Next, the upper edges are fastened together on the top of the shoulders by a brooch (fibula), and the arms are either left bare, pressing down into folds at each side the masses of material, or these masses may be gathered round each arm, and fastened down the outside with buttons and loops so as to form sleeves (chiton cheiridotos). The chiton could be left open down one side for convenience in dancing, and was then called chiton schistos. To secure greater warmth on the breast and shoulders the chiton was made long enough to be doubled back from the top, and this part reaching to the waist was called the diploïs or diplóidion. It could be also made of a separate piece. Underneath the chiton was worn a band of cloth (t<εnia) to support the breasts, and in addition to this a cord was sometimes crossed round the breasts outside the chiton to assist either in supporting them or in bringing out their form. Round the loins was worn, perhaps not always, either a short petticoat of thick woollen stuff or a sort of bathing drawers, ωα λoυτpις, such as acrobats wore. So far we have mentioned all the dress that was necessary for indoor wear, which, also, since it had to be got into, was called εvδυ∕zα, as opposed to other parts of dress, which were thrown round the body, and were called πt,pιβ ∖ riiχa,τa. To the latter class belongs the next article of importance in female dress, the himation, a garment worn also by men. While the chiton was generally made of linen, of which there was a variety of fabrics (e.g., those of Amorgos, Tarentum, Sicily, Crete, and Phrygia), or of cannabis (made from hemp), or of byssos (flax from India and Egypt chiefly), or of silk (serica), the himatioιrconsisted of woollen stuff, and was worn like a plaid. It was first thrown over the left shoulder, leaving the short end to hang dowmin front; the long end was then gathered round the back with the right hand, brought under the right arm, and across the body in front, and finally held in this position by being thrown over the left fore arm. Or instead of being passed under the right arm it could be brought over the right shoulder so as to envelop the right arm, then carried closely round the neck, and finally thrown over the left shoulder with an end hanging down behind ; or again, it could be still further drawn up over the back of the head to form a hood. As regards colours, it will be found, when we have taken away black for the use of mourners (τα δ∈ μiλava ιp,aτιa 0pφavιva iκaλow), that the others were employed in a great variety of combinations. Au important point was always to have a deep border round the foot of the chiton, either of some uniform colour which suggests solidity and heaviness, so as to weigh down the dress, or of some pattern which would suggest strength to prevent the dress from being torn when striding. Strong contrasts of colours were used, such as a white chiton with a pink himation, or a white chiton with a broad blue border round the foot. Besides embroidery, another kind of ornament consisted of designs beaten out in thin gold and stitched on the dress. Great numbers of those have been found in tombs where the dress itself has entirely perished. Greek vases and sculptures represent Amazons and Persians wearing trousers (anaxyrides), but this article of dress did not come into use among the Greeks themselves.

While the chiton and himation, as above described, continued to be the standard dress from about 450 b.c. onwards, it is the rule to find in figures of an earlier date the himation worn as in fig. 3, where it has more of the appearance of a chiton, having like it a diploïdion, and enveloping the greater part of the figure, so that the chiton proper appears as distinctly an under garment. It is a himation of this kind that the archaic figure of Athena wears, and since we know that the name for this garment of hers was peplos, it would perhaps be more correct to use this word instead of himation for the upper garment of the earlier period. Among other reasons also for this is the negative evidence that the word peplos does not occur in the inventory of female dresses on an inscription from Athens in the British Museum, in which the latest date given is 335 b.c. Pollux, it is true (vii. 47), cites it in his list of names for dresses worn by women.

