It will be seen from the illustration that in the theatre of Aspendos there were five doors at the back of the stage. There was a large door in the centre, and two smaller ones on each side. The same arrangement was generally adopted in Graeco-Roman theatres. But Pollux and Vitruvius speak of three doors as the regulation number.[447] Possibly, therefore, the five doors of the later theatres were not all used during the dramatic representations. When the stage was prepared for the performance of a play, the two doors on the outside may have been covered up with scenery; or temporary side-wings may have been erected in front of them. Another noticeable feature in the theatre of Aspendos is the roof over the stage. Traces of a similar roof are also found at Orange, and justify the conclusion that in most theatres of the Roman type the stage was covered over.[448] Whether the same practice prevailed in the Hellenistic theatres there is no evidence to show. But the convenience of the arrangement is so obvious, that we can hardly doubt that it began to be employed at a comparatively early period. In a large number of cases the process of Romanizing the Greek theatres was not carried out completely. Many theatres, whether built or reconstructed on the new model, still retained features which were essentially Greek. This was the case at Athens. The Greek stage was usually the same length as one diameter of the orchestra. The Roman stage was twice as long, and extended some distance into the wings of the auditorium on each side. There was no open space between the auditorium and the side-wings; the place of the old Greek ‘parodoi’ was supplied by vaulted subways. But at Athens, when the Neronian alterations were made, the stage was not prolonged in the Roman style, but remained of the same length as before. The entrances into the orchestra at _a_ and _g_ were thus left open (Fig. 3). In many other places, especially in Asia Minor, the Romanization was of a still more partial kind. In theatres such as those of Termessos, Perge, and Sagalassos the general outline of the building was hardly affected by the change. The front line of the stage was not pushed forward; the orchestra still remained nearly a complete circle; open passages were left between the auditorium and the stage-buildings. The only important alteration was in the size of the stage, which was lengthened at each end, and deepened by throwing the front of the stage-buildings farther back. The height of the stage was but slightly diminished. In a Roman theatre it was usually five feet. But the stages at Termessos, Sagalassos, and Patara vary from eight feet to nine, and were therefore very little lower than the ordinary stage of the Vitruvian type.[449]