Vitruvius Pollio, I dieci libri dell?architettura, 1567

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                <pb pagenum="259" xlink:href="045/01/273.jpg"/>
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                  <s id="s.004997">
                    <emph type="italics"/>
                  La machina triangulare. </s>
                  <s id="s.004998">O. doue e anche la porta regia.
                    <emph.end type="italics"/>
                  </s>
                </p>
                <p type="main">
                  <s id="s.004999">
                    <emph type="italics"/>
                  La fronte della ſcena F. G. L'Orcheſtra P.
                    <emph.end type="italics"/>
                  </s>
                </p>
                <p type="main">
                  <s id="s.005000">
                    <emph type="italics"/>
                  Il reſtante è facile, & gli hoſpitali, & altre ſtanze come nel Theatro de Latini. </s>
                  <s id="s.005001">ucro è, che
                    <lb/>
                  nella pianta del Latino, nella ſcena hauemo fatto tre porte, & in ciaſcuna uno triangolo uerſati­
                    <lb/>
                  le, per accompagnare di proſpettiua la facciata di mezo, & hauemo congiunto a diuerſo modo
                    <lb/>
                  la ſcena del Theatro latino; come che queſto ſi poſſa fare in piu modi. </s>
                  <s id="s.005002">ilche ci ha piaciu­
                    <lb/>
                  to come conuenientiſſima forma, eſſendo ſtati auuertiti dalle ruine d'uno antico Theatro, che
                    <lb/>
                  ſi troua in Vicenza tra gli horti, & le caſe d'alcuni cittadini, doue ſi ſcorgeno tre gran nicchi del
                    <lb/>
                  la ſcena, la doue noi hauemo poſto le tre porte, & il nicchio di mezo è bello, & grande.
                    <emph.end type="italics"/>
                  </s>
                </p>
                <p type="main">
                  <s id="s.005003">L'altezza di quel luogo non deue eſſer meno di dieci, nè piu di dodici piedi. </s>
                  <s id="s.005004">I gradi del
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                  le ſcale tra i cunei, & le ſedi all'incontro de gli anguli de i quadrati ſiano drizzati alla pri­
                    <lb/>
                  ma cinta, & da quella cinta tra mezo di quelli, ſiano drizzate anche l'altre gradationi & alla
                    <lb/>
                  ſomma quanti ſaranno altrettanto ſiano ampliate. </s>
                </p>
                <p type="main">
                  <s id="s.005005">
                    <emph type="italics"/>
                  L'altezza di quel luogo, cioè del logeo, & pulpito, non deue eſſer meno di dieci, & piu di dodi­
                    <lb/>
                  ci piedi. </s>
                  <s id="s.005006">Vitr. alza il pulpito de i Greci ſette piedi piu del pulpito de i latini, perche eſſendo il pul­
                    <lb/>
                  pito de Latini piu uicino all' orcheſtra, non biſognaua che egli fuſſe piu alto, ma i Greci che haue­
                    <lb/>
                  uano la loro orcheſtra piu rimota dalla ſcena poteuano alzar alquanto piu il pulpito loro, ſenza
                    <lb/>
                  impedimento della uiſta, come ſi uede che la diſtanza fa parere baſſe le coſe alte, perche ſi uede ſe
                    <lb/>
                  uno ua appreſſo una caſa, non uede il colmo, ma piu che egli s'allontana piu lo diſcuopre, come
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                  la ragione della proſpettiua ci fa manifesto. </s>
                  <s id="s.005007">Alzato adunque il pulpito, Vitru. drizza le ſcale
                    <lb/>
                  uerſo i cunei, & uuole il medeſimo, cioè che le ſcale, che uanno alla prima cinta non incontrino
                    <lb/>
                  con quelle che uanno alla ſeconda, & uuole di piu che le ſcale, & le ſalite ſiano raddoppiate quan
                    <lb/>
                  to piu cinte ſaranno, come ſi uede nella figura.
