detail is referred to drawers 1-8 in Case D of the Bronze Room, and
to the collections in the Iron Age Room. In this case of toilet
accessories only a few of the typical forms are shown.
[Illustration: FIG. 143.--FIBULA OF THE MYCENAEAN PERIOD (NO. 356).
1:4.]
[Illustration: FIG. 144.--GREEK FIBULA WITH GEOMETRIC DECORATION (NO.
357). 1:2.]
[Illustration: FIG. 145.--EARLY GREEK FIBULA (NO. 358). 1:2.]
The simplest form of fibula is represented here by examples excavated
at Enkomi in Cyprus, which belong to the end of the Bronze Age, before
1000 B.C. (No. =356=; fig. 143). Starting from this primitive form,
the history of the fibula is one of progressive development and
elaboration. It must be observed in the first place that the whole
class of fibulae may be divided into two great groups--viz., an older
group, in which the coiled spring is unilateral, that is, a plain
spiral, between the bow and the pin; and a younger group, in which the
spring is bilateral, that is a symmetrically disposed double coil, on
each side of the pin. We deal first with the =Unilateral group=. In
Greek regions the development of the form, fig. 143, was mainly a
development of the catchplate in a vertical plane--that is in the
plane of the bow of the fibula. This plate, often with incised
patterns (Fig. 144; No. =357=) was a characteristic of the period of
geometric art in Greece. Two very large examples are shown above Case
D in the Bronze Room. The plainly curved bows may have some further
ornament, such as beads strung on them (No. =358=; fig. 145) or
imitation bead patterns, or a figure of a standing bird (No. =359=;
fig. 146). All these examples come from the island of Rhodes.
[Illustration: FIG. 146.--EARLY GREEK FIBULA (NO. 359). 1:2.]
[Illustration: FIG. 147.--FIBULA FROM CYPRUS (NO. 360). 1:2.]
[Illustration: FIG. 148.--ITALIAN FIBULA (NO. 361). 1:2.]
Some from Cyprus are quite distinct, and seem to have no connection
with the others (No. =360=; fig. 147). In the classical period the
fibula was little used in Greece, in consequence of modifications in
dress which rendered such fastenings unnecessary.
In Italy, on the other hand, the fibula flourished exceedingly. The
plain wire original, such as that given above (fig. 143) was soon
elaborated. In the catch-plate it developed either horizontally, that
is, by a beating out of the plate in a plane at right angles to that
of the bow (No. =361=; fig. 148) or longitudinally, by the elongation
of the catch-plate as in Nos. =362-3= (figs. 149-150). At the same
time developments were taking place in the bow. It became larger (fig.
149), and then was hollowed out to save weight and material (fig.
150), and assumed forms known as leech-shaped and boat-shaped--and
these threw out lateral knobs and ornaments (fig. 150), often of great
elaboration. Alternatively, the bow makes a second convolution (fig.
148), and may be adorned with horn-like pairs of projections (No.
=364=).
[Illustration: FIG. 149.--ITALIAN FIBULA OF LEECH SHAPE (NO. 362).
1:2.]
[Illustration: FIG. 150.--ITALIAN FIBULA (NO. 363). 1:2.]
An independent form is chiefly found at Hallstatt, in cemeteries of
the early European Iron Age. In this, two, or perhaps four, spiral
coils make the whole decoration of the brooch (No. =365=, fig. 151).
[Illustration: FIG. 151.--FIBULA OF _Hallstatt_ TYPE (NO. 365). 1:2.]
[Illustration: FIG. 152.--FIBULA OF _La Tène_ TYPE (NO. 366). 1:2.]
=The Bilateral form.=--The fibulae with the spring coiled on each side
of the central bow came into use about 400 B.C., in the late Iron Age
civilization, called the La Tène period, from the site on the Lake of
Neufchatel, where the richest finds have been made. Together with the
introduction of the double spring, there is a continued elongation
of the catch-plate, which is turned up as in No. =366= (fig. 152) and
attached to the bow as in No. =367= (fig. 153). Later its structural
origin is forgotten, and it becomes a solid framework (No. =368=).
[Illustration: FIG. 153.--FIBULA OF _La Tène_ PERIOD (NO. 367).]
[Illustration: FIG. 154.--FIBULA FROM BELOW SHOWING THE BILATERAL
SPRING (NO. 369).]
[Illustration: FIG. 155.--ROMAN FIBULA OF CROSS-BOW SHAPE (NO. 370).
1:2.]
