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The life of married women, maidens, children while in the care of women, and of female slaves, passed in the gynaikonitis, from which they issued only on rare occasions. The family life of Greek women widely differed from our Christian idea; neither did it resemble the life in an Oriental harem, to which it was far superior. The idea of the family was held up by both law and custom, and although concubinage and the intercourse with hetairai was suffered, nay favored, by the state, still such impure elements never intruded on domestic relations.
Our following remarks refer, of course, only to the better classes, the struggle for existence by the poor being nearly the same in all ages. In the seclusion of the gynaikonitis the maiden grew up in comparative ignorance. The care bestowed on domestic duties and on her dress was the only interest of her monotonous existence. Intellectual intercourse with the other sex was wanting entirely. Even where maidens appeared in public at religious ceremonies, they acted separately from the youths. An intercourse of this kind, at any rate, could not have a lasting influence on their culture. Even marriage did not change this state of things. The maiden only passed from the gynaikonitis of her father into that of her husband. In the latter, however, she was the absolute ruler. She did not share the intellectual life of her husband—one of the fundamental conditions of our family life. It is true that the husband watched over her honor with jealousy, assisted by the gynaikonomoi, sometimes even by meansof lock and key. It is also true that common custom protected a well-behaved woman against offence; still her position was only that of the mother of the family. Indeed, her duties and achievements were hardly considered by the husband, in a much higher light than those of a faithful domestic slave.
In prehistoric times the position of women seems to have been, upon the whole, a more dignified one. Still, even then, their duties were essentially limited to the house, as is proved, for instance, by the words in which Telemachus bids his mother mind her spindle and loom, instead of interfering with the debates of men. As the state became more developed, it took up the whole attention of the man, and still more separated him from his wife. Happy marriages, of course, were by no means impossible; still, as a rule, the opinion prevailed of the woman being by nature inferior to the man, and holding a position of a minor with regard to civic rights. This principle has, indeed, been repeatedly pronounced by ancient philosophers and lawgivers. Our remarks hitherto referred chiefly to the Ionic-Attic tribe, renowned for the modesty of its women and maidens. The Doric principle, expressed in the constitution of Sparta, gave, on the contrary, full liberty to maidens to show themselves in public, and to steel their strength by bodily exercise. This liberty, however, was not the result of a philosophic idea of the equality of the two sexes, but was founded on the desire of producing strong children by means of strengthening the body of the female.
The chief occupation of women, beyond the preparing of the meals, consisted in spinning and weaving. In Homer we see the wives of the nobles occupied in this way; and the custom of the women making the necessary articles of dress continued to prevail even when the luxury of later times, together with the degeneracy of the women themselves, had made the establishment of workshops and places of manufacture for this purposenecessary. Antique art has frequently treated these domestic occupations. The Attic divinities, Athene Ergane and Aphrodite Urania, as well as the Argive Here, Ilithyia, the protecting goddess of child-bearing, Persephone, and Artemis, all these plastic art represents as goddesses of fate, weaving the thread of life, and, at the same time, protecting female endeavors; in which two-fold quality they have the emblem of domestic activity, the distaff, as their attribute. Only a few representations of spinning goddesses now remain; but many are the pictures of mortal spinning-maidens painted on walls, chiefly for female use. For the spinning, a spindle was used, as is still the case in places where thenorthern spinning-wheel has not supplanted the antique custom. Homer describes noble ladies handling the distaff with the spindle belonging to it. Helen received a present of a golden spindle, with a silver basket to keep the thread in. The distaff, with a bundle of wool or flax fastened to its point, was held under the left arm, while the thumb and first finger of the right hand, slightly wetted, spun the thread at the end of which hung the spindle, made of metal. The web was, from the spindle, wound round a reel, to be further prepared on the loom.
SOCIAL ENJOYMENT OF WOMENSOCIAL ENJOYMENT OF WOMEN (From an ancient painting.)ToList
SOCIAL ENJOYMENT OF WOMEN (From an ancient painting.)ToList
Akin to spinning are the arts of weaving and embroidering. We frequently see in vase-paintings women with embroidering-frames in their laps. The skill of Greek ladies in embroidery is sufficiently proved by the tasteful embroidered patterns and borders on Greek dresses, both of men and women. The vase-paintings supply many examples.
Our remarks about female duties in preparing the meal must be short. The heavy parts of the duty, like grinding the corn in hand-mills, were performed by servants. In the palace of Odysseus twelve female slaves were employed all day in grinding wheat and barley in an equal number of hand-mills, to supply the numerous guests. The hand-mill consisted (like those still used in some Greek islands) of two stones, each about two feet in diameter, the upper one of which was made to rotate by means of a crooked handle, so as to crush the corn poured through an opening in it.
Baking and roasting meat on the spit were among the duties of female slaves. In every house of even moderate wealth, several of these were kept as cooks, chambermaids, and companions of the ladies on their walks, it being deemed improper for them to leave the house unaccompanied by several slaves. How far ladies took immediate part in the preparing of dainty dishes we can not say. In later times it became customary to buy or hire male slaves as cooks.
Antique representations of women bathing, adorning themselves, playing, and dancing, are numerous. The Athenian maiden, unlike her Spartan sister, did not think it proper to publicly exhibit her bodily skill and beauty in a short chiton, but taking a bath seems to have been among her every-day habits as is shown by the numerous bathing scenes on vases. In one of them, a slave pours the contents of a hydria over her nude mistress. Cowering on the floor in another we see an undressed woman catching in her hand the water-spout issuing from a mask of Pan in the wall into a bath. An alabastron and comb are lying on the floor. A picture on an amphora in the museum of Berlin offers a most interesting view of the interior of a Greek bath-chamber. We see a bathing establishment built in the Doric style. By a row of columns the inner space is divided into two bath-chambers, each for two women. The water is most likely carried by pressure to the tops of the hollow columns, the communication among which is effected by means of pipes about six feet from the ground. The openings of the taps are formed into neatly modeled heads of boars, lions, and panthers, from the mouths of which a fine rain spray is thrown on the bathers. Their hair has been tightly arranged into plaits. The above-mentioned pipes were evidently used for hanging up the towels; perhaps they were even filled with hot water to warm the bathing linen. Whether our picture represents a public or private bath seems doubtful. The dressing after the bath has also been frequently depicted.
We need not enter upon the subject here. We will mention the chief utensils, as the comb, ointment-bottle, mirror, etc., on a following page. The scenes thus depicted are undoubtedly borrowed from daily life, although Aphrodite, with her attendance of Cupids and Graces, has taken the place of mortal women.
For music, games, and dances, we mention only a game at ball, which was played in a dancing measure, and, therefore,considered as a practice of graceful movements. Homer mentions Nausikaa as a skilled player of this game. It is remarkable that wherever women playing at ball appear in pictures they are represented in a sitting posture. (See cut, page 205.)
The swing was essentially a female amusement. In commemoration of the fate of Erigone, daughter of Ikarios, a festival had been ordained at Athens at which the maidens indulged in the joys of the swing. Illustrations of this pastime occur frequently on vases, free from any mythological symbolism, even in cases where Eros is made to move the swing.
We now come to the point in the maiden's life when she is to preside over her own household as the legitimate mate of her husband. In most cases Greek marriage was a matter of convenience, a man considering it his duty to provide for the legitimate continuation of his family. The Doric tribe did not attempt to disguise this principle in its plain-spoken laws; the rest of Greece acknowledged it but in silence, owing to a more refined conception of the moral significance of marriage.
The seclusion of female life, indeed, made the question of personal charms appear of secondary importance. Equity of birth and wealth were the chief considerations. The choice of the Athenian citizen was limited to Athenian maidens; only in that case were the children entitled to full birthright, the issue of a marriage of an Athenian man or maiden with a stranger being considered illegitimate by the law. Such a marriage was, indeed, nothing but a form of concubinage. The laws referring to this point were, however, frequently evaded. At the solemn betrothal, always preceding the actual marriage, the dowry of the bride was settled; her position as a married woman greatly depended upon its value. Frequently the daughter of poor, deserving citizens were presented with a dowry by the state or by a number of citizens.
In Homer's time the bridegroom wooed the bride with richgifts; Iphidamas, for instance, offers a hundred heifers and a thousand goats as a nuptial present. But afterwards this was entirely reversed, the father of the bride having to provide the dowry, consisting partly in cash, partly in clothes, jewelry, and slaves. In cases of separation the dowry had, in most cases, to be returned to the wife's parents. The most appropriate age for contracting a marriage, Plato in his Republic fixes, for girls, at twenty, for men, at thirty. There was, however, no rule to this effect. Parents were naturally anxious to dispose of their daughters as early as possible, without taking objection to the advanced years of the wooer, as is tersely pointed out by Aristophanes.
The actual marriage ceremony, or leading home, was preceded by offerings to Zeus Teleios, Hera Teleia, Artemis Eukleia and other deities protecting marriage. The bridal bath was the second ceremony, which both bride and bridegroom had to go through previous to their union.
