and rings round the ancles also
were common.
The Kings bore long
staffs
or sceptres, and the priests carried wands, dethe heads of birds and various
corated with
other insignia.
The Egyptians were wont
to
consider the
habitations of the living only as inns where no
one tarried
;
and
to the
tombs of the dead alone
they gave the name of permanent dwellings, which,
when once
occupied, their tenants no
COSTUME OF THE EGYPTIANS.
6
more
Thence
quirted.
all
edifices of a private
nature seem to have been of slight texture, and
made of
perishable materials
mud
only of the that
grew along
banks.
its
indifferent as to the sity of their
;
probably often
of the Nile, and of the reeds
Even
the kings were
permanence and sumptuo-
palaces,
and employed
all
their
wealth in the construction of their sepulchral
monuments.
It
was
for the
dead and for the
immortals that they reserved every species of
magnificence and durability which architecture could display
;
and those pyramids and those
temples which were raised long prior to the ages
of historic certainty, seem likely to reach the latest aeras of
The
mortal existence.
roofs of the
by columns
ported
sacred edifices were sup-
of enormous
thickness,
adorned with capitals representing the foliage and
fruit
of the palm tree, the leaf and the
flower of the nymphea, and other aquatic vegetables
the massy walls,
;
often made, for the
pur|)ose of greater stability, to slope or spread
downwards, were covered with hieroglyphics,
whose
faint relief,
surface,
sunk beneath the level of the
was often rendered more conspicuous
through means of various pigments as durable as
they were vivid.
Yet
is
there such breadth,
— COSTUME OF THE EGYPTIANS.
7
such repose of surface, combined with so contrast and
much
boldness of outline, displayed in
these huge masses
— the
solid parts
and the aper-
tures are so happily intermixed and divided
that the effect of the whole
gawdy embroidery of
is,
in spite of the
the detail, indescribably
grand and majestic. Buildings of a more airy and light description
seem
to
have been frequently coated with
alter-
nated horizontal stripes or layers of black and
of white marble, somewhat like the cathedrals of the middle age
Couches,
seats,
in
the cities of Tuscany.
and other
articles of furniture
generally offer their extremities terminating in
the heads and claws of lions, and of other beasts
of prey.
As
Palestine,
formed
as it
Egypt and
from
its
geographical situation,
were the connecting
Syria, a
costume would have offered ition
The
between
a desirable trans-
from that of Africa to that of Asia. Unfor-
tunately the Jews have left no art
link
few specimens of the Hebrew
behind them to
assist us in
monuments of this research.
circumstance of their inhabiting the inter-
mediate tract of country between the Egyptians
COSTUME OF THE EGYPTIANS.
8
and the Syrians, however, makes
sume
that their dress and
ing
should imagine, greatly represent
to
their abode
fair to pre-
Nor
took of the character of both. artist, I
it
their buildings par-
err,
could the
who, hav-
Hebrew personages during
or soon after their flight from
in,
Egypt, should make them partly preserve the garb of those Egyptains, of
many
so
having
rites
whom
and custosns
to picture the
they retained
and who again,
;
Jews of
later periods,
and
during or subsequent to their intercourse with the nations of Syria and their captivity in Babylon, should present tors
of Assyrian
rate, the
them
as
humble imita-
pomp and manners.
At any
same deficiency of Jewish monuments,
which prevents us from ascertaining the exact truth with
regard to the cut of the Jewish
cloak, will also prevent us from being offended at
any involuntary error
offers
in this respect,
which
not a palpable deviation from Eastern
fashions in general.
19]
COSTUME OF THE ASIATICS.
1 DO
not,
Chinese,
mean
to notice the
the Hindoos, or other
more remote
under
this head,
who were hardly know hy name Greeks, who M'ere never represented on
eastern nations, to
tlie
their
monuments, and whose costume can be of
little
use to the historical painter.
to oft'er a
less distant inhabitants
name
only wish to those
of Asia, who, under the
of Medes, Assyrians, Persians, and Par-
thians, ans,
I
few observations, with regard
Amazons, Phrygians, Lycians, and Syri-
though a race
totally
distinct from
the
Greeks, had with these European neighbours
some intercourse;
and whose representations
not unfrequently recur
in their paintings
and
sculj)ture.
Of the male
aitire of the different nations in-
habiting the region
now
called Asia Minor, the
ON THE COSTUME OF THE ASIATICS.
10
prevailing features seem to have been a vest
with long tight sleeves reaching down to the wrists,
and long pantaloons descending
ancles,
nay often hanging over the
to the
and
instep,
losing themselves within side the shoes or san-
These pantaloons even clothe those mas-
dals.
culine ladies the Amazons,
whenever they are
represented on some warlike expedition at other times,
when
at
;
though
home and engaged
peaceful pursuits, they appear (as on one of
in
my
vases) in petticoats like other females.
fictile
Sometimes these pantaloons were made of the skins of animals, at others of rich and fine sues,
embroidered or painted in
stripes,
cheques, zig-zags,
ornaments.
lozenges,
Sometimes they
they hang loose, and the shoes.
The
fall in
sprigs,
fit
tis-
spots,
or other
tight, at others
large wrinkles over
vest, always of the
same
stuff
and design with the pantaloons, seems like our
modern waistcoats and
to
to
have opened in front
have been closed by means of clasps or
buttons placed at considerable distances from
each other.
Over
this vest
was most frequently worn a
wide sleeveless tunic of a different texture and pattern, clasped on the shoulders, confined girdle round the waist,
and when
by a
long, gathered
ON THE COSTUME OF THE ASIATICS.
11
up a second time by means of another ligature lower down to
;
and of this tunic the
far light
sons
still
skirts
To
about the middle of the thigh.
reached
this thus
and airy dress, aged and dignified per-
added a mantle or peplum, different
from that of the Greeks
in
being edged round
with a regular and distinct fringe, not
woven with the body of the
stuff,
inter-
but purposely
tacked on; and this studied enrichment, never observable in Grecian dresses,
is
in fact repre-
sented by Eschylus as a peculiarity characteristic
of the peplum of the barbainans, or Asiatic
nations.
The
Parthian, and other
more inland sove-
reigns of Asia, are sometimes, though seldom,
represented ontheircoins bareheaded, with their
long hair and bushy beards most finically dressed and curled. cap, rather
wider
called mitra
Often they wear a cylindrical at the top than at the bottom,
by the Greeks.
Sometimes
this
cap was encircled by a diadem, and at others loaded with different emblematic ornaments. Its
shape
is
to this
day preserved
in that
worn bv
the Armenian priests.
The Medes and to
have worn the
Persians seem
more generally
cidaris, or conical cap,
some-
times terminating in a sharp point, at others
ON THE COSTUME OF THE ASIATICS.
15
truncated, and mostly loaded with ornaments.
The
prevailing male head-dress of the Asiatics,
bordering on the Euxine and the Archipelago, appears to have been that which
known by
name of
the
generally
is
the Phrygian bonnet,
and of which the characteristic features are point or top bent flaps
this
down
forward, and
descending on the shoulders.
its
its
long
Sometimes
covering seems to have been a mere loose
cap of the most soft and pliant
;
at others
unable to
hanging down in
support itself upright, and large wrinkles
stuff,
it
appears to have
formed a helmet of the most hard and inflexible substance ing quite
— of
leather, or
stiff
even of metal
— stand-
and smooth, and enriched with
embossed ornaments. In
many of
these helmets the flaps descend-
ing on the shoulders are four in number, and
probably were cut out of the legs of the animals,
whose hide or skin formed the body of the casque.
In most of the lighter caps
discern one single pair of
flaps,
we only
which are often
tucked up, and confined by a string round
the-
crown. In the figures of
Amazons we often
beak of the helmet terminate griffin,
see the
in the bill of a
and the spine or back of the casque
rise
ON THE COSTUME OF THE ASIATICS. in
13
the jagged crest of that fabulous animal.
