- Wild-sow and pigs
The wild animals indigenous in Babylonia appear to be chiefly the following:—the lion, the leopard, the hyeena, the lynx, the wild-cat, the wolf, the jackal, the wild-boar, the buffalo, the stag, the gazelle, the jerboa, the fox, the hare, the badger, and the porcupine. The Mesopotamian lion is a noble animal. The wild-boar frequents the river banks and marshes, as depicted in the Assyrian sculptures. - Chaldean Reeds (from a slab of Sennacherib)
Among the vegetable products of Chaldaea must be noticed, as almost peculiar to the region, its enormous reeds. These, which are represented with much spirit in the sculptures of Sennacherib, cover the marshes in the summer-time, rising often to the height of fourteen or fifteen feet. The Arabs of the marsh region form their houses of this material, binding the stems of the reeds together, and bending them into arches, to make the skeleton of their buildings; while, to form the walls, they stretch across from arch to arch mats made of the leaves. From the same fragile substance they construct their terradas or light boats, which, when rendered waterproof by means of bitumen, will support the weight of three or four men. - Binding and pulling grain in the Egypt of the pharaohs
Binding and pulling grain in the Egypt of the pharaohs - Hippocrates of Cos
Hippocrates - Hippocrates of Cos
Two other men with names greatly celebrated among the ancients may be referred to here, as representatives of what may be termed the Natural History group of sciences. One of them was a contemporary of Plato, the other was a pupil of Aristotle. The first is the famous physician HIPPOCRATES B.C. 470-375), to whom is attributed the foundation of medicine as a science. The healing of wounds and the cure of diseases is an art, and as such must have been practised in some form at a period coeval with the existence of mankind. The successful practice of this art depends largely upon knowledge of the causes, symptoms, and course of diseases, and upon a knowledge of the anatomy and physiology of the human body. - Plato (from an ancient gem)
PLATO (B.C. 427 -374), whose name is so illustrious in philosophy has directly and indirectly largely influenced the course of intellectual development and scientific thought. Before Plato had become the disciple of Socrates, he had been a student of the philosophY of Heraclitus, one of whose prominent doctrines was that all things are in a state of ceaseless change, so that, for example, no one could ever be twice on the same river, inasmuch as the water is ever changing. About the age of twenty Plato became a disciple of Socrates, and continued so until the death of the latter, nine years afterwards. Plato then visited various countries, as Egypt, Persia, Sicily, and Italy. On returning to Athens he established his renowned school of philosophy amid the groves of Academus, near Athens; and this place has given a common title to schools of art, learning, and science throughout the world. Plato lived to an advanced age and left behind him many writings, now esteemed amongst the most precious legacies that antiquity has bequeathed to us. It was the practice of Socrates to constantly seek for definitions of justice, beauty, and so on, and this of course implied that he thought that in some things at least there was something permanent. Plato managed in his famous doctrine of Ideas to reconcile and combine the conflicting views of Heraclitus and of Socrates. This doctrine gave rise aftenvards to endless disputations, which for the most part diverted men's minds from the observation- of nature. - Anhai bowing before her father and mother. The Elysian Fields. From the Papyrus of Anhai (XXIInd dynasty)
Anhai bowing before her father and mother. The Elysian Fields. From the Papyrus of Anhai (XXIInd dynasty) - The weighing of the heart of the scribe Ani in the Balance in the presence of the gods
The weighing of the heart of the scribe Ani in the Balance in the presence of the gods. - The soul of Rā
The soul of Rā (1) meeting the soul of Osiris (2) in Tattu, The cat (i.e., Rā) by the Persea tree (3) cutting off the head of the serpent which typified night. - The Elysian Fields of the Egyptians according to the Papyrus of Nebseni (XVIIIth dynasty)
The Elysian Fields of the Egyptians according to the Papyrus of Nebseni (XVIIIth dynasty) - The Elysian Fields of the Egyptians according to the Papyrus of Ani (XVIIIth dynasty)
The Elysian Fields of the Egyptians according to the Papyrus of Ani (XVIIIth dynasty) - The Creation
The god Nu rising out of the primeval water and bearing in his hands the boat of Rā, the Sun-god, who is accompanied by a number of deities. In the upper portion of the scene is the region of the underworld which is enclosed by the body of Osiris, on whose head stands the goddess Nut with arms stretched out to receive the disk of the sun. - Isis suckling Horus in the papyrus swamp
