  FOOTNOTES [1] J. L. Myres, Journal of Hellenic Studies, vol. xx. Cp. also, for general principles of ground plan, “The Palace at Knossos,” British School Annual, VIII. [2] Cp. Busolt, Griechische Geschichte, vol. i., 2nd ed., chap. i. [3] Ridgeway, Early Age of Greece, chap. viii.; S. MÜller, Urgeschichte Europas, pp. 95, 96. [5] British School Annual, IX., pls. ix. and x. [6] Dagger blade from MycenÆ. Perrot and Chipiez, VI., pl. xviii., 3. [7] Perrot and Chipiez, VI., fig. 365. [8] The characteristic Cretan boots may possibly be a direct survival. [9] Schliemann, MycenÆ, pp. 272, 273. [10] Perrot and Chipiez, VI., fig. 380; ?f?e??? ???a????????, 1888, pl. viii. [11] Perrot and Chipiez, III., fig. 303. [12] British School Annual, IX., “Keftiu and the Peoples of the Sea.” [13] Daremberg and Saglio, Dictionnaire des AntiquitÉs, s.v. “Etrusci.” [14] Figs. 2 and 3 from British School Annual, IX. [15] Fig. 4, only a very small fragment of the skirt remains; but the painting has been restored. Reproduced from the British School Annual, VIII., fig. 28. [17] The large sash worn over the “Kimono” and tied rather high up at the back. [18] British School Annual, IX., pls. xi. and xii. [19] On “fibulÆ,” see Sophus MÜller, Urgeschichte Europas, p. 95. O. Montelius, Civilization of Sweden in Heathen Times. [20] British School Annual, IX. [21] Tournefort, I., 109. [22] See also, Choiseul-Gouffier, Voyage pittoresque de la GrÈce, Paris, 1809, where the women of the islands are represented wearing a tight corslet over a chemisette. A high head-dress, not unlike that of the Petsofa statuettes, was commonly worn by the island women as late as the eighteenth century. [23] Iliad, 18. 122, 389, 24. 215. [24] Ibid., 9. 594; Odyssey, 3. 154. [25] Odyssey, xix., 137. [26] Ibid., xiii., 22. [27] Iliad, ii., 42. [28] BeitrÄge zur Geschichte der altgriechischen Tracht, p. 13. [29] Odyssey, xv., 60. [30] xiv. 72. [31] Pauly-Wissowa, Real EncyclopÄdie, s.v. “??t??,” Studniczka, p. 15 f. [32] Odyssey, xix., 232: t?? d? ??t??? ????sa pe?? ???? s??a??e?ta ???? te ??????? ??p?? ??ta ?s?a????? t?? ?? ??? a?a???, ?ap??? d? ?? ?????? ??. “And I saw the shining tunic on his body, like the skin of a dried onion—so soft it was, and bright as the sun.” [33] Iliad, v., 113; xxi., 31. [35] Odyssey, iii., 349. [36] Ibid., xvii., 86. [37] Ibid., xiv., 522. [38] Iliad, ii., 183. [39] See Fig. 7 (a), where the second figure from the right is represented wearing only the ??a??a ?p????. [40] E. A. Gardner, Handbook of Greek Sculpture, p. 128. [41] Unless the garment were square, the diagonally opposite corners would not coincide when folded corner to corner; they are invariably represented on the vases as coinciding. [43] Odyssey, xiii., 223. [44] iii., 126; xxii., 440. [45] Odyssey, ii., 97; xix., 137. [46] Ibid., v., 257. [47] Iliad, x., 22. [48] Ibid., 29; iii., 17. [49] Odyssey, xiv., 23. [50] Iliad, x., 261 f. [51] Ibid., xxiv., 93. [52] Ibid., v., 194. [53] Ibid., xxiv., 795. [54] xiv., 178 f. [55] p. 97 f. [57] Iliad, vi., 289. [58] Ibid., v., 733; viii., 385. [59] Odyssey, xv., 105; xviii., 292. [60] See section on “Materials and Ornamentation.” [61] Odyssey, v., 230. [62] The passage is repeated word for word of Circe, Odyssey, x., 543. [63] Odyssey, xv., 469. [64] Iliad, xiv., 214. [65] B., 254. [66] The ????a ????e??, “dark blue veil,” of Thetis (Iliad, xxiv., 93) is the same garment. [67] Hera is represented wearing it so on the FranÇois vase, Fig. 7 (c), and although her head is not covered, yet, from the way in which the folds lie high upon the nape of the neck, it is clear that they could easily be drawn up over the head (cp. also, Aphrodite, on the same vase). [68] Thetis is represented in the FranÇois vase just about to veil or unveil her face; though the head is missing, it is clear, from the position of the arm, that the ???de??? was worn over the