[912] Anon. de Com. (Dindf. Prolegom. de Com. p. 29); Vit. Aristoph. (ibid. p. 36); Schol. Arist. Equit. 505.

[913] Schol. Arist. Equit. 505, Pax 733. As to the formation during the latter part of the parabasis, it is almost certain that the chorus was then divided into ἡμιχόρια. Two MSS. assign the strophe and antistrophe to ἡμιχόρια in Nubes 563, 595, Vespae 1060, 1091, Aves 737, 769, and the epirrhema and antepirrhema in Ranae 686, 717. See Arnoldt, Die Chorpartieen bei Aristoph. pp. 180 ff. That the half-choruses stood facing one another seems to be indicated by Hephaest. 14, p. 131, ἔστι δέ τις ἐν ταῖς κωμῳδίαις καὶ ἡ καλουμένη παράβασις, ἐπειδὰν εἰσελθόντες εἰς τὸ θέατρον καὶ ἀντιπρόσωπον ἀλλήλοις στάντες οἱ χορευταὶ παρέβαινον: Anon. de Comoed. (Dübner, Prolegom. de Com. p. xx) ἀπελθόντων δὲ τῶν ὑποκριτῶν πρὸς ἀμφότερα τὰ μέρη τοῦ δήμου ὁρῶν ἐκ τετραμέτρου δεκαὲξ στίχους ἀναπαίστους ἐφθέγγετο, καὶ τοῦτο ἐκαλεῖτο στροφή.

[914] Poll. iv. 108. The temporary departure was called μετάστασις, the return ἐπιπάροδος.

[915] Aesch. Eum. 235; Soph. Ajax 815.

[916] Eur. Hel. 327 ff.

[917] Eur. Alc. 746; Arist. Eccles. 310.

[918] Schol. Arist. Vesp. 580.

[919] See chap. v. pp. 270 ff.

[920] See especially Arnoldt, Die Chorpartieen bei Aristophanes (Leipzig, 1873), Die chorische Technik des Euripides (Halle, 1878), Der Chor im Agamemnon des Aeschylos (Halle, 1881); Christ, Theilung des Chors im attischen Drama (München, 1877); Muff, Die chorische Technik des Sophokles (Halle, 1877), De choro Persarum (Halle, 1878), Der Chor in den Sieben des Aeschylos (Halle, 1882); Hense, Der Chor des Sophokles (Berlin, 1877), Ueber die Vortragsweise Soph. Stasima (Rhein. Museum, xxxii); Zielinski, Die Gliederung der altattischen Komödie (Leipzig, 1885).

[921] In Poet. c. 12 he defines the πάροδος as ἡ πρώτη λέξις ὅλου χοροῦ, implying that other odes were also sung by the whole chorus. If so, the στάσιμα, which were far the most important of the other odes, must have been so sung. Whether the expression ὅλα χορικὰ μέλη, applied to the στάσιμα, means ‘sung by the whole chorus’, or merely ‘unbroken’, as opposed to the κόμμοι, is uncertain.

[922] Schol. Eur. Alc. 79 ἐκ γερόντων Φεραίων ὁ χορός, διαιρεῖται δὲ εἰς δύο ἡμιχόρια. That the anapaests in Ranae 354-71, which come in the middle of the parodos, were spoken by the coryphaeus is proved by the concluding lines (ὑμεῖς δ’ ἀνεγείρετε μολπὴν κ.τ.λ.), in which the rest of the chorus is commanded to begin.

[923] When these short odes were of a lively character, they were apparently called ὑπορχήματα by the grammarians, and regarded as a separate class. But even stasima might be composed in the hyporchematic style. It seems better, therefore, to regard ὑπόρχημα as a term applicable, not to short lyrics only, but to any lyrics of a lively and dance-like metre. See the Tragic Drama of the Greeks, pp. 357, 359.

[924] See the previous page.

[925] e.g. Arist. Ran. 382, Vesp. 1516, Thesmoph. 655, &c.