On the wedding day, towards dark, after the meal at her parental home was over,[21]the bride left the festively adorned house, and was conducted by the bridegroom in a chariot to his dwelling. She sat between the bridegroom and the best man chosen from among his relatives or intimate friends. Accompanied by the sounds of the hymenæos, and the festive sounds of flutes and friendly acclamations from all passers-by, the procession moved slowly towards the bridegroom's house, also adorned with wreaths of foliage. The mother of the bride walked behind the chariot, with the wedding torches, kindled at the parental hearth, according to custom immemorial. At the door of the bridegroom his mother was awaiting the young couple with burning torches in her hand. In case no wedding meal had been served at the bride's house, the company now sat down to it. To prognosticate the desired fertility of the union, cakes of sesame were distributed. The same symbolic meaning attached to the quince, which,according to Solon's law, the bride had to eat. After the meal the couple retired to the thalamos, where for the first time the bride unveiled herself to her husband. Before the door of the bridal chamber epithalamia were sung, a charming specimen of which we possess in the bridal hymn of Helena by Theokritos. On the two first days after the wedding, wedding-presents were received by the pair. Not till after these days did the bride appear without her veil.
Very different from the social position of chaste women was that of the hetairai. We are not speaking of the lowest class of unfortunates, worshiping Aphrodite Pandemos, but of those women who, owing to their beauty and grace of conversation, exerted great influence even over superior men. We only remind the reader of Aspasia. In the graces of society the hetairai were naturally superior to respectable women, owing to their free intercourse with men. For the hetairai did not shun the light of day, and were not restrained by the law. Only the house of the married man was closed to them.
Before passing from private to public life, we must cast a glance at the early education of the child by the mother. We begin with the earliest days of infancy. After the first bath the new-born child was put into swaddling-clothes, a custom not permitted by the rougher habits of Sparta. On the fifth or seventh day the infant had to go through the ceremony of purification; the midwife, holding him in her arms, walked several times round the burning altar. A festive meal on this day was given to the family, the doors being decorated with an olive crown for a boy, with wool for a girl. On the tenth day after its birth, when the child was named, another feast took place. This ceremony implied the acknowledgment, on the part of the father, of the child's legitimacy. The name of the child was chosen by both parents, generally after the name of either of the grandparents, sometimes, also, after the name or attributes of a deity,under whose particular protection the child was thus placed. A sacrifice, offered chiefly to the goddess of child-bearing, Here Ilithyia, and a meal, concluded the ceremony. At the latter, friends and relatives presented the infant with toys of metal or clay, while the mother received painted vases. The antique cradle consisted of a flat swing of basket work, such as appears in a terra-cotta relief in the British Museum, of the infant Bacchus being carried by a satyr brandishing a thyrsus, and a torch-bearing bacchante. Another kind of cradle, in the form of a shoe, is shown containing the infant Hermes, recognizable by his petasos. It also is made of basket-work. The advantage of this cradle consists in its having handles, and, therefore, being easily portable. It also might be suspended on ropes, and rocked without difficulty. Other cradles, similar to our modern ones, belong to a later period. The singing of lullabies, and the rocking of children to sleep, were common amongst the ancients. Wet-nurses were commonly employed amongst Ionian tribes; wealthy Athenians chose Spartan nurses in preference, as being generally strong and healthy. After the child had been weaned it was fed by the dry nurse and the mother with pap, made chiefly of honey.
The rattle, said to be invented by Archytas, was the first toy of the infant. Other toys of various kinds were partly bought, partly made by the children themselves on growing older. We mention painted clay puppets, representing human beings or animals, such as tortoises, hares, ducks, and mother apes with their offspring. Small stones were put inside, so as to produce a rattling noise; which circumstance, together with the fact of small figures of this kind being frequently found on children's graves, proves their being toys. Small wooden carts, houses and ships made of leather, and many other toys, made by the children themselves, might be instanced. Up to their sixth year boys and girls were brought up together under their mother's care; fromthat point their education became separate. The education proper of the boy became a more public one, while the girl was brought up by the mother at home, in a most simple way, according to their notions. From amongst the domestic slaves a trustworthy companion was chosen for the boy. He was, however, not a tutor in our sense, but rather a faithful servant, who had to take care of the boy in his walks, particularly on his way to and from school. He also had to instruct his pupil in certain rules of good behavior. The boy had, for instance, to walk in the street with his head bent, as a sign of modesty, and to make room for his elders meeting him. In the presence of the latter he had to preserve a respectful silence. Proper behavior at table, a graceful way of wearing his garments, etc., might be mentioned as kindred subjects of education. Boys were accompanied by pedagogues up to their sixteenth year. The latter appear frequently in vase-paintings, and are easily recognizable by their dress, consisting of chiton and cloak, with high-laced boots; they also carry sticks with crooked handles, and their hair and beards give them a venerable aspect; while their pupils, according to Athenian custom, are clad more lightly and gracefully. The pedagogue of the group of the Niobides is well known.
