CHAPTER XV. SLAVERY 519

LIST OF ILLUSTRATIONS.

PAGE

1. Ancient Male and Female Costumes. Vase-painting from _Élite céramographique_, II. 27 5

2. Antique Male _Chiton_ with _Himation_. Vase-painting from Gerhard. _Etruskische und campanische Vasenbilder._ Plate 21 6

3. Antique Costumes (Dance) from the François Vase. From the _Wiener archæologische Vorlegeblätter_. Series II. Plates 3 and 14 8

4. Costumes of the Fifth Century B.C. (Rape of Helen.) Vase-painting by Hiero. From Gerhard. _Trinkschalen und Gefäsze._ Plates 11 and 12 10

5. Short Male Chiton with _Kolpos_. Vase-painting from Gerhard. (_See_ 2.) Plates 6 and 7 13

6. Warrior in _Exomis_. Relief on a Tombstone. From _Bulletin de correspondence hellénique_, IV. Plate 7 14

7. Statue of Sophocles in the Lateran. From a Photograph 16

8. Citizen in Chiton and Himation. Terra-cotta from _Bull. de corr. hell._, VII. Plate 12 17

9. Costume of Ephebos (Adoration of a Hermes). Vase-painting from Schreiber. _Kulturhistorischer Atlas, Altertum._ Plate 14, 3 18

10. Dress of Attic Ephebos (Farewell of a Young Warrior). Vase-painting from Baumeister. _Denkmäler des classichen Altertums._ Fig. 421 19

11. Antique Female Costumes from the François Vase. From _Wiener arch. Vorlegebl._ 23

12. Antique Female Costume. Vase-painting by Exekias. From _Mon. d'Inst. Archéol._, II. 22 24

13. Antique Female Costume. Vase-painting from Stephani. _Kampf des Theseus and Minotaurus._ Plate I 25

14. Antique Female Dress, from the François Vase. (_See_ 3.) Plate V 26

15. Antique Female Costumes. Vase-painting from _El. céram._, III. 36, B 27

16. Ancient Female Costume with _Kolpos_. Vase-painting from Gerhard. _Auserlesene Vasenbilder_, III. 727 29

17. Dress of the Fifth Century B.C. From a Vase-painting by Euphronios. From the _Wiener arch. Vorlegebl._ Series V. Plate 7 31

18. Female Costume of the Fifth Century B.C. (Mænads), from a Vase by Hiero. _Idem._ Plate 4 32

19. Female Costume of the Fifth Century B.C., from a Vase by Brygos. From _Mon. d'Inst._, V. 14 34

20. Modes of arranging Chiton. V.-P. from Tischbein. _Vases Hamilton_, I. 7 35

21. Putting on the Chiton and arranging the Bib. Bronze Statue from Herculaneum. From a Photograph 36

22. Caryatid from the Erechtheum. From Baumeister. (_See_ 10.) Fig. 535 37

23. High-girt Chiton with Himation. Statue of a Daughter of Niobe in the _Museo Chiaramonti_ in the Vatican. From a Photograph 38

24. Ungirt Chiton with Himation. V.-P., Gerhard. (_See_ 2.) Plates 6 and 7 40

25. Open Chiton with Mantle. Vase-painting from the _Wiener arch. Vorlegebl._ Series II. Plate 6, 2 41

26. Open Chiton with Mantle. Vase-painting from _El. céram._, III. 56 42

27. Lady in Walking Dress. Terra-cotta Figure from Stackelberg. _Gräber der Hellenen._ Plate 67 41 and 45

28. Lady in Walking Dress. _Idem_ 46

29. Sandals. Collected from Works of Art (chiefly Vase-paintings) 49

30. Sandals with High Straps. _Idem_ 50

31. Antique Men's Shoes. _Idem_ 51

32. Men's and Women's Shoes. _Idem_ 52

33. High Boots (_Endromides_). _Idem_ 53

34. High Boots with Overhanging Lappets. _Idem_ 54

35. Various Shapes of the _Petasos_. _Idem_ 56

36. The Common Forms of _Petasos_. _Idem_ 57

37. Uncommon Forms of _Petasos_. _Idem_ 58

38. Youth in Travelling Costume. Vase-painting from Overbeck. _Gallerie heroischer Bildwerke._ Plate 2, 1 59

39. _Exomis_ and _Pilos_. Statuette of Odysseus. From Winckelmann. _Monumenti mediti_, No. 154 60

