Greek Dresses for Themselves

G R E E K D R E S S

A ST UDY OF THE COSTUMES WORN IN ANCI N G C F OM FEE-H LL NI C E T REE E, R E E TIMES TO THE HELLENISTIC AGE

BY ETHEL B ABRAH AMS, MLA.

WITH ILLUSTRATIONS

LONDON J N MU AY ALB MA L S W OH RR , E R E TREET, . 1908

P R E F AC E

Tm; object of this book is to give a continuous account of the dress worn by the people inhabiting reek an s from the ear est t mes of w c we G l d , li i hi h h o the e en c T ave an y record down t H ll isti age. he

ﬁrs t c a ter stan s somew at a art from the rest h p d h p , sin ce it deals with the costume of the race which occupied the E gean shores before the real H ellenic races arr ve on the scene and of w c w i d , hi h e have a bundant remains in Crete a nd elsewhere withi n

ma n the E a n area. The re ns fou at M cenz g i d y , r ns and ot er so-ca e M cene an s tes seem Ti y , h ll d y i ,

to be the as t efforts of t s n c v zat on w c l hi dyi g i ili i , hi h was replaced in the period of invas ion and conques t

r o reco ded in the H omeric p ems . I have been una ble to trace any conti nuous development from the dress of this pre- H ellen ic people to that of

class c reece a nd the ma r e fference in the i G , k d di type of cos tume between the two periods bea rs out

or f a ffer nce of rac the the y o di e e. 1 have endeavoured to show that the dress described in the H omeric poems is of the same t e as the ress of c ass c reece and o f t s yp d l i G , hi a ve traced the stor c eve o ment c ass f n I h hi i d l p , l i yi g v1! viii PREFACE

it nto two ma n v s ons name or c and on c. i i di i i , ly, D i I i The simple and severe Doric dress contrasts with the more uxur ous costume of the on an ree s l i I i G k , a t ou there are man nstances from the ﬁft l h gh y i , h c ntur and onwar s in w c the two st es a re e y d , hi h yl

I ave note a so the e ements w c blended . h d l l hi h probably came in from N orthern Greece ; these

c m s and are chieﬂy the hla y petasos . The bulk of the followi ng pages constituted a thes is approved for the degree of Master of Arts

h n r f on on I n rev s n h in t e U ive sity o L d . i i g t e wor for the ress owever some a terat ons and k p , h , l i

The c f f s s additions have been made. hie o the e i the addition of the section on the toilet ; the illustrations have been carefully selected from

extant monuments .

My sources for the chapter on pre- H ellenic

h ﬁ n f M r a n a n t e s o r A . d ess h ve bee m i ly d J.

vans at nossos w c had the o ortun t E K , hi h I pp i y of seeing in the Candia Museum ; these have been su emente the ﬁ ures foun at Petsofa in ppl d by g d ,

rete and var ous M cenaean o ects nota C , by i y bj , bly r n s and ms The a ers u s e M r i g ge . p p p bli h d by

' ans and Mr M res in the E r ins/z S c/zool v . E J L . y

Annual a f r rea t v h ve been o ve y g alue.

For the c a ter on omer c ress m c ef h p H i d , y hi authority has been the poems themselves ; in the a sence of contem orar monumen ts ave use b p y , I h d the ran o s vase to ustrate t s sect on s nce F c i ill hi i , i the ﬁgures upon it seem to tally most closely with the escr t ns r s un in the oems Of d ip io of d es fo d p . PREFACE ix

modern terar aut or t es the mos t va ua le has li y h i i , l b

' ' ’ ’ been S tud niczka s Beztr zzg e zur Gescbzd te def

' AIt n ecb{ um Tr bt g ac .

For the dress of the c assi er od the l p i ,

evi ence from extan t art is a un an t and av d b d , I h e

as s u c e u n i cu u b ed my t dy hi ﬂy po t. S lpt re and vase -pa in tings have furn ished the majority of my

a n illus trations. I h ve oted ma ny references to

d ress scattere u and own the anc ent aut ors d p d i h , and a passage from the ﬁfth book of Herodotus has furn ished a starting- point for the classiﬁca

ti n n t or nd o i o D ic a I onic dress . “ My theory as to the shape and cut of the hima tion worn by the archaic ladies in the

Acro o s Museum at At ens is t n a new p li h , I hi k, one ; it is based on a very careful examination of the statues su emente some ract ca , ppl d by p i l

r m ts in ra n a v n m expe i en d pi g li i g odel .

For the sect ons on ea - ress mater a s and i h d d , i l , foot ear ave referre to assa es in anc ent g , I h d p g i literature and ave use extant rema ns for , h d i

u tra t ons c e vase- a nt n s exce t in the ill s i , hi ﬂy p i i g ; p u se of ma ter a s for w c ave c te the actua i l , hi h I h i d l fra gments of fa bric found in Greek tombs at m ertc in the r ea . K h, C i

In escr n n iv ua arments ave in d ibi g i d id l g , I h ea ch case suggested dimensions and given dia

rams w c it is o ed ma be of ract ca g , hi h, h p , y p i l use to those who wish to make Greek dresses for themselves. hrou out the wor in a d t on to anc ent T gh k, d i i i 6 PREFACE aut or t es ave consu te the var ous art c es h i i , I h l d i i l

h c rren cl ct onar ese nc u in t e u t ass ical di i ies . Th i l de

’ ‘ aul - Wissowa s R eal E ne elo cidze Batem er P y y p , b g ’ and S aglio s Dictionnair e des A n tiqnites g r ecques ’ et r omaines Sm t s Dictiona r o Gr eek an d , i h y f

’ Roman A nti uities ar ner and evons M anna! q , G d J

Gr eek A nti uities and the Com an ion to Gr eek qf q , p

S t dies u . Ot er wor s to w c s n e references h k , hi h i gl

av n m are m n n in h f tn s e ee a e e t o e t e oo ote . h b d , i d

I n a t on to wr tten aut or t es ave te ddi i i h i i , I h ceived personal help from several scholars and fr en s to w om s ou e to ex ress m i d , h I h ld lik p y

n tha ks .

I n the ﬁrst ace s ou e to ac now e e pl , I h ld lik k l dg my indebtedness to the Reid T rus tees of Bedford

o e e who e ecte me to a e ows in 1 0 C ll g , l d F ll hip 9 5 , w c ena e me to wor for m secon e ree hi h bl d k y d d g , and to spend some mon ths in Greece as a student

f th ns o e B ritish S chool at Athe . The s uggestion that a thesis on the subject of Greek Dress migh t be of some val ue beyon d

t n me r w s du o M r A et a e ee a e t . . oo g i g d g , B C k, of am r e un er w om had a rea wor e C b idg , d h I l dy k d for t ree ears at e for o e e and whose h y B d d C ll g , constan t readi ness to s timulate my lea ni ngs towa rds Arche ology encouraged me to conti nue my s tudies i a r ct M r o v r n rea this n th t di e ion . C ok e y ki dly d wor in manuscr t for me a nd ave me the beneﬁt k ip , g

f his cr t c sms w ea a so to o . o e a ver reat i i i I y g d l , l ,

rofessor rnest ar ner of U nivers it ol e e P E G d , y C l g ,

n w n re u a r n o M . A o ose . courses a tte e L d , h I d d g l ly PREFACE xi for two ea rs and from w om constan t rece ve y , h I ly i d

n help and guida ce.

W le in At ens evote m attent on c e hi h , I d d y i hi ﬂy to the dress of the archaic statues in the Acropolis

M useum and had the O ortun t of scuss n , pp i y di i g thi Mr R n s su ect w t . . osa uet t en rector bj i h C B q , h di

f t mus a s r o he B ritish S chool . I t l o thank H er

ritz Ro r the erman scu tor who ac F h ig, G lp , pl ed his stu o in At ens a t m s osa and rocure di h y di p l , p d a mode for me for the ur ose of ma n m l , p p ki g y ﬁrs t experiments in reprod uci ng the archaic style of draping the himation .

S a ac now e men ts a re du Mr A peci l k l dg e to . J.

M r s a nd the mm t va ns Mr . . e o t ee of the E , J L y , C i

Br t s S c oo at At ens for t e r courtes in i i h h l h , h i y allowing me to reprod uce subjects published by them in the Br itisk S ckool A nnna l to the Trus tees

of the r t s M useum for erm ss on t s cur B i i h , p i i o e e photographs of objects in the M useum for publica

t on to Mr ec S m t for v n me free access i ; C il i h , gi i g to the library of the Department of Antiquities ;

cu a M . w w and art r to r . alters ho en t , p i l ly, H B W , t rou the ustrat ons w t me a nd reatl h gh ill i i h , g y

a d the tas of cur n su n fa cilit te k se i g itable o es .

astl m ratefu t an s are due to Mr o n L y, y g l h k Jh

Murra for un erta n to u s the oo and y, d ki g p bli h b k ,

A a am Murra for his n tan Mr . . c s t to H H ll y, o courtesy and assistance during the progress of

n the work of publicatio .

A . E . B .

CONTEN TS

— - 1. l m onvcr iou Ps n H u w mc

l l . H om rc

l l l . Dos ic

v m l . lo c

— v. Tue Mu nsus or m e Acs orou s Tuz Dnvn or

um or run l omc H mu xou

Ma ’ VI . m u t s u rn ORNAMENTAH ON

V Ham u rn H - l l . m u n ums .

Vl l l . Pomon a

e m — u 1x. Tu Tor Coucw sro

Eucu su l unsx

Gm : l une:

LIST OF ILLUSTRATION S

— J i . x F g . C upbu rer of Knossos f Fi s a and —Snahe Goddess and g 3, Votary V i — F g . 4, m of a Dancing Girl

— ' s Statuette ﬁ om Petsofa . — ’ Fi . tudni ka r g 6. S cz s Diag am . — — 0 - Fi . . a ase British M 6 d g 7 ( ) V useum. ( an e) Vase paintings b Klitias and Er otimos Flor y g , ence f ace

i 8. From the Fran is F g. co Vase — Fi . Dia n m of the Doric Pe los g 9, g p I — Fi . to Meto e from the Tem le of l n g p p e s, at Olympia ‘ 0 i t —B z m H erculan F . t ron e Statue fro u g . e m, Naples Fi u — ase- aintin —British Museum g . . V p g J Fi 1 — ase- aintin in the Pol notan St le—Louvr g . 3 V p g yg y e i x — ase- aintin b Hieron—British F g. g V p g y Museum — - — Fig. ry Tu n cotta Statuette British Museum — - — i . 1 a inti b Euxitheos B ti F g 6. V se pa ng y ri sh Museum 1 — a - aintin b Falerii—R m ll Fi . . se o e i a Giulia g 7 V p g y , V

« 1 1 8.—A h of elletri t na Fig . e V

' t —B s —Briti h J Fig . a ron e Stamens s Museum

J i — - tin —British Museum F g. aa Vase pain g ‘ ‘ I — i H imation Fig. ar. l he Dor c

— a - aintin b Eu hroni —M Fig. n V se p g y p os unich ‘ ' a —I he Chlam s and Petasos Fig. 3. y —Dia ram of the Chlam s Fig. u g y I Fi a — ase- aintin from Lucania—British Museum a e g. s. V p g f r —Dia ra of the I onic Chi Fig. nut g m ton xvi LIST OF ILLUSTRATIONS

i o Di ram of the Sleeved Chiton with Overfold F g. 3 . ag

— Archaic Statue—Athens Acro olis Museum I Fig . 3 r. , p 2 —Archaic Statue— Athens Acro olis Museum Fig. 3 . , p —Dia ram of the Archaic I onic H imation Fig. 33 . g —Dra er in the St le of the Archaic Statues in the Fig. 34. p y y i useu Acropol s M m, Athens

J — ase- aintin — British Museum Fig. 35. V p g

— - - V Fi 6 . ase aintin i onic Dress g. 3 V p g 4 — The Art mi of Gabii—Lo vre Fig. 37 . e s u

— - — 8. s aintin Dress with two Overfolds I Fig. 3 Va e p g i - r m ar us Cover from Kertch F g. 39. F ag ents of a S cophag

—Embroidered Fra m nt from K rtch Fig. 40 . g e e . Fi 1 - a and 6 Fra ments of a Sarco ha us Cover from g. 4 ( ) g p g K rtch Embroid Fra ment from K rtch e . (e) ered g e ’ Fi 2 — n 3 H dress—Ar h ic g. 4 . Me ead c a

Fi - a H ea d of A ollo from the Tem le of l ens at g. 43. ( ) p p , Ol m ia 6 H h t —A Acro y p . ( ) ea d of an At le e thens polis Museum Fi -Archaic form of Petasos g. 44. ’ Fi —Women s H ead-dress g. 45. - l o Fig. 46. Sanda s and Sh es i —Boot F g. 47 .

— a A Bro in th B h use m 6 Foot f the Fi nze e ritis M u . o g. 48. ( ) ( ) H ermes of P raxiteles (from a cast in the British - Museum) . (a) A Terra cotta Flask in the British Museum f ace 1 1 8

— ndals 1 1 Fig. 49. Sa 9

i 0 —Dia ram of an Ar ballos 1 2 1 F g. 5 . g y

Fi ! —Dia ram of a Lek thos rz g . 5 g y . r

Fi 2 — a A P xis in the Bri tish Museum 6 A Toilet g . 5 . ( ) y . ( ) box in the British Museum

Fi — a Bronze Box Mirror—Bri ish M um g . 53. ( ) t use . (5) Bronze S tand Mirror—British Museum

Fi —Dia ra of n Ala a n g . 54. g m a b stm G R E E K D R E S S

I NTRO DU CT I ON

H I E-HELLEN IC

In seeki ng to conjure up a vivid picture of the life of an anc ent eo e it is the tas of the arc ae i p pl , k h ologist to neglect no point that can in any way throw ligh t on the manners and customs which t a t eo e ract se from da to da ot in the h p pl p i d y y, b h exercise of their public duties and in the privacy of their own om h es. Jus t as the habi ts and dress of an individual frequently give a true impression of his character and t e of m n so the sa ent c aracter st cs of yp i d, li h i i a na tion are reﬂected in the external deta ils of

r nn tum I n ma n thei ma ers and their cos e. ki g a carefu stu of the ree s t erefore w ose nnate l dy G k , h , h i

fee n for eau was art of t e r ver e n and li g b ty p h i y b i g, whose sense of the ﬁtness of things rarely if ever

a e t em fa se we s a ex ect to ﬁnd our pl y d h l , h ll p efforts am re a ot the sat sfact on ven ply p id , b h by i i gi to the a thetic sense and by the knowledge we A 2 PRE-HELLENIC shall have gained of the developmen t of the nat ona charac r o me has te . The stu of c stu i l dy , moreover an et no o ca s n ﬁcan w c in , h l gi l ig i ce hi h

tse f ust i l j iﬁes a detailed investigation of the subject.

rofessor R ewa in Tke E ar A e P idg y, ly g Qf

Gr eece has o nte out t at the c v zat on , p i d h i ili i reﬂected in the H omeric poems differs in many essential poi nts from that which is revealed by the monuments found at Mycene an sites on the ma in

n f r c a nd in th E an n Con la d o G ee e e ge isla ds. ﬁ rmation has since been added to his convincing a rguments by the discoveries of M r Arthur Evans in rete w c rove t at the so-ca e M cenaean C , hi h p h ll d y remains were but the last efforts of a dyi ng civilization which stretched back at least as far Th as the third millennium before our era. e culture revealed by the excavations at K nossos and other sites in Crete presents a striki ng con trast to that of the Greeks of the classic period ; wherea s the s tate of society described in the H omeric poems seems to contain analogies with

r both pe iods. The palace of Alci nous and the house of

sseus as escr e in the Od sse corres on Ody , d ib d y y , p d in plan to the palace of Mycenae excavated by

r Arc aeo o ca S oc et in 1 886 w c the G eek h l gi l i y , hi h undoubtedly belongs to the older stratum of civi

on the ot er an the met o s of dis lization h h d, h d

L. M r s ournal o H ellenic S tadtler vol. xx. C . also for J. y e , j f , p , ” ’ ’ rinci les of r und lan The P alace at Knossos Bn txsk general p p g o p , ,

S elrool Annual, Vl l l .

4 PRE-HELLENIC

H omeric dress is closely aki n to that of the Greeks

c ass c er o w ereas t a t re resente on of the l i p i d , h h p d

n n and ems e on s as w be Mycenaea ri gs g b l g , ill

w a ter to the stratum of c v zat on revea e sho n l , i ili i l d ‘ n W must su h r tan excavat o s. e ose by t e C e i pp ,

en t at the omer c eroes e on e to the th , h H i h b l g d

nva n race w c was fu of out fu v ur i di g , hi h ll y h l igo and succeeded in superimposing its manners and

customs u on t ose of the o er eca en t soc et p h ld , d d i y, and in ﬁnally ousting the older i nhabitants from

et er The r c s w their homes altog h . p o e s as one

c must ave aste over some centur es and whi h h l d i , it is probable that the H omeric poems were com

ose w st it was st l ncom ete and t at the p d hil i l i pl , h siege of Troy represents one incident in the long

wars w c were wa e etween the two eo s hi h g d b p ple . This view accounts for the fact that the H omeric

ouse e on s to the o er c v zat on w h b l g ld i ili i , hile the

costume is t at of the a ter. The nva ers av h l i d , h i ng con uere or r ven out the n a tants ﬁn q d d i i h bi , di ng their houses s trongly built and l uxuriously

ecorate wou refra n from estro n t d d , ld i d yi g hem and settle themselves pea cefully and comfortably t ere natura reta n n t e r own st e of r h , lly i i g h i yl d ess

om f d s s n of t e r e An and cust s o i po i g h i d ad . y new houses built a fter their settlement would be con structe after t e r own ans and so the omer c d h i pl , H i

ous wou ra ua ve ace to the e en c h e ld g d lly gi pl H ll i . The absence of brooches and ﬁbula; from the graves on the Acro o s of M cena and t e r resence in p li y , h i p

' ’ ‘

C Bu ol n e kxn ke k kte vol. i. 2nd d . cha . i p. s t, G e Gese ze , , c , p . MEN‘S DRESS 5 those of th ower c t a s conﬁrmat on to t s e l i y, dd i hi t r The Acro o s raves are ea r r n th heo y . p li g lie tha e others w c in all ro a t e on to the t m , hi h p b bili y b l g i e when the invaders had already imposed some of their characteristic customs upon their predecessors

s w re in r h us of at Mycenae and el e he G eece. T e e the ﬁbula is common to the early peoples of

Cen tra uro e from w c re on it must ave l E p , hi h gi h been introduced by the Achaean i nvaders i nto ‘ Greece. The earlies t remains found on Greek soil are

o n un ar Mr th se which have bee e thed by A . J.

vans in his ser es of excavat ons at nossos in E , i i K , t e re resent ea r er s ta es o f t at Cre e. Th y p li g h civiliza tion which has hitherto been known as

m n The costume revea e the art of Myce . l d by th s re- el en c a e forms a stu in tse f s nce i p H l i g dy i l , i it pra ents a striking contrast to that of the classic er od in reece and a so to t at of contem orar p i G , l h p y a les The costume of the men is Asi tic peop . sim le w en not ent re nu e t e wear some p ; h i ly d , h y a wa st-c ot rol e roun a r e w t a times i l h l d d gi dl , i h loose end hanging down like an apron in front in a lead statuette of the same period found near

A a in acon a the wa st-c ot a ears to ta e bbi , L i , i l h pp k the form of a triangular piece of material wrapped

nd the rd e the a ex of the tr an e e n rou gi l , p i gl b i g drawn up between the legs and tucked i nto the

6 ( E ri k E uropa , pp. 95, 9

1 Cu bearer of Knosso C . 3 130 Va hio CO em Fig. , p s. p , p P. g s,

and Chi ies I . 3 6. at . Parrot p , V , 4 6 PRE-HELLENIC

i f I n som - belt n ront. e terra cotta ﬁgurines from l Petsofa a t r arment a ears cons st n f a , hi d g pp , i i g o rectangular piece of material wi th the long s ide tucked i nto the belt all round and the short sides

an n own er en cu ar in front I n th h gi g d p p di l ly . e ater M cenaean er o the arment ta es th form l y p i d, g k e of s ort reec es reac n a f-wa own the t h b h hi g h l y d high . These are probably a development from the ea rlier ‘ w st- ot ai cl h . I n most cases the upper part of the body a ears to be u te are but in some nstances a pp q i b , i line is drawn at the neck and wrists which may

n c t the e es of a c ose-ﬁttin on -s eev d i di a e dg l g, l g l e

mor r w tun c. It is e o a e o ev r t at t ese i p b bl , h e , h h lines are meant to represent a necklace and brace

ets suc as ave een foun in cons ra e l , h h b d ide bl num ers in M cenaean raves On a s e e sc ne b y g . i g e represented on a fragmen t of a silver vase from ‘ M cena the ma or t of the ﬁ t n warr ors re y , j i y gh i g i a represented quite nude ; but in one case (at the lower right-hand corner) a tun ic and head-d ress a re worn but in this i nstance the tunic has sleeves reac n on a f-wa to the e ow as is a so the hi g ly h l y lb , l case w t the n a tants who are watc n i h i h bi , hi g the progress of the battle from behi nd the city wall ; tyr ﬁ ures w c a ear to be ust eav n the c t o g , hi h pp j l i g i y, wear square cloaks fastened on the right shoulder and leaving both arms free ; they do not appear to

' Britts/l l nnual IX l ix nd S ekoo A , , p s. . a x. D r blad from M cenm P rr i i I a e e . e ot and Ch ez l. gg y p , V . , p ii xvi ., 3 . 3 Perrot and Chi iez I . ﬁ 6 p , V , g . 3 5 . FOO'IG EAR 7 be ﬁ t n and ro a re r nt r gh i g, p b bly p ese he alds about to ma e so r0 osal to h n m k me p p t e e e y. The cover ing here described as a cloak has been regarded as representing an oblong shield (61m but in view of the fact that the men carry no weapons and that ot arms are ex ose it seems more reason b h p d ,

o i n Th a ble t suppose that a mantle s i tended. e warriors in front are ﬁghting without protection ; and if an s el were re resented we s ou ex t y hi d p , h ld pec it to be of the usua M cenaean s a e w c l y h p , hi h appears as a decoration on the upper left-hand corner of he f n A fra m nt of a w t ragme t. g e all painting from Mycenae represents a warrior wearing a short-sleeved tunic and havi ng a double bracelet at the wrist it a ears t en t at w en the ; pp , h , h h pre

ellenic man wore a tun c it was not furn s H i , i hed wit on s eeves and even w en his c ot n h l g l , h l hi g was of the scan tiest oss e na ture he was not far enou p ibl , gh removed from primitive 'ba rbarism to prevent his adornin his erson w t race et and n g p i h b l ecklace. The indication of some kind of footgea r is frequent : it is represented on the Vaphio cups and on a wall-painting from Ti ryns depicting the ea ture of a u it ta es the form f o n p b ll , k o p i ted shoes turned up at the toes and fastened by a series of ban s a ov th an s n d b e e kle . S uch poi ted shoes were common to the Ass r ans and the tt tes and y i Hi i , a re worn to t s da ree s and ur s a hi y by G k T k , nd ‘ fre uentl a so in o r r u q y l the ocky co ntries .

