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At Amsterdam, Jacob van Campen’s Schouwburg of 1637 was an extraordinary
combination of old and new [Pis. 64, 6s].
The auditorium had rows of
boxes between pilasters (which Wren may possibly have known), but the
stage was a sort of multi-locational
scaenae frons,
with several vestigial
mansiones
grouped together on an open platform without a proscenium arch,
but providing space for painted fiats.