ANCIENT BROOCHES AND DRESS FASTENINGS.
Every artist who paints an historical picture knows the difficulty of obtaining the necessary minutiæ, in order to give vraisemblance to his picture, as the authorities are widely scattered, and can only be brought together by those who know where to look for them; for often they lie hidden in illuminated MSS., or in books of considerable rarity, seldom looked at by the general reader, and only fully appreciated by literary men and students. We propose to show how varied and curious the history of any article of dress becomes if studied carefully, and how such minor details indicate clearly defined periods, as faithfully as any other historic data left for our guidance.
The use of the fibula, or brooch, was, in all probability, first adopted by men to secure the outer cloak upon the shoulders. It originated among the ancient Greeks, and appears to have been considered as a characteristic of Greek costume, even after it had long been adopted by the Romans, as may be understood from a passage of Suetonius in his life of Augustus. “He distributed among various other persons, togæ and pallia, and made a law that the Romans should wear the Greek habit, and the Greeks the Roman habit;” that is, that the Greeks should wear the toga, and the Romans the pallium. Now, though it is certain that the pallium, or cloak, was peculiar to the Greeks, and that many authors, besides Suetonius, testify the same, yet it is as evident that this article of dress became afterwards the common habit of Greeks and Romans.
The earliest form in which we meet with a fibula is that of a circular disc, having a pin crossing it behind, which passed through the folds of the cloak, and was hidden from sight by this outer disc. It retained that form for ages, and is rarely seen upon antique monuments in any other shape. It is very clearly represented upon the statue of Paris, as shown in [Fig. 201]. It will be seen that the cloak covered the left arm, the opening being upon the right one, where the brooch reposed on the shoulder, leaving the right arm free. There is a very beautiful and well-known antique statue of Diana, representing the goddess fastening her mantel in the same manner.
The character of this outer garment varied with the seasons, but whether heavy and warm, or light and cool, it was usually plain in its character, or simply decorated with a border, and corner ornament. Sometimes, when worn by great personages, it appears to have been decorated with needlework, and shot with threads of gold. Such a one is described in the Odyssey (book xix.) as worn by Ulysses:—
“In ample mode
A robe of military purple flow’d
O’er all his frame: illustrious on his breast
The double-clasping gold the king confest.
In the rich woof a hound, mosaic drawn,
Bore on full stretch, and seized a dappled fawn:
Deep in the neck his fangs indent their hold;
They pant and struggle in the moving gold.”
When the brooch secured the short military cloak of the Romans, it was usually worn in the centre of the breast. As the desire for personal display increased, a brooch was worn on each shoulder; the ladies often wearing a row of them to close the sleeve left open down the arm. Occasionally, they were also used to fasten the tunic above the knee, in the way that Diana,