7In the theatres of the Greeks the design is not made on the same principles as those above mentioned. First, as to the general outline of the plan: whereas, in the Latin theatre, the points of four triangles touch the circumference, in the theatres of the Greeks the angles of three squares are substituted, and the side of that square which is nearest to the place of the scene, at the points where it touches the circumference of the circle, is the boundary of the proscenium. A line drawn parallel to this at the extremity of the circle, will give the front of the scene. Through the centre of the orchestra, opposite to the proscenium, another parallel line is drawn touching the circumference on the right and left, then one foot of the compasses being fixed on the right hand point, with a radius equal to the distance from the left point, describe a circle on the right hand side of the proscenium, and placing the foot of the compasses on the left hand point, with the distance of the right hand interval, describe another circle on the left side of the proscenium.
2Thus describing it from three centres, the Greeks have a larger orchestra, and their scene is further recessed. The pulpitum, which they call λογεῖον, is less in width: wherefore, among them, the tragic and comic performers act upon the scene; the rest going through their parts in the orchestra. Hence the performers are distinguished by the names of Scenici and Thymelici. The height of the pulpitum is not less than ten feet, nor more than twelve. The directions of the stairs, between the cunei and seats, are opposite to the angles of the squares on the first præcinction. Above it the other stairs fall in the middle between the lower ones, and so on according to the number of præcinctions.