GREEK INDEX

GREEK INDEXἄγχουσα,123ἀλεξάνεμος,24ἁλοῦργος,101ἀμοργῖνον,70,98ἄμπυξ,36,112ἀμφιβάλλω,17,24ἀμφιέννυμι,24,29ἀνεμοσκεπής,24ἀνθινά,102ἁπλοΐς,24ἀποβάλλω,24,36ἀποδέσμος,70ἀποπτύγμα,30,44,87ἀποτίθημι,24ἀρβύλαι,118ἀρβυλίδες,118ἀρύβαλλος,121βαθύζωνος,15,16βαθύκολπος,15,16βατραχίς,100,101βλαυταί,118βύσσινα,98βύσσος,98δέσματα,35διαφανές,70δίπλαξ,27,37,102διπλῆ,24,25,26διπτύχον,26διφθέρα,97ἕανος,28,29ἔγχουσα,122,123εἷμα,48ἐκδύνω,18,24ἐκταδίην,25,26ἕλικες,37ἑλκεσιπέπλος,32ἑλκεχίτωνες,19,59,80ἔμβας,116,117,118ἐμπάσσω,102ἐμπλαισίῳ,68ἐνδρομίδες,118ἔνδυμα,52ἐνδύνω,17,18ἐνετή,16,29ἕννυμι,48ἔξωμις,52,53ἑτερομάσχαλος,52εὐμάριδες,118εὐστρέπτοισι βοεῦσιν,21ζειρά,54ζῶμα,22,23ζώνη,16,29,33ζώννυμι,22,29ζωστήρ,16,29,23θάψινος,101θολία,113ἵμαντες,21ἱματίον,39,48κάλυκες,37κάλυμμα,28κάλυπτρη,28,34κατὰ στῆθος,29κεκρύφαλος,36κεστὸς ἱμᾶς,34κίλλιον,100κοκκοβαφής,101κόλπος,30,33κονιπόδες,118κόρυμβος,109κουρεῖον,120κρήδεμνον,16,28,29,34,35,36,37,48,51κρηπίδες,118κροκωτός,101κρουπέζια,119κρωβύλος,109,110κυάνεος,37,101κυανοχαίτης,37κυμάτιον,104κυνῆ Θεσσαλίς,113λαμπρός,29,35λιπαρός,35λήκυθος,121λώπη,17,26μαλακός,20μίτρη,23,112μονοχίτων,53ξυρόν,120ξύστρα,121ὀθόνη,20,35οἰοχίτων,23ὀμφάκινος,101ὀνάγρινος,100ὀρθοστάδιος,71οὔλη,24,25παμποικίλος,32πέδιλον,17,28,29,116πέπλος,16,17,28,29,31περιβάλλω,17,24περιβλῆμα,52περιζῶμα,70περόνη,16,29,31,39,59περσικαί,118πέτασος,111πηνίκη,123πῖλος,111πλεκτὴ ἀναδέσμη,36ποδήρης,19,59ποικίλος,32,102πόλος,112πορφύρεος,3,25,37,101,102προκομίον,123πύξις,124ῥήγεα,17σάκκος,112σιγαλόεις,19,36στεφάνη,36,112στίμμις,123στόνυξ,120στρέπτος χιτών,20,21στρόφιον,70συκάμινον,123ταινία,70τανυπέπλος,32τερμίοεις,19τέττιξ,58,109,110τρίβων,53τυρρηνικά,119ὑπόδημα,116φαινομηρίς,46φαιός,101φᾶρος,16,17,24,27,28,33,35,37φοινίκεος,101φοινικόεις,25,37φῦκος,123χειριδωτός,68χιτὼν,16,17,18,19,21,23,24,35,52,59,70,98χιτῶν ἔξωμις,52,53χιτωνάριον,70χιτώνιον,70,98χιτωνίσκος,68,70,71χλαῖνα,16,17,23,24-28,35,37,55χλάμυς,54,56,111ψάλις,120ψήκτρα,120ψίλωθρον,121ψιμυθίον,122PRINTED BYOLIVER AND BOYD,EDINBURGH.FOOTNOTES[1]J. L. Myres,Journal of Hellenic Studies, vol. xx. Cp. also, for general principles of ground plan, “The Palace at Knossos,”British School Annual, VIII.[2]Cp. Busolt,Griechische Geschichte, vol. i., 2nd ed., chap. i.[3]Ridgeway,Early Age of Greece, chap. viii.; S. Müller,Urgeschichte Europas, pp. 95, 96.[4]Fig. 1, Cupbearer of Knossos. Cp. also, Vaphio Cup, gems, Perrot and Chipiez, VI., 426. 21.[5]British School Annual, IX., pls. ix. and x.[6]Dagger blade from Mycenæ. Perrot and Chipiez, VI., pl. xviii., 3.[7]Perrot and Chipiez, VI., fig. 365.[8]The characteristic Cretan boots may possibly be a direct survival.[9]Schliemann,Mycenæ, pp. 272, 273.[10]Perrot and Chipiez, VI., fig. 380;ἘφημερίςἈρχαιολογική, 1888, pl. viii.[11]Perrot and Chipiez, III., fig. 303.[12]British School Annual, IX., “Keftiu and the Peoples of the Sea.”[13]Daremberg and Saglio,Dictionnaire des Antiquités,s.v.“Etrusci.”[14]Figs. 2 and 3fromBritish School Annual, IX.[15]Fig. 4, only a very small fragment of the skirt remains; but the painting has been restored. Reproduced from theBritish School Annual, VIII., fig. 28.[16]Fig. 5fromBritish School Annual, IX., pl. viii.[17]The large sash worn over the “Kimono” and tied rather high up at the back.[18]British School Annual, IX., pls. xi. and xii.[19]On “fibulæ,” see Sophus Müller,Urgeschichte Europas, p. 95. O. Montelius,Civilization of Sweden in Heathen Times.[20]British School Annual, IX.