I n the wa - a nt n from r ns and on ll p i i g Ti y , a

‘ The characteristic Cretan boots may possibly be a direct survivaL 8 PRE-HELLENIC

M cene a n nta r n e . o er ot a d z 26 . y i gli (P Chipi , V I , 4 a number of bands is i ndicated just below the oss the oo s w r f s t r knee. P ibly b t e e a tened by lea he laces crossed round the legs and then passed two or t ree t m s roun un r h n s At resent h i e d de t e k ee . p these bands have only been found in cases where the wear is en in s me v o ent occu a t on er gaged o i l p i , such as the bull -taming scene ; it ha s been sug gested that they represent a leather thong wound round the knees to act as a protection ; on s tony ground some such guard would be necessary .

The ea - res of con ca s a e ﬁn s ed a h d d s, i l h p , i h by

utton or attene no on the to re resents a b ﬂ d k b p, p

e met ma e somet mes ro a of meta as was h l , d i p b bly l , the case in Ass r a but in some cases certa n of y i , i ly fe t or eat er covere w t rows of over a n l l h , d i h l ppi g ’ oar s tus s turne a ternate in o os te direc b k , d l ly pp i ’ t ons A ar e num er of oar s tus s were found i . l g b b k ‘ Dr S c emann a t M cenae attene on one by hli y , ﬂ d s e and w t severa o es in t em w c o v ous id i h l h l h , hi h b i ly served to fasten them to some object such a helmet ‘ is to be seen in an vor fra men t from M cenae i y g y , a nd would exactly correspond to that described in

I liad, X . , 26 1 . ' ' du¢i d of xvvemr xe¢ak3¢w gﬂnxev

- ’ ’ fil l/0 6 worm751, wokea tv 8 fw oa'flev iy fia w s I A w n - ' - e a s w e x' fle de Xeuxoz dour c n cr r o er r pe s, roa o c

9 I C V« V« a py todow or 110 9. Genres exov svﬂa xa r e a ‘ 0 ' 3 rea l em a rap évws.

S chliemann M cena 2 2 2 . , y , pp. 7 , 73 2 P rro hi i I 0 T B e t and C ez . ﬁ . 8 1 888 p , V , g 3 ; MM P ,

pl. viii. CRETANS AND KEFl‘I U 9

And about his head he set a helmet made of la ther ; and inside it was stifﬂy wrought with many thon s and outs e the w te teet of a oar w t g , id hi h b i h shin n tusks were set c ose to et er t s wa and i g l g h , hi y that we and cunn n arran e , ll i gly g d. I n some cases the helmet presents a strikingly

E tian a ea rance and ma u te oss ave gyp pp , y q i p ibly h been derived from Egypt ; evidence of direct inter course between the Cretans and Egyptians is not wanting ; indeed the clearest representation of the costume of the pre-H ellenic i nhabitants of the E gean shores is to be found on an Egyptian tomb ‘ fresco w ere the Kefts are e cte r n n vases , h d pi d b i gi g as tr ut to the t an monarc t e r costume ib e Egyp i h , h i is identieal with that of the cupbearer from the K nossian fresco and t e are carr n vesse s of , h y yi g l the same shapes as many which have been found in

r M c an s t I t has een C rete and on othe y enze i es . b ’ oi R. t at he eft u w r p nted out by Mr H . H all h t K i e e the eo le of the {E ean slan s nc u n rete p p g i d , i l di g C , and that sometimes the name was applied exclu

Th f w r former sively to the Cretans . e Ke tiu e e ly mistaken for t nicians ; but their whole appear ance and costume on the Egyptia n fresco is utterly unlike anything Phcnnician ; so we are quite justiﬁed in considering that they represent the Creta ns

fa t full as t e a eare to the t ans i h y h y pp d Egyp i , especially in view of their similarity to the cup

r t and Chi i z l l l ﬁ 0 Per o p e , ., g. 3 3. “ ‘ th Peo les of the W Sa u l Am i , UL, Keftiu and e p Sea! 8 10 PRE-HELLENIC

ear r of the fresco at nossos a nat ve ro uct b e K , i p d

n art of Creta . A striking analogy to the pre H ellenic male costume is to be observed in the E truscan wall

nt n s fr the tom s at orneto now in pai i g om b C , the

- r t s Museum. The wa st c ot s oes and a B i i h i l h, h , he d dress are there represented in a form almost identical f un in M c ne an r with that o d y e a t. S o little is

nown of the or n of the truscans t at k igi E , h it is difﬁ cult to say whether this similarity of dress indicates any racial connection between the two peoples ; it is interesting to note that among ancient authorities H ellanicus of Lesbos states tha t the

cans were of e as a n or n and m E trus P l gi igi , odern writers have claimed a Pelasgian origin for the Cretans ; there is not sufﬁ cient evidence forth coming at present to determi ne whether they

r or wron but in an case it is not m ro ight g ; y , i p bable that both the E truscans and the Cretans were

ranc es of a common c v zat on w c s b h i ili i , hi h pread itself all round the shores of the Mediterranean Sea Cl

in re- e en c t mes and t at the tru scans p H ll i i , h E mai ntai ned some of thei r early characteristics down to a later date than other peoples of the same ‘ race.

Turning to the female costume of the pre en c a e we ﬁ nd we ave somet n far m re H ell i g , h hi g o

m t h am s of co plicated o deal with . T e s e tyle dress is found on the early faience ﬁgures from K nossos

' ' ’ Ba r an a li z o nazre tembe g d S g a, D ch n dc: A av. ” Etrusci.

1 2 PRE-HELLENIC

the votar is com ose of a ser es of seven ﬂounc y p d i es ,

one a ove the ot er the ower e e in eac case b h , l dg h ust cover n the u er e e of the ﬂounce e ow j i g pp dg b l ,

the w o e e n ro a sewn on to a foun a h l b i g p b bly d tion. ‘ On a fresco re resent n a a anc n the s rt p i g l dy d i g, ki

seems to cons st of t ree suc ﬂoun n th i h h ces. O e

same ﬁ ur the reast is not eft are bu t g e b l b , a

c em sette seems to be worn un er the ac et h i d j k ,

oss ma e of some ﬁ ne nen mater a the e e p ibly d li i l , dg

f is st nct n cate at n I n n o which di i ly i di d the eck. o e of the statuettes from Petsofa the jacket terminates ” at the ac in a Me c co ar and in b k high di i ll ,

anot er fresco from nossos a sas a ears h , K , high h pp

on the ac the oo reac n to the na e of the b k, l p hi g p

nec and the fr n e e e an n own to the k, i g d dg h gi g d waist ; at ﬁrst sight this sash recalls the Japanese “ “ Obi The m ner of the retan a es as . illi y C l di ,

ustrate the terra-cotta fra men ts from Pets ofa ill d by g ,

ex ts an a un an r The hat hibi b d t va iety of s tyles .

seems to ave cons s te of a ﬂat c rcu ar or ova h i d , i l , l piece of material pi nched up i nto any shape to suit the taste of the wearer ; sometimes it is fastened

own towar s the na e of the nec and curves d d p k,

roun the ea r s n u in front over the d h d , i i g high p face in one case the brim has a wavy edge and is trimmed with rosettes underneath ; frequently it is

nl a v small ra ent of the skirt rem ins but th Fig. 4, o y ery f gm a e a h i h p inting as been restored. Reproduced from the Br tis S ckool

Annual V l . ﬁ 2 . , I I , g. 8 3 ' Ann ual X. viii. Fi . from Bn tislr S ckool I l. g 5 , , p 3 “ The large sash worn over the Kimono and tied rather high up ' at the ba n k l al X. i xi. and xii ck. B tis Schoo Annu , I , p s. . MODERN INSTANCES 13 lone u nto a ar e to ue s a e narrow n to p i l g q h p , i g point in front ; this form occurs also on late d - ycenaean terra cottas. On none of the examples of costume quoted hove is there any indication of fastening ; the rarments are obviously constructed by an elaborate

stem of sew n but the means w c t e y i g, by hi h h y were el in ace on the ﬁ ure is not re r s nte h d pl g p e e d, xcept in the case of the bodi ces of the goddess and w .er votar c are ace across cor s The y, hi h l d by d . [80 of ﬁbula: is nowhere indicated in art ; and no hula: have een foun exce t in the ater M cene an b d, p l y

aves w c in all r a t e on to the Achma n r , hi h p ob bili y b l g iviliza tion introduced into Greece by the invasions ‘ tra u o A fra m ntar an from rom Cen l E r pe. g e y h d ' tsofa has a race et r resente in w te a nt e b l ep d hi p i , rhich is clearly fastened by means of a button and >op ; since this method of fastening was known to ’ he retans it is ro a e t at the a es s rts C , p b bl h l di ki rere fastene at the wa st uttons and oo s d i by b l p , he fasten n e n concea e the e t as is the i g b i g l d by b l ,

w t h m rn u nd c ase i h t e ode blo se a skirt ostume.

s n n u . M I t ha bee poi ted o t by Mr J. L yres that his jacket and apron type of dress is commonly rorn at the present day by the peasants of the i tainous str cts of uro e c e in I ta oun di i E p . hi ﬂy ly,

iwitzerland the ro orwa and the renees. , Ty l , N y, Py

11 rwa and Sw tzer an moreover we ﬁnd the No y i l d, ,

“ i ula So hus Muller (1: :w Bum e on b see r . . ﬁ : p , 2 p , p 95

am Sew Annual, i x. 14 PRE-HELLENIC addition of a fan -like head -dress analogous to that

n T r n f represented i Minoan art. he appea a ce o the same kind of costume in Crete in the third millen nium before our era merely serves to show that the type of dress need not necessarily be a modern

eve o ment but ma oss c a m reater an t d l p , y p ibly l i g i

uit a h s t rt n The q y th n a hi he o bee supposed. ques tion of survival in the [ Egean is interesting ; ' as ate as Tournefort s t me the n a tants of l i , i h bi some of the s an s— for exam e M cone— a ar i l d pl , y ppe to have worn a dress composed of a tigh t jacket and ﬂounced s rt w t the a t on of some ki , i h ddi i Turkish elements ; in the remoter islands there is — a possibility but it is little more than a possibility

— t at t s ma be a case of surv va in an case h hi y i l ; y , the type seems to have disappeared in the eighteenth ’ or ear n nete n c n r ly i e th e tu y .

Tourn f 1 . e ort, l ., 0 9

’ See also Choiseul-Gouﬂier Vo a e zttores ue de la Gréee Pa , , y g p o , ris, 1 80 where the women of the islands ar n 9, e represe ted wearing a tight - corslet over a chemisette. A hi h h d l g ea dress, not un ike that of the Petsofa statuett w s w es, a commonly orn by the island women as late as th i h e e e g t enth century. I I

H OME RI C

Tuamuo to the various passages in the H omeric

o ms w c r fer to ress we ﬁnd t at t ere p e hi h e d , h h is very little likelihood that they can he intended to describe the kind of costume dealt with above ” - The under the name of Pre H ellenic Dress . wor s us d and the accounts of the rocess of d e , p ress n ave no mean n un ess we su ose t em d i g, h i g, l pp h to refer to the draped type of costume as Opposed both to the close-ﬁtting jacket type and to the ress n - own t e cons st n of a oose-s eeve d i g g yp , i i g l l d

n n own th fr t Th u o garme t openi g d e on . e q esti n of the ki nd of dress actually worn by the Trojan and Achm n heroes is not one to be entered into here ; possibly it may have been the same as that reﬂected in the art of the Minoan and Mycene an eo es n eed if the ro ans re resent the r p pl ; i d , T j p olde race w c in a te the s ores of the E ean and hi h h bi d h g , the Acha ns the invaders who came down upon

them from the nort t ere is ever ro a t h, h y p b bili y tha t th former wore the re- e en c ress and e p H ll i d , the lat r ntro uce th new e n c ra e t e te i d d e H lle i d p d yp .

The use of the e t ets a OJo r ot and a -om pi h ﬁ ﬂ w , ll 1 6 HOMERIC

deep bosomed and deep-girdled in the H omeric poems perhaps has some beari ng on this

o n Referr n res ect ve to the ee o w p i t. i g p i ly d p h llo between the breasts and to the girdle cutting deep

nto the ﬁ ure t e m t we be a e i g , h y igh ll ppli d to the

-w of nos wasp aisted ladies K sos. I t is signiﬁcant

- to notice that BaOJxoM oe is used only of Trojan ‘ women a06 wvot on of ar ar an , B § ly b b i captives possibly the poet may be unconsciously referring to the difference between the dress of the older ra and t at of t e r Ac aean con uer ce h h i h q ors .

owever t at ma be in most c s H h y , a es H omer ascribes the same kind of costume to Achaeans and Trojans alike ; he is singi ng of deeds that happened man ears er a s even two or t ree centur es y y , p h p h i ,

efore his da and e n no archa olo ist he b y, b i g g , imagines his heroes to have dressed as his own contemporaries did he is acti ng no diﬂeren tly from the ta an mas ters who a nte t e r Ma onnas I li , p i d h i d in mediaeval costume. We ﬁnd in H omer many differences in the

’ nomenclature used when speaki ng of men s and

’ - r s ct v i v«iv women s dresses e pe i ely . The words x and ’ akiva are a e exc us ve to men s costum x ppli d l i ly e,

' vrévrxoc and x r de vov exc us ve to women s w r p i p l i ly , he eas the word ¢6p os~ is the only one used i ndifferently for either ; both men and women alike fasten their garments wi th brooches or pins of some kind ' i - n e oy t re h and w row t ( p q, i) i th girdles g h) Many of the words applied to articles of wearing-apparel

I liad 8 1 . 1 22 8 2 . 2 1 . 1M . Od sse , , 3 9, 4 5 , 9 594 y y , 3. 1 54. MEN'S DRESS 17

are also used to s n f cover n s for s seats ig i y i g bed , , ' ' - etc. suCh are kaiva ra art s hos i e x , (My , , wp r ; the last is used also of sails and of the shroud of ‘ Laert s s e n the case we mus nf e . Thi b i g , t i er that the were ot ma -u arments but r y n de p g , la ge square or oblong pieces of material which could be used for other purposes besides clothing ; the H omeric dress therefore must e on to the t , , b l g draped ype rather than to an er y oth . ’ The men s dress in H omer regularly consists of - two ieces —the i vtie or n er arment and a c a p x . u d g , lo k ' ‘ ealled var ous kaiva la or in one case i ly x , g m . , , M . Warriors sometimes wore a skin instea d of the

an xam l in I liad x 2 2 A m n n m l . For e . a m o t e e p , , , , g e ’ is d d as utt n on a on s s n and a few escribe p i g li ki , lines further on Menelaus appears wearing a ’ n dappled Ieopard s ski . The description of the process of dressing in h I liad is s m e and st for t e i pl raight ward. a e non awakes in the morn n and re ares Ag m m i g, p p to meet the assembly of the Achaeans

at u r t and drew on his soft tun c r H e s p igh i , fai

n w n threw aroun him his reat c oa : and e , a d d g l k d neath his s n n feet he oun fa r san a s an be hi i g b d i d l , and around his shoulders he slung his silver-studded ” sword.

1 1 x ii 2 aq u a, xix , 37. M , i , 2. 18 HOMERIC

- The vi air was a arent t en a arment w c x pp ly, h , g hi h ' could be drawn on (évdw e) while in a sitti ng posi

m nt n is ma e e r in t s r r t on . o e o t e o ot e i N i d , i h hi h

ar assa es of ns or r e to fas en the simil p g , pi gi dl t xi v so we may infer that it was a rather narrow

arment sewn u at the two s es w t o n n s g p id , i h pe i g

nd rms left for the head a a .

S tudniczka ves a a ram of suc a armen gi di g h g t, w c he escr es as a sac eft O en at the ottom hi h d ib k l p b , with Openings in the top and s ide-seams for head and arms .

The wor s M aire éxdnivo d , , are commonly used for to ” ” put on and to take off ' a t‘ra w w x , hich seems to imply that the garment was drawn

’ Fw 6 Smdnia ka s Dia ram g over the head ; although The dotted lines mark the ' seams the s aces A B c I) occas ona we t is use w t , p , , i lly p d i h E F m "k " u m’ the s m e ver 86m nstea ti i pl b i d and head respec vely . of the compound I n no case is there any men tion of pi ns or brooches in

- connect on w t the i v«iv s w r i i h x , o e a e justiﬁed in inferri ng that it was a sewn garment ; and in

' ‘ Od sse xx v. 2 2 the t ra w f y y , i , 7, x o Laertes is actually described as sewn

ﬁmrdww a 83 30 7 0 xtr éiva ' a 'lr‘ tiv detx ﬁ r ehtov.

H e wore a sewn tun c rt and unse m i , di y e ly.

1 ’ ' ' ' Beztra e zur Gescluekte der all n eekix ken Tmalt 1 g g , p. 3.

d s xv. 60 O y s ey , , .

20 HOMERIC

this particular epithet need mean no more than ” azz n c ean its com ar son for softness and d li gly l , p i brightness with the skin of an onion would hardly b v r a t if it w re ma of a s ff t a n t e e y p , e de tu h t did o present a very smooth surface ; a hand-woven i woollen material might possibly be called M ast c. “ ” soft but cou ar be escr e as s n , ld h dly d ib d hi ing

un Two assa es in omer s like the s . p g H how clearly t a oil was use in the weav n of n n h t d i g li e , which

' would have the eﬂect of producing a shiny appear

n The ma ens in the a ace of A c nou a ce. id p l l i s are described as weavi ng linen from which the oil runs

' oﬂ

’ ' ’ xatpow a ewv 8 dﬂovéwv dwohriﬁerat Gy ptiv fl ame.

And from the close-woven linen the liquid O il ” runs off and in I liad 6 the out s in th , , 59 , y h e danci ng place on the shield of Achilles are

- r i v«Bra a im r ov t ara n ix80 m desc ibed as weari ng x g i c, i / g ’ ” eha i o we s un s n n soft w t oil q , ll p , hi i g ly i h .

- ‘ ‘ The epithet o rpéw or applied to the xt r aiv re

u res comment it was ta en Ar starc us the q i ; k by i h ,

mm r an to mea n a c at of c n ra a o a ma . g i , h i il There is no evidence to show that such a piece of defensive armour was nown to the ear ree s and ﬁnd k ly G k , we

d sse xix. 2 2 O y y , , 3

' ' f dr 8s xtr tbv é vénoa r epl xpot ot'yah6rvra i ' 0167 r e xpomoco Ren os xar d loxahéoco ’ y ( 1 9 ahaxd ha r i M 7 p s, p pds 5 he M m: ( t.

And i saw the shinin tunic on his b l k ki g ody, i e the s n of a dried ” n— s f it was and bri h onio o so t , g t as the sun. “ lia v 1 i. 1 I d, . , 1 3 ; xx , 3 . THE m tnrozxrrnN 21

m n t mes there is no reference to it until Ro a i ; , theref re no ust ﬁcat on for the nference t at o , j i i i h - " i n o miv p t x in H omes means a coat of mail. - he word m h ro m ns r mar twiste T p t ea p i ily d, and could be applied to a coarse kind of linen whose texture showed very clearly the separate threads of which it was woven but other uses of the word in omer and the secon of the two assa es in H , d p g w ch it is a ie to a tﬂ iv su es t a fferent hi ppl d x , gg di

inter retat on. I n Od sse 11. 26 in the descri p i y y , , 4 , p tion of the r n of a s the ex ress on iggi g hip, p i - nit r “ aw h m M occurs . T e adjective here can very well retain its simple meaning well-twisted “ the noun can mean nothing else but ropes of -ox — t at is to s the w o e ex ress on w l h ay, h l p i il si n f rO es made of w -tw s t on s f g i y p ell i ted h g o leather. The passa ge referred to in the I liad runs as

' D f a O F ' 830 0 8 0 mm xrtpar M M ‘I’ OCC CV tuao't 9 - Q ' — as m urn or ¢opi¢a s ov rr i m ph ram xtm e

I lrbd xxi. [ , ,

The subject is the sacriﬁce of the twelve boys at the fun r f tr c us e al o Pa o l . Achilles bound their hands behind them with the well-cut thongs which they wore on their

' c m tw s te c itons . The wor c m es eat er i d h d u i pli l h , and the only kind of chiton which would be likely to have leather thongs attached to it would be a erk n made of leat er rha s a te in som wa j i h , pe p pl i d e y n f f a d astened by means o leather laces . S uch a 22 HOMERIC garment might be worn in war under a metal reast- ate or if ver stout ma e m t even b pl , y ly d igh serve as fens ve armour w t out the a t on of de i , i h ddi i an cors et in an case it wou affor more y l ; y , ld d protection than an ordinary linen chiton such as was worn by those engaged in the pursuits of c pea e. Anot er arment worn men is the s a h g by ( p , w c a ars at ﬁrst s t to m an s m a r e hi h ppe igh e i ply gi dl , but in one or two passages signiﬁes somethi ng mor Th wor is o v ous c nn e w t the e. e d b i ly o ect d i h ” ver M to r on and means a t n rt b ( m, gi d , hi g gi on m w . The wor t e a to a r e but it d igh ll pply gi dl , might also be used of anything put on round the wa st and so of a wa st-c ot t er can tt i , i l h ; h e be li le

ou t t at it has t s mean n in I liad xx d b h hi i g , iii . ,

6 8 w ere a escr t on is n en f 3 , h d ip i bei g giv o the preparations for a boxi ng match ; and a few li nes furt er on the art c e m m a e to the h p i ipl ( u , ppli d wrest ers in all ro a t means utt n on t e r l , p b bili y p i g h i

- In ot er assa es w ere the wor wais t cloths. h p g h d occurs its mean n is ess o v ous a t ou ere , i g l b i , l h gh h too there is nothi ng to render the same interpreta I I l d 1 ia iv. a ea on m ss e. n 86 w on is ti i po ibl , , , p described as not i n ﬂicting a mortal wound

9 0 F Q etp vc a ‘r o {com p T e wava tohos' qd un suspeev ' ' {Grad 1 s Ka i ﬂ tTp lb T l)" xahxﬁes xcip ov dvdp eg.

But the s n n e t c ec e it and the wa st-c ot hi i g b l h k d , i l h

eneat and the rt e w c the co ersm s b h , ki l hi h pp ith ” fas one hi d . THE WAIST-CLOTH 23

- H ere the {w t tip and the p in ») are obviously i c s f armour and the a m is a arment worn p e e o , { i g

0 0 7 7 0 and can ver we ear the m an under the ( 51 . y ll b e

st-c t S uc arments we n ing of a wai lo h . h g re wor at all periods ; they formed the regular dress of the men of the pre-Hellenic age ; they occur also on ‘ as s of the c ass ca er o . ere is no necess t v e l i l p i d Th i y,

for to su ose as S tudniczka oes t at the there e, pp , d , h - word here is synonymous with xvi (m S tudniczka supports his interpretation of this passage by

ther Od sse xiv 8 f. w ere ummus is ano , y y , . , 47 , h E describing to Odysseus an occasion when he and comra es had to slee in the O en air and h fe d p p , e lt the cold beeause he had foolishly left his cloak

Gi e n him and had on his s e and a audi . behi d , ly hi ld { n M The expression could here maintain its signiﬁcation “ of wa st-c ot on the s m e mean n i l h ly, i pl i g is o scure a rase some ﬁve nes furt er on b d by ph li h , when Eumaeus continues

' ' ’ ov y dp 5x0 xhaim “ pd u Gr ade cla im” ’ ‘ oioxim 5mm .

I had no cloak : some god beguiled me to go ” n s n arm n wi th o ly a i gle g e t. ' he s m e mean n of oio tm is wear T i pl i g x , ing ” on a c ton or un er- armen u w ly hi , d g t ; b t ithout stretc n the mean n of the ex ress on ver far hi g i g p i y , we can easily suppose its being applied to a man clad only in a waist-cloth ; so that even here it is not necessary to suppose that {Sp a is another word

m iv for x .

‘ Cpt 24 HOMERIC

We must next consider the over-garment worn

the om r c eroes for w c several wor s a by H e i h , hi h d re

‘ m s common e n haiva an « i use th o t d e. d, e b i g x t m The xhaiva was used not only as an article of ‘ ress but a so as a an et to s ee un er d , l bl k l p d ; as a rug to cover couches and seats a constant epithet

i 0 57 so t at its mater a was ev ent woo en s W, h i l id ly ll ; - and the a ect ves dhe dve or and de ocr at 1 ward dj i f u m k, ” in off w n s s ow t at it was worn for warmt g i d , h h h , ‘ ro ct on a a nst co win s I was h o as a p te i g i ld d . t t r wn off for exercise or when speed in running was ‘ ' r u re The st e in w c the haiva w w eq i d. yl hi h x as orn varied somewhat ; the verbs regularly used for the ' act of utt n it on are d aCM o and d ccw u p i g uwB uo w ,

to t row roun r c r dm a so occurs and h d p ﬁ l , some ’ t mes it is escr e as e n ace ér 6 m i d ib d b i g pl d m , “ ” u on the s ou ers for ta n it off dr o ém p h ld ; ki g , ﬁ

’ and 517 07 19 1 1 1 are use and in one case exdtivw occurs 11 d, , though this word should more correctly be applied - ’ “ ” to th t ra w The cons tant use of 6 1 61 aroun e . x 1 9 , d,

‘ shows that the xM iva was not a garmen t which was - rawn on over the ea e the vi «iv but was a d h d, lik x , square or rectangular piece of material wrapped

roun the ﬁ ure or a over the s ou ers We d g l id h ld .

' ‘ r a in omer of the kaiva darxozc s n e c oa nd e d H x , i gl l k, a

‘ ” e Aaiva du rM ou e c oa the former r th X i, d bl l k exp es s on must mean a c oa worn n e w t out e i l k si gl , i h b ing folded over ; such a garment might possibly be

ut on as the mat on was i ater t m one end p hi i n l i e,

3 i iv. 2 M d , x , 5 2. m i 86. 11 i 8 1 214 i., 1 3 . THE CLOAK 25 bein la on the s ou er so t at th mass of he g id h ld , h e t material hung down towards the back ; this mass of material would then be drawn across the back under the arm w c was t en eft ex ose and hi h h l p d , across the c es t and the end wou be t rown over h , ld h t u w r c rm nt he sho lder to a ds the ba k. The ga e could eas ily be drawn up so as to cover both arms if the tem erature re u re reater warmt or it p q i d g h, m t be w rn over ot s ou ers e a s aw igh o b h h ld lik h l, w thout bein ou e and the fr uent ment on i g d bl d, eq i

‘ of the shoulders in connection with the xhaiva seem ‘ to o nt to t s st e as the mos t common The p i hi yl . — gl ob e is mentioned twice in H omer o nce in the I liad and once in the Ody ssey ; in both cases it is described as being fastened with a brooch

' ' M i 8 5m xhaivav wepowia'a‘ro ¢oms de¢mav ' ia I l d x. 817 W rs r adiqv. [ , ,

And a out im he fast ne ur e c oa b h e d a p pl l k , ou d e w t no fo s. d bl , i h ld

' kaim r v v i 3 di 0 8110 111 6 x ap¢ p¢n Otik yv 3x or 9, - 817 W ati'rdp oi wepdvn xpw oio f in m o

1 Od ss xix (151 020 11 dadduow t. [ y q g ,

ood O sseus had a ur e c oa woo en G ly dy p pl l k, ll

and dou d and it h d a r wr u t of o ble ; a b ooch o gh g ld, ” w a ou e ro f r ns ith d bl g ove o the pi .

' I n these cases the xkaiva was obviously folded

over ou le t ou in w at wa is not ex ress d b , h gh h y p ly sta ted ; if the garment consisted of a wide rect

‘ i ﬁ ur from th ri ht is re r See F g. 7 (a), where the second g e e g p e : r sented wearing only the gu t A ms. 26 HOMERIC

‘ an u ar ece of mater a it m t be doubled a on g l pi i l, igh l g its length horizontally and fastened with a brooch ’ on one s ou er e A o lo s mat on in th h ld , lik p l hi i e ‘ s r m t o ow a os e ef. s e ever is not Th li Thi h d , h ,

foun on the ear est vases w c t ou not d li , hi h, h gh

contem orar w t omer are et the nearest p y i h H , y

monumenta ev ence o ta na e moreover the l id b i bl ; , a t ona ex ress on am e » seems to b a a nst ddi i l p i , n , e g i ' this interpreta tion ; the meaning of ér radcqv seems “ ” to b stretc e out stra t and the w r e h d igh , o d could hardly be applied to a garment draped in such a way as to fall in many folds ; it is reason

' a e t erefore to su ose t at the kaiva 817 71 bl , h , pp h x 6 consisted of a large square of woollen material fo e a on the a ona so t at two o os te ld d l g di g l, h pp i corners lay on each other ; it would be laid on the shoulders so that these two corners hung down in the m e of the ac no fo s e n forme iddl b k, ld b i g d and the other two poi nts hung down one on each side of the front ; a brooch would preven t the cloak from slipping off the shoulders ; this shawl -like method of weari ng the ma ntle is fre ’ quently represen ted on the black ﬁgured vases . ' “ Th divr'r v ov han r v ou e c oa w c At ena e x q , d bl l k, hi h h ‘ wears 5 (i am w en s u se as a s e er is , a m , h di g i d h ph d ,

ro a a arment worn in t s same fas on p b bly g hi hi ,

A ardn r H a bo k ek S cul ture . 1 28. E . . G e , nd o of Gre p , p nless the arment wer uar the dia onall o osite corners U g e sq e, g y pp would not coincide when folded corner to corner ; they are invariably n d on the v es as i i in represe te as co nc d g . i b i k i F g. 7 ( ) s ta en from the Franco s vase. i d sse x ii. 22 . O y y , , 3

28 HOMERIC

’ ‘ A memnon wear n a on s s n and of Mene aus ga i g li ki , l ’ ’ and Paris wearing leopards skins A man s c stum was com ete san a s w ane w c o e pl d by d l , , hi h we are told were made of leather no mention is made of any head-covering worn in the pursuit of acefu occu at ons if an rotect on were nee ed pe l p i y p i d . a fold of the mantle might easily be drawn up over h ea in att e of course some n of elmet t e h d b l , , ki d h was worn w c was ma e usua of ronze or , hi h d lly b , ‘ ’ somet mes of e covere w t oars tus s suc i hid , d i h b k . h as e foun at M c n hav been d y e a . ’ The women s dress in Homer consists of two ' arments the wewhos' and the r de vov or r ahtir r g , pﬁ p pq, called also in one case the xdkvp na ; the word éavdc which is used sometimes as a substantive instead

- of min hot somet mes as an a ect ve s m means , i dj i , i ply s m t t be worn o e hing o . The principal garmen t of the women was the

' arewko ' The er vat on of the wo i nc r n i s. d i i rd s u e tai t is probably connected with some root meani ng to cover or wrap ; the word is used in the I liad to signify thi ngs other than d ress for the covering of ‘ a chariot and for the wrappings of the vessel w c e the as es of ector the n évrkor t er hi h h ld h H , h e for e the Xaiy a and a or cons ste of a s uare e, lik x o p , i d q or rectangular piece of material w hich could be

s d for ous ur oses en worn as a u e vari p p . Wh

arment it was e in ace means of rooc es g , h ld pl by b h

l I iad x. 22. I bid 2 iii. 1 d sse xiv , , , 9 ; , 7. O y y , ., 23. 5 I lia x. 26 1 f i xx v. . d , . M d , i , 93 7 I bid. v. 1 . I bid , , 94 ., xxiv., 795. WOMEN’S DRESS 29

’ ’ we tiva t aw ca in o r ins and a r e. A assa e p ( p , ) gi dl p g ‘ the I liad gives a description of an elaborate toilette made by Hera when she is setting out to beguile Z eus

' ' ' ’ im¢i 8 5p dp fipoo'tor 511v 30 119 31! of 1 915101, ' ' ’ ' n r iflet d cvi datd a ' Ifw ch a irma , alt 11 o ' ' - et 6 e a n d 1 9 we va‘r w m W 0 3 0 9 p o o, xp ' 3 ' 15 ixar dv 011 610 1 d vi {60 1 27 0 8 { q 0 9 pap av, ’ - ' ' ti s a a xer tr r ' w h i ' b 8 p imm fi e rp iro t ofio o w, ' ’ ' o ' ci r ' d f ply hm n poevra x p s dwekamrer o wokh i. ' ' q drm d ti¢6wep0¢ s aklivra‘r o dia Ortiuw ' ' 1 r dr 1 t a ll ; "1 0 7 59 , M y p d 31 iehtoc «in.

' ' ' ' ' - i 8 !) htw i w edr a r s l 7 8 m in apo o lo o o id 6 11 11.

Then she cla d her in her fragrant robe that

Athena wrou t e catel for her and t er n gh d li y , h ei set man t n s beaut fu ma e and fast ne i o y hi g i lly d , e d t ver

r r s w th c as s of o And sh r he b ea t i l p g ld. e gi dled it with a gi rdle arrayed with a hundred tassels ; and

- — she set ear rings in her pierced ears ear-ri ngs of — three drops and glistering and therefrom shone And w t a grace abundantly. i h veil over all the eerless o ess ve ed erself a fa r new ve p g dd il h , i , il, br t as the sun and eneat her s n n f igh , b h hi i g eet ” — she oun oo san a s. ANG EAF AND b d g dly d l L , L ,

Mvsxa. We gather from this passage that the garment was fas tened on the shoulders by brooches or pins

d mi d 6 7 00 1 w c S tudniczka r inserte . 3 . hi h ightly ’ “ x la ns as mean n own towar s the reast e p i i g d d b , a method of fastening which is represented on the ‘ f ‘ xiv, 175 . 9-97 ‘ 30 HOMERIC

Francois vase and elsewhere ; the material is wn from the ac and wra s over t at w c dra b k, p h hi h covers the front ; the pins are then inserted down war s and o the two t c nesses of mater a d , h ld hi k i l together ; the dress is held in to the ﬁgure by a

r worn roun the wa st over w c an u gi dle d i , hi h y s per

uo s en t of mater a cou be rawn form n ﬂ u l g h i l ld d , i g a ' r hvro uc o ent on i ma n o r or po h. N m i s de i H omer of - he fin ds 7 1 m or overfo w c is o t m , ld. hi h a c mmon ’ feature of the women s dress in historic times ; but from its constant appearance on the earliest monu ments it is not unreasona e to su os ha t i , bl pp e t t ’ formed an element in women s costume of the ra ed t e from the ver ear est t mes I i d p yp y li i . t s formed by folding over the upper edge of the

arment efore it is ut on in suc a g b p , h way that a double thickness of material covers the ﬁgure from the neck to a distance a little above the wais t in

n T r n front and behi d . he o igi al purpose of this overfold may have been either to secure greater warmt or to revent the ress from tear n a h , p d i g t the poi n ts where the brooches were inserted ; such a

' t n m t eas a en if on the s n s hi g igh ily h pp , ly i gle tuﬂ were used s nce the w o e mass of ma r al , i h l te i hung down from the two poi nts where it was secured on

s s the houlder . Another question which arises in connection with the H omeric peplos is as to whether it was worn open or closed at the side ; a passage which has been much discussed in this relation is the one Fi 8 g . . THE PEPLOS 31 which describes the peplos given by Antinous to Penelo e with its twe ve rooc es p , l b h

’ ' ' Am ui¢p uiv inur e usy av wcp urakkea wir hov ' ’ ' ' ' M M b 8 5p io'av wsp ovat dvoxatdexa 7 60 m “ i l i i ' m nt, s i my n y vr um r dpapviat. i Od sse xv ii. [ y y , ,

For Ant nous his enc ma n are a ro ered i , h h , b b id ro e reat and ver fa r w ere n were o en b . g y i , h i g ld ” - brooches twelve in all ﬁtte w t we ent c as s. , , d i h ll b l p — Bur cuaa AND ANG L . The point in dispute is the purpose of the twelve rooc es tudn iczka ma nta ns that two b h . S i i w re used to fasten the ress on th s ou ers e d e h ld , and the remaining ten to hold it together down the open side ; he states in support of this theory that sewing was not commonly practised by the H omer c women a t ou he has rev ous i , l h gh p i ly ’ pointed out that the men s chiton was always sewn t s e n the cas it is on natura to ; hi b i g e, ly l suppose that the women applied the art of sewing

w o w r n a to their o n garmen ts als he e ecess ry. There is no example in early art of a peplos fastened in this way with brooches ; it is i nvariably ine roun t e seam e n covere a an of jo d d. h b i g d by b d ornamen t either woven in the edge of the material In ﬁft c ntur or embroidered upon it afterwards. h e y art we sometimes ﬁnd representations of the peplos worn open down the side ; it may have been worn so also in H omeric times ; if the garment were wide one e e coul eas be wra e over the , dg d ily pp d r and eld in lac the r le so as not t othe h p e by gi d , o 32 HOR RIC

he ﬁ u t u o I is m leave t g re oo m ch exp sed. t ore probable that the twelve brooches in question were used to fasten the dress on the shoulders and down the u er arms six on eac s e form n a n of pp h id , i g ki d s eeve to the e o a h I n l lb w. Th t t e ample o ic chiton was worn in this way in later times is manifest from the numerous vase-paintings and other monumen ts of the late sixth and early ﬁfth centuries ; it may have been a fashion peculiar to the East in omer c t mes but astern fas ons an customs H i i , E hi d were not unknown to the author of the Homeric

oems W rea of r c t w re th wor p . e d i h robes hat e e k of Sidonian women whom Paris brought from S on a d it is not un e t at Ant nous w s id , n lik ly h i , i h

' in to oﬂer ene o e some r c ft wou c oose g P l p i h gi , ld h a u u f s l xurious garment bro ght rom the E a t.

owever we must re ar the use of twe ve H , g d l

rooc es as exce t ona and cons er t a t the b h p i l , id h

e os was or nar fastene w t on two and p pl di ily d i h ly ,

t a r e r un th st at it was a fa r wi h gi dl o d e wai . Th i ly am e arment and tr e on the roun e n is pl g ail d g d b hi d, proved by the epithets r e w arévrkor and Gh an a ”

w t tra n ro es fre uent a e to women . i h ili g b , q ly ppli d Athena fi nds it certainly too cumbersome to fight in for w en she is re ar n for att e we are to h p p i g b l , ld t at she ets her e os s to the roun and u ts h l p pl lip g d , p ‘ on th c ton f h r f A r constan t e o e at er Z eus . ve hi h , y ’ e t et of the e os is wom kor or somet mes the pi h p pl , i ' ‘ ntens fie form wa woimxo The m a n n Of th g. e e i i d , y i g

1 2 I liad vi. 28 . Mid v. viii. 8 , , 9 , , 733 , 3 5. 3 d sse xv 10 xviii. 2 2. O y y , ., 5 , 9 BROOCHES AND GIRDLE 33 ad ective is r t var e covere w t atterns j , b igh , i d , d i h p . Whether these patterns were woven in the material at the loom or embroidered is a question not easy ‘ to deci e d .

I n some cases t e were a arent woven in h y pp ly ,

rs r r othe p obably emb oidered . The silver-shin ing ¢5p0 9 which Calypso puts on takes the ace of the e os and was ro a worn pl p pl , p b bly ‘ in the same wa w t the overfo and r e over y, i h ld gi dl , wh ch the su er uous en t was rawn form n i p ﬂ l g h d , i g the cal m or ouc w c var e in e t accor , p h, hi h i d d p h d ’ f t i w ing to the wearer s ancy . Tha t as sometimes fairly roomy is proved by the fact that the nurse of

- ' ‘ Eumzus was able to hide three cups 611 6 r ohwqo f h r ress under the folds o e d . The material of which the girdle (fain ) was made s unc r n W ear of o en r es of a so i e tai . e h g ld gi dl C lyp n r and of a fr n ed r le of era w t a a d Ci ce, i g gi d H i h

dre tasse s but t ese are exce t ona . The hun d l , h p i l l ma ave een of meta or cor or ordinary gird e y h b l, d, leather ; this last material is suggested by the

c em i t l i r of A ro te w c ma ave magi a ph di , hi h y h r e or s nce we are to t at the o ess been a gi dl ; , i ld h g dd “ 2m ) ” s o er from her osom and t at took it l w , b , h ' it a d i , d s d‘rﬂero s ohwr ut it on H era received n f y p, p ” wn osom er a s it was somet n of the her o b , p h p hi g ' At ena s ae s w c a so ossesse ma c nature of h gi , hi h l p d gi ‘ On a vase in the r t s Museum a od power. B i i h g

z‘ ’ I hs n- e is re a ted word for w rd of Circe Gr m 4 . p g p o , a my 5 3 B v 1 . 2 Iliad, xi ., 2 4. , 54. E 34 HOMERIC

ess is re resen te wear n a n ae s and woul d p d i g gi , d natura be nter rete as At ena were it not t at lly i p d h , h

the vase- a nter has c ear wr tten her name p i l ly i , “ ” A ro te her s e. I t has een s este ph di , by id b ugg d

t at he has ma e a s and meant to wr te h d lip, i " Athena but in all p robability he knew what he

was o n and it was his ntent on to re r d i g, i i p esent

' Aph rodi te wearing her xra rOr 111 6 9. The second garment which was essen tial to the ’ com et on of a woman s ress at eas t w en she pl i d , l h ‘ eare in ub c was the x vclc vov or r d éw app d p li , p l u m,

o as d i It was ro which served b th cloa k an ve l. p b

a ut on over the s ou ers e a s a w w t out bly p h ld lik h l , i h e n fo e in suc a wa t at it cou be rawn b i g ld d , h y h ld d

over the ea w t out diﬂi cult and across the face h d i h y, , ‘ ser n s S omet s it ma ave n vi g a a veil . ime y h bee doubled corner to corner diagonally and laid on the

s o r a i s worn ov r the ea i l h ulde . Th t t wa e h d s c ear

fr m Od sse 2 2 re a so ts n h o v. w e u o er y y , , 9 , h C lyp p ’ 10 xe ak d é tivre ee xalttiw‘r r M1 9 ; ¢ ﬁ p p p w, and over her

” ea a ve rom the escr t on of enelo h d il F d ip i P pe. when she appears among the sui tors holding her ” s n n ve efore her c ee s we ma at er that hi i g il b h k , y g h it was customary for women to veil themselves ‘ f m n No wom n wou t n f be ore e . a ld hi k o leaving l ” The rdkw a xvdveov dark blue veil of Thetis 1114 xxi m , , ( 4 v., 93) is th e same garment. H era is re resented wearin it so on the Fran ois vase Fi p g c , g . 7 (e), and althou h her head is not c v r t g o e ed, ye , from the way in which the folds lie hi h u on the na e of the neck it is ear g p p , cl that they could easil be drawn u over the head c also A r i on th y p ( p. , ph od te, e same vase). 1 Thetis is represented in the Francois vase just about to veil or unveil her face thou h the h is missi it i ; g ead ng, s clear, h our the osition of th arm « e o: w w p e , that the mm as orn over the head.

36 HOMERIC

The various parts which composed this head t d drw s have given rise o much iscussion. The passage runs :

' r il e d dr d xpaf de ﬁdhe dcmm c wd dm a.

W eave» ! [ M mk ﬂ l

An far h d f u he shinin on d fromher ea she l ng t g b ds.

No question is raised as to tbe nature of the ‘nﬂ f s it was a metal diadem ﬁke the M worn amoss

x r de vov a the front of the hair. The p i p h s already been explained ; the xexp éw oc and the when !) 30 0 550 ” nee some comm n T former is some m d e t. he ti es " ” ta en to mean a net but it w l be s own ater k , i l h l that this meaning is better applied to the v i su al the word xexp égbaxos is obviously connected — w t the ver r m to cover and t erefore mea ns i h b p , h “ ” “ " somet n w c c overs a cover n . I n all hi g hi h , i g

ro a t t en the xex tic ako is s m a rch f p b bili y, h , p p e i ply ke ie worn 5 7 v on top of the head behind the n 5. The dyadéam) is obviously something which serves to bind u an sem the a r and o it in ace w p ( ) h i h ld pl , hich is

the ro er funct on of a net. The e t h a p p i pithet n. ‘ " w c e has tr e to ex a n as f hi h H lbig i d pl i olded , means primarily plaited it is applied elsewhere ’ in the omer c oems to as ets w c s o i s H i p b k , hi h h ws t

erfect a ro r ateness to the mes es of a ne p pp p i h t. We

‘ ’ Dic fl om n x h EM , f. COLOURS 87

nee ve no ot er mean n t en to the when » d gi h i g, h , ) but can easily explain it as a net that conﬁ n o a n s com etes the ed the l ng h ir behi d. Thi pl

‘ ee -dress ro er the x t é e ov e n a se a rate h d p p , p i m b i g p scarf i or shawl worn over t. ’ The women s dress in H omer is completed by

san a s and f r rnament t e wore in a t on to d l , o o h y , ddi i

the rooch f s ne t e r c ot es ear-r n s b es which a te d h i l h , i g and necklaces of varied workmanship ; the ‘yvap 'r rai a m and xéxum of which we read are perhaps spiral -shaped brooches and ear-ri ngs or necklaces

in the s a e of es suc as ave een foun in h p lili , h h b d the la ter Mycenata n graves. Few colours are mentioned in H omer in con

nection w r s Th e t ets w te nd ith d e s. e pi h hi a “ ” shining are frequently applied to the chiton

- { wi n n n and rp idep m and to the ﬁ poc. i g a nd n pﬁ m are frequently used of the xhai va and the ” “ ” d ea the former mean n red and th att r f, i g , e l e “ " probably dark purple ; the word is used also of ’ th a he ve of i e sea nd of clouds . T il Thetis s

descr e as m in or n o ro a or u - ac ib d , i dig , p b bly, bl e bl k, “ since we hear immedia tely afterwards that no ” arm nt w ac r The ar g e ever as bl ke . d k veil may be

a s n of mourn n but in an case the e t ig i g ; y , pi het

m t be use of the arments of the sea- o ess igh d g g dd , ' ” us t as r m ac u - a re is a j x m . bl e h i d, pplied to

ose on. O n once is e ow ment one an P id ly y ll i d , d t at in h ca f saff T h t e se o ron robed dawn. he veil ” of Hera tha t was r t as the sun m t ave . b igh , igh h

0 m in Iliad v. 1121 v 0 }, . 347. , xxi , 93. 1 4 xi ., 1 83 . 38 HOMERIC

n w- Y w is a favour te c our bee yello gold. ello i ol among the Greek peasant women of to day for the kerchiefs wi th which they cover thei r heads ; and in the clea r atmosphere and brilliant s unshine

i is r of reece t natura to wea r r t co ou s . G , l b igh l The embroidered robes of the women would natura be wor e in var ous co ours amon lly k d i l , g w c red and ue ro a re om nate as t e hi h bl p b bly p d i d, h y do on the sixth century statues on the Acropolis at

At ens and a so in more mo rn ree em ro er es . h , l de G k b id i E nough has been said on the subject of H omeric dress to show that it differs entirely from the pro- H ellenic type of costume which appears on the m num n n n r Th o e ts from K ossos a d elsewhe e. e absence of contemporary monumental evidence renders it impossible to make any very deﬁn ite s ta tements as to the de tails of H omeric dress ; but the poems themselves afford sufﬁcient proof of the fact t a t it was of the ra e t e and resem e h d p d yp , bl d Greek d ress as we know it from the monumen ts da ti ng from historic times the dress of the classical period is s imply a development of that described in the H omer c oems w th the a d t on of some i p , i d i i foreign elements which blended with it a nd some w at transforme it in its eta s w e s t re h d d il , hil ill p serv n he ma n s un t r i g t i type al e ed . I I I

DO RIC

WHEN we come to the question of Greek dress

u r n the c ass ca er od we ﬁnd t at th tera d i g l i l p i , h e li ry ev ence is somew at scant owever in a o id h y ; h , dditi n to the various casual references to dress that are to be foun c ef in the a s t ere are a f d hi ly pl y , h ew passages which bea r directly on the historical o r ss in reec T development f d e G e. he most ‘ im ortant of t ese is a assa e in ero otus in p h p g H d , which he describes a disastrous expedition agai nst [ Egina underta ken by the Athenians during the

ﬁrst ha f of the s xt centur ro a in the r l i h y, p b bly yea

ma n r urn a v o 6 8 a c. on one et e e t At ens to 5 ly d li h , meet with an ignominious death at the hands of ' o t os who had er s r the wives f h e p i hed . H e odotus shall tell the story in his own words

' - ‘ K ama Od e y ap cc A0vimr dmjy y ethe 7 5 wddm

' ' M a d ras 83 “rd; y w aixar 7 6 1! if Aiy wa v ﬂ paf ew mu m

' ' ' “pow Bea ds 7 : m w ap evac excivov no ov 36 dr dm v ' fi pcf “rds firepo wer 7 0 07 0 7 haBoJo'a c r a i xem vo'ac ' - Tim “ prime r 7 6 V (m icl v n po 'rdv in firm nth Ja w5 q ; air; ' '

6 cm . Kai r aih ar ly 0 1571 » dta a i m A0 v ip p w p i , 1

v., 87. 40 DORIC

' ' atom 83 37 1 7 0 6 7 603 0 9 dewdr epov fl dafat riva l 7 3 “rally " y w a txfév 607 0 » M y new83; mix 3xew 37 3 0 functio n a l 7 39 ' ' ' w aixa 7 3 8 30 0 7 0 e é ah v mi ew y s, W 3 3 p r fi o r v 3 9 T ip I a8a ' ' - 3¢dpcov y dp 83; wp o 7 0 3 at 7 6 V A0qvatwv y wdixec ” Oi f a ' Awp cda 1 77 Kop in wapmrhqo'tm dr qv nsr éfiah ov «luv 39 ' ' M “Ori t o 3 i ea ' ~ an or ya w 8 we d m wra t. E fl , ; p m p ; xp o r t 83 dhq er

hd c cw évoro't ll: 1 3 0 17 1 30 03 7 3 wahat y p xp p a 9 1 ) 5 19 ov, d ' ' Kdet a 37rd i 3 36 0 f ac t: d cit 81; p , i 7 69 6 px q 7 ' ; 0 ! i y w atxéiv t} 31 7 31» 1 171 Amp tda xahcinev. When he came back to Athens bringing word of

the calam t the w ves of t ose who had een sent i y, i h b

out on the ex e t on too it sore to ea rt a p di i k ly h , th t he alone should have survived the slaughter of all the rest ; they therefore crowded round the man and struck him with the brooches by which their

resses were fastene eac as she struc as n d d, h , k, ki g him f h us an And h where he had le t er h b d . t e man The t en ans t u t h died in this way . A h i ho gh t e deed of the women more horrible even than the fate of

As owever t e not now h w the troo s. o p , h , h y did k

e se to un s t em t e c an e t e r ress and l p i h h , h y h g d h i d ,

com e e t em to wea r the costume of the on ans p ll d h I i . Till this time the Athenian women had worn a

or an ress s a e nea r e t at w c re D i d , h p d ly lik h hi h p

r n encefort t e were ma vails at Co i th . H h h y de to

wear the nen tun c w c oes not re u re li i , hi h d q i

brooches .

I n ver trut owever t s ress is not or n y h , h , hi d igi

on an but ar an for a nc en t the ree ally I i , C i ; i ly G k women all wore the costume which is now called "— r n RAWLI NSON . the D0 ia . H e goes on to say that after this the Argive TWO TY PES OF DRESS 41 and l E inetan women out of r va r w t the g , i l y i h t ni w m c A e ans ore u ar er rooc es t an efore. h , h l g b h h b The importance of the passage is that it tells us f h f m o t e two types o dress worn by Greek wo en. We learn that down to the early years of the sixth century all the Greek wo men wore the Dorian d re ss fas te ned with pins of such size and strength that they could become dangerous weapons in the ha n s of w m xc r s on at r d o en e ited by g ief or pas i . L e the At enian women a o t d a ffer nt ress h d p e di e d , wh ch not nee t ese lar e ns to fasten it i did d h g pi , an d w c erodotus ca s the nen on c c ton hi h H ll li I i hi , afterwards correcting himself and explai ning that

a n in i s or this kind of dress was really C ria t igin. The story of the slaying of the sole survivor of the l E ineta n ex ed t on and of the un s ment g p i i , p i h mete out to the At en an women seems in tse f d h i , i l far-fetched and highly improbable ; but there is r un o i i os p obably some fo dation f truth n t. P sibly the tale was nvente ero otus or more i d by H d , ,

roba was current in his da as an ex lana p bly, y p tion of a change in the style of dress which actually took place in Athens at the begi nni ng of

the s xth centur or more ro a even ea r er. i y, p b bly li Among the sumptuary laws introduced by S olon ’ was one r u at n women s ress and for n eg l i g d , biddi g them to wear more than three garments when they ‘ w ut f n r s r s The ass n of ent o to u e al o fe tivals. p i g such a law could only be necessary if the Athenian women had already adopted a luxurious and “ “ Pluu rch, Solon, 3 1. 42 DORIC

o n of th xtrava ant st e f ress. N ow the esse ce e e g yl d ,

or c ress as w be s own ater is s m c t it D i d , ill h l , i pli i y ; f n O n did not admit o great variety or elaboratio . the ot er an t at the on c ress was somew at h h d, h I i d h

r fr m u s we uxur ous is c ea o c es i. 6 o l i l Th ydid , , ; ’ ma nfer t at the t me of S o on s arc ons y i h by i l h hip, h n w m n h d a r a a te B C . t e At en a o e a e o 594 . , h i l dy d p d the on c ress and had er a s e a orate it I i d , p h p l b d by some modiﬁcations added by their own i nvention . ’ If s is so ero otus s stor aces the c an e at thi , H d y pl h g least a generation later than its actual occurrence ; but as he is writing at a distance of more tha n a centur from the event we nee not be sur r se y , d p i d

r s in if he is a gene ation or o out his dating. The simple Doric dress mentioned by Herodotus as being universally worn by Greek women down to the s xt centur ﬁn s a un ant ustrat on in i h y, d b d ill i

- ear art es ec a in the Att c ac ﬁ ured vases . ly , p i lly i bl k g

I t cons sts of a ar e o on ece of mater a in i l g bl g pi i l , en f m of th l gth about 1 t. ore than the height e wea rer in w t a out tw ce the sta nce from , id h b i di

’ elbow to elbow when the wea rer s arms are held out or zonta a s r The a t ona h i lly t houlde level . ddi i l foot in heigh t is used up by foldi ng the upper edge over so that the material is double from neck to w s Th a fo n i roun ai t. e g rment is put on by ldi g t d the body and pi nni ng it on the shoulders a t points a thi rd of the distance from the middle li ne and the e es res ec ve A a ram w ma e the dg p ti ly . di g ill k

ra m n ar nge e t clear. ’ a 6 c a re resen ts the or na rectan u ar , , , p igi l g l

44 DORIC

The garment is usually represented as being

sewn u a on the s e somet mes a on th w o e p l g id , i l g e h l en t ac 6d somet mes on a on the len l g h , , i ly l g gth

from the wa st to the feet— that is a n th es i , lo g e edg

r M somet mes it is eft o en e n e in ace g , ; i l p , b i g h ld pl On the ac -fi ur a i only by the girdle. bl k g ed v ses t is usually the closed Doric dress which is repro sente ro a ecause it offere the east difli cult d, p b bly b d l y to a technique which necessarily imposed somewhat c ose m tat ons on the art sts who ract se i A l li i i i p i d t. good example is to be found in the figures of the ates from the ran o s vase w ch has alrea F F c i , hi dy e n uote in ustrat on of the omer c e s b e q d ill i H i p plo . A freer and more realistic representation is to be found in the sculptured metopes from the temple

a m of Z eus t O a . At ena in the meto re re , ly pi h pe p senting the cleaning of the Augean sta bles wears

the c ose or c ress ere the 31 6 or l d D i d ; h m m,

overfo fa s s t e ow the wa st and ow ld, ll ligh ly b l i , bel

it the kol os is c ear v s e the s t uc p l ly i ibl , ligh po h formed by d rawi ng the superﬂuous length of the 1 h n t s h material over t e girdle. O he va es t e pouch

is a most nvar a a sent a nd the r e is a wa s l i i bly b , gi dl l y

s is a so th case in ne of the arc a c visible. Thi l e o h i

s ta tues on the Acro o s at At ens w ere the or c p li h , h D i

ss is worn ov r an on c c A s t va a dre e I i hiton. ligh ri tion of the dress is to be seen on the nymph of the

At as meto e at O m a w ere the overfo an s l p ly pi , h ld h g considerably below the waist and no girdle or pouch is visible ; here the additional length of the overfold

i 1 0 . F g . b The R l t ra h Co M y ea m Pho og p ic . ) — PIG. l Q Meto pe from the Temple of P o b Br o i h to. y g , Na pta J

G 1 — B t fr H rculan N l u m e eum a es. FI . 1 . ron z S at e o e , p

( Face m e sh THE CLOSED DORIC DRESS 48

ro ab o v ate the necess t of a ouc and the p b ly b i d i y p h ,

r e wh ch is en s m serve to o the gi dl , i hidd , i ply d h ld in h n dress to t e ﬁgure. A bro ze statuette from H erculaneum shows the dress sewn up only from

w . 1 x the waist do nwards (Fig ). As time went on the mens ons f , di i o the Doric dress ecame more am e or at east w r re b pl , l e e pte sented 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

ecomes ro ort onate ar er no on er e n an b p p i ly l g , l g b i g xact sixth of the w o e wi t of th r s h e h l d h e d es . T e most perfect examples in art of the Doric dress in its full development are to be found in the maidens of the Parthenon frieze and the Caryatids of the

rechtheum. ere the ouc is em as ze and i E H p h ph i d, ts raceful curve n over the s t ou g dippi g hip , h gh

dea zed is at the same t me erfect natura s c i li , i p ly li ti , as can b sh wn at once b ract ca x r n e o y p i l e pe ime t. ’ The Munich copy of Cephisodotus s Eirene holding the infant Plutus presents a very good example of the closed Doric dress as it was worn in the fourth century ; it will be seen that the folds

r more a l and the overfo and ouc fal a e p e, ld p h l to a istance cons era elow the wa st so t d id bly b i , tha the arment must be ar er t an t at or na worn g l g h h igi lly , if we are to accept early monuments as faithful re resentat ons of the st e of ress actua worn p i yl d lly . The sim ler form of the or c ress name p D i d , ly, that which is unsewn and eft o en down the si e is l p d , h wor c ton for the I on cthou the la r t e d hi i , gh tte f u nt a e to the Dor c and is nvar a is req e ly ppli d i , i i bly f he un er- ress w en th two es used o t d d , h e styl became The e os of At na is s milar to confused . p pl he i

nar o en or c ress exce t t at the over the ordi y p D i d , p h fold is longer and reaches to the thighs and the ‘ h girdle is worn over it. T e material is pulled up ‘ over the r e but not suﬁici l very slightly gi dl , ent y to in front the ur ose of the s ht o hide it , p p lig p uch being merely to prevent the dress from dragging

h arms and from tra n on the roun t under t e , ili g g d a h r e is at rst worn roun the sides . T e gi dl ﬁ d the

Fi t s . Fiirtwi n ler M a a 2 g. g , m , p. 3 4 .

1 F . 1 Pollux, i i ., 87. ig 3.

50 DORIC

A rather exceptional variant of the second style of weari ng the himation is to be seen on a vase of ’ Euxitheos in the r tis Museum w ere ris eis is B i h , h B represen ted wearing it with one end placcd on the eft s ou der the mass of the c oa e n rawn l h l , l k b i g d across the back ; the other end is pa ssed under the

r t arm but nstea of e n t rown over the eft igh , i d b i g h l shou er a ain is turne ac over the r t ld g , d b k igh s oul er and so eaves the front of the re h d , l ﬁgu

A third fashion is somewhat similar to the secon i except that it leaves the front of the ﬁgure a ns of exposed to the waist or little below. I tead being drawn across the chest and thrown over the

eft s ou er the secon end is s m t rown over l h ld , d i ply h the forearm and held in place by the bend of the ’ o A c o w rn in t s s t e wou be ver elb w. l ak o hi yl ld y

e to s so anot er fas on was a o ted w c lik ly lip, h hi d p , hi h

ro uce a rox mate the same effect but w c p d d pp i ly , hi h

s f n n of prevented the po sibili ty o slippi g. I stead

t row n the end over the eft arm the wearer h i g l , secured it at the waist under the arm ei ther by a brooch or more probably by simply tucking it under

the girdle. To preven t the garmen t from ha nging

own too low and ra n on the roun a ar e d d ggi g g d , l g corner was usually doubled over before it was

s ur a t he wa h s f ec ed t is t. T e pa rt thu astened was sometimes passed over the end which hung down

from the eft s ou r om t m n i e s e es u er t. e l h ld , i d Th himation is so worn by Mausolus and Artemisia in { 3 E. 2 8 ﬁ . i 5 , g 1 6. F g. 1 7 .

5 2 DORIC

I on c mat on was fastene w t rooches and i hi i d i h b , had t v o m a differen de el p ent. The wearing of the un pinned himation over the I onic chiton is an in s tance

n of or c and on c r of the blendi g D i I i d ess. The Doric dress of men was similar to that of women ot w t re ar to un er- ress and cl , b h i h g d d d oak. ' The name t‘row is use for the un er- ress as it w X d d d , as in omer the wor e os e n restr cte H , d p pl b i g i d to ' Th out r a women s garments . e e g rmen t of men as

as of women is ca e the mat on well ll d hi i . ’ The Doric men s chiton is fastened by brooches

oul ers a nd irt in at th i I t on the sh d g e wa st. was a s rt arme t reac in m wa down the t i s ho g n h g id y h gh , ust a ve the n h n or to a distance j bo k ees, ad o over ’ n ower t an he ome l s ol and was arr t w s c o . N o f d, h n p p

os was worn t ere e n no su erﬂuous en t kolp , h b i g p l g h

f The s e was sewn u so t at h to dispose o . id p h t e garment before being pinned was cylindrical in s s somew at scant armen t was the hape. Thi h y g

worn s aves and men en a e in a only one by l , g g d ctive pursuits and workmen frequen tly wore it fastened

ne s ou er eav n the ot er are and only on o h ld , l i g h b the

en worn in t s w arm quite free. Wh hi ay it was called ' - ' the xcrcov 361011 19 or erepoy da xah or ; the god H ephaistos is usually represented wearing it in this way in his

as cra ftsman . We earn from o ux ii a ac t v . c p i y l P ll , , ’ t at the é w c was a we z kﬁ a as we as an 4 7 , h f m p ﬂ y ll

’ dv from w c we ma at er t at a sma c év p a , hi h y g h h ll loak wa s sometimes worn fastened on one shoulder and

r r un th wa st bu eft unsew wn h t o e t n o t s . gi d i , l d e ide ' h t'rcvv i w 1 re res nts t e r. Fig. 9 p e x f m DRESS OP AMAZ ONS 5 3

Representations of Amazons and of Artemis - the untr ss are fre uent wear n the i valto a “ h e q , i g x my ; but in these ca ses it is usually a longer garment t an at worn men and its su er uous en t h th by , p ﬂ l g h is rawn u over the r le form n a ouc and d p gi d , i g p h ; then a second girdle is worn over this to prevent it T from flapping in the wind . he Amazons of the Mausoleum frieze wear the short Doric dress with ou t overfo and unsewn own the s e t s ld d id ; hi , owever is erha s mere a ev ce on the art of h , p p ly d i p the sculptor to afford an Opportunity of displaying

the h s ca forms as we as the ra er . ar ous p y i l , ll d p y V i references in literature show that the Spartan women wore more scanty clothing than the ' At en ans th are escr e as om cm wear n h i ey d ib d n x , i g ” a s n e arment and we earn from ausan as t at i gl g , l P i h the gi rls who competed in the running races at - ‘ m r cn w r a As monum nta Oly pia wore the sho t x em. e l tes timon to the trut of t s statement we ave y h hi , h

th statue of a irl runner in the at can Museum e g V i . ' The r psBnu worn by Spartans and people of

aus tere or aconizin ten enc es e S ocrat s and L g d i , lik e

the n c h oso ers was ro a a sca n Cy i p il ph , p b bly ty Doric chiton made in some coarse homespun ma terial ; men of leisure and elderly men preferred to wear a longer chiton with sleeves either sewn or fastened with brooches ; this was the case even after the reaction against anything savouri ng of n m w c w rs n w f w O rie talis hi h follo ed the Pe ia ars . I e

are to cons er the monuments oth scu ture and id , b lp v ses as v n a rea l st c cture of ree fe we a , gi i g i i pi G k li . 54 ° DORIC shall see that men frequen tly were only the hima t on but it is ffi cu t to e eve that t is was so i ; di l b li h , exce t s in th e f summ erha e t o er. p , p p , h igh The methods of draping the himation were the same for men as for women exce t that f r e , p a te th period of the early black-figured vases we do not find men represen ted wearing it laid o n both shoulders like a shawl ; nor do they ever wear it

rawn u over the hea a thou in the suns ine d p d, l gh h of a southern s ummer some such protection against the eat m t be cons ere ndis ensable Th h igh id d i p . e

end on the left

‘ u d r sho l e . ela ed resuma ecaus e it was rawn close t , p bly b d ly

un the r t s e of the o It was cons ere ro d igh id b dy. id d a mark of good breeding to throw it over the shoulder and let it hang down in such a way as to 2 ’ f ar TO w 31r cover the le t m completely . ear it

é rn é a over the eft s e was a mar of oor s p p , l id , k b i h ’ ” ness as we at er from A r sto ane s Bir ds w ere , g h i ph , h Poseidon taunts the barbarian Triballus for weari ng i t so.