head. [69] Iliad, iii., 141. [70] Odyssey, vi., 100. [71] Cp. Iliad, xxii., 406, 470. [72] Ibid., xxii., 468 f. [73] Odyssey, xvi., 173; xxiii., 155, etc. [74] Das Homerische Epos, p. 157, f. [75] Iliad, xviii., 40. [76] Odyssey, ix., 247. [77] Iliad, xxiv., 93. [78] Iliad, xiv., 182. [79] v., 87. [80] Plutarch, “Solon,” 21. [83] FurtwÄngler, Masterpieces, p. 324. [84] Pollux, II., 187. [86] FurtwÄngler, pl. ii. [87] Ibid., fig. 6. [88] B.M., E. 183. [89] E. 307. [96] B.M., B. 331. [99] i., 1567. [100] Pauly-Wissowa, Real EncyclopÄdie. [103] i., 4. [104] i., 8. [105] i., 171. [106] According to Ridgeway, Early Age of Greece, the Carians, like the Leleges, were a Pelasgian people. [107] i., 6. [108] Poll., vii., 49. [109] Studniczka has pointed out that the word ??t?? is of Semitic origin, and connected with a root signifying “linen,” BeitrÄge, p. 17 f. [114] QuÆstiones vestiariÆ. [116] Prolegomena to Greek Religion, p. 292. [119] C. I. A., ii., 754. [120] Nos. 687 and 688. [121] B.M., Vase, E. 230. [122] Ar. Lys., 48; Menander Meineke. frag. incert., 141. [123] C. I. A., ii., 754. [124] Jahrbuch, i., pl. 102a; Gerhard, Auserlesene Vasenbilder, 79, 80; Dumont and Chaplain, pl. 8; Journal of Hellenic Studies, 1890, pl. 12. [125] Cp. Amelung in Pauly-Wissowa’s Real EncyclopÄdie, s.v. “Chiton,” p. 2322. [126] B.M., E. 270. [128] Lechat, figs. 8 and 9; Perrot and Chipiez, 290 and 292. [130] Perrot and Chipiez, VIII., pls. 5 and 12; Lechat, 22, 29, 30, etc. This feature comes out clearly in fig. 31. [131] Perrot and Chipiez, VIII., fig. 303; Lechat, fig. 31. [132] Cp. Jahrbuch, 1893; Arch. Anz., H. 519; Winter. [133] Another possibility which suggests itself is that the sculptor may not have painted the statue himself, but may have handed it over to a painter who did not understand how the drapery was constituted. [134] Jahrbuch, xi. [135] How Greek Women Dressed. [136] E.g., Lechat, fig. 12. [140] B.M., E. 336. [141] Athens Central Museum, 1285. [142] Aristophanes, The Clouds, 72; Plato, Crito, 53 D. [143] Lys., 150. [144] VI., 21. [145] II., 86. [146] Theocritus, II., 73. [147] Hist. Anim., v., 19. [148] Hist. Nat., xi. [149] VI., xxvi., 6. [150] For silk generally, see Daremberg and Saglio, s.v. “coa”; Smith, Dictionary of Antiquities, s.v. “sericum”; Yates, Textrinum Antiquorum, pp. 160 f.; Pariset, Histoire de la Soie, Part I., chap. i. [151] Propertius, I., 2; Horace, Satires, I., ii., 101. [152] Horace, Odes, IV., xiii.; Tibullus, II., 6. [153] Chap. lviii. [154] Aristophanes, Pax, 1173; Lys., 1140. [155] 58. [156] iii., 125. [158] I., 203. [159] For patterns generally, see H. B. Walters, History of Ancient Pottery, ii., 209-235; Riegl, Stilfragen. [160] For colouring, see Comptes rendus, 1878. [162] See British School Annual, 1901-2, VIII., 72, fig. 37. [163] Iliad, ii., 443, 472. [164] Ibid., xxii., 468 f. [169] The hair of Euphorbus, described in Iliad, xvi., 52, was possibly dressed in this fashion. [170] Das Homerische Epos, 166-170; cp. Mittheilungen des Deutschen Instituts in Athen, vi., pl. 7, p. 186. [171] Jahrbuch des kaiserlich Deutschen Instituts, xi., 1896, pp. 284-291. [173] Fig. 43 (b). It is interesting to note that little Athenian schoolgirls of to-day wear their hair in this fashion. [174] Pausanias, I., xxxvii., 2; Æsch. Choeph., 6. [175] 1267. [185] 313. [187] Plato, PhÆdrus, 229 A. [188] 174 A. [189] Aristophanes, The Clouds, 103; Theocritus, XIV., 6. [190] Knights, 321. [191] CyropÆdia, xviii., 2, 5. [194] VII., 85. [195] The Wasps, 600. [196] The Wasps, 274; The Clouds, 719. [198] I., 195. [200] XV., 6. [201] VII., 85. [203] XXXV., 25. [204] VII., 84-93. [205] Anth. Pal., vi., 307. [208] x., 2. [209] Theophr. de Lapidibus, 56. [210] VII., 95. [211] Fragment 695. [212] See Xenophon’s CyropÆdia, I., iii., 2. [218] Page 259 ff. Transcriber's note
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