j'jo-.
50.— Boys
at Soliool.
Vase signed ty
X)wt:>i.
Berlin,
CHAPTERS ON
GREEK DRESS BY
MARIA MILLINGTON EVANS
ILLUSTRATED
S-oxxboxi
MACMILLAN AND AND NEW TOEK 1893 \_AU rights
P
reserved']
CO.
!
- Vl-I
i'
A.
I
ozo*f»f
GT Sso y
TO THE
OXFOED UNIVERSITY DRAMATIC SOCIETY IN EEHIEMBEANCE OF
THEIR PERFORMANCE OF
THE FROGS OF
ARISTOPHANES, 1892.
CONTENTS.
CHAPTEE
I.
PAGE
Homeric Deess
1
'
.
.
CHAPTEE n. DeESS
EN"
HiSTOEIC GeBECE
Women
—UnDEE-GAEMENTS
....
CHAPTEE
or
THE 15
III.
Deess oe the Female Figtjees in the Aceopolis MrsBUM,
....
Athens
CHAPTEE
IV.
Unbee-gaements or the Men
CHAPTEE
35
43
V.
OUTEE GaEMENTS OE BOTH MeN AND WOMEN OE GeEECE IN HiSTOEic Times
CHAPTEE GlEDLES,
FaBEICS,
Feet, etc
....
...
CoVEEINGS
48
VI.
FOE
THE
HeAD AND 5"
LIST OF ILLUSTEATIO:^S. SUBJECT
•
'
a.
"Pallium," h.
c.
AND
SOURCE.
vol.
ii.,
(Smitli's
6
1891.)
Plute-player, from Gerhard's " Auserl: Vasenb.,"
" Apollo Citharoedus."
.
Mmray,
p. 318.
Apollo with tbe lyre. Pub. in Gerhard's "Etrus. and Campan. Vasenb.," T. 3 (Studniczka's " Beitrage." Kg. 15, p. 66.) T. 272 (Studniozka's " Beitrage."
2.
PAGE
Peleus, from a Vase Painting. Pub. in Heydemann's " Griech. Vasenb.," T. 6, 4 (Smitli's "Diet, of G-reek and Eoman Autiq.," s.v.
6
iv.,
6 Pig. 16, p.
66.)
Vatican
7
"Diet, of Greek and Roman Antiq.," vol. ii., p. 318. Murray, 1891.)
s.v.
" Palla," 3.
"Hermes," from the Prangois Vase, Florence (Smith's "Diet, of Greek and Roman Antiq.," .
.
" a.
^
Pellis," vol.
.^
6.
Murray,
p. 362.
Eutenu
No. 530.) 11
Pig. 11, p. 34.)
Gem
from Vapheio. Pub. '£(J. 'Ap^., 1889. (Prom a drawing by Mr. Anderson.)
6.
.
.
.
PI. x., 34
"MoirsB," from the Frangois Vase. Florence (Smith's " Diet, of Greek and Roman Antiq.," " Palla," vol. ii., p. 316. Murray, 1891.) .
.
S. Birch.
Vol.
i.,
p. 273,
No.
11
12
s.v.
Women ataFountain. Froma Vase, British Museum,/ace ("Aneient Pottery," Murray, 1858.)
7.
10 1878,
Woman
(Studmezka'B "Beitrage."
5.
8
1891.)
Gold Seal from Mycenae (Schliemami's "Myeenae and Tiryns." Murray, p. 354,
4.
ii.,
.
s.v.
12
130.
Santangelo Coll., Naples Museum. Pub. in the " Mittheil. des Kais, Deutsch. ArchEieoL
From a Terra-cotta.
Band vi., 1891, p. 253. face Instituts. Eom. Abtheil." (Prom a photograph of the cut in the " Mittheil.")
13
X FIG.
—
LIST OF ILLUSTRATIONS.
.
9.
.
10.
.
.....
SUBJECT AND SOUECB.
NO.
8.
Scheme
of the Dorian Chiton (Studniezka's "Beitrage," p.
PAGE
17
6, fig. 1.)
face Selene, from the great altar, Pergamos (Reproduction from Baumeister's "Deiikmaler,"p. 1238, .
.
.
17
fig. 1423.)
face Hesperid, from one of the Metopes. Olympia (Reproduction from Bamneister'B"Dentinaler," p. 1081, .
18
fig. 1286.)
"11. \2.
.
.
Chiton fastened on the Shoulders (Studniezka's " Beitrage," p. 99,
Dress Open at the Side
18
(Studniezka's "Beitrage," p. 13.
.
"
T.5.
16.
.
.
.
7, fig. 2.)
.18
Dress Open at the Side (Studniezka's "Beitrage," p.
- 14.
18 fig. 30.)
7, fig. 3.)
Scheme
of the closed Dorian Chiton (Studniezka's "Beitrage," p. 10, fig.
6.)
Girl wearing the closed Dorian Chiton (Studniezka's " Beitrage," p. 10, fig.
5.)
Naples Musetrm
.
(Studniezka's "Beitrage," p. 10, .
.
.
.
.
.
Girl putting on the partially-closed Dorian Chiton.
Herculaneum. 17.
.
.
.19
.20
Prom .
.20
fig. 4.)
Bronze Figure from Herculaneum.
Naples Museum. face
20
(From a photograph.) 18.
.
Figui-e of Athena,
from one
of the Metopes.
Olympia. precede
21
(BVom a photograph.)
Procne and Philomela (From a photograph.)
19.
.
Vase Painting.
20.
.
Scheme
21.
.
22.
.
23.
.
of the " Peplos " of Athena (Studniezka's "Beitrage," p. 142,
.
" Statuette. Athens (Studniezka's "Beitrage," p. 142, fig. 45.) .
Dress of Modern Egyptian
Woman
.
.
.
.
.
.
.
.
.
.
.22
.
.22
.23
fig. 47.) .
(Studniezka's " Beitrage," p. 118, fig. 42.) 24.
.21
fig. 46.)
The " Varvakeion
Statuette of Athena. Athens (Studniezka's "Beitrage," p. 142,
.
.23
Illustration of Sleeve of Chiton made by placing pins at intervals. From a Vase . . (Reproduction from Schreiber's " BUderatlas, " Taf xii .
10.)
.
.
.24
LIST OF ILLUSTKATIONS. PIG.
NO.
25.
.
SUBJBCT AND SOURCE.
Mounted Amazon.
PAGE
Athens
face
24
(From a photograpli.) 26.
-
27.
.
.
Scheme
of the Ionian Chiton (Studniczka's "Beitrage," p. 13,
Women
24 fig. 7.)
wearing the Ionian Chiton
.
.
28.
.
The
J.
29
[ a.
\
h.
{
c.
I
d.
I
.
1.)
....
E. Harrison.
Maomillan, 1890, p. 375,
ia.
^
Evans
}
.
c.
From
Amazon.
32
Originals.)
33
a Vase Painting
(Reproduction from Schreiber's "Bilderatlas," bfxxiY. 31.
31
\ b.
(d.
Medea.
26
fig. 13.)
Etruscan Fibulae from the collection of Sir John
(From the 30.
"vii.
Belief in the Vatican Mythology and Monuments of Ancient Athena."
Charites. ("
.25
.
(Eieproduotion from Schreiber'a " Bilderatlas,"
In the Berlin
1.)
Museum
33
" Dictionary of Classical Antiquities." Swan SonTranslated by Nettleship and Sandys. nenschein & Co., London, 1891, p. 25. s.v. " Ama-
(Seyffert's
zons.") 32.
.
33.
.
34.
.
The Eunning
Girl. Vatican (From a photograph.)
face
Figure ascribed to a base with the name of the Antenor. Athens (From a photograph.)
Female Figure discovered on the
Acropolis,
34
artist
face
36
Athens face
36
(From a photograph.) 35.
.
Female Figure discovered on the Acropolis, Athens precede 37
36.
.
Female Figure discovered on the
(From a photograph.) Acropolis, Athens face
38
(From a photograph.) 37.
.
Bacchante.
From
a Vase Painting
.
precede
.
39
(Keproduotion from Baumeister's " Denkmaler," p. 847, fig. 928.;
38.
.
Female Figure found on the
Acropolis, Athens
face
41
(Prom a photograph.) -
39.
.
Bas-relief.
Soldier in a short Chiton "Dictionary," p. 130 (1).
(Seyfflert's
-40.
.
... s.v.
•'
.
Charon, wearing the Exomis (Reproduction from Schreiber's " Bilderatlas," p. 10,
Vign.
9.)
.45
Chiton.")
47 Introd.,
LIST OF ILLUSTRATIONS. Fla.
NO.
41.
.
(Seyffert's" Dictionary," p. 295
42.
43.
.
.
.
.
(2).
Terra-Cotta Figurine from Tanagra (Seyffert's " Dictionary," p. 610 (3). Central
Slab.
Lateran Museum,
Sophocles.
.
Eome
.49
.
'•Himation.")
s.v. .
.
.49
.
"Pottery.")
s.v.
....
Museum, Athens
(From a photograph.) 44.
PAGE
SUBJECT AND SOURCE.
Terra-Cotta Figurine from Tanagra
.
.
face
50
precede
51
"Dictionary," p. 597. s.v. "Sophocles." permission of Messrs. Longman.)
(Seyffert's
By 45.
.
46.
.
Penelope and Telemaohos. From a Vase Painting (Reproduction from Schreiber's " BUderatlas," Ixxt.
Figure from the Francois Vase.
Florence "Dictionary of Antiq.," vol. Murray, 1891. s.v. "Pallium.")
47.
.
Caryatid
(Seyffert's .
.
the
Brechtheum,
"Dictionary," p. 116.
Athens.
s.v.
.
Boys
.
53
" Caryatides.")
.
Youth wearing a Chlaiuys
53
54 vol.
ii.,
p.
428.
Vase signed by Duris. Berlin Frontispiece "Dictionary," p. 674. s.v. "Vases.")
at School.
(Seyffert's
-51.
British
Glyptothek, Munich "Dictionary," p. 208. s.v. "Eirene.")
(Smith's "Dictionary of Antiq.," Murray, 1891. s.i;. " PiUeus.'') 50.
319.
Eirene with the Infant Ploutos. (Seyffert's
49.
p.
..........
from
Museum 48.
ii.,
51
.52
.
.
(Smith's
.
1.)
Greek Babies.
Terra- Cottas from Boeotia
.
.54
.
(From a photograph.) 51a.
52.
.
.
of Gabii. Fastening the " Diplax." (Studniozifa's " Beitrage," p. 78, fig. 21.)
Diana
Athens ("Mythology and Monmnents
Stele of Hegeso.
.
Athena.
Part of slab from the great
.
Fragment
of
a Eobe.
55.
.
Vase signed by Hieron.
.
'
face
60
Bilderatlas," Ixxiv. 11.)
.......
" Departure of Triptolemos." British Museum (Harrison's " Mythology and Monuments," p. l.,'fiff 8* t a MacmiUan.)
56.
'
58
" Pergamene
s.v.
....
Crimea
(Reproduction from Schreiber's
56
Pergamos.
altar,
face
" Dictionary," p. 470. Sculptures.")
(Seyffert's
55
Ancient Athens." Macmillan.)
Berlin
54.
.
face of
J. E. Harrison, p. 691, fig. 25.
53.
Louvre
'
G2
,
Athlete with his hair bound up. OljTnpia (Reproduction from Schreiber's "Bilderatlas," Ixxxv.
64
.
I.)
LIST OF ILLUSTRATIONS. ^la.
NO.
57.
.
xiif
SUBJECT AND 80DE0K.
Hair bound with a
fillet.
PAGE
Coin of Syracuse.
British
Museum
66
(British Museum " Catalogue of Greek Coins, Sicily," ed. by R. S. Poole, Loudon, 1876, p. 161.)
'
58.
.
59.
.
Female Head, from a Ooia of Syracuse. British Museum (British Museum "Catalogue of Greek Coins, SioUy," ed. byE. S. Poole, London, 1876, p. 162.) Pemale Head. Syracuse.
.
R.
(British ed. by .
R.
67 of
Greek Coins, Sicily,"
London, 1876,
a "Sphendone."
Museum. Museum " Catalogue
British
61.
S. Poole,
Hairbound with
Coin of
Museum
Museum " Catalogue
(British ed. by
60.
The hair bound with beads.
British
S. Poole,
66
p. 154.)
Coin of Segesta. 67
of
Greek Coins, Sicily,"
London, 1876,
p. 133.)
"Sphendone," wound several times round the head. Coin of Syracuse. British Museum .68 .
.
.
(British Museum "Catalogue of Greek Coins, Sicily," ' ed. by R. S. Poole, London, 1876, p. 160.)
62.
.
63.
.
Instance of a short, wide " Sphendone." Tetradrachm of Syracuse. British Museum (British Museum " Catalogue of Greek Coins, SioUy," ed. by E. S. Poole, London, 1876, p. 167.)
Head bound with a "Sphendone." Tetradrachm of Syracuse, by Phrygillos. British Museum 69 (British Museum " Catalogue of Greek Coins, Sicily," .
ed.
^
64.
.
68
by R.
S. Poole,
London, 1876,
p. 168.)
Female Head wearing the "Ampyx." cuse.
British
.
Coin of Syra-
Museum
69
(British Museum "Catalogue of Greek Coins, Sicily," ed. by R. S. Poole, London, 1876, p. 164.)
65.
.
Female Head wearing "Ampyx" jomed to hair-net by a buckle. Coin of Syracuse. British Museum (British Museum "Catalogue of Greek Coins, Sicily," .
ed.
66.
.
by R.
S. Poole,
London, 1876,
p. 162.)
Hair in a Net, with Frontlet. Decadrachm British
70
of Syracuse.
Museum
70
(British Museum " Catalogue of Greek Coins, Sicily," ed. by R. 8. Poole, London, 1876, p. 175.)
67.
.
Female Head wearing the "Sakkos." British
(British ed. by
68.
.
Fragment
Coin of Syracuse.
Museum Museum "
71
Catalogue cf Greek Coins, Sicily,"
R. S. Poole, London, 1876,
of a
p. 160.)
.......
Vase with Female Figures and
metrical Patterns (" Tiryns," by H. Sohliemann. No. 18.)
Murray, 1886,
Greo-
p. 95,
72
"
LIST OF ILLUSTKATIONS.
XIV FIG.
.
PAGE
SUBJECT AND SOOECE.
NO,
69.
Varieties of Boots, Shoes, (Smitli's
and Sandals
.
"Dictionary of Antiquities," s.v. "Calceus.")
vol.
.74
.
.
i.,
p. 332.
Mvirray, 1891. 70.
.
Female Figure found on the Acropolis, Athens
.
face
74
(From a photograph.) 71.
72.
.
.
Varieties of the " Petasos " (Smith "Dictionary of Antiquities," vol. Murray," 1891. s.». " PiUens.")
"The Foot-washing of Odysseus." "EilQs." From a Vase painting
75 ii.,
p. 428.
Weariag
of the
.
.
.
(Reproduction from Schreiber's " Bilderatlas," hdii. 73.
.
Sailors wearing the " Pilos . (Smith's "Dictionary of Antiquities," vol. .
Murray, 1891. 74.
.
.
ii.,
.77
p. 427.
«.«»." Pilleus.")
Hephaistos wearing the " Pilos " (Seyfiert's
.
.76 3.)
.
"Dictionary," p. 277.
.
s.v.
.
.
.78
"Hephaestus.")
INTRODUCTION. In attempting
to give a sketcli of the
main
principles
on which the ordinary dress of the ancient Greeks was based, I do not propose to deal with the subject in an
exhaustive manner, nor do I for a
moment pretend that
But, having noticed
materials used are entirely original. in pictures of classical scenes
and
the
in
Greek costume when
exhibited on the stage, some ignorance of the elements of the subject, I venture to
make
pages in the hope that they
may
who, from archseological or
public the following
be of service to those
artistic causes,
wish to obtain
a correct insight into the character of the Greek dress in classical times.
lections
as
In the desire
useful as
possible,
to
make
the national col-
made frequent Museum, Blooms-
I have
reference to examples in the British
bury, or in the collection of casts at the South Kensington
Museum.
My
debt to the labours of others, specially of German
To Dr. Studniczka
archaeologists, is great.
best thanks for permission to reproduce
from his work.
My
my
many illustrations
thanks are also due to Messrs.
Murray, Macmillan,- and Swan Sonnenschein, the trustees of the British
The
I tender
as well as to
Museum for the loan of woodcuts.
sources of the illustrations are acknowledged in the
INTEOnUCTION.
XVI
list
My
at p. ix.
has added to his
friend Professor Gardner, of Oxford,
many
kindnesses that of reading
my
proofs.
I subjoin a
list
of works consulted that
may
be of use
to other students of the subject.
"Beitrage zur Greschichte der Altgriechisclien Tracht," von Franz Studniczka. Karl Gerold's Sohn. Wien, 1886. " Quaestiones de re Vestiaria Graecorum." J. Boehlau.
Weimar.
1884. " Quaestiones Vestiariae."
W.
Miiller.
Gottingen, 1890.
" Lehrbuch der GriecHschen Privatalterthiimer." Hermann. Dritte Auflage von H. Blumner. (Band iv. of Hermann's Lehrbuch der Griech. Antiquitaten.) J. C. B. Mohr. Freiburg, 1882.
" Die Tracht bei Homer." Friederich. " Eealien " (p. 248 and zweite Ausgabe. F. Enke. Erlangen, 1856. " Das Homerische Epos." Helbig. Leipzig, 1884. "Social Life in Greece." J. P. Mahaffy. 5th edition. MacLondon, 1888. millan.
foil.),
"Journal of Hellenic Studies,"
vol.
viii.,
p. 170.
E. Gardner.
1887. Published for the Society for Promoting Hellenic Studies,
by Maomillan & Co. " Histoire de
la
Sculpture Grecque."
Maxime
Colligijon.
Paris, 1882.
"
A Companion
to
the
Iliad."
Walter Leaf
Macmillan.
1892. " Olympia," "Bronzen." A. Furtwaengler, Taf. xxi. and (Band iv. of " Olympia," herausgegeben von E. Curtius foil. und F. Adler). A. Asher. Berlin, 1890.
Hope's "Costume of the Ancients." London, 1812. on special garments in Daremberg and Saglio's " Dictionnaire des Antiquites Grecques et Komaines." Hachette & Articles
Co., Paris
(still
in progress).
Similar articles in Baumeister's "
Altertums."
the " Jahrbuch des Kais. Inst." Berlin, 1892. by Mayer, and 1891, vn. 1., by Hauser.
Articles in vii. 4.,
Denkmaler des Klassischen Munich and Leipzig, 1885J etc.
— XVll
INTEODirCTION.
" Observations sur les statues arehaiques do type feminin du Musee de TAcropole." H. Lechat in the " Bulletin de Correspond. Hellenique," 1890. " Die Qriecliischen Meisterschalen," by Paul Hartwig. lished
Pub-
by Spemann, Stuttgart and Berlin, 1893.
The following
table of the
periods of Greek Art
given for convenience of reference I.
II,
:
Pbbhistoeic (Mycenae, Tiryns, &c.). To about 700 Aechaic.
700
to
(Artists
460
is
as Antenor,
Calamis, &c.)
b. c.
Circa
Period of the Vases with Black
B.C.
Figures. III.
Eakly Fine Art.
(Sculptures of Temple of Olympia, Circa 460 to 400
Parthenon, &c.)
the earlier vases with
IV.
Late Fine Art. Scopas, &c.)
(Artists of the
Red
(Artists
b.c.
Period of
Figures.
Mausoleum,
Circa 400 to 300 b.c.
later vases with
Decline.
V.
Bed
Praxiteles,
Period of the
Figures.
of
Circa 300 to 100 b.c.
Pergamene
sculptures,
&c.)
Period of the vases of Apulia
and Campania.
Maria Milijngton Evans. Nash
Mills,
Hemd
Hempstead, November, 1893.
GREEK
DRESS.
HOMEEIC DRESS. To some persons it may seem a trivial undertaking to set to work to describe the garments worn by a people so far removed in time from our own day as the ancient Greeks. But though removed in time, there is no race whose
spirit is
more
modern- thought.
vitally present as
an influence in
True, that the spirit of a great past
can be caught without technical accuracy as to
—
as witness the fact that Mrs. Siddons, in
ball-dress of the period, could so play the part of speare's
heroines
as to
anachronism of her clothes.
make But
that a clearer idea of ancient picture the people
"in
dress
its
an ordinary
Shak-
spectators
forget
there can be
little
life
is
obtained
if
the
doubt
we can To
their habit as they lived."
use the words of quaint old Hope,^ " To clothe, as Paul
Yeronese has done, Alexander in French brocade and Statira in Grenoa cut velvet, is beforehand wantonly
mar
to
the best fruits of one's labour, the applause of the
judicious.
It is
offering
a masquerade instead of a
historic subject, a riddle in place of a tale clearly told."
But the subject '
is
not without
its
difficulties.
Costume of the Ancients, 1812.
It
is
— !
GREEK DRESS.
2
easy to speak of the " Greeks," but Greece was at no
common
period a uniform whole, with customs part of
two towns could have been more
No
it.
every
to
similar in habits and thought than Sparta,
dis-
where every-
thing was subservient to the military ideal, and Athens
How
with her " grace without softness."
were
the differences
great, even,
between Corinth the commercial and
Thebes the prosperous, and those more distant centres, Miletus, Cyrene, Syracuse, each tinged
by influences of
their surroundings
The sources of information,
too, are
not quite so numer-
ous as those available for other branches of ancient history.
example
For in
—
inscriptions,
Greek matters, throw but
though certainly one
list
gives the wardrobe of the
usually such little
sure
guides
light on the subject,
of the temple treasures at
image of Hera,^ a
list
Samos
almost as
long as the inventory of the ornaments and apparel of a mediaeval abbey, or as that of the clothes
Other
Elizabeth.
lists
left
by Queen
of garments dedicated in temples
also occur.
But the
sources readily available for our inquiry are
mainly two,
The
1.
viz.
:
literary,
i.e.
mention of garments, in Greek
and especially the express statements of some
literature,
ancient Greek historians on the subject.
The
2.
shown
in
paintings.
made
by far the larger class, i.e. garments as ancient Greek sculpture, terra-cottas and vaseBut here some allowance has constantly to be
artistic,
either for the personal vagaries of the artist, or for
the limitations of his art. *
Curtius
15—16.
Urkunde tind Studien
;
"Samos,"
p.
15;
Taf.,
HOMERIC DRESS. In the case of dress in Homer,
by the
6
it is difficult
light of existing monumerits
how
to conclude
far the state of
culture represented in the poems actually existed,
much
of
what
how
described was a setting of past and
is
present realities tinged by the glamour of poetry, and in the case of
monuments, how long forms were retained
had fallen out of daily use. Thus much, however, may be safely inferred from the Homeric writings. Garments (cf^ara, ea6'yji) are woven
in art after they
Athena,
by the lady of the house and her maidens.^ the patron of the arts
among
Among
such womanly pursuits. are conspicuous.
The
treasure are the "
work
They form part
When
mortals the Phoenicians
finest robes in the
of Sidonian
Homer
garment-stufis in
the gods, does not disdain
stored in large
are
of the treasure
the body of Hector
is
(A-e(/x//Aia)
Woven quantity.
of a house.
ransomed from Achilles,
They
robes are part of the price paid. offerings to the gods.*
Trojan king's
women."*
are
favourite
These robes were each woven as
one garment, separate and complete in
no weaving of a long piece of
stuff
There was
itself.
from which a length
could be cut as required, a method with which
nowadays was
so familiar.
alien to the
we
are
Such commercial convenience
Greek idea of simple
fitness
and com-
pleteness.
