holding a crown in her right hand. In the center of the temple Bacchus
is seen standing, holding a thyrsus in his left hand, and a cup in his
right. At his feet lies a panther. In front of and behind the god, on
the platform of the stage, are two altars provided with combustible
material. Very near the columns, but external to them, there are
bacchantes placed in any posture that may be desired. All being thus
prepared, says Heron, the automatic apparatus is set in motion. The
theater then moves of itself to the spot selected, and there stops. Then
the altar in front of Jupiter becomes lighted, and, at the same time,
milk and water spurt from his thyrsus, while his cup pours wine over the
panther. The four faces of the base become encircled with crowns, and,
to the noise of drums and cymbals, the bacchantes dance round about the
temple. Soon, the noise having ceased, Victory on the top of the temple,
and Bacchus within it, face about. The altar that was behind the god
is now in front of him, and becomes lighted in its turn. Then occurs
another outflow from the thyrsus and cup, and another round of the
bacchantes to the sound of drums and cymbals. The dance being finished,
the theater returns to its former station. Thus ends the apotheosis.

I shall try to briefly indicate the processes which permitted of these
different operations being performed, and which offer a much more
general interest than one might at first sight be led to believe; for
almost all of them had been employed in former times for producing the
illusions to which ancient religions owed their power.

The automatic movement of the case was obtained by means of
counterpoises and two cords wound about horizontal bobbins in such a way
as to produce by their winding up a forward motion in a vertical plane,
and subsequently a backward movement to the starting place. Supposing
the motive cords properly wound around vertical bobbins, instead of a