- Insurgent Captives Brought Before Darius
The Greeks were not naturally of a warlike disposition, and their peculiarly jealous temperament prevented the various states and cities from combining and forming a great nation. Their energetic character and great intellectuality saved them, however, when Darius, King of Persia, invaded Greece in 490 B. C. By that time the Greeks had raised and trained an army of great excellence. No especial inventiveness seems to have been exercised, but the equipments of the men, their organization, their armor, their weapons and their discipline had been brought to a standard exceedingly high. All these advantages were needed; for the Persians were a warlike people, their King Darius was an ambitious and successful conqueror, and the number of Persians that invaded Greece was far greater than the number that Greece could raise to fight them. Had the Greeks been destitute of invention they would have followed the most obvious course, that of shutting themselves up inside the protection of the walls of Athens. Had they done this, the Persians would have surrounded the city, shut them off from supplies from outside, and slowly but surely forced them to surrender. - Two Cretan Vases
We must realize, of course, that the Greeks were much indebted to the Ægeans; for discoveries about the shores and islands of the Ægean Sea show that long before the advent of the Greeks they used tools and weapons of rough and then of polished stone, and later of copper and tin and bronze; that they lived on farms and in villages and cities, and were governed by monarchs who dwelt in palaces adorned with paintings and fine carvings, and filled with court gentlemen and ladies who wore jewelry and fine clothing. Exquisite pottery was used, decorated with taste and skill; ivory was carved and gems were engraved, and articles were made of silver and bronze and gold. As early as the sixth century B. C., the Greeks made things more beautiful than had ever been made before. One almost feels like saying that the Greeks invented beauty. Such a declaration would be absurd of course: but it seems to be a fact that the Greeks had a conception of beauty that was wholly original with them, and that was not only finer than that which any other people had ever had before, but finer than any other people have had since. - Paintings of fish on plates
Crenilabrus mediterraneus. Uranoscopus scaber? In Attica, too, was early developed a characteristic and closely accurate type of representation of marine forms, and this attained a wider vogue in Southern Italy in the fourth century. From the latter period a number of dishes and vases have come down to us bearing a large variety of fish forms, portrayed with an exactness that is interesting in view of the attention to marine creatures in the surviving literature of Aristotelian origin - A Greek Clinic of 400 BC
A Greek Clinic of 400 BC In the centre sits a physician holding a lancet and bleeding a patient from the median vein at the bend of the right elbow into a large open basin. Above and behind the physician are suspended three cupping vessels. To the right sits another patient awaiting his turn; his left arm is bandaged in the region of the biceps. The figure beyond him smells a flower, perhaps as a preservative against infection. Behind the physician stands a man leaning on a staff; he is wounded in the left leg, which is bandaged. By his side stands a dwarfish figure with disproportionately large head, whose body exhibits deformities typical of the developmental disease now known as Achondroplasia; in addition to these deformities we note that his body is hairy and the bridge of his nose sunken; on his back he carries a hare which is almost as tall as himself. Talking to the dwarf is a man leaning on a long staff, who has the remains of a bandage round his chest. - Achilles bandaging Patroclus,
A kylix from the Berlin Museum of about 490 b. c. It bears the inscription ΣΟΣΙΑΣ ΕΠΟΙΗΣΕΝ, Sosias made (me), and represents Achilles bandaging Patroclus, the names of the two heroes being written round the margin. The painter is Euphronios, and the work is regarded as the masterpiece of that great artist. The left upper arm of Patroclus is injured, and Achilles is bandaging it with a two-rolled bandage, which he is trying to bring down to extend over the elbow. The treatment of the hands, a department in which Euphronios excelled, is particularly fine. Achilles was not a trained surgeon, and it will be observed, from the position of the two tails of the bandage, that he will have some difficulty when it comes to its final fastening! - Illustrating Galen’s physiological teaching
