of Berlin, has drawn up a statement, in the main satisfac-spacious passages into the theatre from without, com tory. (Genelli, Das Theater zu Athen, Berlin, 1818.) municating on the one hand with the stage and -The theatre of Bacchus at Athens stood on the south-contiguous apartments; on the other, through two eastern side of the eminence crowned by the noble halls, with the IIapódot of the orchestra, and with the buildings of the Acropolis. From the level of the plain portico which ran round the topmost range of the a semicircular excavation gradually ascended up the seats.-Behind the whole mass of stage buildings w slope of a hill to a considerable height. Round the an open space, covered with turf and planted wit concavity, seats for an audience of thirty thousand per- trees. Around this ran a portico, called the eument, sons arose range above range; and the whole was top- which was the place of rehearsal for the chorus, and ped and enclosed by a lofty portico, adorned with stat- with the upper portico, afforded a ready shelter to the ues and surmounted by a balustraded terrace. The audience during a sudden storm. There, too, the s tiers of benches were divided into two or three broad vants of the wealthier spectators awaited the departbelts, by passages termed diaguara (called in the ure of their masters.-Such was the construction and Roman theatres præcinctiones), and again transverse-arrangement of the great Athenian theatre. Ind ly into wedge-like masses, called Képkides (in Latin mensions must have been immense. If, as we are as cunci), by several flights of steps, radiating upward sured, 30,000 persons could be seated on its benches, from the level below to the portico above. The lower the length of the Apóuos could not have been less int seats, as being the better adapted for hearing and see- 400 feet, and a spectator in the central point of the ing, were considered the most honourable, and there- topmost range must have been 300 feet from the a fore appropriated to the high magistrates, the priests, tor in the Aoyeiov. (Genelli, p. 52.)—The scenery and the senate. This space was named BovλEUTIKóv. of the Athenian stage was doubtless corresponding i (Aristoph., Av., 294.-Eq., 669.) The body of the the magnificence of the theatre. The catalogue want citizens were probably arranged according to their Julius Pollux has left us bespeaks great vanety de tribes. The young men sat apart in a division, en- vices and much ingenuity of contrivance, although we titled 'Eonbikóv. The sojourners and strangers had may not altogether be able to comprehend his che also their places allotted them.-Twelve feet beneath descriptions. We may, however, safely conclude the lowest range of seats lay a level space, partly en- the age and city which witnessed the dramas fi closed by the sweep of the excavation, and partly ex- Sophocles, the statues of a Phidias, and the painting tending outward right and left in a long parallelo- of a Zeuxis, possessed too much taste and too much gram. This was the "Opxnoтpa. In the middle of talent to allow of aught mean and clumsy in the so this open flat stood a small platform, square and slightly ery of an exhibition, which national pride, individ elevated, called Ovuɛλn, which served both as an altar wealth, and the sanctity of religion conspired to cal for the sacrifices, that preceded the exhibition, and as into the most splendid of solemnities.-The mass the central point to which the choral movements were buildings of the proscenium were well adapted for all referred. That part of the orchestra which lay generality of tragic dramas, where the chief chr without the concavity of the seats, and ran along on ters were usually princes, and the front of their place either hand to the boundary wall of the theatre, was the place of action. But not unfrequently the locat called Apópos (the Roman Iter). The wings, as they of the play was very different. Out of the seven♫ might be termed, of this Apóuoc, were named Пapódot, tant pieces of Sophocles, there are but four wid and the entrances which led into them through the could be performed without a change boundary wall, were entitled Elsódot (the Roman nium. The Edipus Coloneus requires a grove Aditus)-On the side of the orchestra opposite the Ajax a camp, and the Philoctetes an island solitude. amphitheatre of benches, and exactly on a level with In comedy, which was exhibited on the same sta the lowest range, stood the platform of the Exηvý or the necessity of alteration was still more com stage, in breadth nearly equal to the diameter of the To produce the requisite transformations various mea semicircular part of the orchestra, and communicating were employed. Decorations were introduced be with the Apóuos by a double flight of steps. The the proscenic buildings, which masked them from the stage was cut breadthwise into two divisions. The view, and substituted a prospect suitable to the play. one in front, called Aoyeiov (the Latin pulpitum), was These decorations were formed of woodwork bew. a narrow parallelogram projecting into the orchestra. above were paintings on canvass, resembling ou This was generally the station of the actors when scenes, and, like them, so arranged on perspective speaking, and therefore was constructed of wood, the ciples as to produce the proper illusion. (Pal better to reverberate the voice. The front and sides 19.) No expense or skill seems to have been spared of the Anyeiov, twelve feet in height, adorned with in the preparation of these scenic representat columns and statues between them, were called rà nay, it is not improbable that even living trees w TоσKivia.-The part of the platform behind the Ao- occasionally introduced, to produce the better effect yelov was called the Пpookvov, and was built of The stage-machinery appears to have comprehended stone, in order to support the heavy scenery and dec- all that modern ingenuity has devised. As the me orations, which there were placed. The proscenium course between earth and heaven is very frequent was backed and flanked by lofty buildings of stone- the mythologic dramas of the Greeks, the number of work, representing externally a palace-like mansion, aërial contrivances was proportionably great. and containing within, withdrawing-rooms for the ac- the deities to be shown in converse aloft there wa tors and receptacles for the stage machinery. In the the co2oyeivo, a platform surrounded and concealed central edifice were three entrances upon the prosceni- by clouds. Were gods or heroes to be seen passe um, which, by established practice, were made to desig- through the void of the sky, there were the Ai nate the rank of the characters as they came on; the set of ropes, which, suspended from the upper part of highly ornamented portal in the middle, with the altar the proscenic building, served to support and cover of Apollo on the right, being assigned to royalty, the the celestial being along.-The Maxarn, again, two side entrances to inferior personages. (Pollux, sort of crane turning on a pivot, with a suspender the 4, 9.) In a similar way, all the personages who made tached, placed on the right, or country side of the their appearance by the Eloodos on the right of the stage, and employed suddenly to dart out a god or bero stage, were understood to come from the country; before the eyes of the spectators, and there keep him while such as came in from the left were supposed to hovering in air till his part was performed, and then as approach from the town.-On each side of the prosce- suddenly withdraw him. The Téparos (Poltes, 4 nium and its erections ran the Hapaokivia, high lines 19) was something of the same sort, with a grace of building with architectural front, which contained hanging from it, used to catch up persons a Were from the - earth, and rapidly whirl them within the circle of scen- of the public funds these two oboli to any ore who ic clouds; Aurora was thus made to carry off the might choose to apply for it, provided his name was dead body of her son Memnon.-There was, more-registered in the book of the citizens (λn§iapxikòv over, the Bpovrεiov, a contrivance in the 'Yookηvioν, yраμμатεlov). The entrance-money was paid to the or room beneath the Λογείον, where bladders full of lessee of the theatre (θεατρώνης, θεατροπώλης, οι pebbles were rolled over sheets of copper, to produce άpXITÉKTWV), who paid the rent, and made the necesa noise like the rumbling of thunder. The Kepavvo- sary repairs out of the proceeds. The sum obtainσKOжεTOV was a place on the top of the stage buildings, ed for this purpose from the public funds was drawn whence the artificial lightning was made to play through from the contributions originally paid by the allies tothe clouds, which concealed the operator.-When the wards carrying on war against the Persians. By deaction was simply on earth, there were certain pieces grees, the expenses of the festivals engrossed the of framework, the Exолń, Teixos, Пúpyos, and puк- whole of this fund; and that money, which ought to Túplov, representing, as their names import, a look- have been employed in supporting a military force for out, a fortress-wall, a tower, and a beacon. These the common defence of Greece, was scandalously lavwere either set apart from the stationary erections of ished away upon the idle pleasure of the Athenian the proscenium, or connected so as to give them, with people. This measure proved most ruinous to the the assistance of the canvass scene, the proper aspect. republic; yet so jealous were the multitude of any inHere a sentinel was introduced, or a spectator, sup-fringement upon their theoric