40. Sailor's Costume. V.-P. from Welcker. _Alte Denkamäler_, III. Plate 39, 1 61

41. Lady with _Petasos_. Terra-cotta Figure from Kekulé. _Terra-cotten von Sicilien._ Plate 33 62

42. Lady with Sunshade. V.-P. from Gerhard. _Vases grecs._ Plate 8 63

43 and 44. Antique Modes of Dressing the Hair. Vase-painting and Marble Head from Schreiber. (_See_ 9.) Plate 85, 3 and 14 66

45 and 46. Antique Coiffures. Marble Heads from _Mitteilungen des Deutschen archäologischen Instituts in Athen_, VIII. (1883.) Plate X. 12a and XI. 1 67

47. Antique Coiffure. Marble Head. _Idem._ Plate XII. 4a and 4b 68

48. Antique Coiffure. V.-P. by Euphronios. _Idem._ Plate XI. 5 69

49. Antique Coiffure. Bronze Head from Pompeii. From a Photograph 70

50. Antique Mode of Wearing the Beard. Relief from _Nuove memorie dell'Inst. Archeol._ Plate 13 73

51 and 52. Female Coiffure. Terra-cotta Heads from Kekulé. (_See_ 41.) Plates 161 and 22, 6 74

53 and 54. Female Coiffure. _Idem._ Plates 16, 5 and 162 75

55, 56, 57. Female Coiffure. _Idem._ Plates 17, 1; 18, 5; and 19, 5 76 and 77

58. Relief from a Tomb representing Child in Swaddling-clothes. From _Ann. d'Inst._ 1830. Add. Plate, G 79

59. Hermes in the Cradle. V.-P. from _Arch. Zeitg._ for 1844. Plate 20 81

60. Child's Bed on Rollers. V.-P. from _Nuove mem. dell'Inst. Arch._ Plate 15, 2 82

61. Mother giving her Child the Breast. Terra-cotta Figure from Gerhard. _Gesammelte Abhandlungen._ Plate 80, 2 83

62. Mother and Child. Relief from a Tomb at Athens. From a Photograph 86

63. Boy with small Cart and Dog. V.-P. from Stackelberg. (_See_ 27.) Plate 17 87

64. Child's Cart. Vase-painting from _Compte-rendu de la commission archéologique de St. Pétersbourg_. 1871. Plate 5, 4 88

