THE J. PAUL GETTY MUSEUM LIBRARY i ~ ‘ ” an ‘7, * of THE Jouns Hopkins UNIvERsITyY STUDIES IN ARCHAEOLOGY, No. 1 ve ; EpiTED BY Davip M. ROBINSON BY LILLIAN M. WILSON, PH. D. DG - 79 | ‘ WS po, BALTIMORE ; THE JOHNS HOPKINS PRESS he ee Copyright 1924, By e The Johns Hopkins Press Baltimore, Md. THE J. PAUL GETTY MUSEUM ie LIBRARY ai The Lord Galtimore Press BALTIMORE, MD., U. S. A. “ a ; . ; ; 4 oe ee fi as. ; aie Las : of Pe af a 4 . i — een a eee a : , oe 8 a ya ; he, , : , fer @.)/ at ne ay 6. eyo" y J H we? ee - fe Pe, fe f 4 * ’ . . TO THE MEMORY OF MY SISTER " E. W. M. INTRODUCTION The peculiar place which the toga held in Roman life and affairs, its symbolism, its long existence through many changes, all give it an interest and a significance beyond that of an ordi- nary article of clothing. Like the letters, S. P. Q. R., it was repre- sentative of Rome itself. It seems appropriate, therefore, to include this garment in the study of Roman life, history and liter- ature, and to determine as nearly as possible its various forms and the manner of wearing it. While a considerable amount of scholarly effort has been expended upon the problem of the toga, it has been, for the most part, in the nature of discussions of some one form. In the few instances where the discussion has been extended to include several forms, the reconstruction on the living model (the real test of a theory as to form) has been only partially undertaken. The object of the following study is to present a connected history of the toga, to trace the derivation of each succeeding form from those which preceded it, and to correlate the evidence afforded by the monuments with that contained in classical litera- ture. In doing this, an effort has been made to face every problem, and to present frankly the reconstruction of each form in detail. The assertion is constantly stressed that no form of the toga was ever absolutely and invariably fixed; and that a reconstruction, at best, can only give a close approximation to the general shape of each style. It is with this reservation that the results set forth in the following pages are presented. Z, 8 INTRODUCTION Owing to the disturbed conditions during the war, the arrange- ment and numbering of many museum collections do not now | correspond with the previously published catalogues. Hence no attempt has been made to give the museum numbers of the statues and reliefs, but in nearly all cases where the monument is of importance, a reproduction of it is given. With three or four minor exceptions, the illustrations of works of art are from photographs in the writer’s collection, many of which were made especially for her use; with a like number of exceptions, her study was made from the original monuments. In preparing the manuscript, the writer has tried to limit the use of italics, and to this end, the italicizing of certain Latin words is discontinued when their recurrence in the text becomes frequent. The writer extends her sincere thanks to all those who have assisted her in her work; to Dr. David M. Robinson of the Johns Hopkins University for careful, scholarly criticism of both the manuscript and the proof sheets; to Dr. Tenney Frank of the Johns Hopkins University, who read the original draft of the manuscript and made important corrections and suggestions; to Dean Gordon J. Laing of the University of Chicago, who first suggested this study and whose interest and encouragement during its progress have been unfailing. To Professor Gorham P. Stevens, Director of the American Academy at Rome, to Pro- fessor F. P. Fairbanks of the School of Fine Arts, and to the other members of the faculty of the Academy she is indebted for many courtesies and for assistance in getting access to private collections in Rome; also to Dr. Walther Amelung for securing for her photographs which are not easily obtainable; to Dr. and Mrs. Ve ——————— INTRODUCTION 9 John Shapley of New York University for the loan of their large collection of photographs of ivory consular diptychs, and to M. Jean de Bardy of the University of Paris for assistance in getting special photographs made. It would be impossible to make full acknowledgment of all the courtesies extended to her by the Directors and members of the staff of the various museums which she has had occasion to visit, and for all of which she is deeply grateful. For special privileges and assistance, she is particularly indebted to Dr. Bartolomeo Nogara, Director of the Vatican Museums; Dr. Frederick Poulsen of the Ny-Carlsberg Museum of Copenhagen; Dr. Frederick Eichler and Dr. Arpad Weixlgartner of the History of Art Museum of Vienna; Dr. Miller of the Albertinum, Dresden; Dr. Cecil H. Smith of the Victoria and Albert Museum, London; Dr. C. T. Currelly of the Royal Ontario Museum at Toronto, Canada; Halil Edhem Bey of the Royal Ottoman Mu- seum of Constantinople; Dr. Theodore Wiegand, Director of the Department of Classical Antiquities in the National Museum at Berlin; Sig. Alessandro Frattini, Director of the Doria Pam- philia Collections at Rome, and to the Director of the Museo Archeologico at Florence. For permission to make photographs in the museums and for other favors, she extends her thanks to the Directors and members of the staff of each of the following mu- seums: the Musée du Louvre, the British Museum, the Museo delle Terme and the Capitoline Museum at Rome, the Museo Nazionale at Naples, and the Museum at Ostia. TABLE OF CONTENTS PAGE So ee ie Chapter I. The Toga of the Republican Period........ 17 eee, il. The Togaof the Ara Pacis Reliefs.......... 43 Meeerterer) ) i he Imperial Toga. 7.2... eee ee 61 ierapier ty. Later Forms of the Toga................- 89 Appendix. The Toga for Today; Suggestions for Its Ree CPEVU LIfe: Ne iarice koech Sn Sse hp we ee V7 EIT (ec sgt cles elas teste eee 129 aaa. eal Ne lel Ge 131 Vere. SS a ILLUSTRATIONS FIGURE TESOL ES ee. nis hos O55 gil ass 5 tig alsa Rabe Wee RW a © wna eens es Facing page 17 NE EMER RO RIOLT I ORD YE 35.2. aleve SiON S vale ald a Wea ela sacle bee aces seclees Page 24 a The Toga of the Arringatore on the Living Model................ Facing page 30 ie The Draping of the Toga of the Arringatore on Living Model..... és ek ae F fetacram onthe Loga of the Arringatore... 2.0... 2.06.6. cece scene Page 33 8. A Cross-Section of the Stripe on the Toga of the Arringatore.............. S87 ne Portrait Statues in the Museo delle Terme. Rome............ Between pages 40-41 11, A Portrait Statue in a Private Collection. Rome............. us “40-41 12.| The Toga of Figs. 9, 10 and 11 (the Large Toga of the 13. Republican) Period ony Living Models ..c aco. ese be a “40-41 [222 otatue in the Museo delle Terme. Rome......-2...0..c0ceeccaee Facing page 42 Pemrssdcmeview Of Pig, 12. Living Model... .... 20.26.00 cece ee nenes = as 16. Diagram of the Large Toga of the Republican Period........ Between pages 42-43 17a. , : ‘ a reliefs Of SG) EGF CY a Sag cae ean ra Facing page 43 os Reliefs con WE a ea) ie 17d. ee ete arom fhe Ara) Pacis... 6.5.2 ects es ens s canes cedwaene is So aS Semmeeseraniur tre Loga of the Ara Pacis........ 0... 0000 06..ceesescceacces Page 47 20. - Reconstructions of the Toga of the Ara Pacis on Living Model..... Facing page 48 21. Suey atrer auiting Im Pompei... ........2.6.. 0002s reece esse neces = “53 Pemnottrart Statue Of AUgUStUS. (2.2... sae ncec cscs nance cancecess te © 6 peeewrotttaltaotatue Of a Roman. Vatican..... 2.00. .600ccc ewe encnace * cf GE Serer erica statue of a Roman Boy.........5.. 0000-600 ccs aenwenee oF ee G2 weer O8traltrotatue of a Roman. Lateran. ......2...6..0cccc ees eees is bape tor) Comreraeeet on the linperial Toga... .... 60. .i ccs eae enc cesausuecussceets Page 64 nem rc@retne AMperial Toga. «ces c- face tn mya ceu nls de ade ev ius cos cuuces AGS eye Oftrait Statue in the Museo delle Terme..................00206 Facing page 67 era Portrait Statue in the Ny-Carlsberg Glyptotek.................. S67 29b. geet imeperial Toga on the Living Model...........- 000-0020 0c ness 7 en ak 13 14 ILLUSTRATIONS FIGURE 31a. ; ; eae aib. The Draping of the Imperial Toga on Living Model.............. Facing page 69 32. Back of Fig. 30. Living Model.........-..-0.s esse cee ee cece eee ees a Cag 33. Back of Fig. 25. .0ks« scams s sisgine oe meine sm elamatnisys ate elaine erie irate = Cae 34a. A Portrait Statue. Mumich.......-.00+ceeeeecee reer eee eecvaceece < ‘Cre 34b. A Relief on a Flavian Altar. Vatican...........6seseeeeeeseeesees ‘ i | 35. A Relief of the Antonine Period. Rome........-+++++++++0++ Between pages 74-75 36. An Imperial Toga of the Antonine Period on the Living Model. “74-75 37. A Relief from the Arch of Trajan at Beneventum...........-..... Facing page 75 38a. A Portrait Bust, Louvres... 6. scu vig eecss sees eee sane eae ee ue at. 056 38b. A Portrait Bust. British Museum.... 1.6.0... 2e cece rec eeeeenaes s “. 96 39. Diagram of the Toga with Folded Bands............-...+... Between pages 76-77 4o. » yes So | a Sea eee am es a eae Cee ae a oe Fic. 27a. , The Imperial Toga. The Imperial Toga. 66 THE ROMAN TOGA All of the foregoing illustrations of the imperial toga give plain evidence of the shaping of the sinus edge, excepting Figs. 25 and 26 in which the device above referred to of the heavy supporting column of folds between the feet, has been employed. An overwhelming number of examples might be cited as clearly showing that the edge of the sinus is a diagonal line, but Figs. 28 and 29a and b are representative. In Fig. 28 it will be observed that the upper or sinus edge, as it ascends along side of the right leg, produces an undulating line, similar to that produced by the corresponding (purple-bordered) edge of the toga on the living model, Fig. 31a. Now this edge of the toga measures itself with the extreme length of the toga, and as it lies upon the length of the toga this outer edge must be longer than the real length of the toga in order to produce this undulating line. Naturally the evidence of the elongation of this line does not always appear on the same part of every statue. For instance, in Figs. 23 and 24 this edge does not form undulations between the feet because its additional length is used in drawing the sinus over the head and also in permitting the lowest part of the curve of the sinus to fall loosely against the knee. But it suited the wearer in Fig. 28 (or the sculptor) to draw this edge of the sinus up so as to produce a heavy curving ridge of folds above the right knee, and allow the edge of the sinus to produce the rippling line between the feet. If this statue had been worked out in the back and the drapery rendered with the same degree of realism as appears in the front, the edge of the toga as it hangs from the left shoulder would probably have produced an undu- lating line similar to that which appears in Fig. 29b, which is the back view of Fig. 29a. On this statue the edge of the toga between the feet has been broken but it evidently had little or - ed t ff a] re a ae - —ie igrk!'s ie - Diy yy s , SHA eae ast a r ry i eo * 7 & } I ah) —_— as ‘uaboyuagoy *y910}d A] Braqspreg-AN 9y} ut "d6e “Oly 9njzeIS WeIMIOg V *v6z ‘O1g ‘auLoy ‘WIT, a[]ep Oasnyy 9Y} UT aNjeIg WeNIOg Y "Sz “OLY THE IMPERIAL TOGA 67 no undulations. The edge of the sinus curve across the knee is drawn into folds, though not as deep as those on Fig. 28; the umbo is considerably restricted,’ and as the drapery hangs down from the left shoulder in the back it forms the rippling line which appears in Fig. 29b.° These details will be further illus- trated in the reproduction of the imperial toga on the living model, to which we now proceed. Fig. 30 shows, on the living model, an imperial toga having the same form and proportions as shown in diagram Fig. 27a. In this instance the reconstructed toga is provided with a purple border which is placed on the sinus in accordance with Fig. 22. The width of this border, as previously explained, is not, and cannot be guaranteed. A clear comprehension of the disposition of the various parts of this toga as it is draped on the human figure is necessary to an understanding of the subsequent changes which took place and the forms which resulted from them. For this reason, we shall consider the manner of draping, not only in connection with Figs. 31a and b, which illustrate the process, but also in connection with diagram, Fig. 27b. 5 This statue has undergone repairs, but none that affect the details under discussion. 6 In view of the clear evidence above presented as to the general shape of the toga, it seems needless to enter into further discussion of the theory that the shape of the toga was a complete semi-circle or segment of a circle and that the upper or sinus edge was a straight line. | Proof of the absolute fallacy of this theory is afforded by the draping of a semi-circle | (or a segment of a huge circle) on a living model. See Heuzey, of. cit., Fig. 125. This | is a photographic illustration, which is the only kind that can be accepted as evidence for the reconstruction of garments. The full ruffle formed by the toga on the model’s left side, the cramped and restricted sinus, and the considerable length of drapery which apparently lies on the floor behind the model, all attest the incorrectness of the form. 68 THE ROMAN TOGA Before considering this diagram, I stress the statement that the location of the various parts of the toga on the body as indicated by Fig. 27b are approximate and not absolute; and I repeat what I have previously said, that it is scarcely possible that any toga was ever draped twice in precisely the same lines. Fig. 27b and the discussion which follows aim to give a general statement of the draping of the toga and not to establish hard and fast lines to be followed. The toga shown in Fig. 27b is the same as in Fig. 27a. The upper or sinus portion has been folded over, and the toga is now ready to be placed upon the wearer. The side which we conceive as lying next to the page is placed next to the body, with the end Aa lying between the feet. While for convenience the toga is folded along the line AB, this line is not rigidly maintained, and in some parts of the drapery it is wholly ignored. In draping this toga, it is first placed on the shoulder exactly as was the Arringatore toga, Fig. 5, excepting that instead of having only a few inches of fabric along the straight line AB gathered into folds and placed on the left shoulder, the whole width of the sinus section, JK has also been included in this bundle of irregular folds which rest on the shoulder approxi- mately at point K producing the effect shown on the left side of the model in Fig. 31a. The bordered edge of the sinus AJ being longer than the line AK falls in ripples or undulations as appear in Fig. 31a. The lower section of the toga is brought up and passes over the left fore-arm at about point Z. Let us bear in mind that there has now been gathered up in folds on the left shoulder, the fabric represented by JK, which on a man of average height would mean a width of fully one and one-half yards, and in Fic. 30. A Reconstruction of an Imperial Toga. . The Draping of the Imperial Toga. FIG. 31A. yoerenatas Satara THE IMPERIAL TOGA 69 addition there is included the original few inches of the under section of the toga along the line AB; also, we note the con- siderable amount of fabric which is gathered up over the left fore-arm at Z. The toga along the line KH is then brought diagonally across the back, passing under the right arm about midway between the points K and H;; the bordered edge of the sinus passes from the top of the left shoulder across the back of the neck, lies on top of the right shoulder and descends along the right upper arm. The sinus section in the back is therefore turned up upon itself. See right shoulder of model in Fig. 31a, also back view of toga, Figs. 32 and 33. The remaining portion of KH is then brought diagonally across the breast. The sinus section is gathered into folds along the line HG and with it a portion of the under section of the toga at H. This is illustrated by the action of the assistant in Fig. 31b. This second accumulation of folds, duplicating the one we have seen at point K, is also placed on the left shoulder. The lower section of the toga is then caught up and brought over the left fore-arm at about point X, so that the folds at X lie on the arm above the folds at Z, already placed there. The remaining portion of the toga from points H and G to the end Bb is then arranged in the group of folds which hang down the left side of the back. See Figs. 32 and 33. These folds are not schematic, but in a general way they follow the diagonal line BG. Naturally the fold BH is entirely abandoned in the folds hanging down from the left shoulder in the back.’ The purple-bordered edge may hang straight from the shoulder 7 In the toga used in Figs. 30, 31a and b and 32 there is a seam along the line AB and on Fig. 32. This seam may be seen crossing diagonally the lower part of this group of folds. 7 70 THE ROMAN TOGA as in Fig. 32; or by a slightly different arrangement of the sinus it may form undulations as does the corresponding edge of Fig. 29b. The edge EFG surrounds the right side of the body and ascends the left side in front, forming the sinus. In Fig. 31b, the model with his right hand is drawing up the fullness of the edge AJ to form the loop known as the umbo. The arrangement in the back, resulting from this drapery, is shown by Fig. 32. Like the series of statues of which Figs. 9 and 10 are examples, these imperial togated figures are often not worked at all in the back, and those that are worked are usually treated in a sketchy manner or merely blocked out. Fig. 33, which is the back of Fig. 25, is among the best sculptured representation of the back of the toga (see also Fig. 29b). While the sculptor has indulged in the usual artistic license in rendering the drapery, the general disposition of it is well shown—the long folds hanging from the left shoulder, the curving folds on the right side, and the sinus section turned up over the right shoulder—all of which correspond in general to the disposition of the same parts of the drapery in Fig. 32. The size which the toga attained along with the development of the sinus, and more particularly the evidence already cited as to the cutting off of the corners in order to produce the sinus, naturally raises the question as to how the toga was made. Was it woven all in one piece or was it woven in separate pieces which were sewed together? Was it shaped in the weaving or was it cut to the desired shape? Those skilled in hand weaving know that a web having the shape of diagrams Figs. 18, 27a, 39, etc., can be woven on a hand loom, and this was demonstrated by the experiment already re- ferred to (see note 17, Chap. II). The weaving of a web of PiGin4'3: Back View of Fig. 25. Fic. 32. Back View of Fig. 30. THE IMPERIAL TOGA 71 the size of the imperial toga is considered impossible on a modern hand loom. Existing textiles prove that the ancient weavers probably using an upright loom often wove a wider web than is convenient or practicable on the modern horizontal hand loom. One of the widest specimens of ancient weaving in the Victoria and Albert Museum is a tunic with sleeves, woven all in one piece. Its width, including the sleeves, is six feet, seven inches.* As the sleeves are very large, this great width was required for about one-third the entire length of the tunic, and the weaving of it must have been exceedingly laborious. The reconstructed imperial toga, diagram Fig. 27a and Fig. 30, which is of proper proportions for a man of average height, has a width (line cd) of nine feet ten inches or over one-half more than the greatest width of the tunic mentioned above. The weav- ing of such an enormous web, even if possible, would have been needless since there is no disadvantage in having a seam through the middle of the toga,” and numerous togated statues give evi- dence that such a seam actually existed. At the intact corner of the toga of the Arringatore we have noticed a loop evidently made of the ends of threads left after the cord which surrounds the toga was completed. There are representations in art of a piece of cloth as it comes from the loom with long threads hanging from each corner.” A loop or tassel formed of these threads often appears at the corners of rectangular mantles. From all this evidence we may conclude 8 See pp. go-1 and pl. I, Vol. I, Catalogue of Textiles from Burying Grounds in Egypt (Victoria and Albert Museum), A. F. Kendrick. The person who attempts the draping of the toga at the present day will find this seam a decided advantage. 10 In the new excavations at Pompeii (not yet published) there is a wall painting of a fuller’s shop in which there is a tunic with these threads at the corners. 72 THE ROMAN TOGA that it was the usual custom to finish in this way the corners of a piece of cloth intended for a specific garment. ‘This finishing touch being at the corners was, therefore, at the end of a selvage edge. On a very large number of extant togated statues, this loop appears, and always on the ends of the toga at a place corre- sponding to some point on the line Aa of diagram Fig. 27a, and where the statue is worked in detail in the back, on the line Bb, and often near the point where the diagonal edge of the sinus begins. While it cannot be asserted as an absolute fact that these loops mark the end of a selvage edge (and therefore, on the toga, the end of a seam) the evidence cited makes it wholly probable. | If a toga were woven in two sections, so that there would be a seam parallel to the line AB of Fig. 27a, neither section would need be more than five feet wide, which was not an unusual width for ancient textiles. The cutting required would be the cutting of the warp threads, leaving ends long enough to finish the edges of the web. A few sculptured figures show us some of the ways in which this difficult costume was managed when the wearer was seated. See Figs. 34a and b. The position in Fig. 34a is suitable for formal occasions. The toga is draped in the usual way. The end of the toga which hangs from the left shoulder down the back, when the wearer is standing, is here brought from the shoulder down back of the left upper arm, under the wrist, and across the left thigh, the extreme end falling between the legs. In this way, the folds on the left shoulder are not disturbed and 11 See Figs. 17a, b, c, and d; also the entire group of portrait statues in vestibule of National Museum at Naples. Other examples too numerous to mention might also be cited. For this detail on the end of the toga in the back see also Figs. 29b and 33. —_ ~~, “uUDIIID 4 1401980 JT ‘Iey]Y UeIAR[Y B UO JaILaY V ‘abé ‘old a ee ee ee ee Se ee ‘YUN *safsopuayjag ‘yayiojd A] 5 ay) url anjeig WeI0g y WHE “OI ee | THE IMPERIAL TOGA 73 when the wearer rises, the drapery, with slight rearrangement, falls into proper position. Fig. 34b shows a pose that is easy and intimate. The part of the toga which normally hangs from the left shoulder down the back, has been entirely removed from the shoulder and doubled upon itself so that part of it forms a loop that lies across the left thigh. The remaining length falls between the knees, with the end hanging in front of the left ankle. The opposite end of the toga hangs between the feet and just back of the lect heel.” The length of the toga can here be easily traced and closely estimated. Beginning at the end in front of the left ankle, we see that the upper or sinus edge of the toga must pass along the left leg, around the loop into which the toga is folded on the left thigh, thence under the right wrist and up along the right arm and shoulder, across the back of the neck, down the left side of the breast, around the curve of the umbo, and thence to the end which hangs back of the left heel. A little calculation will prove that this entire length on a man average size cannot be much in excess of four and a half yards (thirteen and a half feet) which is about the length of the toga on the living model, Figs. 30 and 36, and this toga when arranged as shown in the relief produces the same effect. The draping..of.the.toga was a serious business. Macrobius describing the fastidious Hortensius, says that he was clothed with care, even with elegance, and in order that he might go out well dressed he looked at himself in the mirror and placed the 12 This figure clearly contradicts the theory that the imperial toga had a length of more than eighteen feet as asserted by M. Heuzey. See Heuzey, op. cit., Fig. 123 (p. 238). 74 THE ROMAN TOGA toga on his body so that a graceful knot drew up the folds, ar- ranging them, not by chance, but with care; and the sinus by its arrangement flowing down surrounded the outline of the side. Once when he had arranged it with great care, he brought charges against his colleague who brushed against him in a nar- row passage and destroyed the arrangement of his toga; and he thought it a crime that the folds should be moved from their place on his shoulder.” The statues themselves give evidence that the necessity of securing the toga became somewhat imperative, for, following the period of the Flavian emperors, there are numerous statues, busts and reliefs showing that the loose umbo had been aban- doned and in its stead, the sinus, gathered into irregular folds is drawn well over the left shoulder in such manner as to give a degree of security to the folds which pass over the shoulder and hang down the back.** This manner of draping the toga is par- ticularly characteristic of the sculptured figures of the Anto- nines, and there were numerous slightly varying forms of it (see Fig. 35). That this arrangement of the toga was produced by merely changing the drapery and not by altering the form, is proven by Fig. 36 which is the same toga as is shown in Fig. 30, but draped to correspond with Fig. 35. The only difference 18 Macrobius, Saturnalia, III, 13, 4 and f. ‘‘Fuit enim vestitu ad munditiem curioso, et ut bene amictus iret, faciem in speculo quaerebat, ubi se intuens togam corpori sic adpli- cabat, ut rugas non forte sed industria locatas artifex nodus astringeret et sinus ex con- posito defluens modum lateris ambiret. Is quondam cum incederet elaboratus ad speciem, collegae de iniuriis diem dixit, quod sibi in angustiis obvius offensu fortuito structuram togae destruxerat et capital putavit, quod in humero suo locum ruga mutasset.” 14’The date of the first appearance of this manner of draping the toga, like most other j| changes in style, cannot be definitely fixed. It may have appeared even during the _Flavian period, but judging from the extant statues and busts its general use belongs to i a little later date. ee a HiGieaisy A Relief of the Antonine Period, in the Palazzo dei Conservatori. Alinari. Rome. oe Fic. 36. A Reconstruction of an Imperial Toga of the Antonine Period. Fic. 37. A Relief from the Arch of Trajan at Beneventum. ciont. Mos ere ra sree ~~ —— THE IMPERIAL TOGA 75 is in the length of the garment; the end hanging between the feet in Fig. 35 instead of trailing, is well above the floor, while the togas in other reliefs of the Antonine Period are still shorter.” This shorter toga was evidently popular even in Trajan’s time; see Fig. 37 which is a detail of a relief from Trajan’s Arch at Beneventum. In this relief, the toga of the emperor, as it crosses the right leg is considerably above the shoe top, while that of each of the two men facing him is half way between the knee and ankle. The sinus, however, is longer and fuller than is usual on the figures of Augustus and the Flavian Caesars. The person at the extreme right in the relief, Fig. 37, has caught up the sinus of his toga and holds it in his left hand. This shows us the beginnings of a style which became a marked feature of later forms of the toga. But another method of disposing of the mass of toga fabric on the left shoulder and breast came into use about the same time as the style shown in Fig. 35, or perhaps a little later. The style in question consisted of heavy folded bands; the first ap- pearing in the front or at one side of the breast, encircles the upper part of the left shoulder; the second, following the edge of the sinus ascends the left side of the body in front and dis- appears under the first just in front of the left shoulder. Some- times this second folded band is wanting, the edge of the sinus being arranged as in the draperies already considered. These folded bands appear on a very large number of portrait busts, where, as a rule, they are conventionalized and exaggerated. Moreover, a large proportion of the busts having these folded bands are later than the period we are now considering (the 2nd 15 See reliefs from a monument of Marcus Aurelius on the Arch of Constantine; E. Strong, Roman Sculpture, Pls. XCI, 8 and XCII, 12. 76 THE ROMAN TOGA century A. D.) and the toga represented on them was doubtless one of the later forms, with which, as we shall see, the folded bands were more constantly used than with the imperial toga of the second century. On Figs. 38a and b the form of these folded bands is shown with a fair degree of realism, but on the former their thickness is exaggerated. The busts alone offer practically no solution of these seemingly mysterious folds; but fortunately they appear on an occasional figure in relief sculpture, where the whole toga is represented, and on a few full length figures in the round. On these statues it may be seen by a little observation, that the folded band which lies along the edge of the sinus on the left side of the body is formed by beginning at the edge of the sinus and folding the cloth back and forth upon itself until all of the fabric which, on Fig. 35, is gathered into the cluster of irregular folds, is taken up into the folded band. And, since this folded band ascending the left side of the body is accounted for, it is obvious that the folded band which crosses the breast and surrounds the left shoulder is made by similarly folding the opposite part of the sinus, or the portion which in Fig. 35 is brought out over the point of the shoulder to hold the toga ‘in place. | A crude relief, showing the toga draped in this way, appears on an early Christian sarcophagus in the Church of S. Saba in Rome. See Fig. 40. A crudity which appears in many reliefs of the grade of workmanship of this sarcophagus is the childish rendering of the crease which the folded band naturally forms as it comes from under the toga in front or at the side of the breast as the case may be; see “A” on Fig. 38a. In Fig. 40 and other reliefs of its class, this crease appears as an unintelli- "unasnyy sijisg *I4ON0T ‘Jsng WeiIVI0g V ‘ysng Weij10g V "age “Oly "VgE ‘Oly Rm mem nnn nn wan nn nn - ~~ ~~ wa 8 Oe ow a oe err ale ee os ra a a SS a os a ewe we ee eee a a a a we wm wm ee ee 2 oe oe ee ee Fic. 39. d Imperial Toga with Folded Bands. ® FIG. 40. A Relief on a Sarcophagus in the Church of S. Saba. Mosciont. Rome. THE IMPERIAL TOGA 77 gible little slot, and it has added to the confusion of the problem of these folded bands. Figs. 41a, b and c illustrate on the living model three of the numerous less formal arrangements of these folded bands which appear on the portrait busts. Fig. 41d shows the back of Figs. 41a and b, while the back of 41c closely resembles Fig. 32 excepting that the folded band takes the place of the loose irregular folds which lie across the back of the neck and along the right shoulder. On numerous portrait busts of which Fig. 38b is representative, and on a few statues, the folded bands are more formal than in the preceding examples. One of these statues is in the Barberini Collection, Fig. 42, and a part of another is in the Albertinum in Dresden, Fig. 43.