[21]Tournefort, I., 109.[22]See also, Choiseul-Gouffier,Voyage pittoresque de la Grèce, Paris, 1809, where the women of the islands are represented wearing a tight corslet over a chemisette. A high head-dress, not unlike that of the Petsofa statuettes, was commonly worn by the island women as late as the eighteenth century.[23]Iliad, 18. 122, 389, 24. 215.[24]Ibid., 9. 594;Odyssey, 3. 154.[25]Odyssey, xix., 137.[26]Ibid., xiii., 22.[27]Iliad, ii., 42.[28]Beiträge zur Geschichte der altgriechischen Tracht, p. 13.[29]Odyssey, xv., 60.[30]xiv. 72.[31]Pauly-Wissowa,Real Encyclopädie,s.v.“χιτών,” Studniczka, p. 15 f.[32]Odyssey, xix., 232:τὸν δὲ χιτῶν᾽ ἐνόησα περὶ χροῒ σιγαλόενταοἷόν τε κρομύοιο λοπὸνκάταἰσχαλέοιοτὼς μὲν ἔην μαλακὸς, λαμπρὸς δ᾽ ἦν ἠέλιος ὥς.“And I saw the shining tunic on his body, like the skin of a dried onion—so soft it was, and bright as the sun.”[33]Iliad, v., 113; xxi., 31.[34]Cp.Fig. 7(a); the human figure struggling with the Minotaur.[35]Odyssey, iii., 349.[36]Ibid., xvii., 86.[37]Ibid., xiv., 522.[38]Iliad, ii., 183.[39]SeeFig. 7(a), where the second figure from the right is represented wearing only the χλαῖνα ἁπλοΐς.[40]E. A. Gardner,Handbook of Greek Sculpture, p. 128.[41]Unless the garment were square, the diagonally opposite corners would not coincide when folded corner to corner; they are invariably represented on the vases as coinciding.[42]Fig. 7(b) is taken from the “François” vase.[43]Odyssey, xiii., 223.[44]iii., 126; xxii., 440.[45]Odyssey, ii., 97; xix., 137.[46]Ibid., v., 257.[47]Iliad, x., 22.[48]Ibid., 29; iii., 17.[49]Odyssey, xiv., 23.[50]Iliad, x., 261 f.[51]Ibid., xxiv., 93.[52]Ibid., v., 194.[53]Ibid., xxiv., 795.[54]xiv., 178 f.[55]p. 97 f.[56]Fig. 8.[57]Iliad, vi., 289.[58]Ibid., v., 733; viii., 385.[59]Odyssey, xv., 105; xviii., 292.[60]See section on “Materials and Ornamentation.”[61]Odyssey, v., 230.[62]The passage is repeated word for word of Circe,Odyssey, x., 543.[63]Odyssey, xv., 469.[64]Iliad, xiv., 214.[65]B., 254.[66]The κάλυμμα κυάνεον, “dark blue veil,” of Thetis (Iliad, xxiv., 93) is the same garment.[67]Hera is represented wearing it so on the François 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).[68]Thetis is represented in the François vase just about to veil or unveil her face; though the head is missing, it is clear, from the position of the arm, that the κρήδεμνον was worn over the head.[69]Iliad, iii., 141.[70]Odyssey, vi., 100.[71]Cp.Iliad, xxii., 406, 470.[72]Ibid., xxii., 468 f.[73]Odyssey, xvi., 173; xxiii., 155, etc.[74]DasHomerische Epos, p. 157, f.[75]Iliad, xviii., 40.[76]Odyssey, ix., 247.[77]Iliad, xxiv., 93.[78]Iliad, xiv., 182.[79]v., 87.[80]Plutarch, “Solon,” 21.[81]Fig. 10.[82]Fig. 12.[83]Furtwängler,Masterpieces, p. 324.[84]Pollux, II., 187.[85]Fig. 13.[86]Furtwängler, pl. ii.[87]Ibid., fig. 6.[88]B.M., E. 183.[89]E. 307.[90]Fig. 14, the figure to the right in the upper band.[91]SeeFig. 20.[92]Fig. 15.[93]E. 258,fig. 16.[94]Fig. 17.[95]Masterpieces, p. 142,fig. 18.[96]B.M., B. 331.[97]Figs.20and21.[98]Fig. 20.[99]i., 1567.[100]Pauly-Wissowa,Real Encyclopädie.[101]Fig. 22.[102]Fig. 23.[103]i., 4.[104]i., 8.[105]i., 171.[106]According to Ridgeway,Early Age of Greece, the Carians, like the Leleges, were a Pelasgian people.[107]i., 6.[108]Poll., vii., 49.[109]Studniczka has pointed out that the word χιτών is of Semitic origin, and connected with a root signifying “linen,”Beiträge, p. 17 f.[110]Cp.Fig. 14, the second figure to the right in the lower band.