1. Isis suckling her child Horus in the papyrus swamps. 2. Thoth giving the emblem of magical protection to Isis. 3. Amen-Rā presenting the symbol of "life" to Isis. 4. The goddess Nekhebet presenting years, and life, stability, power, and sovereignty to the son of Osiris. 5. The goddess Sati presenting periods of years, and life, stability, power, and sovereignty to the son of Osir - Horus, the son of Isis, leading the scribe Ani into the presence of Osiris, the god and judge of the dead
Horus, the son of Isis, leading the scribe Ani into the presence of Osiris, the god and judge of the dead; before the shrine of the god Am kneels in adoration and presents offerings. - Akhnaton driving with his Wife and Daughter
Akhnaton driving with his Wife and Daughter - Akhnaton and Nefertiti with their three Daughters
The charm of family life, and the sanctity of the relationship of husband and wife, parents and children, seems to have been an important point of doctrine to him. He urged his nobles, also, to give their attention to their families; and in the tomb of Panehesy, for example, one may see representations of that personage sitting with his wife and his three daughters around him. - Akhnaton and his Wife and Children
In his capacity as Pharaoh and “son of God,” Akhnaton demanded and received a very considerable amount of ceremonial homage; but he never blinded himself to the fact that he was primarily but a simple man. He most sincerely wished that his private life should be a worthy example to his subjects, and he earnestly desired that it should be observed in all its naturalness and simplicity. He did his utmost to elevate the position of women and the sanctity of the family by displaying to the world the ideal conditions of his own married life. He made a point of caressing his wife in public, putting his arm around her neck in the sight of all men. As we have seen, one of his forms of oath was, “As my heart is happy in the Queen and her children....” He spoke of his wife always as “Mistress of his happiness, ... at hearing whose voice the King rejoices.” “Lady of grace” was she, “great of love” and “fair of face.” Every wish that she expressed, declared Akhnaton, was executed by him. Even on the most ceremonious occasions the queen sat beside her husband and held his hand, while their children frolicked around them; for such things pleased that gentle father more than the savour of burnt-offerings. It is seldom that the Pharaoh is represented in the reliefs without his family; and, in opposition to all tradition, the queen is shown upon the same scale of size and importance as that of her husband. Akhnaton’s devotion to his children is very marked, and he taught his disciples to believe that God was the father, the mother, the nurse, and the friend of the young. Thus, though “son of God,” Akhnaton preached the beauty of the human family, and laid stress on the sanctity of marriage and parenthood. - Thothmes IV. slaying Asiatics
When Thothmes IV. ascended the throne he was confronted by a very serious political problem. The Heliopolitan priesthood at this time was chafing against the power of Amon, and was striving to restore the somewhat fallen prestige of its own god Ra, who in the far past had been the supreme deity of Egypt, but had now to play an annoying second to the Theban god. Thothmes IV., as we shall presently be told by Akhnaton himself,[8] did not altogether approve of the political character of the Amon priesthood, and it may have been due to this dissatisfaction that he undertook the repairing of the great Sphinx at Gizeh, which was in the care of the priests of Heliopolis. The sphinx was thought to represent a combination of the Heliopolitan gods Horakhti, Khepera, Ra, and Atum, who have been mentioned above; and, according to a later tradition, Thothmes IV. had obtained the throne over the heads of his elder brothers through the mediation of the Sphinx—that is to say, through that of the Heliopolitan priests. By them he was called “Son of Atum and Protector of Horakhte, ... who purifies Heliopolis and satisfies Ra,” and it seems that they looked to him to restore to them their lost power. The Pharaoh, however, was a physical weakling, whose small amount of energy was entirely expended upon his army, which he greatly loved, and which he led into Syria and into the Sudan. His brief reign of somewhat over eight years, from 1420 to 1411 B.C., marks but the indecisive beginnings of the struggle between Amon and Ra, which culminated in the early years of the reign of his grandson Akhnaton. - The Artist Auta
There are only two artists of the period who are known by name. The one was a certain Auta, who is represented in a relief dating from some eight years after the change in the art had taken place. It is a significant fact that this personage held the post of master-artist to Queen Tiy; and it is possible that in him and his patron we have the originators of the movement. The king, however, was now old enough to take an active interest in such matters; and the other artist who is known by name, a certain Bek, definitely states that the king himself taught him. Thus there is reason to suppose that the young Pharaoh’s own hand is to be traced in the new canons, although they were instituted when he was but fifteen years old - The Art of Akhnaton compared with Archaic Art
