The surest way to avoid error was to pick out a single individual of high character, intelligence, and competence, and give him cordial and resolute support in the policy he advocated. The ecclesia was accordingly a great "contest," or _agon_, of statesmen. The Athenians believed in competition. A public contest, in which excellence might be displayed and determined, was arranged to encourage effort in every conceivable employment. To digress a little, there was a contest of potters, as we learn from a gravestone on which an unknown affirms by a mighty oath that he was adjudged the first of all the potters of Attica. There were probably contests of painters and sculptors as well. There were contests of horse-breeders--the chariot- and running-races; contests of athletes of all ages in all kinds of physical exercises, of torch-racers on foot and on horseback; there were contests between the successive prytanies of the council, between detachments of cavalry, and between regiments of foot; at each of many festivals there were contests in singing of five choruses of boys and five choruses of men, each fifty voices strong, so that a single festival called for the training of five hundred singers annually and the production of ten new musical compositions; there were contests of rhapsodists in reciting Homer, contests of rhetoricians; above all contests of tragedians and contests of comedians, each tragic contest demanding twelve new plays annually and the participation of one hundred and eighty choral singers and dancers, each comic contest involving six new plays yearly and one hundred and forty-four choral singers and dancers. The rivalry which produces Olympic records and superdreadnaughts nowadays, the Athenians turned to advantage in art and music as well: with the result that the taste and skill of the artisan as well as the sculptor and painter, of the consumer as well as the producer, became well-nigh faultless; that in the hundred years of the empire close to two thousand plays of picked quality were written and staged in Athens, while during the same time from five to six thousand new musical compositions were made and presented. It is estimated that upwards of two thousand Athenians had to memorize the words and practice the music and dance figures of a lyric or dramatic chorus every year. Hence, a normal Athenian audience must have been composed in large part of ex-performers, a fact which students of Sophocles and Aristophanes would do well to bear constantly in mind.