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Bust of Gaius Iulius Caesar.

Gaius Iulius Caesar

Bust of Gaius Iulius Caesar.

"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

Pedum

"A shepherd's crook. On account of its connection with pastoral life, the crook is often seen in works…

A Gallic coin. Front.

Gallic Coin

A Gallic coin. Front.

"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

Pelta

"A small shield, Iphicrates, observing that the ancient Clipeus was cumbrous and inconvenient, introduced…

A Gallic coin. Back.

Gallic Coin

A Gallic coin. Back.

A Gallic coin.

Gallic Coin

A Gallic coin.

A Gallic coin.

Gallic Coin

A Gallic coin.

A section of chain mail from a suit of chain mail armor, lorica hamata.

Chain Mail

A section of chain mail from a suit of chain mail armor, lorica hamata.

"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

Periscelis

"An anklet or bangle, worn by the Orientals, the Greeks, and the Roman ladies also. It decorated the…

"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…

"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…

"Any piece of felt; more especially, a skull-cap of felt, a hat. These seems no reason to doubt that felting is a more ancient invention than weaving, not that both of these arts came into Europe from Asia. From the Greeks, who were acquainted with this article as early as the age of Homer, the use of felt passed together with its name to the Romans. Its principal use was to make coverings of the head for the male sex, and the most common one was a simple skull-cap." — Smith, 1873

Pileus

"Any piece of felt; more especially, a skull-cap of felt, a hat. These seems no reason to doubt that…

"A bridge. As the rivers of Greece were small, and the use of the arch known to them only to a limited extent, it is probable that the Greek bridges were built entirely of wood, or, at best, were nothing more than a wooden platform supported upon stone piers at each extremity. Pliny mentions a bridge over the Acheron 1000 feet in length; and also says that the island Euboea was joined to Boeotia by a bridge; but it is probably that both these works were executed after the Roman conquest. The Romans were the first people who applied the arch to the construction of bridges, by which they were enabled to erect structures of great beauty and solidity, as well as utility. The width of the passage-way in a roman bridge was commonly narrow, as compared with modern structures of the same kind, and corresponded with the road leading to and from it. It was divided into three parts. the centre one, for horses and carriages, was denominated agger or iter; and the raised foot paths on each side decursoria, which were enclosed by parapet walls similar in use and appearance to the pluteus in the basilica." — Smith, 1873

Pons Cestius

"A bridge. As the rivers of Greece were small, and the use of the arch known to them only to a limited…

"A bridge. As the rivers of Greece were small, and the use of the arch known to them only to a limited extent, it is probable that the Greek bridges were built entirely of wood, or, at best, were nothing more than a wooden platform supported upon stone piers at each extremity. Pliny mentions a bridge over the Acheron 1000 feet in length; and also says that the island Euboea was joined to Boeotia by a bridge; but it is probably that both these works were executed after the Roman conquest. The Romans were the first people who applied the arch to the construction of bridges, by which they were enabled to erect structures of great beauty and solidity, as well as utility. The width of the passage-way in a roman bridge was commonly narrow, as compared with modern structures of the same kind, and corresponded with the road leading to and from it. It was divided into three parts. the centre one, for horses and carriages, was denominated agger or iter; and the raised foot paths on each side decursoria, which were enclosed by parapet walls similar in use and appearance to the pluteus in the basilica." — Smith, 1873

Pons Aelius

"A bridge. As the rivers of Greece were small, and the use of the arch known to them only to a limited…

"A bridge. As the rivers of Greece were small, and the use of the arch known to them only to a limited extent, it is probable that the Greek bridges were built entirely of wood, or, at best, were nothing more than a wooden platform supported upon stone piers at each extremity. Pliny mentions a bridge over the Acheron 1000 feet in length; and also says that the island Euboea was joined to Boeotia by a bridge; but it is probably that both these works were executed after the Roman conquest. The Romans were the first people who applied the arch to the construction of bridges, by which they were enabled to erect structures of great beauty and solidity, as well as utility. The width of the passage-way in a roman bridge was commonly narrow, as compared with modern structures of the same kind, and corresponded with the road leading to and from it. It was divided into three parts. the centre one, for horses and carriages, was denominated agger or iter; and the raised foot paths on each side decursoria, which were enclosed by parapet walls similar in use and appearance to the pluteus in the basilica." — Smith, 1873

Pons Ariminum

"A bridge. As the rivers of Greece were small, and the use of the arch known to them only to a limited…

