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TheTogate

Fig. 1 Augustus, capite velato, from the Via Labicana, Rome,

early first century A.D. Museo Nazionale delle Terme, Rome.

Photo:Alinari 30157 (Stone 1994).

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Mission Statement:

The Togate: an exploration of the significance of self-

presentation within Roman political and civic life during the

late Republic and early Imperial period.

The majority of this particular issue of the The Togate will

focus on the Roman Toga, however, other articles of clothing or

means of self-representation may also be included in the articles.

It will highlight the importance of the toga and its variants in

civic and political life in the Roman world and its use and

manipulation by individuals to promote their own endeavours or

self-image.

Magazine Creator:

Sara Daruvala

V00725411

University of Victoria

GRS 344

November 15th 2013

Issue 1

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Table of Contents

In Toga We Trust: Origins………...…..…………………….……………….4

The Roman Toga...…...………………………………………………..……......5

Top 10 Toga Styles: Rank and Status through Civic Apparel....7

Cicero Says: An Interview..…...……………………………….…………..11

Fashion Police: Augustan Reforms…………………….……..……..…14

Togate Crossword………………………………………………………….…16

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In Toga We Trust: Origins

The Romans were often referred to as togate or gens togata, meaning those clad in the toga.

The toga was the most characteristically Roman garment. It is traced back in Roman history

dating long before the Republic and Imperial Period. It was originally worn by both the Romans

and the Etruscans, though the latter called it the tebenna (Roman Antiquities 3.61). It was the

national dress of early Roman and was originally worn by both men and women. The early

Romans also wore the toga without a tunic. The tunic tradition was established be the second

century B.C. and exclusively worn by male citizens (Stone 1994). Around the same time it

became taboo for respectable women to wear a toga. Women who wore a toga after and

during this time period were prostitutes or adulterers (Edmondson 2008). Throughout the

Republic the toga slowly evolved. Other than obvious additions to the toga signifying distinction,

the average toga was originally short as reflected during the early Republic and went through

several lengthening stages until it reached the distinction of ‘the Large Toga of the Republican

Period’ (Wilson 1924). The structure of the toga was constantly being reformed. Two qualities

of the Roman toga are notable. Firstly, it had a long standing connection into Rome’s past.

Secondly, it was apt to changing form, and with form its authority. The toga was deeply rooted

in traditional Roman values providing an adaptable and tangible symbol of power in Roman

society.

Fig. 2 - A model of Ancient Rome created under Mussolini, now in the Museum of Roman Civilization at EUR. http://fas-

history.rutgers.edu/skelly/MythRome_largermodelancientRome.html. Web.

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The Roman Toga An individual’s physical presentation was both a civic and political signifier in the Ancient Roman world. The way in which an individual presented them self was an instant visual representation of their innate characteristics. Dress could give both a sense of an individual's authority as well as their values. If any element of the standard Roman dress code was left of an individual, they were making a statement (Rothfus 2010). For instance women wearing the toga were seen as having a low moral character and were either prostitutes or adulterers (Edmondson 2008). Another example given by Rothfus is that the reason that young noble born children especially the boys were allowed by Roman ancestors to wear the toga praetexta and bulla; “in hope that they would take on such characteristics as bravery, manliness, and leadership, which those articles embodied as symbols of magistrates and triumphal generals,” implying that a garment could represent

characteristics of the individuals previously adorned in that garment, from which characteristics could also transfer onto anyone who wore the garment thereafter (Rothfus 2010). Therefore, in the Roman world an individual’s self-presentation and their traditional and moral values were seen as one and the same (Rothfus 2010). This can be seen clearly in Cicero’s critique of Verres’ moral character in his speech In Verrem (Cicero and Zetzel 2009). As an aspect of self-presentation dress played a huge role in Roman society. Of all the visual identifiers in the Ancient Roman world, the toga was among the most distinctive and thus among the most important. In the late Republic and early Imperial Period the toga was worn by Roman male citizens and the stola was the garment worn by women equivalent to the toga in self representation. The toga was also worn by the children of citizens both male and female. The

toga and stola were worn exclusively by citizens of Rome. The term togate and gens togata are terms that refer to the citizens of Rome and characterize Romans as those who dress in the toga. According to Virgil the Romans were “the race that wears the toga,” and could thus be identified as such by wearing it (Rothfus 2010). After the Social Wars citizenship was extended to Italian cities which included the right to wear the toga (Edmondson 2008). The toga was an important symbol of Roman citizenship however it was worn primarily in the city of Rome. It was here that the toga could best represent civic pride. It highlighting the citizens from non-citizens and the same would follow for the stola. Furthermore, within the civic body in the city social stratification was also evident through the distinct variety of togas representing different rank and status. Thus the elite members of Roman society were more concerned with the togas symbolic values which

