About 465 B.C., as the plays indicate,[139] a wooden scene-building was set up behind the orchestra, where the declivity had been.[140] The front of this was probably pierced by three doors, which might be conventionally thought of as leading to as many different buildings, and thus the number of entrances available for the actors’ use was more than doubled. This seemingly simple alteration produced profound changes in dramatic technique (see pp. 228-31, below). The scene-building of this period must be thought of as quite unpretentious: its material was wood, it probably consisted of but a single story, and I think it had neither parascenia nor a columned proscenium (Fig. 74; see p. 235, below). Its construction was flimsy enough for it to be capable of being easily rebuilt or remodeled to meet the scenic requirements of each drama, for of course it was not until long after the introduction of a scenic background that the plays were uniformly laid before a palace or temple. According to Aristotle, Sophocles was the inventor of scene-painting, and this is also said to have been invented during the lifetime of Aeschylus.[141] If these notices are correct, we must suppose that scene-painting was invented in the decade ending in 458 B.C. and so under theatrical conditions such as have just been described. This would mean that at first the scenery must have been attached directly to the scene-building itself and not inserted between the intercolumniations of the proscenium columns. The next building in the precinct seems to have been the later temple, slightly south of the earlier one (Fig. 32). Its substructure was of breccia (conglomerate), and its erection must be assigned to about the last quarter of the fifth century B.C.[142] An image of Dionysus by Alcamenes found its home here. [Illustration: FIG. 35.—Outline of the Oldest Walls of the Scene-Building in Athens See p. 67, n. 2]