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

TOGA.

379

TOGA.

in the Louvre, and a bronze figure of the elder
Drusus discovered at Herculaneum. (See
figs. 2, 3.) The letters upon particular parts

Fig. li.—Bronze of the elder Drusus. (From Herculaneum.)

of the illustrations correspond with each
other, and refer to the same places upon the
general form of the toga given above. The
method of adjusting the toga is simply this :
the straight edge (a b g d) being kept towards
the neck, and the rounded towards the hand,
the first part of the toga hangs in front over
the left shoulder to the ground [a, fig. 4), so
as to cover that entire half of the figure
viewed in front. The remainder falling be-
hind is wrapped round the body, being car-
ried wider the right arm, and brought up-
wards, like a belt, across the chest, covering
the left arm and shoulder for a second time.
It again falls behind, and terminates in the
point d (fig. 5), somewhat higher than the
front portion («). So far any mantle of suffi-
cient length might be folded, but two dis-
tinctive features of Roman dress, the umbo
(/) and the sinus (c e), have yet to be con-
sidered. The sinus (c e) is that upper hang-
ing portion with the curved edge downwards
which shows conspicuously upon the right
thigh. "When the toga has been brought
round to the front of the right leg, it has
attained its greatest width (e c e), although
on the figure less space is required for it. It
is therefore folded over at the top, the upper

part falling forward, down almost to the
knee. It may be easily raised (see fig. 5)
and used as a lap—hence the name sinus—

Mode of putting on the Toga.

to carry fruits and flowers, so often repre-
sented in ancient art. The fold at c thus
becomes the upper edge, and forms the
balteus, whioh may be made still more
effective by being rolled round and slightly
twisted, as in figs. 2 and 5. A variety again
was sometimes produced by lifting the hang-
ing edge (e) of this sinus up on to the
shoulder, so as to cover the right arm with
that alone, and Quintilian hints that it is not
ungraceful to throw back the extreme edge
of that again, an effect still to be admired in
some of the ancient sculptures. Fig. 5 is in
the act of raising the edge. The umbo (/),
a projecting mass of folds in front of the
body, like the boss of a shield, was formed
after the rest of the dress had been put on
in a very simple manner : a part of the
front upright line (a b), almost covered up
by the adjustment of the upper shoulder por-
tion [g), was pulled out and made to hang
down over the balteus or belt-like part
(fig. 6). It is clearly traceable in both sta-
tues here given (figs. 2 and 3), and fig. 4 is
intended to show the formation of the umbo
more clearly by the right hand holding the
edge, which falls over the fingers instead of
the balteus. In proportion as the umbo (/)
projects, so cf course the end (a) is raised
from the ground. The smaller figures (4 and
5)» are both drawn without under-garments
in order to avoid confusion. During sacri-
fice, when necessary to cover the head, the
edge (b) nearest the neck was pulled up and
made to cover the head, as in fig. 3, where
the entire length of the edge, passing from
the umbo into the sinus, is very clearly
visible. The dress here is very ample, and