                    <emph.end type="italics"/>
                  </s>
                </p>
                <p type="main">
                  <s id="s.005008">Poi che queſte coſe con ſomma cura, & ſolertia ſaranno eſplicate, biſogna allhora piu
                    <lb/>
                  diligentemente auuertire, che egli elegga un luogo doue la uoce dolcemente applicata ſia,
                    <lb/>
                  & che ſcacciata, ritornando a dietro, non riporti all' orecchie una incerta ſigniſicatione
                    <lb/>
                  de lle coſe. </s>
                </p>
                <p type="main">
                  <s id="s.005009">
                    <emph type="italics"/>
                  A Vitr. molto preme l'accommodar il luogo alla uoce; però oltra le gia dette coſe, egli tutta
                    <lb/>
                  uia ci da precetti di queſto, & ammaeſtramenti belliſſimi; & in uero non ſenza grande ragione,
                    <lb/>
                  perche il fine di tutta questa materia di ſpettacoli, è che ſi ueda, & che ſi oda commodamente. </s>
                  <s id="s.005010">
                    <lb/>
                  Diſtingue adunque i luoghi quanto alla natura del ſuono, & dice.
                    <emph.end type="italics"/>
                  </s>
                </p>
                <p type="main">
                  <s id="s.005011">Sono alcuni luoghi, i quali naturalmente impediſceno il mouimento della uoce, come
                    <lb/>
                  ſono i diſſonanti, i circonſonanti, i riſonanti, & i conſonanti, detti da Greci, catihcon­
                    <lb/>
                  tes, perijchontes, antijchontes, ſinichontes. </s>
                  <s id="s.005012">Diſſonanti ſono quelli, ne i quali, poiche ſi
                    <lb/>
                  leua la prima uoce offeſa da i corpi ſodi di ſopra, è ſcacciata al baſſo, & opprime la ſalita
                    <lb/>
                  della ſeconda uoce. </s>
                </p>
                <p type="main">
                  <s id="s.005013">
                    <emph type="italics"/>
                  Come ſe egli diceſſe, che il primo giro della uoce intoppandoſi in coſa dura, & ſoda fuſſe in giu
                    <lb/>
                  rincalzato, & rompeſſe il ſecondo giro, doue ne naſceſſe la diſſonanza, che per uirtu della parola
                    <lb/>
                  Greca ſignifica ſuono al baſſo cacciato, rotto, & franto, perche catichontes, è quaſi deorſum ſo­
                    <lb/>
                  num mittentes. </s>
                  <s id="s.005014">& io ho interpretato diſſonanti a quel modo, che nel Latino ſi dice deſpicere,
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                  quaſi deorſum aſpicere.
                    <emph.end type="italics"/>
                  </s>
                </p>
                <p type="main">
                  <s id="s.005015">Circonſonanti luoghi ſono quelli, ne i quali la uoce riſtretta girando intorno riſol­
                    <lb/>
                  uendoſi nel mezo, ſuonando ſenza gli eſtremi ſuoi cadimenti, ſi eſtingue laſciando incer­
                    <lb/>
                  ta la ſignificatione delle parole. </s>
                </p>
                <p type="main">
                  <s id="s.005016">
                    <emph type="italics"/>
                  Queſti luoghi fanno rimbombo, perche in quelli ritorna lo iſteſſo bombo o ſuono, come d'intor­
                    <lb/>
                  no, & dentro le campane ſi perde il ſuono, poi che reſta la percoſſa.
                    <emph.end type="italics"/>
                  </s>
                </p>
                <p type="main">
                  <s id="s.005017">Riſonanti ſono quei luoghi, doue eſſendo la uoce in ſodo luogo percoſſa, ritornando a
                    <lb/>
                  dietro le imagini, che la eſprimeno, fanno doppi all'udito i cadimenti. </s>
                </p>
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        </body>
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    </archimedes>
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