*° On both these statues, the band which crosses the breast has a fixed and rigid appearance; and by a schematic arrangement, the one which descends from the left shoulder may be made to form a fold surrounding the curve of the sinus as on Fig. 40 and Fig. 51." These wide bands, like the narrower ones of Figs. 41a, b and c, differ in their arrangement. Sometimes the one surrounding the left shoulder extends entirely across the breast as in Fig. 42 and sometimes it disappears beneath the drapery a little to the right of the middle of the breast as on Fig. 43. While this drapery appears to be highly conventionalized and sculptural, it is, as a matter of fact, fairly realistic, and its recon- 16 This fragment has been published as a complete statue (see Reinach, Rep. de la stat. grec. et rom., I, 548) but the portion from the hips downward was a restoration, which has since been removed. 17 The general appearance of the drapery of the statue Fig. 51 would seem to place it in the same group as Figs. 42 and 43. It presents one detail, however, which, if true to form, is a step in the development of the later forms of the toga, and I have so consid- ered it. 78 THE ROMAN TOGA struction on the living model is not especially difficult—not more so at least than the Romans themselves evidently found it; for it was doubtless to a toga draped in this fashion that Tertul- lian refers, though his remarks are likewise applicable to a later form of the toga. After speaking of the simplicity of the early toga, he says, “so that there was no need of a skilled person who the day before should from the beginning, make folds and smooth them down more elegantly and place in forceps the whole mass of the contracted umbo; then in the morning when the tunic is girt, which is better if it is woven of fine threads, examining and replacing the umbo, if any part of it is out of place; a portion of it he draws out from the left; the circular part of which the sinus is composed, if the folds are insufficient, he draws away from the shoulder blades and uncovering his right shoulder, he heaps it on his left shoulder along with another equal fold in- tended for the back, and so the garment covers him. Therefore, I appeal to your judgment; what is your first idea about the toga, is it a garment or a burden? Did one have a garment or a pack? 718 It is difficult to reconcile Tertullian’s reference to the umbo to this style of draping, since the fabric forming the umbo has been taken up in the band of folds crossing the breast. Possibly this part of the toga was still called the umbo, even though in the draping it had lost the form from which it took its name; 18 Tertullian, De Pallio, V. “ Adeo nec artificem necesse est qui pridie rugas ab exordio formet et inde deducat nitidius, totumque contracti umbonis figmentum custodibus for- cipibus assignet; dehine diluculo tunica prius cingulo correpta, quam praestabat modera- tiorem texuisse recognito rursus umbone et si quid exorbitavit reformato, partem quidem de laevo promittat, ambitum vero eius ex quo sinus nascitur iam deficientibus tabulis retrahat a scapulis et exclusa dextera in laevam adhuc congerat cum alio pari tabulato in terga devoto, atque ita hominem sarcina vestiat. Conscientiam denique tuam perrogabo quid te prius in toga sentias indutum, anne onustum? habere vestem, an baiulare?” ” ‘spueg peplog ay) YIM Aradeiq jo swi0g ‘aIb ‘O17 . ‘VIP ‘Oly ‘qih pue erh ‘sBiq JO MaIA youg ‘spueg papjog ay yim Aradesrq ‘aI “O1y ‘DIV “OLY ‘uapsasq ‘wnuyIeq|y 24} ‘IULOYy UI YINOX ULRWOY vB JO anjeIg WeI}IOg & Jo JUaWIZLIY Y ‘U01}9I| [OD lUliaqieg ay} UI aNnjEIg WeIIOg VY "Eb “OLY ‘eb “Oly ‘spueg peploy peoig 94} YM eSOT, 94} JO SuoTJONIJsUOIIY "St ‘OlY “bb ‘Oly THE IMPERIAL TOGA 79 or Tertullian may have been speaking loosely of the difficulties and encumbrance of the various styles of draping the toga. With the loose, informally draped togas which we have pre- viously considered, the folds naturally changed with every move- ment of the wearer, and slight readjustments of the drapery were frequently necessary and easily made. But it is apparent that a toga draped with the heavy folded bands would lose its character and style and become embarrassing to the wearer unless these precise folds retain their exact form and their place on the human figure; and this they will not do unless secured in some way. Fig. 44 shows a reconstruction on the living model of the drapery of Fig. 42 where the folded band extends entirely across the breast to the right armpit; and Fig. 45, the same toga with this band disposed as on Fig. 43. The toga used for both these draperies is the same as that used on Figs. 41a, b, c. The first step in producing the drapery was to lay the folds; but instead of securing them by means of the forceps which Tertullian men- tions, and which have not yet been identified, they are secured by concealed stitches. When properly folded and secured, the bands form a border which nearly surrounds the sinus. The toga is then placed on the wearer in the usual way, see Fig. 31a. On Fig. 41a when the folded band is drawn over the shoulder, it lies naturally across the breast, and is held in place only by the support which the drapery gives. But on Figs. 42 and 43 this band is much wider and lies in an almost horizontal line across the breast. Obviously it could not retain this position unless given a firmer support than is afforded by the drapery beneath it. In the reconstruction, this support is given by arranging the band in the required position and attaching it to itself, as shown by 80 THE ROMAN TOGA Fig. 46. The draping then proceeds in the usual manner. The band which the assistant holds in his right hand passes over the model’s left shoulder, so that the sinus with the heavy band on its edge is draped over the front of the figure, and a continuation of the same band hangs in a straight line from the left shoulder down the back. The drapery is completed by adjusting the band across the breast and around the left shoulder. The continuation of this band crosses the back diagonally to the right side of the figure, as on Fig. 41d. When the drapery is completely adjusted it has. the stability of a fitted garment. In Figs. 41b and 51 the wearer grasps the edge of the sinus with his right hand, thus holding the folded band in its diagonal position across the back. But since this action of the right hand is only a pose, it is necessary to furnish permanent support for this band. This is done by attaching it to the drapery at the right side of the back. Fig. 42 is not worked out in the back, but the disposition of the drapery must closely resemble that of Fig. 41d. Fig. 43 is partially worked in the back, but as is usual in such cases, the chiseling is rough as if done by a workman instead of an artist and at some of the essential points there is no connection between the folds of the drapery in the back and those in front. But, making due allowance for such deficiencies, the arrangement of the drapery on the back of this fragment is the same as on Fig. aid. | Diagram Fig. 39 shows the form and proportions of the toga of Figs. 41a, b, c, d and Figs. 44 and 45. Its similarity to Fig. 27a is toO apparent to require graphic comparison, the difference being one of size only; but even this difference is not necessary since the larger toga can be draped in this way, though with greater difficulty. The very limited number of extant portrait — Fic. 46. The Draping of the Toga with Folded Bands. THE IMPERIAL TOGA 81 statues wearing the imperial toga with heavy bands warrants the conclusion that they were not generally worn with that form of toga. The toga of Figs. 39 and 41a, b, and c when draped in the same manner closely resembles the toga on the figure of the emperor in the Trajanic relief, Fig. 37. It is, therefore, a toga whose fabric, size and proportions were suitable for ordinary use. The principal literary evidence which we have concerning the actual measurement of the toga is from the Scholium on Persius which is also evidently quoted by Isidore. The bare statement is made that the proper length of the toga is six ulnae.”” But which dimension is considered the length? In the present discussion I have taken as this dimension the measurement of the toga from the end which hangs down between the feet in the front to the corresponding end in the back. There is great obscurity as to the exact length of the ulna, and it evidently meant different lengths at different times. Scholars differ in their opinions, some giving it a length of six feet, others 45 inches (the length of the ell) and still others, 18 inches. Manifestly, neither the first nor the second figure could have been the measurement which the scholiast had in mind, since the toga thirty-six feet or even 224 feet (according to the second figure) in any of its dimensions would be unthinkable. On the other hand, six times the last mentioned figure (18 inches) is nine feet which is much less than the possible length of any form of the toga from end to end, as we have been reckon- ing the length. 19 Scholia, Persius, V, 14, “ Mensura togae iustae senas ulnas habebat.” Isidore, Orig., XIX, 24, 4, “ Mensura togae iusta si sex ulnas habeat.” 9 82 THE ROMAN TOGA But after the form of the toga of diagram Fig. 39 had been worked out on a living model whose height is about that of an average man, an actual measurement of the garment showed that its extreme depth, that is, the line cd was 108 inches or six times 18 inches. To be sure, this is not proof. that cd is the dimension which the scholiast regarded as the length, nor that 18 inches was the measure of the ulna he had in mind. But a toga of this width or depth (cd) is, as we see, one of moderate size as compared with togas on various imperial statues, and could well have been the depth or width of the togas shown in the Trajanic relief, Fig. 37. However, as the toga varied greatly in all of its dimensions at different periods, any hard and fast statement regarding its measurements could only apply to some specific form of the garment, and even then the measurements would depend upon the size of the wearer. Whenever it is said that this or any other style of toga is of convenient size for every day wear, the statement is made with reservations. According to our ideas, the toga was never a con- venient garment, nor did the Romans find it so. All Roman citizens were privileged to wear it, but the only persons who used it as an every day garment were those of the leisure patrician class whose occupation was attending to political affairs. For more active occupations, traveling, hunting, and the like, a cir- cular cloak was worn as is proven by numerous wall paintings and by relief sculptures such as the medallions on the Arch of Constantine. Soldiers wore a similar cloak. When at work, the poor Roman citizen, as well as the slave, wore only his tunic. Literary references to the wearing or the omission of the toga are naturally casual, but the inferences to be drawn from them are clear. A few examples will be sufficient to illustrate them. THE IMPERIAL TOGA 83 Suetonius says that Augustus * “desired to revive the ancient fashion of dress, and once when he saw in an assembly a throng of men in dark cloaks he cried out indignantly, ‘ Behold them, Romans, lords of the world, the nation clad in the toga,’ and he directed the aediles never again to allow any one to appear in the Forum or its neighborhood except in the toga and without a cloak.” (Rolfe’s translation). Livy,” describing the calling of Lucius Quinctius “ the sole hope of the Roman people” says that the senatorial legation found him at work on his farm and requested him to put on his toga and respond to the commands of the senate. He accordingly, bade his wife bring his toga from his hut. Juvenal * remarks, ‘“‘ Let our juniors attend [the circus]... Better for us that our wrinkled skins absorb the spring sunshine and we be relieved of the toga.” Literature, therefore, supports the evidence of the reliefs and wall paintings. The toga was worn by Roman citizens on all formal occasions, and omitted when permissible or when one’s occupation made such a garment impossible. The Antonine reliefs show togas, which are much shorter even than the togas on the Trajanic relief (Fig. 37), many of them extending only a little below the knees. This was doubtless the toga of the ordi- nary Roman citizen. A few of the sculptured togas with heavy bands present a detail worthy of especial mention. On Fig. 43 there are to be seen on the band which crosses the breast, two stripes; one of them crosses the band obliquely at about the middle of the breast, and 20 See Suet., Aug., 40, 5. 21 Livy, III, 26, 7-10. 22 Juvenal, XI, 203. 84 THE ROMAN TOGA the other just below the left shoulder. The first stripe is care- fully worked into the marble; the second is only scratched upon the surface. A similar scratch on the vertical band on the front of the figure indicates the intended position of another stripe. There are evidences on other parts of this fragment that the statue was never wholly finished, which may account for these scratches being left without further working. ‘Two similar stripes are visible on the folded band across the breast of Fig. 42, but their inclination is from right to left instead from left to right as on Fig. 43. On Fig. 51 two such stripes appear on the band across the breast and four on the vertical band on the left side of the body. On neither of these statues do stripes appear in other parts of the drapery. Stripes in this part of the toga could have been produced in the weaving by laying in, at intervals, heavy threads parallel with the woof threads, but extending them only a short distance from the edge instead of carrying them clear across the web. There are numerous instances of stripes woven in this way in the Coptic tunics. Another explanation is also possible. May not these stripes represent metal clamps or the forceps of which Tertullian speaks, and which were used to hold the folds in placer?= An occasional literary passage mentions a distinctive style of toga, the toga picta, perhaps in later times also called the toga palmata. The actual information contained in these passages is meager. From them we gather that the wearing of this toga was 22a It has been suggested that these stripes represent creases caused by folding the toga to lay it away. But the precise and schematic rendering of them, and the fact that they appear only on the folded bands and in no other parts of the drapery, make the acceptance of this theory a little difficult. THE IMPERIAL TOGA 85 granted as a special honor to a victor at his triumph, and to other persons of distinction on special occasions.