Returning to the dress after 450 b.c., we find that the chiton could be tucked up under the girdle till the skirt reached only to the knees, as in the figures of Artemis. A short linen chiton, reaching half way down the thighs, was called kypassis. The diploïdion, when once made of a separate piece, could have the form of a sleeveless jacket reaching nearly to the knees. A diploïdion worn only in front was called a hemidiplóidion. A chiton worn to leave one breast bare was called heteromaschalos; worn without a girdle, as by priests and old women, it was orthostadios, or perhaps zoma. The ampechonion appears to have been a small shawl. The kimbarikon was a transparent under-chiton. The following names of dresses are still undetermined— kandys or kandyke, epomis, pharos, phaenole, xystis (xyston), heanos, mandye, ephestrides, and amphiestrides.

As regards the covering of the head, that was perhaps most generally accomplished by drawing the himation up over the back of the head like a hood; or, instead of this, a separate piece of cloth was made to perform this service, the end of it falling under the himation. This was the kalyptra, or veil. A cap merely intended to cover in the hair and hold it together was called kekryphalos. When hats were worn they were of circular shape, and either of some stiff material, as the Thessalian or Boeotian hat (Θeσσαλιs κvvrfi), observed in terra-cottas from Tanagra in Baeotia and in Pompeian paintings, or of pliant material which could be bent down at the sides like the petasus worn by Atalanta. Similar to this seems to have been the kausia or Macedonian hat. The kyrbasia, or kidaris, was a high pointed hat of Persian origin, as was also the tiara, which served the double purpose of an ornament and a covering for the head. When the object was only to hold up the hair from the neck, the sphendone was used, which, as its name implies, was in the form of a sling; but in this case it was called more particularly opistho-sphendone, as a distinction from the sphendone when worn in the front of the head. The head ornaments include the diadema, a narrow band bound round the hair a little way back frona the brow and temples, and fastened in the knot of the hair behind; the ampyx, a variety of the diadem; the Stephane, a crown worn over the forehead, its highest point being in the centre, and narrowing at each side into a thin band which is tied at the back of the head. Different from this is the Stephanos, which is a crown of the same breadth and design all round, as on the coins of Argos with the head of Hera, who is expressly said by Pausanias to wear a stephanos. This word is also employed for crowns of laurel, olive, or other plant, when the form would be the same all round the head. Crowns made of wicker-work (poloi kalathoi) were also worn (see Gerhard, Antike Bildwerke, pls. 303-305). When the hair, as was most usual, was gathered back from the temples and fastened in a knot behind, hair pins were required, and these were mostly of bone or ivory, mounted with gold or plain. So also when the hair was tied in a large knot above the forehead, as in the case of Artemis, or of Apollo as leader of the Muses. The early Athenians wore their hair so, with a pin representing a grasshopper (tctti£), in allusion totheir claim of having originally sprung from the soil (Thucyd. i. 6). Whether this knot was the krobylos is not determined. In archaic figures the hair is most frequently arranged over the brow and temples in parallel rows of small curls which must have been kept in their places by artificial means, probably by small spirals of gold wire, such as are found in early Etruscan tombs lying near the head of the skeleton. Ear-rings (cVωτια, ∈λλo∕3ιa, ∈λικτηpeς) of gold, silver, or bronze plaited with gold, and frequently ornamented with pearls, precious stones, or enamel, were worn attached to the lobes of the ear. For necklaces (opμ∙oι), bracelets (õ≠eiç), brooches (ττepovαι), and finger-rings (δακτυ z λιoι or σ≠paγιδ∈ς) the same variety and preciousness of material was employed. The gold used was always very thin; the intrinsic value, for example, of tho famous Milo necklace in the British Museum is very slight, while the extraordinary amount of skilled work manship in it would represent a very high value in labour. This is the rule in the best period of Greek art, that the jewellery is of value according to its workmanship; but in later times preciousness of material determined the value. In the earliest jewellery, amber is conspicuous, alternating with pale gold or electrum. For the feet .-the sandal (σ⅛δαλov, τr∈διλa) was the usual wear; in exceptional cases, as for the bath, shoes, and for hunting, high boots were worn. The hunting boot was laced up the front, and reached to the calves. Gloves (cheirides) were worn by the Persians, but apparently never by the Greeks unless to protect the hands when working (Odyssey, xxiv. 230).

