arrangement of the himation, by which the whole body was enveloped and the free movement of the hands impeded. The statue of Sophokles in the Lateran Museum at Rome is a good example of the care which a cultivated man of the fifth century bestowed upon the adjustment of this garment (fig. 116).

Other mantles were of various sizes and were distinguished by many names. The chlamys was the smallest and differed from the rest also in shape, though its scheme was still rectangular. It was rather longer in proportion to its width, and was clasped

round the neck by a brooch. Its origin was in Thessaly, where it was the cape of the native horseman, and it continued to be used for this purpose in the rest of Greece. Young men wore it, especially when riding, and it was a light and convenient dress for travellers. A young horseman on a cup by the painter Euphronios (fig. 117) has a gaily embroidered chlamys hung evenly across his shoulders, and underneath is seen the skirt of the short chiton.

All these garments, both of men and women, were dyed in various colours and decorated with embroidered bands. The Dorian chiton of the lady from the François vase (fig. 133) has a coloured lining, which is seen on the overlap, and embroidered

bands of two patterns. Peleus has embroidered borders on his Ionian chiton, and his overmantle is dark in colour (fig. 113). The embroideries on the bronze statuette (fig. 111) are rendered by silver inlay, and an elaborate design is represented on the chlamys (fig. 117). An examination of the white Athenian vases in the Third Vase Room or of the statuettes in the Terracotta Room affords abundant evidence of the brilliant colours of Greek clothing, which are inadequately represented in other works of art.

FIG. 117.-A HORSEMAN WEARING THE Chlamys.

Roman Dress.-The dress of Roman women was the same as that of the Greeks of the Hellenistic period, who are vividly portrayed in the terracotta statuettes (fig. 112). Their undergarment was the Ionian chiton, now called tunica, of which two were sometimes worn together, and the overmantle was the Greek himation, by its Roman name, palla. Only the Dorian chiton was not worn by the Romans.

For men there was also a tunic similar to that worn by the Greeks; but in place of the himation the Roman toga was worn, a garment of entirely different shape. In the relief of a cutler's shop, which is exhibited in Case 41, the shopman wears the tunic

K

without a belt, while the customer, who has just come in from the street, wears the toga as well (fig. 179). In that of the forge, in Case 48, both the smiths have the tunic alone, but with the right shoulders unfastened and the skirts girt up to the knee in Greek fashion (fig. 178; compare fig. 114). Yet the Roman tunic seems already to have departed from the Greek pattern in having sleeves, though only to the elbows. Sleeved tunics were not unknown to the Greeks, whose slaves are often represented in this dress; but it was a foreign habit, and as such avoided. Among the Romans too the long-sleeved Persian tunic was regarded as a dress of effeminate luxury, but in the later Empire, in Christian times, it was in common use, and appears in the mosaics of the sixth century churches at Ravenna. Knights and senators wore a tunic decorated with two purple stripes, which ran vertically from

6 yards

2 yards

FIG. 118.-DIAGRAM ILLUSTRATING THE SHAPE OF THE TOGA.

the shoulders (fig. 120). The senator's stripes were broad, the knight's narrow.

With the growth of Greek influence in the first century before Christ, the himation was sometimes worn over the tunic, and the practice increased in the Empire, until in the Ravenna mosaics it is the only mantle. But Cicero held it to be a serious misdemeanour that Verres, as a Roman officer, wore Greek dress in Sicily, and when, on another occasion, he had to defend Rabirius Postumus against a similar charge, he referred his client's change of costume not to choice but to necessity, he having been at the time in the hands of Ptolemy at Alexandria. The toga was the badge of Roman nationality; hence to discard it was an offence against the State.

The shape of the toga was roughly semicircular, the straight edge being about six yards long and the width in the middle about two yards, as in the diagram (fig. 118). The simplest mode of putting it on was to place one end on the left shoulder, with the straight edge nearest the centre of the body and the point almost

touching the ground. The left hand would be just covered by the curved edge. The rest was then passed behind the back, over or under the right arm, and over the left shoulder again, so that the point hung almost to the ground behind. This was also a method of wearing the Greek himation, and it is difficult to distinguish the two garments when so arranged; but a close examination will discover the sharp point and the curved edge in the case of the toga. At the end of the Republic and under the Empire, to which period most of the monuments belong, a more elaborate fashion

was followed, which gave less scope for individual variety. A greater length was hung over the front of the left shoulder, so that the end just lay on the ground, and the part which went under the right arm was doubled and so adjusted that the straight edge hung in a bow (sinus) across the body, while the curved edge fell down to the feet as before. The superfluous length of the first end was then drawn up behind the belt-like doubled edge (balteus), and hung in a knob over it (umbo). Fig. 119, from a statuette in the Bronze Room, shows the complicated arrangement very well: the first end is seen between the feet, and the

straight edge reappears in the loose knob at the waist. From there it goes over the top of the head, behind the right arm, in front of the right knee, across the body and over the left shoulder, from which it hangs down behind.

Free-born children and the higher magistrates were distinguished by a purple stripe on the toga. It was woven along the straight edge (fig. 118), and is illustrated, together with the striped tunic, by a figure from a wall-painting at Pompeii (fig. 120). Here, as in the bronze statuette, the edge of the toga is drawn up

Praetexta.

from behind to veil the head, as was the usage at sacrifice and religious ceremonies. In mourning the purple stripe was concealed; this was done by turning the garment inside out (mutare vestem). Those who wore no stripe took a dark-coloured toga in mourning, the ordinary toga being white. Triumphant generals and other great officers wore a purple toga as a festal dress, and this was afterwards adopted by the emperors. Candidates for elections appeared in togas artificially whitened with chalk hence their name (candidus = white).

An affectation of the Empire was to press the folds of the toga into stiff and conventional schemes. The arrangement was done beforehand by slaves, who crimped the folds

with tongs. Such artificial pleats

are seen in the statuettes of the Lares, the house-gods, many examples of which may be seen in the Bronze Room (fig. 121). In this figure the rest of the toga is not draped, but twisted up and tied round the body like a belt (Cinctus Gabinus), a convenient method of disposing of the cumbrous garment when freedom of movement was desired. In the Lares the arrangement was due to some form of ritual; it is also said to have been the usage in time of war.

Many other outer cloaks were worn, both by men and women. The Greek chlamys is often seen, and a common cloak for travelling was the paenula, a cape with a hood.