Another piece of archaeological evidence is supplied by the vase-paintings found in the Greek cities of South Italy.[482] Two specimens are here inserted.[483] These paintings, which have already been briefly referred to, belong to the third century B.C. They represent comic scenes acted by the Phlyakes. The Phlyakes were a sort of farcical comedians, whose performances were not unlike those of the oldest Attic comedy. In many of these paintings they are represented as acting on a stage.[484] The stage, in most cases, is obviously made of wood, and varies in character from a rude and simple platform to an erection of some solidity. In one or two instances, however, it is a tall and elaborate structure, apparently built of stone, and adorned with columns in front, just like the proscenia we have been discussing.[485] Often there is a flight of steps leading down to the orchestra.[486] In one case the action is taking place partly on the stage and partly in the orchestra. One of the actors is represented as actually ascending the steps to the stage.[487] This evidence seems to prove beyond a doubt that in the Greek cities of South Italy, during the third century B.C., performances were sometimes given in theatres with a tall stage, and that both stage and orchestra were employed for the purpose, and were connected by steps. [Illustration: FIG. 14.] Dörpfeld now admits that this was the case. But he contends that the arrangement was an exceptional one, intended only for the farces of the Phlyakes. For these performances, he allows, wooden stages were erected, and the exhibition took place partly on the stage and partly in the orchestra. But the regular dramas—the tragedies, and the comedies—were performed solely in the orchestra.[488] All this, however, is the purest assumption.[489] There is not a particle of evidence to support it. It is altogether improbable that a different arrangement should have been adopted in the case of these farces, and in the case of the regular drama. Besides this, as we have already pointed out, in one or two of the paintings the stage on which the Phlyakes are performing is apparently a permanent stone erection, and not a mere temporary platform of wood. It seems certain, therefore, that the Greeks of South Italy during the third century B.C. provided a stage for their actors in all dramatic performances; and, this being so, we can hardly doubt that the same was the case in Greece generally.