Another variety of over-garment worn by men is the hd vs' a c oa use for r n or trav n x n , l k d idi g elli g. ‘ It is cons ere to be of Maced on an or n anot er id d i igi , h f f it n he a ri a rou r orm o bei g t C p , gh Th acian ridi ng

Fi s 20 and 21 . Fi . 20 i 1 6 g . g . ., 5 7 . ' Paul -Wissowa Real E lo da'tc y , w r p . 56 then fas ten the two sides together with a brooch on the ri ht s ou er c se to the n c at the o n ts g h ld . lo e k, p i c and f in the accompan ying diagram ; the c0 rners d and é would hang down in front and behind respec tively a t a distance of about t foot from the

roun and the corners a an d 5 wou an o wn g d, ld h g d together along the right side ; the left arm which held the reins in ridin would thus be covered g , whil l o w i e the right would be free to ho d spear r h p . The left could easily be frced also by swinging the cloak roun d so tha t the brooch came under the chin instead of on the shoulder ; the two corners

a and c could then be thrown back over the arms.

in art worn in

the is occu e in or us n pi d vig o actio . We must now turn to a consideration of the I onic ress w c ero otus te s us was a o ted the d , hi h H d ll d p by Athenian women in the sixth century Accord

in to his account it was ar an in its or n our g , C i igi ; knowledge of the Carians is somewhat vague and

ﬁ a rn from uc s t i nde nite. We le Th ydide tha they

or na n a te the c a es but were r v n igi lly i h bi d Cy l d , d i e ’ out by Minos of Crete ; and a little later on he

s ea s of t em to et er w t the Pharnicians as p k h , g h i h , w ra r islanders ho practised pi cy . H e odotus gives a s t differen account sa n t at th ligh ly t , yi g h e Caria n inhabitants of the islands were subjected by Minos

and use him to man his s s and w r no d by hip , e e t driven out until later by the Dorian and I onian

mm ran H a m n ns h i ig ts . e lso e tio t e belief of the Carians themselves that they were autochthonous

in ar a and attr utes to t em var ous nv n on C i , ib h i i e ti s

war s a o h cc r n o a fter d d pted by t e Greeks. A o di g t

T uc es the r met o of ur n the h ydid , i h d b yi g dead seems to have differed from tha t of the Greeks ; and from the var ous accounts of the two stor ans i hi i ,

11 R IONIC

we ma at er t at t e r race was ifferen t y g h h h i d , al though poss ibly th ey were soon hellen ized by

t e r on an ne ours . If as ero otus te s us h i I i ighb , H d ll ,

the ree s a o te some ar an invent ons it is G k d p d C i i , not unlikely that they may also have adopted the

ar an ress or at eas t ma ave mo e C i d , l y h diﬁ d their ‘ n some an own by assumi g Cari elemen ts. I n his accoun t of the assumption of the I onic the At enians ero otus s ea s on of dress by h , H d p k ly the women ; but we know tha t it was worn by men

art from the ev ence of the monu ments also, p ly id ’I rt from uc es who te s us t a and pa ly Th ydid , ll h t not

- “ ” 37 1 1 cicala a luxurious mo e of res 7 6 , d d s eir insfo the on a s them and th k lk I i n . The I o nic dress was probably discarded by the Athen ians

rt after the out rea of the ers an war n sho ly b k P i , whe a reaction set in agai nst Orientalism and a tendency towards greater simpli city began to man i fest itself ; Thucydides is writing more than a

enerat on after the ers an wars but his ex r g i P i , p es ” s on oil arch ); dvos no reat en t of t m is i , xp , g l g h i e,

ent va ue and he ro a rec sufﬁ ci ly g , p b bly ollected the change which took place in his youthful days ;

oreover he s ea s on of the e er men m , p k ly ld of the

t c asses who wou natura b of c weal hy l , ld lly e onserva

Accordin to Rid ewa E ar l A e o Greece the Carian li g g y, y g f , s, ke h L le es were a Pelas ian o le t e e g , g pe p . 6 i., . THE IONIC CH Il ‘ON tive tendencies and the last to adopt any change in f The exact r o at their mode o life or dress. pe i d which the Athenians adopted the I onic dress is

unknown the E inetan ex e t on of 6 8 B. C. of ; g p di i 5 , w c o otus ma es use in at n he c an e hi h H er d k d i g t h g , ’ is too ate for we know t at a rea in S o on s a s l , h l dy l d y luxury in dress had reached such a pitch as to necessitate the passing of a sumptuary law to re u ate it and suc uxur cou ar ave een g l , h l y ld h dly h b reached so long as the simple Doric dress was r ma no be unr sona o assum eta ned . It t ea e t i y bl e, t en t at constant ntercourse w t the on ans in h , h i i h I i the islands on the coast of Asia Minor led the Athenians to adopt their dress at some time

f r towards the end o the seventh centu y. The I onic chiton differed from the Doric in

en t mater a and met o of fasten n . We rea l g h, i l , h d i g d ’ “ in omer a rea of the Iaio m M a im on H l dy x , l g ” Ion ans and o ux te s us of the l i mit m iv robed i , P ll ll x ' ' ' 5! 1 0 10 13 1 i o ow wodr ital midt lo the nen 1 d p lpq, e m , li tunic which the Athenians wore reaching to the - ‘ feet and the on ans too s creov r oJo r is a , I i Thi x ipq long chiton reaching to the feet ; that its ma terial was l nen is test ﬁed uc es and o ux as i i by Th ydid P ll , ’ well as t w t s The stor of ero otus o her ri er . y H d shows that its fastening was different from that of the or c s nce the At en an women were forced D i , i h i “ to “O t it in 6 1 1 16 i saivrut so as not to p , 5 1 t p ; xp ,

l W a k ma n ’ Studniczka has pointed out that the word xm w 1s of Semitic

M u d connm d with a mot signifying ﬂ inenﬁ Bd . 1 7 f.

TH E IONIC CHITON would leave too great a mass of materia l hanging

w he s eeve is ma e o n do n under the arms . T l d by j i ing the two top edges of the garment together and gathering them up so as to form regular folds ; an opening is left in the middle for the neck and one at

he arm- o es were ro ea ch end for the arms . T h l p b a not forme as some e eve atera o en n s bly d , b li , by l l p i g in the s e-seams s nce t s met o ro uces a id , i hi h d p d c ums effect in ract ce and moreover in man l y p i ; , y vase-painti ngs the ornamental border which runs along the neck and upper arm passes also round the arms without bei ng con t nned own the s e w c i d id , hi h shows that it was em broidered or woven along the top edge of the chiton

efore the s eeves were ma e b l d . A diagram will best show how the s eeves were forme l d, and the position of the open ings for neck and arms : ab represents the upper edge of

Fm. 26. the c ton a on w c hi , l g hi h a border is frequently woven or embroidered ; cf re resents the s ace for the n throu w c p p eck, gh hi h the head is thrus t ; ad and 61: represent the a rm- o es w c a n w h l , hi h h g do n pa rallel to the ' wearer s sides when the arms are held down in a normal position ; the side-seams cg and M are sewn along thei r whole length ; the dis tances dc f c are 52

and a t to form e u s The joined g hered th f ll leeve. ful ness is frequen tly held close to the ﬁgure by the

a it on of cross - a n s e t er cross n ot in dd i b d , i h i g b h

front and behi nd and a tta ched to the. girdle a t the

si es or cross n on at the ac and ass n d , i g ly b k p i g

r un he front of th s ou ers A r exce ent o d t e h ld . ve y ll sculptu red representation of this; the simplest form

of the on c c ton is t be foun in the famous I i hi , o d

e c ar oteer w ere the at er n of t e D lphi h i , h g h i g h ‘ I n cases w ere sleeves is very clearly marked . h

the s eeve is not sewn the s aces de and r are o ne l , p f j i d

a ser es of rooc es va r n in num er from four by i b h , yi g b

s ix sid The ulness is oduced b to on each e. f pr y wking up a little group of folds a t each fastening ’ and leaving the spaces between quite plain ; the two

are us uall arted in these s aces so as to edges y p p ,

u s o s show the a rm through . These gro p f fold are perhaps more effective than the conti nuous row of

a rs w c we t w t the s wn s v The g the hi h ge i h e lee e. 2 Euxitheos vase reproduced above will furnish an

a on o th c w t A illus tr ti f e hiton i h pi nned sleeves .

s ort c ton w t s eeves n ned in severa aces h hi , i h l pi l pl ,

was fre uent worn men as is rove man q ly by , p d by y

- n s n r r vase painti gs . We ometimes ﬁ nd wome ep e

sente wear n a fu c ton w t out overfo d i g ll hi i h ld,

fastene on once on eac s ou er e the or c d ly h h ld , lik D i

s s is n of the m m ns w c dres . Thi o e any odiﬁcatio hi h the I onic dress underwent when introduced into the

a n an f We fr uent nd on vas m i l d o Greece. eq ly ﬁ es ﬁgures in rapid motion wearing the long I onic

Fi . 2 g 7. Fig. 1 6 . THE SLEEVED CHITON

enera rule s nce wit out some suc con r vance it g l , i h h t i

wou s n n ld lip i convenie tly . A type of dress very commonly found on vases is that which has full sleeves to the elbow and an

overfo cover n the c est and ac and ass n ld i g h b k, p i g

un er the arms w t out cover n the s eeves as was d i h i g l ,

the case in the c ton escr d a ov Th hi d ibe b e. e Maznads on the famous Hieron vase are repre

sente wearin t s k n of ress and numerous d g hi i d d , ‘ exa m es cou be uot f r v - pl ld q ed rom othe ase pai ntings. Some such effect might be prod uced with the

or nar c n r ca -s a e c ton w th overfo if di y yli d i l h p d hi i ld, 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 ; but in actual practice such an arrangemen t would pro duce a somewha t clumsy mass of folds under the arm and cou not ma na e at all un the . ld be g d less overfold we re considerably dw per than that us ually

re resente on the vases . We must oo t erefore p d l k, h , for some other explanation ; and it will not be far to

seek if we a ow the on an women and t e r . ll I i h i Athen ia n imitators a freer use of scissors and needle than thei r Doric sisters were accustomed to

ma A c xa m na on of nu nts ke. lose e i ti the mo me will show that although the sleeve of the I onic chiton was frequently formed in the ma nner described a ove et in a ver lar e num er of cases in b , y y g b , almost all of w c the overfo is resent the hi h ld p , sleeve is more like our modern notion of a sleeve

i . 2 Cp. F g 9. 65 IONIC t at is to sa it ﬁts c oser to the arm as t ou h y, l , h gh s a ed to some exten t w ile the rest of the h p , h

arment ﬁts c oser to the ﬁ u e va e g l g re. Th s painter Brygos is fond of depictin g women in ‘ this ki nd of dress : the accompanyi ng illustra tion is taken from his represen tation of H era and I ris u n purs ed by S ile oi. This dress is obviously not composed simply of a cyli ndrical piece of material folded over at the top and fastened on the

arms, for the rather

in ot of w c b h hi h ,

owever the s eeve h , l pieces must be sewn F1c. 30 . i s ara n ep tely. In the

ﬁrst met o we ma su ose t at two rectan u ar h d, y pp h g l

eces of mater a are ta en e ua in s ze and s a e pi i l k , q l i h p , ’ represented in the diagram as abra . These are sewn together along the sides up to the points e and j ; at a distance of about 5 feet

from t e ower ed e w en the ress is worn t ese h l g ; h d , h

n r h rm points will come immediately u de t e a s . We may next suppose that two rectangular pieces of ma terial measuri ng about 1 8 by 20 i nches are taken

Fig. 29. TH E SLEEVED CHITON 67 for the s eeves t ese are fo e ou e so t a th l ; h ld d d bl , h t e lon er s es lie u on eac ot er and t en sewn on g id p h h , h to the o of the c ton at the o nts fr and a b dy hi p i ﬁ , g , , so that the fold lies in the position indicated by the ' lines 19 and el in the diagram ; the openings 31 and 3 7 will form the arm-holes ; that part of the c hiton aégb which still extends above the sleeve-pieces is t en fo ov r so t at it an s own in h lded e , h h g d the ' ’ n k Th ne H now n positio g a b . e li represe ts the

u er ed es of the arment w c ar fas t n pp g g , hi h e e ed together (leaving the space w t for the neck) either by sewing and gathering or by groups of folds held

in ce a ser es of rooc es The front and pla by i b h . back part of the overfold would then hang down se aratel but t e cou be o ne to et er un er p y, h y ld j i d g h d the arms rov ed t at the s ace roun the s o er , p id h p d h uld were left free for the arm to pass th rough into the

The second method of making this dress is

n ut mo fic n of he first I cons s nothi g b a di atio t . t i ts of ta in two sma er rectan es in the first ace k g ll gl pl , i rd to form the o of the c ton two eces g , b dy hi ; pi ab b are sewn on ac and front after the s eeve g b k , l eces to form a sort of fa se overfo w c w pi , l ld, hi h ill have exactly the same effect as if it were in one f h o piece with the rest o t e chit n. It is possible to conceive of the sleeve-pieces being originally in one piece with the rest of the ton whic wou t en be a ress com ose of chi , h ld h d p d two cross-shaped pieces of material sewn together along the edges and ed ; it is more reasonable 58 IONI C

to su ose owever t at the sleeve- eces pp , h , h pi

s wn on se ara at suc s - s re e p tely. Th h leeve piece we attached to the ordinary I onic chiton without over

- s The fold seems likely from many vase pai nti ng . addition of sleeves was certa inly not un familiar to the ree s for we ﬁnd s aves wear n a narrow G k , l i g ,

un rt c iton w t t t s eeves reac n to the gi h , i h igh l hi g

wr s A fam iar exam of t s is o be foun in i ts. il ple hi t d ' H egeso s attendant on the well -kn own grave relief

in At ens. In an nscr t on at n fro m the h i ip i , d i g ‘ m e of the fourt centur and recor n a iddl h y, di g large number of garmen ts dedicated to Artemis

c iton or h , W , from which we may infer that it was no t alwa ys so Now the or nar s m e on c c ton w . ou , di y i pl I i hi ld

be o on in s a e w en not worn so t a bl g h p h , h t we ma ta e the ot ers w c are not escr y k h , hi h d ibed as o o n to be c tons w t se ara te s eeve- c bl g, hi i h p l pie es attached . The false overfold was sometimes attached also

t s m c n ca n c c t to he i ple yli dri l I o i hi on. I n thes e cases it covere the c est on eav n the ar d h ly, l i g ms covered only by the sleeves it was probably simply

wn on a t he nec in front n a ma se t k o ly . K lk n n has collected a nd stated the evidence for this false overfold to th c ton in an art c e in h /zr b /z e t e a uc vol. xi hi i l j , . , where he shows that it was sometimes applied to

C. I . A., 754. TH E SHORT IONIC CHI'I‘ON

r- ar n r c ea r exa m es of it the ove g me t also. Ve y l pl are to be seen in some of the archaic female statues

on the Acro o s at At ens es ec al in t ose p li h , p i ly h cases where the himation is worn like a shawl over ‘ both shoulders. That the long I onic chiton with sleeves was

worn m n as we as women is a un ant by e ll , b d ly h v Z us v n f m monuments . On t e ases e e ide t ro the , and Dionysus and other gods are almost invariably

re resente w a r n it and in scu ture a so in s p d e i g lp l , k g , d r es ts and ot ers are re resente so resse . p i , h p d d

o et er w t the mat on it ro a const tuted T g h i h hi i , p b bly i

a sort of state ress for r ests and ot er officia s d p i h l ,

even after it had een sca r e for a use as b di d d d ily ,

n ux r bei g too l u ious. A s ort chiton w t or w t out s eeves and h , i h i h l , ma e of some ﬁne mater a is to be foun on the d i l, d

s s wo n n in a u u t va e rn by me e gaged ctive p rs its. I somet mes has an overfo a t ou w t the on i ld ; l h gh, i h l g

c ton t s fea ture is usua conﬁne to women. A hi , hi lly d ' good example of the men s short chiton with over fold is to be seen on the vase of Brygos represent in the x o s of Th S g e pl it e eus. The cross -bands and shoulder-cords already

ment one are str ctl s ea n an elemen t of the i d , i y p ki g,

I onic c ton t ou t e are somet mes re resented hi , h gh h y i p

n r r os e r o ct is i art ove the Do ic pepl . Th i bje to hold the am le fo s of the fu c ton c ose to the ﬁ ure p ld ll hi l g , and to preven t the sleeves from slipping or ﬂapping f h w r a bout with every movement o t e ea er. The

Nos. 687 and 688.

THE IONIC HIMATION

sen ted on vases wearing over the long I onic

c ton a s ort and som t mes ver ornate arment hi h e i y g ,

w c cannot be escr as a mat on oss hi h d ibed hi i . P ibly this short over-chiton is the garment indicated by - ’ the name xw é m xoc. A simila r garment was worn

b m n am me y usicia s over the long ungirt chiton (h r) . A nother i nstance of a special dress worn for a s pecial purpose is the costume worn by actors ; it

had on s eeves and was ro a a e to com l g l , p b bly p dd d plete the impression of increased size produced by

the mas ks and us ns high b ki . The hima tion worn over the I onic chiton presents considerable variety of shape and arrange n n or ment. I very many cases we ﬁ d that the D ic h mat on is worn w et er over ot s ou ers or i i , h h b h h ld

on m m nt w over one. In the ar onu e ere ly H py , h we might have looked for I onic dress in its purest form we ﬁnd the or c mat on worn over the , D i hi i

ﬁne nen-s eeve c ton and on ver man of the li l d hi , y y

red-ﬁ ur d of s t s is h g e vases the severe tyle hi t e case. ere is one set of monuments owever w c Th , h , hi h

ma be cons ere as on c in or n or at eas t of y id d I i igi , l I on zn ten enc es w ere a far ess s m e arment i i g d i , h l i pl g

n ta kes the place of the Doric himatio . This set includes the archa ic female sta tues and ﬂying

victor es of the Acro o s Museum at At ens and i p li h , a large number of small pa inted terra-cotta statuettes

‘ i l. I ona rhar / 4m m Ve r d i/do d , p : Ge d g ma“

’ ' ’ W wa u Paul isso s Rod n .v Cp. Amel ng in y E q d w d c, r . “ " Clifton. 9 3 3”

T H E MA I DE N S O F TH E AC ROPOLI S

THE DEVELOPMENT OF TH E ION IC HIH A‘I' ION

Tun problem of the drapery of the archa ic female ﬁgures in the Acropolis Museum has been con s ider d var ous arc e o o sts but has no e by i h l gi , t yet been satisfactorily solved in all its details by any

of t em. The ues t ons to be decided are : rstl h q i Fi y, are we to suppose that the draperies of the statues give us a faithful and realistic reproduction of a costume actually in fashion among the Athenian

ad es at the c ose of the s xt centur or must w l i l i h y, e take into account the fact that the work is still archaic and the artists have not yet sufﬁciently mastered thei r material to be able to reproduce exact wha t t e saw efore t em Secon ly h y b h dly, wha t are the separate garments which constitute the ela orate com cate w o e ! And t r b ly pli d h l hi dly, how are these garments arranged so as to produce the effect seen in the statues ! The answer to our ﬁrst question is to be found in a compromise lyi ng somewhere between the two

h oth ses su ested . The ear art st stru n yp e gg ly i , ggli g x w t the tec n ca ffi cu t es of his a rt is a wa i h h i l di l i , l ys rea as soon as he has so ve one ro em to his dy, l d p bl sat sfact on to ass on to somet n w c r n i i , p hi g hi h p ese ts s till grea ter diffi cul ties and demands the exercise of l h s till greater ski l . T e makers of the Acropolis maidens have advanced so far as to be able to — infuse some sort of life into their work witness the m of ve ex ress on on so e the faces . Moreover li ly p i , in the modelling of some parts of the human figure t ave r ac e a e ree of exce enc I hey h e h d high d g ll e. n the few cases in which the feet of the s ta tues are

res rv a reat e ree of e cac and r p e ed, g d g d li y eﬁne ment is s e w c s ows t at the ar di play d, hi h h h tists

n scu tur I t is not to be su os drapery i lp e. pp ed tha t at this stage of artistic development they would i nvent difﬁculties which did not naturally presen t t emse ves nor wou t e attem t to re resen t h l , ld h y p p a n t n t at t e had not actua seen t erefore y hi g h h y lly h , we must conclude that the Athenian ladies of the period actually wore a d ress correspondi ng closely A h m t m re ro uce in art. t t e sa e e it to that p d d i , must be remembered that the Greek artist in all probability did not work with a model constantly

for him so t at we mus t ex ect some s t be e , h p ligh

ffer nces in eta on t at account furt ermore di e d il h ; h , we must make some allowance for archaism ; for exam in all the s tatues un er scuss on the ple, d di i ,

ra r o s not fa free awa from the ﬁ ure d pe y d e ll ly y g , DESCRIPTION OF THE ACROPOLIS STATUES 75 but follows the lines of the form beneath in a f man ner impossible in real li e. H aving determined that the artists have repre sented a r ss w c was actual worn we must d e hi h ly , proceed to consider the character of the dress as a

w o e and of the arts of w c it cons sted . In h l , p hi h i giving a general description it will be bes t to take an exam e w c ex ts all or nea r all the m hi h hibi , ly , characteristics that ca n be collected from the

o. w serve our ur ose. various statues. N 594 ill p p Art M i errot and ez . xii. echat us c (P Chipi , pl ; L , 0 ﬁ The un er- rm n dc l Aw o o/e . a e t p , g d g which appears on the neck and left arm is repre sented a ser es of ﬁne wav nes runn n by i y li , i g aral el to one anot er w c ve a cr n ed p l h , hi h gi i kl a earance and ma oss he meant to pp , y p ibly i ndicate a material which has undergone some

in ma n special treatment the ki g . This garment is ﬁ nished at the neck and down the upper part of the arm an ornamenta or er or na a nted by l b d , igi lly p i , but from which the colour has now almost entirely sa Th ower art of th di ppeared. e l p e ﬁgure is covere a ver on and am e arment w c d by y l g pl g , hi h I shall h0 pe to prove to be the same as that which

