#Peplos garments

[peplosmensfashion]

Premium Men's Wear - Peplos Jeans

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[thepreston]

Revamp Your Style with Peplos Multicolor Polo T-Shirts: Add a Pop of Color and Versatility to Your Wardrobe!

Add a vibrant touch to your wardrobe with Peplos multicolor polo t-shirts. These stylish and versatile garments are perfect for adding a pop of color to your outfits. Made from high-quality fabrics, our multicolor polo t-shirts offer both comfort and durability. Whether you’re going for a casual look or want to make a statement, these t-shirts are the ideal choice.

Shop at: https://peplosjeans.in/products/peplos-regular-fit-premium-polo-t-shirt-for-men-large-yellow-multicolor

[allbeendonebefore]

Aegisthus has just come on stage and I'm nearly done but I need to tangentially gush about the (written) english ambiguity of wound (injury) and wound (in robes) when Aegisthus observes Agamemnon's body "This man lie wound in robes the Furies wove" like!!! good translation choice there

[literaryvein-reblogs]

Word List: Fashion History

to try to include in your poem/story (pt. 3/3)

Pelete Bite - a fabric created by the Kalabari Ijo peoples of the Niger Delta region by cutting threads out of imported cloth to create motifs

Pelisse - a woman’s long coat with long sleeves and a front opening, used throughout the 19th century; can also refer to men’s military jackets and women’s sleeved mantles

Peplos - a draped, outer garment made of a single piece of cloth that was worn by women in ancient Greece; loose-fitting and held up with pins at the shoulder, its top edge was folded over to create a flap and it was often worn belted

Pillow/Bobbin Lace - textile lace made by braiding and twisting thread on a pillow

Pinafore - a decorative, apron-like garment pinned to the front of dresses for both function and style

Poke Bonnet - a nineteenth-century women’s hat that featured a large brim which extended beyond the wearer’s face

Polonaise - a style of dress popular in the 1770s-80s, with a bodice cut all in one and often with the skirts looped up; it also came back into fashion during the 1870s

Pomander - a small metal ball filled with perfumed items worn in the 16th & 17th centuries to create a pleasant aroma

Poulaine - a shoe or boot with an extremely elongated, pointed toe, worn in the 14th and 15th centuries

Raffia Cloth - a type of textile woven from palm leaves and used for garments, bags and mats

Rebato - a large standing lace collar supported by wire, worn by both men and women in the late 16th and early 17th century

Robe à L’anglaise - the 18th-century robe à l’anglaise consisted of a fitted bodice cut in one piece with an overskirt that was often parted in front to reveal the petticoat

Robe à la Française - an elite 18th-century gown consisting of a decorative stomacher, petticoat, and two wide box pleats falling from shoulders to the floor

Robe en Chemise - a dress fashionable in the 1780s, constructed out of muslin with a straight cut gathered with a sash or drawstring

Robe Volante - a dress originating in 18th-century France which was pleated at the shoulder and hung loose down, worn over hoops

Roses / Rosettes - a decorative rose element usually found on shoes in the 17th century as fashion statement

Ruff - decorative removable pleated collar popular during the mid to late 16th and 17th century

Schenti - an ancient Egyptian wrap skirt worn by men

Shirtwaist - also known as waist; a woman’s blouse that resembles a man’s shirt

Skeleton Suit - late 18th & early 19th-century play wear for boys that consists of two pieces–a fitted jacket and trousers–that button together

Slashing - a decorative technique of cutting slits in the outer layer of a garment or accessory in order to expose the fabric underneath

Spanish Cape - an outer wrap often cut in a three-quarter circle originating from Spain

Spanish Farthingale - a skirt made with a series of hoops that widened toward the feet to create a triangular or conical silhouette, created in the late 15th century

Spencer Jacket - a short waist- or bust-length jacket worn in the late 18th and early 19th centuries

Stomacher - a decorated triangular-shaped panel that fills in the front opening of a women’s gown or bodice during the late 15th century to the late 18th century

Tablion - a rectangular panel, often ornamented with embroidery or jewels, attached to the front of a cloak; worn as a sign of status by Byzantine emperors and other important officials

Toga - the large draped garment of white, undyed cloth worn by Roman men as a sign of citizenship

Toga Picta - a type of toga worn by an elite few in Ancient Rome and the Byzantine Empire that was richly embroidered, patterned and dyed solid purple

Tricorne Hat - a 3-cornered hat with a standing brim, which was popular in 18th century

Tupu - a long pin used to secure a garment worn across the shoulders. It was typically worn by Andean women in South America

Vest/Waistcoat - a close-fitting inner garment, usually worn between jacket and shirt

Wampum - are shell beads strung together by American Indians to create images and patterns on accessories such as headbands and belts that can also be used as currency for trading

Wellington Boot - a popular and practical knee- or calf-length boot worn in the 19th century

If any of these words make their way into your next poem/story, please tag me, or leave a link in the replies. I would love to read them!

More: Fashion History ⚜ Word Lists

[theamazingmaddyas]

One completely untapped part of the Greco-Roman Riordanverse fandom, especially in fics that include the demigods getting technology is the amount of parodies of modern media Rick adds to his series, especially in TOA above all the others, and in the Senior Year Adventures.

In Wrath of the Triple Goddess, the show The Great Witch's Brew Off (a parody of The Great British Bake Off of course), is mentioned, so for the last two months I've been thinking of shows that could air on HephaestusTV. (Note, while I just reread TOA, I have a bad memory, and I know for a fact there are parody medias in that series, like I'm pretty sure there's an Instagod in TON, but there isn't a collective list and me a few months ago didn't think to write it down, something I regret already)

So, here's a list of six shows I believe have a chance of airing on HephaestusTV! I would love it if other people could make lists and add to it.

Disclaimer, I rarely watch reality TV, so some of these I haven't watched myself, and am basing my ideas off of my vague understanding of the plots. For that reason, my bolded explanations aren't in depth for any, to keep it consistant:

1) Dancing with the Gods (Dancing with the Stars) pros are probably nymphs, dryads, and satyrs

2) Keeping up the the Olympians (Keeping up with the Kardashians) note: I feel as though I've heard this before, but I don't remember where or why

3) Domain-ly Feud (Family Feud) instead of families, each team consists of gods/dieties with similar domains

4) Demigodly Ninja Warrior (American Ninja Warrior) Instead of Las Vegas, the final four stages are held in Olympus. Qualifiers are in CHB and Semis are in Camp Jupiter.

5) Say "Yes" to the Peplos (Say "Yes" to the Dress) a peplos is a garment worn by Ancient Greek woman, for those who didn't know.

6) The 100,000 ₯ Pyramid (The $100,000 Pyramid) note: I'm like 58% sure I used the symbol for drachma correctly, but if not, tell me

[gemsofgreece]

Hi!

I saw this amphora for the first time today when I was researching things about Helen of Sparta as a reference for drawing her. From what I saw, the woman is Helen and this art is dated 550 BC. I thought what she was wearing was really beautiful, so I looked up the name of this outfit so I could draw it better.

I got the impression that it's a peplos from the images I saw (in particular, these Kore statues are kind of similar because of the patterns: 1, 2, 3. And the shape reminds me of that) and because of the year of the amphora (I read that apparently peplos was popular around the same time), but I'm not sure. Also, is that veil that Helen wears a specific piece of clothing? The only similar thing I've seen referring to clothing in Greek visual arts is himation, but I also don't know if it's one because I haven't found a himation being used specifically in that way (the ones I saw seemed more involved around the body/head).

Do you (or anyone in the comments) know if it's a peplos? If it isn't a peplos, do you/anyone know what it is? And what is this veil, it's a himation?

Hi, I am pretty sure Helen’s outfit is indeed a peplos. You can also tell from how the fabric bulges on the torso.

As for the veil, yeah, I don’t think it’s a himation (it still might be though). It’s little known that occasionally Ancient Greek women did wear a veil, which was called καλύπτρα (kalyptra). A kalyptra was usually used by a matron, a dignified older married woman, likely an aristocrat, and in general the lady of the household. It was associated with propriety and the avoidance of unwanted advances.

Helen, as a married queen in the presence of several men as we see in this amphora, is totally eligible as a woman who would have a kalyptra on. It might also be the artist’s attempt to redeem Helen and in this way abdicate her of any responsibility when she was forced to leave Menelaus for Paris.

A kalyptra was a thing, though not as obligatory or paramount a garment as a veil was in Rome or in the Eastern cultures. The reason we probably don’t see it often in statuary is that Greek sculpture depicted mostly youth and the human body. Young unmarried girls wouldn’t wear such garments.

Here you can see the differences with himation. Himation was a thicker fabric, used for warmth. When cold, it could double as both a himation and a kalyptra. The thin fabric the woman with the chiton in the middle is holding could be a kalyptra.

Not an expert though, so if anyone else has more info about this, please share.

[blindmagdalena]

MINOTAUR ANON HERE. ALMOST AT FUCKING 5K WORDS BUT THEY FINALLY MEET. I'M GOING TO START EATING DRYWALL

Anonymous asked: I FORGOT TO ADD THE SNIPPET I GOT TOO EXCITED I;M SO SORRY: ' The sickly and iron tang in your mouth calls to you. Sings in your veins as you find more bodies, some still alive but unable to talk, most dead upon impact. You don't even realise it but the bodies' placements feel like a thread that lures you deeper into the labyrinth itself. Until you are at its very heart, and the small amount of sunlight shining from a place too far to reach, you find the beast— a man of great height with a golden-brown bull's head with barely a loincloth for garments— bashing the head of another sacrifice into the ground before taking his heart out and stopping when he notices you. You can only imagine how you look, perhaps bloody and dishevelled but still wearing the peplos like an armour. He eats the heart in front of you, deeming you less important than his next meal, the fur around his neck and jaw so thoroughly covered in blood it's dark in the low light. He keeps eye contact, however, and you notice the unnatural eye colour of them. Bright blue. His voice threatens to split you in half, a deafening baritone that's been unused for some time. '

ANON. I'M SO EXCITED FOR THIS FIC. HELLO MONSTERLANDER!!!!

[rederiswrites]

My grand dream for reenactment, at the moment, is to--actually hol' up, there are two.