expenses, that, when an posed to be viewing some distant object. The 'Hu- orator had ventured to propose the restoration of the KÚKλLov was a semicircular machine, placed, when sums then squandered upon spectacles foreign to their wanted, on the country side of the stage, which en- original purpose, a decree was instantly framed, maclosed a representation of the sea or a city in the dis-king it death to offer any such scheme to the general tance, towards which the eye looked through a pas- assembly. Demosthenes twice cautiously endeavoursage between cliffs or an opening among trees. What ed to convince the people of their folly and injustice; the Erpopciov and 'Huoтpopεiov were, it is difficult but, finding his exhortations were ill-received, he was to make out. It would seem that they were con- constrained reluctantly to acquiesce in the common structed something like the 'Huкýкλov, but moved resolution. The lessee sometimes gave a gratuon a pivot, so that, by a sudden whirl, the object they itous exhibition, in which case tickets of admission presented might be shown or withdrawn in an instant. were distributed. (Theophrast., Charact., 11.) Any They were employed to exhibit heroes transported to citizen might buy tickets for a stranger residing at the company of deities, and men perishing in the waves Athens. (Theophrast., Charact., 9.) We have no of the sea or the tumult of battle.-In some cases one doubt that women were admitted to the dramatic exor more stories of the front wall in a temporary house hibitions. Julius Pollux uses the term earpía (2, were made to turn upon hinges, so that when this 55; 4, 121), which is alone some evidence of the front was drawn back, the interior of a room could be fact. It is stated, however, expressly by Plato (Gorwheeled out and exposed to view, as in the Acharni-gias, p. 502, D.-Leg., 2, p. 658, D.-Ib., 7, p. 817, ans, where Euripides is so brought forward. This C.) and by Aristophanes (Eccles., 21, seqq.).—The contrivance was called 'EkKúkλnua. (Pollux, 4, 19.) spectators hastened to the theatre at the dawn of day -Such were some of the devices for the scenes of to secure the best places, as the performances comheaven and earth; but as the ancient dramatists fetch-menced very early. After the first exhibition was ed their personages not unfrequently from Tartarus, over, the audience retired for a while, until the second other provisions were required for their due appear- was about to commence. There were three or four ance.-Beneath the lowest range of seats, under the such representations in the course of the day, thus stairs, which led up to them from the orchestra, was separated by short intervals. During the performance fixed a door, which opened into the orchestra from a the people regaled themselves with wine and sweetvault beneath it by a flight of steps called Xapúvioi meats. The number of spectators in the Athenian Kλiuakes. Through this passage entered and disap- theatre amounted occasionally to thirty thousand. peared the shades of the departed. Somewhat in (Plato, Symp., p. 13.) This inmense assembly were front of this door and steps was another communica- wont to express in no gentle terms their opinion of the tion by a trap-door with the vault below, called 'Ava-piece and actors. Murmurs, jeers, hootings, and Ticoua; by means of which, any sudden appearance, angry cries were directed in turn against the offending like that of the Furies, was effected. A second 'AvaTiεoμa was contained in the floor of the Aoyeiov on the right or country side, whence particularly marine or river-gods ascended, when occasion required.-In tragedy the scene was rarely changed. In comedy, however, this was frequently done. To conceal the stage during this operation, a curtain, called avλaia, wound round a roller beneath the floor, was drawn up through a slit between the Aoyɛiov and proscenium. 4. Audience. performer. They not unfrequently proceeded still farther; sometimes compelling the unfortunate object of their dissatisfaction to pull off his mask and expose his face, that they might enjoy his disgrace; sometimes, assailing him with every species of missile at hand, they drove him from the stage, and ordered the herald to summon another actor to supply his place, who, if not in readiness, was liable to a fine. In the time of Machon it was even customary to pelt a bad performer with stones. (Athenæus, 6, p. 245.) On the other hand, where the impetuous spectators happened to be gratified, the clapping of hands and shouts of applause were as loud as the expression of their displeasure. In much the same manner the dramatic candidates themselves were treated. 5. Actors. Originally no admission money was demanded. (Heysch., Suid. et Harpocr., s. v. Oɛwpíka.