65. Child with Cart drawn by Dogs. V.-P. from Baumeister. (_See_ 10.) Fig. 766 89

66. Jointed Doll. Terra-cotta Figure. From _Antiqu. du Bosph. Cimmér._ Plate 74, 8 90

67. Boy with Hoop. Vase-painting from _El céram._, I. 18 91

68. Toy Quiver. From _Compte-rendu de St. Pètersb._ for 1873. Plate 38 92

69. Girl flying a Kite. Vase-painting from _Arch. Ztg._ for 1895, p. 125 93

70. Boy with Wheel. V.-P. from Benndorf. _Griech. u. Sicil. Vasenbilder_, p. 62 94

71. Woman with Wheel. Vase-painting from Gerhard, _Vases grecs._ Plate 10 95

72. Child's Swing. V.-P. from _Ann. d'Inst._ 1857. Add. Plate, A 96

73. See-saw. Vase-painting from Schreiber. (_See_ 9.) Plate 79, 6 96

74. See-saw on the Foot. V.-P. from Baumeister. (_See_ 10.) Fig. 834 97

75. Attic School Instruction. Vase-painting by Duris. From _Arch. Ztg._ for 1869. Plate 1 105

76. Ephebi racing on Horseback. V.-P. from Schreiber. (_See_ 9.) Plate 24, 9 125

77. Female Racer from Elis. Statue in the Vatican. From a Photograph 131

78. Reception of Bride at Bridegroom's House. Vase-painting from Stackelberg. (_See_ 27.) Plate 32 143

79. Women at the Well. Vase-painting from Gerhard. (_See_ 16.) IV. 308, 9 150

80. Woman Spinning. Vase-painting. _Idem_, IV. 302 and 3, M 3 153

81. Woman at the Loom (Penelope). V.-P. from _Mon. d'Inst._, IX. 42, 1 154

82. Women at Bath and the Toilet. Vase-painting from Stackelberg. (_See_ 27.) Plate 33 155

83. Women Washing. Vase-painting from Gerhard. (_See_ 16.) III. 218 156

84. Folding-up Clothes. Vase-painting. _Idem_, IV. 301 157

85. Women's Toilet and Bath. V.-P. from Baumeister. (_See_ 10.) Fig. 220 158

86. Washing at the Well and Completion of Toilet. (Athene and Hera before the Judgment of Paris.) V.-P. from _Mon. d'Inst._, IV. 18 160

87. Women's Public Bath. Vase-painting from _El. céram._, IV. 18 161

88. Toilet Scene. Vase-painting from _Gazette archéologique_ for 1879. Plate 23 Frontispiece

89. Lady Arranging her Hair. Terra-cotta from Tanagra. _Idem._ 1878. Plate 10 163

90. Lady (Bride?) at her Toilet. V-P. from Benndorf. (_See_ 70.) Plate 45, 1 164

91. Scene from the Life of Women. V.-P. from Gerhard. (_See_ 4.) Plate 14, 1 165

92. Toilet Scenes. From _Compte-rendu de St. Pétersbourg_. 1860. Plate 1, 3 168

93. Diagram of a Water-clock 187

94. Bronze Razors, from Helbig. _Das homerische Epos._ Fig. 49 188

95. Hair-dresser. Terra-cotta Group, from Tanagra. From _Arch. Ztg._, XXXII. Plate 14 189

96. Men's Public Bath. Vase-painting from Schreiber. (_See_ 9.) Plate 21, 9 193

97 and 98. Drinking Scenes. V.-P. from _Mon. d'Inst._, III. 12 210 and 211

99. Female Juggler. Vase-painting from _Mus. Borbonico_, VII. 35 217

100. Female Juggler, from Baumeister. (_See_ 10.) Fig. 631 218

101. Cottabus. Vase-painting from _Mon. d'Inst._, VII. 51, 2 222

102. Playing "Board-games." Terra-cotta Group from _Arch. Ztg._, XXI. Plate 173, 1 224

103. Girl Playing Astragals. Terra-cotta Figure from Tanagra; from Baumeister. (_See_ 10.) Fig. 156 226

104. Morra Players. Vase-painting from _Arch. Ztg._, XXIX. Plate 56, 1 227

105. Cock-fighting. Vase-painting from Baumeister. (_See_ 10.) Fig. 695 228

106. Consequences of Intemperance. Vase-painting from _Arch. Vorlegebl._ Series VIII. Plate 5 229

107. Scene at a Nocturnal Comus (Hercules and Satyrs). Vase-painting from Benndorf. (_See_ 70.) Plate 95 231

108. Funeral Lament. Vase-painting from _Mon. d'Inst._, III. 60 247

109. Funeral Lament. V.-P. from _Ann. d'Inst._ 1869. Plate 299, O.P .248

110. Burial. Vase-painting from _Mon. d'Inst._, VIII. 4, 1b 252

111. Corpse in the Tomb. V.-P. from Stackelberg. (_See_ 27.) Plate 38 253

112. Extinguishing the Funeral Pile. V.-P. from _Mon. d'Inst._, IV. 41 256

113 and 114. Athenian Beliefs on Tombs. From _Arch. Ztg._, XXIX. Plates 43 and 44 257 and 259

