larger corpus to draw upon during this most vital period of Greek drama. Sophocles, Aristophanes and Euripides were all performed at the Theatre of Dionysus. From these we can deduce that stock sets may have been in use to meet the requirements of the plays such that the Periclean reconstruction included post-holes built into the terrace wall to provide sockets for movable scenery. The skene itself was likely unchanged from the theatre’s earlier phase, with a wooden structure of at most two floors and a roof. It is also possible that the stage building would have had three doors, with two in the projecting side-wings or paraskenia. Mechane or geranos were used for the introduction of divine beings or flights through the air as in Medea or Aristophanes' Birds. One point of contention has been the existence or otherwise of the prothyron or columned portico on a skene that represents the interior spaces of temples or palaces. It is a supposition partly supported by the texts, but also from vase painting believed to be depictions of plays. Aeschylus Choēphóroi 966 and Aristophanes' Wasps 800-4 both refer directly to a prothyron, while the parodos-chant in Euripides’ Ion makes indirect reference to one. The mourning Niobe loutrophoros in Naples and the Boston volute krater, for example, both depict a prothyron. Pickard-Cambridge questions if this was permanent structure since interior scenes were rare in tragedy. The evidence from the plays for the use of an ekkyklema in this period is ambiguous; passages such as Acharnians 407 ff or Hippolytus 170-1 suggest but don't require the device. The argument for its use depends largely on reference to the ekkyklema in later lexographers and scholiasts. Lycurgan theatre Lycurgus was a leading figure in Athenian politics in the mid- to late-fourth century prior to the Macedonian supremacy, and controller of the state’s finances. In his role as epistate of the Theatre of Dionysus he was also instrumental in transforming the theatre into the stone-built structure seen today. There is a question of how far up the hill the stone theatron of this phase went; either all the way up to the rock of the Akropolis (the kataome) or only as far as the peripatos. Since the Choragic Monument of Thrasyllos of 320/319 BC required the rock face to be cut back such that it is likely that the epitheatron beyond the peripatos would have reached that