All other appurtenances of a performance were provided by the choregus—such things as chariots and animals, and, far the most important, costumes of chorus and actors. All dramatic performers, both actors and chorus in tragedy, comedy, and satyric drama alike, wore disguise throughout the whole history of the ancient theatre. The reason in the first place was that masks or some kind of facial disguise—in Thespis’ time the face was anointed with lees of wine—was a feature of Dionysiac worship. The dressing of a tragic chorus was generally a simple matter. It often represented a company of people from the district with no special characteristics. The dress was therefore the usual dress of Greek men or women, with a special shoe, the _crēpis_ (κρηπίς), said to have been introduced by Sophocles. There were also obvious indications of circumstances; old men wore beards and carried staves; suppliants bore olive-branches twined with wool. The occasional choruses of peculiar character were of course equipped specially. In Euripides’ _Bacchæ_ they were dressed in fawn-skins and carried timbrels. When Æschylus brought out his _Eumenides_ he designed the Furies’ costume himself; their terrible masks and the snakes entwined in their hair are said to have terrified the spectators and produced most untoward effects on the more susceptible. The equipment of satyric choristers was very different. They were always dressed as satyrs or goat-men. A tight garment, representing the naked flesh, covered their bodies. Their masks were surmounted by horns, their feet were shod in hoof-shaped shoes, and round their middle they wore a woollen girdle like goatskin to which were attached the phallus and a tail, which, however, after about 400 B.C., resembled the tail of a horse, not a goat, the satyr-type being superseded by the Silenus-type. Satyric actors seem to have worn much the same costume as the tragic, save that the dress of Silenus represented the hides of animals. The dress of tragic actors was mostly the invention of Æschylus and showed little change throughout ancient times. Everything was done to make the actor’s appearance as stately as possible. His robes were heavy, sweeping, and of brilliant colours. His size was increased by various devices. The boot, the famous _cothurnus_ (κόθορνος) or buskin, had an immensely thick sole; the limbs were padded and the height was further increased by an _oncus_ (ὄγκος) or projection of the mask above the forehead. The mask itself was modelled and painted to correspond with the character: a tyrant’s mask wore a frown, that of a suppliant a distorted look of misery, and so forth. Increased power was given to the voice by a large orifice at the mouth. Identity was indicated wherever possible by some obvious mark: Apollo was known by his bow, Heracles by his lion’s skin and club, kings by crowns and sceptres. It was a joke against Euripides that his heroes so often entered in the rags of beggary.