Footnote 311: It formed part of the guilt of Paris, that, besides his seduction of Helena, he had carried off part of the treasures of Menelaos. Footnote 312: The idea of a payment twofold the amount of the wrong done, as a complete satisfaction to the sufferer, was common in the early jurisprudence both of Greeks and Hebrews (Exod. xxii. 4-7). In some cases it was even more, as in the four or fivefold restitution of Exod. xxii. 1. In the grand opening of Isaiah's message of glad tidings the fact that Jerusalem has received “double for all her sins” is made the ground on the strength of which she may now hope for pardon. Comp. also Isa. lxi. 7; Zech. ix. 12. Footnote 313: Perhaps— “Full hardly, and the close and crowded decks.” Footnote 314: So stress is laid upon this form of hardship, as rising from the climate of Troïa, by Sophocles, _Aias_, 1206. Footnote 315: One may conjecture that here also, as with the passage describing the succession of beacon fires (vv. 281-314), the description would have for an Athenian audience the interest of recalling personal reminiscences of some recent campaign in Thrakè, or on the coasts of Asia. Footnote 316: We may, perhaps, think of the herald, as he speaks, placing some representative trophy upon the pegs on the pedestals of the statues of the great Gods of Hellas, whom he had invoked on his entrance. Footnote 317: Or, “So that to this bright morn our sons may boast, As they o'er land and ocean take their flight, 'The Argive host of old, who captured Troïa, These spoils of battle to the Gods of Hellas, Hung on their pegs, a trophy of old days.'” Footnote 318: The husband, on his departure, sealed up his special treasures. It was the glory of the faithful wife or the trusty steward to keep these seals unbroken. Footnote 319: There is an ambiguity, possibly an intentional one, in the comparison which Clytæmnestra uses. If there was no such art as that of “staining bronze” (or copper) known at the time, the words would be a natural phrase enough to describe what was represented as an impossibility. Later on in the history of art, however, as in the time of Plutarch, a process so described (perhaps analogous to enamelling) is mentioned (_De Pyth. Orac_. § 2) as common. If we suppose the art to have been a mystery known to the few, but not to the many, in the time of Æschylos, then the words would have for the hearers the point of a _double entendre_. She seems to the mass to disclaim what yet, to those in the secret she acknowledges.