1. The head of Akhnaton. From a contemporary drawing. 2. The head of a king. From an archaic statuette found by Professor Petrie at Abydos. 3. The head of Akhnaton. From a contemporary drawing. 4. The head of a prince. From an archaic tablet found by Professor Petrie at Abydos. 5. An archaic statuette found by Professor Petrie at Diospolis, showing the large thighs found in the art of Akhnaton. - An Example of the Friendly Relations between Syria and Egypt
In the twelfth year of his reign, the tribute of the vassal kingdoms reached such a high value that a particular record was made of it, and scenes showing its reception were sculptured in the tombs of Huya and Meryra II. An inscription beside the scene in the tomb of Huya reads thus:— Year twelve, the second month of winter, the eighth day.... The King ... and the Queen ... living for ever and ever, made a public appearance on the great palanquin of gold, to receive the tribute of Syria and Ethiopia, and of the west and the east. All the countries were collected at one time, and also the islands in the midst of the sea; bringing offerings to the King when he was on the great throne of the City of the Horizon of Aton, in order to receive the imposts of every land and granting them [in return] the breath of life. - The Gěrănŏs from a vase in the Museo Borbonico, Naples
Grown up men and women did not dance together, but the youth of both sexes joined in the Hormŏs or chain dance and the Gěrănŏs, or crane. The Gěrănŏs, originally from Delos, is said to have been originated by Theseus in memory of his escape from the labyrinth of Crete It was a hand-in-hand dance alternately of males and females. The dance was led by the representative of Theseus playing the lyre. - Panathenaeac dance, about the 4th century B.C
Panathenaeac dance, about the 4th century B.C. - Dancing Bacchante
Dancing Bacchante. From a vase in the British Museum. According to some authorities, one of the most primitive of the first class, attributed to Phrygian origin, was the Aloenes, danced to the Phrygian flute by the priests of Cybele in honour of her daughter Ceres. The dances ultimately celebrated in her cult were numerous: such as the Anthema, the Bookolos, the Epicredros, and many others, some rustic for labourers, others of shepherds, etc. Every locality seems to have had a dance of its own. Dances in honour of Venus were common, she was the patroness of proper and decent dancing; on the contrary, those in honour of Dionysius or Bacchus degenerated into revelry and obscenity. - Phoenician patera
Phoenician patera, from Idalium, showing a religious ritual dance before a goddess in a temple around a sun emblem. From the Phoenicians we have illustrated examples, but no record, whereas from their neighbours the Hebrews we have ample records in the Scriptures, but no illustrations. - Cyprian limestone group of Phoenician dancers
Cyprian limestone group of Phoenician dancers, about 6½ in. high. There is a somewhat similar group, also from Cyprus, in the British Museum. The dress, a hooded cowl, appears to be of great antiquity. - The hieroglyphics describe the dance
A favourite figure dance was universally adopted throughout the country, in which two partners, who were usually men, advanced toward each other, or stood face to face upon one leg, and having performed a series of movements, retired again in opposite directions, continuing to hold by one hand and concluding by turning each other round. - Greek figures in a solemn dance. From a vase at Berlin
Amongst the earliest representations that are comprehensible, we have certain Egyptian paintings and some of these exhibit postures that evidently had even then a settled meaning, and were a phrase in the sentences of the art. Not only were they settled at such an early period (B.C. 3000) but they appear to have been accepted and handed down to succeeding generations, and what is remarkable in some countries, even to our own times. - Double Pipes
- Egyptian Crotola or Castanets
Egyptian Crotola or Castanets - Egyptian Drums
Egyptian Drums - Triangular Musical instrument from Herculaneum
A Sambuca or triangular harp - Group of Harps and other musical instruments
Group of Harps and other musical instruments - Sistra
A framework with loose metal bars inserted, sometimes with metal rings added, shaken by the hand. - Assyrian Harpist , beating time with his foot
Assyrian Harpist , beating time with his foot - Damsels singing to the Sound of Timbrels
The next natural step for the use of music would be that of victory and triumph. The first notice of this kind is the song of Miriam. And here we may rightly conjecture the introduction of an Egyptian, and therefore cultured element. " Miriam took a timbrel in her hand, and all the women went out after her with timbrels and with dances " (Exod. xv. 2o). - Egyptian Harp, showing its original bow-like shape
