population--an abuse trifling in itself--fatal in the precedent it
set. While the theatre was of wood, free admissions were found to
produce too vast a concourse for the stability of the building; and
once, indeed, the seats gave way. It was, therefore, long before the
present period, deemed advisable to limit the number of the audience
by a small payment of two obols for each seat; and this continued
after a stately edifice of stone replaced the wooden temple of the
earlier drama.

But as riches flowed into the treasury, and as the drama became more
and more the most splendid and popular of the national exhibitions, it
seemed but just to return to the ancient mode of gratuitous
admissions. It was found, however, convenient, partly, perhaps, for
greater order and for the better allotment of the seats--partly, also,
for the payment of several expenses which fell not on the state, but
individuals--and partly, no doubt, to preserve the distinctions
between the citizens and the strangers, to maintain the prices, but to
allow to those whose names were enrolled in the book of the citizens
the admittance money from the public treasury. This fund was called
the THEORICON. But the example once set, Theorica were extended to
other festivals besides those of the drama [298], and finally, under
the plausible and popular pretext of admitting the poorer classes to
those national or religious festivals, from which, as forming the bulk
of the nation, it was against the theory of the constitution to
exclude them, paved the way to lavish distributions of the public
money, which at once tended to exhaust the wealth of the state, and to
render effeminate and frivolous the spirit of the people. But these
abuses were not yet visible: on the contrary, under Pericles, the
results of the Theoricon were highly favourable to the manners and
genius of the people. Art was thus rendered the universal right, and