These woven materials are stated to have been of wool.^
There
is
no special record of the working of
Homer, but yet
linen (\ivov)
388
'
Iliad,
*
Iliad, vi., 289.
iii.,
Od., xviii.,
;
is
316
;
IHad,
5
Cf. Iliad, xxiv., 229, VI., 90, 271.
'
Iliad, xvi.,
224
;
Od., iv., 50, 135, &c.
R 2
flax in
mentioned, as in the case xxii.,
511, &c.
GREEK
DRESS.
of bed-clothes/ a linen corslet/ a fishing-line,^
and
fish-
ing nets^" of flaxen twine. The thread of the Fates was of
From
flax.-"
this frequent
mention of flax
conjectured that linen cloth was a
has been
home production
may have thread may have
Homer's time, though
Greece in
it
imported from the East, or the
imported and woven in Greece by the women.
was known in the East
Roman
in classical
at a very early period,
of
been
it
been
Linen
and even
times the wearing of linen garments
In those
was considered a sign of oriental effeminacy.
days Cos was the centre of a manufacture of transparent garments, as may be gathered from the mention of " Coae vestes" by Tibullus and Propertius.
With
chiton {yj.Twv) played an
its
appearance
is
its
have
material or form,
By
as its brilliancy is insisted upon.^^
and other
human
relics
Greece, the
figure 'on
accounts
it
{cf.
made
of linen,
In the representa-
some of the gems,
vases,
belonging to the prehistoric period of
men wear
double apron
all
been a sewn, shirt-like garment, not
fastened with fibulae or pins, and probably
tions of the
Homer, the
denoted by various epithets, as
" shining," " soft," and the like.*^
seems to
in
important part, but the text
gives no precise information as to
though
men
regard to the dress of the
a kind of bathing-drawers or short
the "
Man and
Bull " wall-painting
from Tiryns^* and the gold cups from Vapheio^®). 7
"
Iliad, ix., 661.
»
539. xn^ij^^ ^vi., 408. " Iliad, xx., 128; Od., vii., 198.
j/,-„f;_ ii_^
Iliad, v., 487.
" Cf. Iliad, xviii., 595. 42, &e. Sehuchhardt's Sf/i&);7a)m's Excavations. translation by E. Sellers. Macmillan, 1891, p. 120. '*
Iliad,
^'
Given
1^
Schuchha.rdt, op.
In
s
ii.,
in
cit.
p.
850
;
cf.
chapter to that same work, pp. xxvii.
English
Dr. Leaf.'s Introductory
— xxix.
;
HOMERIC DRESS.
Greek
art
what
of
known
is
5
as the early
"archaic"
period, the short chiton sits closely, jersey-fashion, to the skin.
On
Greek monuments the short chiton
later archaic
worn under armour
is fuller
of west pediment of
and
Temple
Museum, Archaic Room,
Warrior
falls in folds {cf.
of Aegina, cast in British
The length
of the
Homeric
chiton does not seem to have been uniform in
all cases.
That worn by Odysseus
160).
as a beggar (Od., xiii.,
434
xix.,
;
450) must have only reached to the knee, or else the soar
would not have been taken to imply
visible,
that,
may be
but some passages'®"
at least in the
case of elder
and
more venerable wearers and the " lonians," it was longer and this is borne out by the evidence of archaic monuments, where the long chiton
falls to
the feet.
(Fig- 1,
a, h, c.)
The ordinary daily dress of middle-aged men in Homer, when engaged in active pursuits, such as war or hunting, seems to have been a kind of jerkin, perhaps of leather, skin,
worn under the harness
and
to
This dress
wounded
1st
{cf.
Museum,
British
Vase Room, Case D, No.
evidently
is
short.
When
in the side, the blood runs
implying that these are bare.
word "chiton," instead
of
or
to prevent friction to the
promote general comfort
"Euphorbos pinax,"
felt
A
268).
Menelaos
down over
Sometimes,
is
his legs,
even, the
being used for the jerkin,
designates the actual coat of mail.
Idomeneus wounds
Alcathoos through his yj.Twva. yoKKeov^^ but the word
is
not generally used in this sense.
As we now 15°^
Iliad, v.,
find
represented on early black-figured
,734—736, but cf. W. Miiller xiii., 685 Od., xix,, 242.
Vestiariae," p. 1 '«
it
;
Iliad, xiii., 439.
;
:
" Quaestiones
GREEK
DKBSS.
made in Greece (for example, in the British Museum, Vase-room II., No. B.
vases
instances in the 53, pedestal 1
pub. in Miss Harrison's Myths and Monuments,
!Fig. 1
(a).
— Peleus,
Fig.
from a Vase Painting.
and as
shown
peace
ungirdled.
is
1
{h).
— From
Vase Painting.
in Fig.
1,
a
Kg.
1
(«).
p.
;
432)
—From
a
Vase Painting.
the long Homeric chiton of
This custom of wearing the long
chiton was retained for all " cultus " garments of classical
Greece, that
is
for
garments worn on solemn and religious
HOMERIC DRESS. occasions
/
for example, in representations of Apollo play-
;
ing the lyre (" Citharoedus ") as in Fig.
known
god
statue of this
1
1),
or in the well-
in the Vatican (Fig. 2), or in the
figure of the priest of the east frieze of the Parthenon
(British
Museum, Elgin Eoom, Slab No.
V., Fig. 33).
For ordinary informal dress in the house in
woven
the
Homeric times long
chiton,
or
seems to have been worn
short,
Out
alone.
of doors a cloak
{yXalva), apparently an early variety of the later himation
made
{Ifxdmo}'),
dyed
of wool and
was put on
colours,
in
scarf fashion or like a shawl
folded lengthwise (Fig. 1, Being evidently rather a, b). long and cumbrous ofi'
to
speed.
Odysseus
tells
discarded for
in
moving
about to
actively
make
bow, "rising, puts
how
it
among
the
when
Ms.
2.
-Apollo Citharoedus. Vatican.
of the
trial off
from his shoulder his purple cloak."
outer covering the skins of animals were worn
Homeric
laos^'
of
convenience
Telemachos,'*
men.-*^
As an
thrown
facilities
is
in
it is
increase
times.
Agamemnon,^® Diomedes,^* Mene-
wear the skins of
lions
tions of such skins, with the
" Od.,
xiv.,
500.
i»
Iliad, X., 23.
''
Iliad, X., 29.
and leopards.
paws
Representa-
of the animal
'«
"
hanging
Od., xxi., 118. Iliad, X., 177.
;
GREEK
DRESS.
as a finish in front, are not at all rare
down
on some early
Greek vases (Fig. 3), where Heracles, Meleager, Iris, and Hermes all wear them. In the country men wear goat
hymn
Pan, as a country god in the Homeric
ekins.'''^
(19,
23), wears on his shoulders the pelt
of a spotted lynx.
The
dress
women
of the
Homer
in
consists chiefly of the " Peplos,"
i.e.
an
under-garment which probably reached to the feet
and sometimes trailed behind,
worn with a is
one that occurs in the Greek tragedians
also, Fig.
3.
— Hermes.
From the
but by them
the same sense
Francois
The word " peplos "
girdle.
Aeschji-lus
uses
it is
not used in quite
by Homer.
as
Thus
both of men's and
it
Vase, Florence.
women's
In
dress.^^
dians the words
TreTrAos', -neTvXwfxa
poetic term for
"garment."
may
the trage-
fact, in
seem
to
be the general
The "peplos"
later times as the "
dress of Greece, of It is
by the
fact that,
on like a
Dorian " chiton, the typical
which I
shall
shirt,
whereas theirs
pins.
chiton of the
is
The peplos presented by (jrepovai).^*
one piece, and was probably
all of
men
a piece of cloth
Antinoos to Penelope had twelve such pins
The garment was
to say
a sewn garment put
is
the women's peplos
merely fastened with
classical
have a good deal
distinguished from the
later.
Homer known in
in
be taken as the equivalent of that dress
left
open at one side like the dress of the Dorian maidens that ^'-
I
shall
subsequently describe.
"When Aphrodite
Od., xiv., 530.
" Persae, 468. 1031 Hec, 465—473.
Cf.
Soph.
Track.,
'
'
Od.,
xviii.,
292.
602;
and Eur.
"
HOMERIC DRESS. would protect her son Aineias, she and veils him in its shining folds the darts.^®
Homer
in
is
The most frequent
9
flings
open her peplos
as a protection against
epithet applied to
women
" white-armed " (\evKw\evos), which implies This was also a characteristic of
the absence of a sleeve.
the true Dorian chiton, which originally seems to have
been without sleeves and therefore
distinct
from the dress
of the Easterns.
The
stuff
of the
Homeric peplos
mentioned.
Its
colour
(ttoikiXov),^^
and
it
is
is
never expressly spoken of as " variegated is
described as jxaXaKOi,
Hence
XeTtTos,^^ thin or fine.
soft,
and
may, in some degree,
it
have resembled our Indian shawls.
For an
demnon" by
stuff, the " Kre" " or Kaluptre {KaXvTTTpr]), is worn
over-dress, a veil-like piece of (Kprjiefjivov),
Homer ;^® Penelope and
ladies in
degree are mentioned as wearing
Nausicaa lay
it aside.
Perhaps
it
other ladies of high
it.
The maidens
may have
of
been an addi-
worn by women of rank. The mourning Thetis^^ when preparing to go to Olympus wears a dark-coloured veil, tion
but
it
seems that only in the direst grief was the councompletely covered.
tenance
The
veils
spoken of as white and shining, and
may
in
Homer
are
probably have
been linen, inasmuch as wool would have been too heavy.
The
veil of Hera^" is
compared
to the
sun for brilliancy, a
simile that would hardly be applied to the dead surface of
wool, and evidence for silk in
forthcoming.
Many
Homeric times
is
hardly
pieces of small, generally folded,
drapery occur in the Homeric descriptions, such as the 2=
Iliad, v., 315.
" Od., »"
vii.,
97.
Iliad, xxiv., 94.
"' '' '"
Iliad, v., 735.
Od., l, 334. Iliad, xiv., 185.
GREEK
10
"lope"
and
(X^TTi/)'"
DKESS.
others,
well as those I have
as
mentioned, but I will not linger over a detailed consideration of them. It is not easy to reconcile the account
with
very
the
earliest
prehistoric
Homer
given in
representations
of
women's dress found in Greece, though a fairly close parallel may be established between the decorations of early black-figured vases and the
Fig
On seem
4 (")-
Homeric account.
— Gold Seal from Mjxenae.
Twicu
the gold seal from Mj^cenae (Fig.
frilled or
tucked
skirt.
These
dress of the period, or the
frills
A
A
curious parallel
women
may
gem may be
manship denoting foreign, probably llutenu
4, a)
the
women
wear an extremely tight-fitting bodice and a
to
dress.
linear measure.
is
represent the
of foreign work-
oriental,
styles
of
found in the dress of the
of Egyptian wall-paintings (Fig. 4,
h).
similar dress seems to be represented in a wall-picture '
(>fDER-GAKMENTS OF THE WOMEN. the Perscw
of
Aeschylus
472
{circa
b.c.)
31
Hellas wears
the " Dorian " as the real Greek dress.
Some form from
tj^pical instances of
the developed "safety-pin"
of fibula are given full-size in Fig. 29,
my
Fig. 29
Fig. 29
(fi).
(b).
Existing specimens of pins and fibulae in
any good
Room
of
a, h, c, d,
husband's collection.
the
collection,
British
Museum, Oxford.
such
as
Museum,
or
that in
Those of very large
may be in
studied
the Bronze
the Ashmolean size
in these col-
GREEK
32
may
lections
DRF.SS.
perhaps used not have been worn, but were offerings in temples,^' or for fastening
for " ex -votes," or
curtains or other decorative
found in graves,
or,
they may have been made
tion of the dead.
A fibula
as they are
for the decora-
from Halstatt belonging
husband was evidently made
Fig. 29
still
hangings,
and the edge of
and rough
its
decoration
still
to the finger, in evidence that it
previously to
its
my
its
feels
manusharp
was not worn
interment.
In later times, when the conquests of Alexander had loose a style
new
with
it
(rf).
contains some of the clay used as a core in
facture,
to
for funeral purposes, as
let
flood of Orientalism on Greece, the " Ionian"
many
rich varieties " Hdt.,
of Eastern decoration
V. 88.
UNDER- GARMENTS OF THE WOMEN. seems to have been largely worn. figure,
however, represents Medea,
hardly counted of rich dress
Kg. 30.— Medea.
{Cf. Fig. 30.)
a Vase
Fig. 31.
Other instances British
— Amazon.
Museum
Berlin
Museum.
Paintino".
(Fourth Yase Room.
This
who can perhaps be
among the pure Greeks. may be found in the
From
33
Vase signed by Python
Case 18.
(no number), and case 54,
F
326, and
F
117 pedestal
case.)
The
short chiton of the
women
is
also
found on monu-
GREEK
34
DRESS. It follows the longer
ments, together with the long.
and arranging,
style in its varieties of sewing, pinning,
but
it is
not so
Ml, and only reaches
worn by women and
when speed
is
girls
Iris the messenger,
desired.
huntress, girls in running contests all
wear
to the
knee.
Artemis the
Instances are numerous in the frieze from
it.
casts exist at
No. 137).
statue
{cf.
Fig. 32)
and the figure
may
is
it is
of
fastened on one shoulder
supported by a broad
represent one of the girls
to Pausanias (v.
Festival of
Museum,
South Kensington (Perry's Catalogue,
Others are given in Figs. 25, 31, 32.
Sometimes only,
is
and warring Amazons,
the Mausoleum, Halicarnassos, in the British
which
It
engaged in active exercise or
Hera
16, 2), at
who
belt.
This
used, according
to take part in a race at the
Olympia, wearing a garment that
hardly reached to the knee and
left
part of the breast uncovered.
The
stadium, but only over Fig. 31, a second belt
the right shoulder and race
was run in the
one-sixth of the course. is
In
put on over the top of the
" kolpos," or bag of material drawn up through the girdle
beneath
it.
Fi.'. :i-J.— Till-
•EuiiniiK/
Ttirl."
Vatioan.
III.
DRESS OF THE FEMALE FIGUEES IN THE ACROPOLIS MUSEUM, ATHENS. At
this point,
before proceeding to a discussion of the
men
the
dress of
of Greece in historic times and
outer garments {epihlemata) of both
wiU be
men and women,
the it
I think, to notice the garments on that
well,
remarkable series of statues of archaic female figures, found in the course of the excavations conducted on the Acropolis, under the direction of
M. Cavvadias
years 1882-8, of which a description lignon's History of Greek
Gardner's
These
is
Sculpture^ and in Professor
book.'^^
which were discovered between the
statues,
Erechtheum and the north boundary wall lis,
in the
given in M. Col-
of the Acropo-
have, owing to the variety of surfaces represented in
their
garments and their
much
attention
brilliant colouring, attracted
and have given
rise to opposite opinions,
Their brilliant polychromatic decoration
is
very remark-
able, hair, eyes, and borders of garments sharing in the
^ Histoire de ''
[Cf.
New
M. Collignon,
p.
Chapters in Greek History, Percy Gardner,
p.
Cavvadias'
ap-^atoXoyiKifj,
la Sculpture Grecque,
Les
1883
—
Musees
d'Athhnes,
88).
D 2
and
the
340, &o.
247, &c. " e^?;ju6pk
36
GKEEK
DRESS.
colours which do not always follow natural laws
;
for
instance, the eyes of the figures are sometimes coloured red, a tint that seems, to our notions,
most abnormal and
undesirable.
I have on an earlier page spoken of the great difficulty
In the case of these
of giving precise dates in Greek art. figures
this
difficulty
is,
to
great extent, removed.
a
After the Acropolis was sacked by the Persians in 480 b.c, once more come into the
and, spoiled and ruined, had
hands of
its
rightful owners, the victorious Greeks buried
the fragments of statues and other objects that had decorated their citadel before
its spoliation.
This was done partly in reverence to the gods, since
anything once dedicated
,to
a deity was always sacred and
could not be put to profane usage; partly to hide: the
triumph
traces of the Oriental invaders' brief
from
;
and partly
utilitarian motives to increase the level space
summit of the Acropolis,
since, in
on the
the full spring of
renewed patriotism, the Athenians desired
to
make " all
things new," and required other and enlarged temples filled
Probably
with fresh statues.
many
of the objects
found in these excavations had only just been made at the time of their destruction.
Be
this as
it
may, the
last of
the series, which ranges over a considerable period of time,
cannot be later than 480 is
B.C.
One
of the series, Fig. 33,
held to belong to a base inscribed with the
the sculptor Antenor.'^"
know
that he
made the
geiton,
who
statues
must have been
^"^
No.
With
statues of
regard to this
up soon
Of. Collignon's Histoire, p. 6, PI. IV., p.
81
;
and C.
I.
artist
we
iv.
373.
£07;/x,
Those
B.C.
murder, and
after the
365 and A.
of
Harmodius and Aristo-
slew the tyrant Hipparchus, 514 set
name
:
dpx
:
1886
;
name
-Figure ascribed to a Tjush with the of the artist Anterior. Atliciis.
^'^K-
''''^-
— Female
disemeird Athens
tiy-iirc
on thr Aoropiih.s.
Fifj. 35.
— Fciiuilo figure disc•o^'ercd on
tlir
Acropolis.
Athens.
THE FEMALE FIGUEES IN THE ACROPOLIS MUSEUM. probably ascribed
Acropolis figure to which the Anterior base
tlie is
of the
same
By this means we
period.
points of date for the Acropolis series,
514
to circa B.C.
—510.
Another
viz., B.C.
came
these figures
February, 1886,
having been buried together in a single
The
later.
series
480 back
Fourteen of
B.C.
to light at once in
is
get two
may, on the
of'the series
evidence of style, even go back to 600
were found
37
has given
pit,
rise to
and others
much
dis-
cussion as to whether the figures represent portraits of
the priestesses of the goddess, of the actual goddess, or of the votaries
who
Whomsoever
dedicated the images.
they are intended to represent, thej' doubtless portray for us the costume of Athenian ladies of good position in the years preceding the great Persian invasion of 480
Some
of the
more
typical varieties of dress found on
b.c.
them
It cannot, however, be
are given in Figs. 34, 35, 36.
denied that the. sculptor has allowed himself considerable latitude in the treatment of the garments.
In consequence
of this latitude two schools of disputants on their dress
one
have
arisen,
the
other
by Dr.
Miiller.*^
typified It
observer that the drapery fact,
a
way
the
not always true to actual
the curves going across the body
Again,
Lechat,*"
evident to the most casual
is
is
by M.
when
in repose in
that could only be produced by rapid motion.*^ it is
not unusual to find a garment that shows
some special and well -defined pattern or border covering one part of the body, while where we should expect to find the
same garment continued, another pattern
or
^ Bulletin de Corr. Hell, 1890.
W.
Miiller.
^'
Quaestiones Vestiariae.
^^
See notes on these figures, by Ernest
Journal of Hellenic Studies,
viii.
1, p. 170.
Gardner, in the
GREEK
38
DRESS.
border suddenly comes out without apparent reason. There
can be
little
doubt that the upper and lower portions of
such a dress {endyma) do really belong to one and the
same garment fitting
—the
Ionian chiton
—with
sleeves
and often elaborately bordered, while over
thrown the
close
this is
(epiblema). But some M. Lechat, already mentioned) have
ordinary himation
archaeologists (like
endeavoured to make out a separate garment for every piece represented
by a
different pattern or border
four separate garments, of a kind otherwise
which
have
distinctive titles
critics a difference oi pattern
Thus
of material.
till,
by
seems to be clothed in three or
this means, each figure
to
unknown,
for
To such
be invented.
always implies a difference the existence
for Fig. 34,
of
an
under-chiton and a " chitoniscus," or knitted vest put over the chiton under the himation
For
my own
part, I
is
must confess
assumed. that, in spite of its
apparent absurdity, the possibility of such a multiplication of garments as that indicated
by M. Lechat, and
adopted by M. CoUignon, did remain in in April, 1892, I cruise
among
had the good
Mykonos, where
are
museum
in the little island of
housed some fragments of the
objects found on neighbouring sites.
visit
came
mind, until
the Greek islands, to visit the rough wooden
shed that does duty for a
difficulty,
my
fortune, in the course of a
owing
to the
intense
There, with some
interest
taken in our
by every man, woman, and child of the across
a piece of sculpture that,
solved the question.
to
my
i.e.
mind,
I found a headless female figure,
apparently belonging to the same period of dressed in the same
place, I
manner
as the Acropolis
in the Ionian chiton, with a himation over
art,
and
statues, it.
On
Fiy. oG.
— Fei)]ale figure discovered on AtheuK.
tlio
Aurojiolin.
IIl', 37.
— A Bacchante.
From
a Vase Painting
THE FEMALE FIGURES IN THE ACEOPOLIS MUSEUM. the
39
breast of the figure, for a space of about six
left
inches square, without the slightest semblance of a join in the material of the chiton, the sculptor
had suddenly
changed the pattern of the garment- stuff from one of three deeply-crinkled lines,
with interspaces of plain
material, to a patch of close
and continuous wavy
with no interspaces.
and I cannot give an
this figure is not published,
tration of
But
it.
my
after
Museum
in the Acropolis
visit to
35,
at Athens, a similar instance
may
1891), and the same thing
where the
side in a
my
"Woman
in
fact.'
catalogue,
is
Since then I have had
an excellent
notice, in
Hauser,*^ that the same called "
official
be noticed in Fig.
lines of the pattern coalesce on the right
way impossible
brought to
illus-
Mykonos, I found,
on a female statue (No. 598 in the edit.
lines
Unfortunately, so far as I know,
it
by Dr.
article
the case in the dress of the so-
getting into a Chariot " (cast in British
Museum, Archaic E-oom, No.
155), where the sleeve only
of an under-garment that falls in heavy folds to the feet is
shown with a crinkled
smooth.
This figure (be
it
remainder being
surface, the
a
woman
or a male charioteer)
seems to me, as Dr. Hauser suggests, to wear a long, " chiton, with a shawl-like wrap
linen, sleeved, " Ionian
over
it.
These differences of creased or crinkled surface,
therefore, occurring irregularly, do not
ference
of material, and
represent a dif-
consequently a separate gar-
ment, but are attempts to show the various ways in which the same garment it
may
appear, owing to the folds which
assumes and the shape of the body
in close, fine folds over the chest
" Jahrhuch p. 55.
des
Kais.
Deutsch.
and
Arch.
it
covers
;
falling
shoulders, and in Inst.
vii.
1,
1892,
GREEK
40 larger,
style
freer
over
DRESS.
the legs
instances, both in sculpture
(Fig.
Other
37).
and vase-painting, might be
cited.
By lau,**
this
view the " chitoniscus " of Lechat and Boeh-
or
the
"woUene Warns" of the catalogue of by Dr. Furtwangler, dis-
vases in the Berlin collection,
appears as a separate garment, and becomes merely the
upper portion of the Ionian chiton, arranged over the girdle in a " kolpos," in the
manner described
previous chapter. Figs. 26, 27.