Male dress.— Fig. 4 represents the dress of a Greek citizen, such as it appears, for example, on the frieze of the Parthenon. It consists of nothing more than a himation such as that already described for women, but worn differently; and from the simplicity of this attire it may be seen in how ridiculously awkward a position Blepyrus was placed by his wife’s having carried off his himation and shoes (Aristoph., Eccles., 310 sqq.) But underneath the himation was sometimes also a short linen chiton similar to that worn by armed men under their armour; and with this chiton on, the himation could be laid aside on occasion. Workmen of all kinds wore only a short chiton girt round the waist, and let loose from the right shoulder to leave the arm free. In this case the material varied according to the necessary exposure to cold,—a fisherman, for example, having a chiton of hide, as had also slaves; but the slave’s chiton was more like a jacket with sleeves reaching to the wrist, and corresponding to the σvσ∈ιpα as defined by Pollux (vii. 70), who mentions further the βaiτη and σiσvρa as garments of hide worn by peasants in the form of mantles. The same class of persons wore at other times the κaτωvdκη, a mantle of woollen stuff with border of sheepskin. But among the citizen class where the himation, as in fig. 4, was the proper dress for a man of mature years, younger men and youths appear to have worn it only as a sort of undress to wrap round them when heated in the palaestra or at the bath. In public appearances they wore a linen chiton girt at the waist, and reaching half-way down the thighs, and on their shoulders a purple chlamys of woollen stuff fastened with a brooch on the right shoulder as in fig. 5. The chlamys was properly a military mantle, and is said to have been introduced from Macedonia, as was also the kausia, worn along with it by Athenian youth, a round hat with flat pliant brim resembling the petasus of Hermes. In winter a mantle of thick stuff, the chl<xna, was sometimes worn, while in summer the himation could be replaced by the thin linen chlanis. For official or priestly dignity an ungirt chiton reaching to the feet (chiton orthostadios) was worn. Sandals, shoes, or high boots were used as occasion required. The citizen of mature years wore no covering for the head. That was confined to youth, work men, and slaves. His hair was cut short on the top, and lay on the head without parting. At the sides and round the neck it was allowed to fall a short way. His beard was of moderate size. Before Alexander’s time only the Spartans shaved the upper lip, but after that shaving became more general. Except a finger ring, a brooch to fasten the chlamys, or on occasion a wreath, the citizens usually wore no ornaments. While with this class there was no limit to the display of limbs, it was on the other hand the object of the slave’s dress to conceal the limbs as far as possible, and for this purpose he wore, besides the jacket with long sleeves already noticed, closefitting hose reaching to the ankles. For his head he had, like fishermen and other workmen, a pointed cap (pilos).

The constancy to one fashion observed in the dress of the Greeks is not remarkable when we remember that the fashions with which they were familiar in other nations must have shared in their minds the association with servitude and lower civilization which attached to these nations. Yet if it is true that they entered Greece from the north, and had previously permanent settlements in that region, it is curious that they did not retain in their costume some evidence of the colder climate in which they had lived, unless, indeed, the hose relegated to slaves furnish such evidence. This same difficulty occurs with regard to the Etruscans, whose dress is peculiarly the natural one for an Oriental climate; and it is the more remarkable in their case since the cold of the north of Italy would, it might be supposed, have induced them to retain part of the dress peculiar to the north, had they, as is argued, been previously settled there.

Etruscan.

