CONSTANCE L. CAMPBELL The Costuming of Tragedy in Classical Antiquity (Under the direction of FRANKLIN J. HILDY) The previous research on the question of the costuming of tragedy in the ancient world has centered on speculation as to how tragic actors were clothed in Athens during the fifth century BC. However, most of the evidence for tragic costume dates from the fourth century BC and later. Little attention has been paid to the evidence as it applies to the times in which it was produced. This dissertation is a chronological examination of the evidence for theatrical costuming from the fifth century B.C. through the Roman period, with a view to a clarification of the evolution of costuming practices during the Greek and Roman eras. The evidence falls into two main categories, literary and archaeological. The literary evidence also falls into two categories, that from the plays themselves, and descriptions by those who comment on theatrical practices. The former dates almost exclusively form the fifth century BC, while the latter is quite late, largely from the second century AD. The archaeological evidence spans the entire period, from the fifth century BC to the end of the Roman era. The available data is reviewed in chronological order whenever possible, in order to trace the use and development of tragic costume from the Classical period in Greece to the late Roman Empire. Various points that are addressed in this study include the high-soled boot and the onkos, and the question when and why they developed. Another area of investigation is be the colors used in the costumes, something that to my knowledge has never been specifically addressed, other than in regard to the color of hair in comic masks. This study of color has yielded some interesting information on the costuming of royal characters from the Greek classical period through late Roman times. The chronological approach taken in this dissertation yields much information on the development of tragic costuming, allowing innovations and traditions both to be viewed clearly in context. INDEX WORDS: Greek theatre, Roman theatre, Theatrical costuming, Theatre history, Greek and Roman archaeology THE COSTUMING OF TRAGEDY IN CLASSICAL ANTIQUITY by CONSTANCE L. CAMPBELL B.A., The University of Colorado, 1976 M.A., The University of North Carolina at Chapel Hill, 1982 A Dissertation submitted to the Graduate Faculty of The University of Georgia in Partial Fulfilment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ATHENS, GEORGIA 2000 © 2000 Constance L. Campbell All Rights Reserved THE COSTUMING OF TRAGEDY IN CLASSICAL ANTIQUITY by CONSTANCE L. CAMPBELL APPROVED: Major Professor: Franklin J. Hildy Committee: Stanley J. Longman Sylvia J.H. Pannell Frances Van Keuren Freda Scott Giles Electronic Version Approved: Gordhan L. Patel Dean of the Graduate School The University of Georgia May 2000 Matri Carissimae iv Acknowledgements This dissertation is not the result solely of my efforts. A large number of people contributed their ideas, suggestions, expertise, and good will. Without them, I could not have completed this work. I would like to thank my committee for their forbearance and their unflagging inspiration and encouragement. Ms. Sylvia Hillyard Pannell, Dr. Stanley Longman, and Dr. Freda Scott Giles have been behind me one hundred percent throughout this long process. I owe an immense debt of gratitude to Dr. Frances Van Keuren for all of the hours of her time spent in helping me prepare this dissertation, and for all of her advice and expertise, which was always cheerfully given. Dr. Franklin J. Hildy has been an excellent director, even at a distance. His depth and breadth of knowledge was of immeasurable help in guiding me in the choice of a topic and in the long process of research. I am especially grateful to him for bringing the Porcareccia Mosaics to my attention. Numerous others are also worthy of mention and thanks. Mark Andres of the New York Public Library was of great help in getting me a look at Millin's Description d'Une Mosaique Antique du Musée Pio-Clémentin a Rome. Mark Mauzy of the v vi Agora Excavations, Pia Stavrinidi of Athens, and Diann Crider of the Michael C. Carlos Museum were gracious in helping me to obtain some of the photographs I needed. Janet Williamson, slide librarian of the School of art at the University of Georgia came to my rescue when I could not scan a slide anywhere else. I could never have filed this dissertation electronically without the patience and help of David Knox of the University of Georgia's Graduate School. Clifton Pannell gave me valuable information on Chinese silk and its trade c. 500 BC. Finally, I owe more than I can express to Freddy Wittop, but he deserves special mention here because he taught me how to paint metallic gold, without which information I would never have recognized the significance of the gold belts. I would also like to thank all of the kind strangers, epitomized by Sr. Vincent of the Sisters of St. Paul, Agrigento, without whose help this poor Blanche DuBois would not have survived six weeks' worth of Italian and Greek museums. Table of Contents Page Acknowledgements . v List of Figures . ix Abbreviations Used in Text . xxi Introduction . 