he guests, and on each a magnificent wedding-robe for every
individual. At the conclusion of the banquet, and while the wine and the
dessert were on the table, the eighty brides were introduced; Alexander
first rose, received the princess, took her by the hand, kissed her, and
placed her on the couch close to himself. This example was followed by
all, till every lady was seated by her betrothed. This formed the whole
of the Persian ceremony--the salute being regarded as the seal of
appropriation. The Macedonian form was still more simple and symbolical.
The bridegroom, dividing a small loaf with his sword, presented one-half
to the bride; wine was then poured as a libation on both portions, and
the contracting parties tasted of the bread. Cake and wine, as nuptial
refreshments, may thus claim a venerable antiquity. In due time the
bridegrooms conducted their respective brides to chambers prepared for
them within the precincts of the royal palace.

The festivities continued for five days, and all the amusements of the
age were put into requisition for the entertainment of the company.
Athenaeus has quoted from Charas, a list of the chief performers, which
I transcribe more for the sake of the performances and of the states
where these lighter arts were brought to the greatest perfection, than
of the names, which are now unmeaning sounds. Scymnus from Tarentum,
Philistides from Syracuse, and Heracleitus from Mytylene, were the great
jugglers, or as the Greek word intimates, the wonder-workers of the day.
After them, Alexis, the Tarentine, displayed his excellence as a
rhapsodist, or repeater, to appropriate music, of the soul-stirring
poetry of Homer. Cratinus the Methymnoean, Aristonymus the Athenian,
Athenodorus the Teian, played on the harp--without being accompanied by
the voice. On the contrary, Heracleitus the Tarentine, and Aristocrates
the Theban, accompanied their harps with lyric songs. The performers on
wind instruments were divided on a similar, although it could not be on
the same principle. Dionysius from Heracleia, and Hyperbolus from
Cyzicum, sang to the flute, or some such instrument; while Timotheus,
Phrynichus, Scaphisius, Diophantus, and Evius, the Chalcidian, first
performed the Pythian overture, and then, accompanied by chorusses,
displayed the full power of wind instruments in masterly hands. There
was also a peculiar class called eulogists of Bacchus; these acquitted
themselves so well on this occas