It has been suggested that after the lapse of two centuries or more the Neronian stage was perhaps in need of repair or renewal and that the changes for which Phaedrus was responsible are thus to be explained. However that may be, other influences were plainly at work. I think that at this period the Athenian theater was at last thoroughly Romanized. That is to say, I think that the Nero stage did not project so far into the orchestra (see p. 72, above), but was now enlarged so as to accommodate all the performances, and that at the same time the Roman custom of placing seats in the orchestra was for the first time introduced into Athens. But in order that the orchestra might find occasional continuance of its function as a place of exhibition, or possibly because of interest in the sport per se, all openings were closed up and the old dancing place was made capable of being flooded. It follows that the parodi no longer debouched into the orchestra but led to steps at either side of the stage, as shown in Fig. 40. The participants in the mimic sea fights and gladiatorial combats and the spectators at other performances could enter the orchestra only by passing over the stage and down the front steps. Of course, the presence of spectators so close to the performers would permit no type of stage except one of moderate height; evidently even the low Nero stage was a little too high under these conditions. [Illustration: FIG. 42.—Vitruvius’ _Theatrum Latinum_ According to Dörpfeld See p. 75, n. 1] [Illustration: FIG. 43.—Vitruvius’ _Theatrum Graecorum_ According to Dörpfeld See p. 76, n. 2]