The basic principle of life, in the Galenic physiology, is a spirit, anima or pneuma, drawn from the general world-soul in the act of respiration. It enters the body through the rough artery (τραχεῖα ἀρτηρία, arteria aspera of mediaeval notation), the organ known to our nomenclature as the trachea. From this trachea the pneuma passes to the lung and then, through the vein-like artery (ἀρτηρία φλεβώδης, arteria venalis of mediaeval writers, the pulmonary vein of our nomenclature), to the left ventricle. Here it will be best to leave it for a moment and trace the vascular system along a different route. - Lioness and young, from an Ionian vase of the sixth century B. C
Lioness and young from an Ionian vase of the sixth century b. c. found at Caere in Southern Etruria (Louvre, Salle E, No. 298), from Le Dessin des Animaux en Grèce d’après les vases peints, by J. Morin, Paris (Renouard), 1911. The animal is drawing itself up to attack its hunters. The scanty mane, the form of the paws, the udders, and the dentition are all heavily though accurately represented. - Painting of fish on plates
Sargus vulgaris In Attica, was early developed a characteristic and closely accurate type of representation of marine forms, and this attained a wider vogue in Southern Italy in the fourth century. From the latter period a number of dishes and vases have come down to us bearing a large variety of fish forms, portrayed with an exactness that is interesting in view of the attention to marine creatures in the surviving literature of Aristotelian origin - Reducing Dislocated Jaw
Reducing Dislocated Jaw - Reducing Dislocated Shoulder
Reducing Dislocated Shoulder - Greek costume of the Classic Period
A drawing made from the Pandora Vase, dated 460 B.C., in the Ashmolean Museum, and is given as an example of the treatment adopted by Greek artists in delineating the following garments It represents Zeus (on the left), Hermes and Hercules, wearing respectively the himation, chlamys, and kolobus. Pandora wears the Ionic crinkled chiton, and a small himation, which is nothing more than a veil, over an elaborate stephane. Eros is holding her girdle. - The Ionic Chiton
The costume of these people consisted practically of only two garments for men and women alike—nothing more than rectangular pieces of material—but the manner of wearing them required care, management and perfect taste. These garments were called by the Greeks: THE CHITON and THE HIMATION, but are commonly known to us as "The Tunic" and "The Mantle." The last six centuries B.C. and the nineteenth and twentieth centuries A.D. share a distinction in the history of costume, as being the only periods in which women have dominated the fashions. The women were compelled by law to change their attire, as it was found that the large pins by which the earlier "peplos"* was fastened proved dangerous weapons in the hands of infuriated women, whereas the Ionic chiton generally required no pins. - The Crinkled Ionic Chiton
The top part. The crinkled Ionic chiton was shaped like the original garment, but made of even thinner material, almost transparent, for the limbs could be seen through it. It was necessarily thinner, as more material was required in its width. It is seen on statues, the top part being crinkled in some way, in zig-zag or wavy lines, to about the hip level, where it is turned under and secured by an invisible waist-belt. It was fastened by buttons or clasps, or sewn as described earlier, to form sleeves. The skirt part was not crinkled, but, being very full, it hung in many flat folds, which gave a zig-zag effect at the bottom edge. - The Doric Chiton
The Doric Chiton, 550 B.C. {circa)-A.D. 100 About the same time, or shortly after the introduction of the Ionic chiton, a variation of the peplos was adapted under the name of the Doric chiton. It was worn simultaneously with the Ionic chiton, even to the end of the first century A.D., as may be seen on many vase paintings and pieces of sculpture. It was made of fine woollen material and woven complete in itself - The Himtation. A garment worn in Greece and Rome between 550 B.C. and 300 A.D.