There
that the " chitoniscus," mentioned
by
is
is
my
in
doubt
little
classical writers,^**
the short form of chiton given above (Figs. 25, 31, 32).
In the case of
artists
who could
so indiscriminately use
their colours as to paint the eyes of a
sculptors of the Acropolis figures did, tation to imagine that the lines
woman it
red, as the
seems an
affec-
and patterns on the gar-
ments, graved by their tools and coloured by their brush,
must necessarily be exactly true fore,
to reality.
It
is,
there-
unwise to argue from their productions a subservience
to the exact representation of actual material, only to be
equalled in the
of the
In such early
fashion-plate.
which these
work
draughtsman
of the
modern
art as that of the period to
figures belong the artist
was free and un-
trammelled, and could change at will from one pattern to
another in the same garment, without thereby giving
good grounds different.
series
**
for inferring that the material
The
fact that the
was
really
garments themselves of
this
vary in a parallel manner cannot be taken to count
Cf. Boehlau's
Quaestiones de re vestiaria Graecorum,
fig.
14, p. 38, &c.
"»
E.I/,
403, &c.
by Aristoph. Birds, 94G, 955
;
Demosth., 583, 21,
Fi^^
38.— Female
fi<j:iii'o
Acropolis.
found uu the
Athens,
THE FEMALE FIGURES IN THE ACROPOLIS MUSEUM. for much, as evidence, since, sent,
41
whomsoever they maj' repre-
they were dedicated to the divinity, and the intense
conservatism of the Greeks in matters of religion
is
well
known. That these statues vary from each other they do
is
as
much
as
an important advance on statues of the
class that precedes
them
—
a class
marked by an almost
unvarying similarity of treatment down
to the smallest
details.
One to
wear the Dorian chiton, very
girdle
from
by exception, seems
figure of the series. Fig. 38,
is
it
depicted.
stiffly
The
noticeable for curious hanging bands depending
to relieve the severity of the drapery.
The outer garment
of these female figures is the ordi-
nary himation that I shall shortly describe.
In these
arm
and, cross-
instances
it is
often passed under the left
ing the chest, secured on the right shoulder (Figs. 35,
Sometimes
36).
(Fig. 34).
it is
laid over both shoulders like a cloak
In either case the himation seems of a shape
more oblong than the square
it
exact true to
life,
as these folds occur
of a certain period,
and are the
and conventionality.
be
another
everywhere in Greek art
The curious way
folds as
not necessarily
is
results of a rigid archaism
comes from out of the cloak (Fig.
any such hanging
The
usually assumes.
regularity of the zigzag folds
in
34),
which the arm
without causing
would be expected, may either
instance of the
artist's
limitations,
or the
garment may have been scalloped in some manner or holes cut in it to allow the arms to pass through. Across the breast in Figs. 35, 36, some of the length of the himation seems drawn up through the band caused
by
its
being fastened tightly on the shoulder, and a
frill-
"
GKEBK DRESS.
42
like effect is thus gained. is
The key
to this
arrangement
found in the right-hand figure of the Chiaramonti
relief (Fig. 28),
where
its
scheme can be very plainly
made out. The chitons worn by the Acropolis figures {cf. Fig. 34) are girdled in the same manner as that suggested for putting on the Ionian chiton, but after the " kolpos " or
bag has been drawn up, the folds of the " petticoat
part are neatly arranged in series, as
pleats.
Sometimes in
this
on the right shoulder of Fig. 35 no very rigid
distinction is
the himation.
made between the
lines of
the chiton and
IV.
UNDER- GARMENTS OF THE MEN. Herodotus, in his narrative mentioned above, is, as we have seen, only concerned with the dress of Hellenic women.*^
Thucydides, in the arch^ological preface to
his history,*^ deals with the dress of the
His words are as follows
:
—
*'
arms among these continental
"
men.
The fashion of wearing
tribes is
a relic of their
For in ancient times all Hellenes carried weapons because their homes were undefended and intercourse was unsafe. They went armed old predatory habits.
.
in their everyday
life.
And
.
.
the
continuance of the
custom in certain parts of the country proves that prevailed everywhere. laid aside
way
of
The Athenians were the
first
once
who
arms and adopted a more easy and luxurious
life.
Quite recently the old-fashioned refinement
among the who wore under-garments
men
of dress still lingered
elder
class,
of linen
their hair in a knot
among
of their richer
and bound back
with golden clasps in the form of
grasshoppers (Gr. TerTi'ywi'). survived
it
The same customs long
the elders of Ionia, having been derived
from their Athenian ancestors. " Thue., « Hdt., v., 82. " Professor Jowett's translation.
i.,
6.
—
—a
GREEK DEESS.
44 "
the other hand the simple dress which
On
common was anywhere
first
else,
worn
the
and
at Sparta,
is
now
more than
there,
of the rich was assimilated to that
life
of the people."
This review of the dress of Greek falls into
The
(1.)
worn
three periods
oldest period,
in ordinary
life,
when armour was
universally
a period to which the references
Homer may belong with more
in
men by Thucydides
:
or less accuracy
day
fashion preserved in Thucydides'
(b.c.
circ.
404) only in the country parts of Greece,
Aearnania, and the
—
471
as Epirus,
like.
The succeeding period when, as he puts it, " men adopted a more easy and luxurious way of life," probably (2.)
denoting by these words that influx of Oriental customs
from Ionia typified by the linen chiton of the women (the " Ionian chiton " of Chapter II.) worn also by men, and the wearing of the long hair bound with gold. (3.)
The fashion
Peloponnesian
War
of the date of the
outbreak of the in 431 B.C., " the present fashion "
vvv TpoTTOi) of Thucydides' day,
(6
^
called
revival
" Dorian " chiton,
made
from older days, due
of
to
i.e.
the simple so-
woollen material, a
the Hellenic reaction
against Orientalism after the victory over the Persians,
480—79. Wool probably then became
B.C.
the prevailing fashion,
partly as " un-Oriental," and partly as being considered
more healthy
at a period when the " sound mind in sound body " was the aim of the Athenian state on behalf
of her citizens. short, giving
The
The
hair at this period, too,
more freedom and
was cut
ease.
short woollen chiton of the third
period was a
UNDER- GARMENTS OF THE MEN.
45
moderately wide garment on the same lines as the Dorian chiton of the
women given
in Fig. 8, with the part below
the girdle sewn together, the upper part left open and fastened on the shoulders with fibulae or buttons. girdling was done in the same
way
as for the
The
women, but
seems to have been no " folded-over " piece or
there
" apotygma," such as was general in their case.
But, contemporaneously with this practical and useful
garment of everyday
life,
the longer
and more dignified linen chiton of the Period II. of Thucydides was retained dress for religious and festival
a
as
occasions in
which men took
part.
Period III. of Thucydides, therefore, carries
on many of the characteristics
of Period II., but puts
them on a
retaining
of solemnity,
—
service of religion
basis
them in the
always the most
conservative of mistresses.
In Fig. 39 the short,
„
girdled
*
soldier wears
chiton with
a
the
"kol.
Fig.
39.
-
Soldier
drawn over the girdle rearing Short Chiton. a way that was usual when the From a bas-relief.
pos,
in
free
or bag,
use
of
the
was wanted manual work, or speed.
limbs
(Cf.
Brit.
In the text of Hartwig's Meisterschalen, mentioned
in the
for war, hunting,
Mus., 3rd Vase Boom, No.
list
of books ih
30&,
E
463, Case G.)
my Introduction, there occurs,
at p. 219, Fig.
an instance from a painting on a vase representing a
youth putting on a short chiton. This dress is very curiously drawn as if the wearer was about to put it on after it has been drawn in at the waist by a girdle.
The
lines of the
GREEK
46
DRESS.
folds of the chiton, too, above the waist are differently
drawn
to those
below
but I hope I have said enough to
;
prove that this need not necessarily denote two sorts of material. "With regard to the chiton having the appearance of being already drawn in at the waist before being suggestion
put on. Dr. Hartwig makes the ingenious that
it
is
probably due to the fact that the artist was
when in wear, when he wished to represent
accustomed to see the chiton so drawn in
and therefore so depicted it
it
in process of being put on.
Artisans and fisher-folk fastened the short chiton on
one shoulder only, the
was given
to
Fig. 4:0.""
it.
left,
when the name
l^r«/xtV
(exomis)
Charon, the ferryman, so wears
(Cf. Brit.
Mus. 3rd Vase Room,
JSTo.
it
D
in 24,
Case F.)
The long chiton remained B.C.) as
the dress of
rank.
It
was
also
men
same period
at the
of middle
(c.
431
and distinguished
life
worn by younger men when engaged
in certain functions, as,
for
instance,
when
For a
priests, flute-players, or charioteers.
acting as
figure of a
charioteer so clothed, of a period slightly later than this,
the
reader
British
is
of
beautiful
referred
the
to
whole
the slab, perhaps the most
from
series,
Museum, Mausoleum Room
the
(cast at
Mausoleum, South Ken-
sington, Perry's Catalogue, No. 137).
In the chitons on vases of the Red-figured periods the same cernible
that can be
(Figs. 34,
student
3rd Vase
35, 36).
late Black-figured
and
fine fan-like folds are dis-
noticed in the Acropolis figures
Endless instances will reward the
who looks, even casually, through the 2nd and Rooms of the British Museum. They are pro-
"" Ircpo/xarrj^aAos ^tTu)v SovXikoi,
ijt'
i^wfjuSn Xiyovcri, Photius, s.v.
UNDER-GARMENTS OF THE MEN. bably due to the
artist's desire to
archaic conventionality.
show
47
his skill,
But some German
and
critics
to
have
conjectured that these folds were actually so worn and
Fig. 40.
produced by some
— Charon,
wearing the "exomis."
artificial
process akin to our plan of
starching, goffering, or ironing.
The evidence
for such a
practice in the case of the Greeks does not, I believe, exist,
though similar customs were well known
in
Egypt.
Y.
OUTER GAEMENTS OF BOTH MEN AND WOMEN OF GREECE IN HISTORIC TIMES. Under
this
head come
all
kinds of garments put on in
shawl or wrap fashion both by men and women, to which the general term " epiblemata " (eTrtjSA^yjuttTa) was applied.
The
chief of these
garments
is
the Himation
{Ijxcvtiov),
which I have from time to time referred in the foregoing pages. The " chlaina " (-^aiva), of Homeric times to
must have been merely a variety Both men and women seem of the
same shape
—a
large
oblong than square, varying in
to
of the himation.
have worn a himation
square, sometimes size
rather
according to the taste
Both sexes
of the wearer and the state of the weather.
followed in the main the rules of arrangement given below, but the
men
women
to these rules,
did not adhere so rigidly as the
and were addicted to coquettish varia-
tions in their draperies. Their himation
must usually have
been larger than that worn by the men, since
it
drawn over the head
41 and 42,
terra-cottas
as a covering.
from Tanagra, Boeotia,
Fig. 43, a slab
now
in the Central
Figs.
was often
illustrate this
Museum
shows another pretty way of arranging the
use.
at Athens, folds.
In
deep grief the mantle was used to completely muffle the
OUTER GARMENTS OF MEN AND WOMEN OF GREECE. figure of the wearer.
when going
Demeter, in the Homeric hymn,
Metaneira's house as an old nurse,
to
" wrapped and covered from head
Fig. 41. fiorurine
49
—Terra cotta
Fig. 42.
to foot so that
is
her dark
—Terra-cotta figurine from Tanagra.
from Tanagra.
robe clung to her as she walked."
The general
rule for
putting on the himation in classical times seems to have
been as follows
:
— One corner of the square, or oblong, was
folded or gathered up and grasped by the hand and pulled
E
GREEK
50
DRESS.
over the left shoulder from the back, then tucked in
body and the
securely and held firmly between the
upper arm pressed against the
ribs.
left
Then, with the
right hand, the mantle was pulled out across the wearer's
right-hand top corner, opposite the corner
back by
its
already
secured,
hung about
half
way
of the
garment
across the calf of the leg.
Then
brought round over the right side of
the wrap was the body
the lower edge
till
(cTrtSe'^ia)^
when two ways
the front,
to
of
disposing of this right-hand corner were possible, viz. (a)
If the right
hand and arm were wanted
:
to be free,
the himation was brought under the right shoulder, drawn across the chest,
shoulder, for
(b)
and
thrown over the
end
the
left
In the way considered the more suitable
honourable citizens, the mantle was brought over the
right
arm and shoulder
so that only the right
(the
arm being bent
hand appeared in a
at the elbow)
sling-like fold
thrown over the
in the front, and then the end was
left
Fig. 44, from the well-known figure of the
shoulder.
Sophocles of the Lateran, illustrates this second method.
The youth
in Fig. 45 has
begun
to
put his himation on
in the first method, but, standing at ease, the superfluous
end has slipped from his
who
find
it
left
shoulder to his arm.
necessary to use pins
himation for a wearer stage or elsewhere,
it is
who has
To
us
we try to drape a move rapidly on the
if
to
matter for marvel how the ancient
The himation was the
Greeks kept theirs in position. dress of the dignified citizen,
and
he,
though an excitable
Southern in disposition, had to learn to control his feelings in a suitable fashion.
Aristotle,
in his picture of the
great and high-souled gentleman, takes **
Plato, Thaeet.,
175 E.,
eVtSe'^ta
it
dvaftaWea-Oai
for granted iX.evOipu}';.
OUTKR GARMENTS OF MEN AND WOMEN OF GREECE. that
it
51
would not become him to walk " swinging his
arms about."
''^
But
all
the same
it
would be very clever
of anyone, however dignified, to keep a himation well in position through a long
day in the jury-courts or the
senale of Athens, without a sly pin inserted craftily some-
Fig. 45.
where
to
—Penelope and Telemaohos.
From a Vase
keep his drapery steady.
Painting.
Little weights of clay
or lead fastened to the corners of garments were certainly
The himation, however, may have been thrown on and off at will, or readjusted from time to time. But used.*^
the arrangement of this garment was always considered *8
Aris., Nic. Eth., iv.,
3—15.
«
Cf. Figs. 21, 22, 45,
50 (Frontispiece).
E 2
GREEK DRESS.
52
A
a difficulty, requiring practice and assistance. character and culture were judged from
man's
In
folds.
its
the " Characters" of Theophrastus the boor's himation does not reach to his knee his gracefully adjusted. trail
;
the oligarch goes about with
Alcibiades
is
have
said to
let his
behind him.
The narrow doubled himation may be seen on archaic vases,
for
as,
example,
Eoom, No. B
the
in
Museum, 2nd
British
Vase
Case K.
197,
Another instance from the Francois
vase
(Fig.
taken to be
has
46)
been
of Ionian origin,
coming in with the longer Ionian chiton,
which did not require
so
complete an outside wrap as the sTiorter
Dorian
But
men.
still
some of the Fig.
46.— From the
of the
found on
is
(from
oldest vases
one of which our figure
Franijoia Vase.
is
taken),
and women on the most archaic
Attic vases also wear
A
chiton it
it
curious survival of
put on cloak-wise from the back. it
to later classical
days
may
be
noticed in the dress of the maidens of the Parthenon frieze
(British
Museum, Elgin Room, No.
VII., VIII., Figs.
52—60), the
324,
Slabs
figure of the Caryatid of
the Erechtheum (same room. No. 407 given in Fig. 47) and in the " Eirene " of Munich, reproduced here in Fig. 48.
They,
it
will be
noticed,
wear the Dorian
chiton of Fig. 14 with apotygma, kolpos, and shoulderfastening complete.
made
to
But these shoulder-fastenings
are
do double. duty and to support an extra piece of
OUTER GARMENTS OF MEN AND WOMEN OF GREECE. 63 oblong drapery at the back himation of older days
now
—in
fact the long,
fixed
coming cloak-wise over the shoulders
narrow
instead of
securely
as in the dress of
the Acropolis statue, Fig. 34.
The chlamys (^Aa/xw) was another wrap
for
men's use,
originating in Thessaly as a rider's dress worn over armour.
From
Fig.
the fifth century onwards
47.
— Caryatid.
Britisli
it
was universal
Fig. 48.
—Eirene,
Ploutos.
Museum.
in Greece.
with infant Munich.
was a short light mantle, made of wool, oblong in shape, with square or rounded corners, fastened with a clasp It
either in front or
"Petasos"
on the right shoulder.
(or flat traveller's hat
the general dress for
young men
the
flaps), it became Ephebos " standing
with
of "
With
GREEK DRESS.
54 {i.e.
"just at the threshold of manhood")
in Athens,
Endless
serving in the cavalry. instances
can be
this dress
of
the frieze of the
discovered in
Parthenon in the British Museum.
An
painting British
is
example from a vase given in Fig. 49.
(Cf.
Museum, 3rd Vase Eoom,
Case A, No.
E
3.)
Gods of " Ephebos age " in art, as Hermes and Apollo, and
men both young and the chlamys, pursuits.
if
engaged in active
Boys below
wear a wide
old wear
this
age
himation (Fig. 50,
Frontispiece), quite covering the
49.— Youth
Fig.
Chlamys.
in
person, since
it
was not correct for
a boy of good rank to have his
hands free
—
perhaps a wise precaution for other nations
than the Greeks. Italian fashion
,
Fig. 51.
Infants were closely swaddled in modern
and wore conical caps (Fig.
— Greek Babies.
51).
Terra-cottas from Boeotia.
In Sparta, from their twelfth year onwards,
men wore
OUTER GARMENTS OF MEN AND WOMEN OF GREECE. 55
summer
winter and
as
an only
dress, the Trihon {jpi^wv),
This was worn in Athens as a special dress for active military work. But in the city this old dress, except for such the small oblong shawl of the Doric tribes.
i.e.
also
was considered boorish and
occasions,
affected,
and was
only worn by philosophers and persons of peculiar yiews. It
was not correct for a dignified citizen to go beyond his
own door
the
in
only
chiton
without an upper garment.
was
also considered
It
improper to
wear chlamys or himation with-
Yet instances of one garment
out the chiton.
such wearing of
only are undoubtedly found in
some
and
art,
figured in these
of
them
pages,
as,
are for
example, the Sophocles of Fig. 44.
These
may
only be instances of
artistic latitude
and of the
at the fine period in
show
to
the
much
as
human
desire,
Greek
art,
as possible of
form, for in real
life
in Athens only poor people and
Mg.
wore the upper
Gabii."
without the under garment in
Diplax.
philosophers
51fl.
— "Diana
of
Fastening the
public or vice versa.^^"
A
pretty variety of outdoor wrap
much on
the lines of
the
for
women, very
men's "chlamys,"
is
the
" diplax'' (gtTrXag) of Fig. 61a, where, as its name implies, doubled " before being adjusted. the garment.is '•'
«" Cf. Dio. Chr. Or.,
Ixxxii., p. 628,
M.
Xen. Mem.,
1, G, 2.
GREEK
56
The custom among men in page 52 (Fig.
DRESS.
of doubling the himation that prevailed early times has already been mentioned at 46.).
Curious isolated instances of garments are often found represented in Greek
They
art,
In the British
Museum
to a consideration of the
woman on
E
the Vase
vase paintings.
and have rather
They occur
sidered individually. tion.
especially in
are difficult to classify,
in almost
to be con-
any
curious jacket
120, Case 25
;
worn by the
or to the chequered
top garment that looks almost as if distended by
means worn by the Case H.
flute-player
collec-
I would refer the student
on the Vase
E
artificial
286, Turret
When trousers are found in Greek art they denote unGreek peoples, as Scythians or Persians. Long sleeves to the wrist are, in the case of slave.
women, a mark of the
In the accompanying Fig. 52, from a tombstone
Museum, Athens (cast in the British Museum, Phigaleia Room, No. 619), the maid, in a longrelief in the Central
sleeved dress, toilet for
is
assisting
the last time.
her mistress to prepare her
When men
are represented as
wearing long sleeves they are generally foreigners.
The
may be assigned to the fashion of On the Tower of the Winds, Athens,
origin of such sleeves
the Asiatic Greeks.
the fierce outlandish god of the north-west wind (Skiron)
and
his fellow of the
An
instance of a
Athenian, but
north
(Boreas), wear long sleeves.
young man, however, who
who may
after
all
is
presumably
be merely a colonist
possibly from the Euxine, in a long-sleeved chiton, will be
found in the British
Museum
(Elgin
Frieze, No. 325, Slab 42, Fig. 109).
Eoom, Parthenon
Fig. 52.
— Stele of Hegeso.
Athens.
'
VI.
GIEDLES, FABRICS, COVERINGS FOR
HEAD AND The in to
girdle
Homeric
THE
FEET, ETC.
was an important part of the women's dress times.
Those of Calypso and of Circe seem
have been decorated with gold.^° This custom of decoration of the girdle lasted on to
classical times.
The Acropolis
figure,
No. 38, has her
girdle decorated with pendent ornaments, very probably of leather,
with gold or silver studs, in the way that
Greek peasants'
The
belts are decorated at the present time.
wears a girdle fringed
figure given in cut No. 7,
below the
waist.
The height
of the
girdling of the
chiton in Greek art varies at different times and fairly safe
guide for assigning a date to monuments.
archaic times,
when found with
the
stifi",
garments of the Black-figured vases line.
At the
it
narrow
slightly lower,
as
may
be
maidens of the Parthenon time the girdle creeps up, 5"
Ocl., v.,
a
In
foldless
at the waist
is
period of the finest art (circa
is
B.o.
450),
it is
noticed in the dress of the
Gradually, after this
frieze.
till
at the period of the frieze of
231; Od.,
x.,
544, &e.
GREEK
58
DRESS.
the great altar of Pergamos, Fig. 53 (circa it
b.c.
200
— 168),
has almost reached the arm-pits.
With
regard to material there
and a certain amount of eyidence Greek monuments can be extracted from
ence at different times as to the date of
considerahle differ-
is
;
the stuff of which garments appear to be made.
have already mentioned, in quite early art and up time of the Persian invasions, 480
B.C.,
As
I
to the
chitons are fre-
quently made of a soft crinkled material, very like crape,
edged with a woven selvage which drapes beautifully.
But
this
Pheidias.
material in
use about the time of
material goes out of It
still
Athens,
no doubt very like the crape-like
was
woven
in the
very elastic
Greek and
islands,
and procurable
I
have slept in
fine.
a peasant's cottage in Arcadia in fine creamy crape-like sheets, each sheet finished off
lines occasionally crossed
even of gold.
with selvages, and the crape
with single threads of red or
This was in a village where old forms were
very likely to have come down from remote times.
There
the peasant proprietor existed in an ideal fashion, and
nearly everything in his house was itself or in
made by
the familjr
the village, an excellent example of Aristotle's
avrapKeia, or " self-containedness."
Apart from the use of wool and
linen, a sort of cotton
(Byssus) was used for head-dresses and smaller pieces of the
women's
dress.
It
grew in
in colour, and so expensive that
Elis,
its
was rather yellow
use for large garments
must have been out of the question. Some of the earliest gold staters of Tarentum have as their obverse a beautiful .
head of Demeter or Persephone-Gaia wearing a stephane
from which hangs a diaphanous
veil.
the Tapavriov or TapavTivlhiov,
woven from the " byssus "
This veil
is
doubtless
bb
bo
GIRDLES, FABRICS, COVERINGS FOR of the "
Pinna "
survives
among
shell, a
form
HEAD AND
FEET.
59
of textile industry that still
the inhabitants of modern Taranto."