[Illustration: FIG. 156.--ROMAN FIBULA (NO. 371). 1:2.]
The fibula of the Roman Empire was more like a brooch than a
safety-pin, if a distinction can be drawn between the two. The bow
became broad and heavy, while the pin was often made separately and
attached by a hinge. But it shows a strong connection with the La Tène
types, especially in the double coil of the spring, which was often
protected by a sheath (No. =369=; fig. 154). Even when the spring went
out of use, the fibula retained this cross-bow shape (No. =370=; fig.
155). The elaborate bronze brooch in the form of a ribbed band passing
through a ring (No. =371=; fig. 156) is stamped underneath with the
name of the maker (+VLATI+), in the manner of the Roman pottery.
Enamel or metal inlay was liberally applied in the decoration of the
later brooches. A large collection with great variety of shapes is
exhibited. The effect of the bright colours is best seen in the big
round pieces which were popular in the third and fourth centuries A.D.
(No. =373=; fig. 157). Animal forms were also common at this time, and
were similarly decorated with inlay (No. =374=; fig. 158). These
types were widely spread over the western provinces of the Empire, and
continued in use among the nations who succeeded to the Roman power.
Somewhat akin to the fibulae are the strap buckles, which appear
to have come into use at a late period only. A group, nearly of the
modern form, is exhibited (No. =374*=).
[Illustration: FIG. 157.--LATE ROMAN ENAMELLED FIBULA (NO. 373). 1:1.]
[Illustration: FIG. 158.--LATE ROMAN ENAMELLED FIBULA (NO. 374). 1:1.]
=Jewellery and Ornaments.=--Jewellery in gold and silver can be best
studied in the Room of Gold Ornaments. The examples shown here are
chosen as types of the forms, rather than as choice pieces.
=Bracelets.=--A favourite form of bracelet or armlet was modelled
in imitation of a snake coiled round the arm or wrist. See the small
silver bracelet of about the fourth to third century B.C., inscribed
with the names of its owner Kletis (No. =375=; fig. 159). The same
design is also used for finger-rings (No. =376=). Snake-coils of a
large size were also worn on the legs, as shown by a small terracotta
torso from Ephesus, which has this ornament on the thigh (No. =377=).
This torso also has a chain of beads passing over the shoulders and
crossing between the breasts. Such an arrangement is common on figures
in vases of the fourth to third century B.C.
[Illustration: FIG. 159.--BRACELET OF KLETIS (NO. 375).]
=Finger-rings.=--The rings are generally set with an engraved gem
or bezel; some have revolving scarabs which are pierced through
the middle (No. =378=), another has a gold intaglio portrait of the
Empress Faustina (No. =379=), while an enormous bronze ring has the
design cut in the bezel itself, a double head of Hermes and a Seilenos
(No. =380=). These examples are in bronze and of poor workmanship, but
they serve to illustrate the general style of ancient rings. A great
number in gold and silver, arranged in order of date, are exhibited in
the Room of Gold Ornaments, where the subject can be more adequately
studied. The intaglio designs were for use in sealing, which was
more commonly practised by the ancients than it is now. Others have a
purely decorative purpose, and were worn in profusion. The bronze
hand (No. =381=) has rings on the upper joints of the fingers,
in accordance with a common fashion of the Roman Imperial period.
Fragments of bronze and terracotta also show the fashions of wear.
The Greeks of an early period did not usually wear ornamental rings,
although signets were in constant use, and it was not until the fourth
century B.C. that rings were worn for display. In Rome there were
class restrictions on the use of the gold ring, but these were
lessened as time went on, until in the late Empire they practically
disappeared. Betrothal rings were customary among the Romans, but in
Greece there is no record of their use. A gold betrothal ring is shown
in Case 53 (No. =639=).
=Earrings.=--The bronze earrings are from the site of the temple of
Artemis at Ephesus, and are earlier than the sixth century B.C. (fig.
160). Two types are represented; the swelling hoop of wire, which hung
like a liquid drop (No. =382=) and the heavy coil, which was suspended
from a ring (No. =383=). For a very great variety of earrings, see the
collection in the Room of Gold Ornaments.
[Illustration: FIG. 160.--GREEK BRONZE EARRINGS OF EARLY DATE, FROM
EPHESUS (NOS. 382-3). 3:4.]
=Bullae.=--The flat bronze pendants (No. =384=), with a circular
receptacle in the middle, are _bullae_. These are ornaments of
Etruscan origin, introduced early into Rome. They were designed to
contain amulets and charms, and were worn principally by freeborn
Roman boys, and occasionally by domestic animals.
