Such then was the arrangement of the theatre in the latter part of the sixth century. There was a booth with a small platform for the actor. In front of it lay the orchestra, occupied by the chorus. The audience sat in rows round the orchestra, facing the platform. At this early period the seats provided for the audience were only temporary erections. They were called ‘ikria’, and consisted of wooden benches rising in tiers one above the other, and resting on wooden supports.[309] The booth and platform were also mere temporary constructions of wood. But in these rude erections, hastily put up each year for the annual performances, were already to be found all the essential parts of the later Greek theatres. Nothing more was required than to change the material from wood to stone, and to introduce greater elaboration into the design. In course of time the old wooden benches developed into the magnificent amphitheatres of which the remains still survive. The booth and platform were converted into imposing stage-buildings. The recollection of their origin was preserved in their name. Even in the latest times, when the stage-buildings of a Greek theatre had come to be elaborate structures of stone, they were still called by the name ‘skene’, which means properly a booth or tent. In this sketch of the early history of the Greek theatre one point deserves especial notice. The most important part of the whole building, and that which formed the starting-point in the process of development, was the orchestra, or place for the chorus. The auditorium and the stage-buildings were only later additions. In all theatres of purely Greek origin the orchestra continued to maintain its prominent position. All other parts were subordinated to it. The general conception of a Greek theatre was that of a building with a circular dancing-place in the centre, and with tiers of seats arranged round two-thirds of the ring, while the remaining side was occupied by the stage. The result was that all the spectators had an equally good view of the orchestra, while many of them had only a very poor view of the stage. This arrangement was no doubt quite natural at first, when the chorus was still the most conspicuous feature in the drama. But it may seem remarkable that it should have been retained in later times. We should remember, however, that ancient theatres were built, not only for the drama, but also for choral and musical competitions of the most various kinds. Among the Greeks these latter were held solely in the orchestra, and had nothing to do with the stage. As they far exceeded the dramatic performances in number, it was essential in a Greek theatre that every member of the audience should have a clear and direct view of the orchestra; the view on to the stage was a matter of secondary importance. In Roman theatres the case was different. Here all performances, choral, musical, and dramatic, were transferred to the stage; the orchestra was given up to