Part 9

The toilet of the ancient Greeks was quite as elaborate as that of any modern people, and much time and care was bestowed upon it. That of the men was usually performed at the barber’s shop (Κουρεῖον), which became, as we gather from frequent allusions in Aristophanes, a regular resort for lounging and picking up news and scraps of gossip of all kinds. A fashionable Athenian would probably spend a whole morning at the barber’s shop, where, in addition to having his hair cut and beard clipped or shaved, he could submit to the various operations of manicure and chiropody. An epigram in the palatine anthology[205] gives a list of barber’s implements, some of which have survived in a few examples, and may be seen in our museums. The list includes: scissors (ψάλις), razor (ξυρόν), some sharp, pointed instrument for paring and cleaning the nails (στόνυξ). Mention is also made of a scraper (ψήκτρα), which was probably used after bathing. An ancient razor differs from a modern one, in that it is crescent shaped.

[205] _Anth. Pal._, vi., 307.

In addition to these implements, various ointments were used, one of which, ψίλωθρον, containing arsenic, was employed for removing superfluous hairs.

When repairing to the wrestling school or the gymnasium, a Greek would invariably be provided with an oil-flask (ἀρύβαλλος, λήκυθος) and a strigil (ξύστρα). The aryballos (Fig. 50) was a small globular vessel, with an opening just large enough to allow the oil to trickle slowly out, the lekythos being a long narrow bottle with a foot and a narrow neck.[206] Both were used to carry the olive oil with which athletes were accustomed to anoint themselves. The strigil was a curved metal instrument used for scraping the oil and sand from the body after wrestling. The famous statue of the Apoxyomenos in the Vatican Museum represents an athlete engaged in this operation.

[206] Fig. 51.

The processes and requisites of the feminine toilet were many and various, and toilet scenes are frequently represented in vase-paintings. Sometimes we may see the process of the bath: an attendant slave pouring water from a large vessel over the crouching figure of the bather; in other instances we find a lady engaged in binding her hair with a fillet, tying her girdle, or fastening her sandal. There is almost invariably a maid in attendance, who assists in the operations, holding a scent-bottle, or a casket from which her mistress selects jewels.[207] One vase-painting shows a lady applying powder or colour to her cheeks with a brush.

[207] Fig. 52 (_a_).

Many allusions in literature, and especially in Aristophanes, show that paint and cosmetics of various kinds were in use in Athens in the fifth century B.C. It is not surprising to learn that hetairæ made use of these artificial aids to beauty; but from a passage in Xenophon’s _Œconomicus_[208] we gather that the wives and daughters of respected citizens did not despise such means of enhancing and preserving their appearance. The passage describes how Ischomachus found his young wife ἐντετριμμένην πολλῷ μὲν ψιμυθίῳ ὅπως λευκοτέρα ἔτι δοκοίη εἶναι ἢ ἦν, πολλῇ δ᾽ ἐγχούσῃ ὅπως ἐρυθροτέρα φαίνοιτο τῆς ἀληθείας, ὑποδήματα δ᾽ ἔχουσαν ὑψηλά, ὅπως μείζων δοκοίη εἶναι ἢ ἐπεφύκει, “with much white lead rubbed into her skin, to make her look fairer than she was; and with much rouge, to make her appear rosier; and wearing high sandals, to add to her natural height.”

[208] x., 2.

Ischomachus persuades her to give up these vanities, asking her if she will like him better if he goes about μίλτρῳ ἀλειφόμενος καὶ τοὺς ὀφθαλμοὺς ὑπαλειφόμενος, “anointed with red ochre, and with pigment under his eyes.”

White lead was commonly used for producing a fair complexion; it was prepared by laying lead in vinegar, scraping off, powdering, and heating the white rust thus formed.[209] Various substances were used for producing rouge—some mineral, some vegetable; of the latter, the root of a plant (ἔγχουσα or ἄγχουσα), certain kinds of seaweed (φῦκος), and mulberry juice (συκάμινον), were common. That some kind of pigment was used for darkening the eyelids is further testified by Pollux[210] and Aristophanes.[211] Lamp-black and a sulphuret of antimony (στίμμις), were used for blackening eyebrows and eyelids. Perfumed powders and unguents were used for skin and hair, scented with myrrh or roses or other products. The simplest and most common unguent was, of course, olive oil. In addition to artificial complexions, we learn that false hair and wigs (πηνίκη, προκομίον), were not unknown, and that these came from the East.[212]

[209] _Theophr. de Lapidibus_, 56.