115. Care of a Grave. Vase-painting from Stackelberg. (_See_ 27.) Plate 44 260

116. Care of a Grave. Vase-painting from Benndorf. (_See_ 70.) Plate 25 261

117. Relief from an Athenian Tomb. From a Photograph 263

118. Gymnastic Exercises. V.-P, from Baumeister. (_See_ 10.) Fig. 611 267

119. Exercise with Dumb-bells. Engraving from a Bronze Discus. From _Ann. d'Inst._ Plate B 268

120. Racers. Vase-painting from _Mon. d'Inst._, X. 48m 272

121. Runners and Jumpers. Vase-painting from Gerhard. (_See_ 16.) IV. 259 273

122. Armour Race. Vase-painting from _Mon. d'Inst._, X. 48e, 3 274

123. Standing Discobolus of the Vatican. Marble Statue. From a Photograph 276

124. Throwing Discobolus (after Myron) in the Vatican. Marble Statue. From a Photograph 279

125. Discobolus after the Throw. Bronze Statue at Naples. From a Photograph 280

126. Spear-thrower. Engraving. Reverse of Fig. 119 282

127. Running, Jumping, Spear-throwing, Boxing. Vase-painting by Pamphaios, From _Mon. d'Inst._, XI. 24 283

128. Wrestlers. Marble Group in the Uffizzi at Florence. From a Photograph 287

129. Wrestlers. Vase-painting from _Mon. d'Inst._, II. 24 288

130. Wrestlers. Vase-painting. _Idem_, X. 48e, 1 289

131. Wrestlers. Vase-painting from Gerhard. (_See_ p. 4.) Plate 20 291

132. Boxers. Vase-painting from _Mon. d'Inst._, 48e, 2 294

133. Boxers. Vase-painting from Benndorf. (_See_ 70.) Plate 31, 2a 295

134. Gymnastic Exercise with a Sphere. Bas-relief from Schreiber. (_See_ 9.) Plate 23, 2 300

135. Archery. Vase-painting from Schreiber. (_See_ 9.) Plate 80, 7 301

136. Women playing Musical Instruments. V.-P. from _El. céram._, II. 86 310

137. Woman playing the Trigonon. Vase-painting from _Mon. d'Inst._, V. 37 313

138 and 139. Flute player. Bronze Statuette from Dodona. From Carapanos. _Dodone et ses ruines._ Plate 10 314 and 315

140. Flute-player. Vase-painting from _Mon. d'Inst._, X. 10 317

141. Performance of a Flute-player. Vase-painting by Euphronios. From _Wiener arch. Vorlegebl._ Series V. 4 318

142. Female Flute-player and Dancer with Castanets. Vase-painting by Hiero. _Idem._ Series C. 5 319

143. Lustral Sacrifice. Vase-painting from Heydemann. _Griechische Vasenbilder._ Plate 11, 3 331

144. Presentation of Sacrificial Offerings. Vase-painting from _Mon. d'Inst._, VI. and VII. Plate 37 332

145 and 146. Presentation of Sacrificial Offerings. Vase-paintings from Benndorf. (_See_ 70.) Plate 45, 2 333 and 334

147. Sacrificial Scene, Vase-painting from _Mon. d'Inst._, IX. 53 339

148. Leaden Tablet with Question addressed to the Oracle of Delphi. From Carapanos. (_See_ 138.) Plate 36, 2 345

149. Putting Horses to a Chariot. Vase-painting from Gerhard. (_See_ 16.) IV. 249 and 250 355

150. Plan and Section of the great Theatre of Dionysus at Athens. From the _Zeitschrift für Bildende Kunst_ for 1878, p. 193 393

151. Theatre of Syracuse in its present Condition. From a Photograph 395

152. Theatre of Syracuse: Ground plan. From Strack. _Griechisches Theater._ Plate V. 1 396

153. Theatre of Segesta, Reconstructed. _Idem._ Plate I 397

154 and 155. Tragic Mask. Terra-cotta from Vulci. From _Ann. d'Inst._ 1881. Plate K 427