After the time of Pheidias, the woven selvage of garments
seems to have been cut the ordinary hem.
hanging by the Hernjes
and the edges finished with
off,
may
This
be noticed on the drapery
of Praxiteles at Olympia.
(Cast
K 2,
also in
Museum, Ephesus Room, No.
in the British
the South Kensington Cast Collection, Perry's Catalogue,
No. 114.)
This
hem
does away with a great deal of the
grace of the falling folds of the Parthenon draperies (as
No. 324, Slabs VII., VIII., Figs
edge
much
Finest of
clumsier and materials
all
Amorgos which
50—60) making
the
stiffer.
must have been the muslins of
are mentioned in Attic Comedy, and were
no doubt extraordinarily
These, together with
dear.®^
the garments from Cos, remarkable for their transparency,
and frequently mentioned by authors, specially by the Latin poets of the Augustan age,^^ were worn, in all probability, chiefly by the class of the " hetairae," though
may have used them
respectable married ladies
extreme heat,
in.
vases of the severe and fine Red-figured period
usual to find the forms of the garments.
may
This
transparent garments, or
it
*i
it
it is
On very
the body showing through reflect a current fashion of
may
be due to an
custom of drawing the nude figure on the clothing
in the
the strict privacy of the house.
clay,
artistic
before
with appropriate draperies.
Cf. Pliny., N.H., xix., 20, J. E. Forster de Bysso Anti-
quorum, London, 1776 and The Horsemen of Tarentum, by Arthur J. Evans in the Numismatic Chronicle, 3rd series, vol. ix., ;
1889, p. 66. 52
Aristoph., Lysist., 736.
°3
Hor., Carm.,
iv.,
13, 13; Ov.,
Ars Am.,
ii.,
298.
GREEK
60
DEESS.
by some
Silk has been supposed
critics to
have been
the material of which the " Coae Testes " were composed.
seems to have been spun and woven at Cos
It certainly
at
andrian times,
it
Mr. Eennell Eodd- notes the present
East. of
was rare and dear in Alexand not improbably imported from the
an early period,** but
modern
silk industry
Greece^^ at Achmetaga, a village in Euboea,
" an industry of historic antiquity in Greece which might
be
much developed
tree flourishes as
it
the mulberry
country where
in a
Perhaps some of the
does here."
"shining" garments of which Homer makes such frequent mention were, after
all,
The discovery of
of silk, though imported.
Mycenae and
oriental objects at
else-
where, and the finding of " Mycenaean " objects far up the
have made
Nile,
unwise to
it
much on
insist too
the
impossibility of close contact with the East in the very earliest
of
But the
days of Greece.
silk in
Greece
is
prehistoric presence
a debateable point, and I leave
it
with the Homeric commentators.
Gibbon points
Greek climate
the
when the
twelfth century,
King
out
curious
to silk-worms,
of Sicily, carried
victorious Roger, the
off'
to
countries, possessed the silk-worm. to
the
Norman
Palermo the weavers of
Thebes, Argos, and Corinth, Greece alone of
by some not
of
suitability
and notices that until the
It
is,
all
European
however, said
have been introduced into Greece before
Byzantine times.
The Eastern fashion across the material
" *^
is
of embroidering or
weaving
stripes
of high antiquity in Greece.
The
Arist., Hist. An., y., 19.
Customs and Lore of Modern Greece, by R. Eodd. London, 2nd Edit., 1892.
Stott,
Fjo-. 54.
— Pracnnent of a robe.
Crimea.
HEAD AND
GIRDLES, FABRICS, COVERINGS FOR
the garments on countless archaic vases
decoration of testifies to
61
FEET.
the prevalence of this fashion
(c/.
The Naples
Fringes were also largely used on
terra-cotta of Fig. 7).
the edges of garments, a fashion derived more or less from Asiatic styles.
In Fig. 45, where Penelope
sits
sadly at her loom, a
winged human and animal forms
curious pattern of
process of production in a frieze-like
This vase idea of
band on the web.
exceedingly interesting as giving a good
is
The threads at the be seen, by small weights.
an ancient Greek loom.
bottom are held down,
will
it
am aware
So far as I
only one
^set of
Greek dress, on which a pattern can be survives.
It
a grave in
is
much
given in Fig.
54.
fragments of a
made
It
out, still
was found
in
one of the Greek colonies in the Crimea.
The decoration is
in
is
like
(human
figures
between
floral
what may be found on many Greek
In the British Museum, 3rd Vase Room, No.
E
bands) vases.
137, Case
E, on a vase signed by Hieron (Fig. 55), Demeter wears a gorgeous himation covered with small figures.
drapery becomes more
in art, plainer stuffs as a rule for their effect
As
the
graceful, after the archaic period
come
into use, depending
on the hanging of their folds rather ihaA
on the pattern of the material.
As
to colour, saffron
seems to have been a favourite Gentlemen wore white,
with women, together with red. as is specially
mentioned by Theophrastus."^
These white
garments were frequently cleaned by the fuller,^' their Workmen spotlessness being a test of good breeding. the white On and field labourers wore grey or brown. 5« *'
Characters, 7, &c., Jebb's Translation, Maemillan, 1870. Theoph., Characters, 23, 24. Cf.
GREEK
62
Athenian
41, 42) the
Museum
fine
specimens can be
(3rd Vase E,oom, Cases
easily
made
clear that very brilliant colours
out.
From them
and
— Vase
.
is
when we should
by Hieron. Departure British Museum.
expect to find black or neutral
it
were often worn by the
relations of a deceased person at times
Eig. 65.
F
colours of the garments are very well pre-
and can be
served,
which some
lecythi, 6f
seen in the British
DRESS.
tints.
of Triptolemos.
In fact I believe
that on the whole series of these white lecythi, of which
some thousands
exist in the
museums
of Europe, only a
very few of the figures of mourners appear dressed in black.^8 '^
Of.
•which
M.
Pottier's book, Les Lecythes Blancs (Paris, 1883),
deals at
some length with the whole subject of
particular class of vases.
this
GIRDLES, FABRICS, COVERINGS FOR HEAT)
The
AND FEET.
63
statues of the Acropolis series (Chap. III.) have
garments of very noticeable
The
brilliancy.
used are blue, red, and green.
chief colours
It is unfortunate that
these colours are surely if slowly fading from exposure to the light
and
both from the
but they are extremely interesting
air,
way
in
which they
illustrate
Greek dress
and from the evidence they afford of the Greek method of tinting statues.
The
hair of the
men
in
Homeric times
are the " long-haired Achaeans."
locks with gold
and
long.
is
Little spirals of gold
silver.
They
Euphorbos^^ binds his
have
been found lying beside the heads of skeletons in graves at
Mycenae and other
which,
it is
sites
excavated by Dr. Schliemann,
conjectured, were used to encircle locks of hair,
though they
may
Mr. Leaf®" points
be only girdle rings.
may have
out that various fashions of hair-dressing vailed as distinguishing tribal
marks
;
pre-
for example, the
Thracians " wear the top-knot," &c.®^
In the account
given by Thucydides of the dress of the
men
in early
remembered
that ornaments in the form
of the tettix are mentioned.
It used to be thought that
times
this
it
will be
meant a kind of
tettix,
fibula or clasp in the
and that the Athenians chose
this as a
their being " earth-born " (autochthonous)
by descent from any other times,
it
in various places
has been found that the long hair of the
athlete before the middle of the fifth century in a
symbol df
and not tainted
But, in more recent
nation.
by the aid of marbles discovered
in Greece,
form of the
was braided
heavy lump behind, bound round and round with bands till it resembled the ringed body of
of gold or other metal 59
'»
Iliad, xvii., 51.
" Iliad,
iv.,
583.
Op.
cit., p.
82.
GREEK DRESS.
64 the tettix, which
is
more properly the "
not the " grasshopper."
tree cricket"
and
Fig. 66 gives an instance of such
a method of hair-dressing. Athletes often
bound
up with a simple ribbon or
Another plan
of
men when engaged
in
only.
fillet
disposing of the long hair of the active exercise
was
to plait
in one or two long tails
it
and wind these round the head. studied in the British
An
instance can be
Museum, Archaic Lobby,
Fig. 56.— Athlete with hia hair
bound up.
tion,
in the
is
some
critical
its
209,
A
cast
of a
South Kensington Cast Collec-
Perry's Catalogue, No. 34.
often dedicated by
N"o.
Olympia.
the so-called " Choiseul-Goufiier Apollo." similar coiffure
their hair
owner
moment.
This long plait was
to a river or
marine god at
The companions
sacrifice their hair at his
pyre
;
of Patroclus
Orestes offers his to the
Inachos.^^
In the British
Museum (Mausoleum Annexe,
No. 163 in "Gr. Insc. in Brit. Mus.") '•
II. xxiii.,
is
185, and Aesch. Cho.
ISTo.
798,
an interesting 6.
GIRDLES, FABRICS, COVKRINGS FOE
HEAD AND
FEET.
65
votive tablet from Phthiotic Thebes in Thessaly, dedi-
cated by two
young men, Philombrotos and Aphtho-
netos, to Poseidon,
with a curious representation of two
long straight plaits of
hair
(eminently suggestive of
the Misses Kenwigs), typical of the owners sacrificing this proof of
their
who was supposed under his
to
manly vigour have
life
to
the marine deity
and growth more especially
care.
From the time of men in Greece wore not too short
—
the Persian "Wars, 490
—479
B.C.,
their hair shorter than before, but
that was the
mark
of the slave.
It will
be remembered that one of the things that astonished the Persian spies at Thermopylae was the care with which
the Spartans were seen to be dressing their long hair before the engagement.*^
The hair
of
Greek women in
classical
times was
arranged in an endless variety of ways, which are best studied
from the monuments themselves,
sible to
illustrations.
Many
interesting varieties can be found
in the vase-rooms of the British
tions of which,
now
dressing.
Museum.
The
terra-
of Tanagra, reproduc-
cotta statuettes (or "figurines")
are
as it is impos-
give any adequate idea of them by means of
from the museums of Berlin and Yienna,
so universal,
abound in varied methods
of hair-
Similar instances exist in the terra-cotta room
of the British
Museum.
Young
girls. in
Greece seem
" have worn the hair loose. In the so-called " Homeric hymn to Demeter, " the daughters of Celeus, like fawns to
gambolling through a spring meadow, rushed down the
narrow way, holding up the folds of their lovely garments, and their hair waved about their shoulders like "^
Herod.,
F
vii.,
208.
GREEK
66 saffron-coloured
ornaments
to
bloom."
DRESS.
women wore
Older
keep the hair in place.
sizes, for this use,
are found in
Gold
various
pins,
of all
A
women's graves.
fine
specimen, in elaborate gold-work, set with a fresh-water
M
!Fig. 57.
—Hair "bound with a
fillet.
Coin of Syracuse.
British
Museum.
pearl,
rewarded the excavators in Cyprus a few years
affo.
It
British tion,
now in the " Gold Ornament Room " of the Museum. A visit to this room will, I may menis
give
all
necessary information
on the subject of
Greek jewellery.
M
Fig. 58.
—Female head, from a coin of Syracuse.
The Greek the head,
is
fillet,
or braid
wound
British
Museum.
several times round
proverbial as a classical head-dress.
It
is
given in Fig. 57 from a coin of Syracuse of the Fine Period, in the British
Museum.
A
similar arrangement
of a cord passing five times round the hair, leaving loose
GIRDLES, FABRICS, COVERINGS FOR
HEAD AND
FEET.
67
locks at the crown, appears in Fig. 58, also from a coin
Syracuse in the same collection.
of
keeping the hair
Fig. 59 gives an
with one simple row of beads
earlier version of the same, in place.
Al
Fig
59.
— Female
head, with hair bound with beads. British
The "Stephane,"
or metal circlet rising in front and
narrowing at the back, where either
forming
a
— CoLQ of Segesta.
suitable
wears
it.
A
Elgin Room,
was
tied
or one
by a ribbon
concealed by
adornment of
a
dignified,
Hair bound with a " Sphendone."
British
noble matrons.
it
bow
visible
knot of hair, was the
Fig. 60.
Coin of Syracuse.
Museum.
Museum.
,
Hera, the Queen of Heaven, generally
fine instance occurs in the British N"o.
Museum,
504.
Casts of similar ornaments
f2
may
be found in the South
GREEK
68
DRESS.
Kensington Collection, from the well-known busts of Hera
museums. The " Sphendone "
in foreign
implies)
(like a sling in shape, as its
name
was a band of ornamented cloth or leather put
on either from the back or front, and ending in a
tie
M
Kg.
61.
— Coin of
" Sphendone" -wound several times round
Syracuse.
the head.
British
Museum.
Fig. 60 gives an example of the art of the
or band.
Finest Period on a coin of Segesta,
Museum.
Fig.
a
61,
coin of
National Collection, shows
how
now
in the British
Syracuse, also the
in
the
long ends of the
Al
Pig. G2.
— Tetradrachm of
Syracuse, with legend " Evuivov."
of a wide, short "
Sphendone."
British
sphendone might be wound several
head
a
as
signed by
done
is
finish.
Eumenos
shorter
In
Fig.
Instance
Museum.
times
round the
62, from a tetradrachm
in the British
Museum, the sphen-
and wider than in tbe previous ex-
ample, ornamented with stars, and tied on the top of
GIRDLES, FABRICS, COVERINOS FOR
the head with a small bow. at the
HEAD AND
In Fig. 63
it
FEET.
69
comes lower
back of the head, and ends in a band across the
brow.
The
"
Ampyx "
was
a metal
I
rig. 63.
— Tetradrachm of
diadem or snood, of which
Al
Syracuse,
by Phiygillos.
" Sphendoue."
British Museiun.
an instance
is
given in Fig. 64, also
from a coin of
Syracuse signed by Eumenos. The " ampyx " is sometimes worn in conjunction with the hair-net, as in Fig. 65, again from a coin of Syracuse
M
Fig. 64.- Coin of Syracuse.
Female head wearing the " ampyx.'
British
Museum.
The two ornaments
in the British
Museum.
nected by a
buckle above the
The
flat
" net, with the
frontlet,
ampyx
"
are con-
ear.
reduced to a very small
occurs on the famous decadrachm of Syracuse
GREEK
70 signed by
the artist
DRESS.
Kimon, of which the Museum
is
justly proud (Fig- 66).
A
Kg.
head-dress very similar to
65.
the " sphendone "
— Coin of Syracuse. hair-net
Female head wearing "ampyx," joined by a buckle. British Museum.
more completely covering the head, from the goat's-hair cloth
of
which
archaic monuments,
— Decadrachm of
as,
it
was made, wiU be In
for example, in the Acropolis series
Syracuse.
with frontlet.
(cf.
to
called the " sakkos,"
found in the cut (Fig. 67) also from a Syracusan coin.
Fig. 66.
but
Signed by Kimon. British
Hair
in a net
Museum.
and curlThe forehead is covered
Figs. 33, 34, 35, 36,) very elaborate crimping
ing seems to have been in vogue.
with neatly-set wig-like locks that sometimes look almost
GIRDLES, FABRICS, COVERINGS FOR
Long
like snail-shells.
HEAD AND
tresses that
71
FEET.
have been compared
variously to ropes of pearls or of onions are depicted in a
painstaking way, very dear to the early later period
much
freer
our illustrations (Figs. 57
A
— 67)
At
prevailed,
a as
have shown.
great deal has been written and said about the great
beauty of the figures of the Greek severe disregard of
the
artist.
modes of treatment
modern
corset.
any garment
But there
women owing
to their
at all
corresponding to
is little
doubt that under
the chiton, ladies often wore a broad supporting band round
Fig.
G7.— JFemale head wearing the " Sakkos." British Museum.
the body over the ribs or breast, toralis").
An
Coin of Syracuse.
(arijOooeafjiO';,
" fascia pec-
instance of such a support can be clearly
made out on a vase in the British Museum (3rd Vase Room, No. E 246, Case 29), where a lady is either putting on or taking off her chiton at the bath.
band was probably leather
—occasionally
stiffened in it
seems
to
worn nest the
{II.
xiv.,
214)
skin, but its elaborateness
thing that could be seen, therefore outer girdle.
C!/'.
Fig. 31).
of
be supported over the
shoulders by strings and buttons, like braces.
"cestus" of Aphrodite
This
some way or made
it
The famed
may have been suggests some-
may have been an
GREEK
72
DRESS.
In later times some kind of band was used to repress a
tendency to over-stoutness.^*
In
verj' early vase-paintings
the waists of the
women
with geometrical patterns
are so unnaturally narrow that
they have raised a suspicion of tight-lacing, even at that
remote period, but as the
Fig. 68.
— Fragment of a Vase,
peculiarity
it
is
share in this anatomical
with female figures and geometrical patterns.
probably
endeavours to portray the art
men
due
to
human
the
artist's
early
form, emerging as his
was from purely geometrical forms
of
triangles and
squitres (Fig. 68).
As may Vatican
be seen in Fig. 32, the "
Running Girl
iluseum wears a deep supporting " Man., 16, 66.
" of the
belt
when
GIRDLES, FABRICS, COVERINGS FOR actively exereising,
been usual for
and
women
HEAD AND FEET.
at sucli times
must have
this
The
of all ages.
73
elaborate cross-
girdlings to which I have referred (Fig. 25), and which
remain in the popular mind as the recognised Greek
stjde,
were probably a reminiscence or repetition of a similar girdling^beneath the chiton.
Sunshades occur with considerable frequency on Greek
monuments, but,
as in the case of the East,
fashion probably
came
by an attendant over the heads of persons Eros, in the Parthenon frieze (British
Eoom, No. 324, Slab In the Berlin
whence the
to Greece, they are generally held
6,
Museum
of importance.
Museum, Elgin
Fig. 41), holds one for Aphrodite. a vase on which is painted a
is
satyr advancing with mincing steps behind a veiled lady, carefully holding a parasol to shield her.
On
later vases
of post-Alexandrine times (as for instance, in Nos.
Case 55
;
F
236,
Case 50-51
Case 13, of the 4th Vase
Room
;
F
336, Case 12
of the British
they can be noticed in great numbers
among
;
F F
276, 375,
Museum)
the various
adjuncts of beauty used by the ladies of the time.
In the house the Greeks seem frequently barefooted,
especially
in
followed by philosophers sans
summer.
who
to have
gone
This fashion was
affected simplicity,
by
arti-
when working out of doors, as well as by Spartans But in Athens the feet were generally
old and young.
covered out of doors either by sandals, or mere soles tied
on with
straps, or
"made"
boots and shoes of leather.
Hunters, country-folk, and travellers wore high boots.
Shoemaking
is
frequently mentioned by Greek authors,
and various kinds of cut are spoken of as the " Laconian," the " Amyclean," and others but, although Greek monuments sbow an extensive variety of boots and shoes, the ;
GEEEK
74
DRESS.
cannot be identified with any certainty.
difEerent kinds
Fig, 69 gives a few of the varieties fitting shoes
mended
met
with.
Well-
were a token of
good breeding in Athens;
given in
Theophrastus® as one of
shoes are
the signs of avarice,
over-large
or nailed
shoes were
" boorish " except for military wear. Ladies out of doors covered the head with a fold of the himation.
On some
of the Tanagra figurines outside
the himation a parasol-like disc ladies,
Kg.
42).
is
seen on the heads of
balanced in a manner impossible in reality (Fig.
69.
—Varieties of boots, shoes, and sandals.
Foreign catalogues
hats," but
it
still
define these discs as " straw-
has been suggested that they
instances of a survival.
On many
on the Acropolis an iron spike the head (Fig. 70), in a
way
is
may
be curious
of the figures found
inserted in the crown of
that seemed unnecessary and
puzzling, until the view was propounded that these spikes
probably supported a wooden conical disc which served to protect the fine colouring of the figures from rain or birds.
And
so,
when the
damage by
artist of the smaller
kind
of statue, the " figurine " of Tanagra, set to work, he copied ^^
Characters, Nos. 14, 25.
Fig. 70.
— Female figure found on the Aoropoli.s.
Athen.s.
GIRDLES, FABRICS, COVERINGS FOR
the disc on occasions
when
it
HEAD AND
FEET.
75
was no longer wanted
as a
protection from the weather, and
made
it
appear as part of
the dress of ladies of the period.
Against this view it may, perhaps, be urged that the art of the figurines of Tanagra is too fresh to be merely a " derived " art. In that case the puzzle of the head-dress
A
covering for the head for
use
is
men
the "Petasos" (TreTacro?), or
at the front
and back and over the
Fig. 71.
—
is
still
unsolved.
in Greece of very general
^Varieties of the
flat felt
hat with flaps
ears, these flaps
being
" Petasos.
sometimes tied on the crown or under the chin in the fashion of the gives Iti
modern
" fore-and-aft "
71
Fig.
cap.
some of the various ways of wearing the Petasos.
later times ladies
seem
to
have occasionally donned
as it
occurs on some of the
With
the chlamys the Petasos
travellers and hunters, and
figurines is
worn
in
therefore,
it
from Tanagra.
Greek
art
by
all
by Hermes, the
travelling messenger of the gods.
Artisans and fishermen wear the "Pilos" (tt/Ao?) a conical cap of felt or leather.
and
seafarer,
Charon
as
Odysseus as a
ferryman of
the
wanderer dead, and
76
GREEK DRESS.
Hephaistos as the workman god,
all
wear
it
in
Greek
art.
Fig. 72 from a vase (being the reverse of the vase, Fig. 45, representing Penelope at the web), shows Odysseus in
GIRDLES, FABRICS, COVERINGS FOR HEAD
AND
77
FEET.
the Pilos undergoing the foot- washing at the hands of
the aged attendant, Eurycleia.
wear
it,
filled
and
The
aistos.
in
Fig. 74
it
is
In Fig. 73 some
sailors
the headgear of
Hephnow
Pilos seems to have taken the place
by the skull-cap
as a
head covering
for invalids
and
hypochondriacal patients. Plato'^'^ thus amusingly refers " When a carpenter is ill he expects to to the custom :
a draught from his doctor that will expel the
receive disease to
him
and get rid of
it,
but
if
anyone were
a long course of diet, and to order
caps {TTiXicia) upon
to
put
little
— Sailors wearing the Pilos.
respond, he would soon ill,
to presci-ibe
his head with other treatment to cor-
Fio-. 73.
time to be
him
tell
and wishing
such a doctor that he had no his physician a good
morning
he would enter on his usual course of life, or, should his constitution prove unable to bear up, death puts an end to his troubles."
doubt that Greek ladies were in the habit complexion of rectifying, by artificial means, any defects of
There
is little
exercise. induced by their confined indoor life and want of Case 43) is a In the British Museum (3rd Vase Room, in Egypt, Naucratis, of colony found at the Greek
pot,
which
still
contains some of the rouge «"
Republic, Bk.
iii.
it
used to hold.
GREEK
78
DRESS.
