Fig. 70.—Ornament at the ends of the parapet.

The pavement of the orchestra (seen in [Fig. 67]) consists of small flags of colored marble. An inscription in bronze letters informs us that it was laid by the duumvir Marcus Oculatius Verus pro ludis, that is instead of the games which he would otherwise have been expected to provide.

At the ends of the stage, as in the case of the Large Theatre, there were two broad entrances. The wall at the rear, which was veneered with marble, had the customary three doors, and in addition two small doors, one near each end. The long dressing room behind the stage had likewise two broad entrances at the ends, besides four at the rear. Apparently the two narrow doors near the ends of the wall at the rear of the stage, and the two doors corresponding with them at the back of the dressing room, were for the use of those who had seats on the tribunals; they could thus enter and leave their places even when the large side doors of both stage and dressing room had been shut—as undoubtedly happened immediately after the procession (pompa) had passed across the stage.

CHAPTER XXIII
THE THEATRE COLONNADE, USED AS BARRACKS FOR GLADIATORS

'Behind the stage,' says Vitruvius (V. ix.), speaking of the arrangements of the theatre, 'colonnades should be built, that shelter may be afforded to spectators in case of rain and a place provided for making preparations for the stage.'

Fig. 71.—Plan of the Theatre Colonnade, showing its relation to the two theatres.
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This maxim of ancient architects was applied at Pompeii in a generous way; in connection with the theatres there was an extensive system of colonnades. To understand their use it will be necessary first to view them as they were in the earlier time, and then to take account of later changes.