BODY, DRESS, AND IDENTITY IN ANCIENT GREECEassets.cambridge.org/97811070/55360/frontmatter/9781107055360... · Doryphoros (Spear-bearer), Polykleitos, Roman copy of Greek original

BODY, DRESS, AND IDENTITY IN ANCIENT GREECE

This is the fi rst general monograph on ancient Greek dress in English to be published in more than a century. By applying modern dress theory to the ancient evidence, this book reconstructs the social meanings attached to the dressed body in ancient Greece. Whereas many scholars have focused on individual aspects of ancient Greek dress, from the perspectives of liter-ary, visual, and archaeological sources, this volume synthesizes the diverse evidence and off ers fresh insights into this essential aspect of ancient society. Intended to be accessible to nonspecialists as well as classicists, students as well as academic professionals, this book will fi nd a wide audience.

Mireille M. Lee is Assistant Professor of History of Art and Classical Studies at Vanderbilt University. She has published widely on various aspects of ancient Greek dress. She has held fellowships from the Center for Advanced Study in the Visual Arts, the American Council of Learned Societies, the Center for Hellenic Studies, the Packard Foundation for the Humanities, and the Whiting Foundation. Her research and teaching focus on gender issues in antiquity and the modern world. She is currently at work on her next book, on the social meanings surrounding ancient Greek mirrors.

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Cambridge University Press978-1-107-05536-0 - Body, Dress, and Identity in Ancient GreeceMireille M. LeeFrontmatterMore information

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BODY, DRESS, AND

IDENTITY IN ANCIENT

GREECE

MIREILLE M. LEE

Assistant Professor, Vanderbilt University






32 Avenue of the Americas, New York NY 10013-2473, USA

Cambridge University Press is part of the University of Cambridge.

It furthers the University’s mission by disseminating knowledge in the pursuit of education, learning, and research at the highest international levels of excellence.

www.cambridge.org Information on this title: www.cambridge.org/9781107055360

© Mireille M. Lee 2015

This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.

First published 2015

Printed in the United States of America

A catalog record for this publication is available from the British Library.

Library of Congress Cataloging in Publication data Lee, Mireille M. Body, dress, and identity in ancient Greece / Mireille M. Lee, Vanderbilt University. p. cm. Includes bibliographical references. ISBN 978-1-107-05536-0 (hardback) 1. Clothing and dress – Greece – History. 2. Greece – Civilization – Classical infl uences. 3. Clothing and dress – Symbolic aspects. 4. Human body – Social aspects. I. Title. GT550.L44 2015 391.00938–dc23 2014026551

ISBN 978-1-107-05536-0 Hardback

Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party Internet Web sites referred to in this publication and does not guarantee that any content on such Web sites is, or will remain, accurate or appropriate.






For my teachers, with gratitude.











vii

CONTENTS

List of Tables page viii

List of Figures ix

Acknowledgments xv

INTRODUCTION 1

1. ANCIENT GREEK DRESS AND MODERN DRESS THEORY 10

2. BODIES IN ANCIENT GREECE 33

3. BODY MODIFICATION 54

4. GARMENTS 89

5. ACCESSORIES 127

6. THE BODY AS DRESS 172

7. SOCIAL CONTEXTS OF DRESS 198

CONCLUSION 230

Notes 233

Bibliography 317

Index 351






viii

TABLES

1.1. Classifi cation system for types of dress and their properties page 22 1.2. The target groups of stylistic messages 26






ix

FIGURES

0.1. Sappho and Alcaeus , Sir Lawrence Alma-Tadema, 1881. page 2 0.2. Front cover of Goddess: The Classical Mode , by Harold Koda,

published by The Metropolitan Museum of Art, New York, 2003. 2 1.1. Dandr é -Bardon, Costume des anciens peuples, à l’usage des artistes ,

1784, pl. 70. 12 1.2. Hope, Costume of the Ancients , 1812, pl. 63. 13 1.3. Barker, “Domestic Costumes of the Athenian Woman in the

