[271] In addition to the works mentioned on pp. xvii and xx f., above, cf. Detscheff, _De Tragoediarum Graecarum Conformatione Scaenica ac Dramatica_ (1904); Rees, “The Meaning of Parachoregema,” _Classical Philology_, II (1907), 387 ff.; _The So-called Rule of Three Actors in the Classical Greek Drama_ (1908); “The Number of the Dramatic Company in the Period of the Technitae,” _American Journal of Philology_, XXXI (1910), 43 ff., and “The Three Actor Rule in Menander,” _Classical Philology_, V (1910), 291 ff.; O’Connor, _Chapters in the History of Actors and Acting in Ancient Greece_ (1908); Leo, _Der Monolog im Drama_ (1908), and _Plautinische Forschungen²_ (1912), pp. 226 ff.; Listmann, _Die Technik des Dreigesprächs in der griechischen Tragödie_ (1910); Kaffenberger, _Das Dreischauspielergesetz in der griechischen Tragödie_ (1911); Foster, _The Divisions in the Plays of Plautus and Terence_ (1913); Stephenson, _Some Aspects of the Dramatic Art of Aeschylus_ (1913); Graf, _Szensiche Untersuchungen zu Menander_ (1914); and Conrad, _The Technique of Continuous Action in Roman Comedy_ (1915), reviewed by Flickinger in _Classical Weekly_, X (1917), 147 ff. Fig. 66 is taken from Baumeister’s _Denkmäler_, Fig. 1637. The apparent height of the tragic actors is said to have been increased by means of the ὄγκος projecting above the head and of thick-soled boots (κόθορνοι), both represented in Fig. 66. The employment of such paraphernalia rests upon late evidence, however, and has been disputed for fifth-century tragedy; cf. for example Smith, “The Use of the High-soled Shoe or Buskin in Greek Tragedy of the Fifth or Fourth Centuries B.C.,” _Harvard Studies_, XVI (1905), 123 ff. For the costumes of comic actors, see pp. 46 f., above. [272] Cf. Capps, “The Introduction of Comedy into the City Dionysia,” _University of Chicago Decennial Publications_, VI, 269, n. 37. [273] Cf. Tanner, _Transactions of American Philological Association_, XLVI (1915), 185-87. For Sophocles, cf. Jebb’s _Electra_, p. lvii. [274] Cf. Rees, _Classical Philology_, V (1910), 291 ff., and Kaffenberger, _op. cit._, p. 10. [275] Cf. C. F. Hermann, _De Distributione Personarum inter Histriones in Tragoediis Graecis_ (1840), pp. 32-34. [276] Cf. Prescott, “Three Puer-Scenes in Plautus and the Distribution of Rôles,” _Harvard Studies_, XXI (1910), 44. It ought to be added that some authorities deny that Prometheus was represented by a dummy, believing that this tragedy belonged to the three-actor period (see further, p. 228, below). [277] Cf. Lewes, _Life of Goethe²_, p. 424. [278] Cf. _Four Plays of Euripides_ (1905), pp. 1 ff. [279] Cf. the scholium on vs. 93. [280] Cf. Devrient, _Das Kind auf der antiken Bühne_ (1904). [281] Cf. _Oxyrhynchus Papyri_, VI (1908), 69. [282] Cf. Rees, _American Journal of Philology_, XXXI (1910), 43 ff. [283] Cf. Horace _Ars Poetica_, vs. 192; see also p. 53, n. 1, above.