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Shover, Edna Mann / Art in costume design: practical suggestions for those interested in art, sewing, history and literature
(1920)

Chapter V: Roman,   pp. [59]-71 PDF (3.5 MB)


Page 60

 
ART IN COSTUME DESIGN 
Arabia, Ethiopia and India by a host of traders. With this endless 
store of material, there was no reason why the Roman people should 
not have whatever they desired for their personal decoration. It was 
not a time when the public could use only that which their own 
country provided, as with the Egyptians, nor did they have to depend 
on their own or upon their countrymen's skill for their designs, orna- 
ments or embroideries as did the Greeks. Instead of this, the minds 
and hands of the whole world were working for them, and selecting 
for them the best from each section of each country. 
    The Romans were, as a rule, tall and well built, with features 
showing a decided character. They had straight eye brows, promi- 
nent noses and square jaws; the whole figure had the appearance of 
physical as well as mental power. Due to this, the Roman costumes, 
though very similar to those of the Greeks, appeared to be very differ- 
ent, the manner of displaying the costume making the difference. 
The graceful, swinging movement of the Greeks gave way to a 
dignified, almost pompous stride, and as the delicate curves of the 
body became straightened, the figure gave a decidedly Roman air to 
L. The true Roman garb and the part of the dress which dis- 
ished it most decidedly was the toga. It appears to have been 
by both men and women; by the poorer as well as the wealthier, 
me and abroad; both in country and in town. The Roman toga, 
certain degree, resembled the Greek himation but it had no 
s. It was in the form of a semi-circle, eighteen feet from tip 
ior about three times the height of the wearer. It was made of 
vool, silk or fine linen, and had a plain or an elaborate border. 
end was thrown over the left shoulder to touch the ground while 
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