Smith, William: A smaller dictionary of Greek and Roman antiquities (London, 1871)

CAELIBATUS.

CALCEUS.

subjects, and, for armour, of battles. The
mythological subjects were reserved for the
works of the greatest masters of the art:
they were generally executed in very high
relief {anaghfpha). In the finest works, the
ornamental pattern was frequently distinct
from the vessel, to which it was either fas-
tened permanently, or so that it could be
removed at pleasure, the vessel being of silver,
and the ornaments of gold, crustae aut emble-
muta. The art of ornamental metal-work
was in an advanced stage of progress among
the Greeks of the heroic period, as we sec
from numerous passages of Homer: but its
origin, in the high artistic sense, is to be
ascribed to Phidias, and its complete deve-
lopment to Polycletus. In the last age of the
Roman Republic, the prevailing wealth and
luxury, and the presence of Greek artists at
Rome, combined to bring the art more than
ever into requisition. After this period it
suddenly fell into disuse.

CAELIBATUS. [Aes Uiorium ; Le^ Ju-
lia et Pap la Popr-aea.]

CAERITUM TABULAE. [Aerarii.]

CAESAR, a title of the Roman emperors,
was originally a family name of the Julia
gens; it was assumed by Octavianus as the
adopted son «of the great dictator, C. Julius
Caesar, and was by him handed down to his
adopted son Tiberius. It continued to be
used by Caligula, Claudius, and N'ero, as
members either by adoption or female de-
scent of Caesar's family ; but although the
family became extinct with Nero, succeeding
emperors still retained the name as part of
their titles, and it was the practice to prefix
it to their own names, as for instance, Impe-
rator Caesar JJoniitiauus Augustus. When
Hadrian adopted Aelius Varus, he allowed
the latter to take the title of Caesar; and
from this time, though the title of Augustus
continued to be confined to tlie reigning em-
peror, that of Caesar was also granted to the
second person in the state and the heir pre-
sumptive to the Ihrone. [Augustus.]

CALAMISTRUM, an instrument made of
iron, and hollow like a reed (calamus), used
for curling the hair. Eor this purpose it was
heated, the person who performed the office
of heating it in wood ashes (cinis) being
called ciaifli), or cinerarias.

CALAMUS, a sort of reed which the an-
cients used as a pen for writing. The best
sorts were got from Aegypt and Cnidus.

CALAXTICA. [Coma.]

CALATHUS (icciAa0os, also called ToAapos),
usually signified the basket in which women
placed their work, and especially the mate-
rials for spinning. In the following cut a
slave, belonging to the class called quasilla-

riae, is presenting her mistress with the cala-
thus. Baskets of this kind were also used
for other purposes, such as for carrying fruits,

Skive presenting a Calathus. (Frum a Painting on a Vase.)

flowers, &c. The name of calathi was also
given to cups for holding wine. Calathus
was properly a Greek word, though used by
the Latin writers. The Latin word corre-
sponding to it was qualus or quasillus. From
quasillus came quasillaria, the name of the
slave who spun, and who was considered the
meanest of the female slaves.

CALCEUS, CAIX'EAMEX, CALCEAMEN-
TUM (u7ro6'>jna, 7re'6"iAc»'), a shoe or boot, any-
thing adapted to cover and preserve the feet
in walking. The use of shoes was by no
means universal among the Greeks and Ro-
mans. The Homeric heroes are represented
without shoes when armed for battle. So-
crates, Phocion, and Cato, frequently went
barefoot. The Roman slaves had no shoes.
The covering of the feet was removed before
reclining at meals. People in grief, as for
instance at funerals, frequently went bare-

I footed. Shoes may be divided into those in
which the mere sole of a shoe was attached
to the sole of the foot by ties or bands, or by
a covering for the toes or the instep [Solea ;
Crepjda ; Soccus] ; and those which ascended
higher and higher, according as they covered
the ankles, the calf, or the whole of the leg.
To calceamenta of the latter kind, t. e. to
shoes and boots, as distinguished from san-
dals and slippers, the term calceus was ap-
plied in its proper and restricted sense. There
were also other varieties of the calceus ac-
cording to its adaptation to particular profes-
sions or modes of life. Thus the Caliga was
principally worn by soldiers ; the Pero by
labourers and rustics ; and the Cothurnus by
tragedians, hunters, and horsemen. The
calcei probably did not much differ from our
shoes, and are exemplified in a painting at

I Ucrculaneuni, which represents a female