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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..2ac7038 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #68231 (https://www.gutenberg.org/ebooks/68231) diff --git a/old/68231-0.txt b/old/68231-0.txt deleted file mode 100644 index 59b1381..0000000 --- a/old/68231-0.txt +++ /dev/null @@ -1,3770 +0,0 @@ -The Project Gutenberg eBook of The daily life of the Greeks and -Romans as illustrated in the classical collections, by Helen McClees - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: The daily life of the Greeks and Romans as illustrated in the - classical collections - -Author: Helen McClees - -Release Date: June 4, 2022 [eBook #68231] - -Language: English - -Produced by: Turgut Dincer and the Online Distributed Proofreading Team - at https://www.pgdp.net (This book was produced from images - made available by the HathiTrust Digital Library.) - -*** START OF THE PROJECT GUTENBERG EBOOK THE DAILY LIFE OF THE GREEKS -AND ROMANS AS ILLUSTRATED IN THE CLASSICAL COLLECTIONS *** - - - - - - -[Illustration: THE DAILY LIFE OF THE GREEKS AND ROMANS] - - - - - THE METROPOLITAN MUSEUM - OF ART - - THE DAILY LIFE OF THE - GREEKS AND ROMANS - - AS ILLUSTRATED IN - THE CLASSICAL COLLECTIONS - - BY - HELEN MCCLEES, PH. D. - - [Illustration] - - NEW YORK - MCMXXIV - - COPYRIGHT - BY THE METROPOLITAN MUSEUM - OF ART, 1924 - - - - -CONTENTS - - - PAGE - - ILLUSTRATIONS vii - - INTRODUCTION xiii - - THE DAILY LIFE OF THE GREEKS AND ROMANS - - I. RELIGION 3 - - II. THE DRAMA 13 - - III. HOUSES AND FURNITURE 19 - - IV. OCCUPATIONS OF WOMEN 32 - - V. CHILDREN AND EDUCATION 40 - - VI. DRESS AND TOILET 47 - - VII. AMUSEMENTS, MUSIC, AND DANCING 68 - - VIII. ARMS AND ARMOR 76 - - IX. ATHLETICS 89 - - X. RACES AND RIDING 98 - - XI. GLADIATORS 106 - - XII. TRADES AND CRAFTS 109 - - XIII. BURIAL-CUSTOMS 121 - - - - -ILLUSTRATIONS - - - PAGE - - COVER DESIGN: ADAPTATION OF WALL-PAINTING IN CUBICULUM FROM - BOSCOREALE. Eighth Room. - - VIGNETTE ON TITLE-PAGE: DEPARTURE OF A WARRIOR, FROM A - LEKYTHOS. Case G, Fifth Room. - - INTRODUCTION - - HEAD-BAND: DESIGN FROM A ROMAN TABLE IN THE CUBICULUM. - Eighth Room xv - - TAIL-PIECE: OSCILLUM. Case 1 xvii - - CHAPTER I - - HEAD-BAND: GENII SACRIFICING, FROM AN ARRETINE BOWL. Case - G, Eighth Room 3 - - 1. PRAYING YOUTH (?) 4 - - 2. MAN SALUTING A STATUE OF ATHENA 5 - - 3. MAN CARRYING A PIG TO BE SACRIFICED 3 - - 4. VOTIVE TABLE 6 - - 5. VOTIVE PLAQUE 6 - - 6. TERRACOTTA HERM 7 - - 7. WARRIORS MAKING A TREATY (?) 7 - - 8. CHARMS OF COLORED GLASS 7 - - 9. LAR 8 - - 10. ROMAN PRIEST 9 - - 11. CAMILLUS 10 - - 12. STATUE OF CYBELE ON ITS CAR 11 - - 13. SACRIFICIAL PROCESSION 11 - - 14. SISTRUM 12 - - CHAPTER II - - HEAD-BAND: PLAN OF THE THEATRE OF SEGESTA, REDRAWN FROM - LALOUX, L’ARCHITECTURE GRECQUE, p. 233, fig. 217 13 - - 15. TRAGIC MASK 14 - - 16. SLAVE IN OLD COMEDY 14 - - 17. THEATRE AT EPIDAURUS 15 - - 18. ACTOR OF MIMES 16 - - 19. ACTOR IN NEW COMEDY 17 - - 20. COMIC ACTOR AS HERAKLES 17 - - TAIL-PIECE: TERRACOTTA MASK OF A SATYR. Case 1 18 - - CHAPTER III - - HEAD-BAND: HOUSE OF SALLUST, REDRAWN FROM MAU-KELSEY, - POMPEII, PUBLISHED BY THE MACMILLAN COMPANY, p. 287, - fig. 136 19 - - 21. ROMAN WALL-PAINTING 20 - - 22. CUBICULUM 21 - - 23. MOSAIC PICTURE 22 - - 24. OLD MAN SEATED ON A KLISMOS 23 - - 25. BRONZE CAULDRON 24 - - 26. GREEK TABLE-WARE OF PAINTED TERRACOTTA 25 - - 27. BRONZE PATERA 26 - - 28. BRONZE WINE-JUG 27 - - 29. BRONZE JUG 27 - - 30. BRONZE BEAKER 27 - - 31. BRONZE LADLE FOR WINE 28 - - 32. BRONZE WINE-STRAINER 28 - - 33. ROMAN SILVER CUP 29 - - 34. ROMAN SILVER SPOONS 29 - - 35. BRONZE CANDELABRUM 30 - - 36. BRONZE LAMP ON A STAND 31 - - TAIL-PIECE: CAMPANIAN PLATE FOR FISH. Case Q, Sixth Room 31 - - CHAPTER IV - - HEAD-BAND: WOMEN WORKING WOOL, FROM AN EPINETRON. Case 2 32 - - 37. WOMAN EMBROIDERING OR MAKING A NET 32 - - 38. ONOS OR EPINETRON 33 - - 39. WOMAN CARDING WOOL 33 - - 40. EMBROIDERED CLOTHING 34 - - 41. GREEK COUNTRY-WOMAN SPINNING 35 - - 42. BAKING BREAD IN A PRIMITIVE OVEN 36 - - 43. WOMEN WINNOWING AND GRINDING CORN 36 - - 44. WOMEN AT A WELL-HOUSE IN ATHENS 37 - - 45. MARRIAGE-VASE 38 - - TAIL-PIECE: WOMAN SPINNING, FROM A PYXIS. Case A, Fourth Room 39 - - CHAPTER V - - HEAD-BAND: BOYS GOING TO SCHOOL, FROM A KYLIX. Case 3 40 - - 46. GOLD BULLA 40 - - 47. OLD NURSE HOLDING A BABY 41 - - 48. TERRACOTTA FEEDING BOTTLE 41 - - 49. TOY HORSE ON WHEELS 42 - - 50. TOMB LEKYTHOS. CHILD DRAWING A CART 42 - - 51. GIRLS PLAYING BALL 43 - - 52. BOY ROLLING A HOOP 43 - - 53. WOMEN WHIPPING TOPS 44 - - 54. STYLUS 44 - - 55. EPHEDRISMOS GAME 45 - - 56. BOY WITH A WRITING TABLET 45 - - 57. INK-POT 46 - - TAIL-PIECE: JOINTED TERRACOTTA DOLL. Case 3 46 - - CHAPTER VI - - HEAD-BAND: FIBULA. Gold Room 47 - - 58. DIAGRAM OF DORIC CHITON, REPRODUCED FROM BRITISH MUSEUM, - A GUIDE TO THE EXHIBITION ILLUSTRATING GREEK AND ROMAN - LIFE, 2d edition, fig. 129 47 - - 59. AMAZONS IN MEN’S IONIC CHITONS, REPRODUCED FROM FURTWÄNGLER - UND REICHHOLD, GRIECHISCHE VASENMALEREI, I, pl. 82 48 - - 60. EARLY CHITONS 49 - - 61. WOMAN’S DORIC CHITON OF THE FIFTH CENTURY 50 - - 62. WOMAN IN IONIC CHITON 51 - - 63. DORIC CHITON WITHOUT GIRDLE 52 - - 64. TERRACOTTA STATUETTE. LADY IN HIMATION AND HAT 53 - - 65. TERRACOTTA STATUETTE. LADY IN HIMATION 53 - - 66. TERRACOTTA STATUETTE. MAN IN RIDING-CLOAK AND HAT 53 - - 67. MAN’S CHITON 54 - - 68. AKROPOLIS MAIDEN IN IONIC CHITON AND HIMATION 55 - - 69. GREEK SANDAL 56 - - 70. GREEK JEWELRY 57 - - 71. WOMEN’S COIFFURES, REPRODUCED FROM ABRAHAMS, GREEK - DRESS, fig. 45 58 - - 72. STRIGIL 59 - - 73. RAZOR 60 - - 74. ALABASTRON 60 - - 75. ARYBALLOS 61 - - 76. GLASS BOTTLE 61 - - 77. SILVER PYXIS 62 - - 78. TERRACOTTA PYXIS 62 - - 79. SPATULA 63 - - 80. DIPPING-ROD 63 - - 81. GREEK MIRROR ON A STAND 64 - - 82. ETRUSCAN MIRROR 65 - - 83. GREEK MIRROR AND COVER 65 - - TAIL-PIECE: DIONYSOS WEARING THE HIMATION, FROM A - KRATER. Case J, Fourth Room 67 - - CHAPTER VII - - HEAD-BAND: SYMPOSIUM, FROM A KRATER. Case X, Fourth Room 68 - - 84. SYMPOSIUM, REPRODUCED FROM FURTWÄNGLER UND REICHHOLD, I, - pl. 73. 69 - - 85. KOTTABOS-STAND 70 - - 86. GLASS ASTRAGALS 71 - - 87. GIRLS PLAYING WITH ASTRAGALS 71 - - 88. YOUTH WITH A LYRE 72 - - 89. GIRL DANCING AND PLAYING THE CASTANETS 72 - - 90. APOLLO WITH A KITHARA 73 - - 91. TERRACOTTA FIGURINE. WOMAN DANCING 74 - - 92. TERRACOTTA FIGURINE. WOMAN DANCING 75 - - TAIL-PIECE: GIRL DANCING, FROM A KYLIX. Case G, Fifth Room 75 - - CHAPTER VIII - - HEAD-BAND: COMBAT, FROM A KYLIX. Case K, Fourth Room 76 - - 93. GREEK FOOT-SOLDIER, REPRODUCED FROM DIE BRONZEN AUS - DODONA, pl. 11 76 - - 94. ITALIC HELMET 77 - - 95. ITALIC HELMET WITH METAL CREST 77 - - 96. CAP-SHAPED HELMET 77 - - 97. “JOCKEY-CAP” HELMET 77 - - 98. CORINTHIAN HELMET 77 - - 99. ITALIC ARMORED BELT 78 - - 100. PAIR OF GREAVES 78 - - 101. ITALIC CUIRASS 79 - - 102. GREEK CUIRASS OF THE FIFTH CENTURY 80 - - 103. WARRIOR CARRYING A SHIELD 81 - - 104. PERSIAN FIGHTING WITH A MACHAIRA 82 - - 105. JAVELIN-HEAD 83 - - 106. SPEAR-HEAD 83 - - 107. DAGGER-BLADE WITH HOOKED TANG 83 - - 108. LEAF-SHAPED DAGGER-BLADE 83 - - 109. BRONZE SWORD 83 - - 110. ARROW-HEADS 84 - - 111. AMAZON WITH BATTLE-AXE AND WICKER SHIELD 85 - - 112. LAMP. VICTORY WITH A TROPHY 87 - - TAIL-PIECE: ATTIC HELMET. Case 4 88 - - CHAPTER IX - - HEAD-BAND: PANKRATIASTS, FROM A SKYPHOS. Case 4 89 - - 113. JUMPER WITH HALTERES 90 - - 114. DISKOS-THROWER 91 - - 115. ATHLETE THROWING A JAVELIN 92 - - 116. WRESTLERS 92 - - 117. SCENE FROM THE PANKRATION 93 - - 118. PANATHENAIC AMPHORA 94 - - 119. YOUTH BINDING ON A FILLET 95 - - TAIL-PIECE: VOTIVE DISK, REDRAWN FROM JÜTHNER, DIE - ANTIKEN TURNGERÄTHE, p. 27, fig. 20 97 - - CHAPTER X - - HEAD-BAND: HORSEMEN, FROM A KRATER. Case X, Fourth Room 98 - - 120. BRONZE CHARIOT 99 - - 121. RACING CARS ON SYRACUSAN COINS 100 - - 122. LAMP. SCENE FROM THE CIRCUS 100 - - 123. PANATHENAIC AMPHORA. CHARIOT RACE 100 - - 124. BIT USED IN TRAINING HORSES 102 - - 125. HORSE’S MUZZLE 102 - - 126. YOUNG HORSEMAN 103 - - 127. BRONZE BIT 104 - - TAIL-PIECE: HORSEMAN, BRONZE STATUETTE. Case B, Third Room 105 - - CHAPTER XI - - HEAD-BAND: GLADIATORIAL COMBATS, FROM A GLASS CUP. Case 3 106 - - 128. SAMNITE GLADIATOR 107 - - 129. THRACIAN GLADIATOR 107 - - TAIL-PIECE: HOPLOMACHUS, FROM A TERRACOTTA LAMP. Case 5 108 - - CHAPTER XII - - HEAD-BAND: ROMAN STEELYARD. Case 1 109 - - 130. BRONZE FARMYARD GROUP 110 - - 131. GREEK FARMER PLOUGHING 111 - - 132. TERRACOTTA MODEL OF A CART 112 - - 133. TERRACOTTA FROM CYPRUS. DONKEY WITH PANNIERS 112 - - 134. DONKEYS CARRYING JARS IN PANNIERS, 1922 113 - - 135. KEY. EARLY TYPE 114 - - 136. LOCK-PLATE 114 - - 137. KEY. LATER TYPE 114 - - 138. WAR-VESSELS. VASE PAINTING 115 - - 139. TERRACOTTA BOAT 115 - - 140. GOLD-BEATER’S BLOCK 116 - - 141. UNFINISHED POTTERY CUP 117 - - 142. ANCIENT MOULD AND MODERN RELIEF 117 - - 143. DIKAST’S TICKET 118 - - 144. FORKED PROBE 119 - - 145. SPATULAE 119 - - TAIL-PIECE: TERRACOTTA GOAT. Case B2, Third Room 120 - - CHAPTER XIII - - HEAD-BAND: FUNERAL SCENE FROM A DIPYLON VASE. Case L, - Second Room 121 - - 146. MOURNERS AT A BIER. TERRACOTTA RELIEF 122 - - 147. POET ON HIS BIER (?). TERRACOTTA PLATE 122 - - 148. DIPYLON VASE 123 - - 149. ATHENIAN TOMB LEKYTHOI 124 - - 150. MARBLE LEKYTHOS 125 - - 151. ETRUSCAN FOCOLARE 126 - - 152. MONUMENT OF SOSTRATE 127 - - 153. ETRUSCAN URN FOR ASHES 128 - - 154. ETRUSCAN URN 129 - - 155. ETRUSCAN URN 129 - - 156. ROMAN GRAVE MONUMENT 130 - - TAIL-PIECE: AKROTERION, SCULPTURE GALLERY, No. 5A 131 - - - - -[Illustration] - - - - -INTRODUCTION - - -This handbook is intended to serve as a guide to those objects in the -Classical Collection which illustrate the daily life of the Greeks and -Romans. Some of these have been brought together as a special exhibition -in Cases 1 to 5 in the Fifth Room, while others which it has not been -possible to move are referred to in their respective positions. Many of -these antiquities are among the most valued possessions of the Museum, -while others are entirely lacking in artistic qualities and would -scarcely attract the visitor’s attention, yet placed in their proper -relations they are found to be full of unsuspected interest. - -Investigations of the sites of ancient cities, settlements, and burial -places, especially during the last fifty years, have brought to light -objects of the most varied kinds which allow us to know, as was never -before possible, the appearance and manner of life, the tools, utensils, -weapons, and toys of the Greeks and Romans. Any one who will take up -an old translation of an author such as the elder Pliny, Xenophon, or -Martial, and compare it with a modern version will see at once the -difference in this particular. The earlier translator was often at a loss -when confronted with allusions to every-day life and consequently either -did not express clearly the meaning of his original or even entirely -misrepresented it. But quite apart from a correct interpretation of the -works of ancient writers, the study of private antiquities enables us to -form a mental picture of these people and their surroundings, the actors -in the theatre, the citizens gathered in the assembly or at a religious -festival, the houses from which they came, and the work they left behind; -and as a result, to see the world with their eyes, to comprehend their -aims and actions, and to compare them more intelligently with our own. - -The greater part of these objects were not very valuable at the time they -were made; they were the ordinary possessions of ordinary persons. Yet -one sees on all sides evidence of the skill, careful workmanship, and -artistic feeling ungrudgingly spent in making simple, common articles -for every-day use. In our own time the situation is very different; to -the average person beauty and utility have little or no relation to each -other, and he consequently provides for his home useful and necessary -utensils which have no beauty, and so far as he is able adds “ornaments” -which have no utility and very frequently, it must be said, no real -beauty. Again, the period in which we are living has not produced any -definite style, either in architecture or in the arts and crafts, though -there has been much careful copying and adapting of earlier ideas; but -the products of Greek and Roman artists and craftsmen have “style,” -not as a result of striving for an effect, but because each workman -received the traditional schooling in his craft and, having practised -it with satisfaction in work well done, tried to add something to the -store of knowledge before handing it on to the next generation. Such -considerations alone would make the study of the every-day utensils of -classical times a valuable one in the present day. - -No attempt has been made in this handbook to treat the subject -exhaustively; it is intended merely to provide such explanation and -commentary as will be helpful toward an understanding of the antiquities. -In consequence the length of the sections has been determined by the -amount of material available and does not necessarily correspond to the -relative importance of the various subjects. - -[Illustration] - - - - -THE DAILY LIFE OF THE GREEKS AND ROMANS - - - - -[Illustration] - - - - -I - -RELIGION - -CASE 1 - - -The religion of the Greek and Roman peoples was composed of many -elements, and presents throughout their history a great variety of cults -and observances. Religious tenets were not defined, and no priestly -hierarchy attempted to coerce the people in their beliefs or actions. A -Greek or a Roman was not under the necessity of worshipping the gods, -though he might incur the anger of his fellow-citizens by outraging -their feelings. To the ordinary man or woman, however, the service of -the gods was a daily duty and each important event of human life had its -appropriate observance. The head of every family was its priest, and the -children his assistants in carrying out the worship of the divine beings -who guarded the house and fields and all the living creatures therein. -Similarly the great gods of the city were served by the priests and -priestesses appointed to represent the city, conceived of as one great -family. Each city had its recurring festivals, its rest days sacredly -kept, and its days of commemoration of the dead. - -Public worship in Greece and Italy consisted of prayers and hymns, and -of sacrifices offered both within the temples and shrines and in other -places, such as groves and springs, which were held to be sacred. The -temples were built and adorned with all possible care, and were the pride -of the community. An amphora (on the bottom of Case S in the Fourth Room) -decorated with a religious scene shows a common type of altar. It is -shaped rather like a pedestal with an architectural moulding and “horns” -on either side. A miniature terracotta shrine from Cyprus (on the right -side of the top shelf in Case 1), made for household use, gives us an -idea of the shape of the larger ones which held a statue at crossroads -and street corners. Incense, a frequent accompaniment of worship, was -burned in a covered vessel, often provided with a high stand, such as the -incense burner painted on a small oinochoë in Case G in the Fifth Room; -or a little altar was used for the purpose. An example from Cyprus, which -still shows traces of fire, stands on the top shelf of Case 1. A marble -lamp from a temple is in Case G in the Third Room. It was made to be set -in a support, probably a bronze tripod, and was filled with oil in which -a wick floated. - -[Illustration: FIG. 1. PRAYING YOUTH (?)] - -In prayer the worshipper looked upward and raised both hands. This -attitude is perhaps represented in a bronze statuette, probably a votive -offering, in Case D in the Fifth Room (fig. 1). A small wine-jug (Case 1, -middle shelf) is decorated with a scene no doubt very common in Athens; -before a statue of Athena raised on a low column stands a man saluting -the goddess by kissing his fingers and raising them toward her (fig. 2). -A bronze votive statuette in Case D in the Fourth Room is making the same -gesture. - -[Illustration: FIG. 2. MAN SALUTING A STATUE OF ATHENA] - -[Illustration: FIG. 3. MAN CARRYING A PIG TO BE SACRIFICED] - -[Illustration: FIG. 4. VOTIVE TABLE] - -[Illustration: FIG. 5. VOTIVE PLAQUE] - -The universal custom of offering to a divinity gifts in supplication -and thanksgiving has many interesting illustrations in the collection. -A remnant of the ancient religion of Crete is the die for moulding -miniature bronze axes in Case B in the First Room. The little bronze -figure of a man carrying a pig in Case C2 in the Third Room served as -a memorial of a burnt sacrifice (fig. 3). The terracotta warriors from -Cyprus (Case 1 and the wall-cases in the corridor), and the Italic -bronze warriors (Case 3 and Case J in the Third Room) were probably -thank-offerings for a victorious home-coming. The group of terracotta -figures holding one another’s hands gives a rude picture of a ring-dance -such as was performed in honor of Aphrodite in Cyprus (Case 1, top -shelf). The painted terracotta face above this shelf is an example of -the many little masks called “oscilla” which were hung by cords in -sanctuaries or on the branches of trees outside (see tail-piece, p. -xvii). They seem to have been a substitute for the worshipper when he was -obliged to be away about his daily occupation. Several other examples -will be found in wall-cases in the corridor. Fourteen miniature bronze -greaves in Case 4 were probably dedications, perhaps made by soldiers -after a battle. Food and drink were the simplest and commonest gifts, -but were often beyond the means of the worshipper. If this were true, he -gave a representation in some cheap material of the offering he wished -to make, thus expressing pressing his good-will. In Case 1 are three -little tables with articles of food in relief upon the surface. We see a -ham, a whole boar, some cakes, fruit, and various dishes of food (fig. -4). Near these tables is a little tray with several cakes represented in -relief upon it, a substitute for the cakes which were placed on tables -in the temples, like the shew-bread of the Hebrews. The group of vases -connected by a ring was used for offering small portions of liquid, -probably oil, wine, honey, or milk. Gratitude for the cure of disease was -often exhibited by dedicating a representation of the affected part. On -the top shelf at the left are terracotta plaques showing eyes, eyes and -mouth, and an ear (fig. 5). Other examples are in Cases 47 and 75 in the -Cesnola Collection. The manufacture and sale of such objects formed an -industry in ancient times, and the records of the temple of Asklepios at -Athens which are still preserved contain long lists of them. - -[Illustration: FIG. 6. TERRACOTTA HERM] - -[Illustration: FIG. 7. WARRIORS MAKING A TREATY (?)] - -[Illustration: FIG. 8. CHARMS OF COLORED GLASS] - -The ceremonies and sacrifices in temples were few compared to the -frequent occasions for private and family worship. No meal was eaten -without offering a portion of food and drink to the gods, and statuettes -and symbols of divinities were kept in various rooms of the house and -near the house-door. The rude bust of Hermes on a pillar (Case 1, middle -shelf) is of the same type as the much larger pillars which in Athens -were placed near house-doors, in schools, and in the market-place (fig. -6). It was the mutilation of these images which caused such consternation -immediately before the sailing of Nikias on the disastrous Sicilian -expedition in 415 B.C. - -[Illustration: FIG 9. LAR] - -An interesting terracotta relief in Case 4 represents two warriors -clasping hands (fig. 7). Perhaps it may be regarded as a votive offering -made to commemorate a treaty or an alliance, either of which with the -Greeks and also the Romans was an agreement made in the sight of the gods -and accompanied by sacrifices. Readers of the Anabasis will remember the -treaty made by the Greeks and the Persians after Cyrus’s death (II, ii, -8, 9), when the sword-blades and spear-heads were dipped in the blood of -the victims caught in a shield, and the leaders on both sides gave their -right hands as a pledge of fidelity. - -The superstitious and fearful aspect of ancient religion is represented -by the grotesque faces called apotropaia, “turners away,” which were -thought to avert misfortune. They were worn especially by children, and -large ones of various materials were often fastened up in workshops and -houses. A number of small examples in glass are in Case C in the Third -Room (fig. 8). - -Perhaps the first divinities we think of when we turn to the native -Roman religion are the Lares, the guardians of house and field. The Lar -was represented as a youth holding a horn of plenty and a patera, a -shallow bowl used in sacrificing (fig. 9). Two of these figures stood -side by side near the hearth in the principal room of the early Roman -house, but at a later period they were placed in a little shrine usually -adjoining the atrium. A statuette of rather careless workmanship stands -on the middle shelf in Case 1 and a much better example in Case J in the -Eighth Room. A fine statuette of the Imperial period represents a priest -with his toga drawn up over his head in preparation for sacrificing, in -accordance with the custom which Virgil mentions in the Aeneid: “Veil -thine hair with a purple garment for covering, that no hostile face at -thy divine worship may meet thee amid the holy fires and make void the -omens” (III, vv. 405ff. Mackail) (Case J in the Eighth Room, fig. 10). A -life-size statue of a camillus, a boy assistant at religious rites, is in -this room (fig. 11). The office of camillus was an honorable one bestowed -upon the young sons of distinguished families. - -[Illustration: FIG. 10. ROMAN PRIEST] - -We have several interesting objects related to special cults. A goddess -revered by both Greeks and Romans was Tyche or Fortuna. A small bronze -statuette (Seventh Room, Case H 2) represents the Fortune of Antioch -seated on a rock, crowned with turrets, and holding in her hand a sheaf -of grain. Fortuna had many temples in Rome, where she was worshipped -under different titles. The popular belief in her power is attested by -Caesar, who tells of the confidence felt by his men in him and in his -success because they believed him to be a favorite of Fortune. A rather -rude statuette of this divinity stands on the second shelf of Case 1. - -[Illustration: FIG. 11. CAMILLUS] - -The worship of the Egyptian goddess Isis gradually spread from Egypt into -Asia Minor and thence into Greece and Rome. The bronze sistrum or rattle -was used in her rites, and she is often represented holding it in her -hand (Case 1, fig. 14). - -An especially interesting memorial of an Eastern cult established in Rome -is the statuette of Cybele, the Mother of the Gods, on her processional -car drawn by lions (Case M in the Eighth Room, fig. 12). The worship of -Cybele, a very ancient one, was introduced into Rome during the Second -Punic War at a time of great danger and anxiety. Our statuette represents -not the goddess herself but her cult statue, and probably commemorates -one of the annual festivals at which the image on its car was taken to -the river Almo to receive a ritual bath. The god-companion of Cybele, -Attis, was not worshipped at Rome before the time of Claudius, though his -cult was diffused over many parts of the East. A little terracotta from -Cyprus shows him in Phrygian dress on a horse (Case 1). - -[Illustration: FIG. 12. STATUE OF CYBELE ON ITS CAR] - -[Illustration: FIG. 13. SACRIFICIAL PROCESSION] - -A glass relief (on the tray above the middle shelf) gives a realistic -picture of a Roman sacrifice (fig. 13); an ox is being led through the -portico of a temple by four men carrying knives and an axe. A priestess -walks before them with veiled head, holding a box containing incense, -meal, or other articles used at sacrifices. - -[Illustration: FIG. 14. SISTRUM] - - - - -[Illustration] - - - - -II - -THE DRAMA - -CASE 1 - - -Dramatic performances in Greece were a part of the worship of the -wine-god Dionysos, and in consequence attendance in the theatre at Athens -was a religious duty as well as a pleasure. The audience was composed -of the citizens, both men and women, and visitors from other states and -cities. In early times the playwright acted in his own play, but later -the profession of actor was distinct from that of poet. Women’s parts -were taken by men. - -Plays were performed by daylight in the open air, in theatres so -constructed that most of the audience was at a considerable distance from -the actors. These circumstances naturally had a great effect upon the -conventions of the theatre and the manner of acting, as effects must be -broad, characters must be typical rather than individual, and facial play -was impossible (fig. 17). Early in the history of the Greek drama masks -for the actors were introduced, and continued in use for both tragedy -and comedy. They were usually made of linen stiffened with clay and -painted, though cork and wood were also used. The pupils of the eyes were -perforated so that the actor could see, and the mouth was always open. In -Case 1 are two terracotta masks, possibly made for use, one of a satyr -(see tail-piece, p. 18), the other of a young woman, and two little masks -representing comic characters. In the same room above Case 4 is a large -tragic mask of marble (fig. 15). This fine piece of decorative work is -modeled after the masks worn by the heroes of the tragic stage. Above the -tragic mask rose a projection called onkos which increased the apparent -height of the wearer. For the same purpose a shoe with a very thick -sole, the kothornos, was worn; the height of onkos and kothornos varying -with the importance of the character. The dress of the tragic actor -corresponded in a general way with that of every-day life, but the chiton -was long, and the costumes were frequently bright in color and decorated -elaborately with woven or embroidered bands. - -[Illustration: FIG. 15. TRAGIC MASK] - -[Illustration: FIG. 16. SLAVE IN OLD COMEDY] - -[Illustration: FIG. 17. THEATRE AT EPIDAURUS] - -[Illustration: FIG. 18. ACTOR OF MIMES] - -A group of terracotta statuettes from Athens (Sixth Room, Case L) gives -a vivid picture of the actors of the Old Comedy, that of Aristophanes and -his contemporaries. By a convention of the stage, all comic actors, even -those who played young women’s parts, were grotesquely padded, and over -the padding male characters wore an elastic woolen covering much like -the modern jersey, which is represented by dots in the statuettes. The -man’s chiton was always ridiculously short. Women wore the long chiton -and himation. On examining these figures we see that they include certain -stock characters which were used over and over by playwrights. The figure -on the left hand in the lowest row represents an old man, probably -an irascible old father. His mask is made so as to present a kindly -expression on one side and an angry one on the other. The actor turned -to the audience the side which expressed his feelings at the moment. The -statuette at the left of the top row seems to be of the same general -type. The right-hand figure in the top row is Herakles (fig. 20); that -on the right hand of the lowest row is probably Odysseus, both favorite -comic characters. Another represents a slave who has stolen a purse and -has taken refuge at an altar upon which he sits weighing his pelf in both -hands (fig. 16). Besides these there are a young woman and a middle-aged -matron, an old nurse with a baby, and a street vendor with a basket. The -scheming slave, another stock character of ancient comedy, stands in a -thoughtful attitude at the left hand of the second row from the top. - -In the Seventh Room (Case H 2) is a bronze statuette of an actor in the -New Comedy (fig. 19). The ridiculous dress of the earlier period has been -discarded for a fringed himation, but the mask is still worn. This actor -seems to be declaiming a passage “full of sound and fury” accompanied by -sweeping gestures. - -[Illustration: FIG. 19. ACTOR IN NEW COMEDY] - -In the same case is a statuette of an actor of mimes or pantomimes, in -itself a masterpiece of the grotesque (fig. 18). These performances were -generally satires upon contemporary life, and were immensely popular in -Greece and Italy, being sometimes provided as entertainment for guests -after dinner. The actors did not wear masks and probably relied much upon -gestures and facial play for their effects. - -[Illustration: FIG. 20. COMIC ACTOR AS HERAKLES] - -In Rome as well as in Athens the drama was connected with religious -festivals and the funerals of the great, but it encountered much -opposition from the more old-fashioned moralists and was never so popular -as were grosser amusements. The actors were frequently slaves, though -citizens engaged in this profession in increasing numbers under the late -Republic and the Empire, but their occupation deprived them of certain -civil rights and affected their social standing; while at Athens parts in -both tragedies and comedies were taken by citizens, who lost nothing in -public estimation by so doing. This in itself shows the marked difference -in the Greek and Roman attitudes. Roman tragedy was closely modeled -upon the Athenian, and the plays of Menander and his contemporaries, -translated and adapted by Plautus and Terence, became Roman comedy, from -which the classic comedy of modern Europe is derived. More popular, -however, were the farces and pantomimes of various kinds, in which the -native influence was strong, the dialogue and gestures being largely -extemporaneous, thus affording an opportunity to a clever actor for -displaying all his skill. - -[Illustration] - - - - -[Illustration] - - - - -III - -HOUSES AND FURNITURE - -CASES 2 AND 5 - - -Though the Greek and the Roman house differed considerably in detail, in -a general way the two were similar. For Americans the simplest comparison -to make would be with the Spanish type of dwelling in California -and other parts of the Southwest, since all three have the common -characteristic of looking in, rather than out. The exterior presented -a blank wall, usually of brick, broken by a door and a few windows. An -open courtyard formed the center of the Greek house, and this manner of -building was borrowed by the Romans as their wealth increased and larger -and pleasanter houses were desired. The Roman house, which grew by the -addition of rooms to the original single-room hut, had a large opening in -the roof of the principal room or atrium, to provide light and allow the -smoke from the hearth to escape. Under the opening was a basin, called -impluvium, into which fell the rain-water from the roof. These features -were retained even after the atrium was used only as a reception room, -the household work and cooking being done in a separate kitchen. - -[Illustration: FIG. 21. ROMAN WALL-PAINTING] - -[Illustration: FIG. 22. CUBICULUM] - -Houses were usually built of sun-dried brick on a stone foundation. The -roofs were often flat and were sometimes covered with hardened mud, but -tile roofs were also common. Marble for columns and other decorative -features was introduced into Rome in the later part of the Republican -period and colored marbles were used freely by the rich Romans of the -Empire. Walls were covered with stucco, which was frequently painted. -There was no wall-paper, of course, and pictures were painted directly -on the walls. Fashions in decoration changed as they do at present, -though more slowly. The wall-paintings from a villa near Boscoreale, in -the Eighth Room, illustrate several types in use in Italy in the first -century A.D. The earliest style imitated columns, marble panels, or -other ornamental features employed in buildings. Arabesques and fanciful -combinations of foliage, birds, animals, and masks came into use -later. Mythological and genre scenes, as the lady with the kithara (fig. -21) and the group of a man and a woman seated side by side, required a -skilful painter and were naturally reserved for the principal rooms. -In the cubiculum (fig. 22) another style has been employed, in which -buildings, arches, porticoes, and gardens are combined in a way which, -while of course somewhat fanciful, still probably represents the general -appearance of the streets and houses of Pompeii and other cities of the -time. Stucco reliefs, of which there are several graceful examples in the -Museum, were used in Greek houses of the Hellenistic period as well as in -Italy. - -[Illustration: FIG. 23. MOSAIC PICTURE] - -Floors in early times were of hardened earth, paving stones, or plaster. -In the fifth century pebbles set in cement came into use in Greece, -and from this kind of floor mosaic, plain and patterned, was derived. -Pictures or decorative designs made of fine glass mosaic were also used -as wall decorations. Three examples are on the tops of Cases 1 and 2 -(fig. 23). - -[Illustration: FIG. 24. OLD MAN SEATED ON A KLISMOS] - -The Greek and Roman furniture which has come down to us is necessarily -small in amount and fragmentary because, like most modern furniture, -it was made of wood and consequently has been destroyed by damp. There -remain, however, some fairly complete pieces, and a considerable -number of metal fittings and casings, as well as some models and many -illustrations from vases. Among the objects from Cyprus in wall-cases -in the corridor are two bronze tripods, and three ornaments consisting -of goats’ feet and bulls’ heads from another. The bronze lions’ paws -were feet for a large chair or chest. We have also a little terracotta -chair with a diminutive figure in it and a three-legged table of the -kind used to set beside a dining-couch, both from Cyprus, as well as a -round table on three legs, of much later date (Case 2). Two lekythoi -in Case K in the Fourth Room, decorated with interior scenes, show -chairs of a very graceful and comfortable type, the Greek klismos, and -the same kind of chair is seen on the grave-monument of a lady in the -Sculpture Gallery (No. 4), and on a large amphora on a pedestal in the -Fifth Room (fig. 24). The lady playing a kithara in the wall-painting -in the Eighth Room is seated in a large armchair, the thronos. In Case -5 is a bronze casing of beautiful work for a piece of furniture, and in -Case 2 a bronze chair-leg and an ornament terminating in the head of a -young bullock. Two tripods and some bronze mountings from Cyprus will be -found in wall-cases in the corridor. In the cubiculum from Boscoreale is -a table of marble and bronze. The bronze rim which surrounds the marble -top is inlaid with silver and niello in a beautiful pattern of palmettes -and rosette ornaments. A couch, probably for dining (wrongly restored as -a seat), and a footstool stand in the corridor between the Eighth and -Ninth Rooms. Bedsteads, which were similar to this couch in shape, were -merely frames on which thongs were stretched, like the old-fashioned -corded beds, the interlaced leather bands acting as springs. The wooden -frames were frequently decorated with bronze fittings, and in the -Hellenistic and Roman periods inlay and mountings of silver, gold, ivory, -and tortoise-shell were employed for the rich. Couches and beds were -usually supplied with a raised head-rest, often finished with bronze -animal-heads, such as the mule-heads in Case A in the Seventh Room and -Case L in the Eighth Room. - -[Illustration: FIG. 25. BRONZE CAULDRON] - -[Illustration: FIG. 26. GREEK TABLE-WARE OF PAINTED TERRACOTTA] - -Clothing was kept in chests, which were well adapted to the large -pieces of cloth composing a costume. A good illustration of a chest -may be seen in Case W in the Fourth Room, on an amphora decorated with -a scene from the story of Danaë and Perseus, and in Case 2 there is a -miniature chest of white stone from which the cover has been lost. - -[Illustration: FIG. 27. BRONZE PATERA] - -Household utensils, since they were made of metal or pottery, exist in -considerable numbers. Cooking was usually done over an open fire, though -stoves of a simple type came into use in the Hellenistic and Roman -periods. The bronze cauldrons used for boiling (Case S in the Third Room -and wall-cases in-the corridor) were valued highly, and were offered -frequently as prizes in athletic contests (fig. 25). At the funeral games -of Patroklos (Iliad XXIII, vv. 267-268) Achilles gives a ‘bronze cauldron -untouched by fire’ as a prize for the chariot race, and records of later -contests prove that the custom was a common one. An amphora in Case Y -in the Fourth Room is decorated with the figure of a youth, evidently a -victor in the games, carrying away upon his shoulders a cauldron which -he has won. The metal hook in Case N in the Seventh Room was used for -drawing pieces of meat from the cauldron. Pails, finely made and -decorated, especially as to the handles and their attachments, probably -served some purpose at table, as, for example, to hold cold water or snow -in which a vessel of wine was placed to cool. - -[Illustration: FIG. 28. BRONZE WINE-JUG] - -[Illustration: FIG. 29. BRONZE JUG] - -[Illustration: FIG. 30. BRONZE BEAKER] - -[Illustration: FIG. 31. BRONZE LADLE FOR WINE] - -[Illustration: FIG. 32. BRONZE WINE-STRAINER] - -The pottery in the various rooms of the collection shows the kinds of -dishes in use in Greek and Italian houses. There are cups of different -shapes, pitchers and jugs for water, wine, and other liquids, kraters -(large bowls for mixing water and wine), plates for food, and lekythoi -(oil-cruets) (fig. 26). The modern china, that is, high-fired pottery -covered with a vitreous glaze, was not known, and glass did not become -common until the Imperial period. In the Eighth Room and the corridor -are many examples of the glass vessels of that time, some plain, others -with ornaments in relief, and still others of colored glass in patterns -of remarkable beauty (Cases N and O in the Eighth Room). Much of the -plain glass has become iridescent owing to exposure to damp in graves. -The pottery in museum collections is naturally the finer product of -the workshop; receptacles for storing and for kitchen use were of -undecorated clay and more carelessly made. In the Cesnola Collection on -the tops of Cases 58-63 are some of the tall jars, called pithoi by the -Greeks and dolia by the Romans, which were used for storing and exporting -wine, grain, and many other articles, taking the place of the casks, -barrels, and boxes, and the paper bags and cartons of modern times. The -pointed ends were driven into earthen floors. - -[Illustration: FIG. 33. ROMAN SILVER CUP] - -[Illustration: FIG. 34. ROMAN SILVER SPOONS] - -Another piece of table-ware which should be mentioned is a special plate -for fish, made in Italy, which had a depression in the center for holding -the sauce. These plates are decorated with interesting and surprisingly -accurate drawings of fish (Case Q in the Sixth Room, tail-piece, p. 31). - -In Case E in the Third Room is a bronze table service of Greek work from -an Etruscan tomb, and in Case O in the same room are bronze jars and -jugs of various fine shapes (figs. 27-30), and ladles for dipping wine -(fig. 31). In Case A in the Fourth Room is a wine-strainer (fig. 32). The -remarkably beautiful handles from vessels in these cases are a further -proof of the taste and care expended upon household utensils. Silver -table services were not common among the Greeks, but silver and even gold -dishes were used by wealthy Romans. In Case C in the Eighth Room are four -cups of Roman date (fig. 33) with a ladle and a little jug or cup with a -spout. - -Food was usually cut into convenient pieces in the kitchen and eaten with -the fingers, but spoons were used to a considerable extent by the Romans. -Several bronze spoons are exhibited in Case 5, and there are some silver -spoons of various shapes in the case with the silver cups in the Eighth -Room (fig. 34). - -The habit of rising and going to bed early which prevailed in Greece -and Italy is easily understood when we see the meagre arrangements for -lighting which they possessed. In the street torches were carried, and -they were also used in the house in early times. A bronze torch-holder -of the late sixth century from Cyprus in the corridor and a terracotta -example in Case 2 appear to have been made so that they could be set on a -table. The Romans and Etruscans made candles of pitch and also wax ones -very similar to our own, but the Greeks were not acquainted with them -until they were introduced by the Romans. The iron candelabrum in Case S -in the Third Room was designed to hold candles on the prickets around the -top. Lamps were commonly of terracotta or bronze. Olive oil was burnt in -them with a wick of flax, but at best the light must have been poor and -flickering. Candelabra were commonly made of wood, but handsomer ones -were of bronze. A fine Etruscan candelabrum stands in the Fifth Room. It -was probably furnished with hooks or other attachments for hanging lamps, -or with prickets for candles (fig. 35). A group of lamps of various -shapes is shown in Case 2 (fig. 36). - -[Illustration: FIG. 35. BRONZE CANDELABRUM] - -[Illustration: FIG. 36. BRONZE LAMP ON A STAND] - -[Illustration] - - - - -[Illustration] - - - - -IV - -OCCUPATIONS OF WOMEN - -CASES 2, 3, AND 5 - - -[Illustration: FIG. 37. WOMAN EMBROIDERING OR MAKING A NET] - -The home in ancient times, especially the country house, was a -manufactory on a small scale, like many American homes of a century ago. -Most of the clothing for the family was made there, and consequently the -mistress of the house must understand wool-working in every stage and -the making of linen cloth, and must also be able to teach and direct -the slave women. Wool was often bought in the raw state or even in the -fleece, which necessitated cleansing it, certainly a disagreeable task. -The Syracusan lady in the Fifteenth Idyll of Theokritos scolds because -her husband has bought five dirty fleeces of poor quality—“work upon -work” for her. For making the roves a pottery shield, called epinetron -or onos, was placed on the knee and the fibers rubbed over it. An -interesting example, decorated with drawings of women at work (see -head-band, p. 32), has the upper surface covered with a scale pattern -which furnished the slightly roughened surface necessary for making the -roves (Case 2, top shelf, fig. 38). The covering, however, was sometimes -dispensed with; a finely decorated toilet-box in Case A in the Fourth -Room has on one side a drawing of a woman carding over her bare knee -(fig. 39). This box also shows the next stage in the making of cloth, -the spinning, for which distaff and spindle were used (see tail-piece, -p. 39). A small weight, the spindle-whorl, usually of terracotta, was -attached to the thread below the spindle to increase the twisting motion. -An example is in Case 5. This primitive method of spinning is still in -use among the Greek country-folk, witness a photograph taken in 1922 -(fig. 41). - -[Illustration: FIG. 38. ONOS OR EPINETRON] - -[Illustration: FIG. 39. WOMAN CARDING WOOL] - -[Illustration: FIG. 40. EMBROIDERED CLOTHING] - -The loom used in Greece and Italy was upright, consisting of two posts -with a cross-bar. The threads of the warp, alternately long and short, -were held by terracotta weights tied to the lower ends. A loom-weight -from Crete is marked with the owner’s name, Kaleneika, wife or daughter -of Teriphos (Case 5). - -[Illustration: FIG. 41. GREEK COUNTRY-WOMAN SPINNING] - -Cloth was woven in the size desired for a particular garment, so that -no cutting was necessary and consequently there were no edges to hem. -Sewing was therefore restricted to seams, of which few were required, but -a great deal of time and skill could be devoted to embroidered ornament -upon fine garments. The earlier fashion, seen on black-figured vases, -was to cover the cloth with patterns, but later only borders were used, -or bands of figures. On an oinochoë of the fifth century, in Case C -in the Fifth Room, are two ladies perfuming clothes. The garments and -head-dresses they are wearing and the clothes they are folding are worked -with beautiful borders in the wave pattern and ornaments in the form -of conventionalized flowers (fig. 40). Besides providing fine apparel -for themselves and their families, women also expended their skill on -garments which they offered to the goddesses: the treasuries of Athena -and of Artemis at Athens contained chests full of many-colored robes -offered by worshippers (fig. 37). Naturally in the course of time various -industries sprang up which contributed manufactured products to the -household, but spinning and weaving continued to be domestic occupations, -at least to provide clothing for the slaves. Some conservative families -in Rome prided themselves upon wearing garments made at home; the Emperor -Augustus is said to have worn, except on special occasions, the handiwork -of the ladies of his family as an example of simplicity in a period of -general extravagance. - -[Illustration: FIG. 42. BAKING BREAD IN A PRIMITIVE OVEN] - -[Illustration: FIG. 43. WOMEN WINNOWING AND GRINDING CORN] - -The preparation of food likewise required the housewife’s direction, -though the master of the house, or in large establishments a trusted -steward, attended to the marketing. Two small terracottas from Cyprus on -the bottom of Case 3 illustrate the making of bread by very primitive -methods. In the first (fig. 43), the woman at the left is winnowing -grain with a sieve, which she holds, and a winnowing-fan shaped like -a shovel, which lies by her side. The other woman (whose head is -unfortunately missing) is grinding the corn on a saddle-quern; she draws -the upper millstone back and forth over the lower, which is provided with -side boards to prevent the meal from falling off—a hard day’s work, one -would say. The other terracotta represents a primitive method of baking -bread. A clay oven like a huge bowl was built up by hand in a convenient -place. The usual fuel, dried grasses, was placed in and around it and -after the oven became heated and the fire had died down, the housewife -set the flat loaves around the inside to bake (fig. 42). - -[Illustration: FIG. 44. WOMEN AT A WELL-HOUSE IN ATHENS] - -Another task often represented on vases is the drawing and carrying of -water. In many places the public well-houses were the principal source of -supply, as the piping of water into dwellings was unusual in Greece until -Roman times. A hydria in Case 2 shows a group of women carrying away -their jars on their heads from a public well-house (fig. 44). - -[Illustration: FIG. 45. MARRIAGE-VASE] - -In Athens, and probably more