Vitruvius, I Dieci Libri dell' Architettvra di M. Vitrvvio, 1556

Table of Notes

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          <p>
            <s xml:id="echoid-s12921" xml:space="preserve">L’Orcheſtra tra i gradi inferiori quanto grande haueràil ſuo Diametro, prendaſi la ſeſta parte di quello, & </s>
            <s xml:id="echoid-s12922" xml:space="preserve">nelle cor-
              <lb/>
            na, & </s>
            <s xml:id="echoid-s12923" xml:space="preserve">d’intorno à gliaditi a piombo di quelle ſiano tagliati i ſeggi inferiori, & </s>
            <s xml:id="echoid-s12924" xml:space="preserve">la doue ſeràfatto il taglio iui ſiano po-
              <lb/>
            ſti i ſopracigli delle uie, perche in queſto modo le loro conformationi haueranno baſteuole altezza.</s>
            <s xml:id="echoid-s12925" xml:space="preserve"/>
          </p>
          <p style="it">
            <s xml:id="echoid-s12926" xml:space="preserve">Il primo ordine de gradi non era ſubito alzato daterra, percioche ſarebbe ſtato troppobaſſo, eſſendo i gradi alti due picdi è mezzo, & </s>
            <s xml:id="echoid-s12927" xml:space="preserve">eſſendo i
              <lb/>
            Sedili nell’ Orcheſtra piu alti, però uuole Vitr. </s>
            <s xml:id="echoid-s12928" xml:space="preserve">che ſi piglie la ſeſta parte del Diametro dell’Orcheſtra, & </s>
            <s xml:id="echoid-s12929" xml:space="preserve">quella ſia l’altezza di quel muret
              <lb/>
            to, che circonda l’Orcheſtra, & </s>
            <s xml:id="echoid-s12930" xml:space="preserve">ſecondo quell’ altezza dinanzi ſi deono tagliare i primi gradi da baſſo nelle corna, et d’intorno gli aditi, et doue
              <lb/>
            ſeranno que tagli posti ſianoi ſopracigli delle uie, & </s>
            <s xml:id="echoid-s12931" xml:space="preserve">per ſopracigli intende ſopralimitari, & </s>
            <s xml:id="echoid-s12932" xml:space="preserve">erano alcune apriture, che andauano alle ſalite,
              <lb/>
            e ſcale drizzate ſecondo i cunei, che pone Vitr di ſopra. </s>
            <s xml:id="echoid-s12933" xml:space="preserve">& </s>
            <s xml:id="echoid-s12934" xml:space="preserve">queſto nome di ſopraciglio Vitr. </s>
            <s xml:id="echoid-s12935" xml:space="preserve">l’ha uſato ancho nel quarto parlando delle porte.</s>
            <s xml:id="echoid-s12936" xml:space="preserve"/>
          </p>
          <p>
            <s xml:id="echoid-s12937" xml:space="preserve">La lunghezza della Scena fia doppia al Diametro dell’Orcheſtra, l’altezza del Poggio dal liuello del Pulpito con la ſua
              <lb/>
            cornice, è gola preſa ſia per la duodecima del Diametro dell’Orcheſtra. </s>
            <s xml:id="echoid-s12938" xml:space="preserve">Sopra il Poggio ſiano le colonne, con i capi-
              <lb/>
              <note position="left" xlink:label="note-0163-01" xlink:href="note-0163-01a" xml:space="preserve">10</note>
            telli, & </s>
            <s xml:id="echoid-s12939" xml:space="preserve">baſamenti alti per la quarta parte del detto Diametro, gli Architraui, & </s>
            <s xml:id="echoid-s12940" xml:space="preserve">ornamenti per la quinta parte. </s>
            <s xml:id="echoid-s12941" xml:space="preserve">Il pa
              <lb/>
            rapetto di ſopra con la onda, & </s>
            <s xml:id="echoid-s12942" xml:space="preserve">con la cornice ſia per la metà del Parapetto, ò Poggio di ſotto, & </s>
            <s xml:id="echoid-s12943" xml:space="preserve">ſopra quel Para-
              <lb/>
            petto ſian le colonne alte per un quarto meno, che le colonne di ſotto, Ma gli architraui, & </s>
            <s xml:id="echoid-s12944" xml:space="preserve">ornamenti di quelle
              <lb/>
            colonne, per la quinta. </s>
