First, and most remarkable, was that machine called an Eccyclema,[894] much used by the ancients when scenes within-doors were to be brought to view. It consisted of a wooden structure, moved on wheels, and represented the interior of an apartment. In order to pass forth through the doors, it was formed less deep than broad, and rolled forth sideways, turning round afterwards, and concealing the front of the building from which it had issued. The channels in the floor, which were traversed by the wheels, doubtless concealed beneath the lofty basis, received the name of Eiscyclema.[895] Sometimes, as in the Agamemnon, it presented to view “the royal bathing apartment with the silver laver, the corpse enveloped in the fatal garment, and Clytemnestra, besprinkled with blood, and holding in her hand the reeking weapon, still standing with haughty mien over her murdered victim.”[896] On other occasions a throne, a corpse, the interior of a tent, the summit of a building, were exhibited; and in the Clouds of Aristophanes the interior of Socrates’ house was laid open to the spectators, containing a number of masks, gaunt and pale, the natural fruit of philosophy.[897] It should be remarked that the Eccyclema issued through any of the doors, as the piece required the cells of a prison, the halls of a palace, or the chambers of an inn, to be placed before the eyes of the audience. ----- Footnote 894: Poll. iv. 127, seq. Footnote 895: Poll. iv. 128. Footnote 896: Müller, Dissert. on the Eumenid. p. 91. Footnote 897: Sch. Aristoph. Nub. 185. ----- That peculiar machine in which the gods made their appearance,[898] or such heroes as enjoyed the privilege of travelling through the air,—Bellerophon, for example, and Perseus,—stood near the left side-entrance, and, in height, exceeded the stone skreen at the back of the stage. This, in tragedy, was denominated Mechanè, and Kradè in comedy,[899]—in this case resembling a fig-tree, which the Athenians called Kradè. The watch-tower, the battlements, and the turret, were constructed for the use of those watchmen, such as the old man in the Agamemnon, who looked out for signals, or indications of the coming foe. The Phructorion[900] was a pharos, or beacon-tower. Another portion of the stage was the Distegia, a building two stories high in palaces, from the top of which, in the Phœnissœ of Euripides,[901] Antigone beholds the army. It was roofed with tiles, (and thence called Keramos,) which they sometimes cast down upon the enemy. In comedy, libertines and old women, or ladies of equivocal character, were represented prying into the street for prey from such buildings. ----- Footnote 898: