When two magistrates set up an inscription in duplicate, ordinarily the name of one appears first in one copy, while that of the second is put first in the other. In all four inscriptions, however, two at the Small Theatre and two at the Amphitheatre, Valgus has the first place. The reason in the case of the Amphitheatre is not far to seek: Valgus was the man of means, who furnished the money for the building, but allowed his colleague and friend to share in the honor. We may also believe that, while the Small Theatre was erected 'in accordance with a decree of the city council,' and hence presumably at public expense, a part of the funds was contributed by Valgus, who on this account received honor above his less opulent colleague. The son-in-law of this Valgus, Publius Servilius Rullus, has been undeservedly immortalized by a speech of Cicero in opposition to a bill brought forward by him in regard to the division of the public lands. From the same oration we learn that Valgus, a man without scruples, had taken advantage of the reign of terror instituted by Sulla to acquire vast wealth, particularly in the way of landed property. Among his estates was one in the country of the Hirpini, near the city of Aeclanum (south of Beneventum), which made him its patron and for which, as shown by an inscription, he repaired the walls destroyed in the Civil War. He was undoubtedly one of the leading men in the colony founded by Sulla at Pompeii, and very likely sought by large public benefactions to cast his former life into oblivion. The Small Theatre must have been built in the early years of the Roman colony, not long after 80 B.C. [Illustration: Fig. 67.--View of the Small Theatre.] A covered auditorium in the immediate vicinity of a large unroofed theatre was not uncommon. About the time of the destruction of Pompeii the poet Statius, praising the magnificence of his native city Naples, speaks of 'twin theatres in a single structure, one open and one roofed,'--_geminam molem nudi tectique theatri_. Our only clew to the special use of such a building, however, is derived from the one erected at Athens by Herodes Atticus, in the reign of Hadrian. This was called an Odeum, that is, according to the derivation of the word, a room for singing; musical entertainments were held there, especially, we may assume, those musical contests which had so important a place in ancient festivals. The purpose of the roof was doubtless to add to the acoustic effect.