A dictionary of Greek and Roman . ii. 11.) [] PHALLUS. [Dionysia, p. 411, a.] PHALOS ((pdXos). [Galea.] PHARETRA ((paperpa, ap. Herod. (paper peuv),a quiver. A quiver, full of arrows, was the usual ac-companiment of the bow. [Arcus.] It was conse-quently part of the attire of every nation addictedto archery. Virgil applies to it the epithets Cressa,Lycia, fhreissa (Georg. iii. 345, Aen. vii. 816,xi. 858) ; Ovid mentions the pharetratus Geta (DePonto, i. 8. 6) ; Herodotus represents it as partof the ordinary armour of the Persians (vii. 61).The quiver, like the bow-case (coryt
A dictionary of Greek and Roman . ii. 11.) [] PHALLUS. [Dionysia, p. 411, a.] PHALOS ((pdXos). [Galea.] PHARETRA ((paperpa, ap. Herod. (paper peuv),a quiver. A quiver, full of arrows, was the usual ac-companiment of the bow. [Arcus.] It was conse-quently part of the attire of every nation addictedto archery. Virgil applies to it the epithets Cressa,Lycia, fhreissa (Georg. iii. 345, Aen. vii. 816,xi. 858) ; Ovid mentions the pharetratus Geta (DePonto, i. 8. 6) ; Herodotus represents it as partof the ordinary armour of the Persians (vii. 61).The quiver, like the bow-case (corytus), was prin-cipally made of hide or leather (Herod, ii. 141),and was adorned with gold (Anacr. xiv. 6 ; aurata,Virg. Aen. iv. 138, xi. 858), painting (Ovid,Epist. Her. xxi. 173), and braiding (?,Theocrit. xxv. 265). It had a lid (ttw/xo., iv. 116, Od. ix. 314), and was suspendedfrom the right shoulder by a belt [Balteus],passing over the breast and behind the back. ( c.) Its most common position was on the left. PHAROS. PHASIS. 895 hip, in the usual place of the sword [Gladius],and consequently, as Pindar says, under theelbow (01. ii. 150. s. 91) or 41 under the arm(\mu\eviov, Theocrit. xvii. 30). It was worn thusby the Scythians (Schol. in Pind. I. c.) and by theEgyptians (Wilkinson, Man. and Cust. vol. i. , 391), and is so represented in the precedingfigure of the Amazon Dinomache, copied from aGreek vase. (Hope, Costume of the Ancients, i. 22.)The left-hand figure in the same woodcut is fromone of the Aegina marbles. It is the statue of anAsiatic archer, whose quiver (fractured in theoriginal) is suspended equally low, but with theopening towards his right elbow, so that it wouldbe necessary for him in taking the arrows to passhis hand behind his body instead of before it. Tothis fashion was opposed the Cretan method ofcarrying the quiver, which is exemplified in thewoodcut, p. 276, and is uniformly seen in theancient statues of Diana. [J.
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