(_a_) =Scenes from Plays.=--The vase (No. =50=) placed under the glass shade is valuable as an illustration of the beginnings of Athenian drama. It is a plate of Athenian fabric of the sixth century B.C., with designs which probably represent the sacrifice made to Athena at the Panathenaic games, and two scenes relating to dramatic contests. The first of these scenes shows a tragic chorus with the goat, which was the prize of victory. The second shows a comic chorus, in which a man seated at the back of a mule-car appears to be making jests at the expense of another man who follows. This "jesting from a car" became a regular phrase to express ribald joking.[13] None of the men who took part in these contests is distinguished by any peculiarity of costume. Another early vase, however (No. =51=), gives a lively picture of two actors dressed up as birds. Before them stands a flute-player. Though this vase is many years earlier in date than the _Birds_ of Aristophanes (414 B.C.), yet it may serve to give us some idea of the appearance of the chorus in that play. [Illustration: FIG. 16.--SCENE FROM A MOCK-TRAGEDY. COMBAT BETWEEN ARES AND HEPHAESTOS BEFORE HERA (NO. 52).] [Illustration: FIG. 17.--MARRIAGE SCENE FROM A ROMAN-COMEDY (NO. 54). 2:3.] The two large vases illustrate Greek dramatic performances of a considerably later date. They give us scenes from _phlyakes_, a class of burlesques which were in vogue in the Greek cities of Southern Italy, especially at Tarentum, at the end of the fourth and the beginning of the third century B.C. They are associated with the name of Rhinthon, a Syracusan poet. These plays dealt in the wildest spirit of farce with subjects drawn from Greek mythology and legend, as well as with scenes from daily life. One of the vases (No. =52=; fig. 16) shows a contest upon the stage, between actors representing Ares ([Greek: Eneualios]) and Hephaestos ([Greek: Daidalos]) fighting in the presence of Hera. The grotesque mask, the padded figures, and the general air of exaggeration are indicative of the character of these plays, which earned for them the title of mock-tragedies ([Greek: hilarotragôdiai]). The other vase (No. =53=) is a parody of the myth of Cheiron cured by Apollo. The blind Centaur, whose equine body is represented pantomime-fashion by a second actor pushing behind, ascends the steps leading up to the stage, where stands the slave Xanthias. Behind is the Centaur's pupil Achilles, and looking on from a cave are two grotesquely ugly nymphs. [Illustration: FIG. 18.--SCENE FROM A ROMAN TRAGEDY. HERCULES DISPUTING WITH MARS (NO. 55). 1:1.]