of the people, with the concourse of strangers who flocked to the
festivals, and partly to correspond with the majesty of the dramas
represented in them, which required to be seen at a respectful distance.
The seats of the spectators were formed by ascending steps which rose
round the semicircle of the orchestra, (called by us the pit,) so that all
could see with equal convenience. The diminution of effect by distance was
counteracted to the eye and ear by artificial contrivances consisting in
the employment of masks, and of an apparatus for increasing the loudness
of the voice, and of the cothurnus to give additional stature. Vitruvius
speaks also of vehicles of sound, distributed throughout the building; but
commentators are much at variance with respect to their nature. In general
it may be assumed, that the theatres of the ancients were constructed on
excellent acoustic principles.

Even the lowest tier of the amphitheatre was raised considerably above the
orchestra, and opposite to it was the stage, at an equal degree of
elevation. The hollow semicircle of the orchestra was unoccupied by
spectators, and was designed for another purpose. However, it was
otherwise with the Romans, though indeed the arrangement of their theatres
does not at present concern us.

The stage consisted of a strip which stretched from one end of the
building to the other, and of which the depth bore little proportion to
this breadth. This was called the _logeum_, in Latin _pulpitum_, and the
middle of it was the usual place for the persons who spoke. Behind
this middle part, the scene went inwards in a quadrangular form, with less
depth, however, than breadth. The space thus enclosed was called the
_proscenium_. The front of the logeum towards the orchestra was ornamented
with pilasters and small statues between them. The stage, erected on a
foundation of stonework, was a wooden platform resting on rafters. The