On Architecture

Vitruvius Pollio

Vitruvius Pollio, creator; Morgan, M. H. (Morris Hicky), 1859-1910, translator

5. For instance, at Tralles, Apaturius of Alabanda designed with skilful hand the scaena of the little theatre which is there called the e)kklhsiasth/rion representing columns in it and statues, Centaurs supporting the architraves, rotundas with round roofs on them, pediments with overhanging returns, and cornices ornamented with lions' heads, which are meant for nothing but the rainwater from the roofs,—and then on top of it all he made an episcaenium in which were painted rotundas, porticoes, half-pediments, and all the different kinds of decoration employed in a roof. The effect of high relief in this scaena was very attractive to all who beheld it, and they were ready to give their approval to the work, when Licymnius the mathematician came forward and said that

(6.) the Alabandines were considered bright enough in all matters of politics, but that on account of one slight defect, the lack of the sense of propriety, they were believed to be unintelligent. “In their gymnasium the statues are all pleading causes, in their forum, throwing the discus, running, or playing ball. This disregard of propriety in the interchange of statues appropriate to different places has brought the state as a whole into disrepute. Let us then beware lest this scaena of Apaturius make Alabandines or Abderites of us. Which of you can have houses or columns or extensive pediments on top of his tiled roof? Such things are built above the floors, not above the tiled roofs. Therefore, if we give our approval to pictures of things which can have no reason for existence in actual fact, we shall be voluntarily associating ourselves with those communities which are believed to be unintelligent on account of just such defects.”

7. Apaturius did not venture to make any answer, but removed

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the scaena, altered it so that it conformed to reality, and gave satisfaction with it in its improved state. Would to God that Licymnius could come to life again and reform the present condition of folly and mistaken practices in fresco painting! However, it may not be out of place to explain why this false method prevails over the truth. The fact is that the artistic excellence which the ancients endeavoured to attain by working hard and taking pains, is now attempted by the use of colours and the brave show which they make, and expenditure by the employer prevents people from missing the artistic refinements that once lent authority to works.

8. For example, which of the ancients can be found to have used vermilion otherwise than sparingly, like a drug? But today whole walls are commonly covered with it everywhere. Then, too, there is malachite green, purple, and Armenian blue. When these colours are laid on, they present a brilliant appearance to the eye even although they are inartistically applied, and as they are costly, they are made exceptions in contracts, to be furnished by the employer, not by the contractor. I have now sufficiently explained all that I could suggest for the avoidance of mistakes in stucco work. Next, I shall speak of the components as they occur to me, and first I shall treat of marble, since I spoke of lime at the beginning.

MARBLE is not produced everywhere of the same kind. In some places the lumps are found to contain transparent grains like salt, and this kind when crushed and ground is extremely serviceable in stucco work. In places where this is not found, the broken bits of marble or “chips,” as they are called, which marble-workers throw down as they work, may be crushed and ground and used in stucco after being sifted. In still other places

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—for example, on the borderland of Magnesia and Ephesus—there are places where it can be dug out all ready to use, without the need of grinding or sifting, but as fine as any that is crushed and sifted by hand.