When
thus shaped this covering
may be
consi-
dered as a sort of trophy, worn in consequence of the defeat, and formed out of the very spoil of some of those
with
griffins,
whom
the
Amazons Minerva
are represented as constantly at war.
herself sometimes appears in a Phrygian helmet
of this species, probably when represented as
worshipped at Troy it
;
indicate the kindred
with the Trojans. to
and
on many Latin coins
—
likewise wears
no doubt, to
which the Romans claimed
This Phrygian bonnet seems
have been retained by many of the
the Byzantine emperors its
Roma
in order,
turn, again
:
and
to
officers
of
have been,
in
borrowed from these by several
of the dignitaries of the Turkish empire to
;
nay,
have travelled, during the intercourse of the
Venetians with the Greeks, as far westward as
Venice wear
where the Doge continued
to the last
it
The fore,
itself,
day of
to
his existence.
Asiatics often wore half-boots laced be-
with four long depending
flaps,
shaped like
those of their bonnets, and, like those, probably
formed out of the legs of the animals, whose skins
were converted into these buskins.
Fre-
quently eastern personages appear in shoes or slippers
;
seldom,
if ever, in
mere
sandals, that
ON THE COSTUME OF THE ASIATICS.
14
leave the toes bare,
like
those Avorn by the
Greeks. In war the Asiatics never seem,
the
like
Greeks, to have worn either breast plates or greaves, but frequently a coat or jacket, with
A
sleeves, entirely of mail.
flap
of mail fre-
quently descended from under the helmet, to protect the neck and shoulders.
The chief defensive weapon of the was the crescent
out
its
pelta, or small shield in the ;
Asiatics
form of a
sometimes with, and sometimes with-
curved side divided by a point into twin
The
concavities.
peculiar
offensive
weapons
of the inhabitants of Y\sia were the bipennis, or
double battle-axe, the club, and the
bow and
arrow, generally carried in two different partitions of the
same case or quiver.
TheDacians, though inhabitants of the European shores of the Euxine, but near neighbours to,
and probably of the same origin with the
Asiatic nations here mentioned,
deviated
little
They wore
in
their
wound
several
have
costume.
times round the
and their pantaloons very wide.
Trajan column not only soldiers
to
their shoes or soles fastened with
long strings, ancle,
from them
seem
many of
themselves, but even
On
the
the Dacian
many of
their
ON THE COSTUME OF THE ASIATICS. horses appear entirely enveloped
in
mail or covering of small scales, tact with the
body and
Avere conical,
and ended
Many
limbs.
a coat of
in close
con-
Their helmets
in a sharp spike.
of the Asiatic nations were celebrated
for their constant use and skilful
of horses
15
;
management
and are often represented as fighting
on horseback
aa:ainst
Greeks on
foot.
16
GRECIAN COSTUME.
It
precisely in
is
Grecian
attire,
body, exhibits
its earliest
in its
degree of study, and pishness.
arrangement the greatest if I
may
so call
it,
of fop-
In those Grecian basso-relievos and
which either
statues
periods that the
whether of the head or of the
Avork man ship, or tate the style of
really
which
are of verj^ early
at least profess to imi-
work of the early
ages, (for-
merly mistaken for Etruscan) every lock of hair is
divided into symmetrical curls or ringlets,
and every fold of the garment into plaits;
those
parallel
and not only the internal evidence of
monuments themselves, but the concur-
ring testimony of authors, shews that in those
remote ages heated irons were employed both to
curl the hair
drapery.
It
and beard, and
was only
in
to
later times
plait
the
that the
ORECIAX COSTUME.
17
covering, as well of the liead as of the body, was
assume a more easy and uncontrolled
to
left i]o\v.
At
first,
as appears
both from ancient sculpture
and paintings, men and
women
alike
wore
their
hair descending parti}' before and partly behind in a
number of long
flat
and zig-zagged, or of a round and cork-
screv/ shape.
A
to collect the
separate locks, either of a
little later
it
grew the fashion
whole of the hair hanging down
the back, by means of a riband, into a single
broad bundle, and only to leave
in
front one,
two, or three long narrow locks or tresses hanging
down
separately
and
;
this
ment which Minerva, fashions and formality,
quitted
;
queue was an orna-
maiden affecting old
a
never seems to have
and which Bacchus, though not ori-
ginally quite so formal, yet
when on
his return
from amongst the philosophers of India he also chose to assume the beard and mien of
thought proper to readopt.
Later
a sage,
still,
this
queue depending down the back was taken up, and doubled into a club; and the side locks
only continued nipple.
into a greater lets,
in front, as
But these
low down
also gradually
number of
hanging about the
as the
shrunk away
smaller tufts or ringears,
C
and leaving the
GHECIAN
18
COSTUAIi:.
neck quite unconfineJ and
bare.
So neatly was
the hair arranged in both sexes round
tlie
fore-
head, and in the males round the chin, as some-
times to resemble the cells of a bee-hive, or the nie^hcs of Avirc-work.
With regard innermost
to the attire of the body, the
article, that
garment which does not
indeed appear always to have been worn, but which, whenever worn, was always next the skin,
seems to have been of a light creasy
similar to the gauzes of
eastern nations
make
which
their shirts.
stuff,
to this
day the
The
peculiar
texture of this stuftnot admitting of broad folds
under garment was
or drapery, this
times cut into shapes tilting
tlie
in early
body and arms
Acry closely, and connned or joined round the neck, and
down
or stays of
the sleeves, by substantial
some stouter
tissue.
hems
But even
this
part of the attire seems in latter times to have
been worn very wide and loose round the body, and often figures cf
at the
shoulders; Mdicre, as in the
Minerva and of the bearded Bacchus,
the sleeves are gathered up in such a May as totally to lose their shape.
The cuter garment assumes
in llie figures
of
the old style an infinite variety of shapes, but secnis always to
have been studiously plaited;
GRECIAN COSTUME. SO as to
across
form a number of Hat and
its
parallel folds
surface, a zig-zag line along its edge,
and a sharp point
Though to
1^
at each of its angles.
the costume of the Greeks appears
have been more particulary of the sort just
described, at the periods
when the
Troy and of Thebes were supposed place,
and
is
to
sieges of
have takeu
in fact represented as such in the
more ancient monuments relative to those the later works of
art,
events,
nevertheless, even where
they profess to represent personages belonging to those early ages, usually array
them
in
the
more unconijncd habiliments of more recent In the male figures even of such prime-
times.
an Achiiles,
val heroes as a Hercules,
we
Theseus,
generally
find
the
f-nd
a
long formal
ringlets of the heroic ages omitted for the short
crops of the historic periods. I shall
now
enter into a somewhat greater de-
tail
with regard to the different pieces of which
Avas
composed the Grecian
The
attire.
principal vestment both of
women,
that which
men and of
was worn next the
skin,
and
which, consequently, whenever more than one different
garment were worn one over the
"was undermost, p/iTio'i';
iii
bore
in
other,
Greek the name of
Latin that of Uio^ca. It was of a l.ght
GRECIAN COSTUME.
20 tissue;
in earliest times
p'jiiods
of
with
silk,
in general
flax,
and
of
all,
wool, in later
of tlax mixed
or even of pure silk.
body was
Its
composed of two square pieces sewed Sometimes
together on the sides. sleeveless, only
arms
made of
last
to pass
it
remained
offered openings for the bare
through, and was confined over the
shoulders by means of clasps or buttons otb.or times
it
at
;
had very long and wide sleeves
and these were not unfrequently. as
;
in the figures
of Minerva and of the bearded Bacchus, gatiiered
up under the arm-pits,
so as
still
arms in a great measure bare.
to leave the JNIost
usually
however the body of the tunic branched out into a pair of tight sleeves reaching to near the
elbow, M'hich in the most ancient dresses were
with a broad
close,
seams, and in their
band running down the
stiff
more modern habiliments open
in
whole length, and only confined by means
down
of small buttons carried
placed so near the edge of the intervals to
broidered
scended to
shew the
skin.
tunics the th.e
wrists
and their
In very richly em-
sometimes
sleeves ;
the arms, stuff" as in
in others
de-
they hardly-
reached half way down the upper arm.