            <s xml:id="echoid-s12945" xml:space="preserve">Ma s’egli ferà il terzo componimento ſopra la Scena, ſia il Parapetto di ſopra per la metà del
              <lb/>
            Parapetto di mezzo, & </s>
            <s xml:id="echoid-s12946" xml:space="preserve">le colonne, che ui ſeranno di ſopra ſiano un quarto meno alte delle colonne di mezzo. </s>
            <s xml:id="echoid-s12947" xml:space="preserve">Gli
              <lb/>
            Architraui con le cornici di quelle colonne ſimilmente un quinto dell’altezza.</s>
            <s xml:id="echoid-s12948" xml:space="preserve"/>
          </p>
          <p style="it">
            <s xml:id="echoid-s12949" xml:space="preserve">Dice Leon Battiſta, che le foudamenta di que pareti, che aſcendono à gliultimi gradi, & </s>
            <s xml:id="echoid-s12950" xml:space="preserve">piu lontani dal centro, cioe dell’ultimaè piu larga cinta,
              <lb/>
            ſi deono gittare tanto lontani dal centro, quàto è il Semidiametro del piano di mezzo, con un terzo di piu, ma i primi gradi, cioe quelli, che
              <lb/>
            ſono di dentro, & </s>
            <s xml:id="echoid-s12951" xml:space="preserve">piu baßi, cioé doue ſi comincia la gradatione, non deono cominciar ſubito dal piano: </s>
            <s xml:id="echoid-s12952" xml:space="preserve">ma dal piano ne i grandi Tbeatri
              <lb/>
            egli ſi deue leuar un muro ò parete alto per la nona parte del Semidiametro del piano di mezzo, ma ne i Theatri minori non ſi leuerà quel
              <lb/>
              <note position="left" xlink:label="note-0163-02" xlink:href="note-0163-02a" xml:space="preserve">20</note>
            parete piu di ſette piedi, ſopra quelli pareti deono cominciare i gradi di quella miſura, che Vitr. </s>
            <s xml:id="echoid-s12953" xml:space="preserve">ci ha dimoſtrato. </s>
            <s xml:id="echoid-s12954" xml:space="preserve">Queſta intentione pare, che
              <lb/>
            accenni Vitr. </s>
            <s xml:id="echoid-s12955" xml:space="preserve">diſopra nel terzo capo, & </s>
            <s xml:id="echoid-s12956" xml:space="preserve">qui ancho dicendo di quel taglio, che ſi fa per la circonſerenza di dentro per li ſeggi, & </s>
            <s xml:id="echoid-s12957" xml:space="preserve">ſopracigli
              <lb/>
            delle uie, & </s>
            <s xml:id="echoid-s12958" xml:space="preserve">per ſeggi egli intende i primi gradi. </s>
            <s xml:id="echoid-s12959" xml:space="preserve">Parla poi della lunghezza della Scena, che eſſer deue doppia al Diametro dell’Orchestra;</s>
            <s xml:id="echoid-s12960" xml:space="preserve">per
              <lb/>
            ilche ſe il Diametro ſer à di piedi 60. </s>
            <s xml:id="echoid-s12961" xml:space="preserve">la longhezza della Scena ſerà di piedi i20. </s>
            <s xml:id="echoid-s12962" xml:space="preserve">perche piedi 60. </s>
            <s xml:id="echoid-s12963" xml:space="preserve">anderanno per mezzo il Diametro, etren
              <lb/>
            ta per parte per mezzo le corna del Theatro, egli ci da poi l’altezza del poggio. </s>
            <s xml:id="echoid-s12964" xml:space="preserve">Poggio è come un Parapetto nella fronta della Scena, la cui
              <lb/>
            parte di ſotto, che uiene uerſo l’Orcheſtra, èil Pulpito. </s>
            <s xml:id="echoid-s12965" xml:space="preserve">Sopra il Pulpito adunque, & </s>
            <s xml:id="echoid-s12966" xml:space="preserve">dal liuello di quello à faccia de gli ſpettatori alzar ſi de-
              <lb/>
            ue il primo Parapetto, per la duodecima parte dell’Orchestra, cinque piedi è alto il Pulpito, cinquc il parapetto, & </s>
            <s xml:id="echoid-s12967" xml:space="preserve">qui è da conſiderare,
              <lb/>
            che il Diametro dell’Orchestra ci da la miſura & </s>
