Each of these stories consisted of nine rows of seats, including the landing-place, which divided them from each other, and served as a passage from side to side. But as this landing-place and passage took up the space of two benches, there were only seven to sit upon, and consequently in each story there were seven rows of seats. They were from fifteen to eighteen inches in height, and twice as much in breadth; so that the spectators had room to sit at their ease, and without being incommoded by the legs of the people above them, no foot-boards being provided for them. Each of these stories of benches were divided in two different manners; in their height by the landing-places, called by the Romans _Præcinctiones_, and in their circumferences by several staircases, peculiar to each story, which intersecting them in right lines, tending towards the centre of the theatre, gave the form of wedges to the quantity of seats between them, from whence they were called _Cunei_. Behind these stories of seats were covered galleries, through which the people thronged into the theatre by great square openings, contrived for that purpose in the walls next the seats. Those openings were called _Vomitoria_, from the multitude of people crowding through them into their places. As the actors could not be heard to the extremity of the theatre, the Greeks contrived a means to supply that defect, and to augment the force of the voice, and make it more distinct and articulate. For that purpose they invented a kind of large vessels of copper, which were disposed under the seats of the theatre, in such a manner, as made all sounds strike upon the ear with more force and distinctness. The orchestra being situated, as I have observed, between the two other parts of the theatre, of which one was circular, and the other square, it participated of the form of each, and occupied the space between both. It was divided into three parts. The first and most considerable was more particularly called the orchestra, from a Greek word(210) that signifies to dance. It was appropriated to the pantomimes and dancers, and to all such subaltern actors as played between the acts, and at the end of the representations. The second was named θυλέλη, from its being square, in the form of an altar. Here the chorus was generally placed. And in the third the Greeks disposed their band of music. They called it ὑποσκήνιον, from its being situate at the bottom of the principal part of the theatre, to which they gave the general name of the scene. I shall describe here this third part of the theatre, called the scene; which was also subdivided into three different parts.