[210] VII., 95.

[211] Fragment 695.

[212] See Xenophon’s _Cyropædia_, I., iii., 2.

Many examples have survived of the various articles pertaining to the equipment of a Greek lady’s toilet-table. Combs, hair-pins, mirrors, boxes, and bottles are numerous in our museums. Combs are usually made of ivory or bone, with a double row of rather fine teeth. Hair-pins of bone, ivory, or metal consist of a single pin with an ornamental head. Mirrors are of highly polished metal, usually bronze, though some have been found in silver. The mirrors may be divided into two classes—disk-mirrors and box-mirrors. The former consists of a single disk polished on one side, the reverse being usually engraved. The disk is furnished with a handle, which is sometimes so constructed that it can serve also as a foot; the mirror can so be made to stand on a table. The handle of a mirror of this kind very frequently takes the form of a human figure.[213] The box-mirror consists of two disks, the lower one, with its polished upper surface, serving as the mirror, the upper one as a cover to protect it. The two are sometimes quite separate and fit closely on to one another, but more often they are joined by a hinge; the cover is usually ornamented with relief work, a favourite subject being Aphrodite and Eros, although other mythological scenes are also found.[214]

[213] Fig. 53 (_b_).

[214] Fig. 53 (_a_).

Of the various receptacles used for containing trinkets, hair-bands, cosmetics, and so on, the commonest is the pyxis, although we find also baskets and little square caskets represented in vase-paintings and on the Attic grave reliefs. A box for cosmetics in the British Museum is in the shape of a bird.[215] The pyxis is a circular box with a lid; its sides are sometimes straight, but more often concave, and it is frequently raised on a foot. Its material was originally boxwood, hence its name, πύξις; but the majority of those which are extant are terra-cotta, though they are known also in ivory, alabaster, and precious metals. A common subject on a terra-cotta pyxis is a toilet scene or a marriage procession.[216]

[215] Fig. 52 (_b_).

[216] Fig. 52 (_a_).

The alabastron used to contain unguents or perfumes is a long narrow bottle with a spreading neck and small opening; it has no foot, and is round at the bottom, so that some kind of stand must have been necessary to hold it upright when not in use.[217] It was usually made of stone, alabaster, or terra-cotta. The lekythos also was sometimes used for the same purpose.

[217] Fig. 54.

That Greek ladies wore abundant jewellery is proved by frequent representations both in sculpture and vase-paintings, as also by actual finds of jewellery, notably in the Greek graves of the fourth century at Kertch. These objects have been described and discussed by Mr A. B. Walters, in his book on _The Art of the Greeks_.[218] Rings, bracelets, necklaces, brooches, and ear-rings, were commonly worn, as well as ornamental hair-pins and metal diadems for the hair. Many examples of goldsmith’s work are extant including some gold ornaments set with precious stones.

[218] Page 259 ff.

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In summing up the results of the foregoing enquiry, we find that the nature and development of the costume of the Greeks is entirely in accordance with what we know of the nature and development of the national character. The chief characteristics of the Doric dress, which was probably worn in early days by all the inhabitants of the mainland alike, is a certain broad simplicity; that of the Ionic dress, which was worn by the Asiatic Greeks, and for a short period at least by the Athenians also, is graceful elegance. These characteristics distinguish the Doric and Ionic temperaments as exhibited in art also, notably in architecture, and to some extent also in sculpture. Athens appears to have occupied a middle position between the Peloponnese and Ionia. The Peloponnesians seem to have clung throughout their history to the Dorian dress, as the Ionians probably did to the Ionic; but in Athens we find change and development most strongly marked. In very early days the Athenians wore the Doric dress; then in the course of the seventh and sixth centuries their intercourse with the East brought them into contact with Eastern ideas and Eastern customs, and they appear to have caught something of the luxury which was characteristic of the East. At any rate, for a time at least they adopted the Ionic dress, and carried it to a great degree of luxury and extravagance. Then with the Persian wars came a reaction against anything savouring of Orientalism, and a return to greater simplicity. This led to a resumption of the Doric dress, with certain modifications and the retention of some Ionic elements.

