Fiechter has tried to utilize Vitruvius’ diagram still further by pointing out that in Vitruvius’ Greek theater the distance from the center of the orchestra to the front wall of the stage (the hyposcenium) plus the depth of the stage, i.e., the distance from the center of the orchestra to the _scaenae frons_, ought to equal one radius (Fig. 43). The figures in the first two columns of his table apparently show that this condition is met by the Hellenistic theaters and is not met by the Graeco-Roman theaters. But here again we encounter a variable quantity caused by a dispute as to whether the proscenium is to be counted a part of the _scaenae frons_ (see above). In the Patara theater the distance from the center of the orchestra to the hyposcenium is 8.50 m. (14.50 m. - 6.00 m., Fiechter’s figures), and the depth of the stage according to Dörpfeld, who measures from the proscenium, is 3.50 m. Therefore, the total distance is 12 m. as against a radius of 11.85 m. Again, in the Termessus theater the distance from the center of the orchestra to the hyposcenium is 7.10 m. (12.60 m. - 5.50 m., Fiechter’s figures), and the depth of the stage is 4 m. according to Dörpfeld, measuring as before. Therefore, the total distance is 11.10 m. as against a radius of 11 m. according to the largest (Vitruvian) measure of the orchestra. These correspondences are close enough so as not to be unworthy of comparison with those obtained by Fiechter. In my opinion, the net result of the above must be the frank recognition that such data concerning the Greek theaters as are at present known to us do not afford convincing proof as to the type which Vitruvius was describing. Nor need this conclusion surprise us, if we accept Dörpfeld’s theory that Pompey’s theater was the first example of the Graeco-Roman type. We have no information concerning the Mitylene theater, upon which Pompey’s building was modeled, nor concerning the number or extent of its departures from that model. But any theater in Asia Minor at that time must have belonged to the Hellenistic type. Consequently, a certain resemblance between Hellenistic and Graeco-Roman theaters was inevitable. If Vitruvius was describing an old type, viz., the Hellenistic, its variations in regard to the particulars just discussed must have been too great for him to be able to find any single formula which would comprehend them all, and he had to content himself with recording a theoretical ideal. Or if he was describing a contemporaneous but developing type, viz., the Graeco-Roman, we must suppose that his authority was not sufficient to secure the adoption of his rules by later architects.