In the Oeoonomics of Xenophon, where the whole duty of a Greek wife
the bride
is
is
set forth in
most delightful terms,
admonished by her husband
-irf
Pig. 74.
i^,
to abjure
rouge
;w rf-/-
— Hephaistos with the Pilos.
or powder, false or dyed hair, and high-heeled shoes, if
as,
she manages well, she will not need artificial aids to
beauty, for time will not
These
artificial
ever, hardly
damage her
influence.
additions to personal charms can,
how-
be regarded as properly forming part of
my
GIRDLES, FABRICS, COVERING FOR subject.
task
The
HEAD AND
FEET.
object I had in view in undertaking the
which I have now completed was threefold,
desired,
if
79
possible,
to
concentrate the light
I
already
thrown on the nature and character of the dress of Ancient Grreece, if not indeed to increase
in view the necessities of those
it
;
but I also had
who from taking
part in
dramatic representations, or from other causes, wished to impersonate ancient Greeks, whether male or female. thi^d desire was to induce
Museums
my readers to visit the National
to study the subject at first hand.
succeeded in any of these aims vain.
My
my
If I have
work has not been in
.
INDEX C.
statues from,
Acropolis, Athens,
35
seqq
et
Cestus, the, 71.
63, 70, 74.
:
their feud with
Aeginetans,
the
Museum,
Amorgos, muslins
Ampyx,
etymology in
artist, 36.
Homer,
origin
on demeanour,
of, 16.
men, 44
short, of
6, 13, 35.
Athena, from Athens,
50.
'vromen, 33,
,,
,,
Chitonisous, the, 38, 40.
23.
,,
„
Olympia, 21.
Chlaiua, the,
,,
,,
Pergamos, 58.
Chlamys, the, 53.
Athens, Persian conquest ,,
of, 15.
4.
Ionian, 23.
7.
17.
Arohaic dress,
5.
6, 45.
Dorian, 16, 41, 44.
of, 59.
Apollo Citharoedus,
Apotygma, Aristotle
ceremonial,
33.
the, 69.
Antenor, the
of, '47.
Chiton on archaic momunents,
Athens, 24.
in Berlin
,,
Charites, the, 26.
Charon, figure
Athenians, 28.
Amazon from
Caryatid, figure of, 52.
of, 36.
slab from, 50.
Athlete, head of, from Olympia, 64.
7,
48.
Colour, use of, 35, 40, 61, 62, 63. Cos, transparent garments
Crape-Ute material,
of, 4, 69.
58.
Crimea, robe from, 61.
B. Babies, dress of, 54.
Bacchante on vase, Bands, decorated,' Belts, 34, 71.
et seqq :
Diana
12, 51, 60, 61.
robes, 14, 33, 61.
Demeter on of, 54.
Brooches, 30 Byssus, 58.
Decorated bands, ,,
Boots, 73.
Boys, dress
D.
39.
12, 51, 60, 61.
vase, 61.
of Grabii, 65.
Diplax, the, 55.
Disc on head, 49, 74.
:
INDEX.
82 Dorian chiton, 16 ,,
et
Hair-net, 69.
seqq
on AoropoKs figure,
„
Hartwig, Dr., quoted,
Hauser Dr., quoted,
41.
Dress open at
Head, coverings
side, 18.
Hegeso,
of, 57.
stele of, 56.
Hem, use E.
of, 69.
Hephaistos, figure
Egyptian woman, dress
Hera, wardrobe
of, 22.
45.
39.
77.
of,
of, 2.
Eirene, figure of, 52.
Herculanenm, figure from,
Endymata,
Hermes on
14.
Ephebos, dress Epiblemata,
20.
vase, 8.
Herodotus on Athenian women's
of, 53.
dress, 27.
14, 48.
Epidaurians and their statues, 27.
Hesperid, figure
Exomis,
Hieron, vase signed by, 62.
the, 46.
of, 18.
Himation, the, 41, 48.
method
,,
et
seqq
Homeric
Fabrics, 57.
wearing, 49
of
:
dress, 1.
Eeet, coverings of, 57, 73.
Fibulae, 29 ,,
et
seqq
:
at Mycenae, 11, 30.
FiUet for hair, 66.
Ionian chiton, 23
Folds, zigzag, 41, 46.
,,
Frangois vase, the, 11, 12, 52.
et seqq
et seqq
its
,,
:
introduction, 27
:
Frilled skirts, 10.
K.
a. Geometrical vase, 72.
Kaluptre, the,
G-irdles, 19, 21, 25, 34, 42, 45, 57. ,,
varying height
of, 57.
9.
Kolpos, the, 19, 45.
Kredemnon,
the, 9.
Girdlings, crossed, 23, 73. Girls, dress of, 20, 34, 65.
H.
Leaf, Mr., quoted, 63.
Hair, the, 63. ,,
dedication of, 64.
,,
of
women, arrangement
65, et seqq
:
of,
Leohat on Acropolis
figures, 37.
Linen as a material,
3.
Loom, representation Lope, the, 10.
of, 51, 61.
INDEX.
83
M. Materials, varieties
Medea on
R. 58
of,
et seqq
:
vase, 33.
Men, under-garments
Rouge, use
of, 77.
Running girl, Vatican, 34, 72. Rutenu women, dress of, 10.
of, 43.
MoiTEe, the, 12.
Dr. on Acropolis figures,
Miiller,
,
,,
,,
Mushn,
,,
37.
the chiton, 15.
59.
Mycenas, fibulae from, 11, 30.
Sailors
wearing
gold spirals from, 63.
Sakkos, the, 70.
,,
seal from, 10.
Sandals, 73.
,,
tombs
Scheme
„
of, 11.
Mykonos, statue
at, 38.
Narrow
dresses,
1
of Dorian chiton, 17.
,,
„ closed do. do. 19. Ionian chiton, 24. ,,
„
,,
,,
N.
piles, 77.
peplos of Athena, 22.
Selene, figure of, 17.
Shoes, 73.
2.
Silk, 60.
Skins worn in Homeric times,
O.
Odysseus on vase, 76.
Sleeves, absence of, 9.
Outer garments, 48. ,,
formed by buttons,
,,
P.
,,
Peleus on vase,
of,
38
et seqq
:
6.
Penelope on vase,
„ sewing, 25.
,,
long, 56.
Sophocles, statue of, 50, 55.
Sparta, dress ia, 18, 54. 51, 61.
Sphendone, the, 68.
Peplos, the, 8.
Spike on head, 74.
of Athena, 21.
,,
22.
„ pins, 24.
,,
Patterns, variety
7.
Skirts, friUed, 10.
Stephane, the, 67.
Pergamos, Athena from,
58.
Persian conquest of Athens, 36. Petasos, the, 53, 75.
Stripes
down
dress, 13.
Sunshades, 73. Syracuse, coins of, 66
«
aeiv6v.
The
signification
of
expression could here maintain
"waist-cloth";
yap
oioxtTtov
"
I
eyu) "xKalvav
meaning
the simple
only,
obscured by a phrase some when Eumaeus continues ov
its
five lines
irapa
'
ft,'
is
further on,
^ira^te SaifAwv
efjLevai.
had no cloak
:
some god beguiled me
to
go
with only a single garment."
The
simple meaning of oioxlrm
only a chiton," or under-garment stretching the
we can
;
is,
but
"wearing without
meaning of the expression very
easily suppose its being applied to
clad only in a waist-cloth
;
a
so that even here
not necessary to suppose that fw/ua
is
far,
man it is
another word
for x'Tts". '
Cp. Fig, 7
{a)
;
the
human
figure struggling with the Minotaur.
;
HOMERIC
24
We
must next consider the over-garment worn by the Homeric heroes, for which several words are used, the most common being x^"*^"" and ^Spos.
The
x^a'"»'«
was used not only as an
dress, but also as a blanket to sleep
rug to cover couches and seats
article of
under
;
^
as a
a constant epithet
^ ;
was evidently w6ollen and the adjectives aheiavefjios and avefioa-Keirni, "warding off winds," show that it was worn for warmth, as a protection against cold winds.* It was thrown is
so that
ovXij,
The
act of putting
it
which the x^diva was worn
on are
" ;
a/A^tjSaXXw
and
irepi^aWto also occurs,
described as
is
running was
in
the verbs regularly used for the
;
it
throw round
times
when speed
style in
somewhat
varied " to
or
exercise
off for
required.*
material
its
being placed
afi(j>iewvfu^
and someeir
wixoia-i,
"
upon the shoulders " for taking it off, atro^aXKu) and aTTOTid^fit are used, and in one case e/c^ww occurs, though this word should more correctly be applied ;
to the
The
x'TttSv.
constant use of
afi^l,
" around,"
shows that the )(\aiva was not a garment which was drawn on over the head, like the x'''"'^''! but was a square or rectangular piece of material wrapped
round the figure or the x^a'»'« sion
laid over the shoulders.
Homer of the xXatm airXoii,
read in
SiirX^,
"double cloak
must mean a cloak worn
" ;
We
" single cloak," and
the former expres-
single, without being
such a garment might possibly be put on as the himatiom was in later time, one end over
folded
;
»
Odyssey,
*
Hid.,
iii.,
349.
xvii., 86.
s 73^-^^ ^iv., «
liiad,
ii.,
522.
183.
THE CLOAK
25
being laid on the shoulder, so that the mass of the
hung down towards
mass of material would then be drawn across the back under the arm which was then left exposed, and across the chest, and the end would be thrown over the shoulder towards the back. The garment could easily be drawn up so as to cover both arms
material
the back
;
this
the temperature required greater warmth, or it might be worn over both shoulders like a shawl, without being doubled, and the frequent mention of the shoulders in connection with the x'^"'"" seem
if
to point to this style as the xXaiva
mentioned twice
SittXi] is
The
most common.^
—once
Homer
in
the //tad and once in the Odyssey ; in both cases is
described as being fastened with a brooch a/U0(
apa
S'
:
[Iliad, x., 133.]
him he fastened a purple doubled, with no folds." about
xKalvav nrop^vpetiv ovKriv exe Sios SittXjiv
avrap
'
it
)(Kaivav irepov^apoi
used
is
"white" and "well-washed,"
the epithets apyv^eov, Xiirrov,
"fine,"
^apos
men, the ^Spos was
probability draped in the
but the woman's
xXaiva,
in
same fashion as the
^o/jos
would be
draped
be shown the ^apos were not worn in and x^"*^"" battle, since they would encumber the wearer too much armour was put on over the chiton, or in some cases warriors wore the skin of some wild differently, as will
later.
The ;
beast slain in combat ' iii.,
126
;
xxii.,
440.
;
we ^
2 Ih'ii., v.,
hear, Odyssey, 257.
for example, ii.,
97
;
xix., 137.
of
HOMERIC
28
Agamemnon wearing and
Paris
wearing
a
and of Menelaus
lion's skin,^
costume was completed by
A
skins.^
leopards'
man's
sandals, veSiKa, which
we are told were made of leather ^ no mention made of any head-covering worn in the pursuit ;
is
of
any protection were needed, a fold of the mantle might easily be drawn up over the head in battle, of course, some kind of helmet was worn, which was made usually of bronze, or peaceful occupations
;
if
;
sometimes of
hide,* covered with boars' tusks, such
as have been found at Mycenae.
The women's
dress in
Homer
garments, the TreVXo? and the called also in
which of
one case the
consists of two
Kpj^Sefxvov
KoiXv/Afjia
;
^
or Kd\vTrrp^,
the word
eavos
used sometimes as a substantive instead
is
ireVXo?,
sometimes as an adjective, simply means
" something to be worn."
The
principal
The
TreVAoj.
garment of the women was the word is uncertain it
derivation of the
;
probably connected with some root meaning to
is
cover or wrap
;
the word
is
used
signify things other than dress
in
the //tad to
for the covering of
;
a chariot* and for the wrappings of the vessel
which held the ashes of Hector fore, like
;
"
the
nreirKos,
or rectangular piece of material which
used
for
garment, »
there-
the x^"'"" and ^apoy, consisted of a square
various it
Iliad, X., 22. * Iliad, X.,
in place
2 Ibid.,
261
6 Ibid., v., 194.
When worn
purposes.
was held
f.
29
;
iii.,
could be as
a
by means of brooches 17.
'
Odyssey,
6
j^fi_^ xxiv., 93.
1
Ibid., xxiv., 795.
kIv., 23.
—
:
WOMEN'S DRESS
29
A
or pins (irepomt, everai) and a girdle.
the Iliad^ gives a description toilette
an
of
made by Hera when she
passage
in
elaborate
setting out to
is
beguile Zeus ajU9^t
S
e^vcr
curKT^vaera, rlQei S' eve
ap
Xpvcreijis
5'
a.ft.^p6(riov
eavov e
;
a passage which
in this relation is the
Fig. 8.
one
^
Iliad,
3
Odyssey, xv., 105
vi.,
;
xviii.,
292.
or sometimes the
The meaning
2 7^2-^_^
289.
A very constant
^^ y^^
.
of the
y-^^^ ^Ss-
BROOCHES AND GIRDLE adjective
"bright, varied, covered with patterns."
is,
Whether these at the
33
patterns were
loom or embroidered
woven is
in the material
a question not easy
to decide.^
In
some cases they were apparently woven,
in
others probably embroidered.
The
on ^ takes the place of the peplos, and was probably worn in the same way,* with the overfold and girdle, over which the superfluous length was drawn, forming the koKttos, or pouch, which varied in depth accordThat it was sometimes ing to the wearer's fancy. silver-shining ^apoy which Calypso puts
roomy is proved by the fact that the nurse of Eumaeus was able to hide three cups viro KoXirw*
fairly
"
under the folds of her dress."
The
material of which the girdle
We hear
uncertain.
is
(fwvj;)
was made
of golden girdles of Calypso
and Circe, and of a fringed girdle of Hera with a hundred tassels, but these are exceptional. The ordinary girdle may have been of metal, or cord, or leather; this last material is suggested by the magic
KecTToy tVa?
been a girdle
of Aphrodite,
or, since
;
we
which
may have
are told that the goddess
"from her bosom," and that took Hera received it and ew iyKdrOero koXttui, "put it on her own bosom," perhaps it was something of the nature of Athena's aegis, which also possessed magic it airo (TTriQniv,^
power. 1
On
a vase in the British
Museum ®
a god-
See section on " Materials and Ornamentation."
*
Odyssey,
3
The passage
*
Odyssey, xv., 469.
v.,
230. is
repeated word for word of Circe, Odyssey, x., 543. * B., 254. ^ Utad, xiv., 214.
E
HOMERIC
84
dess
is
represented wearing an
aegis,
and would
naturally be interpreted as Athena, were
has
vase-painter
the
"Aphrodite," by her
clearly side.
It
has been suggested
and meant
;
was doing, and
was
it
Aphrodite wearing her
not that
her name,
written
that he has made a " Athena " but in all probability he slip,
it
his intention
to
write
knew what he to
represent
/ceo-ro? tVa?.
The second garment which was essential to the completion of a woman's dress, at least when she appeared in public, was the Kp^Senvov or KaXinrrpn,^ which served both as cloak and veil. It was probably put on over the shoulders like a shawl, without
being folded, in such a
way
that
it
could be drawn
and across the face, serving as a veil.^ Sometimes it may have been doubled corner to corner diagonally and laid on the over the head without
That
shoulder.
from Odyssey, ^apoi; Ke^aXy
head a
was worn over the head is clear 229, where Calypso puts on her
it
v., S'
difficulty,
epvirepQe KaXvTrrpijv,
From the appears among
veil."
when she
was customary
for
her
the suitors " holding her
shining veil before her cheeks," it
"and over
description of Penelope,
women
we may gather to
veil
that
themselves
No woman would think of leaving before men.^ ' The K^Kv/iiia Kvdveov, "dark blue veil," of Thetis (Iliad, xxiv., 93) is same garment. Hera is represented wearing it so on the Frangois vase. Fig. 7 (c), and although her head is not covered, yet, from the way in which the folds lie high upon the nape of the neck, it is clear that they could easily be drawn up over the head (cp. also, Aphrodite, on the same vase). the
^
represented in the Frangois vase just about to veil or though the head is missing, it is clear, from the ; position of the arm, that the KpiiS^iuiov was worn over the head. ^
Thetis
is
unveil her face
HEAD-DRESS the house without her
KpriSenvov.
her house in haste,
quits
shining linen, ^
first
35
Helen, though she
when they
with
veils herself
apyewtja-i KaXuxfra/jLev^ 606v{i(Tiv,
and
it is
town and enjoying the quietude of the river bank, that Nausicaa and her attendant maidens throw off their veils for the only
are far from the
ballplay.*
From
the constant use of the epithets 'Kivapos and Xa/ATrpo'?, " shining " or " bright," we may infer
was usually made of linen, and, in summer at least, it was probably a fine, light garment, possibly even semi-transparent. In no case are any pins or brooches mentioned in connecand from the ease with which it can tion with it be slipped off,* it is reasonable to infer that it was worn without fastening of any kind, like a shawl or In the passage where Andromache casts off scarf that the
KpriSefuvov
;
her head-dress
in
her anguish at the death
Hector,* Studniczka supposes
because
that
of
the
mentioned as falling off last, the other must have been worn over it and held it in place this seems to be putting a too literal and even prosaic interpretation upon the lines. There is no occasion to suppose that the poet enumerated Kp'^Sefivov is
Sea-nara ;
the various parts of the head-dress in the order in
which they
fell
;
and
frequently find that
we read in that spirit, we shall the Homeric heroes put on their if
cloaks before their undergarments
once the ^apos or x^"'"" 1
Iliad,
3
Cp. Iliad,
iii.,
*
is
406, 470.
Odyssey,
xvi.,
for
more than
mentioned before the xirm.^
141. xxii.,
;
173
;
^
Odyssey,
*
Ibid., xxii.,
xxiii., 155, etc.
vi.,
100.
468
f.
:
HOMERIC
36
various parts which composed this head-
The dress
have given
much
to
rise
The
discussion.
passage runs T?Xe
S'
afXTrvKa
ctTTo
KeKpv^aXov re
KpriSefjivov
"
And
diadem and
[Iliad, xxii., 468.]
and meshy net and
kerchief,
follow,
No
is
question
and which stand
the
afiirvi;
worn across
Kp^Sef^vov
has already been
KeKpv(f>a\oi
and the
TrXeKx^ avaSivfiti
taken to
mean
that this
meaning the word
;
in apposition.
like the a-re^avij,
The former
need some comment.
avaSia-fAij
the
The
the front of the hair. ;
by
raised as to the nature of the
was a metal diadem
explained
veil."
are explained
Secrnara a-iyaKoevra
words which
it
ISe irXeKTtjv avaSecrf/-*]"
6'.
from her head she flung the shining bonds,
far
The
Kparog jSdXe Sitrftara cnyaXoevra,
a "net," but is
it
is
sometimes
be shown
will
later
better applied to the irXeKTh
KeKpv^aXos
is
obviously connected
with the verb KpvTrrm to cover, and therefore means
"something which covers," "a covering." probability, then, the KeKpv^aXos
is
In
all
simply a kerchief
worn on top of the head behind the afnirv^. The obviously something which serves to bind up (avaSem) the hair and hold it in place, which is
avaSea-fxri is
the proper function of a net.
which Helbig^ has
tried to
The
epithet
explain
as
TrXeKTj;,
"folded,"
means primarily "plaited"; it is applied elsewhere in the Homeric poems to baskets,* which shows its perfect appropriateness to the '
Die Homerische Epos,
p.
1
57,
£
meshes of a ^
net.
Iliad, xviii., 40,
We
COLOURS
37
need give no other meaning, then, to the but can easily explain
amSia-firi,
confined the long hair behind.
head-dress proper, the
it
as a
irXeKrri
net that
This completes the
Kp^Se/xvov
being a separate
worn over it. The women's dress in Homer is completed by sandals, and for ornament they wore, in addition to
scarf or shawl
the brooches which fastened their clothes, ear-rings
and necklaces of varied workmanship the yvaft.irTa.i eXtKes and KoXvKei of which we read^ are perhaps ;
spiral-shaped brooches and ear-rings or necklaces in the
shape of
lilies,
such as have been found
in
the later Mycenaean graves.
Few
Homer
colours are mentioned in
nection with
The
dress.
epithets
"shining" are frequently applied
and
KpriSefjLvov
and
to
the
in con-
" white "
the
to
and
chiton
and
^oiviKoeis
(papoi.
and the and StirXai, the former meaning "red," the latter probably " dark purple " the word is used also of iroptpvpeoi
are frequently used of the xXatva
;
The
the sea and of clouds. described as since
Kvavios,
veil
of Thetis^
is
indigo, probably, or blue-black,
we hear immediately
garment ever was blacker."
afterwards
The dark
that veil
"no
may be
a sign of mourning; but in any case, the epithet
might be used of the garments of the sea-goddess, just
as
KvavoxotLT^i,
Poseidon.
" blue-haired,"
Only once
is
applied
is
yellow mentioned,
that in the case of "saffron robed dawn."
of Hera, that was " bright as the sun," >
Odyssey,
ix.,
247.
^ Jlt'ad,
xxiv., 93.
'
^
The
to
and veil
might have
Iliad, xiv., 182.
;
HOMERIC
38
been
yellow-gold.
among
the
Yellow
is
favourite
a
women
Greek peasant
colour
of to-day for
the kerchiefs with which they- cover their heads
and
in the clear
of Greece,
it is
atmosphere and
sunshine
natural to wear bright colours.
The embroidered naturally
brilliant
be worked
women would colours, among
robes of the various
in
which red and blue probably predominated, as they
do on the sixth century statues on the Acropolis at Athens, and also in more modern Greek embroideries.
Enough
has
Homeric dress
to
been
show
on
said that
it
the
subject
differs entirely
of
from
the pre- Hellenic type of costume which appears on
monuments from Knossos and elsewhere. The absence of conternporary monumental evidence renders it impossible to make any very definite statements as to the details of Homeric dress but the poems themselves afford sufficient proof of the fact that it was of the draped type, and resembled Greek dress as we know it from the monuments the
;
dating from historic times period
is
;
the dress of the classical
simply a development of that described
in
Homeric poems, with the addition of some foreign elements which blended with it and somewhat transformed it in its details, while still preserving the main types unaltered. the
Ill
DORIC When we
come
to the question of
Greek dress
during the classical period, we find that the literary evidence
is
somewhat scanty
;
however,
in addition
to the various casual references to dress that are to
be found chiefly passages
which
development
the
in
bear
of
dress
important of these
is
plays,
directly
there are a
on the
The most
Greece.
in
few
historical
a passage in Herodotus,^ in
which he describes a disastrous expedition against
JEg'ma undertaken by the Athenians during the first half of the sixth century, probably in the year 568 B.C. only one man returned alive to Athens, to meet with an ignominious death at the hands of ;
who had perished. in his own words
the wives of those shall tell the story Kofiia-Oeti
yap
TvOofievas Se ras avSpiov
Seivov
:
e?
ras ^AB^vas onr^yyeiXe to Tradog'
ywaiKag
Ti
tSiv eir
Trotrja-afJievas
AHyivav
eKeivov
trrpaTeva-a/j.ii'ODV
fiovvov
(Twdtjvai, Tripi^
tov avQpayirov tovtov \aj3ovcras
T^}ues,^
the Athenians wore reaching to the
tunic which feet,
fastening.
already of the 'laWe?
ov 'Adrjvaloi e<j)6povv
the Doric in
and the lonians
too."
This
long chiton reaching to the feet
x'"''""' ;
that
"^oS^ptis
its
is
a
material
was linen is testified by Thucydides and Pollux, as The story of Herodotus well as other writers.^ shows that
its
fastening was different from that of
the Doric, since the Athenian
adopt
to
1
Poll.,
it,
vii.,
iVa
Sri irepovija-i ft-n
women were
x/oetoi/rat,
forced
" so as not tO
49.
