θαι οι ἀμπισχνεῖσθαι ; and according to a man's skill or awkwardness in doing it, was he pronounced genteel, or clownish and unn-Greek. The token of the å vɛλɛú¤epos and åπaidevtoç is expressly stated by Plato, Thert. p. 175, to be avaẞáλλeσðαι μÙ ἐπίστασθαι ἐπιδέξια ἐλευθέρως. Cf. Athen. i. p. 21: Εμελε δὲ αὐτοῖς καὶ τοῦ κοσμίως ἀναλαμβάνειν τὴν ἐσθῆτα καὶ τοὺς μὴ TOŬTO TOLOvvτaç σкWπтоV. See also Aristoph. Aves. 1565, where Poseidon says to the barbarian :

οὗτος, τί δρᾷς ; ἐπ' ἀριστέρ ̓ οὕτως ἀμπέχει;

οὐ μεταβαλεῖς θοἰμάτιον ὡς ἐπὶ δεξιά ;

At an earlier period it was the fashion, as with the Romans (cohibere brachium), to keep the right hand in the garment, Evros Tr Xɛipa ëxɛiv), a rule which does not apply to orators alone. Æschin. in Timarch. p. 52; Demosth. de Falsa Leg. p. 420; Müller, Handb. d. Archäol. pp. 85, 468. Many adhered to this ancient custom; Phocion, for instance, as we are told by Duris, apud Plutarch, Phoc. 4.

The himation reached properly to the knee at least, and a shorter ávaßon was considered unbecoming. Theophr. Char. 4 : (ἀγροίκου) αναβεβλημένος ἄνω τοῦ γόνατος καθιζάνειν, ὥστε τὰ γυμνὰ αὐτοῦ φαίνεσθαι. Philetærus, ap. Athen. i. p. 21 : ̓Αμφι στέρνοις φᾶρος οὐ καθήσεις, μηδ ̓ ἀγροίκως ἄνω γόνατος ἀμφέξει; Usually it reached even lower. Quint. Instit. xi. 3, 143: Togas veteres ad calceos usque demittebant, ut Græci pallium.' Cf. Böttiger, Vasengemälde, p. 56. Still, when Athens was at her zenith, so long a garment would have been thought a mark of luxury and pride. Plato, Alcib. i. p. 122; Demosth. de Falsa Leg. p. 422 : καὶ διὰ τῆς ἀγορᾶς πορεύεται, θοιμάτιον καθεὶς ἄχρι Twv σpupwv. Even in Lucian's time it was thought a sign of τρυφή. See Amor. 3: φαιδρὰ μὲν ἐσθῆς μέχρι ποδῶν τὴν τρυφὴν θειμένη.

The Spartans wore a short mantle of coarse texture, called τρίβων οι τριβώνιον. Those who aped Spartan customs, the Aakwvisor.ɛs, and the philosophers of the cynic and stoic schools, naturally adopted it also. See Thucyd. i. 6; Plato, Protag. p. 342; Aristot. Ethic. Nic. iv. 13: Müller, Dorians, ii. p. 279. Of course a good deal would depend on a man's means and condition, and the lower classes would frequently content themselves with such a garment. See Isæus, de Dicæog. Her. p. 94; Aristoph. Vesp. 116, 1131; Eccl. 850.

The boys at Athens used, in early times, to wear the simple chiton, but towards the period of the Peloponnesian war it became usual for them to wear an upper garment also. See Aristoph. Nubes, 964, 987. The boys of Sparta, as above-mentioned, were allowed the chiton only till their twelfth year; afterwards the tribon was their sole article of dress, in winter as well as summer. Xenoph. de Republ. Laced. 2, 4: Kaì ȧvrí ye toù iμarious diaθρύπτεσθαι, ενόμισεν ἑνὶ ἱματίῳ δι ̓ ἔτους προσεθίζεσθαι, νομίζων οὕτω καὶ πρὸς ψύχη καὶ πρὸς θάλπη ἄμεινον ἂν παρασκευάσασθαι. Plutarch, Dec. Or. Vit. iv. p. 379: ἱμάτων ἓν καθ ̓ αὑτὸ ἐφόρει τοῦ χειμῶνος καὶ τοῦ θέρους.

