In addition to the passages already mentioned, there are two other places in the extant dramas where the scholiasts say that the ekkyklema was employed. But they appear to have been mistaken in both cases. The first instance is in the Thesmophoriazusae. The action of this play begins before Agathon’s house, but after about three hundred lines is transferred to the front of Demeter’s temple, where the women hold their assembly. At this point there is a stage-direction to say that ‘the Thesmophorion is rolled out’.[628] If these words mean that the scene was laid in the interior of the temple, and that the ekkyklema was rolled out in order to represent it, the suggestion is undoubtedly wrong. It would be absurd to imagine that the rest of the play was transacted on a small platform like the ekkyklema. But possibly the author of the note was referring, not to the ekkyklema, but to some mechanism by which he believed that the necessary change of scene was brought about. The second place is the well-known scene at the beginning of the Eumenides.[629] The play opens with the speech of the priestess, delivered in front of the temple. Then, when she departs, the interior of the temple is suddenly brought into view, and shows us Orestes kneeling before the altar, with the sleeping Furies round about him, and Apollo and Hermes standing close by. To suppose, as the scholiast suggests, that this effect was produced by the ekkyklema, is hardly possible. The platform would have been far too small to accommodate a whole tragic chorus, together with three actors. At the same time, though the explanation of the scholiast appears impracticable, it is difficult to suggest any other way in which the scene might have been acted. We cannot assume that the back-scene was drawn apart, and disclosed the inside of the temple in a set-piece, after the modern fashion. This mode of revealing interiors was apparently never used on the Greek stage. If it had been possible, there would have been no need to invent the ekkyklema. It has been suggested that the spectacle was not really exhibited to the audience; that Apollo, Hermes, and Orestes appeared alone in front of the temple; that the ghost of Clytaemnestra called to the Furies through the temple door; and that it was not until then that the Furies came into sight, rushing out in obedience to her summons. But the general character of the scene, and the expressions used in the course of the dialogue, appear to be fatal to this supposition.[630] In fact, the difficulty is one for which no satisfactory solution has yet been found.