Fifth and Fourth Centuries B.C.,” AJA 26 (1922), pl. 7. 15 1.4. Heuzey, Historie du costume antique, d’apr è s des é tudes sur le mod è le

vivant , 1922, frontispiece. 15 1.5. Bieber, Griechische Kleidung , 1928 (repr. 1977), pl. 43.3. 16 2.1. White-ground kylix , Tarquinia Painter, ca. 480 BCE , British

Museum D4, London. 35 2.2. Marble grave stele depicting mother with children and brothers,

signed by the Parian sculptor Parion, ca. 460 BCE , Archaeological Museum of Agios Kirikos 134, Ikaria. 39

2.3. Red-fi gure chous , ca. 420 BCE , Agora Excavations P21227, Athens. 39 2.4. “Aristodikos” kouros , from Mesogeia, Attica, ca. 510–500 BCE ,

National Archaeological Museum 3938, Athens. 40 2.5. Doryphoros (Spear-bearer), Polykleitos, Roman copy of Greek

original of ca. 450 BCE , Minneapolis Institute of Art 86.6, Minneapolis. 42

2.6. Red-fi gure krateriskos , ca. 430–420 BCE, L. Kahil, “L’Art é mis de Brauron: Rites et myst è re,” AntK 20 (1977), pl. 19. 44

2.7. Red-fi gure kylix , Foundry Painter, ca. 480 BCE , Antikensammlung, Staatliche Museen F 2294, Berlin. 50

3.1. Red-fi gure krater , Euphronios, ca. 510 BCE , Antikenmuseum, Staatliche Museen F 2180, Berlin. 58

3.2. Red-fi gure kylix , Codrus Painter, ca. 430 BCE , British Museum E83, London. 60

3.3. Scraper from Ephesos, Roman copy of Greek original bronze of ca. 330 BCE , Kunsthistorisches Museum, Antikensammlung VI 3168, Vienna. 60

3.4. Red-fi gure stamnos , Group of Polygnotos, ca. 475–425 BCE , Staatliche Antikensammlungen und Glyptothek 2411, Munich. 61






FIGURESx

3.5. Black-fi gure white-ground alabastron , Diosphos Painter, ca. 525–475 BCE , Schloss Fasanerie AV 16, Adolphseck. 63

3.6. Corinthian lekanis containing cosmetic pigments, ca. 380/70, 3rd Ephorate of Prehistoric and Classical Antiquities – Kerameikos Museum 10539, Athens. 68

3.7. Red-fi gure pyxis , unattributed, ca. 420–410 BCE , Mus é e du Louvre, CA 2262, Paris. 70

3.8. Red-fi gure lekanis , Marsyas Painter, ca. 370–360 BCE , State Hermitage Museum UO-32, St. Petersburg. 71

3.9. Red-fi gure kylix , Wedding Painter, ca. 470 BCE , Musee Vivenel 1090, Compi è gne. 73

3.10. Tondo of red-fi gure kylix , Briseis Painter, ca. 480–460 BCE , Museo Nazionale Tarquiniese XXXX0.4434, Tarquinia. 73

3.11. Red-fi gure hydria , Phintias, ca. 510 BCE , Staatliche Antikensammlungen und Glyptothek 2421, Munich. 77

3.12. Red-fi gure pelike , Geras Painter, ca. 480–470, Mus é e du Louvre, G234, Paris. 78

3.13. Tondo of red-fi gure kylix in the manner of Onesimos, ca. 500 BCE , University of Mississippi Museum 77.3.112, Oxford, Mississippi. 80

3.14. Red-fi gure bell- krater , Dinos Painter, ca. 430–420 BCE , Harvard Art Museums/Arthur M. Sackler Museum, Anonymous Loan, 9.1988. 80

3.15. Marble grave stele of Xanthippos and his daughters, ca. 420 BCE , British Museum, GR 1805.7-3.183, London. 83

3.16. Red-fi gure column- krater , Pan Painter, ca. 470 BCE , Staatliche Antikensammlungen und Glyptothek 2378, Munich. 85

