CLIP´EUS
CLIP´EUS also CLIPEUM
(
ἀσπίς, σάκος), the large shield used
by the Greeks and the Romans, which was originally of circular shape, and is
said to have been first used by Proetus and Acrisius of Argos (
Paus. 2.25.6), and therefore is called
clipeus Argolicus (
Verg. A.
3.637; cf. Pollux, 1.149). According to other accounts, however,
it was derived from the Egyptians (
Hdt. 4.180;
Plat.
Tim. 24 B).
One of the earliest extant representations of Greek shields is to be found in
the engraving on a sword-blade found at Mycenae, representing a combat
between men and lions (Helbig,
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Early Greek shield. (Helbig.)
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Homerische Epos, p. 232). It will be seen that some of the men
carry shields resembling a
scutum, others
shields which recall the shape of the Boeotian shield, and that each form
covers about three quarters of the person, and is partly supported by a
strap passing round the shoulders. But the Homeric poems, which are probably
of later date, are by no means in complete agreement with this
representation.
The heroes of the Iliad carry a shield which is round (3.347; 5.453), and
large enough to cover the whole man (
αμφιβρότη, 2.389;
ποδηνεκής,
15.646;
περμιόεσσα, 16.803: the shield of
Ajax is like a tower, 7.219; cf. Tyrtaeus, 11.23, Bergk). It is composed by
sewing together circular pieces of untanned oxhide (
Il. 4.447;
5.452;
7.238;
12.105), varying in number (four in 15.479; seven in 7.245). These
are strengthened on both sides by plates of bronze, the outer hides and
plates being of smaller diameter, so that on the edge of the shield both
hide and metal are thinnest (20.275).
Sarpedon's shield is forged of plates of bronze, to which ox-hides are
attached on the inside by golden rods or bolts (
ῥάβδοι) running all round the circle (12.294-8). Ten
circles of bronze run round Agamemnon's shield (11.32). Achilles' shield is
composed entirely of metal in five plates--two of bronze, two of tin, and a
central one of gold (20.270). The structure is bound together by a metal rim
(
ἄντυξ), which in Achilles' shield is
triple (18.479). At the centre of the shield is a metal boss (
ὀμφαλός). Agamemnon's shield is studded with
twenty bosses of tin and a central one of cyanus (11.34).
[p. 1.459]Concerning the appliances for wielding the shield, we have no
clear indication: the two
κανόνες mentioned
in 13.407 and 8.193 may be rods running across the hollow part of the
shield, and serving as handles. When not in use, the shield is suspended by
the
τελαμών [
BALTEUS], which passes round the breast, the shield
hanging at the back (14.404; cf.
Hdt. 1.171).
The practice of decorating the shield has commenced: for to pass over the
wonders of Achilles' shield, in which we probably have the effect of the
poet's imagination working on some production of Assyrian or Egyptian art
which he had seen, Agamemnon's shield bears a Gorgon's head with figures of
Terror and Fear, designed perhaps less as an ornament than to alarm the foe
(
Il. 11.36).
The
λαισήϊα πτεροέντα, which in 5.453 and
12.426 are contrasted with the
ἀσπίδες
εὔκυκλοι, are explained by the Scholiasts as light and
diminutive
ἀσπίδες. The epithet
πτεροεὶς may refer to some apron, such as is
figured below.
Turning from the Iliad to the representations and texts of later times, we
observe no shields which, like those of heroic times, protect the whole of
the warrior's body: they usually cover him from the neck to the knees.
Besides the
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Circular Argive shield. (Aegina Marbles.)
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circular or Argive shield, we frequently find represented an oval
shield with a strong rim and apertures in the middle of each side (
κεγχρώματα,
Eur. Phoen. 1386), through which to watch
the enemy. This is known as the Boeotian shield, being commonly found on the
coins of the Boeotian cities (Gerhard,
Auserlesenc
Vasenbilder, pl. cxcv.).
