The Ten Books on Architecture
addition, provided that it is done without going too far, but with
intelligence. This will be possible, if the architect is a man of
practical experience and, besides, not destitute of cleverness and
skill.
8. The "scaena" itself displays the following scheme. In the centre are
double doors decorated like those of a royal palace. At the right and
left are the doors of the guest chambers. Beyond are spaces provided for
decoration--places that the Greeks call [Greek: periaktoi], because in
these places are triangular pieces of machinery ([Greek: D, D]) which
revolve, each having three decorated faces. When the play is to be
changed, or when gods enter to the accompaniment of sudden claps of
thunder, these may be revolved and present a face differently decorated.
Beyond these places are the projecting wings which afford entrances to
the stage, one from the forum, the other from abroad.
9. There are three kinds of scenes, one called the tragic, second, the
comic, third, the satyric. Their decorations are different and unlike
each other in scheme. Tragic scenes are delineated with columns,
pediments, statues, and other objects suited to kings; comic scenes
exhibit private dwellings, with balconies and views representing rows of
windows, after the manner of ordinary dwellings; satyric scenes are
decorated with trees, caverns, mountains, and other rustic objects
delineated in landscape style.
CHAPTER VII
GREEK THEATRES
1. In the theatres of the Greeks, these same rules of construction are
not to be followed in all respects. First, in the circle at the bottom
where the Roman has four triangles, the Greek has three squares with
their angles touching the line of circumference. The square whose side
is nearest to the "scaena," and cuts off a segment of the circle,
determines by this line the limits of the "proscaenium" (A, B). Parallel
to this line and tangent to the outer circumference of the segment, a
line is drawn which fixes the front of the "scaena" (C-D). Through the
centre of the orchestra and parallel to the direction of the
"proscaenium," a line is laid off, and centres are marked where it cuts
the circumference to the right and left (E, F) at the ends of the
half-circle. Then, with the compasses fixed at the right, an arc is
described from the horizontal distance at the left to the left hand side
of the "proscaenium" (F, G); again with the centre at the left end, an
arc is described from the horizontal distance at the right to the right
hand side of the "proscaenium" (E, H).
2. As a result of this plan with three centres, the Greeks have a
roomier orchestra, and a "scaena" set further back, as well as a stage
of less depth. They call this the [Greek: logeion], for the reason that
there the tragic and comic actors perform on the stage, while other
artists give their performances in the entire orchestra; hence, from
this fact they are given in Greek the distinct names "Scenic" and
"Thymelic." The height of this "logeum" ought to be not less than ten
feet nor more than twelve. Let the ascending flights of steps between
the wedges of seats, as far up as the first curved cross-aisle, be laid
out on lines directly opposite to the angles of the squares. Above the
cross-aisle, let other flights be laid out in the middle between the
first; and at the top, as often as there is a new cross-aisle, the
number of flights of steps is always increased to the same extent.
CHAPTER VIII
ACOUSTICS OF THE SITE OF A THEATRE
1. All this having been settled with the greatest pains and skill, we
must see to it, with still greater care, that a site has been selected
where the voice has a gentle fall, and is not driven back with a recoil
so as to convey an indistinct meaning to the ear. There are some places
which from their very nature interfere with the course of the voice, as
for instance the dissonant, which are termed in Greek [Greek:
katêchountes]; the circumsonant, which with them are named [Greek:
periêchountes]; again the resonant, which are termed [Greek:
antêchountes]; and the consonant, which they call [Greek: synêchountes].
The dissonant are those places in which the first sound uttered that is
carried up high, strikes against solid bodies above, and, being driven
back, checks as it sinks to the bottom the rise of the succeeding sound.
2. The circumsonant are those in which the voice spreads all round, and
then is forced into the middle, where it dissolves, the case-endings are
not heard, and it dies away there in sounds of indistinct meaning. The
resonant are those in which it comes into contact with some solid
substance and recoils, thus producing an echo, and making the
terminations of cases sound double. The consonant are those in which it
is supported from below, increases as it goes up, and reaches the ears
in words which are distinct and clear in tone. Hence, if there has been
careful attention in the selection of the site, the effect of the voice
will, through this precaution, be perfectly suited to the purposes of a
theatre.
The drawings of the plans may be distinguished from each other by this
difference, that theatres designed from squares are meant to be used by
Greeks, while Roman theatres are designed from equilateral triangles.
Whoever is willing to follow these directions will be able to construct
perfectly correct theatres.