** Originally it was worn with the tunica palmata. This doubtless accounts for the use of the term toga palmata, by some classical writers.” In early times the triumphal toga picta appears to have been the property of the state and kept in the Capitoline temple of Jupiter.” Later it became the official dress of the emperors and according to Capitolinus, Gordianus was the first Roman to own a tunica palmata and a toga picta as private property.” As to the appearance of this garment, a few points may be fairly inferred. Purple is spoken of as the color of the toga worn with the tunica palmata, even though the specific term toga picta is not used,” therefore the color of this toga was doubtless purple. Its name. indicates that it was decorated with figures or designs embroidered upon it, and gold would have been the appropriate color for such decoration. But what were the exact forms of the designs? Were they palms or palmettes or were they various small figures? Some scholars have accepted the garment of Roman kings de- scribed by Dionysius of Halicarnassus as the toga picta,* and Florus states that it was used by Tarquinius.” The wearing of it was, therefore, a very ancient custom. Did it retain its original shape, or was its form changed from time to time to correspond 28 Tac., Annales, IV, 26; Livy, X, 7, 9; XXX, 15, 11; Florus, I, 5, 6. 24 Martial, VII, 2, 8; Servius, dd Bucol., X, 27. 25 Scriptores Hist. Aug., Alex. Severus, 40, 8. 26 Scriptores Hist. Aug., Gordiani Tres, 4, 4. 27 Livy, XXXI, 11, 11. 28 Dionysius of Halicarnassus, III, 61. 2° Florus, 1, 5, 6.. 86 THE ROMAN TOGA with the togas in general use? To these questions we find no answer.” On one class of monuments, the ivory consular diptychs, there is represented an elaborately embroidered toga, which will be referred to in a succeeding chapter. The cinctus Gabinus is also mentioned in connection with the toga. Literary references indicate definitely that it was not a separate garment but a manner of draping the toga, and that it was used only when one was engaged in a sacrifice or some other especially solemn religious rite.** The consul was girt with it when he unbarred the gates of war,” and also Decius, when he devoted himself to the gods for the people and the legions.* As to the manner of the girding, Servius says: “ girt in the Sabine manner, that is, with part of the toga drawn over the head, and with part girded;” ** and again, “ the gabinus cinctus is the toga so thrown in the back that one edge of it brought again from the back girds the figure.® Isidore says, “It is the cinctus Gabinus when the toga is put on in such manner that the edge of the toga which is thrown back is drawn to the breast so that from either side from the shoulders embroidery may hang down 30 For further discussion see: Amelung, Die Gewandung der alten Griechen und Romer, p. 50; Miller in Baumeister, Denkm., III, 1832-3; Marquardt, Das Privatleben der Romer, II, 542 and 562; Courby, Toga in Daremberg et Saglio, op. cit., V, 352; Heuzey, op. Ccit., p. 267. 81 See Livy, V, 46, 2. ( 82 See Verg., Aen., VII, 6o1 ff. Se Livy; M758 34 Servius, dd Aen., V, 755, “ et incincti ritu Sabino, i. e. togae parte caput velati, parte succincti . . .” 35 Servius, dd Aen., VII, 612, “ Cinctuque Gabino; Gabinus cinctus est toga sic in tergum reiecta, ut una eius lacinia a tergo revocata hominem cingat.”’ ‘ob pue qZP ‘s3Iq UO UMOYS SI UOT}INIsUOIeI pajsadZns y "SNULgD H $NjIUL/) 34} aq 0} pasoddns st JeYyM Burmoys ‘uKd}e A 3y} UT [13194 Jo Adod ydis9snueU e& UT UOTeIYsNIII Ue st LP “SI : ‘alb “Oly OLP “OLY *vLb ‘Oly THE IMPERIAL TOGA 87 just as the priests of the gentiles used to arrange it, or as the prae- tors were girt.” In the first place, then, with the cinctus Gabinus the toga is drawn over the head; but, as we have seen, this was frequently done (see Figs. 17a, b, c, d and e and 22 and 23). Servius’ second statement is a little vague, but taken in connection with what we have already learned about draping the toga, it enables us to make a plausible solution of the problem. The part of “ the toga which is thrown back,” must be the part which hangs from the left shoulder down the left side of the back. | Turning to Fig. 31b, let us suppose that the sinus instead of lying along the back of the neck and on the right shoulder had been brought up over the head as on Figs. 23 and 24. And then suppose that the assistant, instead of placing on the left shoulder the folds which he is holding up had drawn them under the left arm, and around the waist in the back, bringing the end under the right arm and tucking it under the drapery just below the model’s right hand. The toga would then have “ girded the figure” according to Servius’ description. Figs. 47b and c show this arrangement of the toga on a little working model. The toga used is the toga of Figs. 12 and 13, though any form of toga can be draped in this way. This draping produces a firm, stable garment. The drapery on the left shoulder and arm is held in place, leaving the left arm practically free. Girt in this way Aeneas and his associates could easily have held the “curved handle” of the plow with which they marked the boundaries of their city.” 36 Isidore, Orig., XIX, 24, 7, “Cinctus Gabinus est cum ita inponitur toga ut togae lacinia quae post secus reicitur, adtrahitur ad pectus, ita ut ex utroque latere ex humeris picturae pendeant, ut sacerdotes gentilium faciebant aut cingebantur praetores.” 37 Servius, Ad Aen., V, 755. 88 THE ROMAN TOGA In an illustration in a manuscript of Vergil * there is a figure of Anchises wearing a drapery which some modern scholars believe to be the cinctus Gabinus. Drawings have been made of this figure in which the artists have given their own interpreta- tion to the lines and have drawn them with great clearness and precision.” As a matter of fact, this figure in the illustration is now so blurred and dimmed by age that no authoritative repro- duction of its drapery is possible, see Fig. 47a. Moreover the whole aim of the illustrator was artistic; at most, he has only suggested the nature of the garment which Anchises was wearing. Why, under the circumstances, it should have been a cinctus Gabinus is not clear. However, so far as one can judge, the drapery corresponds in a general way with that of Figs. 47a and b. Isidore in the passage quoted above assumes that an embroi- dered toga was used for the cinctus Gabinus, but the inference is clear from other writers that the ordinary toga was used. Evi- dently Isidore refers to the toga of the ivory consular diptychs which was the official Roman toga of his day. 38 See Fragmenta et Picturae Vergiliana Codicis Vaticani 3225 (Rome, 1899), pl. 57. 39 See Heuzey, Histoire du costume antique, Fig. 135, p. 265; also Baumeister, Denkm., III, 1884, Fig. 1924. IV LATER FORMS OF THE TOGA Broadly stated, the changes thus far traced in the toga have | been first, an increase in its length, and a much greater one in its width, so that considerably more than one-third of the width could be folded over to form the sinus; second, a change in the form by cutting off the upper corners, which greatly elongates the upper or sinus edge of the garment, making it convex and permitting more varied and elaborate styles of draping; third, a change in draping in order to dispose more conveniently of the mass of fabric, and at the same time preserve the elaborate appearance of the garment. From this point onward in the solution of the toga problem, one must appeal almost entirely to the existing monuments, for extant literature gives no specific account of the later forms of the toga. To be sure, in the foregoing discussion, references from a few late authors have been cited, but with the exception of Tertullian (note 18, Chap. III) the quotations are from commentaries on Roman customs prior to the commentator’s own day. The difficulty is further increased by the fact that many of the existing monuments of this later period are of poor work- manship, with many inconsistencies in the rendering of the drap- eries and in the proportions and poses of the human figure. But these inferior sculptures are of value for our study because they were produced by men who, following a decadent tendency | in art, often reproduce details which better artists would omit; 89 90) THE ROMAN TOGA and though the rendering of these details, in many cases, is clumsy and incorrect, they frequently furnish clues to the actual form of the drapery. Many of these sculptors were incapable of giving to their draperies the appearance of actual fabric, which the better artists were able to do. Asa result of these detects the resemblance between the sculptured figure and the living Tage 7 is much less pronounced than in the case of sculptured figures of better workmanship. ae With the imperial toga, the garment reached the limit of size Not only literature, but also the extant monuments indicate that Romans generally agreed with Tertullian in his opinion of its inconvenience, so that by the latter part of the second century of our era, or even earlier, the wearing of the toga was, to a great extent, discontinued. Juvenal asserts that in his time there was a great part of Italy in which no one wore the toga unless dead,’ and a passage from Martial indicates that it was worn only on special or festive occasions. “ On the Ides,” he says, addressing a certain Linus, “and on the rare calends, your poor toga is shaken out...” * These statements are possibly a little exagger- ated, but existing monuments, particularly the reliefs on sar- cophagi indicate that a plainer garment, “the simple pallium,” was much in vogue. There is equally positive evidence, however, that the imperial toga was punctiliously worn, at least as a badge of office, for two or three centuries after the time of Juvenal and 1 Juvenal, III, 171, “Pars magna Italiae est, si verum admittimus in qua Nemo togam sumit nisi mortuus.” 2 Martial, IV, 66, Idibus et raris togula est excussa Kalendis. Duxit et aestates synthesis una decem. ‘auoy *[2Poy Surary ay} uo gb “Sty jo eBoy sy 7 ‘IWIIT, a[[9P OasNy] 2Y} UI anjzej}g WeII0g Y ‘6b “Oy "gh ‘Oly LATER FORMS OF THE TOGA 91 Martial, for it occasionally appears on sculptured figures at- tributed to the fourth century of our era. It may well be doubted whether it was actually worn at so late a date, unless on some unusual occasion. But the continued appearance of it in sculpture proves the attachment of the Roman to this stately costume, even though he found it an intolerable burden in every day life. While the toga until well into the first century of our era expanded in size and in the magnificence of its drapery, and re- tained these qualities for a considerable period, the next step. was in the direction of shrinkage and distortion. Reference has already been made to the figures on the Arch of Trajan at Bene- ventum (Fig. 37) which show a tendency to extend the sinus and to narrow the under section, which was originally the main part of the toga. Several extant statues attributed to the second century of our era, or a little later, show the advance of this tendency. One of them is in the Museo delle Terme at Rome. See Fig. 48. On this statue the sinus and the under section of the toga appear to be of about the same width or depth both extending midway between the knee and ankle. But as a matter of fact, in order to be draped in this way, the sinus needs to be slightly wider than the under section, since considerably more of its width is taken up in the draping. For convenience, I shall designate this as the “ double toga.”” While the workmanship of this statue is inferior, the drapery having a metallic, unnatural appearance, fretted by numerous confused and arbitrary folds, it and others of its class are important for the study of the toga, since they illustrate the half way stage between the style represented by Fig. 10, where the sinus is only barely suggested, and the latest forms where it becomes the principal part of the garment. 92 THE ROMAN TOGA Experiments in reproducing this style of toga resulted in the form surrounded by the heavy line in diagram, Fig. 50. The dotted line gives the previous form—the full imperial toga of Fig. 27a. Fig. 50 shows that the double toga is shorter than the imperial toga, even though its end trails the ground as does that of the imperial toga. This is accounted for by the fact that the double toga is brought up more tightly under the right arm and across the body than is the imperial toga, thus taking up less of the length in draping. The diagram shows that on each toga, the sinus has the same depth, but that on the double toga the under section has been considerably narrowed. In Fig. 50 the portions represented by HG and JK and the points X and Z correspond to the portions indicated by the same letters on the folded toga, Fig. 27b. Fig. 49 shows this toga draped on the living model. While the resem- blance between the statue and the living model is less positive than in the case of statues on which the drapery is more realis- tically rendered, the general form and characteristic lines of both are practically the same. We see in Fig. 48 that with the contracting of the lower section of the toga, so that it no longer conceals the legs, there is a corresponding lengthening of the tunic, so that it reaches half way between the knee and ankle, instead of just below the knee as was the correct length in earlier times. As the toga became still scantier, two tunics were often worn. It would seem that the change in the toga which we have just considered made little improvement, unless it be that the legs were less hampered. But the trailing end between the feet and the mass of folds on the left shoulder and left fore-arm remain. im eee ee eee a we we we ~~ ~~ f----------0--- - Pt ietetetetatetetetetetetee enetent D Cc ed ie Fic. 50. The Double Toga. 93 10 94 THE ROMAN TOGA A more radical change appears on some of the late togas of imperial size—a change which might escape notice, or the detail which gives evidence of it be attributed to artistic convention, were it not that it is unmistakable on later forms of the toga. Reference has already been made to Fig. 51, which is a portrait statue in the Villa Doria Pamphilia in Rome. The drapery on the upper part of this statue differs in no essential point from that of Figs. 42 and 43, but the lower part of the drapery, particularly the end between the feet, has a decidedly different appearance. It is arranged in a narrow, flat double fold. On Fig. 42 this end of the toga is drawn out so that it falls in a broad irregular mass. That this is its natural disposition with this form of drapery is proven by Fig. 46 which shows how the drawing of the band across the breast naturally brings the toga across the front of the body with its edge well over to the right side. The closer the fold across the breast is brought to the right armpit, the broader will be the disposition of the toga between or in front of the ankles. On Fig. 45 this band extends only a little to the right of the middle of the breast, but on Fig. 44 it is brought entirely across the breast, and the lower end of the toga in front of the — ankles falls in a correspondingly broader mass. On the statue, Fig. 42, this end of the drapery is treated with a degree of artistic license, but it forms a broad mass as on Fig. 44.