—Liban., Arg. in Olynth., 1.) The theatre was built at the public expense, and, therefore, was open to every individual. The consequent crowding and quarrelling for places among so vast a multitude was the cause of a law being passed, which fixed the entrance price at In the origin of the drama the members of the choone drachma each person. This regulation, debarring, rus were the only performers. Thespis_first introduas it did, the poorer classes from their favourite enter-ced an actor distinct from that body. Eschylus add tainment, was too unpopular to continue long unre- ed a second, and Sophocles a third actor; and this pealed. Pericles, anxious to ingratiate himself with the commonalty, brought in a decree which enacted that the price should be reduced to two oboli; and, farther, that one of the magistrates should furnish out continued ever after to be the legitimate number. Hence, when three characters happened to be already on the stage, and a fourth was to come on, one of the three was obliged to retire, change his dress, and so each with a coryphæus stationed in the centre, narrated some event, or communicated their pira their fears, or their hopes; and sometimes, on crical occasions, several members, in short sentences, gave vent to their feelings. Between the acts, the chiru poured forth hymns of supplication or thanksgiving to the gods, didactic odes upon the misfortunes of the instability of human affairs, and the excellence ai virtue, or dirges upon the unhappy fate of some fortunate personage; the whole more or less inter return as the fourth personage. The poet, however, the duties of the chorus (Ep. ad Pis., 193.) Some might introduce any number of mutes, as guards, at-times, again, the chorus was divided into two group tendants, &c. The actors were called úroкpirai or ἀγωνισταί. Ὑποκρίνεσθαι was originally to answer (Herodot., 1, 78, et passim); hence, when a locutor was introduced who answered the chorus, he was called ó vπоkρiтns, or the answerer; a name which de scended to the more numerous and refined actors in after days. Subsequently úroкpers, from its being the name of a performer assuming a feigned character on the stage, came to signify a man who assumes a feigned character in his intercourse with others, a hypocrite. The three actors were termed aрwraуwv-woven with the course of action. While engaged ιστής, δευτεραγωνιστής, τριταγωνιστής, respectively, according as each performed the principal or one of the two inferior characters. They took every pains to attain perfection in their art: to acquire muscular energy and pliancy they frequented the palestra, and to give strength and clearness to their voice they observed a rigid diet. An eminent performer was eagerly sought after and liberally rewarded. The celebrated Polus would sometimes gain a talent (or nearly $1060) in the course of two days. The other states of Greece were always anxious to secure the best Attic performers for their own festivals. They engaged them long beforehand, and the agreement was generally accompanied by a stipulation, that the actor, in case he failed to fulfil the contract, should pay a certain sum. The Athenian government, on the other hand, punished their performers with a heavy fine if they absented themselves during the city's festivals. Eminence in the histrionic profession seems to have been held in considerable estimation in Athens at least. Players were not unfrequently sent, as the representatives of the republic, on embassies and deputations. Hence they became in old, as not unfrequently in modern times, self-conceited and domineering, μεῖζον δύνανται, says Aristotle, τῶν ποιητῶν οἱ KOKPITαí. (Rhet., 3, 1.) They were, however, as a body, men of loose and dissipated character, and, as such, were regarded with an unfavourable eye by the moralists and philosophers of that age. singing these choral strains to the accompanimer flutes, the performers were also moving through da ces in accordance with the measure of the most passing, during the strophe, across the orchestra, mas right to left; during the antistrophe, back, from lef to right; and stopping, at the epode, in front of the spectators. Each department of the drama had pe culiar style of dance suited to its character. Thad tragedy was called ééλeta; that of comedy, that of the Satyric drama, oikivvis.—The music d the chorus was of a varied kind, according to the ture of the occasion or the taste of the poet. The Doric mood seems to have been originally prefered for tragedy (Athenæus, 14, p. 624); it was sometimes combined with the Mixo-Lydian (Plut., de Nus.} 1136), a pathetic mood, and therefore adapted i mournful subjects. The Ionic mood, also, was its austere and elevated character, well suited to gedy. (Athen., 14, p. 625.) Sophocles was the inst who set choral odes to the Phrygian mood. Eas des introduced the innovations of Timotheus, which he is severely attacked by Aristophanes t Rana.