The
tunic was
worn by
loose, or confined
fe males
by a girdle
:
cither quite
and
this girdle
GRECIAN COSTUME. Was either drawn
tiojht
21
round the waist, or
when
Often,
loosely slung round the loins.
the
tunic was very long, and would ctheruise liive
entangled the in such a
way
underneath
was drawn over the girdle
feet, it
as to conceal
its
folds.
It
is
the latter entirely
uncommon
not
worn
see two girdles of diflfercnt widths
gether, the j_
to to-
one very high up, and the other
very low down, so as to form between the two in the tunic a
puckered interval
but this fushiou
by Diana, by
wood nymphs, and by other
females, fond
was only applied the
;
to short tunics
of the chase, the foot race, and such other martial
exercises as were incompatible
with long
petticoats.
Among
the male part of the
who,
those
like
philosophers,
austerity, abstained tunic,
Greek
nation,
affected
great
entirely from wearing the
and contented themselves with throwing
over their naked body
and even those dulged
in the
less
a
simple cloak or mantle
who
austere personages
luxury of the tunic, wore
than the Asiatic males, or than their
it
in-
shorter
own women,
and almost always confined by a girdle.
From Greek
vases
and paintings we learn
that the tunic often was adorned with sprigs, spots,
stars,
^c. worked in the ground of
tiie
CUECIAN COSTUJIE,
£2 stutf
and rich
;
round
its
edges
meanders, &c. carried
scrolls, ;
and
this tunic
as well out of doors as within,
was frequently,
worn without
In mourning,
other more external garment.
when
tlie
any-
Grecian ladies cut their hair close to
the head, they wore the tunic black, as appears
from two of
my Greek
vases, both representing
Electra performing funeral rites at the
tomb of
Agamemnon. Over
this tunic or
under garment, which was
made
to reach the
whole length of the body,
down
to the feet,
Grecian females generally,
though not always, wore
a
second and more ex-
ternal garment, only intended to afford an additional covering or protection to the
upper half
of the person. This species of bib seems to have
been composed of a square piece of stuff,
in
form
like our shawls or scarfs, folded double, so as to
be apparently reduced to half
original width
its
;
and was worn with the doubled part upwards, and the edge or border downwards next the zone or girdle.
It
was suspended round the
chest and back, in such a
came under the
down
way
arm, and
loose under the right
as the piece eith.er
left
that
its
arm
;
its
centre
two ends hung and according
was square or oblong, these ends
only reached to the hips, or descended to
GRECIAN COSTUME.
23
the ancles.
The whole was secured by means
of two chisps
orl)Littons,
which fastened together
the fore and h.ind part over each shoulder.
In later times
narrow
single
slip,
way over
short girdle,
from a square piece of
this bib,
seems to have become a mere
stuff doubled,
down
only hanging
very
a
the breasts; and allowing the
even when fixed as high as possible, to
appear underneath.
The peplum
constituted the outermost cover-
Among
ing of the body.
worn
in
the Greeks
it
was
comnion by both sexes, but was chiefly
reserved for occasions of ceremonj- or of public appearance, and as weil shape,
seemed
to
in its
answer
to
very long and ample, so
wound twice round
texture as in
our shawl.
admit of being
as to
the body
its
V/hen
—
first
under the
arms, and the second time, over the shoudcrs it
assumed the name of diplax.
cold weather
it
In rainy or
was drawn over the
other times this peculiar
Jicad.
mode of wearing
it
expressive of liumiiity or of grief, and
adopted by men and or
women when
when performing sacred
accounts
it
when going
Avas
thus
rites
;
in
At was
was
mourning,
on. both whicii
worn by Agamemnon,
to sacrifice his daughter.
This peplum was never fastened on by means
GRECIAN COSTUME.
24
of clasps or biittons, but only prevented from slipping off through the intricacy of
were the combinations
Endless
involutions.
which these exhibited see
and
in
move ingenuity exerted,
or
;
played, than in the various tlie
own
its
nothing do we
more fancy
dis-
modes of making
peplum form grand and contrasted draperies.
Indeed the different degrees of simplicity or of grace observable
were regarded
in
the throw of the peplum,
as indicating the different de-
grees of rusticity or of refinement^ inherent in the disposition of the wearer.
For the sake of dignity,
all
the goddesses of
the highest class, Venus excepted,
peplum; but
wore the
for the sake of conveuience,
Diana
generally had her's furled up and drawn tight
over the shoulders and round the waist, so
form a before
girdle,
or
Avith
Among
behind.
peplum never had,
the ends hanging
as
among
the
as to
down
Greeks the
the barbarians,
its
whole circumference adorned by a separate fringe, but only its corners loaded with little nictal weights or drops, in order to
make them-
hang down more straight and even.
A
veil
often
of lighter tissue than the peplum was
worn by
females.
appendage of rank, and
It served a^ a sign
both as an
of modesty.
GRECIAN COSTUME.
On
the
account
fiist
it
is
25
seen covering the
diadem of Juno, the mitra of Ceres, and the turretcd
crown of Cybele, and of
tical figures
tlie
emblema-
of cities and of provinces; and on
the latter account
it is
made, in ancient repre-
sentations of nuptials, to conceal the face of the
Penelope, when urged to state whether
bride.
she preferred staying with her father, or followrepresented expressing her
ing her husband,
is
preference of the
latter,
A'eil
merely by drawing her
over her blushing features.
Gods and
when
heroes,
"warlike expedition, and
travelling, or
men
or of simple manners, at
all
on some
in inferior stations
times, used instead
of the ample pcplum to wear a shorter and simpler cloak called chlamys, which
v.'as
over the shoulder or upon the chest
v/ith a clasp.
Such
the mantle
is
Apollo veller
;
and
in
we observe
many
by profession
;
in the
fastened
Belvedere
statues of Mercury, a traas well in those of lieroes
and of other simple mortals. Besides these dresses
and
stations, the
ments appropriate and
ofiiccs.
common among all
Greeks
liad certain
ranks
other vest-
to certain peculiar characters
Apollo, Miien in the
the Muses, wore in compliment to
company of tlie
modesty
of those learned virgins, a long tlowing robe
GRECIAN COSTUME.
86
similar to that of females.
Eacchus, and his
followers of boih sexes, often appear wrapped
up
in a faun or tiger skin
tinguish themselves
and heralds
;
by a short
stiff
dis-
jacket,
divided in formal partitions, not unlike the coats of arms of the
same species of personages Actors, comic and
in the times of chivalry.
tragic, as well as other persons
engaged
cessions sacred or prophane,
wore
in
pro-
fantastical
on vases and other
dresses, often represented
antique monuments.
The numerous
Greek
colourless
in existence, are apt at
sight to impress us
first
with an idea that the Grecian simple and uniform in
its
statues, still
attire
was most
hue, but the
Greek
vases found buried in tombs, the paintings
dug
out of Herculaneum and of Pompeya, and even a few statues in marble and in bronze, enriched
with stained or with inlaid borders, incontestably prove that the stuffs Avere equally gaudy in their colours
The
and varied
richest designs were
in their patterns.
traced upon them,
both in painting and needle-work.
Greatly diversified were, among the Grecian females,
the
coverings of both
Ladies reckoned
head the
among
luitra or
tlie
extremities.
ornaments of the
bushel-shaped crown, pccu-
CPECIAN COSTUME. liarl}'
affected by Ceres
27
the tiara, or crescent-
;
formed diadern, worn by Juno and by Venus; and ribands, rows of beads, wreaths of nettings,
fillets,
merable.
The
bare.