It can hardly be questioned that the freedom and simplicity of their dress was to a great extent the cause of the development of the splendid physique which the Greeks undoubtedly enjoyed. Their loose draperies allowed their limbs perfect freedom, and their bodies were unhampered by constraint of any kind. In the palæstra and the gymnasium, air and sunlight were allowed to exercise their salutary influence, for the Greeks were not “ashamed of their own naked skin,” and so discarded their clothing when in pursuit of their athletic occupations. The healthy state of body thus preserved no doubt had its share in fostering that healthy state of mind to which are due the sanity and sobriety that characterise all Greek thought, whether expressed in literature, art, or philosophy.

ENGLISH INDEX

Abbia, statuette from, 5

Achæans, 5, 13, 15, 16, 17, 102, 105, 108

Achilles, 21; shield of, 20

Acropolis of Athens, 38, 78; archaic statues from, 44, 69, 71, 73-96, 101, 112, 119

Actor’s dress, 71

Ægean islands, 2, 9, 14, 98

Ægina, 39, 41

Ægis, 33, 34, 47

Agamemnon, 17, 28

Alabastron, 125

Alcinous, palace of, 2, 20

Alexander, 111

Amazons, 53, 106, 118

Andromache, 27; head-dress of, 35, 108

Antinous, 31, 32

Aphrodite, 3, 33, 34, 64, 124

Apollo, 26, 80, 94, 109, 110

Apron, 5, 11, 13

Argive women, 40

Aristarchus, 20

Aristophanes, 54, 98, 101, 110, 115, 116, 117, 120, 122, 123

Aristotle, 98, 99

Arsenic, 121

Artemis, Brauronia, 68, 70; in Dresden, 46, 53; of Gabii, 70, 95

Artemisia, 50

Aryballos, 121

Assyria, 7, 8, 99, 117

Athena, 26, 29, 32, 33, 44, 46, 47, 48, 51, 87, 119

Athenians, 39, 40, 41, 42, 53, 57, 58, 59, 63, 65, 73, 74, 86, 91, 98, 116, 120, 126

Barber, 120

Bombycina, 99

Boots, 8, 116, 117, 118, 119

Bottles, 121, 123

Bracelets, 6, 7, 13, 125

Breeches, 6

Briseis, 50

Brooches, 3, 4, 16, 18, 25, 26, 28, 29, 31, 32, 35, 37, 40, 41, 52, 53, 56, 60, 62, 64, 67, 81, 87, 92, 94, 95, 125

Brygos, 66, 69

Bull-taming, 7, 8

Buttons, 13, 76

Calypso, 27, 33, 34

Carians, 40, 41, 57, 58

Cassandra, 48

Charites, relief of the, 78

Chiton, Homeric, 18, 21, 22, 27, 31, 32, 37; Doric, 51, 52, 53, 60; Ionic, 19, 32, 41, 44, 46, 51, 58, 59-70, 76, 77, 79, 80, 81, 82, 84, 87, 89, 93, 96, 98

Chitoniscus, 77

Chlamys, 54

Circe, 33

Cloak, 6, 7, 17, 24, 26, 34, 49, 52, 55, 76, 77, 78, 80, 92, 93, 95

_Coa_, 99

_Coæ vestes_, 98, 100

Colour, applied to sculpture, 83, 84, 85

Colours, 37, 100, 101

Combs, 123

Corsets, 70

Cos, silk from, 99

Cosmetics, 113, 122

Crete, 2, 3, 4, 5, 9, 14, 57, 107

Crossbands, 62, 64, 69, 70, 96

Cupbearer of Knossos, 3, 9, 107

Delphi charioteer, 62, 65

Demeter, 106

Dionysus, 69, 117

Doric dress, 39-56, 59; blended with Ionic, 52, 64, 95

Draped type, 15, 17, 38

Dressing-gown type, 15

Ear-rings, 29, 37, 125

Egypt, 9, 98; tomb fresco from, 9

Eirene and Plutus, 45

Eleusis, 49, 72, 78

Embroidery, 31, 32, 38, 61, 89, 100, 102, 103

Ephebi, 55, 110

Etruscans, 10

Euphronius, 79

Eustathius, 70

Euxitheos, 50, 62

False hair, 123

Fibulæ, 3, 4, 5, 13

Fillets, 108, 110, 111, 112, 122

Flounces, 3, 12, 14, 96

Footgear, 7, 115-119

Frills, 76, 80, 82, 86, 90, 91, 92, 94, 95

Fringes, 12, 29, 33

Fustanella, 78

Girdles, 5, 11, 16, 19, 22, 29, 30, 31, 33, 34, 43, 44, 45, 46, 50, 53, 62, 63, 70, 77, 79, 80, 81, 87, 122