-The choruses were all trained with the g est care during a length of time before the day of contest arrived. Each tribe felt intensely interesal in the success of the one furnished by its Choras, and the Choragi themselves, animated with all the ergies of rivalry, spared no expense in the instruc and equipment of their respective choruses. T engaged the most celebrated choral performers, e ployed the ablest χοροδιδάσκαλοι to perfect the cine The chorus, once the sole matter of exhibition,isters in their music and dancing, and provided s though successively diminished by Thespis and Es-tuous dresses and ornaments for their decoration chylus, was yet a very essential part of the drama du- The first tragic poets were their own ring the best days of the Greek theatre. The splen- Eschylus taught his chorus figure-dances. dour of the dresses, the music, the dancing, combined 7. Scenic Dresses and Ornaments with the loftiest poetry, formed a spectacle peculiarly gratifying to the eye, ear, and intellect of an Attic au- In the first age of the drama, the rude performen dience. The number of the tragic chorus for the disguised their faces with wine-lees, or a species whole trilogy appears to have been 50; the comic pigment called Barpaxeiov. (Schol. ad Ap chorus consisted of 24. The chorus of the tetralogy Eq., 320.) Eschylus, among his many profe was broken into four sub-choruses, two of 15, one of ments, introduced the mask, first termed per 12, and a Satyric chorus of 8. When the chorus of and subsequently poownεiov. The mask was made 15 entered in ranks three abreast, it was said to be of bronze or copper, and was so constructed as to divided karà 【vyú; when it was distributed into three give greater power to the voice, and enable the actor files of five, it was said to be karà oroixovs. The to make himself heard by the most distant species situation assigned to the chorus was the orchestra, This was effected by connecting it with a tire or petr whence it always took a part in the action of the drawig (víkn, pevákn), which covered the head, and ma, joining in the dialogue through the medium of left only one passage for the voice, which was g its kopvpaios, or leader. The choristers entered the erally circular, converging inward, and from its shap orchestra preceded by a player on the flute, who reg- and its being lined with brass, resembled the ope ulated their steps, sometimes in single file, more frequently three in front and five in depth (Karà Oroixovs), or vice versa (karà (vyá), in tragedy; and four in front by six in depth, or inversely, in comedy. Its first entrance was called Tápodoç; its occasional departure, μtravάoraris: its return, tápodos; its final exit, ἀφοδος. (Jul. Pol., 4, 15.) According 6. Chorus. χοροδιδασκεία of a speaking trumpet. The voice, therefore, be said to sound through this opening, and hence the Latin name for a mask, persona, a personando u Gell., 5, 7.) These masks were of various kinds, to express every age, sex, country, condition, and com plexion; to which they were assimilated with the greatest skill and nicety. (Jul. Poll., 4, 133.) With to the rules of the drama, the chorus was to be con- equal care, the dresses of the actors were adapted to sidered as one of the actors: Kai ròv xopòv de Eva the characters represented. Gods, heroes, say, δεῖ ὑπολαβεῖν τῶν ὑποκριτών καὶ μόριον είναι του kings, soothsayers, soldiers, hunters, peasants, slaved 82ov, kai ovvaywvišeobal. (Aristotle, Poëtica, 18, pimps, and parasites, young and old, the prosperous 21.) Horace lays down the same law in describing and the unfortunate, were all arrayed in their appropo of that assigned to Juno, decked with golden stars and fastened behind the diadem. The dress of the gods was particularly splendid. Bacchus, for instance, was represented in a saffron-coloured inner vest, rich with purple figures and glittering with golden stars, and falling in many folds to the ground. The vest was girt, female fashion, high up under the breast and shoulders, with a broad girdle of dark purple set with gold and jewels. Over this inner robe was thrown the palla, of purple also, and such was the colour of his buskins. The comic dresses were, of course, chiefly those of ordinary life, except during an occasional burlesque upon the tragic equipment. (Theatre of the Greeks, p. 1, seqq., 3d ed.