o th f s ou er and s c vers e le t h ld upper arm. Thi garment is orna men ted wi th a broad and elaborate meander pattern down the middle of the front ; and if the statue were not ro en we s ou ro a b k , h ld p b bly

see anot er or er roun the ottom. S o far the h b d d b , costume is comparatively simple ; but above this i F g. 3x. THE MAIDENS OF THE ACROPOLIS under-garment is worn a cloa k which passes under t u he r t s ou er he left arm and is drawn p to t igh h ld , where it is fas tened so as to hang in heavy vertical

s own t e r t- n s e of the ﬁ ure ac fold d h igh ha d id g , b k and front ; in most cases we shall ﬁnd that the cloak is fastened by a series of buttons alon g the u er art of the arm as far as the curve of the pp p , e o Th xam for us now has an lb w. e e ple be e a t ona wra wh c conc als the fasten n own ddi i l p, i h e i g d in the r t arm. Th r st of the c oa ass igh e e l k, p g un er the eft arm an s in a ser es of o ue d l , h g i bliq but a mos t vert ca fo s runn n ara le to a l i l ld , i g p l l ou der h e e sh l . T es

over this band in a sort of little frill with a zigzag

Th mass of fo s n c os to the ﬁ u re edge. e ld lyi g l e g u nder the left arm represents the material which

f m h Th a t ona or s t e sleeve of the chi ton . e ddi i l wrap seen in one or two of the sta tues is a very simple matter ; it consists of a large scarf worn

over the s ou ers an n own to a o nt on the h ld , h gi g d p i

eft- an s e it eaves the eft arm uncovere l h d id ; l l d ,

a sses roun the ac and over the r t s ou er. p d b k, igh h ld

nst ad of an n stra t own to a o nt in l e . h gi g igh d p i

the r t- an s e the end of the scarf is tu rne igh h d id , d

a w a m Th nd is ok n up nd th ro n over the r . e e br e

awa in N o. but a ea rs in anot er nsta nce y 5 94 , pp h i

N o. 6 8 Acro o s Museum errot and ez ( 4 , p li ; P Chipi ,

ﬁ . 2 . ot c oa and s g 9 7, p B h l k ca rf are COMPOSITION OF TH E DRESS 77

or ered w t atterns of w c the co our st b d i h p , hi h l ill remains to some extent. Many theories have been advanced as to the u w m s h vario s garments hich co po e t e costume. It w be we to ve a r ef summar of t em and to ill ll gi b i y h ,

o nt out w ere n t e fa s ort and if oss e to p i h i h y ll h , , p ibl , su st tu on at is mor sat sfactor b i te e th e i y . The chief point at issue is whether the skirt — part of the drapery belongs to the chiton that is to sa to the arment w c a ears on th n y, g hi h pp e eck — and left arm or whether it is part of the cloak which passes under the left arm and is fastened on

o non even n the right shoulder. C llig disti guishes three garments ; he believes that the skirt is the c ton ro er and tha t the cr n ed texture of h hi p p , i kl t e piece which appears above the himation is meant to represent some sort of woollen jersey worn over ”

the c ton w c he ca s the chitoniscus. hi , hi h ll The difference in texture comes out very pla inly in those cases where the himation is worn

over the s oul ers e a s aw or w r it i h d lik h l , he e s

om tte a to et er for exam e in Nos 6 and i d l g h ; pl , . 70

At ﬁrst sight it appears as though two separate

arments were nten e but on close xam na g i d d , e i tion it will be found that the curved line which terminates the wavy lines of the upper section has not the a earance of an ed e but a ears rat er to t pp g , pp h urn un er and to re resent a ouc formed u n d p p h , by p lli g m n u r u th rd the ar e t t o e e. Moreover in g p h gh gi l ,

M ag i ca l md q ; Perrot snd Chipiq sgo snd m

TEXTURE OF THE CHITON 79

regularity in representi ng a series of very full folds

in a ﬁn m t r a l in r t er c os to h ﬁ u e a e i l he d a h l ely t e g re. The same ki nd of treatment appea rs on many of

r -ﬁ ur d v s th est n r m the ed g e a es of e b period . O e f o a vase by Euphronios is reproduced by Kalkmann

abr u b ol ix i occurs a so on h w l - n b c v . . t t e e own (f , ) l l k ro us vase the same art st and in num rous T il by i , e

E s /ir n i ot er nstances ein o es . 2 ! h i (Kl , p , p Above the girdle the folds are represen ted by ﬁne parallel wavy li nes drawn very close together

n below by straight lines . I these cases there is no questioning the fact that only one garment is

ntended so t at we ma conc u e t at in the case i , h y l d h

of the Acro o s statues too t ere is no nee to p li , h d suppose tha t the difference in texture represents

w s arat a n of ff n m r s t o ep e g rme ts di ere t ate ial . It has been sugges ted that there may be an intention on the par t of the artist to indicate some

k n of mater al t a t had a cr n ed texture suc as i d i h i kl , h that of some of the modern Greek stuffs ; but if

t s were so we m t reasona ex ect to ﬁnd the hi , igh bly p sa me tec n ue all over the arment and the h iq g , comparison with the vases shows that the supposi

sar tion is not neces y .

We ma conc u e t en t at in t ose eases y l d , h , h h w ere the mat on is om tte a to et er th h hi i i d l g h , e

ﬁ ure is ra ed in a s n e arment name the g d p i gl g , ly,

on on c c ton escr a ov l g I i hi d ibed b e. I n the case of t ese statues the c ton is h , hi e xceptionally long ; there is still some material left trailing on the ground after the formation of the 80 THE MAIDENS OF THE ACROPOLIS

“ " ee kol os w c necess ta s th s d p p , hi h i te e kirt being

e u in one an s as n m o ot to e n . h ld p h d, i ped walki g

' We are at once reminded of the 760 m Ehxexm im of the omer A H ic Hymn to pollo. — We have next to consider those cases and they — in the majority where another garmen t is worn over the chi ton and it is on this poin t that archaeo lo ists ar at ar an Man mainta n g e v i ce. y i tha t the chi ton only appears on the upper left-hand side of the ﬁ ure and t at a v r ar c oa g , h e y l ge l k is worn over

it w c covers the w o e of the rest of the c iton , hi h h l h , and has a deep

he has made in drapi ng a model in a garmen t of t i s n . H e su oses t at it is c n r ca n s a e hi ki d pp h yli d i l h p ,

w t a ee overfo wh c is s orter on the s ou er i h d p ld , i h h h ld

t an e sew ere and so ro uces a z za ne a on h l h , p d ig g li l g its lower edge when draped ; a gi rdle is worn

un erneat the overfo t rou w c the d h ld , h gh hi h superﬂuous length left by shorteni ng the overfold

wn su s on the shoulder ca n be d ra . H e ppo es that the garment was drawn tightly round under the

eft arm and t at its u er e e forme the fr l , h pp dg d ill

h w n f r o s statues w ich e see in ma y o the Ac op li . A comparison between his ﬁnished model and the statue which he reproduces beside it serves to show the points wherei n his theory falls short ; it in THE OVER-GARMENT 81

no wa accounts for the vert ca fo s of the cloa y i l ld k , nor for the tight band which appears passing u nder the left arm and fastened on the right ’ s u Am un wr t n in au Wissowa s o er. el h ld g, i i g P ly

’

R eal E nc clo ddze and rofessor . A . ar ner in y p , P E G d ,

his H andbook o Gr eek S cul ture ma nta n t at the f p , i i h garmen t is simply a Doric peplos fastened on one s oul er nstea of ot and e in ace a h d i d b h , h ld pl by

t t ban un er w c the w t of the e os is igh d , d hi h id h p pl

a rran ed in f s he ma n o ect ons to g vertical old . T i bj i to this theory are that the Doric peplos is invari a fastened in one ace on on the s ou er bly pl ly h ld , whereas the fasteni ng of the garment in question is continued by a series of brooches down as far as the elbow ; the result would be to leave a very heavy and cumbersome mass of material hanging from the r t arm w c wou ser ous m igh , hi h ld i ly i pede

n Moreover it an act ve mot o . eaves ut of y i i , l o account a piece of material which appears almost

nvaria in front e ow the z za e e w ere it is i bly , b l ig g dg , h ‘ s H olwerda ta s drawn up highe t. ke it to be a

rd e but it has not the a earance of a r e gi l , pp gi dl ; it an s over the mater a t a t fa s from e ow it h g i l h ll b l , and does not cut into the soft stuff in the way in at th which a girdle would . Th e makers of these s tatues knew how to represent a girdle is plain from N w ere the or c e os is worn over the 0 . h D i p pl I In t s case the e os is c ns onic chiton. hi p pl o ider

P i Vi l l k snd rz. Ia chs s z ete m n d Ch piu , ﬂ s ; c a g gq

i t . Thh isu m ccmas mt d es rly n 63 . 3

ﬁ . t Perrot n d Chi ies Vl l l . ﬁ . 0 ; Lechs t, g 3 . , p , , g 3 3 L a s orter t a n the c ton s o t at the at bly h h hi , h l ter

arment is a n seen e ow the e os wh c on g pl i ly b l p pl , i h ly hangs down to a dista nce somewhat a bove the an he of kles . T Caryatid the C nidian T reasury at Delphi has the girdle clearly represen ted below the box- eat two ara lel hor zonta inc se l n pl by p l , i l, i d i es. On the frieze of the same buildi ng some of the ﬁgures are represen ted weari ng the Dor ic peplos as an over-garment ; in these cases also it is shorter t a n the c ton w c nvar a a ears i h hi , hi h i i bly pp below t at

the feet. An arc aic statue from Rhamnus h , in

Att ca now in the r t s Museum i , B i i h , h ch ton s owin at the feet nd over i h g , a

the fr l owever is ee er t an is usua th i l , h , d p h lly e case in the Acro o s s tatues a nd m ht be nten p li , ig i ded to c ncea a an s over- ress is sewn u o l b d . Thi d p a t the s e and in t at res ect resem es the or c e os id , h p bl D i p pl .

I t is s niﬁca nt that in t s case w ere the arm ig hi , h g ent might wi th more reason be regarded as a Do ric

e os let own from one s ou er the c ton i p pl d h ld , hi s seen a earin e ow it at the feet and the ov pp g b l , er

h n s I n d ress d oes not reach to t e a kle . the few cases where the feet of the Acropolis s tatues a re

reserve it w be not ce t at the s rt is e u p d , ill i d h ki h ld p fa r h towar s one s e so as to s a the i ly hig d id , di pl y a n If n u - rm nt w r worn w e. a o n er a e e e e s ou kl l g d g , h ld expect its lower edge to be seen here ; but in n o

nsta nce is t at the case so t at we ma conc u i h , h y l de APPLICATION OF COLOUR TO SCULPTURE 83

- r ose that the skirt itself is the under ga ment. Th who maintain tha t the skirt belongs to the upper garment support their Opinion by the fact that very frequently the ornamentation on the two different pa rts is the same ; the natural colour of the marble is eft as a roun and the ecorat on cons sts of l g d , d i i coloured borders and patterns dotted somewhat

r su c h f h s spa rsely ove the rfa e. T e part o t e dres which appears on the left shoulder is frequently

a nte all over a nd we» m t ave ex ect at p i d , igh h p ed th if the skirt belonged to the same garment it would also be pain ted all over. But before accepting

t s ar ument as conc us ve it w be we l to hi g l i , ill l consider the nature and purpose of polychromy as

applied to Greek sculpture. I n the early days when inferior materials were

use for scu ture co our was a ed to t em to d lp , l ppli h conceal the poverty of the stone and to produce a more pleas ing surface than that offered by the ’ t rough ma terial at the artis s disposal . These coarser

mater a s were not ca a e of s uc carefu ﬁn s or i l p bl h l i h ,

of ro uc n suc a ve a of t and s a e p d i g h li ly pl y ligh h d ,

as the mar es a ter use and the on wa to v bl l d , ly y gi e them an imation was by the application of colour all

m f r over the surface. It eca e t ere o e a re ula r b , h , g practice for ea rly Greek sculptors to pai nt their

s n w r an o m sta tue . e o eve t e e t use or Wh , h , h y b g e eaut fu ma ter a s suc as mar e t e reco n se b i l i l , h bl , h y g i d that it was a pi ty to concea l its texture by the

a ca on of c ou e t erefore extensive ppli ti ol r. Th y h adopted the practice of submitting the surface of 84 THE MAIDENS OF THE ACROPOLIS

the mar e to a rocess of ol s n and a n bl p p i hi g, ddi g co our on in arts the effect e n t at the eaut l ly p , b i g h b y of the ma rble is enha nced by the contrast between its polished surface and the coloured parts of the statue The ran e of co ours use is somew t . g l d ha

m an con nt on For exa m e in the ear te d ve a . li i d i l pl , ly

ment rou s from the Acro o s we ﬁ nd r d pedi g p p li , e used for huma n flesh and the colours used in the draperies of the Acropolis female statues are limited

n u oth a nd a r are nvar a to red a d bl e. B eyes h i i i bly

r d ma nfer erefo t at co our was n e . We t re ot y i , h , h l

ad e w t a v ew to re ro uc n nature fa t fu d d i h i p d i g i h lly,

but sinr l to decorate the stames. If t erefore p y , h , the artist felt that a white surface of marble with a few patterns sprinkled over it produced a more

leas n effect t an a surface co oure all over he p i g h l d ,

wou us s met o of ecorat n his wor even ld e thi h d d i g k. if it were not realistic and he would prefer to trea t

ar e surfaces of ra er in t s wa rat er t an l g d p y hi y , h h

co our m all ov r en t er fore in t t e e . e ese l h Wh , h , h

s ta tues we ﬁ nd t a t the sma surface of the c ton , h ll hi which appears on the upper pa rt of the ﬁgu re is

co oure a ll over we nee not conc u e t at the l d , d l d h skirt belongs to another ga rmen t because it is differently ornamented had so large a surface been

a nte all over the effect wou ave been far ess p i d , ld h l

eas n h r c in he ec r on pl i g. T e diffe en e t d o ati of different pa rts of the same garment need in no way surprise us ; it occurs very frequently in the black

ﬁ ured vases w ere we et ur e used for the g , h g p pl u er art of a armen t and ac for the ower pp p g bl k l , TERRA -GOTT A FIGURES OF SIMILAR STYLE 85 m h si ply with the object of producing variety . T e argument from the application of coloured ornament

w not e us t en in t s case es ec a w en ill h lp , h , hi , p i lly h we ﬁnd t a i can us su r i r v w h t t be ed to ppo t e the ie . P rofessor Baldwin Brown has pointed out that some

terra-cotta ﬁ ures in the Acro o s Museum w c g p li , hi h

a re ra e in the same s t e as th arc a c statues d p d yl e h i , have the under-garment covering the shoulder and

the s rt a nted in one co our and the art w c ki p i l , p hi h passes round the ﬁgure under the left arm in

anot er and he uses t s fact as a ece of ev ence h , hi pi id to show that the skirt is part of the chiton and the ’ res a m n I w s for t se arate ar e t. t be afer t ere e p g ill , h . in considering the different garments which consti

tute the ress to eave the uest on of co our out of d , l q i l

account a to et er and to ase our ar uments on l g h , b g ly

on t r f rm Man who ma nta n t at the s rt is hei o . y i i h ki art of the c ton are of the o n on t at the u er p hi , pi i h pp garment is the ordinary himation with a small over

fo fas tened on the s ou and own the arm. ld, h lder d Lechat supposes tha t the upper edge is taken up and drawn fr n a nd f over on tself om be e th a olded i , so as to form a sort of t c ad at the to and he hi k p p, suggests that the pleats were folded before the cloak was ut on and er a s even rone but t s p , p h p i d hi arrangement would not prod uce the vertical folds w n hich we ﬁ d in almos t all the statues .

- W s h t 1 R . 1 in r . Cp [ h a , 893 ; Arch. Ana , 5 9 te ‘ Another possibility which suggests itself is that the sculptor m y s ot hs ve ps inted the sts tue himselt but ms y hs ve hssdsd it over to s psintsr who did not tmderstand how the drspery v ss

THE CHITON WITH OVERFOLD

ace it is natura t at the votar es wou e to pl , l h i ld lik

m s ar n in t e est c o see the selve appe i g h ir b l thes . A careful study of the sta tues themselves and a co nsideration of all the evidence bearing on the question leads to the conclusion that the complete

costume cons sts of two armen ts a on un i g , l g der

ress w c ma be re ar ed as the usua n o r d , hi h y g d l i d o

costume of the At en an a es of the sixt centur h i l di h y, and a mantle worn over it for out of doors ; occa sionally a scarf or shawl is worn as well over the mant e er a s for a t ona warmt er a s on l , p h p ddi i l h, p h p ly

r rn m n Th un er- ress cons sts o fo o a e t. e d d i f the

lon nen on c c ton a w e c n r ca arm n g li I i hi , id yli d i l g e t fas tened by brooches or sewn down both arms so

as to form s eeves a r e is worn roun the wa st l ; gi dl d i , and the superﬂ uous length of the materia l is dra wn up over this girdle so as to form a deep pouch ;

sometimes t s ouc is worn all roun the ﬁ ure hi p h d g ,

somet mes as is a arent the case in a lar i , pp ly ge te ﬁ ure of At ena the ouc is form d sea d g h , p h e only ‘ f n On some occas ons we ﬁnd in ro t. i tha t the

c ton in a t on to the ouc has an over hi , ddi i p h , fold from the neck resembling the 6 1 6m m of the

c s s overfo somet m s n Dori peplo . Thi ld i e o ly covers the chest and sometimes hangs down cons iderably

ow uc n overfo is ver fr uen l er. S h a ld y eq tly found on vases in some cases its material may be of one piece wit t at of the rest of the c ton as it a h h hi , ppears on one of the Nereida from the so-called N ereid monu ment but in those many cases where it only appears

. 1 Lechst, ﬁg 2. 88 THE MAIDENS OF THE ACROPOLIS between the shoulders and does no t extend also alon the arms it is u te ossi e t at i g , q i p bl h t may be a separate piece of stuff sewn on to the chiton at

e I t is ro a t e of suc a th neck. p b bly he edg h n over fold that appears at the waist below the himation on the Acropolis s tatues ; no other satis factory expla nation of this detail of the costume has at r s nt een su est It is un e i p e e b gg ed. lik ly that t “ " re resents the kol os ecause in all cases w t p p , b , i h

one oss e exce t on No. 6 6 ec at ﬁ . p ibl p i ( 7 ; L h , g a or er is a nte on it in ca tin t at it is n b d p i d , di g h a It s een su es edge and not a pouch. ha b gg ted that

h st u s The fac which appear on t e at e . t tha t this treatment appears sometimes also on the skir t and on the u er art of the man t e m n s es h pp p l , di i i h t e

ro a t of t s ot es s and ma es it a r p b bili y hi hyp h i , k ppea more likely tha t this kin d of technique was simply us to re resent ver fu fo s in a ﬁ ne mat r a ed p y ll ld e i l . S uch a treatment may have been s uggested to the artist by familiarity with some ma terial of a crinkled texture s uc as t at use for s eets and ta e-c ot s , h h d h bl l h

- in some Greek villages to day. With regard to the ornamental patterns which a orn the c ton we ﬁ nd or ers a t the feet and at d hi , b d the e e of the overfo a so str s of ornamenta dg ld , l ip tion running round the neck and along the arms and rou n the arm-ho es and a most nvar a a d l , l i i bly THE ORNAMENTAL PA'I' I'ERNS 89 broad band running vertically down the front of the

ower art f t c n I n t on t t str l p o he hito . addi i o hese ips a nd borders we also get stars or small ﬂoral designs sca ttere v r th w rm n Th an s d o e e hole ga e t. e b d which appea r at the edges are easy to understand ; they were either woven in the material of which

t e were ma e or more ro a em ro ered on h y d , , p b bly, b id to it afterwards ; but in those cases where the over fold is worn and a pattern appears at its edge and a so a on the nec and arms we mus t su ose l l g k , pp that this la tter was applied after the sleeves were form d e and the overfo attac e . oss also ld h d P ibly, , the vertical band on the lower part of the chiton represents a separate strip of embroidery sewn on

to the arm nt h w men ro a g e . T e Greek o p b bly occupied a la rge proportion of thei r time in embroidery ; and si nce a good piece of embroidery

las ts for ver ma n ears it is u te oss e t at y y y , q i p ibl h

w en the or na arment was worn out t e ma h igi l g , h y y

have cut off the str f s t oo wor and sewn it ip o ill g d k,

n to n w Th n ot er ex a nat on of o a e dress . e o ly h pl i

the num r u rn w a r n the statues e o s patte s hich ppea o , is that the artist simply applied ornamentation wherever it pleased his fancy to do so ; this is less satisfactory than to suppose that he was represent in n w h u w g somethi g hich e act ally sa . Turning to the himation or mantle worn over

the c ton the s m est met o of ro uc n the hi , i pl h d p d i g effect seen in the Acropolis statues was found by experimen t to be by taki ng a piece of material between 5 and 6 yards long and about 1 8 or so u

THE SHAPE OF THE HIMATION 91 this fact that suggested cutting the upper edge of

the c oa out in a curve or rat er in two curves l k , h , one at the ac and one at the front ea n b k , l vi g the part under the left arm longer than that in front n n curves w and behi d. Whe these ere cut out and

a rment once more arran e in its ea ts the the g g d pl , l ttle fr - e ed e un of tse f over the hand i ill lik g h g i l , just in the way in which it appears in some of the The an a one e the fo s fa r w in statues. b d l h ld ld i ly ell place ; but in order to prevent the possibility of thei r sli n the At en an a es ro a had t em ppi g, h i l di p b bly h o n I wou b stitched on t the ba d. t ld e quite easy to slip the garment on and off over the head without ‘ n n h s u even unfaste ing it o t e ho lder. The variations in deta il which appear in the different statues can easily be produced by arrang fo s in a s t fferent fas n In ing the ld ligh ly di hio . some

r m in N o. 6 ec a cases as fo exa e t . t , pl 74 (L h , pl he

folds han u te u r t nstea of o ue and g q i p igh i d bliq ly, the box-pleat appears in the middle instead of hanging from the shoulder ; this can easily be produced by turning the folds ﬁrst in one di rection The f and then in the Opposi te. olds of the frill sometimes ha ng in the opposi te direction to those of the main part of the mantle ; this is simply a c mistake on the part of the artist. O casionally the l f r xam in fr ll does not a ear at al o e e No. 6 i pp , pl 86

echat ﬁ . but the c oa an s stra t own (L , g l k h g igh d roa n In t s ns nce w from the b d ba d . hi i ta e must

