MUSIC AND THE DRAMA. 187 
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of a permanent theatre with seats; but Pompey built one of the kind of 
stone and marble. These theatres, it is true, were copied after those of the 
Greeks ; still, to say nothing of their greater splendor, they presented many 
deviations. Thus, e. g. the orchestra was smaller; because no choruses 
appeared in the Roman theatre, and the orchestra was used as a place for 
seating distinguished persons. It answered to our pit. The stage was not 
raised as high, being only five feet above the ground, but it was larger than 
with the Greeks. Before it hung the principal curtain, which was let down 
at the beginning of the performance, and drawn up again at its close. 
Between the acts a simple curtain was drawn up. The doors had the same 
arrangement as with the Greeks ; then came the revolving scenes ; and then 
in front of all the above-mentioned large space, with two side walls on each 
side, also provided with doors, through one of which came persons from the 
city, and through the other persons from abroad. The seats were divided 
in the same manner as with the Greeks, except that taking in the orchestra 
gave them four tiers of seats instead of three (the orchestra, podium or 
cavea uma, cavea media, and cavea summa). ‘The pretor had an elevated 
seat in the orchestra, among the senators ; in the podium sat the vestals and 
knights; in the cavea media, persons of distinction; and in the cayvea 
summa, the people. Behind the seats rose a portico to the same height as 
the scena, and immense awnings (velaria, parapetasmata) were drawn over 
the whole space allotted to the spectators. These awnings at first were red, 
but afterwards were made of precious stuffs and embroidered. 
The theatres of the middle ages owed their construction chiefly to the 
exertions of Bruneleschi (d. 1444) and Baldassare Peruzzi (d. 1536), who 
engaged in the painting of decorations and the construction of theatrical 
machinery, and who developed the rules of perspective drawing. Fernando 
Francesco and Antonio Bibiena Galli, in the middle and at the close of the 
18th century, did a great deal for theatrical architecture and machinery, as 
also for the decorations; and many theatres were planned by them in 
Rome, Verona, and Vienna. Servandoni, a Florentine, also gained cele- 
brity in France through his decorations and machinery. 
Our play-houses of the present day contain, besides the stage proper, the 
orchestra, and the spectatory or space for the audience, many other rooms 
which are necessary to the economy of the theatre. Among these are the 
manager’s office, the treasurer’s office, &c., the room for the trial of debu- 
tants, the reading-room, rehearsal-room, the library, the wardrobes, the 
lumber-rooms in which scenery and properties are deposited, the dressing 
and green rooms, the painting-room, the retiring and refreshment rooms for 
the audience, and often besides these a large concert-hall, as in the theatre 
in Berlin, of which we have given the ground-plan in pl. 25, jig. 1. Here 
A is the stage, B the spectatory, and C the portico, which also forms a 
vestibule. D is the concert-hall; E the offices and rooms connected with 
the management, &c., which go through three stories; F is the covered 
avenue for carriages, and G the entrances for those who come on foot. The 
painting-room is situated over the spectatory, and is so arranged that the 
scenes can be drawn up to the rigging-loft, to be suspended without being 
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