lar pieces of machinery ([Greek: D, D]) which
revolve, each having three decorated faces. When the play is to be
changed, or when gods enter to the accompaniment of sudden claps of
thunder, these may be revolved and present a face differently decorated.
Beyond these places are the projecting wings which afford entrances to
the stage, one from the forum, the other from abroad.

9. There are three kinds of scenes, one called the tragic, second, the
comic, third, the satyric. Their decorations are different and unlike
each other in scheme. Tragic scenes are delineated with columns,
pediments, statues, and other objects suited to kings; comic scenes
exhibit private dwellings, with balconies and views representing rows of
windows, after the manner of ordinary dwellings; satyric scenes are
decorated with trees, caverns, mountains, and other rustic objects
delineated in landscape style.

CHAPTER VII

GREEK THEATRES

1. In the theatres of the Greeks, these same rules of construction are
not to be followed in all respects. First, in the circle at the bottom
where the Roman has four triangles, the Greek has three squares with
their angles touching the line of circumference. The square whose side
is nearest to the "scaena," and cuts off a segment of the circle,
determines by this line the limits of the "proscaenium" (A, B). Parallel
to this line and tangent to the outer circumference of the segment, a
line is drawn which fixes the front of the "scaena" (C-D). Through the
centre of the orchestra and parallel to the direction of the
"proscaenium," a line is laid off, and centres are marked where it cuts
the circumference to the right and left (E, F) at the ends of the
half-circle. Then, with the compasses fixed at the right, an arc is
described from the horizontal distance at the left to the left hand side
of the "proscaenium" (F, G); again with the centre at the left end, an
arc is described from the horizontal distance at the right to the right
hand side of the "proscaenium" (E, H).

2. As a result of this plan with three centres, the Greeks have a
roomier orchestra, and a "scaena" set further back, as well as a stage
of less depth. They call this the [Greek: logeion], for the reason that
there the tragic and comic actors perform on the stage, while other
artists give their performances in the entire orchestra; hence, from
this fact they are given in Greek the distinct names "Scenic" and
"Thymelic." The height of thi