Studniczka has pointed out that the word X'Tiii' is of Semitic origin, and connected with a root signifying "linen," Beitrdge, p. 17 f. 2
IONIC
60
This expression
need brooches." to
usually taken
is
that the characteristic difiference between
mean
the Doric and Ionic chitons
that the Doric
is,
is
means of pins or brooches, the Ionic is That this is not always sewn on the shoulders. invariably the case is proved by many examples fastened by
and vase-painting, where a chiton is represented, which, from its length and fulness and the fine texture of its material, is clearly Ionic, but which is not sewn on the shoulders, but fastened together down the upper arm by a series of small round brooches this fastening forms a kind of
both
in sculpture
;
loose slefeve which reaches frequently to the elbow. fit
is
the formation of this sleeve, whether sewn or
pinned, which, apart from size or material, distin-
guishes the Ionic from the Doric chiton, which sleeveless.
The
cylindrical
in
length, but
is
wearer
Ionic chiton in
shape,
and varies considerably
is
in
always longer than the height of the
the superfluous length
;
simplest form
its
is
is
drawn up through
the girdle to form a kolpos, which varies in depth
according to the length of the chiton/
The Maenad
vase of Hieron gives a good idea of the size to
which
made
this
kolpos
sometimes
attained.^
|
Being
of a fine linen material, the Ionic chiton
naturally
fuller
than
the
coarser
woollen
is
Doric
and its folds are consequently more numerous and more delicate it is the greater width of the garment which necessitates the formation of garment,
;
the sleeve, as a single fastening from the shoulder '
Cp. Fig. 14, the second figure to the right
in the
lower band.
Fig. 25.
—Vase-painting
from Lucania
— British
Museum.
[Face page 61.
THE
IONIC CHITON
61
would leave too great a mass of material hanging down under the arms. The sleeve is made by joining the two top edges of the garment together and
gathering them up so as to form regular folds
opening
is left in
an
;
the middle for the neck and one at
armgj The arm-holes were probably not formed, as some believe, by lateral openings in the side-seams, since this method produces a clumsy effect in practice and moreover, in many each end
for the
;
vase-paintings
the ornamental border which runs
^
along the neck and upper arm passes also round the
arms
being
without
tinued
down
con-
the side, which
was embroidered or woven along the top edge of the chiton
shows
that
it
before the sleeves were made.
A
diagram
how
best
will
show
the sleeves were formed,
and the position of the openings for neck and arms ab :
represents the upper edge of Fig. 26.
the chiton,
border
is
along which a
woven
frequently
or
embroidered
ef
;
represents the space for the neck, through which the
head
arm-holes,
is
ad and hang down
thrust
which
wearer's sides
when
normal position
;
;
represent
parallel
the arms are held
to
down
the the in
a
the side-seams ag and bh are sewn
along their whole length '
be
E.g., B.M., E. 73
;
;
the distances de fc are
cp. Fig. 25, the
two male
figures.
IONIC
62
joined and gathered to form the fulness
is
addition
sides,
sleeve.
frequently held close to the figure
of cross-bands,
either
and behind and attached
front
full
The
by the
crossing both
in
to the girdle at the
the back and passing
only at
or crossing
I
round the front of the shoulders^^
A very excellent
sculptured representation of this, the simplest form
of the Ionic chiton,
Delphi
charioteer,
sleeves
is
the sleeve
by a
where the gathering
famous of
the
In cases where
very clearly marked.^
not sewn, the spaces de a.nd/c are joined
is
series of brooches,
to six
to be found in the
is
on each
taking up a
side.
little
varying in number from four
The
fulness
group of
is
folds at
produced by
each fastening
and leaving the spaces between quite plain
;
the two
edges are usually parted in these spaces, so as to
show the arm through. These groups of folds are perhaps more effective than the continuous row of gathers which
we
get with the sewn sleeve.
Euxitheos vase reproduced above ^ illustration of the chiton
The
will furnish
with pinned sleeves.
an
A
short chiton, with sleeves pinned in several places,
was frequently worn by men, as
We
vase-paintings.
sented
wearing
a
is proved by many sometimes find women repre-
chiton
full
without overfold,
fastened only once on each shoulder, like the Doric dress.
This
is
one of the
the Ionic dress underwent
mainland of Greece. figures
rapid
in '
Fig. 27.
We
many modifications which when introduced
into the
frequently find on vases
motion wearing the long Ionic a
Fig. 16.
Fig. 27.
— The
Delphi Charioteer.
[Face page 62.
Fig. 28. [
— Vase-painting — Munich.
Fiirtwangler and Reichhold, Griechische Vasenmakrei, 33.]
[Fme paje
68.
THE
IONIC CHITON
chiton with lines, in
many
folds,
WITH OVERFOLD
63
represented by fine close
which the lower edge of the chiton
in front
drawn up to an angle on one or often more places. It was supposed by Bohlau^ that this was meant to indicate that the garment had been cut at is
the bottom in a series of points. cutting
to see,
is difficult
The
object of this
and on examination
it
will
be found that wherever the lower edge of the chiton is
so drawn up, immediately above
it
the kolpos
hangs down deeper over the girdle the figures are usually in rapid motion, and the lower edge of the back of the garment, which shows behind the feet, is ;
represented by a continuous curve, without being
drawn up anywhere.^ artist
It is
obvious, then, that the
intended to indicate that the wearer had
drawn the dress up through the
girdle, so as not to
impede progress. Anyone who has ever moved about freely wearing a chiton of this kind, will
know
that unless the girdle
is
uncomfortably tight
the dress has a habit of slipping down, so that necessary to pull treadjng on
^
it
it
up sometimes, so as
it is
to prevent
in front.
feature of the Ionic chiton not very easy to
understand
is
the overfold, which occurs very fre-
quently, especially in vase-paintings of the severe
red-figured class Ionic
chiton,
;
it is
not a normal feature of the
and may very possibly have been
added by the Athenian women when they adopted the dress, since they had always been accustomed to wearing >
it
with the Doric peplos. V
QfUBStiones vestiaries.
^
Fig. 28.
The view
IONIC
64 that
Herodotus
(v.,
87)
is
wrong, and that the
Athenian women never wore the Doric dress at is hardly tenable in the face of
Frangois vase and others like
all,
such evidence as the
it,
which are certainly
of Attic workmanship.
\The Ionic chiton with overfold is really, then, an instance of the blending of the two types of dress, which later became so complete that it is frequently difficult to decide whether a particular garment should more correctly be called Doric or Ionic, In some instances the overfold of the ionic chiton is formed in exactly the same way as that of !
the Doric dress, only
it
is
frequently shorter
:
it
is
turned over before the garment is put on, then back and front are fastened together along the arm, either by sewing or by brooches. In this latter case the only distinction from the Doric dress, in addition to those of size and material,
is
that instead of being
pinned only once on each shoulder, and so being sleeveless, it is pinned along from shoulder to elbow,
An
so as to form sleeves.
example of
this
is
to be
seen in a figure of Aphrodite from a vase-painting in Paris
reproduced by Miss Harrison.^
This
style
of dress, with the sleeyes sewn instead of pinned, foikid
on the
first
is
of the so-called Fates of the
Parthenon pediment, and on one of the Nereids from the Nereid monument, on a torso at Epidaurus, and on many vase-paintings. Although not always represented in
art,
shoulder-cords or cross-bands
were probably actually worn with this dress, as a '
Prolegomena
to
Greek Religion,
p. 292.
— THE SLEEVED CHITON general rule, since without
would
A is
65
some such contrivance
it
slip inconveniently.
type of dress very
that which has
commonly found on vases
sleeves to the elbow
full
and an
overfold covering the chest and back, and passing
under the arms without covering the the case in the
chiton
sleeves, as
described
was
The
above.
Maenads on the famous Hieron vase are represented wearing this kind of dress, and numerous examples could be quoted from other vase-paintings.^ Some such effect might be produced with the ordinary cylindrical-shaped chiton with overfold,
if
shoulder-bands were worn such as those worn by the Delphi Charioteer and by one of the so-called
Fates of the east pediment of the Parthenon in actual practice
;
but
such an arrangement would pro-
duce a somewhat clumsy mass of folds under the arm, and could not be managed at all unless the overfold were considerably deeper than that usually
We must
represented on the vases.
look, therefore,
some other explanation and it will not be seek, if we allow the Ionian women and for
;
Athenian imitators a
freer
use
of
far to
their
scissors
and
needle than their Doric sisters were accustomed to
A
make.
show
close examination of the
will
that although the sleeve of the Ionic chiton
manner described a very large number of cases, in
was frequently formed above, yet
almost sleeve
monuments
all
is
in
of which
more
like
in
the
the overfold
is
present,
the
our modern notion of a sleeve >
Cp. Fig. 29. I
IONIC
66
that
is
to say,
shaped
garment painter
fits
it
some
to fits
is
this kind of dress is
to
the
fond
of
:
figure.
depicting
though of
while the rest
extent,
closer
Brygos
closer to the arm, as
the
The vasewomen in
the accompanying illustration
taken from his representation of Hera and
^
Iris
pursued by Silenoi.
This dress
composed simply of a
cylindrical piece of material
is
obviously not
folded over at the top
and fastened on the arms, for the rather
deep overfold leaves the sleeves quite
free,
and covers only the body of the wearer. This
effect
could be
produced in two ways, in
both
of
which,
however, the sleevepieces
must be sewn
in separately. first
method, we
may suppose
In the
that two rectangular
pieces of material are taken, equal in size
and shape,
represented in the diagram as abed.
These are sewn together along the sides up to the points e and yj at a distance of about 5 feet from the lower edge points will
may
;
when
the dress
is
worn, these
come immediately under the arms.
We
next suppose that two rectangular pieces of
material measuring about 18 by 20 inches are taken '
Fig. 29.
Fig, 29.
—Vase-pamting
by Brygos
— British
Museum.
[Face page
Oti.
THE SLEEVED CHITON for the sleeves
longer sides
6V
these are folded double, so that the
;
upon each
and then sewn on to the body of the chiton at the points y^ h,g, and e, so that the fold lies in the position indicated by the lines y? and el' in the diagram the openings kl and lie
other,
;
}^l' will
form the arm-holes
abgh which
still
that part of the chiton
;
extends above the sleeve-pieces
then folded over, so that position gha'b'.
The
hangs down
it
now
kk!
line
is
in
the
represents
the
upper edges of the garment, which are fastened together (leaving the space
mn
for the neck) either
by sewing and gathering or by groups of folds held in place by a series of brooches. The front and back part of the overfold would then hang down separately, but they could be joined together under
the arms, provided that the space round the shoulder
were
left free for
the
arm
to pass through into the
sleeve.
The second method
making
of
nothing but a modification of the
this dress
of taking two smaller rectangles in the
ghcd, to form the body of the chiton
abgk are sewn on back and pieces, to
form a sort of
have exactly the same
is
It consists
first.
first place,
two pieces
;
front, after the sleeve-
false overfold,
effect
as
if
it
which
were
in
will
one
piece with the rest of the chiton. It
is
possible to conceive of the sleeve-pieces
being originally
in
one piece with the
rest of the
which would then be a dress composed of two cross-shaped pieces of material sewn together
chiton,
along the edges dfl and
eel!
;
it
is
more reasonable
IONIC
68
however, that the sleeve-pieces were
suppose,
to
sewn on
That such
separately.
sleeve-pieces were
attached to the ordinary Ionic chiton without overfold
seems
likely
addition of sleeves was
the Greeks, for
we
certainly not unfamiliar to
find slaves
wearing a narrow,
ungirt chiton, with tight sleeves reaching
A familiar example of this
wrists.
The
from many vase-paintings.
is
to the
to be found in
Hegeso's attendant on the well-known grave relief in
Athens.
In an
dating from the
inscription,
middle of the fourth century,^ and recording
number of garments dedicated
large
to
Artemis
Brauronia, the expression
x^'P'^fTo's occurs,
can only mean "sleeved."
In the
special
mention
the chiton,
or
from which we
is
frequently
x'-'^oovla-Kos,
may
made
same
it
which
inscription
of the fact that
efi-KKaialw,
is
infer that
a
"oblong,"
was not always
Now, the ordinary simple Ionic chiton would be oblong in shape when not worn, so that we
so.
may
take the others, which are not described as
oblong, to
be chitons with separate sleeve-pieces
attached.
The
false overfold
was sometimes attached
to the simple cylindrical
cases
it
Ionic
chiton.
In
also
these
covered the chest only, leaving the arms
covered only by the sleeves
;
it
was probably simply
sewn on
at the
collected
and stated the evidence for this false overfold an article in the Jahrbuch, vol. xi.,
neck in front only.
Kalkmann has
to the chiton in
where he shows that 1
it
was sometimes applied
C. I. A.,
ii.,
7S4.
to
THE SHORT the over-garment also.
IONIC CHITON
Very
clear
69
examples of
it
some of the archaic female statues on the Acropolis at Athens, especially in those cases where the himation is worn like a shawl over are to be seen in
both shoulders.'
That the long Ionic chiton with sleeves was worn by men as well as women, is abundantly evident from the monuments. On the vases, Zeus and Dionysus and other gods are almost invariably represented wearing it and in sculpture also, kings, priests, and others are represented so dressed. Together with the himation, it probably constituted a sort of state dress for priests and other officials, even after it had been discarded for daily use, as ;
being too luxurious.
A
short chiton, with or without sleeves, and
made of some
fine material, is to
vases worn by
men engaged
sometimes has an overfold
;
be found on the
in active pursuits.
It
although, with the long
chiton, this feature is usually confined to
women.
A
good example of the men's short chiton with overfold is to be seen on the vase of Brygos representing the exploits of TheSeus.
The
and shoulder-cords already strictly speaking, an element of the
cross-bands
mentioned
are,
Ionic chiton, though they are sometimes represented in art
over the Doric peplos.
the ample folds of the
and
full
Their object
is
to hold
chiton close to the figure,
to prevent the sleeves from slipping or flapping
about with every movement of the wearer. 1
Nos. 687 and 688.
The
IONIC
70
cross-bands are usually attached to the girdle and
can be of one piece with
it
their place is
;
some-
times taken by a second girdle, worn rather high
over the kolpos, as
is
the case with the Artemis of
Gabii reproduced below (Fig.
37).
This high girdle was known as the aiToBea-fxoi,
or
raivla,
whereas the low girdle was called
Trepi^Zfta,
A broad band, known as the iov, was sometimes worn by women under the breasts, to serve the purpose of modern corsets/ A word or two must be said about the diminutives of xiT
In the inscription to Artemis Brauronia
^
we
read
—
more than once of a x''^'^''^ov a/xopytvov that is, a garment made of linen from Amorgos, which we know was very fine and expensive we may infer, then, that the diminutives x'twwoi/ and x'Twi/a/atoi/ refer ;
to fineness of material rather than to shortness of cut.
The is
case of the
x''^'^'"''^*^"^
is
somewhat
different
not referred to as being transparent, and
;
it
is
usually described in the inscription cited above as
being very ornate. '
" 3
Women
are frequently repre-
B.M., Vase, E. 230. Ar. Lys., 48 Menander Meineke. frag, incert, ;
C. /. A.,
ii.,
7S4.
141.
THE on
sented
IONIC HIMATION
vases ^ wearing over
71
the long
Ionic
chiton a short and sometimes very ornate garment,
which cannot be described as a himation.
Possibly
garment indicated by similar garment was worn
this short over-chiton is the
the
name
A
x^'^^v^c'^os.^
by musicians over the long ungirt chiton (op^oo-Td^to?).' Another instance of a special dress worn for a special purpose is the costume worn by actors it had long sleeves, and was probably padded to complete the impression of increased size produced by the high masks and buskins. The himation worn over the Ionic chiton presents considerable variety of shape and arrangement. In very many cases we find that the Doric ;
himation
is
worn, whether over both shoulders or
In the Harpy monument, where we might have looked for Ionic dress in its purest form, we find the Doric himation worn over the fine linen-sleeved chiton, and on very maoy of the
only over one.
red-figured vases of the severe style this
There
may
one set
is
is
the case.
of monuments, however, which
be considered as Ionic in origin, or at least of
Ionizing tendencies, where a far less simple garment
takes the place of the Doric himation. includes
the
archaic
female statues
victories of the Acropolis
Museum
This
and
set
flying
at Athens,
and
a large number of small painted terra-cotta statuettes ^
Jahrbuch,
i.,
pi.
102a
;
Gerhard, Anserlesem Vasenbilder, 79, 80
Dumont and Chaplain, pi. 8 Journal of Hellenic 2 Cp. Amelung in Pauly-Wissowa's Real ;
" Chiton," p. 2322. 3 B.M., E. 270.
;
Studies, 1890, pi. 12.
Encyclopadie,
s.v.
72
IONIC
same museum, the sculptures of the Treasury of the Cnidians at Delphi, and a number of other statues and reliefs from Athens, Eleusis, Delos, and elsewhere. The dress presents a somewhat complicated appearance at first sight, and has given rise to a considerable amount of discussion. The following section is based upon a careful study of the original monuments and of the literature already written on the subject. in the
V
THE MAIDENS OF THE ACROPOLIS THE DEVELOPMENT OF THE IONIC HIMATION
The
problem of the drapery of the archaic female figures in the Acropolis Museum has been con-
by various
sidered
archaeologists, but has not yet
been satisfactorily solved of them. are
we
The questions
by any
in all its details
to be decided are
Firstly,
:
to suppose that the draperies of the statues
give us a faithful and realistic reproduction of a
costume actually
among
in fashion
the Athenian
must we
ladies at the close of the sixth century, or
take into account the fact that the work archaic and
the artists have not
yet
is
still
sufificiently
mastered their material to be able to reproduce
what they saw before them ? Secondly, what are the separate garments which constitute the elaborately complicated whole? And thirdly, exactly
how
are these garments arranged so as to produce
the effect seen in the statues
The answer in
to our
first
?
question
is
to
be found
a compromise lying somewhere between the two
hypotheses suggested. 73
The
early artist, struggling
K
THE MAIDENS OF THE ACROPOLIS
74
with the technical
difficulties
of his art,
is
always
ready, as soon as he has solved one problem to his satisfaction, to pass still still
on to something which presents
demands the
greater difficulties and greater
The makers
skill.
maidens have advanced so infuse
some
sort of
lively expression in the
life
of the Acropolis
far as
into their
to be able to
work
on some of the
exercise of
;
—witness the Moreover,
faces.
modelling of some parts of the
human
figure
they have reached a high degree of excellence.
In
the few cases in which the feet of the statues are preserved, a great degree of delicacy
and
refine-
ment is displayed, which shows that the artists had attained some considerable power over their Having advanced so far, they feel themmaterial. problem of representing
selves equal to facing the
drapery in sculpture.
It is
at this stage of artistic
not to be supposed that
development they would
invent difficulties which did not naturally present themselves, nor would they attempt to represent
anything that they had not actually seen
we must conclude
;
therefore,
that the Athenian ladies of the
period actually wore a dress corresponding closely
At
same time, it must be remembered that the Greek artist in all probability did not work with a model constantly before him, so that we must expect some slight differences in detail on that account furthermore, we must make some allowance for archaism for to that reproduced in art.
the
;
;
example, in
all
the statues under discussion,
drapery does not
fall
freely
away from
the
the figure.
Fhoto, by English Photographic Co., Athens.]
Fig, 31.
— Archaic
Statue
—Athens,
Acropolis
Museum, ^Face -none
7fS.
DESCRIPTION OF THE ACROPOLIS STATUES but follows the lines of the form beneath
75
in
a
manner impossible in real life. Having determined that the artists have represented a dress which was actually worn, we must proceed to consider the character of the dress as a whole, and of the parts of which
giving a general description
it
an example which exhibits characteristics
No. 594
various statues.
(Perrot and Chipiez,
pi.
de
16.)^
HAcropole,
will
all,
be
can
that
it
be best to take
or nearly
collected
will serve
xii.
;
In
consisted.
all,
from
the the
our purpose.
Lechat,
Au
Mus4e
The under-garment neck and left arm is repre-
fig.
which appears on the
by a series of fine wavy lines, running to one another, which give a crinkled
sented parallel
and
appearance,
possibly
material which
a
indicate
may
This garment
is
border, originally painted,
but from which the colour has
The
to
and down the upper part of the
arm by an ornamental disappeared.
meant
has undergone some
special treatment in the making.
finished at the neck
be
now almost
lower part
of
the
entirely
figure
is
covered by a very long and ample garment, which I
hope to prove to be the same as that which
shall
covers
the
garment
is
left
shoulder and upper arm.
This
ornamented with a broad and elaborate
meander pattern down the middle of the front and if the statue were not broken, we should probably ;
see another border round the bottom.
costume
is
comparatively simple *
Fig. 31.
;
So
far,
the
but above this
THE MAIDENS OF THE ACROPOLIS
76
worn a cloak which passes under the left arm and is drawn up to the right shoulder, where it is fastened so as to hang in heavy vertical
under-garment
folds
down
and
front
cloak
is
is
the right-hand side of the figure, back
most cases we
in
;
by a
fastened
series of buttons far as the
upper part of the arm, as
The example
elbow.
before
The
under the but
curve of the
of the cloak, passing
rest
arm, hangs in a series of oblique
left
almost
along the
now has an fastening down
us
additional wrap, which conceals the
the right arm.
find that the
shall
vertical
running parallel to a
folds,
These folds are apparently held in place by a band passing under the left arm and fixed on the other shoulder. The upper edge of the cloak hangs box-pleat which starts from the shoulder.
over this band in a sort of edge.
The mass
under the
represents the material which
The
forms the sleeve of the chiton.
wrap seen
in
simple matter
one or two of the statues ;
it
;
additional
a very consists of a large scarf worn
over the shoulders, hanging left-hand side
with a zigzag
of folds lying close to the figure
arm
left
little frill
it
down
leaves the
is
to a point
left
on the
arm uncovered,
passes round the back, and over the right shoulder.
down
Instead of hanging straight
to a point in
the right-hand side, the end of the scarf
is
turned
up and thrown over the arm. The end is broken away in No. 594, but appears in another instance (No. 684, Acropolis fig-
297,
p.
592).
Museum Both
;
Perrot and Chipiez,
cloak
and
scarf
are
COMPOSITION OF THE DRESS
77
bordered with patterns, of which the colour
still
remains to some extent.
Many
have been advanced as
theories
to the
various garments which compose the costume. will
It
be well to give a brief summary of them, and to
point out wherein they substitute one that
The
fall
more
is
short, and, if possible, to
satisfactory.
chief point at issue
is
whether the
part of the drapery belongs to the chiton
skirt
— that
is
garment which appears on the neck arm or whether it is part of the cloak
to say, to the
and
left
—
which passes under the
arm and
is
he believes that the
;
fastened on
Collignon even distinguishes
the right shoulder. three garments
left
skirt is the
chiton proper, and that the crinkled texture of the
meant of woollen jersey worn over
piece which appears above the himation to represent
some
sort
is
the chiton, which he calls the " chitoniscus."
The
difference
in
texture
comes
over the shoulders like a shawl,
omitted altogether
;
or
for example, in
very
out
where the himation
plainly in those cases
is
worn
where
it
is
Nos. 670 and
671.^
At
first
sight
it
appears as though two separate
garments were intended, but on close examination it will be found that the curved line which terminates the
wavy
lines of the
upper section has not the
appearance of an edge, but appears rather to turn
under and to represent a pouch, formed by pulling Moreover, in the garment up through the girdle. 1
Lechat,
figs.