The history of the Harp may be traced with much the same clearness. The twanging of the bow probably suggested the original idea; and the variation of sound was obtained by lengthening and shortening a multiplicity of strings. These were made, at first, of some fibrous material, or the long hair of animals. Perhaps even the tresses of wives and daughters were turned to such musical use, as we read in the Greek and Roman historians that the bows of the Carthaginians were thus supplied with strings in their last war with the Romans. Harps, too, like the bow, were portable, about four feet long; and all Oriental harps, so far as we can judge from surviving sculptures, unlike ours, had no front pillar. Their bow-like shape and characteristics long remained. Without entering at greater length on their further and later development, we can easily imagine how soon the need of pegs for tightening and loosening the strings was felt; how a sounding-board was found to add to the body of sound; how Strings of fibre or hair were supplanted by those of catgut, of steel, and even of silver. Whether the fingers or whether the quill and plectrum were the first manipulators of the strings, is a matter of debate. Certainly fingers were made long before either quills or plectra! Be it as it may, after these latter had been introduced, hammers wielded by the hand in due time followed. And thus we see how the "stringed instruments" of primaeval and ancient days became the parent of the dulcimer, the spinet, the harpsichord, and the piano. - Double Pipes
".. put two such pipes into the mouth, and you get the double Egyptian and Assyrian pipe, such as may be still seen sculptured on their monuments. In the holes or apertures of some of these pipes, which have been discovered in the tombs and other places, small straws have been found, plainly intended to act the part of reeds in our modern oboes and clarionets. " - Single perforated pipe
The first and primaeval musical instruments must have been of the simplest kind. A hollow reed, uttering, when blown with the mouth, one monotonous sound would be the first successful attempt at such an invention. The next step was to vary the sound by perforating it with holes, like to our " Penny Whistle." - Clay Pipe from Babylon
“Clay pipe from Babylon, the most ancient yet found, apparently modelled to imitate the skull of some animal. It still sounds clearly the intervals of the common chord.” - Greek merchant ship
Greek merchant ship - Greek war galley
At this point, it is worth pausing to consider in detail the war galley which the Phœnicians had developed and which they handed down to the Greeks at this turning point in the world's history. The bireme and the trireme were adopted by the Greeks, apparently without alteration, save that at Salamis the Greek galleys were said to have been more strongly built and to have presented a lower freeboard than those of the Phœnicians. - Wagon and Boat, from a mummy bandage
A singular instance of the wagon and funeral-boat in combination has been found on the bandage of a mummy, now preserved in the collection of S. d'Athanasi. It is supposed by some modern authors that Herodotus, in speaking of the religious ceremonies in honor of Mars, as performed in the city of Pampremis, refers to this vehicle. Among other things, he tells us that the priests placed an image in a wooden temple, gilded all over, which they carried to a sacred dwelling; "then the few who were left about the image draw a four-wheeled carriage containing the temple and the image." - Elegant Sledge-Hearse
A very showy affair is found in the next illustra-tion, rivaling the mourning equipages of modern times. Among other figures appear emblems of stability and security on the side panels. In this instance the undertaker removed a portion of the paneling so as to expose the head of the mummy-case. It would seem from this, that the modern practice of showing a coffin through a glass side is of great antiquity. Indeed, we seldom find anything new that has not an antiquarian origin, thus verifying the words of the wise man, "There is no new thing under the sun." - Egyptian Sledge-Hearse
In one instance, as in the figure, taken from a tomb in Thebes, — an attendant is shown, pouring some kind of a liquid from a jar upon the ground, over which the sledge is drawn, to facilitate its progress. Examples of this nature are frequently seen in Egyptian bass-reliefs, depicting the removal of heavy loads. On this sledge-hearse the mummy-case, enclosing the corpse, is distinctly observed. With characteristic tenderness, two females steady the mummy as it moves along over the rough surface of the ground; the priest, meanwhile, mounted in front, scroll in hand, recites a panegyric, or perhaps delivers a funeral oration in honor of the dead. - An Egyptian Funeral Cortege