-Donaldson, Theatre of the Greeks, p. 132, seqq.) ate vestments; each of which Julius Pollux has separately and minutely described in a chapter devoted to the subject. This writer divides the tragic masks alone into twenty-six classes (4, 133, seqq.). The comic masks were much more numerous. He specifies only four or five kinds of Satyric masks. Most of the male wigs were collected into a foretop (ŏykoç), which was an angular projection above the forehead, shaped like a A, and was probably borrowed from the Kрwbúhov of the old Athenians. (Jul. Poll., 4, 133. -Thucyd., 1, 6.) The female masks, however, were often surmounted in a similar manner. The object of this projection was to give the actor a height proportioned to the size of the theatre, an object for which the cothurnus was also intended. It appears from Pollux (4, 141) that the masks were coloured; and THEBA (-arum.), I. (or, more correctly, Thebe, the art of enamelling or painting bronze seems to have Onbn), a city of Mysia, north of Adramyttium, and callbeen one of great esteem in the time of Eschylus. ed, for distinction' sake, Hypoplakia. This name it re(Eschyl., Agam., 623.- Welcker, Nachtrag., p. 42.) ceived from the adjacent district, which was styled -Another peculiarity which distinguished the Greek Hypoplakia, because lying at the foot of Mount Plakos manner of acting from our own, was the probable neg- (vrò and IIλákoç). As regards the existence, howlect of everything like by-play and making points, ever, of such a mountain, some doubt exists. (Com which are so effective on the modern stage. The pare Heyne, ad Il., 6, 396.) Thebe is said to have distance at which the spectators were placed would derived its name from a daughter of Cilix. (Diod. prevent them from seeing those little movements, and Sic., 5, 49.) It was the native city of Andromache, hearing those low tones, which have made the fortune and was taken and destroyed by Achilles during the of many a modern actor. The mask, too, precluded Trojan war. It never rose from its ruins; but the all attempts at varied expression; and it is probable name remained throughout antiquity attached to the that nothing more was expected from the performer surrounding plains, famed for their fertility, and often than good recitation.-The buskin, or cothurnus (kó- ravaged and plundered by the different armies whom Oopvoc), was the ancient Cretic hunting boot. For the events of war brought into this part of Asia. tragic use it was soled with several layers of cork, to (Xen., Anab., 7, 8, 4.—Polyb., 16, 1, 7.—Id., 21, 8, the thickness of three inches. It was laced up in front 13.- - Liv., 37, 19.—Pomp. Mel., 1, 18.)-II. (and. as high as the calf, which kept the whole tight and Thebe, Oñbai and On6n, more frequently the former), firm, in spite of the enormous sole. It was not worn one of the most ancient and celebrated of the Grecian by all tragic characters, nor on all occasions. Aga-cities, the capital of Bœotia, situated near the river memnon is introduced by Æschylus in sandals. The Ismenus, and in a northeastern direction from Platea. sandal raised by a cork sole was called tubarnç. The It was said to have been originally founded by Cadladies and the chorus had also the buskin, but that of mus, who gave it the name of Cadmeia, which in after the latter had only an ordinary sole. These buskins times was confined to the citadel only. Lycophron, were of various colours. White was commonly the however, who terms it the city of Calydmus, from one colour for ladies, red for warriors. Those of Bacchus of its ancient kings, leads us to suppose that it already were purple. Slaves wore the low shoe called the existed before the time of Cadmus (v. 1209). Nonsock, which was also the ordinary covering for the nus affirms that Cadmus called this city Thebes, after foot of the comic actor.-As the cork sole of the co- the Egyptian one of the same name. (Dionys., 5, 85.) thurnus gave elevation to the stature, so the xóλmwua, He also reports that it was at first destitute of walls or stuffings, swelled out the person to heroic dimen- and ramparts (5, 50), and this is in unison with the acsions. Judiciously managed, it added expansion to the counts transmitted to us by Homer and other writers, chest and shoulders, muscular fulness to arm and limb. who all agree in ascribing the erection of the walls of -The dresses were very various. There was the the city to Amphion and Zethus. (Hom., Od., 11, 262. XiTWV πodnρns for gods, heroes, and old men. That -Eurip., Phan., 842.-Hom., Hymn in Apol., 225.)— for hunters, travellers, and young nobles and warriors Having already mentioned much of what is common to when unarmed, was shorter, and sat close to the neck. Thebes, in the general history of Boeotia, it will be here The girdle for heroes was that called the Persian. It sufficient to notice briefly those events which have was very broad, made of scarlet stuff, and fringed at peculiar reference to that city.-Besieged by the Arthe lower edge. Goddesses and ladies wore one broad give chiefs, the allies of Polynices, the Thebans sucand plain, of purple and gold. The σúpua was a long cessfully resisted their attacks, and finally obtained a purple robe for queens and princesses, with a train signal victory; but the Epigoni, or descendants of the which swept the ground. The lower part of the sleeve seven warriors, having raised an army to avenge the was broidered with white.-The Xúorin was a short defeat and death of their fathers, the city was on this train with short sleeves drawn over the xirov Todη- occasion taken by assault and sacked. (Pausan., 9, phc. Slaves wore the iuáriov, a kind of short shirt, 9.) It was invested a third time by the Grecian army or the Ewuis, a shirt with only one sleeve for the right under Pausanias, after the battle of Platea; but, on arm; the left was bare to the shoulder. Herdsmen the surrender of those who had proved themselves and shepherds were clad in the dip0épa, a kind of goat-most zealous partisans of the Persians, the siege was skin tunic without sleeves. Hunters had the iuáriov, raised, and the confederates withdrew from the Theand a short horseman's cloak of a dark colour. If ban territory. (Herod., 9, 88.) Many years after, the they were great personages, they were dressed in a Cadmeia was surprised, and held by a division of Latunic of deep scarlet, with a rich and embroidered cedæmonian troops until they were compelled to evacmantle. Warriors were arrayed in every variety of uate the place by Pelopidas and his associates.-Philip armour, with helmets adorned with plumes. The pal- having defeated the Thebans at Charonea, placed a la or mantle for heroes was ample enough to cover garrison in their citadel; but, on the accession of Althe whole person. So large, also, was the ladies' IIé-exander, they revolted against that prince, who stormTλov, of fine cloth, embroidered. Matrons wore this ed their city, and razed it to the ground, B.C. 335, peplum fastened veil-like on the head; virgins, clasped (Arrian, Exp. Alex., 1, 7, seqq.-Plut., Vit. Alex., on the shoulder. The peplum of a queen was like 15, 11.) Twenty years afterward it was restored by Cassander, when the Athenians are said to have gen- by walls, these gates or portals must either be those of erously contributed their aid in rebuilding the walls, an its numerous palaces, or else, and what is more prod example which was followed by other places. (Pau- ble, the openings in the great circus or hippodrome san., 9, 7.-Plut., Polit. Præcep., p. 814, B.) Sub- that was in the neighbourhood of the city. This erre sequently we find that Thebes was twice taken by enclosed a space of 2000 metres in length and 1000 || Demetrius Poliorcetes. (Plut., Vit. Demetr., c. 39.) in breadth, and was surrounded with triumphat stre Dicæarchus has given a very detailed and interesting tures that gloriously announced the approach to the a account of this great city about this period. (Stat., cient capital of Egypt. Thebes sank in importance Gr., p. 14.) At a later period Thebes was greatly when Lower Egypt began to be more thickly inhabited, reduced and impoverished by the rapacious Sylla. and the new capital Memphis arose. A second and (Pausan., 9, 7.) Strabo affirms, that in his time it third sacerdotal college were established in the same was little more than a village. (Strab., 403.) Thebes, quarter; hither, too, trade and commercial intercourse though nearly deserted towards the decline of the Ro- of all kinds directed their course, and Thebes, in caseman empire, appears to have been of some note in the quence, became almost a deserted city compared wii middle ages (Nicet., Ann., 2, p. 50.-Leunc., Ann., its former splendour. It still remained, however p. 267), and it is still one of the most populous towns chief seat of the religion of Egypt; a circumsta of northern Greece. The natives call it Thiva. It which enabled it to retain a tolerable population, til retains, however, according to Dodwell, scarcely any the fury of Cambyses, or, more correctly speaking traces of its former magnificence. Of the walls of the his religious fanaticism, destroyed most of its prese Cadmeia a few fragments remain, which are regularly hood, and overthrew its proudest structures. Fam constructed. These were probably erected by the this period it rapidly declined. Herodotus visited te Athenians when Cassander restored the town. (Tour, city during the Persian government of Egypt, and vol. 1, p. 264.-Cramer's Anc. Greece, vol. 2, p. 223, speaks of the temple of Zeus; but his silence seqq.)