Serlian designs in the renaissance period made use of old medieval settings. However, some have also described it as being classical. Where Serlio’s settings were seen to be conflicted, the settings that were presented by Andrea Palladio was one that was more classical. His style does not attempt to introduce the audience to flimsy settings, but to settings that were more permanent. Vincenzo Scamozzi who took over this form of working from Palladio worked with auditoriums that were in the form of a semi-ellipse which was not a semicircle. The semi-ellipse actually provided better audience accommodation and also provided better sight for the audience. The stage proper or the pulpitum as it is called is a rectangular form of wooden floor (Chapter IV). The floor was painted in the form of marble flag stones. An ornamented architectural facade covered the theatre and then there were open arches with the porta regio of Vitruvius flanking the arch at either ends. These contrast with that of the Teatro Farnese at Parma. Here the woodcut is influenced by Serlio’s style. However, the central doorway is more widened when compared to the settings of Serlio (Chapter IV). The doorways were separated and widened with only thin columns separating them from one another. This form of a theatre structure had more versatility. It could be sued for comedy, tragic and satire purposes and was more of an open stage or a Renaissance playhouse. The methods of shifting scenery introduced the more lasting changes. Here it was necessary to create front houses that must remain untouched but which could very easily be modified so as to incorporate the setting for multiple scenes.
The Salle des machines were built in the event of the wedding for the King Louis XIV. It is the largest theatre in all of Europe occupying a space of about 226 feet with around 94 feet fully devoted to the auditorium and its plays.