It need not be inferred from what we have written that all bodies were hidden away in the tomb. On the contrary, many were consumed on the funeral pile, some were buried in the earth, while others again, after they had come from the embalmer's shop, were kept in the house for years, until finally they were deposited in the catacombs. The mourning for a good king lasted the space of seventy days, during which the people sang hymns commemorating his virtues, reading their garments, and covering their heads with mud and dust, some three hundred persons of both sexes coming together twice each day to publicly sing a funeral dirge, the entire nation abstaining from meat and other dainties during the whole time. On the last day of mourning, or in some instances many months afterward, the time for sepulture arrived. Supposing that an embalmed king is to be laid away, perhaps in a tomb on which a lifetime of preparation has been bestowed, the body is now brought out from the closet, where it has been carefully stored since the funeral ceremonies were performed, and given to the undertaker, who comes with a sledge-hearse, as shown in the engraving. The several figures are thus arranged: in the center appear the sacred cows, decked with elegant blankets and ornamental head and neck gear, which last (of a peculiar pattern) is found attached to the heads of all female animals, in Egyptian bass-reliefs, drag-ropes in this case being fastened to the horns, evidently " more for ornament than use," two attendants furnishing the motive-power, while the third acts as conductor. In the foreground are four more representatives of the genus homo. First, we notice the priest, as indicated by the peculiarity of his dress. He appears in the act of anointing the dead body with sacred oil, or some other liquid, from a vessel of peculiar shape. Just in front of the priest, squatting near the earth, we find a mercenary mourner, her hair disheveled, her breasts exposed, and her hands fixed in the position most expressive of grief, no doubt crying as sincerely as in hired mourning it has ever been done. Around the third figure centers the greatest interest, since it represents the dead dressed in cerements for the tomb, to which the body is now about to be carried. The fourth, supporting the corpse in a leaning position, represents an attendant, who, in all probability, officiates both as priest and undertaker. - Egyptian bronze representing a flying man
In the Hall of the Gods, in the Egyptian Museum, there is a small bronze plaque of great antiquity, where we see in relief a man flying the two extended wings. It is true that we agree to consider this piece as a symbolic composition rather than as the representation of an aircraft. - Roman girl and tibia
The British museum contains a mosaic figure of a Roman girl playing the tibia, which is stated to have been disinterred in the year 1823 on the Via Appia. Here the holmos or mouth-piece, somewhat resembling the reed of our oboe, is distinctly shown. The finger-holes, probably four, are not indicated, although they undoubtedly existed on the instrument. - Roman trumpets
The tuba was a straight trumpet. Both the cornu and the tuba were employed in war to convey signals. The same was the case with the buccina,—originally perhaps a conch shell, and afterwards a simple horn of an animal,—and the lituus, which was bent at the broad end but otherwise straight. - Hydraulic Organ
To the Etruscans is also attributed by some the invention of the hydraulic organ. The Greeks possessed a somewhat similar contrivance which they called hydraulos, i.e. water-flute, and which probably was identical with the organum hydraulicum of the Romans. The instrument ought more properly to be regarded as a pneumatic organ, for the sound was produced by the current of air through the pipes; the water applied serving merely to give the necessary pressure to the bellows and to regulate their action. The pipes were probably caused to sound by means of stops, perhaps resembling those on our organ, which were drawn out or pushed in. The construction was evidently but a primitive contrivance, contained in a case which could be carried by one or two persons and which was placed on a table. The highest degree of perfection which the hydraulic organ obtained with the ancients is perhaps shown in a representation on a coin of the emperor Nero, in the British museum. Only ten pipes are given to it and there is no indication of any key board, which would probably have been shown had it existed. The man standing at the side and holding a laurel leaf in his hand is surmised to represent a victor in the exhibitions of the circus or the amphitheatre. The hydraulic organ probably was played on such occasions; and the medal containing an impression of it may have been bestowed upon the victor. - Etruscan cornu
The flutes of the Etruscans were not unfrequently made of ivory; those used in religious sacrifices were of box-wood, of a species of the lotus, of ass’ bone, bronze and silver. A bronze flute, somewhat resembling our flageolet, has been found in a tomb; likewise a huge trumpet of bronze. An Etruscan cornu is deposited in the British museum, and measures about four feet in length. - A diaulos
The single flute was called monaulos, and the double one diaulos. A diaulos, which was found in a tomb at Athens, is in the British museum. The wood of which it is made seems to be cedar, and the tubes are fifteen inches in length. Each tube has a separate mouth-piece and six finger-holes, five of which are at the upper side and one is underneath. - Greek Lyres