The female dress of the Etruscans consisted, like that of the Greeks, jn (1) a chiton poderes, reaching to the feet, and girt at the waist; (2) a himation, worn in the fashion of a shawl, as occasionally on early Greek figures, or as a plaid; (3) a hat (tutulus) rising to a high point; and (4) pointed shoes. The chiton, with diploïdion on the breast, which is so conspicuous in Greek art after 450 B.c., does not so far as we know occur in pure Etruscan representations of dress; nor is the himation found wrapped round the body as in Greek figures of this period (see fig. 2 above). It seems to have been much narrower as used by the Etruscans, and more like a shepherd’s plaid. Instead of a himation a close-fitting jacket of thick stuff is worn by an archaic Etruscan female figure in the British Museum, fig. 6. The pointed hat (tutulus) re semblés the Persian kidaris, and from its Oriental appearance has been cited as a survival of part of the national dress from the time when the Etruscans inhabited Lydia. On a celebrated terracotta sarcophagus in the British Museum the female figure reclining on the lid wears a Greek chiton of a thin white material, with short sleeves fastened on the outside of the arm, by means of buttons and loops; a himation of dark purple thick stuff is wrapped round her hips and legs; on her feet are sandals, consisting of a sole apparently of leather, and attached to the foot and leg with leather straps; under the straps are thin socks which do not cover the toes; she wears a necklace of heavy pendants; her ears are pierced for ear-rings; her hair is partly gathered together with a ribbon at the roots behind, and partly hangs in long tresses before and behind; a flat diadem is bound round her head a little way back from the brow and temples. Purple, pale green, and white, richly embroidered, are favourite colours in the dresses represented on the painted tombs.

No less essentially identical with the Greek are the representations of male dress on works of Etruscan art dating from the period of national independence. The chief article of male dress was called the tebenna. On the other hand there are the statements of ancient writers that the toga prcetexta, with its purple border (τrepιπ6pφvpo<i τηβevva), as worn by Roman magistrates and priests, had been derived from the Etruscans (Pliny, N. IL, ix. 63, prcetextae apud Etruscos originem invenere) ; and the Roman toga, though placed round the body much in the same way as the Greek himation, yet differed from it in shape so far that, while the latter was an oblong, the toga was a circular piece of stuff (toga rotunda), of which a large segment was doubled back so as to reduce the whole to little more than a semicircle. By this means a greater profusion of folds was obtained, and this at first sight is the characteristic difference between the Greek and Roman male dress. But though the toga, worn as it was by the Romans, does not occur in early Etruscan art, there is sufficient likeness between it and the tebenna which does occur, to justify the statement of the Roman toga being derived from the earlier costume of the Etruscans. It would have been equally, perhaps more, correct to have traced it to a Greek origin, the tebenna having been worn in Argos and Arcadia (Foilux, vii. 61) apparently from early times. Under the tebenna, or toga, which was necessary only for public appearance, the Etruscans wore a short tunic similar to the Greek chiton. For workmen and others of inferior occupation this appears to have been the only dress. Youths, when engaged in horsemanship and other exercises, wore a chlamys round the shoulders, just as the youths similarly engaged on the Parthenon frieze. But the Etruscan chlamys, again, is semicircular in cut, and was fastened on the breast by buttons and a loop, or tied in a knot, whereas the Greek chlamys was oblong and fastened on the shoulder by a brooch (péroné). On public or festal occasions the Etruscan noble wore, besides the tebenna, a bulla, or necklace of bullae, and a wreath, corona Etrusca. The bulla was a circular gold locket containing a charm of some kind against evil. On the later sarcophagi the male figures wear not only a wreath, or corona proper, but also a garland of flowers hung round the neck. The Roman manner of wearing occasionally the toga, with the end thrown over the left shoulder, and wrapped round the waist (Gabino cinctu), was derived, it was said, from Etruria. The upper fold of the tebenna could be drawn up over the head if needed. As a separate male head-dress there was the galerus, a hat of leather, said to have been worn by the Lucumos in early times, or the apex, a pointed hat corresponding to the tutulus worn by females. The fashion of shoes worn by Roman senators was said to have been derived from Etruria. Etruscan shoes were prized both in Greece and in Rome.

Roman. Male dress. — Fig. 7 represents the full Roman dress of tunica and toga, the former being visible only on the right shoulder and breast. The toga as here worn is,...