•
skewers, and
were sometimes
feet
flowers,
gew-gaws innuleft entirely
Sometimes they were only protected un-
derneath by a simple
tied
sole,
by means of
thongs or strings, disposed in a variety of elegant wa3's across the instep and around the ancle
and sometimes they were
by means of shoes or
also shielded
above
half-boots, laced before,
and lined with the fur of animals of the
feline
tribe,
whose muzzle and claws Avere disposed in
front.
Ear-rings in various shapes, necklaces
in
numerous rows, bracelets
in the forms of
hoops or snakes for the upper and lower arms,
and various other trinkets and were kept
called pyxis, from the
which
it
v.'ere in
name of the wood of
was orignaliy made
as Avell as the small oval
great request,
of casket or box,
in a species
;
and these caskets,
hand mirrors of metal,
(the indispensable insignia of courtesans,) the
umbrella, the fan formed of leaves or of feathers, the calathus or basket of reeds to hold the'
work, and
all
the other
utensil--:,
and appen-
dages intended to receive, to protect, or to set off wliatever appertained to female dress
and
GRECIAN COSTUME.
28
embellishment, are often represented on the
Grecian
fictile vases,
The men,
M'hen travelling, protected their
heads from the heat or the rain by a
brimmed hat
tied
flat
under the chin with
by which, when thrown
otf, it
broad
strings,
hung suspended
on the back.
Mercury, and heroes, on their
journies,
represented
are
There was
worn
wearing
this
hat.
without a rim,
also a conical cap,
by sea-faring people, and which
chiefly
therefore characterises Ulysses.
The same
variety in the covering of the feet
was observable among men
among women.
as
Soldiers fastened a coarse sole,
few
strings,
a plain shoe.
Elegant sandals, with straps and
thongs cut into various of
men
by means of a
round the ancle; philosophers wore
graced the feet
sliapcs,
of rank and fashion.
Crowns and wreaths of materials were
Some of
much
in
use
various forms and
among
the Greeks.
these were peculiarly consecrated to
particular
deities,
as
the
turreted
crown
Cybele, and to the figures emblematic of
to
cities;
that of oak leaves to Jupiter, of laurel leaves to Apollo, of ivy or vine branches to Bacchus, of
poplar to Hercules, of wheat-ears to Ceres, of
gold or myrtle to Venus, of
fir
twigs to the
GRECIAN COSTUME.
89
fauns and silvans, and of reeds to the river gods.
Other wreaths were peculiarly given
as
rewards to the winners in particular games.
Wild olive was the recompense
in the
Olympic,
laurel in the Pythiac, parsley in the
Nemean,
and pine twigs
in the
Other
Isthmic games.
similar ornaments, again, served to indicate peculiar stations or ceremonies. fillet
called
The diadem or
credemnon, was among gods re-
served for Jupiter, Neptune, Apollo, and Bac-
among men, The royalty
chus, and
regarcfed as the peculiar
mark of
radiated crown, formed
of long sharp spikes emblematic of the sun, and always made to adorn the head of that deity,
was
first
worn only on the
tiaras
of the Arme-
nian and Parthian kings; and afterwards became
adopted by the Greek sovereigns of Egypt and of
Sj'ria.
A
wreath of olive branches was worn
by ordinary men
at the birch of a snn,
and a
garland of flowers at weddings and festivals.
At these
latter, in
order that the fragrance of
the roses and violets with
were crowned might be more
which the guests fully enjoyed, the
wreath was often worn, not round the head, but
round the neck.
As
a symbol of their peaceful authority, gods,
sovereigns,
and heralds,
carried
the
sceptre,
GRECIAN COSTUME.
50
or hasta, terminated not by the metal point,
but by the representation of some animal or
As the emblem of their missive and
flower.
conciliatory capacity,
Mercury and
all
other
messengers bore the caduceus, twined round with serpents.
The defensive armour of the Greeks
ccnsisted
of a helmet, breast-plate, greaves, and shield.
Of the
helmet there were two principal sorts
;
that with an immoveable visor, projecting from it
like a species of
mask
able visor, sliding over
of metal.
slip
visor,
;
it
and that with a movein the shape of a
The helmet with
when thrown back
so as to
face, necessarily left a great its
own crown and
mere
the immoveable
uncover the
vacuum between
the skull of the wearer, and
generally had, in order to protect the cheeks,
two
leather
flaps,
which, M'hen rot used, were
tucked up inwards. The helmet with the moveable visor, usually displayed for the same pur-
pose a pair of concave metal plates, which were
suspended from hinges, and when not wanted
were turned up outwards.
Frequently one
more horses manes cut square
or-
at the edges, rose
from the back of the helmet, and sometimes
two horns or two straight feathers issued from the sides.
Quadriga;, sphinxes,
griilins,
sea-
GRECIAN COSTUME. and other
Iiorses,
Insignia,
51
embossed,
riclily
often covered the surface of these helmets.
The body was guarded by cuirass
;
a breast-plate or
which seems sometimes
composed of two large pieces back and the other for the ther at the sides
to
have been
only, one for the
breast, joined toge-
and sometimes to have been
;
formed of a number of smaller
pieces, either ia
the form of long slips or of square plates, apparently fastened by doublet.
The
means of
stiitls
on a leather
shoulders were protected by a
separate piece, in the shape of a broad cape, of
which the ends or points descended on the
chest,
and were fastened by means of strings or clasps to the breast-plate. Generally, in
Greek armour,
cut round at the loins
this cuirass
is
however
it
follows the outline of the
and from
it
hang down one
or
;
sometimes
abdomen
;
more rows of
straps of leather or of slips of metal, intended to
protect the thighs.
The
legs were
rising very high
guarded by means of greaves, above the knees, and probably
of a very elastic texture, since, notwithstanding
they appear very
stiff,
their opposite edges ap-
proach very near at the back of the
calf,
where
they are retained by means of loops or clasps.
Those greaves are frequently omitted, paiticu-
GRECrAN COSTUME.
32
The most
larly in figures of a later date.
shield
with abroad
flat
raised, like a
The Theban oval,
usual
was very large and perfectly circular,
ami the centre very
rim,
much
deep dish turned upside down.
shield, instead of
and had two notches cut
being round, was in the sides,
pro-
bably to pass the spear, or javelin through. All shields were furnished inside with loops,
some
intended to incircle the arm, and others, to be laid hold of
by the hand. Emblems and devices
common on
Avere as
ancient shields as on the
bucklers of the crusaders. Sometimes, on vases,
we
fictile
observe a species of apron or curtaia
suspended from the
shield,
by way of a screen
or protection to the legs.
The
chief offensive weapon of the Greeks was
the sword. It was short and broad, and suspended
from a
belt,
on the
left side, or in front.
in rank came the spear
;
at the nether end, with
ground
;
and of
this
Ne.\t
long, thin, with a point
which
to fix
species of
it
weapon
in the M'ar-
riors generally carried a pair.
Hercules, Apollo, Diana,
represented with the
bow and
and Cupid, arrows.
were
The use
of these however remained not, in afte;'-times,
common among the Greeks, as it did among the Of the quivers some were calculated
Barbarians.
GRECIAN COSTUME.
bow and
to contain both
only.
Some were
had a cover
to
dust and rain, and
They were slung means of
arrows, others arrows
square,
them
33
Many
some round.
from
to protect the arrows
many appear
lined with skins.
back or sides by
across the
a Ijclt passing over the right shoulder.
Independent of the arms for other armour
of lighter and
use, there
was
texture,
richer
wrought solely for processions and trophies amonc: the helmets belonging to this latter class
some had highly
finished metal
masks attached
to them.
The
car of almost each Grecian deity
drawn by some peculiar kind of animal
Juno by peacocks, of Apollo by
by
stags, of
griffins,
Venus by swans or
:
was
that of
of Diana
turtle doves,
of Mercury by rams, of Minerva by owls, of
of Bacchus
Cybele by
lions,
Neptune by
sea-horses.