or less throughout the Greek world, a -woman’s life was rather monotonous. Ladies did not go out unattended, -and indeed were not expected to go out at all without good reason. A -wife did not receive her husband’s guests or take part in his social -life; but women were included in family gatherings such as weddings and -dinners after the birth of children, they made visits to women relatives -and friends, and shared in the frequent religious festivals, which at -Athens included the theatre. In the earlier vase paintings there are -comparatively few figures of women, and such as appear are usually -goddesses or accessory persons in mythical scenes; but with the gradual -change to subjects taken from every-day life in the later sixth and the -early fifth century, we begin to see women about their usual occupations, -or in groups talking with each other or with men. Much of the later -Athenian pottery is decorated with charming scenes from the life of -women, showing them with their children, at their toilet, busy with -embroidery, or playing with pets. The younger ones seem to have enjoyed -some games which we have relegated to childhood, such as spinning tops -(see fig. 53). On the marriage-vases we see the bride being dressed by -her friends and servants, or receiving presents on the day after the -wedding, the traditional occasion for the presentation of gifts. Two of -these vases are in Case B in the Fifth Room (fig. 45), and a perfume vase -in Case Q is decorated with a similar scene. The usual presents seem to -have been bands and ribbons for the hair, perfumes, jewelry, and pets, -especially birds. - -[Illustration] - - - - -[Illustration] - - - - -V - -CHILDREN AND EDUCATION - -CASES 2 AND 3 - - -Little babies were tightly bound in swaddling clothes soon after birth, -and the mother, in anxiety for her child’s safety, usually fastened an -amulet or charm of some kind around its neck to keep away unfriendly -spirits. The grotesque faces of colored glass previously mentioned (p. -8) may have served this purpose. Roman children wore the bulla, a case -of leather or gold, according to the means of the parents, containing a -charm. A large gold bulla of Etruscan workmanship is in a case at the -left side of the Gold Room (fig. 46). The baby became the charge of an -old and trusted slave-woman such as the kind old nurse represented in a -terracotta statuette on the middle shelf of Case 3. Another of the same -type is in Case K in the Sixth Room (fig. 47). The prettily decorated jug -with a spout is a feeding-bottle (fig. 48). - -[Illustration: FIG. 46. GOLD BULLA] - -[Illustration: FIG. 47. OLD NURSE HOLDING A BABY] - -[Illustration: FIG. 48. TERRACOTTA FEEDING-BOTTLE] - -Greek and Roman children played with toys much like those of the present -day, but they were simple and inexpensive. Rattles for babies were made -of terracotta with a few pebbles enclosed (Case 3, middle shelf). An -interesting toy for a small child is the terracotta horse from Cyprus -with large jars in its panniers such as those carried by real horses for -taking provisions to and from market (Case 2, top shelf, fig. 49). Carts -were favorite playthings; a small oinochoë in Case 3 shows a boy driving -two goats harnessed to a chariot, and on a white lekythos painted for -a child’s grave (Case F in the Fifth Room), a little boy is going to -Charon’s boat for his journey over the Styx, drawing his toy cart (fig. -50). Of course, Greek and Roman children kept house with their dolls, and -charming miniature vases were made for them, some for the doll’s table -and others for her toilet and wedding. These vases, which are decorated -with scenes of children at play, were given, it is thought, as presents -on a festival day called Choes, “Jugs.” A number of different types are -in Case G in the Fifth Room. - -[Illustration: FIG. 49. TOY HORSE ON WHEELS] - -Dolls were made of wax and clay. The two seated terracotta dolls without -joints in Case L in the Seventh Room were found in graves at Tarentum in -Southern Italy. Another made of bone has jointed arms and could easily be -dressed (Case 3, tail-piece, p. 46). These dolls were originally painted -in bright colors, which have been destroyed by time. - -[Illustration: FIG. 50. TOMB LEKYTHOS. CHILD DRAWING A CART] - -Rolling hoops, contrary to modern ideas, seems to have been a boys’ -sport. A boy with a hoop may be seen on a vase in Case J in the Fifth -Room (fig. 52). Mothers and nurses swung small children in swings, as -in the scene on a vase from Southern Italy (Case P, Sixth Room), and -older girls also enjoyed this pastime. As part of a game or perhaps as -forfeit, girls sometimes carried one another on their backs. A terracotta -statuette represents two girls playing ephedrismos, as this game was -called (Case 3, fig. 55). Young women and girls, as well as boys, played -with whipping-tops, as is shown on a lekythos on the same shelf (fig. -53), and on one side of a toilet-box two girls are playing a game -of ball with a wicket (fig. 51). Children also played hide-and-seek, -tug-of-war, and many games with beans, nuts, pebbles, small coins, and -the astragals described in the section on Amusements (pp. 68-69). - -[Illustration: FIG. 51. GIRLS PLAYING BALL] - -At about six years of age Greek boys were sent to school, while the girls -remained at home to learn from their mothers how to spin and weave, and -to read a little and keep accounts. Their education was of the simplest -kind and ceased very early. - -[Illustration: FIG. 52. BOY ROLLING A HOOP] - -[Illustration: FIG. 53. WOMEN WHIPPING TOPS] - -[Illustration: FIG. 54. STYLUS] - -The first school to which a boy went was that of the letter-teacher, -who taught reading, writing, and simple arithmetic. A kylix in Case 3 -(see head-band, p. 40) is decorated with figures of schoolboys, one of -whom holds a roll of manuscript, and another a writing tablet. These -tablets were thin pieces of wood covered with wax and fastened together -with cords (fig. 56). A pointed stylus (fig. 54) was used for writing, -the blunt end being turned around when it was necessary to erase by -smoothing the wax[1]. After three or four years in the letter-school -the boys went to the music teacher, who taught them to sing and to play -the lyre, and in connection with the music they learned many selections -from the great poets. Training in the palaistra or wrestling-school was -begun very early, and was usually continued until the boy was old enough -to be called into the military service of the state. These lessons will -be described in the section on athletics, as the sports of the palaistra -were in general the same as those of the men’s gymnasium. In addition to -the subjects already mentioned, many boys, during the fifth century and -later, studied geometry, rhetoric, and philosophy. - - [1] Several very interesting objects illustrating Greek writing - and writing-materials are exhibited in the case devoted to - learning in the Seventh Egyptian Room. They include a wooden - tablet covered with wax, several short letters on potsherds—a - cheap and common writing-material—and fragments of the Iliad - and the Odyssey on papyrus, the usual substance on which books - were written, dating from the third century B.C. The reed pens - in this case are of the kind employed for writing on papyrus. - -[Illustration: FIG. 55. EPHEDRISMOS GAME] - -[Illustration: FIG. 56. BOY WITH A WRITING TABLET] - -[Illustration: FIG. 57. INK-POT] - -In Italy, Greek ideas of education were generally adopted; boys learned -the Greek language and studied the Greek and Roman poets. A little -geography and history were taught, and arithmetic occupied much time, -for the Roman system of weights, measures, and coins was difficult and -inconvenient. Besides the schools for elementary subjects there were -special classes for the study of rhetoric and philosophy. The children -of rich or noble families were often educated at home by Greek tutors, -the girls and boys together, and among the humbler people they went to -the same school for a time. In general the education of girls was similar -to that of boys, so far as it went, and sometimes in wealthy families was -continued after marriage. Many ladies knew the Greek poets well and wrote -verses themselves. Music occupied much of their time and they learned to -dance for recreation and as a means of giving pleasure to their families -and friends. - -[Illustration] - - - - -[Illustration] - - - - -VI - -DRESS AND TOILET - -CASES 2, 3, AND 5 - - -[Illustration: FIG. 58. DIAGRAM OF DORIC CHITON] - -Greek dress, both for men and women, consisted of two portions, a garment -for the house and a wrap to be worn over it. Men, from the time of the -Homeric poems downwards, wore a “chiton,” rectangular in shape and -somewhat wider than the body, closed on the sides and across the top -except for openings left for the head and arms. A short woolen chiton -was the usual dress for soldiers, workmen, and poor persons, while the -nobles of the Homeric poems seem to have worn linen chitons reaching to -the feet. Over this a wrap, either rectangular or curved on one side, was -arranged in various ways. The earliest representations show men wearing a -wrap with one curved edge, and apparently doubled like a shawl. This type -of dress may be seen in vase paintings in the Third Room; for example, -the figure of Dionysos on a stamnos (No. GR 564 in Case R), and the same -god on a large amphora (No. 12.198.4) in that case. - -[Illustration: FIG. 59. AMAZONS IN MEN’S IONIC CHITONS] - -The earliest garment for women which we know of was a chiton of wool -without sewing. This was a large rectangular piece of cloth considerably -wider and longer than the body. It was folded through the middle -lengthwise, so that one side was closed and the other open. The top, -again, was generally folded over, this hanging portion being called -“apoptygma.” Long pins inserted with the points upwards, or fibulae (see -head-band, p. 47), were used to fasten the double edge on the shoulders, -and a girdle was usually worn to hold the edges of the open side in place -(fig. 58). If the chiton were still too long, part of the cloth was drawn -up through the girdle into a blouse called “kolpos.” The heavy woolen -chiton may be seen in the drawing of three nymphs on an amphora (No. GR -549) in Case K in the Third Room. From these early representations in -art, it seems that clothing for both men and women was at first rather -narrow and was often covered with woven or embroidered patterns (fig. 60). - -During the seventh and sixth centuries the rich and artistic Ionian -cities had a great influence on the customs of Greece, and from them the -ladies of Athens adopted the linen chiton, which was wider and was sewed -on the sides. The additional width was sometimes used to form sleeves by -catching the two pieces together at the top in three or four places, with -sewing, buttons, or small pins. Long sleeves sewn in were occasionally -worn, but were exceptional rather than customary, so that artists often -represent barbarians with sleeves to distinguish them from Greeks. -On a kotyle in Case C in the Fifth Room is a woman wearing a spotted -chiton with long, close-fitting sleeves. At this period men as well as -women at times wore the apoptygma and kolpos, but the man’s chiton was -generally short (fig. 59). On two kylikes on the bottom of Case L in the -Fourth Room (Nos. 12.231 and GR1120) women are represented in the linen -chiton (fig. 62). After the Persian Wars, as the result of the strong -reaction against Eastern fashions, men and women both adopted the woolen -Doric chiton again, and for men it remained the universal dress, being -now short and without apoptygma and kolpos. Still, the adoption of the -Doric chiton did not imply a violent change, for working people had worn -it continuously and it was the usual dress for young girls. Old men, -priests, charioteers, and officials on public occasions continued to -wear the long Ionic chiton, and both were in use by ladies at the same -period. It should be added that at this time the two types were often -worn together, the Ionic forming an undergarment with short sleeves, -and the Doric, a sleeveless gown. This costume is frequently seen on -grave-reliefs, but our only example is an engraving of a Maenad on a -bronze mirror in Case C in the Sixth Room. - -[Illustration: FIG. 60. EARLY CHITONS] - -[Illustration: FIG. 61. WOMAN’S DORIC CHITON OF THE V CENTURY] - -[Illustration: FIG. 62. WOMAN IN IONIC CHITON] - -The woman’s Doric chiton of this time may be seen in the statue of -Eirene, No. 15 in the Sculpture Gallery (fig. 61), and it is worn without -a girdle by the young girl on a gravestone (No. 21, fig. 63). Here the -open side shows plainly. A drawing of Zeus on a krater on the bottom -of Case O in the Fourth Room, and a young hunter on a krater on the -left side of the first shelf show the man’s chiton (fig. 67). The Ionic -chiton is illustrated by the statue of a goddess, No. 19 in the Sculpture -Gallery. Metal buttons to represent the sleeve fastenings were inserted -in the marble. - -[Illustration: FIG. 63. DORIC CHITON WITHOUT GIRDLE] - -[Illustration: FIG. 64. LADY IN HIMATION AND HAT] - -[Illustration: FIG. 65. LADY IN HIMATION] - -[Illustration: FIG. 66. MAN IN RIDING-CLOAK AND HAT] - -The usual outer wrap, called himation, was a large oblong, rectangular -piece of woolen cloth, and was practically the same for both sexes. In -the seventh and sixth centuries there were various ways of arranging it; -as a shawl, or as a scarf fastened on one shoulder. The archaic statue of -a woman, No. 2 in the Sculpture Gallery, wears it doubled and fastened -on one shoulder over an Ionic chiton of soft, crinkled linen (fig. 68). -Gradually a simpler and more beautiful arrangement was adopted; the -himation was laid across the back with one corner over the left shoulder, -then folded around the front of the body, passing either over or under -the right arm according to the wearer’s wish, and the end thrown over -the left shoulder, from which it hung down the back, kept in place by a -weight in the corner. On a krater (No. 16.72) on the bottom of Case J -in the Fourth Room, the god Dionysos is wearing the himation arranged -in this way (see tail-piece, p. 67), and the cast of the so-called -Lateran Sophokles (No. 775 in the Gallery of Casts) shows the himation -at its best. Ladies often drew it up over their heads like a veil. The -terracotta statuettes in the Sixth Room illustrate the variety of ways -in which the wrap could be draped (figs. 64, 65). Besides the himation -there were cloaks of more convenient dimensions for riding, hunting, -or traveling. These were variously named but were all unsewn pieces of -cloth, rectangular or curved on one side, and were usually pinned on -one shoulder. A terracotta (No. 06.1118) in Case G in the Sixth Room -represents a traveler in chiton and riding-cloak (fig. 66), and the same -cloak is worn by a warrior on the large amphora on a pedestal in the -Fifth Room (see fig. 103). - -[Illustration: FIG. 67. MAN’S CHITON] - -Head-coverings were worn only by travelers, riders, or working-men. A hat -with a wide brim, called “petasos,” was the usual traveler’s head-gear. -It was made in a variety of shapes, the brim being sometimes broader at -back and front, sometimes at the sides. Another form had a circular brim -which turned up. This may be seen on three terracotta statuettes (Case 2, -and Case G in the Sixth Room). A cap, called “pilos,” was worn by smiths, -sailors, and working-men in general. There is a man wearing a pilos -on a cup on the top shelf of Case S in the Fourth Room, and a warrior -with the same hat will be found on a small hydria on the first shelf of -Case Q in the Fifth Room. Some head-coverings which may be either caps -or small hats with rolled brims, are represented in several terracotta -statuettes of boys in Case G in the Sixth Room. Women wore the petasos -for traveling, and they also used a kind of sun-hat, called “tholia,” -with a pointed crown and broad brim, made of straw and fastened by a -ribbon. Several examples of this stiff and ungraceful hat may be seen on -terracotta statuettes in Case 2, and in Case G in the Sixth Room (see -fig. 64). - -[Illustration: FIG. 68. AKROPOLIS MAIDEN IN IONIC CHITON AND HIMATION] - -Shoes were of two principal types: sandals with straps, and high shoes or -boots for hunting and traveling. The Greeks valued finely made shoes, and -dandies sometimes invented new fashions which were called by their names, -as “Alkibiades shoes.” A terracotta foot from Cyprus wearing a sandal -and another painted black are on the middle shelf of Case 2. On a krater -in Case O in the Fourth Room Hermes wears high laced boots with a tongue -rising above the laces, and a stamnos on the bottom of Case E shows the -hunter Eos in boots. The bronze statuette of the philosopher Hermarchos -in the Seventh Room wears sandals which are worked out in detail (fig. -69), and an idea of the thickness of the soles may be gained from those -worn by the woman on a stele, No. 4 in the Sculpture Gallery. The number -and arrangement of the straps which held the sandal in place were various -and they were sometimes broad enough to form what was practically a shoe. -Boots were at times made with the leg-covering composed of leather bands -resembling modern puttees. Women wore sandals or low shoes. Black was the -usual color for foot-coverings, but gay colors were worn by women and -young men. The warm climate and custom permitted people often to dispense -with shoes in the house, and working-men went barefoot. - -[Illustration: FIG. 69. GREEK SANDAL] - -[Illustration: FIG. 70. GREEK JEWELRY] - -The hair was worn long by men until the fifth century, and the Spartans -and Athenian gentlemen who admired Spartan ways continued the fashion. -It was sometimes allowed to fall on the shoulders in curls or braids, -but was more frequently braided in two plaits and wound around the head, -or made into a sort of roll at the back and fastened by a gold pin. In -the sixth century men wore pointed beards without moustaches, but later -it became customary to shave the entire face, though short beards and -moustaches were worn by older men. A warrior arming, on an amphora on the -bottom of Case 4, has a pointed beard and long hair. His young squire, -who stands behind him, is beardless but his hair is long and curling. -The lyre-player on a large amphora on Pedestal R3 in the Third Room has -long hair in a knot at the back, held in place by a band. A somewhat -similar arrangement is seen in the bronze statuette of Apollo in Case -C2 in the same room. The fashion of plaited hair wound around the head -is illustrated by a terracotta relief of Phrixos on the ram’s back in -Case E in the Fourth Room. In the fifth century short hair was usual -for both young and old men; young men did not wear beards but older men -frequently wore short beards with moustaches. A moustache without a beard -was regarded as the mark of the barbarian. The marble heads of two young -men, Nos. 12 and 14 in the Sculpture Gallery, and the athlete’s head -on Pedestal H in the Sixth Room show the fashion for young men, and a -comparison of the vases and small bronzes in the Third Room with those -in the Fourth Room will make clear the gradual change of style from -elaboration to simplicity. - -[Illustration: FIG. 71. WOMEN’S COIFFURES] - -The styles of women’s hair-dressing can be best understood by looking -at the statues, vases, and terracottas in the collection. A variety of -ornamental kerchiefs was worn, especially a very pretty band called -sphendone, “sling,” from its shape (fig. 71). On the bottom of Case J in -the Fifth Room is a large stamnos decorated with groups of women dressed -in the Ionic and Doric chitons and wearing various kinds of head-dresses. -Many of the terracottas in the Sixth Room and the head of a young -goddess, No. 7 in the Sculpture Gallery, illustrate the “melon” coiffure -which became the mode in the fourth century. - -Fashions in dress were the same in general throughout the Greek world, -although of course there were local peculiarities. In Sparta boys and men -often wore only a small wrap without a chiton, and young men commonly -went barefoot. The women wore the Doric chiton. - -[Illustration: FIG. 72. STRIGIL] - -The jewelry in use included necklaces and bracelets, rings for the -ears and fingers, and pins for the hair and clothes. The Doric chiton -originally required two very large pins, which were inserted with the -points upwards, but they went out of use in the sixth century when the -Ionic chiton came into fashion and were not worn with the later Doric -chiton. The fibula or safety-pin was used throughout the Greek and Roman -world. A group of these pins of various types is exhibited in Case D in -the Second Room. The fibula illustrated in the head-band is in the Gold -Room. Greek jewelry of the fifth and fourth centuries was frequently of -great beauty. Precious stones were used but seldom until the Hellenistic -period, but the excellence of Greek workmanship has rarely been equalled -by other craftsmen. The Greek gentleman permitted himself only a handsome -ring which was useful as a seal, and the artistic value of these engraved -seal rings of gold or of gold set with a semi-precious stone has made -them favorites with collectors for many centuries. The rings and gems in -cases in the rooms of the Classical Wing, and the beautiful jewelry in -the Gold Room are proofs of the skill of Greek workmen and the fine taste -of their patrons (fig. 70). - -[Illustration: FIG. 73. RAZOR] - -[Illustration: FIG. 74. ALABASTRON] - -Roman dress was similar to that of Greece in its principal -characteristics. The clothing of women was the same as that of the Greek -lady of the Hellenistic age represented in the terracotta statuettes. The -Ionic chiton, made usually of wool instead of linen, and called stola, -was worn in the house, but the married woman’s stola had a wide piece -like a flounce sewn on at the bottom. For the street the himation, called -by the Romans palla, was worn over it. The Roman citizen wore a white -woolen tunic like the Greek chiton, but it was usually provided with -short sleeves. Senators, knights, and free-born children had this tunic -ornamented with purple stripes running from each shoulder to the bottom, -both front and back. In the statue of a camillus in the Eighth Room the -stripes were inlaid in silver, of which traces remain. Over this was worn -the toga, corresponding to the Greek himation and arranged in the same -general way. The toga, however, was usually larger than the himation and -was semicircular on the lower edge. For senators, knights, and children -it was ornamented with a broad purple stripe following the straight edge. -Shoes and sandals of various kinds were in use; a special kind of high -shoe called calceus was always worn with the toga, and the tunic, toga, -and calceus formed the regulation dress for citizens in public. The -toga, being a very heavy, cumbersome garment, was not worn for traveling -or active work, and for these purposes there were many small wraps and -longer cloaks of various shapes. - -[Illustration: FIG. 75. ARYBALLOS] - -[Illustration: FIG. 76. GLASS BOTTLE] - -Short hair was universally worn by men in Rome. Under the Republic -women’s hair was simply arranged, but throughout the Imperial period -a variety of styles prevailed at different times, most of which were -conspicuous for their bad taste and so elaborate that the desired effect -was produced by wearing wigs and wire supports. Some of the better styles -may be seen on the portraits in the Sculpture Gallery, and on the heads -of a girl and a woman on pedestals in the Eighth Room. During most of -their history the Romans did not wear beards or moustaches, but under the -Empire fashion fluctuated, following the style favored by the reigning -emperor. After the time of Trajan beards were usual. - -[Illustration: FIG. 77. SILVER PYXIS] - -[Illustration: FIG. 78. TERRACOTTA PYXIS] - -Roman ladies were fond of ornaments and wore a great many of them. Large -sums of money were expended on precious stones and on shoes and other -garments embroidered with pearls. During the Republican period the Roman -wore a gold ring as the badge of his citizenship, but in the Imperial -period, with the increase of luxurious bad taste, dandies sometimes -covered all the joints of their fingers with rings. - -Requisites for the toilet do not differ greatly from one period to -another, since the purposes for which they were intended remain -practically the same; so we find much that seems familiar among those -of the Greeks and Romans. Probably the oldest article in this group is -a razor with a crescent-shaped blade, made in Italy in the early Iron -Age. The shape seems to have been a common one (fig. 73). Tweezers, of -which an example is shown in Case 5, were used for removing superfluous -hair. An article of daily use in ancient times, though we have no modern -utensil to correspond with it, is the strigil or flesh-scraper (Case -5, fig. 72). It was used especially by athletes after exercise, to -remove the dust and sand of the wrestling-ground, so that the strigil, -oil-flask, and sponge became in Greece a kind of symbol for the athlete’s -life, which was, practically speaking, the life of all well-to-do young -men. On a gravestone, No. 7 in the Sculpture Gallery, the dead youth is -represented with a strigil in his hand, while his little slave holds his -towel and oil-flask. Both men and women used strigils in the bath for -scraping off the fuller’s earth or lye powder used as soap. A silver -strigil was included in the tomb furniture of an Etruscan lady which is -exhibited in Case F in the Sixth Room. There is an example in glass of -Roman date in Case 5. - -[Illustration: FIG. 79. SPATULA] - -[Illustration: FIG. 80. DIPPING-ROD] - -It was customary among the Greeks and Romans to rub the body with oil -after the bath. The small jar called aryballos (Case G in the Fifth -Room, fig. 75) and the taller alabastron (Case 2, and Case A in the -Fourth Room, fig. 74) were used for holding oil and perfumes for toilet -use. Some small glass toilet bottles in Case J in the Third Room are so -charming in shape and coloring as to make a modern woman envious (fig. -76). In the Gold Room are two crystal scent bottles from Cyprus, one of -which has a gold stopper. The toilet box or pyxis held ointment, rouge, -face or tooth powders, or small toilet articles or ornaments. These -charming boxes were made of metal, as the silver box in Case F in the -Sixth Room (fig. 77), or of painted terracotta. The latter are often -triumphs of the potter’s and vase painter’s art; for example, the white -pyxis in Case V in the Fourth Room (fig. 78) and the red-figured pyxis in -Case A in the same room, with its interesting drawings of women working -wool (compare fig. 39). Others of a variety of shapes and decoration will -be found in Cases C and G in the Fifth Room. - -[Illustration: FIG. 81. GREEK MIRROR ON A STAND] - -[Illustration: FIG. 82. ETRUSCAN MIRROR] - -[Illustration: FIG. 83. GREEK MIRROR AND COVER] - -The bronze boxes known as cistae are Etruscan. Some of those which have -been found in tombs are very large and are elegantly decorated with -engraved scenes. They seem to have been a kind of dressing-case, for -holding all of a lady’s toilet equipment. A small one was included in the -tomb furniture of an Etruscan woman which is shown in Case F in the Sixth -Room. - -Bronze spatulae were useful in a variety of ways for mixing and applying -the cosmetics which were employed so constantly by Greek and Roman ladies -(fig. 79). An instrument corresponding to our medicine droppers are the -dipping-rods of bronze or glass. They could be inserted into bottles or -jars to take out a small quantity of liquid. A disk about half way up the -rod kept it from slipping into the bottle (fig. 80). Examples of both -utensils will be found in Case 5. - -Ancient mirrors were as inferior to the modern in power to reflect as -they are superior in beauty. Disks of highly polished metal, usually -bronze, were employed for this purpose, for the process of making a -mirror by backing a sheet of glass is not older than the fourteenth -century. Sometimes the mirror consists of a simple disk, plain or -ornamented on one side with an engraving or a design in relief, or again -it is made in one piece with a long handle or with a short tang to be -inserted into a bone or ivory handle, or it is provided with a ring. -The disk is often protected with a cover which bears the principal -decoration. Etruscan mirrors most frequently have handles but no covers, -and are decorated with engraved scenes, usually taken from Greek -mythology (fig. 82). Greek mirrors are of two types: either a simple disk -without a handle, fitting into a cover, usually ornamented with a relief -(fig. 83), or a disk supported on a stand, often in the form of a human -figure (fig. 81). In Case A in the Fourth Room are two fine examples -of the latter, two stands from which the mirrors have been lost, and a -mirror with a cover decorated with a woman’s head in relief. Another -charming stand of Etruscan workmanship is in Case H in the Third Room. -In Case A in the Fifth Room are four very beautiful Greek mirrors of the -fourth century, and in Case C in the Sixth Room are examples of both -Greek and Etruscan types. A pretty terracotta statuette of a lady using -a mirror is in Case G in the same room; she is arranging her hair while -balancing her mirror on her knee. - -[Illustration] - - - - -[Illustration] - - - - -VII - -AMUSEMENTS, MUSIC, AND DANCING - -CASES 1, 3, AND 5 - - -As at the present time, festivities frequently centered around dining. In -Greece, many dinners were given by men to their friends, followed by the -symposium, at which the guests drank wine mixed with water, told jests, -sang, and often watched hired performers, such as jugglers, tumblers, -and dancers. A kylix in Case E in the Fourth Room is decorated with a -scene from a symposium (fig. 84). The special game for this occasion was -“kottabos,” which was played with the aid of a bronze contrivance like -a candelabrum, of which an example stands in the Fifth Room (fig. 85). -The players held their cups by one handle and tried to throw a small -quantity of liquid on the bronze disk at the top of the shaft, so that -it fell down with a ringing sound. The game was also played by throwing -the liquid into nutshells or small saucers floating in a krater full of -water, so as to make them sink. Many games of chance were known to the -Greeks and Romans. Perhaps the most popular were those played with the -knucklebones (astragaloi) of sheep and goats. They could be used like -dice, and also like “jacks,” being thrown up and caught on the back of -the hand. A toilet box on the middle shelf of Case 3 (fig. 87) shows -three women playing, one of whom has an astragal on the back of her hand. -The knob on the cover of the box is appropriately made in the same form. -Nine very small examples of glass are in Case 1 (fig. 86). The invention -of draughts was ascribed to Palamedes, one of the heroes of the Trojan -War, a story which at least proves that they were played in Greece in -very early times. Nuts and coins were also used as counters in various -games, and games of dice were played in various ways. Astragals could be -used as dice, and had the advantage of needing no marks, as the sides -were naturally different. - -[Illustration: FIG. 84. SYMPOSIUM] - -The musical instruments in use were the lyre and kithara and the flute, -with some other less common varieties of stringed instruments. The -kithara, the instrument of professional musicians, had a sounding-board -and hollow arms of wood. The strings extended from the “yoke,” a -cross-piece connecting the arms, to the sounding-board. The kithara -was usually played standing, and was hung by a band to the performer’s -shoulders. He played with both hands, using the plectron or “pick” in his -right. A rather rude terracotta from Cyprus in Case 1 represents a woman -with a kithara, a terracotta statuette of Eros with a kithara is in Case -K in the Seventh Room, and a wall-painting in the Eighth Room represents -a lady playing one (see fig. 21). Kithara players in festal costume at -the public games are represented on three vases in the collection (Case -K in the Third Room and Cases E and Y in the Fourth Room). Another -illustration is on an amphora on the bottom of Case P in the Fifth -Room, where Apollo, the god of music, stands before an altar holding -his favorite instrument (fig. 90). The best representation, however, is -the kithara held by a gold siren who forms the pendant of an earring -exhibited in the Gold Room. The details of construction are fully worked -out and the attachment of the strings can be clearly seen. Those used at -public festivals were often richly ornamented with carving and inlay of -semi-precious stones. - -[Illustration: FIG. 85. KOTTABOS-STAND] - -[Illustration: FIG. 86. GLASS ASTRAGALS] - -[Illustration: FIG. 87. GIRLS PLAYING WITH ASTRAGALS] - -The lyre was the usual instrument of the amateur. Boys learned to play -it at school, and gentlemen were expected to be able to accompany -themselves upon it at symposia. Its sounding-board was made of the shell -of a tortoise covered on one side with wood. The upright pieces, curved -outward and in again toward the top, were sometimes made of the horns -of animals. It had a yoke near the ends of the uprights, and a bridge -on the sounding-board. The strings, of sheep’s guts or sinews, varied -in number from three to eleven at different periods, but seven was the -usual number in the fifth century. The plectron was generally used in -playing both instruments. Several good illustrations of the lyre may be -seen in the Museum collection. A satyr with a lyre decorates an amphora -on the shelf in Case J in the Fourth Room. On the bottom of Case O is an -amphora showing Kephalos with a lyre (fig. 88), and on the shelf above a -boy singing to the lyre will be seen in the interior of a kylix. A man -holding a lyre, probably a guest at a symposium, decorates the inside -of a kylix in Case E. An interesting little bronze figure in Case C 2 -in the Third Room represents a musician in festival dress with the same -instrument. The statuette was probably a votive offering for success in a -contest. - -[Illustration: FIG. 88. YOUTH WITH A LYRE] - -[Illustration: FIG. 89. GIRL DANCING AND PLAYING THE CASTANETS] - -[Illustration: FIG. 90. APOLLO WITH A KITHARA] - -The ancient flute differed from the modern in being played at the end, -and in having a vibrating reed as a mouthpiece. The tone was shrill. -Flutes were always played in pairs, and a kind of bandage was often worn -by the player to support their weight. This can be seen on the psykter -in Case 4 and on a terracotta statuette from Cyprus in Case 1. Flute -music had a very wide use. It accompanied the voice in solo or chorus, -and the kithara at public contests; it was employed in the theatre at -Athens and at Rome, and was used to guide and accompany the exercises -of the palaistra. The flute furnished music for dancers, and in Rome it -was played at funerals. Meals were served and work such as the kneading -of bread in bakeries was done to its music. Flute-cases are often -represented in interior scenes in Greek vase paintings, as on the inside -of a kylix in Case O in the Fourth Room, showing a boy playing the lyre, -and on a lekythos in Case K in that room where a woman is playing the -same instrument. Another instrument was the syrinx or Pan’s pipe, made -of reeds arranged in graduated lengths, fastened together with cords and -wax. It was especially the shepherd’s companion in his long, solitary -days with his flocks. The little faun which forms the pendant of the -bracelet in Case K 2 in the Seventh Room is playing the syrinx. Cymbals -were used principally at religious ceremonies of an orgiastic type. There -are two pairs in the collection, one being marked with the owner’s name, -Kallisthenia (Case 5 and Case C 2 in the Sixth Room). Dancing formed a -part of worship in ancient times. The rude clay groups of men and women -dancing in a ring illustrate a feature of the worship of Aphrodite in -Cyprus (Case 1). In Greece boys were taught the exercises preliminary -to a dancer’s training as a part of their physical education, and the -many public festivals gave opportunity for large numbers to progress -further. Professional dancers, both boys and girls, were employed to -furnish entertainment at symposia. On a kylix on the bottom of Case L -in the Fourth Room is a girl dancing and playing the castanets, while a -young man looks on (fig. 89). Women of good family danced at home for -amusement, and at domestic festivals. The character of Greek dancing was -largely mimetic, the movements of the arms and the use of the drapery -being very important (see tail-piece, p. 75). The terracotta dancers in -Case L in the Seventh Room and another in Case 1 are good illustrations -of this (figs. 91-92). The Romans in early times practised religious -dancing. The processions of the Salii or priests of Mars, and of the -Arval Brothers are the best-known examples of such ritual performances. -Dancing as an amusement, however, they adopted from the Greeks in its -period of decadence, and consequently the sterner moralists opposed it. -Under the early Empire it nevertheless grew very fashionable. Girls and -women of noble family learned to dance as an accomplishment, and even men -of high rank danced, though at the cost of their dignity. Professional -dancers were greatly sought after and admired. - -[Illustration: FIG. 91. WOMAN DANCING] - -[Illustration: FIG. 92. WOMAN DANCING] - -Our representations of pet animals are all on articles of Greek -manufacture. An old gentleman walking with his sharp-nosed Melitean dog -decorates the interior of the kylix by Hegesiboulos in Case K in the -Fourth Room. Cocks and quails were kept for fighting by boys and young -men. Ganymede on an amphora in Case J in the Fifth Room carries his -cock on his arm (see fig. 52). Quails, cranes, small birds, and rabbits -were also household favorites. On the perfume vases in Cases Q and C in -the Fifth Room, quails, cranes, and a rabbit appear among the groups of -women. Cats were probably introduced from the East or from Egypt in the -late sixth or the early fifth century, but they were rare and seemed to -have been looked upon as curiosities rather than as pets. The goose was -perhaps the commonest pet and children are often represented playing with -one. Some small boys with two goats harnessed to a little chariot appear -on the oinochoë in Case Y in the Fourth Room. - -[Illustration] - - - - -[Illustration] - - - - -VIII - -ARMS AND ARMOR - -CASES 3, 4, AND 5 - - -The Greek soldier did not wear a full suit of armor such as that of -the medieval knight; the hoplite or fully armed infantryman wore only -a helmet, a cuirass, and greaves for protecting the shins. Such an -equipment may be seen in the statuette of a warrior of about 500 B.C. of -which the original was found at Dodona (top shelf of Case 3, fig. 93). -The Romans adopted this armor from the Greeks, with minor changes and -variations, but very little Roman armor has come down to our times, since -it was almost entirely of iron and has rusted away in the earth where it -was buried. - -[Illustration: FIG. 93. GREEK FOOT-SOLDIER] [Illustration: FIG. 94. -ITALIC HELMET] - -[Illustration: FIG. 95. ITALIC HELMET WITH METAL CREST] - -[Illustration: FIG. 96. CAP-SHAPED HELMET] - -[Illustration: FIG. 97. “JOCKEY-CAP” HELMET] - -[Illustration: FIG. 98. CORINTHIAN HELMET] - -[Illustration: FIG. 99. ITALIC ARMORED BELT] - -[Illustration: FIG. 100. PAIR OF GREAVES] - -The earliest Greek helmets were of the type called Corinthian because -Athena is represented in this helmet on the coins of Corinth. It formed -a complete covering for the head, having openings only for the eyes and -mouth. A nose-piece extends downward from the top. Holes for attaching a -leather or cloth lining may be seen along the edges of our three oldest -examples in Case H 2 in the Second Room. In the later helmets (Case J -in the Third Room and Case 4, fig. 98), the shape has improved and the -workmanship is finer. These helmets must have been worn over a cap, as -there are no holes for sewing in the lining. One example (No. 1530 in -Case J in the Third Room) has three small loops for attaching the crest, -which was generally made of horsehair. When not in battle the wearer -pushed the helmet back until the front rested on his forehead. - -[Illustration: FIG. 101. ITALIC CUIRASS] - -The Corinthian helmet had the great disadvantage of covering the ears -and its shape probably caused it to be easily displaced. An improved -form known as the Attic appears during the sixth century. This helmet, -of which No. 1535 in Case 4 is an early example, was lighter than the -Corinthian, fitted the head better, and had openings for the ears (see -tail-piece, p. 88). The cheek-pieces were often provided with hinges and -could be turned upwards and away from the face; on the large amphora -on a pedestal in the Fifth Room a young warrior is holding a beautiful -Attic helmet with cheek-pieces which seem to be hinged (see fig. 103). An -example with immovable cheek-pieces in the form of rams’ heads is in Case -C 2 in the Sixth Room. Both the Corinthian and the Attic helmet continued -in use at the same time, but the Attic type gradually superseded the -other. Two helmets (Case 4 and Case C 2 in the Sixth Room) shaped like -the pilos or felt cap worn by workmen show a Greek type of the fifth and -fourth centuries. One of them (No. 1541) has holes for attaching a crest -(fig. 96). The other helmets in the collection are Italic or Etruscan. An -Italian helmet reinforced by bands in relief (No. 1558 in Case N in the -Seventh Room) is of the same type as those in the British Museum which -were found on the battle-field of Cannae (figs. 94, 95, 97). - -[Illustration: FIG. 102. GREEK CUIRASS OF THE V CENTURY] - -[Illustration: FIG. 103. WARRIOR CARRYING A SHIELD] - -The earliest Greek cuirass consisted of two curved bronze plates laced -together at the sides. It reached to the waist and turned up around the -edges so as not to hurt the wearer. The Dodona statuette shows this -cuirass, and an Italic example in Case A in the Second Room belongs to -the same general type, though it is longer and the lower part is slightly -curved out to follow the line of the hips (fig. 101). This heavy and -uncomfortable piece of armor was superseded in Greece in the fifth -century by a cuirass made of leather or cloth upon which bronze scales -were sewn. It was provided with shoulder-straps and a cloth or leather -kilt reinforced with strips of metal hung below the corselet proper. A -warrior on a krater on the bottom of Case S in the Fourth Room shows this -type well (fig. 102). The earlier cuirass continued to be used in Italy, -but in an improved form; the bronze plates, being moulded to follow the -curves of the body, made a more comfortable as well as a beautiful piece -of armor. Two examples, one with the lower part broken away, are in -Case C 2 in the Sixth Room. In some parts of Italy a substitute for the -cuirass was found in the use of a breastplate made of leather on which -bronze disks were sewn. An armored belt accompanied the breastplate. On a -krater from South Italy in Case Q in the Sixth Room is a warrior wearing -such a belt, and an example is shown in Case 4. The small holes along the -edges are for sewing in a lining (fig. 99). - -Greaves were characteristic features of a Greek soldier’s equipment. The -pair of greaves in Case J in the Third Room will show how their shape and -elasticity caused them to stay in place on the leg (fig. 100). The greave -in Case 4 has holes along the edges for sewing in a lining. On the upper -part of a loutrophoros in Case J in the Fourth Room is a warrior wearing -greaves of which the lining can be seen in a ridge around the foot. - -[Illustration: FIG. 104. PERSIAN FIGHTING WITH A MACHAIRA] - -[Illustration: FIG. 105. JAVELIN-HEAD] - -[Illustration: FIG. 106. SPEAR-HEAD] - -[Illustration: FIG. 107. DAGGER-BLADE WITH HOOKED TANG] - -[Illustration: FIG. 108. LEAF-SHAPED DAGGER-BLADE] - -[Illustration: FIG. 109. BRONZE SWORD] - -[Illustration: FIG. 110. ARROW-HEADS] - -Shields were a necessary part of the defensive armor of ancient times, -but remains of them are very scanty. Scenes of arming and of combat, -however, are so frequent in Greek and Roman art that we are acquainted -with their general appearance. Greek shields were usually circular -or oval in shape, and made of wooden frames covered with hides and -reinforced with bronze. The rim and a large boss in the center were -the most essential metal parts, but the entire surface might be covered -with bronze, or plates of various forms arranged upon it. The large -bronze plates in Case 5 and in Case B in the Second Room seem to have -been parts of shields. When using the shield as a defense the warrior -thrust his left arm through the Loops in the inside, one of which was -close to the rim at the left and another usually near the center of the -shield; he held a third, which probably was stouter than the others, in -his hand. The loops on the rim are shown in a painting on the amphora -which stands on the pedestal in the Fifth Room, as well as the strap -extending from side to side by which it was suspended around the wearer’s -neck on the march (fig. 103). The Dodona warrior carries the so-called -Boeotian shield which has depressions in the middle of each side. Various -explanations are given of the origin of this form; a probable one is -that it results from stretching a hide over an oval frame on which the -top and bottom were fastened firmly while the sides were left free and -were naturally drawn in by the pull from both ends. Another possibility -is that the shield was cut out at the sides to provide peep-holes. Roman -shields were rectangular and curved around at the sides to protect the -wearer’s body. Only the boss and the rim were made of metal. The shield -of the Greek soldier bore the device of his state, as the Koppa of -Corinth, which was painted on the shields of her citizen-warriors; and -the Roman soldier carried the sign of his legion in the same fashion. -Interesting devices, frequently animals’ heads, were adopted like coats -of arms by Greek nobles, and many of these can be seen on vases of the -sixth century. An amphora on the bottom of Case 4 shows shields decorated -with the heads of a bull and a boar. - -[Illustration: FIG. 111. AMAZON WITH BATTLE-AXE AND WICKER SHIELD] - -The ancient warrior’s weapons were the dagger, sword, spear, javelin, -bow, and