8
and 9
;
Perrot and Chipiez, 290 and 292.
THE MAIDENS OF THE ACROPOLIS
78
some cases these parallel wavy lines appear on the skirt as well, and cover the whole surface with the exception of the mass of folds hanging down the middle This can
of the front.
(Lechat,
p. 161), in
from Eleusis, now
and
be seen
No. 687
in
a small statue of the same type
in the
National Museum, Athens,
in the relief of the Charites in the Acropolis
Museum is
clearly
(Lechat,
Again, the same technique
pi. 3).
found sometimes introduced into the rendering of Frequently on the shoulder, when
the himation. the cloak
is
fastened, a succession of these
wavy
parallel lines begins to appear, then stops suddenly,
and the
of the garment presents a smooth
rest
There can be no question here of a
surface.^
difference of material, nor of a
separate piece of
we must look
for
some other
explanation of the different treatment.
Lechat has
drapery,
so
that
and which finds confirmation in other monuments. He says "the difference in the appearance of the upper and lower part of the same garment is due to this that in the offered
one which
satisfactory
is
:
lower part,
all
the superfluous material
together in a single mass, and the rest tightly across the legs
the material, being
He
round the body."
regularity of the folds
some
;
while in
left free, falls in
gathered
is
is
drawn
the upper part, regular folds
all
further suggests that the
may be meant
to represent
treatment of the dress, such as
is
applied to the modQicn fusianella.
The archaism
of
the work, however,
account
artificial
is •
sufficient to See Fig.
32.
for this
Photo, by MansPll
Fig. 32.
(& Co.']
— Archaic
Statue
— Athens,
Acropolis
Museum
[Face page 78.
TEXTURE OF THE CHITON regularity in representing in
a
79
series of very full folds
*a
fine material held in rather closely to the figure.
The same
many of the red-figured vases of the best period. One from a vase by Euphronios is reproduced by Kalkmann kind of treatment appears on
{Jfahrbuch, vol.
ix. )
it
;
occurs also on the well-known
Troilus vase by the same
and
artist,
in
Euphronios,
numerous
other
instances
Above
the girdle the folds are represented by fine
wavy
parallel
lines
below by straight questioning
(Klein,
drawn
lines.
It
in
is
that in the case
of the Acropolis statues too, there
suppose that the difference
no
is
garment
one
only
we may conclude
two separate garments of
together
close
In these cases there
the fact that
intended, so that
very
215).
p.
no need
is
texture
to
represents
different materials.
has been suggested that there
may
be an
some
intention on the part of the artist to indicate
kind of material that had a crinkled texture, such as
some of the modern Greek
that of this
were
same
so,
we might
technique
all
stuffs
;
but
if
reasonably expect to find the over
the garment,
and the
comparison with the vases shows that the supposition
is
not necessary.
We may where figure
the is
conclude, then,
himation
is
that
omitted
in
those cases
altogether,
the
draped in a single garment, namely, the
long Ionic chiton described above. In
the
case of these statues,
exceptionally long
;
there
is
still
the chiton
some material
is
left
trailing on the ground after the formation of the
THE MAIDENS OF THE ACROPOLIS
80
deep "kolpos," which necessitates the skirt being held up in one hand, so as not to impede walking.
We
are at once reminded of the 'Idova
Hymn
the Homeric
We have
E\/fex*T5i/ey
to Apollo.
next to consider those cases
are in the majority
over the chiton
;
of
—and they
—where another garment
and
it is
on
worn
this point that archaeo-
Many
logists are at variance.
is
maintain that the
chiton only appears on the upper left-hand side of the figure, and that a very large cloak it,
which covers the whole of the
worn over
is
rest of the chiton,
and has a deep overfold at the top and trails on the ground behind, being held up in front and drawn aside in the view,
left
Studniczka supports
hand.
this
and calls the garment an "ionisirende Peplos."
in an article in the Jahrbuch for 1904, some drawings of some practical experiments he has made in draping a model in a garment of
Holwerda,
gives
this kind.
He supposes that it is
with a deep overfold, which
is
cylindrical in shape,
shorter on the shoulder
than elsewhere, and so produces a zigzag line along its
lower edge when draped
underneath
the
superfluous length
overfold, left
;
through
the garment was drawn
arm, and that
which we see
in
its
many
is
worn
which
the
by shortening the overfold
on the shoulder can be drawn. left
a girdle
tightly
He
supposes that
round under the
upper edge formed the
frill
A
of the Acropolis statues.
comparison between his finished model and statue
which he reproduces beside
show the points wherein
it
the
serves
his theory falls short
;
it
to in
;
THE OVER-GARMENT no way accounts
81
for the vertical folds of the cloak,
band which appears passing under the left arm and fastened on the right shoulder. Amelung, writing in Pauly-Wissowa's Real Encyclop'ddie, and Professor E. A. Gardner, in his Handbook of Greek Sculpture, maintain that the garment is simply a Doric peplos fastened on one shoulder instead of both, and held in place by a tight band, under which the width of the peplos is arranged in vertical folds. The main objections to nor
for
the
tight
to this theory are that the Doric peplos
is
invari-
ably fastened in one place only on the shoulder,
whereas the fastening of the garment in question
down
continued by a series of bfooches the elbow
is
as far as
the result would be to leave a very
;
heavy and cumbersome mass of material hanging from the right arm, which would seriously impede
any active motion.
Moreover,
it
leaves out
of
account a piece of material which appears almost invariably in front, below the zigzag edge, where
drawn up girdle, it
but
highest.^ it
Holwerda takes
it
it is
to be
a
has not the appearance of a girdle
hangs over the material that
falls
from below
it,
and does not cut into the soft stuff in the way in which a girdle would. That the makers of these statues
knew how
to represent a girdle
No. 679,* where the Doric peplos Ionic chiton. >
Perrot and Chipiez, VIII.,
pis. 5
Perrot and Chipiez, VIII.,
and
12.
;
plain from
worn over the
In this case the peplos
This feature comes out clearly in *
is
is
is
consider-
Lechat, 22, 29, 30, etc.
fig. 31.
fig.
303
;
Lechat,
fig.
31.
L
THE MAIDENS OF THE ACROPOLIS
82
ably shorter than the chiton,
garment
hangs down
which only
a distance somewhat above the
to
The Caryatid
ankles.
so that the latter
plainly seen below the peplos,
is
of the Cnidian Treasury at
Delphi has the girdle clearly represented below the box-pleat by two parallel, horizontal, incised
On
the frieze of the
figures are represented
an over-garment
;
lines.
same building some of the wearing the Doric peplos as
in these cases also
shorter
is
it
than the chiton, which invariably appears below the
An
feet.
now
Attica,
archaic
statue
in the British
chiton showing at the
Museum, has the
feet,
it
from Rhamnus,
and over
it
at in
crinkly
a himation
with a deep overfold reaching considerably below the waist
appears over the breast, but no band
frill
the
addition to this overfold a pleated
in
;
however,
frill,
is
deeper than
in the Acropolis statues,
side,
and
in that respect
It is significant
visible
is
;
usually the case
and might be intended
This over-dress
conceal a band.
is
is
sewn up
to
at the
resembles the Doric peplos.
that in this case, where the garment
might with more reason be regarded as a Doric let down from one shoulder, the chiton is
peplos
seen appearing below
it
at the feet,
and the over-
dress does not reach to the ankles.
In the few
cases where the feet of the Acropolis statues are preserved, fairly
it
will
be noticed that the skirt
high towards one fa
ankle.
I
expect
its
instance
is
side,
is
held up
so as to display the
long under-garment were worn,
lower edge to be seen here that the case, so that
;
we should but in no
we may conclude
APPLICATION OF COLOUR TO SCULPTURE that the skirt itself
who maintain
the under-garment.
is
»
83
Those
that the skirt belongs to the upper
garment support
their opinion
by the
fact that
very
frequently the ornamentation on the two different
parts is left
is
the
same
;
the natural colour of the marble
as a ground, and the decoration consists of
coloured
borders and patterns dotted somewhat
sparsely over the surface.
The
which appears on the
shoulder
left
part of the dress frequently
is
and we might have expected that if the skirt belonged to the same garment it would also be painted all over. But before accepting this argument as conclusive, it will be well to consider the nature and purpose of polychromy as painted
all
over,
applied to Greek sculpture.
In the early days
when
inferior materials
were
used for sculpture, colour was applied to them to conceal the poverty of the stone and to produce a
more pleasing surface than that offered by the rough material at the artist's disposal. These coarser materials were not capable of such careful finish, or of producing such a lively play of light and shade, as the marbles later used, and the only
way
to give
them animation was by the application of colour all It became, therefore, a regular over the surface. practice statues.
Greek sculptors to paint their When, however, they began to use more
for
early
beautiful materials, such as marble, they recognised
that
it
was a pity
to conceal its texture
extensive application of colour.
They
by the therefore
adopted the practice of submitting the surface of
THE MAIDENS OF THE ACROPOLIS
84
the marble to a process of polishing, and adding colour only in parts, the effect being that the beauty
of the marble its
is
enhanced by the contrast between
polished surface and the coloured parts of the
The range
statue.
limited
of colours used
and conventional.
is
For example,
somewhat
in the early
pediment groups from the Acropolis, we find red used
for
human
flesh
and the colours used
;
in the
draperies of the Acropolis female statues are limited to red
and
We
red.
blue.
may
Both eyes and hair are invariably therefore, that colour was not
infer,
added with a view to reproducing nature
faithfully,
but simply to decorate the statues.
therefore,
the artist
felt
If,
that a white surface of marble with a
few patterns sprinkled over
it
produced a more
pleasing effect than a surface coloured
would use if it
this
were not
all over,
he
method of decorating his work, even and he would prefer to treat
realistic
;
large surfaces of drapery in this way, rather than
them all over. When, therefore, in these statues, we find that the small surface of the chiton which appears on the upper part of the figure is coloured all over, we need not conclude that the skirt belongs to another garment because it is differently ornamented had so large a surface been painted all over, the effect would have been far less colour
;
pleasing.
The
difference
different parts of the
surprise us
;
it
in
the
decoration
same garment need
in
of
no way
occurs very frequently in the black-
where we get purple used for the upper part of a garment and black for the lower. figured vases,
TERRA-COTTA FIGURES OF SIMILAR STYLE simply with the object of producing variety.
85
The
argument from the application of coloured ornament not help us, then, in this case, especially
will
we
find that
it
when
can be used to support either view.
Professor Baldwin terra-cotta figures
Brown has pointed out that some in the Acropolis Museum, which
^
are draped in the same style as the archaic statues,
have the under-garment covering the shoulder and the skirt painted in one colour, and the part which passes
round the figure under the
another,
show
to
and he uses
this fact as
that the skirt
is
left
arm
in
a piece of evidence
part of the chiton and the
rest a separate garment.^
It will
in considering the different
be
safer, therefore,
garments which consti-
tute the dress, to leave the question of colour out of
account altogether, and to base our arguments only
on
their form.
Many who
maintain that the skirt
is
part of the chiton, are of the opinion that the upper
garment fold,
is
the ordinary himation with a small over-
fastened on the shoulder and
down
the arm.
Lechat supposes that the upper edge is taken up and drawn from beneath and folded over on itself, so as to form a sort of thick pad at the top, and he suggests that the pleats were folded before the cloak
was put on, and perhaps even ironed but this arrangement would not produce the vertical folds which we find in almost all the statues. ;
Cp. Jahrbuch, 1893 Arch. Anz., H. 519 Winter. Another possibility which suggests itself is that the sculptor may not have painted the statue himself, but may have handed it over to a painter who did not understand how the drapery was >
2
constituted.
;
;
THE MAIDENS OF THE ACROPOLIS
86
Kalkmann^ calls the garment a "stili^irte himation," and suggests that the vertical lines are continued round the figure because the artist had great
in
difficulty
between the vertical
arm and the
the
folds
transition
the
representing
which hang down from
horizontal ones of the overfold.
This explanation, however, does not account the
edge which
frill-like
himation.
for
appears at the top of the
Professor Baldwin
Brown ^ has published
some good photographs of a model draped
in this
Ionian himation, but has not given a very
full
explanation
satisfactory
He
produced.
of
the
it,
He
all
the folds,
is is
is
shortened in the
same time the
folds are kept in
tightly rolled over so that front, while at the
with
or
was
says that the secret of the dress
that "the upper edge of
their places."
how
effect
it
admits that the folds
will
only
keep in place on a "motionless wearer of imperturbable patience," and therefore supposes that the dress was evolved for use on the It
wooden xoana.
seems unlikely that a special dress of such an
elaborate nature should have been evolved to drape these early to
wooden images, and there
is
no reason
suppose that the series of Acropolis statues are
merely reproductions of such images.
much who
They appear
rather to represent the grand Athenian ladies
dedicated
themselves
symbolically
to
their
patron goddess by setting up statues of themselves in
her honour.
Since the statues were probably
intended to be set up permanently in a conspicuous '
/ahrbuck,
xi.
^
ffg^ Greek
Women
Dressed.
;
THE CHITON WITH OVERFOLD place,
it
is
87
natural that the votaries would like to
see themselves appearing in their best clothes.
A
and a
careful study of the statues themselves
consideration of
all
the evidence bearing on the
question leads to the conclusion that the complete
costume consists of two garments, a long underdress,
which
may
be regarded as the usual indoor
costume of the Athenian and a mantle worn over sionally a scarf or shawl
ladies of the sixth century, it
for out of doors
worn as
is
;
occa-
well over the
mantle, perhaps for additional warmth, perhaps only for
The
ornament.
under-dress consists of the
long linen Ionic chiton, a wide cylindrical garment fastened by brooches or sewn as to form sleeves
;
a girdle
is
down both arms so worn round the
waist,
and the superfluous length of the material is drawn up over this girdle so as to form a deep pouch sometimes this pouch is worn all round the figure, sometimes, as
apparently the case in a large
is
seated figure of Athena, the pouch in
front.
chiton,
On some
occasions^
we
is
formed only
find
in addition to the pouch, has
that the
an overfold
from the neck resembling the airoTrrvyfi.a of the Doric peplos. This overfold sometimes only covers the chest and sometimes hangs
down
considerably
Such an overfold is very frequently found on vases in some cases its material may be of one piece with that of the rest of the chiton, as it appears on one of the Nereids from the so-called Nereid monument but in those many cases where it only appears lower.
;
;
'
E.g., Lechat,
fig. 12.
THE MAIDENS OF THE ACROPOLIS
88
between the shoulders and does not extend also along the arms,
it
is
be a separate piece of the neck.
It is
quite possible that
stuff
sewn on
it
may
to the chiton at
probably the edge of such an over-
fold that appears at the waist
on the Acropolis statues
;
below the himation
no other satisfactory
explanation of this detail of the costume has at present
been
suggested.
It
unlikely
is
represents the "kolpos," because in
all
edge and not a pouch.
It
it
cases, with
one possible exception (No. 676 Lechat, a border is painted on it, indicating that ;
that
fig. 29), it
is
an
has been suggested that
was sometimes made of a different kind of material from the chiton on to which it was sewn, and that this material was a silk or linen of a crinkled texture, indicated by the wavy parallel lines which appear on the statues. The fact that this treatment appears sometimes also on the skirt and on the upper part of the mantle, diminishes the probability of this hypothesis, and makes it appear more likely that this kind of technique was simply this
overfold
used to represent very
full
folds in a fine material.
Such a treatment may have been suggested to the by familiarity with some material of a crinkled texture, such as that used for sheets and table-cloths in some Greek villages to-day. With regard to the ornamental patterns which adorn the chiton, we find borders at the feet and at artist
the edge of the overfold, also strips of ornamentation running
round the neck and along the arms
and round the arm-holes, and almost invariably a
THE ORNAMENTAL PATTERNS broad band running
vertically
down
89
the front of the
lower part of the chiton,.J In addition to these strips
and borders we scattered
also get stars or small floral designs
whole
over the
which appear
The bands
garment.
at the edges are easy to understand
;
they were either woven in the material of which
they were made, to
it
afterwards
;
or,
more probably, embroidered on
but in those cases where the over-
worn and a pattern appears at its edge and also along the neck and arms, we must suppose that this latter was applied after the sleeves were formed and the overfold attached. Possibly, also, the vertical band on the lower part of the chiton represents a separate strip of embroidery sewn on fold
to
is
garment.
the
occupied
a
embroidery
when
large
;
proportion
of
their
time
in
and since a good piece of embroidery
very
lasts for
The Greek women probably
many
years,
it
is
quite possible that
worn out, they may good work, and sewn it
the original garment was
have cut
off the strip of still
on to a new
dress.
The
only other explanation of
the numerous patterns which appear on the statues, is
that
the artist
wherever
it
simply applied
ornamentation
pleased his fancy to do so
satisfactory than to suppose that he
;
this is less
was represent-
ing something which he actually saw.
Turning
to the himation or mantle
worn over
the chiton, the simplest method of producing the effect
seen
in the Acropolis statues
was found by
experiment to be by taking a piece of material between 5 and 6 yards long and about 18 or 20
M
THE MAIDENS OF THE ACROPOLIS
90
inches wide.
This was folded double, as in the
diagram at the point
Then
met.
a,
so that the points b and
at the points c
and
U
d, at equal distances
from the corners, and cutting off at
than
little less
one-third of the wide length of the
stuff,
the two
upper edges were fastened together on the model's right shoulder, a few pleats or gathers being taken in
the
on each
material
A
side.
series
of such
was made along the upper arm, as far as the points d and cH, which reached to the model's fastenings
elbow b\
;
the rest of the
was allowed
J
to
stuff,
as far as the points b and
The
hang down from the elbow.
d.
V
i
Fig. J3.
part of the material c to
and was arranged
d passed under
the
left
in a series of regular oblique folds
running parallel to the box-pleat, which formed naturally at the is
first
fastening on the shoulder
to say, at the points c
held in place breast,
arm
and d
;
itself
—
these folds were
by a band passing under the
drawn rather
tightly
that
left
round the figure and
secured firmly on the right shoulder.
In order to
make
the lower edge of the cloak rise in the middle,
as
does invariably in the statues,
it
necessary to draw the folds let
the upper edge
The
frill,
fall
was found up over the band and it
over, forming a kind of
however, hung
down
too low, and
it
frill.
was
Fig. 34.
—Drapery
in the Style of the Archaic Statues in the Acropolis
Museum,
Athens.
[Face page 01
THE SHAPE OF THE HIMATION
91
suggested cutting the upper edge of the cloak out m a curve, or rather in two curves,
this fact that
one at the back and one at the part under the
left
front, leaving the
arm longer than
that in front
and behind. When these curves were cut out and the garment once more arranged in its pleats, the little
edge hung of itself over the band, way in which it appears in some of the The band alone held the folds fairly well in
frill-like
just in the statues.
place
;
but in order to prevent the possibility of their the Athenian ladies probably had them
slipping,
stitched on to the band.
would be quite easy to slip the garment on and off over the head without even unfastening it on the shoulder.^
The
variations
It
which appear
in detail
ing the folds in a slightly different fashion, cases, as for folds
hang
example
in
No, 674 (Lechat, the middle
hanging from the shoulder produced by turning the folds
this
;
in
the opposite.
sometimes hang
first
mistake on the part of the does not appear at
(Lechat,
fig. 37),
•
Figs. 34, a
and
the
some
i),
The
of
be
one direction
folds of the
artist.
all,
for
'
b,
frill
those
simply a
this is
;
and
easily
can in
the
instead
Occasionally the
example
No. 686
in
but the cloak hangs straight
from the broad band.
manner.
pi,
in the opposite direction to
of the main part of the mantle
fVill
In
quite upright instead of obliquely,
the box-pleat appears in
and then
in
can easily be produced by arrang-
different statues
In this instance
down
we must
are photographs of a model draped in this
THE MAIDENS OF THE ACROPOLIS
92
suppose that the overhanging mass of material has
away
been cut
the
before
entirely
folds
were
attached to the band.
Sometimes the two ends were sewn together along the lines be and /5V, and in this case the last
by the letters a^and d', approached the points b and b', so as to leave an opening
fastening, indicated
nearer to
arm
only sufficient for the
The variety
detail is
the
of the cloak which presents most
edge which
little frill-like
Sometimes
the band.
to pass through.
falls
over
appears to be a natural
it
continuation of the vertical folds which
hang down
band so as almost to hide it it is shorter, and reveals the band and forms a sort of leaf-like pattern above it in other cases it disappears entirely. Its most below
it, ;
and it falls sometimes
ovei* the
;
one of the Victories
realistic representation is in
in
Museum, where the corners c and c', formed by cutting the curves, are actually indicated on the Acropolis
the shoulder, and the
almost exactly as In
two
it
cases
frill
lies in
was found in
the
an irregular zigzag,
to
fall
in practice.
Acropolis
Museum
at
Athens, and in a statue at Delphi, the band does not pass
under the arm, but from shoulder
to
and the cloak covers both arms symmetribeing fastened down both alike with a series
shoulder, cally,
of brooches. the middle,
In these cases the box-pleat
and the curve must necessarily have
been considerably smaller, lies
much
cloak was
falls in
since
the upper edge
higher up towards the neck.
worn
in this
way,
it
When
the
was probably sewn up
Fig. 35,
— Vase-painting— British
Museum.
[Face page 93.
DATE OF THE CHANGE TO A SIMPLER DRESS
93
down both
sides, and the curves for the neck, back were naturally equidistant from the two side-seams. The openings for the arms would come
and
front,
at the ends of the top edge, as in the case of the
lonicghiton.
f'The
by
style of dress represented
monuments is certainly the most we find in Greek art at any period.
this
set
luxurious
Now
of
which
the date of
the Acropolis maidens can be fixed at some period certainly not later than the last quarter of the sixth
century.
dress
Solon's sumptuary law regulating women's
must have been enacted during the
of the sixth century, so that
first
years
we may conclude
that
these dainty ladies with their chitons, cloaks, and scarfs represent the height of luxury in dress
was possible
after the passing of that
law
which :
their
self-satisfied smile seems to be inviting approval of
the degree of elegance to which
their
ingenuity
could attain, even though a stern
law-giver had
number of
to three.
limited the
their
garments
This style of dress seems to have passed out of fashion at the end of the sixth century, or in the early years of the
fifth,
for
we
find
it
only in the
works of sculpture already mentioned. An attempt to render it is frequently made by the artists early
of the early red-figured vases
success
;
—sometimes with some
but more often the attempt results in a
confusion between this somewhat elaborate style of cloak and the simpler development which
it
took
Fig. 35 shows a fairly successful attempt to later. represent the dress. Here we have the band passing
THE MAIDENS OF THE ACROPOLIS
94
round the right shoulder and the from
falling
the
right
the artist's
it,
but the
vertical
folds
and the fastening down
frill
arm
are omitted.
skill
too greatly
;
Possibly
they taxed
possibly the style had
already passed out of fashion in real
But he
life.
would be moderately familiar with the maidens on the Acropolis, although perhaps not sufficiently so to
be able to reproduce their costume
Working
daily in his
shop down below
little
Cerameicus, perhaps he
mount the
in detail.
did
in the
not very frequently
where he might study the art Possibly even the vase treasures that adorned it. is not earlier than 480 B.C., and the picture is but a citadel,
reminiscence of the statues that the artist had seen
on the Acropolis previous to their burial at the coming of the Persians. Very often on the vases
we
find the vertical folds represented falling
beneath
a
of
series
horizontal
folds
from
obviously
formed by turning over the top of the cloak before on the shoulder.
fastening
it
fastening
down
the
arm
Here the band and
are omitted.^
The
place of
the frill is taken by an overfold of the cloak before it is put on, and it is fastened by a single brooch on
the shoulder
;
the material
is
allowed to hang in
natural folds, and the necessity of cutting a curve
upper edge
in the
band ficial
is
is
obviated by the fact that no
worn, and the stuff
vertical folds.