‘ I 92 THE MAIDENS OF THE ACROPOLIS suppose that the overhangi ng mass of ma ter ial has been cut away enti rely before the folds were a attached to the b nd . S ometimes the two ends were sewn together

h s be and 6 7 and in t s case the ast along t e li ne , hi l ' ' fasten n n cate the etters a andd a roac e i g, i di d by l , pp h d n ar to the o nts 6 and a so as to eave an o en n e er p i , l p i g o suf ent for the arm to ss t rou nly ﬁ ci pa h gh . The detail of the cloa k which presen ts most variety is the li ttle frill-like edge which falls over

an S omet mes it a ears to be a na tu ra the b d. i pp l continuation of the vertical folds which hang down o it a d it fa ls r the band so as altnost to bel w , n l ove hide it ; and reveals the band and forms pattern above it ; n rel I ts m in other cases e ti y. ost realistic representation is in one of the Victories in ’ the Acro o s M useum w ere the corners c a nd e p li , h , forme cutt n the curves are actua n cate on d by i g , lly i di d the s ou er and the fr es in an rre u a r z za h ld , ill li i g l ig g ,

xac as f in ra almost e tly it was ound to fall p ctice. I n two cases in the Acropolis Museum at

At ens and in a sta tue at e the ha nd oes h , D lphi , d not ass un er the arm but from s ou er to p d , h ld s houlder and the cloak covers both arms symmetri ca bem fastene own ot a e w t a ser s lly , g d d b h lik i h ie

c s I - of broo he . n these ca ses the box plea t falls in

he m e and the curve must necessa r ave t iddl , ily h

een cons era sma er s nce the u er e e b id bly ll , i pp dg

s muc er w r n hen the lie h high up to a ds the eck . W c oa was worn in t s wa it was ro a sewn u l k hi y , p b bly p DATE OF THE CHANGE TO A SIMPLER DRESS 98

own ot s es and the curves for the nec ac d b h id , k, b k

a nd front were natura e u stant from the tw , lly q idi o

- h O n n s for the arms w u s ide seams. T e pe i g o ld come

a t the n s of the to e e as in the cas f e d p dg , e o the

c n I oni chito . The style of dress represented by this set of monuments is certa inly the most luxurious which

r we ﬁnd in Greek art at any pe iod . Now the date of the Acropolis maidens can be ﬁxed at some period certainly not later than the last quarter of the sixth

' ’ c ur So on s sum tuar law re u at n ent y. l p y g l i g women s dress must have been enacted during the ﬁrst years f th s xt centur so t at we ma c nc u o e i h y, h y o l de that

t ese a nt a es w t t e r c tons c oa s h d i y l di i h h i hi , l k , and scarfs represen t the height of luxury in dress which was possible after the passing of that law : their self-satisﬁed smile seems to be inviting approval of the degree of elegance to which their ingenui ty

atta n even t ou a stern la w- v could i , h gh gi er had l m te the num er of t e r arments to th i i d b h i g ree. This style Of dress seems to have passed out of

f s on at the end of the s xt centur or i a hi i h y, n the

r ears of the fift for we find it on i ea ly y h, ly n the ear wor s of scu ture a rea ment on ly k lp l dy i ed. An a ttempt to render it is freq uently made by the artists — of the early red-figured vases sometimes with some success ; but more often the attempt results in a confusion between this somewhat elaborate style of cloak and the simpler development which it took a fa su f r . s ows r ccess u late . Fig 35 h i ly l attempt to re we a represent the dress. H e h ve the band pass ing

96 THE MAIDENS OF THE ACROPOLIS blending of the two styles in a single ga rmen t ; we ﬁnd also on vases the overgirt Doric peplos wi th ‘ sleeves formed by a nu mber of brooches ; and a ain w t cross - an s w c e on ro er to the g , i h b d , hi h b l g p p ly i ’ on c ch ton . S ome aut or t es nn n t e r i i h i i , pi i g h i fa t ent re to ero otus cons er t at i h i ly H d , id h the the brooch is an elemen t which belongs s trictly only to the Doric dress ; they therefore rega rd the c ton w t nne s eeves as a m xture of the two hi i h pi d l i .

An over- a rment not r s m e in form w g ve y i pl , hich ca n be re arde as neit er or c nor on c b a g d h D i I i , ut

e ar o s p ately n to the chiton . a e however to re ar the bl , , g d appears on the arms and at ma e of a la n mater a as the c ton and the rest d p i i l, hi , w c is ornamen te w t a attern as a se arate hi h d i h p , p over- arm T a m n has t ree ent. s r e t e es g hi g h dg . a t the wa st s a nd a n es s o t a t it is i , hip , kl , h obviously not merely an ordina ry rectangular

mat on nor a s m e or c e os w t overfo . hi i , i pl D i p pl i h ld It seems simplest to explai n it as a Doric peplos w t ee overfo un rt av n a s ort fa se i h d p ld , gi , h i g h l overfold to the wa ist sewn on over the real one a t

he n c S uc over- arments never occur in t e k. h g

cu tur and on rare on the vases and ma s lp e ly ly , y possibly be an error or i nvention o n the pa rt of the vase- nter if common worn t e woul pai ; ly , h y d

r s n in a rt probably be more frequently rep e e ted .

M u M . ral eum 1 2 . E. E . 6 . Ath n C nt s 8 , 33 e s e , 5 V I

MATE RI ALS AN D ORN AME NTATI O N

Tue fabrics in use for Greek dresses presented con sid r h common t ma w e able variety . T e es terials ere natura l wool en but nen and s wer for l y l , li ilk e used more uxur ous arments a nd a n of eat er l i g , ki d l h jerki n known as 8c¢06pa was sometimes worn by san pea ts. That the woollen materia ls used themselves var e cons era in texture is rove some i d id bly , p d by fragments actually found in a tomb at Kertch in the r mea and u s ed in the Cam le: r eader in C i , p bli h p

1 te for th most art from the fourt 878. These da e p h

centur B.C. but one at east ro a oes ac to y , l p b bly g b k

n r r in m st ra the ﬁfth ce tu y . They a e o cases ther oosel woven so t at the se arate t rea s ar l y , h p h d e c ear v s e and a r t o ect coul be seen l ly i ibl , b igh bj d

ro th r h o s t c is m th ugh e mate ial . T e lde pie e co posed of such ﬁne threads that it is almost transparent ; other pieces have a texture not unlike that of

woo len cre e. A somew at coarser ece the l p h pi ,

t rea s of w c are ver stron has a ort on of h d hi h y g, p i a seam rema n n w c is oversewn wit stron i i g, hi h h g

‘ W Tk m yz; Ph t iM sg n.

SILK

h r uct on f s ft r tells us anything of t e p od i o ilk. A e describi ng the various changes undergone by the worm efore ecom n a mot he ves us the b b i g h, gi followi ng information

' - ‘ “ Er 85 “rodrev r oii fqiov xai 7 d ﬂop ﬁtixta dwahtioum raw

' ' ' n ‘ r o eva c xdvret‘r a ft afv w r é ' 6 y wm iv r wer dwa qwf n , ¢ o w p m 5 ' i c ‘ O ' W ar M m ( v K ; Handuhq mdr ew n drup .

Some women un o the cocoons of t s creature d hi , w nd n off the s and t en weave it and i i g ilk, h ;

am i e a u ter of atens is sa to ave een P ph l , d gh Pl , id h b ” i n s s m the ﬁrst to weave t i Co . Thi i plies that the

manufacture of si was carr e on in Cos but no lk i d , in formation is given as to whether the worm was reared in that island or whether the raw silk was ‘ n te s us more on th su c h imported . Pli y ll e bje t ; e seems to distinguish the three kinds of silk n a ov f t e t r o s i m ment o e e. O es ee n er cu i d b h h , ly

is str ct s ea n s — t at is to sa a mater al , i ly p ki g, ilk h y, i made by unwinding the cocoon of the silkworm wo reared on the mulberry tree. This rm is ﬁrst f mentioned by Pausanias I t was the Chinese who d scovere t s met o of rocur n the s and it i d hi h d p i g ilk,

was a arent un nown to the ree s and Romans pp ly k G k . The coa and bombyci na were procured by piercing and carding the cocoon instead of unwinding them enti re ; the result was a substa nce coarser and ess r ant t an s l n l b illi h ilk. P i y draws a “ d st nct on etween coa and om c na te l i i i b b by i , l ing us that the latter was a product of Assyria and came from the ord nar mu err wor w i y lb y m, hereas the

i Hh t Nu , xi. worm from which coan silk was procured

on ot er trees nota the oak ash a nd reared h , bly , , ‘ c r s yp es . Cora wa ter are frequently men tioned by the Latin

oets c e orace u us and ro ert us and p , hi ﬂy H , Tib ll , P p i , from them we learn that they were chieﬂy worn by H etair z and were of a transparent texture some times they were purple and had gold threads in ter ' ne c f si woven or embroidered. O pie e o lk was

mon s other mater a s at ertc I n found a g t i l K h.

co our it is a ronze- o and is woven in a l b g ld, z n a lo e ge p ttern. If Greek dress lacked variety ater the de c e c was to o m ial. ﬁ i n y s me up by considerable gaiety of colour a nd O m ah a n Probabl none but slaves and artisans would tio . y wear garments of one colour without pattern or

ornamentat on of an n and even t e wou i y ki d , h y ld sometimes have thei r dresses adorned with a simple m h m r er suc as a roa str e. ro t e nu erous bo d , h b d ip F references scattered up and down th rough extan t

terature it a ears t at the favour te co ours wer li , pp h i l e ‘ ur e red and e ow. o ux ves us a s t of p pl , , y ll P ll gi li

c our m st common us s st n the ol s o ly ed . Thi li i cludes ' reen Bar a cg and ra xihhcov, dvd wov in g ( p x ) g y ( y p ),

a t on to t ose ment one a ove but stran ddi i h i d b , gely f u enough no men tion is made o bl e. The word

1 ” For silk enerall see Darember and Sa lio g y, g g , coa ; ’ m h Dictiona r o A M } sericum Yates Textn S it , y f . , nmn m m ’ ' o 60 f. P H zrtozre de la S afe P I Anti u . 1 ariset art . cha i q , pp , , , p. . 2 i ' P ro ert us I 2 H r S a h rer I . ii. 1 0 1 p , ., o ace, , , , . 3 H orace Ode I . iii ib llu I I 6 . ha r x . T u s C . lviii. , , V , , ., p COLOURS

” t u m or ar ue is se om if ever a , d k bl , ld pplied to

arments et it is scarce e t at th g , y ly lik ly h e colour was un nown to the r s ss k G eek . Po ibly some shades

escr e as wo 6 ¢ or a roac e a v o et or ue d ib d p¢ p pp h d i l , bl ,

' n s from dAob o ru as st u e c t e ur e. For di i g i h d py , p pl “ red we find the wor owfxeor a r red use d ¢ , d k , d especially of the military cloak of the Lacedae ‘ monians and xm o a c scar et f r , fi fi , l o yellow ' ' " wr B ‘ - ( and Oa wor. a r a ts fro co oure M l p x , g l d , is

the wor a e to a reen arment and t d ppli d g g , his

is ro a the co our escr e as d rdxwor p b bly l d ib d p d , like " ’ unr e ra es o ux te s us t at for mourn n ip g p . P ll ll h i g ' the Greeks wore N ew xa i neha v dhhﬁ occ 37 7 m; gray

c o r m and ac ver e ea t er. o t s w bl k, y lik h h F hi e

learn t at hank was a ver ar co our ro h s y d k l , p bably

du gray or n. The ornamentation applied to dress by the Greeks was very varied in character ; it is com paratively rare to ﬁnd on G reek vases a dress that

nt l free from ecorat ons and the atterns is e ire y d i , p

a r n um u m m represented re ve y ero s. S o eti es the ornament cons s ts of a s m e or er often of a i i pl b d , tt rn str ute all over the ress and t ese pa e di ib d d , h es ns are fre uent of a ver ela orate c aracter d ig q ly y b h ,

n an a nd even uma n forms includi g im l a h . I n scu ture too t s feature was not ne ecte the lp , , hi gl d ; maidens of the Acropolis at Athens all have some attern on t e r ra er es a e in co our and one p h i d p i dd d l , of them has no less than seven different designs now distributed over her costume. We k that the

a n n. 8. Aristophanes, P , "73 ; Ly , t u 5

PROCESSES OF APPLY ING DESIGNS 103 already woven than to the formation of a pattern in ' h h r e ay may t e course of t e weav n . The wo s i g d n v , ,

and arm wou st be a ca e ecause w en the W ld ill ppli bl , b h

arment was at t s s ta e it wou st be re ar e g hi g , ld ill g d d as ncom ete and the es ns owever a e i pl , d ig , h ppli d, would probably be at least sketched out while it st l on h oo was i l t e l m. Among the fragments of materials found at rtch were some w c were em ro ere ot ers Ke hi h b id d, h which had simple geometrical designs woven into the borders ; in addition to these there were some co ns r e fra m n f a a cover ide abl g e ts o large sarcoph gus . the ornamentation of which is strongly remini

- r scent of Greek vase painting of the fourth centu y.

The ground is black and. is covered with designs in red and light terra-cotta ; the ornamentation is

vi e nto an s and cons sts of att e scenes di d d i b d , i b l

with c ar ots and r s and easts scatt r a out h i , bi d b e ed b the ﬁeld of the design ; the bands are separated by

fferent atterns man of w c ar f ntl m t di p , y hi h e reque y e

n u with on vases . These i cl de the egg and dart

u ttern iv and aure wreat s ar e a mettes l , y l l h , l g p l , ‘ and many others. Names are inscribed against

some of the ures amon ot ers NIKH AOHNAIH ﬁg , g h , IOKAL' I'H I 'POMEAQ N , (D , etc.

hese es ns are not em ro ered nor are T d ig b id , they produced in the course of weaving the cloth ; they are apparently drawn out by means of some ment a e after ter a w s wov pig ppli d the ma i l a en . Herodotus tells us that the people of the Caucasus

‘ t Figa y and u c snd . used to paint animals on their clothes with some vegetable pigment which they mixed with water. Some suc roce ure t en must have een ract se h p d , h , b p i d the Gree s of the fourt centur w c is the by k h y, hi h ate ass na e to the fra ment in uest on on the d ig bl g q i , e n o e n vide ce f th inscriptio s. The designs applied to Greek dresses presented a un ant var et as is ev ence extan t monu b d i y, id d by ments es ec a the vases t e ma be ro , p i lly by h y y ughly c asse as eometr c ora a nd t ose conta nin l d g i , ﬂ l , h i g anim n um n r f th m s al a d h a fo ms. O e geo etric design

rect inea r orders are roa nes il b b d li , zi za ines the me an er or ke g g l , d y many forms varying from the me ander to a complica ted double

nt r a s tar r c u In a n i e v l by s s o heq ers. dditio to these borders we frequently ﬁ nd a chequer pa ttern cover n the w o e s u rface of a armen A ind i g h l g t. k of net attern often seen on vases was ver ro a p , , y p b bly

u in r ss s f h u rv n a r es n s the sed d e e also. O t e c ili e d ig “ ” most common are the u oc e or a t- and g ill h pl i b ,

xv dr c u the s im e s ra and the o or wave a ttern . pl pi l , p p O n the black- ﬁgured vases a kind of scale pa ttern w frequently occu rs coveri ng a ide su rface. A very g rea t va riety of ﬂ oral designs was used by the Greeks for orna men ta tion of all ki nds they a re very frequen t as part of the scheme of decoration

f n i n of vases es ec a of t ose o o c or . A , p i lly h I igi favouri te pa ttern is a simple la urel wrea th like that

c i a s f i of depi ted in Fig . 39 ; the vy l o orms the bas s RA AND N R 105 FLO L, ANIMAL, HUMA FO MS

s n omet mes it ta es the form of more than de ig . S i k a row of leaves on either side of a straight line ; more often the leaves alternate with tendrils and

rr far the commonest and the most be ies . By beautiful of ﬂoral designs are those made up of

n s om t m lotus buds and ﬂowers a d palmette . S e i es we ﬁnd the lotus alone forming the motive of the m es n somet mes it a ternates w t a ettes. A d ig , i l i h p l very graceful pattern is composed of oblique palmettes turned in opposite directions and con ‘ nected s ra s at t ese es ns so common by pi l . Th h d ig ly used for the decoration of pottery were employed also in the textile arts is proved by some of the frag

n u c r ns me ts found at Kertch . Q ite onsiderable emai were found of a piece of woollen material elaborately

embroidered with a large ﬂoral des ign (Fig.

the ma n mot ve of w c is a racefu a mette i i hi h g l p l , from the base of which spri ng spirals terminating in

eart-sha ves and ow rs The es n is h ped lea ﬂ e . d ig ’ ex u in nd r n a r u ec ted gold a g ee on violet g o nd. Animal and human forms are naturally less

common m c and ra s ns Ment on than geo etri ﬂo l de ig . i has already been made of the wonderful diplax woven e en in w c she re resente scenes of by H l , hi h p d

bat and Ac ns I n ar we tle between Trojans haea . t ﬁnd tha t goddesses are frequently depicted wearing garments covered with elaborate ornamenta tion of

t is n The ran o s vase w affor severa h ki d. F c i ill d l

Wal Hist r 0 Ax ia l For attern d l see H . B t rs o p m a y , . e , y / i - ‘ m PM . t. 1 0 9 235 Rierl. S t ll m For as " wa s 18 8 colouring, see w , 7 .

108 HAIR AND HEADo DRESS

m a the an n a co re c ir . nd arran e ( p d i g g l, Fig 4) g d rat er e a orate in front in cur s w c somet mes h l b ly l , hi h i s uggest artiﬁcial treatment ; sometimes the hair is

one u a t the ac or t0 of the ea in mod rn d p b k p h d, e fas on hi . “ I n the H omeric poems we read of the long ” a re Ac aeans so t a t the si t of men w t h i d h , h gh i h

o r o v ous fam ar o t l ng hai was b i ly ili t he poet. From ' ’ the assa e w c descr es Andromache s s woon p g hi h ib ,

' owever it is c ear t a t the women of th h , l h e poet s da oun t e r a r u usin nets and y b d h i h i p, g kerchiefs

cutting s r f r the most art the women n n it ho t o p , bi di g

The stor of the Lace aemon an s com n up. y d i bi g their long hai r when the Persians were close upon

m H o u Vl I them is fa a r er dot s . xta nt ili ( , , E mon uments show us that before the Persian wars the men adopted va rious methods of disposing of their l ong ha ir : sometimes we see it worn loose with a 3 s imple ﬁllet tied rou nd the hea d ; sometimes the l ong ends are turned up a nd tucked in under the ﬁllet sometimes they a re turned up a nd held t h r b n a t na b is i oget e y a ddi io l and. Th s the case “ with a bron ze ea from O m a where owever h d ly pi , , h , some oc s seem to ave been eft fre o n th n l k h l e e eck.

' I lia d 2. td. n o t 8 , 443, 47 I b , , 46 f. 3 Fi 5 . 2 a . Fi . 2 b Fi . 2 c g 4 ( ) g 4 ( ) . g 4 ( ). THE TE'I' I‘IX 100

A re ef in At ens re resent n a sco o us o li h , p i g Di b l h ld “ ” ‘ in the scus e n his ea s ows the a r g di b hi d h d , h h i proba bly divided and twisted together in two coils fas tened tightly at a little distance from the end by ’ a r on or oss a meta s ra . The ibb , p ibly by l pi l ’

o en n r fl ment one uc es I . 6 was g ld f i d by Th ydid ( , ) obviously some kind of orna ment i nserted in the “ n I t has n hair to hold the chigno in place. bee ’ shown by H elbig that this was probably a metal spiral or series of rings used to bind together the ends of the long hair ; such a style is frequently represented in the art of the end of the sixth century and e n of t fif The an s re resente b ginni g he th . b d p d in c n for suc eta Fig. 4 2 ( ) are possibly i tended h m l ’ r s i i u rt and confi rme i ng . Helb g s view s s ppo ed d ‘ tu icz by S dn ka. Probably the knot of hair bound up on the nape of the nec as in the a ove exam es re resents k, b pl , p ' ' the xpo flvkoc or xop vnfior mentioned in Thucydides and e s w r in r I n r s n was l e he e li te ature. late times thi ame applied to the knot of hair on the t0 p of the head which occurs so frequently in statues of Apollo ; but there is no evidence to show that it was worn in this

os t n f r t r ur p i io be o e he fou th cent y at the earliest. A s tyle very commonly exempliﬁed by extant statues of A o o at n from the ear a rt of the p ll , d i g ly p

Fir-42 m» The hair of Eu h i 4 4 w s ibl p orbus, descr bed in 115 , v i., 52, as po s y

dressed in this fashion .

Di l i t E -1 0 c t i n M k . s M , 166 7 ; p. ” rad g “ dc: - vi [ m a lt A l. . 1 M ., p 7, p 86 . ‘ ct r h ﬁ do: A i j x M Decad es I n f ants, x ., M pp. 384 4 ” 1 10 HAIR AND HEAD-DRESS

ft centur is to tie a let ro a d fi h y , fil und the he d an ro the on hair t t over it tuc n th n s ll l g igh ly , ki g e e d i ‘ n usua e n the ears. es en s are how lly b hi d Th e d , ever met m s al o so e e to an own on he n c . , i l w d h g d t e k Athletes very frequen tly disposed of thei r long hair by braiding it i nto two pla its from behi nd ; these t e crosse or ro u t roun the ea fa stenin h y d b gh d h d, g ’ the tw n s o e d together in front. Sometimes the s ort a r in front was com e own over th a ts h h i b d d e pl i , so as to conce t r un on al hei i . The date of the change of fashion is impossible We find the athletes of and Poly

after the Persia n wars ; it then became for e to cut off t e r on a ir w c t e Eph bi h i l g h , hi h h y con secra ted to Apollo and A rtemi s or to a river ’ d en once h cha n e had come a out o . t e g Wh g b ,

on a r was cons ere in At ens a t ea s t a s a l g h i id d , h l ,

i n Tlze Was s ma rk of affecta t on or effemi nacy . i p ’ of A risto hanes Am n ia s the t ca f0 is p , y , ypi l p,

esi nate b the na me o f o h r aw Jkou he of d g d y p B , the a n d in Ti m Clouds the wea ring of

' the T er ‘n f is spoken of as a fashion qu ite out of

a te or a s we m t sa an te i uv a n . ere is d , , igh y, d l i Th — some u ncertai nty as to whether the Lacedazmon ians wore thei r ha ir short or long ; some auth ori ties

Fi . a g 43 ( ). 3 i i note that li ttle Athen ian school F b . It i interest n to g . 43 ( ) s g - hi girls of to da y wear their ha i r in this fa s on .