° Fig. 46, therefore, shows plainly that a formal folded band between the feet would not retain its shape and position unless relieved of the pull exerted by the drawing of the folded band across the breast. In order to accomplish this the lower part of the sinus which joins this band must be eliminated, so that the 8The lower part of this statue has been restored, but the rendering of the end of the drapery in the restoration seems to be fully guaranteed by the folds above it. FIG. 51. A Portrait Statue in the Villa Doria Pamphilia. Rome. Fic. 52A. A Reconstruction of the Toga of Fig. 51. LATER FORMS OF THE TOGA 95 portion of it which forms the band across the breast can be arranged without disturbing the lower end of the toga. The evidence of such elimination is very clear on later forms of the toga. It is impossible to say just how much of the sinus has been discarded, but enough is retained to form the fold across the breast and to produce the other necessary parts of the drapery. The form which was found to satisfy these conditions is shown by the solid outline in diagram Fig. 53. The general shape is the same as that of other imperial togas excepting that the section designated by the letters AFR has been eliminated. A toga of this shape is draped on the living model, Fig. 52a. In order to make clearer the manner of producing these complicated folds, a few details are added to the diagram, Fig. 53, but here again the statement is emphasized that the points indicated on the diagram and the explanations which follow are only approximate. Before placing it upon the wearer, the toga of diagram Fig. 53 is folded along the line AB, as in diagram Fig. 27b. But first the double fold which lies between the feet is laid along the line AK as indicated by the parallel lines. This fold must have been stayed at some point between A and R. Between R and K the precise arrangement of this fold was probably not maintained. The heavy band which crosses the breast is formed by folding back and forth upon itself the section OFS beginning at the corner F, and the folds are produced in the direction of S far enough to form a band which will extend across the breast. The final arrangement of the folds in this band will need be made after the toga is placed on the wearer. ‘The band which descends from the wearer’s left shoulder down the left side of the front of the body is folded from the section between the lines BE and hn. Fig. 51 is not worked out in the back, but the arrangement ey ie K B woes orr se creer err merc ereser—-- Scenics stduest siee tts Ae rie ae wee we a a a a a a a a aw or ee = oe ee a = oe ee = oe oe ee ee Cc. Titel Fic. 53. . A Transitional ‘Toga. —— «a rey) i tice vot Fig. §4. Detail from a Relief on a Sarcophagus in the Museo delle Terme. Alinari. Rome. LATER FORMS OF THE TOGA 97 of the drapery must have been practically the same as that of Fig. 52b which is the back of Fig. 52a. As on Fig. 41d, the broad band which passes diagonally across the back, is attached to the drapery just back of the right arm. The changes we have just discussed prepare us for the still greater ones appearing in sculptured togas in the early part of the third century A. D. These changes did not produce one fixed form of toga which was characteristic of the period; instead, there were several forms in vogue at the same time, all differing but slightly from each other. With all of these forms, three features, whose development we have already traced, continued to appear. The first one, the heavy folded bands, while not invariably used with the later togas, were exceedingly popular. The second feature, the narrowing of the under section and the widening of the sinus becomes still more pronounced; the elimi- nation of a portion of the sinus becomes a characteristic feature and was accompanied by a similar contraction of the lower section. On a sarcophagus relief in the Museo delle Terme, attributed to the third century of our era, there is a togated figure which closely resembles many others in relief sculpture of the same period. It presents many of the details of the later togas, and at the same time has some features which closely connect it with the preceding forms: see the male figure of the central group, Fig. 54. While this figure is small and its proportions faulty, producing corresponding discrepancies in the drapery, the work as a whole is of better quality than is often found in relief sculp- tures of this class. Comparing the entire costume of this figure with any of those which have already been discussed, we find several unfamiliar 98 THE ROMAN TOGA features. The toga is shorter and scantier than any which we have thus far encountered. Instead of one tunic, the lower edge of asecond is clearly shown. The end of the toga in front extends only slightly below the knees, but its shape closely resembles the corresponding end of the toga of Fig. 51. The under section of the garment, as we see it on the left thigh, has approximately the original shape, but it has shrunk in size. The outer edge of it as it crosses the thigh is rolled back upon itself, which at first glance is a little deceptive. But if we conceive of this edge as lying in its natural position, we would have the usual curve on this edge of the garment. With the exception of the end hanging between the knees, and the folds lying on top of the left wrist, the lower section of the toga has almost disappeared in this drap- ery. Of the full curve which on earlier togas was brought across the front of the body and gracefully draped over the left forearm, so that its edge fell to the ankles, nothing is now visible but the close-drawn stinted curve which appears on the right thigh just below the part of the drapery which the wearer holds in his left hand. The upper section of the toga which is draped across the front of the body, and which we must still identify as the sinus, is held so that it forms a pouch. The beginnings of this manner of hold- ing the toga we found on the Arch of Trajan at Beneventum, Fig. 37. If the sinus were released from the wearer’s left hand and let fall, it would reach nearly if not quite to the floor. Wesee, therefore, that this toga combines the changes noted in the two preceding examples. Fig. 56 gives the resultant form and compares it with the form of the double toga (diagram Fig. 50). Figs. 55a and 5sb show the front and back arrange- ment of this toga when draped on the living model. Fic. 55B. Fic. 55A. A Reconstruction of the Toga of Fig. 54. i) i] 1 ' *F, i as mes ' ‘vd A ! Pi ] Bi ‘ ! a \ ' eS 1 , t | a \ A 1 ! Lg ‘ 1 Uy AG \ ! H 7 } ! et s \ 1 1 te \ i / \ ' U ae \ ' ! a \ ' / , \ ' ' 7 \ ! ‘ . \ sy ’ AE \ rn ' ¢ \ 1 ! 4 \ 1 t oA \ ! = | 8B, S 1 } ) i] . ay a a os ees b= [Neue : : fs pPrrrrrrr--—-- wrwrweenene ne — ' H \ ' ! ‘ ' ' \ ! : x 1 i) ' : ' ! b 1 i} ' \ a . ' . ' \ N ie S : My = xX | ‘y ae i] So x, as : Cc d D ~ Tee Ee ee Sia ey Sp Shee py a ca ag AP a —-- eee - c Z D Fic. 56. . ; “9 Late Form of Toga No. 1. “ : é 7 oi oe, rh. : . - ve << ap 7 a ee ¥ » ware a os LATER FORMS OF THE TOGA 99 We see by the diagram that the later toga is much the shorter of the two, that the lower section is much narrower and the sinus considerably wider. We also see that while its proportions are different, its form is the same as that of diagram Fig. 53. For the most part, the later forms of the toga are, like the one just discussed, represented to us in relief sculpture. Fortu- nately there are a few statues in the round wearing some of the later forms of the toga, and one of them, which illustrates the next decided change, is in the North African collection in the Louvre, Fig. 57a. The back of this statue is not worked in detail, the folds of the drapery being represented by formal lines and flat ridges; yet they show the disposition of the parts of the garment, and their articulation with the drapery on the front of the statue. See Fig. 57b. By comparing the togas of Figs. 54 and 57a, we see that the under section of the latter is the wider of the two, extending half way between the knee and ankle. There is also a difference in the shape of the front end of the two togas. On Fig. 57a this end is a straight folded band. Apparently both the sinus and the curved edge of the under section have disappeared from this end of the toga. Otherwise this toga closely resembles that of Fig. 54, ex- cepting that it is larger, that the under section as it comes across the right thigh is more prominent; and that the folds over the shoulder are gathered in an irregular mass instead of being laid in a formal folded band. Experiments on the living model show that the form of this toga must approximate very closely that indicated by the heavy line in diagram Fig. 59, the dotted line giving the form of the double toga, diagram Fig. 50. Comparing the form of this toga with that shown in diagram Fig. 56, we see that the only marked 100 THE ROMAN TOGA difference is that in Fig. 59 a considerable portion of the under section of the toga adjacent to the curve DZa has been dispensed with, leaving only the straight strip AaOo which forms the folded band hanging between or in front of the knees. A toga having the form shown in Fig. 59 appears on the living model, Fig. 58a, which establishes its own identity with Fig. 57a. Fig. 60 illustrates the first step in draping this toga, which, it will be observed, is identical with this stage in the draping of all the other togas. But nearly all the mass of cloth, which in Fig. 31a we see hanging from the left shoulder and arm and sweeping the floor, has been shortened and reduced to a folded. band, which extends from a point about half way between the knee and ankle to a point well above the waist line, where the sinus and under section of the toga make their appearance. They are designated V and W respectively and correspond to the por- tions of the toga so marked on Fig. 59. Naturally, neither the exact length of this folded band, nor the exact points where the sinus and the curve of the lower section of the toga appear can be determined with absolute certainty. As in the case of the toga of Fig. 54, there must be enough of the sinus retained at this end of the toga to produce the folds on the shoulder. Like- wise there must be enough of the lower section of the toga retained to make the proper draping on the back of the model. The remaining steps in the drapery are the same as shown in Figs. 31a and b excepting that the sinus instead of being brought up across the back of the neck and along the right shoulder, is brought under the right arm, across the front of the body and held up in the wearer’s left hand. Also the folds brought over the shoulder take the place of the umbo. Fig. 57b gives the back view of the statue, Fig. 57a; and Fig. 58b is the back view of the toga on the living model. - . ‘ * . . . . ’ * » ‘ 13 x 4 a! * -_ UY @ *a4onoT “BOLIFJY YON Wolf 9njBIg V "ags$ “Oly ‘q4S pue eZ$ ‘sd1q jo eSoy, ay) Jo uoNINssuoIyY Y SVS Old It LATER FORMS OF THE TOGA 101 In this toga, therefore, all of the advantages achieved by the toga of Fig. 54 have been retained, and the amount of drapery held on the left arm has been still further reduced. The left hand and arm, however, are still hampered by the garment. With all of these changes, the toga has retained, though in a modified form, the three characteristics to which attention was called in the early part of this discussion, viz., the end of the toga hanging between the feet or knees; the two sets or groups of folds passing over the left shoulder, and the portion of the drapery supported on the left arm. From this time on (the early third century of our era) the representations of the toga are mainly in relief on sarcophagi. These reliefs show many forms of the toga differing in various details from the two forms just discussed, but the modifications are generally so slight that they cannot be said to produce a separate form. The width of the straight end of the garment hanging between the knees varies, sometimes being narrow and hanging free; sometimes wider and folded into a band, heavier and broader even than that on Fig. 57a. Nor does it appear that these minor changes occur in chronological order; indeed, the reverse seems true. As with the earlier forms of the toga, there are numerous ways of disposing of the drapery. Sometimes the sinus instead of. being held up by the left hand is thrown over the left forearm; sometimes it is drawn up over the right shoulder and arm. While these later forms of toga were the usual ones repre- sented on the monuments after the beginning of the third century A. D., the earlier forms were also apparently in use. In the Roman Forum there is a sculptured base of a huge column which is one of the monuments of the reign of Diocletian. Despite its 5 ne ee H Cc meee ee oe ee oe ee eee Ke D —~ oe oe eee ee ee ee ee eee da Fic: 59: Late Form of Toga No. 2. Cc - 102 petaetwniesne Hii 58a. The Draping of the Toga of Fig. ies Fic. 61A. Fic. 61B. Reliefs from a Monument of Diocletian in the Roman Forum. LATER FORMS OF THE TOGA 103 mutilated condition and inferior workmanship, it is of unusual importance in our study since it can be closely dated. ‘The column was probably erected in 303 A. D.* On one side of this base there is a procession of togated figures, see Fig. 61a. Four of these figures in the foreground wear a late form of toga. The sinus is thrown across the left wrist instead of being held in the hand. Of the fifth figure, the one at the extreme left of the relief, we have a back view, but the toga is evidently of the imperial form with the edge of the sinus brought up across the back of the neck and along the right shoulder as on Figs. 32 and 33. On an adjacent side of the base (Fig. 61b) we see the emperor pouring a libation. He wears the typical imperial toga with the drooping umbo. The person just behind him wears the same form of toga but with the folds on the left shoulder arranged in the style characteristic of the Antonine reliefs (Fig. 35) while the toga on the figure at the extreme left resembles some of those which we see on the arch of Trajan at Beneventum. No positive reason can be given for these differences in costume. Since Augustus had so strictly enforced the wearing of the toga,” it is possible that through force of custom, the toga of his period continued for three centuries or more to be the official garment for important ceremonies, such as that in which the emperor is here engaged. It is most probable that Diocletian himself did not always wear it, or at least did not always drape it in the style shown on his figure in this relief; for on his portrait bust in the Capitoline Museum at Rome, there are the heavy folded bands, hence the toga must have been either one of the late forms or else the imperial toga draped as on Fig. 38a or 41a or 41b. . 4See Huelsen, The Roman Forum, 97 ff. 5 Suet., Augustus, 40. 104 THE ROMAN TOGA Following close upon the reign of Diocletian came the transfer of the seat of government from Rome to Constantinople, and with it went the toga. It was perhaps inevitable that this badge of Roman authority, which for centuries had followed the vary- ing fortunes of Rome, should be radically affected by this radical change in Roman affairs. Of the first form of toga of this period, two representations only are known to be in Italy.