The shield was now formed entirely of brass (
πάγχαλκος). An apron, apparently of leather or thick stuff, was
sometimes attached to it to protect in some measure the warrior's legs,
especially when he did not wear greaves. It was ornamented with patterns or
figures. A shield furnished with this appliance is given on the next column,
and another under
TUBA
The simplest arrangement for holding the shield consisted of two metal
handles, one to pass the arm through, the other to grasp with the hand; but
we very frequently observe the
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Shield furnished with an apron. (Gerhard, pl. clxv.)
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arrangement shown below (from one of the terra-cotta vases
published by Tischbein, iv. tab. 20), which may be explained thus:--
A band of metal, wood, or leather, was placed across the inside from rim to
rim, like the diameter of a circle, to which were affixed a number of small
iron bars, crossing each other somewhat in the form of the letter X, which
met the arm below the inner bend of the elbow joint, and served to steady
the orb. This apparatus, which is said to have been invented by the Carians
(
Hdt. 1.171), was termed
ὄχανον or
ὀχάνη. Around the inner edge ran a leather
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Greek shield. (Greek vase.)
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thong (
πόρπαξ), fixed by nails at
certain distances, so that it formed a succession of loops all round, which
the soldier grasped with his hand (
ἐμβαλὼν πόρπακι
γενναίαν χέρα,
Eur. Hel. 1396;
“
πολυρράφῳ πόρπακι,”
Soph. Aj. 576
). But it is somewhat difficult to distinguish these terms, for
Plutarch tells us that when Cleomenes III. introduced among the Spartans
[p. 1.460]the
σάρισα,,
which employed both hands, in place of the spear, he also made them carry
the shield by the
ὀχάνη, instead of the
πόρπαξ (
Cleom. 11),
while others (e.g. the Scholiast on
Aristoph.
Kn. 849) treat them as convertible terms.
At the close of a war it was customary for the Greeks to suspend their
shields in the temples, when the
πόρπακες
were taken off, in order to render them unserviceable in case of any sudden
or popular outbreak ; which custom accounts for the alarm of Demos
(Aristoph.
l.c.), when he saw them hanging up with
their handles on. Sometimes shields were kept in a case (
σάγμα,
Aristoph. Ach. 574;
Eur. Andr. 617). In Gerhard (
op. cit. pl. cclxix.) we see a
σάγμα,, made of some stuff, being removed from a shield.
The
ἀσπὶς was the characteristic defensive
weapon (
ὅπλον) of the heavy-armed infantry
(
ὁπλῖται) during the historical times
of Greece, and is opposed to the lighter
πέλτη and
γέρρον: hence we find
the word
ἀσπὶς used to signify a body of
ὁπλῖται (
Xen.
Anab. 1.7, § 10). It was only exceptionally used by
cavalry (
Xen. Hell. 2.4,
24,
4.4,
10; Aelian.
Tact. 2.12;
Arrian.
Tact. 4.15). It was distinctively a Greek shield.
Thus none of the Eastern peoples who served under Xerxes (
Hdt. 7.61 ff.) were armed with it.
The Roman
clipeus is seen in the accompanying
illustration from Trajan's Column. According to Livy (
1.43), when the census was instituted by Servius Tullius, the
first class only used the
clipeus, and the
second were armed with the
scutum [
SCUTUM]; but after the Roman
soldier received pay, the
clipeus was
discontinued altogether for the Sabine
scutum.
(
Liv. 8.8; cf. 9.19;
Plut. Rom. 21; Diod.
Eclog. 23.3, who asserts
that the original form of the Roman shield was square, and that it was
subsequently changed for that of the Tyrrhenians, which was round.)
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Clipeus, Roman shield. (Trajan's Column.)
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The emblazoning of shields with devices (
σήματα,
σημεῖα) was said to be derived from the Carians (
Hdt. 1.171). The bearings on the shields of the
heroes before Thebes, as described by Aeschylus in the
Seven against
Thebes and Euripides in the
Phoenissae, exhibit the development of devices in post-Homeric
times. Some shields, like Agamemnon's, bear subjects designed to strike
terror (
Theb. 488, 534: to that of Tydeus bronze bells are
attached with this object, ib. 381); others show also the warrior's pride or
boastful spirit (ib. 427, 461). Other subjects are purely mythological (ib.