After the Athenian lad had attained to the age of an ephebus, his proper dress was the chlamys, a garment entirely different from

the himation. It originally came from Thessaly or Macedon, whence it seems to have been spread over all Greece. Poll. vii. 46 : τὰς δὲ Θετταλικὰς χλαμύδας Θετταλικὰ πτερὰ ὠνόμαζον, καὶ ἐνα τεθετταλίσμεθα ἔλεγον τὸ χλαμυδοφοροῦμεν. The clearest description of its form is in Plutarch, Alex. 26, where its shape is compared to that of the city of Alexandria: κυκλοτερῆ κόλπον ἦγον, οὗ τὴν ἐντὸς περιφέρειαν εὐθεῖαι βάσεις, ὥσπερ ἀπὸ κρασπέδων εἰς σχῆμα χλαμύδος, ὑπελάμβανον ἐξ ἴσου συνάγουσαι τὸ μέγεθος. It is also represented very frequently in vase-paintings, and other artistic remains. See the accompanying wood. cut, which represents Edipus before the Sphinx, and is taken from Tischbein, Engrav. ii. 24. The chlamys which he wears appears to be of an oblong quadrangular shape. It has a purple border, and tassels at the four corners. It was fastened by a button on the right shoulder, and sometimes also across the breast, and the tassels which hang down are the πτερά οι πτέρυγες. Hesychius : Θετταλικὰ πτερά· τοῦτο εἴρηται διὰ τὸ πτέρυγας ἔχειν τὰς θετ ταλικὰς χλαμύδας. Πτέρυγες δὲ καλοῦνται αἱ ἑκατέρωθεν γωνίαι, διὰ τὸ ἐοικέναι πτέρυξιν. The time when this garment got into vogue throughout Greece is unknown. The first mention of it is said to occur in Sappho. Poll. x. 124: οἱ μέντοι ̓Αττικοὶ τὸ λεπτὸν χλανίδα, τὸ δὲ ἱππικὸν χλαμύδα, ὡς Θετταλῶν. πρώτην δέ φασι χλαμύδα ὀνομάσαι Σαπφὼ ἐπὶ τοῦ Ερωτος εἰποῦσαν, Ελθόντ' ἐξ ὀρανῶ πορφυρέαν ἔχοντα προϊέμενον χλαμύν. Pollux rightly calls it τὸ ἱππικὸν, for it is the proper riding coat, and was worn on journeys. Müller, Dorians, ii. p. 278. Other names, such as χλαῖνα, χλανίς, &c. refer not so much to the form as to the material which was adopted.

The dress of the women was in its main features the same as that of the men, though distinguished by various additions. Care, however, must be taken to distinguish between the two chitons, the Doric and the Ionic. The Doric was a very simple woollen shift, perhaps consisting only of two short pieces of cloth, sewed together up to the breast (at least on one side), while the parts covering the breast and back were fastened over the shoulders, and thus formed arm-holes. The oxigròs of the virgins, alluded to in the Excursus on The Gymnasia, p. 298, is only one species. For this garment see the accompanying figure of Nike, which is copied from Stackelberg, Grab. der Hell. pl. 60. The σχιστός

which she wears can only be called a mixture of Doric and Ionic. It should however be remarked that artists represented the longer chiton with the diploidion, open in the same manner as in the figure, so that the proper Doric axoròs is only to be seen on the Amazons, Marbles in the Brit. Mus. iv. 16; and in the Mus. Borb. iv. 21.

The Ionic chiton, on the other hand, was an ample shift, falling in many folds down to the feet, and with broad sleeves, which were variable in length. It was of linen or of similar material. Cf. Herodot. v. 87: ἐφύρεον γὰρ δὴ πρὸ τοῦ αἱ τῶν ̓Αθηναίων γυναῖκες ἐσθῆτα Δωρίδα τῇ Κορινθίᾳ παραπλησιωτάτην. μετέβαλ λον ὧν ἐς τὸν λίνεον κιθῶνα, ἵνα δὴ περόνῃσι μὴ χρέωνται. ἔστι

A Bronze from Herculaneum, Mus. Borb. ii. 6.

Here the adjustinent of the chiton is complete. On the shoulders are the clasps which fasten together the TTépuyes. The chiton is girded under the bosom, and the upper part, which is thus made to hang over (KÓλTOS), forins a parallel line with the diploidion.