It will be observed that five theaters appear in both tables, and that for three of them the figures do not altogether agree. This is to be explained as due to differences in the manner of taking the measurements. Thus, for Termessus, Fiechter gives for the depth 4 m. (Dörpfeld’s figure) and 5.5 m. Similarly, for Ephesus he gives 6 m. and 9 m., and explains that the former does not include the socle projections. Evidently Fiechter still believes that the _scaenae frons_ in Vitruvius’ description of the Greek theater ran behind the proscenium and did not include it (see p. 76, n. 2, above). The same difference of interpretation probably accounts for 6 m. (Fiechter) and 3.50 m. (Dörpfeld) being reported as the depth of the stage at Patara. A similar opportunity for variance of measurement occurs also in connection with the orchestra. In my opinion, Vitruvius used this term in its broadest sense, viz., as including all the space between the lowest tier of seats[172] (Fig. 43). Fiechter’s measurement of the Hellenistic orchestra at Priene is given on this basis. Sometimes, however, the term is used with reference to the space bounded by the gutter.[173] Fiechter states that this was his method in measuring the Hellenistic orchestras at Ephesus and Delos. The discrepancy in the reports concerning the orchestra at Termessus (9.90 m. and 11 m.) is also to be explained thus. But whatever allowance may be made for variations of this sort, I think that whoever impartially examines these figures with the expectation of obtaining a clear answer to the problem involved will be doomed to disappointment. Vitruvius’ Greek stage should range between ten and twelve feet (Roman) in height, or 2.959 m. and 3.55 m., respectively. Only one Graeco-Roman stage and one Hellenistic proscenium in both tables fall within these limits.[174] On the other hand, though Dörpfeld is clearly right in maintaining that the proscenia at Eretria and Oropus are too shallow to accommodate the entire histrionic action of a play, Fiechter makes it appear that Vitruvius’ rule that the stage of the Greek theater should be about three-tenths of the orchestra radius in depth is satisfied more closely by the Hellenistic proscenium than by the Graeco-Roman stage. It should be emphasized, however, that he obtains this result only by shifting the value of the word “orchestra,” taking it now in the largest and now in a narrower sense.