-III. Phthioticæ, a city of Thessaly, in the dis- specting the condition of the rest of the city must s trict of Phthiotis, situate, according to Polybius, about ways remain an enigma. Diodorus, who speaks i 300 stadia from Larissa, and not far from the sea. In Thebes as of a city already in ruins, takes part a military point of view its importance was great, as notice of four principal temples. He mentions sphint it commanded the avenues of Magnesia and Thessaly, es, colossal figures decorating the entrances, portices, from its vicinity to Demetrius, Pheræ, and Pharsalus. pyramidal gateways, and stones of astonishing Sir W. Gell describes some ruins between Armiro nitude which entered into their structure. In the and Volo, which he suspects to be those of this town. scriptions given by modern travellers, these mar (Itin., p. 258. Cramer's Anc. Greece, vol. 1, p. 402.) ments are still recognised. Browne tells us that -IV. A celebrated city of Upper Egypt, the capital "there remain four immense temples, yet not seg of Thebais. The name is corrupted from the Tápé of nificent nor in so good a state of preservaat the Coptic, which, in the Memphitic dialect of that those of Denderah." Norden remarks, "It s language, is pronounced Theba. Pliny in one place prising how well the gilding, the ultra-marine, and t writes the name of Thebes in the singular: "Thebe rious other colours still preserve their bri portarum centum nobilis fama” (5, 9). The appella- He speaks also of a colonnade, of which thirty-two tion of Diospolis, often applied to it by the Greeks, umns are still standing; of platforms, preserved is a translation of Amunei, or "the abode of Am- leries, and other remains of antiquity, which be mon," who represents the Egyptian Jupiter. Another represented in his plates, and which he thinks name given to it by the Greeks was Hecatompylos, more worthy of attention as they appear to be which will be considered below. The origin of this same that are mentioned by Philostratus in his great city is lost amid the obscurity of fable. By count of the temple of Memnon. No description c some it was ascribed to Osiris, by others to one of give an adequate idea of these wonders of anti the earliest of the Egyptian kings. The probability both in regard to their incredible number and the is, that it was at first a sacerdotal establishment, con- gantic size. Their form, proportions, and construc nected with commercial operations, like so many of tion are almost as astonishing as their magnete the early cities of Egypt, and that it gradually attained The mind is lost in a mass of colossal objects, every to its vast dimensions in consequence of the additions one of which is more than sufficient to absor made by successive monarchs. The Egyptians, how- whole attention. On the western side of the m ever, according to Diodorus (1, 50), believed Thebes stood the famed Memnonium; here also are number to have been the first city founded upon the earth; less tombs in the form of subterraneous excavatans and, in truth, we have no account at the present day and containing many human bodies in the state of of any of earlier origin. Its most flourishing period mummies, sometimes accompanied with pieces of p appears to have been prior to the building of Memphis, pyrus and other ancient curiosities. These bave bee when Thebes was the capital of all Egypt, the royal the subject of ardent research; and the trade of de residence, and abode of the highest sacerdotal college ging for tombs and mummies being found guinfal in the land. It must, from its very situation, have been resorted to by numerous Arabs belonging been the middle point for the caravan trade to the place. With respect to the mummies, some are south, and through it passed, very probably, all the pro- in wooden cases shaped like the human body. These ductions and wares of Asia. Homer, therefore, who belonged to persons superior to the lower rank describes it as a powerful city, containing a hundred differing from one another in the quantity and gates, must have derived his information from the Pho- of the linen in which the body had been wrapped nicians engaged in the overland trade. It is idle to The mummies of the poorest classes are found with suppose that the poet himself had been there in person, out any wooden covering, and wrapped in the coursest when of the rest of Egypt he knew nothing but the linen. These differ from the former also in being f mere name, and had but a confused idea even of the en accompanied with pieces of papyrus, on which Mediterranean coast. The poet informs us that out Belzoni supposes that an account of the lives of the of each these 100 gates, Thebes could send forth 200 deceased had been written, while a similar account chariots to oppose an enemy: an evident exaggera- was carved on the cases of the more opulent. These tion, either originating in his own fancy, or received cases are generally of Egyptian sycamore, but very from, and characteristic of, the Phoenician traders. It different from one another with respect to plainness of is to its numerous portals that the epithet of Hecatom- ornament. Sometimes there are one or two inner pylos ("hundred-gated") refers. As the city, how-cases besides the outer one. Leaves and flowers of ever, contrary to the usual belief, was never surrounded acacia are often found round the body, and sometimes |