tament; hence its members were popularly known as Cajetans (Gaetani). But the extension and establishment of the order were mainly due to Caraffa, who was archbishop of Chieti (Lat. Theate) when he was received by Gaetano as his associate, and thus gave the order its official name. It was approved in 1524 by Clement VII., under the designation of "regular clerks," the dress of the members being that of the secular clergy. Caraffa had been elected superior general. Their first residence on Monte Pincio was sacked by the Spaniards May 6, 1527, and Gaetano was subjected to the most cruel tortures to make him give up the riches he was thought to possess. He soon after retired to Venice with his companions, and was chosen superior, and he and they displayed extraordinary charity during the plague and famine of 1528. They were afterward united with the congregation of Somascha, founded about this time in a town of that name near Bergamo by St. Girolamo Emiliano. The two congregations were separated on the elevation of Caraffa to the papal chair, May 23, 1555. In 1547 they had only two establishments, one at Venice and another at Naples. Through the influence of Paul IV. they spread rapidly, and soon possessed four provinces in Italy, one in Germany, one in Spain, two establishments in Poland, one in Portugal, and one in Goa. In France they had only the Parisian residence, which produced several remarkable men. They also founded missions in Tartary, Tiflis, and Circassia. At the beginning of the present century the Theatines did not exist outside of Italy, where they had nine establishments. These were all suppressed in 1870.-There were also two communities of Theatine nuns (one a congregation of hermits), both founded by Ursula Benincasa, the one in 1583, the other in 1610. Neither had ever more than two establishments, and both are now extinct. THEATRE (Gr. Oéarpov, a seeing place, from bɛãola, to view), a building in which plays are represented. The first theatres of the Greeks, who were the founders of the drama in our sense of the word (see DRAMA), were exceedingly rude affairs. Thespis is said to have acted his plays in a wagon, and in the time of Eschylus the performances took place upon temporary wooden scaffolds, one of which having broken down during a representation in which Eschylus and Pratinas were rivals (about 500 B. C.), the Athenians in that year began to build the great theatre of Dionysus (Bacchus), the first permanent stone structure of the kind. It was probably used for dramatic purposes within a few years, though it was not finished until about 340; and in the mean time theatres had been erected in many parts of Greece, Asia Minor, and Sicily. The seats of the spectators, comprising the tarpov proper, rose one above another in arcs of concentric circles, each row forming nearly two thirds of a circumference. The space immediately in front of the spectators, corre784 VOL. XV.-44 sponding nearly to the modern pit or parquet, was called the orchestra, and was appropriated to the chorus. It was floored with boards, and in the centre of it stood the Ovutλn or altar of Bacchus, upon a raised platform which was sometimes occupied by the leader of the chorus, the police, the flute player, and the prompter; the last two were placed on the side next the stage, and concealed from the spectators by the altar. The stage was behind the orchestra and above it, and the chorus, whenever they had to take a part in the real action of the drama, ascended to it by steps. The back was closed by a wall called the okh (Lat. scena); the whole space between the scena and the orchestra was known as the proscenium; and the part nearest the audience, where the actors stood when they spoke, was the oyelov. There was no scenery properly so called, but the scena was architecturally decorated and made to represent as far as possible the locality in which the action was going on. It had an entrance in the centre called the royal door, through which the principal characters made their appearance, and doors on the right and left for the subordinate personages. The plays of Eschylus and Euripides seem to require frequent changes of scene, but probably they were rather hinted at than actually made; they perhaps consisted merely in turning the TepiaкTo (Lat. versura) or "wings," which were prism-shaped frames moving on pivots at each side of the proscenium. The whole stage was never concealed from the spectators; there is mention of a curtain, which instead of being drawn up was lowered through a crevice in the stage, but it covered only the background, or according to some authorities the wings. The machines for producing supernatural effects must have been numerous and elaborate, but arc now imperfectly understood. They included the "Charonian steps," by which shades ascended from the lower world; the unxavý, by which gods and heroes were represented passing through the air; and the coλoyeiov, an elevated place above the scena, where the deities appeared in full majesty. Neither the stage, the orchestra, nor the auditorium was roofed, but there were porticoes running around the building, to which the people retreated in case of rain, and awnings were sometimes used to ward off the heat of the sun, for the performances always took place by daylight. The vast size of the ancient theatres, intended as they were to accommodate almost the entire population of a city at each performance, made it impossible for the unaided voice to be heard by the whole audience. Metallic vases were therefore placed under the seats to serve as reflectors of sound, and the actors wore masks with metallic mouthpieces to answer the purpose of speaking trumpets. The spectators were seated according to their rank. A price was charged for admission, at least until the performance was pretty far advanced; but in Athens from the time of Pericles the poorer class and subsequently all the citizens were admitted at the cost of the public | cal theatre in the still existing_teatro Olimtreasury. Women, it appears, were allowed to witness tragedies, but were excluded from comedies; boys were admitted to both. The actors were invariably males. The performances began early in the morning, and not unfrequently lasted 10 or 12 hours.