=Necklaces.=--The necklaces here exhibited (No. =385=) consist
of beads of painted terracotta and glass. See also the imitation
jewellery in terracotta, in the Terracotta Room, Table Case C.
Those of more precious materials are in the Gold Ornament Room. Some
fragments of terracotta show the Cypriote fashion of wearing numerous
necklaces together (No. =386=).
=Studs, etc.=--Links and studs of Roman times (No. =387=) bear
a striking resemblance to the modern articles, as does a coiled
hook-and-eye which dates actually from the Bronze Age Period (No.
=388=). A peculiar fastening is seen in the double hooks which
probably served to loop together the two sides of a shawl or cloak
(No. =389=). They are probably of Roman date, and come in some
instances from the province of Gaul.
=Pins.=--Some of the pins may have been used equally well to fasten
the clothing or to adorn the hair; but others were evidently designed
to serve only one of these purposes. Those in carved ivory are plainly
hair-pins (No. =390=; fig. 161). The roughly worked busts of Roman
ladies of the Empire indicate the period to which the series belongs.
The little statuette is intended to represent Aphrodite wringing the
water out of her hair, after rising from the sea. A fine gold pin
similarly modelled is exhibited in the Gold Ornament Room (Case K;
No. 3034). The ivory hand, which holds a cone and is encircled by a
serpent, has some magical significance, like the bronze votive-hands
in Case 106 (p. 57).
[Illustration: FIG. 161.--ROMAN IVORY HAIR-PINS (NO. 390). 1:2.]
[Illustration: FIG. 162.--BRONZE AND SILVER PINS, OF MYCENAEAN AND
GREEK PERIODS (NOS. 391-6). 1:2.]
The metal pins are less elaborate. The simplest shape was straight and
headless, a direct copy of the natural thorn which first suggested the
idea. A very primitive head is seen on the small bronze pin which is
bent round at the top (No. =391=; fig. 162_a_). It was found in the
island of Kalymnos, and belongs to the pre-Mycenaean age, say 2000
B.C. A silver pin is similarly bent, but as it has a head as well,
is not so early (No. =392=; fig. 162_b_). Another prehistoric type is
represented by several bronze pins which were excavated from tombs of
the late Mycenaean age at Enkomi in Cyprus (No. =393=; fig. 162_c_).
These are pierced with eyes in which chains were fastened to secure
the pins to the dress or to each other. Three pins crowned by large
ivory knobs come from the same site and belong to the same period (No.
=394=; fig. 162_d_). The bronze pin with a head made of several discs
is Greek of the sixth century B.C., as it appears in the paintings
of the François Vase at Florence, which is an Attic work of that date
(No. =395=; figs. 162_e_, 163). Another classical type is the silver
pin with a moulded head (No. =396=; fig. 162_f_). Others of less
remarkable designs cannot be definitely dated.
=Toilet.=--In the most personal aspects of life and manners there is
least room for change, for in the course of ages it is not man that
has altered, but his surroundings; and the study of such intimate
details reveals a close similarity between the ancient and the modern
worlds.
[Illustration: FIG. 163.--A WOMAN IN THE DORIAN _Chiton_, SHOWING THE
PIN ON SHOULDER.]
=Combs.=--To begin with the more necessary implements, the combs go
back to a high antiquity. An ivory comb from Enkomi in Cyprus dates
from the Mycenaean age (No. =397=; fig. 164). It is of simpler form
than later combs, having only one row of teeth. The others are of the
Greek and Roman periods, and are made both of wood and bone. The usual
pattern is that of a modern tooth-comb, with a row of teeth on each
side of the body--one coarse and one fine. There are wooden examples
from Kertch, in South Russia (No. =398=). More elaborate is the ivory
piece, which is decorated with reliefs, a Gryphon and a lion on
one side and two cranes at a fountain on the other (No. =399=. The
original is in the case of Ivories, L). Another of good Roman period
is carved by an amateur hand with an inscription, doubtless in
compliment to the lady to whom it belonged (No. =400=; fig. 164). The
legend reads +MODESTINA·V·H·E·E+--the four letters at the end being
perhaps abbreviated epithets of the fair Modestina, _V(irgo)
H(onesta) E(t) E(gregia)_. A different type appears in the triangular
pocket-comb, which fits into a protecting case (No. =401=; fig. 164).