Have a good (not perfect; I'm not gonna kill myself over handstitching hidden seams or the perfect fabric weaves) kit for every major era of Awesome Beads. So, garments, headdress, belt, and metal accessories, basically. Shoes for some but that gets into expensive-ass shit I'm not gonna make myself, so my super-basic turnshoes will have to cover a lot, and skirts the rest. The metal accessories are also balls expensive but uhhhhh I want them. So that'd be, roughly, Phoenician, Roman, La Tene/Hallstatt Celtic (I'm fine rolling them together a bit), Merovingian/Frankish, early medieval Slavic, "Viking", and Anglo Saxon/early medieval English. (Apparently there's some scholarly push to replace Anglo Saxon with the more inclusive Early English, but I've not yet educated myself on the arguments.) All that isn't as bad as it sounds, because for example the same unbleached, undyed linen undertunic will serve for almost all of those. I am kinda ignoring some North African awesomeness for the simple reason that I'd be starting 100% from scratch researching that and I am just not up to it right now.

Two is directly related--I wanna see how many cultures I can accurately portray with a very limited number of garments. Like, how far can I get with one wool peplos, one unbleached linen undertunic, and accessories. Cuz honestly I think I can get at least three early cultures out of that. The peplos was worn across Europe in the sphere of Roman influence, for one thing. And the unbleached/white linen undertunic is basic virtually until it started being cotton and some of us are STILL wearing it as dresses and slips and nightgowns, because, well, form follows function.

I lied there are three. This one's pretty basic for a historical lampworker though. I've got to get my design boards together with sample recreations organized by culture/dig site. I already regularly make more than enough styles to fill them.

I lied there are four. The next complete necklace recreation I have my eyes on is this phenomenal recent find in Finland. Fucking amazing.

[citrineandrosmarin]

30 Days of Deity Devotion

Day 11: Festivals, Days and Times sacred to this deity

Panathenaia

A multi-day Athenian festival in honour of Athena Polias and Erechtheus. The Lesser Panathenaia was an annual event, while the Greater was held every four years. There would be a great procession, and many contests. In the modern day it's around July-August and is a good time to celebrate Athena, even have a competitive game night with friends.

Link to theoi page about it.

Kallynteria and Plynteria

Kallynteria is the small festival of "Sweeping Out" where women swept out the temple of Athena in Athens. Additionally they refilled and relit her eternal flame. Plynteria was the festival where Athena's statue would be stripped of its garments and ornamentation for ritual purification. During this day the city was considered to be without its protecting goddess, and was thus an unlucky day. Temples were closed and business was not done. In the modern day it's around May-June and is a great time to do a deep clean of your home and altars.

Arrhephoria

A feast in honor of Athena, celebrated in Athens a short time after the Plynteria. During this festival, two young girls who have participated in weaving the new robe for Athena's statue will carry unknown things descend from the Acropolis down to the garden temenos of Aphrodite. There, they leave what they have brought and take something else up to the Acropolis. In modern day it's around June-July and may be a good opportunity to celebrate Athena, and to get fresh starts.

Wikipedia page on it

Khalkeia

A crafts festival honoring Athena, but also Hephaistos. It is during this festival that preparations would be made for a new peplos of Athena which would be offered to her at the Panathenaia. During this festival, the epithet 'Athena Hephaistia' would be used. In the modern day, it is around October-November and is a good day to start long-term projects, or do something crafty.

Sacred Days

In the Attic Calendar, the 3rd day of each Attic month is sacred to Athena.

[chiefhellenist]

Welcome to my little blog, lovelies🦉

Today is 4th of Metageitnion (21st of August)

As I embraced a more consistent approach to my practices, I couldn't help but notice a glaring gap in accessible resources. It's true that one could attempt to scour the internet for information about Hellenic holidays and events, but who has the time or inclination to sift through exhaustive 10k word Wikipedia articles? All that just to discover that recreating authentic Hellenic rituals and practices is nearly impossible! What a pain, huh?

Picture a scenario: a holiday is on the horizon, and the desire to honor the Gods in a meaningful manner ignites within. But there's a problem – there aren't many good sources of information to help you figure out what to do. It's like a big roadblock that makes things confusing. So, here's the big question: how can we solve this problem and find a way forward?

Fear not, for I am here to give a guiding hand to all baby pagans, inquisitive researchers, and all those intrigued by Hellenic polytheism. Allow me to explain the ways Hellenic polytheists manage to slip their practices into their daily life, and provide you with insights, rituals, and a roadmap to navigate through ancient traditions. On this platform, my goal is to make this special belief system easier to grasp, so you can really understand the important rituals and traditions.

A special week (23rd-30th of Hekatombaion/10th-17th of August) has just came to an end, finishing the 8-day-long premier festival of the year - Panathenaia! And to be even more specific, this year (2023) we were graced to celebrate Panathenaia ta megala (Great Panathenaia) an occasion that only happens once every 4 years!

A history lesson about this festival for anyone interested!

The Panathenaia is the celebration of Athena's birthday, for it is an ancient belief that on the 28th of Hekatombion, Athena bursted from the very head of Zeus. Though it is her day, all the Olympians attend the festivities. This is a sacred feast at which gods and mortals celebrate Athena's birthday together.