[111]E.g., B.M., E. 73; cp.Fig. 25, the two male figures.[112]Fig. 27.[113]Fig. 16.[114]Quæstiones vestiariæ.[115]Fig. 28.[116]Prolegomena to Greek Religion, p. 292.[117]Cp.Fig. 29.[118]Fig. 29.[119]C. I. A., ii., 754.[120]Nos. 687 and 688.[121]B.M., Vase, E. 230.[122]Ar. Lys., 48;Menander Meineke. frag. incert., 141.[123]C. I. A., ii., 754.[124]Jahrbuch, i., pl. 102a; Gerhard,Auserlesene Vasenbilder, 79, 80; Dumont and Chaplain, pl. 8;Journal of Hellenic Studies, 1890, pl. 12.[125]Cp. Amelung in Pauly-Wissowa’sReal Encyclopädie,s.v.“Chiton,” p. 2322.[126]B.M., E. 270.[127]Fig. 31.[128]Lechat, figs. 8 and 9; Perrot and Chipiez, 290 and 292.[129]SeeFig. 32.[130]Perrot and Chipiez, VIII., pls. 5 and 12; Lechat, 22, 29, 30, etc. This feature comes out clearly infig. 31.[131]Perrot and Chipiez, VIII., fig. 303; Lechat, fig. 31.[132]Cp.Jahrbuch, 1893; Arch. Anz., H. 519; Winter.[133]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 constituted.[134]Jahrbuch, xi.[135]How Greek Women Dressed.[136]E.g., Lechat, fig. 12.[137]Figs. 34,aandb, are photographs of a model draped in this manner.[138]Fig. 36.[139]Fig. 37.[140]B.M., E. 336.[141]Athens Central Museum, 1285.[142]Aristophanes,The Clouds, 72; Plato,Crito, 53D.[143]Lys., 150.[144]VI., 21.[145]II., 86.[146]Theocritus, II., 73.[147]Hist. Anim., v., 19.[148]Hist. Nat., xi.[149]VI., xxvi., 6.[150]For silk generally, see Daremberg and Saglio,s.v.“coa”; Smith,Dictionary of Antiquities,s.v.“sericum”; Yates,Textrinum Antiquorum, pp. 160 f.; Pariset,Histoire de la Soie, Part I., chap. i.[151]Propertius, I., 2; Horace,Satires, I., ii., 101.[152]Horace,Odes, IV., xiii.; Tibullus, II., 6.[153]Chap. lviii.[154]Aristophanes,Pax, 1173;Lys., 1140.[155]58.[156]iii., 125.[157]Figs.39and41aandb.[158]I., 203.[159]For patterns generally, see H. B. Walters,History of Ancient Pottery, ii., 209-235; Riegl,Stilfragen.[160]For colouring, seeComptes rendus, 1878.[161]British Museum, E. 140.Fig. 14, above.[162]SeeBritish School Annual, 1901-2, VIII., 72, fig. 37.[163]Iliad, ii., 443, 472.[164]Ibid., xxii., 468 f.[165]Fig. 42(a).[166]Fig. 42(b).[167]Fig. 42(c).[168]Fig. 42(d).[169]The hair of Euphorbus, described inIliad, xvi., 52, was possibly dressed in this fashion.[170]DasHomerische Epos, 166-170; cp.Mittheilungen des Deutschen Instituts in Athen, vi., pl. 7, p. 186.[171]Jahrbuch des kaiserlich Deutschen Instituts, xi., 1896, pp. 284-291.[172]Fig. 43(a).[173]Fig. 43(b). It is interesting to note that little Athenian schoolgirls of to-day wear their hair in this fashion.[174]Pausanias, I., xxxvii., 2;Æsch. Choeph., 6.[175]1267.[176]Fig. 19.[177]Fig. 32.[178]Fig. 45(b).[179]Fig. 45(candd).[180]Fig. 45(e).[181]Fig. 45(g).[182]Fig. 45(h).[183]Fig. 45(iandj).[184]Fig. 45(k).[185]313.[186]Fig. 15.[187]Plato,Phædrus, 229 A.[188]174 A.[189]Aristophanes,The Clouds, 103; Theocritus, XIV., 6.[190]Knights, 321.[191]Cyropædia, xviii., 2, 5.[192]Fig. 46(aandb);Fig. 48(c).[193]Fig. 46(candd).[194]VII., 85.[195]The Wasps, 600.[196]The Wasps, 274;The Clouds, 719.[197]Fig. 22.[198]I., 195.[199]Figs.47and48(a).[200]XV., 6.[201]VII., 85.[202]Figs.48(b) and49(aandb).[203]XXXV., 25.[204]VII., 84-93.[205]Anth. Pal., vi., 307.[206]Fig. 51.[207]Fig. 52(a).[208]x., 2.[209]Theophr. de Lapidibus, 56.[210]VII., 95.[211]Fragment 695.[212]See Xenophon’sCyropædia, I., iii., 2.[213]Fig. 53(b).[214]Fig. 53(a).[215]Fig. 52(b).[216]Fig. 52(a).[217]Fig. 54.[218]Page 259 ff.

