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Greece F - P
 | Fasces "Rods bound in the form of a bundle, and containing an axe in the middle, the iron of which projected from them. These rods were carried by lictors before the superior magistrates at Rome, and are often represented on the reverse of consular coins. The following woodcuts give the reverses of four consular coins; in the first of which we see the lictors carrying the fasces on their shoulders; in the second, two fasces, and between them a sella curulis; in the third, two fasces crowned, with the consul standing between them; and in the fourth, the same, only with no crowns around the fasces." — Smith, 1873. |
 | Fax "A torch. In the annexed woodcut, the female figure is copied from a fictile vase. The winged figure on the left hand, asleep and leaning on a torch, is from a funeral monument at Rome. The other winged figure represents Cupid as Lethaus Amor. In ancient marbles the torch is sometimes more ornamened than the examples now produced, but it always appears to be formed of wooden staves or twigs, either bound by a rope drawn round them in a spiral form, as in the middle figure blow, or surrounded by circular bands at equal distances, as in the two exterior figures. The inside of the torch may be supposed to have been filled with flax, tow, or other vegetable fibres, the whole being abundantly impregnated with pitch, rosin, wax, oil, and other inflammable substances." — Smith, 1873. |
 | Fibula "A brooch, consisting of a pin, and of a curved portion furnished with a hook. The curved portion was sometimes a circular ring or disc, the pin passing across its centre and sometimes an arc, the pin being as the chord, of the arc. The forms of brooches, which were commonly of gold or bronze, and more rarely of silver, were, however, as various in ancient as in modern times; for the fibula served in dress not merely as a fastening, but also as an ornament." — Smith, 1873. |
 | Focus "A fire-place; a hearth; a brazier. The fire-place possessed a sacred character, and was dedicated among the Romans to the Lares of each family. Movable hearths, or braziers, properly called foculi, were frequently used." — Smith, 1873. |
 | Follis "Two inflated skins, constituting a pair of bellows. The following woodcut is taken from an ancient lamp, and represents a pair of bellows like those we now employ." — Smith, 1873. |
 | Foot-race "The Olympic games were of greater efficacy than the Amphictyonic Council in promoting the spirit of union among the various branches of the Greek race, and in keeping alive a feeling of their common origin. They were open to all persons who could prove their Hellenic blood, and were frequented by spectators from all parts of the Grecian world. They were celebrated at Olympia, on the banks of the alpheus, in the territory of Elis." — Smith, 1882 |
 | Fusus "The spindle, was always, when in use, accompanied by the distaff, as an indispensable part of the same apparatus. The wool, flax, or other material, haing been prepared for spinning, was rolled into a ball, which was however, sufficiently loose to allow the fibres to be easily drawn out by the hand of the spinner. The upper part of the distaff was then inserted into this mass of flax or wool, and the lower part was held under the left arm in such a position as was most convenient for conducting the operation. The fibres were drawn out, and at the same time spirally twisted, chiefly by the use of the fore-finger and thumb of the right hand; and the thread so produced was wound upon the spindle until the quantity was as great as it would carry." — Smith, 1873. |
 | Galea "A helmet; a casque. The helmet was originally made of skin or leather, whence is supposed to have arisen its appellation, meaning properly a helmet of dog-skin, but applied to caps or helmets made of the hide of other animals, and even to those which were entirely of bronze or iron. The five following helmets are selected from antique gems, and are engraved of the size of the originals." — Smith, 1873. |
 | Gem "Engraved Gem in the British Museum." — Encyclopedia Britannica, 1893 |
 | Gem "Engraved Gem in the British Museum." — Encyclopedia Britannica, 1893 |
 | Gem "Engraved Gem in the British Museum." — Encyclopedia Britannica, 1893 |
 | Gem "Engraved Gem in the British Museum." — Encyclopedia Britannica, 1893 |
 | Gem "Engraved Gem in the British Museum." — Encyclopedia Britannica, 1893 |
 | Gold_Intaglios "Gold Intaglios from Mycenae" — Morey, 1903 |
