Vitruvius Pollio, I dieci libri dell?architettura, 1567

Table of figures

< >
[Figure 71]
Page: 221
[Figure 72]
Page: 224
[Figure 73]
Page: 227
[Figure 74]
Page: 228
[Figure 75]
Page: 229
[Figure 76]
Page: 238
[Figure 77]
Page: 241
[Figure 78]
Page: 241
[Figure 79]
Page: 243
[Figure 80]
Page: 247
[Figure 81]
Page: 250
[Figure 82]
Page: 251
[Figure 83]
Page: 254
[Figure 84]
Page: 259
[Figure 85]
Page: 261
[Figure 86]
Page: 262
[Figure 87]
Page: 264
[Figure 88]
Page: 265
[Figure 89]
Page: 271
[Figure 90]
Page: 278
[Figure 91]
Page: 279
[Figure 92]
Page: 281
[Figure 93]
Page: 291
[Figure 94]
Page: 292
[Figure 95]
Page: 293
[Figure 96]
Page: 294
[Figure 97]
Page: 295
[Figure 98]
Page: 298
[Figure 99]
Page: 299
[Figure 100]
Page: 300
< >
page |< < of 520 > >|
    <archimedes>
      <text>
        <body>
          <chap>
            <subchap1>
              <subchap2>
                <p type="main">
                  <s id="s.004835">
                    <pb pagenum="245" xlink:href="045/01/253.jpg"/>
                  cauità di ciaſcuno di quelli uaſi, riſueglierà una chiarezza di ſuono aumentata, & farà riſ­
                    <lb/>
                  ſuonare una conueniente conſonanza. </s>
                </p>
                <p type="main">
                  <s id="s.004836">
                    <emph type="italics"/>
                  Quelli uaſi adunque non ſolo faceuano la uoce piu chiara, ma rendeuano anche conſonanza,
                    <lb/>
                  & melodia. </s>
                  <s id="s.004837">ma biſogna bene conſiderare come er ano tocche accioche ſuonaſſero. </s>
                  <s id="s.004838">io non ſo come
                    <lb/>
                  la uoce de recitanti poteſſe fare quello effetto: & ſe pure ella lo faceſſe, come que uaſi riſpondeſ­
                    <lb/>
                  ſero, ſe forſe finche la uoce fuſſe in conſonanza con que uaſi, come ſuole una corda di uno liuto me
                    <lb/>
                  uerſi quando un'altra corda d'un' altro liuto è tocca, & è della medeſma conſonanza. </s>
                  <s id="s.004839">Ne i Thea­
                    <lb/>
                  tri minori ſi poneua un'ordine di queſtiuaſi, nel mezo dell'altezza del Theatro diſpoſti d'intorno
                    <lb/>
                  la cinta de i gradi nelle lor celle, & accordati ſecondo quel genere, che fuſſe piacciuto a chi gli
                    <lb/>
                  ordinaua. </s>
                  <s id="s.004840">ma io credo, che fuſſero ſecondo il genere Armonico, perche Vitru. lo dice.
                    <emph.end type="italics"/>
                  </s>
                </p>
                <p type="main">
                  <s id="s.004841">Ma ſe la grandezza del Theatro ſarà piu ampia, allhora ſi partirà l'altezza in quattro
                    <lb/>
                  parti, perche ſi facciano tre ſpacij, per le celle trauerſe. </s>
                  <s id="s.004842">di queſte parti una ſi darà al gene­
                    <lb/>
                  re Armonico, l'altra al chromatico, la terza al diatonico; & dal baſſo la prima regione ſi
                    <lb/>
                  darà all'ordinanza dell'Armonia, ſi come hauemo detto di ſopra nel Theatro minore. </s>
                  <s id="s.004843">
                    <lb/>
                  Ma nella prima parte dell'ordine di mezo ſi hanno a porre nelle eſtreme corna quelli uaſi,
                    <lb/>
                  che riſpondino alle eccellenti del genere chromatico: ne i ſecondi da queſti la diateſſaron
                    <lb/>
                  alla chromatica delle diſgiunte, ne i terzi la diapente alla chromatica delle congiunte: ne
                    <lb/>
                  i quarti la diateſſaron alla chromatica delle mezane; ne i quinti la diateſſaron alla chro­
                    <lb/>
                  matica delle prime: ne i ſefti alla uicina alla mezana. </s>
                  <s id="s.004844">perche queſti ſuoni hanno corri­
                    <lb/>
                  ſpondenza di conſonanza, & della diapente con la chromatica delle eccellenti, & della
                    <lb/>
                  diateſſaron con la chromatica delle congiunte. </s>
                  <s id="s.004845">ma nel mezo non ſi deue ponere alcun
                    <lb/>