This belongs to the end of the Roman Empire, the fourth century A.D.,
and may already show the influence of barbarian art. Similar combs
were brought to England by the Danes, and some of them which have been
found at York and elsewhere are exhibited in the British and Mediaeval
Department.
[Illustration: FIG. 164.--IVORY COMBS, OF THE MYCENAEAN AND ROMAN
PERIODS (NOS. 397, 400, 401). 1:3.]
With the combs is a brush of vegetable bristles from an Egyptian
rubbish heap of a late period of the empire (No. =402=).
=Toilet Boxes.=--Other relics of the dressing-table are the
toilet-boxes and scent-bottles. There is a Greek toilet-box from
Naukratis still coloured by the rouge which it contained (No. =403=);
and another has a carved wooden lid in the shape of a woman's head of
great beauty (No. =404=). A leaden box was found in a Greek tomb at
Halikarnassos (No. =405=). Another was given by Kratylos of Aegina
to Eulimine. The inscription, the modern turn of which is perhaps not
free from suspicion, describes it as a "slight token of respect from
a certain small Aeginetan" (No. =406=; fig. 165).[43] Other boxes of
bronze and ivory date from the Roman period. Most of the wooden
boxes are carved in fantastic or frivolous shapes: a swimming duck,
a crouching boar, and a shoe (Nos. =407=, =408=, =409=). These are
divided into compartments for the various powders, and some blocks of
paint are still preserved. For liquid ointments there are an alabaster
box (No. =410=) and three bottles of the same material and remains
of a leather bottle with its cork (No. =411=). An Etruscan bronze
_cista_, which stands on three human feet, contains a set of movable
tubes, each for a different unguent (No. =412=). The lid of this
receptacle was crowned by the small bronze statuette which stands
beside it. Besides cosmetics for the complexion, the toilet-boxes
may have held tooth-powders, for which there are many receipts in the
works of ancient writers on medicine.
=Mirrors.=--For mirrors the ancients were at a disadvantage. The use
of glass was known, but was not common, and the ordinary reflecting
medium was a sheet of burnished metal. There are, however, two genuine
looking-glasses--one in a leaden frame, from Olbia (No. =413=), and
the other set, with several fragments, in a plaster slab, from Gheyta,
in Egypt (No. =414=). The glass was probably backed with foil, and it
is remarkable that the reflectors are convex, so that the image must
have been distorted. A similar surface is attempted on the square
sheet of metal, which is glazed with a vitreous enamel (No. =415=).
[Illustration: FIG. 165.--TOILET BOX OF EULIMINE (NO. 406).]
The more usual metal mirrors have two principal forms: a circular
reflector, mounted on a handle like the modern hand-glass, which is
represented by a specimen in silver from Naukratis (No. =416=), and
a similar disc enclosed in a folding box (No. =417=). Both these
varieties were often decorated with engraving. See No. =417=, a mirror
from Hermione, with an engraved design of Aphrodite and Eros. In
the Bronze Room there are large collections of all types. A small
pocket-mirror in this Case has on one side of the bronze box a head
of Nero, and on the other the god Dionysos standing by a vine (No.
=418=). The disc is silver-plated, like most of these examples. Two
similar boxes have been turned out of large brass coins of Nero (No.
=419=). A fragment of a silvered mirror from Amathus in Cyprus has
a palm-tree engraved on its face (No. =420=). Though the design
indicates that this side is the front, yet the reflector was the
convex back, and thus, in a spirit quite foreign to Greek art, the
purpose of the thing was subordinated to its decoration.
[Illustration: FIG. 166.--BRONZE RAZOR OF PRIMITIVE SHAPE (NO. 421).
1:2.]
[Illustration: FIG. 167.--BRONZE RAZOR FROM ATHENS (NO. 422). 1:2.]
[Illustration: FIG. 168.--BRONZE RAZOR FROM SARDINIA (NO. 423). 3:5.]
=Razors.=--The razor is another toilet instrument which existed in the
earliest times. No prehistoric specimens are in this collection, but
a primitive shape is represented by two circular blades with
stirrup-like handles (No. =421=, fig. 166). Others are of square spade
shape, with a twisted loop handle and a hole in the blade. One of
these is from Athens (No. =422=; fig. 167). A third type is shown in
three razors of Phoenician origin (from Sardinia and Carthage), with
long hatchet blades (No. =423=; fig. 168). These are ornamented with
engraving and have handles in the shape of swan's heads. All are made
of bronze, and were no doubt capable of taking an edge so keen as to
render them far more efficacious than their present appearance would
suggest.