3.17. Red-fi gure skyphos , Pistoxenos Painter, ca. 480 BCE , Staatliches Museum KG 708, Schwerin. 85

3.18. Red-fi gure pelike , Pan Painter, ca. 460 BCE , National Archaeological Museum 9683, Athens. 87

4.1. Attic black-fi gure lekythos , Amasis Painter, ca. 550–530 BCE , The Metropolitan Museum of Art, Fletcher Fund, 1931 (31.11.10), New York. 92

4.2. “Peplos” kore , ca. 530 BCE , Acropolis Museum 679, Athens. 94 4.3. Terra cotta fi gurine from the sanctuary of Artemis Mounichia,

late fourth century BCE , Archaeological Museum of Piraeus, 5383. 97 4.4. Red-fi gure hydria, Group of London E230, ca. 370–350 BCE ,

British Museum E230, London. 99 4.5. Diagram of the arrangement of the peplos . 101 4.6. Figure K, east pediment, temple of Zeus at Olympia, ca. 460 BCE . 102 4.7. Red-fi gure lekythos , Achilles Painter, ca. mid-fi fth cent. BCE ,

Museo Archeologico Regionale Paolo Orsi 21186, Syracuse. 103 4.8. Marble grave stele of a girl, ca. 450–440 BCE , The Metropolitan

Museum of Art, Fletcher Fund, 1927 (27.45), New York. 104 4.9. Marble grave stele of a young woman (“Giustiniani stele”), ca.

460–450 BCE , Staatliche Museen Antikensammlung 1482, Berlin. 104






FIGURES xi

4.10. Red-fi gure stamnos , side A, Kleophon Painter, ca. 450–400 BCE , Staatliche Antikensammlungen und Glyptothek 2415, Munich. 105

4.11. Diagram of the arrangement of the chiton . 107 4.12. Tondo of red-fi gure kylix , Manner of Onesimos, 500–490 BCE ,

British Museum E44, London. 107 4.13. Red-fi gure alabastron , unattributed, ca. 480–470 BCE , British

Museum E719, London. 108 4.14. “Chiot” kore , ca. 525–500 BCE , Acropolis Museum 675, Athens. 109 4.15. Red-fi gure amphora , Euthymides, ca. 500 BCE , Staatliche

Antikensammlungen und Glyptothek 2308, Munich. 111 4.16. Motya charioteer, fi fth century BCE , Villa Whittaker, Motya,

Sicily. 112 4.17. Red-fi gure kylix , Calliope Painter, ca. 430 BCE , Museum of Fine

Arts 21.4, Boston. 114 4.18. Red-fi gure calyx- krater , Villa Giulia Painter, ca. 475–425 BCE , Villa

Giulia 909, Rome. 114 4.19. Variations in the arrangement of the Ethiopian shamma , S. D.

Messing, “The Nonverbal Language of the Ethiopian Toga,” Anthropos 55 (1960): 561. 117

4.20. Red-fi gure bell- krater , Dinos Painter, ca. 430–410 BCE , University of Pennsylvania, 5682, Philadelphia. 118

4.21. White-ground kylix (interior), Villa Giulia Painter, ca. 470 BCE , The Metropolitan Museum of Art, The Bothmer Purchase Fund, Fletcher Fund, and Rogers Fund, 1979 (1979.11.15), New York. 119

4.22. Marble grave stele of a woman (“Hegeso stele”), ca. 410–400 BCE , National Museum 3624, Athens. 121

4.23. Red-fi gure hydria-kalpis , Group of Polygnotos, ca. 430 BCE , Harvard Art Museums/Arthur M. Sackler Museum, 1960.342, Cambridge, Massachusetts. 122

4.24. Marble gravestone of Myttion, ca. 400 BCE , The J. Paul Getty Museum, Villa Collection, 78.AA.57, Malibu, California. 123

