Читать книгу The Life in Ancient Times - T. L. Haines - Страница 20

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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 PINS

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, and representations 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 PIN

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 the person 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 PINS

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, reminding one 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 Roman clavus. 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 BROOCHES

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 forms of 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, and therefore 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. The combing 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, or vice 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.

HAIR-DRESS. (From Pompeii.)

The kekryphalos proper consists of a net-like combination of ribbon and gold thread, thrown over the back hair to prevent it from dropping. The large tetradrachmai of Syrakuse, bearing the signature of the engraver, Kimon, show a beautiful head of Arethusa adorned with the kekryphalos. More frequent is the coif-like kekryphalos covering the whole hair, or only the back hair, and tied into a knot at the top.

The modifications of the sakkos, and the way of its being tied, are chiefly illustrated by vase-paintings. At the present day the Greek women of Thessaly and the Isle of Chios wear a head-dress exactly resembling the antique sakkos. The acquaintance of the Greeks with the curling-iron and cosmetic mysteries, such as oil and pomatum, can be proved both by written evidence and pictures. It quite tallied with the æsthetical notions of the Greeks to shorten the forehead by dropping the hair over it, many examples of which, in pictures of both men and women, are preserved to us.

We conclude our remarks about dress with the description of some ornaments, the specimens of which in Greek graves and in sculptural imitations are numerous. In Homer the wooers try to gain the favor of Penelope with golden breastpins, agraffes, ear-rings, and chains. Hephaistos is, in the same work, mentioned as the artificer of beautiful rings and hair-pins. The same ornaments we meet with again at a later period as important articles of female dress.

Many preserved specimens show the great skill of Greek goldsmiths' breastpins. Hair-pins, in our sense, and combs for parting and holding up the hair were unknown to the Greeks. The double or simple comb of Greek ladies, made of box-wood, ivory, or metal, was used only for combing the hair. The back hair was prevented from dropping by means of long hair-pins, the heads of which frequently consisted of a graceful piece of sculpture. Well known are the hair-pins adorned with a golden cicada which, in Solon's time, were used by both Athenian men and women for the fastening of the krobylos.

It was the custom of the Greeks to adorn their heads on festive occasions with wreaths and garlands. Thus adorned the bridegroom led home the bride. Flowers full of symbolic meaning were offered on the altars of the gods, and the topers at carousals were crowned with wreaths of myrtle, roses, and violets, the latter being the favorite flower with the Athenians. The flower-market of Athens was always supplied with garlands to twine round the head and the upper part of the body; for the latter also was adorned with garlands. Crowns consisting of other flowers, and leaves of the ivy and silver-poplar, are frequently mentioned. Wreaths also found a place in the serious business of life. They were awarded to the victors in the games; the archon wore a myrtle-wreath as the sign of his dignity, as did also the orator while speaking to the people from the tribune.

The crowning with flowers was a high honor to Athenian citizens—awarded, for instance, to Perikles, but refused to Miltiades. The head and bier of the dead were also crowned with fresh wreaths of myrtle and ivy.

The luxury of later times changed the wreaths of flowers for golden ones, with regard to the dead of the richer classes. Wreaths made of thin gold have repeatedly been found in graves. The barrows of the old Pantikapaion have yielded several beautiful wreaths of ivy and ears of corn; a gold imitation of a crown of myrtle has been found in a grave in Ithaka. Other specimens from Greek and Roman graves are preserved in our museums. A golden crown of Greek workmanship, found at Armento, a village of the Basilicata (at present in Munich), is particularly remarkable. A twig of oak forms the ground, from among the thin golden leaves of which spring forth asters with chalices of blue enamel, convolvulus, narcissus, ivy, roses, and myrtle, gracefully intertwined. On the upper bend of the crown is the image of a winged goddess, from the head of which, among pieces of grass, rises the slender stalk of a rose. Four naked male genii and two draped female ones, floating over the flowers, point towards the goddess, who stands on a pedestal bearing an inscription.

Greek, particularly Athenian, women carried a sunshade, or employed slaves to hold it over them. In the Panathenaic procession even the daughters of metoikoi had to perform this service. Such sunshades, which, like our own, could be shut by means of wires, we often see depicted on vases and Etruscan mirrors. This form was undoubtedly the most common one. The cap-like sunshade painted on a skyphos, which a Silenus, instead of a servant, holds over a dignified lady walking in front of him, is undoubtedly intended as a parody, perhaps copied from the scene of a comedy. In vase paintings we also see frequently the leaf-like painted fan in the hands of women.

TOILET ARTICLES FOUND AT POMPEII.

The above articles were in good preservation when found. a, l, n, are hand-mirrors; m, is a wall-mirror; c, toilet-box, made of ivory and beautifully carved; d and k, bronze combs; i, fine comb; b, ear and tooth-pick; f, pin-box, with glass and steel pins; h, salve-box; g, hair-pins made of ivory and gold; e, is a powder or paint-box.

Of the secrets of Greek toilette we will only disclose the fact that ladies knew the use of paint. The white they used consisted of white-lead; their reds were made either of red minium or of a root. This unwholesome fashion of painting was even extended to the eyebrows, for which black color was used, made either of pulverized antimony or of fine soot.

The mirrors of the Greeks consisted of circular pieces of polished bronze, either without a handle or with one richly adorned. Frequently a cover, for the reflecting surface, was added. The Etruscan custom of engraving figures on the back of the mirror or the cover seems to have been rare among the Greeks, to judge, at least, from the numerous specimens of mirrors found in Greek graves. Characteristic of these are, on the other hand, the tasteful handles, representing mostly Aphrodite, as in a manner the ideal of a beautifully adorned woman. These hand-mirrors frequently occur in vase paintings, particularly in those containing bathing utensils.

The carrying of a stick seems to have been a common custom. It is mostly of great length, with a crutched handle; young Athenian dandies may have used shorter walking-sticks. The first-mentioned sticks seem to have been used principally for leaning upon in standing still, as is indicated by frequent representations in pictures.