Education was, at Athens, a matter of private enterprise. Schools were kept by private teachers, the government supervision extending only to the moral not to the scientific qualification of the schoolmaster. Grammar, music and gymnastics, to which Aristotle adds drawing, as a means of æsthetic cultivation, were the common subjects of education at schools and gymnasia; also reading, writing and arithmetic. The method of teaching how to write consisted in the master's forming the letters, which the pupils had to imitate on their tablets, sometimes with the master's assistance. The writing materials were small tablets covered with wax, into which the letters were scratched by means of a pencil made of metal or ivory. It was pointed atone end, and flattened or bent at the other, so as to extinguish the writing, if required, and, at the same time, to smooth the surface again for other letters. A young girl, in a charming Pompeian wall-painting, has in her hand a double tablet, while with her other hand she holds a pencil to her chin, as if pondering over a letter. Her nurse looking over her shoulder tries to decipher the contents of the love-letter. Besides these tablets, Herodotus mentions the use of paper made of the bark of the Egyptian papyrus-plant. The stalk (three or four feet in length) was cut longitudinally, after which the outer bark was first taken off; the remaining layers of bark, about twenty in number, were carefully severed with a pin; and, afterwards, the single stripes plaited crosswise; by means of pressing and perforating the whole with lime-water, the necessary consistency of the material was obtained. The lower layers of bark yielded the best writing-paper, while the outer layers were made into packing-paper (emporetica); the uppermost bark was used for making ropes. A case of this kind full of parchment rolls, with a cover to it, stands by the side of Klio in a wall-painting of Herculaneum. In her left hand the muse holds a half-opened roll on which are inscribed the words "Klio teaches history." The ink was made of a black coloring substance; it was kept in an inkstand made of metal, with a cover to it. Double inkstands, frequently seen on monuments, were most likely destined for the keeping of black and red inks, the latter of which was frequently used. To write on paper or parchment, the ancients used the Memphic, Gnidic, or Anaitic reeds, pointed and split like our pens. As we mentioned before, it was the custom of adults to write either reclining on the kline, with the leaf resting on the bent leg, or sitting in a low arm-chair, in which case the writing apparatus was supported by the knee of the writer. The latter posture is exemplified by a reading ephebos in a vase-painting; it was, undoubtedly, also that of the boys sitting on the rising steps usedas forms at the schools. After his elementary education was completed, the boy was made acquainted with the works of national poetry, particularly with the poems of Homer, the learning by heart and reciting of which inspired him with patriotic pride.
Of the marriage contracts of the Egyptians we are entirely ignorant, nor do we even find the ceremony represented in the paintings of their tombs. We may, however, conclude that they were regulated by the customs usual among civilized nations; and, if the authority of Diodorus can be credited, women were indulged with greater privileges in Egypt than in any other country. He even affirms that part of the agreement entered into at the time of marriage was, that the wife should have control over her husband, and that no objection should be made to hercommands, whatever they might be; but, though we have sufficient to convince us of the superior treatment of women among the Egyptians, as well from ancient authors as from the sculptures that remain, it may fairly be doubted if those indulgences were carried to the extent mentioned by the historian, or that command extended beyond the management of the house, and the regulation of domestic affairs.
It is, however, remarkable that the royal authority and supreme direction of affairs were entrusted without reserve to women, as in those states of modern Europe where the Salic law has not been introduced; and we not only find examples in Egyptian history of queens succeeding to the throne, but Manetho informs us that the law, according this important privilege to the other sex, dated as early as the reign of Binothris, the third monarch of the second dynasty.
In primitive ages the duties of women were very different from those of later and more civilized periods, and varied of course according to the habits of each people. Among pastoral tribes they drew water, kept the sheep, and superintended theherds as well as flocks. As with the Arabs of the present day, they prepared both the furniture and the woolen stuffs of which the tents themselves were made, ground the corn, and performed other menial offices. They were also engaged, as in ancient Greece, in weaving, spinning, needlework, embroidery, and other sedentary occupations within doors.
The Egyptian ladies in like manner employed much of their time with the needle; and the sculptures represent many females weaving and using the spindle. But they were not kept in the same secluded manner as those of ancient Greece, who, besides being confined to certain apartments in the house, most remote from the hall of entrance, and generally in the uppermost part of the building, were not even allowed to go out of doors without a veil, as in many Oriental countries at the present day.
The Egyptians treated their women very differently, as the accounts of ancient authors and the sculptures sufficiently prove. At some of the public festivals women were expected to attend—not alone, like the Moslem women at a mosque, but in company with their husbands or relations; and Josephus states that on an occasion of this kind, "when it was the custom for women to go to the public solemnity, the wife of Potiphar, having pleaded ill health in order to be allowed to stay at home, was excused from attending," and availed herself of the absence of her husband to talk with Joseph.