4.25. Red-fi gure phiale , Phiale Painter, ca. 430 BCE , Museum of Fine Arts, 97.371, Boston. 124

4.26. Red-fi gure kylix , Pistoxenos Painter, ca. 470 BCE , Mus é e du Louvre, G 108, Paris. 125

5.1. Geometric bronze peronai , ca. 900–700 BCE , Museum of Fine Arts, 98.647 and 98.648, Boston. 128

5.2. Excavated skeleton with peronai and fi bulae in situ , Submycenaean period, grave PO7, Kerameikos cemetery, Athens, German Archaeological Institute Neg. No. D-DAI-ATH-Kerameikos 601. 129

5.3. Moirai (Fates), detail of the so-called Fran ç ois Vase, Attic black-fi gure volute krater by Kleitias and Ergotimos, ca. 570–560 BCE , Museo Archeologico Nazionale 4209, Florence. 130

5.4. Bronze and terra cotta buttons with gorgons’ heads, ca. 500 BCE , British Museum 1959, 0720.2-5, London. 132






FIGURESxii

5.5. Gold breast-band with Herakles knot, pomegranates, and erotes , ca. 250 BCE , British Museum 1984, London. 137

5.6. Attic red-fi gure lebes stand, ca. 370–360 BCE , National Archaeological Museum 12894 Athens. 139

5.7. Attic red-fi gure lekythos in the form of an acorn, in the manner of the Meidias Painter, ca. 410–400 BCE , Museum of Fine Arts 95.1402, Boston. 141

5.8. “Phrasikleia” kore , from Merenda, Attica, ca. 550–540 BCE , National Archaeological Museum 4889, Athens. 143

5.9. Gold diadem with repous é e palmettes, ca. fourth century BCE , The Metropolitan Museum of Art 74.51.3535, New York. 144

5.10. Gold earrings, ca. 400–350 BCE , British Museum 1920.12–21.5 and 1920.12–21.6, London. 146

5.11. Gold necklace with pomegranate pendants, from Eretria on the island of Euboea, ca. late sixth century BCE , Antikenmuseum G.I. 11, Berlin. 147

5.12. Eriphyle receiving the necklace of Harmonia from Polynices, Attic red-fi gure oinochoe , Mannheim Painter, ca. 450–440 BCE , Mus é e du Louvre G442, Paris. 149

5.13. Gold-plated bronze bracelets with ram-head terminals, fi fth century BCE , Ashmolean Museum, Oxford. 150

5.14. Blue chalcedony scaraboid gemstone, signed Dexamenos, ca. 440 BCE , Fitzwilliam Museum CG53, Cambridge. 152

5.15. Bronze statuette of a peplophoros , ca. 425 BCE , Mus é e du Louvre Br 297, Paris. 155

5.16. Attic red-fi gure alabastron , Pan Painter, ca. 470 BCE , Antikenmuseum, Staatliche Museen F 2254, Berlin. Lost in WWII, current whereabouts unclear. 156

5.17. Eupolis Painter (Greek, Attic, 450–420 BCE ), red-fi gure column krater with veiled dancers, ceramic with black glaze, 450–440 BCE , purchase with the Nancy Everett Dwight Fund, Mount Holyoke College Art Museum, South Hadley, Massachusetts, Petegorsky/Gipe photo, 1913.1.B.SII. 157

5.18. Red-fi gure stamnos , side B, Kleophon Painter, ca. 450–400 BCE , Staatliche Antikensammlungen und Glyptothek 2415, Munich. 158

5.19. Attic red-fi gure stamnos , Smikros, ca. 550–500 BCE , Mus é es Royaux A717, Brussels. 159

5.20. Attic black-fi gure amphora , Plousios Painter, ca. 500–490 BCE , Museum of Fine Arts 01.8035, Boston. 161

5.21. Ivory feet from a chryselephantine statue, sixth century BCE , Archaeological Museum 9946 and 9947, Delphi. 162

5.22. Bronze caryatid mirror, mid-fi fth century BCE , The Metropolitan Museum of Art, Bequest of Walter C. Baker, 1971 (1972.118.78), New York. 165






