Are we, then, unable to determine which type of Greek theater was the subject of Vitruvius’ discussion? I think that we can, but that we must depend upon other arguments. I mention a few of the many which have been advanced: (_a_) In the Hellenistic and earlier Greek theaters the orchestra, in the narrowest sense (see p. 83, n. 2, above), usually formed a complete circle, or at least, if its boundary was not actually continued into a complete circle, there was room for one without infringing upon the proscenium. Examples of this are found at Epidaurus (Fig. 46), Athens (Fig. 38), Eretria (Fig. 53), Oropus (Fig. 56), Magnesia, Piraeus, etc. Fiechter denies this (_op. cit._, p. 65), but only because he chooses to understand the word “orchestra” in a larger sense. Now though Vitruvius used the term in the largest sense (measured from the lowest seats, see p. 83, above) he nowhere informs us what relative size the most restricted orchestra should or might have as compared with the largest space passing under that name.[175] But his directions require the stage to intrude so far upon his orchestra that it is apparent that, if the same proportions were to be observed as in the Hellenistic theaters, there could be no such full orchestra with a smaller diameter. This is also true of Graeco-Roman structures, and in this important respect they resemble Vitruvius’ Greek theater and the Hellenistic theaters do not. _b_) The logium of Graeco-Roman theaters is never supported by columns along its front wall. The only exception to this statement is found at Priene (Figs. 63 f.), where the columns of the Hellenistic proscenium were left standing when the theater was remodeled. The reason why columns were not set in this place is obvious—the floor of the Graeco-Roman stage naturally was thought of as representing earth or a street and it was manifestly improper for either to be supported on columns.[176] On the contrary, so fundamental an aesthetic principle would have been violated if the actors had regularly appeared upon the top of the Hellenistic proscenium. But there is no doubt that Vitruvius’ Greek theater had a stage for actors. It is, therefore, more likely that this corresponds to the Graeco-Roman logium than to the colonnade-like proscenium of the Hellenistic theaters. Moreover, the columns of the Hellenistic proscenia were in some cases unmistakably equipped to hold painted panels. But if the actors had stood on top of the Hellenistic proscenium, this scenery would have been beneath their feet and not behind them!