That it was the custom of the Egyptians to have only one wife, is shown by Herodotus and the monuments, which present so many scenes illustrative of their domestic life; and Diodorus is wrong in supposing that the laity were allowed to marry any number, while the priests were limited to one.
But a very objectionable custom, which is not only noticed by Diodorus, but is fully authenticated by the sculptures both of Upper and Lower Egypt, existed among them from the earliest times, the origin and policy of which it is not easy toexplain—the marriage of brother and sister—which Diodorus supposes to have been owing to, and sanctioned by, that of Isis and Osiris; but as this was purely an allegorical fable, and these ideal personages never lived on earth, his conjecture is of little weight; nor does any ancient writer offer a satisfactory explanation of so strange a custom.
Though the Egyptians confined themselves to one wife, they, like the Jews and other Eastern nations, both of ancient and modern times, scrupled not to admit other inmates to theirhareem, most of whom appear to have been foreigners, either taken in war, or brought to Egypt to be sold as slaves. They became members of the family, like those in Moslem countries at the present day, and not only ranked next to the wives and children of their lord, but probably enjoyed a share of the property at his death.
These women were white or black slaves, according to the countries from which they were brought; but, generally speaking, the latter were employed merely as domestics, who were required to wait upon their mistress and her female friends. The former, likewise, officiated as servants, though they of course held a rank above the black slaves.
The same custom prevailed among the Egyptians regarding children, as with the Moslems and other Eastern people; no distinction being made between their offspring by a wife or any other woman, and all equally enjoying the rights of inheritance; for, since they considered a child indebted to the father for its existence, it seemed unjust to deny equal rights to all his progeny.
In speaking of the duties of children in Egypt, Herodotus declares, that if a son was unwilling to maintain his parents he was at liberty to refuse, but that a daughter, on the contrary, was compelled to assist them, and, on refusal, was amenable to law. But we may question the truth of this statement; and,drawing an inference from the marked severity of filial duties among the Egyptians, some of which we find distinctly alluded to in the sculptures of Thebes, we may conclude that in Egypt much more was expected from a son than in any civilized nation of the present day; and this was not confined to the lower orders, but extended to those of the highest ranks of society. And if the office of fan-bearer was an honorable post, and the sons of the monarch were preferred to fulfill it, no ordinary show of humility was required on their part; and they walked on foot behind his chariot, bearing certain insignia over their father during the triumphal processions which took place in commemoration of his victories, and in the religious ceremonies over which he presided.
It was equally a custom in the early times of European history, that a son should pay a marked deference to his parent; and no prince was allowed to sit at table with his father, unless through his valor, having been invested with arms by a foreign sovereign, he had obtained that privilege; as was the case with Alboin, before he succeeded his father on the throne of the Lombards. The European nations were not long in altering their early habits, and this custom soon became disregarded; but a respect for ancient institutions, and those ideas, so prevalent in the East, which reject all love of change, prevented the Egyptians from discarding the usages of their ancestors; and we find this and many other primitive customs retained, even at the period when they were most highly civilized.
In the education of youth they were particularly strict; and "they knew," says Plato, "that children ought to be early accustomed to such gestures, looks, and motions as are decent and proper, and not to be suffered either to hear or learn any verses and songs, than those which are calculated to inspire them with virtue; and they consequently took care that every dance and ode introduced at their feasts or sacrifices should be subject to certain regulations."
They particularly inculcated respect for old age; and the fact of this being required even towards strangers, argues a great regard for the person of a parent; for we are informed that, like the Israelites and the Lacedæmonians, they required every young man to give place to his superiors in years, and even, if seated, to rise on their approach.
Nor were these honors limited to their lifetime; the memory of parents and ancestors was revered through succeeding generations; their tombs were maintained with the greatest respect; liturgies were performed by their children, or by priests at their expense; and we have previously seen what advantage was taken of this feeling, in the laws concerning debt.
"For of all people" says Diodorus, "the Egyptians retain the highest sense of a favor conferred upon them, deeming it the greatest charm of life to make a suitable return for benefits they have received;" and from the high estimation in which the feeling of gratitude was held among them, even strangers felt a reverence for the character of the Egyptians.
Through this impulse, they were induced to solemnize the funeral obsequies of their kings with the enthusiasm described by the historian; and to this he partly attributes the unexampled duration of the Egyptian monarchy.
It is only doing justice to the modern Egyptians to say that gratitude is still a distinguishing trait of their character; and this is one of the many qualities inherited by them, for which their predecessors were remarkable; confirming what we have before stated, that the general peculiarities of a people are retained, though a country may be conquered, and nominally peopled by a foreign race.
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We now come to the dress of the Ancients. We shall have to consider those articles of dress used as a protection against the weather, and those prescribed by decency or fashion, also the coverings of the head and the feet, the arrangement of the hair and the ornaments. Unfortunately, the terminology is, in many cases, uncertain. Many points, therefore, must remain undecided. Before entering upon details, we must remark that the dress of the Greeks, compared with modern fashion, was extremely simple and natural. Owing to the warmth of the climate and the taste of the inhabitants, both superfluous and tight articles of dress were dispensed with. Moreover, the body was allowed to develop its natural beauty in vigorous exercise; and in this harmony and beauty of the limbs the Greeks prided themselves, which, of course, reacted favorably on the character of the dress.
Gold PinsGOLD PINSToList
GOLD PINSToList
Identical with this in form is the chiton worn by Doric women. It was simple, short-skirted, and with a slit in the upper part at both sides. It was fastened with clasps over both shoulders, and shortened as far as the knees by means of pulling it through the girdle. In this form it is worn by two maidens in the Louvre, destined for the service of the Lakonian Artemis at Karyæ. They carry kinds of baskets on their heads, and are performing the festive dance in honor of the goddess. The exomis is worn by the female statue in the Vatican known as the "Springing Amazon," and also by statues of Artemis, andrepresentations of that goddess on gems and coins. The long chiton for women reaching down to the feet, and only a little pulled up at the girdle, we see in a vase painting, representing dancing youths and maidens, the former wearing the short, the latter the long, chiton. A development of the long chiton is the double-chiton. It was a very large, oblong piece of woven cloth, left open on one side, like the Doric chiton for men. It was equal to about one and a half lengths of the body. The overhanging part of the cloth was folded round the chest and back, from the neck downwards, the upper edge being arranged round the neck, and the two open corners clasped together on one shoulder. On this open side, therefore, the naked body was visible. Over the other shoulder the upper edge of the chiton was also fastened with a clasp—these clasps, as seen in annexed cuts, were elaborate ornaments, some being richly bejeweled, others being made of wrought gold—the arm being put through the opening left between this clasp and the corresponding corner of the cloth.
Shawl or Toga PinSHAWL OR TOGA PINToList
SHAWL OR TOGA PINToList
In the same way was arranged the half-open chiton, the open side of which, from the girdle to the lower hem, was sewed up. A bronze statuette illustrates this way of putting it on. A young girl is about to join together on her left shoulder the chiton, which is fastened over the right shoulder by means of an agraffe. It appears clearly that the whole chiton consists of one piece. Together with the open and half-open kinds of the chiton, we also find the closed double-chiton flowing down to the feet. It was a piece of cloth considerably longer than the human body, and closed on both sides, inside of which theperson putting it on stood as in a cylinder. As in the chiton of the second form, the overhanging part of the cloth was turned outward, and the folded rim pulled up as far as the shoulders, across which (first on the right, and after it on the left side) the front and back parts were fastened together by means of clasps, the arms being put through the two openings affected in this manner. Round the hips the chiton was fastened by means of a girdle, through which the bottom part of the dress trailing along the ground was pulled up just far enough to let the toes be visible. Above the girdle the chiton was arranged in shorter or longer picturesque folds. The chief alterations of varying fashion applied to the arrangement of the diploidion which reached either to the part under the bosom or was prolonged as far as the hips; its front and back parts might either be clasped together across the shoulders, or the two rims might be pulled across the upper arm as far as the elbow, and fastened in several places by means of buttons or agraffes, so that the naked arm became visible in the intervals, by means of which the sleeveless chiton received the appearance of one with sleeves. Where the diploidion was detached from the chiton, it formed a kind of handsome cape, which, however, in its shape, strictly resembled the Diploidion proper. Its shape was considerably modified by fashion, taking sometimes the form of a close-fitting jacket, at others (when the sides remained open) that of a kind of shawl, the ends of which sometimes equaled in length the chiton itself.In the latter case, the ampechonion was naturally at least three times as long as it was wide. In antique pictures women sometimes wear a second shorter chiton over the other. A great many varieties of dress, more distinguishable in the vase-paintings, representing realistic scenes, than in the ideal costumes of sculptural types, we must omit, particularly as, in most cases, they may be reduced to the described general principles.
Pearl Set PinsPEARL SET PINSToList
PEARL SET PINSToList
From the chiton we now pass to the articles of dress of the nature of cloaks. They also show throughout an oblong form, differing in this essentially from the Roman toga. It, belonging to this class, was arranged so that the one corner was thrown over the left shoulder in front, so as to be attached to the body by means of the left arm. On the back the dress was pulled toward the right side so as to cover it completely up to the right shoulder, or, at least, to the armpit, in which latter case the right shoulder remained uncovered. Finally, the himation was again thrown over the left shoulder, so that the ends fell over the back.
