[174] Of course, Dörpfeld and Fiechter cite only a fraction of the instances available (others are given in Puchstein’s table, _op. cit._, p. 7), but it is to be inferred that they bring forward those which are most favorable to their own position and most difficult for their opponents to explain. For example, the proscenium of the Hellenistic theater in Athens was about thirteen feet (English) high, which exceeds Vitruvius’ maximum. Consequently Fiechter says nothing about it. In general, the Hellenistic proscenia were higher than the Graeco-Roman stages. [175] Doubtless for the reason that in the pitlike Graeco-Roman orchestra the smaller circle really was not needed and often was not indicated (see p. 83, n. 1). [176] Cf. Dörpfeld, _Athenische Mittheilungen_, XXVIII (1903), 403 and 405. [177] Cf. Bethe, _Jahrbuch d. arch. Instituts_, XV (1900), 71 f., and Dörpfeld, _ibid._, XVI (1901), 35 f. [178] Cf. _Athenische Mittheilungen_, XXVIII (1903), 424 ff. The arguments advanced in this article are reaffirmed as still valid in _Jahrbuch d. arch. Instituts, Anzeiger_, XXX (1915), 99 ff. [179] Cf. _Hermes_, XXI (1886), 603. [180] Cf. “The Greek Stage According to the Extant Dramas,” _Transactions of the American Philological Association_, XXII (1891), 5 ff. Similar results were obtained by White, “The ‘Stage’ in Aristophanes,” _Harvard Studies_, II (1891), 159 ff. [181] Fig. 45 is from a photograph belonging to the University of Chicago. The inscription beneath the seat reads: “Of the priest of Dionysus Eleuthereus.” [182] Cf. scholium on vs. 299 of the _Frogs_: ἀποροῦσι δέ τινες πῶς ἀπὸ τοῦ λογείου περιελθὼν καὶ κρυφθεὶς ὄπισθεν τοῦ ἱερέως τοῦτο λέγει. φαίνονται δὲ οὐκ εἶναι ἐπὶ τοῦ λογείου ἀλλ’ ἐπὶ τῆς ὀρχήστρας. [183] Cf. Graeber, _De Poetarum Atticorum Arte Scaenica_ (1911), p. 4. [184] Cf. Rees, “The Function of the Πρόθυρον in the Production of Greek Plays,” _Classical Philology_, X (1915), 128 and n. 2. For other interpretations consistent with a stageless theater, cf. White, _Harvard Studies_, II (1891), 164 ff., and Capps, _Transactions of the American Philological Association_, XXII (1891), 64 ff. A convenient summary from the pro-stage point of view may be found in Haigh, _The Attic Theatre³_, pp. 166 f. [185] Cf. Aristotle’s _Poetics_ 1456_a_29, and see pp. 144 ff., below. [186] Cf. White, _op. cit._, p. 167, note, and Robert, “Zur Theaterfrage,” _Hermes_, XXXII (1897), 447. [187] See pp. 99, 116 f., 134 f., and 144-49, below. Cf. Capps, “The Chorus in the Later Greek Drama,” _American Journal of Archaeology_, X (1895), 287 ff.; Körte, “Das Fortleben des Chors im griechischen Drama,” _N. Jahrbücher f. kl. Altertum_, V (1900), 81 ff.; Flickinger, “ΧΟΡΟΥ in Terence’s _Heauton_ and Agathon’s ΕΜΒΟΛΙΜΑ,” _Classical Philology_, VII (1912), 24 ff.; and Duckett, _Studies in Ennius_ (1915), pp. 53 ff.