® ‘They are on statues in the Conservatori_ Palace. One of them Fig. 62 is an excellent specimen of the best Roman sculpture of this period. The other, excepting the head, is a dull, lifeless copy of Fig. 62 in ihe is slavishly reproduced every line and detail, arbitrary, inconsistent or other- wise, of the original.’ In Constantinople the extant monuments of the Roman period are relatively few. A notable one is the base of the Egyptian obelisk which was erected in the reign of Theodosius, Fig. 64. In the reliefs on this base are numerous figures whose togas are of the same style as that of Fig. 62, which proves the popularity of this form in the Byzantine capital. Also in the Imperial Ottoman museum there is a torso on which this same toga appears, Fig. 65a. But owing to its excellent preservation, Fig. 62 fur- nishes the better basis for our study. This is a portrait statue of a Roman magistrate. Beneath the toga we see that there are two tunics, one of which has long sleeves. It will be observed that the under section of the toga, in front, at least, has seemingly disappeared. Between the knees, ® It is impossible to say just what sculptures of this late period may or may not exist. Many specimens of little or no artistic value are in obscure or private collections and have not been published. Not all. of these collections are accessible to the student of archaeology. 7 See Strong, Roman Sees pl. CX XIX, Fic. 62. A Portrait Statue in the Palazzo dei Conservatori. Alinari. Rome. isi: “ths Fic. 63. A Reconstruction of the Toga of Fig. 62. *ajd ou1juvjsuo’y ‘4911]1D0 puv yoQag "yst[oqOQ uendssq ue jo aseg uewoy ay} Woy Jarfay y t9 ‘Oly PM, x ‘ajqouiuvjsuo;) ‘4a1)]1v0Or puv yvqag ‘wNasnjA UBWO}O [BAOY Py} UI ANIBIG VW O$9 “DIY *aSQ ‘OY *vS9 ‘Oly LATER FORMS OF THE TOGA 105 the end of the garment is a straight strip similar to that of Fig. 57a, excepting that on Fig. 62 it hangs naturally instead of being laid in folds. Perhaps the most distinctive feature of this drapery is the band which crosses the breast and surrounds the left shoulder. It has no folds excepting the creases which would naturally be formed by its arrangement. We at once associate this part of the drapery with the folded band, such as appears in Fig. 54. But in Fig. 54 and in other sculptures showing this detail, the folded band emerges either in front of or at the right side of the breast. On Fig. 62, however, the band is brought from the back under the right arm, hence it must pass completely around the body. The upper edge of it, as it comes from under the right arm can be traced across the breast, around the back of the neck, along the top of the right shoulder, and then passing downward behind the upraised arm, around the curve which the drapery forms over the right knee and in front of the body. In this curving drapery we again recognize the sinus, and therefore this band across the chest, like the folded bands we have seen on other statues, is a part of the sinus, or a continuation of it. Another puzzling detail is the group of folds just in front of the left upper arm. Folds of this nature can only be produced by attaching the fabric at two opposite points and allowing the space between to sag. The statue, Fig. 62, is only roughly blocked out in the back; many of the folds of the drapery are blurred and indistinct and show no apparent articulation with those on the front of the statue. To increase. the difficulty in studying this drapery, the statue is attached to a base which is built into a wall, there being a space of only about fifteen inches between the wall and 106 THE ROMAN TOGA the back of the statue, so that it is impossible to see the whole back from any one point of view. Under these conditions it is impossible to secure a photograph and most difficult to make a drawing; and in making one, many of the lines which cannot be clearly seen, would have to be interpreted and rendered accord- ing to the judgment of the draughtsman. It is to the skill and kindness of Mr. F. P. Fairbanks, professor in charge of the American School of Fine Arts in Rome, that the writer is indebted for the drawing reproduced in Fig. 66. It will at once be observed that the back of this statue is wholly different from any which has thus far been considered. The long column of folds which, on the other statues, hang from the left shoulder down the left side of the back, has disappeared, and in its stead, there is a peculiar form (marked M, Fig. 66) which suggests a scholar’s hood. The end of the sinus, which in Figs. §4 and 57a is held in the left hand, lies on the fore-arm of this statue; but with this exception, the left arm is relieved of all the drapery with which it has heretofore been burdened, and in Fig. 62 the sleeve of the tunic on the left arm is clearly defined. The only suggestion of the under section of the toga is in the folds which hang down from about the middle of the back, below point L and which are indicated lower down on the figure by the bracket at point R. The scanty working which was given to the upper part of the drapery was practically discontinued on the lower part of the statue, so that the folds and lines from R and § downward are unintelligible; and had it not been for revelations made by other statues, Fig. 62 would probably have kept the secret of its toga. , 3 But we have seen in Figs. 54 and 57a, especially in the former, that the under section of the toga in front is almost covered by 12 FIG. 67. Back View of Fig. 63. A Drawing of the Back of Statue, Fig. 62. (By F, P. Fairbanks.) LATER FORMS OF THE TOGA 107 the sinus. On Fig. 62 the sinus extends much farther down on the body than on either Fig. 54 or 57a; and we have also seen that on Fig. 66 (at R) there is a portion of the drapery which can only be accounted for as a part of the under section of the toga. We may therefore conclude that at least a portion of the under section of the toga has been retained, but that in front it is concealed by the long, drooping curve of the sinus. This theory is confirmed by the back of the torso, in the Imperial Ottoman Museum, where despite the rough and sketchy character of the chiseling, the under section is clearly indicated. See Fig. 6sb. Before discussing in detail the back drapery of this toga, we will turn to its reconstruction on the living model, Fig. 63, and to diagram, Fig. 69, on which the exact form of the toga on the living model is shown by the heavy outline. As the dimension of this toga along the line cd is so much greater than that of the late togas we have been considering, the comparison is made with the large imperial toga, whose form is shown by the dotted out- line in the diagram. We see that this toga may be thought of as a large section taken right out of the middle part of the imperial toga, but with the dimension cd increased. We may consider that a little less than one-third of the imperial toga has been elimi- nated along the line Ii and the corner of the lower section cut off by the curve iC and that of the-sinus by the line IE; also that the same thing has happened to the front end excepting that from points O and 0 a long strip has been retained, and extended much beyond the points Aa of the imperial toga. The first step in draping this toga is illustrated by Fig. 68a. The long strip has been placed on the left shoulder so that its end extends nearly to the bottom of the over tunic; then the strip was brought diagonally across the back of the shoulders, under 108 THE ROMAN TOGA the right arm, then diagonally across the breast and again over the left shoulder. This brings point O (Fig. 69) to the left side of the back of the neck and point o to the back of the left shoulder. The long strip has now passed entirely around the body. The toga is then folded approximately along the line bo, and brought diagonally across the back. Fig. 68a also shows the small under section of this toga, and the long sinus which trails on the floor. The point marked M hanging down from the assist- ant’s right hand is the portion of the toga so marked on the back of the statue, Fig. 66, and is approximately the portion between the points B and b on the diagram Fig. 69. The assistant then brings the toga under the model’s right arm, turning the sinus up so that it lies across the back of the neck and on top of the right shoulder. See Fig. 68b. ‘Then in his right hand he holds point marked M in Fig. 68a and with his left hand he gathers folds along the straight edge of the sinus (line IB of Fig. 69). He then places these folds on the left shoulder of the model, so that the part of the garment which he holds up in his right Rana will form the hoodlike section of drapery marked M on Fig. 66. The upper part of this portion of the drapery is then attached to the toga back of the left shoulder, see Fig. 68d. In Fig. 68b the under section of the toga with its curve Ci (see also Fig. 69) appears just below the model’s left hand, and back of the assistant’s left arm. This curve is caught up and fastened to the folds already on the shoulder, in such manner as to produce the folds which we have already noticed in front of the left upper arm of Fig. 62. See Fig. 68c. On Fig. 62 it is impossible to distinguish the edge of this curve on the upper left arm from the folds of the sleeve of the tunic. But it is clearly ge. shat Fic. 688. The Draping of the Toga of Fig. 63. Fic. 68c. The Draping of the Toga of Fig. 63. LATER FORMS OF THE TOGA 109 worked out on the torso in the Imperial Ottoman Museum, and is marked A of the drapery on the left upper arm of Fig. 65a; also on Fig. 65c which is a view of the left side of Fig. 65a. The straight band, I, Figs. 68a, b and c, is then brought out over the point of the shoulder and adjusted across the breast as it appears in Figs. 62 and 63. The sinus is then brought up so as to form the curving folds and is supported on the left fore-arm. Fig. 67 shows the back of the completed drapery on the living model. By referring to Fig. 66 it will be seen that the drapery appears to be drawn in a straight tense line across the back of the shoulders. Obviously, a line of this nature in drapery could only be produced by attaching the drapery to some support at L, which can easily be done. It was not done, however, on the living model, Fig. 67, but the drapery at this point was allowed to fall naturally, the only fastenings used in the drapery being those illustrated by Figs. 68c and 68d, and also one to hold the edge of the sinus in place on the right shoulder, as with the upraised arm, this part of the drapery could not retain its position unless it were attached. On Fig. 6sb, which is the back of Fig. 65a, the folds across the shoulders are not worked out, nor is the sinus in anyway ac- counted for. What the workman, working from memory, has done is to indicate the straight band which passes entirely around the chest. What we see is the part of this band, in the back, which corresponds to the part marked I on the front of Fig. 68a. Then he has ignored the sinus which is turned up over this band, even though the edge of the sinus as it lies along the top of the right shoulder and arm is worked out on the front of the statue in almost precisely the same manner as on Fig. 62. 110 THE ROMAN TOGA These two statues, Fig. 62 and Fig. 65a, illustrate the insufh- ciency of any study of an intricate form of drapery based upon a single representation of it, or upon photographic representations. Neither Fig. 62 nor 65a taken alone furnish an explanation of the arrangement of the drapery in the back. But taken together and in connection with Fig. 57a they afford ample basis for the reconstruction. Also, Fig. 65a presents a misleading detail. On the right side, just back of and below the curve of the sinus, there seems to be a curve of drapery which could be construed as the - lower section of the toga. In reality, this detail consist/ of folds of the tunic, a part of which have been broken away. Fig. 65b shows this breakage and also shows that the curve of the under section of the toga is much higher up on the figure than is the detail referred to on Fig. 65a. With this drapery, a compact and secure arrangement of the toga has been achieved, together with an unhampered movement. of the legs, but it has completely lost the expression of the earlier toga. The left arm is still encumbered by the drapery. From what has been already demonstrated regarding the possi- bilities of hand weaving, we see that these later togas could well have been shaped in the weaving; but the convenience of weaving them in two pieces is apparent. It seems probable that the toga | of Fig. 69 was woven in three parts, the long strip being woven separately and the upper and lower sections attached to it. The next and final form of the toga is represented on the ivory diptychs, which the consuls of the fifth and sixth centuries were accustomed to have made for themselves and as gifts to their friends. ‘A x elisegeiy pare sear ees] we ’ ut t) 4 ' Cary . o 4% ’ st : i ' i ' i] 1 ' 1! ' x 8 D [4 } ' ae ' ' ' ' ! ' HW ‘ ' : ' ' H ' > H \ a oO . \ , ¢ es Fic. 69. Late Form of Toga No. 3. Il i2 THE ROMAN TOGA As these togas are represented only in relief and on small ivory diptychs, which belong to a period of decadence in art, it is necessary to be cautious in making positive statements ceoar ing their form and the manner of draping them. In their recon- struction, there are a few details that can be based only on conjecture, supported, to be sure, by evidence from earlier forms of the toga. The differences in these togas is mainly in the draping, of which we may recognize three distinct styles, represented by Figs. 70a, bandc. Numerous us slight variations in drapery appear on the diptychs, but all are based on one or another of these three styles. Comparing the three figures, we find that each wears two tunics, which in form resemble those on Fig. 62 except- ing that on the diptychs the outer tunic is richly decorated and has a formal, fitted circular collar band instead of the loose neck opening. The togas on the three figures are also richly embroidered or brocaded.* Each has the long straight band which is the distinctive feature of Figs. 62 and 65a, but on the diptychs this band is much narrower and by reason of its elab- orate decoration is stiffer and more formal.’ We see on Figs. 70a, b and c, this band or a continuation of it, is folded as it comes under the right arm, and gradually widens as it passes around the left shoulder. The remaining visible portion of the toga is the curving piece which is draped across the lap with the 8 For a description of the richness of the costumes of the late consuls, see Claudianus, De IV cons. Honorii, 584-601. 