Gold, 29, 31, 33, 34, 100, 112, 119, 125

Hair nets, 36, 37, 108, 113

Hair-pins, 123, 125

Hats, 11, 12, 111, 113

Head-dress, 6, 8, 10, 11, 13, 14, 28, 36, 37, 107-114

Hector, 3, 28, 35

Helen, 27, 35, 102

Hellanicus of Lesbos, 10

Helmets, 8, 9, 28, 107

Hephaistos, 52, 111

Hera, 29, 33, 37, 66, 112

Hermes, 118

Herodotus, 39, 41, 42, 48, 57, 58, 59, 64, 96, 98, 103, 108, 117

Hieron, 49, 60, 65, 106

Himation, Homeric, 24, 25; Doric, 48-52, 54, 95; Ionic, 52, 69, 71, 73-96

Hittites, 7

Homeric civilization, 2

Homeric dress, 4, 15-38

Homeric house, 4

_Iliad_, 3, 8, 17, 20, 21, 22, 25, 27, 28, 29, 33, 34, 35, 36, 37, 102, 108, 109

India, 98

Ionians, 19, 57, 58, 59, 65, 98, 126

Ionic dress, 40, 42, 51, 57-72, 73-96

Jacket type, 3, 11, 12, 13, 15

Jewellery, 122, 125

Kefts, 9

Kerchief, 36, 38, 113

Kertch, fragments of fabrics from, 97, 103, 105, 106; jewellery from, 125

Kimono, 12

Knossos, 2, 3, 5, 10, 11, 12, 16, 38, 107

Kolpos, 44, 52, 60, 63, 70, 80, 88

Laertes, 18; shroud of, 17, 27

Leather, 8, 9, 21, 28, 33, 97, 98, 116, 117

Lekythos, 121, 125

Linen, 11, 12, 19, 20, 21, 22, 27, 35, 40, 41, 58, 59, 60, 70, 88, 97, 98

Materials, 19, 60, 70, 75, 79, 88, 97-99, 100, 105

Mausoleum, 51, 53

Mausolus, 50

Medici collar, 12

Menelaus, 17, 28

Men’s dress, pre-Hellenic, 5-10; Homeric, 17-28; Doric, 52-56; Ionic, 58-72

Minoan art, 13, 15

Mirrors, 123, 124

Modern Greeks, 7, 38

Mourning, 37, 101

Mycenæan dress, 3, 7, 107

Mycenæan remains, 2, 3, 4, 5, 6, 8, 10, 13, 15, 28, 37, 107

Mycone, 14

Nausicaa, 35

Necklaces, 6, 7, 37, 125

Nereids, 64, 87

Nike, 48, 103

Obi, 12

Odysseus, 23; house of, 2

Odyssey, 18, 19, 20, 21, 23, 25, 26, 27, 28, 31, 32, 33, 34, 35, 37

Oil-flasks, 121

Ointments, 121

Olive-oil, 121, 123

Open Doric dress, 31, 44, 46

Ornamentation, 101-106

Overfold, 30, 33, 44, 45, 46, 48, 63, 64, 65, 66, 67, 68, 69, 80, 82, 85, 87, 88, 89, 94, 96

