4. In direct contrast with the above is the simple unornamented character and unobtrusive grandeur of the style unanimously called by the ancients the Doric.[1237] It appears certain that the first hints of this order were borrowed from buildings constructed of wood, a fact which I cannot reconcile with the supposition of a foreign origin. For we should thus lose sight altogether of the gradual and regular progress by which it advanced to maturity, and suppose that the improvements of foreign artificers, with their peculiar principles, and those of native architects, looking only to the original structure of wood, were blended, or rather violently confused together. Could anything be more natural than that the long surface of the principal beams should be imitated in stone, that the cross-beams with the Doric triglyph should be laid over these, the intervals or metopes being by degrees covered with marble, whilst the cornice, in imitation [pg 270] of carpenters' work, was allowed to project in bold relief? The roof perhaps was for some time allowed to end in a slope on each side; Corinth was the first place where the front and hind part were finished off with a pediment; the tympanum being adorned with statues of ancient clay-work.[1238] Such was the origin of the Doric temple, of which early models have been preserved in the Doric towns of Corinth and Pæstum, in Ægina, and the Doric colonies of Sicily.
We cannot however suppose it to have been the opinion of the historian of ancient architecture,[1239] that the artistical character of the Doric architecture may be satisfactorily derived from wooden buildings. It is the essence of this art to connect, by the varieties of form and proportion, a peculiar association of ideas with works intended merely for purposes of necessity. The Doric character, in short, created the Doric architecture. In the temples of this order the weight to be supported is intentionally increased, and the architrave, frieze, and cornice, of unusual depth; but the columns are proportionably strong, and placed very close to each other; so that, in contemplating the structure, our astonishment at the weight supported is mingled with pleasure at the security imparted by the strength of the columns underneath. This impression of firmness and solidity is increased by the rapid tapering of the column, its conical shape giving it an appearance of strength; while the diminution beginning immediately at the base, and the straight line not being, as in other orders, softened by the interposition of the swelling, gives a severity of character to the order.
With this rapid diminution is also connected the bold projection of the echinus (or quarter-round) of the capital; which likewise creates a striking impression, particularly if its outline is nearly rectilineal. The alternation of long unornamented surfaces with smaller rows of decorated work awakens a feeling of simple grandeur, without appearing either monotonous or fatiguing. The harmony spread over the whole becomes more conspicuous when contrasted with the dark shadows occasioned by the projecting drip of the cornice; above, the magnificent pediment crowns the whole. Thus in this creation of art we find expressed the peculiar bias of the Doric race to strict rule, simple proportion, and pure harmony.
Chapter II.
§ 1. General character of the Doric dress. § 2. Different dresses of married and unmarried women among the Dorians. § 3. Dress of the Spartan women. § 4. Dress of the Spartan men. § 5. Simplicity of the Doric dress. § 6. Doric and Ionic fashions of wearing the hair. Change of costume in many Doric states. Baths.
1. The next point which we have to consider is the mode of clothing in use among the Dorians; in which a peculiar taste was displayed; an ancient decorum and simplicity, equally removed from the splendour of Asiatics and the uncleanliness of barbarians. At the same time, however, they paid considerable attention to their personal appearance, although their manners did not require the body to be studiously and completely covered. A Dorian was the first who [pg 272] in the lists of Olympia threw off the heavy girdle, which the wrestlers of Homer had worn in common with those of barbarous countries, and ran naked to the goal;[1240] in fact a display of the naked form, when all covering was useless, and indeed inconvenient, was altogether in harmony with the Doric character. This reminds us of the nakedness of the Spartan young women, even in the time of Athenian civilization, [pg 273] which custom gave rise to the joke, that “the Spartans showed foreigners their virgins naked.”[1241] On this subject, however, it is necessary that we should enter into greater detail.
2. In the first place these words direct our attention to the different modes of life of the married and unmarried women among the Dorians. Modern manners, derived from the age of chivalry, carefully withdraw young women from all impressions calculated to inflame the passions; while married women are more exposed to intercourse with men. But, according to the colder notions of the Greeks, which are seen most clearly among the Dorians, the unmarried lived more in public than the married women; who attended more to the care of their family; and hence the former alone practised music and athletic exercises; the latter being occupied only with their household affairs.[1242] This explains why at Sparta unmarried women appeared with their faces uncovered, while the married only went out in veils;[1243] and it was common to see the former walking in the streets with young men,[1244] which was certainly not permitted to the others; and so also at Sparta,[1245] in Crete,[1246] and at Olympia, virgins were permitted to be spectators of the gymnastic contests, and married women only were excluded;[1247] the reverse [pg 274] of which was the case in Ionia, where the unmarried women were usually shut up in the interior of the houses.[1248]
This different position in society was also marked by the dress, which was lighter and less strict among the unmarried women; for it is these alone who are charged with exposure of their persons. This charge of the Athenians was, however, caused by a strange forgetfulness of ancient custom; for after the mode of treatment of their women had become precisely similar to that of the eastern nations, the ancient Greek usage appeared to them unnatural;[1249] and the dress of the Doric women caused in their minds the same notions as the German dress in those of the Romans; of which Tacitus says, “the German women wear the arms naked up to the shoulders, and even the next part of the breast is uncovered; notwithstanding which they never break the marriage vow.”
3. On the dress of the Spartans I need only, after the labours of former writers,[1250] make the following remarks. The chief, or indeed the only garment of the Doric virgin is by ancient writers sometimes called himation,[1251] sometimes chiton: the former more correctly, [pg 275] as appears from works of art; and the latter word was used metaphorically, from the resemblance of the himation to the linen chiton of the Ionians. This garment of woollen stuff was without sleeves, and fastened over both shoulders by clasps (πόρπαι, περόναι), which were often of considerable size;[1252] while the Ionic women wore sleeves of greater or less length.[1253] This chiton was only joined together on one side, while on the other it was left partly open or slit up (σχιστὸς χίτων[1254]); probably it could be fastened with clasps, or opened wider, so as to admit a freer motion of the limbs, so that the two skirts (πτέρυγες) flew open; whence Ibycus called the Spartan women φαινομηρίδες.[1255] This garment was also worn without a girdle; when it hung down to the calves of the legs.[1256]