The first duty of the choragus was to collect the necessary number of persons and to pay those who were not bound to appear unpaid. He had also to choose and pay a chorus teacher, who had to train the chorus (χοροδιδάσκαλος), and usually undertook the place of chorus-leader at the performance. In former times, when this instruction of the chorus was not a profession as it was later on, and the poet often helped in the training, the choragus frequently trained the chorus himself, and even appeared as their leader at the performance; but in later times this was unusual. The choragus had also to procure, or if necessary hire, a place for the training of the chorus, to keep the members during the time of training, and to provide them with festive garments and wreaths for the performance. It rested with him to spend a large or a small amount for this last purpose, but a choragus who equipped a comic chorus economically, risked being made the subject of the poet’s sarcasm on some future occasion, and in the allotment of prizes, too, the appearance of the chorus would be considered, as well as the manner in which it performed its task. The chorus-members were usually free citizens; strangers were jealously excluded. Their task was by no means a light one; bodily dexterity was required for the dances, and good musical training, good delivery and comprehension of the poetic text were necessary in order to give a satisfactory representation of the poet’s work before the keenly critical Attic public. It is, therefore, natural that a good choragus took considerable trouble to procure a good chorus, the rather as the choragia was a contest in which not only the poet but also the choragi contended for the prize. Besides those already mentioned, the choragi had also other duties: to procure the requisites, such as decoration for the side-scenes, perhaps even to supply sacrificial animals if they were required in the play. In later times, when the chorus had lost its importance, and the expenses were less considerable, the choragus had also to supply the dresses of the actors, though this was never the case in the best period of the drama. In fact, as we may learn from the inscriptions, a complete change in the choragia took place in the Hellenistic period. It became the custom for the people to choose presidents of contests (ἀγωνοθέυαι), whose duty it was to provide for the musical competitions at the Dionysia and other festivals. They had to attend to the regular and suitable performance of the contests, to supply certain sacrificial animals, etc.; this was often a very expensive undertaking, and, like all officials, they had to make a statement concerning their office at the conclusion of its duration. This institution in a way placed the choragia in the hands of the people, who transferred their duties to the presidents, and these had then to equip all the choruses, which were no longer so numerous as they had been formerly.