Pæonius, 47

Paris, 28, 32

Parthenon, 45, 47, 51, 55, 64, 65, 95

Patroclus, funeral of, 21

Patterns, 11, 32, 33, 61, 75, 77, 83, 88, 89, 96, 100-106, 112

Pausanias, 53, 98, 99, 110

Pelasgians, 10, 58

Penelope, 31, 32, 34

Peplos, 3, 28-33, 44, 48, 51, 52, 63, 69, 80, 81, 82, 87, 96; of Athena, 46, 47

Perfume, 123

Pergamon, 47

Persephone, 48

Petasos, 111, 114, 117

Petsofa, terra-cottas from, 6, 11, 12, 13, 14

Pheidias, 46, 47, 102, 119

Phœnicians, 9, 57

Pigments, 104, 122, 123

Pins, 16, 18, 28, 29, 30, 35, 43, 45

Plaits, 110

Plato, 115

Pollux, 46, 52, 59, 96, 100, 101, 116, 118, 123

Poseidon, 37, 38, 54

Powder, 113, 122

Pre-Hellenic dress, 1-14, 15, 23, 38, 107

Pyxis, 124

Razors, 120, 121

Red ochre, 122

Rouge, 122, 123

Rings, 4, 109, 125

Sandals, 17, 28, 29, 37, 116, 118, 119, 122

Sash, 12

Scarf, 37, 76, 87, 93, 112

Scissors, 65, 120

Scraper, 120

Seaweed, rouge prepared from, 123

Sericum, 99

Sewn garments, 12, 18, 31, 52, 60, 64, 66, 67, 87, 91, 96, 97

Shoes, 7, 10, 115, 116, 117, 119

Silk, 88, 97, 98, 99

Silkworm, 99

Skins, 17, 27

Skirt, 3, 11, 12, 13, 83, 88

Sleeves, 6, 11, 32, 53, 60, 61, 62, 64, 65, 66, 67, 68, 69, 71, 87

Slippers, 116, 118

Snake-goddess, 11, 107

Snood, 113

Socrates, 53, 115

Solon, 41, 42, 59, 93

Spartans, 53

Strigil, 121

Sulphuret of antimony, 123

Sumptuary laws, 41, 59, 93

Survivals, 8, 13

Tanagra statuettes, 49, 114

Theocritus, 98, 114, 115, 118, 119

Thessaly, 111, 114

Thessalian cloak, 54

Thetis, 34, 37

Thrace, 54, 111, 116, 117

Thucydides, 42, 57, 58, 59, 109

Tiryns, wall-painting from, 7

Toilet, 120-125

Toilet-boxes, 123, 124

Toilet scenes on vases, 121, 122, 125

Trojans, 15, 16, 102, 105

Tunic, 6, 7, 17

Turks, 7

Unguents, 123

Vaphio cups, 7

Veil, 29, 34, 35, 36, 37, 48

Velletri, Athena of, 51

Victory, 47, 92

Waistcloth, 5, 6, 10, 22, 23

White lead, 122, 123

Wigs, 123

Women’s dress, pre-Hellenic, 10-14; Homeric, 28-38; Doric, 39-52; Ionic, 57-96

Woollen garments, 24, 25, 26, 27, 51, 60, 97, 98, 105

Xenophon, 113, 116, 122

Xoana, 86

Zeus, 29, 32, 44, 69, 102

GREEK INDEX

ἄγχουσα, 123

ἀλεξάνεμος, 24

ἁλοῦργος, 101

ἀμοργῖνον, 70, 98

ἄμπυξ, 36, 112

ἀμφιβάλλω, 17, 24

ἀμφιέννυμι, 24, 29

ἀνεμοσκεπής, 24

ἀνθινά, 102

ἁπλοΐς, 24

ἀποβάλλω, 24, 36

ἀποδέσμος, 70

ἀποπτύγμα, 30, 44, 87

ἀποτίθημι, 24

ἀρβύλαι, 118

ἀρβυλίδες, 118

ἀρύβαλλος, 121

βαθύζωνος, 15, 16

βαθύκολπος, 15, 16

βατραχίς, 100, 101

βλαυταί, 118

βύσσινα, 98

βύσσος, 98

δέσματα, 35

διαφανές, 70

δίπλαξ, 27, 37, 102

διπλῆ, 24, 25, 26

διπτύχον, 26

διφθέρα, 97

ἕανος, 28, 29

ἔγχουσα, 122, 123

εἷμα, 48

ἐκδύνω, 18, 24

ἐκταδίην, 25, 26

ἕλικες, 37

ἑλκεσιπέπλος, 32

ἑλκεχίτωνες, 19, 59, 80

ἔμβας, 116, 117, 118

ἐμπάσσω, 102

ἐμπλαισίῳ, 68

ἐνδρομίδες, 118

ἔνδυμα, 52

ἐνδύνω, 17, 18

ἐνετή, 16, 29

ἕννυμι, 48

ἔξωμις, 52, 53

ἑτερομάσχαλος, 52

εὐμάριδες, 118

εὐστρέπτοισι βοεῦσιν, 21

ζειρά, 54

