After the erection of a scene-building, about 465 B.C., it became possible to employ the roof as a higher stage for certain scenes. At the beginning of Aeschylus’ _Agamemnon_ the guard is found posted upon the palace roof, on watch for the last in the series of beacon lights from Troy. In Euripides’ _Phoenician Maids_, Antigone and an old servant appear on top of the royal palace in order to view the hostile army (cf. vss. 88 ff.). In these and other instances the roof of the scene-building (or at a later period the top of the proscenium) was pressed into service. Moreover, although this spot was of course not the exclusive place of speaking, yet, since it was never used for dancing but only for speaking, it came to be called the logium (λογεῖον) or “speaking-place” _par excellence_ (see p. 59, above). This arrangement was especially useful when a scene was to be thought of as taking place in heaven. So in Aeschylus’ lost play entitled _The Weighing of Souls_, Zeus was represented as placing the fates of Achilles and Memnon into the scales, while Thetis and Eos prayed for their sons. The same meaning is assigned the logium also in Aristophanes’ _Peace_, in which Trygaeus on the back of his beetle mounts from earth to heaven, i.e., from the orchestra to the top of the proscenium. The dramatists were not slow to perceive that no other part of the theater was so well adapted for the awe-compelling theophanies with which the Greeks were so fond of terminating their tragedies. There is no doubt that this method of introducing divinities was employed in several of our extant plays, but the absence of stage directions makes it difficult to differentiate the instances sharply.