-The Roman theatres were copied from those of the Italian Greeks. They were at first temporary structures of wood, which were sometimes extravagantly magnificent. One built by M. Æmilius Scaurus (58 B. C.) was capable of seating 80,000 people, and the scena was decorated with 3,000 statues and 360 columns in three stories, the lowest of white marble, the middle one of glass, and the uppermost of gilded wood. The first stone theatre was pulled down when nearly finished at the instance of P. Scipio Nasica (155 B. C.), on the score of public morality. In the Roman theatre women performed in interludes and mimics, but not in regular dramas. The orchestra was occupied by the senators, foreign ambassadors, and other distinguished persons. There was nothing corresponding to the Ovutan or altar of Bacchus. The depth of the stage was proportionally greater than in the Greek theatre, being in the latter about one seventh of the diameter of the orchestra, and in the Roman one fourth. Thus, in the theatre of Bacchus at Athens the diameter of the orchestra (and consequently the width of the available part of the stage) was 72 ft., and the depth of the stage only a little more than 10 ft. A Roman stage of the same width would have been 17 ft. deep. The following are some of the largest ancient theatres the ruins of which are now known: Diameter of orchestra, feet. pico at Vicenza, but with reduced proportions. From 1618, when a theatre was built at Parma by Aleotti, the modern arrangement began to prevail. By narrowing the stage opportunity was given for the use of painted scenery, and by increasing its depth for the introduction of a variety of complicated machines and the production of spectacular pieces.— In England there were regular companies of players as early as the reign of Edward IV., long before there were regular play houses. Churches, universities, private houses, and the yards of inns served at first for their performances. Probably the first play house was the London "Theatre," built before 1576; the Curtain in Shoreditch, and the theatres in Blackfriars and Whitefriars, were built near the same time. In Shakespeare's day London had three "private" and four "public" theatres, the difference between which is not clearly understood. His own plays were produced at the house in Blackfriars and at the Globe, both of which belonged to the same company, known as his majesty's servants. The Globe was a hexagonal wooden edifice, partly open at the top and partly thatched. In the middle was probably an uncovered court where the common people stood, and around three sides ran galleries or "scaffolds," under the lowest of which were enclosed boxes called "rooms." The prices of admission ranged from a penny or twopence to a shilling. The performance began at 3 o'clock; in the private theatres it took place by candle light. The stage at this period was strewed with rushes and concealed by curtains, which opened in the middle and drew backward and forward on an iron rod. In the background was a balcony or upper stage, likewise curtained, from which parts of the dialogue were spoken, and at each side of this balcony was a private box. In the private theatres the wits, critics, and other persons of consequence were furnished with seats on the stage. Movable scenery was first used in a regular drama in a public theatre by Davenant in 1662, though something of the sort had been arranged at Oxford by Inigo Jones as early as 1605, on the occasion of an entertainment given to James I. Shakespeare had no other scenery than tapestry hangings and curtains, but the use of stage machinery is as old as the drama itself. Women first appeared upon the English stage about the period of the restoration. In-The first theatre in America was opened at Williamsburg, Va., Sept. 5, 1752. Others fol lowed at Annapolis, Md., and in Nassau street, New York (1753), Albany (1769), Baltimore (1773), Charleston, S. C. (1774), Newbern, N. C. (1788), and Boston (1792). The largest in the United States are the opera houses of New York, New Orleans, Cincinnati, Philadelphia, and Brooklyn, and the Boston theatre. Modern theatres, except those intended for opera, are comparatively small. It has been found that the voice, moderately exerted, can be distinctly 240 25 rows of seats 400 400 Cnidus Phellus.. Width of scena, 150 -In the middle ages the only theatrical perfor- heard about 90 ft. in front of the speaker, and |--In China every little village has its theatre, THEBAIS, the ancient name of southern or Upper Egypt, from its capital Thebes. This division of the country extended from the islands of Elephantine and Philæ, near Syene (lat. 24° N.), to Thebaica Phylace, S. of Her THEBES (called No or No-Ammon by the Hebrews, and Diospolis the Great by the later Greeks and the Romans), anciently the capital of Upper Egypt, and for a long time, known as the period of the middle empire, of the whole country. Its Egyptian name was Ap, or Apé, and with the feminine article Tape, the head, which, being pronounced Thaba