than the chorus of Furies in the Eumenides of Aeschylus. Their costume was designed by Aeschylus himself, and the snakes in the hair, which afterwards became one of their regular attributes, were specially invented for the occasion. As they rushed into the orchestra, their black dresses, distorted features, and snaky locks are said to have inspired the spectators with terror.[871] But this chorus was of a very unusual kind. In most cases the tragic chorus was composed of ordinary men and women, and their dress was that of everyday life. [Illustration: FIG. 28.] The choruses of goat-like satyrs who sang the dithyrambs in honour of Dionysus were the original source both of tragedy and of the satyric drama. These satyrs appear to have been an importation from the Peloponnesus. They are unknown to the oldest Ionic traditions. Among the primitive Ionians their place is taken by the Sileni—beings of a similar type, but resembling horses rather than goats.[872] Thus in the Homeric hymns it is the Sileni who are mentioned as companions of Dionysus, and there is no reference to the satyrs.[873] In the earliest Attic vases satyrs are never depicted, but only the horse-like Sileni. That the satyrs, with their goatish horns and tails, were a Doric conception is proved by various indications. In a fragment of Hesiod, where they are mentioned for the first time, the account of their genealogy which is given connects them with Argos.[874] We hear of ‘goat choruses’ as an ancient institution at Sicyon.[875] Pratinas, the first celebrated writer of satyric drama, was a native of Phlius. As for the costume of the satyrs who formed the chorus of the primitive drama there is not very much evidence of an early date. Vases depicting Bacchic scenes are sufficiently common, but few of them can be shown to have any connexion with a dramatic performance. The earliest reliable testimony is that supplied by the Pandora vase.[876] This vase, which belongs to the middle of the fifth century, contains a scene from the Pandora myth, and also a representation of a group of masked satyrs (Fig. 28) dancing round a flute-player. The satyrs are portrayed as half men and half goats. They have goat’s horns upon their heads, and goat’s hoofs instead of feet; and their tails are those of goats. Such seems to have been the appearance of a satyric chorus at the time the vase was painted. The next representation in point of date is that of the Naples vase (Fig. 29), which is about fifty years later. Here there is a considerable change in the make-up of the satyrs. The goatish element is less conspicuous. The goat’s horns and hoofs have disappeared, and the tail is more like that of a horse. In fact the type begins to approximate to that of the old Ionic Sileni, or horse-deities. The only part which resembles a goat is the shaggy skin round the loins. The style of satyr here depicted is the one which eventually prevailed in the theatre. Later