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. Pompeii; its history, buildings and antiquities : an account of the destruction of the city, with a full description of the remains, and of the recent excavations and also an itinerary for visitors . In execution andelegance they are equal, if not superior, to anything of thekind in modern art, and in the workmanship an extraordinaryfinish and accuracy is visible. These were placed, as wehave said, on the four ranges of steps within the orchestra,which are not so deep as the steps of the cavea, nor have theyplaces hollowed out for the feet, to defend the backs of theinferior row of spectator

. Pompeii; its history, buildings and antiquities : an account of the destruction of the city, with a full description of the remains, and of the recent excavations and also an itinerary for visitors . In execution andelegance they are equal, if not superior, to anything of thekind in modern art, and in the workmanship an extraordinaryfinish and accuracy is visible. These were placed, as wehave said, on the four ranges of steps within the orchestra,which are not so deep as the steps of the cavea, nor have theyplaces hollowed out for the feet, to defend the backs of theinferior row of spectator Stock Photo
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Contributor:

Reading Room 2020 / Alamy Stock Photo

Image ID:

2CE53MG

File size:

7.1 MB (667.9 KB Compressed download)

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Dimensions:

1221 x 2046 px | 20.7 x 34.6 cm | 8.1 x 13.6 inches | 150dpi

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. Pompeii; its history, buildings and antiquities : an account of the destruction of the city, with a full description of the remains, and of the recent excavations and also an itinerary for visitors . In execution andelegance they are equal, if not superior, to anything of thekind in modern art, and in the workmanship an extraordinaryfinish and accuracy is visible. These were placed, as wehave said, on the four ranges of steps within the orchestra, which are not so deep as the steps of the cavea, nor have theyplaces hollowed out for the feet, to defend the backs of theinferior row of spectators, the different arrangement of seatsmaking this unnecessary. In the view which is given of this small theatre, thereader will plainly see the different parts of the building.Behind the four benches of the orchestra rises a high parapet, which separated the privileged and unprivileged seats. Be-hind this ran the praecinctio or landing, accessible frombelow by the four curved steps at each end of the orchestra.Two of the stairs are visible, and a complete cuneus included THE THEATRES. 213 between them. Above the cavea is the gallery for women.The cavea contained seventeen rows of seats. The only. direct access to it is by a passage behind, also communi-cating with the orchestra of the large theatre, which opens 214 POMPEII. into a circular corridor, where are the vomitoria and stairsto ascend to the gallery. It has been computed that there Mis accommodation for fifteen hundred persons. The ends of mthe parapet are ornamented with winged griffins legs.Behind, two sculptured figures, stoutly proportioned, appearto support the side wall of the cavea, upon which ponderousbronze candelabra formerly stood. To the left are the stage, scene, and postscenium. The centre door, or valvse regias, and one of the side ones, are visible, and the wall of the post-scenium closes the view behind. The cavity running alongthe front of the stage was most likely meant to hold thecurtain, which, as we ha

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