 | Gold_Rings "Designs on Gold Rings from Mycenae" — Morey, 1903 |
 | Greaves and shield "Represents the interior view of a bronze shield and a pair of greaves. These greaves are made right and left." — Anthon, 1891 |
 | Grecian Armor Armor used by the ancient Greeks in battle. |
 | Grecian Coin A coin used as currency by the ancient Greeks. |
 | Grecian Sculpture A sculpture constructed by an ancient Greek artist. |
 | Scene from ancient Greece A scene from ancient Greece, possibly from a vase. |
 | Greek "The Greeks belong to the great Indo-European race, who from the earliest times have been the conquerers and civilizers of the world." —The Popular Cyclopedia, 1888 |
 | Greek Coin "In the reign of Philip of Macedon, the coinage of Greece had attained its full development, having a perfect reverse. One of the earliest specimens of the complete coin is a beautiful medal struck at Syracuse, with the head of Proserpine accompanied by dolphins, and for reverse a victor in the Olympic games in a chariot receiving a wreath from Victory-a type which is also found on the reverse of the staters of Philip of Macedon, known as Philips, and largely imitated by other states." — Chambers, 1881 |
 | Greek Soldier A Greek soldier with his family. |
 | Greek armor Greek soldier wearing armor. |
 | Greek with shield "In the Homeric times, the Greeks used a belt for the sword, and another for the shield. These passed over the shoulders and crossed upon the breast. The shield-belt lay over the other, and was the larger and broader of the two. This mode of carrying the shield was subsequently laid aside, on account of its inconvenience. The later method is shown." — Anthon, 1891 |
 | Greek woman A woman kneeling by a column, with several articles of pottery nearby. |
 | Gathering of Greeks A group of ancient Greek around a stone table. |
 | Gubernaculum "A rudder. Before the invention of the rudder, which Pliny ascribes to Tiphys, the pilot of the ship Argo, vessels were both propelled and guided by oars alone. This circumstance may account for the form of the ancient rudder, as well as for the mode of using it. It was like an oar with a very broad blade, and was commonly placed on each side of the stern, not at its extremity. The annexed woodcut presents examples of its appearance as it is frequently exhibited on coins, gems, and other works of art." — Smith, 1873. |
 | Platted hair "The mode of platting the hair, and then fastening it with a pin on a needle, is shown in the annexed figure of a female head, taken from a marble group which was found at Apt, in the south of France." — Anthon, 1891 |
 | Halteres "Halteres were certain masses of stone or metal, which were used in the gymnastic exercises of the Greeks and Romans. Persons who practised leaping frequently performed their exercises with halteres in both hands; but they were also frequently used merely to exercise the body in somewhat the same manner as out dumb-bells." — Smith, 1873 |
 | Corinthian Helmet A greek helmet or corinthian design. |
 | Crested helmets ""The crested Achilles was pressing on in his chariot." Some idea of the ancient crests may be formed from the following woodcuts, selected from ancient gems." — Anthon, 1891 |
 | Herculaneum "In the following we have back and front views of the heads of statues from Herculaneum, on which we perceive the vitta." — Anthon, 1891 |
 | Hoplite "Greek Hoplite" — Morey, 1903 |
 | Horse-race "The horse-race." — Smith, 1882 |
 | Hymen "Hymen had been called to bless with his presence the nuptials of Orpheus with Eurydice; but though he attended, he brought no happy omens with him." —Bulfinch, 1897 |
 | Isocrates "Isocrates was the son of a prosperous flute-maker; he was born at Athens B.C. 436, and lived till 338. He represents the excellence of that species of oratory which gives the highest place to artistic form and finish, and regards the subject-matter as comparatively of small importance." — The Delphian Society, 1913 |
 | Hurling the javelin "The Olympic games were of greater efficacy than the Amphictyonic Council in promoting the spirit of union among the various branches of the Greek race, and in keeping alive a feeling of their common origin. They were open to all persons who could prove their Hellenic blood, and were frequented by spectators from all parts of the Grecian world. They were celebrated at Olympia, on the banks of the alpheus, in the territory of Elis." — Smith, 1882 |