"A bridge. As the rivers of Greece were small, and the use of the arch known to them only to a limited extent, it is probable that the Greek bridges were built entirely of wood, or, at best, were nothing more than a wooden platform supported upon stone piers at each extremity. Pliny mentions a bridge over the Acheron 1000 feet in length; and also says that the island Euboea was joined to Boeotia by a bridge; but it is probably that both these works were executed after the Roman conquest. The Romans were the first people who applied the arch to the construction of bridges, by which they were enabled to erect structures of great beauty and solidity, as well as utility. The width of the passage-way in a roman bridge was commonly narrow, as compared with modern structures of the same kind, and corresponded with the road leading to and from it. It was divided into three parts. the centre one, for horses and carriages, was denominated agger or iter; and the raised foot paths on each side decursoria, which were enclosed by parapet walls similar in use and appearance to the pluteus in the basilica." — Smith, 1873

Pons Trajan

"A bridge. As the rivers of Greece were small, and the use of the arch known to them only to a limited…

"Puteal, properly means the enclosure surrounding the opening of a well, to protect persons from falling into it. It was either round or square, and seems usually to have been of the height of three or four feet from the ground. It was the practice in some cases to surround a sacred place with an enclosure open at the top, and such enclosres, from the great similarity they bore to putealia, were called by this name. there were two such places in the Roman forum; one of these was called Puteal Libonis or Scribonianum, because a chapel in that place had been struck by lightning, and Scribonius Libo expiated it by proper ceremonies, and erected a puteal around it, open at the top, to preserve the memory of the place. The form of the puteal is preserved on several coins of the Scribonian gens. This puteal seems to have been near the atrium of Vesta, and was a common place of meeting for usurers. The other puteal was in the comitium, on the left side of the senate-house, and in it were deposited the whetstone and razor of Attus Navius." — Smith, 1873

Puteal

"Puteal, properly means the enclosure surrounding the opening of a well, to protect persons from falling…

"A casket, a jewel-box. Quintilian produces this term as an example of catachresis, because it properly denoted that which was made of box, but was applied to things of similar form and use made of any other material. In fact, the caskets in which the ladies of ancient times kept their jewels and other ornaments, were made of gold, silver, ivory, mother of pearl, tortoise shell, etc. They were also much enriched with sculpture. A silver coffer, two feet long, one and a half wide, and one deep, most elaborately adorned with figures in bar-relief, is described by Bottiger. The annexed woodcut, from the antique, represents a plain jewel-box, out of which a dove is extracting a riband or fillet." — Smith, 1873

Pyxis

"A casket, a jewel-box. Quintilian produces this term as an example of catachresis, because it properly…

"A net. In hunting it was usual to extend nets in a curved line of considerable length, so as in part to suround a space into which the beasts of chase were driven through the opening left on one side. The range of nets was flanked by cords, to which feathers dyed scarlet, and of other bright colours, were tied, so as to flare and flutter in the wind. The hunters then sallied forth with their dogs, dislodged the animals from their coverts, and by shouts and barking drove them first within the formido, as the apparatus of string and feathers was called, and then, as they were scared with this appearance, within the circuit of the nets. The accompanying woodcuts are taken from two bas-reliefs in the collection of ancient marbles at Ince-Blundell in Lancashire." — Smith, 1873

Retis

"A net. In hunting it was usual to extend nets in a curved line of considerable length, so as in part…

"A caul or coif of network for covering the hair, worn by women during the day as well as the night. it appears to have been sometimes made of gold threads, and likewise of silk and other materials. This kind of covering for the head was very ancient, for it is mentioned by Homer; and it also appears to have been very commonly used in later times. it is seen on the head of the nymph in the following cut, taken from a painting found at Pompeii, which represents a nymph approaching Neptune." — Smith, 1873

Reticulum

"A caul or coif of network for covering the hair, worn by women during the day as well as the night.…

Scene from the story, "The Ancient Mariner."

Mariner

Scene from the story, "The Ancient Mariner."

Scene from the story, "The Ancient Mariner."

Mariner

Scene from the story, "The Ancient Mariner."

Scene from the story, "The Ancient Mariner."

Mariner

Scene from the story, "The Ancient Mariner."

Scene from the story, "The Ancient Mariner."

Mariner

Scene from the story, "The Ancient Mariner."