1 Chapter I. The Scholarship Concerning Tragic Costume . 16 Footwear . 18 Masks . 24 Clothing . 31 Other . 40 II. Costuming of Tragedy in Fifth-Century Athens . 42 The Evidence from the Plays . 42 The Evidence from Contemporary Works of Art . 60 III. Tragic Costume in the Fourth Century . 101 IV. Tragic Costume in the Hellenistic Era . 174 V. Tragic Costume in the Roman Republic and Early Empire . .205 VI. Tragic Costume in the Later Roman Empire . 260 Conclusion . .309 Works Consulted . 322 vii viii Appendices I. Glossary of Costume Terms . 343 II. A Chronological List of Fifth-Century Plays that Mention Costume . 347 III. Chronology of Tragic Costuming . 348 IV. List of Figures with Citations . 351 List of Figures I,1. Marble relief from the Peiraieus, c. 400 BC. Athens, National Archaeological Museum 1500. Photo: Bieber, DTA, pl. 53. I,2. Attic red-figure volute krater, c. 400 BC, from Ruvo, attributed to the Pronomos Painter (name vase). Naples, Museo Nazionale Archeologico Inv. 3240. Photo: Bieber DTA, pl. 48. I,3. Attic red-figure kalyx-krater from Capua, c. 400 BC. Berlin, Staatliche Museen, No, 3237. Photo: Bieber, DTA, fig. 105. I,4. Attic black figure amphora in Bonn. Photo: Bieber, "Herkunft," pl. 1. I,5. Attic red-figure kylix, 480-470 BC, attributed to the Briseis Painter. Metropolitan Museum of Art 27.74. Photo courtesy of the Metropolitan Museum of Art. I,6. Attic red-figure bell-krater, c. 425 BC, attributed to Polion. New York, Metropolitan Museum of Art 25.78.66. Photo courtesy of the Metropolitan Museum of Art. I,7. Attic red-figure lekythos, c. 420 BC, from Cumae, attributed to Aison. Naples, Museo Nazionale Archeologico RC239. Photo: Baumeister, Denkmäler des Klassischen Altertums, Vol. 3, fig. 2151. ix x II,1. Attic red-figure krater, 500-480 BC. Basel, Antikenmuseum und Sammlung Ludwig inv. BS 415. Photo by Dieter Widmer, courtesy of the Antikenmuseum und Sammlung Ludwig. II,2. Attic red-figure hydria, 490-470 BC, attributed to the Pan Painter. St. Petersburg, Hermitage Museum B201 (St. 1538). Drawing: Gerhard, Auserlesene Griechische Vasenbilder I, plates 50-51, 1-2. II,3. Fragments of an Attic red-figure oinochoe, 470-460 BC, from the Athenian Agora. Athens, Agora Museum inv. P11810. Photo courtesy of the American School of Classical Studies at Athens: Agora Excavations. II,4. Attic red-figure bell-krater, c.460 BC, from Tomb 173c, Valle Pega (Spina). Ferrara, Museo Nazionale Archeologico T173C. Photo courtesy of the Soprintendenza Archeologica dell'Emilia Romagna. II,5. Attic red-figure pelike, c. 430 BC, from Cerveteri, attributed to the Phiale Painter. Boston, Museum of Fine Arts 98.883. Henry Lillie Pierce fund, 1898. Photo courtesy of the Museum of Fine Arts, Boston. II,6. Attic red-figure krater fragments c. 400 BC from Taranto. Würzburg, Martin von Wagner Museum der Universität Würzburg H4781. Photo courtesy of the Martin von Wagner Museum. II,7. Attic red-figure bell-krater early fourth century BC, from Spina. Ferrara, Museo Nazionale Archeologico T161C xi (inv. 20483). Photo courtesy of the Soprintendenza Archeologica dell'Emilia Romagna. II,8. Attic red-figure volute krater, c. 400 BC, from Ruvo, attributed to the Pronomos Painter (name vase). Naples, Museo Nazionale Archeologico Inv. 3240. Drawing: Bieber, DTA fig. 97. See fig. II,2. II,9. Attic red-figure kalyx-krater from Capua, c. 400 BC. Berlin, Staatliche Museen, No, 3237. Photo: Bieber, DTA, fig. 105. See fig. I,3. II,10. Marble relief from the Peiraeus, c. 400 BC. Athens, National Archaeological Museum 1500. Photo: Bieber, DTA, pl. 53. See fig. I,1. III,1. Apulian red-figure bell krater, c. 400 BC. Bari, Museo Nazionale Provinciale 1364. Photo: M. Bieber, "Herkunft," fig. 59. III,2. Early Lucanian red-figure pelike, c. 400 BC from Herakleia. Policoro, Museo Nazionale della Siritide 35302. Photo courtesy of the Soprintendenza Archeologica della Basilicata. III,3. Apulian red-figure krater by the Painter of Athens 1714, c. 375-350 BC from Potenza. Paris, Louvre CA227. Drawing: Reinach, RepVases I, 244, 2. III,4. Lucanian red figure kalyx krater of the Locri Group, c. 370-360 BC. Photos a and b: P. Orsi, Notizie degli Scavi di Antichità (1917), 108-109, figs. 11 and 11 bis. xii III,5. Apulian red figure volute krater, c. 370-360 BC. Naples, Museo Nazionale Archeologico Inv. 82270 (H3249). a: Photo: Huddilston, fig. 6; b: Drawing: Saglio, Dictionnaire des Antiquités Grecques et Romaines vol.