 | Lampadephoria "Lampadedromia, torch-race, and often simply, Lampas, was a game common throughout Greece. At Athens we know of five celebrations of this game: one to Prometheus at the Prometheia, a second to Minerva at the Panametheia, a third to Vulcan at the Hephaesteia, a fourth to Pan, and a fifth to the Thracian Diana or Bendis. The three former are of unknown antiquity; the fourth was introduced soon after the battle of Marathon; the last in the time of Socrates. The race was usually run on foot, horses being first used in the time of Socrates: sometimes also at night. The preparation for it was a principal branch of the Gymnasiarchia, so much so indeed in later times, that Lampadarchia, seems to have been pretty much equivalent to the Gymnasiarchia. The gymnasiarch had to provide the lampas, which was a candlestick with a kind of shield set at the bottom of the socket, so as to shelter the flame of the candle; as is seen in the following woodcut, taken from a coin, He had also to provide for the training of the runners, which was of no slight consequence, for the race was evidently a severe one, with other expenses, which on the whole were very heave, so that Isaeus classes this office with the choregia and trierarchia, and reckons that it had cost him 12 minae." — Smith, 1873 |
 | Laocoon Laocoon and his sons. |
 | Laterna "In later Greek, a lantern. Two bronze lanterns, constructed with nicety and skill, have been found in the ruins of Herculaneum and Pompeii. One of them is represented in the annexed woodcut. Its form is cylindrical. Within is a bronze lamp attached to the centre of the base, and provided with an extinguisher shown on the right hand of the lantern. The plates are of translucent horn. A front view of one of the two upright pillars is shown on the left hand." — Smith, 1873 |
 | Lectica "Lectica was a kind of couch or litter, in which persons, in a lying position, were carried from one place to another. They were used for carrying the dead as well as the living. The Greek lectica consisted of a bed or mattress, and a pillow to support the head, placed upon a kind of bedstead or couch. It had a roof, consisting of the skin of an ox, extending over the couch and resting on four posts. The sides of this lectica were covered with curtains. In the republican period it appears to have been chiefly used by women, and by men only when they were in ill health. When this kind of lectica was introduced among the Romans, it was chiefly used in traveling, and very seldom in Rome itself. But towards the end of the republic, and under the empire, it was commonly used in the city, and was fitted up in the most splendid manner. Instead of curtains, it was frequently closed on the sides with windows made of transparent stone, and was provided with a pillow and bed. when standing, it rested on four feet, generally made of wood. Persons were carried in a lectica by slaves, by means of poles attached to it, but not fixed, so that they might easily be taken off when necessary. The number of lecticarri employed in carrying one lectica varied according to its size, and the display of wealth which a person might wish to make. The ordinary number was probably two; but it varied from two to eight, and the lectica is called hexaphoron or octophoron, according as it was carried by six or eight persons. The following woodcut represents a lectica. It is taken from the tombstone of M. Antonius Antius." — Smith, 1873 |
 | Lectisternium "Sacrifices being of the nature of feasts, the Greeks and Romans, on occasion of extraordinary solemnities, placed images of the gods reclining on couches, with tables and viands before them, as if they were really partaking of the things offered in sacrifice. This ceremony was called Lectisternium. The woodcut here introduced exhibits a couch employed on one of these occasions. It has a cushion covered by a cloth hanging in ample folds down each side. This beautiful pulvinar is wrought altogether in white marble, and is somewhat more than two feet in height." — Smith, 1873 |
 | Liber "The most common material on which books were written by the Greeks and Romans, was the thin coats or rind of the Egyptian papyrus. This plant was called by the Egyptians Byblos. The papyrus tree grows in swamps to the height of ten feet and more, and paper was prepared from the thin coats or pellicles which surround the plant. The form and general appearance of the papyri rolls will be understood from the following woodcut taken from the paintings found at Pompeii." — Smith, 1873 |