"Sceptrum, which originally denoted a simple staff or walking stick, was emblematic of station and authority. In ancient authors the sceptre is represented as belonging more especially to kings, princes, and leaders of tribes: but it is also borne by judges, by heralds, and by priests and seers. The sceptre descended from father to son, and might be committed to any one in order to express the transfer of authority. Those who bore the sceptre swore by it, solemnly taking it in the right hand and raising it towards heaven. The following cut, representing Aeneas followed by Ascanius and carrying off his father Anchises, who holds the sceptre in his right hand, shows its form as worn by kings. The ivory sceptre of the kings of Rome, which descended to the consuls, was surmounted by an eagle." — Smith, 1873

Sceptrum

"Sceptrum, which originally denoted a simple staff or walking stick, was emblematic of station and authority.…

"Sella, the general term for a seat or chair of any description. Sella Curulis, the chair of state. Curulis is derived by the ancient writers from currus, but it more probably contains the same root as curia. The sella curulis is said to have been used at Rome from a very remote period as an emblem of kingly power, having been imported, along with various other insignia of royalty, from Etruria. Under the republic the right of sitting upon this chair belonged to the consuls, praetors, curule aediles, and censors; to the flamen dialis; to the dictator, and to those whom he deputed to act under himself, as the magister equitum, since he might be said to comprehend all magistracies within himself. After the downfall of the constitution, it was assigned to the emperors also, or to their statues in their absence." — Smith, 1873

Sella

"Sella, the general term for a seat or chair of any description. Sella Curulis, the chair of state.…

"Sella, the general term for a seat or chair of any description. Sella Curulis, the chair of state. Curulis is derived by the ancient writers from currus, but it more probably contains the same root as curia. The sella curulis is said to have been used at Rome from a very remote period as an emblem of kingly power, having been imported, along with various other insignia of royalty, from Etruria. Under the republic the right of sitting upon this chair belonged to the consuls, praetors, curule aediles, and censors; to the flamen dialis; to the dictator, and to those whom he deputed to act under himself, as the magister equitum, since he might be said to comprehend all magistracies within himself. After the downfall of the constitution, it was assigned to the emperors also, or to their statues in their absence." — Smith, 1873

Sella

"Sella, the general term for a seat or chair of any description. Sella Curulis, the chair of state.…

"Sella, the general term for a seat or chair of any description. Sella Curulis, the chair of state. Curulis is derived by the ancient writers from currus, but it more probably contains the same root as curia. The sella curulis is said to have been used at Rome from a very remote period as an emblem of kingly power, having been imported, along with various other insignia of royalty, from Etruria. Under the republic the right of sitting upon this chair belonged to the consuls, praetors, curule aediles, and censors; to the flamen dialis; to the dictator, and to those whom he deputed to act under himself, as the magister equitum, since he might be said to comprehend all magistracies within himself. After the downfall of the constitution, it was assigned to the emperors also, or to their statues in their absence." — Smith, 1873

Sella

"Sella, the general term for a seat or chair of any description. Sella Curulis, the chair of state.…

"Sella, the general term for a seat or chair of any description. Sella Curulis, the chair of state. Curulis is derived by the ancient writers from currus, but it more probably contains the same root as curia. The sella curulis is said to have been used at Rome from a very remote period as an emblem of kingly power, having been imported, along with various other insignia of royalty, from Etruria. Under the republic the right of sitting upon this chair belonged to the consuls, praetors, curule aediles, and censors; to the flamen dialis; to the dictator, and to those whom he deputed to act under himself, as the magister equitum, since he might be said to comprehend all magistracies within himself. After the downfall of the constitution, it was assigned to the emperors also, or to their statues in their absence." — Smith, 1873

Sella

"Sella, the general term for a seat or chair of any description. Sella Curulis, the chair of state.…

"Signa Militaria, military ensigns or standards. The most ancient standard employed by the Romans is said to have been a handful of straw fixed to the top of a spear or pole. Hence the company of soldiers belonging to it was called Manipulus. The bundle of hay or fern was soon succeeded by the figures of animals, viz. the eagle, the wolf, the minotaur, the horse, and the boar. These appear to have corresponded to the five divisions of the Roman army." — Smith, 1873

Signa Militaria

"Signa Militaria, military ensigns or standards. The most ancient standard employed by the Romans is…

"Speculum, a mirror, a looking-glass. The looking-glasses of the ancients were usually made of metal, at first of a composition of tin and copper, but afterwards more frequently of silver. The ancients seem to have had glass mirrors also like ours, consisting of a glass plate covered at the back with a thin leaf of metal. They were manufactured as early as the time of Pliny at the celebrated glass-houses at Sidon, but they must have been inferior to those of metal, since they never came into general use, and are never mentioned by ancient writers among costly pieces of furniture, whereas metal mirrors frequently are. Looking-glasses were generally small, and such as could by carried in the hand. Instead of their being fixed so as to be hung against the wall or to stand upon the table or floor, they were generally held by female slaves before their mistresses when dressing. The general form of looking-glasses is shown in the following wood-cut." — Smith, 1873

