The theater at Eretria, on the west coast of Euboea, is not only one of the earliest but also presents several unusual features (Figs. 53-55 and 72).[210] It falls into three periods. The old scene-building was erected early in the fourth century B.C. A later scene-building was erected in front of the other about 300 B.C. The white marble proscenium belongs to the first century B.C. or later. The precinct of Dionysus at Eretria was situated on level ground, and this fact necessitated different arrangements than were feasible on the usual hillside site. The highest ground in Fig. 55 shows the original level on which the first scene-building, orchestra, and auditorium were erected (Fig. 54). This scene-building was of the common type with projecting parascenia between which the proscenium must have been constructed of wood. The seats at this period apparently were wooden bleachers like the ἴκρια of the primitive orchestra in the old market place at Athens (see pp. 63 f., above); and when they proved unsatisfactory, it seemed easier to excavate the center of the area than to throw up a mound around it. Accordingly, earth to a depth of ten and a half feet was removed to form a new orchestra somewhat north of the old one. In order that the old scene-building might not have to be taken down or lose its serviceability, the earth just in front of it was left standing and was held in place by a retaining wall. Over this space was built a new scene-building, really only an episcenium. Communication between the old level and the new was secured by means of a vaulted passageway and stone steps. Before the retaining wall stood a wooden proscenium, the top of which doubtless continued the floor of the scene-buildings at the original ground level. The boundary of the orchestra (in the narrowest sense) stopped at the semicircumference, but there was sufficient room before the proscenium for the complete circle. A tunnel, six and a half feet high and three feet wide and with stone steps at either end, led from behind the proscenium to the center of the orchestra. Such an arrangement is probably what Pollux referred to as “Charon’s steps”[211] and was convenient when an actor was to make an appearance from the earth or, like the ghost of Darius in Aeschylus’ _Persians_, from some structure which might temporarily be erected in the orchestra. Somewhat similar passages have been found in several other theaters, including Athens, but because of their size or other considerations seem not to have been used by actors. The downward pitch of the parodus, owing to the excavations, is clearly seen in Fig. 55. The marble proscenium is thought to have been about eleven and a half feet high and was supported by rimmed columns (Fig. 72, 1_b_). The parascenia did not project from this but merely continued the line of the proscenium, as in many of the Asia Minor theaters. Traces of tracks for the wheels of an eccyclema (see pp.