In early times warriors
among
])y
panthers, of
the Greeks
made
great use in battle of cars or chariots drawn by
two
horses, in
which the hero fought standing,
while his squire or attendant guided the horses. In after times these bigs, as well as the quadrigae
drawn by four horses
abreast,
were chiefly
reserved for journeys or chariot races.
The Gorgon's head with
P
its
round
ci^aps,
wide
GKECIAN COSTUME.
34i
mouth and tongue drawn full
out,
moon, and regarded
as
emblematic of the an amulet or safe-
guard against incantations and
spells, is for
that
reason found not only on the formidable jegis of Jupiter and of Minerva, as well as on cineraryurns,
and
in tombs,
and breast-plates, riots,
and
in
but on the Greek shields
at the pole ends of their cha-
the most conspicuous parts'of every
other instrument of defence or protection to the living or tlie dead.
Of
the
Greek
gallies,
or ships of war, the
prow was decorated with the cheniscus,
fre-
quently formed like the head and neck of an aquatic bird
and the poop with the aplustrum,
;
shaped like a sort of honey-suckle.
Two
large
eyes were generally represented near the prow, as if to enable the vessel, like a fish, to see its
way through I shall
the waves.
not
make
this short sketch
an anti-
quarian treatise, by launching into an elaborate description of Grecian festivals. In the religious
processions of the Greeks masks were used, as
well as on their theatre, in order to represent the attendants of the god
who was worshipped.
Thus, in Bacchanalian processions, (the endless subject of ancient bas-reliefs and paintings,) the fauns,
satyrs,
and other monstrous beings are
GRECIAN COSTUME.
35
masked; and
only
human
tions
and mysteries, the winged genii are
individuals
iu initiain
the
and the deception must
same predicament:
have been the greater, as the ancient masks
were made
to
Of
cover the whole head.
masks (which together with
all
these
else that be-
were consecrated to Bac-
longed
to the theatre
chus)
there
was an
infinite
representing
abstract
feelings
Some
variety.
or
characters,
as joy, grief, laughter, dignity, vulgarity,
such
expressed in the various modifications of the comic, tragic, and satyric masks; others offer-
ing portraits of real individuals, living or dead.
The
thyrsus, so frequently introduced,
v^ras
only
a spear, of which the point was stuck in a pine
cone or wound round with ivy leaves
;
after-
wards, in order to render less dangerous the
blows given with Bacchanalian
during the sports of the
it
festival,
it
was made of the reed
called ferula. Infinitely
some
slow,
varied
were the Greek dances;
some quick, some grave, some gay,
some voluptuous, some
warlike.
mon
women
at feasts
to
have
dancing and music, called
in
It
was com-
that professed
to entertain the
guests.
As of musical modes,
so of musical instru'
35
GRECIAN COSTUME.
ments there was a great diversity.
Tlie plior-
and
niinx, or large lyre, dedicated to Apollo,
upon with an ivory instrument, called
plaj-ed
plectrum, seems, from certain
very intricate
and minute parts always recurring
in its repre-
sentations,
to
have been a very complicated
structure.
It
was usually fastened to a belt
slung across the shoulders, and sometimes sus-
pended from the wrist
to the left hand, while
played upon with the right.
The
cithara,
smaller lyre, dedicated to Mercury, and, its
body was formed of a
and
tortoise shell
or
when its
handles composed of a pair of goat's horns, more strictly called chelys,
was played upon by the
fingers.
The
bavbitos was a
much longer
instrument,
and emitting a graver sound.
To
tlicse
triangle
may be added an
;
instrument
Greeks from Eastern
the
trigonum, or
borrowed
nations,
by
the
and much re-
sembling the harp.
Independent of these instruments with cords, the Greeks had several wind instruments, principally the double flute, and the syrinx, or Pan's flute.
ments
To
these
for
may be added
certain instru-
producing mere noise, such
as
the
tympaijop or tambourine, a metal hoop covered
CRtCIAN COSTUME. with
and adorned with ribands or
skill
chiefly used in the festivals of
Cybelc
;
37 bells,
Bacchus and of
the cremhala, or cymbals, formed
metal cups and :
of wooden
of
or castagnets,
formed
Grecian architecture
I shall
tlie crotals,
shells.
With respect
to
only observe, that the roofs and pediments of
were generally very richly fringed
buildings
with
tiles
of different shapes to turn off the
and with spouts of various forms
The
the water.
to
rain,
carry
off,
Sarcophagi, ma^le to imitate the
forms of houses, generally had covers \vroi:ght in imitation
of those roofs.
Terms, orsquare Avith
pillars, first
heads of Mercury, from
only sinmonnted
whom
they derived
their name, afterwards vith those of other gods,
of heroes, of statesmen, and of philosophers, were
much used
for the division and support of book-
presses, of galleries, of balustrades, of gates,
of palings.
and
Tripods, some of marble, and with
stationary legs, others of metal and with detached legs,
made
to unliook
up by means of
liinges
from the basin and and
sliders,
were
to fold
in
great
request both for religious and for domestic purposes.;
as well as
candelabra and lamps, either
supported on a base or suspended from a chain.
To afford
repose to the frame, the Greeks had
CKECIAN COSTUME.
38
couches covered with skins or drapery, on which several persons
raised; large
thrones
;
might
arm
lie
with their bodies half
chairs with foot-stools, called
other more portable small chairs, di-
vested of arms, and with legs frequently
of elephants' tusks
and
;
finally stools
made
without
either arms or backs, but with legs imitated from
those of animals, and
made
to fold up.
Endless was the variety of Greek vases for religious rites and for domestic purposes.
Among
the most singuP'r was the rhyton, or drinking horn, terminating in the head of some animal.
These
vessels
depended
for their beauty
elegance of outline which may utensil look graceful,
ness of decoration
make
on that
the plainest
and not on that mere rich-
whidi cannot prevent the
most costly piece of furniture, where the shape is
neglected, from remaining contemptible to
the eye of taste.
39]
C
COSTUME OF THE ROMANS.
1 H E pre-eminent
dress
which distingnished them
way
as well
in
from the Greeks
the most marked as
from
tlic
Bar-
This they seem to have
was the toga.
barians,
of the Romans, and
derived from their neighbours the Etrnrians
and
it
may be
;
called their true national garb.
Rome it appears to have women as well as by the men,
In the earliest ages of
been worn by the
by the lowest orders at
home
well as
caused
as well
in
town.
it first
to
as
as well as
by the highest,
abroad, in the country as
Love of novelty probably
be relinquished by the
next, motives of convenience, by the
lower stations
and
;
women
men
;
in
and afterwards, fondness of ease
iinconstraint,
even by the men of higher
rank, when enjoying the obscurity of private life,
or the retirement of the countrv.
From the
COSTUME OF THE ROMANS.
40
unsuccessful attempts however, tus,
first
of Augus-
and afterwards of Domitian, entirely to
abolish a dress which
still
continued to remind
the people more forcibly than was wished of their ancient liberty,
it
appears that the toga
remained the costume of state and representation
with the patricians, nay, with the emperors themselves, unto the
vided splendor
;
last
days of Rome's undi-
and we may, Ithink,
assert that
not until the empire was transferred to Constantinople, did the toga
by
become
more decidedly
that
entirely superseded
Grecian
the
dress,
pallium. Inlinite
have been the queries of the learned,
whether the toga of the Romans was,
like the
peplum of the Greeks, a square piece of Avliether
it
serving a it
offered
rounded
medium between one side
off in
there
these two extremes,
straight,
the
all
in togas, in
any corners
appears
square, though in
of them
some hems or edges describing others, a
and
other
a semi-circle. To judge from the
numberless statues dressed "which
stuft';
was a round one, or whether, pre-
curved
line, I
none of
perfectly-
may be traced a straight,
am most
and
inclined
to
think the semicircular to have been the true
form of the toua.