sling. The weapons in the Classical Collection cannot strictly -be called Greek or Roman because they were made at a remote period before -the Greek and Roman states came into existence, but they are interesting -in that they show the types from which later weapons were developed, and -often there is very little difference between the early types and their -descendants. The oldest cutting weapons are the bronze dagger-blades -from Cyprus, and those from Crete in Case D 2 in the First Room. They -were fitted into wooden or bone handles. A Cretan dagger-blade with an -engraved design still holds the three dowels which fastened the haft. The -tangs of the Cypriote blades are prolonged or hooked to prevent the blade -from loosening in its socket (figs. 107-108). Spear-heads also were at -first made to be inserted in the shaft, but later fitted over it. They -have a slit on one side of the socket, probably to give elasticity (figs. -105-106). The bronze butt-spikes were used to fix the spear in the ground -during halts. Examples of these weapons are in Case 4 and the wall-cases -in the corridor. - -The swords in the collection date from the Bronze or early Iron Age and -so are pre-classical. The fine bronze sword (Case 4, No. 1460) belongs -to an early Italian type (fig. 109), and the sword and sheath (No. 1461 -in Case A in the Second Room) is also Italian. An iron sword from Cyprus -(No. 1462 in the corridor) preserves the form of the bronze swords of the -late Mycenaean period, as the early iron-workers at first imitated the -shapes of bronze weapons. The pin in the shape of a sword illustrates the -type in use during the fifth century in Greece (Case 4). The machaira -which Xenophon often mentions had a curved blade and was especially -useful as a cutting weapon for cavalry. A good illustration of this shape -may be seen in a painting on an amphora in Case N in the Fourth Room -representing a Greek and a Persian fighting. The Persian holds a machaira -ready for the down-stroke (fig. 104). Roman swords were broad and flat. -They were designed for thrusting, and were carried by common soldiers and -officers. - -The foot-soldier wearing helmet, cuirass, and greaves, and armed with -sword, spear, and shield, that is, the familiar hoplite and legionary, -formed the most important part of the Greek and Roman armies. Cavalry -and light-armed infantry, however, who used the javelin, the bow, or the -sling, became gradually more prominent as their importance was perceived -in the wars with Eastern peoples and barbarous tribes. The use of the -bow and the sling was taught in the palaistra at Athens, as a practical -training for warfare, but ability in this direction was not rated very -highly. Certain nations were especially skilful with these weapons and -served as mercenaries to other states; both Xenophon and Caesar mention -the Cretan archers, and Caesar speaks of slingers from the Balearic Isles -who served under him in Gaul. The arrow-heads exhibited are Cypriote, -but No. 4786 is Hellenic in type (Case 4, fig. 110). - -Greek artists frequently represented the Amazons of legend in a dress -similar to that of the Persians of their own day, and from such paintings -on vases in the collection we find illustrations of various articles of -dress and of weapons mentioned by Xenophon. On a polychrome lekythos in -Case M in the Fourth Room is an Amazon shooting with a sling. Two spears -are stuck in the ground beside her. An oinochoë in Case K in the Fifth -Room shows three Amazons in their long trousers and tight-fitting sleeves -covered with a pattern. One of them carries a battle-axe and two hold -shields of plaited wicker-work, probably of the same sort as those which -furnished fuel to cook the Greek soldiers’ breakfast on the morning after -the battle of Cunaxa (Anabasis II, 1, 6) (fig. 111). Two large kraters -in the Fourth Room decorated with combats of Greeks and Amazons show -costumes and arms of the same type and a war chariot of the kind used by -the Greeks. - -[Illustration: FIG. 112. LAMP. VICTORY WITH A TROPHY] - -An interesting custom was that of setting up a trophy after a victory; a -tree-trunk to which a cross-piece had been fastened was arrayed in armor -taken from the battle-field, and remained standing there until destroyed -by time or taken by the enemy. A terracotta lamp from Cyprus in Case 5 -is decorated with a symbolic device representing Victory holding a trophy -at an altar between two Lares militares, the protecting deities of the -Roman state (fig. 112). - -[Illustration] - - - - -[Illustration] - - - - -IX - -ATHLETICS - -CASES 3 AND 4 - - -The strength, agility, and symmetry of the body were valued in the -highest degree by the Greeks, and with them physical training occupied a -much larger place than has been the case among other peoples. Athletics -were closely connected with religion, since contests were held as a part -of the funeral and memorial rites of heroes, and likewise of the worship -of the gods. They also had an important practical end; Greek armies were -always levies of citizens, and since there was no considerable length -of time during which the Greek states were at peace before the period -of Roman domination, the safety of the state depended to a great extent -upon the training of its citizens. Gymnastic games and exercises were -continued throughout the greater part of a man’s life, contributing to -good health and physical development no less than to recreation. - -This interest in athletics can be traced back to very early times in -the Boxer Vase from Crete dated in the sixteenth century B.C. (a -reproduction of this vase is in Case J in the First Room) and the scenes -of bull-leaping and the ivory leapers from Knossos (reproductions on the -south wall of the First Room and in Case H 2). The Homeric poems contain -many references to athletics, as the funeral games of Patroklos in the -Twenty-third Book of the Iliad, the games among the Phaeacians in which -Odysseus took part (Odyssey VII), and Odysseus’ encounter with the beggar -(Odyssey XVIII, vv. 15ff.); but at this time sports were unorganized -and no rules had as yet been devised for them. The seventh century was -especially the period of organization during which the great festivals -became fixed in time and in the number and kind of contests, and by 570 -B.C. the four great Panhellenic festivals—the Olympian, the Pythian, the -Isthmian, and the Nemean—were established. - -[Illustration: FIG. 113. JUMPER WITH HALTERES] - -[Illustration: FIG. 114. DISKOS-THROWER] - -There are a large number of vases, especially those of the late sixth and -early fifth centuries, ornamented with scenes from the wrestling-schools -and gymnasia. The place is indicated by the objects hung on the walls, -such as jumping-weights, a diskos, or an oil-flask and a strigil for -removing sand and oil. The trainer is usually present, represented -as a mature man, wearing a himation and carrying a forked rod. The -flute-player in a long, spotted robe often accompanies the exercises or -plays for the jumper. - -[Illustration: FIG. 115. ATHLETE THROWING A JAVELIN] - -[Illustration: FIG. 116. WRESTLERS] - -The principal athletic contests were foot-races of various distances, -including the torch-race, which corresponded to the modern relay race, -broad jumping, throwing the diskos and the javelin, wrestling, and -boxing. There were also the pentathlon (five contests), which consisted -of the jump, the foot-race, throwing the diskos and the javelin, and -wrestling; and the pankration, a combination of wrestling and boxing. - -[Illustration: FIG. 117. SCENE FROM THE PANKRATION] - -For jumping, weights called halteres were used; on the black-figured -lekythos on the middle shelf of Case 4 decorated with a scene of -athletes practising, two of the number hold halteres, the drawing being -sufficiently detailed to show the shape well. On the psykter and a vase -fragment on the same shelf are jumpers at the take-off (fig. 113), and a -boy preparing for a jump decorates the interior of a kylix on the lower -shelf in Case P in the Fifth Room. - -A foot-race is represented on one of the Panathenaic amphorai in the -Third Room (Case N), and the cast of a bronze statuette in Tübingen shows -a contestant in the race for hoplites (heavy-armed foot-soldiers), at the -starting-line (top shelf of Case 3). The shield which he carried on his -left arm has been broken away. - -Throwing the diskos was one of the oldest Greek sports. The object -was to throw it as far as possible, as in putting the shot. So many -representations of this sport have come down to us in statues, vase -paintings, coins, and gems, that it is possible to work out the -successive movements of the throw. The principle seems to have been -always the same, though individuals were allowed certain differences in -style. A bronze statuette in Case B in the Fourth Room (fig. 114) shows -one stance; the athlete is about to swing the diskos down from the left -to the right hand. The position preliminary to the swing downwards to the -side, the athlete now holding the diskos in both hands, may be seen on -the lekythos in Case 4; and one of the figures on the psykter is in the -same position. The well-known statue by Myron, of which a cast stands in -Gallery 22, shows the position just preliminary to the throw, an instant -before the diskos leaves the hand. - -[Illustration: FIG. 118. PANATHENAIC AMPHORA] - -The art of fighting in heavy armor, hoplomachy, was taught to Greek -boys by a special master as part of their athletic training. A most -interesting scene of this kind decorates the shoulder of a hydria of the -late sixth or early fifth century where two men armed with helmet and -shield are fencing with spears to the music of a flute-player (Case Y in -the Fourth Room). Plato alludes more than once to the attention given to -this branch of physical training in his day, and the prestige enjoyed by -teachers of the art. - -[Illustration: FIG. 119. YOUTH BINDING ON A FILLET] - -Throwing the javelin also had a practical value as preparation for -warfare and was one of the commonest sports of the palaistra. In the -pentathlon it was thrown for distance only, but there were competitions -in throwing at a target at the Panathenaea and, no doubt, on other -occasions. A thong, fastened near the center of gravity, and twisted -around the hardwood shaft, acted like the rifling of a gun in insuring -greater accuracy. One of the figures on the black-figured lekythos is -preparing to throw a javelin, and the artist has represented the thong -in such a way that the method of using it can easily be understood. The -thrower holds the shaft in his hand with the first and second fingers -inserted into loops in the end of the thong. As he throws, the thong -unwinds, giving the missile a whirling motion (fig. 115). - -The use of the bow and the sling, as has been said in the section on -Armor, was also taught in the palaistra at Athens. - -The pankration, a combination of wrestling and boxing, was one of the -most popular Greek sports. In it ground-wrestling and hitting were -allowed. Two scenes from the pankration are represented on a skyphos in -Case 4. On one side the winner has thrown his opponent backward and is -about to strike him, while the other holds up his hand, probably as a -signal of defeat (fig. 116). On the other side the combatants have their -hands covered with the thongs which served as boxing-gloves. The man on -the ground has thrown the other by a neck-hold (see head-band, p. 89). -There are two boxers in the group of athletes on a krater on the top -shelf of Case Q in the Fifth Room, and a boxing scene is represented on -one of the Panathenaic amphorai. - -The value of the prizes given for athletic skill varied greatly, from the -wreath of olive at Olympia and the parsley leaves of Nemea to articles of -considerable value and, in a few cases, even money. At the Panathenaea -the prizes were jars of oil in greater or less numbers, and the painted -vases known as Panathenaic amphorai. Probably only one of these was given -to a victor. They bear on one side a picture of the contest in which the -vase was won, and on the other, the figure of Athena with an inscription, -“From the games at Athens” (fig. 118). When the prize took the form of a -wreath, the victor first bound a fillet or band of wool around his head -and upon this the official in charge of the games placed the wreath. The -act of tying the fillet was often represented by Greek sculptors; the -most famous example is, of course, the Polykleitan statue known as the -Diadoumenos, of which a cast stands in Gallery 22. The beautiful bronze -statuette in Case D in the Sixth Room has the same motive (fig. 119), -and on the psykter in Case 4 a boy who holds in his hands the palms -signifying victory is being crowned by an official. - -[Illustration] - - - - -[Illustration] - - - - -X - -RACES AND RIDING - -CASE 5 - - -In the Homeric period cavalry was not employed in battle, but princes -and nobles drove about the field in chariots from which they descended -to fight. The bodies of these chariots were just large enough for the -warrior and his driver to stand side by side, since lightness and -quickness of movement were essential. The chariot in the Third Room -(fig. 120) is of the type in use among the Etruscans; the Greek type in -the earliest pictures which we have is more open and slightly different -in shape. An excellent representation of the Greek chariot may be seen -on a large amphora on Pedestal R 3 in the same room, and this drawing -also shows the light harness in use and the method of arranging it. -War-chariots were used on occasion for racing, as at the funeral games of -Patroklos in the Twenty-third Book of the Iliad; and at a later period, -when nobles no longer rode to battle and armies of citizens were the -rule in Greece, the chariot remained as a racing vehicle. The principal -feature of the Olympic games from the year 680 B.C. was the chariot race -for four horses, and a victory in this event brought much-coveted renown -to the owner of the horses and his city. The Greeks of Italy and Sicily -were devoted to this sport, their interest being reflected in their coin -types, of which the finest are the Syracusan (fig. 121). Some examples -will be found in the Ward Collection in the Gold Room. - -[Illustration: FIG. 120. BRONZE CHARIOT] - -[Illustration: FIG. 121. RACING CARS ON SYRACUSAN COINS] - -[Illustration: FIG. 122. LAMP. SCENE FROM THE CIRCUS] - -A very beautiful bronze statue found at Delphi, no doubt a dedication -after a victory, represents a young charioteer in the long white chiton -which was his traditional dress (Cast No. 462 in Gallery 22), and a -fragment of a relief from the Mausoleum (Cast No. 741 on the east wall -of Gallery 25) shows another with flying hair and garment as he strains -forward toward the goal. One of the Panathenaic amphorai in the Third -Room was a prize in a chariot race at Athens, as we know from the drawing -on one side (fig. 123). Another event in the games at Athens was a race -for two horses harnessed to a little cart in which the driver sat, but -this contest was never so important as the race for four horses. At other -games the chariot was the vehicle used for two horses as well as for -four. These sports were naturally very costly, and under the Roman rule -they gradually died out in Greece as races in the circus in Rome and -other Italian cities took their place. Chariot races were the earliest -of the free shows at Rome and were always the most popular, the great -attraction of the circus being not the speed of the race, but its danger. -Some clay lamps from Cyprus are decorated with reliefs of chariots and -horses, showing how the passion for racing spread over the Roman world -(Case 5, fig. 122). - -[Illustration: FIG. 123. PANATHENAIC AMPHORA CHARIOT RACE] - -[Illustration: FIG. 124. BIT USED IN TRAINING HORSES] - -[Illustration: FIG. 125. HORSE’S MUZZLE] - -Riding was the usual mode of travel in Greece, as it is still in many -parts of that mountainous country; and, while carts and carriages of -various kinds gradually came into service among the Romans, in Italy, -too, the horse was the commonest means of travel. But although the -Greeks and Romans were good horsemen, they were probably not the equals -of the best modern riders, owing to the fact that they had no saddles and -no stirrups. As a result of the absence of stirrups, able-bodied persons -mounted with the help of a spear or staff, while old men were handed up -by slaves. Women rode only upon a pillion, and probably not very often -in that way. The custom of nailing metal shoes upon the hoofs of horses -was not known, but shoes made of metal, leather, or rushes were adjusted -before passing over a specially bad road, and could later be removed -when no longer needed. Two bits are shown on the bottom of Case 4. One -is quite simple, consisting of two bars joined by a double link, which -probably belongs to the sixth century, though no doubt this type was in -use for a long period (fig. 127); the other, probably of the fifth or -fourth century, is very severe. Xenophon in his treatise on Horsemanship -(X, 6) describes this variety and explains its use in training horses -(fig. 124). Branding was practised even for valuable animals. On a small -amphora in Case C in the Fifth Room decorated with a picture of the -Sun in his chariot, one of the horses is branded with a sun surrounded -by rays. It was customary to muzzle horses when they were taken out -for exercise or for some other purpose without a bridle. Probably the -muzzles were usually made of leather, but bronze was employed on special -occasions or by the wealthy. Two bronze muzzles, one of a simple, the -other of a more elaborate form, are exhibited (Case 4, fig. 125). - -[Illustration: FIG. 126. YOUNG HORSEMAN] - -[Illustration: FIG. 127. BRONZE BIT] - -Greek boys received lessons in riding in the course of their athletic -training, which was, of course, a preliminary military training as well. -In Attica a troop of ephebes, young men in military service, patrolled -the borders as a mounted guard. The decoration on a krater in Case P in -the Fifth Room and a relief in Case A in the Sixth Room represent members -of this troop in their short cloaks fastened on the shoulder and their -broad-brimmed hats. The fine relief, No. 13 in the Sculpture Gallery, -also represents an ephebe (fig. 126) or one of the Diaskouri in this -guise. Hunting deer and boars from horseback was a favorite sport which -required skill in the rider, and riding-races of various types were a -feature of the games. One of the Panathenaic amphorai was a prize for a -horse-race at Athens, as the decoration shows. - -The bronze statuette of a horse at the head of the main staircase allows -us to see the type of animal bred in Greece, and is at the same time a -work of the greatest spirit and delicacy. - -[Illustration] - - - - -[Illustration] - - - - -XI - -GLADIATORS - -CASES 3 AND 5 - - -Combats of gladiators formed part of the funeral rites of the Etruscans, -and in Campania they were offered as entertainment to guests at feasts. -The Romans adopted the custom from their neighbors, the first public show -of gladiators taking place in 264 B.C. For six centuries they continued -to be a favorite amusement in Italy and the provinces, until Honorius -made them illegal in 404 A.D. The great popularity of the sport is proved -by the frequency with which it was represented on articles of common use, -such as vases, dishes, lamps, seal-rings, and in sculpture, mosaic, and -painting for the decoration of walls. - -In early times the combatants were prisoners of war who fought with -their own arms and equipment for the entertainment of their conquerors, -and later, when men were recruited in other ways, the arms of the early -enemies of Rome were in a great measure retained as belonging especially -to this sport. Gladiators received a careful training in schools kept -for the purpose. They were divided into several classes, according to -their weapons and manner of fighting, and were called by the name of the -peoples whose arms they had adopted. They usually fought in pairs, each -from a different class, though occasionally a number engaged in a mêlée. -The most important class was the Samnites, who wore a helmet, one greave, -a guard on the right arm, and fought with sword and shield. The lamps -from Cyprus in Case 5, Nos. 2639, 2642, 2643, are decorated with figures -of Samnites in relief (fig. 128). The Thracian was distinguished by a -dagger which was curved or bent at right angles. He wore two greaves with -leather coverings for the thighs, and an arm-guard, and carried a little -shield (lamp No. 2636, fig. 129). The hoplomachus seems to have been a -variety of Samnite who had a large shield, and was generally paired with -the Thracian (lamp No. 2637, see tail-piece, p. 108). Another class not -illustrated was the retiarius (net-thrower), equipped with a dagger, a -trident, and a large net in which he tried to envelop his adversary, the -secutor (follower), who was armed like a Samnite. - -[Illustration: FIG. 128. SAMNITE GLADIATOR] - -[Illustration: FIG. 129. THRACIAN GLADIATOR] - -A combat between a Samnite and a Thracian decorates one of the lamps (No. -2641). Another (No. 2647) shows a wounded Samnite on one knee. On a third -(No. 2644) a Thracian has brought his opponent to the ground, and by -holding up his thumb, seems to signify that he will spare him, or perhaps -asks permission of the spectators to do so. A fourth lamp (No. 2651) is -decorated with two swords and two pairs of greaves. Four gladiatorial -combats appear in relief upon a glass cup, made in Gaul in the second -century A.D., which is on the top shelf of Case 3 (see head-band, p. -106). The names of the combatants are placed over their heads, so we may -suppose that they represent actual gladiators who were famous in their -day. Gamus, a Samnite, stands over Merops, who is lying on the ground and -holding up his thumb to ask mercy from the spectators. Next come Calamus, -a Samnite, paired with Hermes, a Thracian, then another pair of Samnite -and Thracian, Tetraites and Prudes. The latter has lost his little -shield. In the fourth combat Spiculus is victorious over Columbus. - -[Illustration] - - - - -[Illustration] - - - - -XII - -TRADES AND CRAFTS - -CASES 1, 3, AND 5 - - -In this division is assembled a series of miscellaneous objects -illustrating trades and crafts, political life, agriculture, and other -occupations. - -The processes of agriculture and craftsmanship in Greece and Italy were -much like those of Europe and America a century ago, before mechanical -devices became common. Cultivation of grains, the olive, and the grape -has been practised in Aegean lands from prehistoric times. A bronze -farmyard group in Case 3 shows the animals and utensils most necessary -to a farmer, and though Roman, will serve as an illustration of Greek -life as well. The animals include two bulls, two cows, a pig and a sow, -a ram and a ewe (fig. 130). There are also two double yokes, a cart, and -a plough. The plough-tail has been lost, but a hole shows the place of -attachment. The remainder is in one piece, though the joints of the rude -wooden original are carefully represented, the pole which is fastened to -the yoke being attached to the share-beam by pegs and the share-beam -to the share by thongs or ropes. This primitive wooden plough is still -used in Greece today (fig. 131). The cart is merely a platform with a -front-board and tail-board, mounted on solid wheels. A terracotta cart -from Cyprus, though of the early Iron Age, is much like the Roman cart -(fig. 132). A small bronze sickle with indented edge from Cyprus belongs -to a type common in Minoan Crete (Case 5). The bronze shepherd’s crooks -in the same case recall the important place held by the care of sheep and -goats in ancient country life. A stone model of a sheep-fold in Case 40 -in the Cesnola Collection, containing sheep and a drinking-trough, was -intended as a votive offering, probably for increase of flocks. - -[Illustration: FIG. 130. BRONZE FARMYARD GROUP] - -[Illustration: FIG. 131. GREEK FARMER PLOUGHING] - -The cultivation of the vine and wine-making for domestic use were a -part of the yearly routine on the farms of Greece and Italy, while the -finer kinds of wine were a valuable article of commerce. The only object -in the collection which illustrates wine-making is an Arretine bowl in -Case G2 in the Eighth Room, decorated with figures of satyrs gathering -and treading grapes. The process of getting rural produce to market is -represented by two terracotta figures of donkeys with panniers whose -counterparts can be seen in Greece at the present day (figs. 133-134). -The conformation of Greece and Italy, and the numerous islands of the -Mediterranean compelled the inhabitants to accustom themselves to -seafaring from the earliest times. A vase painting and some clay boats -from Cyprus are valuable illustrations of the type of ship in use in -the sixth century. A black-figured krater of that date in Case 1 has -three long boats or war vessels painted inside the mouth. These vessels -were propelled by oars, as the method of fighting made speed essential -to them, though a sail was used when the wind was favorable. Two of the -ships have eleven oars on a side, and the third has nine. The steersman -sits in the stern with one or two steering paddles. The forecastle is -surmounted by a high stem-post, and between the stern and the forecastle -runs a railing or bulwark. The bow projects in the form of an animal’s -head, probably a fish or a boar, and a large eye is painted just above -the water-line. The edge of the krater has been injured so that the -sail has disappeared, but the single mast can be seen, as well as the -sheets and halyards. A ship of this kind regularly has a square sail and -halyards, brailing-ropes, braces, and sheets. Above the stern projects an -ornament rather like the tail of a bird. It was this that was taken by -the enemy as a trophy (fig. 138). The clay boats from Cyprus in the same -case are of a type frequently found in sixth-century graves in Amathus. -Two of them represent merchant vessels, as is shown by their breadth and -deep hulls. The largest has strakes along the water-line which held the -“under-girding” of ropes used to prevent the planks from springing in -stormy weather, and large cat-heads at the bows to receive the anchor. -The helmsman sits in the stern with his two steering-oars. Of the two -other boats the smallest is a row-boat, and the other has a deck and a -small deck-house (fig. 139). - -[Illustration: FIG. 132. TERRACOTTA MODEL OF A CART] - -[Illustration: FIG. 133. TERRACOTTA FROM CYPRUS. DONKEY WITH PANNIERS] - -A rude relief on a stone slab from Cyprus (Case 1) is a votive offering -for rescue from an accident in quarrying or mining. Above is Apollo -seated before an altar. Below, a man is hastening to help another who -is standing in front of a large mass of rock or earth. Between them a -pickaxe lies on the ground. Probably the relief represents a dangerous -fall of rock or earth. The inscription runs: “Diithemis dedicated it to -the god Apollo, in good fortune.” - -[Illustration: FIG. 134. DONKEYS CARRYING JARS IN PANNIERS, 1922] - -Very few wooden objects have survived from ancient times, but examples -of the tools used in making them and of metal fittings remain. The -axe-blades from Cyprus in Case 5 and in wall-cases in the corridor are -of almost pure copper. These blades were inserted in a haft or lashed to -a handle. In Case B in the First Room are four double axes from Crete -of the second millennium B.C., and in Case A in the Fifth Room another -of much later date. Handles were inserted between the two blades, as in -the modern hammer. The chisels, awl, nails, and hinges in Case 5 are -Cypriote. In Case B in the First Room are chisels and an awl, and in Case -D 2 several knives, from Crete. They are especially interesting in that -they are well preserved and of excellent workmanship. - -The keys exhibited in Case 5 (figs. 135 and 137) are of three types. The -earlier one is shown with the bolt to which it belongs. The key when -inserted into the bolt pushed upward with its teeth a series of pegs -which fitted into holes in the bolt and took their place. It could then -be used as a handle to pull the bolt backward. The second consists of a -plate provided with notches which lifted a series of tumblers and allowed -the bolt to be shot. The third key belongs to the type in use today, and -as such keys have been found in Pompeii, they must have been known before -79 A.D. The lock-plate is perhaps from a strong-box (fig. 136). - -[Illustration: FIG. 135. KEY EARLY TYPE] - -[Illustration: FIG. 136. LOCK-PLATE] - -[Illustration: FIG. 137. KEY LATER TYPE] - -Only the balance seems to have been known to the Greeks, but the Romans -made use of the steelyard also. The example shown in Case 1 does not -differ from those of modern times. The hooks and chains at the end of -the rod were used for suspending the articles to be weighed. Three other -hooks, of which two are preserved on movable rings, were for hanging the -steelyard. Each is attached to a different side. When the steelyard was -hung by the hook nearest to the graduated bar, articles up to twelve -pounds could be weighed by sliding the weights along the bar. The second -side of the bar weighs articles of from five pounds to twenty-two; the -third, articles of from twenty to fifty-eight pounds. The large weight is -made of lead covered with bronze, and weighs two pounds, while the small -weight is entirely of bronze and weighs one ounce (see head-band, p. 109.) - -[Illustration: FIG. 138. WAR-VESSELS. VASE PAINTING] - -[Illustration: FIG. 139. TERRACOTTA BOAT] - -There are a number of objects illustrating various industrial processes -in the collection. A fragment of a pottery cup of the red-figured -technique shows the stage at which the figure is outlined with a -broad band of black paint, in order to make a red silhouette, but the -background has not yet been filled in with black (fig. 141). Several -moulds for making terracotta reliefs are shown with modern impressions -made from them; they represent the lower part of a young man’s figure -(Case A in the Fifth Room, fig. 142), a grotesque of a man, a Medusa -head, and a number of symbols, perhaps for stamping sacred cakes. Another -mould, unfortunately fragmentary, is a chimaera or a goat, a fine and -spirited figure (Case B in the Seventh Room). In Cases C and G2 in the -Eighth Room are examples of Arretine ware, the most beautiful pottery -of ancient Italy. There are also ancient moulds with modern bowls made -from them. Several of the moulds are signed by the makers and by the -owner of the workshop. A small stone mould for casting gold ornaments -of the Late Minoan period is in Case B in the First Room. It has two -dies representing animals, one a bull and the other probably an ibex. -The gold-beater’s block in Case 5 was used for making small ornaments -when many of the same kind were needed. A thin sheet of metal was laid -on the die, covered with wax or lead, and then beaten into the die with -a hammer. There are twenty-two dies on this block belonging in style -to the Roman period. Some gold ornaments used for borders among the -Roman jewelry in the Gold Room were probably made in this way, but such -mechanical devices do not seem to have been employed in making Greek -jewelry of the best period (fig. 140). - -[Illustration: FIG. 140. GOLD-BEATER’S BLOCK] - -[Illustration: FIG. 141. UNFINISHED POTTERY CUP] - -[Illustration: FIG. 142. ANCIENT MOULD AND MODERN RELIEF] - -The earliest traders of the Mediterranean lands practised barter, and -in the Homeric poems we find cattle and bronze utensils frequently -mentioned as standards of value. In the later part of the eighth century -or the early part of the seventh, coinage originated in Asia Minor, the -earliest coins being merely rough lumps of metal with striations on the -reverse made by the roughened surface of a punch. In the process of -manufacture a flat blank of metal was placed red hot on a die, a punch -was then held upon the reverse of the blank, and struck with a hammer. -As no “collar” was employed, the metal of course spread at the edges, -making the coin only roughly circular. With the advance of art the coin -types received the attention of the best artists and craftsmen, and in -consequence the value of Greek coins, both as original works of art and -as historical documents, cannot be exaggerated. Roman coins, while not -often beautiful, are an important source of information relative to -political and economic conditions. These facts may be noted with regard -to the practical side of ancient coinage; Greek coins are not dated, they -will not stack, and marks of value are more often absent than present. -The earlier Roman coins resembled the Greek in these features, but, -later, marks of value were added and the date indicated. - -[Illustration: FIG. 143. DIKAST’S TICKET] - -A number of small bronze instruments in Case 5 may have been part of a -physician’s or pharmacist’s case. They include several probes, one being -double (fig. 144), spatulae (fig. 145), spoon-probes, and two scalpels or -bistouries. The spatulae were used for preparing and spreading ointments, -and also by painters in mixing colors. - -The dikast’s ticket gives us a glimpse of Greek city life. It is the -ticket of a juryman, Epikrates, entitling him to sit in the ninth court -at Athens, of which there were ten in all, and to draw three obols a day, -about ten cents, a “living wage,” however (fig. 143). - -The statuette of a negro boy in Case C in the Seventh Room is a reminder -of the important part taken by slave labor in ancient times. This was -much greater among the Romans than in Greece. Slaves were sometimes -captives taken in war, or their descendants, but were more frequently -acquired through trade. Their condition was much better in Greece than in -Rome. On the grave stele of a young man in the Sculpture Gallery (No. 7) -a little slave stands beside his master. - -[Illustration: FIG. 144. FORKED PROBE] - -[Illustration: FIG. 145. SPATULAE] - -These are, of course, domestic or personal servants, but slaves formed a -large part of the laboring class in Greece, and the proportion was still -greater in Rome in the later Republican period and under the Empire. They -worked on the farms, in the factories, and, most dangerous occupation of -all, in the mines and quarries, as well as in the workshops of skilled -artisans and as clerks and copyists in private and public offices. - -There are many proofs of the existence of an extended and active commerce -in the Mediterranean world, but none is more convincing than to note -the far-distant places in which Athenian pottery has been found. The -cities and tombs of Italy have furnished many of the most beautiful -specimens, but vases have been found in Asia Minor, Egypt, the islands of -the Aegean, and the Crimea. A specimen of ancient advertising appears on -three glass cups signed by the maker Ennion, a Sidonian (Case H in the -Eighth Room). One was found in Cyprus, a second near Venice, and a third -near Nazareth. Each bears the maker’s signature and the words, “Let the -buyer remember.” - -[Illustration] - - - - -[Illustration] - - - - -XIII - -BURIAL-CUSTOMS - - -GREECE. The inhabitants of Mycenae and other prehistoric sites did not -burn their dead, so far as we know, but buried them with the belongings -which they had used and valued in life. Members of rich or princely -families were often decked with gold ornaments and diadems, and the face -covered with a gold mask moulded to resemble the features. Reproductions -of some of the objects found in graves at Mycenae are in Case T in the -First Room, and in the center of the same room is a reproduction of a -stone sarcophagus from Hagia Triada in Crete, decorated with painted -scenes representing a funerary sacrifice. - -The people of the Homeric poems burned their dead and buried the ashes -beneath a mound. Both ways of disposing of the body continued in common -use in Greece, the choice resting with the family of the deceased. -Cremation was more costly than burial, and so was practised less -frequently by the poorer classes. At all periods both Greeks and Romans -attached great importance to the proper performance of funeral rites, as -they were believed to affect the happiness of the soul in the world of -the dead. - -[Illustration: FIG. 146. MOURNERS AT A BIER. TERRACOTTA RELIEF] - -[Illustration: FIG. 147. POET ON HIS BIER (?) TERRACOTTA PLATE] - -The body was prepared for burial by the women of the family, who anointed -it with oil and perfumes, and clothed it in the dress of common life, -usually of white. A wreath of flowers, or of laurel, olive, or ivy was -placed on the head, or in its stead a wreath of gold leaves. Before the -funeral the dead was laid on a couch in the central hall of the house, -with his feet toward the house door. His relatives and friends came to -pay their last respects, and the funeral dirge was sung. An interesting -terracotta relief from Attica on the north wall of the Second Room -represents such an occasion. The women standing by the bier are tearing -their hair as they raise their voices in the lament (fig. 146). The same -scene is frequent on certain kinds of Greek pottery, notably the great -Dipylon vases of the eighth century B.C., which were used as grave -monuments. There are two Dipylon vases in the Second Room in Cases G and -L (fig. 148). On the upper band of each is a scene showing a dead man on -a bier surrounded by his family (see head-band, p. 121). An interesting -plate in Case K in the same room is decorated with a scene which seems to -represent a poet on a funeral couch with a wreath about his head and his -lyre hanging on the wall above (fig. 147). - -[Illustration: FIG. 148. DIPYLON VASE] - -[Illustration: FIG. 149. ATHENIAN TOMB LEKYTHOI] - -The greatest number of funeral scenes are found on the white Athenian -lekythoi of the fifth century and later, which were made to be placed -about the bier, in the tomb, or around the monument. One of those in Case -L in the Fifth Room is painted in colors with a scene of mourners beside -a funeral couch, treated in a later style. Other typical scenes are the -farewell of the dead to his family as if for a long journey, and the care -of the tomb by surviving relatives. Most of the vases in Cases L and -F in the Fifth Room are decorated with variations of these two themes -(fig. 149). Early in the morning of the second or third day after death -the body was carried on the couch out of the city gates for burial or -cremation. The funeral procession is represented on the lower bands of -the Dipylon vases, or it may be that the horses and chariots are intended -to suggest the funeral games, which were celebrated in early times after -the death of a man of rank. - -[Illustration: FIG. 150. MARBLE LEKYTHOS] - -[Illustration: FIG. 151. ETRUSCAN FOCOLARE] - -The loutrophoros is a vase associated especially with the funeral -procession. These long-necked jars were used in the marriage ceremonies -to bring water for the ceremonial bath of the bridegroom and the bride; -and in the case of the death of a betrothed person, a loutrophoros was -carried in the funeral procession and set up on the grave. One of these -vases will be found in Case R in the Third Room. If the body was disposed -of by cremation the ashes were placed in a jar, usually of stone or -pottery. In Cases P, R, and T in the Seventh Room are a number of pottery -jars which were used to hold the ashes of Greeks who died at Alexandria. -Some of them are marked with the name of the deceased and the position -of the jar in the cemetery. It was usual to erect tombs along the roads -leading from the city gates, the sculptured tablets bordering the highway -on either side, interspersed with trees, and sometimes accompanied by -stone seats erected by families for the use of those members who came to -tend the graves. Greek grave monuments are frequently very beautiful, -and are characterized by fine taste and restraint in the expression of -feeling, as well as by the absence of painful or shocking suggestion. -There are a number of examples in the Sculpture Gallery. The marble -lekythos is an example of a common type of monument (fig. 150). Another -form is the lofty tablet with painted or sculptured akroterion (see -tail-piece, p. 131), such as Nos. 6 and 5A in the Sculpture Gallery -and the stele in the Third Room. Examples of tablets with sculptured -figures are Nos. 4, 7, 10, 30, and 59 in the Sculpture Gallery and the -stele of a young man in the Sixth Room. On these monuments the dead -is represented alone in a quiet pose, with some article or utensil -suggesting his favorite occupation or manner of life; or as taking leave -of his family (fig. 152). In Rooms 21, 22, and 23 in the Gallery of -Casts are reproductions of some of the most beautiful and best known of -the Greek grave stelai. Several painted stones from the cemetery near -Alexandria will be found in two cases in the Vestibule. The Cesnola -Collection contains a number of Cypriote grave monuments inscribed with -Greek formulas of farewell. These are in Cases 6 to 12, 14, and 15 in the -corridor. - -[Illustration: FIG. 152. MONUMENT OF SOSTRATE] - -[Illustration: FIG. 153. ETRUSCAN URN FOR ASHES] - -The custom, followed by the inhabitants of Greece and Italy for many -centuries, of placing in tombs articles used in daily life, has preserved -large numbers of objects which would otherwise have perished. The dead -was surrounded by the belongings he had valued; the warrior had his arms, -the woman her ornaments, mirror, and toilet boxes, and the child his -toys. An idea of the prevalence of the custom may be formed by looking -through the collection with this fact in mind. The greater part of the -Greek pottery now in existence was found in tombs, not only in Greece -but in Italy and in many other parts of the Mediterranean world. The -bronze chariot and the utensils in Case S in the Third Room were the tomb -furniture of an Etruscan noble. The beautiful bronze table service in -Case E in the same room, and the table service of black-glazed pottery -in Case G in the Seventh Room were also found in tombs. In Case F in -the Sixth Room are the toilet articles and utensils buried in the grave -of an Etruscan lady, the terracotta figurines in the Sixth and Seventh -Rooms were made to be placed in graves, and many separate objects in the -collection have been preserved in the same manner. - -ITALY. The earliest inhabitants of Italy did not practise cremation, -but this custom was introduced in prehistoric times, both cremation and -burial continuing in use contemporaneously. - -[Illustration: FIG. 154. ETRUSCAN URN] - -[Illustration: FIG. 155. ETRUSCAN URN] - -The Etruscans placed the ashes of the dead in jars with smaller vases -and ornaments and buried them in pits; or for the wealthy, tomb-chambers -were built and arranged to resemble rooms in the houses of the living, -the cinerary urns being set in niches, or the bodies being laid out on -biers. Their urns in the earlier periods were frequently made in a very -rude imitation of a human being with portrait head, and were often placed -in terracotta chairs. Two examples are in Case N in the Second Room (fig. -153). Curious trays of dishes, probably used for offerings to the dead -and known as “focolari,” are not uncommonly found in tombs. Examples -are in Cases R and Q in the Second Room (fig. 151). In later times -rectangular stone boxes, sculptured or painted, with a reclining figure -of the deceased on the cover, were used. There are several of these urns -in the Seventh Room, in Cases N and P and on Pedestals E and U (figs. -154-155). - -[Illustration: FIG. 156. ROMAN GRAVE MONUMENT] - -The Romans burned their dead, with some exceptions. A few of the ancient -families, notably the Cornelii, kept to the older fashion of burial, and -it was customary even when a body was cremated to take one small portion -of bone, called the “os resectum” from the ashes and bury it. The very -poor, slaves, and outcasts were buried in graves made to hold a number of -bodies, often with little care or respect. Roman funeral customs, so far -as we know them, were very similar to those of Greece. Glass urns were in -common use in the western part of the Roman world from the first to the -third century A.D. One still contains fragments of bone and ashes. Under -the Empire the custom of burial became frequent among the well-to-do, -as is evidenced by the large and costly stone sarcophagi of the period. -There are two Roman sarcophagi, Nos. 36 and 46 in the Sculpture Gallery, -and a large one from Tarsus in the Vestibule. The relief on the south -wall of the Sculpture Gallery representing the death of Meleager (No. -38A) once decorated a sarcophagus. These sculptured scenes are rarely -connected with death, but are usually mythical or fanciful. A grave -monument on the west wall of the Eighth Room, representing a young -man and his wife, is interesting in that this form of portrait relief -within a box-like frame is thought to have been derived from the wax -death-masks, “imagines,” enclosed in boxes, which adorned the hall of the -Roman noble (fig. 156). In the Sculpture Gallery is a stone cippus or -monument (No. 43), erected to a mother and her two sons, and decorated -with portraits in relief. - -[Illustration] - - - - -INDEX - - - A - - ACTORS, costume of tragic, 14; - in Old Comedy, 14, 16-17; - in New Comedy, 17; - of mimes, 17; - social status of, 17, 18 - - ALABASTRON, 64 - - ALTAR, 4 - - AMAZON, 87 - - AMULET, 8, 40 - - ANIMALS, domestic, 109, 110; - _see_ Pets - - APOPTYGMA, 48, 49-50 - - APOTROPAION, _see_ Amulet - - ARROW-HEAD, 87 - - ARYBALLOS, 63-64 - - ASTRAGALS, 43, 68 - - ATTIS, 11 - - AWL, 113 - - AXE, die for votive, 5; - battle-, 87, 113 - - - B - - BALL, game of, 42-43 - - BEARD, 56, 58, 62 - - BELT, armored, 81-82 - - BIT, horse’s, 102, 104 - - BOAT, 111-112 - - BOXING, 89, 92, 96 - - BOW, 86 - - BRANDING, 104 - - BREAD-MAKING, 36-37 - - BREASTPLATE, 81 - - BULLA, 40 - - BUTT-SPIKE, 85-86 - - - C - - CAKE, votive, 6 - - CAMILLUS, 9, 61 - - CANDELABRUM, 31 - - CANDLES, 30-31 - - CAP, 54-55 - - CARDING, 32, 33 - - CART, 109, 110; - toy, 41 - - CAULDRON, 26 - - CHAIR, 23, 24 - - CHARIOT, 98, 100-101, 128 - - CHARIOTEER, 100-101 - - CHEST, 24, 26 - - CHISEL, 113 - - CHITON, 47, 48, 49, 50 - - CIRCUS, 101 - - CISTA, 64, 66 - - COINS, 116-118 - - COLANDER, _see_ Wine-strainer - - COMMERCE, 119-120 - - COOKING, 26, 37 - - COUCH, 24 - - CUIRASS, 80-81 - - CUP, 28, 30; - unfinished, 115 - - CURES, offerings for, 6-7 - - CYBELE, 10-11 - - CYMBALS, 73 - - - D - - DAGGER-BLADES, 85 - - DANCING, 5-6, 73-74 - - DIE, for axes, 5; - _see_ Mould - - DIKAST, _see_ Juryman - - DIPPING-ROD, 66 - - DISKOS, 92, 93-94 - - DISTAFF, 33 - - DOLL, 42 - - - E - - EMBROIDERY, 34-35 - - EPHEDRISMOS, game of, 42 - - EPINETRON, 32-33 - - - F - - FEEDING-BOTTLE, 40 - - FIBULA, 48, 59 - - FISH-PLATE, 29 - - FLUTE, 72-73, 92, 94 - - FOCOLARE, 129-130 - - FORTUNA, 9-10 - - FURNITURE, 22-24, 25 - - - G - - GAME, 39, 42-43, 68 - - GLASS, relief, 11-12; - vessels, 28, 64, 108, 120 - - GRAVE-MONUMENTS, 122, 124, 126, 128, 131 - - GREAVES, miniature, 6, 82, 107, 108 - - GRINDING GRAIN, 37 - - - H - - HAIR, arrangement of, 56, 58-59, 61-62 - - HALTERES, _see_ Jumping-weights - - HAT, 54-55 - - HELMET, 76-80 - - HERMS, 7-8 - - HIMATION, 52, 54, 60 - - HOOK, for meat, 26 - - HOOP, 42 - - HOPLOMACHY, 94 - - HOPLOMACHUS GLADIATOR, 107 - - HORSE, toy, 41 - - - I - - INCENSE-BURNER, 4 - - ISIS, 10 - - - J - - JAVELIN, 86, 94, 96 - - JEWELRY, 59-60, 62 - - JUMP, 92, 93 - - JUMPING-WEIGHTS, 93 - - JURYMAN’S TICKET, 118 - - - K - - KEY, 113-114 - - KITHARA, 69-70; - in wall-painting, 24 - - KOLPOS, 48, 49-50 - - KOTTABOS, 68 - - - L - - LADLE, 30 - - LAMP, 4, 31, 87, 101, 107-108 - - LAR, 9, 87 - - LOOM, 34 - - LOOM-WEIGHT, 34 - - LOUTROPHOROS, 125 - - LYRE, 69, 70-72 - - - M - - MASK, actor’s, 14 - - MIRROR, 50, 66-67 - - MOSAIC, 22 - - MOULD, for relief, 115-116; - jeweler’s, 116; - _see_ Die - - MOUSTACHE, 56, 58 - - MUSIC, 45, 46 - - MUSICAL INSTRUMENTS, 24, 69-73 - - MUZZLE, horse’s, 104 - - - N - - NURSE, 40 - - - O - - ONKOS, 14 - - ONOS, 32-33 - - OSCILLUM, 6 - - OVEN, 37 - - - P - - PAIL, 26, 28 - - PALLA, 60 - - PANKRATION, 93, 96 - - PENTATHLON, 92 - - PETS, 41, 75 - - PHYSICIAN’S INSTRUMENTS, 118 - - PILOS, _see_ Cap - - PLOUGH, 109-110 - - POTTERY, 28-29, 119-120, 128 - - PRAYER, _see_ Worshipper - - PRIEST, Roman, 9 - - PRIZES, at games, 96-97 - - - Q - - QUARRYING or MINING (?), relief, 112 - - - R - - RACE, foot, 92, 93 - - RAZOR, 63 - - RIDING, 101-102, 104-105 - - RING-DANCE, 5-6 - - - S - - SACRIFICE, on glass relief, 11-12 - - SAFETY-PIN, _see_ Fibula - - SARCOPHAGUS, 130-131 - - SCHOOL, 43-46 - - SEWING, 34-35 - - SHEEPFOLD, votive, 110 - - SHIELD, 82, 84-85, 87, 107 - - SHOES, 55-56, 61; - for horses, 102; - of tragic actor, 14 - - SHRINE, miniature, 4 - - SICKLE, 110 - - SISTRUM, 10 - - SLAVE, 118-119 - - SLEEVES, 49-50, 60 - - SLING, 86-87 - - SPATULA, 66, 118 - - SPEAR-HEAD, 85 - - SPINDLE, 33-34 - - SPINDLE-WHORL, 34 - - SPINNING, 33, 34, 36 - - SPOON, 30 - - STEELYARD, 114-115 - - STOLA, 60 - - STRIGIL, 63 - - STRIPE, on tunic and toga, 60-61 - - STUCCO, 20; - reliefs, 22 - - STYLUS, 44 - - SWING, 42 - - SWORD, 86 - - SYMPOSIUM, 68 - - SYRINX, 73 - - - T - - TABLE, votive, 6, 24 - - TABLE-SERVICE, bronze, 29-30, 128 - - TOGA, 61 - - TOILET-BOX, 33, 42-43, 64 - - TOMB-FURNITURE, 63, 66, 128-129 - - TOP, whipping, 38-39, 42 - - TORCH-HOLDER, 30 - - TOYS, 41-43 - - TRAINER, 90, 92 - - TRIPOD, 24 - - TROPHY, 87 - - TWEEZERS, 63 - - TYCHE, 9 - - - V - - VASES, 28, 35, 37-38, 44, 47-48, 55, 63-64, 93, 94, 96, 101, 105, - 111, 125-126; - marriage, 39; - perfume, 39; - ring, 6; - toy, 41 - - VICTOR, 97 - - VOTIVE OFFERING, 4, 5, 6, 110, 112; - for treaty (?), 8 - - - W - - WALL-DECORATIONS, 20, 22 - - WEAVING, 34, 36 - - WELL-HOUSE, 37-38 - - WINE-MAKING, 110 - - WINE-STRAINER, 30 - - WINNOWING, 36-37 - - WOOL-WORKING, 32-34 - - WORSHIPPER, attitude of, 4; 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font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of The daily life of the Greeks and Romans as illustrated in the classical collections, by Helen McClees</p> -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: The daily life of the Greeks and Romans as illustrated in the classical collections</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Helen McClees</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: June 4, 2022 [eBook #68231]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Turgut Dincer and the Online Distributed Proofreading Team at https://www.pgdp.net (This book was produced from images made available by the HathiTrust Digital Library.)