156 and 157. Comic Masks. _Idem._ Plate J 431

158. Comic Actor. Terra-cotta from _Arch. Ztg._ for 1854 Plate 69, 3 432

159. Comic Actor. Terra-cotta from Kekulé. (_See_ 41.) Plate 51, 5 433

160. Masks from the Andromeda-myth. Pompeian Wall-painting from _Arch. Ztg._ for 1878. Plate 3 435

161 and 162. Tragic Actor. Ivory Statuette from _Mon. d'Inst._, XI. 13 437

163. Scene from Comedy (The Sick Chiron?) Vase-painting from _El. céram._, II. 94 439

164. Scene from Comedy. (Adventure of Hercules.) Vase-painting from _Arch. Vorlegebl._ Series B. Plate 32, a 441

165. Scene from Comedy. (Soldier and Parasite.) Pompeian Wall-painting from _Mus. Borbon._, IV. 18 443

166. Military Chariot. Vase-painting from _Compte-rendu_ for 1874. Plate 5 453

167 and 168. Warriors putting on their Armour. From Gerhard. (_See_ 16.) IV. 269 458 and 459

169. Murder of Dolon. Vase-painting from Gerhard. (_See_ 4.) Plate C, 1 460

170. Achilles binds up the Wounds of Patroclus. Vase painting from _Mon. d'Inst._, I. 25 461

171. Farewell of Amphiaraus. _Idem_, III. 54 463

172. Equipment of a Warrior. Vase-painting by Duris. _Idem_, VIII. 41 464

173. 174, and 175. Ancient Greek Helmets. From Helbig. (_See_ 94.) Figs. 70-72 466

176. Warriors playing Draughts. Vase-painting from _Mon. d'Inst._, II. 22 467

177. Death of Memnon. Vase-painting from Gerhard. (_See_ 4.) Plate D 469

178, 179, 180, 181. Spear-heads from Dodona. From Carapanos. (_See_ 138.) Plates, 57, 8; 58, 1; 3 and 5 471 and 472

182, 183, 184. Swords from Mycenae. From Helbig. (_See_ 94.) Figs. 90, 86 and 87 473

185 and 186. Swords from Italian Lake-dwellings. _Idem._ Figs. 88 and 89 474

187. Head of an Arrow from Megalopolis 477

188 and 189. Greek Spurs from Dodona. From Carapanos. (_See_ 138.) Plate 52, 1 and 2 479

190. Sailing Vessel. Vase-painting from Schreiber. (_See_ 9.) Plate 45, 11 481

191. Ship of Odysseus. Vase-painting from _Mon. d'Inst._, I. 8 482

192 and 193. Antique Ships with Spurs at the Prow. Vase-painting from Helbig. (_See_ 94.) Figs. 3 and 4 483

194. Ship with two Rows of Oars. V.-P. from Schreiber. (_See_ 9.) Plate 45, 12 484

195. Attic Trireme. Relief from _Ann. d'Inst._ 1861. Plate M, 2 485

196. Men Ploughing, Vase-painting from _Berichte der Sächsischen Gesellschaft der Wissenschaft_ for 1867. Plate I. 1 494

197. Olive Harvest. _Idem._ Plate III. 2 495

198. Artisan in _Exomis_. Terra-cotta from _Bull. de corr. hell._, VII. Plate 12 502

199. Shoemaker. Vase-painting. (_See_ 196.) Plate III. 5 503

200. Shoemaker's Workshop. Vase-painting from _Mon. d'Inst._, XI. 28, 1 505

201. Smithy. _Idem._ Plate 28, 2 507

202. Brass Foundry. Vase-painting. (_See_ 196.) Plate V. 4 508

203. Vase Factory. From _Ann. d'Inst._ 1876. Plates D, E 509

204. Cook(?). Terra-cotta from Tanagra. From _Arch. Ztg._ for 1874. Plate 14 511

205. Trade in silphium. Vase-painting from _Mon. d'Inst._, I. 47 515

206. Slave. Terra-cotta from _Bull. de cor. hellén._ 528

INTRODUCTION.