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they would be willing to exploit. This action of “changing of dress” was known as mutatio vestis (Edmondson 2008). It was commonly used among the judicial elite at this time to signify an event of public or personal significance. The changes in dress could signify several things. Several of these changes were traditionally established for different life events. Events such as wearing the toga pulla during mourning or changing into

the toga candida when running for office were establish traditions. According to Cicero the phrase ‘changing one’s shoe’ came to be synonymous with ‘becoming a senator,’ probably due to the distinction of the senatorial shoe, the calcei (Edmondson 2008). However, other instances show that mutatio vestis was also use as a social statement. The most prominent example of this is when Cicero in his usual dramatic fashion sets aside his senatorial dress

and takes up the equestrian style before his trial. The simultaneous mutatio vestis of several equites into mourning dress displayed their support of Cicero (Edmondson 2008). This was a highly common practice in Rome whether establish tradition or symbolic gesture. The toga was an important garment that could alter the status of a Roman citizen, more frequently used by public figures or aspiring individuals. - By Sara Daruvala

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Top 10 Toga Styles: Rank

and Status through Civic

Apparel By Sara Daruvala

This section will highlight the variations of the toga and symbols of rank and status in Roman

society. It should be noted that along with the following apparel there were other accessories

like shoes (calcei) and the golden ring (annulus aureus) that display ranks and self-identity

(Edmondson 2008). While uniting the citizen body through the use of the toga, the variations in

the dress of the toga and tunic followed by roman society divided the citizen body into

definitive ranks and classes. Particular forms of dress in Roman society bestowed the wearer

with varying statuses of authority. These variants were used to enhance or discredit individuals’

status among the greater populous. The dress variations could also be manipulated to

communicate socio-political messages.

Fig. 3 ‘Drawing of clothing for different social classes,’ Sources for Roman Clothing.

http://www.vroma.org/~bmcmanus/clothing_sources.html. Web

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The toga pura or virilise is the plain white

toga of the average Roman citizen (Edmondson 2008). It

is also known as the ‘toga of manhood’ because it is the

toga that every freeborn male assumes during the ritual

during which he dedicates the toga praetexta and bulla of

his childhood and becomes an adult Roman citizen

(Edmondson 2008). This ceremony was known as

tirocinium fori and marked a young man’s

commencement into public life (Smith 1890).

Toga sordidati is a style when a toga was not kept

white and clean by the fuller but was neglected. This

garment was often worn by accused persons. The look

that went along with this form of the toga was a

disheveled appearance in general (Smith 1890).

Toga candida was made of the

whitest fabric for people running for

public office (Stone 1994). The bright

white colour was achieved through

rubbing the already white toga with

chalk (Smith 1890).

The laena is the highly prestigious

double toga originally worn by priests

during important rituals. The authority

that this dress bestowed upon its wearer

was supposedly so powerful that its mere

presence could stop a full blown riot

(Edmondson 2008).

Fig. 4 The large toga of the

Republican period. A

reconstruction by Wilson 1924.

Fig. 5 A reconstruction of the toga by Wilson 1924.

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The toga praetexta was

characterised by its purple boarded.

It was worn by usually elite children

both male and female along with the

bulla, an ornament of protection

(Smith 1890). Prior to puberty the

initiation of children into their

membership of gens togata was held

in higher importance that gender

(Edmondson 2008). Once puberty

was hit boys dedicated their toga

praetexta to their household gods

while girls dedicated their toga

praetexta to Fortuna Verginalis when

they were considered ready for

marriage by society (Edmondson

2008). This took place in girls at

around twelve years of age and boys

at any time during their teenage

years usually between the ages of

fourteen and sixteen (Stone 1994). It

was also worn by curule magistrates

and high priests throughout the

Roman provinces and thus a symbol

of authority when worn by an adult

(Edmondson 2008). It is said to have

come to Rome during the seventh

century B.C. in the reign of Tullus

Hostilius (Stone 1994).

The latus clavus is a tunic with broad vertical purple

stripe(s) on it worn by senators. This tunic was sometimes worn

with a transparent toga to display the status of the individual

wearing it. This practice was not a popular one and did little to

actually promote the wearer (Edmondson 2008 ).