in the Memphitic dialect, was easily converted by the Greeks into Onẞai (Theba). Pliny and Juvenal, desiring to render its real name more closely, call it Thebe. From the fact that the names of the oldest kings appear only about Memphis, it is generally inferred that Thebes was not founded as early as the capital of Lower Egypt, though in antiquity it was reputed to be the oldest city in the world. It stood near the centre of the Thebaid, extending on both sides of the Nile to the mountain chains which enclose the valley. Strabo speaks of the vestiges of the city as extending 80 stadia (10 m.) in length. Diodorus estimated its circuit at 140 stadia or about 17 m., and Sir Gardner Wilkinson infers from its ruins that its length was 51 m. and its breadth 3 m. Its most flourishing period was that of the 18th dynasty; it began to decline about 800 B. C. (See EGYPT, vol. vi., p. 460.) Asshur-bani-pal pillaged it in the 7th century, and Cambyses in the 6th. After its destruction by Ptolemy Lathyrus (86 B. C.), it lost all its political and commercial importance, though it remained the sacerdotal capi8.500 tal of the worshippers of Ammon. The trade 2,500 which had contributed to its prosperity had 8,600 found new channels after the foundation of 8,600 Alexandria; and as the capital of a Macedonian and Roman prefecture it took little part in the affairs of Egypt. It was desolated successively by Christians of the Thebaid, in their zeal against 2,500 idolatrous monuments, by barbarians from Arabia and Nubia, and by the Saracens; after whose invasion its name scarcely occurs for many centuries.-The ruins of Thebes, which are among the most magnificent in the world, are found at the modern villages of Luxor and Karnak on the E. bank of the Nile, and Gurna and The eastern 1,650 Medinet-Abu on the western. 1,500 quarter of the ancient city contained the mass 8.700 2,000 8,400 8,000 2,500 2,160 2.194 1,900 of the population, while the western side was | esting from their inscriptions.-Still more recovered with temples and palaces and their markable are the ruins on the E. bank of the avenues of sphinxes, and with the rock-hewn river, in the villages of Luxor and Karnak. tombs of the kings. The principal structures at At Luxor the most striking monuments were Gurna are the palace temples Mernephtheum and Ramesseum. The former, approached by an avenue 128 ft. long, has pillars in the oldest style of Egyptian architecture and remarkable bass-reliefs. The latter, which for symmetry of architecture and elegance of sculpture may vie with any other Egyptian monument, occupies a series of terraces communicating with each other by flights of steps. It is supposed to be the Memnonium of Strabo, and that he corrupted Miamun, the title of Rameses II., into Memnon. Its entrance is flanked by two pyramidal towers; its first court has a double avenue of columns on either side, and in the area a pedestal on which was a syenite sitting colossus of Rameses; its second court has walls covered with sculptures representing the wars of Rameses III., and Osiride pillars which are doubtless the monolithal figures 16 cubits high described by Diodorus; the third stairway, from the foot of which Belzoni took the head of a royal statue of red granite, now in the British museum and known as the young Memnon, conducts to a hall for public assemblies, with columns and walls covered with civil and religious sculptures; and beyond the hall extended nine smaller apartments, two of which remain, supported by columns, one of them being the sacred library or "dispensary of the mind" mentioned by Diodorus. Among the other monuments in this vicinity are two colossal statues, with the pedestals about 60 ft. high, the wonder of the ancients, one of them known as the vocal Memnon. (See MEMNON.) The village of Medinet-Abu stands upon a lofty mound formed by the ruins of the most splendid temple palace in western Thebes, the Thothmesium, connected with the palace of Rameses by a dromos 265 ft. long. The sculptures in the latter are of singular interest, being the only examples that have been found of the decoration of the private apartments of an Egyptian palace. The whole sweep of the Libyan hills, for the space of 5 m. and to the height of 300 ft. from Gurna to Medinet-Abu, is full of sepulchres, excavated in the native calcareous rock. This was the necropolis of the whole city, no tombs existing on the eastern side. The mummies are laid in rows by the side of or in tiers above each other, but never stand erect. The tombs of the lower classes are unsculptured, but abound in mummies of sacred animals. The royal sepulchres are in the valley of Bab el-Muluk, or Biban el-Muluk (the gate or gates of kings), the most spacious and highly adorned belonging to those monarchs who enjoyed a long reign. The tombs near the entrance of the gorge belong entirely to the 19th and 20th dynasties, and those in a branch path are of the 18th dynasty. The monuments, as also those in the separate burial place allotted to the queens, are chiefly inter Gateway of the Temple of Luxor. two beautiful obelisks of red granite, covered with inscriptions, one of which has been removed to the Place de la Concorde in Paris. In the rear are two sitting statues of Rameses, Gateway of Karnak. one 39 ft. high, but now covered to the breast with accumulations of earth and sand. Two courts and a series of apartments, connected and surrounded by colonnades and porticoes, extend beyond. The road from Luxor to Karnak lies through fields of halfa grass, though they were once united by an avenue of androsphinxes. The great palace temple of Karnak stands within a