Poll. iv. 123.—The Cunei, for greater convenience, had particular marks, numbers, or names to distinguish them: the podium of the diazoma of the theatre at Syracuse has an inscription cut on the fascia of the cornice to each cuneus.—Antiq. of Ath. &c. Supplem. to Stuart, &c., by Cockerel, Kinnaird, Donaldson, &c., p. 38. Footnote 873: For the children, see Plat. de Rep. t. vi. p. 128. Athen. xi. 13. Cf. Aristid. t. i. p. 505. Jebb. ----- Above the level of the most elevated range of seats, and stretching round the whole sweep of the edifice,[874] arose a spacious portico,[875] designed to afford shelter to the spectators during the continuance of a sudden shower. Another range of porticoes extended along the small lawn or grove within the limits of the theatre, at the back of the stage, so that there was little necessity for the Athenian people to take refuge, as some have imagined, from the weather in the public buildings, sacred or civil, in the vicinity. ----- Footnote 874: Vitruv. v. 9. Donaldson, Theatre of the Greeks, p. 139. Footnote 875: Among the Romans it was customary to carry along with them, as a defence against rain, thick cloaks, rockets, or mandilions. Buleng. de Theat. i. 15.—The theatre of Regilla, built by Herodes Atticus in honour of his wife, was roofed with cedar.—Philost. Vit. Sophist. ii. 1. 5.—In later ages a velarium appears to have been extended over the great Dionysiac theatre, as was the custom at Rome.—Wordsworth, Athens and Attica, p. 90. Cf. Dion. Cass. xliii. p. 226. a. Hanov. 1606. ----- It would appear from an expression in Pollux,[876] that the lower seats of the theatre, appropriated to persons of distinction, were covered with wood,[877] notwithstanding which, it was usual, in the later ages of the commonwealth, for rich persons to have cushions brought for them to the theatre by their domestics,[878] together with purple carpets for their feet. Theophrastus, accordingly, whom few striking traits of manners escaped, represents his flatterer snatching this theatrical cushion from the slave, and adjusting and obsequiously smoothing it for his patron.[879] To render their devotion to Dionysos still less irksome, it was customary to hand round cakes and wine during the representation, though, like Homer’s heroes, they were careful to fortify themselves with a good meal before they ventured abroad. We are informed, moreover, that when the actors were bad there was a greater consumption of confectionary, the good people being determined to make up in one kind of enjoyment what they lost in another. Full cups, moreover, were habitually drained on the entrance and exit of the chorus.[880] ----- Footnote 876: Onomast. iv. 122.—To kick the seats with the heel was called πτερνοκοπεῖν, which they did when they wanted to drive away an actor, id. ibid. Cf. Diog. Laert. ii. 8. 4. Footnote 877: