Those stages, which were erected in the earliest periods of the Roman republic, for the exhibitions of dancers and histrions, were probably set up according to the Etruscan mode, in places covered with boughs of trees, (Nemorosa palatia,) in tents or booths, or, at best, in temporary and moveable buildings—perhaps not much superior in dignity or accommodation to the cart of Thespis. But, though the Etruscan histrions probably constructed the stage on which they were to perform, according to the fashion of their own country, the Greek was the model of the regular Roman theatre, as much as the pieces of Euripides and Menander were the prototypes of the Latin tragedies and comedies. The remains of a playhouse believed to be Etruscan, were discovered at Adria about the middle of the seventeenth century. But there was a wider difference between it and the Roman theatre, than between the Roman and the Greek. The Greeks had a large orchestra, and a very limited stage—the Romans, a confined orchestra, and extensive stage; while in the Adrian theatre, the orchestra was larger even than in the Greek(576). The first regular theatre at Rome was that constructed for Livius Andronicus on the Aventine Hill. This building, however, was but temporary, and probably existed no longer than the distinguished dramatist and actor for whose accommodation it was erected. In the year 575, M. Æmilius Lepidus got a theatre constructed adjacent to the temple of Apollo(577); but it also was one of those occasional buildings, which were removed after the series of dramatic exhibitions for which they had been intended were concluded. A short while before the commencement of the third Punic war, a playhouse, which the censors were fitting up with seats for the convenience of the spectators, was thrown down by a decree of the senate, as prejudicial to public morals; and the people continued for some time longer to view the representations standing, as formerly(578). At length, M. Æmilius Scaurus built a theatre capable of containing 80,000 spectators, and provided with every possible accommodation for the public. It was also adorned with amazing magnificence, and at almost incredible expense. Its stage had three lofts or stories, rising above each other, and supported by 360 marble columns. The lowest floor was of marble—the second was incrusted with glass; and the third was formed of gilded boards or planks. The pillars were thirty-eight feet in height: and between them were placed bronze statues and images, to the number of not fewer than 3000. There was besides an immense superfluity of rich hangings of cloth of gold; and painted tablets, the most exquisite that could be procured, were disposed all around the _pulpitum_ and scenes(579).