Chaplet (headgear) in the context of "Wreath"

The Grass Crown (Latin: corona graminea) or Blockade Crown (corona obsidionalis) was the highest and rarest of all military decorations in the Roman Republic and early Roman Empire. It was presented only to a general, commander, or officer whose actions saved a legion or the entire army. One example of actions leading to awarding of a grass crown would be a general who broke the blockade around a beleaguered Roman army. The crown took the form of a chaplet made from plant materials taken from the battlefield, including grasses, flowers, and various cereals such as wheat; it was presented to the general by the army he had saved.

A laurel wreath is a symbol of triumph, a wreath made of connected branches and leaves of the bay laurel (Laurus nobilis), an aromatic broadleaf evergreen. It was also later made from spineless butcher's broom (Ruscus hypoglossum) or cherry laurel (Prunus laurocerasus). It is worn as a chaplet around the head, or as a garland around the neck.

Wreaths and crowns in antiquity, including the laurel wreath, trace back to Ancient Greece. In Greek mythology, the god Apollo, who is patron of lyrical poetry, musical performance and skill-based athletics, is conventionally depicted wearing a laurel wreath on his head in all three roles. Wreaths were awarded to victors in athletic competitions, including the ancient Olympics; for victors in athletics they were made of wild olive tree known as "kotinos" (κότινος), (sc. at Olympia) – and the same for winners of musical and poetic competitions. In Rome they were symbols of martial victory, crowning a successful commander during his triumph. Whereas ancient laurel wreaths are most often depicted as a horseshoe shape, modern versions are usually complete rings.

In classical and late antiquity wreaths or crowns (Ancient Greek: στέφανος, romanized: stéphanos, lit. 'wreath', 'crown'; Latin: corona, lit. 'wreath', 'garland', 'chaplet') usually made of vegetation or precious metals were worn on ceremonial occasions and were awarded for various achievements. The symbolism of these different types of wreaths depended on their composition; different crowns were worn and awarded for different purposes. Such wreaths or crowns were represented in classical architecture, in ancient Greek art and sculpture, and in Roman art and sculpture. As well as being awarded for merit and military conduct, they were worn by orators, priests performing sacrifices, by the chorus in ancient Greek drama, and by attendees of a symposium.

From Archaic Greece until late antiquity, wreaths were the prizes competed for at the Panhellenic Games – the Olympic, Pythian, Nemean, and Isthmian Games – the "crown games", each with a different vegetation crown awarded. In the military of ancient Rome, wreaths were among the traditional Roman military decorations; as a result of the revival in ancient artistic and literary models in the Renaissance they are frequently encountered in Western art and heraldry.

Daphne (/ˈdæfni/; DAFF-nee; Ancient Greek: Δάφνη, Dáphnē, lit. 'laurel'), a figure in Greek mythology, was in various retellings a mortal woman or a nymph, daughter of a river god. The god Apollo fell in love with Daphne and chased her against her wishes, but before he caught her, Daphne prayed for escape, and was transformed into a laurel tree. Thenceforth Apollo developed a special reverence for laurel.

At the Pythian Games, which were held every four years in Delphi in honour of Apollo, a wreath of laurel gathered from the Vale of Tempe in Thessaly was given as a prize. Hence it later became customary to award prizes in the form of laurel wreaths to victorious generals, athletes, poets and musicians, worn as a chaplet on the head. The Poet Laureate is a well-known modern example of such a prize-winner, dating from the early Renaissance in Italy. According to Pausanias the reason for this was "simply and solely because the prevailing tradition has it that Apollo fell in love with the daughter of Ladon (Daphne)". Most artistic depictions of the myth focus on the moment of Daphne's transformation.