[308] In addition to the works mentioned on pp. xvii and xx f., above, and the bibliography listed on pp. 57-59, above, cf. Hense, _Die Modificirung der Maske in der griechischen Tragödie²_ (1905); Dignan, _The Idle Actor in Aeschylus_ (1905); Flickinger, “Scaenica,” _Transactions of the American Philological Association_, XL (1909), 109 ff.; Robert, _Die Masken der neueren attischen Komödie_ (1911); Rees, “The Significance of the Parodoi in the Greek Theater,” _American Journal of Philology_, XXXII (1911), 377 ff., and “The Function of the Πρόθυρον in the Production of Greek Plays,” _Classical Philology_, X (1915), 117 ff.; Harms, _De Introitu Personarum in Euripidis et Novae Comoediae Fabulis_ (1914); Mooney, _The House-Door on the Ancient Stage_ (1914); and Rambo, “The Wing-Entrances in Roman Comedy,” _Classical Philology_, X (1915), 411 ff. [309] Cf. Craig, _On the Art of the Theatre_ (1911), pp. 13 and 54 ff., and Cornford, _Thucydides Mythistoricus_ (1907), p. 142, n. 2. [310] Fig. 70 is taken from Dörpfeld-Reisch, _Das griechische Theater_, Fig. 43; Fig. 71 is from a photograph taken by Professor L. L. Forman and furnished by Dr. A. S. Cooley. [311] Cf. _Three Plays for Puritans_, p. xxxvi. [312] Fig. 72 is taken from Puchstein, _Die griechische Bühne_, Fig. 3. [313] Cf. Ridgeway, _Dramas and Dramatic Dances of Non-European Races_, p. 83. [314] Fig. 73 is taken from Baumeister, _Denkmäler_, Fig. 980. Within the prothyron are the king of Corinth and his daughter, Jason’s second wife. The latter is being assisted by her brother. In front lies an opened box which contained the poisoned gifts. From the other side the queen comes rushing. In the foreground is Medea slaying one of her children, while a youth tries to rescue the other. In the center is Oistros, the demon of madness, mounted upon a dragon chariot. Further on Jason is hastening to aid his boys, and on the extreme right is the ghost of Aeetes, Medea’s father. The design is apparently not based upon Euripides’ _Medea_. Cf. Earle’s edition, pp. 60 f. [315] Cf. _Discours des trois unités_, I, 119 (Regnier’s edition; 1862). [316] Cf. Legrand, _The New Greek Comedy_, pp. 356 f., Loeb’s translation. [317] For another interpretation cf. Mooney, _op. cit._, p. 19 and n. 13. [318] The _Ajax_ is one of the earliest among Sophocles’ extant plays, but its exact date is not known. I have assumed that it preceded the introduction of a proscenium about 430 B.C. (see p. 235, above). If it was written after that innovation, the statement in the text would have to be altered accordingly, but the general method of procedure remains the same in either case. [319] Cf. Jebb, _The Attic Orators_, Vol. I, p. ciii.