CONTENTS
| PAGE | ||
| [I.] | Introduction—Pre-Hellenic | [1] |
| [II.] | Homeric | [15] |
| [III.] | Doric | [39] |
| [IV.] | Ionic | [57] |
| [V.] | The Maidens of the Acropolis—The Development of the Ionic Himation | [73] |
| [VI.] | Materials and Ornamentation | [97] |
| [VII.] | Hair and Head-dress | [107] |
| [VIII.] | Footgear | [115] |
| [IX.] | The Toilet—Conclusion | [120] |
| English Index | [129] | |
| Greek Index | [133] | |
LIST OF ILLUSTRATIONS
| PAGE | ||
| Fig. 1.—Cupbearer of Knossos | face | [6] |
| Figs. 2 and 3.—Snake Goddess and Votary | ” | [11] |
| Fig. 4.—Fresco of a Dancing Girl | ” | [12] |
| Fig. 5.—Statuette from Petsofa | ” | [12] |
| Fig. 6.—Studniczka’s Diagram | [18] | |
| Fig. 7.—(a) Vase—British Museum, (b and c) Vase-paintings by Klitias and Ergotimos, Florence | face | [26] |
| Fig. 8.—From the François Vase | ” | [30] |
| Fig. 9.—Diagram of the Doric Peplos | [43] | |
| Fig. 10.—Metope from the Temple of Zeus, at Olympia | face | [44] |
| Fig. 11.—Bronze Statue from Herculaneum, Naples | ” | [45] |
| Fig. 12.—Vase-painting—British Museum | ” | [46] |
| Fig. 13.—Vase-painting in the Polygnotan Style—Louvre | ” | [47] |
| Fig. 14.—Vase-painting by Hieron—British Museum | ” | [49] |
| Fig. 15.—Terra-cotta Statuette—British Museum | ” | [49] |
| Fig. 16.—Vase-painting by Euxitheos—British Museum | ” | [50] |
| Fig. 17.—Vase-painting by Falerii—Rome, Villa Giulia | ” | [50] |
| Fig. 18.—Athena of Velletri | ” | [51] |
| Fig. 19.—Bronze Statuette—British Museum | ” | [53] |
| Fig. 20.—Vase-painting—British Museum | ” | [54] |
| Fig. 21.—The Doric Himation | ” | [54] |
| Fig. 22.—Vase-painting by Euphronios—Munich | ” | [55] |
| Fig. 23.—The Chlamys and Petasos | ” | [55] |
| Fig. 24.—Diagram of the Chlamys | [55] | |
| Fig. 25.—Vase-painting from Lucania—British Museum | face | [61] |
| Fig. 26.—Diagram of the Ionic Chiton | [61] | |
| Fig. 27.—The Delphi Charioteer | face | [62] |
| Fig. 28.—Vase-painting—Munich | ” | [63] |
| Fig. 29.—Vase-painting by Brygos—British Museum | ” | [66] |
| Fig. 30.—Diagram of the Sleeved Chiton with Overfold | [66] | |
| Fig. 31.—Archaic Statue—Athens, Acropolis Museum | face | [75] |
| Fig. 32.—Archaic Statue—Athens, Acropolis Museum | ” | [78] |
| Fig. 33.—Diagram of the Archaic Ionic Himation | [90] | |
| Fig. 34.—Drapery in the Style of the Archaic Statues in the Acropolis Museum, Athens | face | [91] |
| Fig. 35.—Vase-painting—British Museum | ” | [93] |
| Fig. 36.—Vase-painting—Ionic Dress | ” | [94] |
| Fig. 37.—The Artemis of Gabii—Louvre | ” | [95] |
| Fig. 38.—Vase-painting—Dress with two Overfolds | ” | [96] |
| Fig. 39.—Fragments of a Sarcophagus Cover from Kertch | ” | [103] |
| Fig. 40.—Embroidered Fragment from Kertch | ” | [105] |
| Fig. 41.—(a and b) Fragments of a Sarcophagus Cover from Kertch. (c) Embroidered Fragment from Kertch | ” | [106] |
| Fig. 42.—Men’s Head-dress—Archaic | ” | [108] |
| Fig. 43.—(a) Head of Apollo from the Temple of Zeus, at Olympia. (b) Head of an Athlete—Athens Acropolis Museum | ” | [110] |
| Fig. 44.—Archaic form of Petasos | [111] | |
| Fig. 45.—Women’s Head-dress | face | [112] |
| Fig. 46.—Sandals and Shoes | ” | [116] |
| Fig. 47.—Boot | [118] | |
| Fig. 48.—(a) A Bronze in the British Museum. (b) Foot of the Hermes of Praxiteles (from a cast in the British Museum). (c) A Terra-cotta Flask in the British Museum | face | [118] |
| Fig. 49.—Sandals | [119] | |
| Fig. 50.—Diagram of an Aryballos | [121] | |
| Fig. 51.—Diagram of a Lekythos | [121] | |
| Fig. 52.—(a) A Pyxis in the British Museum. (b) A Toilet-box in the British Museum | face | [122] |
| Fig. 53.—(a) Bronze Box Mirror—British Museum. (b) Bronze Stand Mirror—British Museum | face | [124] |
| Fig. 54.—Diagram of an Alabastron | [125] | |
GREEK DRESS
I
INTRODUCTION
PRE-HELLENIC
In seeking to conjure up a vivid picture of the life of an ancient people, it is the task of the archæologist to neglect no point that can in any way throw light on the manners and customs which that people practised from day to day, both in the exercise of their public duties and in the privacy of their own homes.
Just as the habits and dress of an individual frequently give a true impression of his character and type of mind, so the salient characteristics of a nation are reflected in the external details of their manners and their costume. In making a careful study of the Greeks, therefore, whose innate feeling for beauty was part of their very being, and whose sense of the fitness of things rarely if ever played them false, we shall expect to find our efforts amply repaid, both by the satisfaction given to the æsthetic sense and by the knowledge we shall have gained of the development of the national character. The study of costume has, moreover, an ethnological significance which in itself justifies a detailed investigation of the subject.