9 Wilpert, Un Capitolo di Storia del Vestiario in L’Arte I, 1899, assumes that the toga of Fig. 62 is an embroidered toga of the same form as those on the consular diptychs. But the appearance of the drapery of Figs. 62 and 65a prove that the texture is light and pliable and not stiffened by heavy embroidery, as is that of Figs. 7oa, b and c. That the two forms are by no means identical, is too apparent to require argument. he CORNERPR YER it: i We, EE ere oe eieemmomemacee TROD NIU NVIARE SRY RARIZERR Fish pada Were aDi Faron 6% 2 Sees atv gtiic > fh hah ; i + GENE NE SCT G NAS TERA SGT Fic. 70c. The Boezio Diptych. FIG. 70B. The Orestes Diptych in the V Fic. 70a. An Anonymous Consular Diptych of the Sixth Century. ictoria . Brescia. inari. and Albert Museum. Al bed to serve as -inscri (Re London. (From an official photograph by iastical diptych. ) an eccles Treasury of the Cathedral, Monza. irector.) f the D permission 0 ‘syoA}diq] IB[NsuoD ay} FO BBoT, ay} Jo suoNonsysu0Iay ‘orl ‘oly "ail ‘Oly "vIL “Oly LATER FORMS OF THE TOGA OS end carried on the left wrist. ‘The under section of the toga which we have seen shrinking in size in the preceding forms has entirely disappeared. Of the upper section, or sinus, there remains some portion that is brought across the back, and the scanty curving drapery across the lap, the end of which is thrown over the left wrist. On the various consular diptychs this part of the drapery varies in size, as is illustrated by Figs. 70a, b and c. On Fig. 70a, we see that the toga is placed on the wearer in exactly the manner illustrated by Fig. 68a; that is, the band is placed on the front of the body and passed over the left shoulder; then it is brought diagonally across the back, under the right arm and across the breast. It is then brought again over the left shoul- _ der and across the back. This completes the process as far as it is shown by Fig. 68a. The part of the drapery which the assistant in Fig. 68a holds up in his right hand has, on Fig. 70a, been reduced to a small curving, apron-like piece which is brought across the middle of the figure and over the wearer’s left wrist. A form of toga which meets these requirements is shown by diagram Fig. 74. It is compared with Fig. 39, which we found to be an imperial toga of moderate proportions. We see that the toga of the diptychs consists of a piece of cloth-having approxi- mately the shape of the sinus section of Fig. 39 and other togas of similar style, but very much smaller. To one end of this piece is attached a long narrow band. A toga of this shape is draped on the living model Fig. 71a in a style corresponding with Fig. 704. The arrangement of the toga of Fig. 7ob is the one which appears on the greater number of diptychs. It is the single exception in toga history to one of the three hitherto fixed prin- ciples in the draping of the toga. On Fig. 7ob, the toga when 13 114 THE ROMAN TOGA first placed on the wearer passes over the right shoulder instead of the left. The exact disposition of this band in the back is one of the points on which no positive statement can. be made. It is clear that it passes over the right shoulder and emerges under the right arm. A simple arrangement which meets these requirements is shown on the living model Fig. 71b. The band passes over the right shoulder, and is brought directly under the arm to the front.” The band proper terminates under the arm, and the toga is brought across the breast around the left shoulder; then across the back, under the right arm and across the front of the body in the usual manner. | On Fig. 7oc the band passes over both shoulders. It is first passed over the left shoulder, exactly as on Fig. 70a, and then brought across the back and under the right arm. It has been suggested that the band over the right shoulder is an extra piece which is attached to the original band in the back, then brought over the right shoulder and attached again to the original band in front.” While this may be the solution, it is not necessarily so. The band after passing over the left shoulder, across the back and under the right arm could have been attached to itself on the front of the breast, see Fig. 72. Then it could be passed over the right shoulder and under the arm, as was done on Fig. 71b. The draping is then completed exactly as on Fig. 71b, with the result shown by Figs. 71c and 73. This drapery, as we see, is a combi- nation of that of Figs. 71a and 71b. 10 A’ reconstruction which ‘involves a much more elaborate arrangement of the toga in the back is offered by Wilpert, of. cit., p. 98, Figs. A & A tr. 11 Wilpert, op. cit., p. 97 and Fig. 17, p. ror. BiG.7 73% Back View of the Toga of Fig. 71C¢. Pies 72. The Draping of the Toga of Fig. 71. a 4-7 len eee tettenteieente td ~ we ewe we oe owe eee oo ~ wee ee Pe ee ew we ee ew a ow we wn ww wn ow ee www ow wo ow wo ww ee =” Fic. 74. The Toga of the Consular Diptych. LATER- FORMS OF THE TOGA ris On Figs. 71a, b and c the same toga is used, and the length of the band varied to meet the requirements. The greatest length is required by Fig. 71c and the shortest by Fig. 71b. In the recon- struction, no attempt was made to reproduce any given decora- tion, but the forms used are simplified adaptations of some of those appearing on the ivory reliefs. With the consular diptychs, the history of the toga ends. Be- ginning with the simple form befitting the early Republic, we have watched the growing elaboration of the toga through the centuries of Rome’s expansion until it culminated in the toga which symbolizes the brief but magnificent period of the early Empire; and then we have seen the contracted and changing forms which clothed Roman authority in its decadence. We have followed it to the eastern capital and have read the final chapter of its history on the little ivory diptychs. It is this embroidered, bejewelled little toga that has been suggested as the toga picta of the closing years of the Empire.” It may have been so called; but it is thoroughly Byzantine in style, and its connection with _ the splendid robe of Roman triumph is indeed remote; even as the obscure petty officials who wore it were but dim shadows of the once powerful Roman magistrates. 12 Wilpert, of. cit., p. 89 f. APPENDIX THE TOGA FOR TODAY (Suggestions for its reconstruction) This study of the Roman toga will not be complete, nor will it accomplish its full purpose, unless it affords sufficient data to enable students and teachers of Latin literature and of Roman private life to reproduce the toga both for illustrating Roman costumes of a manikin, and for actual use in Latin and Roman historical plays. To this end, a few practical suggestions based on the writer’s experience are given in the following pages. Fapric: The first question and one of the most vexing in the reconstruction, is that of the material to be used; and this must be considered with regard to both the manikin and the living model. ‘The Romans, for the most part at least, used wool for their togas. In order to produce effective drapery, the mate- tial used must be exceedingly pliable, and while not heavy, it must be of such texture that it will, by its own weight, fall naturally into graceful curving folds. The surface must be soft and have a moderate nap, so that the folds will tend to cling together. Fabrics having a smooth, napless surface should never be used for the toga. The Romans themselves could not have used it, since the folds in such fabric will slip out of place with the slightest movement of the body. 117 118 THE ROMAN TOGA Of modern textiles, soft, pliable flannel or cloth of similar texture, most nearly satisfies the requirements. But inasmuch as the toga of average size contains from 12 to 15 yards of cloth, its cost, if made of such material, would be no small item. The most satisfactory substitutes that the writer has been able to find are very inexpensive. One is a cheap grade of outing flannel which is more loosely woven than the better grades. It should be washed and rubbed until the loose lint on its surface is removed, and then put through a laundry mangle. ‘The other substitute is a cheap, soft, loosely woven unbleached, or partly bleached muslin—not the stiff heavy quality. It should also be sent to the laundry and put through the mangle. It then resembles a thin flannel and is very effective for the large togas, where the drapery should fall in many small folds. For the smaller togas, all togas draped with the heavy folded bands, and for the toga of the consular diptychs, the outing flannel is more suitable. It has the extreme whiteness which, at certain periods, was very popular at Rome. The muslin can be used successfully for togas for the manikin, but the quantity required is so small that doubtless better material will often be preferred. If woolen cloth is used, it will need be very pliable and of the thinnest texture obtainable. A medium quality of crépe de chine, which has been washed and handled until it is soft and clinging, makes a beautiful drapery for the large togas on these little figures, and looks not unlike fine woolen fabric. CoLor: As we have already seen, the usual color of the toga was white; the toga praetexta had a purple border; on certain occasions a purple toga was worn; on others, a toga pulla which was of some dark, dull color. THE TOGA FOR TODAY 119 Differences of opinion exist as to the purple (purpura) of the Romans. Some have interpreted it as scarlet; but the Romans had a different word which is translated scarlet, and their purple, as preserved in ancient wall paintings and other monuments, is not scarlet, nor is it the color which we today call purple. A close resemblance to it can be produced by using the shade listed as garnet among the various commercial dyes. Fig. 75 gives this color as nearly as it can be reproduced on paper. It will often be found difficult to purchase woolen cloth of this color and of the texture required for the toga; and it is usually im- [SNE Glee An Approximate Reproduction of a Shade of Roman Purple. possible to obtain cotton in any shade approaching it. Therefore, if an approximately correct color is desired, it will generally be necessary to dye the white cloth. MAKING THE ToGA: The following schedules of propor- tions, taken in connection with the diagrams referred to and the discussion of them in the preceding chapters, are self-explanatory. In cutting the toga, the curves bC and aD should be scanty or shallow, and there should be no angles; these curves and the edges BE and AF should curve into the adjacent straight lines. For convenience in draping, there should always be a seam to serve as a guide line at approximately the place where the toga 120 THE ROMAN TOGA is folded over to form the sinus, that is, approximately along the line AB of the diagram. The proportions in the following schedules are given in such a way that the sinus and the lower section can be cut separately and joined by a seam. It is much more convenient to make the toga in this way, even though it involves, as it usually does on the living model, the adding of a part of a width to both the sinus and the lower section. There is evidence (see page 72) that the Romans had a seam through this part of their togas; but with their hand looms, they were able to weave the parts of the toga of any width desired, and thus avoid the cutting that we are obliged to do. All sewing should be done by hand. Where a seam is neces- sary, the edges of the cloth should be whipped together so that they will just meet, but not lap or form a ridge.. As we have already seen, the Romans doubtless wove the purple border upon their togas, but it is necessary for us to sew it on. It.should be a straight strip of cloth; a bias strip would be an anachronism, as it seems not to have made its appearance in garment making until long after the passing of the toga. MEASUREMENTS OF THE VARIOUS FORMS OF THE TOGA The “unit” referred to in the following schedules is the measurement of the wearer from the base of the neck in front (the top of the breast bone) to the floor, taken with shoes on. The girth measure is taken at the waist line. This measure- ment is important in determining the length of toga required. The same toga can be worn by different persons with practically the same effect, providing that they do not differ from each other more than an inch in either of these two measurements THE TOGA FOR TODAY 121 (the unit and the girth). The two dimensions AB and cd of the diagrams are the only ones which need to be precise. The lines CD, EF, Aa and Bb may and apparently do vary considerably on different togas of the same style without producing any notice- able difference in the drapery. The letters in parenthesis following the dimensions of the togas in the following schedules refer to the lines designated by those letters on the diagrams. I. THE TOGA OF THE ARRINGATORE (DiacraM, Fic. 7) Washoe cine, eieVigdat > (CAMSIY S a0 Rapes ioie a Sih Sra ane Girth plus 2 RS ST DOE SE TY: GS 2] 59 a 4 Rupees ormerastrarohtedge (CD). cc... cnc cc meee cass ee sevececcecsnns 1 I Stare Rae Ging ross inisi ui sv aa" 8 9 Da Ale ok Sv and e Desens ies ae 13 Il. THE LARGE TOGA OF THE REPUBLIC (DracraM, Fic. 16) PmemETISMELCTS TUN MEN Ict, vic cicis cet lao's > Saisar ss ck -ecieles ced out soos ee be Girth plus 22 SS STRUTS (TOME DE Ch Cs 0&9 3 eeoneGresiatenraupper edge (BE) ......6400.00ee scene nen es eds abesesesnee-s 1% memmrtmrestiatent lower edge (CD)... 2.0... 0 one cee cece enter tecescteeces 174 Weneomeachecormmer cut of (BO and AM)...... 2.26.00 wcd ene sss eseeeees L EES eg ah as chic Rca alk y clas bs Wels Seated bs ep nde n swede eed 13 HLALHE TOGA OF THE ARA PACIS (DiacraM, Fic. 18) 5; EME 83 SN es ied 5a he ble 6 sales cde wes n ane tee aes Girth plus 23 eEOPR Ceti (Aad ANd BD). s ccc ccs cc ees ee cuenercseneccsestecces 3 Weleneinor straight upper edge (EF).........-... 02. css cseeececeee creer tnees 17 emmrerrercatent Jower edge (CD) oc. ciscce ns cece cece et neces er scencsens 14 Extreme width (Cd)... 556.22 cece nae. SLs UP AS SA SE AI Dee ee oa 133 NPR EISE RATES SLCC) Feakied ccs ei yjhind xiasp m=. coos os eek ee vie ca des 2 unit. memati lower section (dQ)... 0.05. 0b cece nab ences owe Iz’; units. units. unit. unit. units. units. unit. units. units. unit. units. units. unit. units. units. units. 122 THE ROMAN TOGA IV. LARGE IMPERIAL TOGA (DracraM, Fic. 274) Extreme Tength (AB) sii... ose seis 25 cea nae © cirri enn teehee Girth plus 2% Width of each end (Aa and Bb).........0.ccceeecrne cer cercnsesncssessens $ Length of straight upper edge (EF)..........-eee cece cece eee e ene nent eens 2 Length of straight lower edge (CD).......-.--.- sees e eee e eee e eee tence eens 15 Extreme ‘width (ed) .is.00.00.+.0002 ese ctw os cot tone os each > ee 235 Width’ of ‘sinus: (cQ) 0.65555 eS ee ee 27 unit. Width of lower section (d.Q))ifae osm eee ree teria 1% units. V. IMPERIAL TOGA WITH FOLDED BANDS (D1acRaM, Fic. 39) Extreme length (AB) i.0 2. 005.255 opens 04 overs oie ciel ae ee apeanel ent en Girth plus 24 Width of each end (Aa and Bb)... ...2..80.. wes 0s neh oe er 3 Length of upper edge (EF) ....2.0.0200.-0¢c0n5 cop so tiere cite wrist 13 Length of lower straight edge (CD).......... . cate wale tte sah Ree 13 Extreme width (ed). .2..c.600¢ ond elem s nee cwnley a6 siete =o an ees ar ete 17? Width ot sinuss( cQ)ioceaceneeen te SR Pian eeheS itt cc # unit. Width of lower section (dQ)s....0- 025 ya yee Spee 17; units. VI. THE DOUBLE TOGA (DiacraM, Fic. 50) Extreme length (AB). fo0 6¢2 5 ores oe eee san Girth plus 27; Width of each end (Aa and. Bb)... 2.662 0scesa uses canoe se bce eee 3 Length of straight upper edge (EF)... . 0.20.20: ss, sues ones eee 3 Zength of straight lower edge (CD)... 5.24.54... 002 +s «ware sey oe I Extreme width (cd): 5:22.20. .0s 00000000 ba c002 os ash pe see eee iid Width ‘of sinus (CO)\e ok cil -ce tee cee ecole yet ey eee I unit. Width of lower section, (dO) 5. asta items eee +? unit. VII. A TRANSITIONAL TOGA (Dracram, Fic. 53) units. unit. unit. units. units. units. unit. units. units. units. units. unit. unit. unit. units. The proportions of this toga are the same as those of the imperial toga with folded bands (V above) excepting that it is longer; the line AB should be the girth plus 24 units. THE TOGA FOR TODAY VIII. LATE FORM OF TOGA NO. 1 (DracraM, Fic. 56) MEE PREPRESS D- is Coase gucardnya ae da ae lke vise g iss assec eves ee.s Girth plus 13? Remneorsenen etd (Ada and Bb) ......csscccec se ce sass atcaresensdastonrces t mengemarestrarchtupper edmem( EE). cis a/tsccieis cleus 'elr cislaieg el ae tien saee sees ees 4 Premmenmotestiaiohtrowersedge (CD)... 