[160] Fig. 43 is taken from _Athenische Mittheilungen_, XXII (1897), 453. This drawing differs somewhat from that given in _Das griechische Theater_, Fig. 66, which was prepared while Dörpfeld was still of the opinion that Vitruvius was describing the Hellenistic theater and had misapprehended the function of its proscenium (see p. 81, below). He now includes the proscenium at the back of the stage in the _scaenae frons_. [161] Whatever _scaena_ may mean in Latin, _in scaena_ in this context is at least equivalent to “on the stage.” [162] Cf. p. 61, n. 2, above and pp. 96 f., below. [163] Cf. Pollux _Onomasticon_ iv, § 123: καὶ σκηνὴ μὲν ὑποκριτῶν ἴδιον, ἡ δὲ ὀρχήστρα τοῦ χοροῦ. [164] Cf. _ibid._, iv, § 127: εἰσελθόντες δὲ κατὰ τὴν ὀρχήστραν ἐπὶ τὴν σκηνὴν ἀναβαίνουσι διὰ κλιμάκων. [165] Dörpfeld’s views were first given general publicity in the Appendix to Müller’s _Lehrbuch der griechischen Bühnenalterthümern_ (1886), pp. 415 f., but were not published in full until 1896. They have suffered modification in several material points since then. [166] Cf. _De Architectura_ v. 8, 2: “ita his praescriptionibus qui voluerit uti, emendatas efficiet theatrorum perfectiones.” [167] This is now Dörpfeld’s name for what he at first called the Asia Minor type; cf. _Athenische Mittheilungen_, XXVIII (1903), 389 and 414. The latter term was unfortunate as suggesting a geographical restriction which had no basis in fact. [168] Cf. Plutarch _Life of Pompey_, c. xlii. [169] It is significant that Vitruvius seems to have depended upon Asia Minor rather than the Greek mainland for his knowledge of Greek architecture; cf. Noack, “Das Proscenion in der Theaterfrage,” _Philologus_, LVIII (1899), 16 ff. [170] Cf. _Athenische Mittheilungen_, XXII (1897), 439 ff. [171] Cf. _Athenische Mittheilungen_, XXII (1897), 443, 449 f., and 454, and Fiechter, _op. cit._, pp. 59 ff. [172] It is easy to see why he should do so. When Hellenistic theaters were made over into Graeco-Roman structures, several rows of seats were often removed, resulting in a drop of several feet between the auditorium and the orchestra (see p. 116, below, and Fig. 24). So distinct a line of demarcation could scarcely be ignored in favor of any less clearly marked boundary. In fact, the orchestra in the narrowest sense (see next note) was sometimes not indicated at all in the Graeco-Roman theaters. [173] The word is applied also to a still more restricted space which in some Graeco-Roman and most earlier theaters is marked off by a circular boundary.