# Illustrated Companion to the Latin Dictionary/Toga

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.
TOG'A (τήβεννα). A toga; the principal outer garment of the Romans, which formed the distinctive national costume of that people, as the pallium did of the Greeks. It was usually made of white wool, excepting in cases of private mourning, or amongst the very poorest classes, who could not afford the expense of frequent cleaning; in both which cases dark wool of the natural colour was employed.
As the size and manner of adjusting this garment was not always the same, but partook of several modifications at different epochs, much doubt and difficulty has been experienced by scholars and antiquarians in determining the precise form and measure of the drapery which composed it; for although a great number of figures clothed in the toga still remain, both in bas-reliefs and as single statues, yet they belong, almost without exception, to the Imperial period, and only represent the latest and most ostentatious fashion in which it was adjusted. It is, consequently, to the works of Etruscan art, from which nation, either directly or indirectly, the toga descended to the Romans, that we must look for the earliest specimens of its style; and in them we find demonstrative evidence that it was made of a lunated or semicircular piece of cloth, as Dionysius states (iii. 61.), and that it was of moderate dimensions, so as not to form any bend or sinus across the chest, agreeably to the account of Quintilian (xi. 3. 137.) The first of these properties is exemplified by the figure (Toga/1.1) in the last page, from a small Etruscan bronze, in which the crescent-like shape of the cloth is manifestly indicated by the numerous parallel folds at its extremities, produced by drawing the hollow edge into a straight line, or tight across the back, which constitutes the first process in adjusting the draperty to the person, as exhibited by the figure. After the centre of the smallest or upper curve had been raised against the back of the neck, both ends were drawn over the shoulders, so as to hang down perpendicularly in front, like the Greek pallium (see wood-cut s. PALLIUM, 1.), but without any brooch under the chin; the right one was then taken up and drawn tight under the chin, so as not to produce any sinus, and then cast over the left shoulder, so that the extremity fell like a lappet down the back, in which case both the arms would be completely covered by the drapery, as shown by the annexed example (Toga/1.2) from an engraved gem, also of Etruscan workmanship; or, if the wearer wished to leave his right arm free for action, instead of drawing the right side over the top of the shoulder, he passed it under the armpit (see the first figure), and then threw it over the opposite shoulder, in the manner exhibited by the third example (Toga/1.3) from an Etruscan statue of bronze. Moreover, in all these instances the restricted size of the drapery, as compared with the later styles of the same garment, satisfactorily explains why a toga of this kind is termed toga restricta. Suet. Aug. 73.
The first alteration introduced, as it is reasonable to conclude, under the republic, consisted in increasing the size of the drapery, without altering the character of its outline, which still retained the lunated form, when spread out, but consisted of a larger segment than the original semicircle, and thus produced a garment of intermediate size, between the first and early style just explained, and the last fashion described by the next paragraph; such as was usually worn by Augustus, and is distinguished by the expression, neque restricta, neque fusa (Suet. Aug. 73.), that is, neither scanty nor profuse. But these enlarged dimensions made it necessary to adopt some alteration in the manner of adjusting it upon the person, and led to the formation of a very short sinus (perquam brevis. Quint. xi. 3. 137.) which was first brought into use by the age which succeeded to the primitive one (Quint. l. c.); its object being to carry off the additional length given to the drapery, by depressing a certain portion of it in front of the person, in order that the end cast over the shoulder might not hang too low behind. The arrangement is distinctly exhibited on the annexed figure (Toga/1.4), from a statue in the library of St. Mark, at Venice; in which it will be perceived, upon a comparison with the preceding examples, that the right side, crossing the chest, instead of being drawn close under the chin, or tight under the arm-pit, is depressed a little in front, so as to form the short sinus above mentioned, and thus create a bed for the arm to rest in, which is itself completely convered, leaving nothing but the hand and a small part of the chest exposed. This is the attitude intended by the expression brachium veste continebatur (Quint. l. c.); and was the one commonly adopted by the orators of the republic, who in this respect imitated the style of the Greeks. (Quint. l. c.) Indeed, all the examples hitherto produced present a very close resemblance to the figures draped in the Greek pallium (see the wood-cuts s. v.); the principal difference consisting in the greater number and amplitude of the folds exhibited on the toga, and which naturally result from the curved outline of the drapery, whereas those of the pallium are fewer and more scanty, and sit closer to the body, as would be a natural consequence from the rectangular form of the cloth which composed it. The distinction here pointed out has not been lost sight of in the wood-cuts; for it is sufficiently indicated by the different character of the markings upon them, as will appear by comparing them together, and observing them narrowly; but it would be at once self-evident if they could have been executed upon a larger scale, to give room for more perfect and minute details, or to those who may have an opportunity of inspecting the originals.