From this time onward another garment, distinct in itself, came into general use, and remained until the end of the Classic Greek Period. This was the himation, an essential part of a Greek woman's costume, and indispensable with the Ionic chiton. It was often worn in the house, and always out of doors. In shape it resembled a shawl, and was an oblong piece of woollen or linen material, twelve to fifteen feet long, and in breadth about equal to the height of the wearer. - Hairdressing and Head-dresses 600 BC - 146 BC
Hair dressed with a wave on the temples was the most important feature of hairdressing at the beginning of this period, and during the first two centuries the elaborate stiff waving had the effect of a scalloped edge {left picture). On top of these waves, a series of stiff curls, pointing downwards, was often arranged. Another style in vogue at the same time was the dressing of the front hair to form a coronet of circular curls, all round the head from ear to ear {middle picture). The side ringlets, "braided tresses," were still retained, coming from behind the ears, and brought forward on to the shoulders, and the back portion (left picture) was allowed to hang down behind in waves or ringlets. Above this was tied a band, or fillet, of ribbon or metal, also encircling the head behind the row of waves or curls. Late in the sixth century the fillet became a little wider in the band, and was more upstanding on the head, forming a coronet that was often richly ornamented {right picture), and this was the early form of the stephane. - The Age of Pericles and down to the year 338 B
The Age of Pericles and down to the year 338 B - The Chiton
The early chiton. At the beginning of the sixth century B.C. men followed the example of the women by adopting the Ionic chiton for general use. The masculine variety was a shortened version of the original worn by the women, and reached to just above the knees. In its early stage (sixth century B.C.) it was no more than a rectangular piece of linen, or wool, folded round the body and fastened on each shoulder by buttons or brooches, and round the waist by a girdle; or it could be girded under the arms. It was worn open down one side, and these two edges were usually finished off with a fringe, probably the raw edges left in the weaving. - The Crinkled Chiton and the Clamys (left) and the Chiton (right)
The later chiton. Approximately at the beginning of the fifth century B.C., the chiton was made on the same principle as the women's Ionic chiton using wider material; and was bound or worked at the top edge, with the portion covering the upper arms slightly gathered. This part was buttoned or clasped back to front, and. later on sometimes sewn together, to form a sleeve. It was girded at the waist and under the arms. It eventually became customary to sew up the open side, thus making the garment a cylinder in shape. The figure on left is a young man wearing a crinkled chiton under the chlamys. His long hair is twisted up and banded. He carries his petasos in his hand. The figure on right represents a young man dressed in accordance with the fashion of the fifth century B.C., but his hair is of the sixth and fifth centuries. The lyre is a development of the more primitive instrument of an earlier Age. - The Kolobus, 400-146 B. C.
The figure represents a man of this particular epoch (400-146 B.C.) wearing the kolobus ornamented with bands of embroidery. It is girded at the waist, and a himation of small dimensions is draped over the left shoulder, ready for the other end to be thrown over it. He wears the pilos and his hair has been allowed to grow longer than heretofore, in accordance with the new fashion of this age. If this young man had desired to be in the height of fashion, he would have had long close-fitting sleeves added to his kolobus. - The Himation, 600-146 B.C.
The Himation was not exclusively a feminine garment; it was also worn by men. It was an oblong piece of material, woven with a border, and in dimensions approximately eighteen feet by six feet. During the sixth century of the Classic Period, it was often the sole garment worn. How to wear it. It was draped over the left arm, with one end hanging in front, the rest of the material being drawn across the back, round the body on the right side, and over the left shoulder again. As civilisation progressed, it was deemed necessary by ordinary men to add an under-garment—either the chiton or the kolobus. - Peasants (600 - 146 BC)
The following excerpt from Homer's Odyssey, XXIV. 225, gives details of the costume worn by peasants of an earlier period, and this description applies equally to the dress of peasants between the years 600 and 146 B.C. He was clothed in a filthy chiton, patched and unseemly, with clouted leggings of ox-hide bound about his legs, against the scratches of the thorns, and long sleeves over his hands by reason of the brambles, and on his head he wore a goatskin cap. "Sleeves " did not mean arm-coverings in the way the term is generally understood, but were pieces of hide tied or laced round the forearm, wrist and hand, leaving the fingers free, with possibly a hole for the thumb. This was the first Glove. - The Peplos
The peplos was the chief garment of the Achaean women of the early Archaic Period (circa 1200-600 B.C.). In shape it was a rectangular piece of material, often heavily embroidered and consequently of a solid texture. It was put on in the manner of the Doric chiton, but being made of more substantial stuff it was wrapped tightly round the figure without folds, girded at the waist and open up one side, the top part falling back over the chest and back. It was fastened on the shoulders, and often down the side,by large pins.