# On Architecture

## Vitruvius Pollio

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

1. THE plan of the theatre itself is to be constructed as follows. Having fixed upon the principal centre, draw a line of circumference equivalent to what is to be the perimeter at the bottom, and in it inscribe four equilateral triangles, at equal distances apart and touching the boundary line of the circle, as the astrologers do in a figure of the twelve signs of the zodiac, when they are making computations from the musical harmony of the stars. Taking that one of these triangles whose side is nearest to the scaena, let the front of the scaena be determined by the line where that side cuts off a segment of the circle (A-B), and draw, through the centre, a parallel line (C-D) set off from that position, to separate the platform of the stage from the space of the orchestra.

2. The platform has to be made deeper than that of the Greeks, because all our artists perform on the stage, while the orchestra contains the places reserved for the seats of senators. The height of this platform must be not more than five feet, in order that those who sit in the orchestra may be able to see the performances of all the actors. The sections (cunei) for spectators in the theatre should be so divided, that the angles of the triangles which run about the circumference of the circle may give the direction for the flights of steps between the sections, as far as up to the first curved cross-aisle. Above this, the upper sections are to be laid out, midway between (the lower sections), with alternating passage-ways.

3. The angles at the bottom, which give the directions for the flights of steps, will be seven in number (C, E, F, G, H, I, D); the other five angles will determine the arrangement of the scene: thus, the angle in the middle ought to have the “royal door”(K) opposite to it; the angles to the right and left (L, M) will designate the position of the doors for guest chambers; and the two

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.