[926] Aesch. Agam. 1344 ff., Eum. 140 ff., Schol. ad loc. ἀναστήσει αὐτὰς οὐκ ἀθρόως, μιμούμενος ἐμφατικῶς τὴν ἀλήθειαν, ἀλλ’ ἐγείρεταί τις πρώτη, ὥστε μὴ ἀθρόως τὸν χορὸν φθέγξασθαι. Müller (Griech. Bühnenalt. p. 218) is mistaken in citing the passage in the Lysistrata, 727-80, as an example of the delivery of words by individual choreutae. The three women who take part in the dialogue are not members of the chorus, but performers upon the stage.

[927] Cp. the sensible remarks of the Schol. on Arist. Ran. 375 ἐντεῦθεν Ἀρίσταρχος ὑπενόησε μὴ ὅλου τοῦ χοροῦ εἶναι τὰ πρῶτα· τοῦτο δὲ οὐκ ἀξιόπιστον. πολλάκις γὰρ ἀλλήλοις οὕτω παρακελεύονται οἱ περὶ τὸν χορόν.

[928] Poll. iv. 107 καὶ ἡμιχόριον δὲ καὶ διχορία καὶ ἀντιχόρια. ἔοικε δὲ ταὐτὸν εἶναι ταυτὶ τὰ τρία ὀνόματα· ὁπόταν γὰρ ὁ χορὸς εἰς δύο μέρη τμηθῇ, τὸ μὲν πρᾶγμα καλεῖται διχορία, ἑκατέρα δὲ ἡ μοῖρα ἡμιχόριον, ἃ δ’ ἀντᾴδουσιν, ἀντιχόρια. The Schol. on Arist. Equit. 589 has a curious note to the effect that, when the chorus was divided into two halves of different sex or age, the older or stronger half was always slightly more numerous. In a comic chorus there would be 13 men to 11 women, 13 women to 11 boys, and so on.

[929] Soph. Ajax 866 ff.; Eur. Orest. 1258 ff.

[930] See Arnoldt, Die Chorpartieen bei Aristophanes, pp. 180 ff., where a list is given of the passages which are assigned to half-choruses by Rav. and Ven., e.g. Acharn. 1150, 1162, Nub. 563, 595. Vesp. 1060, 1091, Av. 737, 769, 1058, 1088, Eccles. 290, 301, Thesmoph. 659, Lysist. 321. [J. W. White, Harvard Stud, in Class. Phil. vol. xvii, assigns a more important part to the leader of the second semi-chorus in comedy than has usually been recognized, but the evidence is not conclusive.]

[931] Bergk’s notion (Griech. Lit. iii. p. 131) that in Arist. Poet. c. 12 (κοινὰ μὲν ἁπάντων ταῦτα, ἴδια δὲ τὰ ἀπὸ τῆς σκηνῆς καὶ κόμμοι) ἴδια = ‘sung by individuals or sections’ is clearly wrong. ἴδια = ‘not found in all plays’, and the word to be supplied with ἁπάντων is δραμάτων, not χορευτῶν.

[932] Athen. p. 628 E εἰ δέ τις ... ταῖς ᾠδαῖς ἐπιτυγχάνων μηδὲν λέγοι κατὰ τὴν ὄρχησιν, οὗτος δ’ ἦν ἀδόκιμος.

[933] Athen. p. 20 F.

[934] Plat. Legg. 816 A.

[935] Athen. p. 21 F ἄκρως ταῖς χερσὶ τὰ λεγόμενα δεικνυούσαις.

[936] Lucian, de Salt. 63 ταῖς χερσὶ λαλεῖν.

[937] Ovid, Ars Am. i. 595 ‘si vox est, canta; si mollia bracchia, salta’.

[938] Juv. v. 120 ‘structorem interea, ne qua indignatio desit, | saltantem spectes et chironomunta volanti | cultello’.

[939] Quint. Inst. xi. 3. 89 ‘abesse enim plurimum a saltatore debet orator, ut sit gestus ad sensus magis quam ad verba accommodatus’, &c.

[940] Arist. Poet. c. 1 καὶ γὰρ οὗτοι (οἱ ὀρχησταὶ) διὰ τῶν σχηματιζομένων ῥυθμῶν μιμοῦνται καὶ ἤθη καὶ πάθη καὶ πράξεις.

[941] Plut. Symp. 747 B fol. The three divisions of dancing are φοραί, σχήματα, δείξεις.