660s ce eee eas eee ens eos ee beer eens I Length of vertical edge of folded portion of toga in front of knees (AO) about. 34 EIR OC Die Peg ou tcl a nie Fae vd s'sla hel s gold WSs ee aineiceie ae be binie 6 meen 1$ BG ie OLerSLIMTOE CO) )i, ayers Siaye io giaiss skciese o gyn ayeie sce spe ieee Soave Izg units. PU AGhy OL aD WET HECHON (AQ). 2. se creda eccceipecsssese 3% unit. IX. LATE FORM OF TOGA NO. 2 (D1acraM, Fic. 59) ME tL ATS ani talc oN sac aia ve cs ogen ss Semen emu eee aes Girth plus 134 Romiiearseden end (Aa and Bb). 72.1.5. .-..0.sce eects ctacees See. Acaqee ames 3 Téngeth of straight upper edge (EF)... 0.2... eevee esse e cee eee nsec eae eens + Meretnvotsiraignt lower edge (CD)... 2.2. see cece ence caste ences Roe Ly Length of folded strip hanging between the knees (AO)..+.....---.++--0e eee 2 SE CLP te eae Lees wie hee a a Lew SOF Su piccee dace seme sets 2 OE STC) GI PES Calne 1 og ge cee Ixy units. Width. of lower section, (dQ) so... 0. cence ce eele eee cc eeie 22 unit. X. LATE FORM OF TOGA NO. 3 (DiacraM, Fic. 69) Extreme length (AB)..........-.- cece eee ence e eect eter ene en ees Girth plus 27; Width of long strip (Aa) .......... cece cece cece eee e een eee eet eneeeees 25 Length of long strip (AO)........ 2. cece cece erence eee e eet ete e ene nes 17 Length of straight upper edge (EF).....-..... es seee cece erence teen ence eens Ea Length of straight lower edge (CD)........-- ese cece cece crete teen e eens $ Length of each section along the apparent joining with the long strip (AO NMS a Sty ideas ce eS ess edie coke sie t Melx ee aad HATE Oe sew eicn an 17 Length of straight edges of sinus (IB and TO)......-.-.+eseeeeeeeeeeeeeeeee i Length of each straight side of lower section (ib and oM) At Lar eae eae 3g (These last two measurements are exclusive of the width of the straight strip, which is here considered as running through the entire toga.) MPR IMERE IGE (CO), 655 ou civic res taee nce e ses ccs ceeenes conver nee cs keine 24 Rim GaeG tl Sis (CL) ) sca - noises. cern iee staves ese 13°; units. Width of lower section (dR)... ......cscec seen eeeeeeee = unit. (Between the sinus and the lower section is the width of the long strip, ss of the unit.) 123 units. unit. unit. unit. unit. units. units. unit. unit. unit. unit. units. units. unit. units. unit. unit. units. unit. unit. units. 124 THE ROMAN TOGA XI. THE TOGA OF THE CONSULAR DIPTYCH (DracraM, Fic. 74) Extreme “length (AB)... 2h). 2. esata ele ont ec ee ee ee Girth plus 2% units. Width of long strip (Aa): jcciine css wns spits oe ate tes shea gree about 6 inches. * Length of long strip to point where it begins to widen (line AM)........... 17; units. Length of upper edge of drapery (EF)....2...5..0000.0.25004 000s 4 unit. Width of end of drapery’ (Bb). 3.00.2. co. .n a ceo es occ de eae eee about 10 inches. Extreme’ width (ed) o.g. Gel. e055 os okie eg eee € unit. Line ORD i. sins sos dels « o 28 vos Sec a 2 ies age about 10 inches. Lime OM oo. oes 2 ou abs Wh «Sale 24S wilde ela uy oon cuneate ape ere fz units. DRAPING: In the foregoing chapters, the process of draping the various forms of the toga have been described in detail, and each step illustrated by photographs of the living model. For draping the toga on a manikin, little need be added, and this section will be devoted mainly to the draping of the imperial toga on the living model, since that is the most difficult form to drape. The late forms, while they appear complicated, tend more and more to formalization and therefore to more fixed processes of draping, which have been fully explained. Perhaps no more erroneous idea ever gained acceptance than the one sometimes expressed, even in class rooms, that when dressing, the Greeks and Romans simply caught up their. gar- ments, flung them about their bodies, and the drapery fell into its desired graceful positions,-giving the wearer no further trouble during the day. Literary references heretofore cited prove the absolute falsity of any such theory, so far as the toga is concerned. * The length of this strip varies with different styles of draping. The measurement given above is for the toga of Fig. 71 b. An addition equal to about two-sevenths the unit is required for the toga of Fig. 71a, and about three-quarters the unit for the toga of Fig. 71¢. The consular diptych togas, judging from the representations of them, varied greatly in all their proportions. The measurements here given are those used in the reconstruction on Figs. 71a, b and c, which is intended only as a general statement of this form of toga. THE TOGA FOR TODAY 425 It is unquestionably true that the Romans put on and wore their togas with greater ease than is possible to us. For centuries they had worn draped garments, and the wearers, at least of the elaborate forms of the toga, had slaves to assist them in its ad- justment. Many of these slaves were Greeks—a race whose skill in the handling of drapery has never been equaled. But even to Romans and to their Greek slaves, the draping of the toga was an art, and a slovenly arrangement of it marked a man as a boor. It is hardly necessary to add that in the case of westerners, any | successful draping of the toga can only be the result of patient, — painstaking care on the part of both the model and the person doing the draping. While wearing his toga, the Roman devoted his left arm, and sometimes his left hand as well, to the support of his drapery. This is what the living model and the togated characters in a play must do—not an especially easy task for one accustomed to the freedom of sleeved garments. No instructions can ever be given that will cover every detail in the draping of any toga, much less for the imperial toga, either when draped loosely or with folded bands. A great deal must be left to the skill of the operator, but a few points in addition to the illustrations and explanations already given, may be useful: 1. When the toga is first placed on the body, see that several inches of the lower section along the guide-line seam are gath- ered into the folds that are first placed on the left shoulder. See Fig. 31a. 2. See that the guide-line seam hangs straight from the shoul- der to the end of the toga in front, and that the sinus is brought to the front, so that its edge will fall in ripples as on Fig. 31a. In continuing the drapery, the fold along the guide-line seam is not maintained. See discussion of Figs. 27a and 27b. 126 THE ROMAN TOGA 3. When placing the drapery over the model’s left arm, that arm should always be extended as in Fig. 5, and the balancing of the drapery over this arm must be maintained, even when the arm is brought into its characteristic position. When the drapery is completed, the wearer should always be able to extend his arm as in Fig. 5, and bring it back to position without allowing the drapery to slip over the outside of the arm. This is easily done after one relinquishes the freedom of his left arm and devotes it to his drapery. 4. As the toga is brought around the model, there is a tendency for the fabric to cling together and mass around the middle of the body, so that it is necessary to pull both the undersection and the sinus down into position, allowing the folds to form as they appear on the sculptured figures. Correct draping of the toga requires careful attention to this detail. A toga which is of ample size for the wearer, will seem too small and short unless properly adjusted. 5. A large part of the adjustment of the toga must be accom- plished by massing the fabric in and under the second set of folds on the left shoulder. See Fig. 31b. For this, no instruc- tion can be given. It is never done twice in precisely the same way. Here, as on other parts of the figure, the drapery must be arranged so as to produce the proper effect. 6. For use in plays and representations of Roman life, the toga appropriate to the period should be used. For the period of the Republic, the problem is simple. For the transitional period and for the early years of the empire, the toga of the Ara Pacis (III in the foregoing schedules of proportions and diagram Fig. 18) can be used for all citizens and officials ex- cepting the emperor and the flamines. For ordinary private THE TOGA FOR TODAY 127 citizens during the first two centuries of the empire, this toga can properly be made at least 6 inches shorter (line AB) and 6 inches narrower (line cd) than the measurements given in Schedule III. This produces a toga which extends about mid- way between the knee and ankle, which is the length generally represented on figures of private citizens. Each half of the toga of the flamines is about the size of the toga of the Arringatore (Schedule I). Up to about the beginning of the third century, for high officials, and even later for the emperor, a toga of the dimensions of Schedule V will be appropriate; but for this period, it should be draped in the same manner as the toga of Fig. 30 or Fig. 36, the latter being later in style. While the Romans probably wore the toga draped in any or all of these styles without fastenings, it is hardly safe to depend upon the present-day wearer to do so. It will usually be found advisable to secure the mass of fabric on the left shoulder, but the fastening should be invisible. The drapery with folded bands is stable, and should require no fastenings excepting those mentioned in the description of Figs. 41a, b and c, 45 and 46 and 52a and b. , BIBLIOGRAPHY MODERN TEXTS Albizzati, Carlo: L’Ultima Toga, in Rivista Italiana di Numismatica, 2d ser. V. Milan, 1922. Amelung, Walther: Die Gewandung der alten Griechen und Rimer in text of Tabulae quibus antiquitates Graecae et Romanae illustrantur yon Stephen Cybulski. Leipzig, 1903. Baumeister, A.: Denkmaeler des klassischen Altertums, under Toga by Miiller. Munich and Leipzig, 1888. Becker, W. A.: Gallus, or Roman Scenes of the Time of Augustus. London, 1876. Blimner, Hugo: Die Rémischen Privataltertiimer in Iwan von Miller, Handbuch der klassischen Altertumswissenschaft, 1V, 2, ii, Munich, 1911. Daremberg et Saglio: Dictionnaire des antiquités grecques et romaines, under Toga by F. Courbet. Paris, 1919. Guhl, Ernst, und Koner, Wilh.: Das Leben der Griechen und Romer. Berlin, 1893. Helbig, W.: Toga und Trabea in Hermes, XXXIX, 1904. Heuzey, Léon: Histoire du costume antique. Paris, 1922. Hula, Eduard: Die Toga der spateren Kaiserzeit; Briinn, 1895. Johnston, Harold Whetstone: The Private Life of the Romans. New York and Chicago, 1903. Launitz, V. D.: Ueber die Toga der Rimer und die Palla der Rimerinnen, Heidelberg, 1865. Marquardt, Joachim: Das Privatleben der Romer. Leipzig, 1886. Micali, Giuseppe: Storia degli Antichi Popoli Italiani. Milan, 1835. Miiller, Albert: Die Toga bei Horat. Epod. IV, 8 in Philologus, XXVIII, 1869. Reinach, Salomon: Répertoire de la statuaire grecque et romaine. Paris, 1897. Répertoire de reliefs grecs et romains. Paris, 1912. Ross, C. F.: The Reconstruction of the Later Toga in American Journal of Archaeology, XV, 1911. Sandys, John Edwin: A Companion to Latin Studies. Cambridge University Press, 1910. Smith, William: 4 Dictionary of Greek and Roman Antiquities under Toga by W. C. F. Anderson. London, 1891. Wilpert, Giuseppe: Un Capitolo di Storia del Vestiario in L’Arte, I, 1899. 129 INDEX Antonine period, the toga of, 74. Ara Pacis, togas represented in reliefs of, 43, 44; form of toga of, 46; reconstruc- tion of toga of, 48. Arringatore, the, statue of, 26; form of toga of, 27, 29, 30; border and stripes on toga of, 35-37; reconstruction and drap- ing of toga of, 29, 31-32. Asconius, 26. Augustus, 61, 83. Camillus, ancient statue of, 26. Capitolinus, 85. Cassius, Dio, so. Cato, 26, 27. Cicero, 58. Cinctus Gabinus, 86-88. Constantinople, capital of Roman Empire removed to, 104; form of toga in vogue at, 105 ff, Consular diptychs, toga of, 86, 112-115. Coptic garments, 35, 50; details in weaving ‘of, 35, 84; width of web of, 71. Decius, 86. Diocletian, monument of reign of in Roman Forum, 101-103. Diodorus, 63. Dionysius of Halicarnassus, 17, 19, 28, 29, 38, 85. Flaccus, Caius, 56. Flamines, toga of, 56-60. Folded bands of toga (see “Toga with folded bands”). Fortune, temple of, 18. Gellius, Aulus, 26. Gordianus, 85. Hortensius, 73. Isidore (of Seville), 17, 20, 21, 27, 51, 87, 88. 131 Juvenal, 83, 90. Laena, 57-58, 60. Livy, 52, 56, 83. Macrobius, 73. Martial, 90. Ovid, 63. Pliny, 18, 34, 54, 55. Pompeii, wall paintings in, 50, 53. Popilius, Marcus, 58. Quinctius, Lucius (Cincinnatus), 83. Quintilian, 17, 21, 27, 28, 31, 32, 39, 40. Republican period, toga of (see “Toga of Republican Period ’’). Romulus, statue of, 26. Seated figure, toga on, 72-73. Servius, 18, 53, 60. Sinus (of toga), 44, 45, 91 ff., 97. Suetonius, 61, 83. Tatius, statue of, 26. Temple of Fortune, 18. Tertullian, 18, 78. LOGA: Arringatore (see “ Arringatore, toga of,” etc.). Candida, 51. Color of, 49 ff. Discontinuing use of, 82, 83, 90. . Double toga, form of; reconstruction of on living model, 91-92. Imperial toga, form of; evidence from statues, 63-67; general discussion of, 61-63; reconstruction and draping of, 67-70; texture of represented on statues, 62-63. Inconvenience of in general, 78, 82-83. Late forms of; general discussion of, 89- 90; numerous variations in, ror. ee INDEX: Late form of, No. 1, on a figure in a sarcophagus relief in Museo delle Terme, 97-98; form of, and reconstruc- tion of, 98-99. Late form of, No. 2, on a statue from So. Africa in the Louvre, 99; form of, reconstruction and draping of, 99-1o1. Late form of, No. 3; representations of in sculpture, 104; form of, 107; details of drapery, 105-107; reconstruction and draping of, 107-109; probable manner of weaving, 110. Length of, 73, 81-82. Material of, 34. Of consular diptychs; general discussion of, 112-113; reconstruction and draping of, 113-115. Of Republican period (see “ Arringatore, toga of,” etc.) ; large toga of Republican period, representations of in sculpture, 39; form and reconstruction of, 40-42. Of Trajanic period, 75. Older and later forms used at same period, 44-45, 101-103. On the seated figure, 72-73. Origin of, 18-20. Phryxiana, 34. Picta, 84-85. Praetexta, 18, 36, 51; ancient origin of, 18-20, 54; by whom worn, 52; meaning of term, 54-55; purple border of, where located, and width of, 52-53; represen- tation of in wall-painting, 53; weaving of, 56. Pulla, 36, 50. Pura, 52. Rasa, 34. Reconstruction of toga, general discussion Of 2a Reconstruction of for today; color, 118- 119; fabric, 117-118; making, 119 ff.; measurements and schedules of propor- tions, 120-124; suggestions in regard to draping, 124-127. Seam in toga, 71-72, I10. Sources of information regarding toga, general, 17 ff. Trabea, 36-39. Transitional form of toga on a portrait statue in the Villa Doria Pamphilia; form, draping and reconstruction of, 94-95. Undulata, 34. Use of fastenings with toga, 48-49, 79, 80, 97, 108, 109, 114, 127. Virilts, 52. Wearing of by women and children, 27, (pir Weaving of, 70-72. With folded bands, 77-84. Trajanic period, toga of, 75. Tunica palmata, 85. Umbo, 49, 67. Valerius, Lucius, 52. Viatlt Ons 7603s Venus Genetrix (Louvre), 24. Villa Doria Pamphilia, the, portrait statue in, 94-95. > ‘ J é ‘ « —— . "’ ‘ 7 ; d tJ * te , ) A }