                  uaſo, perche nel genere chromatico niun'altra qualità di ſuoni puo hauere conſonanza
                    <lb/>
                  di ſinfonia. </s>
                </p>
                <p type="main">
                  <s id="s.004846">
                    <emph type="italics"/>
                  Egli ſi deue auuertire, che quando Vitr. dice, che nella prima parte dell'ordine di mezo ſi han
                    <lb/>
                  no a porre nelle eſtreme corna quelli uaſi, che riſpondino alle eccellenti del genere chromatico,
                    <lb/>
                  non piglia la nete hyperboleon, ma una di quelle hyperbolee, cioè la Trite hyperboleon: & coſi
                    <lb/>
                  di ſotto nel genere diatonico egli piglia la nete hyperboleon per prima ſu la estreme corna. </s>
                  <s id="s.004847">Al­
                    <lb/>
                  trimenti ſe egli pigliaſſe in tutti tre i generi per prime la nete hyperboleon, non ci ſarebbe differen
                    <lb/>
                  za tra un genere, & l'altro, perche tutti i termini de i Tetracordi ſarebbeno gli iſteßi, perche
                    <lb/>
                  quelli ſuoni ſono ſtabili, come termini delle conſonanze. </s>
                  <s id="s.004848">da queſti principij ſi hanno gli altri ſuoni,
                    <lb/>
                  come dimoſtra la figura.
                    <emph.end type="italics"/>
                  </s>
                </p>
                <p type="main">
                  <s id="s.004849">Ma nella diuiſione di ſopra, & regione delle celle, ſi hanno a porre i uaſi nelle prime
                    <lb/>
                  corna ſuonanti alla diatonica delle eccellenti, ne i ſecondi la diateſſaron alla diatonica del
                    <lb/>
                  le diſgiunte; ne i terzi la diapente alla diatonica delle congiunte, ne i quarti la diateſſaron
                    <lb/>
                  alla diatonica delle mezane, ne i quinti la diateſſaron alla diatonica delle prime, ne i ſeſti
                    <lb/>
                  la diateſſaron, alla proslamuanomenon. </s>
                  <s id="s.004850">nel mezo alla mezana, perche quella riſponde la
                    <lb/>
                  diapaſon alla proslamuanomenon, & la diapente alla diatonica delle prime. </s>
                </p>
                <p type="main">
                  <s id="s.004851">
                    <emph type="italics"/>
                  Quello che Vitru. ha detto fin qui, ci ſarà manifeſto per la figura qui ſotto. </s>
                  <s id="s.004852">dice egli.
                    <emph.end type="italics"/>
                  </s>
                </p>
                <p type="main">
                  <s id="s.004853">Ma chi uorrà ridurre facilmente a perfettione queſte diſegnationi, auuertiſca alla fi­
                    <lb/>
                  gura diſegnata nel fine del libro, con ragione di Muſica, laquale Ariſtoxeno con gran ui­
                    <lb/>
                  gore, & induſtria partendo i canti per generi laſciò formata, & da quella diſegnatione
                    <lb/>
                  (ſe alcuno ui porrà mente) potrà ordinare con queſti diſcorſi, & ridurre a perfettione i
                    <lb/>
                  Theatri, & alla natura delle uoci, & al diletto de gli aſcoltanti. </s>
                </p>
                <p type="main">
                  <s id="s.004854">
                    <emph type="italics"/>
                  Perche noi non hauemo nè eſſempio, nè altra memoria altroue, è neceſſario che crediamo a
                    <lb/>
                  Vitru. però di queſto non ne diremo piu oltre, perche (come dice Leon Batiſta) queſta coſa è faci­
                    <lb/>
                  le da dire, ma quanto facilmente ella ſi poſſa eſſeguire con l'opra, lo ſanno gli eſperti. </s>
                  <s id="s.004855">ſi uede, che
                    <lb/>
                  i Romani non uſauano queſti uaſi.
                    <emph.end type="italics"/>
                  </s>
                </p>
                <p type="main">
                  <s id="s.004856">Potrebbe forſe dire alcuno, che per molti anni ſtati ſono molti Theatri a Roma, nè </s>
                </p>
              </subchap2>
            </subchap1>
          </chap>
        </body>
      </text>
    </archimedes>
Impressum