The relationship between the theologeion and the mechane has been much discussed during the last few years, and various theories have been brought forward on the subject. Some of the critics think the mechane was the older and more primitive device, and that the theologeion was invented towards the end of the fifth century, to serve as a substitute, and avoid the awkwardness of the previous arrangement.[652] Others take exactly the opposite view, and regard the theologeion as the simple contrivance of the early drama, and the mechane as a later and more picturesque piece of machinery.[653] Neither of these views can be maintained except by a somewhat arbitrary treatment of the evidence. We have clear testimony as to the existence both of the mechane and of the theologeion in the time of Aeschylus; and it seems uncritical to reject this testimony in the one case, and accept it in the other. As regards the question of priority, it is impossible to come to any decision, owing to the paucity of the early dramas which have been preserved. But there is one point which deserves consideration. We have seen that there are several cases at the close of a play in which the mechane was unquestionably used to introduce the god who solved the difficulties of the plot. The god’s arrival is described in language which leaves no doubt upon the subject. But there are many other cases in which he appears for a similar purpose, and in which he is simply described as standing in some elevated position, and nothing is said about any flight through the air.[654] There are also several plays at the end of which the god appears abruptly, without any notice as to his standing-place, or the manner in which he arrived; but in which it is evident, from the analogy of the other dramas, that he appeared above the heads of the ordinary actors.[655] In both these latter classes of play there is some uncertainty as to the nature of the machinery employed. The question may be raised whether, when there is no mention of any movement through the air, the god was introduced by the mechane or by the theologeion. Was he floated down from the sky, or pushed out through the back-scene? Some scholars maintain that the theologeion was the device used in these particular cases; and the supposition is no doubt possible. But, on the other hand, the fact that there is no allusion to the mechane in the course of the dialogue proves nothing as to its presence or its absence. There are many places in which, though the ekkyklema was obviously employed, the text contains no reference to it. Also it is clear that from the beginning of the fourth century the mechane became the regular contrivance for introducing gods at the close of a drama. Plato remarks that the tragedians, when in a difficulty, ‘have recourse to the mechane, and suspend their gods in mid-air.’ Antiphanes, the comic poet, ridicules the practice of hanging out the mechane at the end of a tragedy.