If the account of Greek life and customs given in this work does not present all sides of life in due proportion, we must lay the blame on the insufficiency of the sources whence a description of this kind is derived. These are of three kinds: literary, artistic, and epigraphic. The literary sources supply us with a large amount of detail for the work in hand, but seldom give complete pictures or descriptions of social conditions. Those writers of the Free Age of Greece whom we still possess entirely, or in considerable fragments, are not all equally in a position to touch on matters of private or domestic life. The Homeric Epics give a good deal of insight into the life of those early times; but after Homer epic poetry disappears from the ranks of available testimony, and what remains to us of the Alexandrine Epic, which was essentially a learned style of poetry, supplies no useful material, if only because it seeks its subjects in the mythological period, and describes them on essentially Homeric lines. The lyric poets, too, afford little help; now and then they enable us to add a few details to our picture, but, as a rule, the results are small, and not till we reach the Alexandrine period, and there chiefly in bucolic and epigrammatic poetry, do we obtain richer results in this domain. Here the poems of Theocritus are of especial value. Unfortunately, very much of this period, which would have thrown most interesting lights on different aspects of Greek life, has been entirely lost, or survives only in small fragments. Tragedy again, which usually takes its subjects from mythology, cannot be considered at all. Ancient poetry possesses no “middle-class epic” like modern poetry, which will assuredly some day supply valuable material for the social historian. But ancient comedy is of the greatest value for our purpose, and may indubitably be regarded as the most fertile source of our knowledge of private life. The comedies of Aristophanes deal with the immediate present, and, although full of extravagant notions and fantastic inventions, yet treat of actual circumstances, and thus supply a mine of wealth for the student of Attic life. We can only judge, from numerous fragments of their comedies, how valuable would have been the other poets of the so-called “Older Comedy” of the fifth century B.C., who are, unfortunately, lost to us. Even though we must exercise some caution in the use of these authorities, distinguishing comic inventions and poetical exaggeration from actual fact, yet in the majority of cases it will not be very difficult to come to a decision on such questions. No less valuable, perhaps even more useful, for our purpose would be the so-called “New Comedy” of Menander and others, if we possessed more than a few scattered fragments of it. The imitations of Plautus and Terence compensate to some extent for the lost originals, yet even here we must be on our guard, since the Roman poets in their adaptation often introduced traits from Roman life. Still, as a rule they adhered to Greek, or, rather, Attic manners, upon which the original comedies were based.

Among prose writers we must chiefly consider the historians and orators. The former are of comparatively little use. They deal with great political and military events; the daily life going on around them gave them no subjects for description; apart from the fact that it probably never occurred to them that anyone in later ages would ever care to hear about the social conditions of that time. A writer like Herodotus, who introduces not only political history, but also geographical, ethnological, and social information, directs his attention for this very reason chiefly to foreign nations, and gives his countrymen a great deal of information about the life and customs of the Egyptians, Assyrians, and Persians; concerning the Greeks themselves he is absolutely silent. It is quite natural that historians should only mention by the way facts which we could use with advantage in a description of Greek life. The orators, on the other hand, supply richer material, not so much in political speeches as in private orations dealing with law-suits, of which a considerable number have come down to us. Here side-lights fall on many events of daily life, and we obtain an insight into private affairs such as we seldom gain elsewhere. Philosophical writings supply some material, though comparatively little; especially those that take actual life as their basis and deal with philosophical problems in connection with existing circumstances. Among these may be included such writings as the “Characters” of Theophrastus, and here we can but regret that we possess only mutilated fragments of these admirable descriptions of character, based on much accurate observation, and taken direct from real life.

The Greek literature of the Roman period can only be utilised in selections and with care, to illustrate the period with which we have to deal. After Greece came under Roman dominion, new manners and customs took root there, unknown during the period of Greek freedom and the Hellenistic epoch. This diminishes the value for our purpose of the writings of Plutarch, and even more of Lucian, that excellent delineator of the customs of the second century A.D. But even in this later literature there is a good deal which we have a right to use in our description, for some of its habits and customs obtained through the whole of antiquity; besides which, the later writers often turned to past centuries for descriptions, and sought their material in older sources or old historians and other authors, on whose accuracy we cannot, however, always depend. The same was the case with the materials which we are able to use in Roman literature.

