Footnote 1024: On the actors’ wardrobe, see Poll. iv. 113, sqq. Footnote 1025: Müller, Dissert. on the Eumenides, p. 100. Mr. Donaldson, Theatre of the Greeks, p. 132, adopts this opinion. Footnote 1026: Luc. Jup. Tragœd. § 41. Cf. Xen. Cyrop. viii. 8, 17. Poll. ii. 151. vii. 62. Footnote 1027: See Winkel. Monum. Ined. t. iii. p. 84. c. ix. § 1. Les extrémités des Cothurnes étoient ronds et quelquefois un peu aigues; mais on n’en vit jamais de carrés, comme aux gravés sur l’estampe, de Vasali. p. 85. Cf. Luc. de Saltat. § 27. Their height depended first upon the stature of the actor, second, upon that of the character represented. Sometimes they were satisfied with attributing four cubits even to the heroes.—Aristoph. Ran. 1046. Cf. Athen. v. 27. But the ghost of Achilles when it appeared to Apollonios of Tyana, rose five cubits in height, and, no doubt, the spectre was careful to accommodate itself to public opinion.—Philost. Vit. Apoll. Tyan. iv. 16. Aul. Gell. iii. 10. See, also, Scalig. Poet. i. 13. Scaliger relates _à propos_ of the Cothurnus a facetious remark of his father: “Italas mulieres altissimis soccis usas vidimus; quamvis diminutiva dicant voce Socculos. Patris mei perfacetum dictum memini. Ejusmodi uxorum dimidio tantùm in lectis frui maritos, alter dimidio cum soccis deposito,” p. 53. ----- The queens and heroes,[1028] who were constantly beheld grouped in converse, or in action, with these sublime dwellers of Olympos, were clad in a costume scarcely less majestic; the former, for example, in times of prosperity, issued forth from their palaces in white garments, with loose sleeves reaching to the elbow, and closed on the upper part of the arm by a succession of jewelled agraffes,[1029] their tresses confined in front by a golden sphendone, or fillet, crusted with gems, while their robes terminated below in long sweeping trains of purple.[1030] But when their houses were visited by misfortune, the milk-white pelisse was exchanged for one quince-coloured or blue, while the purple train was converted into black. The costume of the kings,[1031] likewise varied by circumstances, consisted usually of an ample robe of purple, or scarlet, or dark green, descending to the feet, a rich cloak of cloth of gold, or of some delicate colour, adorned with gold embroidery, and a lofty mitre on the head.[1032] When any of these characters, as Tydeus or Meleager, was engaged in hunting or war, he wore the scarlet or purple mantle called Ephaptis,[1033] which in action was wrapped about the left arm. Athenæus, in describing the horsemen of Antiochos, observes, that these Ephaptides[1034] were embroidered with gold and adorned with the figures of animals. Bacchanals and soothsayers, like Teiresias, generally appeared upon the stage in an extraordinary garment, denominated Agrenon,[1035] formed of a reticular fabric of wool of various colours. Dionysos himself,[1036] in whose