 | Libra "A balance, a pair of scales. The principal parts of this instrument were: 1. The beam. 2. The two scales, called in Latin lances. The beam was made without a tongue, being held by a ring or other appendage, fixed in the centre. The annexed woodcut represents Mercury and Apollo engaged in exploring the fates of Achilles and Memnon, by weighing the attendent genius of the one against that of the other." — Smith, 1873 |
 | Lion Gate The Lions Gate in Mycenae, Greece. |
 | Litmus "This instrument was long, and curved at the end. From the similarity of form the original staff received the same appelation." — Anthon, 1891 |
 | Lituus "Probably an Etruscan word signifying crooked. 1. The crooked staff borne by the augurs, with which they divided the expanse of heaven, when viewed with reference to divination, into regions. It is very frequently exhibited upon works of art. 2. A sort of trumpet slightly curved at the extremity. It differed both from the tuba and the cornu, the former being straight, while the latter was bent round into a spiral shape. Its tones are usually characterized as harsh and shrill." — Smith, 1873 |
 | Lorica "A cuirass. The cuirass was worn by the heavy-armed infantry both among the Greeks and Romans. The soldiers commonly wore cuirasses made of flexble bands of steel, or cuirasses of chain mail, but those of generals and officers usually consisted of the breast-piece and back-piece, made of bronze or iron, which were joined by means of buckles." — Smith, 1873 |
 | Lorica "A cuirass. The cuirass was worn by the heavy-armed infantry both among the Greeks and Romans. The soldiers commonly wore cuirasses made of flexble bands of steel, or cuirasses of chain mail, but those of generals and officers usually consisted of the breast-piece and back-piece, made of bronze or iron, which were joined by means of buckles." — Smith, 1873 |
 | Lucerna "An oil lamp. The Greeks and Romans originally used candles; but in later times candles were chiefly confined to the houses of the lower classes. A great number of ancient lamps has come down to us; the greater part of which are made of terra cotta, but also a considerable number of bronze. Most of the lamps are of an oval form, and flat upon the top, on which there are frequently figures in relief. In the lamps there are one or more ellychnia burnt into it. The following is an example of a dumyxos lucerna, upon which there is a winged boy with a goose." — Smith, 1873 |
 | Lucerna "An oil lamp. The Greeks and Romans originally used candles; but in later times candles were chiefly confined to the houses of the lower classes. A great number of ancient lamps has come down to us; the greater part of which are made of terra cotta, but also a considerable number of bronze. Most of the lamps are of an oval form, and flat upon the top, on which there are frequently figures in relief. In the lamps there are one or more ellychnia burnt into it. The following is an example of a dumyxos lucerna, upon which there is a winged boy with a goose." — Smith, 1873 |
 | Lyre coin "Lyre, with seven strings. From a coin of Chalcis." — Smith, 1882 |
 | Coin of Macedonia "Coin of Macedonia." — Smith, 1882 |
 | Malleus "A hammer, a mallet. In the hands of the farmer the mallet of wood served to break down the clods and to pulverize them. The butcher used it in slaying cattle, by striking the head, and we often read of it as used by the smith upon the anvil. When several men were employed at te same anvil it was a matter of necessity that they should strike in time, and Virgil, accordingly says of the Cyclopes, "inter se brachia tollunt in numerum." The scene which he describes is represented in the annexed woodcut, taken from an ancient bas-relief, in which Vulcan, Brontes, and Steropes, are seen forging the metal, while the third Cyclops, Pyracmon, blows the bellows. Beside the anvil is seen the vessel of water in which the hot iron or bronze was immersed. But besides the employment of the hammer upon the anvil for making all ordinary utensils, the smith wrought with this instrument figures which were either small and fine, some of their parts being beaten as thin as paper, and being in very high relief, as in the bronzes of Siris, or of colossal proportions, being composed of seperate plates riveted together." — Smith, 1873 |
 | Man with ax "Who brandishing aloft the ax of doom, That just has laid one victim at her feet, Looks round her for that other, without whom, The banquet of revenge were incomplete." — The Delphian Society, 1913 |
 | Marsupium "Marsupium, a purse. The purse used by the ancients was commonly a small leathern bag, and was often closed by being drawn together at the mouth. Mercury is commonly represented holding one in his hand, of which the annexed woodcut from an intaglia in the Stosch collection in Berlin presents an example." — Smith, 1873 |
 | Comedy masks "While Greek tragedt grew farther and farther away from the humor and burlesque so characteristic of the old satyr dances and songs, comedy arose to incorporate within itself much of this early spirit. The comedies supplied entertainments, pure and simple, yet at the same time did much to mold public opinion." — The Delphian Society, 1913 |
 | Tragedy masks "Tragedy masks. The origin of Greek drama is to be found in the yearly celebrations in honor of Dionysus, god of wine. Riotous festivals were held, during which the god of wine was extolled with carousals and boisterous songs, these having been introduced to Greece from Thrace, where they were even wilder in their nature." — The Delphian Society, 1913 |
 | Mensa "The simplest kind of table was a round one with three legs. It is shown in the drinking scene painted on the wall of a wine shop at Pompeii, and is represented in the annexed woodcut. Tables, however, must usually have had four legs. For the houses of the opulent, tables were made of the most valuable and beautiful kinds of wood, especially of maple, or of the citrus of Africa, which was a species of cypress or juniper. As the table was not large, it was usual to place the disches and the various kinds of meat upon it, and then to bring it thus furnished to the place where the guests were reclining. On many occasions, indeed, each guest either had a small table to himself, or the company was divided into parties of two or three, with a seperate table for each party, as is distinctly represented in the cut under Symposium." — Smith, 1873 |
 | Metal_Tools "Early Metal Implements" — Morey, 1903 |
 | Coin of Minerva "Minerva is often represented on gems and coins, hurling the thunderbolts of Jove. The following cut, so representing her, is from a silver coin of Antigonus Gona as itself copied from an ancient statue." — Anthon, 1891 |
 | Mitra "An eastern head-dress, sometimes spoken of as a characteristic of the Phrygians. It was also the name of the head-band or head-dress worn by Greek women, which was made of close materials. It must be distinguished from the reticulum, made of net." — Smith, 1873 |
 | Mycenae "The "Lion Gate" at Mycenae" — Morey, 1903 |
 | Gate of Mycenae "Gate of Mycenae, the City of Agamemnon."—Colby, 1899 |
 | Tomb at Myra "The second class, those cut in the rock, have either sculptured facades, or a kind of frame standing out from the rock." —D'Anvers, 1895 |
 | Mytilene, coin of Coin of Mytelene, capital of Lesbos. |
 | Nebris "A Nebris is a fawn's skin, worn originally by hunters and others, as an appropriate part of their dress, and afterwards attributed to Bacchus, and consequently assumed by his votaries in the processions and ceremonies which they observed in honour of him. The annexed woodcut taken from Sir William Hamilton's vases, shows a riestess of Bacchus in the attitude of offering a nebris to him or to one of his ministers." — Smith, 1873 |
 | Ancient necklaces "The following, also, are specimens of other ancient necklances. The first, small golden lizards alternate with drops. The second one was found at St. Agatha, near Naples, in the sepulchre of a Greek lady. It has 71 pendants. The third, fourth, and fifth, were found in Etrurian tombs." — Anthon, 1891 |
 | Needles and pins "Needles and pins, chiefly aken from originals in bronze, vary in length from an inch and a half to about eight inches." — Anthon, 1891 |
 | Nudus "These words, besides denoting absolute nakedness, were applied to any one who, being without an Amictus, wore only his tunic or indutus. In this state of nudity the ancients performed the operations of ploughing, sowing and reaping. The accompanying woodcut shows a man ploughing in his tunic only. This term applied to the warrior expressed the absence of some part of his armour." — Smith, 1873 |
 | Obolus "A small coin of ancient Greece, in later times of silver, the sixth part of an Attic drachma, equal to 2.5 cents; multiples and sub-multiples of this coin were also used, and pieces of the value of 5, 4, 3, 2, 1.5 oboli, and 1/2, 1/3, 11/4th of an obolus respectively are to be found in collections." — Winston's Encyclopedia, 1919 |
 | Ocrea "A greave, a leggin. A pair of greaves was one of the six articles of armour which formed the complete equipment of a Greek warrior, and likewise of a Roman soldier as fixed by Servius Tullius. They were made of various metals, with a lining probably of leather, felt, or cloth. Their form is shown in the accompanying cut. The figure is that of a fallen warrior, and is consequence of the bending of the knees, the greaves are seen to project a little above them. This statue also shows the ankle-rings, which were used to fasten the greaves immediately above the feet. The woodcut that follows shows the interior of a bronze shield, and a pair of bronze greaves found in the tomb of an Etruscan Museum. The greaves are made right and left." — Smith, 1873 |
 | Ocrea "A greave, a leggin. A pair of greaves was one of the six articles of armour which formed the complete equipment of a Greek warrior, and likewise of a Roman soldier as fixed by Servius Tullius. They were made of various metals, with a lining probably of leather, felt, or cloth. Their form is shown in the accompanying cut. The figure is that of a fallen warrior, and is consequence of the bending of the knees, the greaves are seen to project a little above them. This statue also shows the ankle-rings, which were used to fasten the greaves immediately above the feet. The woodcut that follows shows the interior of a bronze shield, and a pair of bronze greaves found in the tomb of an Etruscan Museum. The greaves are made right and left." — Smith, 1873 |
 | Victors at the Olympic Games "From a very remote period, the Greeks had been accustomed to engage in contests of strength and agility during their times of festivity, and also at the funerals of distinguised persons. Iphitus conceived the idea of establishing a periodical festival in his own dominions, for the celebration of these ancient games, and of religious rites in honor of Jupiter and Hercules; and, having obtained the authority of the Delphinian oracle for carrying his design into execution, he instituted the festival, and appointed that it should be repeated every fourth year, at Olympia, a town of Elis." — Goodrich, 1844 |
 | Oscillum "A diminutive through osculum from os, meaning "a little face," was the term applied to faces or heads of Bacchus, which were suspended in the vineyards to be turned in every direction by the wind. Whichsoever way they looked they were supposed to make, the vines in that quarter fruitful. The figure represents the countenance of Bacchus with a beautiful, mild, and propitious expression. the other figure represents a tree with four oscilla hung upon its branches. A syrinx and a pedum are placed at the root of the tree." — Smith, 1873 |
 | Ox sacrifice "Represents an ox adorned for sacrifice." — Anthon, 1891 |
 | Paeonius "Victory of Paeonius (Restored)" — Morey, 1903 |
 | Palium "The English cloak, though commonly adopted as the translation of these terms, conveys no accurate conception of the form, material, or use of that which they denoted. The article designated by them was always a rectangular piece of cloth, exactly, or at least nearly square. It was indeed used in the very form in which it was taken from the loom, being made entirely by the weaver, without any aid from the tailor except to repair the injuries which it sustained by time. Whatever additional richness and beauty it received from the art of the dyer, was bestowed upon it before its materials were woven into cloth or even spun into thread. Most commonly it was used without having undergone any process of this kind. The raw material, such as wool, flax, or cotton, was manufactured in its natural state, and hence pallia were commonly white, although from the same cause brown, drab, and gray, were also prevailing colours." — Smith, 1873 |
 | Palla "The palla, as well as the pallium and palliolum, was always a rectangular piece of cloth, exactly, or, at least, nearly square. It was, indeed, used in the very form in which it was taken from the loom, being made entirely by the weaver. Among the Greeks and Romans the most common material for the palla was wool. It was often folded about the body simply with a view to defend it from cold, and without any regard to gracefulness of appearance, as in the following cut, taken from an ancient intaglio." — Anthon, 1891 |
 | Pancratium "An athletic game, in which all the powers of the fighter were called into action. The pancratium was one of the games or gymnastic contests which were exhibited at all the great festivals of Greece; it consisted of boxing and wrestling, and was reckoned to be one of the heavy or hard exercises, on account of the violent exertions it required, and for this reason it was not much practised in the gymnasia. In Homer we find neither the game nor the name of the pancratium mentioned, and as it was not introduced at the Olympic games until Ol. 33, we may presume that the game, though it may have existed long before in a rude state, was not brought to any degree of perfection until a short time before that event. The name of the combatants was Pancratiastae, or Pammachi. They fought naked, and had their bodies anointed and covered with sand, by which they were enabled to take hold of one another. When the contest began, each of the fighters might commence by boxing or by wrestling, accordingly as he thought he should be more successful in the one than in the other. The victory was not decided until one of the parties was killed, or lifted up a finger, thereby declaring that he was unable to continue the contest either from pain or fatigue." — Smith, 1873 |
 | Parthenon Inside of the Parthenon |
 | Patera "The patera was a broad and comparatively shallow bowl used for libations, and also for drinking out of at banquets. The following cut gives a front and side view of a bronze patera found at Pompeii." — Anthon, 1891 |
 | Patera "A round plate or dish. The paterae of the most common kind were small plates of the common red earthenware, on which an ornamental pattern was drawn, and which were sometimes entirely black. The more valuable paterae were metallic, being chiefly of bronze but every family, raised above poverty, possessed one of silver, together with a silver salt-cellar. The preceding cut exhibits a highly ornamented patera, made of bronze. The view of the upper surface is accompanied by a sideview, showing the form and depth of the vessel." — Smith, 1873 |
 | Pedum "A shepherd's crook. On account of its connection with pastoral life, the crook is often seen in works of ancient art, in the hands of Pan, Satyrs, Fauns, and shepherds. It was also the usual attribute of Thalia, as the muse of pastoral poetry." — Smith, 1873 |
 | Pelta "A small shield, Iphicrates, observing that the ancient Clipeus was cumbrous and inconvenient, introduced among the Greeks a much smaller and lighter shield, from which those who bore it took the name of peltastae. It consisted principally of a frame of wood or wicker-work, covered with skin or leather. An elegant form of the pelta is exhibited in the preceting cut, representing Penthesilea, Queen of the Amazons, in the act of offering aid to Priam." — Smith, 1873 |
 | Peplum "An outer garment, strictly worn by females, and thus corresponding to the himation or pallium, the outer garment worn by men. Like all other pieces of cloth used for the Amictus, it was often fastened by means of a brooch. It was, however, frequently worn without a brooch, in the manner represented in the annexed cut. Each of the females in this group wears a tunic falling down to her feet, and over it an ample pepius, which she passes entirely round her body and then throws the loose extremity of it over her left shoulder and behind her back, as is distinctly seen in the sitting figure. Of all the productions of the loom, pepli were those on which the greatest skill and labour were bestowed. so various and tasteful were the subjects which they represented, that poets delighted to describe them. The art of weaving them was entirely oriental; and those of the most splendid dyes and curious workmanship were imported from Tyre and Sidon. They often constituted a very important part of the treasures of a temple, having been presented to the divinity by sppliants and devotees." — Smith, 1873 |
 | Pera "A wallet, made of leather, worn suspended at the side by rustics and by travellers to carry their provisions, and adopted in imitation of them by the Cynic philosophers. This woodcut is the representation of a goat-herd with his staff and wallet." — Smith, 1873 |
 | Periscelis "An anklet or bangle, worn by the Orientals, the Greeks, and the Roman ladies also. It decorated the leg in the same manner as the bracelet adorns the wrist and the necklace the throat. The word, however, is sometimes used in the same sense as the Latin feminalia, that is, drawers reaching from the navel to the knees." — Smith, 1873 |
 | Pero "This was a low boot of untanned hide, worn by ploughman and shepards." — Anthon, 1891 |
 | Coin of Perseus "Coin of Perseus, king of Macedonia." — Smith, 1882 |
 | Persian Embassador The fate of the Persian Embassadors at Sparta. |
 | Persona "A mask. Masks were worn by Greek and Roman actors in nearly all dramatic representations. This custom arose undoubtedly from the practice of smearing the face with certain juices and colours, and of appearing in disguise, at the festivals of Bacchus. Now as the Greek drama arose out of these festivals, it is highly probable that some mode of disguising the face was as old as the drama itself. Choerilus of Samos, however, is said to have been the first who introduced regular masks. Other writers attribute the invention of masks to Thesuis or Aeschylus, though the latter had probably only the merit of perfecting and completing the whole theatrical apparatus and costume. Some masks covered, like the masks of modern times, only the face, but they appear more generally to have covered the whole head down to the shoulders, for we always find the hair belonging to a mask described as being a part of it; and this must have been the case in tragedy more especially, as it was necessary to make the head correspond to the stature of an actor, which was heightened by the cothurnus. The annexed cut represents the grotesque mask of a Satyr, together with a tragic mask, which are contined in the British Museum. some of the oldest manuscripts of Terence contain representations of Roman masks, and from these manuscripts they have been copied in several modern editions of that poet. The cut annexed contains representations of four of these masks prefixed to the Andria." — Smith, 1873 |
 | Persona "A mask. Masks were worn by Greek and Roman actors in nearly all dramatic representations. This custom arose undoubtedly from the practice of smearing the face with certain juices and colours, and of appearing in disguise, at the festivals of Bacchus. Now as the Greek drama arose out of these festivals, it is highly probable that some mode of disguising the face was as old as the drama itself. Choerilus of Samos, however, is said to have been the first who introduced regular masks. Other writers attribute the invention of masks to Thesuis or Aeschylus, though the latter had probably only the merit of perfecting and completing the whole theatrical apparatus and costume. Some masks covered, like the masks of modern times, only the face, but they appear more generally to have covered the whole head down to the shoulders, for we always find the hair belonging to a mask described as being a part of it; and this must have been the case in tragedy more especially, as it was necessary to make the head correspond to the stature of an actor, which was heightened by the cothurnus. The annexed cut represents the grotesque mask of a Satyr, together with a tragic mask, which are contined in the British Museum. some of the oldest manuscripts of Terence contain representations of Roman masks, and from these manuscripts they have been copied in several modern editions of that poet. The cut annexed contains representations of four of these masks prefixed to the Andria." — Smith, 1873 |
 | Petasus "The Petasus differed from the pileus or simple skull-cap in having a wide brim: the etymology of the word, expressed the distinctive shape of these hats. It was preferred to the skull-cap as a protection from the sun." — Smith, 1873 |
 | Phaetra "A quiver, was principally made of hide or leather, and was adorned with gold, painting, and braiding. it had a lid, and was suspended from the right shoulder by a belt passing over the breast and behind the back. Its most common position was on the left hip, and is so seen in the annexed figures, the right-hand one representing an Amazon, and the left-hand an Asiatic archer." — Smith, 1873 |
 | Phidon_Coin "Coin of Phidon" — Morey, 1903 |
 | Philip "Philip II. (Coin)" — Morey, 1903 |
 | Coin of Philip V "Coin of Philip V., king of Macedonia." — Smith, 1882 |
 | Statue of Phocion "A more graceful mode of wearing the palla was to attach it by means of a brooch, and allow it to hang down from the shoulders, as in the following cut, representing the statue of Phocion in the Vatican." — Anthon, 1891 |
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Clipart ETC is a part of the Educational Technology Clearinghouse and is funded by a grant from the Florida Department of Education, Office of Educational Technology. Produced by the Florida Center for Instructional Technology, College of Education, University of South Florida. Last update: 03/26/2007. Email the project manager.