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GREEK WOMEN Fashion Toilette Hairstyle- (3) Three Tinted Litho Prints by Racinet

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Martin2001 Antique Prints

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Edition Type
Limited Edition
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Original Print
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Small (Up to 14in.)
Fashion & Costumes

!!! NOTE !!! if the image in the description shows a broken image icon, right click on the icon then select “copy the image location” and then paste it into your browser’s address box to see the image OR send me a message to get more images if they do not all show. Toilet, Fashion, Hairstyles of Greek Women Meals, Banquet, Utensils, Accessories 3 Prints Another Fine Quality Print from Martin2001 Print Specifics: Type of print: Lithograph - Original antique print Year of printing: not indicated in the print - est. 1878 Original artist: Albert Racinet Publisher: Imp. Firmin Didot. Condition: 1 (1. Excellent - 2. Very good - 3. Good - 4. Fair) Dimensions: 7.5 x 8.5 inches, including blank margins (borders) around the image. Paper weight: 2-3 (1. Thick - 2. Heavier - 3. Medium heavy - 4. Slightly heavier - 5. Thin) Reverse side: Blank Notes: Green color around the print in the photo is a contrasting background on which the print was photographed. 1 inch = 2,54 cm. Legend to the illustrations in the print: A Greek woman's toilette was an important of her daily routine. Women would cover their entire bodies each day with perfumes and ointments, pomades and oils. TOP PRINT: 1 2 Women washing. Fresh water was mixed with scented waters and "ambrosial liquids". First the women would wash the dye and powder of the previous evening from their hair. This could be of various colors: ebony; sky-blue; honey-coloured; dusted with golden powder; or even red. Whatever color the hair, the eyebrows were always painted black. Here the clean hair is is ready to be curled with hot irons. The woman in 2 is holding a mirror, or possibly a clay compound used like a soap. 3, 4 5 Women at various stages of dressing. The fine material of their costume barely covers their bodies. At one time such transparent items of clothing were worn as supplementary articles: the veil that the servant in 9 is offering to her mistress, for example. Under the rule of Pericles in Athens, however, moral standards were relaxed and transparent materials were used as tunics. Figures 16, 19 and 20 (as in 1 and 2) represent three phases of the daily toilette. The group in 19 and 20 represents cleansing of the body after the completion of hair styling. Figures 9,11,12,13 and 22 show various accessories used by the servants. Fig. 18 shows a band that is tied underneath the robe or into the hair. Fig. 4,5 and 21 show Greek women using a mirror, in 21, the woman is also carrying a jewelry box. Greek women used a great variety of fans or flabellum; these are depicted in fig. 6,7,8,10,14,15 and 23. They were usually mounted on a quite long handle depending on the type of usage. They were made of peacock plume. The woman in no. 17 is holding a parasol or umbella, which could be open and closed just like its modern counterpart. Usually a slave would be holding it over the head of the woman. The presence of the umbrella also indicate that the toilette depicted here is her daily toilette. CENTER PRINT: Greek women strove for great variety of hairstyles and tried every possible venue to to make their headgear to stand out. To accomplish this goal, they utilized various typed of veil, light or heavy, bands of different colors, gold, precious stones, flowers and various perfumes. (the figure in the upper left corner is no. 1) : A nimbus was a linen band embroidered with gold and it was usually wrapped around the hair, on the other hand, a sphendone was a band used to support the hair, the hair-net was called cecryphale. Fig. 4,6,8,17,21,22,23 illustrate their usage. No. 14 is a simpler application. The hair-net that was tied in the back, is depicted in 6,17 and 21; Athenians called it cecryphale, Romans called it reticulum. To hold and maintain the hair in proper order, Greek women used vecisa, as depicted in 13,26 and also in 25. The woman in no. 10 has a bonnet embellished with a ring of pearls. Fig. 16 represents a young Greek woman wearing a hair-net that is transaformed in a sac or hood in the back of her head. This type of headgear was also found depicted on Etruscan vases. The woman in 9 wears a felt hat called petase as a protection against sun rays and rain. Fig. 5 depicts a fancy headgear with the hair tied into a knot on one side of the head. In fig. 24 we see a type of the headgear that was still in use in the countryside of Greece in the 19th century. Some women used a loosely falling veil tied in the back, as depicted in fig. 27, or tied back up several times as in 28. BOTTOM PRINT: The Greeks wore clothes that did not open at the front, unlike ours today. Nor did they cling to the body except where they were fastened by a belt, or where the softness of the material fell against the contours. The basic garment in Greek costume was the tunic, or chiton, which could be made of either linen or wool. One of the most interesting outer clothes is the palla, because it falls somewhere between an over-garment and a chiton. It is fixed at the shoulders, leaving the arms bare, and is not attached at the sides but held at the waist with a belt and fastened at the hips. A variant of the palla was pallulae, which stop at the waist. The talaris tunic had sleeves could be long or short and were usually wide so that they hung gracefully from the arms. The garment was made of linen and fastened with a belt. Both men and women wore the talaris in Greece, but the Romans thought it an unworthy garment for a man and never adopted it. 1. Cratère, a grand vase to carry water and wine; 2. Khateros, a goblet with two handles; 3. A guest crowned with ivy, holding in one hand a big coupe and in the other a rhyton in the shape of horn. The first rhytons were real horns of animals, later, they were replicated from various other materials. These vases in the shape of horn were called keras; 4. A Greek woman carrying a tray with honey and a vase to drink; called karkhesion or kantharos. The shape of the tray seems square: it is the one that Homèr gives to all dishes of his time; 5. A drinking vase, shown with a hand to indicate the proportion of the vase; 6. Kylix, a deep circular goblet with two handles and a base; 7. Capis, a wine pot with a handle; 8. Eydria, a water vase; 9. Various forms of coupes, those that were widened were called phial; 10. A bed, decorated with rich fabric and various cushions; 11,12,13, and 14. Rhytons with different faces and various size. Often they were pierced at the bottom, and the drinker held the vase raised so the liquid would flow into his mouth; 15 and 16. Different positions of the two sexes enjoying meal. The man is reclining down, the woman is seated upright; 17. Acroama, a feast where women were relaxed on the bed in the same fashion as men. A flute player accompanies a dancer. The square low table, has drawers. The dove indicates that the banquet is probably given in honor of Venus; 18. A vase with a stopper for canned foods, with a label; 19. A bag or sack, also labeled; 20 and 21. Vases of glass, containing fruits. Glass vases decorated the table, and because of lack of glass material, they were sometimes made of wax; 22. A bread basket. Martin2001 Satisfaction Guaranteed Policy! Any print purchased from me may be returned for any (or no) reason for a full refund including all postage. seller since 1998. Five-star service. Powered by Turbo Lister The free listing tool. List your items fast and easy and manage your active items.

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S l1600 thumbtall

TURKEY Trebizond on Black Sea - 1887 Wood Engraving

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This old engraving has substantiated and stimulated a recent interest of mine; this physical thing now hangs in front of my reading chair, and I have found the digital copy of the charming old book from which it was cut (VOYAGES AND TRAVELS OR SCENES IN MANY LANDS VOLUME
de Colange, Leo (Ed.)).
Published by E.W. Walker, Boston, MA (1887))
I recommend enjoying some of the 19th century paintings under "Trabzon in art" in commons.wikipedia., which is where I first discovered this one. In some of these it is the artists viewpoint of serious (not ) peacefulness that I especially enjoy, and now this is substantiated, in front of my reading chair.

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