[162] Cf. [p. 61, n. 2], above and [pp. 96 f.], below.
[163] Cf. Pollux Onomasticon iv, § 123: καὶ σκηνὴ μὲν ὑποκριτῶν ἴδιον, ἡ δὲ ὀρχήστρα τοῦ χοροῦ.
[164] Cf. ibid., iv, § 127: εἰσελθόντες δὲ κατὰ τὴν ὀρχήστραν ἐπὶ τὴν σκηνὴν ἀναβαίνουσι διὰ κλιμάκων.
[165] Dörpfeld’s views were first given general publicity in the Appendix to Müller’s Lehrbuch der griechischen Bühnenalterthümern (1886), pp. 415 f., but were not published in full until 1896. They have suffered modification in several material points since then.
[166] Cf. De Architectura v. 8, 2: “ita his praescriptionibus qui voluerit uti, emendatas efficiet theatrorum perfectiones.”
[167] This is now Dörpfeld’s name for what he at first called the Asia Minor type; cf. Athenische Mittheilungen, XXVIII (1903), 389 and 414. The latter term was unfortunate as suggesting a geographical restriction which had no basis in fact.
[168] Cf. Plutarch Life of Pompey, c. xlii.
[169] It is significant that Vitruvius seems to have depended upon Asia Minor rather than the Greek mainland for his knowledge of Greek architecture; cf. Noack, “Das Proscenion in der Theaterfrage,” Philologus, LVIII (1899), 16 ff.
[170] Cf. Athenische Mittheilungen, XXII (1897), 439 ff.
[171] Cf. Athenische Mittheilungen, XXII (1897), 443, 449 f., and 454, and Fiechter, op. cit., pp. 59 ff.