[942] Athen. p. 630 B πρώτη δὲ εὕρηται ἡ περὶ τοὺς πόδας κίνησις τῆς διὰ τῶν χειρῶν. οἱ γὰρ παλαιοὶ τοὺς πόδας μᾶλλον ἐγυμνάζοντο ἐν τοῖς ἀγῶσι.

[943] Athen. p. 22 A.

[944] Plut. Symp. 732 F σχήματα δ’ ὄρχησις τόσα μοι πόρεν ὅσσ’ ἐνὶ πόντῳ | κύματα ποιεῖται χείματι νὺξ ὀλοή.

[945] Arist. Vesp. 1474 ff.

[946] Athen. p. 21 E.

[947] Athen. p. 628 E ὥστ’ εἴ τις ὀρχοῖτ’ εὖ, θέαμ’ ἦν· νῦν δὲ δρῶσιν οὐδέν, | ἀλλ’ ὥσπερ ἀπόπληκτοι στάδην ἑστῶτες ὠρύονται.

[948] Aristoph. Acharn. 204 τῇδε πᾶς ἕπου, δίωκε, καὶ τὸν ἄνδρα πυνθάνου κ.τ.λ., Schol. ad loc. γέγραπται δὲ τὸ μέτρον τροχαϊκόν, πρόσφορον τῇ τῶν διωκόντων γερόντων σπουδῇ. ταῦτα δὲ ποιεῖν εἰώθασιν οἱ τῶν δραμάτων ποιηταὶ κωμικοὶ καὶ τραγικοί, ἐπειδὰν δρομαίως εἰσάγωσι τοὺς χορούς, ἵνα ὁ λόγος συντρέχῃ τῷ δράματι. Cp. Pax 301, 325, Plutus 257.

[949] Schol. Eur. Phoen. 202; Suidas s.v. στάσιμον, &c.

[950] On the use of ἔξοδος in this sense see the Tragic Drama of the Greeks, p. 352. The word was also applied to the whole of the concluding scene of a tragedy.

[951] Aesch. Eum. 307 ἄγε δὴ καὶ χορὸν ἅψωμεν. Eur. Herc. Fur. 761 πρὸς χοροὺς τραπώμεθα. Arist. Thesmoph. 953 ὅρμα, χώρει | κοῦφα ποσίν, ἄγ’ ἐς κύκλον, | χειρὶ σύναπτε χεῖρα. Other passages of the same kind are not infrequent.

[952] Schol. Eur. Hec. 647 (p. 211 Dindf.).

[953] See above, p. 307, note 2.

[954] The liveliness of these dances, even in tragedy, is proved by such expressions as the following: Soph. Ajax 693 ἔφριξ’ ἔρωτι, περιχαρὴς δ’ ἀνεπτόμαν. Eur. Orest. 1353 ἰὼ ἰὼ φίλαι, κτύπον ἐγείρετε, κτύπον καὶ βοάν. El. 859 θὲς ἐς χορόν, ὦ φίλα, ἴχνος, | ὡς νεβρὸς οὐράνιον | πήδημα κουφίζουσα σὺν ἀγλαΐᾳ.

[955] Arist. Vesp. 1536 τοῦτο γὰρ οὐδείς πω πάρος δέδρακεν, | ὀρχούμενον ὅστις ἀπήλλαξεν χορὸν τρυγῳδῶν, Schol. ad loc. εἰσέρχεται γὰρ ὁ χορὸς ὀρχούμενος, οὐδαμῶς δὲ ἐξέρχεται. Eccles. 1179 αἴρεσθ’ ἄνω, ἰαί, εὐαί.

[956] Schol. Arist. Ran. 924 ἡ πρὸς τὰς ῥήσεις ὑπόρχησις.

[957] Schol. Arist. Nub. 1355 οὕτως ἔλεγον πρὸς χορὸν λέγειν, ὅτε τοῦ ὑποκριτοῦ διατιθεμένου τὴν ῥῆσιν ὁ χορὸς ὠρχεῖτο.

[958] Athen. p. 22 A Ἀριστοκλῆς γοῦν φησιν ὅτι Τελέστης, ὁ Αἰσχύλου ὀρχηστής, οὕτως ἦν τεχνίτης, ὥστε ἐν τῷ ὀρχεῖσθαι τοὺς Ἑπτὰ ἐπὶ Θήβας φανερὰ ποιῆσαι τὰ πράγματα δι’ ὀρχήσεως.

