§244. It is evident that in this fashionable toga the limbs were completely fettered, and that all rapid, not to say violent, motion was absolutely impossible. In other words the toga of the ultrafashionable in the time of Cicero was fit only for the formal, stately, ceremonial life of the city. It is easy to see, therefore, how it had come to be the emblem of peace, being too cumbrous for use in war, and how Cicero could sneer at the young dandies of his time for wearing "sails not togas." We can also understand the eagerness with which the Roman welcomed a respite from civic and social duties. Juvenal sighed for the freedom of the country, where only the dead had to wear the toga. Martial praises the unconventionality of the provinces for the same reason. Pliny makes it one of the attractions of his villa that no guest need wear the toga there. Its cost, too, made it all the more burdensome for the poor, and the working classes could scarcely have worn it at all. [Illustration: FIGURE 87. THE EARLIER TOGA] [Illustration: FIGURE 88. THE CINCTUS GABINUS] §245. The earlier toga must have been simpler by far, but no certain representation of it has come down to us. The Dresden statue, often used to illustrate its arrangement (Smith, Fig. 7, p. 848_b_; Schreiber LXXXV, 8; Marquardt, Fig. 2, p. 558; Baumeister, Fig. 1921), is more than doubtful, the garment being probably a Greek mantle of some sort. An approximate idea of it may be gained perhaps from a statue in Florence of an Etruscan orator (Fig. 87), which corresponds very closely with the descriptions of it in literary sources. At any rate it was possible for men to fight in it by tying the trailing ends around the body and drawing the back folds over the head. This was called the _cinctus Gabīnus_, and long after the toga had ceased to be worn in war this _cinctus_ was used in certain ceremonial observances. It is shown in Fig. 88, though the toga is one of later times.