Evening star. [volume] (Washington, D.C.) 1854-1972, 1882-12-05


IN the theaters OF the various countries through
out the ancient world for this is seen in the re-
mains of the present day. That Of Antioch, IN
Asia, is precisely as that in Pompcii. The Per-
sian, Grecian and Roman theaters were all
after the same general plan. Many of the thea
tiers were SO large that all the people could not
hear the words uttered on the stage; hence were
not an audience in our modern sense of the
word, but mere spectators in the spectacular
only. The reader may be surprised in reading
this article at the minuteness of detail of thea
tiers that existed thousands of years ago here
given, but there is ample authority for all the
statements, for some of the very "props," to
use modern professional word, are in exist
ence at the present day. Some of those found
at Pompeii are preserved in the Museum at Ma
pies.
THEATERs AT POMPEII
There were two theaters at Pompeii-one de-
voted to comedy, the other to tragedy. One
was, or is. larger than the other. so they had
their specialties then as now. The largest one
is described here, as it is in general construction
the same as those of ancient Greece, and will
answer well, or better as model, being the
most perfect in existence. due to the peculiar
manner of its preservation. There are three
principal divisions of the cavee. or as they are
now styled. tiers. The lowest. as In present
edifices was the most select-the orchestra chairs
rows of seats in this tier. These were oc-
cupied by the digntaries of the city.
These seats were more like platforms. one above
the other and here the spectators, servants or
slaves brought their seats or chairs These were
usually the bisellia, or chairs constructed for
two persons. None but the magistrates of the
city were allowed these locations. PlIny gives
description Of these sttings of the Theatrum.
Nearly all the remains of ancient theaters were
constructed against embankments, often cut
out of the solid rock, as that of Petrea, SYRIA
cuse and Others. Sometimes the upper tiers
rested on arched corridors, SO that the public
could enter the Enclosure directly from the street
level above. These upper corridors were sub
divided into boxes or. casscally speaking,
cavee. solid marble rail or balustrade sepa-
rated one cavea from the other
THE DIVISION OF SEATS.
The tiers collectively were called the hen1icy-
ckun', and as the division of the individual seats
were marked of, they formed kind of wedge
shape. the line of separation being drawn from
the axis of the hemicycle, hence they took the
name of c'rnei The upper tier was for p;ebs
and, what is singular. for the women, although
modern artists in depicting scenes and games in
such places have placed women with the men,
as can be seen II, the famous Roman race. copy
of which is the subject of the drop curtain at
tuS y HUI Gqualt 1HeilteT Al the ulgnlt0rleS
occupied the lowest or first tier, and the plebs,
women and slaves were on the upper tier,
naturally the people Of the middle class
found their seats in the intervening
space. All of the tiers were separated by a
marble wall or baustrade. They had tickets of
entrance in ancient days as at present. or as they
were then denOminated. tesserd These were
sometimes made of bone like a modern domino,
sometimes OF bronze or even Of potter's ware.
Many of these are in existence at the present
day. There are also some found in the shape of
ring, probably for convenience sake; they
could be strung on cord as received and more
readily counted when counting up the house."
The tessefd also were sometimes cut in the form
of the location they designated cuaei, caueg
or sedika--Of the person holding it. The name
stamped on these tickets of admission One has
been found with the name of Eschylus and no
doubt he was the author Of some play enacted,
perhaps his "Prometheus."
THE PRICE OF SEATS.
The price of seats was, as in modern times,
according to location" Men were stationed
at the entrances who proclaimed aloud the
price of ticket, unless it was a gratuitous fete
given by the government or some magistrate,
which was often the case. What the usual
price was may be gathered from what is re-
corded of Plantus, who is famous ancient play
wright. This author, on represention of one
those who have not got it retire to their homes''
As the ancient as was unit in computation of
money, and its value varied under different EN-
perors, at the present day it would be rather
difficult to fix the price of ticket Of ad
mission to an ancient theater according to
the modern standard. AS coin the
as was copper, and, perhaps. in translation it
might be called penny, but this might be as
far wrong as the old transators of the Bible
were when they translated the denarius penny.
fIpY1nS 1Cnd IN fhn =
mentioned. was the full price of days labor,
and so the Roman coin here mentioned may
have been the same; so, comparatively, the
value of arteSsera in ancient days to a the ter
had its equivalent in the price of a ticket to au
ordinary modern theater, viz, days wages
that is, for the best location.
IN THE THEATER
On entering the theatrum the tessera was
handed to the designator who passed it to the
locarius. who found the seat it called for These
officers are now called ushers. If the sun was
warm the velarium would be drawn over your
head. This velarium was a large awning drawn
with ropes and pulleys over the heads of the
audience. In the early days of Rome these were
rld1culed as piece of Grecian effeminacy but
after while luxurious Romans adopted them
generally, and Caesar had one of silk over his
sedile. Nero, to exhibit his magnificence went
further, to have his velarium of the richest pur-
pie silk embroidered with gold. The vOluptu-
GUS Carligula, when the theater was full. in
order to amuse himself, would have the rela,i,.n,
suddenly withdrawn of hot summers day and
let the full heat of the sun upon the heads
of the spectators. Sometimes the winds were
so high these awnings could not be drawn; then,
the poet Martial tells us, people kept their hats
on. The rings in the wall of the upper tier that
supported the poles'frOm whence these awnings
were suspended can be still seen at the theater
at POmpeii These Udld,1a can be seen in the pic
ture of the Roman race.
ORCHESTRA PRIVILEGES
The vestal virgins, out of Difference to sacred
ness. were allowed as body to sit in the Orches-
ira with the dignifed senator's, but not indis-
criminately. The orchestra was considered al.
most sacred, so much SO that foreign embassa-
doris were not allowed to sit there for the reason
that freedmen or sons of freedmen were some
times found among them. The stage was about
the same average height as in modern theaters
Below was the hypOscenium, where were the
scene shifters and machinst As there was
no roof there could be no "rigging
loft" as In modern buildings, and the
aulaem or curtains descended 80 as to
expose the stage and actors, and
when the play ended 1t rose. The procenium
was built up with architectural magnifcence
with what would be called in modern theaters
practical DOORS for the use of the actors az