GREEK INDEX

PRINTED BYOLIVER AND BOYD,EDINBURGH.

FOOTNOTES[1]J. L. Myres,Journal of Hellenic Studies, vol. xx. Cp. also, for general principles of ground plan, “The Palace at Knossos,”British School Annual, VIII.[2]Cp. Busolt,Griechische Geschichte, vol. i., 2nd ed., chap. i.[3]Ridgeway,Early Age of Greece, chap. viii.; S. Müller,Urgeschichte Europas, pp. 95, 96.[4]Fig. 1, Cupbearer of Knossos. Cp. also, Vaphio Cup, gems, Perrot and Chipiez, VI., 426. 21.[5]British School Annual, IX., pls. ix. and x.[6]Dagger blade from Mycenæ. Perrot and Chipiez, VI., pl. xviii., 3.[7]Perrot and Chipiez, VI., fig. 365.[8]The characteristic Cretan boots may possibly be a direct survival.[9]Schliemann,Mycenæ, pp. 272, 273.[10]Perrot and Chipiez, VI., fig. 380;ἘφημερίςἈρχαιολογική, 1888, pl. viii.[11]Perrot and Chipiez, III., fig. 303.[12]British School Annual, IX., “Keftiu and the Peoples of the Sea.”[13]Daremberg and Saglio,Dictionnaire des Antiquités,s.v.“Etrusci.”[14]Figs. 2 and 3fromBritish School Annual, IX.[15]Fig. 4, only a very small fragment of the skirt remains; but the painting has been restored. Reproduced from theBritish School Annual, VIII., fig. 28.[16]Fig. 5fromBritish School Annual, IX., pl. viii.[17]The large sash worn over the “Kimono” and tied rather high up at the back.[18]British School Annual, IX., pls. xi. and xii.[19]On “fibulæ,” see Sophus Müller,Urgeschichte Europas, p. 95. O. Montelius,Civilization of Sweden in Heathen Times.[20]British School Annual, IX.[21]Tournefort, I., 109.[22]See also, Choiseul-Gouffier,Voyage pittoresque de la Grèce, Paris, 1809, where the women of the islands are represented wearing a tight corslet over a chemisette. A high head-dress, not unlike that of the Petsofa statuettes, was commonly worn by the island women as late as the eighteenth century.[23]Iliad, 18. 122, 389, 24. 215.[24]Ibid., 9. 594;Odyssey, 3. 154.[25]Odyssey, xix., 137.[26]Ibid., xiii., 22.[27]Iliad, ii., 42.[28]Beiträge zur Geschichte der altgriechischen Tracht, p. 13.[29]Odyssey, xv., 60.[30]xiv. 72.[31]Pauly-Wissowa,Real Encyclopädie,s.v.“χιτών,” Studniczka, p. 15 f.[32]Odyssey, xix., 232:τὸν δὲ χιτῶν᾽ ἐνόησα περὶ χροῒ σιγαλόενταοἷόν τε κρομύοιο λοπὸνκάταἰσχαλέοιοτὼς μὲν ἔην μαλακὸς, λαμπρὸς δ᾽ ἦν ἠέλιος ὥς.“And I saw the shining tunic on his body, like the skin of a dried onion—so soft it was, and bright as the sun.”[33]Iliad, v., 113; xxi., 31.[34]Cp.Fig. 7(a); the human figure struggling with the Minotaur.[35]Odyssey, iii., 349.[36]Ibid., xvii., 86.[37]Ibid., xiv., 522.[38]Iliad, ii., 183.[39]SeeFig. 7(a), where the second figure from the right is represented wearing only the χλαῖνα ἁπλοΐς.[40]E. A. Gardner,Handbook of Greek Sculpture, p. 128.[41]Unless the garment were square, the diagonally opposite corners would not coincide when folded corner to corner; they are invariably represented on the vases as coinciding.[42]Fig. 7(b) is taken from the “François” vase.[43]Odyssey, xiii., 223.[44]iii., 126; xxii., 440.[45]Odyssey, ii., 97; xix., 137.[46]Ibid., v., 257.[47]Iliad, x., 22.[48]Ibid., 29; iii., 17.[49]Odyssey, xiv., 23.[50]Iliad, x., 261 f.[51]Ibid., xxiv., 93.[52]Ibid., v., 194.[53]Ibid., xxiv., 795.[54]xiv., 178 f.[55]p. 97 f.[56]Fig. 8.[57]Iliad, vi., 289.[58]Ibid., v., 733; viii., 385.[59]Odyssey, xv., 105; xviii., 292.[60]See section on “Materials and Ornamentation.”[61]Odyssey, v., 230.[62]The passage is repeated word for word of Circe,Odyssey, x., 543.[63]Odyssey, xv., 469.[64]Iliad, xiv., 214.[65]B., 254.[66]The κάλυμμα κυάνεον, “dark blue veil,” of Thetis (Iliad, xxiv., 93) is the same garment.[67]Hera is represented wearing it so on the François 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).[68]Thetis is represented in the François vase just about to veil or unveil her face; though the head is missing, it is clear, from the position of the arm, that the κρήδεμνον was worn over the head.[69]Iliad, iii., 141.[70]Odyssey, vi., 100.[71]Cp.Iliad, xxii., 406, 470.[72]Ibid., xxii., 468 f.[73]Odyssey, xvi., 173; xxiii., 155, etc.[74]DasHomerische Epos, p. 157, f.[75]Iliad, xviii., 40.[76]Odyssey, ix., 247.[77]Iliad, xxiv., 93.[78]Iliad, xiv., 182.[79]v., 87.[80]Plutarch, “Solon,” 21.[81]Fig. 10.[82]Fig. 12.