T ii ): 



294 



'I' H r. 



'. tm 1 jfer. 

 till 



Th" number of the 



bn 

 tin 



K 



>.ppro- 

 I con- 



.! an odd < 

 At P 



-n, or 



li/iarn. or I'nvrinctions. and 



II to have been only 

 one Pnecinction lividing then intn two 



an equal number of 

 I. In tlio theatre near EpidBUTOs, lor 



.. divided by a single 



u formed the first or lowest tier 



: while in that ; were 



i.-tioM between them. 



and -II we, ::iit. furthest 



from the . I:i tlie tl . again. 



I'r.i'ci'.iciu.ns. dividing Hie entire number 



!. intii Itf, l(i. aiul : i'. ely, reckoning 



from the . As regards the distinct 'fii;:! 



. ponn them : 



the more usual one was to break into separate slopes, re- 



: other, like the flights ent of 



the other was to plnve them in a continued slope 



'hereby at eaeh prae- 



einction the next, 'flight' I lerably elevated wove 



the level of that landing, being raised upon a podium or 



wall, v.liieh si. ecu the lower and upper 



piit'ciiiclinns /ii'liri'"H the seats, there 



-Otlier suiT.'-.mdir.g the v. hole riu-lmn, or auditory of 



the th r an upper uncovered terrace as 



. or a covered nailery with 



coluni shown in the plan of the Roman theatre. 



where such portico was assigned to females. 



I! tl ween the Grecian and Komau orchestra there was a 



very wide difference the purpose to which that 



space was appropriated. In the Roman theatre il 



merely a continuation of the rest of the auditory, being 



ied with s. i is, with no other difference 



than that the spectators were senators and oilier pi 



of dignity. and that benches or chairs must. have bcvn 



ranged parallel to the stage. The Greek orchestra, on the 



name imports, made use of for the 



. w!io*c performances con- 



stituted so important a part of the entertainment; and so 



thing. could have been letter planned than the Greek 



theatre, for the orchestra was \isible from every part. 



when iia could not have been distinctly seen, or 



hardh . the upper -eats at either 



extremity of the eoelum. Hy referring to the plans it will 



he seen that while the Roman orchestra does not exceed 



half a circle, the Greek forms three-fifths . .in arc j 



of 2H. it* pioportions and the depth of the stage 



. '.allied by merely inscribing a square within a 



taking one side of that square as the boundary of the 



ing parallel to it a tangent to the circle. 



Such plan DOUgh, OOmplei :>s il niav 



appear in the cut, where two other squares an- also drawn 

 within the circle, and the points of the tin. deter- 



mine how far the seat- extend, and the situation of th> 

 'rXijinnr between the seat., a fanciful operation.il: 

 more bein^ ller the first one than to divide ii 



..... .-licstra into as many equal parts 



ID tin- number of a 

 ' lhi> la-st appears to have been the mode pra. 



a> mini;, which (litter from a.s agree 



' by VitruviiiH for the Greek theatre. 

 !in'^ to that, th'. 1 divi-ion-. the number of <;ui! 



!. would be uniformly the same. viz. 

 'i:er. and ei^iit of the latter, iucludiui; 

 'I'hi,. hn 



rial differences occur 

 , for instance, there II 

 , and eleven ascents, consequently an 



>.r the pu: 



: the cunei. are to be. 

 not hilt 

 the or, 



J 'ier the number be '1 th 



dianu ' : ing given. 



that line. 

 In \Vetter in his work on t! 



:iat partici, 

 by the front of 

 of an ei|iiilateral tiian . 

 only one-half isvisible, while the triani 



. how i-nperiect the art <>: 



it ation must have been. In addition i IVBII- 



:i ! ready poinU'd . ant ol ' mov 



ii'iicc that the ^!;:L'<' could 

 ..led in cU : 



Takin:; 711 T of the 



which dimeiisio 1 : 



our modern theatres, the depth i.f t! 



theatre would be a little more than }< ;e-seveiith 



of that diameter; and in :i Uoma:i ono l~i feet, or just 



one-fourth. \Vhile so confine. i lit of 



very little dramatic action, it would ^ 



fhange of H 



some measure matter of 



might be as near to the front of" th 



separated as they were, in the Grecian t. least, 



from the audience by the intervi 



Strii ' iioning the dc])th of 



the stage to tin' At6 of tl 



the orchesda to the 



appear to ! abject tc. 



considerably in ditt'erent I 1 



one-half, in ,ly one-fillh. or even little n:on tlian 



th of the entire dianiet. . in the 



- of I'.pidaurus and Dramyssus, or Janina. 

 \Vhen it is said that the ( 



ably larger than the Roman, tl 



in the expression, for it mi^ht be ii 



was larger than the other in proportion to ii 

 m the meaning is that the on 



funned a larger portion of a < :ding to '.;. 



iloman was only ISO degi 



semicircle. In the Greek theatre, therefore, tl. 



cuts into the stage, and rendeis tliat 



by the nl I'ulpitum by the i; 



narrower than the extremities, whereas in (lie lv 



the same depth throughout, 



pulpitum being a mere technical distinction applied io 



that portion .'.ing with the on itowhieh 



the actors confined themselves, in o 



be bet by the v. '. 



than vvonli! have been tl j'lans 



above given ar: not d.a 1 .-, n to any partir.ilar scale, bu 1 . 



supposing them to be upon t!>. le, ,:..d the din- 



meter of the orehe.-tra in tlie Greek plan to be 1(HI 



:iueter of the eoelum or whole auditon will be .'XXI 

 lie width of the stage an.l \ and the depth 



of the logcion only 1"> feet, while in the other the diuicn- 



::!.">. depth 



of stage and ])ul])itum il. 



Anolber point of difference betw. eia'n and 



Rinnan thealie i-. that in the former the ..itsi- 





* Tli*- aut'u-T.ts .I!M> -.- 



metal or rimliru run. Krni. 



l.i.i'l in 



It not powlbU now U> jmlp-. 