ζῶμα, 22, 23

ζώνη, 16, 29, 33

ζώννυμι, 22, 29

ζωστήρ, 16, 29, 23

θάψινος, 101

θολία, 113

ἵμαντες, 21

ἱματίον, 39, 48

κάλυκες, 37

κάλυμμα, 28

κάλυπτρη, 28, 34

κατὰ στῆθος, 29

κεκρύφαλος, 36

κεστὸς ἱμᾶς, 34

κίλλιον, 100

κοκκοβαφής, 101

κόλπος, 30, 33

κονιπόδες, 118

κόρυμβος, 109

κουρεῖον, 120

κρήδεμνον, 16, 28, 29, 34, 35, 36, 37, 48, 51

κρηπίδες, 118

κροκωτός, 101

κρουπέζια, 119

κρωβύλος, 109, 110

κυάνεος, 37, 101

κυανοχαίτης, 37

κυμάτιον, 104

κυνῆ Θεσσαλίς, 113

λαμπρός, 29, 35

λιπαρός, 35

λήκυθος, 121

λώπη, 17, 26

μαλακός, 20

μίτρη, 23, 112

μονοχίτων, 53

ξυρόν, 120

ξύστρα, 121

ὀθόνη, 20, 35

οἰοχίτων, 23

ὀμφάκινος, 101

ὀνάγρινος, 100

ὀρθοστάδιος, 71

οὔλη, 24, 25

παμποικίλος, 32

πέδιλον, 17, 28, 29, 116

πέπλος, 16, 17, 28, 29, 31

περιβάλλω, 17, 24

περιβλῆμα, 52

περιζῶμα, 70

περόνη, 16, 29, 31, 39, 59

περσικαί, 118

πέτασος, 111

πηνίκη, 123

πῖλος, 111

πλεκτὴ ἀναδέσμη, 36

ποδήρης, 19, 59

ποικίλος, 32, 102

πόλος, 112

πορφύρεος, 3, 25, 37, 101, 102

προκομίον, 123

πύξις, 124

ῥήγεα, 17

σάκκος, 112

σιγαλόεις, 19, 36

στεφάνη, 36, 112

στίμμις, 123

στόνυξ, 120

στρέπτος χιτών, 20, 21

στρόφιον, 70

συκάμινον, 123

ταινία, 70

τανυπέπλος, 32

τερμίοεις, 19

τέττιξ, 58, 109, 110

τρίβων, 53

τυρρηνικά, 119

ὑπόδημα, 116

φαινομηρίς, 46

φαιός, 101

φᾶρος, 16, 17, 24, 27, 28, 33, 35, 37

φοινίκεος, 101

φοινικόεις, 25, 37

φῦκος, 123

χειριδωτός, 68

χιτὼν, 16, 17, 18, 19, 21, 23, 24, 35, 52, 59, 70, 98

χιτῶν ἔξωμις, 52, 53

χιτωνάριον, 70

χιτώνιον, 70, 98

χιτωνίσκος, 68, 70, 71

χλαῖνα, 16, 17, 23, 24-28, 35, 37, 55

χλάμυς, 54, 56, 111

ψάλις, 120

ψήκτρα, 120

ψίλωθρον, 121

ψιμυθίον, 122

PRINTED BY

OLIVER AND BOYD,

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* * * * * *

Transcriber's note:

* Original spelling was kept, but variant spellings were made consistent when a predominant usage was found.

* Obvious printer errors have been silently corrected.

* Illustrations have been slightly moved so that they do not break up paragraphs while remaining close to the text they illustrate.

* Throughout the text, “Fürtwängler” has been replaced by “Furtwängler” and “ἀπλόϊς” by “ἁπλοΐς”.

* Other emendations made:

page 7: “ἤυτε” → “ἠΰτε” page 8: “ἰμᾶσιν” → “ἱμᾶσιν” note 10: “Ἐφήμερις” → “Ἐφημερίς” page 16: “χαλῖνα” → “χλαῖνα” page 19: “ἑλκεχιτῶνες” → “ἑλκεχίτωνες” page 20: “εὐννήτους” → “ἐϋννήτους” page 21: “στρέπτοῖσι” → “στρεπτοῖσι” note 32: “κατά” → “κάτα” page 29: “εὐτρήτοισι” → “ἐϋτρήτοισι” page 29: “λαμπρὸν” → “λευκὸν” note 54: “xiv., 175 f.” → “xiv., 178 f.” page 31: “εὐγνάμπτοις” → “ἐϋγνάμπτοις” page 34: “v., 229” → “v., 232” note 74: “_Die_” → “_Das_” page 59: “ἑλκεχίτῶνες” → “ἑλκεχίτωνες” page 80: “Ἑλκεχιτῶνες” → “Ἑλκεχίτωνες” note 170: “_Die_” → “_Das_” page 115: “ἔποίει” → “ἐποίει” page 122: “πόλλῳ” → “πολλῇ” note 212: “_Cyropædeia_” → “_Cyropædia_” page 133: “ἑλκεχιτῶνες” → “ἑλκεχίτωνες”