On Architecture

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.