On Architecture

4. The roof of the colonnade to be built at the top of the rows of seats, should lie level with the top of the “scaena,” for the reason that the voice will then rise with equal power until it reaches the highest rows of seats and the roof. If the roof is not so high, in proportion as it is lower, it will check the voice at the point which the sound first reaches.

5. Take one sixth of the diameter of the orchestra between the lowest steps, and let the lower seats at the ends on both sides be cut away to a height of that dimension so as to leave entrances (0, P). At the point where this cutting away occurs, fix the soffits of the passages. Thus their vaulting will be sufficiently high.

6. The length of the “scaena” ought to be double the diameter of the orchestra. The height of the podium, starting from the level of the stage, is, including the corona and cymatium, one twelfth of the diameter of the orchestra. Above the podium, the columns, including their capitals and bases, should have a height of one quarter of the same diameter, and the architraves and ornaments of the columns should be one fifth of their height. The parapet above, including its cyma and corona, is one half the height of the parapet below. Let the columns above this parapet be one fourth less in height than the columns below, and the architraves and ornaments of these columns one fifth of their height. If the “scaena” is to have three stories, let the uppermost parapet be half the height of the intermediate one, the columns at the top one fourth less high than the intermediate, and the architraves and coronae of these columns one fifth of their height as before.

7. It is not possible, however, that in all theatres these rules of symmetry should answer all conditions and purposes, but the

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 peria/ktoi, because in these places are triangular pieces of machinery (*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.

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 lineis laid off, and centres are marked where itcuts 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 logei=on, 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.

1. 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 kathxou=ntes; the circumsonant, which with them are named perihxou=ntes; again the resonant, which are termed a)nthxou=ntes; and the consonant, which they call sunhxou=ntes. 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 equilateral triangles. Whoever is willing to follow these directions will be able to construct perfectly correct theatres.

1. COLLONADES 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

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

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

1. IN the first place, the warmest possible situation must be selected; that is, one which faces away from the north and northeast. The rooms for the hot and tepid baths should be lighted from the southwest, or, if the nature of the situation prevents this, at all events from the south, because the set time for bathing is principally from midday to evening. We must also see to it that the hot bath rooms in the women's and men's departments adjoin each other, and are situated in the same quarter; for thus it will be possible that the same furnace should serve both of them and their fittings. Three bronze cauldrons are to be set over the furnace, one for hot, another for tepid, and the third for cold water, placed in such positions that the amount of water which flows out of the hot water cauldron may be replaced from that for tepid water, and in the same way the cauldron for tepid water may be supplied from that for cold. The arrangement must allow the semicylinders for the bath basins to be heated from the same furnace.