The trophies erected to commemorate naval victories were usually ornamented with the beaks or acroteria of ships [ACROTERIUM; ROSTRA]; and were generally consecrated to Poseidon or Neptune. Sometimes a whole ship was placed as a trophy. Romans, who consequently adopted the Greek term. The hoop was used at the Gymnasia, and, therefore, on one of the gems in the Stosch collection at Berlin, which is engraved in the annexed wood-cut, it is accompanied by the jar of oil and the bay branch, the emblems of effort and of victory. On each side of this we have represented another gem from the same collection. Both of these exhibit youths trundling the hoop by means of the hook or key. These show the size of the hoop, which in the middle figure has also three small rings or bells on its circumfered the Greek practice of raising trophies on ence. Trochus, Hoop. TROJAE LUDUS. [CIRCUS, p. 81.] TROPAEUM (τρόπαιον, Att. τροπαίον) a trophy, a sign and memorial of victory, which was erected on the field of battle where the enemy had turned (Tрéπw, Tроπn) to flight, and in case of a victory gained at sea, on the nearest land. The expression for raising or erecting a trophy, is τροπαῖον στῆσαι οι στήσασθαι, to which may be added από or κατὰ τῶν πολεμίων. When the battle was not decisive, or each party considered it had some claims to the victory, both erected trophies. trophies. Trophies usually consisted of the arms, shields, helmets, &c. of the enemy that were defeated; and these were placed on the trunk of a tree, which was fixed on some elevation. The trophy was consecrated to some divinity, with an inscription (πíураμμа), recording the (ἐπίγραμμα), names of the victors and of the defeated party; whence trophies were regarded as inviolable, which even the enemy were not permitted to remove. Sometimes, however, a people destroyed a trophy, if they considered that the enemy had erected it without a sufficient cause. That rankling and hostile feelings might not be perpetuated by the continuance of a trophy, it seems to have been originally part of Greek international law that trophies should be made only of wood and not of stone or metal, and that they should not be repaired when decayed. It was not, however, uncommon to erect trophies of metal. Pausanias speaks of several which he saw in Greece. The Romans, in early times, never erected any trophies on the field of battle, but carried home the spoils taken in battle, with which they decorated the public buildings, and also the private houses of individuals. [SPOLIA.] Subsequently, however, the Romans adopt the field of battle; the first trophies of this kind were erected by Domitius Ahenobarbus and Fabius Maximus in B. c. 121, after their conquest of the Allobroges, when they built at the junction of the Rhone and the Isara towers of white stone, upon which trophies were placed adorned with the spoils of the enemy. Pompey also raised trophies on the Pyrenees after his victories in Spain; Julius Caesar did the same near Ziela, after his victory over Pharnaces, and Drusus, near the Elbe, to commemorate his victory over the Germans. Still, however, it was more common to erect some memorial of the victory at Rome than on the field of battle. The trophies raised by Marius to commemorate his victories over Jugurtha and the Cimbri and Teutoni, which were cast down by Sulla, Tropaeum, Trophy. and restored by Julius Caesar, must have been in the city. In the later times of the republic, and under the empire, the erection of triumphal arches was the most common way of commemorating a victory, many of which remain to the present day. [ARCUS.] The preceding cut contains a representation of a tropaeum, which Victory is engaged in erecting. The conqueror stands on the other side of the trophy, with his brows encircled with bay. TROPHIES. [TROPAEUM.] TRUA, dim. TŘULLA (тopúvn), derived from Tpów, Tóρw, &c., to perforate; a large and flat spoon or ladle, pierced with holes; a trowel. The following woodcut represents such a ladle. | TUBA. TUBA (σáλπiуs), a bronze trumpet, distinguished from the cornu by being straight, while the latter was curved. The tuba was employed in war for signals of every description, at the games and public festivals, and also at the last rites to the dead: those who sounded the trumpet at funerals were termed siticines, and used an instrument of a peculiar form. The tones of the tuba are represented as of a harsh and fear-inspiring character. The invention of the tuba is usually ascribed by ancient writers to the Etruscans. It has been remarked that Homer never introduces the σáλny in his narrative but in comparisons only, which leads us to infer that, although known in his time, it had been but recently introduced into Greece; and it is certain that, notwithstanding its eminently martial character, it was not until a later period used in the armies of the leading states. By the Greek tragedians its Tuscan origin is fully recognized. According to one account it was first fabricated for the Tyrrhenians by Minerva, who in consequence was worshipped by the Argives under the title of Záhπiy§, while at Rome the tubilustrium, or purification of sacred trumpets, was performed on the last day of the Quinquatrus. [QUINQUATRUS.] There appears to have been no essential difference in form between the Greek