FIGURES xiii

5.23. Attic red-fi gure lebes gamikos , Painter of London 1923, ca. 420 BCE , Antikenmuseum und Sammlung Ludwig BS 410, Basel. 168

6.1. Red-fi gure kylix , Dokimasia Painter, side A, ca. 490 BCE , Antikensammlung, Staatliche Museen F 2309, Berlin. 180

6.2. Red-fi gure lekythos , Manner of the Phiale Painter, ca. 450 BCE , The J. Paul Getty Museum, Villa Collection, 86.AE.250, Malibu, California. 185

6.3. Terra cotta jointed doll, late fourth century BCE , Museum of Fine Arts 18.460, Boston. 186

6.4. Aphrodite of Knidos, Colonna type, Roman copy of Greek original by Praxiteles, ca. 350–330 BCE , Museo Pio Clementino, Vatican 812, Rome. 187

6.5. Centauromachy, fi gures R, S, T (Lapith girl, centaur, youth), west pediment, temple of Zeus at Olympia, ca. 460 BCE , Olympia Museum. 191

6.6. Centauromachy, detail of frieze, temple of Apollo Epikourios, Bassae, ca. 420–400 BCE , British Museum 524, London. 191

6.7. Red-fi gure kylix , Makron, ca. 500–450 BCE , Staatliche Antikensammlungen und Glyptothek 2655, Munich. 195

6.8. Nike untying her sandal, balustrade of the temple of Athena Nike, ca. 410 BCE , Acropolis Museum 973, Athens. 196

6.9. Red-fi gure psykter , Smikros, ca. 510 BCE , The J. Paul Getty Museum, Villa Collection, 82.AE.53, Malibu, California. 197

7.1. Bronze statuette of a girl runner, ca. 520–500 BCE , British Museum GR 1876.5-10.1 (Bronze 208), London. 201

7.2. Attic red-fi gure volute krater , Kleophon Painter (detail), ca. 430 BCE , Museo Archeological Nazionale di Spina 44894, Ferrara. 202

7.3. Grave stele of Theophile, ca. 340–310 BCE , National Archaeological Museum 1305, Athens. 202

7.4. Caryatid from the Erechtheion (front and back views), ca. 420 BCE , British Museum Sc407, London. 203

7.5. Fragment of marble votive relief dedicated to Poseidon by Philobrotos and Aphthonetos, British Museum Sc 798, London. 205

7.6. Bronze muscle cuirass, fourth century BCE , The Metropolitan Museum of Art, Gift of Est é e Lauder Inc., 1992 (1992.180.3), New York. 206

7.7. Red-fi gure pyxis , unattributed, ca. 430–420 BCE , The Metropolitan Museum of Art, Bequest of Walter C. Baker, 1971 (1972.118.148), New York. 209

7.8. Attic red-fi gure loutrophoros (photographic rollout), ca. 450–425 BCE , Museum of Fine Arts 03.802, Boston. 210

7.9. Terracotta votive fi gurine, Hellenistic period, Mus é e du Louvre CA 5231, Paris. 213

7.10. Marble votive relief from Echinos, fourth century BCE , Lamia Archaeological Museum AE 1041, Lamia. Drawing by Glynnis Fawkes. 214






FIGURESxiv

7.11. Attic red-fi gure Kerch-style oinochoe , ca. 370–360 BCE , The Metropolitan Museum of Art, Rogers Fund, 1925 (25.190), New York. 217

7.12. Fragmentary terra cotta pinax , fi rst half of fi fth century BCE , Reggio-Calabria. 219

7.13. Attic red-fi gure amphora , Flying-Angel Painter, ca. 500–475 BCE , Mus é e du Louvre G220, Paris. 221

7.14. Red-fi gure oinochoe , Meidias Painter, ca. 420–410 BCE , The Metropolitan Museum of Art, Gift of Samuel G. Ward, 1875 (75.2.11), New York. 222