/r h /i . 6 . 1 26 . Pausani I . xxxvii. 2 ( E st . C a as, , , p , 7

11 2 HAIR AND HEAD-DRESS

- the é w or e n vi and was robabl made of n f, e ". p y “ gold ; almost all the Maidens of the Acropolis wear it and in severa insta nces it is a o rn w , l d ed i th ‘ ' The r okor or crown worn ﬂoral patterns. high by a a was ro a a so ma e of Her (Fig. 4 5 ( )) p b bly l d metal

metimes w en the a r was worn own the en s So h h i d , d were prevented from ﬂyi ng in the wi nd by bei ng ’ e er in a n of tt e ba w c rem tied tog th ki d li l g, hi h inds one of one of the many fashions adapted by men in the eor an er o in n an . S ometimes e G gi p i d E gl d , lik the men he women tuc e the lon en s u r , t k d g d p unde the

When the hai r was done ﬁrst worn low on the na pe of the neck and held in ’ u s arran m place by bands vario ly ged . S o etimes the ‘ ﬂ e d a one was worn a nd ver often the a r ¢ m l , y h i was e u a erc ef or snoo if a h ld p by k hi d (p p , The s tyles in which it was worn present abundant 6 var et : somet mes it covere the a r com ete i y i d h i pl ly, except for a curl or two allowed to escape in front of the ears ; sometimes it left the hai r visible over the forehea d only sometimes over the forehead a nd o n the crown of the ea a nd the en s o f the ker h d , d chief migh t be tucked through at the side and allowed 7 n wn i fr n f th to a o n o t o e ears . h g d . Fig 4 5 (f ) ' gives an example of the a' regba m worn in addition to

1 3 3 Fi . 2 . Fi b . Fi . c and d . Fi e g 3 g . 45 ( ) g 4 5 ( ) g . 45 ( ). Fi i A 7 . . F . . Fi . and g 45 cg) g 4 5 ( ) g 4s j ) . HELLENISTIC STY LES : HATS 1 13

the snoo n h f d . I t e ourth century fashion seems to “ have dictated that the chignon should be worn

h er u at the ac of the ea and a igh p b k h d, small

erc ef was use to o it u fo e in suc a k hi d h ld p, ld d h way that it narrowed almost to a point over the fore ‘ ea a nt a n wa s m h d. App re ly et s o etimes worn over

the ac f th a m o e r. . I fro the Meidias b k h i Fig 4 5 ( ),

vase furn s es an ustrat on of t s . I n e l n s , i h ill i hi H l e i tic and Roman times the styles of dressi ng the hair

r u u Th n beca me ve y n mero s . e s ood seems to have een scar e a to et er and a ornment means b di d d l g h , d by of artiﬁcial waving and curling apparently took its

' Th m f coiﬂ ure of the A exan r an place. e odes o l d i

ree s are as var e as t ose of mo ern uro G k i d h d E pe. Probably cosmetics were used for the hair and paint and powder for the face ; for we learn from ’ Xenophon s G en omic“ that as far back as his ate not on hetairae but marr e women resorted d , ly i d

o o u f n th com exi t artiﬁcial mea ns f bea ti yi g e pl on. More than one allusion is made in literature to some ki nd of hat worn by women ; in Theocritus w n he I d ll xv. Praxinoa e o n out to t ( y , , , h g i g fest va of A on s as s her mai for her wra and i l d i , k d p hat

’ I n the a dios : Colonm Antigone recognises l amene from a dista nce by the Thessalian ha t which she wears as a protection agai nst the heat

the sun The wor s use are xwi M e w c of . d d i , hi h seem to imply tha t the hat was made of some kind ' f s n ro a fe t and resem e the men s o ki , p b bly l , bl d

t ' Fig. 45 ( ). 3 s

1 16 FOOTGEAR

normal fas on owever for eo e of oo The hi , h , p pl g d

n was to wear sanda s or s oes out of oors breedi g l h d , ‘ and we learn from Aristophanes that the Athen ians — “ a t least were particular about the ﬁt to swim ” a ou in s s a mar of s b t large boot wa k boori hness. ’ Xenophon notices the division of labour in the ' s oema ers tra e w ere he men t ons at leas t four h k d , h i

fferent han s em o e in ma n a a r of s di d pl y d ki g p i hoes.

The s m est form of foot ear was the sanda i pl g l, ' - the r edck ov of omer the int 68 of ater i H , m l t mes ; this consisted of a lea ther sole cut to the s hape of the foot and fas tened on by means of s traps or

‘ a t mes i ce of nkle. At i a p e sandal a t th ck so as to c r the e ba , ove the back of the ee or even to wra roun the nste ent re h l , p d i p i ly, ‘ leavi ng only the toes ba re ; from this form of ’ san a the é a r or s er was ro ab eve o d l p B , lipp , p b ly d l ped . 5 s is escr be Po ux as ed'r ehic Ev 67 68 14 1 Thi d i d by ll “ 41 ,

' e dxtov sé 7 6 eiz a a Chea shoe O f hrac an p p qp , p , T i

n I s nam s ufﬁ ces to s ow t at the foot i nve tion . t e h h was nserte n to the E a g in con tra s t nct on to i d i nB , di i i the san a w ich was bou n u n er the foot and th d l , h d d e e thet si n ﬁes t at it covere the foot com ete pi g i h d pl ly. This description could be applied to man y va rieties

f sho s and b o re r s n t in ex ant ar o e o ts e e e t t. Fi p d g. — 46 (e and f ) gives two exa mples of shoes e bei ng

K i n /xix 2 1 C ro zedia xviii. 2 g , 3 . y p , , , 5 . 3 Fi a and 6 Fi . 8 c . g . 46 ( ) g 4 ( )

Fi I I . 8 . . 6 c and d . g 4 ( ) V , 5 SHOES AND BOOTS 117 an ord inary soft shoe covering the foot completely to the an e is turne u at the toes e a kl , f d p , lik m d rn r s oe and reac es a ove the ankle at o e G eek h , h b the ac A vase at the r t s Museum re resents b k. B i i h p o s s a We earn a woman cleaning a shoe f thi h pe. l from Aristophanes that shoes were cleaned with blacki ng made of pitch and applied with a sponge ; t w r usua ac exce t w en the eat er was hey e e lly bl k, p h l h wor allowed to retain its natural colour. The d 3- us n s of 4 3 “seems to have been used for vario ki d foot-covering ; in Aristophanes it refers sometimes ’ to a n of eas s er worn old men and in ki d y lipp by , other ins tances it is used of any ordinary shoe or

oo h m n t on o ux of its rac an b t. T e e i by P ll Th i origin perhaps refers to the high boot turned over at the to fre uent re resented on vase p, q ly p paintings as bei ng worn by horsemen with the ‘ r n d s fferent var t Th acia cloak an petaso . Di ie ies of s n of r n in thi ki d boot a e to be see Fig. 46 l i d an . (g , , , j ) ’ An article in Daremberg and Saglio s Di:

' ' l tonm r c su ests an As atic or n and n ee the gg i igi , i d d resemblance between Greek boots and those repre sented on Ass r an monuments is str n A y i iki g. comparison is actually made by H erodotus between

Assyria n boots and Bazotia n inﬁddcr. I t is qui te possible that boots of this kind may have come to Greece from the East by way of race and the fact t at on su Th , h Di y s is very frequently

Th Wu s 2 ’ , 74 ; TM CM

Fi . 3 2. g L, t95. 118 FOO'IG EAR

represented wearing them seems to add co nﬁrma tion to this con ectur j e. ' A variety of the rnﬁddn is to be found in the

“ idst a n of oot worn runners as a so m , ki d b by , l ermes Artem s and the A by H , i , mazons . They

seem to have had no ﬁa at the to and to ave p p, h been laced over a tongue either ‘ t rou o es or roun u h gh h l d b tto ns. Another kind seems to have con

s ste of stri s of c ot or eather i d p l h l ,

or ossi fe t woun p bly l , d round the legs

' from ux t at t ese were w Poll h h orn by soldiers. The man y was probably some kind of sandal with a thick sole and stout straps i nterlacing one a nother in su ch a way as to form a protection for the heel ‘ “ a nd nst n te s us t at somet mes the i ep . Pli y ll h i y

had nails in them. Many varieties of shoes or boots are me ntioned " d r n e r of by Pollux an othe a cient writers. W ea d ' ’ uka t uN dee a c ea n of oot worn on d , d , h p ki d b ' ou rne s ka ur at ht sa n a s w t atc ets ca e j y ; B , lig d l i h l h , ll d

- a so frown (ides from the fact t at t e a owe the l , h h y ll d ' feet to et covere w t ust ed a tder ers an g d i h d ; p p , P i

' s ers of e ow kid H e a mat chea w te s oes lipp y ll ; p , p hi h

worn women es ec a eta ra Aaxwwxai by , p i lly by h i ; ,

i 2 F s. x . a a v. 6 g 47 nd 48 ( ). , 5 Fi s. 8 6 and a and b . XXX . 2 . g 4 ( ) 49 ( ) V , 5

TH E TO I LET

THE toilet of the ancient Greeks was quite as

’ barber s shop from frequent a us ons in Ar sto anes a re u ar resort f ll i i ph , g l or lounging and picking up news and scraps of gossip of all n s A fash onab e At en an wou ki d . i l h i ld prob

’ a s en a w o e morn n a t the ar er s shO bly p d h l i g b b p, w ere in a t on to hav n his ha ir cu t a nd ea rd h , ddi i i g b c e or s ave he cou su m t to the va r o lipp d h d , ld b i i us o ra on s of man cure and c iro o pe ti i h p dy . An epigram ‘ ’ in the palatine an thology gives a list of ba rber s

m emen ts some of wh c ave su rv ve in a few i pl , i h h i d

xam a d ma b ur mu um e es n e seen in o se s . The pl , y

st nc u es : sc ssors razor U é v some li i l d i (Ep ), shar o n te n s trumen t for a r n a nd c ean n the p, p i d i p i g l i g nails (cm Men tion is also made of a scraper - n a w c was ro fter a use a at n . (Wi m ), hi h p b bly d b hi g

tlz a vi 0 An P l . . , , 3 7. TOILET IMPLEMENTS 121

An anc ent razor ffers from a m on i t i di odern e, n tha it is crescent s a d h pe .

In a t on to t ese m ements var ous o nt ddi i h i pl , i i ments were use one of w c M ov on d, hi h , W p , c taining arsen c was m f r i , e ployed o re mov n su erﬁ uous a rs i g p h i . When repairi ng to the wrest

n sc oo or the mnas um a li g h l gy i , G reek would invariably be pro vided w th an il-ﬂ d d an o i o ask ( p ﬁ r.

ow and dv r a W ) a str il f p . ig ( ) P ro. so. The ar a l was yb l os (Fig. 50 ) a s ma l o u ar vessel w t an O en n ust l gl b l , i h p i g j large enou to a ow the oil to tr c e s ow t gh ll i kl l ly out, he lekythos being a long narrow bottle wi th a foot ‘ and a narrow n t were use to car eck. Bo h d ry the olive oil with which athletes were accus l Th tomed to anoint themse ves. e strigil was a curved metal i nstrument used for scraping the oil and sa nd from the body

f w s The famous statue f a ter re tling. o the Apoxyomenos in the Vatican Museum represents an athlete engaged in this é operation . PK " 5" The processes and requisites of the fem n ne to et were man and var ous and to e i i il y i , il t scenes are f uent r resente in vase- a nt n req ly ep d p i i gs. S ometimes 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. 5 1 . 122 THE TOILET

i nstances we ﬁnd a lady engaged in binding her hair with a ﬁllen tying her girdle or fastening her s os a ma in andal. There is alm t invariably id atten ance who ass sts in the O at ons o n d , i per i , h ldi g a scen t- ottle or casket from w c her m stress b , a hi h i ‘ c ewe s n s - s ows a a sele ts j l . O e va e painting h l dy applyi ng powder or colour to her cheeks with a brus h.

Man a us ons in l terat r and a eciall in y ll i i u e, p y

Ar s to nes s ow a n and cosmet cs of i pha , h th t pai t i various kinds were in use in Athens in the ﬁfth c entury a c. It is hetairm

citizens did not despise such means of enhancing and reservin t r a n The assa e p g hei appe ra ce. p g describes how l schomachus found his you ng wife sw a m/t h em» WORN; ”Ev sh ut/Gig» 31m g h evxor ép a 37 1 ' ’ ’ doxoi eiv t i f r r khm 8 iz é ' é a a ivow o n a ; i , a éy xo cmdr ms p q or p ¢

’ ’ ' dh eeia ' dr odr ua ‘r a d é vo' a v d h a d7 w ei wv 80 x0 1» n s, i/ xo wq , r p f ;

’ ‘ ezva z éwe éxel w th much w te ea ru be nto a o , i hi l d b d i her s n to ma e her oo fa r r tha n she was nd ki , k l k i e a w t muc rou e to ma e her a ea r ros er and i h h g , k pp i ; " wea r n hi san a dd r na t s to a to he ura e t. i g gh d l , l h igh l s chomachus persuades her to give up these van t es as n her if she w e him h i i , ki g ill lik better if e ' ’ h ' r d v goes about m r p keuﬁone oc m i 7 0 59 6¢>9a>t ptofic dwahet duevos ano nte w t red oc re and w t ¢ 3 i d i h h , i h

ment un er his e s pig d ye .

Fi 2 a g. 5 ( ).

124 THE TOILET

— - d o -mi Th two classes d isk mirrors an b x rrors. e f m c n sts f a sin l s o shed on one s e or er o si o g e di k p li id , en r v The is the reverse being usually g a ed. disk f w t a an w c is sometimes so urnished i h h dle. hi h constructed that it can serve also as a foot ; the

mirror can so be made to stand on a table. The handle of a mirror of this kind very frequently takes ‘ e - the form of a human ﬁgure. Th box mirror co ts of two s s he ower one w its nsis di k . t l , ith o s e u er surfac erv n as the m rror h p li h d pp e, s i g i , t e i T upper one as a cover to proteﬁ t. he two are

Of the va rious receptacles used for contai n ing tr n ets a r-ban s cosmet cs and so o n the i k , h i d , i , , commonest is the x s a t ou h we ﬁnd a so py i , l h g l baskets a nd little square caskets represen ted in vase- a n t n h Att c rav r efs A p i i gs and on t e i g e eli . box for cosmeti cs in the B ritish Museu m is in the ‘ s a e of a r The x s is a c rcu ar box w t h p bi d . py i i l i h a its s es a re somet mes stra t but more lid ; id i igh ,

often concave and it is fre uent ra se on a foot. , q ly i d

I ts mater a was or na oxwoo ence its i l igi lly b d , h name but th ma or t of t ose wh c a re , e j i y h i h

a re terra -cotta t ou the are nown a so extant , h gh y k l mm or a a as ter and rec ous meta s. A co on in iv y , l b , p i l

9 i . 2 Fi . a . F Fig. 53 g 53 ( ) g 5 TOILET BOTTLES AND JEWELLERY 125 subject on a terra -cotta pyxis is a toilet scene or a ‘ m i r n arr age p ocessio . The alabastron used to contain unguents or perfumes is a long narrow bottle with a spreading neck and smal o en n it has no foot and is l p i g ; , roun at the ottom so t at some n of stan d b , h ki d d must have been necessary to hold it upright when ‘ m not in use. It was usua a e of stone a a aster lly d , l b , or t rra-c t he t os e o ta. T leky h also was sometimes use for the same ur ose d p p . That Greek ladies wore abundant jewellery is proved by frequent represen tations both in scu ture and vase- a nt n s as a so lp p i i g , l by actua ﬁn s of ewe er nota in t l d j ll y , bly he Greek graves of the fourth century at

rt s o ects ave n Ke ch . The e bj h bee described c d M and s usse r A . . a ters in di by B W l , ‘ his oo on T6: Ar t o Me Gr ecb b k f . h e . 54. R n s race ets nec aces rooc es and i g , b l , kl , b h , ear-r n s were common worn as we as i g , ly , ll orna mental a r- ns and metal a ems for h h i pi di d t e hair. ’ Many exa mples of goldsmith s work are extant incl uding some gold ornaments set wi th precious

stones .

In summing up the results of the foregoing

n u r we ﬁnd t at the nature and eve o ent e q i y , h d l pm of the cos tume of the Greeks is entirely in accord ance with what we know of the na ture and t of the nat ona c developmen i l haracter . The chief

2 a . Fi . . Fig. 5 ( ) g 54 Page 2 59 I 120 THE TOILET c aracter s tics of the or c ress w ic was h i D i d , h h probably worn in early days by all the inha bitants

he ma n a n al e is a certa n roa s m lic t of t i l d ik , i b d i p i y ;

a of the on c ress w c was orn th t I i d , hi h w by the

A ree s and for a s ort erio at s t siatic G k , h p d lea by is f A en ans a so race u e e ance. the th i l , g l l g These characteris tics distinguish the Doric and I onic

aments as ex te in art a so nota in temper hibi d l , bly m u and to so e extent a so in scu ture. architect re, l lp Athens appears to have occupied a middle pos ition

e e o onnese and I on he P n between th P l p ia. T eIOpo

the course of the seventh and sixth centuries their i ntercourse with the E ast brough t them i n to con

ct w th astern eas a nd astern cus toms a nd ta i E id E , they appear to have caugh t something of the

w c was c aracter st c of the as A luxury hi h h i i E t. t

an rate for a t me at east t e a o te the on c y , i l h y d p d I i

ress and carr e it to a reat e ree of uxu r and d , i d g d g l y

nc hen w t the ers an wa rs c extravaga e. T i h P i a me a

r act on a a nst an t n savour n of Or en ta sm e i g i y hi g i g i li ,

urn to rea r s m c s l d and a ret g te i pli ity . Thi e to a

sum t on of the or c ress w th certa n modiﬁca re p i D i d , i i

a nd th ret n t on of some on c s tions e e i I i element . I t can hardly be questioned that the freedom and simplicity of their dress was to a grea t extent the cause of the development of the splendid

mm 4a 6q 6s w6 H ric 2 2 Doric Himation, ome , 4, 5 ; . - 10 5 3 3 6 3 48 33 . 54. 95 1 1 . 3 . 9. 7 73-96

Hittim, 7 - Ban g k ok med ia s M e me

5 8 3 3 3 3 1 d . 3. . 7. . s.

M a ss lad -ma t s

‘1 ’ 6 IM M M M 5 1 M 73 9

1m m 1 2, 1 3, 1 5 ller 1 22 1 2 Jewe y , , 5

Flounces , 3, an n a 1 8 shroud of 1 2 L , ; , 7, 7 Foet w 3 1 -3 3 r . 7. 5 9 r 8 3 3 3 8 8 3 36 Leathe . . 9. . . 33. 97. 9 . . Fri lls 6 80 82 86 0 2 , 7 , , , 1 9 3 9 7 943 95 1 1 7 Frin es 1 2 2 33 g , , 9 , Lek thos 1 2 1 1 2 y , , 5 Fusta n ella 8 , 7 i 1 1 1 2 1 20 2 1 0 L nen , , , 9 , , , 35 , 4 1 8 6 0 8 4 . 5 . 59. . 9 GI RDLES 1 1 1 6 1 0 1 , 5, , , 9 , 3 , 3 , 6 0 3 3 . 3 . 4 3 . 44 . 4 5 . 4 . 5 . E M LS 1 60 6 4 MAT R . 9 . . 7 . 0 80 8 I 8 1 22 7 3 77 3 79 . 3 , 73 1 0 0 I ° 99. . 5 d 3 1 1 0 0 1 1 3 3 1 3 Gol . 9 . 3 . 33. 34. . . 9 . 1 5 u soleum 1 Ma , 5 , 53

ausolus 0 M , 5 H AI R N ETS 6 , 3 , 3 1 0 8 1 1 oll r 1 2 7, , 3 M edici c a , H a tr ms 1 2 3 1 2 1 28 p , , 5 Menelaus, 7, ' H ats 1 1 1 - - , , 1 3 Men s dress ro H ellenic 1 0 H omeri , p , 5 ;

H ead-d ress 6 1 8 6 - - , 8 1 0 1 1 3 1 2 3 -28 Doric 2 6 I onic 8 2 , , , , , 4 , , , 1 7 ; , 5 5 ; , 5 7

- 3 1 0 1 1 a t 1 1 7 3 7 4 Minoan r , 3 , 5

H ector 28 s 1 2 1 2 , 3 , , 35 Mi rror , 3, 4

H elen 2 1 0 2 r eks 8 , 7, 35, Moder n G e , 7, 3 H ellan icus of e bo s 1 L s , 0 our nin 1 0 1 M g, 37 , H elmets 8 28 1 0 7 M cenaean dress 10 , , 9, , y , 3, 7 , 7 H hatst s 2 1 1 e o , 1 M ceuwan r emai n s 2 6 8 I p 5 , y , , 3 , 4 , 5, , , H r 3 66 e o. 9. 33 . 37 . . m

H r s 1 1 8 e me , M cone 1 y , 4 H erodotus 1 3 8 8 . 39 . 4 . 4 . 4 . 57. 5 . 59.

NAU SICAA, 35

1 32 ENGLISH INDEX

V Athena of 1 Woollen arme ts 2 26 1 elletri. , 5 g n , 24, 5, , 27, 5 , r 3 6 8 1 Victo y . 47. 9 6 . 97. 9 . 6 5

6 t o 2 1 2 Wam or a, 5, , , , 3 22 1 2 e aon 1 1 White lead, 1 , 3 , 3, 1 16 , 1 22 1 2 Xoana 86 Wigs, 3 ,

57-96