[959] Plat Legg. 816 A.

[960] Suid. s.v. ξιφισμός; Hesych. s.v. ξιφίζειν; Poll. iv. 105 καὶ μὴν τραγικῆς ὀρχήσεως σχήματα σιμὴ χείρ, καλαθίσκος, χεὶρ καταπρηνής, ξύλου παράληψις, διπλῆ, θερμαυστρίς, κυβίστησις, παραβῆναι τέτταρα.

[961] See above, p. 307, note 2.

[962] Aesch. Pers. 1038 ff.

[963] Schol. Arist. Nub. 542 κόρδαξ κωμική, ἥτις αἰσχρῶς κινεῖ τὴν ὀσφύν. Hesych. s.v. κόρδαξ; Plat. Legg. p. 816 A; Theoph. Char. 6.

[964] Arist. Nub. 540 οὐδὲ κόρδαχ’ εἵλκυσεν.

[965] Arist. Vesp. 1529 στρόβει, παράβαινε κύκλῳ καὶ γάστρισον σεαυτόν, | ῥῖπτε σκέλος οὐράνιον· βέμβικες ἐγγενέσθων. Thesm. 953 ὅρμα, χώρει | κοῦφα ποσίν, ἄγ’ ἐς κύκλον, | χειρὶ σύναπτε χεῖρα.

[966] Poll. iv. 99, 103; Athen. p. 629 F-630 A; Dion. Hal. A. R. vii. 72; Phot. s.v. σκώπευμα.

[967] Plut. Symp. 713 C τὸ δὲ μέλος καὶ τὸν ῥυθμὸν ὥσπερ ὄψον ἐπὶ τῷ λόγῳ, καὶ μὴ καθ’ αὑτὰ προσφέρεσθαι.

[968] Pratinas apud Athen. p. 617 B τὰν ἀοιδὰν κατέστασε Πιερὶς βασίλειαν· ὁ δ’ αὐλὸς | ὕστερον χορευέτω· καὶ γάρ ἐσθ’ ὑπηρέτας.

[969] See, on the whole question, Monro’s Modes of Ancient Greek Music, Oxford, 1894, Macran’s Aristoxenus, 1902.

[970] Plut. Mus. 1136 D-F.

[971] Heracleid. ap. Athen., p. 625 B; Aesch. Suppl. 69 Ἰαονίοισι νόμοισι.

[972] Vit. Soph., p. 8 Dindf.

[973] Aristot. Prob. xix. 30, 48.

[974] Arist. Ran. 1286 ff.; Hesych. s.v. διαύλιον· ὁπόταν ἐν τοῖς μέλεσι μεταξὺ παραβάλλῃ μέλος τι ὁ ποιητὴς παρασιωπήσαντος τοῦ χοροῦ.

[975] Suid. s.v. Τιμόθεος. Plut. Mus. 1135 D.

[976] Suid. l.c. τὴν ἀρχαίαν μουσικὴν ἐπὶ τὸ μαλακώτερον μετήγαγεν.

[977] Pherecrat. Cheiron. frag. 145 (Kock) ᾄδων ἐκτραπέλους μυρμηκίας.

[978] Arist. Ran. 1301 ff., Thesm. 100 μύρμηκος ἀτραπούς, ἢ τί διαμινύρεται; Schol. ad loc. ὡς λεπτὰ καὶ ἀγκύλα ἀνακρουομένου μέλη τοῦ Ἀγάθωνος· τοιαῦται γὰρ αἱ τῶν μυρμήκων ὁδοί.

[979] Plut. An seni etc. 795 C.

[980] Dem. de Cor. § 28.

[981] Dem. Meid. § 74.

[982] Theophrast. Char. 9 καὶ ξένοις δὲ αὑτοῦ θέαν ἀγοράσας μὴ δοὺς τὸ μέρος θεωρεῖν.

[983] E.g. Böttiger, Kleine Schriften, i. pp. 295 ff.; Wachsmuth, Hellen. Alterthumskunde, ii. p. 391; Bergk, Griech. Literaturgesch. iii. p. 49.

[984] E.g. Bernhardy, Griech. Literaturgesch. ii. 2. p. 132; Böckh, Trag. Princip. p. 37; Meineke, Menand. et Philem. Reliq. p. 345.