[83]Furtwängler,Masterpieces, p. 324.[84]Pollux, II., 187.[85]Fig. 13.[86]Furtwängler, pl. ii.[87]Ibid., fig. 6.[88]B.M., E. 183.[89]E. 307.[90]Fig. 14, the figure to the right in the upper band.[91]SeeFig. 20.[92]Fig. 15.[93]E. 258,fig. 16.[94]Fig. 17.[95]Masterpieces, p. 142,fig. 18.[96]B.M., B. 331.[97]Figs.20and21.[98]Fig. 20.[99]i., 1567.[100]Pauly-Wissowa,Real Encyclopädie.[101]Fig. 22.[102]Fig. 23.[103]i., 4.[104]i., 8.[105]i., 171.[106]According to Ridgeway,Early Age of Greece, the Carians, like the Leleges, were a Pelasgian people.[107]i., 6.[108]Poll., vii., 49.[109]Studniczka has pointed out that the word χιτών is of Semitic origin, and connected with a root signifying “linen,”Beiträge, p. 17 f.[110]Cp.Fig. 14, the second figure to the right in the lower band.[111]E.g., B.M., E. 73; cp.Fig. 25, the two male figures.[112]Fig. 27.[113]Fig. 16.[114]Quæstiones vestiariæ.[115]Fig. 28.[116]Prolegomena to Greek Religion, p. 292.[117]Cp.Fig. 29.[118]Fig. 29.[119]C. I. A., ii., 754.[120]Nos. 687 and 688.[121]B.M., Vase, E. 230.[122]Ar. Lys., 48;Menander Meineke. frag. incert., 141.[123]C. I. A., ii., 754.[124]Jahrbuch, i., pl. 102a; Gerhard,Auserlesene Vasenbilder, 79, 80; Dumont and Chaplain, pl. 8;Journal of Hellenic Studies, 1890, pl. 12.[125]Cp. Amelung in Pauly-Wissowa’sReal Encyclopädie,s.v.“Chiton,” p. 2322.[126]B.M., E. 270.[127]Fig. 31.[128]Lechat, figs. 8 and 9; Perrot and Chipiez, 290 and 292.[129]SeeFig. 32.[130]Perrot and Chipiez, VIII., pls. 5 and 12; Lechat, 22, 29, 30, etc. This feature comes out clearly infig. 31.[131]Perrot and Chipiez, VIII., fig. 303; Lechat, fig. 31.[132]Cp.Jahrbuch, 1893; Arch. Anz., H. 519; Winter.[133]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 constituted.[134]Jahrbuch, xi.[135]How Greek Women Dressed.[136]E.g., Lechat, fig. 12.[137]Figs. 34,aandb, are photographs of a model draped in this manner.[138]Fig. 36.[139]Fig. 37.[140]B.M., E. 336.[141]Athens Central Museum, 1285.[142]Aristophanes,The Clouds, 72; Plato,Crito, 53D.[143]Lys., 150.[144]VI., 21.[145]II., 86.[146]Theocritus, II., 73.[147]Hist. Anim., v., 19.[148]Hist. Nat., xi.[149]VI., xxvi., 6.[150]For silk generally, see Daremberg and Saglio,s.v.“coa”; Smith,Dictionary of Antiquities,s.v.“sericum”; Yates,Textrinum Antiquorum, pp. 160 f.; Pariset,Histoire de la Soie, Part I., chap. i.[151]Propertius, I., 2; Horace,Satires, I., ii., 101.[152]Horace,Odes, IV., xiii.; Tibullus, II., 6.[153]Chap. lviii.[154]Aristophanes,Pax, 1173;Lys., 1140.[155]58.[156]iii., 125.[157]Figs.39and41aandb.[158]I., 203.[159]For patterns generally, see H. B. Walters,History of Ancient Pottery, ii., 209-235; Riegl,Stilfragen.[160]For colouring, seeComptes rendus, 1878.[161]British Museum, E. 140.Fig. 14, above.[162]SeeBritish School Annual, 1901-2, VIII., 72, fig. 37.[163]Iliad, ii., 443, 472.[164]Ibid., xxii., 468 f.[165]Fig. 42(a).[166]Fig. 42(b).[167]Fig. 42(c).[168]Fig. 42(d).[169]The hair of Euphorbus, described inIliad, xvi., 52, was possibly dressed in this fashion.[170]DasHomerische Epos, 166-170; cp.Mittheilungen des Deutschen Instituts in Athen, vi., pl. 7, p. 186.[171]Jahrbuch des kaiserlich Deutschen Instituts, xi., 1896, pp. 284-291.[172]Fig. 43(a).[173]Fig. 43(b). It is interesting to note that little Athenian schoolgirls of to-day wear their hair in this fashion.[174]Pausanias, I., xxxvii., 2;Æsch. Choeph., 6.[175]1267.[176]Fig. 19.[177]Fig. 32.[178]Fig. 45(b).[179]Fig. 45(candd).[180]Fig. 45(e).[181]Fig. 45(g).[182]Fig. 45(h).[183]Fig. 45(iandj).[184]Fig. 45(k).[185]313.[186]Fig. 15.[187]Plato,Phædrus, 229 A.[188]174 A.[189]Aristophanes,The Clouds, 103; Theocritus, XIV., 6.[190]Knights, 321.[191]Cyropædia, xviii., 2, 5.[192]Fig. 46(aandb);Fig. 48(c).[193]Fig. 46(candd).[194]VII., 85.[195]The Wasps, 600.[196]The Wasps, 274;The Clouds, 719.[197]Fig. 22.[198]I., 195.[199]Figs.47and48(a).[200]XV., 6.[201]VII., 85.[202]Figs.48(b) and49(aandb).[203]XXXV., 25.[204]VII., 84-93.[205]Anth. Pal., vi., 307.[206]Fig. 51.[207]Fig. 52(a).[208]x., 2.[209]Theophr. de Lapidibus, 56.[210]VII., 95.[211]Fragment 695.[212]See Xenophon’sCyropædia, I., iii., 2.[213]Fig. 53(b).[214]Fig. 53(a).[215]Fig. 52(b).[216]Fig. 52(a).[217]Fig. 54.[218]Page 259 ff.