CHAPTER IX
COLONNADES AND WALKS
1. Colonnades must be constructed behind the scaena, so that when sudden
showers interrupt plays, the people may have somewhere to retire from
the theatre, and so that there may be room for the preparation of all
the outfit of the stage. Such places, for instance, are the colonnades
of Pompey, and also, in Athens, the colonnades of Eumenes and the fane
of Father Bacchus; also, as you leave the theatre, the music hall which
Themistocles surrounded with stone columns, and roofed with the yards
and masts of ships captured from the Persians. It was burned during the
war with Mithridates, and afterwards restored by King Ariobarzanes. At
Smyrna there is the Stratoniceum, at Tralles, a colonnade on each side
of the scaena above the race course, and in other cities which have had
careful architects there are colonnades and walks about the theatres.
2. The approved way of building them requires that they should be
double, and have Doric columns on the outside, with the architraves and
their ornaments finished according to the law of modular proportion. The
approved depth for them requires that the depth, from the lower part of
the outermost columns to the columns in the middle, and from the middle
columns to the wall enclosing the walk under the colonnade, should be
equal to the height of the outer columns. Let the middle columns be one
fifth higher than the outer columns, and designed in the Ionic or
Corinthian style.
3. The columns will not be subject to the same rules of symmetry and
proportion which I prescribed in the case of sanctuaries; for the
dignity which ought to be their quality in temples of the gods is one
thing, but their elegance in colonnades and other public works is quite
another. Hence, if the columns are to be of the Doric order, let their
height, including the capital, be measured off into fifteen parts. Of
these parts, let one be fixed upon to form the module, and in
accordance with this module the whole work is to be developed. Let the
thickness of the columns at the bottom be two modules; an
intercolumniation, five and a half modules; the height of a column,
excluding the capital, fourteen modules; the capital, one module in
height and two and one sixth modules in breadth. Let the modular
proportions of the rest of the work be carried out as written in the
fourth book in the case of temples.
4. But if the columns are to be Ionic, let the shaft, excluding base and
capital, be divided into eight and one half parts, and let one of these
be assigned to the thickness of a column. Let the base, including the
plinth, be fixed at half the thickness, and let the proportions of the
capital be as shown in the third book. If the column is to be
Corinthian, let its shaft and base be proportioned as in the Ionic, but
its capital, as has been written in the fourth book. In the stylobates,
let the increase made there by means of the "scamilli impares" be taken
from the description written above in the third book. Let the
architraves, coronae, and all the rest be developed, in proportion to
the columns, from what has been written in the foregoing books.
5. The space in the middle, between the colonnades and open to the sky,
ought to be embellished with green things; for walking in the open air
is very healthy, particularly for the eyes, since the refined and
rarefied air that comes from green things, finding its way in because of
the physical exercise, gives a clean-cut image, and, by clearing away
the gross humours from the eyes, leaves the sight keen and the image
distinct. Besides, as the body gets warm with exercise in walking, this
air, by sucking out the humours from the frame, diminishes their
superabundance, and disperses and thus reduces that superfluity which is
more than the body can bear.
6. That this is so may be seen from the fact that misty vapours never
arise from springs of water which are under cover, nor even from watery
marshes which are underground; but in uncovered places which are open to
the sky, when the rising sun begins to act upon the world with its
heat, it brings out the vapour from damp and watery spots, and rolls it
in masses upwards. Therefore, if it appears that in places open to the
sky the more noxious humours are sucked out of the body by the air, as
they obviously are from the earth in the form of mists, I think there is
no doubt that cities should be provided with the roomiest and most
ornamented walks, laid out under the free and open sky.
7. That they may be always dry and not muddy, the following is to be
done. Let them be dug down and cleared out to the lowest possible depth.
At the right and left construct covered drains, and in their walls,
which are directed towards the walks, lay earthen pipes with their lower
ends inclined into the drains. Having finished these, fill up the place
with charcoal, and then strew sand over the walks and level them off.
Hence, on account of the porous nature of the charcoal and the insertion
of the pipes into the drains, quantities of water will be conducted
away, and the walks will thus be rendered perfectly dry and without
moisture.
8. Furthermore, our ancestors in establishing these works provided
cities with storehouses for an indispensable material. The fact is that
in sieges everything else is easier to procure than is wood. Salt can
easily be brought in beforehand; corn can be got together quickly by the
State or by individuals, and if it gives out, the defence may be
maintained on cabbage, meat, or beans; water can be had by digging
wells, or when there are sudden falls of rain, by collecting it from the
tiles. But a stock of wood, which is absolutely necessary for cooking
food, is a difficult and troublesome thing to provide; for it is slow to
gather and a good deal is consumed.
9. On such occasions, therefore, these walks are thrown open, and a
definite allowance granted to each inhabitant according to tribes. Thus
these uncovered walks insure two excellent things: first, health in time
of peace; secondly, safety in time of war. Hence, walks that are
developed on these principles, and built not only behind the "scaena"
of theatres, but also at the temples of all the gods, will be capable of
being of great use to cities.