These latter, however, were only a small proportion of the whole, and it seems hardly justifiable to choose them out from the rest as specially connected with the origin of comedy. As regards the costume of these animal choruses, it would be highly interesting to know how it was managed. There are five vase-paintings of the early fifth century which depict such choruses dancing to the accompaniment of a flute-player; though it is doubtful whether in any case the performance is of a dramatic kind. One of these choruses consists of men disguised as horses, with knights riding on their shoulders; and it has been suggested that the chorus of Knights in Aristophanes was represented in this way.[890] Two others depict men riding on ostriches or on dolphins.[891] In these pictures, however, the whole conception is far too fanciful and unreal to throw any light on the question of the costume actually used in the theatre. In another vase the dancers are tall figures, with heads like those of a cock, and bodies enveloped in long cloaks.[892] A dress of this kind might have been employed upon the stage; but unfortunately the cloaks conceal so much of the dancer’s person that the evidence of the vase is not very instructive. The best painting for our present purpose is one which represents a chorus of birds, and which is here reproduced (Fig. 30).[893] The costume is clearly delineated. The bodies of the choreutae are covered with a close-fitting dress, made in rough imitation of feathers. Two long ends hang down from each side of the waist, and a bunch of feathers is affixed to each knee. The arms are provided with wings. A row of upright feathers is attached to the crown of the head, and the mask is made with a long and pointed nose, suggestive of the beak of a bird. From this painting we may obtain a fairly clear idea of the manner in which animals were imitated in the Old Comedy. We see that there was none of the realism one meets with in a modern pantomime. The imitation was only carried so far as to be generally suggestive of the animal intended. The body and legs were left unfettered, to allow of free movement in the dance. At the same time, to judge from the specimen before us, the costumes seem to have been designed with a great deal of spirit and humour, and to have been extremely well adapted to the purpose for which they were intended. [Illustration: FIG. 30.] § 4. _Arrangement of the Chorus._