Greek Costume, then, is something fully sharing in the national characteristics of harmony, simplicity, individuality. It is easy to see how admirably this style of dress is adapted to furnish over ready models and inspiration for the sculptor. Unconventional in its arrangement, it is also unconventional in its color. A masculine crowd is not one unmitigated swarm of black and dark grays or browns, as with the multitude of a later age. On the contrary, white is counted as theoretically the most becoming color on any common occasion for either sex; and on festival days even grave and elderly men will appear with chitons worked with brilliant embroidery along the borders, and with splendid himatia of some single clear hue—violet, red, purple, blue, or yellow. As for the costume of the groom at a wedding, it is far indeed from the "conventional black" of more degenerate days. He may well wear a purple-edged white chiton of fine Milesian wool, a brilliant scarlet himation, sandals with blue thongs and clasps of gold, and a chaplet of myrtle and violets. His intended bride is led out to him in even more dazzling array. Her white sandal-thongs are embroidered with emeralds, rubies, and pearls. Around her neck is a necklace of gold richly set,—and she has magnificent golden armlets and pearl eardrops. Her hair is fragrant with Oriental nard, and is bound by a purple fillet and a chaplet of roses. Her ungloved fingers shine with jewels and rings. Her main costume is of a delicate saffron, and over it all, like a cloud, floats the silvery tissue of the nuptial veil.
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