            <s xml:id="echoid-s12968" xml:space="preserve">fondamento del tutto, per la duodecima parte adunque del Diametro dell’Orchestra è alto
              <lb/>
            il Poggio abbracciando la Cornice, & </s>
            <s xml:id="echoid-s12969" xml:space="preserve">la Liſi che Onda Cimaſa, ò Gola ſi puo chiamare, ma doue ſia tratto questo uocabolo di Liſi, io non ho
              <lb/>
            trouaro fin hora. </s>
            <s xml:id="echoid-s12970" xml:space="preserve">Io ſo bene che Lix in Greco è una pietra larga, e obliqua, & </s>
            <s xml:id="echoid-s12971" xml:space="preserve">ſe Vitr. </s>
            <s xml:id="echoid-s12972" xml:space="preserve">dceſſe Liixis potrebbe intendere quella pietra del pog
              <lb/>
              <note position="left" xlink:label="note-0163-03" xlink:href="note-0163-03a" xml:space="preserve">30</note>
            gio piana ſopra laquale l’huomo s’appoggia. </s>
            <s xml:id="echoid-s12973" xml:space="preserve">Le colonne con i capitelli, e baſe ſian alte per la quarta parte dcl Diametro dell’Orcheſtra, & </s>
            <s xml:id="echoid-s12974" xml:space="preserve">
              <lb/>
            coſi ſarebbeno di quindeci piedi eſſendo il Diametro dell’Orchestra 60. </s>
            <s xml:id="echoid-s12975" xml:space="preserve">ſopra queſte colonne ui andaua il ſecondo ordine, & </s>
            <s xml:id="echoid-s12976" xml:space="preserve">quella parte
              <lb/>
            era detta Epiſcenos, quaſi ſopra Scena, & </s>
            <s xml:id="echoid-s12977" xml:space="preserve">ne i gran Theatri ſi andaua ancho al terzo ordine, & </s>
            <s xml:id="echoid-s12978" xml:space="preserve">tanto aſcende, che agguagliano il tetto del
              <lb/>
            portico di ſopra, anziegli ſi continua ā torno con quelle iſteſſe miſure, & </s>
            <s xml:id="echoid-s12979" xml:space="preserve">però Vitr. </s>
            <s xml:id="echoid-s12980" xml:space="preserve">non parla di quelle miſure, perche ſono le iſteſſe della ter
              <lb/>
            za Epiſcenos, dal profilo del Theatro poſto inanzI
              <unsure/>
            à faccie 153. </s>
            <s xml:id="echoid-s12981" xml:space="preserve">ſi comprenderanno molte coſe, che hauemo diſopra dichiarite ſecondo la in-
              <lb/>
            tentione di Vitr. </s>
            <s xml:id="echoid-s12982" xml:space="preserve">benche nelle altezze delle colonne, hanemo alquanto uariato, per la ragion che dice qui diſotto.</s>
            <s xml:id="echoid-s12983" xml:space="preserve"/>
          </p>
          <p>
            <s xml:id="echoid-s12984" xml:space="preserve">Ne in ogni Theatro à tuttele ragioni & </s>
            <s xml:id="echoid-s12985" xml:space="preserve">effetti corrifponder poſſono le miſure, e i compartimenti.</s>
            <s xml:id="echoid-s12986" xml:space="preserve"/>
          </p>
          <p style="it">
            <s xml:id="echoid-s12987" xml:space="preserve">Perche erano alcuni Theatri grandi, alcuni minori, & </s>
            <s xml:id="echoid-s12988" xml:space="preserve">in diuerſi luoghi, è ſiti, ma è neceſſario, che lo Architetto conſideri, & </s>
            <s xml:id="echoid-s12989" xml:space="preserve">auertiſca con che
              <lb/>
            proportioni ſia neceſſario ſeguire i compartimenti, & </s>
            <s xml:id="echoid-s12990" xml:space="preserve">con che ragione egli debbia alla natura, ò alla grandezza del luogo ſeruire.</s>
            <s xml:id="echoid-s12991" xml:space="preserve"/>
          </p>
          <p>
            <s xml:id="echoid-s12992" xml:space="preserve">Imperoche ci ſono delle coſe, che tanto nel grande, quanto nel minor Theatro di necesfità deono tenere la iſteſſa gran
              <lb/>
