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;
saluting statue, 4-5
WRESTLING, 92
WRITING, 44
OF THIS BOOK
ONE THOUSAND COPIES
WERE PRINTED
JANUARY, MCMXXIV
ONE THOUSAND ADDITIONAL COPIES
WITH CORRECTIONS WERE PRINTED
JUNE, MCMXXIV
[Illustration]