and Roman or Tyrrhenian trumpets. Both were TUNICA. long, straight, bronze tubes, gradually increasing in diameter, and terminating in a bell-shaped aperture. They present precisely the same appearance on monuments of very different dates, as may be seen from the cuts annexed. TUBILU ́STRIUM. [QUINQUATRUS.] TULLIAʼNUM. [CARCER.] TUMULTUA'RII. [TUMULTUS.] TUMULTUS, the name given to a sudden or dangerous war in Italy or Cisalpine Gaul, and the word was supposed by the ancients to be a contraction of timor multus. It was, however, sometimes applied to a sudden or dangerous war elsewhere; but this does not appear to have been a correct use of the word. Cicero says that there might be a war without a tumultus, but not a tumultus without a war; but it must be recollected that the word was also applied to any sudden alarm respecting a war; whence we find a tumultus often spoken of as of less importance than a war, because the results were of less consequence, though the fear might have been much greater than in a regular war. In the case of a tumultus there was a cessation from all business (justitium), and all citizens were obliged to enlist without regard being had to the exemptions (vacationes) from military service which were enjoyed at other times. As there was not time to enlist the soldiers in the regular manner, the magistrate who was appointed to command the army displayed two banners (vexilla) from the capitol, one red, to summon the infantry, and the other green, to summon the cavalry, and said Qui rempublicam salvam vult, me sequatur. Those that assembled took the military oath together, instead of one by one, as was the usual practice, whence they were called conjurati, and their service conjuratio. Soldiers enlisted in this way were termed Tumultuarii or Subitarii. TUNICA (χιτών, dim. χιτωνίσκος, χιτώ viov), an under-garment. 343 ment universally adopted by men through the whole of Greece. The distinction between the Doric and Ionic chiton still continued in the dress of women. The Spartan virgins only wore this one garment, and had no upper kind of clothing, whence it is sometimes called Himation [PALLIUM] as well as Chiton. They appeared in the company of men without any farther covering; but the married women never did so without wearing an upper garment. This Doric chiton was made, as stated above, of woollen stuff it was without sleeves, and was fastened over both shoulders by clasps or buckles (πóρлal, repóval), which were often of considerable size. It was frequently so short as not to reach the knee. It was only joined together on one side, and on the other was left partly open or slit up (oxoTòs XITúv), to allow a free motion of the limbs. The following cut represents an Amazon with a chiton of this kind: some parts of the figure appear incomplete, as the original is mutilated. Doric Chiton. The Ionic chiton, on the contrary, was a long and loose garment, reaching to the feet 1. GREEK. The chiton was the only kind (Todńρns), with wide sleeves (kópai), and of Evdvua, or under-garment, worn by the was usually made of linen. The sleeves, Greeks. Of this there were two kinds, the however, appear generally to have covered Dorian and Ionian. The Dorian chiton, as only the upper part of the arm; for in ancient worn by males, was a short woollen shirt, works of art we seldom find the sleeve exwithout sleeves; the Ionian was a long linen tending further than the elbow, and somegarment, with sleeves. The former seems times not so far. The sleeves were sometimes to have been originally worn throughout the slit up, and fastened together with an elegant whole of Greece; the latter was brought over row of brooches. The Ionic chiton, accordto Greece by the Ionians of Asia. The Ionic ing to Herodotus, was originally a Carian chiton was commonly worn at Athens by men dress, and passed over to Athens from Ionia, during the Persian wars, but it appears to as has been already remarked. The women have entirely gone out of fashion for the male at Athens originally wore the Doric chiton, sex about the time of Pericles, from which but were compelled to change it for the Ionic, time the Dorian chiton was the under-gar-after they had killed with the buckles or clasps of their dresses the single Athenian | Greeks to wear an himation, or outer garment, who had returned alive from the expedition over the chiton but frequently the chiton was against Aegina, because there were no buckles or clasps required in the Ionic dress. The annexed cut represents the Muse Thalia wearing an Ionic chiton. The peplum has fallen off her shoulders, and is held up by the left hand. Ionic Chiton. Both kinds of dress were fastened round the middle with a girdle, and as the Ionic chiton was usually longer than the body, part of it was drawn up so that the dress might not reach further than the feet, and the part which was so drawn up overhung or overlapped the girdle, and was called кóλπoç. There was a peculiar kind of dress, which seems to have been a species of double chiton, called Diploïs (Sinλois), Diploidion (Sirhoidi ov), and Hemidiploïdion (nudinholdtov). It appears not to have been a separate article of dress, but merely the upper part of the cloth forming the chiton, which was larger than was required for the ordinary chiton, and was therefore thrown over the