The ample toga, toga fusa (Suet. Aug. 73.), or last style, which prevailed in the age of Augustus and the succeeding emperors, though presenting a very different appearance to the eye, was only produced by still further enlarging the size of the drapery, until its outer circumference formed a complete circle (rotunda, Quint. xi. 3. 139.) when spread out upon the ground, in the manner of an Italian or Spanish cloak; the inner edge being likewise hollowed out, like the preceding instances, but in such a manner as would produce a greater breadth of fold when wound round the person, which Quintilian indicated by the expression "well cut" (apte caesa, l. c.). This increase of dimension, like the last one, produced a new fashion of adjustment, in which all resemblance to the Greek pallium is lost, and the drapery itself appears an entirely distinct dress. It was first put on the left shoulder, in such a manner that about one-third of its entire length covered the left side, and fell down in front of the wearer to the ground between the feet, as shown by the parts marked 1. in both the front and back views of the annexed examples (Toga/1.5). The rest was passed behind the back, and under the right arm; then turned down or doubled together at about the middle of its breadth, carried across the front of the body, and thrown over the left shoulder, so that it hung down to the heels, as shown by the back view in the illustration. The portion thus folded down produces a double sinus, as mentioned by Quintilian (l. c. 103.); one formed by the outer edge of the drapery folded over, which in the present example falls to the level of the knees (2.), in other statues reaches still lower, so as to set a little above the under edge of the drapery (ima toga, 3.), which Quintilian considers the most becoming (decentissimus); the other produced by the double part of the fold (4), and proceeding, as above mentioned, from under the right arm to the top of the left shoulder, so as to present the appearance of a shoulder-belt (balteus. Quint. l. c.); but which, it is directed, should lie, as it here does, easily across the breast, and not to be drawn so straight and tight as in the earliest manner, exemplified by the third illustration to this article, nor yet so loose as the Greek style, exhibited by the fourth figure — nec strangulet, nec fluat. (Quint. l. c.) Lastly, as the end of that side which was first put over the left shoulder would have trailed upon the ground and impeded the motion of the wearer (Suet. Cal. 35.), in consequence of the great length of the entire piece of drapery, a part of it was drawn up from underneath this belt or upper sinus (4.), and turned over it in a small round fold (5.), termed umbo (Tertull. de Pall. 5.), which thus kept it at a proper level. The illustration, presenting a front view, is from a statue of the Villa Pamfili; the other, with the back turned, from a statue of the Villa Medici.
Another method of adjusting the toga, termed CINCTUS GABINUS, is explained and illustrated under that term.
2. Toga praetexta. A toga ornamented with a broad border of purple, originally derived from the Etruscans, and worn with the bulla by freeborn children of both sexes, as well as the chief magistrates, dictators, consuls, praetors, and aediles, the kings, and some priests, both at Rome and in the colonies. (Prop. iv. 1. 131. Liv. xxxiv. 7. Festus, s. v. Cic. Phil. ii. 43. Plin. H. N. ix. 63. Eutrop. i. 17.) It differed in no other respect than the addition of the border (which would not be represented by sculptors) from the examples above introduced, as is testified by numerous statues still existing of young persons wearing the toga with the bulla round their necks (Bartoli, Sep. 27. Mus. Borb. vii. 49. Mus. Pio-Clem. iii. 24. Villa Borghese v. 3. and 4.); in all which, and many other instances, the praetexta is adjusted in the same manner as exhibited by the two last figures.
3. Toga pura, or virilis. The common toga usually worn by men, made of white wool, without ornament or colour. Cic. Att. v. 20. Id. Phil. ii. 18.
4. Toga picta. A toga ornamented with embroidery (acu picta); originally worn together with the tunica palmata by the consul at his triumph; but, under the Empire, by the consuls, and also by the praetors when they celebrated the Circensian games; whence it is often to be seen on the consular diptychs of a late period, from one of which the annexed figure (Toga/4.1) is copied, representing the consul in his character of president of the games, holding up a handerkchief (mappa) as a signal for the races to commence. Liv. x. 7. Lamprid. Alex. Sev. 40.
5. Toga palmata. Sometimes used in the same sense as toga picta (Mart. vii. 2. Serv. ad Virg. Aen. xi. 334.); but the epithet palmata is more commonly given to the tunic worn under it.
6. A wrapper for books. Mart. x. 93. Same as MEMBRANA, 2.
* Toga/1.1
* Toga/1.2
* Toga/1.3
* Toga/1.4
* Toga/1.5
* Toga/4.1