COSTUME OF THE ROMANS. Great pains have
been taken to discover
also
Avliether the toga derived like
pallium,
the
4l
its
form on the body,
from the mere spontaneous
throw of the whole garment,
or, like
modern
from some studious and permanent con-
dresses,
trivance to model and to fasten together the dift'erent
component
No
parts.
tacks or fasten-
ings of any sort indeed are visible in the toga,
but their existence may be inferred from the great formality and its
divisions
and
little variation
folds.
displayed in
In general the toga seems
only to have formed as
Mere
it
a short sleeve to
the right arm, which was left unconfined, but to
have covered the right arm down
to the wrist.
A sort of loop or bag of folds was made to hang over the sloped drapery
were ample enough
in front,
in the
and the folds
back to admit of
the garment being occasionally drawn over the head, as
it
was customary- to do during
gious cereuionieSj and
also,
reli-
probably, in rainy
weather.
The
niateri.J
colour,
hue.
ill
of the toga v/as wool.
early ages,
its
own
Tlie
natural yellowish
In later periods this seems however only
to have been retained in the too-as of thehiirher
orders; inferior persons wearing theirs dyed,
and candidates for public
oiliccs
bleached by au
COSTUME OF THE ROMANS.
42
process.
artificial
In times of mourning the
toga was worn black, or was Priests and magistrates
left off altogether.
wore the
^oo-a/jre^e^/fif,
or toga edged with a purple border, called pretexta.
This loga pretexta was, as
bulla or small round gold
breast
as the
Avell
box suspended on the
by way of an amulet, worn by
of noble birth to the age of fifteen
;
all
youths
when both
these insignia of juvenility were deposed together for the toga without rim or border, called
the toga piira.
The knights wore
the trabea, or toga striped
vith purple throughout their triumphal entries, tirely
;
and the generals during
were clad
in a toga en-
of purple, to which gradually became
added a rich embroidery of gold.
The
tunic, of later introduction
Romans than of luxury
;
and was discarded by those who
played an affected humility, such
and others. half
among the
the toga, was regarded as a species
The
tunic of the
way down the thigh
;
as
men
dis-
candidates
only reached
longer tunics being
regarded in the male sex as a mark of efttminacy,-
and
left to
women and
to eastern nations.
inferior functionaries at sacrifices
without the toga; so did the the camp.
The
wore the tunic
soldiers,
when
in
The tunic of senators was edged
COSTUME OF THE ROMANS.
43
round with a broad purple border, called clavus
lati-
and that of the knights with a narrow
;
purple border, called angusti-clavus. I shall
here observe that the hue, denominated
purple by the ancients, seems to have runthrough all
the various shades of colour intervening be-
tween
scarlet,
crimson, and the deep reddish
blue, called purple at the present day.
The its
pallium, or mantle of the Greeks,
being
less
cumbersome and
from
trailing than the
toga of the Romans, by degrees superseded the latter in the
country and in the camp.
When
worn over armour, and fastened on the right shoulder with a clasp or button, this cloak as-
sumed the name of paludamentum.
The common people used to wear a sort of made of very coarse brown wool, and pro-
cloak
vided with a hood, which was called cucullus. This hooded cloak, always given to Telcsphorus, the
mains to
youthful companion of Esculapiu«, rethis
day the usual protection against
cold and wet with
all
the seafaring inhabitant"?
both of the islands of the Archipelago and thu shores of the Mediterranean.
The Roman
ladies
wore by way of under
garment a long tunic descending to the
feet,
and more peculiarly denominated
This
stola.
COSTUME OF THE ROMANS.
44
vestment assumed
the variety of modification
all
displayed in the corresponding attire of the Gre-
Over the
cian females. tlie
stola
they also adopted
Grecian peplum, under the name of palla;
which
palla
however was never worn among
the Romans,
may be
peplum was amonj^ the
the
as
hy men.
Greeks,
observed
This external covering, in
same
presses, displayed the
or throw at
The
Rome
tugati
as at
seem
as
Roman em-
the statues of
varieties of drapery
Athens.
have worn a sort of short
to
boot or shoe with straps crossed over the instep,
The
called calceus. at first latter
foot covering of the ladies
had the same shape
assumed
all
Grecian sandal.
;
but by degrees this
the varieties of form of the
Like
all
other nations in
whom
were combined great means and opulence wherewith to foment the exuberances of fashion, and little taste
cies,
the
through wliich to check
Romans
shapeless extravagance of -attire, as
may
of the busts of
its
prurien-
carried to a great pitch the
be seen
Roman
in
some
parts of their
the absurd head dresses
matrons, preserved in the
capital.
The Romans,
like the Greeks,
had peculiar
dresses appropriated to peculiar offices and dignities.
The Flamens,
or priests of Jupiter,
wore
•
COSTUME OF THE ROMANS. a pointed cap
oi"
45
helmet, called apex, with a ball
of cotton wound round the
The
spike.
priests
that ministered to other deities wore the infula,
or twisted
from Avhich descended on each
fillet,
side along the
neck flowing ribands.
Wreaths of various
sorts
the Romans as well as
were chiefly given ments.
The
as
were in use among
among
the Greeks, and
rewards of military achieve-
corona castrensis, wrought in imita-
tion of a palisadoe, was presented to
been the
The
first to
whoever had
penetrate into an enemy's camp.
corona muraUs, shaped in the semblance of
battlements, to whoever had been the scale the walls of a besieged city.
first
The
to
civic
crown, formed of oak leaves, to whoever had saved the
life
of a citizen
composed of the
and the naval crown,
;
rostra, or
whoever had been the
first
beaks of gal lies, to
to board the vessel of
an enemy.
When
the arts
fell
into a total decline, glitter
became the
of materials
sole
substitute
for
beauty of forms; and hence the Grecian and
Roman
portraits of the
from head
to
foot
middle ages are loaded
with pearls and precious
stones, intermixed with large cameos.
The armour of
the
Romans seems
chiefly to
have been that of the Greeks of the same
COSTUME OF THE ROMANS.
4,6
periods.
The helmet with
the fixed visor, and
which required being thrown back
in its whole,
in order to uncover the face, fell very early into disuse in the very heart of
Greece
itself j
and
Roman figures. On these the when belonging to distinguished
never appears on cuirass or lorica,
personages, genei'ally follows the outline of the
abdomen; and appears hammered out
into all
the natural convexities and concavities of the
human body. belly,
It
was often enriched, on the
with embossed figures
;
on the breast, with
a gorgon's head by way of amulet
;
and on the
shoulder-plates, with scrolls, thunderbolts,
iScc.
This cuirass was made to open at the sides,
where the breast and back-plates joined by
means of
clasps
and hinges.
One
or
more rows
of straps richly adorned and fringed, descended
by way of
protection, not only over the thighs,
but also down the upper arms. the
common
The
cuirass of
soldiers often was cut simply round,
Sometimes
this
latter was formed of metal hoops or plates,
slid-
and destitute of such
straps.
ing over each other; sometimes of small scales equally pliant; and sometimes of a plain surface
of metal or
leather.
The Roman
soldiers
wore
no greaves, but either used sandals tied with strings, or short boots laced before,
and lined
COSTUME OF THE ROMANS.
47
with the skin of some animal of which the
muzzle and claws were displayed
as
an ornamental
finish.
The Roman
shield seems never to have re-
sembled the large round buckler used by the Greeks, nor the crescent-shaped one peculiar to the Asiatics
;
but to have
otfered
an
oblong
square, or an oval, or a hexagon, or an octagon.
The
cavalry alone wore a circular shield, but of
Each
small dimensions, called parma.
legion had
its
peculiar device
different
marked on
its
shields.
As offensive weapons the Romans had a sword, of somewhat greater length than that of the
Greeks; a long
spear,
of which they never
quitted their hold; and a short javelin which
they used to throw to a distance.
Their armies
were moreover provided with archers and with slingers.
Infinite
were the variety and the magnificence
of their military insignia.