[985] Plat. Gorg. 502 B-E, Legg. 817 A-C, 658 A-D.

[986] Aristoph. Nub. 537-9, Pax 765, 766, 962-7. Cp. also Eupolis, Προσπάλτιοι, fr. 244 (Kock) Ἡράκλεις, τοῦτ’ ἔστι σοι | τὸ σκῶμμ’ ἀσελγὲς καὶ Μεγαρικὸν καὶ σφόδρα | ψυχρόν. γελῶσιν, ὡς ὁρᾷς, τὰ παιδία. Arist. Pax 50-3 ἐγὼ δὲ τὸν λόγον γε τοῖσι παιδίοις | καὶ τοῖσιν ἀνδρίοισι καὶ τοῖς ἀνδράσι | καὶ τοῖς ὑπερτάτοισιν ἀνδράσιν φράσω | καὶ τοῖς ὑπερηνορέουσιν. [Rogers, Introd. to the Ecclesiazusae, takes this passage, in which women are not mentioned, to prove that they were not present. But the point of the jest is in the enumeration of men in an ascending scale of manliness, and to mention women, even if they were present, would have spoiled it. The other passages which he quotes, Eccles. 165 ff., 435 ff., 1144 ff., and the situation in the Thesmoph., are satisfied if we suppose a large preponderance of men; but they do not require us to assume the exclusion of women.]

[987] Alciphron, Epist. ii. 3. [Rogers, l.c. quotes a sentence of Glycera’s supposed reply, where she speaks of herself as standing in the wings and watching the performance, to prove that ὁρώσης καὶ καθημένης ἐν τῷ θεάτρῳ does not imply that women were in the audience. But καθημένης ἐν τῷ θεάτρῳ naturally and almost technically means this; and the two passages need not be taken to refer to the same point in Glycera’s supposed proceedings.]

[988] Lucian, Anachar. 22.

[989] Aristoph. Ran. 1050, 1051.

[990] Athen. p. 534 C.

[991] Theophrast. Char. 9 and 13.

[992] Schol. Aristoph. Eccles. 22.

[993] Vit. Aeschyli, p. 4 Dindf.

[994] C. I. A. iii. 282, 313, 315, 316, 321, 322, 324, 325, 333, 342, 343, 345, 350, 351, 354, 361, &c.

[995] Aristoph. Achar. 241-6; Menand. fr. 558 (Kock).

[996] E.g. Müller, Die griech. Bühnenalterthümer, p. 291.

[997] Aristoph. Av. 793-6 εἴ τε μοιχεύων τις ὑμῶν ἐστιν ὅστις τυγχάνει, | κᾆθ’ ὁρᾷ τὸν ἄνδρα τῆς γυναικὸς ἐν βουλευτικῷ, | οὗτος ἂν πάλιν παρ’ ὑμῶν πτερυγίσας ἀνέπτατο, | εἶτα βινήσας ἐκεῖθεν αὖθις αὖ καθέζετο. Thesm. 395-7 ὥστ’ εὐθὺς εἰσιόντες ἀπὸ τῶν ἰκρίων | ὑποβλέπουσ’ ἡμᾶς, σκοποῦνταί τ’ εὐθέως | μὴ μοιχὸς ἔνδον ᾖ τις ἀποκεκρυμμένος.

[998] Aristot. Pol. vii. 17 ἐπιμελὲς μὲν οὖν ἔστω τοῖς ἄρχουσι μηθὲν μήτε ἄγαλμα μήτε γραφὴν εἶναι τοιούτων πράξεων μίμησιν, εἰ μὴ παρά τισι θεοῖς τοιούτοις οἷς καὶ τὸν τωθασμὸν ἀποδίδωσιν ὁ νόμος· πρὸς δὲ τούτοις ἀφίησιν ὁ νόμος τοὺς ἔχοντας ἡλικίαν πλέον προσήκουσαν καὶ ὑπὲρ αὑτῶν καὶ τέκνων καὶ γυναικῶν τιμαλφεῖν τοὺς θεούς. τοὺς δὲ νεωτέρους οὔτ’ ἰάμβων οὔτε κωμῳδίας θεατὰς νομοθετητέον.

