[152] Cf. ibid., p. 63. This shift has been disputed by many but is defended by Fiechter, op. cit., pp. 9 ff.
[153] Cf. Dörpfeld, Das griechische Theater, p. 89.
[154] Cf. ibid., p. 89; Athenische Mittheilungen, XXII (1897), 459; XXIII (1898), 330 and 347; and XXVIII (1903), 414. For the Graeco-Roman stage see [pp. 80 ff.] and [110 f.], below.
[155] Fig. 39 is from a photograph taken by Dr. Lewis L. Forman and furnished by Dr. A. S. Cooley. Owing to its change of function, in Roman times the orchestra was sometimes known as the κονίστρα (= the Latin arena); owing to its change of shape, it was sometimes called σῖγμα from its resemblance to the semicircular form of the Greek letter Ϲ.
[156] Fig. 40 is taken from Dörpfeld-Reisch, Das griechische Theater, Fig. 32.
[157] Fig. 41 is from a photograph belonging to Northwestern University; the stone steps at the left and another slab at the right do not appear in this view (see [Fig. 39]). For the latest interpretation and drawing of the frieze, cf. Cook, Zeus, I, 708 ff., and the pocket at end of his volume.
[158] Fig. 42 is taken from Athenische Mittheilungen, XXII (1897), 452.
[159] Vitruvius, of course, speaks of Roman feet, which are equal to 11.65 English inches.
[160] Fig. 43 is taken from Athenische Mittheilungen, XXII (1897), 453. This drawing differs somewhat from that given in Das griechische Theater, Fig. 66, which was prepared while Dörpfeld was still of the opinion that Vitruvius was describing the Hellenistic theater and had misapprehended the function of its proscenium (see [p. 81], below). He now includes the proscenium at the back of the stage in the scaenae frons.
[161] Whatever scaena may mean in Latin, in scaena in this context is at least equivalent to “on the stage.”