These
offered, fixed
one over the other along the poles of spears, eagles, figures of victory, laurel wreaths, banners, tablets inscribed
republic, and the
with the
number of
for libations, consecrated
initials
of the
the legion, pateras
fillets,
military and religious emblems.
and other
civil,
COSTUME OF THE ROMANS.
48
The poops of
Roman
tlie
ment the aplustrum ;
gallics
had for orna-
their prows,
spurs shaped
which they
like swords, with
hit
and destroyed
those of the enemy.
The
architecture of the
of the Greeks when on
Greeks, divested of
Romans was only
its
decline,
that
— that of the
primitive consistency,
its
and breadth, and
chastity.
stance however of
all
From the circum-
the wealth and population
of every other country flowing by degrees to
Rome,
certain descriptions of buildings, such as
circusses, amphitheatres, triumphal arches, aque-
ducts,
and baths, seem
to
have become not only
more numerous but more splendid
in that capital
of the world, than any that could be erected the small republics of Greece. at
The temples
in
also,
Rome, from the greater variety of worships,
assumed a greater diversity of shapes.
The
altars of the
Romans,
as well as those of
the Greeks, displayed a vast variety both of pur-
Some were intended
poses and forms.
ing incense only
;
for burn-
others for receiving libations
of milk or of wine; others for consuming the first fruits
of the earth
of victims.
]\fany
and erected
in
;
others for the sacrificing
were only meant for shew,
conmiemoration of some signal
event, or in gratitude for
some important
benefit.
COSTUME OF THE ROMANS.
Of
these altars
gular,
some
some square.
"were round,
They
49
some
displayed,
trian-
by way of
ornament, sculptured skulls of such animals and •\vreaths
of such
fruits
and flowers
as
were con-
secrated to the deity which they served to worship,
mixed with sacred
fillets,
instruments of
sacrifice, inscriptions, has reliefs, &:c.
Among
the sacred instruments, observable in
the processions and sacrifices of the Romans,
may
be numbered the pastoral staff which Ro-
mulus made use of districts of his
new
under the name of
to
mark out the
lituus,
different
and which afterwards,
city,
became the
distinctive
badge of honour of the augurs, who used the same
way
to
mark out
it
in
the different regions
of the heavens, when drawing their prognostics.
This
lituus,
together with the bason containing
the lustral water, the aspergillum to sprinkle
it,
the simpulura or ewer for holding the conse-
crated wine, the cotton
fillets
for adorning the
horns of the victim, the axe for slaying, and the single and double knives for cutting
it
up,
are frequently represented in bas reliefs. Ill
the
the decoration and furniture of their houses
Romans
M'ere
very sumptuous.
and gay arabescoes decorated the
Rich marbles walls,
mosaics the floors of their apartments.
E
elegant
On
the
COSTUME OF THE ROMANS.
50
ornameuts of the
triclinia or couches,
they reclined at their
mense sums.
feasts,
The curule
on which
they bestowed im-
chairs or seats of state
of the patricians were wrought in ivory prodigious
is
the
number of
and
;
beautiful utensils in
marble and in bronze, richly chased and inlaid with
silver, that
have been found among the
ruins of that comparatively insignificant provincial
city
Pompeya.
at all times to
Natives of Greece seem
have been employed
to give
and
to execute the designs, intended to display the taste
and opulence of the Romans.
The in
two
rolls
writings of these latter were contained different sorts of receptacles;
namely
in
of papyrus or parchment, called n-olumina
and on tablets of box, ivory, or metal, called codices.
When
travelling
they used to
carry
their manuscripts in a little round case, called scrinium.
[51
Before
I
dismiss
may be allowed
my
]
reader entirely,
obligations to Mr. Moses, the
has
made
ings.
I
beg
the pleasure of expressing
young
artist
the engravings from most of
I
my
who
my draw-
Those especially that have been trans-
ferred on copper in the most superior manner.
In shadowed engravings, offering figures sur-
rounded by accessories and back-ground,
a small
portion only of the collective merit of the whole
performance depends on the peculiar excellence of the principal outline. that outline
is
Other objects by which
obscured or confused, such as the
darkness of the shadows, and the flicker of the lights,
prevent both
its
beauties and
from becoming very prominent of engraving.
Hence
it
its
defects
in this species
may be executed more
mechanically, by artificers themselves less skilled in drawing.
Not
so engravings in
mere
outline, destitute
of shadow, of accessories, and of back-ground.
In these every part of that outline stands as
were by
itself,
it
unassisted and undisguised, in
the fullest light, and in the most prominent situation.
tively add
In these, whatever does not posito
the merit
of the performance,
[52 positively detracts
from
]
In these no part re-
it.
mains indifferent, none can be slighted.
In
these not a single unmeaning, or tame, or even superfluous stroke
of the graver can remain
concealed, or can
become perceptible without
immediately offending the eye, and producing deformity.
Of
this species
of engraving, consequently,
no part can be executed mechanically, or by ferior hands. artist
skilled
in
drawing, and uniting with a
correct eye a free and masterly touch.
many
artists,
in-
Every stroke here requires an
Hence
deservedly applauded in shadowed
engraving, would appear very contemptible in
engraving is
in
mere outline
;
and
this
probably
one of the reasons why, among the great
number
of copper-plate engravers employed on
different works, I have found so few willing or
able to engage in mine
has not a
little
—a
encreased
completion, and has even
circumstance which
my
difficulties in its
made me
stances, unskilled as I was, take
myself, and etch a few plates.
in
some
in-
up the graver
.
LIST OF THE PLATES IN
THE FIRST VOLUME.
No. 1.
Egyptian dresses.
2.
Egyptian priest and priestesses.
3. Egyptian priest
and
priestesses.
4. Egyptian liead-dresses 5. Egj'ptian priests
and harp.
G. Egyptian capitals 7.
Egyptian
8.
Egyptian temple.
9.
Egyptian
and bases of columns.
capitals.
priest.
10. Egj^Jtian female. 11. Isis, with her sistrum.
monuments near bow and javelin.
12. Fronts of sepulcliral 13. Parthian, with his
Persepolis.
14. Persians. 15. 16. 17.
Armenian and Parthian monarchs. Heads of Parthian, Persian^ and Armenian kings. Dacian and Phrygian helmets, standard, &c.
18. Phrygian helmet 19.
Amazon.
and
vases.
— Dacian king. —and
Paris.
20. Phrygian shields, quivers, and bipennes. 21.
Heads of Amazon,
Paris, Trojan, Phrygian,
— Hyppolita.—and Deinomache. Phrygian, Sarmatian. — Vesta. —
22. Theseus.
23. 24.
attired for religious rites.
Paris.
25. Syrian lady.
26. Dacian warrior on horseback. 2738.
Amazon, carrying her battle-axe, Amazon, carrying her javelin.
29. Phrygian lady.
and Roma.
LIST OF
THE PLATES.
No.
30. Phrygian armour, &c. 31. Atys. 32. Phrygian.
33. Asiatic monarch. 34. Dacian king. 35. Dacian king.
36.
Amazon.
37. Etruscan attire. 38. Etruscan warriors.
39. Etruscan warriors and archer. 40. Etruscan attire.
41. Etruscan warriors. 42. Etruscan male and female attire. 43. Etruscan helmets and head-dresses. 44. Etruscan attire and warriors. 45. Etruscan elder and youth.
46. Etruscan warriors.
— Juno. —and Jupiter, in the old Greek — Diana— and Venus, in the old Greek
47. Minerva. 48. Mars.
— Hebe — and —Indian Bacclius— and Juno.
allegorical figure.
49. JNIercury. 50. Minerva.
stile.
stile.
51. Grecian ladies in the old style, &c. 52. Procession of priestess and her attendants. 53. Grecian females. 54. Grecian priestesses performing libations.
55. Bacchus.
—
Priestess
— and
priest, in the old Greek attire.
56. Various busts of the Indian Bacchus. 57. Priest of Bacchus. 58.
Nymph,
in the old style of attire.
59. Grecian female.
60. Grecian female. 61. Diana.
62. Grecian female. 63. Grecian female. 64. Grecian female. 65. Grecian lady.
LIST or
THE PLATES.
No.
66. Greek vvaiiior.
67. Greek warrior. 68. Greek warrior.
69. Greek herald. 70. Greek warrior. 71. Greek warrior.
72. Priestess. 73.
Greek
warrior.
74. Minerva. 75. Various helmets. 76.
Theban
shield
and bow
cases.
77. Grecian female. 78. Grecian victor in the chariot race. 79. Greek car or chariot. HO. Grecian warrior in his travelling dress.
81
.
82.
Squire or attendant on a Greek warrior.
Female with
lyre
and plectrum.
83. Erato.
84. Greek warrior. 85. Greek warrior.
86. Grecian helmets.
87. Musical instruments of the Greeks. 88.
Female
flute-player.
89. Bacchanalian implements. 90. Bacchanalian, reclined ou a couch. 91. Bacchante, with the rod of sesamuin. 92. Bacchante, sounding the crotals. 93. Bacchante, carrying the thyrsus. 94. Priestess of Ceres.
95. Bacchante, carrying the sacred 9i>.
Bacchante, carrying
fillet.
torclics.
97. Female dancer. 98. Grecian head-dresses. 99. Grecian youtii, crowned at
100. Muse. 101. Priestess of Ceres.
tlie
games.
LIST OF
THE
PLATES'.
No 102. Greek warrior. 103. Greek warrior. 104. Eneas.
105. Ceres. 106. Greek female.
107. Greek philosopher. 108. Ceres with the niitra
— and Grecian head-drssses.
199. Clio. 110. Greek philosopher. 111. Victorious warrior, descended from his car. 112. Apollo.
—Minerva. —Jupiter.
113. Lyres.
114. Amazon.
— Minerva
pacifera.
— Venus
pacifera.
Spartan virgin. 115. Jupiter.
116. Grecian females. 117. Greek poet. 118. Grecian female, with a casket.
119. Grecian female, going to perform funeral 120. Electra, in mourning for Orestes.
121. Grecian female. 122. Diana.
123. Jupiter. 124. Diana.
125. Grecian lady. 126.
Theban
shield
and quivers.
127. Bacchanalian group. 128. Greek youth.
— Philosopher — and damsel
129. Greek females. 130. Various Grecian helmets.
rites,
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COSTUME THE ANCIENTS. Price Two Guineas, Boards.
COSTUME THE ANCIENTS.
THOMAS
HOPE.
IN ^ wo VOL UME S. VOL.
A
II.
NEW EDITION ENLARGED.
LONDON PRINTED FOR WILLIAM MILLER, ALBEMARLE-STREET BY W. BTLMER AND ST.
CO.
JAMES'S.
1813.
;
CLEVELAND-ROW,
LIST OF THE PLATES IN
THE SECOND VOLUME.
No. 131. Grecian head-dresses.
132. Females dancing. 133. Females dancing.
134. Grecian ladies. 135. Greek shield, and other armour. 136. Greek combatants, separated by a herald. 137.
Lady
seated, with her umbrella,
&c.
138. Female utensils and trinkets. 139. Warrior.
—Diana. — Minerva.
140. Greci;in head dresses of the kind worn by Ulysses,
and Grecian helmets. 141. Minerva with the diplax.
142. Dat.aid. 143. Grecian female.
144. Euterpe. 145. Greek female. 146. Cybele. 147. Ceres.
148. Diana. 149. Dioiuedes.
150. Ceres. 151. Neptune. 15l'.
Grecian and Syrian helmets.
153. Ceres.
154. Jupiter. 15.5.
Erhto.
156. Grecian trumpeter. 1
7-
1.S8.
."iii^culapius.
Minerva.
!59. Helmets of Minerva, of
Roma, and of Grecian hero
LIST OF
THE PLATES.
No.
160. Telespliorus.
—Hygeia.
161. Grecian female. 162. Grecian head-dresses. 163.
From
a painting at Herculaneum.
164. Juno Lanuvina. 165. Different Ptolomies, and their Queens.
166. Grecian head-dresses. 167- Bacchus. 168. Grecian scrolls.
169. Greek
fictile vases.
170. Greeii females. 171. Bacchanalian personages.
172. Muse.
—Greek
terra cottajug.
—
Ceres.
173. Bacchanalian personages. 174. Grecian head-dresses. 175. Bacchanalian.
— Mercury. — Bacchante.
176. Greek shields, and other armour. 177' Grecian helmets. 178. Grecian female. 179. Grecian female. 180. Bacchante dancing.
181. Juno, wearing the diplax. 182. Greek poet.
183. Diana. 184. Grecian female.
185. Grecian female. 186. Grecian female.
Ammon. — Neptune. — Cybele. — Minerva. — Apollo, and Mercury.
187. Jupiter
188. Grecian female. 189. Grecian female.
190. Grecian female. 191. Jupiter.— Juno.
— Apollo. — Minerva. — Hcrcuks, and
Bacchus. 192. Musical instruments.
193. Grecian female.
LIST OF
THE PLATES.
No.
194. Grecian female. 1
95. Females dancing and playing on the lyre.
196. Jupiter. 197. Juno. 198. Diana.
—Ceres. —Venus.
199. Scenic masks.
200. Musical instruments. 201. Grecian females. 202. Grecian lamps, candelabra, and other utensils.
203. Torches, tripods,
cista, pyxis,
&c.
204. Grecian peasants. 205. Grecian biga and candelabra.
2C6. Grecian females. 207. Muses, Diana. 208. Marble chair of Potamos.
209. Dancing 210. Venus.
girls.
— Muse. —Diana.
211. Apollo Musagetes, Diana succincta, Ceres. 212. Minerva. 213. Comedian. 214. Grecian female.
215. Canephora. 216. Grecian female. 217. Grecian lady. 218. Tripod, candelabrum, chair, &c. 219. Grecian female. 220. Diana succincta. 221. Greek vases.
222. Itinerant sanctuary. 223. Grecian heads. 224. Reception of Bacchus. 225. Gorgons. 226. Vases, pateras, lamp, &c. 227. Chair of state, &c.
228. Greek lady. 229. Apollo Musagetes.
LIST OF
THE PLATES.
No.
266. Pontifical insignia, and instruments of sacrifice. 267- Sacrifieal instruments.
268. Candelabrum, altar, and tripod. 269. Lectisternium. 270. Fasces and curule chair.
271. Triumphal car.
272. Mile-stone.
— Cage of sacred
pullets.
— Naval column.
273. Altar and sarcophagi. 274. Altars and sarcophagus. 275. Chair and tripod.
276.
Roman
study.
277. Lavacrum or bath. 278.
Roman
279.
Iiifcria
sarcophagus and
and Etruscan
280. Poops and prows of
28 1
.
altars.
altars.
Roman
gallies.
Poop, prow, anchor, and rudder of
282. Sacrlficator.
—
Priest.
Roman
galley.
— Camillus.
2S3. Tribunes.
284. Senators and knight. 285. 286.
Roman Roman
dresses.
empresses.
287. Flamen.
— Emperor crowned
lena.
—Emperor —Empress He-
with laurel.
in the character of Frater arvalis.
— Emperor Constans.
288. Gloves worn by pancratiasti, and military buskins.
289. Different buskins and sandals. 290. 291.
Roman Roman
buskins and sandals. cuirasses
and jacket worn by the night watches
of the capitol.
Roman cuirasses. Roman soldiers. Roman soldiers. Roman officer. Roman armour, and standards. Roman standards, shields, and battering ram.
292. Dacian, Imperial, and 293. 294.
295. 296.
297.
298. Sarcophagi. 299.
300.
Roman Roman
columbaria.
columbaria
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