Greek Women

by Mitchell Carroll

Wedding scenes are frequently the subject of illustration in antique art. The most remarkable of these is the splendid wall painting known as the Aldobrandini Wedding, preserved in the Vatican. It represents, painted on one surface, three different scenes of the marriage ceremony. The central picture represents a chamber of the gynoe onitis, where the bride, chastely veiled, reclines on a beautiful couch; "Peitho, the goddess of persuasion, sits by her side, as appears from the crown on her head and from the many-folded peplus falling over her back. She pleads the bridegroom's cause, and seems to encourage the timorous maiden. A third female figure, to the left of the group, leaning on a piece of a column, seems to expect the girl's surrender; for she is pouring ointment from an alabastron into a vase made of shell, so as to have it ready for use after the bridal bath. Most likely she represents the second handmaiden of Aphrodite, Charis, who, according to the myth, bathed and anointed her mistress with ambrosial oil in the holy grove of Paphos. The pillar at the back of Charis indicates the partition wall between this chamber and the one next to it on the left. We here see a large basin filled with water, standing on a columnar base. The water is perhaps that of the well Callirrhoë, fetched by the young girl standing close by for the nuptial bath. The girl seems to look inquiringly at the matronly figure approaching the basin on the other side, and putting her fingers into the water as if to test its warmth. Her sublime form and priestly dress, together with the leaf-shaped instrument in her hand (probably the instrument used at lustrations), seem to portray her as Hera Teleia, the protecting goddess of marriage, in the act of examining and blessing the bridal bath. The third scene of the picture is placed at the entrance of the bride's house. The bridegroom, crowned with vine branches, is sitting on the threshold, as if listening impatiently for the close of the ceremony inside the house. In front of him is a group of three maidens, one of whom seems to be making an offering at a portable altar, while the other two begin the hymenæus to the accompaniment of the cithara."

With the completion of the marriage ceremonies, the maiden has passed from the gynæconitis of her father to that of her husband; but, though still under masculine control, she is absolute mistress of her limited sphere; yet she is expected to refrain from manifesting interest in the public affairs of her husband and to confine her attention to her domestic duties.

"Good women must abide within the house;

Those whom we meet abroad are nothing worth,"

writes the poet; and this couplet expresses the Athenian husband's idea of the wife's proper sphere of activity. His life is essentially an outdoor one. The market place, a the law courts, the numerous colonnades, are the centres of his activity, where he passes his time in attending to business, in discussing politics, in telling or hearing some new thing. His recreations consist in visiting the palæstræ or the gymnasia, the clubhouses of ancient Greece, and in participating with his chosen friends in banquets at which beautiful flute players and cultivated hetæræ afford pastime and amusement. He passes but little time at home.

Meanwhile, the wife superintends the slaves and assigns them their several duties; she looks after the stores, utensils, and furnishings of the household; she presides over the kitchen; she nurses the sick; and, above all, she devotes her attention to the careful rearing of the children, whose prattle breaks the otherwise monotonous existence of the women's apartments. Occasionally, she visits her friends, or receives them in her house; but the gathering of women was discouraged by the husbands, who believed the effect of gossip to be matrimonial discontent.

Religious ceremonies occupied a large part of feminine life, and women over sixty might attend any funerals to which inclination called them; and funerals among the Greeks, save in isolated cases, were not hopelessly solemn affairs. These elderly women were also privileged to attend memorial exercises in honor of the distinguished dead, and it was on an occasion such as this that Thucydides puts into the mouth of Pericles the famous dictum, expressing so aptly the Athenian conception of the ideal woman: "The best wife is the one of whom the least is said, either of good or evil." The tortoise was the symbol of feminine life--the creature that never goes out of her shell. Lycurgus draws a dramatic picture of the receipt of the news at Athens of the fateful day at Chæronea, when the Athenian women stood in the doors of their houses, making inquiries concerning husbands and brothers and fathers, but not, as might have been expected, gathering in the streets to discuss the terrible tidings.

Although their opportunities for social life were so limited, the Athenian women devoted much time to their toilet. Bathing was a daily habit, and was attended by anointing with oils and fragrant essences. The dignity and grace of Athenian dress are admirably illustrated by the drapery of the female forms which support the roof of the southern portico of the Erechtheum. The tunic, with its overhanging diplois, fastened round the hips by means of a girdle, was gracefully arranged in symmetrical folds. Linen was usually the material employed, and white was the favorite color among modest Greek women; yet particolored Oriental garments were also worn. Dresses were frequently adorned with inwoven patterns and attached borders and embroideries. The outer garment was the mantle, or peplos, shaped like a shawl and capable of a variety of picturesque drapings. The headdress of women was simple. Hats were not worn, except on journeys, and, beyond the customary veil, the chief ornament was a band for holding together the plentiful hair. This was frequently knotted at the top of the head and fastened by pins of gold and silver, the tops of which were shaped like the pineapple or the lotus flower; sometimes the front hair was arranged in small ringlets, while the back hair partly fell smoothly over the neck, and partly descended below the shoulders in long curls. Frequently, ribbons were used to bind the hair, adorned, where it rested on the forehead, with a plaque of metal formed like a frontal, called the stephané; or a band of cloth or leather was used, broad in the centre and growing narrower at the ends, styled sphendoné from its similarity to a sling. Sandals were the usual form of footwear, and variety was given by the length and graceful folding of the straps. Exquisite simplicity was also seen in the jewelry. The chief ornament was the necklace; these were sometimes composed of balls of gold and garnets intermingled, or of emeralds alternating with fine pearls and attached by little chains. Bracelets owe their Greek name to the form they were generally given--that of a serpent. They were usually worn on the wrist, sometimes on the upper arm, and sometimes even about the ankle. At times, bracelets were merely circlets of gold. Sometimes they were adorned with medallions at intervals, sometimes they were set with emeralds, garnets, or pearls. The ear-rings were of graceful form, sometimes representing a swan in black enamel, with bill, wings, feet, and tail of gold, sometimes a dove on a delicate pedestal, a bunch of grapes with a golden stem, or a sphinx, or a panther's head. The clasps or buckles which bound the tunic or the peplus, usually shaped in the form of an arc, exhibited rare beauty. Rings, set with carnelian, agate, sardonyx, amethyst, and other gems, and brooches of every variety, completed the ornaments in the jewel cases of the Athenian women.

In disclosing the secrets of the Athenian toilet, love of truth compels us to state that these fair dames had recourse to the use of cosmetics, perhaps to overcome the paleness of complexion incident to lack of outdoor life. Cheeks and lips were given a ruddy hue by the use of minium, or the root of the alkanet; eyebrows were darkened by applying pulverized antimony; and dark hair could be changed to blonde by the use of a certain powder, which gave a golden tint, much sung of by poets.

When one reads of the great attention paid by the Athenian women to the cultivation of grace of form, of taste in dress, and of beauty of feature, it is hard to realize that such charms were confined to the women's apartments, and merely revealed themselves to the outside world on festive occasions.