Fig. 7 Toga praetexta.

http://www.probertencyclopa

edia.com/P_TOGA.HTM. Web.

Fig. 6 The toga praetexta.

http://www.costumes.org/history/100pages/timelinepages/ancientr

ome1.htm. Web.

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Toga pulla was a dark toga worn

during private mourning or by the lower

classes. For an average citizen to wear the

toga pulla instead of the toga virilise (or

the variation befitting their rank) was

considered inappropriate as well as

inauspicious (Smith 1890). The pulla was

also condoned after a natural disaster had

affected Rome (which can include

surrender by the Roman army)

(Edmondson 2008).

The trabea was exclusively allowed to

be worn by the equestrians (Edmondson

2008). The trabea is a short toga defined by

its specific form and colour (Edmondson

2008). According to Wilson, “Severus states

that Suetonius in his book on the kinds of

garments says ‘there are three kinds of

trabea; one consecrated to the gods which

is wholly purple; another for kings which is

purplish; it has, however, some white. The

third belonging to augurs is purple and

scarlet mixed,’” thus confirming that the

trabea were worn by elite member of

society (Wilson p.37).

The toga picta is a completely

purple toga with gold embroidering. It

was used in the Republic by the triumphal

generals and later by the emperors.

Eventually only the emperors were

allowed to wear the purple toga (WRC).

The toga picta was known to have

Etruscan origins, worn by the Etruscan

Kings of Rome (WRC).

The vestis triumphalis is worn by

Roman generals who have had the highest

honours awarded to them. It includes the

tunica palmate, a purple tunic with gold

palm branches on it, and the toga picta.

Fig. 9 Final restoration model, toga picta variant. Made by

Matthew Brennan, Virtual World Heritage Laboratory, 2012.

http://www.digitalsculpture.org/caligula/index_stills_picta_fr

ont.html. Web.

Fig. 8 Comedy toga. Roman Theatre.

http://users.sch.gr/spapand/roman%20dram

a.html. Web.

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Cicero says An interview with Cicero so he may defend his attack on Verres’ appearance in regards to personal dress in In Verrem (Cicero and Zetzel 2009).

Do you think your

criticism of Verres

dress style was

justified or are you

letting personal

feelings get in the way?

If there could only be one

word in which to describe

my character, that word

would be ‘just’. Justice is

that quality that I not only

value in myself but in all

people. Several people

have complimented me on

this very attribute. In fact I

speak in the defence of

several people who

deserve justice but have

no other patron to defend

them. The man you ask me

about, however, I would

classify as unjust. Not only

does he loot great

treasures from the

provinces, his moral

character is made clear by

his actions and

appearance (Heskel 1994).

This man does not

aggravate me because of

any personal turpentine

between the two of us but

primarily because of his

lack of responsibility to his

office, his country, and

most importantly to his

fellow citizens. He stains

the reputation of the

Republic and insults

Roman ideals through his

dress, wearing the tunica

pulla and a purple pallium,

typically Greek dress to

official situations and on

occasion even walks in

public in his soleae (Heskel

1994). His total disregard

for the uniform his

position demands is a

direct reflection of his

disregard for traditional

morals (Heskel 1994). It is

remarkable that through

his dress one can make

out the stitching of his

moral character. I am

nothing if not a just man.

Thus if Verres renounces

his Greek garb along with

the character flaws that

such apparel signifies, I

would perhaps be

conditionally willing to

consider reconciliation

with the man for if I am

anything, I am just, and

thus am justified in all my

actions.

Did you think it was

fair to allude that you

think Verres dresses

like a woman?

Let me clarify I never said

the word woman, I merely

said ankle-length tunic. If

other people read too

much into that comment I

should not be held in

contempt (Cicero and

Zetzel 2009). I was merely

pointing out the garments

association to the Greeks.

Verres’ effeminate dress is

a social problem in and of

itself on which I could

have written several

speeches. However I

prefer to stick to issues

that matter in my

speeches in the forum.

Perhaps I will write a

speech about the

effeminate issue and send

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it to Verres privately and

offer my assistance in

defeminizing his wardrobe

if he so wishes. For if there

is one thing I know it is

how a member of Roman

society should dress in

accordance to their

position.

Will you discuss your

episode of mutatio

vestis before your trial?