Concerning the materials of the described garments, we have mentioned before that linen was used principally by the Ionians, wool by the Dorians; the latter material in the course of time became the rule for male garments all over Greece. The change of seasons naturally required a corresponding modification in the thickness of these woolen garments; accordingly we notice the difference between summer and winter dresses. For women's dresses, besides sheep's wool and linen, byssos, most likely a kind of cotton, was commonly used. Something like the byssos, but much finer, was the material of which the celebrated transparent dresses were woven in the Isle of Amorgos; they consisted of the fibre of a fine sort of flax, undoubtedly resembling our muslins and cambrics. The introduction of silk into Greece is of later date, while in Asia it was known at a very early period. From the interior of Asia the silk was imported into Greece,partly in its raw state, partly worked into dresses. Ready made dresses of this kind differed greatly from the dresses made in Greece of the imported raw silk. The Isle of Kos was the first seat of silk manufacture, where silk dresses were produced rivaling in transparency the above-mentioned. These diaphanous dresses, clinging close to the body, and allowing the color of the skin and the veins to be seen, have been frequently imitated with astonishing skill by Greek sculptors and painters. We only remind the reader of the beautifully modeled folds of the chiton covering the upper part of the body of Niobe's youngest daughter, in a kneeling position, who seeks shelter in the lap of her mother; in painting, several wall-pictures of Pompeii may be cited.
The antiquated notion of white having been the universal color of Greek garments, a colored dress being considered immodest, has been refuted by Becker. It is, however, likely that, with the cloak-like epiblememata, white was the usual color, as is still the case amongst Oriental nations much exposed to the sun. Brown cloaks are, however, by no means unusual; neither were they amongst Greek men. Party-colored Oriental garments were also used, at least by the wealthy Greek classes, both for male and female dresses, while white still remained the favorite color with modest Greek women. This is proved, not to mention written evidence, by a number of small painted statuettes of burnt clay, as also by several pictures on lekythoi from Attic graves. The original colors of the dresses, although (particularly the reds) slightly altered from the burning process, may still be distinctly recognized.
The dresses were frequently adorned with interwoven patterns, or attached borders and embroideries. From Babylon and Phrygia, the ancient seats of the weaving and embroidering arts, these crafts spread over the occidental world, the name "Phrygiones," used in Rome at a later period for artists of this kind, remindingone of this origin. As we learn from the monuments, the simplest border either woven or sewed to the dresses, consisted of one or more dark stripes, either parallel with the seams of the chiton, himation, and ampechonion, or running down to the hem of the chiton from the girdle at the sides or from the throat in front. The vertical ornaments correspond to the Romanclavus. Besides these ornaments in stripes, we also meet with others broader and more complicated; whether woven into, or sewed on, the dress seems doubtful. They cover the chiton from the hem upwards to the knee, and above the girdle up to the neck, as is seen in the chiton worn by the spring goddess Opora, in a vase-painting. The whole chiton is sometimes covered with star or dice patterns, particularly on vases of the archaic style. The vase-painters of the decaying period chiefly represent Phrygian dresses with gold fringes and sumptuous embroideries of palmetto and "meandering" patterns, such as were worn by the luxurious South-Italian Greeks. Such a sumptuous dress is worn by Medea in a picture of the death of Talos on an Apulian amphora in the Jatta collection at Ruvo. In the same picture the chitones of Kastor and Polydeukes, and those of the Argonautai, are covered with palmetto embroideries, the edges at the bottom showing mythological scenes on the dark ground.
Stone Set BroochesSTONE SET BROOCHESToList
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In the cities Greeks walked mostly bareheaded, owing most likely to the more plentiful hair of southern nations, which, moreover, was cultivated by the Greeks with particular care. Travelers, hunters, and such artificers as were particularly exposed to the sun, used light coverings for their heads. The different formsof these may be classified. They were made of the skins of dogs, weasels, or cows.
The hair is considered in Homer as one of the greatest signs of male beauty among the long-haired Achaioi; no less were the well-arranged locks of maidens and women praised by the tragic poets. Among the Spartans it became a sacred custom, derived from the laws of Lykurgos, to let the hair of the boy grow as soon as he reached the age of the ephebos, while up to that time it was cut short. This custom prevailed among the Spartans up to their being overpowered by the Achaic federation. Altogether the Dorian character did not admit of much attention being paid to the arrangement of the hair. Only on solemn occasions, for instance on the eve of the battle of Thermopylæ, the Spartans arranged their hair with particular care.
