The size of the chorus in the Greek drama was regulated by conventional rules, and no change was made to suit the requirements of a particular play. For instance, in the Supplices of Aeschylus the number of the Danaides was fifty, but the chorus probably consisted of twelve maidens who did duty for the fifty. In the Supplices of Euripides the actual suppliants were the seven wives of the slaughtered chieftains, but the chorus was raised to its proper number by the addition of female attendants. It has sometimes been suggested that in the Eumenides, where the Furies are twelve or fifteen instead of three, legendary tradition was sacrificed to theatrical requirements. But, as there is no evidence to show that the number of the Furies had been settled at three as early as the time of Aeschylus, it is quite possible that in this case the usual size of the chorus was not inappropriate. § 3. _Costume of the Chorus._ The costume of the chorus, as already pointed out, was entirely distinct from that of the actors. The tragic, comic, and satyric choruses all wore masks, in accordance with the usual Bacchic tradition.[866] In other respects their costume had nothing in common, but was designed in accordance with the spirit of the respective types of drama. The tragic chorus was usually composed of old men, or women, or maidens. In such cases they wore the ordinary Greek dress, consisting of a tunic and a mantle. No attempt was made to give them an impressive appearance by the use of strange and magnificent costumes, similar to those worn by the actors. Such costumes were perfectly appropriate to the heroes and gods upon the stage, but would have been out of place in the chorus, which was generally supposed to represent the ordinary public. The masks of the tragic chorus would of course be suitable to the age and sex of the persons represented. A special kind of white shoe, said to be the invention of Sophocles, was worn by the tragic chorus.[867] Old men usually carried a staff.[868] Various little details in dress and equipment would be added according to circumstances. Thus the chorus of bereaved matrons in the Supplices of Euripides were dressed in black garments, and had their hair cut short, as a sign of mourning; and carried branches twined with wool, the symbol of supplication, in their hands. The chorus of maidens in the Choephori, who had come to offer libations at the tomb of Agamemnon, were also dressed in black.[869] In some cases the tragic chorus was altogether of an exceptional character, and required a special costume. In the Supplices of Aeschylus the daughters of the Egyptian Danaus appear to have been dressed as foreigners. Probably the same was the case with the Persian Elders in the Persae. The Bacchantes in the play of Euripides carried tambourines in their hands, and were doubtless also provided with fawn-skins and wands of ivy.[870] But no tragic chorus ever caused a greater sensation