DOI Page / Citation link:
https://doi.org/10.11588/diglit.796#0320
274 THE ACROPOLIS OF ATHENS
portions indicate those parts that are still preserved or are
attested by authentic drawings, as, e.g., by those of Stuart.
The letters in the plan either refer to the axes of the
sections drawn in the plan or indicate the various parts of
the building as follows:—A, B = vestibules to which Av Bx
on the next story correspond; C=the stairway to the first
zone of seats ; Cx — the corresponding stairway to the second
zone; D = the portico to the south; E = the hall on the
ground floor of the stage-building; F=the hall on the floor
above ; finally, G = the open part of the parodoi, while Gx -
the part covered with a vaulted ceiling.
The restoration of the facade, taken from Tuckermann and
shown in the accompanying cut, is conjectural. The connection
of the two wings with the central building and the construc-
tion of their roof cannot be determined. The only point
that seems pretty certain is that the wings were higher than
the central structure, as is shown in the cut, and as appears from
what remains of the building. The main part of the structure
appears to have had three entrances at the front, which served
as approaches to a portico and to ante-chambers, which
extended across the entire width of the main building. Each
wing appears to have had two front entrances and a side
entrance, the door next to the main structure giving access to
the corridors of the parodoi (passageways into the orchestra),
while the other four doors led to the upper row of seats.
The present entrance is by the westernmost of the three door-
ways, which opens into a vestibule. In this entrance is a niche,
which contains the statue of a Roman magistrate.
The walls that enclose the parodoi contain niches in which
may have been placed statues of Herodes and Regilla.
From what has been preserved of this once beautiful struc-
ture, as well as from the admiration with which Pausanias
refers to it, we are warranted in believing that it must have
been in its day one of the most brilliant and impressive
buildings of the ancient city. In spite of the destruction that
has been wrought, we can still picture to ourselves its beautiful
interior, with its roof of cedar, its marble seats, its walls
veneered with marble slabs, its richly decorated stage, and its
corridors and vestibules adorned with statues and mosaics and
painted decorations.
portions indicate those parts that are still preserved or are
attested by authentic drawings, as, e.g., by those of Stuart.
The letters in the plan either refer to the axes of the
sections drawn in the plan or indicate the various parts of
the building as follows:—A, B = vestibules to which Av Bx
on the next story correspond; C=the stairway to the first
zone of seats ; Cx — the corresponding stairway to the second
zone; D = the portico to the south; E = the hall on the
ground floor of the stage-building; F=the hall on the floor
above ; finally, G = the open part of the parodoi, while Gx -
the part covered with a vaulted ceiling.
The restoration of the facade, taken from Tuckermann and
shown in the accompanying cut, is conjectural. The connection
of the two wings with the central building and the construc-
tion of their roof cannot be determined. The only point
that seems pretty certain is that the wings were higher than
the central structure, as is shown in the cut, and as appears from
what remains of the building. The main part of the structure
appears to have had three entrances at the front, which served
as approaches to a portico and to ante-chambers, which
extended across the entire width of the main building. Each
wing appears to have had two front entrances and a side
entrance, the door next to the main structure giving access to
the corridors of the parodoi (passageways into the orchestra),
while the other four doors led to the upper row of seats.
The present entrance is by the westernmost of the three door-
ways, which opens into a vestibule. In this entrance is a niche,
which contains the statue of a Roman magistrate.
The walls that enclose the parodoi contain niches in which
may have been placed statues of Herodes and Regilla.
From what has been preserved of this once beautiful struc-
ture, as well as from the admiration with which Pausanias
refers to it, we are warranted in believing that it must have
been in its day one of the most brilliant and impressive
buildings of the ancient city. In spite of the destruction that
has been wrought, we can still picture to ourselves its beautiful
interior, with its roof of cedar, its marble seats, its walls
veneered with marble slabs, its richly decorated stage, and its
corridors and vestibules adorned with statues and mosaics and
painted decorations.