FOOTNOTES

[1]J. L. Myres,Journal of Hellenic Studies, vol. xx. Cp. also, for general principles of ground plan, “The Palace at Knossos,”British School Annual, VIII.

[2]Cp. Busolt,Griechische Geschichte, vol. i., 2nd ed., chap. i.

[3]Ridgeway,Early Age of Greece, chap. viii.; S. Müller,Urgeschichte Europas, pp. 95, 96.

[4]Fig. 1, Cupbearer of Knossos. Cp. also, Vaphio Cup, gems, Perrot and Chipiez, VI., 426. 21.

[5]British School Annual, IX., pls. ix. and x.

[6]Dagger blade from Mycenæ. Perrot and Chipiez, VI., pl. xviii., 3.

[7]Perrot and Chipiez, VI., fig. 365.

[8]The characteristic Cretan boots may possibly be a direct survival.

[9]Schliemann,Mycenæ, pp. 272, 273.

[10]Perrot and Chipiez, VI., fig. 380;ἘφημερίςἈρχαιολογική, 1888, pl. viii.

[11]Perrot and Chipiez, III., fig. 303.

[12]British School Annual, IX., “Keftiu and the Peoples of the Sea.”

[13]Daremberg and Saglio,Dictionnaire des Antiquités,s.v.“Etrusci.”

[14]Figs. 2 and 3fromBritish School Annual, IX.

[15]Fig. 4, only a very small fragment of the skirt remains; but the painting has been restored. Reproduced from theBritish School Annual, VIII., fig. 28.

[16]Fig. 5fromBritish School Annual, IX., pl. viii.

[17]The large sash worn over the “Kimono” and tied rather high up at the back.

[18]British School Annual, IX., pls. xi. and xii.

[19]On “fibulæ,” see Sophus Müller,Urgeschichte Europas, p. 95. O. Montelius,Civilization of Sweden in Heathen Times.

[20]British School Annual, IX.

[21]Tournefort, I., 109.

[22]See also, Choiseul-Gouffier,Voyage pittoresque de la Grèce, Paris, 1809, where the women of the islands are represented wearing a tight corslet over a chemisette. A high head-dress, not unlike that of the Petsofa statuettes, was commonly worn by the island women as late as the eighteenth century.

[23]Iliad, 18. 122, 389, 24. 215.

[24]Ibid., 9. 594;Odyssey, 3. 154.

[25]Odyssey, xix., 137.

[26]Ibid., xiii., 22.

[27]Iliad, ii., 42.

[28]Beiträge zur Geschichte der altgriechischen Tracht, p. 13.

[29]Odyssey, xv., 60.

[30]xiv. 72.

[31]Pauly-Wissowa,Real Encyclopädie,s.v.“χιτών,” Studniczka, p. 15 f.

[32]Odyssey, xix., 232:τὸν δὲ χιτῶν᾽ ἐνόησα περὶ χροῒ σιγαλόενταοἷόν τε κρομύοιο λοπὸνκάταἰσχαλέοιοτὼς μὲν ἔην μαλακὸς, λαμπρὸς δ᾽ ἦν ἠέλιος ὥς.“And I saw the shining tunic on his body, like the skin of a dried onion—so soft it was, and bright as the sun.”

[32]Odyssey, xix., 232:

τὸν δὲ χιτῶν᾽ ἐνόησα περὶ χροῒ σιγαλόενταοἷόν τε κρομύοιο λοπὸνκάταἰσχαλέοιοτὼς μὲν ἔην μαλακὸς, λαμπρὸς δ᾽ ἦν ἠέλιος ὥς.

τὸν δὲ χιτῶν᾽ ἐνόησα περὶ χροῒ σιγαλόεντα

οἷόν τε κρομύοιο λοπὸνκάταἰσχαλέοιο

τὼς μὲν ἔην μαλακὸς, λαμπρὸς δ᾽ ἦν ἠέλιος ὥς.

“And I saw the shining tunic on his body, like the skin of a dried onion—so soft it was, and bright as the sun.”

[33]Iliad, v., 113; xxi., 31.

[34]Cp.Fig. 7(a); the human figure struggling with the Minotaur.

[35]Odyssey, iii., 349.

[36]Ibid., xvii., 86.

[37]Ibid., xiv., 522.

[38]Iliad, ii., 183.

[39]SeeFig. 7(a), where the second figure from the right is represented wearing only the χλαῖνα ἁπλοΐς.

[40]E. A. Gardner,Handbook of Greek Sculpture, p. 128.

[41]Unless the garment were square, the diagonally opposite corners would not coincide when folded corner to corner; they are invariably represented on the vases as coinciding.

[42]Fig. 7(b) is taken from the “François” vase.

[43]Odyssey, xiii., 223.

[44]iii., 126; xxii., 440.

[45]Odyssey, ii., 97; xix., 137.

[46]Ibid., v., 257.

[47]Iliad, x., 22.

[48]Ibid., 29; iii., 17.

[49]Odyssey, xiv., 23.

[50]Iliad, x., 261 f.

[51]Ibid., xxiv., 93.

[52]Ibid., v., 194.

[53]Ibid., xxiv., 795.

[54]xiv., 178 f.

[55]p. 97 f.

[56]Fig. 8.

[57]Iliad, vi., 289.

[58]Ibid., v., 733; viii., 385.

[59]Odyssey, xv., 105; xviii., 292.

[60]See section on “Materials and Ornamentation.”

[61]Odyssey, v., 230.

[62]The passage is repeated word for word of Circe,Odyssey, x., 543.

[63]Odyssey, xv., 469.

[64]Iliad, xiv., 214.

[65]B., 254.

[66]The κάλυμμα κυάνεον, “dark blue veil,” of Thetis (Iliad, xxiv., 93) is the same garment.

[67]Hera is represented wearing it so on the François 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).

[68]Thetis is represented in the François vase just about to veil or unveil her face; though the head is missing, it is clear, from the position of the arm, that the κρήδεμνον was worn over the head.

[69]Iliad, iii., 141.

[70]Odyssey, vi., 100.

[71]Cp.Iliad, xxii., 406, 470.

[72]Ibid., xxii., 468 f.

[73]Odyssey, xvi., 173; xxiii., 155, etc.

[74]DasHomerische Epos, p. 157, f.

[75]Iliad, xviii., 40.

[76]Odyssey, ix., 247.

[77]Iliad, xxiv., 93.

[78]Iliad, xiv., 182.

[79]v., 87.

[80]Plutarch, “Solon,” 21.

[81]Fig. 10.

[82]Fig. 12.

[83]Furtwängler,Masterpieces, p. 324.

[84]Pollux, II., 187.

[85]Fig. 13.

[86]Furtwängler, pl. ii.

[87]Ibid., fig. 6.

[88]B.M., E. 183.

[89]E. 307.

[90]Fig. 14, the figure to the right in the upper band.

[91]SeeFig. 20.

[92]Fig. 15.

[93]E. 258,fig. 16.

[94]Fig. 17.

[95]Masterpieces, p. 142,fig. 18.

[96]B.M., B. 331.

[97]Figs.20and21.

[98]Fig. 20.

[99]i., 1567.

[100]Pauly-Wissowa,Real Encyclopädie.

[101]Fig. 22.

[102]Fig. 23.

[103]i., 4.

[104]i., 8.

[105]i., 171.

[106]According to Ridgeway,Early Age of Greece, the Carians, like the Leleges, were a Pelasgian people.

[107]i., 6.

[108]Poll., vii., 49.

[109]Studniczka has pointed out that the word χιτών is of Semitic origin, and connected with a root signifying “linen,”Beiträge, p. 17 f.

[110]Cp.Fig. 14, the second figure to the right in the lower band.

[111]E.g., B.M., E. 73; cp.Fig. 25, the two male figures.

[112]Fig. 27.

[113]Fig. 16.

[114]Quæstiones vestiariæ.

[115]Fig. 28.

[116]Prolegomena to Greek Religion, p. 292.

