222 ON THE REPRESENTATION OF of the fragments, of the cavea of the theatre at Catana as seen from the stage ^, and of the stage of the theatre at Tauromenium, as seen from the cavea^. It contains all that was required for the repre- sentation of a Greek play in the best period of the drama; and though, as we shall see, Vitruvius makes certain distinctions be- tween the Greek and Eoman theatres, it does not follow that all theatres built in Greek cities during the Koman period departed from the ancient model, which, after all, was the point of departure for the Roman architects themselves. It will be observed that the theatre at Aspendus, as represented in the accompanying ground-plan (Plate 1), elevation of the lower front (fig. 2), and view of the interior (see Frontispiece)^, is externally Fig. 2. a plain building, with three complete rows of windows, besides six- teen other openings of the same kind. In the interior, the theatrum, or part allotted to the spectators, is a hemicycle composed of two 1 Serradifalco, Ant'tch. delta Sicilia, Vol. V. Taf. in. ; Wieseler, TJieatergebaude, Taf. III. 12. 2 Serradifalco, Vol. v. Tav. XXII. ; Wieseler, Taf. ill. 6. ^ These illustrations are taken from Texier, Description de VAsie Mineiire, Paris, 1849, Vol. III. PI. ■232 sqq. The description is due to Schiinborn {Scene der Hellenen, pp. 26—28, 83 — 94), who saw the theatre about the same time as Texier.