At Athens, about the time of the Persian wars, men used to wear their hair long, tied on to the top of the head in a knot, which was fastened by a hair-pin in the form of a cicada. Of this custom, however, the monuments offer no example. Only in the pictures of two Pankratiastai, on a monument dating most likely from Roman times, we discover an analogy to this old Attic custom. After the Persian war, when the dress and manners of the Ionians had undergone a change, it became the custom to cut off the long hair of the boys on their attaining the age of epheboi, and devote it as an offering to a god, for instance, to the Delphic Apollo or some local river-god. Attic citizens, however, by no means wore their hair cropped short, like their slaves, but used to let it grow according to their own taste or the common fashion. Only dandies, as, for instance, Alkibiades, let their hair fall down to their shoulders in long locks. Philosophers also occasionally attempted to revive old customs by wearing their hair long.
The beard was carefully attended to by the Greeks. The barber's shop, with its talkative inmate, was not only frequented by those requiring the services of the barber in cutting the hair,shaving, cutting the nails and corns, and tearing out small hairs, but it was also, as Plutarch says, a symposion without wine, where political and local news were discussed. Alkiphron depicts a Greek barber in the following words: "You see how the d——d barber in yon street has treated me; the talker, who puts up the Brundisian looking-glass, and makes his knives to clash harmoniously. I went to him to be shaved; he received me politely, put me in a high chair, enveloped me in a clean towel, and stroked the razor gently down my cheek, so as to remove the thick hair. But this was a malicious trick of his. He did it partly, not all over the chin; some places he left rough, others he made smooth without my noticing it." After the time of Alexander the Great, a barber's business became lucrative, owing to the custom of wearing a full beard being abandoned, notwithstanding the remonstrances of several states.[22]In works of art, particularly in portrait statues, the beard is always treated as an individual characteristic. It is mostly arranged in graceful locks, and covers the chin, lips and cheeks, without a separation being made between whiskers and moustache. Only in archaic renderings the wedge-like beard is combed in long wavy lines, and the whiskers are strictly parted from the moustache. As an example we quote the nobly formed head of Zeus crowned with the stephane in the Talleyrand collection. The usual color of the hair being dark, fair hair was considered a great beauty. Homer gives yellow locks to Menelaos, Achilles, and Meleagros; and Euripides describes Menelaos and Dionysos as fair-haired.
The head-dress of women was in simple taste. Hats were not worn, as a rule, because, at least in Athens, the appearance of women in the public street was considered improper, andtherefore happened only on exceptional occasions. On journeys women wore a light broad-brimmed petasos as a protection from the sun. With a Thessalian hat of this kind Ismene appears in "Œdipus in Kolonos." The head-dress of Athenian ladies at home and in the street consisted, beyond the customary veil, chiefly of different contrivances for holding together their plentiful hair. We mentioned before, that the himation was sometimes pulled over the back of the head like a veil. But at a very early period Greek women wore much shorter or longer veils, which covered the face up to the eyes, and fell over the neck and back in large folds, so as to cover, if necessary, the whole upper part of the body. The care bestowed on the hair was naturally still greater amongst women than amongst men. Cut shows a number of heads of Athenian women, taken from an old painting of Pompeii. These, and the numerous heads represented in sculptures and gems, give an idea of the exquisite taste of these head-dresses. At the same time, it must be confessed that most modern fashions, even the ugly ones, have their models, if not in Greek, at least in Roman antiquity. Thecombing of the hair over the back in wavy lines was undoubtedly much in favor. A simple ribbon tied round the head, in that case, connected the front with the back hair. This arrangement we meet with in the maidens of the Parthenon frieze and in a bust of Niobe. On older monuments, for instance, in the group of the Graces on the triangular altar in the Louvre, the front hair is arranged in small ringlets, while the back hair partly falls smoothly over the neck, and partly is made into long curls hanging down to the shoulders. It was also not unusual to comb back the front hair over the temples and ears, and tie it, together with the back hair, into a graceful knot. Here, also, the above-mentioned ribbon was used. It consisted of a stripe of cloth or leather, frequently adorned, where it rested on the forehead, with a plaque of metal formed like a frontal. This stephane appears on monuments mostly in the hair of goddesses; the ribbon belonging to it, in that case, takes the form of a broad metal circle destined no more to hold together, but to decorate the hair. This is the case in a bust of Here in the Villa Ludovisi, in the statue of the same goddess in the Vatican, and in a statue of Aphrodite found at Capua. Besides this another ornamented tie of cloth or leather was used by the Greeks, broad in the centre and growing narrower towards both ends. Its shape had great similarity to the sling. It was either put with its broader side on the front of the head, the ends, with ribbons tied to them, being covered by the thick black hair, orvice versa; in which latter case the ends were tied on the forehead in an elaborate knot. The net, and after it the kerchief, were developed from the simple ribbon, in the same manner as straps on the feet gradually became boots.