[Illustration: FIG. 169.--BRONZE NAIL-FILE (NO. 424). 1:2.]
[Illustration: FIG. 170.--SILVER EAR-PICK (NO. 425). 3:5.]
=Miscellaneous Toilet Implements.=--Next to the razors are placed
various tools of which the functions are easily understood. There are
several nail-files with a roughened surface, and a smooth notch
for polishing (No. =424=; fig. 169). Two of these are combined with
ear-picks, which were in general use at Rome. They have a minute bowl
at the end of a slender arm. A very elegant ear-pick, which has a
leaf-shaped scraper at the other end, is made of silver (No. =425=;
fig. 170). Others end in a sharp point, which may have been used
either for a tooth-pick or in emergency for a _stilus_ pen (cf. p.
199). Another ear-pick is combined with a pair of tweezers and some
other tools now lost (No. =426=). The tweezers were used for plucking
out such hairs as Roman fashion deemed unsightly.
For _Fibulae_, see _Catalogue of Bronzes_, and _Guide to
Antiquities of Early Iron Age_ (Dept. of B. & M. Antiqs.);
(375) _Cat. of Jewellery_, 2775; (406) _B.M. Inscr._, 947;
(420) _Excavations in Cyprus_, fig. 149.
[Footnote 43: [Greek: Smikrou tinos Aiginêtou endees eimi
endeigma latreias.]]
XII.--DOMESTIC ARTS.
(Table-Case G.)
In this Table Case, under the general heading of "The Domestic Arts,"
objects are exhibited connected with the house industries of spinning,
weaving, and sewing, together with various groups of objects connected
with home life, such as locks and keys, seals, knives, etc.
[Illustration: FIG. 171.--WOMAN SPINNING (NO. 421). Ht. of Vase 8-3/4
in.]
[Illustration: FIG. 172.--WOMAN SPINNING (NO. 422). Ht. of Vase 4-1/2
in.]
[Illustration: FIG. 173.--SPINDLES AND WHORLS, SHUTTLE AND LOOMWEIGHT.
2:5.]
=Spinning and Weaving.=--(_a_) _Preparation of yarn._--The process of
spinning is clearly seen in the accompanying drawings from Greek
vases of the fourth and fifth centuries exhibited in this Case (Nos.
=421-2=; figs. 171-2). In each, a woman is holding up in her left hand
the distaff, a rod which is thrust through a bunch of unspun wool.
With the fingers of her right hand she is twisting fibres drawn from
the wool. The yarn is attached below to the top of the spindle, a rod
of wood or metal with a disc (whorl) near the bottom to assist the
rotation. When some quantity of yarn had been twisted it was wound
round the body of the spindle and hitched into a hook at its upper
end (see figs. 171, 173), to prevent it from unwinding. The twisting
process was then recommenced. An impressive description of the ancient
spindle is given by Plato in the vision of Er at the end of the
_Republic_,[44] where he likens the axis of the universe to the shaft
of a spindle suspended by a hook of adamant, and the revolving starry
heavens to a whorl made up of eight concentric rims, fitting one into
the other like boxes. Two bronze spindles (No. =423=) are seen in
the Case and are illustrated on either side of fig. 173. In the same
figure are shown four ivory whorls from spindles (No. =424=). Before
the wool was placed upon the distaff it appears to have been rubbed,
with a view to the separation of the fibres, upon an instrument known
as the _epinetron_ or _onos_. This was semi-cylindrical in form and
was placed upon the knee. Several examples in terracotta had long been
known, and were explained with little plausibility as covering-tiles.
One, however, was found with a painted design which first gave the
clue to its real use (Fig. 174). One of these _epinetra_ B 96 (No.
=425=) is exhibited in this Case, together with a fragment of a
second. Other examples are to be seen in the Second Vase Room (Cases
24 and 25), and one of these is illustrated here (No. =426=; fig.
175). A miniature example was found with the girl doll seated in a
chair, exhibited in Table-Case J with the other dolls (p. 195, fig.
234, below).
[Illustration: FIG. 174.--WOMAN WITH _Epinetron_ ON KNEE.]
[Illustration: FIG. 175.--EPINETRON OR SPINNING INSTRUMENT (NO. 426).
L. 14-1/2 in.]
[Illustration: FIG. 176.--PENELOPE AT THE LOOM.]
[Illustration: FIG. 177.--LOOM WEIGHT (NO. 428). 2:3.]