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK THE DAILY LIFE OF THE GREEKS AND ROMANS AS ILLUSTRATED IN THE CLASSICAL COLLECTIONS ***</div> - -<p><span class="pagenum"><a id="Page_i"></a>[i]</span></p> - -<h1>THE DAILY LIFE OF<br /> -THE GREEKS AND ROMANS</h1> - -<div class="figcenter illowp46" id="cover" style="max-width: 100em;"> - <img class="w100" src="images/cover.jpg" alt="" /> -</div> - -<p><span class="pagenum"><a id="Page_ii"></a>[ii]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<p><span class="pagenum"><a id="Page_iii"></a>[iii]</span></p> - -<p class="titlepage">THE METROPOLITAN MUSEUM<br /> -OF ART</p> - -<p class="titlepage larger">THE DAILY LIFE OF THE<br /> -GREEKS AND ROMANS</p> - -<p class="center">AS ILLUSTRATED IN<br /> -THE CLASSICAL COLLECTIONS</p> - -<p class="center"><span class="smaller">BY</span><br /> -<span class="smcap">HELEN McCLEES, Ph. D.</span></p> - -<div class="figcenter titlepage illowp75" id="vignette" style="max-width: 18.75em;"> - <img class="w100" src="images/vignette.jpg" alt="" /> -</div> - -<p class="titlepage">NEW YORK<br /> -MCMXXIV</p> - -<p><span class="pagenum"><a id="Page_iv"></a>[iv]</span></p> - -<p class="titlepage smaller">COPYRIGHT<br /> -BY THE METROPOLITAN MUSEUM<br /> -OF ART, 1924</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_v"></a>[v]</span></p> - -<h2 class="nobreak">CONTENTS</h2> - -</div> - -<table> - <tr> - <td class="tdr"></td> - <td></td> - <td class="tdpg smaller">PAGE</td> - </tr> - <tr> - <td class="tdr"></td> - <td><span class="smcap">Illustrations</span></td> - <td class="tdpg"><a href="#ILLUSTRATIONS">vii</a></td> - </tr> - <tr> - <td class="tdr"></td> - <td><span class="smcap">Introduction</span></td> - <td class="tdpg"><a href="#INTRODUCTION">xiii</a></td> - </tr> - <tr> - <td colspan="3" class="tdc"><span class="smcap">The Daily Life of the Greeks and Romans</span></td> - </tr> - <tr> - <td class="tdr">I.</td> - <td><span class="smcap">Religion</span></td> - <td class="tdpg"><a href="#I">3</a></td> - </tr> - <tr> - <td class="tdr">II.</td> - <td><span class="smcap">The Drama</span></td> - <td class="tdpg"><a href="#II">13</a></td> - </tr> - <tr> - <td class="tdr">III.</td> - <td><span class="smcap">Houses and Furniture</span></td> - <td class="tdpg"><a href="#III">19</a></td> - </tr> - <tr> - <td class="tdr">IV.</td> - <td><span class="smcap">Occupations of Women</span></td> - <td class="tdpg"><a href="#IV">32</a></td> - </tr> - <tr> - <td class="tdr">V.</td> - <td><span class="smcap">Children and Education</span></td> - <td class="tdpg"><a href="#V">40</a></td> - </tr> - <tr> - <td class="tdr">VI.</td> - <td><span class="smcap">Dress and Toilet</span></td> - <td class="tdpg"><a href="#VI">47</a></td> - </tr> - <tr> - <td class="tdr">VII.</td> - <td><span class="smcap">Amusements, Music, and Dancing</span></td> - <td class="tdpg"><a href="#VII">68</a></td> - </tr> - <tr> - <td class="tdr">VIII.</td> - <td><span class="smcap">Arms and Armor</span></td> - <td class="tdpg"><a href="#VIII">76</a></td> - </tr> - <tr> - <td class="tdr">IX.</td> - <td><span class="smcap">Athletics</span></td> - <td class="tdpg"><a href="#IX">89</a></td> - </tr> - <tr> - <td class="tdr">X.</td> - <td><span class="smcap">Races and Riding</span></td> - <td class="tdpg"><a href="#X">98</a></td> - </tr> - <tr> - <td class="tdr">XI.</td> - <td><span class="smcap">Gladiators</span></td> - <td class="tdpg"><a href="#XI">106</a></td> - </tr> - <tr> - <td class="tdr">XII.</td> - <td><span class="smcap">Trades and Crafts</span></td> - <td class="tdpg"><a href="#XII">109</a></td> - </tr> - <tr> - <td class="tdr">XIII.</td> - <td><span class="smcap">Burial-Customs</span></td> - <td class="tdpg"><a href="#XIII">121</a></td> - </tr> -</table> - -<p><span class="pagenum"><a id="Page_vi"></a>[vi]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_vii"></a>[vii]</span></p> - -<h2 class="nobreak" id="ILLUSTRATIONS">ILLUSTRATIONS</h2> - -</div> - -<table> - <tr> - <td class="tdr"></td> - <td></td> - <td class="tdpg smaller">PAGE</td> - </tr> - <tr> - <td colspan="2"><span class="smcap"><a href="#cover">Cover Design</a>: Adaptation of wall-painting in cubiculum from Boscoreale.</span> Eighth Room.</td> - <td class="tdpg"></td> - </tr> - <tr> - <td colspan="2"><span class="smcap"><a href="#vignette">Vignette on Title-page</a>: Departure of a warrior, from a lekythos.</span> Case G, Fifth Room.</td> - <td class="tdpg"></td> - </tr> - <tr> - <td colspan="2"><span class="smcap">Introduction</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td class="tdr"></td> - <td><span class="smcap">Head-band: Design from a Roman table in the cubiculum.</span> Eighth Room</td> - <td class="tdpg"><a href="#head-band-ch0">xv</a></td> - </tr> - <tr> - <td class="tdr"></td> - <td><span class="smcap">Tail-piece: Oscillum.</span> Case 1</td> - <td class="tdpg"><a href="#tail-piece-ch0">xvii</a></td> - </tr> - <tr> - <td colspan="2"><span class="smcap">Chapter I</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td class="tdr"></td> - <td><span class="smcap">Head-band: Genii sacrificing, from an Arretine bowl.</span> Case G, Eighth Room</td> - <td class="tdpg"><a href="#head-band-ch1">3</a></td> - </tr> - <tr> - <td class="tdr">1.</td> - <td><span class="smcap">Praying youth (?)</span></td> - <td class="tdpg"><a href="#figure1">4</a></td> - </tr> - <tr> - <td class="tdr">2.</td> - <td><span class="smcap">Man saluting a statue of Athena</span></td> - <td class="tdpg"><a href="#figure2">5</a></td> - </tr> - <tr> - <td class="tdr">3.</td> - <td><span class="smcap">Man carrying a pig to be sacrificed</span></td> - <td class="tdpg"><a href="#figure3">3</a></td> - </tr> - <tr> - <td class="tdr">4.</td> - <td><span class="smcap">Votive table</span></td> - <td class="tdpg"><a href="#figure4">6</a></td> - </tr> - <tr> - <td class="tdr">5.</td> - <td><span class="smcap">Votive plaque</span></td> - <td class="tdpg"><a href="#figure5">6</a></td> - </tr> - <tr> - <td class="tdr">6.</td> - <td><span class="smcap">Terracotta herm</span></td> - <td class="tdpg"><a href="#figure6">7</a></td> - </tr> - <tr> - <td class="tdr">7.</td> - <td><span class="smcap">Warriors making a treaty (?)</span></td> - <td class="tdpg"><a href="#figure7">7</a></td> - </tr> - <tr> - <td class="tdr">8.</td> - <td><span class="smcap">Charms of colored glass</span></td> - <td class="tdpg"><a href="#figure8">7</a></td> - </tr> - <tr> - <td class="tdr">9.</td> - <td><span class="smcap">Lar</span></td> - <td class="tdpg"><a href="#figure9">8</a></td> - </tr> - <tr> - <td class="tdr">10.</td> - <td><span class="smcap">Roman priest</span></td> - <td class="tdpg"><a href="#figure10">9</a></td> - </tr> - <tr> - <td class="tdr">11.</td> - <td><span class="smcap">Camillus</span></td> - <td class="tdpg"><a href="#figure11">10</a><span class="pagenum"><a id="Page_viii"></a>[viii]</span></td> - </tr> - <tr> - <td class="tdr">12.</td> - <td><span class="smcap">Statue of Cybele on its car</span></td> - <td class="tdpg"><a href="#figure12">11</a></td> - </tr> - <tr> - <td class="tdr">13.</td> - <td><span class="smcap">Sacrificial procession</span></td> - <td class="tdpg"><a href="#figure13">11</a></td> - </tr> - <tr> - <td class="tdr">14.</td> - <td><span class="smcap">Sistrum</span></td> - <td class="tdpg"><a href="#figure14">12</a></td> - </tr> - <tr> - <td colspan="2"><span class="smcap">Chapter II</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td class="tdr"></td> - <td><span class="smcap">Head-band: Plan of the theatre of Segesta, Redrawn from Laloux, L’Architecture grecque</span>, p. 233, fig. 217</td> - <td class="tdpg"><a href="#head-band-ch2">13</a></td> - </tr> - <tr> - <td class="tdr">15.</td> - <td><span class="smcap">Tragic mask</span></td> - <td class="tdpg"><a href="#figure15">14</a></td> - </tr> - <tr> - <td class="tdr">16.</td> - <td><span class="smcap">Slave in Old Comedy</span></td> - <td class="tdpg"><a href="#figure16">14</a></td> - </tr> - <tr> - <td class="tdr">17.</td> - <td><span class="smcap">Theatre at Epidaurus</span></td> - <td class="tdpg"><a href="#figure17">15</a></td> - </tr> - <tr> - <td class="tdr">18.</td> - <td><span class="smcap">Actor of mimes</span></td> - <td class="tdpg"><a href="#figure18">16</a></td> - </tr> - <tr> - <td class="tdr">19.</td> - <td><span class="smcap">Actor in New Comedy</span></td> - <td class="tdpg"><a href="#figure19">17</a></td> - </tr> - <tr> - <td class="tdr">20.</td> - <td><span class="smcap">Comic actor as Herakles</span></td> - <td class="tdpg"><a href="#figure20">17</a></td> - </tr> - <tr> - <td class="tdr"></td> - <td><span class="smcap">Tail-piece: Terracotta mask of a Satyr.</span> Case 1</td> - <td class="tdpg"><a href="#tail-piece-ch2">18</a></td> - </tr> - <tr> - <td colspan="2"><span class="smcap">Chapter III</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td class="tdr"></td> - <td><span class="smcap">Head-band: House of Sallust, redrawn from Mau-Kelsey, Pompeii, published by the Macmillan Company</span>, p. 287, fig. 136</td> - <td class="tdpg"><a href="#head-band-ch3">19</a></td> - </tr> - <tr> - <td class="tdr">21.</td> - <td><span class="smcap">Roman wall-painting</span></td> - <td class="tdpg"><a href="#figure21">20</a></td> - </tr> - <tr> - <td class="tdr">22.</td> - <td><span class="smcap">Cubiculum</span></td> - <td class="tdpg"><a href="#figure22">21</a></td> - </tr> - <tr> - <td class="tdr">23.</td> - <td><span class="smcap">Mosaic picture</span></td> - <td class="tdpg"><a href="#figure23">22</a></td> - </tr> - <tr> - <td class="tdr">24.</td> - <td><span class="smcap">Old man seated on a klismos</span></td> - <td class="tdpg"><a href="#figure24">23</a></td> - </tr> - <tr> - <td class="tdr">25.</td> - <td><span class="smcap">Bronze cauldron</span></td> - <td class="tdpg"><a href="#figure25">24</a></td> - </tr> - <tr> - <td class="tdr">26.</td> - <td><span class="smcap">Greek table-ware of painted terracotta</span></td> - <td class="tdpg"><a href="#figure26">25</a></td> - </tr> - <tr> - <td class="tdr">27.</td> - <td><span class="smcap">Bronze patera</span></td> - <td class="tdpg"><a href="#figure27">26</a></td> - </tr> - <tr> - <td class="tdr">28.</td> - <td><span class="smcap">Bronze wine-jug</span></td> - <td class="tdpg"><a href="#figure28">27</a></td> - </tr> - <tr> - <td class="tdr">29.</td> - <td><span class="smcap">Bronze jug</span></td> - <td class="tdpg"><a href="#figure29">27</a></td> - </tr> - <tr> - <td class="tdr">30.</td> - <td><span class="smcap">Bronze beaker</span></td> - <td class="tdpg"><a href="#figure30">27</a></td> - </tr> - <tr> - <td class="tdr">31.</td> - <td><span class="smcap">Bronze ladle for wine</span></td> - <td class="tdpg"><a href="#figure31">28</a></td> - </tr> - <tr> - <td class="tdr">32.</td> - <td><span class="smcap">Bronze wine-strainer</span></td> - <td class="tdpg"><a href="#figure32">28</a><span class="pagenum"><a id="Page_ix"></a>[ix]</span></td> - </tr> - <tr> - <td class="tdr">33.</td> - <td><span class="smcap">Roman silver cup</span></td> - <td class="tdpg"><a href="#figure33">29</a></td> - </tr> - <tr> - <td class="tdr">34.</td> - <td><span class="smcap">Roman silver spoons</span></td> - <td class="tdpg"><a href="#figure34">29</a></td> - </tr> - <tr> - <td class="tdr">35.</td> - <td><span class="smcap">Bronze candelabrum</span></td> - <td class="tdpg"><a href="#figure35">30</a></td> - </tr> - <tr> - <td class="tdr">36.</td> - <td><span class="smcap">Bronze lamp on a stand</span></td> - <td class="tdpg"><a href="#figure36">31</a></td> - </tr> - <tr> - <td class="tdr"></td> - <td><span class="smcap">Tail-piece: Campanian plate for fish.</span> Case Q, Sixth Room</td> - <td class="tdpg"><a href="#tail-piece-ch3">31</a></td> - </tr> - <tr> - <td colspan="2"><span class="smcap">Chapter IV</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td class="tdr"></td> - <td><span class="smcap">Head-band: Women working wool, from an epinetron.</span> Case 2</td> - <td class="tdpg"><a href="#head-band-ch4">32</a></td> - </tr> - <tr> - <td class="tdr">37.</td> - <td><span class="smcap">Woman embroidering or making a net</span></td> - <td class="tdpg"><a href="#figure37">32</a></td> - </tr> - <tr> - <td class="tdr">38.</td> - <td><span class="smcap">Onos or epinetron</span></td> - <td class="tdpg"><a href="#figure38">33</a></td> - </tr> - <tr> - <td class="tdr">39.</td> - <td><span class="smcap">Woman carding wool</span></td> - <td class="tdpg"><a href="#figure39">33</a></td> - </tr> - <tr> - <td class="tdr">40.</td> - <td><span class="smcap">Embroidered clothing</span></td> - <td class="tdpg"><a href="#figure40">34</a></td> - </tr> - <tr> - <td class="tdr">41.</td> - <td><span class="smcap">Greek country-woman spinning</span></td> - <td class="tdpg"><a href="#figure41">35</a></td> - </tr> - <tr> - <td class="tdr">42.</td> - <td><span class="smcap">Baking bread in a primitive oven</span></td> - <td class="tdpg"><a href="#figure42">36</a></td> - </tr> - <tr> - <td class="tdr">43.</td> - <td><span class="smcap">Women winnowing and grinding corn</span></td> - <td class="tdpg"><a href="#figure43">36</a></td> - </tr> - <tr> - <td class="tdr">44.</td> - <td><span class="smcap">Women at a well-house in Athens</span></td> - <td class="tdpg"><a href="#figure44">37</a></td> - </tr> - <tr> - <td class="tdr">45.</td> - <td><span class="smcap">Marriage-vase</span></td> - <td class="tdpg"><a href="#figure45">38</a></td> - </tr> - <tr> - <td class="tdr"></td> - <td><span class="smcap">Tail-piece: Woman spinning, from a pyxis.</span> Case A, Fourth Room</td> - <td class="tdpg"><a href="#tail-piece-ch4">39</a></td> - </tr> - <tr> - <td colspan="2"><span class="smcap">Chapter V</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td class="tdr"></td> - <td><span class="smcap">Head-band: Boys going to school, from a kylix.</span> Case 3</td> - <td class="tdpg"><a href="#head-band-ch5">40</a></td> - </tr> - <tr> - <td class="tdr">46.</td> - <td><span class="smcap">Gold bulla</span></td> - <td class="tdpg"><a href="#figure46">40</a></td> - </tr> - <tr> - <td class="tdr">47.</td> - <td><span class="smcap">Old nurse holding a baby</span></td> - <td class="tdpg"><a href="#figure47">41</a></td> - </tr> - <tr> - <td class="tdr">48.</td> - <td><span class="smcap">Terracotta feeding bottle</span></td> - <td class="tdpg"><a href="#figure48">41</a></td> - </tr> - <tr> - <td class="tdr">49.</td> - <td><span class="smcap">Toy horse on wheels</span></td> - <td class="tdpg"><a href="#figure49">42</a></td> - </tr> - <tr> - <td class="tdr">50.</td> - <td><span class="smcap">Tomb lekythos. Child drawing a cart</span></td> - <td class="tdpg"><a href="#figure50">42</a></td> - </tr> - <tr> - <td class="tdr">51.</td> - <td><span class="smcap">Girls playing ball</span></td> - <td class="tdpg"><a href="#figure51">43</a></td> - </tr> - <tr> - <td class="tdr">52.</td> - <td><span class="smcap">Boy rolling a hoop</span></td> - <td class="tdpg"><a href="#figure52">43</a></td> - </tr> - <tr> - <td class="tdr">53.</td> - <td><span class="smcap">Women whipping tops</span></td> - <td class="tdpg"><a href="#figure53">44</a><span class="pagenum"><a id="Page_x"></a>[x]</span></td> - </tr> - <tr> - <td class="tdr">54.</td> - <td><span class="smcap">Stylus</span></td> - <td class="tdpg"><a href="#figure54">44</a></td> - </tr> - <tr> - <td class="tdr">55.</td> - <td><span class="smcap">Ephedrismos game</span></td> - <td class="tdpg"><a href="#figure55">45</a></td> - </tr> - <tr> - <td class="tdr">56.</td> - <td><span class="smcap">Boy with a writing tablet</span></td> - <td class="tdpg"><a href="#figure56">45</a></td> - </tr> - <tr> - <td class="tdr">57.</td> - <td><span class="smcap">Ink-pot</span></td> - <td class="tdpg"><a href="#figure57">46</a></td> - </tr> - <tr> - <td class="tdr"></td> - <td><span class="smcap">Tail-piece: Jointed terracotta doll.</span> Case 3</td> - <td class="tdpg"><a href="#tail-piece-ch5">46</a></td> - </tr> - <tr> - <td colspan="2"><span class="smcap">Chapter VI</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td class="tdr"></td> - <td><span class="smcap">Head-band: Fibula.</span> Gold Room</td> - <td class="tdpg"><a href="#head-band-ch6">47</a></td> - </tr> - <tr> - <td class="tdr">58.</td> - <td><span class="smcap">Diagram of Doric chiton, reproduced from British Museum, A Guide to the Exhibition illustrating Greek and Roman Life</span>, 2d edition, fig. 129</td> - <td class="tdpg"><a href="#figure58">47</a></td> - </tr> - <tr> - <td class="tdr">59.</td> - <td><span class="smcap">Amazons in Men’s Ionic chitons, reproduced from Furtwängler und Reichhold, Griechische Vasenmalerei</span>, I, pl. 82</td> - <td class="tdpg"><a href="#figure59">48</a></td> - </tr> - <tr> - <td class="tdr">60.</td> - <td><span class="smcap">Early chitons</span></td> - <td class="tdpg"><a href="#figure60">49</a></td> - </tr> - <tr> - <td class="tdr">61.</td> - <td><span class="smcap">Woman’s Doric chiton of the fifth century</span></td> - <td class="tdpg"><a href="#figure61">50</a></td> - </tr> - <tr> - <td class="tdr">62.</td> - <td><span class="smcap">Woman in Ionic chiton</span></td> - <td class="tdpg"><a href="#figure62">51</a></td> - </tr> - <tr> - <td class="tdr">63.</td> - <td><span class="smcap">Doric chiton without girdle</span></td> - <td class="tdpg"><a href="#figure63">52</a></td> - </tr> - <tr> - <td class="tdr">64.</td> - <td><span class="smcap">Terracotta statuette. Lady in himation and hat</span></td> - <td class="tdpg"><a href="#figure64">53</a></td> - </tr> - <tr> - <td class="tdr">65.</td> - <td><span class="smcap">Terracotta statuette. Lady in himation</span></td> - <td class="tdpg"><a href="#figure65">53</a></td> - </tr> - <tr> - <td class="tdr">66.</td> - <td><span class="smcap">Terracotta statuette. Man in riding-cloak and hat</span></td> - <td class="tdpg"><a href="#figure66">53</a></td> - </tr> - <tr> - <td class="tdr">67.</td> - <td><span class="smcap">Man’s chiton</span></td> - <td class="tdpg"><a href="#figure67">54</a></td> - </tr> - <tr> - <td class="tdr">68.</td> - <td><span class="smcap">Akropolis maiden in Ionic chiton and himation</span></td> - <td class="tdpg"><a href="#figure68">55</a></td> - </tr> - <tr> - <td class="tdr">69.</td> - <td><span class="smcap">Greek sandal</span></td> - <td class="tdpg"><a href="#figure69">56</a></td> - </tr> - <tr> - <td class="tdr">70.</td> - <td><span class="smcap">Greek jewelry</span></td> - <td class="tdpg"><a href="#figure70">57</a></td> - </tr> - <tr> - <td class="tdr">71.</td> - <td><span class="smcap">Women’s coiffures, reproduced from Abrahams, Greek Dress</span>, fig. 45</td> - <td class="tdpg"><a href="#figure71">58</a></td> - </tr> - <tr> - <td class="tdr">72.</td> - <td><span class="smcap">Strigil</span></td> - <td class="tdpg"><a href="#figure72">59</a><span class="pagenum"><a id="Page_xi"></a>[xi]</span></td> - </tr> - <tr> - <td class="tdr">73.</td> - <td><span class="smcap">Razor</span></td> - <td class="tdpg"><a href="#figure73">60</a></td> - </tr> - <tr> - <td class="tdr">74.</td> - <td><span class="smcap">Alabastron</span></td> - <td class="tdpg"><a href="#figure74">60</a></td> - </tr> - <tr> - <td class="tdr">75.</td> - <td><span class="smcap">Aryballos</span></td> - <td class="tdpg"><a href="#figure75">61</a></td> - </tr> - <tr> - <td class="tdr">76.</td> - <td><span class="smcap">Glass bottle</span></td> - <td class="tdpg"><a href="#figure76">61</a></td> - </tr> - <tr> - <td class="tdr">77.</td> - <td><span class="smcap">Silver pyxis</span></td> - <td class="tdpg"><a href="#figure77">62</a></td> - </tr> - <tr> - <td class="tdr">78.</td> - <td><span class="smcap">Terracotta pyxis</span></td> - <td class="tdpg"><a href="#figure78">62</a></td> - </tr> - <tr> - <td class="tdr">79.</td> - <td><span class="smcap">Spatula</span></td> - <td class="tdpg"><a href="#figure79">63</a></td> - </tr> - <tr> - <td class="tdr">80.</td> - <td><span class="smcap">Dipping-rod</span></td> - <td class="tdpg"><a href="#figure80">63</a></td> - </tr> - <tr> - <td class="tdr">81.</td> - <td><span class="smcap">Greek mirror on a stand</span></td> - <td class="tdpg"><a href="#figure81">64</a></td> - </tr> - <tr> - <td class="tdr">82.</td> - <td><span class="smcap">Etruscan mirror</span></td> - <td class="tdpg"><a href="#figure82">65</a></td> - </tr> - <tr> - <td class="tdr">83.</td> - <td><span class="smcap">Greek mirror and cover</span></td> - <td class="tdpg"><a href="#figure83">65</a></td> - </tr> - <tr> - <td class="tdr"></td> - <td><span class="smcap">Tail-piece: Dionysos wearing the himation, from a krater.</span> Case J, Fourth Room</td> - <td class="tdpg"><a href="#tail-piece-ch6">67</a></td> - </tr> - <tr> - <td colspan="2"><span class="smcap">Chapter VII</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td class="tdr"></td> - <td><span class="smcap">Head-band: Symposium, from a krater.</span> Case X, Fourth Room</td> - <td class="tdpg"><a href="#head-band-ch7">68</a></td> - </tr> - <tr> - <td class="tdr">84.</td> - <td><span class="smcap">Symposium, reproduced from Furtwängler und Reichhold</span>, I, pl. 73.</td> - <td class="tdpg"><a href="#figure84">69</a></td> - </tr> - <tr> - <td class="tdr">85.</td> - <td><span class="smcap">Kottabos-stand</span></td> - <td class="tdpg"><a href="#figure85">70</a></td> - </tr> - <tr> - <td class="tdr">86.</td> - <td><span class="smcap">Glass astragals</span></td> - <td class="tdpg"><a href="#figure86">71</a></td> - </tr> - <tr> - <td class="tdr">87.</td> - <td><span class="smcap">Girls playing with astragals</span></td> - <td class="tdpg"><a href="#figure87">71</a></td> - </tr> - <tr> - <td class="tdr">88.</td> - <td><span class="smcap">Youth with a lyre</span></td> - <td class="tdpg"><a href="#figure88">72</a></td> - </tr> - <tr> - <td class="tdr">89.</td> - <td><span class="smcap">Girl dancing and playing the castanets</span></td> - <td class="tdpg"><a href="#figure89">72</a></td> - </tr> - <tr> - <td class="tdr">90.</td> - <td><span class="smcap">Apollo with a kithara</span></td> - <td class="tdpg"><a href="#figure90">73</a></td> - </tr> - <tr> - <td class="tdr">91.</td> - <td><span class="smcap">Terracotta figurine. Woman dancing</span></td> - <td class="tdpg"><a href="#figure91">74</a></td> - </tr> - <tr> - <td class="tdr">92.</td> - <td><span class="smcap">Terracotta figurine. Woman dancing</span></td> - <td class="tdpg"><a href="#figure92">75</a></td> - </tr> - <tr> - <td class="tdr"></td> - <td><span class="smcap">Tail-piece: Girl dancing, from a kylix.</span> Case G, Fifth Room</td> - <td class="tdpg"><a href="#tail-piece-ch7">75</a></td> - </tr> - <tr> - <td colspan="2"><span class="smcap">Chapter VIII</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td class="tdr"></td> - <td><span class="smcap">Head-band: Combat, from a kylix.</span> Case K, Fourth Room</td> - <td class="tdpg"><a href="#head-band-ch8">76</a><span class="pagenum"><a id="Page_xii"></a>[xii]</span></td> - </tr> - <tr> - <td class="tdr">93.</td> - <td><span class="smcap">Greek foot-soldier, reproduced from Die Bronzen aus Dodona</span>, pl. 11</td> - <td class="tdpg"><a href="#figure93">76</a></td> - </tr> - <tr> - <td class="tdr">94.</td> - <td><span class="smcap">Italic helmet</span></td> - <td class="tdpg"><a href="#figure94">77</a></td> - </tr> - <tr> - <td class="tdr">95.</td> - <td><span class="smcap">Italic helmet with metal crest</span></td> - <td class="tdpg"><a href="#figure95">77</a></td> - </tr> - <tr> - <td class="tdr">96.</td> - <td><span class="smcap">Cap-shaped helmet</span></td> - <td class="tdpg"><a href="#figure96">77</a></td> - </tr> - <tr> - <td class="tdr">97.</td> - <td><span class="smcap">“Jockey-cap” helmet</span></td> - <td class="tdpg"><a href="#figure97">77</a></td> - </tr> - <tr> - <td class="tdr">98.</td> - <td><span class="smcap">Corinthian helmet</span></td> - <td class="tdpg"><a href="#figure98">77</a></td> - </tr> - <tr> - <td class="tdr">99.</td> - <td><span class="smcap">Italic armored belt</span></td> - <td class="tdpg"><a href="#figure99">78</a></td> - </tr> - <tr> - <td class="tdr">100.</td> - <td><span class="smcap">Pair of greaves</span></td> - <td class="tdpg"><a href="#figure100">78</a></td> - </tr> - <tr> - <td class="tdr">101.</td> - <td><span class="smcap">Italic cuirass</span></td> - <td class="tdpg"><a href="#figure101">79</a></td> - </tr> - <tr> - <td class="tdr">102.</td> - <td><span class="smcap">Greek cuirass of the fifth century</span></td> - <td class="tdpg"><a href="#figure102">80</a></td> - </tr> - <tr> - <td class="tdr">103.</td> - <td><span class="smcap">Warrior carrying a shield</span></td> - <td class="tdpg"><a href="#figure103">81</a></td> - </tr> - <tr> - <td class="tdr">104.</td> - <td><span class="smcap">Persian fighting with a machaira</span></td> - <td class="tdpg"><a href="#figure104">82</a></td> - </tr> - <tr> - <td class="tdr">105.</td> - <td><span class="smcap">Javelin-head</span></td> - <td class="tdpg"><a href="#figure105">83</a></td> - </tr> - <tr> - <td class="tdr">106.</td> - <td><span class="smcap">Spear-head</span></td> - <td class="tdpg"><a href="#figure106">83</a></td> - </tr> - <tr> - <td class="tdr">107.</td> - <td><span class="smcap">Dagger-blade with hooked tang</span></td> - <td class="tdpg"><a href="#figure107">83</a></td> - </tr> - <tr> - <td class="tdr">108.</td> - <td><span class="smcap">Leaf-shaped dagger-blade</span></td> - <td class="tdpg"><a href="#figure108">83</a></td> - </tr> - <tr> - <td class="tdr">109.</td> - <td><span class="smcap">Bronze sword</span></td> - <td class="tdpg"><a href="#figure109">83</a></td> - </tr> - <tr> - <td class="tdr">110.</td> - <td><span class="smcap">Arrow-heads</span></td> - <td class="tdpg"><a href="#figure110">84</a></td> - </tr> - <tr> - <td class="tdr">111.</td> - <td><span class="smcap">Amazon with battle-axe and wicker shield</span></td> - <td class="tdpg"><a href="#figure111">85</a></td> - </tr> - <tr> - <td class="tdr">112.</td> - <td><span class="smcap">Lamp. Victory with a trophy</span></td> - <td class="tdpg"><a href="#figure112">87</a></td> - </tr> - <tr> - <td class="tdr"></td> - <td><span class="smcap">Tail-piece: Attic helmet.</span> Case 4</td> - <td class="tdpg"><a href="#tail-piece-ch8">88</a></td> - </tr> - <tr> - <td colspan="2"><span class="smcap">Chapter IX</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td class="tdr"></td> - <td><span class="smcap">Head-band: Pankratiasts, from a skyphos.</span> Case 4</td> - <td class="tdpg"><a href="#head-band-ch9">89</a></td> - </tr> - <tr> - <td class="tdr">113.</td> - <td><span class="smcap">Jumper with halteres</span></td> - <td class="tdpg"><a href="#figure113">90</a></td> - </tr> - <tr> - <td class="tdr">114.</td> - <td><span class="smcap">Diskos-thrower</span></td> - <td class="tdpg"><a href="#figure114">91</a></td> - </tr> - <tr> - <td class="tdr">115.</td> - <td><span class="smcap">Athlete throwing a javelin</span></td> - <td class="tdpg"><a href="#figure115">92</a></td> - </tr> - <tr> - <td class="tdr">116.</td> - <td><span class="smcap">Wrestlers</span></td> - <td class="tdpg"><a href="#figure116">92</a></td> - </tr> - <tr> - <td class="tdr">117.</td> - <td><span class="smcap">Scene from the pankration</span></td> - <td class="tdpg"><a href="#figure117">93</a></td> - </tr> - <tr> - <td class="tdr">118.</td> - <td><span class="smcap">Panathenaic amphora</span></td> - <td class="tdpg"><a href="#figure118">94</a></td> - </tr> - <tr> - <td class="tdr">119.</td> - <td><span class="smcap">Youth binding on a fillet</span></td> - <td class="tdpg"><a href="#figure119">95</a></td> - </tr> - <tr> - <td class="tdr"></td> - <td><span class="smcap">Tail-piece: Votive disk, redrawn from Jüthner, Die antiken Turngeräthe</span>, p. 27, fig. 20</td> - <td class="tdpg"><a href="#tail-piece-ch9">97</a><span class="pagenum"><a id="Page_xiii"></a>[xiii]</span></td> - </tr> - <tr> - <td colspan="2"><span class="smcap">Chapter X</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td class="tdr"></td> - <td><span class="smcap">Head-band: Horsemen, from a krater.</span> Case X, Fourth Room</td> - <td class="tdpg"><a href="#head-band-ch10">98</a></td> - </tr> - <tr> - <td class="tdr">120.</td> - <td><span class="smcap">Bronze chariot</span></td> - <td class="tdpg"><a href="#figure120">99</a></td> - </tr> - <tr> - <td class="tdr">121.</td> - <td><span class="smcap">Racing cars on Syracusan coins</span></td> - <td class="tdpg"><a href="#figure121">100</a></td> - </tr> - <tr> - <td class="tdr">122.</td> - <td><span class="smcap">Lamp. Scene from the circus</span></td> - <td class="tdpg"><a href="#figure122">100</a></td> - </tr> - <tr> - <td class="tdr">123.</td> - <td><span class="smcap">Panathenaic amphora. Chariot race</span></td> - <td class="tdpg"><a href="#figure123">100</a></td> - </tr> - <tr> - <td class="tdr">124.</td> - <td><span class="smcap">Bit used in training horses</span></td> - <td class="tdpg"><a href="#figure124">102</a></td> - </tr> - <tr> - <td class="tdr">125.</td> - <td><span class="smcap">Horse’s muzzle</span></td> - <td class="tdpg"><a href="#figure125">102</a></td> - </tr> - <tr> - <td class="tdr">126.</td> - <td><span class="smcap">Young horseman</span></td> - <td class="tdpg"><a href="#figure126">103</a></td> - </tr> - <tr> - <td class="tdr">127.</td> - <td><span class="smcap">Bronze bit</span></td> - <td class="tdpg"><a href="#figure127">104</a></td> - </tr> - <tr> - <td class="tdr"></td> - <td><span class="smcap">Tail-piece: Horseman, bronze statuette.</span> Case B, Third Room</td> - <td class="tdpg"><a href="#tail-piece-ch10">105</a></td> - </tr> - <tr> - <td colspan="2"><span class="smcap">Chapter XI</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td class="tdr"></td> - <td><span class="smcap">Head-band: Gladiatorial combats, from a glass cup.</span> Case 3</td> - <td class="tdpg"><a href="#head-band-ch11">106</a></td> - </tr> - <tr> - <td class="tdr">128.</td> - <td><span class="smcap">Samnite gladiator</span></td> - <td class="tdpg"><a href="#figure128">107</a></td> - </tr> - <tr> - <td class="tdr">129.</td> - <td><span class="smcap">Thracian gladiator</span></td> - <td class="tdpg"><a href="#figure129">107</a></td> - </tr> - <tr> - <td class="tdr"></td> - <td><span class="smcap">Tail-piece: Hoplomachus, from a terracotta lamp.</span> Case 5</td> - <td class="tdpg"><a href="#tail-piece-ch11">108</a></td> - </tr> - <tr> - <td colspan="2"><span class="smcap">Chapter XII</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td class="tdr"></td> - <td><span class="smcap">Head-band: Roman steelyard.</span> Case 1</td> - <td class="tdpg"><a href="#head-band-ch12">109</a></td> - </tr> - <tr> - <td class="tdr">130.</td> - <td><span class="smcap">Bronze farmyard group</span></td> - <td class="tdpg"><a href="#figure130">110</a></td> - </tr> - <tr> - <td class="tdr">131.</td> - <td><span class="smcap">Greek farmer ploughing</span></td> - <td class="tdpg"><a href="#figure131">111</a></td> - </tr> - <tr> - <td class="tdr">132.</td> - <td><span class="smcap">Terracotta model of a cart</span></td> - <td class="tdpg"><a href="#figure132">112</a></td> - </tr> - <tr> - <td class="tdr">133.</td> - <td><span class="smcap">Terracotta from Cyprus. Donkey with panniers</span></td> - <td class="tdpg"><a href="#figure133">112</a></td> - </tr> - <tr> - <td class="tdr">134.</td> - <td><span class="smcap">Donkeys carrying jars in panniers</span>, 1922</td> - <td class="tdpg"><a href="#figure134">113</a><span class="pagenum"><a id="Page_xiv"></a>[xiv]</span></td> - </tr> - <tr> - <td class="tdr">135.</td> - <td><span class="smcap">Key. Early type</span></td> - <td class="tdpg"><a href="#figure135">114</a></td> - </tr> - <tr> - <td class="tdr">136.</td> - <td><span class="smcap">Lock-plate</span></td> - <td class="tdpg"><a href="#figure136">114</a></td> - </tr> - <tr> - <td class="tdr">137.</td> - <td><span class="smcap">Key. Later type</span></td> - <td class="tdpg"><a href="#figure137">114</a></td> - </tr> - <tr> - <td class="tdr">138.</td> - <td><span class="smcap">War-vessels. Vase painting</span></td> - <td class="tdpg"><a href="#figure138">115</a></td> - </tr> - <tr> - <td class="tdr">139.</td> - <td><span class="smcap">Terracotta boat</span></td> - <td class="tdpg"><a href="#figure139">115</a></td> - </tr> - <tr> - <td class="tdr">140.</td> - <td><span class="smcap">Gold-beater’s block</span></td> - <td class="tdpg"><a href="#figure140">116</a></td> - </tr> - <tr> - <td class="tdr">141.</td> - <td><span class="smcap">Unfinished pottery cup</span></td> - <td class="tdpg"><a href="#figure141">117</a></td> - </tr> - <tr> - <td class="tdr">142.</td> - <td><span class="smcap">Ancient mould and modern relief</span></td> - <td class="tdpg"><a href="#figure142">117</a></td> - </tr> - <tr> - <td class="tdr">143.</td> - <td><span class="smcap">Dikast’s ticket</span></td> - <td class="tdpg"><a href="#figure143">118</a></td> - </tr> - <tr> - <td class="tdr">144.</td> - <td><span class="smcap">Forked probe</span></td> - <td class="tdpg"><a href="#figure144">119</a></td> - </tr> - <tr> - <td class="tdr">145.</td> - <td><span class="smcap">Spatulae</span></td> - <td class="tdpg"><a href="#figure145">119</a></td> - </tr> - <tr> - <td class="tdr"></td> - <td><span class="smcap">Tail-piece: Terracotta goat.</span> Case B2, Third Room</td> - <td class="tdpg"><a href="#tail-piece-ch12">120</a></td> - </tr> - <tr> - <td colspan="2"><span class="smcap">Chapter XIII</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td class="tdr"></td> - <td><span class="smcap">Head-band: Funeral scene from a dipylon vase.</span> Case L, Second Room</td> - <td class="tdpg"><a href="#head-band-ch13">121</a></td> - </tr> - <tr> - <td class="tdr">146.</td> - <td><span class="smcap">Mourners at a bier. Terracotta relief</span></td> - <td class="tdpg"><a href="#figure146">122</a></td> - </tr> - <tr> - <td class="tdr">147.</td> - <td><span class="smcap">Poet on his bier (?). Terracotta plate</span></td> - <td class="tdpg"><a href="#figure147">122</a></td> - </tr> - <tr> - <td class="tdr">148.</td> - <td><span class="smcap">Dipylon vase</span></td> - <td class="tdpg"><a href="#figure148">123</a></td> - </tr> - <tr> - <td class="tdr">149.</td> - <td><span class="smcap">Athenian tomb lekythoi</span></td> - <td class="tdpg"><a href="#figure149">124</a></td> - </tr> - <tr> - <td class="tdr">150.</td> - <td><span class="smcap">Marble lekythos</span></td> - <td class="tdpg"><a href="#figure150">125</a></td> - </tr> - <tr> - <td class="tdr">151.</td> - <td><span class="smcap">Etruscan focolare</span></td> - <td class="tdpg"><a href="#figure151">126</a></td> - </tr> - <tr> - <td class="tdr">152.</td> - <td><span class="smcap">Monument of Sostrate</span></td> - <td class="tdpg"><a href="#figure152">127</a></td> - </tr> - <tr> - <td class="tdr">153.</td> - <td><span class="smcap">Etruscan urn for ashes</span></td> - <td class="tdpg"><a href="#figure153">128</a></td> - </tr> - <tr> - <td class="tdr">154.</td> - <td><span class="smcap">Etruscan urn</span></td> - <td class="tdpg"><a href="#figure154">129</a></td> - </tr> - <tr> - <td class="tdr">155.</td> - <td><span class="smcap">Etruscan urn</span></td> - <td class="tdpg"><a href="#figure155">129</a></td> - </tr> - <tr> - <td class="tdr">156.</td> - <td><span class="smcap">Roman grave monument</span></td> - <td class="tdpg"><a href="#figure156">130</a></td> - </tr> - <tr> - <td class="tdr"></td> - <td><span class="smcap">Tail-piece: Akroterion, Sculpture Gallery</span>, No. 5A</td> - <td class="tdpg"><a href="#tail-piece-ch13">131</a></td> - </tr> -</table> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_xv"></a>[xv]</span></p> - -<div class="figcenter illowp100" id="head-band-ch0" style="max-width: 31.25em;"> - <img class="w100" src="images/head-band-ch0.jpg" alt="" /> -</div> - -<h2 class="nobreak" id="INTRODUCTION">INTRODUCTION</h2> - -</div> - -<p>This handbook is intended to serve as a guide to those -objects in the Classical Collection which illustrate the -daily life of the Greeks and Romans. Some of these have -been brought together as a special exhibition in Cases 1 -to 5 in the Fifth Room, while others which it has not been -possible to move are referred to in their respective positions. -Many of these antiquities are among the most -valued possessions of the Museum, while others are entirely -lacking in artistic qualities and would scarcely attract -the visitor’s attention, yet placed in their proper -relations they are found to be full of unsuspected interest.</p> - -<p>Investigations of the sites of ancient cities, settlements, -and burial places, especially during the last fifty years, -have brought to light objects of the most varied kinds -which allow us to know, as was never before possible, the -appearance and manner of life, the tools, utensils, weapons, -and toys of the Greeks and Romans. Any one who -will take up an old translation of an author such as the -elder Pliny, Xenophon, or Martial, and compare it with a -modern version will see at once the difference in this particular. -The earlier translator was often at a loss when -confronted with allusions to every-day life and consequently -either did not express clearly the meaning of his -original or even entirely misrepresented it. But quite<span class="pagenum"><a id="Page_xvi"></a>[xvi]</span> -apart from a correct interpretation of the works of ancient -writers, the study of private antiquities enables us to form -a mental picture of these people and their surroundings, -the actors in the theatre, the citizens gathered in the assembly -or at a religious festival, the houses from which -they came, and the work they left behind; and as a result, -to see the world with their eyes, to comprehend their aims -and actions, and to compare them more intelligently with -our own.</p> - -<p>The greater part of these objects were not very valuable -at the time they were made; they were the ordinary possessions -of ordinary persons. Yet one sees on all sides evidence -of the skill, careful workmanship, and artistic feeling -ungrudgingly spent in making simple, common articles for -every-day use. In our own time the situation is very -different; to the average person beauty and utility have -little or no relation to each other, and he consequently -provides for his home useful and necessary utensils which -have no beauty, and so far as he is able adds “ornaments” -which have no utility and very frequently, it must be said, -no real beauty. Again, the period in which we are living -has not produced any definite style, either in architecture -or in the arts and crafts, though there has been much careful -copying and adapting of earlier ideas; but the products -of Greek and Roman artists and craftsmen have “style,” -not as a result of striving for an effect, but because each -workman received the traditional schooling in his craft and, -having practised it with satisfaction in work well done, -tried to add something to the store of knowledge before -handing it on to the next generation. Such considerations -alone would make the study of the every-day -utensils of classical times a valuable one in the present day.</p> - -<p>No attempt has been made in this handbook to treat the -subject exhaustively; it is intended merely to provide such<span class="pagenum"><a id="Page_xvii"></a>[xvii]</span> -explanation and commentary as will be helpful toward an -understanding of the antiquities. In consequence the -length of the sections has been determined by the amount -of material available and does not necessarily correspond -to the relative importance of the various subjects.</p> - -<div class="figcenter illowp46" id="tail-piece-ch0" style="max-width: 12.5em;"> - <img class="w100" src="images/tail-piece-ch0.jpg" alt="" /> -</div> - -<p><span class="pagenum"><a id="Page_1"></a>[1]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_2"></a>[2]</span></p> - -<h1>THE DAILY LIFE OF<br /> -THE GREEKS AND ROMANS</h1> - -<p><span class="pagenum"><a id="Page_3"></a>[3]</span></p> - -<div class="figcenter illowp100" id="head-band-ch1" style="max-width: 31.25em;"> - <img class="w100" src="images/head-band-ch1.jpg" alt="" /> -</div> - -<h2 class="nobreak" id="I">I<br /> -RELIGION<br /> -<span class="smaller">CASE 1</span></h2> - -</div> - -<p>The religion of the Greek and Roman peoples was -composed of many elements, and presents throughout -their history a great variety of cults and observances. -Religious tenets were not defined, and no priestly hierarchy -attempted to coerce the people in their beliefs or actions. -A Greek or a Roman was not under the necessity of worshipping -the gods, though he might incur the anger of his -fellow-citizens by outraging their feelings. To the ordinary -man or woman, however, the service of the gods was a -daily duty and each important event of human life had its -appropriate observance. The head of every family was -its priest, and the children his assistants in carrying out -the worship of the divine beings who guarded the house -and fields and all the living creatures therein. Similarly -the great gods of the city were served by the priests and -priestesses appointed to represent the city, conceived of as -one great family. Each city had its recurring festivals, -its rest days sacredly kept, and its days of commemoration -of the dead.</p> - -<p><span class="pagenum"><a id="Page_4"></a>[4]</span></p> - -<p>Public worship in Greece and Italy consisted of prayers -and hymns, and of sacrifices offered both within the temples -and shrines and in other places, such as groves and -springs, which were held to be sacred. The temples were -built and adorned with all possible care, and were the pride -of the community. An amphora -(on the bottom of Case S in the -Fourth Room) decorated with a -religious scene shows a common -type of altar. It is shaped rather -like a pedestal with an architectural -moulding and “horns” on either -side. A miniature terracotta shrine -from Cyprus (on the right side of -the top shelf in Case 1), made for -household use, gives us an idea of -the shape of the larger ones which -held a statue at crossroads and -street corners. Incense, a frequent -accompaniment of worship, was -burned in a covered vessel, often -provided with a high stand, such as -the incense burner painted on a -small oinochoë in Case G in the Fifth Room; or a little altar -was used for the purpose. An example from Cyprus, which -still shows traces of fire, stands on the top shelf of Case 1. -A marble lamp from a temple is in Case G in the Third -Room. It was made to be set in a support, probably a -bronze tripod, and was filled with oil in which a wick floated.</p> - -<div class="figcenter illowp37" id="figure1" style="max-width: 12.5em;"> - <img class="w100" src="images/figure1.jpg" alt="" /> - <p class="caption">FIG. 1. PRAYING YOUTH (?)</p> -</div> - -<p>In prayer the worshipper looked upward and raised both -hands. This attitude is perhaps represented in a bronze -statuette, probably a votive offering, in Case D in the Fifth -Room (<a href="#figure1">fig. 1</a>). A small wine-jug (Case 1, middle shelf) is -decorated with a scene no doubt very common in Athens;<span class="pagenum"><a id="Page_5"></a>[5]</span> -before a statue of Athena -raised on a low -column stands a man -saluting the goddess by -kissing his fingers and -raising them toward her -(<a href="#figure2">fig. 2</a>). A bronze votive -statuette in Case D -in the Fourth Room is -making the same gesture.</p> - -<div class="figcenter"> - -<div class="figmulti illowp60" id="figure2" style="max-width: 18.75em;"> - <img class="w100" src="images/figure2.jpg" alt="" /> - <p class="caption">FIG. 2. MAN SALUTING A STATUE OF ATHENA</p> -</div> - -<div class="figmulti illowp31" id="figure3" style="max-width: 12.5em;"> - <img class="w100" src="images/figure3.jpg" alt="" /> - <p class="caption">FIG. 3. MAN CARRYING A PIG TO BE SACRIFICED</p> -</div> - -</div> - -<div class="figleft illowp75" id="figure4" style="max-width: 12.5em;"> - <img class="w100" src="images/figure4.jpg" alt="" /> - <p class="caption">FIG. 4. VOTIVE TABLE</p> -</div> - -<div class="figright illowp62" id="figure5" style="max-width: 15.625em;"> - <img class="w100" src="images/figure5.jpg" alt="" /> - <p class="caption">FIG. 5. VOTIVE PLAQUE</p> -</div> - -<p>The universal custom -of offering to a divinity -gifts in supplication and -thanksgiving has many -interesting illustrations in the collection. -A remnant of the ancient -religion of Crete is the die for moulding -miniature bronze axes in Case -B in the First Room. The little -bronze figure of a man carrying a -pig in Case C2 in the Third Room -served as a memorial of a burnt -sacrifice (<a href="#figure3">fig. 3</a>). The terracotta -warriors from Cyprus (Case 1 and -the wall-cases in the corridor), and -the Italic bronze warriors (Case 3 -and Case J in the Third Room) -were probably thank-offerings for a -victorious home-coming. The -group of terracotta figures holding -one another’s hands gives a rude -picture of a ring-dance such as was<span class="pagenum"><a id="Page_6"></a>[6]</span> -performed in honor of Aphrodite in Cyprus (Case 1, top -shelf). The painted terracotta face above this shelf is an -example of the many little masks -called “oscilla” which were hung by -cords in sanctuaries or on the branches -of trees outside (see <a href="#tail-piece-ch0">tail-piece, p. xvii</a>). -They seem to have been a substitute -for the worshipper when he was -obliged to be away about his daily -occupation. Several other examples -will be found in wall-cases in the -corridor. Fourteen miniature bronze greaves in Case 4 were -probably dedications, perhaps made by soldiers after a battle. -Food and drink were the simplest and commonest gifts, but -were often beyond the means of the worshipper. If this -were true, he gave a representation -in some cheap material of the offering -he wished to make, thus expressing -pressing his good-will. In Case 1 -are three little tables with articles -of food in relief upon the surface. -We see a ham, a whole boar, some -cakes, fruit, and various dishes of -food (<a href="#figure4">fig. 4</a>). Near these tables is -a little tray with several cakes represented -in relief upon it, a substitute -for the cakes which were placed on tables in the -temples, like the shew-bread of the Hebrews. The group -of vases connected by a ring was used for offering small -portions of liquid, probably oil, wine, honey, or milk. -Gratitude for the cure of disease was often exhibited by -dedicating a representation of the affected part. On the -top shelf at the left are terracotta plaques showing eyes, -eyes and mouth, and an ear (<a href="#figure5">fig. 5</a>). Other examples are<span class="pagenum"><a id="Page_7"></a>[7]</span> -in Cases 47 and 75 in the Cesnola Collection. The manufacture -and sale of such objects formed an industry in -ancient times, and the records of the temple of Asklepios -at Athens which are still preserved contain long lists of -them.</p> - -<div class="figcenter"> - -<div class="figmulti illowp40" id="figure6" style="max-width: 12.5em;"> - <img class="w100" src="images/figure6.jpg" alt="" /> - <p class="caption">FIG. 6. TERRACOTTA HERM</p> -</div> - -<div class="figmulti illowp62" id="figure7" style="max-width: 15.625em;"> - <img class="w100" src="images/figure7.jpg" alt="" /> - <p class="caption">FIG. 7. WARRIORS MAKING A TREATY (?)</p> -</div> - -</div> - -<div class="figcenter illowp100" id="figure8" style="max-width: 31.25em;"> - <img class="w100" src="images/figure8.jpg" alt="" /> - <p class="caption">FIG. 8. CHARMS OF COLORED GLASS</p> -</div> - -<p>The ceremonies and sacrifices in temples were few compared -to the frequent occasions for private and family -worship. No meal was eaten without offering a portion -of food and drink to the gods, and statuettes and symbols -of divinities were kept in various rooms of the house -and near the house-door. The rude bust of Hermes on a -pillar (Case 1, middle shelf) is of the same type as the -much larger pillars which in Athens were placed near<span class="pagenum"><a id="Page_8"></a>[8]</span> -house-doors, in schools, and in the market-place (<a href="#figure6">fig. 6</a>). -It was the mutilation of these images which caused such -consternation immediately before the sailing of Nikias on -the disastrous Sicilian expedition in 415 B.C.</p> - -<div class="figcenter illowp44" id="figure9" style="max-width: 15.625em;"> - <img class="w100" src="images/figure9.jpg" alt="" /> - <p class="caption">FIG 9. LAR</p> -</div> - -<p>An interesting terracotta -relief in Case 4 represents -two warriors clasping -hands (<a href="#figure7">fig. 7</a>). Perhaps it -may be regarded as a votive -offering made to commemorate -a treaty or an -alliance, either of which -with the Greeks and also -the Romans was an agreement -made in the sight of -the gods and accompanied -by sacrifices. Readers of -the Anabasis will remember -the treaty made by the -Greeks and the Persians -after Cyrus’s death (II, ii, -8, 9), when the sword-blades -and spear-heads were dipped -in the blood of the victims -caught in a shield, and the -leaders on both sides gave -their right hands as a pledge of fidelity.</p> - -<p>The superstitious and fearful aspect of ancient religion -is represented by the grotesque faces called apotropaia, -“turners away,” which were thought to avert misfortune. -They were worn especially by children, and large ones of -various materials were often fastened up in workshops and -houses. A number of small examples in glass are in -Case C in the Third Room (<a href="#figure8">fig. 8</a>).</p> - -<p>Perhaps the first divinities we think of when we turn to<span class="pagenum"><a id="Page_9"></a>[9]</span> -the native Roman religion are the Lares, the guardians of -house and field. The Lar was represented as a youth holding -a horn of plenty and a patera, a shallow bowl used in -sacrificing (<a href="#figure9">fig. 9</a>). Two of these figures stood side by side -near the hearth in the principal room of the early Roman -house, but at a later period they were -placed in a little shrine usually adjoining -the atrium. A statuette of -rather careless workmanship stands -on the middle shelf in Case 1 and a -much better example in Case J in the -Eighth Room. A fine statuette of -the Imperial period represents a priest -with his toga drawn up over his head -in preparation for sacrificing, in accordance -with the custom which Virgil -mentions in the Aeneid: “Veil thine -hair with a purple garment for covering, -that no hostile face at thy divine -worship may meet thee amid the holy -fires and make void the omens” (III, -vv. 405ff. Mackail) (Case J in the -Eighth Room, <a href="#figure10">fig. 10</a>). A life-size -statue of a camillus, a boy assistant -at religious rites, is in this room (<a href="#figure11">fig. 11</a>). The office of -camillus was an honorable one bestowed upon the young -sons of distinguished families.</p> - -<div class="figcenter illowp33" id="figure10" style="max-width: 12.5em;"> - <img class="w100" src="images/figure10.jpg" alt="" /> - <p class="caption">FIG. 10. ROMAN PRIEST</p> -</div> - -<p>We have several interesting objects related to special -cults. A goddess revered by both Greeks and Romans -was Tyche or Fortuna. A small bronze statuette (Seventh -Room, Case H 2) represents the Fortune of Antioch seated -on a rock, crowned with turrets, and holding in her hand -a sheaf of grain. Fortuna had many temples in Rome, -where she was worshipped under different titles. The<span class="pagenum"><a id="Page_10"></a>[10]</span> -popular belief in her power is attested by Caesar, who tells -of the confidence felt by his men in him and in his success -because they believed him to be a favorite of Fortune. A -rather rude statuette of this divinity stands on the second -shelf of Case 1.</p> - -<div class="figcenter illowp50" id="figure11" style="max-width: 21.875em;"> - <img class="w100" src="images/figure11.jpg" alt="" /> - <p class="caption">FIG. 11. CAMILLUS</p> -</div> - -<p>The worship of the Egyptian goddess Isis gradually -spread from Egypt into Asia Minor and thence into Greece -and Rome. The bronze sistrum or rattle was used in her -rites, and she is often represented holding it in her hand -(Case 1, <a href="#figure14">fig. 14</a>).</p> - -<p>An especially interesting memorial of an Eastern cult -established in Rome is the statuette of Cybele, the Mother -of the Gods, on her processional car drawn by lions (Case -M in the Eighth Room, <a href="#figure12">fig. 12</a>). The worship of Cybele, a<span class="pagenum"><a id="Page_11"></a>[11]</span> -very ancient one, was introduced into Rome during the -Second Punic War at a time of great danger and anxiety. -Our statuette represents not the goddess herself but her -cult statue, and probably commemorates one of the annual -festivals at which the image on its car was taken to the -river Almo to receive a ritual bath. The god-companion -of Cybele, Attis, was not worshipped at Rome before the -time of Claudius, though his cult was diffused over many -parts of the East. A little terracotta from Cyprus shows -him in Phrygian dress on a horse (Case 1).</p> - -<div class="figcenter illowp100" id="figure12" style="max-width: 31.25em;"> - <img class="w100" src="images/figure12.jpg" alt="" /> - <p class="caption">FIG. 12. STATUE OF CYBELE ON ITS CAR</p> -</div> - -<div class="figcenter illowp100" id="figure13" style="max-width: 25em;"> - <img class="w100" src="images/figure13.jpg" alt="" /> - <p class="caption">FIG. 13. SACRIFICIAL PROCESSION</p> -</div> - -<p>A glass relief (on the tray above the middle shelf) gives a<span class="pagenum"><a id="Page_12"></a>[12]</span> -realistic picture of a Roman sacrifice (<a href="#figure13">fig. 13</a>); an ox is -being led through the portico of a temple by four men -carrying knives and an axe. A priestess walks before -them with veiled head, holding a box containing incense, -meal, or other articles used at sacrifices.</p> - -<div class="figcenter illowp37" id="figure14" style="max-width: 12.5em;"> - <img class="w100" src="images/figure14.jpg" alt="" /> - <p class="caption">FIG. 14. SISTRUM</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_13"></a>[13]</span></p> - -<div class="figcenter illowp100" id="head-band-ch2" style="max-width: 31.25em;"> - <img class="w100" src="images/head-band-ch2.jpg" alt="" /> -</div> - -<h2 class="nobreak" id="II">II<br /> -THE DRAMA<br /> -<span class="smaller">CASE 1</span></h2> - -</div> - -<p>Dramatic performances in Greece were a part of -the worship of the wine-god Dionysos, and in consequence -attendance in the theatre at Athens was a religious duty -as well as a pleasure. The audience was composed of the -citizens, both men and women, and visitors from other -states and cities. In early times the playwright acted in -his own play, but later the profession of actor was distinct -from that of poet. Women’s parts were taken by men.</p> - -<p>Plays were performed by daylight in the open air, in -theatres so constructed that most of the audience was at a -considerable distance from the actors. These circumstances -naturally had a great effect upon the conventions -of the theatre and the manner of acting, as effects must be -broad, characters must be typical rather than individual, -and facial play was impossible (<a href="#figure17">fig. 17</a>). Early in the<span class="pagenum"><a id="Page_14"></a>[14]</span> -history of the Greek drama masks for the actors were introduced, -and continued in use for both tragedy and -comedy. They were usually -made of linen stiffened with -clay and painted, though cork -and wood were also used. The -pupils of the eyes were perforated -so that the actor could -see, and the mouth was always -open. In Case 1 are two terracotta -masks, possibly made for -use, one of a satyr (see <a href="#tail-piece-ch2">tail-piece, -p. 18</a>), the other of a -young woman, and two little -masks representing comic characters. -In the same room above Case 4 is a large tragic -mask of marble (<a href="#figure15">fig. 15</a>). This fine piece of decorative -work is modeled after the masks -worn by the heroes of the tragic -stage. Above the tragic mask rose -a projection called onkos which increased -the apparent height of the -wearer. For the same purpose a -shoe with a very thick sole, the -kothornos, was worn; the height of -onkos and kothornos varying with -the importance of the character. -The dress of the tragic actor corresponded -in a general way with -that of every-day life, but the chiton -was long, and the costumes were -frequently bright in color and decorated -elaborately with woven or embroidered bands.</p> - -<div class="figcenter"> - -<div class="figmulti illowp60" id="figure15" style="max-width: 12.5em;"> - <img class="w100" src="images/figure15.jpg" alt="" /> - <p class="caption">FIG. 15. TRAGIC MASK</p> -</div> - -<div class="figmulti illowp46" id="figure16" style="max-width: 12.5em;"> - <img class="w100" src="images/figure16.jpg" alt="" /> - <p class="caption">FIG. 16. SLAVE IN OLD COMEDY</p> -</div> - -</div> - -<p><span class="pagenum"><a id="Page_15"></a>[15]</span></p> - -<div class="figcenter illowp75" id="figure17" style="max-width: 31.25em;"> - <img class="w100" src="images/figure17.jpg" alt="" /> - <p class="caption">FIG. 17. THEATRE AT EPIDAURUS</p> -</div> - -<p><span class="pagenum"><a id="Page_16"></a>[16]</span></p> - -<div class="figleft illowp33" id="figure18" style="max-width: 12.5em;"> - <img class="w100" src="images/figure18.jpg" alt="" /> - <p class="caption">FIG. 18. ACTOR OF MIMES</p> -</div> - -<p>A group of terracotta statuettes from Athens (Sixth -Room, Case L) gives a vivid picture of the actors of the -Old Comedy, that of Aristophanes and his contemporaries. -By a convention of the stage, all comic actors, even those -who played young women’s parts, were grotesquely padded, -and over the padding male characters wore an elastic -woolen covering much like the modern jersey, which is -represented by dots in the statuettes. -The man’s chiton was always -ridiculously short. Women -wore the long chiton and himation. -On examining these figures we see -that they include certain stock -characters which were used over -and over by playwrights. The figure -on the left hand in the lowest -row represents an old man, probably -an irascible old father. His -mask is made so as to present a -kindly expression on one side and -an angry one on the other. The -actor turned to the audience the -side which expressed his feelings at -the moment. The statuette at the -left of the top row seems to be of the -same general type. The right-hand -figure in the top row is Herakles -(<a href="#figure20">fig. 20</a>); that on the right hand of the lowest row is probably -Odysseus, both favorite comic characters. Another -represents a slave who has stolen a purse and has taken -refuge at an altar upon which he sits weighing his pelf in -both hands (<a href="#figure16">fig. 16</a>). Besides these there are a young -woman and a middle-aged matron, an old nurse with a -baby, and a street vendor with a basket. The scheming -slave, another stock character of ancient comedy, stands<span class="pagenum"><a id="Page_17"></a>[17]</span> -in a thoughtful attitude at the left hand of the second row -from the top.</p> - -<p>In the Seventh Room -(Case H 2) is a bronze -statuette of an actor in -the New Comedy (<a href="#figure19">fig. 19</a>). -The ridiculous dress of the -earlier period has been discarded -for a fringed himation, -but the mask is still -worn. This actor seems to -be declaiming a passage -“full of sound and fury” -accompanied by sweeping -gestures.</p> - -<div class="figcenter illowp62" id="figure19" style="max-width: 15.625em;"> - <img class="w100" src="images/figure19.jpg" alt="" /> - <p class="caption">FIG. 19. ACTOR IN NEW COMEDY</p> -</div> - -<p>In the same case is a statuette of -an actor of mimes or pantomimes, in -itself a masterpiece of the grotesque -(<a href="#figure18">fig. 18</a>). These performances were -generally satires upon contemporary -life, and were immensely popular in -Greece and Italy, being sometimes -provided as entertainment for guests -after dinner. The actors did not wear -masks and probably relied much upon -gestures and facial play for their -effects.</p> - -<div class="figcenter illowp33" id="figure20" style="max-width: 12.5em;"> - <img class="w100" src="images/figure20.jpg" alt="" /> - <p class="caption">FIG. 20. COMIC ACTOR AS HERAKLES</p> -</div> - -<p>In Rome as well as in Athens the -drama was connected with religious -festivals and the funerals of the great, -but it encountered much opposition -from the more old-fashioned moralists -and was never so popular as were grosser amusements. -The actors were frequently slaves, though citizens<span class="pagenum"><a id="Page_18"></a>[18]</span> -engaged in this profession in increasing numbers under -the late Republic and the Empire, but their occupation -deprived them of certain civil rights and affected their -social standing; while at Athens parts in both tragedies -and comedies were taken by citizens, who lost nothing in -public estimation by so doing. This in itself shows the -marked difference in the Greek and Roman attitudes. -Roman tragedy was closely modeled upon the Athenian, -and the plays of Menander and his contemporaries, translated -and adapted by Plautus and Terence, became -Roman comedy, from which the classic comedy of modern -Europe is derived. More popular, however, were the -farces and pantomimes of various kinds, in which the native -influence was strong, the dialogue and gestures being -largely extemporaneous, thus affording an opportunity to -a clever actor for displaying all his skill.</p> - -<div class="figcenter illowp46" id="tail-piece-ch2" style="max-width: 12.5em;"> - <img class="w100" src="images/tail-piece-ch2.jpg" alt="" /> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_19"></a>[19]</span></p> - -<div class="figcenter illowp100" id="head-band-ch3" style="max-width: 31.25em;"> - <img class="w100" src="images/head-band-ch3.jpg" alt="" /> -</div> - -<h2 class="nobreak" id="III">III<br /> -HOUSES AND FURNITURE<br /> -<span class="smaller">CASES 2 AND 5</span></h2> - -</div> - -<p>Though the Greek and the Roman house differed -considerably in detail, in a general way the two were similar. -For Americans the simplest comparison to make -would be with the Spanish type of dwelling in California -and other parts of the Southwest, since all three have the -common characteristic of looking in, rather than out. The -exterior presented a blank wall, usually of brick, broken by -a door and a few windows. An open courtyard formed -the center of the Greek house, and this manner of building -was borrowed by the Romans as their wealth increased -and larger and pleasanter houses were desired. The -Roman house, which grew by the addition of rooms to the -original single-room hut, had a large opening in the roof of -the principal room or atrium, to provide light and allow the -smoke from the hearth to escape. Under the opening -was a basin, called impluvium, into which fell the rain-water -from the roof. These features were retained even -after the atrium was used only as a reception room, the -household work and cooking being done in a separate -kitchen.</p> - -<p><span class="pagenum"><a id="Page_20"></a>[20]</span></p> - -<div class="figcenter illowp75" id="figure21" style="max-width: 25em;"> - <img class="w100" src="images/figure21.jpg" alt="" /> - <p class="caption">FIG. 21. ROMAN WALL-PAINTING</p> -</div> - -<p><span class="pagenum"><a id="Page_21"></a>[21]</span></p> - -<div class="figcenter illowp93" id="figure22" style="max-width: 31.25em;"> - <img class="w100" src="images/figure22.jpg" alt="" /> - <p class="caption">FIG. 22. CUBICULUM</p> -</div> - -<p>Houses were usually built of sun-dried brick on a stone -foundation. The roofs were often flat and were sometimes -covered with hardened mud, but tile roofs were also -common. Marble for columns and other decorative features -was introduced into Rome in the later part of the -Republican period and colored marbles were used freely -by the rich Romans of the Empire. Walls were covered -with stucco, which was frequently painted. There was no -wall-paper, of course, and pictures were painted directly -on the walls. Fashions in decoration changed as they do -at present, though more slowly. The wall-paintings from -a villa near Boscoreale, in the Eighth Room, illustrate -several types in use in Italy in the first century A.D. The -earliest style imitated columns, marble panels, or other -ornamental features employed in buildings. Arabesques -and fanciful combinations of foliage, birds, animals, and<span class="pagenum"><a id="Page_22"></a>[22]</span> -masks came into use later. Mythological and genre -scenes, as the lady with the kithara (<a href="#figure21">fig. 21</a>) and the group -of a man and a woman seated side by side, required a -skilful painter and were naturally reserved for the principal -rooms. In the cubiculum (<a href="#figure22">fig. 22</a>) another style has -been employed, in which buildings, arches, porticoes, and -gardens are combined in a way which, while of course somewhat -fanciful, still probably represents the general appearance -of the streets and houses of Pompeii and other -cities of the time. Stucco reliefs, of which there are -several graceful examples in the Museum, were used in -Greek houses of the Hellenistic period as well as in Italy.</p> - -<div class="figcenter illowp92" id="figure23" style="max-width: 25em;"> - <img class="w100" src="images/figure23.jpg" alt="" /> - <p class="caption">FIG. 23. MOSAIC PICTURE</p> -</div> - -<p>Floors in early times were of hardened earth, paving -stones, or plaster. In the fifth century pebbles set in cement -came into use in Greece, and from this kind of floor -mosaic, plain and patterned, was derived. Pictures or -decorative designs made of fine glass mosaic were also used -as wall decorations. Three examples are on the tops of -Cases 1 and 2 (<a href="#figure23">fig. 23</a>).</p> - -<div class="figcenter illowp63" id="figure24" style="max-width: 25em;"> - <img class="w100" src="images/figure24.jpg" alt="" /> - <p class="caption">FIG. 24. OLD MAN SEATED ON A KLISMOS</p> -</div> - -<p>The Greek and Roman furniture which has come down -to us is necessarily small in amount and fragmentary because,<span class="pagenum"><a id="Page_23"></a>[23]</span> -like most modern furniture, it was made of wood -and consequently has been destroyed by damp. There -remain, however, some fairly complete pieces, and a considerable -number of metal fittings and casings, as well as -some models and many illustrations from vases. Among -the objects from Cyprus in wall-cases in the corridor are -two bronze tripods, and three ornaments consisting of -goats’ feet and bulls’ heads from another. The bronze -lions’ paws were feet for a large chair or chest. We have -also a little terracotta chair with a diminutive figure in it -and a three-legged table of the kind used to set beside a -dining-couch, both from Cyprus, as well as a round table -on three legs, of much later date (Case 2). Two lekythoi in -Case K in the Fourth Room, decorated with interior scenes, -show chairs of a very graceful and comfortable type, the -Greek klismos, and the same kind of chair is seen on the<span class="pagenum"><a id="Page_24"></a>[24]</span> -grave-monument of a lady in the Sculpture Gallery (No. -4), and on a large amphora on a pedestal in the Fifth Room -(<a href="#figure24">fig. 24</a>). The lady playing a kithara in the wall-painting -in the Eighth Room is seated in a large armchair, the -thronos. In Case 5 is a bronze casing of beautiful work -for a piece of furniture, and in Case 2 a bronze chair-leg -and an ornament terminating -in the head of a young -bullock. Two tripods and -some bronze mountings -from Cyprus will be found -in wall-cases in the corridor. -In the cubiculum -from Boscoreale is a table -of marble and bronze. -The bronze rim which surrounds -the marble top is -inlaid with silver and niello -in a beautiful pattern of -palmettes and rosette ornaments. -A couch, probably for dining (wrongly restored -as a seat), and a footstool stand in the corridor between -the Eighth and Ninth Rooms. Bedsteads, which were -similar to this couch in shape, were merely frames on which -thongs were stretched, like the old-fashioned corded beds, -the interlaced leather bands acting as springs. The -wooden frames were frequently decorated with bronze -fittings, and in the Hellenistic and Roman periods inlay -and mountings of silver, gold, ivory, and tortoise-shell -were employed for the rich. Couches and beds were -usually supplied with a raised head-rest, often finished with -bronze animal-heads, such as the mule-heads in Case A in -the Seventh Room and Case L in the Eighth Room.</p> - -<div class="figcenter illowp62" id="figure25" style="max-width: 15.625em;"> - <img class="w100" src="images/figure25.jpg" alt="" /> - <p class="caption">FIG. 25. BRONZE CAULDRON</p> -</div> - -<p><span class="pagenum"><a id="Page_25"></a>[25]</span></p> - -<div class="figcenter illowp53" id="figure26" style="max-width: 31.25em;"> - <img class="w100" src="images/figure26.jpg" alt="" /> - <p class="caption">FIG. 26. GREEK TABLE-WARE OF PAINTED TERRACOTTA</p> -</div> - -<p><span class="pagenum"><a id="Page_26"></a>[26]</span></p> - -<p>Clothing was kept in chests, which were well adapted -to the large pieces of cloth composing a costume. A good -illustration of a chest may be seen in Case W in the Fourth -Room, on an amphora decorated with a scene from the -story of Danaë and Perseus, and in Case 2 there is a miniature -chest of white -stone from which the -cover has been lost.</p> - -<div class="figcenter illowp46" id="figure27" style="max-width: 15.625em;"> - <img class="w100" src="images/figure27.jpg" alt="" /> - <p class="caption">FIG. 27. BRONZE PATERA</p> -</div> - -<p>Household utensils, -since they were made -of metal or pottery, -exist in considerable -numbers. Cooking -was usually done over -an open fire, though -stoves of a simple type -came into use in the -Hellenistic and Roman -periods. The bronze -cauldrons used for boiling -(Case S in the Third -Room and wall-cases -in-the corridor) were -valued highly, and -were offered frequently -as prizes in athletic contests (<a href="#figure25">fig. 25</a>). At the funeral -games of Patroklos (Iliad XXIII, vv. 267-268) Achilles -gives a ‘bronze cauldron untouched by fire’ as a prize for -the chariot race, and records of later contests prove that -the custom was a common one. An amphora in Case Y -in the Fourth Room is decorated with the figure of a -youth, evidently a victor in the games, carrying away upon -his shoulders a cauldron which he has won. The metal -hook in Case N in the Seventh Room was used for drawing -pieces of meat from the cauldron. Pails, finely made and -decorated, especially as to the handles and their attachments, -probably served some purpose at table, as, for example, -to hold cold water or snow in which -a vessel of wine was placed to cool.</p> - -<p><span class="pagenum"><a id="Page_27"></a>[27]</span></p> - -<div class="figcenter"> - -<div class="figmulti illowp46" id="figure28" style="max-width: 15.625em;"> - <img class="w100" src="images/figure28.jpg" alt="" /> - <p class="caption">FIG. 28. BRONZE WINE-JUG</p> -</div> - -<div class="figmulti illowp46" id="figure29" style="max-width: 15.625em;"> - <img class="w100" src="images/figure29.jpg" alt="" /> - <p class="caption">FIG. 29. BRONZE JUG</p> -</div> - -<div class="figmulti illowp62" id="figure30" style="max-width: 15.625em;"> - <img class="w100" src="images/figure30.jpg" alt="" /> - <p class="caption">FIG. 30. BRONZE BEAKER</p> -</div> - -</div> - -<p><span class="pagenum"><a id="Page_28"></a>[28]</span></p> - -<div class="figcenter"> - -<div class="figmulti illowp25" id="figure31" style="max-width: 9.375em;"> - <img class="w100" src="images/figure31.jpg" alt="" /> - <p class="caption">FIG. 31. BRONZE LADLE FOR WINE</p> -</div> - -<div class="figmulti illowp37" id="figure32" style="max-width: 12.5em;"> - <img class="w100" src="images/figure32.jpg" alt="" /> - <p class="caption">FIG. 32. BRONZE WINE-STRAINER</p> -</div> - -</div> - -<p>The pottery in the various rooms of the -collection shows the kinds of dishes in use -in Greek and Italian houses. There are -cups of different shapes, pitchers and jugs -for water, wine, and other liquids, kraters -(large bowls for mixing water and wine), -plates for food, and lekythoi (oil-cruets) -(<a href="#figure26">fig. 26</a>). The modern china, that is, high-fired -pottery covered with a vitreous glaze, -was not known, and glass did not become -common until -the Imperial -period. In the -Eighth Room -and the corridor -are many -examples of the glass vessels of -that time, some plain, others -with ornaments in relief, and -still others of colored glass in -patterns of remarkable beauty -(Cases N and O in the Eighth -Room). Much of the plain -glass has become iridescent -owing to exposure to damp -in graves. The pottery in museum -collections is naturally the -finer product of the workshop; -receptacles for storing and for -kitchen use were of undecorated<span class="pagenum"><a id="Page_29"></a>[29]</span> -clay and more carelessly made. In the Cesnola Collection on -the tops of Cases 58-63 are some of the tall jars, called pithoi -by the Greeks and dolia by the Romans, which were used -for storing and exporting wine, grain, and many other articles, -taking the place of the casks, barrels, and boxes, and -the paper bags and cartons of modern times. The pointed -ends were driven into earthen floors.</p> - -<div class="figcenter illowp100" id="figure33" style="max-width: 31.25em;"> - <img class="w100" src="images/figure33.jpg" alt="" /> - <p class="caption">FIG. 33. ROMAN SILVER CUP</p> -</div> - -<div class="figcenter illowp100" id="figure34" style="max-width: 25em;"> - <img class="w100" src="images/figure34.jpg" alt="" /> - <p class="caption">FIG. 34. ROMAN SILVER SPOONS</p> -</div> - -<p>Another piece of table-ware which should be mentioned -is a special plate for fish, made in Italy, which had a depression -in the center for holding the sauce. These plates -are decorated with interesting and surprisingly accurate -drawings of fish (Case Q in the Sixth Room, tail-piece, p. 31).</p> - -<p>In Case E in the Third Room is a bronze table service -of Greek work from an Etruscan tomb, and in Case O in -the same room are bronze jars and jugs of various fine<span class="pagenum"><a id="Page_30"></a>[30]</span> -shapes (<a href="#figure27">figs. 27-30</a>), and ladles for dipping wine (<a href="#figure31">fig. 31</a>). -In Case A in the Fourth Room is a wine-strainer (<a href="#figure32">fig. 32</a>). -The remarkably beautiful handles from -vessels in these cases are a further proof -of the taste and care expended upon -household utensils. Silver table services -were not common among the -Greeks, but silver and even gold dishes -were used by wealthy Romans. In -Case C in the Eighth Room are four -cups of Roman date (<a href="#figure33">fig. 33</a>) with a ladle -and a little jug or cup with a spout.</p> - -<p>Food was usually cut into convenient -pieces in the kitchen and eaten with -the fingers, but spoons were used to -a considerable extent by the Romans. -Several bronze spoons are exhibited in -Case 5, and there are some silver spoons -of various shapes in the case with the -silver cups in the Eighth Room (<a href="#figure34">fig. -34</a>).</p> - -<p>The habit of rising and going to bed -early which prevailed in Greece and -Italy is easily understood when we see -the meagre arrangements for lighting -which they possessed. In the street -torches were carried, and they were -also used in the house in early times. -A bronze torch-holder of the late sixth -century from Cyprus in the corridor and a terracotta -example in Case 2 appear to have been made so that -they could be set on a table. The Romans and Etruscans -made candles of pitch and also wax ones very similar to -our own, but the Greeks were not acquainted with them<span class="pagenum"><a id="Page_31"></a>[31]</span> -until they were introduced by the Romans. The iron -candelabrum in Case S in the Third Room was designed to -hold candles on the prickets around -the top. Lamps were commonly -of terracotta or bronze. Olive oil -was burnt in them with a wick of -flax, but at best the light must -have been poor and flickering. -Candelabra were commonly made -of wood, but handsomer ones were -of bronze. A fine Etruscan candelabrum -stands in the Fifth -Room. It was probably furnished -with hooks or other attachments -for hanging lamps, or with prickets -for candles (<a href="#figure35">fig. 35</a>). A -group of lamps of various shapes -is shown in Case 2 (<a href="#figure36">fig. 36</a>).</p> - -<div class="figcenter"> - -<div class="figmulti illowp18" id="figure35" style="max-width: 9.375em;"> - <img class="w100" src="images/figure35.jpg" alt="" /> - <p class="caption">FIG. 35. BRONZE CANDELABRUM</p> -</div> - -<div class="figmulti illowp40" id="figure36" style="max-width: 12.5em;"> - <img class="w100" src="images/figure36.jpg" alt="" /> - <p class="caption">FIG. 36. BRONZE LAMP ON A STAND</p> -</div> - -</div> - -<div class="figcenter illowp46" id="tail-piece-ch3" style="max-width: 12.5em;"> - <img class="w100" src="images/tail-piece-ch3.jpg" alt="" /> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_32"></a>[32]</span></p> - -<div class="figcenter illowp100" id="head-band-ch4" style="max-width: 31.25em;"> - <img class="w100" src="images/head-band-ch4.jpg" alt="" /> -</div> - -<h2 class="nobreak" id="IV">IV<br /> -OCCUPATIONS OF WOMEN<br /> -<span class="smaller">CASES 2, 3, AND 5</span></h2> - -</div> - -<div class="figcenter illowp53" id="figure37" style="max-width: 15.625em;"> - <img class="w100" src="images/figure37.jpg" alt="" /> - <p class="caption">FIG. 37. WOMAN EMBROIDERING OR MAKING A NET</p> -</div> - -<p>The home in ancient times, especially the country -house, was a manufactory on a small scale, like many American -homes of a century ago. -Most of the clothing for the -family was made there, and -consequently the mistress of -the house must understand -wool-working in every stage -and the making of linen -cloth, and must also be able -to teach and direct the slave -women. Wool was often -bought in the raw state or -even in the fleece, which -necessitated cleansing it, certainly -a disagreeable task. -The Syracusan lady in the -Fifteenth Idyll of Theokritos -scolds because her husband has bought five dirty fleeces of -poor quality—“work upon work” for her. For making the -roves a pottery shield, called epinetron or onos, was placed<span class="pagenum"><a id="Page_33"></a>[33]</span> -on the knee and the fibers rubbed over it. An interesting -example, decorated with drawings of women at work -(see <a href="#head-band-ch4">head-band, p. 32</a>), has the upper surface covered -with a scale pattern which furnished the slightly roughened -surface necessary for making the roves (Case 2, top shelf, -<a href="#figure38">fig. 38</a>). The covering, however, was sometimes dispensed -with; a finely decorated toilet-box in Case A in the Fourth -Room has on one side a drawing of a woman carding over -her bare knee (<a href="#figure39">fig. 39</a>). This box also shows the next stage -in the making of cloth, the spinning, for which distaff and<span class="pagenum"><a id="Page_34"></a>[34]</span> -spindle were used (see <a href="#tail-piece-ch4">tail-piece, p. 39</a>). A small weight, -the spindle-whorl, usually of terracotta, was attached -to the thread below the spindle to increase the twisting -motion. An example is in Case 5. This primitive method -of spinning is still in use among the Greek country-folk, -witness a photograph taken in 1922 (<a href="#figure41">fig. 41</a>).</p> - -<div class="figcenter illowp100" id="figure38" style="max-width: 31.25em;"> - <img class="w100" src="images/figure38.jpg" alt="" /> - <p class="caption">FIG. 38. ONOS OR EPINETRON</p> -</div> - -<div class="figcenter illowp92" id="figure39" style="max-width: 25em;"> - <img class="w100" src="images/figure39.jpg" alt="" /> - <p class="caption">FIG. 39. WOMAN CARDING WOOL</p> -</div> - -<div class="figcenter illowp93" id="figure40" style="max-width: 31.25em;"> - <img class="w100" src="images/figure40.jpg" alt="" /> - <p class="caption">FIG. 40. EMBROIDERED CLOTHING</p> -</div> - -<p>The loom used in Greece and Italy was upright, consisting -of two posts with a cross-bar. The threads of the -warp, alternately long and short, were held by terracotta -weights tied to the lower ends. A loom-weight from Crete -is marked with the owner’s name, Kaleneika, wife or daughter -of Teriphos (Case 5).</p> - -<div class="figcenter illowp57" id="figure41" style="max-width: 25em;"> - <img class="w100" src="images/figure41.jpg" alt="" /> - <p class="caption">FIG. 41. GREEK COUNTRY-WOMAN SPINNING</p> -</div> - -<p>Cloth was woven in the size desired for a particular garment, -so that no cutting was necessary and consequently -there were no edges to hem. Sewing was therefore restricted -to seams, of which few were required, but a great -deal of time and skill could be devoted to embroidered -ornament upon fine garments. The earlier fashion, seen<span class="pagenum"><a id="Page_35"></a>[35]</span> -on black-figured vases, was to cover the cloth with patterns, -but later only borders were used, or bands of figures. -On an oinochoë of the fifth century, in Case C in the Fifth -Room, are two ladies perfuming clothes. The garments -and head-dresses they are wearing and the clothes they -are folding are worked with beautiful borders in the wave -pattern and ornaments in the form of conventionalized -flowers (<a href="#figure40">fig. 40</a>). Besides providing fine apparel for themselves -and their families, women also expended their skill -on garments which they offered to the goddesses: the treasuries -of Athena and of Artemis at Athens contained chests -full of many-colored robes offered by worshippers (<a href="#figure37">fig. 37</a>). -Naturally in the course of time various industries sprang<span class="pagenum"><a id="Page_36"></a>[36]</span> -up which contributed manufactured products to the household, -but spinning and weaving continued to be domestic -occupations, at least to provide clothing for the slaves. -Some conservative families in Rome prided themselves -upon wearing garments made at home; the Emperor -Augustus is said to have worn, except on special occasions, -the handiwork of the ladies of his family as an example of -simplicity in a period of general extravagance.</p> - -<div class="figcenter illowp100" id="figure42" style="max-width: 18.75em;"> - <img class="w100" src="images/figure42.jpg" alt="" /> - <p class="caption">FIG. 42. BAKING BREAD IN A PRIMITIVE OVEN</p> -</div> - -<div class="figcenter illowp100" id="figure43" style="max-width: 25em;"> - <img class="w100" src="images/figure43.jpg" alt="" /> - <p class="caption">FIG. 43. WOMEN WINNOWING AND GRINDING CORN</p> -</div> - -<p>The preparation of food likewise required the housewife’s -direction, though the master of the house, or in -large establishments a trusted steward, attended to the -marketing. Two small terracottas from Cyprus on the -bottom of Case 3 illustrate the making of bread by very -primitive methods. In the first (<a href="#figure43">fig. 43</a>), the woman at the<span class="pagenum"><a id="Page_37"></a>[37]</span> -left is winnowing grain with a sieve, which she holds, and a -winnowing-fan shaped like a shovel, which lies by her side. -The other woman (whose head is unfortunately missing) -is grinding the corn on a saddle-quern; she draws the -upper millstone back and forth over the lower, which is -provided with side boards to prevent the meal from falling -off—a hard day’s work, one would say. The other terracotta -represents a primitive method of baking bread. A -clay oven like a huge bowl was built up by hand in a convenient -place. The usual fuel, dried grasses, was placed -in and around it and after the oven became heated and the -fire had died down, the housewife set the flat loaves around -the inside to bake (<a href="#figure42">fig. 42</a>).</p> - -<div class="figcenter illowp100" id="figure44" style="max-width: 31.25em;"> - <img class="w100" src="images/figure44.jpg" alt="" /> - <p class="caption">FIG. 44. WOMEN AT A WELL-HOUSE IN ATHENS</p> -</div> - -<p>Another task often represented on vases is the drawing -and carrying of water. In many places the public well-houses -were the principal source of supply, as the piping of -water into dwellings was unusual in Greece until Roman -times. A hydria in Case 2 shows a group of women carrying<span class="pagenum"><a id="Page_38"></a>[38]</span> -away their jars on their heads from a public well-house -(<a href="#figure44">fig. 44</a>).</p> - -<div class="figcenter illowp33" id="figure45" style="max-width: 12.5em;"> - <img class="w100" src="images/figure45.jpg" alt="" /> - <p class="caption">FIG. 45. MARRIAGE-VASE</p> -</div> - -<p>In Athens, and probably more or less throughout the -Greek world, a woman’s life -was rather monotonous. -Ladies did not go out unattended, -and indeed were not -expected to go out at all -without good reason. A wife -did not receive her husband’s -guests or take part -in his social life; but women -were included in family -gatherings such as weddings -and dinners after the birth -of children, they made visits -to women relatives and -friends, and shared in the -frequent religious festivals, -which at Athens included -the theatre. In the earlier -vase paintings there are comparatively -few figures of -women, and such as appear -are usually goddesses or accessory -persons in mythical -scenes; but with the gradual change to subjects taken -from every-day life in the later sixth and the early fifth -century, we begin to see women about their usual occupations, -or in groups talking with each other or with men. -Much of the later Athenian pottery is decorated with -charming scenes from the life of women, showing them -with their children, at their toilet, busy with embroidery, -or playing with pets. The younger ones seem to have enjoyed<span class="pagenum"><a id="Page_39"></a>[39]</span> -some games which we have relegated to childhood, -such as spinning tops (see <a href="#figure53">fig. 53</a>). On the marriage-vases -we see the bride being dressed by her friends and servants, -or receiving presents on the day after the wedding, the -traditional occasion for the presentation of gifts. Two -of these vases are in Case B in the Fifth Room (<a href="#figure45">fig. 45</a>), and -a perfume vase in Case Q is decorated with a similar scene. -The usual presents seem to have been bands and ribbons -for the hair, perfumes, jewelry, and pets, especially birds.</p> - -<div class="figcenter illowp46" id="tail-piece-ch4" style="max-width: 12.5em;"> - <img class="w100" src="images/tail-piece-ch4.jpg" alt="" /> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_40"></a>[40]</span></p> - -<div class="figcenter illowp100" id="head-band-ch5" style="max-width: 31.25em;"> - <img class="w100" src="images/head-band-ch5.jpg" alt="" /> -</div> - -<h2 class="nobreak" id="V">V<br /> -CHILDREN AND EDUCATION<br /> -<span class="smaller">CASES 2 AND 3</span></h2> - -</div> - -<p>Little babies were tightly bound in swaddling clothes -soon after birth, and the mother, in anxiety for her child’s -safety, usually fastened an amulet -or charm of some kind around its -neck to keep away unfriendly -spirits. The grotesque faces of colored -glass previously mentioned -(p. 8) may have served this purpose. -Roman children wore the bulla, a -case of leather or gold, according -to the means of the parents, containing -a charm. A large gold bulla -of Etruscan workmanship is in a -case at the left side of the Gold Room (<a href="#figure46">fig. 46</a>). The baby -became the charge of an old and trusted slave-woman such -as the kind old nurse represented in a terracotta statuette -on the middle shelf of Case 3. Another of the same type -is in Case K in the Sixth Room (<a href="#figure47">fig. 47</a>). The prettily decorated -jug with a spout is a feeding-bottle (<a href="#figure48">fig. 48</a>).</p> - -<div class="figcenter illowp66" id="figure46" style="max-width: 12.5em;"> - <img class="w100" src="images/figure46.jpg" alt="" /> - <p class="caption">FIG. 46. GOLD BULLA</p> -</div> - -<p><span class="pagenum"><a id="Page_41"></a>[41]</span></p> - -<div class="figcenter"> - -<div class="figmulti illowp50" id="figure47" style="max-width: 12.5em;"> - <img class="w100" src="images/figure47.jpg" alt="" /> - <p class="caption">FIG. 47. OLD NURSE HOLDING A BABY</p> -</div> - -<div class="figmulti illowp60" id="figure48" style="max-width: 12.5em;"> - <img class="w100" src="images/figure48.jpg" alt="" /> - <p class="caption">FIG. 48. TERRACOTTA FEEDING-BOTTLE</p> -</div> - -</div> - -<p>Greek and Roman children played with toys much like -those of the present day, but they were simple and inexpensive. -Rattles for babies -were made of terracotta with -a few pebbles enclosed (Case 3, -middle shelf). An interesting -toy for a small child is the terracotta -horse from Cyprus with -large jars in its panniers such -as those carried by real horses -for taking provisions to and -from market (Case 2, top shelf, -<a href="#figure49">fig. 49</a>). Carts were favorite -playthings; a small oinochoë -in Case 3 shows a boy driving -two goats harnessed to a -chariot, and on a white lekythos -painted for a child’s grave -(Case F in the Fifth Room), a little -boy is going to Charon’s boat -for his journey over the Styx, -drawing his toy cart (<a href="#figure50">fig. 50</a>). -Of course, Greek and Roman -children kept house with their -dolls, and charming miniature -vases were made for them, some -for the doll’s table and others for -her toilet and wedding. These -vases, which are decorated with -scenes of children at play, were -given, it is thought, as presents -on a festival day called Choes, -“Jugs.” A number of different types are in Case G in -the Fifth Room.</p> - -<p><span class="pagenum"><a id="Page_42"></a>[42]</span></p> - -<div class="figcenter illowp92" id="figure49" style="max-width: 25em;"> - <img class="w100" src="images/figure49.jpg" alt="" /> - <p class="caption">FIG. 49. TOY HORSE ON WHEELS</p> -</div> - -<p>Dolls were made of wax and clay. The two seated -terracotta dolls without -joints in Case L in -the Seventh Room -were found in graves at -Tarentum in Southern -Italy. Another made -of bone has jointed -arms and could easily -be dressed (Case 3, -tail-piece, p. 46). -These dolls were originally -painted in bright -colors, which have been destroyed by -time.</p> - -<div class="figcenter illowp27" id="figure50" style="max-width: 12.5em;"> - <img class="w100" src="images/figure50.jpg" alt="" /> - <p class="caption">FIG. 50. TOMB LEKYTHOS. CHILD DRAWING A CART</p> -</div> - -<p>Rolling hoops, contrary to modern -ideas, seems to have been a boys’ -sport. A boy with a hoop may be -seen on a vase in Case J in the Fifth -Room (<a href="#figure52">fig. 52</a>). Mothers and nurses -swung small children in swings, as in -the scene on a vase from Southern -Italy (Case P, Sixth Room), and older -girls also enjoyed this pastime. As -part of a game or perhaps as forfeit, -girls sometimes carried one another -on their backs. A terracotta statuette -represents two girls playing ephedrismos, -as this game was called -(Case 3, <a href="#figure55">fig. 55</a>). Young women and -girls, as well as boys, played with -whipping-tops, as is shown on a lekythos -on the same shelf (<a href="#figure53">fig. 53</a>), and -on one side of a toilet-box two girls are<span class="pagenum"><a id="Page_43"></a>[43]</span> -playing a game of ball with a wicket (<a href="#figure51">fig. 51</a>). Children -also played hide-and-seek, tug-of-war, and many games -with beans, nuts, pebbles, small coins, and the astragals -described in the section on Amusements (pp. 68-69).</p> - -<div class="figcenter illowp100" id="figure51" style="max-width: 25em;"> - <img class="w100" src="images/figure51.jpg" alt="" /> - <p class="caption">FIG. 51. GIRLS PLAYING BALL</p> -</div> - -<p>At about six years of age Greek boys were sent to school, -while the girls remained at home to learn from their mothers -how to spin and weave, and to read a little and keep accounts. -Their education was of the simplest kind and -ceased very early.</p> - -<div class="figcenter illowp100" id="figure52" style="max-width: 25em;"> - <img class="w100" src="images/figure52.jpg" alt="" /> - <p class="caption">FIG. 52. BOY ROLLING A HOOP</p> -</div> - -<div class="figcenter illowp80" id="figure53" style="max-width: 25em;"> - <img class="w100" src="images/figure53.jpg" alt="" /> - <p class="caption">FIG. 53. WOMEN WHIPPING TOPS</p> -</div> - -<div class="figcenter illowp100" id="figure54" style="max-width: 31.25em;"> - <img class="w100" src="images/figure54.jpg" alt="" /> - <p class="caption">FIG. 54. STYLUS</p> -</div> - -<p>The first school to which a boy went was that of the -letter-teacher, who taught reading, writing, and simple<span class="pagenum"><a id="Page_44"></a>[44]</span> -arithmetic. A kylix in Case 3 (see <a href="#head-band-ch5">head-band, p. 40</a>) is -decorated with figures of schoolboys, one of whom holds -a roll of manuscript, and another a writing tablet. These -tablets were thin pieces of wood covered with wax and -fastened together with cords (<a href="#figure56">fig. 56</a>). A pointed stylus -(<a href="#figure54">fig. 54</a>) was used for writing, the blunt end being turned -around when it was necessary to erase by smoothing the -wax<a id="FNanchor_1" href="#Footnote_1" class="fnanchor">[1]</a>. After three or four years in the letter-school<span class="pagenum"><a id="Page_45"></a>[45]</span> -the boys went to the music teacher, who taught -them to sing and to play the -lyre, and in connection with -the music they learned many -selections from the great poets. -Training in the palaistra or -wrestling-school was begun -very early, and was usually -continued until the boy was old -enough to be called into the -military service of the state. -These lessons will be described -in the section on athletics, as -the sports of the palaistra were -in general the same as those of -the men’s gymnasium. In addition -to the subjects already -mentioned, many boys, during -the fifth century and later, -studied geometry, rhetoric, -and philosophy.</p> - -<div class="footnotes"> -<div class="footnote"> -<p><a id="Footnote_1" href="#FNanchor_1" class="label">[1]</a> Several very interesting objects illustrating Greek writing and -writing-materials are exhibited in the case devoted to learning in the -Seventh Egyptian Room. They include a wooden tablet covered with wax, -several short letters on potsherds—a cheap and common writing-material—and -fragments of the Iliad and the Odyssey on papyrus, the -usual substance on which books were written, dating from the third -century B.C. The reed pens in this case are of the kind employed for -writing on papyrus.</p> -</div> -</div> - -<div class="figcenter"> - -<div class="figmulti illowp40" id="figure55" style="max-width: 12.5em;"> - <img class="w100" src="images/figure55.jpg" alt="" /> - <p class="caption">FIG. 55. EPHEDRISMOS GAME</p> -</div> - -<div class="figmulti illowp75" id="figure56" style="max-width: 15.625em;"> - <img class="w100" src="images/figure56.jpg" alt="" /> - <p class="caption">FIG. 56. BOY WITH A WRITING TABLET</p> -</div> - -<div class="figmulti illowp60" id="figure57" style="max-width: 12.5em;"> - <img class="w100" src="images/figure57.jpg" alt="" /> - <p class="caption">FIG. 57. INK-POT</p> -</div> - -</div> - -<p>In Italy, Greek ideas of -education were generally -adopted; boys learned the -Greek language and studied -the Greek and Roman -poets. A little geography -and history were taught, -and arithmetic occupied -much time, for the Roman -system of weights, measures, -and coins was difficult -and inconvenient. Besides -the schools for elementary -subjects there were special<span class="pagenum"><a id="Page_46"></a>[46]</span> -classes for the study of rhetoric and philosophy. The -children of rich or noble families were often educated at -home by Greek tutors, the girls and -boys together, and among the humbler -people they went to the same -school for a time. In general the -education of girls was similar to that -of boys, so far as it went, and sometimes -in wealthy families was continued -after marriage. Many ladies -knew the Greek poets well and wrote -verses themselves. Music occupied -much of their time and they learned -to dance for recreation and as a means of giving pleasure -to their families and friends.</p> - -<div class="figcenter illowp46" id="tail-piece-ch5" style="max-width: 12.5em;"> - <img class="w100" src="images/tail-piece-ch5.jpg" alt="" /> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_47"></a>[47]</span></p> - -<div class="figcenter illowp100" id="head-band-ch6" style="max-width: 31.25em;"> - <img class="w100" src="images/head-band-ch6.jpg" alt="" /> -</div> - -<h2 class="nobreak" id="VI">VI<br /> -DRESS AND TOILET<br /> -<span class="smaller">CASES 2, 3, AND 5</span></h2> - -</div> - -<div class="figcenter illowp46" id="figure58" style="max-width: 15.625em;"> - <img class="w100" src="images/figure58.jpg" alt="" /> - <p class="caption">FIG. 58. DIAGRAM OF DORIC CHITON</p> -</div> - -<p>Greek dress, both for men and women, consisted -of two portions, a garment for the house and a wrap to be -worn over it. Men, from the time -of the Homeric poems downwards, -wore a “chiton,” rectangular in -shape and somewhat wider than -the body, closed on the sides and -across the top except for openings -left for the head and arms. A short -woolen chiton was the usual dress -for soldiers, workmen, and poor -persons, while the nobles of the -Homeric poems seem to have worn -linen chitons reaching to the feet. -Over this a wrap, either rectangular -or curved on one side, was arranged -in various ways. The -earliest representations show men wearing a wrap with -one curved edge, and apparently doubled like a shawl. -This type of dress may be seen in vase paintings in the -Third Room; for example, the figure of Dionysos on a<span class="pagenum"><a id="Page_48"></a>[48]</span> -stamnos (No. GR 564 in Case R), and the same god on a -large amphora (No. 12.198.4) in that case.</p> - -<div class="figcenter illowp100" id="figure59" style="max-width: 31.25em;"> - <img class="w100" src="images/figure59.jpg" alt="" /> - <p class="caption">FIG. 59. AMAZONS IN MEN’S IONIC CHITONS</p> -</div> - -<p>The earliest garment for women which we know of was -a chiton of wool without sewing. This was a large rectangular -piece of cloth considerably wider and longer than the -body. It was folded through the middle lengthwise, so that -one side was closed and the other open. The top, again, -was generally folded over, this hanging portion being -called “apoptygma.” Long pins inserted with the points -upwards, or fibulae (see <a href="#head-band-ch6">head-band, p. 47</a>), were used to -fasten the double edge on the shoulders, and a girdle was -usually worn to hold the edges of the open side in place (<a href="#figure58">fig. -58</a>). If the chiton were still too long, part of the cloth was -drawn up through the girdle into a blouse called “kolpos.” -The heavy woolen chiton may be seen in the drawing of -three nymphs on an amphora (No. GR 549) in Case K in -the Third Room. From these early representations in -art, it seems that clothing for both men and women was at<span class="pagenum"><a id="Page_49"></a>[49]</span> -first rather narrow and was often covered with woven or -embroidered patterns (<a href="#figure60">fig. 60</a>).</p> - -<p>During the seventh and sixth centuries the rich and -artistic Ionian cities had a great influence on the customs -of Greece, and from them the ladies of Athens adopted -the linen chiton, which was wider and was sewed on the -sides. The additional width was sometimes used to form -sleeves by catching the two pieces together at the top in -three or four places, with sewing, buttons, or small pins. -Long sleeves sewn in were occasionally worn, but were -exceptional rather than customary, so that artists often -represent barbarians with sleeves to distinguish them from -Greeks. On a kotyle in Case C in the Fifth Room is a -woman wearing a spotted chiton with long, close-fitting -sleeves. At this period men as well as women at times<span class="pagenum"><a id="Page_50"></a>[50]</span> -wore the apoptygma and kolpos, but the man’s chiton -was generally short (<a href="#figure59">fig. 59</a>). On two kylikes on the bottom -of Case L in the Fourth Room (Nos. 12.231 and -GR1120) women are represented in the linen chiton (<a href="#figure62">fig. -62</a>). After the Persian Wars, as the result of the strong -reaction against Eastern fashions, -men and women both -adopted the woolen Doric chiton -again, and for men it remained -the universal dress, -being now short and without -apoptygma and kolpos. Still, -the adoption of the Doric chiton -did not imply a violent -change, for working people had -worn it continuously and it was -the usual dress for young girls. -Old men, priests, charioteers, -and officials on public occasions -continued to wear the long -Ionic chiton, and both were in -use by ladies at the same -period. It should be added -that at this time the two types -were often worn together, the -Ionic forming an undergarment -with short sleeves, and -the Doric, a sleeveless gown. -This costume is frequently seen on grave-reliefs, but our -only example is an engraving of a Maenad on a bronze -mirror in Case C in the Sixth Room.</p> - -<div class="figcenter"> - -<div class="figmulti illowp33" id="figure60" style="max-width: 12.5em;"> - <img class="w100" src="images/figure60.jpg" alt="" /> - <p class="caption">FIG. 60. EARLY CHITONS</p> -</div> - -<div class="figmulti illowp33" id="figure61" style="max-width: 12.5em;"> - <img class="w100" src="images/figure61.jpg" alt="" /> - <p class="caption">FIG. 61. WOMAN’S DORIC CHITON OF THE V CENTURY</p> -</div> - -</div> - -<p><span class="pagenum"><a id="Page_51"></a>[51]</span></p> - -<div class="figcenter illowp75" id="figure62" style="max-width: 31.25em;"> - <img class="w100" src="images/figure62.jpg" alt="" /> - <p class="caption">FIG. 62. WOMAN IN IONIC CHITON</p> -</div> - -<p><span class="pagenum"><a id="Page_52"></a>[52]</span></p> - -<p>The woman’s Doric chiton of this time may be seen in -the statue of Eirene, No. 15 in the Sculpture Gallery (<a href="#figure61">fig. -61</a>), and it is worn without a girdle by the young girl on a -gravestone (No. 21, <a href="#figure63">fig. 63</a>). Here the open side shows -plainly. A drawing of Zeus on a krater on the bottom of -Case O in the Fourth Room, and a young hunter on a krater -on the left side of the first shelf show the man’s chiton -(<a href="#figure67">fig. 67</a>). The Ionic chiton is illustrated by the statue of a -goddess, No. 19 in the Sculpture -Gallery. Metal buttons to -represent the sleeve fastenings -were inserted in the marble.</p> - -<div class="figcenter illowp37" id="figure63" style="max-width: 12.5em;"> - <img class="w100" src="images/figure63.jpg" alt="" /> - <p class="caption">FIG. 63. DORIC CHITON WITHOUT GIRDLE</p> -</div> - -<p><span class="pagenum"><a id="Page_53"></a>[53]</span></p> - -<div class="figcenter"> - -<div class="figmulti illowp40" id="figure64" style="max-width: 12.5em;"> - <img class="w100" src="images/figure64.jpg" alt="" /> - <p class="caption">FIG. 64. LADY IN HIMATION AND HAT</p> -</div> - -<div class="figmulti illowp33" id="figure65" style="max-width: 12.5em;"> - <img class="w100" src="images/figure65.jpg" alt="" /> - <p class="caption">FIG. 65. LADY IN HIMATION</p> -</div> - -<div class="figmulti illowp42" id="figure66" style="max-width: 12.5em;"> - <img class="w100" src="images/figure66.jpg" alt="" /> - <p class="caption">FIG. 66. MAN IN RIDING-CLOAK AND HAT</p> -</div> - -</div> - -<p>The usual outer wrap, called -himation, was a large oblong, -rectangular piece of woolen -cloth, and was practically the -same for both sexes. In the -seventh and sixth centuries -there were various ways of arranging -it; as a shawl, or as a -scarf fastened on one shoulder. -The archaic statue of a woman, -No. 2 in the Sculpture Gallery, -wears it doubled and fastened -on one shoulder over an Ionic -chiton of soft, crinkled linen -(<a href="#figure68">fig. 68</a>). Gradually a simpler -and more beautiful arrangement -was adopted; the himation -was laid across the back with one corner over the -left shoulder, then folded around the front of the body, -passing either over or under the right arm according to -the wearer’s wish, and the end thrown over the left shoulder, -from which it hung down the back, kept in place by a -weight in the corner. On a krater (No. 16.72) on the bottom -of Case J in the Fourth Room, the god Dionysos is<span class="pagenum"><a id="Page_54"></a>[54]</span> -wearing the himation arranged in this way (see <a href="#tail-piece-ch6">tail-piece, -p. 67</a>), and the cast of the so-called Lateran Sophokles -(No. 775 in the Gallery of Casts) shows the himation at its -best. Ladies often drew it up over their heads like a veil. -The terracotta statuettes in the Sixth Room illustrate -the variety of ways in which the wrap could be draped -(figs. 64, 65). Besides the himation there were cloaks of -more convenient dimensions -for riding, -hunting, or traveling. -These were variously -named but were all -unsewn pieces of cloth, -rectangular or curved -on one side, and were -usually pinned on one -shoulder. A terracotta -(No. 06.1118) in -Case G in the Sixth -Room represents a -traveler in chiton and -riding-cloak (<a href="#figure66">fig. 66</a>), -and the same cloak is -worn by a warrior on -the large amphora on a pedestal in the Fifth Room (see -<a href="#figure103">fig. 103</a>).</p> - -<div class="figcenter illowp56" id="figure67" style="max-width: 18.75em;"> - <img class="w100" src="images/figure67.jpg" alt="" /> - <p class="caption">FIG. 67. MAN’S CHITON</p> -</div> - -<p>Head-coverings were worn only by travelers, riders, or -working-men. A hat with a wide brim, called “petasos,” -was the usual traveler’s head-gear. It was made in a -variety of shapes, the brim being sometimes broader at -back and front, sometimes at the sides. Another form had -a circular brim which turned up. This may be seen on -three terracotta statuettes (Case 2, and Case G in the -Sixth Room). A cap, called “pilos,” was worn by smiths, -sailors, and working-men in general. There is a man<span class="pagenum"><a id="Page_55"></a>[55]</span> -wearing a pilos on a cup on the top shelf of Case S in the -Fourth Room, and a warrior with the same hat will be -found on a small hydria on the first shelf of Case Q in the -Fifth Room. Some head-coverings which may be either -caps or small hats with rolled brims, are represented in -several terracotta statuettes of -boys in Case G in the Sixth -Room. Women wore the petasos -for traveling, and they also -used a kind of sun-hat, called -“tholia,” with a pointed crown -and broad brim, made of straw -and fastened by a ribbon. -Several examples of this stiff -and ungraceful hat may be -seen on terracotta statuettes -in Case 2, and in Case G in -the Sixth Room (see <a href="#figure64">fig. 64</a>).</p> - -<div class="figcenter illowp37" id="figure68" style="max-width: 12.5em;"> - <img class="w100" src="images/figure68.jpg" alt="" /> - <p class="caption">FIG. 68. AKROPOLIS MAIDEN IN IONIC CHITON AND HIMATION</p> -</div> - -<p>Shoes were of two principal -types: sandals with straps, and -high shoes or boots for hunting -and traveling. The Greeks -valued finely made shoes, and -dandies sometimes invented -new fashions which were called -by their names, as “Alkibiades -shoes.” A terracotta foot from -Cyprus wearing a sandal and another painted black are on -the middle shelf of Case 2. On a krater in Case O in the -Fourth Room Hermes wears high laced boots with a tongue -rising above the laces, and a stamnos on the bottom of Case -E shows the hunter Eos in boots. The bronze statuette -of the philosopher Hermarchos in the Seventh Room wears -sandals which are worked out in detail (<a href="#figure69">fig. 69</a>), and an<span class="pagenum"><a id="Page_56"></a>[56]</span> -idea of the thickness of the soles may be gained from those -worn by the woman on a stele, No. 4 in the Sculpture -Gallery. The number and arrangement of the straps -which held the sandal in place were various and they were -sometimes broad enough to form what -was practically a shoe. Boots were -at times made with the leg-covering -composed of leather bands resembling -modern puttees. Women wore sandals -or low shoes. Black was the usual -color for foot-coverings, but gay colors -were worn by women and young -men. The warm climate and custom permitted people -often to dispense with shoes in the house, and working-men -went barefoot.</p> - -<div class="figcenter illowp100" id="figure69" style="max-width: 12.5em;"> - <img class="w100" src="images/figure69.jpg" alt="" /> - <p class="caption">FIG. 69. GREEK SANDAL</p> -</div> - -<p><span class="pagenum"><a id="Page_57"></a>[57]</span></p> - -<div class="figcenter illowp56" id="figure70" style="max-width: 32.8125em;"> - <img class="w100" src="images/figure70.jpg" alt="" /> - <p class="caption">FIG. 70. GREEK JEWELRY</p> -</div> - -<p>The hair was worn long by men until the fifth century, -and the Spartans and Athenian gentlemen who admired -Spartan ways continued the fashion. It was sometimes -allowed to fall on the shoulders in curls or braids, but was -more frequently braided in two plaits and wound around -the head, or made into a sort of roll at the back and fastened -by a gold pin. In the sixth century men wore pointed -beards without moustaches, but later it became customary -to shave the entire face, though short beards and moustaches -were worn by older men. A warrior arming, on an -amphora on the bottom of Case 4, has a pointed beard and -long hair. His young squire, who stands behind him, is -beardless but his hair is long and curling. The lyre-player -on a large amphora on Pedestal R3 in the Third Room has -long hair in a knot at the back, held in place by a band. A -somewhat similar arrangement is seen in the bronze statuette -of Apollo in Case C2 in the same room. The fashion -of plaited hair wound around the head is illustrated by a -terracotta relief of Phrixos on the ram’s back in Case E in<span class="pagenum"><a id="Page_58"></a>[58]</span> -the Fourth Room. In the fifth century short hair was -usual for both young and old men; young men did not -wear beards but older men frequently wore short beards -with moustaches. A moustache without a beard was -regarded as the mark of the barbarian. The marble heads -of two young men, Nos. 12 and 14 in the Sculpture Gallery, -and the athlete’s head on Pedestal H in the Sixth Room -show the fashion for young men, and a comparison of the -vases and small bronzes in the Third Room with those -in the Fourth Room will make clear the gradual change -of style from elaboration to simplicity.</p> - -<div class="figcenter illowp54" id="figure71" style="max-width: 25em;"> - <img class="w100" src="images/figure71.jpg" alt="" /> - <p class="caption">FIG. 71. WOMEN’S COIFFURES</p> -</div> - -<p>The styles of women’s hair-dressing can be best understood -by looking at the statues, vases, and terracottas in -the collection. A variety of ornamental kerchiefs was<span class="pagenum"><a id="Page_59"></a>[59]</span> -worn, especially a very pretty band called sphendone, -“sling,” from its shape (<a href="#figure71">fig. 71</a>). On the bottom of Case -J in the Fifth Room is a large stamnos decorated with -groups of women dressed in the Ionic and Doric chitons -and wearing various kinds of head-dresses. Many of the -terracottas in the Sixth Room -and the head of a young goddess, -No. 7 in the Sculpture -Gallery, illustrate the “melon” -coiffure which became the -mode in the fourth century.</p> - -<p>Fashions in dress were the -same in general throughout the -Greek world, although of course -there were local peculiarities. -In Sparta boys and men often -wore only a small wrap without -a chiton, and young men -commonly went barefoot. The -women wore the Doric chiton.</p> - -<div class="figcenter illowp41" id="figure72" style="max-width: 15.625em;"> - <img class="w100" src="images/figure72.jpg" alt="" /> - <p class="caption">FIG. 72. STRIGIL</p> -</div> - -<p>The jewelry in use included -necklaces and bracelets, rings -for the ears and fingers, and -pins for the hair and clothes. -The Doric chiton originally required two very large pins, -which were inserted with the points upwards, but they -went out of use in the sixth century when the Ionic chiton -came into fashion and were not worn with the later Doric -chiton. The fibula or safety-pin was used throughout the -Greek and Roman world. A group of these pins of various -types is exhibited in Case D in the Second Room. -The fibula illustrated in the head-band is in the Gold -Room. Greek jewelry of the fifth and fourth centuries -was frequently of great beauty. Precious stones were used<span class="pagenum"><a id="Page_60"></a>[60]</span> -but seldom until the Hellenistic period, but the excellence -of Greek workmanship has rarely been equalled by other -craftsmen. The Greek -gentleman permitted himself -only a handsome ring -which was useful as a seal, -and the artistic value of -these engraved seal rings of -gold or of gold set with a -semi-precious stone has -made them favorites with -collectors for many centuries. -The rings and gems in cases in the rooms of the -Classical Wing, and the beautiful jewelry in the Gold Room -are proofs of the skill of Greek workmen -and the fine taste of their patrons -(<a href="#figure70">fig. 70</a>).</p> - -<div class="figcenter"> - -<div class="figmulti illowp100" id="figure73" style="max-width: 15.625em;"> - <img class="w100" src="images/figure73.jpg" alt="" /> - <p class="caption">FIG. 73. RAZOR</p> -</div> - -<div class="figmulti illowp30" id="figure74" style="max-width: 12.5em;"> - <img class="w100" src="images/figure74.jpg" alt="" /> - <p class="caption">FIG. 74. ALABASTRON</p> -</div> - -</div> - -<p>Roman dress was similar to that of -Greece in its principal characteristics. -The clothing of women was the same -as that of the Greek lady of the Hellenistic -age represented in the terracotta -statuettes. The Ionic chiton, made -usually of wool instead of linen, and -called stola, was worn in the house, but -the married woman’s stola had a wide -piece like a flounce sewn on at the bottom. -For the street the himation, -called by the Romans palla, was worn -over it. The Roman citizen wore a -white woolen tunic like the Greek chiton, -but it was usually provided with short sleeves. Senators, -knights, and free-born children had this tunic ornamented -with purple stripes running from each shoulder to<span class="pagenum"><a id="Page_61"></a>[61]</span> -the bottom, both front and back. In the statue of a -camillus in the Eighth Room the stripes were inlaid in -silver, of which traces remain. Over this was worn the -toga, corresponding to the Greek himation and arranged -in the same general way. The toga, however, was usually -larger than the himation and was semicircular on -the lower edge. For senators, knights, and children it -was ornamented with a broad purple stripe following the -straight edge. Shoes and sandals of various kinds were -in use; a special kind of high shoe called calceus was always -worn with the toga, and the tunic, toga, and calceus -formed the regulation dress for citizens in public. The -toga, being a very heavy, cumbersome garment, was not -worn for traveling or active work, and for these purposes -there were many small wraps and longer cloaks of various -shapes.</p> - -<div class="figcenter"> - -<div class="figmulti illowp53" id="figure75" style="max-width: 15.625em;"> - <img class="w100" src="images/figure75.jpg" alt="" /> - <p class="caption">FIG. 75. ARYBALLOS</p> -</div> - -<div class="figmulti illowp50" id="figure76" style="max-width: 15.625em;"> - <img class="w100" src="images/figure76.jpg" alt="" /> - <p class="caption">FIG. 76. GLASS BOTTLE</p> -</div> - -</div> - -<p>Short hair was universally worn by men in Rome. -Under the Republic women’s hair was simply arranged, -but throughout the Imperial period a variety of styles -prevailed at different times, most of which were conspicuous -for their bad taste and so elaborate that the desired<span class="pagenum"><a id="Page_62"></a>[62]</span> -effect was produced by wearing wigs and wire supports. -Some of the better styles may be seen on the portraits in -the Sculpture Gallery, and on -the heads of a girl and a -woman on pedestals in the -Eighth Room. During most -of their history the Romans -did not wear beards or moustaches, -but under the Empire -fashion fluctuated, following -the style favored by the reigning -emperor. After the time -of Trajan beards were usual.</p> - -<div class="figcenter"> - -<div class="figmulti illowp54" id="figure77" style="max-width: 12.5em;"> - <img class="w100" src="images/figure77.jpg" alt="" /> - <p class="caption">FIG. 77. SILVER PYXIS</p> -</div> - -<div class="figmulti illowp62" id="figure78" style="max-width: 15.625em;"> - <img class="w100" src="images/figure78.jpg" alt="" /> - <p class="caption">FIG. 78. TERRACOTTA PYXIS</p> -</div> - -</div> - -<p>Roman ladies were fond of -ornaments and wore a great -many of them. Large sums of -money were expended on precious -stones and on shoes -and other garments embroidered -with pearls. -During the Republican -period the Roman wore a -gold ring as the badge of -his citizenship, but in the -Imperial period, with the -increase of luxurious bad -taste, dandies sometimes -covered all the joints of -their fingers with rings.</p> - -<p>Requisites for the toilet -do not differ greatly from -one period to another, since -the purposes for which they were intended remain practically -the same; so we find much that seems familiar among<span class="pagenum"><a id="Page_63"></a>[63]</span> -those of the Greeks and Romans. Probably the oldest -article in this group is a razor with a crescent-shaped blade, -made in Italy in the early Iron Age. The shape seems to -have been a common one (<a href="#figure73">fig. 73</a>). Tweezers, of which -an example is shown in Case 5, were used for removing -superfluous hair. An article of daily use in ancient times, -though we have no modern utensil to correspond with it, -is the strigil or flesh-scraper (Case 5, <a href="#figure72">fig. 72</a>). It was used -especially by athletes after exercise, to remove the dust and -sand of the wrestling-ground, so that the strigil, oil-flask, -and sponge became in Greece a kind of symbol for the -athlete’s life, which was, practically speaking, the life of -all well-to-do young men. On a gravestone, No. 7 in the -Sculpture Gallery, the dead youth is represented with a -strigil in his hand, while his little slave holds his towel and -oil-flask. Both men and women used strigils in the bath -for scraping off the fuller’s earth or lye powder used as -soap. A silver strigil was included in the tomb furniture -of an Etruscan lady which is exhibited in Case F in the -Sixth Room. There is an example in glass of Roman date -in Case 5.</p> - -<div class="figcenter illowp100" id="figure79" style="max-width: 31.25em;"> - <img class="w100" src="images/figure79.jpg" alt="" /> - <p class="caption">FIG. 79. SPATULA</p> -</div> - -<div class="figcenter illowp100" id="figure80" style="max-width: 31.25em;"> - <img class="w100" src="images/figure80.jpg" alt="" /> - <p class="caption">FIG. 80. DIPPING-ROD</p> -</div> - -<p>It was customary among the Greeks and Romans to -rub the body with oil after the bath. The small jar called<span class="pagenum"><a id="Page_64"></a>[64]</span> -aryballos (Case G in the Fifth Room, <a href="#figure75">fig. 75</a>) and the taller -alabastron (Case 2, and Case A in the Fourth Room, <a href="#figure74">fig. -74</a>) were used for holding oil and perfumes for toilet use. -Some small glass toilet -bottles in Case J in the -Third Room are so charming -in shape and coloring -as to make a modern -woman envious (<a href="#figure76">fig. 76</a>). -In the Gold Room are two -crystal scent bottles from -Cyprus, one of which has -a gold stopper. The toilet -box or pyxis held ointment, -rouge, face or tooth -powders, or small toilet -articles or ornaments. -These charming boxes -were made of metal, as the -silver box in Case F in the -Sixth Room (<a href="#figure77">fig. 77</a>), or of -painted terracotta. The -latter are often triumphs -of the potter’s and vase -painter’s art; for example, -the white pyxis in Case V -in the Fourth Room (<a href="#figure78">fig. 78</a>) and the red-figured pyxis in -Case A in the same room, with its interesting drawings of -women working wool (compare <a href="#figure39">fig. 39</a>). Others of a variety -of shapes and decoration will be found in Cases C and -G in the Fifth Room.</p> - -<div class="figcenter illowp39" id="figure81" style="max-width: 15.625em;"> - <img class="w100" src="images/figure81.jpg" alt="" /> - <p class="caption">FIG. 81. GREEK MIRROR ON A STAND</p> -</div> - -<p><span class="pagenum"><a id="Page_65"></a>[65]</span></p> - -<div class="figcenter"> - -<div class="figmulti illowp56" id="figure82" style="max-width: 18.75em;"> - <img class="w100" src="images/figure82.jpg" alt="" /> - <p class="caption">FIG. 82. ETRUSCAN MIRROR</p> -</div> - -<div class="figmulti illowp100" id="figure83" style="max-width: 31.25em;"> - <img class="w100" src="images/figure83.jpg" alt="" /> - <p class="caption">FIG. 83. GREEK MIRROR AND COVER</p> -</div> - -</div> - -<p><span class="pagenum"><a id="Page_66"></a>[66]</span></p> - -<p>The bronze boxes known as cistae are Etruscan. Some -of those which have been found in tombs are very large -and are elegantly decorated with engraved scenes. They -seem to have been a kind of dressing-case, for holding all -of a lady’s toilet equipment. A small one was included in -the tomb furniture of an Etruscan woman which is shown -in Case F in the Sixth Room.</p> - -<p>Bronze spatulae were useful in a variety of ways for mixing -and applying the cosmetics which were employed so -constantly by Greek and Roman ladies (<a href="#figure79">fig. 79</a>). An instrument -corresponding to our medicine droppers are the -dipping-rods of bronze or glass. They could be inserted -into bottles or jars to take out a small quantity of liquid. -A disk about half way up the rod kept it from slipping into -the bottle (<a href="#figure80">fig. 80</a>). Examples of both utensils will be -found in Case 5.</p> - -<p>Ancient mirrors were as inferior to the modern in power -to reflect as they are superior in beauty. Disks of highly -polished metal, usually bronze, were employed for this -purpose, for the process of making a mirror by backing a -sheet of glass is not older than the fourteenth century. -Sometimes the mirror consists of a simple disk, plain or -ornamented on one side with an engraving or a design in -relief, or again it is made in one piece with a long handle or -with a short tang to be inserted into a bone or ivory handle, -or it is provided with a ring. The disk is often protected -with a cover which bears the principal decoration. Etruscan -mirrors most frequently have handles but no covers, -and are decorated with engraved scenes, usually taken -from Greek mythology (<a href="#figure82">fig. 82</a>). Greek mirrors are of two -types: either a simple disk without a handle, fitting into a -cover, usually ornamented with a relief (<a href="#figure83">fig. 83</a>), or a disk -supported on a stand, often in the form of a human figure -(<a href="#figure81">fig. 81</a>). In Case A in the Fourth Room are two fine -examples of the latter, two stands from which the mirrors -have been lost, and a mirror with a cover decorated -with a woman’s head in relief. Another charming stand<span class="pagenum"><a id="Page_67"></a>[67]</span> -of Etruscan workmanship is in Case H in the Third Room. -In Case A in the Fifth Room are four very beautiful Greek -mirrors of the fourth century, and in Case C in the Sixth -Room are examples of both Greek and Etruscan types. A -pretty terracotta statuette of a lady using a mirror is in -Case G in the same room; she is arranging her hair while -balancing her mirror on her knee.</p> - -<div class="figcenter illowp46" id="tail-piece-ch6" style="max-width: 12.5em;"> - <img class="w100" src="images/tail-piece-ch6.jpg" alt="" /> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_68"></a>[68]</span></p> - -<div class="figcenter illowp100" id="head-band-ch7" style="max-width: 31.25em;"> - <img class="w100" src="images/head-band-ch7.jpg" alt="" /> -</div> - -<h2 class="nobreak" id="VII">VII<br /> -AMUSEMENTS, MUSIC, AND DANCING<br /> -<span class="smaller">CASES 1, 3, AND 5</span></h2> - -</div> - -<p>As at the present time, festivities frequently centered -around dining. In Greece, many dinners were given by -men to their friends, followed by the symposium, at which -the guests drank wine mixed with water, told jests, sang, -and often watched hired performers, such as jugglers, -tumblers, and dancers. A kylix in Case E in the Fourth -Room is decorated with a scene from a symposium (<a href="#figure84">fig. 84</a>). -The special game for this occasion was “kottabos,” which -was played with the aid of a bronze contrivance like a -candelabrum, of which an example stands in the Fifth -Room (<a href="#figure85">fig. 85</a>). The players held their cups by one -handle and tried to throw a small quantity of liquid on the -bronze disk at the top of the shaft, so that it fell down with -a ringing sound. The game was also played by throwing -the liquid into nutshells or small saucers floating in a -krater full of water, so as to make them sink. Many -games of chance were known to the Greeks and Romans. -Perhaps the most popular were those played with the -knucklebones (astragaloi) of sheep and goats. They<span class="pagenum"><a id="Page_69"></a>[69]</span> -could be used like dice, and also like “jacks,” being thrown -up and caught on the back of the hand. A toilet box -on the middle shelf of Case 3 (<a href="#figure87">fig. 87</a>) shows three women -playing, one of whom has an astragal on the back of her -hand. The knob on the cover of the box is appropriately -made in the same form. Nine very small examples of glass -are in Case 1 (<a href="#figure86">fig. 86</a>). The invention of draughts was -ascribed to Palamedes, one of the heroes of the Trojan War, -a story which at least proves that they were played in -Greece in very early times. Nuts and coins were also used -as counters in various games, and games of dice were -played in various ways. Astragals could be used as dice, -and had the advantage of needing no marks, as the sides -were naturally different.</p> - -<div class="figcenter illowp100" id="figure84" style="max-width: 31.25em;"> - <img class="w100" src="images/figure84.jpg" alt="" /> - <p class="caption">FIG. 84. SYMPOSIUM</p> -</div> - -<p>The musical instruments in use were the lyre and kithara -and the flute, with some other less common varieties of -stringed instruments. The kithara, the instrument of -professional musicians, had a sounding-board and hollow -arms of wood. The strings extended from the “yoke,” -a cross-piece connecting the arms, to the sounding-board. -The kithara was usually played standing, and was hung -by a band to the performer’s shoulders. He played with -both hands, using the plectron or “pick” in his right. A<span class="pagenum"><a id="Page_70"></a>[70]</span> -rather rude terracotta from Cyprus in Case 1 represents a -woman with a kithara, a terracotta statuette of Eros with -a kithara is in Case K in the Seventh -Room, and a wall-painting in the Eighth -Room represents a lady playing one (see -<a href="#figure21">fig. 21</a>). Kithara players in festal costume -at the public games are represented -on three vases in the collection (Case K -in the Third Room and Cases E and Y -in the Fourth Room). Another illustration -is on an amphora on the bottom -of Case P in the Fifth Room, where -Apollo, the god of music, stands before -an altar holding his favorite instrument -(<a href="#figure90">fig. 90</a>). The best representation, however, -is the kithara held by a gold siren -who forms the pendant of an earring -exhibited in the Gold Room. The details -of construction are fully worked -out and the attachment of the strings -can be clearly seen. Those used at public -festivals were often richly ornamented -with carving and inlay of semi-precious -stones.</p> - -<div class="figcenter"> - -<div class="figmulti illowp17" id="figure85" style="max-width: 9.375em;"> - <img class="w100" src="images/figure85.jpg" alt="" /> - <p class="caption">FIG. 85. KOTTABOS-STAND</p> -</div> - -<div class="figmulti illowp100" id="figure86" style="max-width: 25em;"> - <img class="w100" src="images/figure86.jpg" alt="" /> - <p class="caption">FIG. 86. GLASS ASTRAGALS</p> -</div> - -<div class="figmulti illowp92" id="figure87" style="max-width: 25em;"> - <img class="w100" src="images/figure87.jpg" alt="" /> - <p class="caption">FIG. 87. GIRLS PLAYING WITH ASTRAGALS</p> -</div> - -</div> - -<p>The lyre was the usual instrument of -the amateur. Boys learned to play it -at school, and gentlemen were expected -to be able to accompany themselves -upon it at symposia. Its sounding-board -was made of the shell of a tortoise covered on one -side with wood. The upright pieces, curved outward and -in again toward the top, were sometimes made of the horns -of animals. It had a yoke near the ends of the uprights, -and a bridge on the sounding-board. The strings, of<span class="pagenum"><a id="Page_71"></a>[71]</span> -sheep’s guts or sinews, varied in number from three to -eleven at different periods, but seven was the usual number -in the fifth century. The plectron was generally used in -playing both instruments. Several good illustrations of -the lyre may be seen in the Museum collection. A satyr -with a lyre decorates an amphora on the shelf in Case J -in the Fourth Room. On the bottom of Case O is an -amphora showing Kephalos with a lyre (<a href="#figure88">fig. 88</a>), and on -the shelf above a boy singing to the lyre will be seen in the -interior of a kylix. A man holding a lyre, probably a -guest at a symposium, decorates the inside of a kylix in -Case E. An interesting little bronze figure in Case C 2 in<span class="pagenum"><a id="Page_72"></a>[72]</span> -the Third Room represents a musician in festival dress -with the same instrument. The statuette was probably a -votive offering for success -in a contest.</p> - -<div class="figcenter"> - -<div class="figmulti illowp75" id="figure88" style="max-width: 15.625em;"> - <img class="w100" src="images/figure88.jpg" alt="" /> - <p class="caption">FIG. 88. YOUTH WITH A LYRE</p> -</div> - -<div class="figmulti illowp75" id="figure89" style="max-width: 18.75em;"> - <img class="w100" src="images/figure89.jpg" alt="" /> - <p class="caption">FIG. 89. GIRL DANCING AND PLAYING THE CASTANETS</p> -</div> - -</div> - -<div class="figcenter illowp60" id="figure90" style="max-width: 25em;"> - <img class="w100" src="images/figure90.jpg" alt="" /> - <p class="caption">FIG. 90. APOLLO WITH A KITHARA</p> -</div> - -<p>The ancient flute differed -from the modern in being -played at the end, and in -having a vibrating reed as -a mouthpiece. The tone -was shrill. Flutes were -always played in pairs, and -a kind of bandage was often -worn by the player to support -their weight. This -can be seen on the psykter -in Case 4 and on a terracotta statuette from Cyprus in -Case 1. Flute music -had a very wide use. -It accompanied the -voice in solo or chorus, -and the kithara at -public contests; it was -employed in the theatre -at Athens and at -Rome, and was used -to guide and accompany -the exercises of -the palaistra. The -flute furnished music -for dancers, and in -Rome it was played at -funerals. Meals were served and work such as the kneading -of bread in bakeries was done to its music. Flute-cases -are often represented in interior scenes in Greek vase<span class="pagenum"><a id="Page_73"></a>[73]</span> -paintings, as on the inside of a kylix in Case O in the -Fourth Room, showing a boy playing the lyre, and on a -lekythos in Case K in that room where a woman is playing -the same instrument. Another instrument was the -syrinx or Pan’s pipe, made of reeds arranged in graduated -lengths, fastened together with cords and wax. It was -especially the shepherd’s companion in his long, solitary -days with his flocks. The little faun which forms the -pendant of the bracelet in Case K 2 in the Seventh Room -is playing the syrinx. Cymbals were used principally at -religious ceremonies of an orgiastic type. There are two -pairs in the collection, one being marked with the owner’s -name, Kallisthenia (Case 5 and Case C 2 in the Sixth -Room). Dancing formed a part of worship in ancient -times. The rude clay groups of men and women dancing<span class="pagenum"><a id="Page_74"></a>[74]</span> -in a ring illustrate a feature of the worship of Aphrodite -in Cyprus (Case 1). In Greece boys were taught the exercises -preliminary to a dancer’s training as a part of their -physical education, and the -many public festivals gave opportunity -for large numbers to -progress further. Professional -dancers, both boys and girls, -were employed to furnish entertainment -at symposia. On a -kylix on the bottom of Case L -in the Fourth Room is a girl -dancing and playing the castanets, -while a young man looks -on (<a href="#figure89">fig. 89</a>). Women of good -family danced at home for -amusement, and at domestic -festivals. The character of -Greek dancing was largely -mimetic, the movements of the -arms and the use of the drapery being very important -(see <a href="#tail-piece-ch7">tail-piece, p. 75</a>). The terracotta dancers in Case L in -the Seventh Room and another in Case 1 are good illustrations -of this (<a href="#figure91">figs. 91-92</a>). The Romans in early times -practised religious dancing. The processions of the Salii -or priests of Mars, and of the Arval Brothers are the best-known -examples of such ritual performances. Dancing as -an amusement, however, they adopted from the Greeks -in its period of decadence, and consequently the sterner -moralists opposed it. Under the early Empire it nevertheless -grew very fashionable. Girls and women of noble -family learned to dance as an accomplishment, and even -men of high rank danced, though at the cost of their dignity. -Professional dancers were greatly sought after and admired.</p> - -<p><span class="pagenum"><a id="Page_75"></a>[75]</span></p> - -<div class="figcenter"> - -<div class="figmulti illowp46" id="figure91" style="max-width: 12.5em;"> - <img class="w100" src="images/figure91.jpg" alt="" /> - <p class="caption">FIG. 91. WOMAN DANCING</p> -</div> - -<div class="figmulti illowp50" id="figure92" style="max-width: 15.625em;"> - <img class="w100" src="images/figure92.jpg" alt="" /> - <p class="caption">FIG. 92. WOMAN DANCING</p> -</div> - -</div> - -<p>Our representations of pet animals are all on articles of -Greek manufacture. An old gentleman walking with his -sharp-nosed Melitean dog decorates the interior of the -kylix by Hegesiboulos in Case K in the Fourth Room. -Cocks and quails were kept -for fighting by boys and -young men. Ganymede on an -amphora in Case J in the Fifth -Room carries his cock on his -arm (see <a href="#figure52">fig. 52</a>). Quails, -cranes, small birds, and rabbits -were also household favorites. -On the perfume vases in Cases -Q and C in the Fifth Room, -quails, cranes, and a rabbit -appear among the groups of -women. Cats were probably -introduced from the East or -from Egypt in the late sixth -or the early fifth century, but -they were rare and seemed to have been looked upon as -curiosities rather than as pets. The goose was perhaps the -commonest pet and children are often represented playing -with one. Some small boys with two goats harnessed -to a little chariot appear on the oinochoë in Case Y in -the Fourth Room.</p> - -<div class="figcenter illowp46" id="tail-piece-ch7" style="max-width: 12.5em;"> - <img class="w100" src="images/tail-piece-ch7.jpg" alt="" /> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_76"></a>[76]</span></p> - -<div class="figcenter illowp100" id="head-band-ch8" style="max-width: 31.25em;"> - <img class="w100" src="images/head-band-ch8.jpg" alt="" /> -</div> - -<h2 class="nobreak" id="VIII">VIII<br /> -ARMS AND ARMOR<br /> -<span class="smaller">CASES 3, 4, AND 5</span></h2> - -</div> - -<p>The Greek soldier did not wear a full suit of armor -such as that of the medieval knight; the hoplite or fully -armed infantryman wore -only a helmet, a cuirass, and -greaves for protecting the -shins. Such an equipment -may be seen in the statuette -of a warrior of about 500 B.C. -of which the original was -found at Dodona (top shelf -of Case 3, <a href="#figure93">fig. 93</a>). The Romans -adopted this armor -from the Greeks, with minor -changes and variations, but -very little Roman armor has -come down to our times, since -it was almost entirely of -iron and has rusted away in the earth where it was buried.</p> - -<div class="figcenter illowp57" id="figure93" style="max-width: 15.625em;"> - <img class="w100" src="images/figure93.jpg" alt="" /> - <p class="caption">FIG. 93. GREEK FOOT-SOLDIER</p> -</div> - -<p><span class="pagenum"><a id="Page_77"></a>[77]</span></p> - -<div class="figcenter"> - -<div class="figmulti illowp93" id="figure94" style="max-width: 15.625em;"> - <img class="w100" src="images/figure94.jpg" alt="" /> - <p class="caption">FIG. 94. ITALIC HELMET</p> -</div> - -<div class="figmulti illowp68" id="figure95" style="max-width: 15.625em;"> - <img class="w100" src="images/figure95.jpg" alt="" /> - <p class="caption">FIG. 95. ITALIC HELMET WITH METAL CREST</p> -</div> - -</div> - -<div class="figcenter"> - -<div class="figmulti illowp68" id="figure96" style="max-width: 15.625em;"> - <img class="w100" src="images/figure96.jpg" alt="" /> - <p class="caption">FIG. 96. CAP-SHAPED HELMET</p> -</div> - -<div class="figmulti illowp53" id="figure97" style="max-width: 15.625em;"> - <img class="w100" src="images/figure97.jpg" alt="" /> - <p class="caption">FIG. 97. “JOCKEY-CAP” HELMET</p> -</div> - -<div class="figmulti illowp57" id="figure98" style="max-width: 15.625em;"> - <img class="w100" src="images/figure98.jpg" alt="" /> - <p class="caption">FIG. 98. CORINTHIAN HELMET</p> -</div> - -</div> - -<div class="figcenter illowp100" id="figure99" style="max-width: 25em;"> - <img class="w100" src="images/figure99.jpg" alt="" /> - <p class="caption">FIG. 99. ITALIC ARMORED BELT</p> -</div> - -<div class="figcenter illowp100" id="figure100" style="max-width: 31.25em;"> - <img class="w100" src="images/figure100.jpg" alt="" /> - <p class="caption">FIG. 100. PAIR OF GREAVES</p> -</div> - -<p><span class="pagenum"><a id="Page_78"></a>[78]</span></p> - -<p>The earliest Greek helmets were of the type called -Corinthian because Athena is represented in this helmet -on the coins of Corinth. It formed a complete covering -for the head, having openings only for the eyes and mouth. -A nose-piece extends downward from the top. Holes for -attaching a leather or cloth lining may be seen along the -edges of our three oldest examples in Case H 2 in the -Second Room. In the later helmets (Case J in the Third -Room and Case 4, <a href="#figure98">fig. 98</a>), the shape has improved and the -workmanship is finer. These helmets must have been -worn over a cap, as there are no holes for sewing in the lining. -One example (No. 1530 in Case J in the Third Room) -has three small loops for attaching the crest, which was -generally made of horsehair. When not in battle the<span class="pagenum"><a id="Page_79"></a>[79]</span> -wearer pushed the helmet back until the front rested on -his forehead.</p> - -<div class="figcenter illowp54" id="figure101" style="max-width: 25em;"> - <img class="w100" src="images/figure101.jpg" alt="" /> - <p class="caption">FIG. 101. ITALIC CUIRASS</p> -</div> - -<p>The Corinthian helmet had the great disadvantage of -covering the ears and its shape probably caused it to be -easily displaced. An improved form known as the Attic -appears during the sixth century. This helmet, of which -No. 1535 in Case 4 is an early example, was lighter than the -Corinthian, fitted the head better, and had openings for -the ears (see <a href="#tail-piece-ch8">tail-piece, p. 88</a>). The cheek-pieces were often -provided with hinges and could be turned upwards and -away from the face; on the large amphora on a pedestal -in the Fifth Room a young warrior is holding a beautiful -Attic helmet with cheek-pieces which seem to be hinged -(see <a href="#figure103">fig. 103</a>). An example with immovable cheek-pieces -in the form of rams’ heads is in Case C 2 in the Sixth Room. -Both the Corinthian and the Attic helmet continued in<span class="pagenum"><a id="Page_80"></a>[80]</span> -use at the same time, but the Attic type gradually superseded -the other. Two helmets (Case 4 and Case C 2 in -the Sixth Room) shaped like the pilos or felt cap worn by -workmen show a Greek type of the fifth and fourth centuries. -One of them (No. 1541) has holes for attaching a -crest (<a href="#figure96">fig. 96</a>). The other helmets in the collection are -Italic or Etruscan. An Italian helmet reinforced by -bands in relief (No. 1558 in Case N in the Seventh Room) -is of the same type as those in the British Museum which -were found on the battle-field of Cannae (figs. 94, 95, 97).</p> - -<div class="figcenter illowp66" id="figure102" style="max-width: 25em;"> - <img class="w100" src="images/figure102.jpg" alt="" /> - <p class="caption">FIG. 102. GREEK CUIRASS OF THE V CENTURY</p> -</div> - -<div class="figcenter illowp66" id="figure103" style="max-width: 25em;"> - <img class="w100" src="images/figure103.jpg" alt="" /> - <p class="caption">FIG. 103. WARRIOR CARRYING A SHIELD</p> -</div> - -<p>The earliest Greek cuirass consisted of two curved -bronze plates laced together at the sides. It reached to -the waist and turned up around the edges so as not to hurt -the wearer. The Dodona statuette shows this cuirass, -and an Italic example in Case A in the Second Room -belongs to the same general type, though it is longer and -the lower part is slightly curved out to follow the line of<span class="pagenum"><a id="Page_81"></a>[81]</span> -the hips (<a href="#figure101">fig. 101</a>). This heavy and uncomfortable piece -of armor was superseded in Greece in the fifth century by a -cuirass made of leather or cloth upon which bronze scales -were sewn. It was provided with shoulder-straps and -a cloth or leather kilt reinforced with strips of metal hung -below the corselet proper. A warrior on a krater on the -bottom of Case S in the Fourth Room shows this type well -(<a href="#figure102">fig. 102</a>). The earlier cuirass continued to be used in -Italy, but in an improved form; the bronze plates, being -moulded to follow the curves of the body, made a more -comfortable as well as a beautiful piece of armor. Two -examples, one with the lower part broken away, are in -Case C 2 in the Sixth Room. In some parts of Italy a -substitute for the cuirass was found in the use of a breastplate -made of leather on which bronze disks were sewn. -An armored belt accompanied the breastplate. On a -krater from South Italy in Case Q in the Sixth Room is a<span class="pagenum"><a id="Page_82"></a>[82]</span> -warrior wearing such a belt, and an example is shown in -Case 4. The small holes along the edges are for sewing in -a lining (<a href="#figure99">fig. 99</a>).</p> - -<p>Greaves were characteristic features of a Greek soldier’s -equipment. The pair of greaves in Case J in the Third -Room will show how their shape and elasticity caused them -to stay in place on the leg (<a href="#figure100">fig. 100</a>). The greave in Case 4 -has holes along the edges for sewing in a lining. On the -upper part of a loutrophoros in Case J in the Fourth Room -is a warrior wearing greaves of which the lining can be -seen in a ridge around the foot.</p> - -<div class="figcenter illowp80" id="figure104" style="max-width: 25em;"> - <img class="w100" src="images/figure104.jpg" alt="" /> - <p class="caption">FIG. 104. PERSIAN FIGHTING WITH A MACHAIRA</p> -</div> - -<p><span class="pagenum"><a id="Page_83"></a>[83]</span></p> - -<div class="figcenter illowp100" id="figure105" style="max-width: 18.75em;"> - <img class="w100" src="images/figure105.jpg" alt="" /> - <p class="caption">FIG. 105. JAVELIN-HEAD</p> -</div> - -<div class="figcenter illowp100" id="figure106" style="max-width: 31.25em;"> - <img class="w100" src="images/figure106.jpg" alt="" /> - <p class="caption">FIG. 106. SPEAR-HEAD</p> -</div> - -<div class="figcenter illowp100" id="figure107" style="max-width: 31.25em;"> - <img class="w100" src="images/figure107.jpg" alt="" /> - <p class="caption">FIG. 107. DAGGER-BLADE WITH HOOKED TANG</p> -</div> - -<div class="figcenter illowp100" id="figure108" style="max-width: 31.25em;"> - <img class="w100" src="images/figure108.jpg" alt="" /> - <p class="caption">FIG. 108. LEAF-SHAPED DAGGER-BLADE</p> -</div> - -<div class="figcenter illowp100" id="figure109" style="max-width: 31.25em;"> - <img class="w100" src="images/figure109.jpg" alt="" /> - <p class="caption">FIG. 109. BRONZE SWORD</p> -</div> - -<div class="figleft illowp66" id="figure110" style="max-width: 12.5em;"> - <img class="w100" src="images/figure110.jpg" alt="" /> - <p class="caption">FIG. 110. ARROW-HEADS</p> -</div> - -<p><span class="pagenum"><a id="Page_84"></a>[84]</span></p> - -<p>Shields were a necessary part of the defensive armor of -ancient times, but remains of them are very scanty. -Scenes of arming and of combat, however, are so frequent -in Greek and Roman art that we are acquainted with their -general appearance. Greek shields were usually circular -or oval in shape, and made of wooden frames covered -with hides and reinforced with bronze. The rim and a -large boss in the center were the most essential metal -parts, but the entire surface might be covered with bronze, -or plates of various forms arranged upon it. The -large bronze plates in Case 5 and -in Case B in the Second Room -seem to have been parts of shields. -When using the shield as a defense -the warrior thrust his left -arm through the Loops in the inside, -one of which was close to the rim -at the left and another usually -near the center of the shield; he -held a third, which probably -was stouter than the others, in his -hand. The loops on the rim are shown in a painting on -the amphora which stands on the pedestal in the Fifth -Room, as well as the strap extending from side to side by -which it was suspended around the wearer’s neck on the -march (<a href="#figure103">fig. 103</a>). The Dodona warrior carries the so-called -Boeotian shield which has depressions in the middle -of each side. Various explanations are given of the -origin of this form; a probable one is that it results from -stretching a hide over an oval frame on which the top and -bottom were fastened firmly while the sides were left free -and were naturally drawn in by the pull from both ends. -Another possibility is that the shield was cut out at the -sides to provide peep-holes. Roman shields were rectangular -and curved around at the sides to protect the wearer’s -body. Only the boss and the rim were made of metal. -The shield of the Greek soldier bore the device of his state, -as the Koppa of Corinth, which was painted on the shields -of her citizen-warriors; and the Roman soldier carried the -sign of his legion in the same fashion. Interesting devices, -frequently animals’ heads, were adopted like coats of arms<span class="pagenum"><a id="Page_85"></a>[85]</span> -by Greek nobles, and many of these can be seen on vases -of the sixth century. An amphora on the bottom of Case -4 shows shields decorated with the heads of a bull and a -boar.</p> - -<div class="figcenter illowp64" id="figure111" style="max-width: 18.75em;"> - <img class="w100" src="images/figure111.jpg" alt="" /> - <p class="caption">FIG. 111. AMAZON WITH BATTLE-AXE AND WICKER SHIELD</p> -</div> - -<p>The ancient warrior’s weapons were the dagger, sword, -spear, javelin, bow, and sling. The weapons in the Classical -Collection cannot -strictly be called Greek -or Roman because -they were made at a -remote period before -the Greek and Roman -states came into existence, -but they are interesting -in that they -show the types from -which later weapons -were developed, and -often there is very little -difference between -the early types and -their descendants. The -oldest cutting weapons are the bronze dagger-blades -from Cyprus, and those from Crete in Case D 2 in the -First Room. They were fitted into wooden or bone -handles. A Cretan dagger-blade with an engraved design -still holds the three dowels which fastened the haft. The -tangs of the Cypriote blades are prolonged or hooked to -prevent the blade from loosening in its socket (<a href="#figure107">figs. 107-108</a>). -Spear-heads also were at first made to be inserted -in the shaft, but later fitted over it. They have a slit on -one side of the socket, probably to give elasticity (<a href="#figure105">figs. -105-106</a>). The bronze butt-spikes were used to fix the -spear in the ground during halts. Examples of these<span class="pagenum"><a id="Page_86"></a>[86]</span> -weapons are in Case 4 and the wall-cases in the corridor.</p> - -<p>The swords in the collection date from the Bronze or -early Iron Age and so are pre-classical. The fine bronze -sword (Case 4, No. 1460) belongs to an early Italian type -(<a href="#figure109">fig. 109</a>), and the sword and sheath (No. 1461 in Case A -in the Second Room) is also Italian. An iron sword from -Cyprus (No. 1462 in the corridor) preserves the form of the -bronze swords of the late Mycenaean period, as the early -iron-workers at first imitated the shapes of bronze weapons. -The pin in the shape of a sword illustrates the type -in use during the fifth century in Greece (Case 4). The -machaira which Xenophon often mentions had a curved -blade and was especially useful as a cutting weapon for -cavalry. A good illustration of this shape may be seen -in a painting on an amphora in Case N in the Fourth Room -representing a Greek and a Persian fighting. The Persian -holds a machaira ready for the down-stroke (<a href="#figure104">fig. 104</a>). -Roman swords were broad and flat. They were designed -for thrusting, and were carried by common soldiers and -officers.</p> - -<p>The foot-soldier wearing helmet, cuirass, and greaves, -and armed with sword, spear, and shield, that is, the -familiar hoplite and legionary, formed the most important -part of the Greek and Roman armies. Cavalry and light-armed -infantry, however, who used the javelin, the bow, -or the sling, became gradually more prominent as their -importance was perceived in the wars with Eastern peoples -and barbarous tribes. The use of the bow and the sling -was taught in the palaistra at Athens, as a practical training -for warfare, but ability in this direction was not rated -very highly. Certain nations were especially skilful with -these weapons and served as mercenaries to other states; -both Xenophon and Caesar mention the Cretan archers, -and Caesar speaks of slingers from the Balearic Isles who<span class="pagenum"><a id="Page_87"></a>[87]</span> -served under him in Gaul. The arrow-heads exhibited -are Cypriote, but No. 4786 is Hellenic in type (Case 4, -<a href="#figure110">fig. 110</a>).</p> - -<p>Greek artists frequently represented the Amazons of -legend in a dress similar to that of the Persians of their own -day, and from such paintings -on vases in the collection -we find illustrations of -various articles of dress -and of weapons mentioned -by Xenophon. On a polychrome -lekythos in Case -M in the Fourth Room is -an Amazon shooting with -a sling. Two spears are -stuck in the ground beside -her. An oinochoë in Case -K in the Fifth Room shows -three Amazons in their long -trousers and tight-fitting -sleeves covered with a pattern. -One of them carries a battle-axe and two hold -shields of plaited wicker-work, probably of the same sort -as those which furnished fuel to cook the Greek soldiers’ -breakfast on the morning after the battle of Cunaxa -(Anabasis II, 1, 6) (<a href="#figure111">fig. 111</a>). Two large kraters in the -Fourth Room decorated with combats of Greeks and -Amazons show costumes and arms of the same type and -a war chariot of the kind used by the Greeks.</p> - -<div class="figcenter illowp57" id="figure112" style="max-width: 15.625em;"> - <img class="w100" src="images/figure112.jpg" alt="" /> - <p class="caption">FIG. 112. LAMP. VICTORY WITH A TROPHY</p> -</div> - -<p>An interesting custom was that of setting up a trophy -after a victory; a tree-trunk to which a cross-piece had been -fastened was arrayed in armor taken from the battle-field, -and remained standing there until destroyed by time or -taken by the enemy. A terracotta lamp from Cyprus in<span class="pagenum"><a id="Page_88"></a>[88]</span> -Case 5 is decorated with a symbolic device representing -Victory holding a trophy at an altar between two Lares -militares, the protecting deities of the Roman state (<a href="#figure112">fig. 112</a>).</p> - -<div class="figcenter illowp46" id="tail-piece-ch8" style="max-width: 12.5em;"> - <img class="w100" src="images/tail-piece-ch8.jpg" alt="" /> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_89"></a>[89]</span></p> - -<div class="figcenter illowp100" id="head-band-ch9" style="max-width: 31.25em;"> - <img class="w100" src="images/head-band-ch9.jpg" alt="" /> -</div> - -<h2 class="nobreak" id="IX">IX<br /> -ATHLETICS<br /> -<span class="smaller">CASES 3 AND 4</span></h2> - -</div> - -<p>The strength, agility, and symmetry of the body were -valued in the highest degree by the Greeks, and with them -physical training occupied a much larger place than has -been the case among other peoples. Athletics were closely -connected with religion, since contests were held as a part -of the funeral and memorial rites of heroes, and likewise of -the worship of the gods. They also had an important -practical end; Greek armies were always levies of citizens, -and since there was no considerable length of time during -which the Greek states were at peace before the period of -Roman domination, the safety of the state depended to a -great extent upon the training of its citizens. Gymnastic -games and exercises were continued throughout the greater -part of a man’s life, contributing to good health and -physical development no less than to recreation.</p> - -<p>This interest in athletics can be traced back to very -early times in the Boxer Vase from Crete dated in the sixteenth -century B.C. (a reproduction of this vase is in Case -J in the First Room) and the scenes of bull-leaping and<span class="pagenum"><a id="Page_90"></a>[90]</span> -the ivory leapers from Knossos (reproductions on the -south wall of the First Room and in Case H 2). The -Homeric poems contain many references to athletics, as -the funeral games of Patroklos in the Twenty-third Book -of the Iliad, the games among the Phaeacians in which -Odysseus took part (Odyssey VII), and Odysseus’ encounter -with the beggar (Odyssey XVIII, vv. 15ff.); but -at this time sports were unorganized and no rules had -as yet been devised for them. The seventh century was -especially the period of organization during which the great -festivals became fixed in time and in the number and kind -of contests, and by 570 B.C. the four great Panhellenic -festivals—the Olympian, the Pythian, the Isthmian, and -the Nemean—were established.</p> - -<div class="figcenter illowp100" id="figure113" style="max-width: 25em;"> - <img class="w100" src="images/figure113.jpg" alt="" /> - <p class="caption">FIG. 113. JUMPER WITH HALTERES</p> -</div> - -<p><span class="pagenum"><a id="Page_91"></a>[91]</span></p> - -<div class="figcenter illowp34" id="figure114" style="max-width: 20.3125em;"> - <img class="w100" src="images/figure114.jpg" alt="" /> - <p class="caption">FIG. 114. DISKOS-THROWER</p> -</div> - -<p><span class="pagenum"><a id="Page_92"></a>[92]</span></p> - -<p>There are a large number of vases, especially those of -the late sixth and early fifth centuries, ornamented with -scenes from the wrestling-schools and gymnasia. The -place is indicated by the objects hung on the walls, such as -jumping-weights, a diskos, or an oil-flask and a strigil for -removing sand and oil. The trainer is usually present, -represented as a mature man, wearing a himation and -carrying a forked rod. The flute-player in a long, spotted -robe often accompanies the exercises or plays for the -jumper.</p> - -<div class="figcenter illowp80" id="figure115" style="max-width: 25em;"> - <img class="w100" src="images/figure115.jpg" alt="" /> - <p class="caption">FIG. 115. ATHLETE THROWING A JAVELIN</p> -</div> - -<div class="figcenter illowp100" id="figure116" style="max-width: 31.25em;"> - <img class="w100" src="images/figure116.jpg" alt="" /> - <p class="caption">FIG. 116. WRESTLERS</p> -</div> - -<p>The principal athletic contests were foot-races of various -distances, including the torch-race, which corresponded to -the modern relay race, broad jumping, throwing the diskos -and the javelin, wrestling, and boxing. There were also -the pentathlon (five contests), which consisted of the -jump, the foot-race, throwing the diskos and the javelin,<span class="pagenum"><a id="Page_93"></a>[93]</span> -and wrestling; and the pankration, a combination of -wrestling and boxing.</p> - -<div class="figcenter illowp100" id="figure117" style="max-width: 31.25em;"> - <img class="w100" src="images/figure117.jpg" alt="" /> - <p class="caption">FIG. 117. SCENE FROM THE PANKRATION</p> -</div> - -<p>For jumping, weights called halteres were used; on the -black-figured lekythos on the middle shelf of Case 4 -decorated with a scene of athletes practising, two of the -number hold halteres, the drawing being sufficiently detailed -to show the shape well. On the psykter and a vase -fragment on the same shelf are jumpers at the take-off -(<a href="#figure113">fig. 113</a>), and a boy preparing for a jump decorates the -interior of a kylix on the lower shelf in Case P in the Fifth -Room.</p> - -<p>A foot-race is represented on one of the Panathenaic -amphorai in the Third Room (Case N), and the cast of a -bronze statuette in Tübingen shows a contestant in the -race for hoplites (heavy-armed foot-soldiers), at the -starting-line (top shelf of Case 3). The shield which he -carried on his left arm has been broken away.</p> - -<p>Throwing the diskos was one of the oldest Greek sports. -The object was to throw it as far as possible, as in putting -the shot. So many representations of this sport have come -down to us in statues, vase paintings, coins, and gems,<span class="pagenum"><a id="Page_94"></a>[94]</span> -that it is possible to work out the successive movements -of the throw. The principle seems to have been always -the same, though individuals were allowed certain differences -in style. A bronze -statuette in Case B in the -Fourth Room (<a href="#figure114">fig. 114</a>) -shows one stance; the athlete -is about to swing the -diskos down from the left to -the right hand. The position -preliminary to the swing -downwards to the side, the -athlete now holding the diskos -in both hands, may be -seen on the lekythos in Case -4; and one of the figures on -the psykter is in the same -position. The well-known -statue by Myron, of which -a cast stands in Gallery 22, -shows the position just preliminary -to the throw, an -instant before the diskos leaves the hand.</p> - -<div class="figcenter illowp44" id="figure118" style="max-width: 15.625em;"> - <img class="w100" src="images/figure118.jpg" alt="" /> - <p class="caption">FIG. 118. PANATHENAIC AMPHORA</p> -</div> - -<p>The art of fighting in heavy armor, hoplomachy, was -taught to Greek boys by a special master as part of their -athletic training. A most interesting scene of this kind -decorates the shoulder of a hydria of the late sixth or early -fifth century where two men armed with helmet and shield -are fencing with spears to the music of a flute-player (Case -Y in the Fourth Room). Plato alludes more than once to -the attention given to this branch of physical training in -his day, and the prestige enjoyed by teachers of the art.</p> - -<p><span class="pagenum"><a id="Page_95"></a>[95]</span></p> - -<div class="figcenter illowp32" id="figure119" style="max-width: 18.75em;"> - <img class="w100" src="images/figure119.jpg" alt="" /> - <p class="caption">FIG. 119. YOUTH BINDING ON A FILLET</p> -</div> - -<p><span class="pagenum"><a id="Page_96"></a>[96]</span></p> - -<p>Throwing the javelin also had a practical value as -preparation for warfare and was one of the commonest -sports of the palaistra. In the pentathlon it was thrown -for distance only, but there were competitions in throwing -at a target at the Panathenaea and, no doubt, on other -occasions. A thong, fastened near the center of gravity, -and twisted around the hardwood shaft, acted like the -rifling of a gun in insuring greater accuracy. One of the -figures on the black-figured lekythos is preparing to throw -a javelin, and the artist has represented the thong in such -a way that the method of using it can easily be understood. -The thrower holds the shaft in his hand with the first and -second fingers inserted into loops in the end of the thong. -As he throws, the thong unwinds, giving the missile a -whirling motion (<a href="#figure115">fig. 115</a>).</p> - -<p>The use of the bow and the sling, as has been said in the -section on Armor, was also taught in the palaistra at -Athens.</p> - -<p>The pankration, a combination of wrestling and boxing, -was one of the most popular Greek sports. In it ground-wrestling -and hitting were allowed. Two scenes from the -pankration are represented on a skyphos in Case 4. On -one side the winner has thrown his opponent backward -and is about to strike him, while the other holds up his -hand, probably as a signal of defeat (<a href="#figure116">fig. 116</a>). On the -other side the combatants have their hands covered with -the thongs which served as boxing-gloves. The man on -the ground has thrown the other by a neck-hold (see <a href="#head-band-ch9">head-band, -p. 89</a>). There are two boxers in the group of athletes -on a krater on the top shelf of Case Q in the Fifth Room, -and a boxing scene is represented on one of the Panathenaic -amphorai.</p> - -<p>The value of the prizes given for athletic skill varied -greatly, from the wreath of olive at Olympia and the -parsley leaves of Nemea to articles of considerable value -and, in a few cases, even money. At the Panathenaea the<span class="pagenum"><a id="Page_97"></a>[97]</span> -prizes were jars of oil in greater or less numbers, and the -painted vases known as Panathenaic amphorai. Probably -only one of these was given to a victor. They bear on one -side a picture of the contest in which the vase was won, -and on the other, the figure of Athena with an inscription, -“From the games at Athens” (<a href="#figure118">fig. 118</a>). When the prize -took the form of a wreath, the victor first bound a fillet or -band of wool around his head and upon this the official in -charge of the games placed the wreath. The act of tying -the fillet was often represented by Greek sculptors; the -most famous example is, of course, the Polykleitan statue -known as the Diadoumenos, of which a cast stands in -Gallery 22. The beautiful bronze statuette in Case D in -the Sixth Room has the same motive (<a href="#figure119">fig. 119</a>), and on the -psykter in Case 4 a boy who holds in his hands the palms -signifying victory is being crowned by an official.</p> - -<div class="figcenter illowp46" id="tail-piece-ch9" style="max-width: 12.5em;"> - <img class="w100" src="images/tail-piece-ch9.jpg" alt="" /> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_98"></a>[98]</span></p> - -<div class="figcenter illowp100" id="head-band-ch10" style="max-width: 31.25em;"> - <img class="w100" src="images/head-band-ch10.jpg" alt="" /> -</div> - -<h2 class="nobreak" id="X">X<br /> -RACES AND RIDING<br /> -<span class="smaller">CASE 5</span></h2> - -</div> - -<p>In the Homeric period cavalry was not employed in -battle, but princes and nobles drove about the field in -chariots from which they descended to fight. The bodies -of these chariots were just large enough for the warrior and -his driver to stand side by side, since lightness and quickness -of movement were essential. The chariot in the -Third Room (<a href="#figure120">fig. 120</a>) is of the type in use among the -Etruscans; the Greek type in the earliest pictures which we -have is more open and slightly different in shape. An excellent -representation of the Greek chariot may be seen on a -large amphora on Pedestal R 3 in the same room, and this -drawing also shows the light harness in use and the method -of arranging it. War-chariots were used on occasion for -racing, as at the funeral games of Patroklos in the Twenty-third -Book of the Iliad; and at a later period, when nobles -no longer rode to battle and armies of citizens were the rule -in Greece, the chariot remained as a racing vehicle. The -principal feature of the Olympic games from the year 680 -B.C. was the chariot race for four horses, and a victory in -this event brought much-coveted renown to the owner of -the horses and his city. The Greeks of Italy and Sicily -were devoted to this sport, their interest being reflected in -their coin types, of which the finest are the Syracusan -(<a href="#figure121">fig. 121</a>). Some examples will be found in the Ward -Collection in the Gold Room.</p> - -<p><span class="pagenum"><a id="Page_99"></a>[99]</span></p> - -<div class="figcenter illowp100" id="figure120" style="max-width: 43.75em;"> - <img class="w100" src="images/figure120.jpg" alt="" /> - <p class="caption">FIG. 120. BRONZE CHARIOT</p> -</div> - -<p><span class="pagenum"><a id="Page_100"></a>[100]</span></p> - -<div class="figcenter illowp100" id="figure121" style="max-width: 31.25em;"> - <img class="w100" src="images/figure121.jpg" alt="" /> - <p class="caption">FIG. 121. RACING CARS ON SYRACUSAN COINS</p> -</div> - -<div class="figcenter illowp56" id="figure122" style="max-width: 18.75em;"> - <img class="w100" src="images/figure122.jpg" alt="" /> - <p class="caption">FIG. 122. LAMP. SCENE FROM THE CIRCUS</p> -</div> - -<p>A very beautiful bronze statue found at Delphi, no -doubt a dedication after a victory, represents a young -charioteer in the long white chiton which was his traditional -dress (Cast No. 462 in Gallery 22), and a fragment of<span class="pagenum"><a id="Page_101"></a>[101]</span> -a relief from the Mausoleum (Cast No. 741 on the east -wall of Gallery 25) shows another with flying hair and garment -as he strains forward toward the goal. One of the -Panathenaic amphorai in the Third Room was a prize in a -chariot race at Athens, -as we know from the -drawing on one side (<a href="#figure123">fig. -123</a>). Another event in -the games at Athens was -a race for two horses -harnessed to a little cart -in which the driver sat, -but this contest was -never so important as -the race for four horses. -At other games the chariot -was the vehicle used -for two horses as well as -for four. These sports -were naturally very costly, -and under the Roman -rule they gradually died -out in Greece as races in -the circus in Rome and other Italian cities took their place. -Chariot races were the earliest of the free shows at Rome -and were always the most popular, the great attraction of -the circus being not the speed of the race, but its danger. -Some clay lamps from Cyprus are decorated with reliefs -of chariots and horses, showing how the passion for racing -spread over the Roman world (Case 5, <a href="#figure122">fig. 122</a>).</p> - -<div class="figcenter"> - -<div class="figmulti illowp46" id="figure123" style="max-width: 15.625em;"> - <img class="w100" src="images/figure123.jpg" alt="" /> - <p class="caption">FIG. 123. PANATHENAIC AMPHORA CHARIOT RACE</p> -</div> - -<div class="figmulti illowp62" id="figure124" style="max-width: 15.625em;"> - <img class="w100" src="images/figure124.jpg" alt="" /> - <p class="caption">FIG. 124. BIT USED IN TRAINING HORSES</p> -</div> - -<div class="figmulti illowp62" id="figure125" style="max-width: 15.625em;"> - <img class="w100" src="images/figure125.jpg" alt="" /> - <p class="caption">FIG. 125. HORSE’S MUZZLE</p> -</div> - -</div> - -<p>Riding was the usual mode of travel in Greece, as it is -still in many parts of that mountainous country; and, while -carts and carriages of various kinds gradually came into -service among the Romans, in Italy, too, the horse was<span class="pagenum"><a id="Page_102"></a>[102]</span> -the commonest means of travel. But although the Greeks -and Romans were good horsemen, they were probably -not the equals of the -best modern riders, owing -to the fact that they had -no saddles and no stirrups. -As a result of the absence -of stirrups, able-bodied -persons mounted with the -help of a spear or staff, -while old men were handed -up by slaves. Women -rode only upon a pillion, -and probably not very -often in that way. The -custom of nailing metal -shoes upon the hoofs of -horses was not known, but shoes made of metal, leather, -or rushes were adjusted before -passing over a specially -bad road, and could later -be removed when no longer -needed. Two bits are shown -on the bottom of Case 4. -One is quite simple, consisting -of two bars joined -by a double link, which -probably belongs to the -sixth century, though no -doubt this type was in use -for a long period (<a href="#figure127">fig. 127</a>); -the other, probably of the -fifth or fourth century, is very severe. Xenophon in his -treatise on Horsemanship (X, 6) describes this variety and<span class="pagenum"><a id="Page_104"></a>[104]</span> -explains its use in training horses (<a href="#figure124">fig. 124</a>). Branding -was practised even for valuable animals. On a small -amphora in Case C in the Fifth Room decorated with a -picture of the Sun in his chariot, one of the horses is -branded with a sun surrounded by rays. It was customary -to muzzle horses when they were taken out for exercise or -for some other purpose without a bridle. Probably the -muzzles were usually made of leather, but bronze was employed -on special occasions or by the wealthy. Two -bronze muzzles, one of a simple, the other of a more elaborate -form, are exhibited (Case 4, <a href="#figure125">fig. 125</a>).</p> - -<p><span class="pagenum"><a id="Page_103"></a>[103]</span></p> - -<div class="figcenter illowp58" id="figure126" style="max-width: 34.375em;"> - <img class="w100" src="images/figure126.jpg" alt="" /> - <p class="caption">FIG. 126. YOUNG HORSEMAN</p> -</div> - -<div class="figcenter illowp100" id="figure127" style="max-width: 25em;"> - <img class="w100" src="images/figure127.jpg" alt="" /> - <p class="caption">FIG. 127. BRONZE BIT</p> -</div> - -<p>Greek boys received lessons in riding in the course of -their athletic training, which was, of course, a preliminary -military training as well. In Attica a troop of ephebes, -young men in military service, patrolled the borders as a -mounted guard. The decoration on a krater in Case P -in the Fifth Room and a relief in Case A in the Sixth Room -represent members of this troop in their short cloaks fastened -on the shoulder and their broad-brimmed hats. -The fine relief, No. 13 in the Sculpture Gallery, also -represents an ephebe (<a href="#figure126">fig. 126</a>) or one of the Diaskouri in -this guise. Hunting deer and boars from horseback was a -favorite sport which required skill in the rider, and riding-races -of various types were a feature of the games. One of<span class="pagenum"><a id="Page_105"></a>[105]</span> -the Panathenaic amphorai was a prize for a horse-race at -Athens, as the decoration shows.</p> - -<p>The bronze statuette of a horse at the head of the main -staircase allows us to see the type of animal bred in -Greece, and is at the same time a work of the greatest -spirit and delicacy.</p> - -<div class="figcenter illowp46" id="tail-piece-ch10" style="max-width: 12.5em;"> - <img class="w100" src="images/tail-piece-ch10.jpg" alt="" /> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_106"></a>[106]</span></p> - -<div class="figcenter illowp100" id="head-band-ch11" style="max-width: 31.25em;"> - <img class="w100" src="images/head-band-ch11.jpg" alt="" /> -</div> - -<h2 class="nobreak" id="XI">XI<br /> -GLADIATORS<br /> -<span class="smaller">CASES 3 AND 5</span></h2> - -</div> - -<p>Combats of gladiators formed part of the funeral -rites of the Etruscans, and in Campania they were offered -as entertainment to guests at feasts. The Romans adopted -the custom from their neighbors, the first public show of -gladiators taking place in 264 B.C. For six centuries they -continued to be a favorite amusement in Italy and the -provinces, until Honorius made them illegal in 404 A.D. -The great popularity of the sport is proved by the frequency -with which it was represented on articles of common -use, such as vases, dishes, lamps, seal-rings, and in -sculpture, mosaic, and painting for the decoration of walls.</p> - -<p>In early times the combatants were prisoners of war who -fought with their own arms and equipment for the entertainment -of their conquerors, and later, when men were -recruited in other ways, the arms of the early enemies of -Rome were in a great measure retained as belonging especially -to this sport. Gladiators received a careful training -in schools kept for the purpose. They were divided -into several classes, according to their weapons and manner<span class="pagenum"><a id="Page_107"></a>[107]</span> -of fighting, and were called by the name of the peoples -whose arms they had adopted. They usually fought in -pairs, each from a different class, though occasionally a -number engaged in a mêlée. The most important class -was the Samnites, who wore a helmet, one greave, a guard -on the right arm, and fought with sword and shield. The -lamps from Cyprus in Case 5, Nos. 2639, 2642, 2643, are -decorated with figures of Samnites in relief (<a href="#figure128">fig. 128</a>). The -Thracian was distinguished by a dagger which was curved -or bent at right angles. He wore two greaves with leather -coverings for the thighs, and an arm-guard, and carried a -little shield (lamp No. 2636, <a href="#figure129">fig. 129</a>). The hoplomachus -seems to have been a variety of Samnite who had a large -shield, and was generally paired with the Thracian (lamp -No. 2637, see <a href="#tail-piece-ch11">tail-piece, p. 108</a>). Another class not illustrated -was the retiarius (net-thrower), equipped with a -dagger, a trident, and a large net in which he tried to envelop -his adversary, the secutor (follower), who was -armed like a Samnite.</p> - -<div class="figcenter"> - -<div class="figmulti illowp75" id="figure128" style="max-width: 15.625em;"> - <img class="w100" src="images/figure128.jpg" alt="" /> - <p class="caption">FIG. 128. SAMNITE GLADIATOR</p> -</div> - -<div class="figmulti illowp75" id="figure129" style="max-width: 15.625em;"> - <img class="w100" src="images/figure129.jpg" alt="" /> - <p class="caption">FIG. 129. THRACIAN GLADIATOR</p> -</div> - -</div> - -<p>A combat between a Samnite and a Thracian decorates -one of the lamps (No. 2641). Another (No. 2647) shows -a wounded Samnite on one knee. On a third (No. 2644)<span class="pagenum"><a id="Page_108"></a>[108]</span> -a Thracian has brought his opponent to the ground, and -by holding up his thumb, seems to signify that he will spare -him, or perhaps asks permission of the spectators to do so. -A fourth lamp (No. 2651) is decorated with two swords -and two pairs of greaves. Four gladiatorial combats appear -in relief upon a glass cup, made in Gaul in the second -century A.D., which is on the top shelf of Case 3 (see <a href="#head-band-ch11">head-band, -p. 106</a>). The names of the combatants are placed over -their heads, so we may suppose that they represent actual -gladiators who were famous in their day. Gamus, a -Samnite, stands over Merops, who is lying on the ground -and holding up his thumb to ask mercy from the spectators. -Next come Calamus, a Samnite, paired with Hermes, a -Thracian, then another pair of Samnite and Thracian, -Tetraites and Prudes. The latter has lost his little shield. -In the fourth combat Spiculus is victorious over Columbus.</p> - -<div class="figcenter illowp46" id="tail-piece-ch11" style="max-width: 12.5em;"> - <img class="w100" src="images/tail-piece-ch11.jpg" alt="" /> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_109"></a>[109]</span></p> - -<div class="figcenter illowp100" id="head-band-ch12" style="max-width: 31.25em;"> - <img class="w100" src="images/head-band-ch12.jpg" alt="" /> -</div> - -<h2 class="nobreak" id="XII">XII<br /> -TRADES AND CRAFTS<br /> -<span class="smaller">CASES 1, 3, AND 5</span></h2> - -</div> - -<p>In this division is assembled a series of -miscellaneous objects illustrating trades and -crafts, political life, agriculture, and other -occupations.</p> - -<p>The processes of agriculture and craftsmanship -in Greece and Italy were much like -those of Europe and America a century ago, -before mechanical devices became common. -Cultivation of grains, the olive, and the -grape has been practised in Aegean lands -from prehistoric times. A bronze farmyard group in Case -3 shows the animals and utensils most necessary to a -farmer, and though Roman, will serve as an illustration of -Greek life as well. The animals include two bulls, two -cows, a pig and a sow, a ram and a ewe (<a href="#figure130">fig. 130</a>). There -are also two double yokes, a cart, and a plough. The -plough-tail has been lost, but a hole shows the place of attachment. -The remainder is in one piece, though the -joints of the rude wooden original are carefully represented, -the pole which is fastened to the yoke being attached to<span class="pagenum"><a id="Page_110"></a>[110]</span> -the share-beam by pegs and the share-beam to the share by -thongs or ropes. This primitive wooden plough is still used -in Greece today (<a href="#figure131">fig. 131</a>). The cart is merely a platform -with a front-board and tail-board, mounted on solid wheels. -A terracotta cart from Cyprus, though of the early Iron -Age, is much like the Roman cart (<a href="#figure132">fig. 132</a>). A small -bronze sickle with indented edge from Cyprus belongs to a -type common in Minoan Crete (Case 5). The bronze -shepherd’s crooks in the same case recall the important -place held by the care of sheep and goats in ancient country -life. A stone model of a sheep-fold in Case 40 in the Cesnola -Collection, containing sheep and a drinking-trough, -was intended as a votive offering, probably for increase -of flocks.</p> - -<div class="figcenter illowp100" id="figure130" style="max-width: 31.25em;"> - <img class="w100" src="images/figure130.jpg" alt="" /> - <p class="caption">FIG. 130. BRONZE FARMYARD GROUP</p> -</div> - -<div class="figcenter illowp100" id="figure131" style="max-width: 31.25em;"> - <img class="w100" src="images/figure131.jpg" alt="" /> - <p class="caption">FIG. 131. GREEK FARMER PLOUGHING</p> -</div> - -<p>The cultivation of the vine and wine-making for domestic -use were a part of the yearly routine on the farms of -Greece and Italy, while the finer kinds of wine were a -valuable article of commerce. The only object in the -collection which illustrates wine-making is an Arretine -bowl in Case G2 in the Eighth Room, decorated with -figures of satyrs gathering and treading grapes. The process -of getting rural produce to market is represented by two -terracotta figures of donkeys with panniers whose counterparts -can be seen in Greece at the present day (<a href="#figure133">figs. 133-134</a>).<span class="pagenum"><a id="Page_111"></a>[111]</span> -The conformation of Greece and Italy, and the numerous -islands of the Mediterranean compelled the inhabitants -to accustom themselves to seafaring from the earliest times. -A vase painting and some clay boats from Cyprus are valuable -illustrations of the type of ship in use in the sixth -century. A black-figured krater of that date in Case 1 has -three long boats or war vessels painted inside the mouth. -These vessels were propelled by oars, as the method of -fighting made speed essential to them, though a sail was -used when the wind was favorable. Two of the ships have -eleven oars on a side, and the third has nine. The steersman -sits in the stern with one or two steering paddles. The -forecastle is surmounted by a high stem-post, and between -the stern and the forecastle runs a railing or bulwark. -The bow projects in the form of an animal’s head, probably -a fish or a boar, and a large eye is painted just above the -water-line. The edge of the krater has been injured so<span class="pagenum"><a id="Page_112"></a>[112]</span> -that the sail has disappeared, but the single mast can be -seen, as well as the sheets and halyards. A ship of this -kind regularly has a square -sail and halyards, brailing-ropes, -braces, and sheets. -Above the stern projects an -ornament rather like the tail -of a bird. It was this that was -taken by the enemy as a trophy -(<a href="#figure138">fig. 138</a>). The clay boats from -Cyprus in the same case are of -a type frequently found in -sixth-century graves in Amathus. -Two of them represent -merchant vessels, as is shown by their breadth and deep -hulls. The largest has strakes along the water-line which -held the “under-girding” of -ropes used to prevent the -planks from springing in stormy -weather, and large cat-heads at -the bows to receive the anchor. -The helmsman sits in the stern -with his two steering-oars. Of -the two other boats the smallest -is a row-boat, and the other -has a deck and a small deck-house -(<a href="#figure139">fig. 139</a>).</p> - -<div class="figcenter"> - -<div class="figmulti illowp75" id="figure132" style="max-width: 15.625em;"> - <img class="w100" src="images/figure132.jpg" alt="" /> - <p class="caption">FIG. 132. TERRACOTTA MODEL OF A CART</p> -</div> - -<div class="figmulti illowp57" id="figure133" style="max-width: 15.625em;"> - <img class="w100" src="images/figure133.jpg" alt="" /> - <p class="caption">FIG. 133. TERRACOTTA FROM CYPRUS. DONKEY WITH PANNIERS</p> -</div> - -</div> - -<p>A rude relief on a stone slab -from Cyprus (Case 1) is a -votive offering for rescue from -an accident in quarrying or -mining. Above is Apollo seated before an altar. Below, -a man is hastening to help another who is standing in front -of a large mass of rock or earth. Between them a pickaxe<span class="pagenum"><a id="Page_113"></a>[113]</span> -lies on the ground. Probably the relief represents a dangerous -fall of rock or earth. The inscription runs: “Diithemis -dedicated it to the god Apollo, in good fortune.”