              <note position="left" xlink:label="note-0163-04" xlink:href="note-0163-04a" xml:space="preserve">40</note>
            dezza, perche coſi ricerca l’uſo, come ſono i gradi, le cinte, i Parapetti, le Vie le Afceſe, i Pulpiti, & </s>
            <s xml:id="echoid-s12993" xml:space="preserve">i Tribunali, & </s>
            <s xml:id="echoid-s12994" xml:space="preserve">fe
              <lb/>
            altre coſetra mezzo ui nanno, dellequali la necesſità ci sforza partirſi dalla Simmetria, accioche l’uſo non ſia impe
              <lb/>
            dito. </s>
            <s xml:id="echoid-s12995" xml:space="preserve">Similmente ſe egli ci mancherà la copia, come del marmo, del legname, & </s>
            <s xml:id="echoid-s12996" xml:space="preserve">delle altre coſe, che ſi apparecchia-
              <lb/>
            no per la fabrica, non ſerà fuor di propofito leuare, ò aggiugnere alquanto purche queſto troppo ſcioccamente non
              <lb/>
            ſi faccia, ma con giudicio, & </s>
            <s xml:id="echoid-s12997" xml:space="preserve">ſentimento, & </s>
            <s xml:id="echoid-s12998" xml:space="preserve">queſto auuerrà ſe lo Architetto ſerà pratico, & </s>
            <s xml:id="echoid-s12999" xml:space="preserve">oltra di queſto ſe egli nó
              <lb/>
            ſerà ſenza preſtezza, & </s>
            <s xml:id="echoid-s13000" xml:space="preserve">ſolertia d’ingegno.</s>
            <s xml:id="echoid-s13001" xml:space="preserve"/>
          </p>
          <p style="it">
            <s xml:id="echoid-s13002" xml:space="preserve">Et però chi uede le membra delle opere antiche, & </s>
            <s xml:id="echoid-s13003" xml:space="preserve">troua coſa, che paia fuori de gli ammaeſtramenti di Vitr. </s>
            <s xml:id="echoid-s13004" xml:space="preserve">( come s’è detto altroue) non deue
              <lb/>
            di primo tratto biaſimare ò Vitr. </s>
            <s xml:id="echoid-s13005" xml:space="preserve">ò l’Popere, perche non può ſapere quello portaua la neceßità & </s>
            <s xml:id="echoid-s13006" xml:space="preserve">quanto in tutto il corpo quel membro tene
              <lb/>
            ua la ſuaragione. </s>
            <s xml:id="echoid-s13007" xml:space="preserve">Vit. </s>
            <s xml:id="echoid-s13008" xml:space="preserve">ſe ne auuide di queſta ſorte d’huomini, & </s>
            <s xml:id="echoid-s13009" xml:space="preserve">in ogni luogo dapoi, che egli ci ha dato le Simmetrie, & </s>
            <s xml:id="echoid-s13010" xml:space="preserve">proportioni delle co
              <lb/>
            ſe, ci fa auuertiti, come uſar douemo quella moderatione, che richiede il preſente biſogno. </s>
            <s xml:id="echoid-s13011" xml:space="preserve">Noi hauemo interpretato cinte, quella parola,
              <lb/>
              <note position="left" xlink:label="note-0163-05" xlink:href="note-0163-05a" xml:space="preserve">50</note>
            che egli dici Diazomata, & </s>
            <s xml:id="echoid-s13012" xml:space="preserve">altroue ha detto Precinctiones, & </s>
            <s xml:id="echoid-s13013" xml:space="preserve">coſi biſogna auuertire, che bene ſpeſſo Vitr. </s>
            <s xml:id="echoid-s13014" xml:space="preserve">uſa piu uocaboli d’una iſteſſa coſa
              <lb/>
            Tribunali egli chiama tutte quelle parti, allequali s’aſcende per gradi, & </s>
            <s xml:id="echoid-s13015" xml:space="preserve">di cio, nel quarto libro ragionato ne hauemo.</s>
            <s xml:id="echoid-s13016" xml:space="preserve"/>
          </p>
          <p>
            <s xml:id="echoid-s13017" xml:space="preserve">Ma le Scene habbiano le loro ragioni eſplicate in modo, che le porte di mezzo habbiano gli ornamenti d’una caſa rega
              <lb/>
            le, & </s>
            <s xml:id="echoid-s13018" xml:space="preserve">dalla deſtra, & </s>
