Philo, of Byzantium, and Heron, of Alexandria, to whom we always have
to have recourse when we desire accurate information as to the mechanic
arts of antiquity, both composed treatises on puppet shows. That of
Philo is lost, but Heron's treatise has been preserved to us, and has
recently been translated in part by Mr. Victor Prou.

According to the Greek engineer, there were several kinds of puppet
shows. The oldest and simplest consisted of a small stationary case,
isolated on every side, in which the stage was closed by doors that
opened automatically several times to exhibit the different tableaux.
The programme of the representation was generally as follows: The first
tableau showed a head, painted on the back of the stage, which moved
its eyes, and lowered and raised them alternately. The door having been
closed, and then opened again, there was seen, instead of the head, a
group of persons. Finally, the stage opened a third time to show a new
group, and this finished the representation. There were, then, only
three movements to be made, that of the doors, that of the eyes, and
that of the change of background.

As such representations were often given on the stages of large
theaters, a method was devised later on of causing the case to start
from the scenes behind which it was bidden from the spectators, and of
moving automatically to the front of the stage, where it exhibited in
succession the different tableaux; after which it returned automatically
behind the scenes. Here is one of the scenes indicated by Heron,
entitled the "Triumph of Bacchus":

The movable case shows, at its upper part, a platform from which arises
a cylindrical temple, the roof of which, supported by six columns, is
conical and surmounted by a figure of Victory with spread wings and