The Greeks had lyres of various kinds, more or less differing in construction, form, and size, and distinguished by different names; such as lyra, 30kithara, chelys, phorminx, etc. Lyra appears to have implied instruments of this class in general, and also the lyre with a body oval at the base and held upon the lap or in the arms of the performer; while the kithara had a square base and was held against the breast. These distinctions have, however, not been satisfactorily ascertained. The chelys was a small lyre with the body made of the shell of a tortoise, or of wood in imitation of the tortoise. The phorminx was a large lyre; and, like the kithara, was used at an early period singly, for accompanying recitations. It is recorded that the kithara was employed for solo performances as early as B.C. 700. - Greek Flutes
The flute, aulos, of which there were many varieties, was a highly popular instrument, and differed in construction from the flutes and pipes of the ancient Egyptians. Instead of being blown through a hole at the side near the top it was held like a flageolet, and a vibrating reed was inserted into the mouth-piece, so that it might be more properly described as a kind of oboe or clarionet. The Greeks were accustomed to designate by the name of aulos all wind instruments of the flute and oboe kind, some of which were constructed like the flageolet or like our antiquated flûte à bec. - Grecian harp and lyre
The representation of Polyhymnia with a harp, depicted on a splendid Greek vase now in the Munich museum, may be noted as an exceptional instance. This valuable relic dates from the time of Alexander the great. The instrument resembles in construction as well as in shape the Assyrian harp, and has thirteen strings. Polyhymnia is touching them with both hands, using the right hand for the treble and the left for the bass. She is seated, holding the instrument in her lap. Even the little tuning-pegs, which in number are not in accordance with the strings, are placed on the sound-board at the upper part of the frame, exactly as on the Assyrian harp. If then we have here the Greek harp, it was more likely an importation from Asia than from Egypt. In short, as far as can be ascertained, the most complete of the Greek instruments appear to be of Asiatic origin. - Ancient Egyptian flute concert
A flute-concert is painted on one of the tombs in the pyramids of Gizeh and dates, according to Lepsius, from an age earlier than B.C. 2000. Eight musicians are performing on flutes. Three of them, one behind the other, are kneeling and holding their flutes in exactly the same manner. Facing these are three others, in a precisely similar position. A seventh is sitting on the ground to the left of the six, 13with his back turned towards them, but also in the act of blowing his flute, like the others. An eighth is standing at the right side of the group with his face turned towards them, holding his flute before him with both hands, as if he were going to put it to his mouth, or had just left off playing. He is clothed, while the others have only a narrow girdle round their loins. Perhaps he is the director of this singular band, or the solo performer who is waiting for the termination of the tutti before renewing his part of the performance. The division of the players into two sets, facing each other, suggests the possibility that the instruments were classed somewhat like the first and second violins, or the flauto primo and flauto secondo of our orchestras. The occasional employment of the interval of the third, or the fifth, as accompaniment to the melody, is not unusual even with nations less advanced in music than were the ancient Egyptians. - A supposed monumental head of Sesostris
The most renowned monarch that ever reigned over Egypt was Sesostris. The date of his reign is not precisely known; but there is a carving in stone, lately found in Egypt among the ruins of an ancient city. which is more than three thousand years old, and supposed to be a portrait of him. It is doubtless the oldest portrait in existence. This king formed the design of conquering the world, and set out from Egypt with more than a million of foot soldiers, twenty-four thousand horsemen, and twenty-seven thousand armed chariots. His ambitious projects were partially successful. He made great conquests, and wherever he went he caused marble pillars to be erected, and inscriptions to be engraved on them, so that future ages might not forget his renown. The following was the inscription on most of the pillars: - SESOSTRIS, KING OF KINGS, HAS CONQUERED THIS TERRITORY BY HIS ARMS. But the marble pillars have long ago crumbled into dust, or been buried under the earth; and the history of Sesostris is so obscure, that some writers have even doubted whether he made any conquest's at all. - Lady's Dress in the days of Greece
Lady's Dress in the days of Greece - Egyptian Corset
Egyptian Corset - Man Lion