This
is
not arranged in
style
arti-
of cloak appears
already on the figure of Apollo, on the relief from
Thasos
in the
Louvre '
;
it
is
Fig. 36.
seen most clearly in
Fig. 36.
— Vase-painting— Ionic
Dress.
[Face page 94.
Photo, hy Mansell
Fig, 37.
msf. Nat,
xi.
2
VI., xxvi.,
6.
MATERIALS AND ORNAMENTATION
100
worm from which coan reared on other trees,
was procured was notably the oak, ash, and silk
cypress.^
by the Latin and Propertius, and
Coee vestes are frequently mentioned poets, chiefly Horace, TibuUus,
from them we learn that they were chiefly worn by Hetairvpeo
red
we
word
find the
especially
"dark
^otviKeos,
of the military cloak of
red," used
the
Lacedee-
monians,' and kokko^u^^s, " scarlet " for yellow KpoKtaroi and Odyfrivoi. Barpaxh, " frog-coloured," is ;
the is
word applied
a green garment, and this
to
probably the colour described as
unripe grapes."
Pollux^
the Greeks wore ^atw
and
tells
koI fiiXav
us that for mourning
aW^Xois
learn that ^ai6f
was a very dark
eyyvs,
From
very like each other."
black,
"like
6fi<paKivoi,
"gray
this
we
colour, probably
gray or dun. ---nre ornamentation
applied
Greeks was very varied
to
by
dress
in character
;
is
it
the
com-
Greek vases a dress that is entirely free from decorations, and the patterns Sometimes the represented are very numerous. ornament consists of a simple border, often of a pattern distributed all over the dress, and these paratively rare to find on
designs are frequently of a very elaborate character, including
animal
and
even
human
In
forms.
was not neglected the maidens of the Acropolis at Athens all have some pattern on their draperies added in colour, and one sculpture, too, this feature
;
of them has no less than seven different designs distributed over her costume. »
Aristophanes, Pax, 1173
;
We
Lys., 1140.
know
that the ^
58.
;
MATERIALS AND ORNAMENTATION
102
himation of the Olympian Zeus by Pheidias was richly
decorated,
and the fragment from Damo-
phon's great group at Lycosura
will
serve as a later
example of sculptured drapery highly ornamented with patterns in
and is
floral
relief.
This has not only geometric
designs as borders, but
tlie
whole surface
covered with fantastic dancing figures of
human
and hybrid forms. References in literature are not very frequent
most noteworthy occurs in the Iliad^ where Helen is described as working at a great loom
the
:
ri
Se fieyav lTerpiiui.fievt]v
etvai
such means of enhancing
(j>aaioiro
oirwg fieiQoov SoKoit]
lead rubbed into ;
and
;
and
look fairer than she was
make her appear
rosier
wearing high sandals, to add to her natural height."
Ischomachus persuades her to give up these vanities,
goes
asking her
about
inraXei^ofjLevof,
she
will like
aXenpofjtevos
koI
him
better
tow?
if
he
o^OaX/iouy
"anointed with red ochre, and with
pigment under his >
if
/«/Xt^
eyes.''
Fig. 52 (a).
2 X., 2.
^ mxss!
Fig. 52.
—(a)
A
Museum. Museum.
P3rxis in the British
British
(i5)
A
Toilet-box in the
[Face page 122.
PIGMENTS AND UNGUENTS
123
White lead was commonly used for producing a complexion it was prepared by laying lead in vinegar, scraping off, powdering, and heating the fair
;
white rust thus formed.*
Various substances were
used
—some
producing rouge
for
vegetable
of the
;
latter,
mineral,
the root of a plant
(tpvKos),
were common.
{a-vKanivov),
(eyxo^'^'^
and That some
or ayxova-a), certain kinds of seaweed
mulberry juice
some
kind of pigment was used for darkening the eyelids
by Pollux^ and
further testified
is
Aristophanes.'
Lamp-black and a sulphuret of antimony (a-rlfi/xn), were used for blackening eyebrows and eyelids. Perfumed powders and unguents were used for skin and hair, scented with myrrh or roses or other products. The simplest and most common unguent was, of course, olive
complexions,
we
{irtiviKv, TTpoKoixiov),
came from the
In addition to
oil.
learn
false hair
that
artificial
and wigs
were not unknown, and that these
East.*
Many articles
examples have survived of the various pertaining to the equipment of a Greek
lady's
toilet-table.
boxes, and bottles
Combs, hair-pins, mirrors, are numerous in our museums.
Combs
made
are usually
of ivory or bone, with a
Hair-pins of bone, double row of rather fine teeth. ivory, or metal consist of a single pin with an
ornamental head. metal,
usually bronze,
found in 1
Mirrors are of highly polished
silver.
The
Theophr. de Lapidibus, *
56.
though mirrors '^
some have been
may be
VI I., 95
See Xenophon's Cyropadeia,
divided into ^
I., iii., 2.
Fragment
695.
THE TOILET
124
two classes— disk-mirrors and box-mirrors. The former consists of a single disk polished on one side,
The
the reverse being usually engraved. furnished with a handle,
which
is
disk
sometimes so
can serve also as a foot
constructed that
it
mirror can so be
made
on a
to stand
is
;
the
The
table.
handle of a mirror of this kind very frequently takes the form consists
a
of
human
two
of
disks,
The
figure.^
box-mirror
the lower one,
with
its
polished upper surface, serving as the mirror, the
upper one as a cover to protect
sometimes quite separate and
The two
it.
are
on to one another, but more often they are joined by a hinge the cover is usually ornamented with relief work, a favourite subject being Aphrodite and fit
closely
;
Eros, although other mythological scenes are also found."
Of
the various receptacles used for containing
trinkets,
hair-bands,
cosmetics,
and so
the
on,
commonest is the pyxis, although we find also baskets and little square caskets represented in vase-paintings and on the Attic grave reliefs. A box for cosmetics in the British Museum is in the shape of a
a
lid
;
its
bird.*
The
pyxis
is
a circular box with
sides are sometimes straight, but
and material was
it
Its
originally
name, wvin
;
is
boxwood, hence
in ivory, alabaster, Fig. 53
W-
its
but the majority of those which are
extant are terra-cotta, though they are
'
more
frequently raised on a foot.
often concave,
and precious metals. '
Fig- 53
(«)•
'
known
also
A common Fig. 52
(*).
[Face page 124.
TOILET BOTTLES AND JEWELLERY subject on a terra-cotta pyxis
is
a
toilet
125
scene or a
marriage procession.^
The
alabastron used to contain unguents or
perfumes
is
a long narrow bottle with a spreading
neck and small opening
;
it
has no
foot,
and
is
round at the bottom, so that some kind of stand
must have been necessary to hold it upright when not in use.^ It was usually made of stone, alabaster, The lekythos also was sometimes or terra-cotta. used for the same purpose.
That Greek ladies wore abundant jewellery is s^= proved by frequent representations both in sculpture and vase-paintings, as also by finds of jewellery,
actual
notably in the
Greek graves of the fourth century at Kertch. These objects have been described and discussed by Mr A. B. Walters, in his book on Tke Art of the Greeks? FIG. 54. Rings, bracelets, necklaces, brooches, and ear-rings, were commonly worn, as well as ornamental hair-pins and metal diadems for the hair. Many examples of goldsmith's work are extant including some gold ornaments set with precious stones.
summing up the results of the foregoing enquiry, we find that the nature and development In
of the costume of the Greeks
ance
with
what
we know
is
of
entirely in accord-
the
development of the national character. J
Fig. 52
(a).
?
Fig. 54.
'
nature
and
The
chief
Page 259
ff.
THE TOILET
126
of
characteristics
Doric
the
probably worn in early days by of the mainland
alike, is
dress, all
which
was
the inhabitants
a certain broad simplicity
;
was worn by the Asiatic Greeks, and for a short period at least by the Athenians also, is graceful elegance. These characteristics distinguish the Doric and Ionic that of the Ionic dress, which
temperaments as exhibited in art also, notably in architecture, and to some extent also in sculpture.
Athens appears
to
have occupied a middle position
between the Peloponnese and Ionia.
The
Pelopon-
nesians seem to have clung throughout their history to the
Dorian
Ionic
the
;
dress, as the lonians
probably did to
but in Athens we find change and
development most strongly marked.
In very early
days the Athenians wore the Doric dress then in the course of the seventh and sixth centuries their ;
intercourse with the East brought
them
into con-
tact with Eastern ideas and Eastern customs, and
they appear to have
caught
something
of
the
luxury which was characteristic of the East.
At
any
rate, for
dress,
and
a time at least they adopted the Ionic
carried
extravagance.
it
to a great degree of luxury
Then with
the Persian wars
and
came a
reaction against anything savouring of Orientalism,
and a return
to greater simplicity.
This
led to a
resumption of the Doric dress, with certain modifica-
and the retention of some Ionic elements. It can hardly be questioned that the freedom and simplicity of their dress was to a great extent tions
the
cause
of
the
development of the splendid
MENS SANA IN CORPORE SANO
127
physique which the Greeks undoubtedly enjoyed.
Their loose draperies allowed their limbs perfect freedom,
and
their
bodies were unhampered by
constraint of any kind.
gymnasium, exercise
air
their
and
In the palaestra and the sunlight
salutary
were
influence,
for
allowed
to
the Greeks
own naked skin," and so discarded their clothing when in pursuit of their The healthy state of body athletic occupations. were not "ashamed of
their
thus preserved no doubt had
mind
its
share in fostering
which are due the sanity and sobriety that characterise all Greek thought, whether expressed in literature, art, or that healthy state of
philosophy.
to
ENGLISH INDEX Abbia, statuette from, Achaeans,
5,
Barber, 120
5
13, 15, 16,
17, 102, 105,
108
Bombycina, 99 Boots,
Achilles, 21
;
shield of, 20
Acropolis of Athens,
8,
116, 117, 118, 119
Bottles, 121, 123
78
38,
;
archaic
Bracelets, 6, 7, 13, 125
statues from, 44, 69, 71, 73-96, loi,
Breeches, 6
112, 119
Briseis,
50 Brooches, 3, 4, 16, 18, 25, 26, 28, 29, 31,
Actor's dress, 71
/Sgean
islands, 2, 9, 14, 98
32, 35. 37, 40. 41, 52. 53, 56. 60, 62, 64, 67, 81, 87, 92, 94, 95, 125
iEgina, 39, 41 *:gis, 33, 34. 47
Agamemnon,
17, 28
Alabastron, 125 Aldnous, palace
Alexander,
Brygos, 66, 69 Bull-taming, 7, 8 Buttons, 13, 76
of, 2,
20
in
Calypso,
Amazons, 53, 106, 118 Andromache, 27 head-dress ;
of, 35,
lo8
Charites, relief of the, 78
Antinous, 31, 32 Aphrodite, 3, 33, 34, 64, 124 Apollo, 26, 80, 94, 109,
Chiton, Homeric, 18, 21, 22, 27, 31, 32,
no
37
Apron, 5, II, 13 Argive women, 40 Aiistarchus, 20
;
Doric, 51, 52, 53, 60
79, 80, 81, 82, 84, 87, 89, 93, 96,
no,
115,
Circe, 33 6, 7, 17, 24, 26, 34, 49, 52, 55,
76, 77, 78, 80, 92, 93. 95
Arsenic, 121
Artemis, Brauronia, 68, 70 46, 53 ; of Gabii, 7°, 95
;
in Dresden,
Coa, 99 Co(e vestes, 98, 100
Colour, applied to sculpture, 83, 84, 85 Colours, 37, 100, loi
Artemisia, 50
Aiy hallos, 121
"7
Combs, 123
Athena, 26, 29, 32, 33, 44. 461 47i 48,
Corsets, 70
51, 87,
"9
Athenians, 39, 40, 41, 42, 53, 57, 58, 59, 63, 65> 73, 74. 86, 91. 98.
126 129
98
Chlamys, 54 Cloak,
99
7, 8, 99i
Ionic, 19,
Chitoniscus, 77
54, 98, loi, 116, 117, 120, 122, 123
Assyria,
;
32, 41, 44, 46. 51. 58. 59-70, 76, 77,
Aristophanes,
Aristotle, 98,
27, 33, 34
Carians, 40, 41, 57, 58 Cassandra, 48
"6,
120,
Cos, silk from, 99 Cosmetics, 113, 122 Crete, 2, 3, 4. 5, 9. 14. 57. io7 Crossbands, 62, 64, 69, 70, 96
R
5
ENGLISH INDEX
130 Cupbearer of Knossos,
3, 9,
Hieron, 49, 60, 65, 106
107
Homeric,
Himation,
Delphi charioteer,
62, 65
Demeter, 106 Dionysus, 69, 117 Doric dress, 39-56, 59
48-52,
25 52,
Doric,
;
69,
71,
Hittites, 7 ;
blended with
type, 15, 17, 38
Dressing-gown type,
24,
Ionic,
73-96
Ionic, 52, 64, 95
Draped
95;
54,
Homeric civilization, 2 Homeric dress, 4, 15-38 Homeric house, 4
1
Iliad, 3, 8, 17, 20, 21, 22, 25, 27, 28,
Ear-rings,
29, 33, 34, 35, 36, 37, 102, 108,
29, 37, 125
109
India, 98
Egypt, 9, 98 tomb fresco from, 9 Eirene and Plutus, 45
lonians, 19, 57, 58, 59, 65, 98, 126
Eleusis, 49, 72, 78
Ionic dress, 40, 42, 51, 57-72, 73-96
;
Embroidery, 31,
32, 38, 61,89, 10°) '02,
Jacket type,
103
Kerchief, 36, 38, 113 Kertch, fragments of fabrics from, 97, 103, 105, 106 ; jewellery from, 125
Kimono, 12
False hair, 123 3. 4> 5.
Knossos,
13
2, 3, 5, 10, II, 12, 16, 38,
no, in,
Flounces,
3, 12, 14, 7,
96 115-119
Laertes,
Footgear,
Leather,
112, 122
Frills, 76, 80, 82, 86, 90, 91, 92, 94,
95
Fringes, 12, 29, 33 Fustanella, 78
116,
n,
12, 19, 20, 21, 22, 27, 35, 40,
nets, 36, 37, 108, 113 12, III, 113
Head-dress,
37, 107-114
Hector,
3, 28, 35 Helen, 27, 35, 102 Hellanicus of Lesbos, 10
51, 53 Mausolus, 50 Medici collar, 12 Menelaus, 17, 28
17-28
;
Doric, 52-56
art, 13,
;
Ionic, 58-72
15
Mirrors, 123, 124
Modern Greeks,
7,
38
Mourning, 37, loi Mycenaean dress, 3, 7, 107 Mycenaean remains, 2, 3, 4,
28, 107
in
Hera, 29, 33, 37, 66, II2 Hermes, 118 Herodotus, 39, 41, 42, 48, 64,96, 98, 103, 108, 117
97-
Mausoleum,
Minoan
Hephaistos, 52,
19, 60, 70, 75, 79, 88,
Men'sdress,pre-Hellenic,5-io; Homeric,
6, 8, 10, II, 13, 14, 28, 36,
8, 9,
Materials,
99, 100, 105
Hairpins, 123, 125
Helmets,
33, 97, 98,
41, 58, 59, 60, 70, 88, 97, 98
Gold, 29, 31, 33, 34, 100, 112, 119, 125
n,
28,
117 Lekythos, 121, 125 Linen,
70. 77, 79, 80, 81, 87, 122
Hats,
18; shroud of, 17, 27
8, 9, 21,
5, 11, 16, 19, 22, 29, 30, 31,
33, 34. 43, 44, 45, 46, 5°, 53, 62, 63,
Hair
107
Kolpos, 44, 52, 60, 63, 70, 80, 88
Fillets, 108,
Girdles,
12, 13, 15
Kefts, 9
Euphronius, 79 Eustathius, 70 Euxitheos, 50, 62
Fibulae,
n,
3,
Jewellery, 122, 125
Ephebi, 55, no Etruscans, 10
13, 15, 28, 37,
Mycone, 14 57, 58, 59,
Nausicaa, 35
107
5, 6, 8, 10,
ENGLISH INDEX Necklaces,
6, 7, 37,
131
Rouge, 122, 123
125
Nereids, 64, 87 Nike, 48, 103
Rings, 4, 109, 125
Sandals, Obi, 12
17, 28, 29, 37, 116, 118, 119,
122
Odysseus, 23 house of, 2 Odyssey, 18, 19, 20, 21, 23, 25, 26, 27, ;
28, 31, 32, 33, 34, 35, 37 Oil-flasks, 121
Ointments, 121 Olive-oil, 121, 123
Open Doric
dress, 31, 44,
46
Ornamentation, 101-106 Overfold, 30, 33, 44, 45, 46, 48, 63, 64, 65, 66, 67, 68, 69, 80, 82, 85, 87, 88,
Scarf, 37, 76, 87, 93, 112 Scissors, 65, 120
Scraper, 120 Seaweed, rouge prepared from, 123 Sericum, 99
Sewn garments,
12, 18, 31, 52, 60, 64,
66, 67, 87, 91, 96,
Shoes,
7, 10, 115,
Silk, 88, 97, 98,
97
116, 117, iig
99
Silkworm, 99 Skins, 17, 27
96
89, 94,
Sash, 12
PjEONIUS, 47
Skirt, 3, II, 12, 13, 83, 88
Paris, 28, 32
Sleeves, 6, 11, 32, 53, 60, 61, 62, 64, 65,
Parthenon, 45, 47, 51, 55, 64, 65, 95 Patroclus, funeral of, 21
Slippers, 116, 118
Patterns, II, 32, 33, 61, 75, 77, 83, 88, 89, 96, 100-106, 112
Pausanias, 53, 98, 99, Pelasgians, 10, 58
no
Penelope, 31, 32, 34 Peplos, 3, 28-33, 44, 48, 51, 52, 63, 69, 80, 81,' 82, 87, 96 ; of Athena, 46,
66, 67, 68, 69, 71, 87
Snake-goddess,
107
Socrates, 53, 115 Solon, 41, 42, 59, 93 Spartans, 53
121
Strigil,
Sulphuret of antimony, 123
Sumptuary
47 Perfume, 123
II,
Snood, 113
laws, 41, 59, 93
Survivals, 8, 13
Pergamon, 47 Persephone, 48
Tanagra statuettes,
Petasos, III, 114, 117
Theocritus, 98, 114, 115, 118, 119
Petsofa, terra-cottas from, 6, 11, 12, 13,
Thessaly, III, 114
49, 114
Thessalian cloak, 54
14
Thetis, 34, 37 54, III, 116, 117
Pheidias, 46, 47, 102, 119 Phoenicians, 9, 57
Thrace,
Pigments, 104, 122, 123
Thucydides, 42, 57, 58,
Pins, 16, 18, 28, 29, 30, 35, 43, 45
Tiryns, wall-painting from, 7
Plaits,
no
59,
log
Toilet, 120-125
Plato, 115
Toilet-boxes, 123, 124
Pollux, 46, 52, 59, 96, 100, lOI, 116,
Toilet scenes on vases, 121, 122, 125
118, 123
Trojans, 15, 16, 102, 105
Poseidon, 37, 38, 54
Tunic,
Powder, 113, 122
Turks, 7
6, 7,
17
Pre-Hellenic dress, 1-14, 15, 23, 38, 107 Pyxis, 124
Unguents,
Razors,
Vaphio cups,
Red
120, 121
ochre, 122
123
7
Veil, 29, 34, 35, 35, 37,
48
;
ENGLISH INDEX
132 Velletri,
Athena
of,
Woollen garments,
51
Victory, 47, 92
Waistcloth, 5, 6, 10, White lead, 122, 123
22, 23
Xenophon,
Wigs, 123
Women's
113, 116, 122
Xoana, 86 dress,
Homeric, 28-J8 57-96
24, 25, 26, 27, 51,
60, 97, 98, 105
pre-Hellenic, ;
Doric, 39-52
10-14 ;
Ionic,
Zeus, 29, 32, 44, 69, 102
1
GREEK INDEX iKTaSlr/v, 25,
123
S,yxpviivvvii.i,
26
?XtKes, 37
24
dXefiii'E/ios,
24
ilxirKaialtf,
68
ivSpofitSes,
118
dySii'd,
102
(vSv/t,a,
d7rX6ij,
24
ivSivw, 17, 18
7°
d7ro7rn57/ta, 30, 44,
24 ipPiXai, 118 dp^vMdes, 118 diroTWrifU,
29
^ver^, 16,
dTTojSdXXu, 24, 36 diro5^(r|Hos,
52
87
^VVVfltj
48
Ifoi/iis,
52,
53
fre/)0;ud(rxaXo!,
52
118
eifidpiSes,
eidTpiirroim
/SoeC(riv,
12
d/)i)/3aXAos,
f«pd, 54 paBiiiavm, 15, 16 padiKoXTos, 15, 16
fffiAia,
22, 23
fii;-!;,
16, 29, 33
parpaxis, lOO, lOI
j^dvfVfu, 22,
jSXaurai, I18
fuffT^^p, 16, 19,
piffffiva,
29 23
98
piaaoi, 98
6dfi.voi, loi
SoXfa, 113 Sicriiwra,
35 21
Biaipavh, 70
i/iai>Tes,
5(TXaf, 27, 37, 102
l/iaTlov, 39,
54irX^, 24, 25,
48
26
Smrixov, 26
cdXu/tes, 37
Si^Bipa, 97
KdXv/^/ta,
28
Kd\v7rrpri, 28,
^afos, 28,
29
lyxovira, 122, 123 ei/ta,
/card ar^Bos,
KeKpi(pd\os, 36
Kearis
48
iKdiva, 18, 24 18S
34
29
l/xas,
k(XX(Oc,
100
34
21
'
GREEK INDEX
134 KOKKO|8o0lJs, 101
ttoikIXos, 32,
k6\tos, 30, 33
ttAXos,
118
KovuirbSes,
102
112
Tropf
Jmuzc' :fUm/ci^u Cu,'
>/aii7i
HThf'.Uef
^^a^c^a^n^^
J^ce/i-^^.
EruiTAlAi
f'v
R..
actmi
,ytm
36
.1^
^
I
>
St
^^^
.1
f>
!!
^
1^
"to
^ .K
^^
^
^
?\
^^
t ^
1
-^
1^
'^
i.
k
^
^
K 5^
V.
fc
.^
^^.
i^
li
I 1^
\\
^..
V
-^
'g'^-^SSSx -.X
'>
X ^^i^p''
J^lCi^-/
fff^ ^^a^^fiu.
/f^OT^y^/t/i
u/rMtCi^a/ny /emm'-''-
{jnyCCUMly
female
^^^{tdy.
+
+
/'
'^,
u-iji^Si
i-i.H>r
cfL>
7^
/•^^
f^l
'„
(f^rri^,, /emfr/r.
S*>nm, ty Th'- !7r