Beginning in the 7th century BCE, the annual festival, the Panathenaia ta mikra (Lesser Panathenaia), involved an impressive procession from outside the walls of the city to the Acropolis and the main purpose of the procession was to convey the new peplos for the image of Athena.

The loom for this peplos had been set up at the festival of Khalkeia (in Pyanepsion), nine months before, by priestesses and young girls (Arrephoroi) particularly dedicated to the worship of Athena and the weaving had been carried out by the Ergastiai (workers), maidens chosen from Aristocratic families. Now the colossal wool garment, with traditional yellow and blue decoration woven into it was carried in a ship-like cart. Everyone in Attica took part: Kanephoroi, young women who bear baskets on their heads (containing the meal/grain to through on the sacrificial victim); Diphrophoroi (Chair bearers), young girls carrying chairs; Thallophoroi, green branch bearers who were old men; young men wearing purple robes (the Skaphephoroi, or tray-bearers) of the resident non-citizens carried trays of cakes and honeycombs as offerings; daughters of Metics carried water jars; and freed slaves and other non-Greeks carried oak branches. Representatives of subject city states of the empire brought suits of armor and a cow as offerings and all of them were likely in the parade as well.

The annual Panathenaia included several other distinctive elements: a torch race (run by Athenians only), an all-night service (the Pannychis) and a meat meal for everyone at the city’s expense.

Then in 566/5 BCE, athletic games open to all Greeks were added to the festival so that, every fourth year, the city observed Panathenaia ta megala (Great Panathenaia). And late in the 6th century, the tyrant Peisistratos added musical competitions and recitations of the poetry of Homer. Athletic events included foot-race (stadion), pentathlon, wrestling, boxing and pankration, in three age categories: men, beardless youths and boys. Horse competition were also held, including four-horse chariot, two-horse chariot, horses ridden singly, javelin-throwing from horseback and races for foals as well as full-grown horses. Winners received, among other things, olive oil purportedly from the sacred olive tree of Athena in distinctive white and black amphoras.

Wow, all that sounds like a huge event, don't you think? It sure is! But you won't catch anyone butchering a HUNDRED cows as a offering in honor of Athena these days.

I believe Gods are always around us, they understand and see how the world changed thus why some of the rituals can't be practiced anymore. All we can do is take inspiration from the ancient ways people used to celebrate these holidays.

How can we celebrate Panathenaia nowadays?

Unfortunately, me and other people who follow Hellenic traditions can't get a whole city to bring back these old practices. So, we usually make the festival shorter, just for one night or day if it's easier. During this night, the procession is added to by the bearing of a torch. Libations are poured to Athena, most often with olive oil, milk, wine and/or honey. Most of us don't want to do something as big as butchering a cow, so we stick to offering a piece of beef to Athena instead and partaking of the meal as well, as the celebration did not call for a holókaustos (burning) of the ritual offering.

We should honor Athena with offerings, prayers, reading of Hymns (Orphic Hymn 32 and Homeric Hymn 28), and with a communal meal. Consider planning night-time worship starting at sunset. If possible, arrange running races, contests, and a torchlit procession. Study Athenian history, art, and architecture. Additionally, learn about Athena's stories, Athens' history, and your own city. Some make garments for the statue of Athena, showcasing our care. Embrace sculpting, sketching, painting, sewing, and more!

If you want your ritual to be really fancy (which I absolutely love) I highly suggest following the steps of the user LeopardBoy here:

What I personally suggest doing?

Such a big way to celebrate is sure fun, no doubt. But let's be honest here, that's really a lot!

I suggest celebrating Panathenaia by a wake (full night of worship), and here is an idea of how possibly it could go:

8:00PM - 10:00 PM: this is the time for final preparations. Clean up the space (Hestia doesn't like things out of place as we know, so you can go ahead and mop the floor, vacuum, move everything out of the way), prepare your altar, lay out everything you need for personal cleansing, your offers to the Gods, everything you need to burn and pour offerings

10.00 PM - 11.00 PM: Torch procession (lit with Hestia's flame) from outside the living room to the shrine, cleansing (called katharmos), hymns to Hestia (Homeric Hymn 24), to Nyx (Orphic Hymn 3), to Selene (OH 9), to the Stars (OH 7), to Sleep (OH 85), to Dream (OH 86), to Zeus (OH 15) and finally to Athena (HH 11/HH 24), libations of olive oil to Hestia and Athena with a repeating of their respective hymns, making a cloak for Athena

11.00 PM - 12.00 PM: katharmos, libations of red wine to Hestia and Athena after proclaiming their hymns, offering of chocolate to both Goddesses, reading the Odysseia by Hómēros

12.00 PM - 01.00 AM: katharmos, libations of milk to Hestia and Athena after proclaiming their hymns, reading the Odysseia, preparing the candle making

01.00 AM - 02.00 AM: katharmos, libations of honey to Hestia and Athena after proclaiming their hymns, candle making

02.00 AM - 03.00 AM: katharmos, offerings of barley to Hestia and offerings of beef to Athena after proclaiming their hymns, divination session, reading the Odysseia

03.00 AM - 04.00 AM: katharmos, libations of honey to Hestia and Athena after proclaiming their hymns, reading about the history of Hellas and Athens

04.00 AM - 05.00 AM: katharmos, libations of milk to Hestia and Athena after proclaiming their hymns, reading about the history of Hellas and Athens.