It is not an uncommon

practice for one to change

his appearance to

influence the Roman

people. I was merely

adopting the practice of

mutatio vestis and

appeared in equestrian

dress after putting aside

my senatorial apparel

(Edmondson 2008). This

change of dress was a

stunt, that is established

and commonly used, to

gain the sympathies of the

court (and perhaps a

gesture on my part to

display my opposition to

Claudius), however, for me

it was also a point of pride.

To see the men change

into mourning outfits to

support me and my new

form of dress was

humbling (Edmondson

2008). I am nothing if I am

not a humble man. I do

not seek or request the

praise of my

contemporaries for I know

I am respected. Often if

people forget to write my

praises in the letters they

send me, I do not

discontinue

correspondence or cut ties,

for I know they respect me

(Cicero and Zetzel 2009). I

know they have forgotten

merely due to their

humanness and

susceptibility to flaw,

specifically in these cases

the flaw of forgetfulness.

Thus, because I do not

dwell on petty praise, I just

send hints in my responses

that I understand they

meant to praise me, for

the intent to do so is

notable in their letters.

However, though I am a

man with great esteem it

was humbling to see the

men’s support visualized

before me.

Have you ever

considered just

wearing a tunic to the

forum for no greater

reason than comfort

or laziness?

I hate to quote myself but,

“if we are not ashamed to

think it, we should not be

ashamed to say it,”

therefore, I will say

nothing (Cicero).

– By Sara Daruvala (in

the Voice of Cicero)

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WHO NEEDS THE REPUBLICAN AND

THE DEMOCRATIC PARTIES WHEN YOU

CAN JOIN THE TOGA PARTY?

This message is brought to you by the creators of the Toga Party. I am Sara Daruvala and I approve this message.

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Fashion Police: During the Republic the magistrates of the Roman

state were in charge of regulating the social

structure in regards to dress code (Edmondson

2008). However by the late Republic, due to the

civil wars, the regulation of dress had slackened.

There was no incentive for citizens to wear their

togas. Nor were there any consequences for those

wearing apparel either much higher or lower than

their rank (Rothfus 2010). This period of a lax dress

code in Rome is described by Appian (Rothfus

2010):

For now the Roman people are

much mixed with foreigners,

there is equal citizenship for

freedmen, and slaves dress like

their masters. With the

exception of senators, free

citizens and slaves wear the

same costume.

The strict regulation of the social structure

demonstrated through dress, especially considering

the toga, was restored by Augustus to its former

status of authority. Dress was one of the tools

Augustus included in his attempt to stabilize

Roman society after the civil wars (Rothfus 2010).

It was a multipurpose tool he used to re-establish

civic unity through its traditional symbolism but

also to establish a place of the elite within this

society. As the architect of this social ordering he

not only specified a place for all the citizens but

included an emphasis of his own place being higher

than all others as the ultimate example of a Roman

citizen (Rothfus 2010). Suetonius describes him as

not only restoring roman dress but taking it upon

himself to police the dress of citizens (Aug. 40.5):

Furthermore, he took pains to

revive the old style of dress,

and once when he saw a group

sporting dark cloaks in an

assembly, he indignantly

exclaimed, “Behold the Romans,

masters of the world, the toga-

clad race” and instructed the

aediles that no one should be

allowed in the Forum or its

environs unless wearing a toga

without a cloak.

The forum was a place with a longstanding

association with the toga. It was in this center of

business that the toga was the symbolic uniform of

citizens to distinguish them amongst woman,

slaves, freedmen and all those with a status lesser

than a citizen. This regulation of proper dress in the

forum was reinforced by Augustus. He wanted to

present himself as the restorer of traditional

Roman morality, in this case, by re-establishing the

traditional Roman dress in the forum. He had

aediles enforce his regulation however by what

means are unknown (Rothfus 2010). The judicial

elite more than any other group in the forum were

affected by this reform. Many elite members in the

forum were already using the toga to establish

themselves as upholders of tradition and moral

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Augustan Reformsbehaviour. All the clients of elite members of

Roman society wearing togas were seen as merely

an extension of that patron in the forum extending

(Rothfus 2010). This too aided the patrons esteem.

Of all the exemplars of traditional Roman morals

through the use of the toga in the forum to build

their own esteem, Augustus was the first to expand

this vision from just including himself to

encompassing all Roman citizens. In regards to

tradition and value of the toga, Rothfus, goes as far

as to imply that there are divine connections

between the Romans and their toga. In the quote

by Suetonius, above, Augustus quotes a line from

Vergil that, in the words of Jupiter, regards the

greatness of Rome. Thus to wear anything but the

toga would be “essentially un-Roman…falling short

of the gods’ expectations,” is the argument by

Rothfus. This would have, if it was indeed a tool

used by Augustus, been very effective.