Speculum

"Speculum, a mirror, a looking-glass. The looking-glasses of the ancients were usually made of metal,…

"Spira, the base of a column. in the Tuscan and the Roman Doric the base consisted of a single torus, sometimes surmounted by an astragal. In the Ionic and Attic it commonly consisted of two tori, divided by a scotia, and in the Corinthian of two tori divided by two scotiae. The upper torus was often fluted, and surmounted by an astragal, as in the left-hand figure of the following wood-cut, which shows the form of the base in the Ionic or Attic temple of Panops on the Ilissus. The right-hand figure in the same wood-cut shows the corresponding part in the temple of Minerva Polias at Athens. In this the upper torus is wrought with a platted ornament, perhaps designed to represent a robe or cable." — Smith, 1873

Spira

"Spira, the base of a column. in the Tuscan and the Roman Doric the base consisted of a single torus,…

"A Greek measure of length, and the chief one used for itinerary distances. It was equal to 600 Greek or 625 Roman feet, or to 125 Roman paces; and the roman mile contained 8 stadia. Hence the stadiura contained 600 feet 9 inches English. This standard prvailed throughout Greece, under the name of the Olympic stadium, so called because it was the exact length of the stadium or footrace course at Olympia, measured between the pillars at the two extremities of the course. The first use of the measure seems to be contemporaneous with the formation of the stadium at Olympia when the Olympic games were revived by Iphitus." — Smith, 1873

Stadium

"A Greek measure of length, and the chief one used for itinerary distances. It was equal to 600 Greek…

A Roman soldier

Soldier

A Roman soldier

A Roman soldier

Soldier

A Roman soldier

A Roman soldier

Soldier

A Roman soldier

How Horatius kept the bridge

Horatius

How Horatius kept the bridge

Roman soldier with short trousers.

Trousers

Roman soldier with short trousers.

A type of fancy roman architecture.

Chevron Molding

A type of fancy roman architecture.

A tunic garmet usually worn by both men and women among the ancient greeks.

Chiton

A tunic garmet usually worn by both men and women among the ancient greeks.

A Roman boat

Roman Boat

A Roman boat

A Roman Galley with three banks of oars.

Roman Galley

A Roman Galley with three banks of oars.

A receptacle for the chrism, or holy oil, used in the services or the Roman Catholic and Eastern Churches.

Chrismatory

A receptacle for the chrism, or holy oil, used in the services or the Roman Catholic and Eastern Churches.

"The following cut, from an ancient gem, represents Diomede in the act of bearing away the Palladium." — Anthon, 1891

Diomede

"The following cut, from an ancient gem, represents Diomede in the act of bearing away the Palladium."…

"Represents a Roman augur, with his litmus or divining staff, observing the signs in the heavens." — Anthon, 1891

Roman augur

"Represents a Roman augur, with his litmus or divining staff, observing the signs in the heavens." —…

A statue of Minerva, with a serpent depicted at the goddesses' feet.

Minerva

A statue of Minerva, with a serpent depicted at the goddesses' feet.

"The following cut represents a Roman clypeus, from the column of Trajan. The projection in the centre was called the <em>umbo</em>, or boss, and sometimes a spike or other prominent excrescence, was placed upon this." — Anthon, 1891

Roman Clypeus

"The following cut represents a Roman clypeus, from the column of Trajan. The projection in the centre…

"The early Greeks used a very short sword, as may be seen from the preceding cut. The ancient Homeric sword had generally a straight, two-edged blade, rather broad, and nearly of equal width from hilt to point." &mdash; Anthon, 1891

Greek soldier

"The early Greeks used a very short sword, as may be seen from the preceding cut. The ancient Homeric…

A ornate Roman engraving.

Roman engraving

A ornate Roman engraving.

"The following cut will show specimens of ancient clasps." &mdash; Anthon, 1891

Ancient clasps

"The following cut will show specimens of ancient clasps." — Anthon, 1891

A tall stone structure.

Roman edifice

A tall stone structure.

"The cestus was used by boxers from the earliest times. It consisted of thongs of raw ox-hide, or of leather, tied round the hands of pugilists, in order to render their blows more powerful. Sometimes these bands were tied round the arms as high as the elbow." &mdash; Anthon, 1891

Boxer with cestus

"The cestus was used by boxers from the earliest times. It consisted of thongs of raw ox-hide, or of…

"The cestus used in later times, in the public games, was a most formidable weapon. It was frequently covered with knobs and nails, and loaded with lead and iron. Figures with the cestus frequently occur on ancient remains. They appear to have been of various forms as appears in the fololowing specimens taken from ancient monuments." &mdash; Anthon, 1891

Cestus

"The cestus used in later times, in the public games, was a most formidable weapon. It was frequently…

"Syrinx, the Pan's pipe, or Pandean pipe, was the appropriate musical instrument of the Arcadian and other Grecian shepherds, and was regarded by them as the invention of Pan, their tutelary god. When the Roman poets had occasion to mention it, they called it fistula. It was formed in general of seven hollow stems of cane or reed, fitted together by means of wax, having been previously cut to the proper lengths, and adjusted so as to form an octave; but sometimes nine were admitted, giving an equal number of notes." &mdash Smith; 1873

Syrinx

"Syrinx, the Pan's pipe, or Pandean pipe, was the appropriate musical instrument of the Arcadian and…

"Talaria, small wings fixed to the ankles of Mercury, and reckoned among his attributes. In many works of ancient art they are represented growing from his ankles as if they were a part of his bodily frame; but more frequently they are attached to him as a part of his dress, agreeably to the description of the poets; and this is commonly done by representing him with sandals, which have wings fastened to them on each side over the ankles. But there is a most beautiful bronze statue of this divinity in the museum at Naples, in which the artist, instead of the sole of a sandal, has made the straps unite in a rosette under the middle of the foot, evidently intending, by this elegant device, to represent the messenger of the gods as borne through space without touching the ground. A representation is seen in the preceding cut." &mdash Smith; 1873

Talaria

"Talaria, small wings fixed to the ankles of Mercury, and reckoned among his attributes. In many works…

"Talus. The huckle-bones of sheep and goats were used to play with from the earliest times, principally by women and children, occasionally by old men. The following cut, taken from an ancient painting, represents a woman, who, having thrown the bones upwards into the air, has caught three of them on the back of her hand. When the sides of the bone were marked with different values, the game became one of chance. The two ends were left blank, because the bone could not rest upon either of them on account of its curvature. The four remaining sides were marked with numbers 1, 3, 4, 5; 1 and 6 being on two opposite sides, and 3 and 4 on the other two opposite sides. Two persons played together at this game, using four bones, which they threw up into the air, or emptied out of a dice-box, and observing the numbers on the uppermost sides. " &mdash Smith; 1873

Talus

"Talus. The huckle-bones of sheep and goats were used to play with from the earliest times, principally…

"In makin Aeneas burn incense, Virgil follows the custom of his own time rather than historical verity." &mdash; Anthon, 1891

Ancient censer

"In makin Aeneas burn incense, Virgil follows the custom of his own time rather than historical verity."…

"Thyrsus, a pole carried by Bacchus, and by Satyrs, Maenades, and others who engaged in Bacchic festivities and rites. It was sometimes terminated by the apple of the pine, or fir-cone, that tree being dedicated to Bacchus in consequence of the use of the turpentine which flowed from it, and also of its cones, in making wine. The monuments of ancient art, however, most commonly exhibit, instead of the pine-apple, a bunch of vine or ivy leaves, with grapes or berries, arranged into the form of a cone. The annexed cut shows the head of a thyrsus composed of the leaves and berries of the ivy, and surrounded by acanthus leaves. The fabulous history of Bacchus relates that he converted the thyrsi carried by himself and his followers into dangerous weapons, by concealing an iron point in the head of the leaves." &mdash Smith; 1873

Thyrsus

"Thyrsus, a pole carried by Bacchus, and by Satyrs, Maenades, and others who engaged in Bacchic festivities…

"There appears to have been no essential difference in form between Greek and Roman or Tyrrhenian trumpets. Both were long, straight, bronze tubes, gradually increasing in diameter, and terminating in a bell-shaped aperture." &mdash; Anthon, 1891

Roman trumpet

"There appears to have been no essential difference in form between Greek and Roman or Tyrrhenian trumpets.…

"On ancient monuments, the torch appears to be formed of wooden staves or twigs, either bound by a rope drawn round them in a spiral form, or surrounded by circular bands at equal distances." &mdash; Anthon, 1891

Torches

"On ancient monuments, the torch appears to be formed of wooden staves or twigs, either bound by a rope…