05.00 AM - 06.00 AM: katharmos, libations of red wine to Hestia and Athena after proclaiming their hymns, reading the Odysseia, finalizing the candles.

06.00 AM - 06.30 AM: katharmos, libations of olive oil to Hestia and Athena after proclaiming their hymns, reading the Odysseia, cleaning up the space.

Don't be afraid to change up some things, the way you perform rituals is supposed to be meaningful to YOU!

If all you can do is simply dedicate the day to think about Athena, send a prayer and pour libation of tap water into a cup, that's enough!

See you next time:)

Sources:

Adkins, Lesley and Roy A. Adkins, Handbook to Life in Ancient Greece, 1997

Apollonius Sophistes, “Seasonal Festivals of the Greeks and Romans”

Burkert, Walter, Greek Religion, English version 1985

Parke, H. W., Festivals of the Athenians, 1977

[grecowitch]

Kallynteria & Plynteria

Athena Polias' Festival of Cleansing

25 Thargelion (Θαργηλιών) was Kallynteria (Καλυντήρια) followed by Plynteria (Πλυντήρια) on 26 Thargelion (or the 19th/20th or 21st/22nd - there's no real concensus). Ultimately, this festival can be celebrated anytime throughout late June. The Modern Greek translations are a bit different but imply cleaning and adornment: "washing machines" and "cosmetics," respectfully.

Stemming from the words "to make good/pure" (kallyn) and "to wash" (plyn), these two days are a festival of catharsis ("sweeping out," if you will) for Athena Polias (Αθηνά Πολίας - The Protectress of The City). On Kallynteria, women thoroughly cleaned Athena Polias' temple in Athens, and her eternal flame was relit by her priestesses. On Plynteria, her statue's garments (peplos & jewelry) were removed and ritually cleansed with water from the sea. During that time, she was concealed out of respect.

The city was also deemed unprotected by its patroness and thus prone to bad luck until the cleaning was complete. To avoid any mishaps, Athenian businesses and other sanctuaries were closed on both days.

Coincidentally, Tuesday the 13th (not Friday) is considered an unlucky day to the Modern Greeks. This superstition started because The Sack of Constantinople took place on Tuesday, April 13th, 1204 (marking the culmination of the Fourth Crusade). I just find it interesting timing that Tuesday the 13th was right before the two days that were considered unlucky to the Ancient Greeks...

Ways to Honour Athena Polias:

clean your altar & sweep the surrounding area

light a candle as a symbol of relighting the eternal flame

clean Athena's statue (if you have one - do a visualization if not)

*No altar or statue? Consider these two days a time of pre-Solstice or late-Spring cleaning.

*I suggest washing your hands with saltwater before proceeding with the rituals.

Offerings

(after everything is cleaned)

figs

fig cookies/pastries

jewelry

an ornate cloth

Source: Hellenion.org

[bronzeageyuri]

Eye of the Beholder

Summary | Theseus gifts Dianthus a custom made arena uniform. Unfortunately... Dianthus thinks the arena uniforms are a little ugly. Notes | Reposting this fic just so I can finally put something in my writing tag 😭 don't feel obligated to read it though! ~1333 words. Has some nondescript nonsexual nudity as well as Theseus being a little bit of a pervert. [ You can alternatively read this on my neocities! Displays best on desktop as I have not yet figured out mobile responsiveness. Header image is from Unsplash. ]

The gift itself was simple enough; displayed upon a mannequin was  a chiton of a gentle blue colour with a trim of shimmering ruby on its skirt. The cloth had been customized so it would fit easily over Dianthus’ soft curves, and was meant to cover her chest in the same way a peplos would (as Theseus knew how she hated to be more exposed than necessary, though he himself was much the opposite.) Alongside the chiton was a pair of gauntlets and a golden belt, though its design was much simpler than the championship belt Theseus himself wore.

Yes, the gift was simple. What wasn’t simple, however, were the implications of this gift. An arena uniform, worn by those who trained and competed in Elysium’s colosseum. A garment typically only donned by warriors. Theseus had designed the uniforms  himself, choosing the colours,  drafting the belt’s insignia, even tracking down a jeweler to test out different shades of ruby gemstones to embed within the gloves.

Dianthus was no warrior,  yet it made sense that Theseus would pick such a gift. The king had on occasion expressed a desire for her to begin training alongside his fellow warriors: Strength alone does not make a warrior great! One must be of great intellect, and have the mental fortitude to quickly create and act out strategic plans. And you, my lady- your intellect astounds me! If you were to apply such intellect  to the battle field, why, you’d be unstoppable!

And on a different occasion, while watching the battle of a lesser hero, he expanded on his point: Though I am Elysium’s champion,  he’d said, I find there is much to learn from observing the battles of others! Watching for their strengths, their weaknesses! Strategizing at a mere glance!  Studying these techniques is but another way that I remain Elysium’s greatest warrior!

And while that much was certainly true, there was also the fact that he loved watching Asterius’ private matches for reasons that could be simply described as “Theseus thinks the bull is at his most attractive during a fight.”

