sometimes inserted in the intercolumnia, in place of the painted boards. At Epidaurus, for instance, the space between the columns in the side-wings was filled in at some late period with groups of sculpture. At Delos, statues and other votive erections were placed along the front of the proscenium.[414] Possibly Pollux may be referring to these later customs; or he may have been thinking of the Roman stage, which was sometimes decorated in front with a sculptured frieze, like that of Phaedrus in the Athenian theatre. It is evident from the ruins that there was no permanent means of communication between the orchestra and the top of the stage. As regards the connexion with the interior of the stage the custom seems to have varied. At Priene there were three doors leading out into the orchestra.[415] At Athens the proscenium had one door in the centre, and another smaller one on the western side. But in most theatres there was only a single door, that in the centre; and this door varied in width from 3 feet 3 inches at Delos to 4 feet at Epidaurus.[416] At Megalopolis, however, and also at Thespiae, there is no door of any kind leading out from the front of the proscenium into the orchestra.[417] Probably most theatres had doors leading from the end of the stage-buildings into the ‘parodoi’ or side-entrances, though they cannot always be traced, owing to the scantiness of the remains. Their position would no doubt vary, according to the structure of the different theatres. At Epidaurus doors of this kind were placed immediately beyond the side-wings, at each extremity of the proscenium. The illustration which is here inserted (Fig. 9) will give a clear idea of the appearance of these proscenia. It represents a restoration of one end of the hyposkenion at Epidaurus. The front of the proscenium is denoted by the letter _a_, the side-wing by _b_, while _c_ marks the door leading out into the parodos.[418] [Illustration: FIG. 9.]