front and back. The following cuts will give a clearer idea of the form of this garment than any description. Since the Diploïdion was fastened over the shoulders by means of buckles or clasps, it was called Epomis (èπwμíç), which is supposed by some writers to have been only the end of the garment fastened on the shoulder. The chiton was worn by men next their skin; but females were accustomed to wear a chemise (XITúviov) under their chiton. It was the practice among most of the Diploïdia, Double Chitons. worn alone. A person who wore only a chiton was called μονοχίτων (οἰοχίτων in Homer), an epithet given to the Spartan virgins. In the same way, a person who wore only an himation, or outer garment, was called axírov. The Athenian youths, in the earlier times, wore only the chiton, and when it became the fashion, in the Peloponnesian war, to wear an outer garment over it, it was regarded as a mark of effeminacy. 2. ROMAN. The Tunica of the Romans, like the Greek chiton, was a woollen under garment, over which the toga was worn. It was the Indumentum or Indutus, as opposed to the Amictus, the general term for the toga, pallium, or any other outer garment. [AMICTUS.] The Romans are said to have had no other clothing originally but the toga; and when the tunic was first introduced, it was merely a short garment without sleeves, and was called Colobium. It was considered a mark of effeminacy for men to wear tunics with long sleeves (manicatae) and reaching to the feet (talares). The tunic was girded (cincta) with a belt or girdle around the waist, but it was usually worn loose, without being girded, when a person was at home, or wished to be at his ease. Hence we find the terms cinctus, praecintus, and succinctus, applied, like the Greek evwvos, to an active and diligent person, and discinctus to one who was idle or dissolute. The form of the tunic, as worn by men, is represented in many wood-cuts in this work. In works of art it usually terminates a little above the knee; it has short sleeves, covering only the upper part of the arm, and is girded TUNICA. TURRIS. 345 at the waist (see cuts, pp. 22, 228): the | dom find the sleeves covering more than the sleeves sometimes, though less frequently, ex- upper part of the arm. Sometimes the tunics tend to the hands. were adorned with golden ornaments called Leria. Both sexes at Rome usually wore two tunics, an outer and an under, the latter of which was worn next the skin, and corresponds to our shirt and chemise. The under tunics were called Subucula and Indusium, the former of which is supposed to be the name of the under tunic of the men, and the latter of that of the women: but this is not certain. The word Interula was of later origin, and seems to have been applied equally to the under tunic of both sexes. It is doubtful whether the Supparus or Supparum was an outer or an under garment. Persons sometimes wore several tunics, as a protection against cold: Augustus wore four in the winter, besides a subucula. As the dress of a man usually consisted of an under tunic, an outer tunic, and the toga, so that of a woman, in like manner, consisted of an under tunic, an outer tunic, and the palla. The outer tunic of the Roman matron was properly called stola [STOLA], and is represented in the wood-cut on p. 303; but the annexed wood-cut, which represents a Roman empress in the character of Concordia, or Abundantia, gives a better idea of its form. Roman Tunic. Over the tunic or stola the palla is thrown in many folds, but the shape of the former is still distinctly shown. The tunics of women were larger and longer than those of men, and always had sleeves; but in ancient paintings and statues we sel Poor people, who could not afford to purchase a toga, wore the tunic alone, whence we find the common people called Tunicati. A person who wore only his tunic was frequently called Nudus. Respecting the clavus latus and the clavus angustus, worn on the tunics of the senators and equites respectively, see CLAVUS LAtus, CLAVUS ANGUSTUS. When a triumph was celebrated, the conqueror wore, together with an embroidered toga (Toga picta), a flowered tunic (Tunica palmata), also called Tunica Jovis, because it was taken from the temple of Jupiter Capitolinus. Tunics of this kind were sent as presents to foreign kings by the senate. TÜRI BÜLÜM (Ovμιaтýρlov), a censer. The Greeks and Romans, when they sacrificed, commonly took a little frankincense out of the acerra, and let it fall upon the flaming altar. More rarely they used a censer, by means of which they burned the incense in greater profusion, and which was in fact a small moveable grate or focutus. The following wood-cut, taken from an ancient painting, shows the performance of both of these acts at the same time. Ma Turibulum, Censer. TURMA. [EXERCITUS, p. 142.] TURRIS (Túpyoç), a tower. Moveable towers were among the most important engines used in storming a fortified place. They were generally made of beams and planks, and covered, at least on the three sides which were exposed to the besieged, with iron, not only for protection, but also to increase their weight, and thus make them steadier. They were also covered with raw hides, and quilts, moistened, and sometimes with alum, to protect them from fire. Their height was such as to overtop the walls, |