382), or indicate the owner's ancestry (ib. 507), while Amphiaraus is too
proud of his real worth to bear any device at all (ib. 587;
Eur. Phoen. 1111). The
σήματα already serve to distinguish the warriors to those at
a distance (ib. 141). This custom of emblazoning shields is illustrated by
the following beautiful gem from the
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Victory inscribing on a shield. (Ancient gem.)
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antique, in which the figure of Victory is represented inscribing
upon a
clipeus the name or merits of some
deceased hero.
From the historians we find that while an individual sometimes attracted
attention by an unusual device (Alcibiades' was an
ἔρως κεραυνοφόρος,
Plut. Alc. 16), cities made use of some
common symbol for their shields, which might be easily recognisable by their
friends: thus the Lacedaemonians used A, the Sicyonians
Σ, the Thebans Hercules' club,--a practice of
which the enemy sometimes took a treacherous advantage (
Xen. Hell. 4.4,
10,
7.50;
Paus. 4.28,
5).
Each Roman soldier also had his own name and a mark indicating his cohort
inscribed upon his shield, in order that he might readily find his own when
the order was given to unpile arms (Veget. 2.17); and sometimes the name of
the commander under whom he fought (Hirt,
Bell. Alex. 58).
The practice of emblazoning shields is attested by the extant shields and
representations of shields, and is well exhibited in the works illustrative
of painted vases. (See cuts under
ARMA and
LORICA) The
decorations vary from the simplest arrangements of lines and curves to the
richest engraving of the inside as well as the outside of the shield
(
Mon. de l'Inst. Arch. 1869, pl. vi.). The shields
accompanying famous statues of divinities were often masterpieces of
engraving. Thus Pheidias engraved on the outside of the shield of his
colossal Athene at Athens, the combat of the Athenians and the Amazons, and
on the inside the war of the gods and the giants (
Plut. Per. 31;
Paus. 1.17.2;
Plin. Nat. 36.18).
A victorious army sometimes dedicated their own shields (
Paus. 10.19.4; cf. 1.26.2;
[p. 1.461]2.17.3), or an engraved shield of gold (
ib.
v. 10.4;
Hdt. 1.92; Aeschin.
Cies. 116), as an offering in a temple. In the
latter case we have a shield which is expressly made as a work of art, and
not for warfare, as Pausanias remarks concerning those set up in the
gymnasium at Olympia (6.23.7). These practices, transferred to Rome (e. g.
Liv. 25.39), gave rise to the
clipei or
clipeatae
imagines, the history of which is sketched by Pliny (
Plin. Nat. 35.2-
14), who tells us that Appius Claudius (Consul 495 B.C.) originated
the custom, by dedicating in the temple of Bellona
clipei bearing portraits of his ancestors, and that his example
was followed by M. Aemilius, who thus adorned his own house as well as the
basilica Aemilia, as is represented on the
coin of the
gens Aemilia. (See cut under
BASILICA p. 288
b.) Under the empire this became a customary act of
adulation to the emperor (
Tac. Ann. 2.83;
Capitolin.
Antonin. 5; Treb. Poll.
Claud. 3); and the
clipeus
aureus of Caligula was annually carried to the Capitol, in a
procession composed of the colleges of priests, the senate, and noble youths
and maidens singing his praises. (Suet.
Calig. 16. See
Bronzi d'Ercolano, t. i.; Visconti,
Iconogr.
Rom. t. xii.; Eckhel,
Doct. Num. 6.103, 121.)
Finally, shields of various shapes in metal or marble were suspended from the
roofs of
porticus, or in the
atrium of private houses, round the
impluvium, for purely decorative purposes. Many such shields
were found at Pompeii and Herculaneum, and are preserved in the Museum of
Naples. They are usually engraved on both sides, and most commonly with
mythological, especially Bacchanalian, subjects. (M. Albert in
Revue
Archéologique, 1881.)
Clipeus is also the name of a contrivance for
regulating the temperature of the vapour bath [
BALNEAE p. 277
b].
[
A.R] [
J.H.F]