circuit wall of brick, the enclosure being 1,800 ft. long and somewhat less broad. It was approached by an avenue of crio-sphinxes, of which only fragments remain. | Between the end of the dromos and the main body of the building, five lofty pylones and four spacious courts intervene. In the first court were two obelisks of Thothmes I., one of which still remains; in the second court is another obelisk, the loftiest known except that of St. John Lateran at Rome; and in one of the chambers are the sculptures which compose the Karnak tablet, called the "hall of the ancestors" or the "tablet of Tuthmosis" (Thothmes III.), now in the Louvre. The king is represented on it as making offerings before the images of 61 of his predecessors. In the British museum is now a tablet of the same kind, known as the "tablet of Abydos." The great hall is 80 ft. high, 329 ft. long, and 179 ft. wide; the roof is supported by a central avenue of 12 massive columns, 66 ft. high and 12 ft. in diameter, together with 122 columns of less gigantic dimensions. These vast courts, halls, and esplanades were reared by kings of the 18th and succeeding dynasties for purposes partly religious and partly secular. cred calendar abounded in days for periodical meetings; the troops were reviewed and the spoils of victory apportioned in the courts of royal palaces, which also served for the administration of justice and occasionally for the encampment of the army. The sa THEBES (Gr. Onßai; Lat. Theba; modern Gr. Thiva), in Greek antiquity, the chief city of Boeotia, built on and around a hill between the streams of Ismenus on the east and Dirce on the west. The citadel occupied the height, and the greater part of the town stood in the valleys. Of its ancient buildings, monuments, and walls, only a few scattered fragments remain, and its topography is entirely uncertain. It is impossible to harmonize the ancient writers as to the position or even the names of its seven gates. Thebes was equally illustrious in the mythical and the historical ages of Greece. Its two sieges and the fortunes of its royal houses were favorite subjects of tragedy; and it was for a time the ruling city of Greece. Tradition ascribed to Cadmus the foundation of the city, which was hence called Cadmea, a name afterward restricted to the citadel. From the five Sparti, the survivors of the progeny of the dragon's teeth, the noblest Theban families claimed descent. The expulsion of Edipus, and the successive sieges by the "Seven against Thebes" and by the Epigoni, were the principal recorded events before the Cadmeans were driven out by the Boeotians, a tribe from Thessaly. This occurred about 60 years after the Trojan war, according to Thucydides. The legislation of Philolaus, in the 8th century B. C., gave it an oligarchical instead of monarchical form of government, and made it the head of the confederacy of Boeotian towns. The first entirely certain event in its history is the revolt of one of these towns, Platea (about 519), which applied to Athens for protection. A war ensued between the Thebans and Athenians, in which the latter were successful, and which initiated lasting enmity between the two states. Thebes lost credit by abandoning the cause of Greece in the Persian war, and fighting against the Athenians at Platæa (479). The victorious Greeks appeared before its walls, and compelled the inhabitants to surrender their "Medizing" leaders, who were immediately put to death. An Athenian invasion supplanted its oligarchy by a democratic government in 456, but in 447 the exiled aristocratic leaders returned, defeated the Athenians, and reestablished the former government. During the Peloponnesian war the Thebans were more anti-Athenian than even the Spartans, but they joined the coalition against the latter in 395, and were the only portion of the allied army which was not routed by them at Coronea. The peace of Antalcidas (387) deprived them of their supremacy over the other Bootian towns. The Spartans, who treacherously seized the citadel in 382, were expelled by Pelopidas about the close of 379, and were defeated by Epaminondas at Leuctra in 371. Epaminondas invaded the Peloponnesus, and established there the Arcadian confederation and the state of Messenia as political powers antagonistic to Sparta. But the Thebans sought in vain to establish their supremacy by a general treaty, and lost it after the death of Epaminondas at Mantinea (362). In 358 Athens wrested Euboea from Thebes. In the sacred war (357-346) the Thebans were opposed to Athens and Sparta, and received support from Philip of Macedon; but when the design of the latter to conquer the whole of Greece became apparent, they joined the Athenians against him. Philip, however, was victorious at Cheronæa (338). Thebes received a Macedonian garrison, and its leading citizens were put to death or banished. Alexander the Great razed it to the ground in 835, sparing only the house of Pindar, after which it never again formed an independent state. Cassander restored the city in 315, and it was taken by Demetrius Poliorcetes in 292 and 290. In the time of Strabo it had dwindled down to the condition of a village, but it was a flourishing town during the 10th and 11th centuries. It was plundered by the Normans of Sicily in 1146. The present town is small and poor. THEFT. See LARCENY. THEINE. See CAFFEINE, and TEA. THEINER. I. Augustin, a German historian, born in Breslau, April 11, 1804, died in Cività Vecchia, Aug. 9, 1874. He studied at Breslau and Halle, and from 1826 to 1828 assisted his brother Johann Anton in his work on the history of celibacy. An essay on the papal decre |