Fig. 250.—General view of the Greek theatre.
Fig. 251.—Pedestals for statues in orchestra.
At the edge of the orchestra, which was rather more than a semicircle, near the lowest row of seats, there was a row of statues placed on brick postaments (Fig. [251]), of which two at the lower level of the orchestra, with their coating of fine white plaster, are still in good condition. The statues have now disappeared, but they have left deep traces on the top of their pedestals. On the east there are remains of 8 other postaments of the same sort at the level of the second building period.
The stage exhibits between the versurae, in a similar external course, a row of 12 proscenium piers, small and rectangular in form, and bearing on their front face somewhat narrower semi-pillars. The intercolumnar spaces were roofed over with roughly hewn stone blocks, one of which has fallen over and lies immediately in front of the proscenium. All these portions of the building were originally covered with two washes of fine white plaster (Fig. [252]).
Similar semi-columns stand on both sides of the door leading to the orchestra. They led through two-chambered parodoi into the open air. Of these chambers the one to the west, especially long and narrow, must have served as a waiting-room for the public or the chorus.
Fig. 252.—View of the proscenium pillars.
Of the back wall of the logeion, the “scaenae frons,” only the foundation walls of brick rubble remain in situ. This was as usual liberally decorated; many of the reliefs in gypsum plaster with which it was adorned have been found (Fig. [254]). The two lengthy halls behind the scaenae frons must have been connected with each other in the upper floors by arched openings, as is taken for granted in our reconstructed plan. In the foundation—above which the building is in large measure ruined—the doorways are not arranged for, whereas in Babylonian houses, such as in those of Merkes, the door openings are almost without exception carried right down to the lowest course.