# Illustrated Companion to the Latin Dictionary/Endromis

This article incorporates text from a publication now in the public domain: Rich, Anthony (1849). The illustrated companion to the Latin dictionary, and Greek lexicon. p. vi. OCLC 894670115. https://archive.org/details/illustratedcompa00rich.
EN'DROMIS. A large blanket, or wrapper of coarse woollen cloth, in which it was customary to envelope the body in order to prevent the chance of taking cold after the violent exertions of gymnastic exercises. (Juv. iii. 103. Mart. vi. 19. Id. xiv. 126.) It is frequently depicted in scenes illustrative of life in the gymnasiums, upon figures in repose, similar to the one in the annexed engraving (Endromis/1.1), from a fictile vase, representing a youth who has just gone through his exercises, standing before his teacher; but though the word itself is Greek, and has especial reference to the customs of that people, it is only amongst the Latin authors that it occurs in the sense explained. Compare No. 3.
2. Endromis Tyria. A wrapper of similar character and object, but of a finer texture, adopted by the Roman ladies, who addicted themselves to masculine habits, and affected the same pursuits as men. Juv. vi. 246.
3. (ἐνδρομίς). In Greek, the word has a very different meaning, being employed to designate the boots originally invented and worn by the Cretan huntsmen (Nonn. Dionys. v. p. 154.), and thence adopted by the Greek artists as the characteristic chaussure of Diana in her quality of a huntress. (Callim. Hymn. in Dian. 16. Jul. Pollux, vii. 93.) Consequently, they are seen on a great number of statues of that goddess, on which they appear like the example in the annexed illustration (Endromis/3.1), from a bronze of Herculaneum, with the toes exposed, and a broad band just above them (fascia primos sistitur ad digitos, Sidon. Apoll. Carm. ii. 400.), to which the two side leathers are attached. These open down the front, but are pierced with holes on their edges, for the thong to pass through which binds them on the legs, in the same manner as with our lace-up boots (Galen. Comment. in Hippocr. de Articul. and Spanheim ad Callim. l. c.) The cross laces, which are omitted in our bronze, may be seen on other statues. (Mus. Chiaramont. tav. 17. Mus. Pio-Clem. ii. 15. iii. 38.) The Latin poets always dress Diana in cothurni, which were close boots, enveloping the whole foot (see COTHURNUS, and the illustrations there given); but ἐνδρομίδες received their name because they were peculiarly fitted for persons who required great activity and agility in running (Galen. l. c.); which, it is obvious, would be materially assisted by the free play allowed to the foot from the exposure of its extremities, instead of the whole being constrained by an upper leather; consequently, they are appropriately worn in this form by a Faun and by a shepherd, in the Neapolitan Museum. (Mus. Borb. viii. 23. ib. 25.) These considerations, as well as the uniform testimony of ancient statues, seem to warrant the distinction above drawn, though it does not depend upon any positive verbal authority; while at the same time, it helps to explain the real difference between the names of three kinds of hunting boots commonly received as synonymous terms: κόθορνος, which reached up to the calf, was laced in front, but covered the entire foot; ἐνδρομίς, also reaching up to the calf, and laced in front, but leaving the toes uncovered; and ἀρβύλη, a half boot, laced in front, but only reaching up to the ankle.
* Endromis/1.1
* Endromis/3.1