[999] [Navarre, Utrum mulieres Athenienses scenicos ludos spectaverint, 1900, discusses the evidence in detail, and comes to the same conclusions as those which are stated in the text.]

[1000] Plat. Gorg. 502 D.

[1001] Theophrast. Char. 9.

[1002] Schol. Lucian, Tim. 49; Suidas s.v. θεωρικόν.

[1003] Dem. de Cor. § 28 ἀλλ’ ἐν τοῖν δυοῖν ὀβολοῖν ἐθεώρουν ἄν. This passage shows that there cannot have been any alternative between the reserved seats for distinguished persons and the ordinary two-obol seats. Two obols is also the sum mentioned by Phot., Suid., and Etym. Mag. s. vv. θεωρικόν; Etym. Mag. θεωρικά; Liban. Hyp. to Dem. Olynth. i; Schol. Aristoph. Vesp. 1184. The entrance fee is given as one obol by Ulpian on Dem. Olynth. i. § 1; and as three obols by Schol. Dem. de Cor. § 28. But both are no doubt mistaken. It is given as a drachma by Schol. Lucian, Tim. 49; Phot. and Suid. s. vv. θεωρικά; Philochorus apud Harp. s.v. θεωρικά. But the drachma probably denotes the aggregate fees for successive days at one festival. Plat. Apol. 26 D has most likely no reference to the theatre. See Appendix C.

[1004] Plut. Pericl. 157 A; Ulpian on Dem. Olynth. i. § 1.

[1005] Ath. Pol. c. 28 (see Kenyon’s and Sandys’s notes).

[1006] Dem. de Contrib. § 169; Phot., Suid., Etym. Mag. s. vv. θεωρικόν; Etym. Mag. s.v. θεωρικά; Liban. and Ulpian, ll. cc. It was called διωβολία (Aristot. Pol. ii. 7) or διωβελία (Ath. Pol. c. 28; Bekk. Anecd. 237, 15).

[1007] Four are mentioned in [Dem.] Prooem. 53; six in Schol. Lucian, Tim. 49; Lucian, Encom. Dem. 36; Suid. δραχμὴ χαλαζῶσα; Suid., Harp., and Phot. θεωρικά.

[1008] Dem. in Leoch. § 37.

[1009] Hyperid. in Dem. col. xxiv.

[1010] Harp. s.v. θεωρικά; Liban. Hyp. to Dem. Olynth. i; Ammonius, de diff. vocab., s.v. θεωρός; Dem. Olynth. i. § 19, de Cor. § 118, Philipp. iv. § 38.

[1011] For a full account of these theatre-tickets see Benndorf, Zeitschrift für die österreichischen Gymnasien, 1875, pp. 579-95.

[1012] The illustration is taken from Baumeister, Denkmäler, no. 1833.

[1013] It is taken from Baumeister, no. 1835.

[1014] C. I. G. 5369; Tac. Ann. ii. 83.

[1015] Svoronos, περὶ τῶν Εἰσιτηρίων τῶν ἀρχαίων, in Journal International d’Archéologie Numismatique, 1898, vol. i, pt. 1, pp. 37-120. The illustration in the text (Fig. 34) is taken from this article.

[1016] The lessee was generally called ἀρχιτέκτων (Dem. de Cor. § 28), because part of his contract was to look after the buildings of the theatre. He was also called θεατροπώλης (Poll. vii. 199), from the fact of his selling seats; and θεατρώνης (Theophrast. Char. 11), from the fact of his having taken the theatre on lease. The nature of the arrangement with the lessee may be gathered from (1) C. I. A. ii. 573, in which the lessees of the theatre at the Peiraeeus engage to keep the fabric in good repair; (2) Dem. de Cor. § 28 ἢ θέαν μὴ κατανεῖμαι τὸν ἀρχιτέκτονα αὐτοῖς κελεῦσαι; (3) Ulpian on Dem. Olynth. i. § 1 ὥστε λαμβάνειν ... δύο ὀβολούς, ἵνα ... τὸν δ’ ἄλλον παρέχειν ἔχωσι τῷ ἀρχιτέκτονι τοῦ θεάτρου.

[1017] Theophrast. Char. 30.

[1018] Schol. Aristoph. Equit. 572. Pollux, iv. 121, states rather doubtfully that the προεδρία in the theatre might also be called πρῶτον ξύλον. If the expression was really used, it must have dated from the time when the theatre was still a wooden one.

[1019] C. I. A. iii. 240-384.

[1020] C. I. A. ii. 589 shows that in the Peiraeeus the demarch used to conduct the persons honoured with proedria to the theatre. A similar practice was no doubt observed at Athens.

[1021] C. I. A. ii. 589 καὶ εἰσαγέτω αὐτὸν ὁ δήμαρχος εἰς τὸ θέατρον καθάπερ ἱερεῖς καὶ τοὺς ἄλλους οἷς δέδοται ἡ προεδρία παρὰ Πειραιέων. Cp. also Hesych. s.v. νεμήσεις θέας· Ἀθηναῖοι τὰς ἐν τῷ θεάτρῳ καθέδρας, ψηφίσματι νενεμημένας προεδρίας ἱερεῦσιν.

[1022] C. I. A. iii. 240-384. Dörpfeld, Griech. Theater, p. 47.

[1023] The thrones of seven of the archons are still preserved (C. I. A. iii. 254-60). Those of two of the Thesmothetae are missing, but no doubt stood in the front row with the others.

[1024] Aristoph. Equit. 573-6; Theophrast. Char. 5.

[1025] Aeschin. Fals. Leg. § 111, Ctesiph. § 76; Dem. de Cor. § 28; C. I. A. ii. 164; Cic. de Senect. § 63; Val. Max. iii. 5.

[1026] See above, p. 33.

[1027] Aeschin. Ctesiph. § 154; Plut. X Orat., psephisms I and II, p. 851 A-F.

[1028] Schol. Aristoph. Av. 795; Poll. iv. 122 βουλευτικὸν μέρος τοῦ θεάτρου καὶ ἐφηβικόν.

[1029] Schol. Aristoph. Eccles. 22.

[1030] Aristoph. Pax 962-6 ΤΡ. καὶ τοῖς θεαταῖς ῥῖπτε τῶν κριθῶν. ΟΙ. ἰδού. | ΤΡ. ἔδωκας ἤδη; ΟΙ. νὴ τὸν Ἑρμῆν, ὥστε γε | ... οὐκ ἔστιν οὐδεὶς ὅστις οὐ κριθὴν ἔχει. | ΤΡ. οὐχ αἱ γυναῖκές γ’ ἔλαβον. Alexis, Γυναικοκρατία, fr. 1 (Meineke, Frag. Com. Gr. iii. p. 402) ἐνταῦθα περὶ τὴν ἐσχάτην δεῖ κερκίδα | ὑμᾶς καθιζούσας θεωρεῖν ὡς ξένας [this must mean that foreigners were in one of the extreme side kerkides (see p. 98), not at the back of the theatre].

[1031] [Willems, Le Nu dans la Comédie Ancienne, 1901, places the Council in the central block, the foreigners at one side of the auditorium, the Ephebi on the other, while the tribes occupied the other ten. A clay theatre ticket found at Megalopolis proves that blocks were assigned to special tribes in that theatre (Castrioles, Ἐφημ. Διέθνης τῆς Νομισμ. Ἀρχαιολ. 1900, p. 55). See also Svoronos, quoted p. 333 n.]

[1032] In the central block, on the third step, was a statue of Hadrian, of which the base is still preserved, erected in 112 A.D. by the Areopagus, the Council of Six Hundred, and the people of Athens (C. I. A. ii. 464). Besides this, the bases of three other statues of Hadrian, erected by different tribes, are still in existence. They are all on the second step. The first, erected by the tribe Erectheis, is in the first block from the eastern end; the second, erected by the tribe Acamantis, is in the sixth block from the eastern end; the third, erected by the tribe Oeneis, is in the sixth block from the western end (C. I. A. iii. 466-8). Thus the place of each statue in the series of blocks corresponded exactly with the place of the tribe in the official list of tribes. It is therefore a highly plausible conjecture that, in addition to the statue of Hadrian in the central block, there were twelve other statues erected by the twelve tribes in the remaining blocks; and that each tribe had a special block appropriated to itself. See Benndorf, Beiträge zur Kenntniss des att. Theaters, pp. 4 ff.