detached his chorus and dithyramb from some particular shrine, probably at Icaria, his native place, and taking his company with him on wagons gave his performances on his extemporised stage when and where he could find an audience, not for religious purposes but for a pastime. Thus not merely by defining more accurately the rôle of the actor but also by lifting tragedy from being a mere piece of religious ritual tied to a particular spot into a great form of literature, he was the true founder of the tragic art. This view offers a reasonable explanation of Solon’s anger on first seeing Thespis act. A performance which he would have regarded as fit and proper when enacted in some shrine of the gods or at a hero’s tomb, not unnaturally roused his indignation when the exhibition was merely “for sport,” as Thespis himself said (and doubtless also for profit), and not at some hallowed spot, but in any profane place where an audience might conveniently be collected [_op. cit._, p. 61]. Not only does such an interpretation find no support in Plutarch’s anecdote but it is highly improbable as well. It may be granted that after long neglect Thespis’ “wagon”[46] seems to be enjoying a recrudescence of favor. Dieterich and von Wilamowitz have referred to it in all seriousness.[47] There is nothing improbable about the tradition nor any compelling reason for supposing it borrowed from the history of early comedy. It is natural to suppose that Thespis did not restrict his activities to Icaria, but extended them to such other demes as were interested or found them appropriate to their festivals. In that case, means of transportation for performers and accessories became imperative. The use of such a vehicle in the _Prometheus Bound_ of Aeschylus shows that it need not necessarily have served also as a stage, as has sometimes been thought. Now, as a matter of fact, several Attic vases, dating from the close of the sixth century B.C., represent the “wagon-ship” of Dionysus (Fig. 65). Just what relationship subsisted between primitive drama and the scenes depicted upon these vases has yet to be definitely established. Dr. Frickenhaus would associate them with the preliminary procession at the City Dionysia (see p. 121, below). But at least, until such time as any connection with Thespis’ wagon has been shown to be impossible, the suggestion can scarcely be laughed out of court as utterly ridiculous. On the other hand, to suppose that Thespis entirely dissociated his performances from shrines and festivals not only rests upon no evidence but is so out of harmony with other data as to be incredible.