ay occurs, fix the soffits of the passages. Thus
their vaulting will be sufficiently high.

6. The length of the "scaena" ought to be double the diameter of the
orchestra. The height of the podium, starting from the level of the
stage, is, including the corona and cymatium, one twelfth of the
diameter of the orchestra. Above the podium, the columns, including
their capitals and bases, should have a height of one quarter of the
same diameter, and the architraves and ornaments of the columns should
be one fifth of their height. The parapet above, including its cyma and
corona, is one half the height of the parapet below. Let the columns
above this parapet be one fourth less in height than the columns below,
and the architraves and ornaments of these columns one fifth of their
height. If the "scaena" is to have three stories, let the uppermost
parapet be half the height of the intermediate one, the columns at the
top one fourth less high than the intermediate, and the architraves and
coronae of these columns one fifth of their height as before.

[Illustration: _From Durm_

THE THEATRE AT ASPENDUS]

7. It is not possible, however, that in all theatres these rules of
symmetry should answer all conditions and purposes, but the architect
ought to consider to what extent he must follow the principle of
symmetry, and to what extent it may be modified to suit the nature of
the site or the size of the work. There are, of course, some things
which, for utility's sake, must be made of the same size in a small
theatre, and a large one: such as the steps, curved cross-aisles, their
parapets, the passages, stairways, stages, tribunals, and any other
things which occur that make it necessary to give up symmetry so as not
to interfere with utility. Again, if in the course of the work any of
the material fall short, such as marble, timber, or anything else that
is provided, it will not be amiss to make a slight reduction or
addition, provided that it is done without going too far, but with
intelligence. This will be possible, if the architect is a man of
practical experience and, besides, not destitute of cleverness and
skill.

8. The "scaena" itself displays the following scheme. In the centre are
double doors decorated like those of a royal palace. At the right and
left are the doors of the guest chambers. Beyond are spaces provided for
decoration--places that the Greeks call [Greek: periaktoi], because in
these places are triangu