How then are we to deal with Vitruvius’ statement about the height of the stage? Dörpfeld suggested[168] that Vitruvius used plans and descriptions made by a Greek; Vitruvius, in absence of any warning, taking it (as a Roman) for granted there was a stage, saw it in the proscenium; or he may have misunderstood the phrase ἐπὶ σκηνῆς in his Greek authority. But such a fundamental error made by a professional architect, who even if he had never been in Greece, must have known many persons familiar with Greek acting, is extremely hard to assume.[169] Yet the mistake is credible as regards the Greek theatre of the fourth and fifth centuries. Amidst the mass of evidence and argument, only an outline of which is here presented, it is difficult to decide. The majority of inquirers will probably be swayed as regards the theatre of Sophocles and Astydamas by two considerations: the acting exigencies of the plays we now read or know of, and their own feeling as to how the performance would look with a stage and without. It seems, perhaps, most likely that Dörpfeld is right: that there was no stage, though when the façade represented a palace or temple a few steps might naturally appear. III. SUPERVISION OF DRAMATIC DISPLAYS The authority superintending dramatic performances was the Athenian State, acting through the archon basileus for the Lenæa, the archon eponymus for the City Dionysia. The archon allotted the task of producing the three annual series of dramas to three persons for each series: the poet, the choregus, the protagonist. We will consider these persons in turn. Playwrights submitted their work to the archon, who himself selected three: to each he was said to “give a chorus”. The applications were many, and distinguished poets sometimes failed to “receive a chorus”. The poet’s business was not only to write the play and the music, (but in early times) to train actors and chorus. Near the end of the fifth century B.C. it became the practice to employ an expert trainer. Occasionally the poet caused some other person to “produce” the play. This was frequently done by Aristophanes, and we hear that Iophon competed with tragedies written by his father Sophocles. The name “choregus” means “chorus-leader,” but the choregus actually had quite other functions. He was a rich citizen who as a “liturgy” or public service bore all the special cost of the performance. To each choregus a flute-player was allotted, and it seems likely that the poet too was regarded as assigned to the choregus rather than the latter to the poet. The mounting of plays, which depended on the choregus, greatly influenced the audience, and their expressed opinion cannot but have had weight with the ten judges.[170] The wealthy Nicias, for example, obtained success for every tetralogy which he mounted.[171]