And thus, Dianthus assumed this had less to do with the actual art and technical skill that came with wielding a weapon, and more to do with “Thesus thinks the outfit would look cute on her.” Which is all fine and good, truthfully. Dianthus had no issue with dressing up in a way Theseus would enjoy, as he would do (and often does) the same for her.

The issue was the simple fact that Dianthus found the arena uniforms to be ugly.

She’d never mentioned it to the king, knowing how proud he was of his craftsmanship, but his taste was just so… gaudy. His work lacked cohesion. He would  put strange colours together and slap gold ornamentation wherever he liked regardless of whether it fit or not.  And if that wasn’t bad enough, Theseus  was so stubborn! Many of Elysium’s tailors had attempted to set him down the path of aestheticism, but the king would not listen to their suggestions. And so…

“Erm…” Dianthus gently lifted the sky-blue fabric of the chiton, hesitant to so much as touch the garment. “Thank you very much for the gift, Theseus.”

“There is no need to thank me, my Lady Dianthus! To deliver such a gift unto you is my honour!” Theseus beamed brightly, standing proudly as he often did within the arena itself. He did this to appear confident, and to show how he took pride in his work.

“I assume you want me to try it on.”

“Yes!!” Theseus exclaimed a bit too enthusiastically. “Ahem, that is… though I would enjoy seeing how the outfit fits upon your figure, whether you try it on now or another time shall be your decision. Indeed, I have little desire to rush you.”

“I see.” Dianthus traced a finger along the ruby trim which glittered almost blindingly; an indication of how newly made the garment was. What to do? Wearing it would be a simple way to make Theseus very happy. And while he certainly wouldn’t be too upset if she never got around to trying on the chiton, she knew he would be disappointed… and that may lead him to trying to track down something even gaudier to gift her with, in the hopes she’d like that item more than the arena uniform. It would be simpler, then, just to put the damned thing on.

“Give me a moment,” Dianthus sighed. Then, “you go stand outside.”

“But of course my lady Dianthus! I shall do as you ask!” Theseus bowed, then exited the room… all while doing a fairly poor job of hiding his excitement, judging by the way he kept giggling to himself.

Now alone in the room, Dianthus turned to face the mirror that stood tall on the opposite wall of her home. She again lifted the blue cloth of the garments, idly rubbing it between her fingers. It was soft, at least. It felt comfortable enough, and the wool of the fabric was very clearly of  high quality.

Frowning only slightly, Dianthus began to disrobe. She would only have to do this once. Settle her king’s curiosity and then she’d never have to wear the blasted thing again. As always when she was nude, the nymph gazed at her figure. She had no qualms with her size at this point in her life, but she couldn’t help but feel certain parts of herself looked a little strangely, with her narrow hips and uneven chest. It was nothing she could change, however, so she’d simply elected not to worry about it.

Dianthus pulled the garment from the mannequin, mindful of the golden pins that aided in keeping its form. It didn’t take long to pull it over herself, letting its gentle blue settle upon her body in waves.

It was… hmm. Though it had been less obvious at first, it seemed the skirt of this particular uniform had been made slightly longer than usual, reaching to just beneath Dianthus’ knees. Which in turn meant that the typically forgetful king had remembered Dianthus’ preference for longer skirts on her clothing. It was a small gesture… but it was still surprisingly thoughtful for him. She would have to thank him later. When she twirled, the loose fabric twirled alongside her, soft blue and shimmering ruby blurring together as she did so. The next item of business was the belt, made with a soft leather so it could comfortably curve around her wide waist, then the gloves. In this outfit, she looked like a proper warrior… kind of. Would it even be possible for her  to battle while wearing glasses…?

Once she’d finished observing herself in her mirror, ensuring all her items were in order, she called out to the king:  “Theseus? You can come back in now.”

It took merely seconds for Theseus to burst into the room, seemingly having grown bored of masking his own excitement,

“Ah, look at you!” he gasp, “Just as I thought! How gorgeous  you are, my lady! Aphrodite herself would cower with envy before you!!”

Dianthus laughed sweetly. “The goddess would be quite upset if she heard you just now. Perhaps it’s better to keep her name out of your mouth, hmm?”

“Pah! Let her be upset! I would be a fool to deny the beauty that stands before me now.”

Theseus, physical as ever, went in to hug his lady, and Dianthus allowed it. His arms wrapped tightly around her, and Dianthus could feel him laughing against her neck, as he often did when his mood turned jolly. It wasn’t often that Theseus allowed himself to show his joy so openly, preferring to stay composed and confident before the rabble of Elysium. But here, in private, he smiled for her.

And yet… even after all this… She still thought the outfit was ugly. But if it would make her king happy… she supposed she could tolerate wearing it, at least for now.

[fairyspheres]

for only one sight of your starlight

He means to say something romantic, something worthy of Sappho and Shakespeare and Austin. He means to express his delight at seeing more of his demon, at seeing what he has always considered – in the privacy of his mind, at least – a forbidden fruit. The pomegranate to his Persephone, as it were. Means to say something complimentary, get Crowley’s cheeks delightfully pink again. Of course, nothing ever happens the way he wants. He opens his mouth, head full of grand ideas and grand declarations, and instead he says, full of idiotic confidence, “You have skin!” Crowley slowly looks up from where he’s been scrolling on his phone, saffron eyes bright in the light. An eyebrow raises, his eyes unblinking as they both take in Aziraphale’s words. “I…” Crowley trails off for a moment, apparently thrown by the strange and very unexpected words. He opens his mouth, closes it, then has another sip of his tea, eyebrows furrowed. “Yes? I wasn’t aware that was up for debate, Angel.”

note: there're some references to the other go fics i've written but it can be read as a stand-alone if you want

The thing is, in the many, many years that Aziraphale has known Crowley – and it truly is many. Innumerable, one could perhaps say at this point, if they were to count their first meeting in the dark and lonely abyss – he has never known Crowley to… well… to dress in outfits that show skin. Or, rather, any meaningful amount of skin, any that isn’t the barest minimum possible.

And, if he’s being completely honest with himself here (as he so seldom is), that bare minimum is really starting to grate at him. Slightly. A bit. Perhaps a bit more than a bit.

It’s not that he doesn’t love Crowley’s many, many outfits. Quite the opposite, in fact. He’s spent over six thousand years watching Crowley switch between garments, adhering to the fashion of the times with a sharpness of which even the most conscious of humans would be envious. Flowing robes in Uz, the fragile peplos in Phokis, the exquisite gowns and doublets and the ruff of the Elizabethan era, the first emergence of denim – Aziraphale has seen it all and quietly pined.

[continue reading on ao3]

[casskeeps]

peplos kore

basic information

name: peplos kore

date: 540-520 bce

artist: unknown (but potentially the rampin master)

function: votive offering to athene on the acropolis

size: 1.2m (just under life-size)

original, reconstructed, or copy: original in parian marble

subject

this is another kore ! we are not quite sure who she is supposed to depict, but some archaeologists suggest that she depicts a goddess - we won't be able to know the truth until we know what was on her head and in her hands. we can see that she has bore holes in her head and right hand, which suggest that she could have worn a crown or wreath on her head, and potentially have held a bow or shield. here's a link to the gods in colour exhibition, which recreated some of the ideas for how she might have looked !

context

in 540-520 bce, we are approaching the late archaic period - sculptors are moving from highly idealised and geometric forms to a more nuanced and naturalistic representation of people.

composition

the kore's pose is still very much influenced by the egyptian grid-block technique; her pose is largely cylindrical, with the feet close together (and possibly engulfed in the drapery), and her right arm by her side, in a similar position to kouroi of the period. notably, however, her left arm extends forward into the frontal plane, disrupting the symmetry and adding variation into this largely self-contained composition.

the anatomy of the sculpture is obscured by the heavy garment (more information on this later!), in much the same way as the berlin standing goddess. however, we see a marked development in facial and head anatomy when looking at this gorgeous girl!! her ears, while still slightly reminiscent of the volutes in the new york kouros, are more naturally sized and lifelike, and we can see holes in her earlobes where earrings may have been placed. her face is much more naturalistic; instead of the exaggerated cheeks of the berlin standing goddess, she has a gentle and subtle archaic smile, which does succeed in its intention of providing the statue with vitality and expression. we also see more of the form underneath the drapery in the peplos kore - her belt is angled gently as her stomach protrudes slightly, demonstrating a sensitive (carefully considered) approach to the interaction of the clothes with the anatomy underneath. we also see more of the shape of her chest and arms - the latter particularly from behind, where we can see the outline of her arms from underneath the cape.

the kore, as per the archaic tradition, depicts a modestly dressed female figure, without facial wrinkles or signs of aging, yet slightly developed in the anatomical form - there is curvature in the chest to demonstrate the existence of the breasts, although the furthest protruding area of her bust has been knocked off. her name is also a misnomer - despite being called the peplos kore, her garment does not have pins at the shoulders, and so is unlikely to actually be a peplos.

emotion is created in this statue using the archaic smile, but also the eyes and eyebrows - her eyebrows, while still reminiscent of the gull-wings of earlier statues, are arched and delicate, while her eyes are alert and large yet not insectoid; this effect could be heightened by the fact that we can see the remainders of paint used to depict her large irises. the main difference between the expression of the peplos kore and the berlin standing goddess is the subtlety of the expression, and this subtlety is what makes the peplos kore's expression so aesthetically appealing and effective.

the kore, while under life-sized, is largely proportional, making the statue appear more lifelike and naturalistic, despite saving on cost of materials by reducing the amount of marble needed for the sculpture.

the peplos kore, while not wearing a peplos, has been considered to be wearing a cape draped over what is potentially an anatolian long dress. the depiction of these garments is much more simple than the berlin standing goddess - the sculptor has focused more on the human form underneath the garment than the drapery obscuring the anatomy. this is evident in the lack of detail in the sculpture of the drapery - it is largely cylindrical and smooth, which could be argued to increase the sense of stillness in the statue, but could also be argued to detriment the naturalism of the kore. there is detail, however, in the painting of the drapery - the artist has carefully painted a repeating wave pattern across the border of the back of the cape. this demonstrates an extraordinary attention to detail and care in the painting and creation of this statue.

stylistic features

if you've guessed archaic smile, you're right! it's used to add life and vitality, and looks slightly less unsettling in this sculpture than in some others - this is mainly due to her coolly passive expression and the subtlety of her smile.

her left arm, now lost, was made of a separate piece of stone, which has since been lost! this is particularly cool because it demonstrates a marked intent to break through the frontal plane - another interesting example of this is the cretan bull metope from the temple of zeus at olympia (notably over 83-55 years later - 465-457 bce)!!

the peplos kore also demonstrates a common technique in the archaic period - polychromy. we see evidence of this in the red colour of her hair and irises, and also in the dark blue of her belt and the wave pattern on the back of her cape.

scholars

boardman: "perhaps the finest of all the ladies from athens"

woodford: "one of the most delightful"

woodford: "the drapery is treated in broad, simple masses. it is enlivened by slight irregularities .. to convey a sense of the body it conceals"

extra sources

the acropolis museum

smarthistory (dr bulger)

a watercolour painting from when the statue was first discovered !

[wholegrainvore]

Halcyon Wip

One would have thought him to be a feature of the land, were it not for the fact that he was a man. Halcyon, feeling no such mortal annoyances as cold or discomfort, could sleep anywhere, and this morning his hundred-foot frame slumbered at the foot of a mountainside. He snored peacefully, curled up with his head resting on his massive arms — and below him, four humans stood stiffly on the ground, some with their arms crossed, another leaning against his chest as long as he slept. They all looked exhausted, as if they'd been standing there all night — and they had. If the demigod woke up while they were asleep, he'd surely make them his breakfast without any little voices telling him not to. Rest was a rare thing around their master.

Silas, a young, frail, pale man who served as Halcyon's personal musician, was the first to break the silence. His lyre hung loosely from his hand, the plucked notes of the lullaby he'd played to lull the giant to sleep hours before still fresh in everyone's minds.

"Somebody's got to wake him," he whispered below Halcyon's snoring. "If he sleeps any longer, he'll be starving when he wakes up."

Beside him stood a striking woman with long, unruly raven hair, dressed in a gray-blue peplos that reached down to her feet. Her dark eyes shone like the starless night and seemed to know all Halcyon needed to know. She was his oracle, Kalista, and one whose gift and wit had kept her out of his digestive system; he always had an ear for her prophecies and readings.

"It is not a task to be taken lightly, Silas," she said in her haunting voice. "You know how he gets in the morning.

"Perhaps we should draw lots," suggested a former warrior called Boreas. He had given himself up to the giant in exchange for the safety of his village, and sensing that he could get more than a meal out of the man, Halcyon hired him as his personal hunter.

The fourth and final figure, an older woman named Alethea, remained silent as she leaned against the base of the giant's massive chest. She was the seamstress of the demigod, an arduous job for what it was. A single garment made to fit the man, the linen needed comparable in size to the billowing sails of a trireme, took months to put together. She was perpetually tired, her calloused fingers scarred from pinpricks, but she took pride in her work; Halcyon in his masterfully crafted exomis and chlamys was a sight to behold.

A loud yawn came from the slumbering titan before they could continue their whispered consultation. Halcyon stirred from his sleep. They all gasped in unison, and Alethea whispered a hasty prayer to the gods. The ground shook as he rolled onto his side, the sun glinting off his blond mane.

"Kalista," came Halcyon's drowsy voice, the single word rumbling through the morning air like an earthquake. They all knew what he wanted, even though his eyes were not yet open.

With a sense of duty and courage, Kalista stepped forward. From a pouch she wore around her waist, she pulled out several sheep's knuckle-bones. She rolled them out on the floor like dice and looked at the arrangement in which they had landed. She took a moment to study the pattern before turning back to her superior.

"Your luck looks promising today, Master Halcyon," she announced in her monotone voice. The demigod's eyes slowly opened. "But you can improve them by showing due reverence to the gods."

Slowly, the giant demigod sat up. His form blotted out the sun for a moment, the crown of his head of wavy blond curls meeting the clouds. Then he leaned back, relaxed. He blinked lazily, pondering Kalista's words.

"You are wise," Halcyon rumbled. "As always. I've gone weeks without having thanked Zeus. I will make a sacrifice today. Boreas, go and track down a wild boar and some firewood."

Halcyon scratched absently at his stomach, leaning against the mountains - but his hand stopped when he finally looked down at his companions.

"Wait. Is one of you missing?"

There was an awkward silence. The humans exchanged worried glances before Alethea cleared her throat quietly and pushed herself to the front of the group.

"Yes, my lord," she said respectfully, avoiding his gaze. "You ate Dion whole, last night."

Halcyon blinked, staring down at the humans. "Did I really?" He shrugged, the rocks behind him crumbling against his back as he settled into the mountainside. "I have no recollection of such a thing."

"You were in your cups, my Lord," Boreas said, trying to deflect the sad mood that was beginning to take hold. "You had him for dessert as soon as the wineskin was dry."

"Hm," Halcyon hummed, now that he remembered the circumstances. There was a low growl in his stomach, and he cocked his head to the side.

"I'm going to miss him," he said at last. "He did amuse me, the clumsy little thing. I only wish I could remember what he tasted like." His hand moved again, stroking over his large gut. It was as if he could still feel Dion inside.