7.15. Attic white-ground “bobbin,” Penthesileia Painter, ca. 460–450 BCE , The Metropolitan Museum of Art, Fletcher Fund, 1928 (28.167), New York. 224

7.16. Attic red-fi gure loutrophoros , Painter of Bologna 228, early fi fth century BCE , National Archaeological Museum 1170, Athens. 226

7.17. Attic white-ground lekythos , Painter of Athens 1934, ca. 450–400 BCE , National Archaeological Museum 1934, Athens. 227

7.18. Grave stele with Krito and Timarista, ca. 420–410 BCE , Archaeological Museum of Rhodes 12628. 228






xv

ACKNOWLEDGMENTS

This book had its genesis at the Center for Hellenic Studies (CHS) in Washington, DC, where I was a junior Fellow in 2005–2006. I owe Greg Nagy special thanks for his continued support of my work. The CHS staff made my time there both productive and enjoyable, for which I am truly grateful. I was especially fortunate in being part of a wonderfully collegial group of Fellows at the CHS, many of whom facilitated my research in various ways. I am particularly grateful to the organizers of the Bodies and Boundaries confer-ence, which provided an excellent forum for discussion of many of the issues addressed in this book.

An extended period of writing in 2008–2009 was supported by a fellow-ship from the American Council of Learned Societies, in conjunction with the College of Arts and Sciences, Vanderbilt University. Two Research Scholar Grants from Vanderbilt funded my research overseas. The dean’s offi ce of the College of Arts and Sciences provided generous support for the reproduction of images, for which I am especially grateful.

The research for this book took place at a number of libraries in the United States and abroad. The exceptional resources of the Blegen Library at the American School of Classical Studies at Athens were especially useful. At Vanderbilt, Yvonne Boyer and Ramona Romero cheerfully procured many titles essential to my work, and James Toplon most effi ciently hunted down even the most obscure references through interlibrary loan.

The Visual Resources Center at Vanderbilt was instrumental in the prepa-ration of a number of images in this book. Both Christopher Strasbaugh and Matthew Isner deserve special thanks for their knowledge, skills, and effi ciency. The exceptionally talented Glynnis Fawkes prepared the line drawings.

Many others have contributed to this volume in ways large and small. Elizabeth (Betchen) Barber started me thinking about textiles and dress when I was an undergraduate at Occidental College. Her continued support has been instrumental to my development as a scholar. Joanne Eicher provided valuable guidance as I entered the then-emerging fi eld of dress theory and has served as an excellent conduit between disciplines. I also wish to thank the specialists in ancient textiles and textile production who answered technical






ACKNOWLEDGMENTSxvi

questions and provided assistance in various ways: Carol Van Driel-Murray, Margarita Gleba, Irene Good, and David Reese. I received valuable support and feedback from many others, especially Larissa Bonfante, A. A. Donohue, Christopher Faraone, Gloria Ferrari, Sharon James, Natalie Kampen, Molly Levine, Lloyd Llewellyn-Jones, and Alan Shapiro. Beatrice Rehl, Asya Graf, and the staff at Cambridge University Press demonstrated remarkable pro-fessionalism and patience throughout the production process. Kate Merken deserves special thanks for her heroic eff orts in the compilation of the index. I am grateful to the two anonymous reviewers, whose comments improved the text tremendously; remaining errors are, of course, my own. Finally, my col-leagues at Vanderbilt have been both supportive and collegial, for which I am most appreciative.

But I am most grateful to my family and friends, who have seen me through the writing of this book confi dent that I would fi nish it someday, even when I doubted it myself. My husband, Joe, knows all too well the challenges of such a project and has always supported my work alongside his own. Finally Chloe, whose birth coincided with the gestation of this book, has shown as much patience as can be expected. My deepest thanks to all – I could not have done it without you.






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BODY, DRESS, AND IDENTITY IN ANCIENT GREECEassets.cambridge.org/97811070/55360/frontmatter/9781107055360... · Doryphoros (Spear-bearer), Polykleitos, Roman copy of Greek original