            <s xml:id="echoid-s13019" xml:space="preserve">dalla ſiniſtra ſiano gli hoſpitali, ma longo quellifpacij, che per gli ornamenti fi danno, iquali da i
              <lb/>
            Greci Periachi detti fono, perche in que luoghi ſi girauano le machine; </s>
            <s xml:id="echoid-s13020" xml:space="preserve">che hanno i triangoli, che fi uolgono, in ognu
              <lb/>
            no di quelli tre fono gli adornamenti, iquali, ò quando fi deono mutar le fauole, ò quando nengono i dei con fubiti
              <lb/>
            Tuoni ſiano riuoltati, & </s>
            <s xml:id="echoid-s13021" xml:space="preserve">mutino nelle fronti loro le ſorti de gli adornamenti. </s>
            <s xml:id="echoid-s13022" xml:space="preserve">Longo que luoghi ſono le cantonate e
              <lb/>
            uolte che ſi ſtendono auanti, lequali fanno l’entrare della Scena, l’una dal foro, l’altra da qualche altra parte d’on-
              <lb/>
            de ſi uegna.</s>
            <s xml:id="echoid-s13023" xml:space="preserve"/>
          </p>
          <p style="it">
            <s xml:id="echoid-s13024" xml:space="preserve">La porta di mezzo, che riſponde al cuneo di mezzo de i cinque, che ſi dáno alla Scena, era detta regale da gli ornamenti ſuoi. </s>
            <s xml:id="echoid-s13025" xml:space="preserve">Eranui altre porte
              <lb/>
              <note position="left" xlink:label="note-0163-06" xlink:href="note-0163-06a" xml:space="preserve">60</note>
            una dalla deſtra, & </s>
            <s xml:id="echoid-s13026" xml:space="preserve">Paltra dalla ſiniſtra di modo, che la fronte della Scena haueua tre gran Nichi, come ſi uede nella pianta, in quelli erano driz
              <lb/>
            zate tre machine triangolari, che ſi uoltauano ſopra Perni, come dimoſtra la pianta, & </s>
            <s xml:id="echoid-s13027" xml:space="preserve">in ciaſcuna ſacciata era dipinto ſecondo la fauola che
              <lb/>
            ſi uoleua rappreſentare, perche in una facciata era la proſpettiua d’una Scena Comica; </s>
            <s xml:id="echoid-s13028" xml:space="preserve">nell’altra la Tragica, nell’ altra la Satirica, & </s>
            <s xml:id="echoid-s13029" xml:space="preserve">ſecon-
              <lb/>
            do la occaſione uoltauano quelle faccie. </s>
            <s xml:id="echoid-s13030" xml:space="preserve">Da queſte machine parlauano i Dei dal diſopra, s’udiuano i Tuoni nella lor uenuta, fatti con utri di
              <lb/>
            corami gonfi, ò di pelli tirate come ne i Tamburri, che uſamo, & </s>
            <s xml:id="echoid-s13031" xml:space="preserve">con alcuni ſaßi dentro, che faceuano un ribombo grande, & </s>
            <s xml:id="echoid-s13032" xml:space="preserve">coſi ſeruauano il
              <lb/>
            decoro, non laſciando, che i Dei ſi uedeſſero in Scena. </s>
            <s xml:id="echoid-s13033" xml:space="preserve">Coſi appreſſo Sophocle nello Aiace Flagelliſero Pallade parlacon Vliſſe, & </s>
            <s xml:id="echoid-s13034" xml:space="preserve">non ſi uede,
              <lb/>
            & </s>
            <s xml:id="echoid-s13035" xml:space="preserve">egli dice, che la uoce di quella Dea aßimiglia al ſuon d’una tromba da guerra, che commoue tutto l’huomo, quando ella ſi ſente ſuonare.
              <lb/>
            </s>
            <s xml:id="echoid-s13036" xml:space="preserve">Queſte machine adunque ſi riuolgeuano ſecondo il biſogno, & </s>
            <s xml:id="echoid-s13037" xml:space="preserve">dauano luogo all’entrate rappreſentando le uie l’una, che ueniſſe dalla piaz-
              <lb/>
            za, l’altra d’altronde, & </s>
            <s xml:id="echoid-s13038" xml:space="preserve">qui ſotto è la facciata della Scena di dentro.</s>
            <s xml:id="echoid-s13039" xml:space="preserve"/>
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