If one may trust an elevation of the stage, drawn on the same sheet to twice the scale of the general plan, the stage was four feet six inches above the floor of the pit. This elevation exhibits the surprising feature of a classic facade, Palladian in treatment, on the stage of what so far we have regarded as a late modification of a playhouse of Shakespeare's day. Evidently Inigo Jones contemplated the erection of a permanent architectural _proscenium_, as the ancients called it, of the type, though far more modest, both in scale and ornamentation, of Palladio's Theatro Olimpico at Vicenza, which we know he visited in about 1600, some twenty years after its erection. This _proscenium_, given in plan and elevation, shows a semi-circular structure with a radius of fifteen feet, two stories in height, of the Corinthian or Composite order. In the lower story are five doorways, the centre of which is a large archway flanked by pedestals, on which are inscribed in Greek characters, Melpomene--Thalia; over these and over the smaller doors are tablets. The second story contains between its lighter engaged columns, over the four side doors, niches with corbels below, destined to carry statues as their inscribed bases indicate. So far as these inscriptions are legible,--the clearest reading "phocles," probably Sophocles,--these were to represent Greek dramatists, most likely AEschylus, Euripides, Sophocles and Aristophanes. The curved pediment of the central archway runs up into this story and is broken in the middle by a tablet bearing the inscription "Prodesse et Delectare," which is flanked by two reclining genii holding garlands. Above these are two busts on brackets, Thespis and Epicurus, or possibly Epicharmus. The space directly above this pediment is occupied by a window-like opening five by four feet, the traditional Elizabethan music-room, in all probability, which, Mr. W.J. Lawrence has shown us, occupied this position both in Shakespeare's day and for some time after the Restoration; an arrangement which was revived by Mr. Steele Mackaye in the Madison Square Theatre, and originally in the first little Lyceum, New York, both now pulled down. The pyramidal pediment above this opening projects above the upper cornice into a coved ceiling, which would appear from the rendering of the drawing to form an apse above the semi-circular stage. Behind the _proscenium_ is a large space with staircases of approach, two windows at the rear, and apparently a fireplace for the comfort of the waiting players. Communication with the front of the house is provided by a door in the proscenium wall opening into the stage door lobby, whence the outside of the building may be reached.