Vitruvius Pollio, I dieci libri dell?architettura, 1567

Table of figures

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                  con ſoauit à fuſſe udita. </s>
                  <s id="s.004813">Vitr. prima dice come ſi hanno a riſpondere in conſonanza l'uno, all'altro,
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                  poi come ſi hanno a porre, & che effetto facciano. </s>
                  <s id="s.004814">Quanto adunque allo accordargli, dice che
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                  biſogna fargli in modo, che quando ſono tocchi o dalla uoce, o da altra coſa, rendino fra ſe le
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                  dette conſonanze, diateſſaron, & diapente, con queſta conditione, che l'una, & l'altra ſiano or­
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                  dinate alla diſdiapaſon; ma egli non dice il modo di proportionare que uaſi, ſi che rendino queſte
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                  conſonanze: però biſogna quiui porui del buono, & ſapere le proportioni de i corpi, cioe come
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                  uno corpo ſia riſpetto ad un' altro, o in doppia, o in ſeſquialtera, ouero in ſeſquiter za proportio­
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                  ne. </s>
                  <s id="s.004815">perche come ho detto piu uolte, quella proportione, che è tra ſpacio, e ſpacio, & tra corpo, e
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                  corpo, è anche tra ſuono, & ſuono, quando ſia che quelli ſpacij, o que corpi poßino render ſuo­
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                  no. </s>
                  <s id="s.004816">Queſta pratica dipende dal ſapere truouare tra due linee due altre di mezo proportionali,
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                  ilche come ſi faccia, ſi dimoſtra da noi diffuſamente nel nono libro. </s>
                  <s id="s.004817">Proportionati, che ſaranno
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                  que corpi de i uaſi; biſogna preparare il luogo doue hanno a ſtare. </s>
                  <s id="s.004818">queſti luoghi ſono da Vitru.
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                  celle nominati, & que uaſi deono eſſer dirame, perche è materia, che ha piu dello aere, & ri­
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                  ſuona bene, & perche il ſuono ci uenghi piu chiaro biſogna, che non tocchino da alcuna parte
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                  o muro, o altro, che impediſca il ſuono, & che ſiano uacui, & che dalla ſommità del capo loro
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                  habbiano ſpacio, perche meglio u'entri la uoce, & ſiano riuolti in giu con le bocche loro, perche
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                  la uoce ſottentri, dico riuolti ſi, che ſtiano come diſteſi. </s>
                  <s id="s.004819">& perche quelli deono eſſere ſoſtentati
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                  in qualche modo, non potendo ſtare in aere come la arca di Maumeth: però da quella parte, che
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                  rig uarda i Theatri habbiano i cunei ſottopoſti, ſi che non ſiano ſoſpeſi come le campane, ma ſia­
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                  no ſopra cunei di ferro non meno alti dimezo piede, per dare ſpacio ſotto i uaſi, accioche non toc
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                  chino da alcuna parte. </s>
                  <s id="s.004820">& all'incontro di quelle celle dentro lequali deono ſtare que uaſi, ſiano la­
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                  ſciate le apriture a i letti de i gradi inferiori, lunghe due piedi, alte mezo. </s>
                  <s id="s.004821">coſi credo io per dar
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                  luogo alle bocche di que uaſi riuolte uerſo il Theatro. </s>
                  <s id="s.004822">& che que cunei ſiano uicini alla bocca,
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                  per che non tocchino il corpo del uaſo.
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                  <s id="s.004823">Ma in che luogo egli ſi habbia a diſegnar le celle, coſi è neceſſario di dichiarire. </s>
                  <s id="s.004824">Se
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                  il Theatro non ſarà molto ampio, & grande, ſia diſegnata l'altezza di mezo per trauerſo,
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                  & in quella ſiano a uolti fatte tredici celle, diſtanti per li do dici ſpacij eguali, in modo, che
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                  que ſuoni, che ſono ſtati deſcritti di ſopra, ſonando all'ultima delle eccellenti detta ne­
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                  te hyperboleon, ſiano poſti prima nelle celle, che ſono nelle eſtreme corna dall'una, &
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                  l'altra parte. </s>
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                  Cioe partiſcaſi la parte di mezo dell'altezza a torno il Theatro in dodici ſpacij eguali con tre­
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                  dici celle, & quelle celle, che ſaranno ſopra le corna della cinta una per teſta, che Vitru. chiama
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                  prime, haueranno i uaſi proportionati al piu alto ſuono, & piu acuta uoce, che ſia, detta nete hy­
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                  perboleon, & tra loro ſaranno uniſoni, & di grandezza minore a tutti gli altri. </s>
                  <s id="s.004826">la cella di me­
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                  zo contenirà quel uaſo, che tenir à il luogo, & il ſuono della mezana i ſecondi uaſi preſſo a quel­
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                  li, che ſono ſu gli eſtremi, ſuoner anno, la diateſſaron alla ultima delle diſgiunte, & ſaranno tra
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                  ſe uniſoni. </s>
                  <s id="s.004827">& però dice Vitru.
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                  <s id="s.004828">I ſecondi da gli eſtremi ſuonino la diateſſaron all'ultima delle diſgiunte. </s>
                  <s id="s.004829">I terzi uaſi di
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                  qua, & di la ſuonino la diateſſaron alla uicina alla mezana. </s>
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                <p type="main">
                  <s id="s.004830">
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                  Ecco che Vitr. ua di Tetracordo in Tetracordo pigliando ſolamente gli estremi termini, cioè
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                  quelli, che fanno la conſonanza, & laſciando i ſuoni di mezo ſuonano all'ultima delle congiunte. </s>
                  <s id="s.004831">
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                  queſta è per un tuono diſtante alla di ſopra, detta par ameſe, o uicina alla mezana, per rinchiu­
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                  dere l'ottocordo con l'ultima delle eccellenti, & è da ſapere, che i uaſi, che ſi danno a i ſuoni piu
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                  baßi, ſiano maggiori di corpo, & che uadino con proportione ſcemando.
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                  <s id="s.004832">I quarti ſuonino la diateſſaron alla ultima delle congiunte. </s>
                  <s id="s.004833">I quinti ſuonino la dia­
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                  teſſaron alla mezzana. </s>
                  <s id="s.004834">I ſeſti ſuonino la quarta alla prima delle mezane, & nel mezo è un
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                  uaſo ſolo, che ſuona la diateſſaron alla prima delle prime. </s>
                  <s id="s.004835">Et coſi con queſto diſcorſo par
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                  tendoſi la uoce dalla ſcena, come da uno centro raggirandoſi a torno, & toccando le con-</s>
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