From all this it is plain that the account given here deals especially with the real “classic” period of Greek antiquity from about the sixth to the third century B.C. It is impossible to give a connected history of the development of Greek civilisation from the beginning, if only on account of the nature of our authorities and the incompleteness of tradition. Between Homeric culture and that which we meet with afterwards in the poets and prose writers of the best time, lies a period of several centuries, about which we know very little, and that little chiefly in a legendary form. We can only determine in a few cases how the conditions of the sixth and fifth centuries gradually developed, for instance in the rise of the constitution, while it is impossible for us to trace the genesis of manners and civilisation. We shall, therefore, not attempt to give a separate account of Homeric civilisation, but content ourselves with introducing a few of its details in appropriate places; nor shall we go beyond the period of Hellenism, since even here foreign, and especially Oriental, influence produced many alterations, while Roman influence afterwards made many essential changes.

The artistic authorities are also chosen in accordance with this scheme. The vase paintings, of which so many have been preserved to us, supply a great quantity and variety of pictures of Greek life, and we have drawn largely on this valuable source of information, which supplies most of the pictures chosen as illustrations. Compared with this there is little else of importance. The statues to which we have access are chiefly figures of gods and heroes, or portraits. These we can only use to illustrate Greek costume. But a few _genre_ pictures are preserved to us in the artistic productions of the best Greek period, and some of these we shall have occasion to discuss. For this purpose the small terra-cotta figures are more useful, which often represent with vigorous truth subjects from real life. Here, too, as in the case of the statues, we must always remember the difference between Hellenic and Roman work, and it is just this consideration which greatly limits our choice of sculptures; for the great majority of those which would be suitable for our purpose date from the Roman period, and usually represent Roman life. For this reason mosaics and frescoes can scarcely be regarded, since none have come down to us from the Greek period. Undoubtedly many of them imitate Greek models, or, at any rate, those of the Alexandrine epoch, but it is not always easy to decide in particular cases; and, moreover, the greater part are mythological pictures. It is obvious that works of Etruscan art, such as sarcophagi, pictures on mirrors, and the like, cannot be regarded. Thus the works of art suitable for supplementing our literary sources are limited in number. Of these the vase paintings constitute the great majority, and this is entirely in accordance with the chronological limits which we have set to our description; for they almost all belong to the centuries mentioned above, and only a few that would be suitable for our purpose are of greater antiquity.

The nature of our authorities not only sets a limit of time, but also one of space. When we speak of Greek life we ought to include in it not only life in actual Greece or Hellas, but also that in the numerous colonies on the Aegean and Black Seas, in Southern Italy, Northern Africa, etc. But we know very little of the conditions in those Greek settlements outside Greece, and even in Greece itself, where, in consequence of the political and racial differences, these circumstances are by no means everywhere identical, our knowledge is limited in many ways. Even though the difference in manners and customs was greater in early times than afterwards, when increase in trade and greater facility of travel produced more equal conditions, yet certain local and national peculiarities always prevailed. Life at Sparta differed in many respects from that at Athens. The other large towns of Greece--Corinth, Sicyon, Thebes, not to speak of the colonies of Miletus, Syracuse, and Cyrene--doubtless showed many local peculiarities which are entirely hidden from our knowledge. Our literary sources are for the greater part Athenian. The majority of our monuments, too, are of Attic origin, or, at any rate, influenced by it, though Southern Italy supplies some of the vases, and in many cases the customs of Magna Graecia are represented in these pictures. Most of our knowledge of Greek life, then, refers to Athens, and to be quite accurate we ought to call our description “Life in Ancient Athens.” Every now and then we are enabled to enlarge our pictures by details from other parts of Greece. Still, we must beg our readers to remember that most of the traits here introduced relate to Athens between the sixth and fourth centuries B.C. We have scarcely the remotest conception of the mode of life at that time in any small Greek city or in the country.

Here the third class of our sources comes in to help us, viz., the inscriptions. These not only give us most of our material for a knowledge of political conditions, legal and religious antiquities, etc., but they also supply interesting details of private life; and as they are found not only in Attica, but all over Greece, the islands, and the colonies, they supply much very valuable information about matters which our literary sources entirely ignore. As in most cases the period of the inscription can be ascertained by the character of the writing or by other peculiarities, we are not so liable here to make chronological mistakes and refer customs of a later period to earlier times. Compared with our literary sources, the inscriptions are also far safer material; for the accuracy of a writer may be sometimes called in question, especially when his information is supplied at second-hand.

GREEK LIFE AT HOME.