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 and are accosted on their way by women issuing from the 'Fornices', over which the theatre is built. Through the removal of part of the walls, the interior is also made visible. It has two galleries and standing-room below. A box next the stage in the upper gallery is marked 'Aediles'. The stage is cut off by curtains, which are divided by two narrow columns. In front of the curtains sits a flute-player. Above is inscribed 'Proscenium'. Some of the Lyons cuts are adopted, with others from the Ulm Eunuchus, in the Strasburg Terence of 1496. This, however, has a different 'Theatrum', which shows the exterior only, and also a new comprehensive design for each play, in which no scaffold or back wall appears, and the houses are drawn on either side of an open place, with the characters standing before them. They are more realistic than the Lyons 'bathing boxes' and have doors and windows and roofs, but they are drawn, like the Ulm houses, on a smaller scale than the characters. If they have a scenic origin, it may be rather in the 'case' of Ferrara than in the conventional 'domus' of Rome. Finally, the Venice Terence of 1497, while again reproducing with modifications the smaller Lyons cuts, replaces the 'Theatrum' by a new 'Coliseus sive Theatrum', in which the point of view is taken from the proscenium. No raised stage is visible, but an actor or prologue is speaking from a semicircular orchestra on the floor-level. To right and left of him are two houses, of the 'bathing-box' type, but roofed, from which characters emerge. He faces an auditorium with two rows of seats and a gallery above.

We are moving in shadowy regions of conjecture, and if all the material were forthcoming, the interrelations of Rome and Ferrara and the Terentian editors might prove to have been somewhat different from those here sketched. After all, we have not found anything which quite explains the 'picturatae scenae facies' for which Cardinal Raffaelle Riario won such praise, and perhaps Ferrara is not really entitled to credit for the innovation, which is generally supposed to have accompanied the production of the first of Ariosto's great Italian comedies on classical lines, the Cassaria of 1508. This is the utilization for stage scenery of the beloved Italian art of architectural perspective. It has been suggested, on no very secure grounds, that the first to experiment in this