Another question is the manner in which the non-reserved places were allotted. It seems certain that they were not numbered, and, indeed, this would have been scarcely possible among so many thousands; but there may have been a general division of the theatre according to the wedges, and the separate divisions of each wedge, and these may have been indicated on the entrance counters. Benndorf has suggested that at Athens each wedge may have been assigned to the members of a particular tribe, and that on the counter given to each citizen the tribe in question was marked by some symbol. But this hypothesis is only probable if we assume, with Benndorf, that the citizens received not money but counters; if the spectators bought their theatre tickets from the lessee with the show-money, or at their own expense, it was impossible for there to be any division of places according to tribes, for this would have necessitated a fresh and very troublesome control of the registers of citizens. We must therefore assume that the counters bought of the theatrical lessee were marked according to wedges and division, and the spectators had to take their places accordingly but that, with the exception of a few classes of spectators, there was no compulsion to take a place in any special division. Of the three musical contests celebrated at the greater Dionysia, each kind, namely, the tragedies with the satyric dramas, the comedies, and the cyclic choruses had their special judges. At the appointment of the choragi, which took place a long while before the festival, the Council of the Five Hundred, probably under the presidency of the Archon, in the presence of the elected choragi, elected these by ballot, and the lot once more decided which of them was to pronounce judgment. We know for certain that five judges were appointed for comedy, probably the same number was required for tragedy, although an exceptional case is mentioned, during a contest between Aeschylus and Sophocles, in which there were ten judges, a departure from the ordinary custom, which was required by the great excitement in the public and the fear that the judges might be influenced in their decision by it. The judges had to pronounce on three points: the work of the poet, the performance of chorus and choragus, and the acting. The reward for the victorious poet was a wreath of ivy; the choragus received permission to set up a public monument in token of his victory, and, as already mentioned, the choragi in the tragic choruses usually dedicated tripods, those of the comic choruses fillets, thyrsus wands, and other festive apparatus; their decisions were also commemorated by inscriptions. The prize of the actors probably consisted in additional gifts of money besides the fees that were legally due to them. CHAPTER XIII. WAR AND SEAFARING.