GREEK PLAYS IN GENERAL. 265 ming is probably the oxOol^ol mentioned by Photius^ By the side of the flute-player one of the actors is advancing probably to Fig. 27. take the mask, which the teacher is raising with his right hand. Another actor, who has already received his mask which lies beside him on the table, is fitting on his chiton with the aid of a sei*vant. The mask of the Silen, which lies at the foot of the teacher, indi- cates a third part; and unless we suppose that this part is to be undertaken by one of the two actors already present, we must con- clude that, as only two of the choreutse are still in the room, the third actor has not yet made his appearance. The gowns of both the actors are bright blue with stripes of some difierent colour, which is not very distinct. The red mantle, which is thrown over the chair with gilded legs immediately to the right of the chorodi- dascalus, is, no doubt, intended to form part of the costume of one of the actors. The wall of the apartment is adorned with Ionian pilasters, between which are suspended garlands and tasnia. The latter are perhaps indications of success in the dramatic com- petition. This examination of the details of the costume in the three great classes of the ancient drama will suffice to show how entirely conventional and unreal the performance of a Greek play must have been when contrasted with om' modern notions. It is of course an open question, whether it is more in accordance with the principles of dramatic art to let gorgeous Tragedy In sceptred pall come sweeping by, ^ P. 366, 5, Porson: 'Ox^ol^ovs: to. Xu/xara' i<TTi de irepl to aTrjdos rod xi-t^vos aXovpyes Trpoapa/JL/xa.