[117]Cp.Fig. 29.

[118]Fig. 29.

[119]C. I. A., ii., 754.

[120]Nos. 687 and 688.

[121]B.M., Vase, E. 230.

[122]Ar. Lys., 48;Menander Meineke. frag. incert., 141.

[123]C. I. A., ii., 754.

[124]Jahrbuch, i., pl. 102a; Gerhard,Auserlesene Vasenbilder, 79, 80; Dumont and Chaplain, pl. 8;Journal of Hellenic Studies, 1890, pl. 12.

[125]Cp. Amelung in Pauly-Wissowa’sReal Encyclopädie,s.v.“Chiton,” p. 2322.

[126]B.M., E. 270.

[127]Fig. 31.

[128]Lechat, figs. 8 and 9; Perrot and Chipiez, 290 and 292.

[129]SeeFig. 32.

[130]Perrot and Chipiez, VIII., pls. 5 and 12; Lechat, 22, 29, 30, etc. This feature comes out clearly infig. 31.

[131]Perrot and Chipiez, VIII., fig. 303; Lechat, fig. 31.

[132]Cp.Jahrbuch, 1893; Arch. Anz., H. 519; Winter.

[133]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 constituted.

[134]Jahrbuch, xi.

[135]How Greek Women Dressed.

[136]E.g., Lechat, fig. 12.

[137]Figs. 34,aandb, are photographs of a model draped in this manner.

[138]Fig. 36.

[139]Fig. 37.

[140]B.M., E. 336.

[141]Athens Central Museum, 1285.

[142]Aristophanes,The Clouds, 72; Plato,Crito, 53D.

[143]Lys., 150.

[144]VI., 21.

[145]II., 86.

[146]Theocritus, II., 73.

[147]Hist. Anim., v., 19.

[148]Hist. Nat., xi.

[149]VI., xxvi., 6.

[150]For silk generally, see Daremberg and Saglio,s.v.“coa”; Smith,Dictionary of Antiquities,s.v.“sericum”; Yates,Textrinum Antiquorum, pp. 160 f.; Pariset,Histoire de la Soie, Part I., chap. i.

[151]Propertius, I., 2; Horace,Satires, I., ii., 101.

[152]Horace,Odes, IV., xiii.; Tibullus, II., 6.

[153]Chap. lviii.

[154]Aristophanes,Pax, 1173;Lys., 1140.

[155]58.

[156]iii., 125.

[157]Figs.39and41aandb.

[158]I., 203.

[159]For patterns generally, see H. B. Walters,History of Ancient Pottery, ii., 209-235; Riegl,Stilfragen.

[160]For colouring, seeComptes rendus, 1878.

[161]British Museum, E. 140.Fig. 14, above.

[162]SeeBritish School Annual, 1901-2, VIII., 72, fig. 37.

[163]Iliad, ii., 443, 472.

[164]Ibid., xxii., 468 f.

[165]Fig. 42(a).

[166]Fig. 42(b).

[167]Fig. 42(c).

[168]Fig. 42(d).

[169]The hair of Euphorbus, described inIliad, xvi., 52, was possibly dressed in this fashion.

[170]DasHomerische Epos, 166-170; cp.Mittheilungen des Deutschen Instituts in Athen, vi., pl. 7, p. 186.

[171]Jahrbuch des kaiserlich Deutschen Instituts, xi., 1896, pp. 284-291.

[172]Fig. 43(a).

[173]Fig. 43(b). It is interesting to note that little Athenian schoolgirls of to-day wear their hair in this fashion.

[174]Pausanias, I., xxxvii., 2;Æsch. Choeph., 6.

[175]1267.

[176]Fig. 19.

[177]Fig. 32.

[178]Fig. 45(b).

[179]Fig. 45(candd).

[180]Fig. 45(e).

[181]Fig. 45(g).

[182]Fig. 45(h).

[183]Fig. 45(iandj).

[184]Fig. 45(k).

[185]313.

[186]Fig. 15.

[187]Plato,Phædrus, 229 A.

[188]174 A.

[189]Aristophanes,The Clouds, 103; Theocritus, XIV., 6.

[190]Knights, 321.

[191]Cyropædia, xviii., 2, 5.

[192]Fig. 46(aandb);Fig. 48(c).

[193]Fig. 46(candd).

[194]VII., 85.

[195]The Wasps, 600.

[196]The Wasps, 274;The Clouds, 719.

[197]Fig. 22.

[198]I., 195.

[199]Figs.47and48(a).

[200]XV., 6.

[201]VII., 85.

[202]Figs.48(b) and49(aandb).

[203]XXXV., 25.

[204]VII., 84-93.

[205]Anth. Pal., vi., 307.

[206]Fig. 51.

[207]Fig. 52(a).

[208]x., 2.

[209]Theophr. de Lapidibus, 56.

[210]VII., 95.

[211]Fragment 695.

[212]See Xenophon’sCyropædia, I., iii., 2.

[213]Fig. 53(b).

[214]Fig. 53(a).

[215]Fig. 52(b).

[216]Fig. 52(a).

[217]Fig. 54.

[218]Page 259 ff.

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