</p> - -<div class="figcenter illowp100" id="figure134" style="max-width: 31.25em;"> - <img class="w100" src="images/figure134.jpg" alt="" /> - <p class="caption">FIG. 134. DONKEYS CARRYING JARS IN PANNIERS, 1922</p> -</div> - -<p>Very few wooden objects have survived from ancient -times, but examples of the tools used in making them and -of metal fittings remain. The axe-blades from Cyprus in -Case 5 and in wall-cases in the corridor are of almost pure -copper. These blades were inserted in a haft or lashed to -a handle. In Case B in the First Room are four double -axes from Crete of the second millennium B.C., and in Case -A in the Fifth Room another of much later date. Handles -were inserted between the two blades, as in the modern -hammer. The chisels, awl, nails, and hinges in Case 5 -are Cypriote. In Case B in the First Room are chisels -and an awl, and in Case D 2 several knives, from Crete. -They are especially interesting in that they are well preserved -and of excellent workmanship.</p> - -<p>The keys exhibited in Case 5 (<a href="#figure135">figs. 135 and 137</a>) are of -three types. The earlier one is shown with the bolt to which<span class="pagenum"><a id="Page_114"></a>[114]</span> -it belongs. The key when inserted into the bolt pushed upward -with its teeth a series of pegs which fitted into holes -in the bolt and took their place. It could then be used as -a handle to pull the bolt backward. The second consists of -a plate provided with notches which lifted a series of tumblers -and allowed the bolt to be shot. The third key belongs -to the type in use today, and as such keys have been found -in Pompeii, they must have been known before 79 A.D. -The lock-plate is perhaps from a strong-box (<a href="#figure136">fig. 136</a>).</p> - -<div class="figcenter"> - -<div class="figmulti illowp60" id="figure135" style="max-width: 12.5em;"> - <img class="w100" src="images/figure135.jpg" alt="" /> - <p class="caption">FIG. 135. KEY EARLY TYPE</p> -</div> - -<div class="figmulti illowp37" id="figure136" style="max-width: 7.8125em;"> - <img class="w100" src="images/figure136.jpg" alt="" /> - <p class="caption">FIG. 136. LOCK-PLATE</p> -</div> - -<div class="figmulti illowp45" id="figure137" style="max-width: 9.375em;"> - <img class="w100" src="images/figure137.jpg" alt="" /> - <p class="caption">FIG. 137. KEY LATER TYPE</p> -</div> - -</div> - -<p>Only the balance seems to have been known to the -Greeks, but the Romans made use of the steelyard also. -The example shown in Case 1 does not differ from those -of modern times. The hooks and chains at the end of the -rod were used for suspending the articles to be weighed. -Three other hooks, of which two are preserved on movable -rings, were for hanging the steelyard. Each is attached to -a different side. When the steelyard was hung by the -hook nearest to the graduated bar, articles up to twelve -pounds could be weighed by sliding the weights along the -bar. The second side of the bar weighs articles of from five -pounds to twenty-two; the third, articles of from twenty to -fifty-eight pounds. The large weight is made of lead<span class="pagenum"><a id="Page_115"></a>[115]</span> -covered with bronze, and weighs two pounds, while the -small weight is entirely of bronze and weighs one ounce -(see <a href="#head-band-ch12">head-band, p. 109</a>.)</p> - -<div class="figcenter illowp100" id="figure138" style="max-width: 31.25em;"> - <img class="w100" src="images/figure138.jpg" alt="" /> - <p class="caption">FIG. 138. WAR-VESSELS. VASE PAINTING</p> -</div> - -<div class="figcenter illowp85" id="figure139" style="max-width: 25em;"> - <img class="w100" src="images/figure139.jpg" alt="" /> - <p class="caption">FIG. 139. TERRACOTTA BOAT</p> -</div> - -<p>There are a number of objects illustrating various industrial -processes in the collection. A fragment of a -pottery cup of the red-figured technique shows the stage -at which the figure is outlined with a broad band of black -paint, in order to make a red silhouette, but the background -has not yet been filled in with black (<a href="#figure141">fig. 141</a>). -Several moulds for making terracotta reliefs are shown -with modern impressions made from them; they represent -the lower part of a young man’s figure (Case A in the -Fifth Room, <a href="#figure142">fig. 142</a>), a grotesque of a man, a Medusa<span class="pagenum"><a id="Page_116"></a>[116]</span> -head, and a number of symbols, perhaps for stamping -sacred cakes. Another mould, unfortunately fragmentary, -is a chimaera or a goat, a fine and spirited figure (Case B -in the Seventh Room). In Cases C and G2 in the Eighth -Room are examples of Arretine ware, the most beautiful -pottery of ancient -Italy. There are -also ancient -moulds with modern -bowls made -from them. Several -of the moulds -are signed by the -makers and by the -owner of the workshop. -A small stone mould for casting gold ornaments -of the Late Minoan period is in Case B in the First -Room. It has two dies representing animals, one a bull -and the other probably an ibex. The gold-beater’s block -in Case 5 was used for making small ornaments when many -of the same kind were needed. A thin sheet of metal was -laid on the die, covered with wax or lead, and then beaten -into the die with a hammer. There are twenty-two dies on -this block belonging in style to the Roman period. Some -gold ornaments used for borders among the Roman jewelry -in the Gold Room were probably made in this way, but -such mechanical devices do not seem to have been employed -in making Greek jewelry of the best period (<a href="#figure140">fig. -140</a>).</p> - -<div class="figcenter illowp100" id="figure140" style="max-width: 25em;"> - <img class="w100" src="images/figure140.jpg" alt="" /> - <p class="caption">FIG. 140. GOLD-BEATER’S BLOCK</p> -</div> - -<div class="figcenter illowp85" id="figure141" style="max-width: 25em;"> - <img class="w100" src="images/figure141.jpg" alt="" /> - <p class="caption">FIG. 141. UNFINISHED POTTERY CUP</p> -</div> - -<div class="figcenter illowp100" id="figure142" style="max-width: 25em;"> - <img class="w100" src="images/figure142.jpg" alt="" /> - <p class="caption">FIG. 142. ANCIENT MOULD AND MODERN RELIEF</p> -</div> - -<p>The earliest traders of the Mediterranean lands practised -barter, and in the Homeric poems we find cattle and -bronze utensils frequently mentioned as standards of -value. In the later part of the eighth century or the early -part of the seventh, coinage originated in Asia Minor, the<span class="pagenum"><a id="Page_117"></a>[117]</span> -earliest coins being merely rough lumps of metal with -striations on the reverse made by the roughened surface of -a punch. In the process of manufacture a flat blank of -metal was placed red hot on a die, a punch was then held -upon the reverse of the blank, and struck with a hammer. -As no “collar” was employed, the metal of course spread -at the edges, making the coin only roughly circular. With -the advance of art the coin types received the attention -of the best artists and craftsmen, and in consequence the -value of Greek coins, both as original works of art and as<span class="pagenum"><a id="Page_118"></a>[118]</span> -historical documents, cannot be exaggerated. Roman -coins, while not often beautiful, are an important source -of information relative to political and economic conditions. -These facts may be noted with regard to the practical -side of ancient coinage; Greek coins are not dated, -they will not stack, and marks of value are more often -absent than present. The earlier Roman coins resembled -the Greek in these features, but, later, marks of value -were added and the date indicated.</p> - -<div class="figcenter illowp100" id="figure143" style="max-width: 31.25em;"> - <img class="w100" src="images/figure143.jpg" alt="" /> - <p class="caption">FIG. 143. DIKAST’S TICKET</p> -</div> - -<p>A number of small bronze instruments in Case 5 may -have been part of a physician’s or pharmacist’s case. They -include several probes, one being double (<a href="#figure144">fig. 144</a>), spatulae -(<a href="#figure145">fig. 145</a>), spoon-probes, and two scalpels or bistouries. -The spatulae were used for preparing and spreading ointments, -and also by painters in mixing colors.</p> - -<p>The dikast’s ticket gives us a glimpse of Greek city life. -It is the ticket of a juryman, Epikrates, entitling him to -sit in the ninth court at Athens, of which there were ten -in all, and to draw three obols a day, about ten cents, a -“living wage,” however (<a href="#figure143">fig. 143</a>).</p> - -<p>The statuette of a negro boy in Case C in the Seventh -Room is a reminder of the important part taken by slave -labor in ancient times. This was much greater among -the Romans than in Greece. Slaves were sometimes captives -taken in war, or their descendants, but were more -frequently acquired through trade. Their condition was -much better in Greece than in Rome. On the grave stele<span class="pagenum"><a id="Page_119"></a>[119]</span> -of a young man in the Sculpture Gallery (No. 7) a little -slave stands beside his master.</p> - -<div class="figcenter illowp100" id="figure144" style="max-width: 31.25em;"> - <img class="w100" src="images/figure144.jpg" alt="" /> - <p class="caption">FIG. 144. FORKED PROBE</p> -</div> - -<div class="figcenter illowp100" id="figure145" style="max-width: 31.25em;"> - <img class="w100" src="images/figure145.jpg" alt="" /> - <p class="caption">FIG. 145. SPATULAE</p> -</div> - -<p>These are, of course, domestic or personal servants, but -slaves formed a large part of the laboring class in Greece, -and the proportion was still greater in Rome in the later -Republican period and under the Empire. They worked -on the farms, in the factories, and, most dangerous occupation -of all, in the mines and quarries, as well as in the -workshops of skilled artisans and as clerks and copyists in -private and public offices.</p> - -<p>There are many proofs of the existence of an extended -and active commerce in the Mediterranean world, but -none is more convincing than to note the far-distant places -in which Athenian pottery has been found. The cities -and tombs of Italy have furnished many of the most<span class="pagenum"><a id="Page_120"></a>[120]</span> -beautiful specimens, but vases have been found in Asia -Minor, Egypt, the islands of the Aegean, and the Crimea. -A specimen of ancient advertising appears on three glass -cups signed by the maker Ennion, a Sidonian (Case H in -the Eighth Room). One was found in Cyprus, a second -near Venice, and a third near Nazareth. Each bears the -maker’s signature and the words, “Let the buyer remember.”</p> - -<div class="figcenter illowp46" id="tail-piece-ch12" style="max-width: 12.5em;"> - <img class="w100" src="images/tail-piece-ch12.jpg" alt="" /> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_121"></a>[121]</span></p> - -<div class="figcenter illowp100" id="head-band-ch13" style="max-width: 31.25em;"> - <img class="w100" src="images/head-band-ch13.jpg" alt="" /> -</div> - -<h2 class="nobreak" id="XIII">XIII<br /> -BURIAL-CUSTOMS</h2> - -</div> - -<p><span class="smcap">Greece.</span> The inhabitants of Mycenae and other prehistoric -sites did not burn their dead, so far as we know, but -buried them with the belongings which they had used and -valued in life. Members of rich or princely families were -often decked with gold ornaments and diadems, and the -face covered with a gold mask moulded to resemble the -features. Reproductions of some of the objects found in -graves at Mycenae are in Case T in the First Room, and in -the center of the same room is a reproduction of a stone -sarcophagus from Hagia Triada in Crete, decorated with -painted scenes representing a funerary sacrifice.</p> - -<p>The people of the Homeric poems burned their dead -and buried the ashes beneath a mound. Both ways of -disposing of the body continued in common use in Greece, -the choice resting with the family of the deceased. Cremation -was more costly than burial, and so was practised -less frequently by the poorer classes. At all periods both<span class="pagenum"><a id="Page_122"></a>[122]</span> -Greeks and Romans attached great importance to the -proper performance of funeral rites, as they were believed -to affect the happiness -of the soul in the world -of the dead.</p> - -<div class="figcenter"> - -<div class="figmulti illowp83" id="figure146" style="max-width: 15.625em;"> - <img class="w100" src="images/figure146.jpg" alt="" /> - <p class="caption">FIG. 146. MOURNERS AT A BIER. TERRACOTTA RELIEF</p> -</div> - -<div class="figmulti illowp75" id="figure147" style="max-width: 15.625em;"> - <img class="w100" src="images/figure147.jpg" alt="" /> - <p class="caption">FIG. 147. POET ON HIS BIER (?) TERRACOTTA PLATE</p> -</div> - -</div> - -<p>The body was prepared -for burial by the -women of the family, -who anointed it with -oil and perfumes, and -clothed it in the dress -of common life, usually -of white. A wreath of -flowers, or of laurel, -olive, or ivy was placed -on the head, or in its stead a wreath of gold leaves. Before -the funeral the dead was laid on a couch in the central -hall of the house, with -his feet toward the house -door. His relatives and -friends came to pay their -last respects, and the -funeral dirge was sung. -An interesting terracotta -relief from Attica on the -north wall of the Second -Room represents such -an occasion. The -women standing by the -bier are tearing their -hair as they raise their -voices in the lament (<a href="#figure146">fig. 146</a>). The same scene is frequent -on certain kinds of Greek pottery, notably the great Dipylon -vases of the eighth century B.C., which were used as grave<span class="pagenum"><a id="Page_124"></a>[124]</span> -monuments. There are two Dipylon vases in the Second -Room in Cases G and L (<a href="#figure148">fig. 148</a>). On the upper band of -each is a scene showing a dead man on a bier surrounded -by his family (see <a href="#head-band-ch13">head-band, p. 121</a>). An interesting plate -in Case K in the same room is decorated with a scene -which seems to represent a poet on a funeral couch with a -wreath about his head and his lyre hanging on the wall -above (<a href="#figure147">fig. 147</a>).</p> - -<p><span class="pagenum"><a id="Page_123"></a>[123]</span></p> - -<div class="figcenter illowp53" id="figure148" style="max-width: 31.25em;"> - <img class="w100" src="images/figure148.jpg" alt="" /> - <p class="caption">FIG. 148. DIPYLON VASE</p> -</div> - -<div class="figcenter illowp58" id="figure149" style="max-width: 21.875em;"> - <img class="w100" src="images/figure149.jpg" alt="" /> - <p class="caption">FIG. 149. ATHENIAN TOMB LEKYTHOI</p> -</div> - -<p>The greatest number of funeral scenes are found -on the white Athenian lekythoi of the fifth century -and later, which were made to be placed about the -bier, in the tomb, or around the monument. One of those -in Case L in the Fifth Room is painted in colors with a -scene of mourners beside a funeral couch, treated in a -later style. Other typical scenes are the farewell of the -dead to his family as if for a long journey, and the care of<span class="pagenum"><a id="Page_125"></a>[125]</span> -the tomb by surviving relatives. Most of the vases in -Cases L and F in the Fifth Room are decorated with variations -of these two themes (<a href="#figure149">fig. -149</a>). Early in the morning of the -second or third day after death -the body was carried on the couch -out of the city gates for burial or -cremation. The funeral procession -is represented on the lower -bands of the Dipylon vases, or it -may be that the horses and chariots -are intended to suggest the -funeral games, which were celebrated -in early times after the -death of a man of rank.</p> - -<div class="figcenter illowp25" id="figure150" style="max-width: 12.5em;"> - <img class="w100" src="images/figure150.jpg" alt="" /> - <p class="caption">FIG. 150. MARBLE LEKYTHOS</p> -</div> - -<div class="figcenter illowp100" id="figure151" style="max-width: 31.25em;"> - <img class="w100" src="images/figure151.jpg" alt="" /> - <p class="caption">FIG. 151. ETRUSCAN FOCOLARE</p> -</div> - -<p>The loutrophoros is a vase associated -especially with the funeral -procession. These long-necked -jars were used in the -marriage ceremonies to bring -water for the ceremonial bath of -the bridegroom and the bride; -and in the case of the death of a -betrothed person, a loutrophoros -was carried in the funeral procession -and set up on the grave. -One of these vases will be found -in Case R in the Third Room. -If the body was disposed of by -cremation the ashes were placed -in a jar, usually of stone or pottery. In Cases P, R, -and T in the Seventh Room are a number of pottery jars -which were used to hold the ashes of Greeks who died at -Alexandria. Some of them are marked with the name of<span class="pagenum"><a id="Page_126"></a>[126]</span> -the deceased and the position of the jar in the cemetery. -It was usual to erect tombs along the roads leading from the -city gates, the sculptured tablets bordering the highway on -either side, interspersed with trees, and sometimes accompanied -by stone seats erected by families for the use -of those members who came to tend the graves. Greek -grave monuments are frequently very beautiful, and are -characterized by fine taste and restraint in the expression -of feeling, as well as by the absence of painful or shocking -suggestion. There are a number of examples in the -Sculpture Gallery. The marble lekythos is an example -of a common type of monument (<a href="#figure150">fig. 150</a>). Another form is -the lofty tablet with painted or sculptured akroterion (see -<a href="#tail-piece-ch13">tail-piece, p. 131</a>), such as Nos. 6 and 5A in the Sculpture -Gallery and the stele in the Third Room. Examples of -tablets with sculptured figures are Nos. 4, 7, 10, 30, and 59 -in the Sculpture Gallery and the stele of a young man -in the Sixth Room. On these monuments the dead is -represented alone in a quiet pose, with some article or -utensil suggesting his favorite occupation or manner of -life; or as taking leave of his family (<a href="#figure152">fig. 152</a>). In Rooms<span class="pagenum"><a id="Page_128"></a>[128]</span> -21, 22, and 23 in the Gallery of Casts are reproductions -of some of the most beautiful and best known of the Greek -grave stelai. Several painted stones from the cemetery -near Alexandria will be found in two cases in the Vestibule. -The Cesnola Collection contains a number of Cypriote -grave monuments inscribed -with Greek formulas of farewell. -These are in Cases 6 to -12, 14, and 15 in the corridor.</p> - -<p><span class="pagenum"><a id="Page_127"></a>[127]</span></p> - -<div class="figcenter illowp64" id="figure152" style="max-width: 37.5em;"> - <img class="w100" src="images/figure152.jpg" alt="" /> - <p class="caption">FIG. 152. MONUMENT OF SOSTRATE</p> -</div> - -<div class="figright illowp60" id="figure153" style="max-width: 12.5em;"> - <img class="w100" src="images/figure153.jpg" alt="" /> - <p class="caption">FIG. 153. ETRUSCAN URN FOR ASHES</p> -</div> - -<p>The custom, followed by the -inhabitants of Greece and Italy -for many centuries, of placing -in tombs articles used in daily -life, has preserved large numbers -of objects which would -otherwise have perished. The -dead was surrounded by the -belongings he had valued; the -warrior had his arms, the woman -her ornaments, mirror, and toilet boxes, and the -child his toys. An idea of the prevalence of the custom -may be formed by looking through the collection with -this fact in mind. The greater part of the Greek pottery -now in existence was found in tombs, not only in Greece -but in Italy and in many other parts of the Mediterranean -world. The bronze chariot and the utensils in Case S in -the Third Room were the tomb furniture of an Etruscan -noble. The beautiful bronze table service in Case E in -the same room, and the table service of black-glazed pottery -in Case G in the Seventh Room were also found in -tombs. In Case F in the Sixth Room are the toilet -articles and utensils buried in the grave of an Etruscan -lady, the terracotta figurines in the Sixth and Seventh -Rooms were made to be placed in graves, and many<span class="pagenum"><a id="Page_129"></a>[129]</span> -separate objects in the collection have been preserved in -the same manner.</p> - -<p><span class="smcap">Italy.</span> The earliest -inhabitants of Italy did -not practise cremation, -but this custom was introduced -in prehistoric -times, both cremation -and burial continuing in -use contemporaneously.</p> - -<div class="figcenter"> - -<div class="figmulti illowp62" id="figure154" style="max-width: 15.625em;"> - <img class="w100" src="images/figure154.jpg" alt="" /> - <p class="caption">FIG. 154. ETRUSCAN URN</p> -</div> - -<div class="figmulti illowp62" id="figure155" style="max-width: 15.625em;"> - <img class="w100" src="images/figure155.jpg" alt="" /> - <p class="caption">FIG. 155. ETRUSCAN URN</p> -</div> - -</div> - -<p>The Etruscans placed -the ashes of the dead in -jars with smaller vases -and ornaments and buried -them in pits; or for -the wealthy, tomb-chambers -were built and arranged to resemble rooms in the -houses of the living, the -cinerary urns being set -in niches, or the bodies -being laid out on biers. -Their urns in the earlier -periods were frequently -made in a very rude imitation -of a human being -with portrait head, and -were often placed in terracotta -chairs. Two -examples are in Case N -in the Second Room (<a href="#figure153">fig. -153</a>). Curious trays of -dishes, probably used for -offerings to the dead and known as “focolari,” are not uncommonly -found in tombs. Examples are in Cases R and<span class="pagenum"><a id="Page_130"></a>[130]</span> -Q in the Second Room (<a href="#figure151">fig. 151</a>). In later times rectangular -stone boxes, sculptured or painted, with a reclining -figure of the deceased on the cover, were used. There are -several of these urns in the Seventh Room, in Cases N and -P and on Pedestals E and U (<a href="#figure154">figs. 154-155</a>).</p> - -<div class="figcenter illowp100" id="figure156" style="max-width: 25em;"> - <img class="w100" src="images/figure156.jpg" alt="" /> - <p class="caption">FIG. 156. ROMAN GRAVE MONUMENT</p> -</div> - -<p>The Romans burned their dead, with some exceptions. -A few of the ancient families, notably the Cornelii, kept to -the older fashion of burial, and it was customary even -when a body was cremated to take one small portion of -bone, called the “os resectum” from the ashes and bury it. -The very poor, slaves, and outcasts were buried in graves -made to hold a number of bodies, often with little care or -respect. Roman funeral customs, so far as we know them, -were very similar to those of Greece. Glass urns were in -common use in the western part of the Roman world -from the first to the third century A.D. One still contains -fragments of bone and ashes. Under the Empire -the custom of burial became frequent among the well-to-do, -as is evidenced by the large and costly stone sarcophagi of -the period. There are two Roman sarcophagi, Nos. 36 -and 46 in the Sculpture Gallery, and a large one from<span class="pagenum"><a id="Page_131"></a>[131]</span> -Tarsus in the Vestibule. The relief on the south wall of -the Sculpture Gallery representing the death of Meleager -(No. 38A) once decorated a sarcophagus. These sculptured -scenes are rarely connected with death, but are -usually mythical or fanciful. A grave monument on the -west wall of the Eighth Room, representing a young man -and his wife, is interesting in that this form of portrait -relief within a box-like frame is thought to have been derived -from the wax death-masks, “imagines,” enclosed in -boxes, which adorned the hall of the Roman noble (<a href="#figure156">fig. 156</a>). -In the Sculpture Gallery is a stone cippus or monument -(No. 43), erected to a mother and her two sons, and decorated -with portraits in relief.</p> - -<div class="figcenter illowp46" id="tail-piece-ch13" style="max-width: 12.5em;"> - <img class="w100" src="images/tail-piece-ch13.jpg" alt="" /> -</div> - -<p><span class="pagenum"><a id="Page_132"></a>[132]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_133"></a>[133]</span></p> - -<h2 class="nobreak" id="INDEX">INDEX</h2> - -</div> - -<ul> - -<li class="ifrst">A</li> - -<li class="indx"><span class="smcap">Actors</span>, costume of tragic, <a href="#Page_14">14</a>;</li> -<li class="isub1">in Old Comedy, <a href="#Page_14">14</a>, <a href="#Page_16">16-17</a>;</li> -<li class="isub1">in New Comedy, <a href="#Page_17">17</a>;</li> -<li class="isub1">of mimes, <a href="#Page_17">17</a>;</li> -<li class="isub1">social status of, <a href="#Page_17">17</a>, <a href="#Page_18">18</a></li> - -<li class="indx"><span class="smcap">Alabastron</span>, <a href="#Page_64">64</a></li> - -<li class="indx"><span class="smcap">Altar</span>, <a href="#Page_4">4</a></li> - -<li class="indx"><span class="smcap">Amazon</span>, <a href="#Page_87">87</a></li> - -<li class="indx" id="Amulet"><span class="smcap">Amulet</span>, <a href="#Page_8">8</a>, <a href="#Page_40">40</a></li> - -<li class="indx"><span class="smcap">Animals</span>, domestic, <a href="#Page_109">109</a>, <a href="#Page_110">110</a>;</li> -<li class="isub1"><i>see</i> <a href="#Pets">Pets</a></li> - -<li class="indx"><span class="smcap">Apoptygma</span>, <a href="#Page_48">48</a>, <a href="#Page_49">49-50</a></li> - -<li class="indx"><span class="smcap">Apotropaion</span>, <i>see</i> <a href="#Amulet">Amulet</a></li> - -<li class="indx"><span class="smcap">Arrow-Head</span>, <a href="#Page_87">87</a></li> - -<li class="indx"><span class="smcap">Aryballos</span>, <a href="#Page_63">63-64</a></li> - -<li class="indx"><span class="smcap">Astragals</span>, <a href="#Page_43">43</a>, <a href="#Page_68">68</a></li> - -<li class="indx"><span class="smcap">Attis</span>, <a href="#Page_11">11</a></li> - -<li class="indx"><span class="smcap">Awl</span>, <a href="#Page_113">113</a></li> - -<li class="indx"><span class="smcap">Axe</span>, die for votive, <a href="#Page_5">5</a>;</li> -<li class="isub1">battle-, <a href="#Page_87">87</a>, <a href="#Page_113">113</a></li> - -<li class="ifrst">B</li> - -<li class="indx"><span class="smcap">Ball</span>, game of, <a href="#Page_42">42-43</a></li> - -<li class="indx"><span class="smcap">Beard</span>, <a href="#Page_56">56</a>, <a href="#Page_58">58</a>, <a href="#Page_62">62</a></li> - -<li class="indx"><span class="smcap">Belt</span>, armored, <a href="#Page_81">81-82</a></li> - -<li class="indx"><span class="smcap">Bit</span>, horse’s, <a href="#Page_102">102</a>, <a href="#Page_104">104</a></li> - -<li class="indx"><span class="smcap">Boat</span>, <a href="#Page_111">111-112</a></li> - -<li class="indx"><span class="smcap">Boxing</span>, <a href="#Page_89">89</a>, <a href="#Page_92">92</a>, <a href="#Page_96">96</a></li> - -<li class="indx"><span class="smcap">Bow</span>, <a href="#Page_86">86</a></li> - -<li class="indx"><span class="smcap">Branding</span>, <a href="#Page_104">104</a></li> - -<li class="indx"><span class="smcap">Bread-Making</span>, <a href="#Page_36">36-37</a></li> - -<li class="indx"><span class="smcap">Breastplate</span>, <a href="#Page_81">81</a></li> - -<li class="indx"><span class="smcap">Bulla</span>, <a href="#Page_40">40</a></li> - -<li class="indx"><span class="smcap">Butt-Spike</span>, <a href="#Page_85">85-86</a></li> - -<li class="ifrst">C</li> - -<li class="indx"><span class="smcap">Cake</span>, votive, <a href="#Page_6">6</a></li> - -<li class="indx"><span class="smcap">Camillus</span>, <a href="#Page_9">9</a>, <a href="#Page_61">61</a></li> - -<li class="indx"><span class="smcap">Candelabrum</span>, <a href="#Page_31">31</a></li> - -<li class="indx"><span class="smcap">Candles</span>, <a href="#Page_30">30-31</a></li> - -<li class="indx" id="Cap"><span class="smcap">Cap</span>, <a href="#Page_54">54-55</a></li> - -<li class="indx"><span class="smcap">Carding</span>, <a href="#Page_32">32</a>, <a href="#Page_33">33</a></li> - -<li class="indx"><span class="smcap">Cart</span>, <a href="#Page_109">109</a>, <a href="#Page_110">110</a>;</li> -<li class="isub1">toy, <a href="#Page_41">41</a></li> - -<li class="indx"><span class="smcap">Cauldron</span>, <a href="#Page_26">26</a></li> - -<li class="indx"><span class="smcap">Chair</span>, <a href="#Page_23">23</a>, <a href="#Page_24">24</a></li> - -<li class="indx"><span class="smcap">Chariot</span>, <a href="#Page_98">98</a>, <a href="#Page_100">100-101</a>, <a href="#Page_128">128</a></li> - -<li class="indx"><span class="smcap">Charioteer</span>, <a href="#Page_100">100-101</a></li> - -<li class="indx"><span class="smcap">Chest</span>, <a href="#Page_24">24</a>, <a href="#Page_26">26</a></li> - -<li class="indx"><span class="smcap">Chisel</span>, <a href="#Page_113">113</a></li> - -<li class="indx"><span class="smcap">Chiton</span>, <a href="#Page_47">47</a>, <a href="#Page_48">48</a>, <a href="#Page_49">49</a>, <a href="#Page_50">50</a></li> - -<li class="indx"><span class="smcap">Circus</span>, <a href="#Page_101">101</a></li> - -<li class="indx"><span class="smcap">Cista</span>, <a href="#Page_64">64</a>, <a href="#Page_66">66</a></li> - -<li class="indx"><span class="smcap">Coins</span>, <a href="#Page_116">116-118</a></li> - -<li class="indx"><span class="smcap">Colander</span>, <i>see</i> <a href="#Wine-strainer">Wine-strainer</a></li> - -<li class="indx"><span class="smcap">Commerce</span>, <a href="#Page_119">119-120</a></li> - -<li class="indx"><span class="smcap">Cooking</span>, <a href="#Page_26">26</a>, <a href="#Page_37">37</a></li> - -<li class="indx"><span class="smcap">Couch</span>, <a href="#Page_24">24</a></li> - -<li class="indx"><span class="smcap">Cuirass</span>, <a href="#Page_80">80-81</a></li> - -<li class="indx"><span class="smcap">Cup</span>, <a href="#Page_28">28</a>, <a href="#Page_30">30</a>;</li> -<li class="isub1">unfinished, <a href="#Page_115">115</a></li> - -<li class="indx"><span class="smcap">Cures</span>, offerings for, <a href="#Page_6">6-7</a></li> - -<li class="indx"><span class="smcap">Cybele</span>, <a href="#Page_10">10-11</a></li> - -<li class="indx"><span class="smcap">Cymbals</span>, <a href="#Page_73">73</a></li> - -<li class="ifrst">D</li> - -<li class="indx"><span class="smcap">Dagger-Blades</span>, <a href="#Page_85">85</a></li> - -<li class="indx"><span class="smcap">Dancing</span>, <a href="#Page_5">5-6</a>, <a href="#Page_73">73-74</a></li> - -<li class="indx" id="Die"><span class="smcap">Die</span>, for axes, <a href="#Page_5">5</a>;</li> -<li class="isub1"><i>see</i> <a href="#Mould">Mould</a></li> - -<li class="indx"><span class="smcap">Dikast</span>, <i>see</i> <a href="#Juryman">Juryman</a></li> - -<li class="indx"><span class="smcap">Dipping-Rod</span>, <a href="#Page_66">66</a></li> - -<li class="indx"><span class="smcap">Diskos</span>, <a href="#Page_92">92</a>, <a href="#Page_93">93-94</a></li> - -<li class="indx"><span class="smcap">Distaff</span>, <a href="#Page_33">33</a></li> - -<li class="indx"><span class="smcap">Doll</span>, <a href="#Page_42">42</a></li> - -<li class="ifrst">E</li> - -<li class="indx"><span class="smcap">Embroidery</span>, <a href="#Page_34">34-35</a></li> - -<li class="indx"><span class="smcap">Ephedrismos</span>, game of, <a href="#Page_42">42</a></li> - -<li class="indx"><span class="pagenum"><a id="Page_134"></a>[134]</span><span class="smcap">Epinetron</span>, <a href="#Page_32">32-33</a></li> - -<li class="ifrst">F</li> - -<li class="indx"><span class="smcap">Feeding-Bottle</span>, <a href="#Page_40">40</a></li> - -<li class="indx" id="Fibula"><span class="smcap">Fibula</span>, <a href="#Page_48">48</a>, <a href="#Page_59">59</a></li> - -<li class="indx"><span class="smcap">Fish-Plate</span>, <a href="#Page_29">29</a></li> - -<li class="indx"><span class="smcap">Flute</span>, <a href="#Page_72">72-73</a>, <a href="#Page_92">92</a>, <a href="#Page_94">94</a></li> - -<li class="indx"><span class="smcap">Focolare</span>, <a href="#Page_129">129-130</a></li> - -<li class="indx"><span class="smcap">Fortuna</span>, <a href="#Page_9">9-10</a></li> - -<li class="indx"><span class="smcap">Furniture</span>, <a href="#Page_22">22-24</a>, <a href="#Page_25">25</a></li> - -<li class="ifrst">G</li> - -<li class="indx"><span class="smcap">Game</span>, <a href="#Page_39">39</a>, <a href="#Page_42">42-43</a>, <a href="#Page_68">68</a></li> - -<li class="indx"><span class="smcap">Glass</span>, relief, <a href="#Page_11">11-12</a>;</li> -<li class="isub1">vessels, <a href="#Page_28">28</a>, <a href="#Page_64">64</a>, <a href="#Page_108">108</a>, <a href="#Page_120">120</a></li> - -<li class="indx"><span class="smcap">Grave-Monuments</span>, <a href="#Page_122">122</a>, <a href="#Page_124">124</a>, <a href="#Page_126">126</a>, <a href="#Page_128">128</a>, <a href="#Page_131">131</a></li> - -<li class="indx"><span class="smcap">Greaves</span>, miniature, <a href="#Page_6">6</a>, <a href="#Page_82">82</a>, <a href="#Page_107">107</a>, <a href="#Page_108">108</a></li> - -<li class="indx"><span class="smcap">Grinding Grain</span>, <a href="#Page_37">37</a></li> - -<li class="ifrst">H</li> - -<li class="indx"><span class="smcap">Hair</span>, arrangement of, <a href="#Page_56">56</a>, <a href="#Page_58">58-59</a>, <a href="#Page_61">61-62</a></li> - -<li class="indx"><span class="smcap">Halteres</span>, <i>see</i> <a href="#Jumping-weights">Jumping-weights</a></li> - -<li class="indx"><span class="smcap">Hat</span>, <a href="#Page_54">54-55</a></li> - -<li class="indx"><span class="smcap">Helmet</span>, <a href="#Page_76">76-80</a></li> - -<li class="indx"><span class="smcap">Herms</span>, <a href="#Page_7">7-8</a></li> - -<li class="indx"><span class="smcap">Himation</span>, <a href="#Page_52">52</a>, <a href="#Page_54">54</a>, <a href="#Page_60">60</a></li> - -<li class="indx"><span class="smcap">Hook</span>, for meat, <a href="#Page_26">26</a></li> - -<li class="indx"><span class="smcap">Hoop</span>, <a href="#Page_42">42</a></li> - -<li class="indx"><span class="smcap">Hoplomachy</span>, <a href="#Page_94">94</a></li> - -<li class="indx"><span class="smcap">Hoplomachus Gladiator</span>, <a href="#Page_107">107</a></li> - -<li class="indx"><span class="smcap">Horse</span>, toy, <a href="#Page_41">41</a></li> - -<li class="ifrst">I</li> - -<li class="indx"><span class="smcap">Incense-Burner</span>, <a href="#Page_4">4</a></li> - -<li class="indx"><span class="smcap">Isis</span>, <a href="#Page_10">10</a></li> - -<li class="ifrst">J</li> - -<li class="indx"><span class="smcap">Javelin</span>, <a href="#Page_86">86</a>, <a href="#Page_94">94</a>, <a href="#Page_96">96</a></li> - -<li class="indx"><span class="smcap">Jewelry</span>, <a href="#Page_59">59-60</a>, <a href="#Page_62">62</a></li> - -<li class="indx"><span class="smcap">Jump</span>, <a href="#Page_92">92</a>, <a href="#Page_93">93</a></li> - -<li class="indx" id="Jumping-weights"><span class="smcap">Jumping-Weights</span>, <a href="#Page_93">93</a></li> - -<li class="indx" id="Juryman"><span class="smcap">Juryman’s Ticket</span>, <a href="#Page_118">118</a></li> - -<li class="ifrst">K</li> - -<li class="indx"><span class="smcap">Key</span>, <a href="#Page_113">113-114</a></li> - -<li class="indx"><span class="smcap">Kithara</span>, <a href="#Page_69">69-70</a>;</li> -<li class="isub1">in wall-painting, <a href="#Page_24">24</a></li> - -<li class="indx"><span class="smcap">Kolpos</span>, <a href="#Page_48">48</a>, <a href="#Page_49">49-50</a></li> - -<li class="indx"><span class="smcap">Kottabos</span>, <a href="#Page_68">68</a></li> - -<li class="ifrst">L</li> - -<li class="indx"><span class="smcap">Ladle</span>, <a href="#Page_30">30</a></li> - -<li class="indx"><span class="smcap">Lamp</span>, <a href="#Page_4">4</a>, <a href="#Page_31">31</a>, <a href="#Page_87">87</a>, <a href="#Page_101">101</a>, <a href="#Page_107">107-108</a></li> - -<li class="indx"><span class="smcap">Lar</span>, <a href="#Page_9">9</a>, <a href="#Page_87">87</a></li> - -<li class="indx"><span class="smcap">Loom</span>, <a href="#Page_34">34</a></li> - -<li class="indx"><span class="smcap">Loom-Weight</span>, <a href="#Page_34">34</a></li> - -<li class="indx"><span class="smcap">Loutrophoros</span>, <a href="#Page_125">125</a></li> - -<li class="indx"><span class="smcap">Lyre</span>, <a href="#Page_69">69</a>, <a href="#Page_70">70-72</a></li> - -<li class="ifrst">M</li> - -<li class="indx"><span class="smcap">Mask</span>, actor’s, <a href="#Page_14">14</a></li> - -<li class="indx"><span class="smcap">Mirror</span>, <a href="#Page_50">50</a>, <a href="#Page_66">66-67</a></li> - -<li class="indx"><span class="smcap">Mosaic</span>, <a href="#Page_22">22</a></li> - -<li class="indx" id="Mould"><span class="smcap">Mould</span>, for relief, <a href="#Page_115">115-116</a>;</li> -<li class="isub1">jeweler’s, <a href="#Page_116">116</a>;</li> -<li class="isub1"><i>see</i> <a href="#Die">Die</a></li> - -<li class="indx"><span class="smcap">Moustache</span>, <a href="#Page_56">56</a>, <a href="#Page_58">58</a></li> - -<li class="indx"><span class="smcap">Music</span>, <a href="#Page_45">45</a>, <a href="#Page_46">46</a></li> - -<li class="indx"><span class="smcap">Musical Instruments</span>, <a href="#Page_24">24</a>, <a href="#Page_69">69-73</a></li> - -<li class="indx"><span class="smcap">Muzzle</span>, horse’s, <a href="#Page_104">104</a></li> - -<li class="ifrst">N</li> - -<li class="indx"><span class="smcap">Nurse</span>, <a href="#Page_40">40</a></li> - -<li class="ifrst">O</li> - -<li class="indx"><span class="smcap">Onkos</span>, <a href="#Page_14">14</a></li> - -<li class="indx"><span class="smcap">Onos</span>, <a href="#Page_32">32-33</a></li> - -<li class="indx"><span class="smcap">Oscillum</span>, <a href="#Page_6">6</a></li> - -<li class="indx"><span class="smcap">Oven</span>, <a href="#Page_37">37</a></li> - -<li class="ifrst">P</li> - -<li class="indx"><span class="smcap">Pail</span>, <a href="#Page_26">26</a>, <a href="#Page_28">28</a></li> - -<li class="indx"><span class="smcap">Palla</span>, <a href="#Page_60">60</a></li> - -<li class="indx"><span class="smcap">Pankration</span>, <a href="#Page_93">93</a>, <a href="#Page_96">96</a></li> - -<li class="indx"><span class="smcap">Pentathlon</span>, <a href="#Page_92">92</a></li> - -<li class="indx" id="Pets"><span class="smcap">Pets</span>, <a href="#Page_41">41</a>, <a href="#Page_75">75</a></li> - -<li class="indx"><span class="smcap">Physician’s Instruments</span>, <a href="#Page_118">118</a></li> - -<li class="indx"><span class="smcap">Pilos</span>, <i>see</i> <a href="#Cap">Cap</a></li> - -<li class="indx"><span class="smcap">Plough</span>, <a href="#Page_109">109-110</a></li> - -<li class="indx"><span class="smcap">Pottery</span>, <a href="#Page_28">28-29</a>, <a href="#Page_119">119-120</a>, <a href="#Page_128">128</a></li> - -<li class="indx"><span class="smcap">Prayer</span>, <i>see</i> <a href="#Worshipper">Worshipper</a></li> - -<li class="indx"><span class="smcap">Priest</span>, Roman, <a href="#Page_9">9</a></li> - -<li class="indx"><span class="smcap">Prizes</span>, at games, <a href="#Page_96">96-97</a></li> - -<li class="ifrst">Q</li> - -<li class="indx"><span class="smcap">Quarrying</span> or <span class="smcap">Mining</span> (?), relief, <a href="#Page_112">112</a></li> - -<li class="ifrst">R</li> - -<li class="indx"><span class="smcap">Race</span>, foot, <a href="#Page_92">92</a>, <a href="#Page_93">93</a></li> - -<li class="indx"><span class="pagenum"><a id="Page_135"></a>[135]</span><span class="smcap">Razor</span>, <a href="#Page_63">63</a></li> - -<li class="indx"><span class="smcap">Riding</span>, <a href="#Page_101">101-102</a>, <a href="#Page_104">104-105</a></li> - -<li class="indx"><span class="smcap">Ring-Dance</span>, <a href="#Page_5">5-6</a></li> - -<li class="ifrst">S</li> - -<li class="indx"><span class="smcap">Sacrifice</span>, on glass relief, <a href="#Page_11">11-12</a></li> - -<li class="indx"><span class="smcap">Safety-Pin</span>, <i>see</i> <a href="#Fibula">Fibula</a></li> - -<li class="indx"><span class="smcap">Sarcophagus</span>, <a href="#Page_130">130-131</a></li> - -<li class="indx"><span class="smcap">School</span>, <a href="#Page_43">43-46</a></li> - -<li class="indx"><span class="smcap">Sewing</span>, <a href="#Page_34">34-35</a></li> - -<li class="indx"><span class="smcap">Sheepfold</span>, votive, <a href="#Page_110">110</a></li> - -<li class="indx"><span class="smcap">Shield</span>, <a href="#Page_82">82</a>, <a href="#Page_84">84-85</a>, <a href="#Page_87">87</a>, <a href="#Page_107">107</a></li> - -<li class="indx"><span class="smcap">Shoes</span>, <a href="#Page_55">55-56</a>, <a href="#Page_61">61</a>;</li> -<li class="isub1">for horses, <a href="#Page_102">102</a>;</li> -<li class="isub1">of tragic actor, <a href="#Page_14">14</a></li> - -<li class="indx"><span class="smcap">Shrine</span>, miniature, <a href="#Page_4">4</a></li> - -<li class="indx"><span class="smcap">Sickle</span>, <a href="#Page_110">110</a></li> - -<li class="indx"><span class="smcap">Sistrum</span>, <a href="#Page_10">10</a></li> - -<li class="indx"><span class="smcap">Slave</span>, <a href="#Page_118">118-119</a></li> - -<li class="indx"><span class="smcap">Sleeves</span>, <a href="#Page_49">49-50</a>, <a href="#Page_60">60</a></li> - -<li class="indx"><span class="smcap">Sling</span>, <a href="#Page_86">86-87</a></li> - -<li class="indx"><span class="smcap">Spatula</span>, <a href="#Page_66">66</a>, <a href="#Page_118">118</a></li> - -<li class="indx"><span class="smcap">Spear-Head</span>, <a href="#Page_85">85</a></li> - -<li class="indx"><span class="smcap">Spindle</span>, <a href="#Page_33">33-34</a></li> - -<li class="indx"><span class="smcap">Spindle-Whorl</span>, <a href="#Page_34">34</a></li> - -<li class="indx"><span class="smcap">Spinning</span>, <a href="#Page_33">33</a>, <a href="#Page_34">34</a>, <a href="#Page_36">36</a></li> - -<li class="indx"><span class="smcap">Spoon</span>, <a href="#Page_30">30</a></li> - -<li class="indx"><span class="smcap">Steelyard</span>, <a href="#Page_114">114-115</a></li> - -<li class="indx"><span class="smcap">Stola</span>, <a href="#Page_60">60</a></li> - -<li class="indx"><span class="smcap">Strigil</span>, <a href="#Page_63">63</a></li> - -<li class="indx"><span class="smcap">Stripe</span>, on tunic and toga, <a href="#Page_60">60-61</a></li> - -<li class="indx"><span class="smcap">Stucco</span>, <a href="#Page_20">20</a>;</li> -<li class="isub1">reliefs, <a href="#Page_22">22</a></li> - -<li class="indx"><span class="smcap">Stylus</span>, <a href="#Page_44">44</a></li> - -<li class="indx"><span class="smcap">Swing</span>, <a href="#Page_42">42</a></li> - -<li class="indx"><span class="smcap">Sword</span>, <a href="#Page_86">86</a></li> - -<li class="indx"><span class="smcap">Symposium</span>, <a href="#Page_68">68</a></li> - -<li class="indx"><span class="smcap">Syrinx</span>, <a href="#Page_73">73</a></li> - -<li class="ifrst">T</li> - -<li class="indx"><span class="smcap">Table</span>, votive, <a href="#Page_6">6</a>, <a href="#Page_24">24</a></li> - -<li class="indx"><span class="smcap">Table-Service</span>, bronze, <a href="#Page_29">29-30</a>, <a href="#Page_128">128</a></li> - -<li class="indx"><span class="smcap">Toga</span>, <a href="#Page_61">61</a></li> - -<li class="indx"><span class="smcap">Toilet-Box</span>, <a href="#Page_33">33</a>, <a href="#Page_42">42-43</a>, <a href="#Page_64">64</a></li> - -<li class="indx"><span class="smcap">Tomb-Furniture</span>, <a href="#Page_63">63</a>, <a href="#Page_66">66</a>, <a href="#Page_128">128-129</a></li> - -<li class="indx"><span class="smcap">Top</span>, whipping, <a href="#Page_38">38-39</a>, <a href="#Page_42">42</a></li> - -<li class="indx"><span class="smcap">Torch-Holder</span>, <a href="#Page_30">30</a></li> - -<li class="indx"><span class="smcap">Toys</span>, <a href="#Page_41">41-43</a></li> - -<li class="indx"><span class="smcap">Trainer</span>, <a href="#Page_90">90</a>, <a href="#Page_92">92</a></li> - -<li class="indx"><span class="smcap">Tripod</span>, <a href="#Page_24">24</a></li> - -<li class="indx"><span class="smcap">Trophy</span>, <a href="#Page_87">87</a></li> - -<li class="indx"><span class="smcap">Tweezers</span>, <a href="#Page_63">63</a></li> - -<li class="indx"><span class="smcap">Tyche</span>, <a href="#Page_9">9</a></li> - -<li class="ifrst">V</li> - -<li class="indx"><span class="smcap">Vases</span>, <a href="#Page_28">28</a>, <a href="#Page_35">35</a>, <a href="#Page_37">37-38</a>, <a href="#Page_44">44</a>, <a href="#Page_47">47-48</a>, <a href="#Page_55">55</a>, <a href="#Page_63">63-64</a>, <a href="#Page_93">93</a>, <a href="#Page_94">94</a>, <a href="#Page_96">96</a>, <a href="#Page_101">101</a>, <a href="#Page_105">105</a>, <a href="#Page_111">111</a>, <a href="#Page_125">125-126</a>;</li> -<li class="isub1">marriage, <a href="#Page_39">39</a>;</li> -<li class="isub1">perfume, <a href="#Page_39">39</a>;</li> -<li class="isub1">ring, <a href="#Page_6">6</a>;</li> -<li class="isub1">toy, <a href="#Page_41">41</a></li> - -<li class="indx"><span class="smcap">Victor</span>, <a href="#Page_97">97</a></li> - -<li class="indx"><span class="smcap">Votive Offering</span>, <a href="#Page_4">4</a>, <a href="#Page_5">5</a>, <a href="#Page_6">6</a>, <a href="#Page_110">110</a>, <a href="#Page_112">112</a>;</li> -<li class="isub1">for treaty (?), <a href="#Page_8">8</a></li> - -<li class="ifrst">W</li> - -<li class="indx"><span class="smcap">Wall-Decorations</span>, <a href="#Page_20">20</a>, <a href="#Page_22">22</a></li> - -<li class="indx"><span class="smcap">Weaving</span>, <a href="#Page_34">34</a>, <a href="#Page_36">36</a></li> - -<li class="indx"><span class="smcap">Well-House</span>, <a href="#Page_37">37-38</a></li> - -<li class="indx"><span class="smcap">Wine-Making</span>, <a href="#Page_110">110</a></li> - -<li class="indx" id="Wine-strainer"><span class="smcap">Wine-Strainer</span>, <a href="#Page_30">30</a></li> - -<li class="indx"><span class="smcap">Winnowing</span>, <a href="#Page_36">36-37</a></li> - -<li class="indx"><span class="smcap">Wool-Working</span>, <a href="#Page_32">32-34</a></li> - -<li class="indx" id="Worshipper"><span class="smcap">Worshipper</span>, attitude of, <a href="#Page_4">4</a>;</li> -<li class="isub1">saluting statue, <a href="#Page_4">4-5</a></li> - -<li class="indx"><span class="smcap">Wrestling</span>, <a href="#Page_92">92</a></li> - -<li class="indx"><span class="smcap">Writing</span>, <a href="#Page_44">44</a></li> - -</ul> - -<hr class="chap x-ebookmaker-drop" /> - -<p class="center">OF THIS BOOK<br /> -ONE THOUSAND COPIES<br /> -WERE PRINTED<br /> -JANUARY, MCMXXIV<br /> -ONE THOUSAND ADDITIONAL COPIES<br /> -WITH CORRECTIONS WERE PRINTED<br /> -JUNE, MCMXXIV</p> - -<div class="figcenter illowp46" style="max-width: 12.5em;"> - <img class="w100" src="images/gilliss.jpg" alt="" /> -</div> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK THE DAILY LIFE OF THE GREEKS AND ROMANS AS ILLUSTRATED IN THE CLASSICAL COLLECTIONS ***</div> -<div style='text-align:left'> - 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