A typical example of the stage architecture of the early eighteenth century is Andrea Pozzo. These forms of theatre actually represent more of a playhouse. Here there were seating accommodations in the form of a semi circle. However, this accommodation was not like the Roman seating arrangement in an auditorium. The Roman fashion had a much more curvature arrangement with the seats in sloping style. Here, however, galleries were divided and were just before the stage front. This depicted the stage as the focal point (Chapter VIII).
The theatre structure in the eighteenth century promised elaborate settings for its artists. At one end, artisans were working on developing the stage space, the characteristics and atmosphere of the stage space and at another, people were devoted to the machinery that can be used in the stage space. On another completely different end, people were focused on the conveniences of the audience. Most of these theatres came with elaborate seating arrangement and artists were working on how they could make the display of the proscenium arch better for the people. There were, however, several tradeoffs in these constructions. For instance, one artist would probably design a theatre proportion that could bring out the stage play in a very extravagant proportion. However, in doing so they would have had to trade-off on the number of seats that can be set in the theatre or the way the seating arrangements might look at the proscenium. Ovoid auditoriums were common at this time, and also were horseshoe style auditoriums. These forms of galleries were the design of the Patte and variants were used in the time of the Teatro d’Imolo. A straight sided shape was used by some with galleries that were parallel to one another and the walls. These forms of straight shaped galleries were convenient for two purposes. They helped the play to be more realistic in the ways that the artists would work around the galleries, and secondly the people who were interested in looking at the galleries could walk around them. In later years, the theatrical style of Giuseppe Bibiena introduced a Elizabethan form of platform. These were more reminiscent of the playhouses of England. The style of construction, the art and architecture used to create the spaces highlighted the English style more than the Italian and the French.