Along with the forum, the theatre was another

prominent location in Roman society where

Augustus cracked down on formal dress. He

established class stratified seating in the theatre. If

a citizen was not in a toga they were obligated to

sit in the back with the women and slaves

(Suetonius Aug. 44.2). The theatre was a prominent

place of gathering that included all members of

society not just the judicial elites and citizens. Thus

the stratification emphasised here is not as much

between but emphasis is placed on the unity of the

Roman citizen body against noncitizens. It allowed

a visual stratifications and the compulsion of

participating in that stratification (Rothfus 2010).

Other than the theatre and the forum Augustus

passed an edict that togas were mandatory at

Fig. 10 Augustus, capite velato, from the Via Labicana,

Rome, early first century A.D. Museo Nazionale delle

Terme, Rome. Photo:Alinari 30157 (Stone 1994).

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Togate Crossword

public events and at games. Thus he established a

visual, political and civic, hierarchy in the city. By

upholding the status of citizens in Rome, with an

emphasis on the judicial elite, Augustus restores

social order and thus traditional Roman values to

the city. Therefore promoting himself to the top of

this social pyramid.

- By Sara Daruvala

Across

1. Who culture other than the Romans original wore the toga but called it the tebenna?

2. What is the name of the short and distinctly coloured toga worn exclusively by equestrians?

3. The toga _________ is the highest honour awarded to triumphal generals during the Republic?

4. The ________ toga was worn during mourning?

5. What toga did individuals running for office wear?

Down

1. The toga is usually worn with a _______ under it?

2. What is the toga characterised by its purple boarded worn by children and curule magistrates?

3. The ‘toga of manhood’ I known as the toga pura and the toga _______?

4. What is the name of the perstigious double toga?

Answer key: Across 1. Etruscans 2. Trabae 3. Picta 4. Pulla 5. Candida/ Down 1. Tunic 2. Praetexta 3. Virilise 4. Laena

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Editors Notes:

The toga a garment of simple beginnings evolves into a powerful symbol in

ancient Rome. It was used both to unit and divide the populous of Roman

citizens during the late Republic and early Imperial period; the same

garment united individuals with communal ideals of citizenship while still

dividing them through variant forms and implications of status. Both these

representations of the toga could be and were taken and manipulated to

serve the interests of Roman elites to gain power and support. This is best

seen through the actions of Augustus as highlighted in this magazine. The

toga and other aspects of visual appearance were crucial to the structure

of civic and political life in Rome during the late Republic and early

Imperial period.

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Copyright © 2013 Sara Daruvala

Bibliography

Secondary Sources:

Adam, A. 1801. Roman Antiquities: Or, an account of

the manners and customs of the romans, designed

chiefly to illustrate the latin classics. London: Cadell.

Edmondson, J.C., and A. Keith. 2008. Roman Dress and

the Fabrics of Roman Culture. 1.th vol. Translated by

Anonymous Buffalo [N.Y.]: University of Toronto Press.

Heskel, J. 1994 “Cicero as Evidence for Attitudes to

Dress in the Late Republic.” Sebesta, J.L. The World of

Roman Costume 133-145. Wisconsin: The University of

Wisconsin Press.

Rothfus, M.A. 2010. "The "gens togata": Changing styles

and changing identities." The American Journal of

Philology 131, 425-52.

Smith, W. 1890. A Dictionary of Greek and Roman

Antiquities. LLD. William Wayte. G. E. Marindin.

Albemarle Street, London. John Murray.

Stone, S. 1994. “The Toga: From National to Ceremonial

Costume.” Sebesta, J.L. The World of Roman Costume

133-145. Wisconsin: The University of Wisconsin Press.

Wilson, L.M. 1924. The Roman Toga. Translated by

Anonymous United States.

Primary Sources:

Cicero, Marcus Tullius, and James E. G. Zetzel. 2009.

Ten speeches. Indianapolis, Ind: Hackett Pub. Co.

Plutarch. Life of Cicero.

Suetonius and Carter, J.M. 1982. Divus augustus: Divus

augustus. Bristol: Bristol Classical Press.

Virgil. Aeneid.

Web link:

http://issuu.com/alavurad/docs/grs_344_-_project_-_the_togate_-_fi