At length, about 470 B.C., AEschylus, the great tragedian, made his debut as actor and author, and placed three speakers upon the stage. Besides the three principals, each man had a suite, if his station demanded such an appendage according to the ideas or customs of the times. These, however, had the rank of supernumeraries, merely following the speaker around, but never taking part in the dialogue. The principals each represented more than one character, effecting some slight change of costume for indicating the transformation. The stage was simply an open platform, with three doors in the rear. The actor entering by one door represented a prince at home; from another a prince abroad; by another door he represented a common person. The chorus occupied the central place in front of the stage, much in the same location as the parquet is now. In the center of this space was an altar, originally dedicated to Dionysos, and an offering was probably placed upon it. Later the Choreagos, or leader of the chorus, sat upon it and directed the movements of the singers, much as the operatic director does now. The theaters were very large, being vast amphitheaters, open to the sky, but with an awning available over the more expensive seats. The seats were of stone, arranged exactly like those in a modern circus. The theater in Athens is said to have held 25,000 persons. At first admission was free, the theater being conducted by the state. The plays were mounted very expensively at times, although with the absence of scenery or properties of an elaborate character it is not easy to imagine what was the use made of the vast sums reported to have been expended in different productions. There was a rivalry of leading citizens, each taking upon himself the expense of mounting a new play, and striving to outdo the last before him upon the list.