Still another theatrical contrivance was called the μηχανή (“machine”), which about 430 B.C. came to be used to bring divinities before the ancient audiences. This was a crane and pulley arrangement, mounted in one of the side wings (parascenia), whereby persons or objects could be brought from behind the second story (the episcenium) and held suspended in the air or let down upon the roof of the scene-building or into the orchestra, or could be lifted in an opposite direction. This development is of interest also from the structural standpoint as indicating that whatever the situation may have been earlier, at least from this time on the scene-building was provided with an episcenium (see pp. 67 f., above). Before considering the use of the _machina_ further, it will be worth while to trace briefly how gods played their parts in the Greek theater. Prior to the erection of a scene-building, about 465 B.C., the scene was perforce laid in the open countryside (see p. 226, above) and the playwrights had no option but to place divinities and mortals in immediate juxtaposition, after the Homeric fashion, in the orchestra. For the same reason, however these characters might be thought of as traveling before they entered the theater, they rested under the prosaic necessity, as soon as they were seen by the spectators, of moving upon the solid earth. Thus in Aeschylus’ _Prometheus Bound_, Oceanus enters at vs. 284 with the words: From my distant caves cerulean This fleet-pinioned bird hath borne me; Needed neither bit nor bridle, Thought instinctive reined the creature. [Blackie’s translation] As a preliminary to his departure at vs. 397, he says: I go, and quickly. My four-footed bird Brushes the broad path of the limpid air With forward wing: right gladly will he bend The wearied knee on his familiar stall. [Blackie’s translation] It will be noted that there is nothing here which requires or implies flight through the air within sight of the audience. Evidently Oceanus rides upon a fantastic creature which is rolled along by hidden power or which walks on disguised human legs. A similar interpretation must be set upon the lines which refer to the chorus’ mode of entrance in the same play. At vs. 124 Prometheus cries out: Hark again! I hear the whirring As of wingèd birds approaching; With the light strokes of their pinions Ether pipes ill-boding whispers:— Alas! Alas! that I should fear Each breath that nears me. To which the Oceanides, as they come into view, reply: Fear nothing; for a friendly band approaches; Fleet rivalry of wings Oared us to this far height. [Blackie’s translation] They remain upon their winged car until the Titan invites them, at vs. 272, to step upon the earth. They accept in the following language: