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

Table of handwritten notes

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          <pb o="150" file="0158" n="167" rhead="LIBRO"/>
          <p>
            <s xml:id="echoid-s12731" xml:space="preserve">I terzi uaſi di qua, & </s>
            <s xml:id="echoid-s12732" xml:space="preserve">di la ſuonino la Diateſſaron alla uicina alla mezzana.</s>
            <s xml:id="echoid-s12733" xml:space="preserve"/>
          </p>
          <p style="it">
            <s xml:id="echoid-s12734" xml:space="preserve">Ecco che Vitr. </s>
            <s xml:id="echoid-s12735" xml:space="preserve">ua di Tetracordo in Tetracordo pigliãdo ſolamente gli eſtremi termini, cioe quelli, che fanno la conſonanza, et laſciando i ſuoni di
              <lb/>
            mezzo, ſuonano all’ultima delle congiunte, questa è per un Tuono distante alla di ſopra, detta Parameſe ò uicina alla mezzana per rinchiu-
              <lb/>
            dere l’Octocordo con l’ultima delle eccellenti.</s>
            <s xml:id="echoid-s12736" xml:space="preserve"/>
          </p>
          <p>
            <s xml:id="echoid-s12737" xml:space="preserve">I quinti ſuonano la Diateſſaron alla mezzana.</s>
            <s xml:id="echoid-s12738" xml:space="preserve"/>
          </p>
          <p style="it">
            <s xml:id="echoid-s12739" xml:space="preserve">Sono proportionatamente maggiori i uaſi del quinto ordine, perche ſuonano alla parte piu baſſa, & </s>
            <s xml:id="echoid-s12740" xml:space="preserve">rinchiudono il terzo Tetracordo.</s>
            <s xml:id="echoid-s12741" xml:space="preserve"/>
          </p>
          <p>
            <s xml:id="echoid-s12742" xml:space="preserve">I ſeſti ſuonano la quarta alla prima delle mezzane, & </s>
            <s xml:id="echoid-s12743" xml:space="preserve">nel mezzo è uno uaſo ſolo, che ſuona la Diateſſaron alla pri-
              <lb/>
            ma delle prime.</s>
            <s xml:id="echoid-s12744" xml:space="preserve"/>
          </p>
          <p style="it">
            <s xml:id="echoid-s12745" xml:space="preserve">Et coſi è rinchiuſo il quarto Tetracordo, ne i ſuoi termini, & </s>
            <s xml:id="echoid-s12746" xml:space="preserve">diſpoſti ſono i uaſi al ſuo luogo con quell’ ordine, che ſi ricerca, dal che naſce quel-
              <lb/>
            lo che dice Vitr.</s>
            <s xml:id="echoid-s12747" xml:space="preserve"/>
          </p>
          <note position="left" xml:space="preserve">10</note>
          <p>
            <s xml:id="echoid-s12748" xml:space="preserve">Et coſi con queſto diſcorſo partendoſi la uoce dalla Scena come da un centro raggirandoſi à torno, & </s>
            <s xml:id="echoid-s12749" xml:space="preserve">toccando le
              <lb/>
            concauità di ciaſcuno di que uaſi, riſueglierà una chiarezza di ſuono accreſciuto, & </s>
            <s xml:id="echoid-s12750" xml:space="preserve">fara riſſuonare una conuenien
              <lb/>
            te conſonanza.</s>
            <s xml:id="echoid-s12751" xml:space="preserve"/>
          </p>
          <p style="it">
            <s xml:id="echoid-s12752" xml:space="preserve">Que uaſi adunque non ſolamente faceuano la uoee piu chiara, ma rendeuano ancho conſonãza, è melodia. </s>
            <s xml:id="echoid-s12753" xml:space="preserve">Ne i Theatri piccioli poneuaſi un’ordine
              <lb/>
            de uaſi nel mezzo dell’ altezza del Theatro, & </s>
            <s xml:id="echoid-s12754" xml:space="preserve">que uaſi ſi poteuano accordare in che genere gli pareua, ma erano ſecondo il genere Armonico.</s>
            <s xml:id="echoid-s12755" xml:space="preserve"/>
          </p>
          <p>
            <s xml:id="echoid-s12756" xml:space="preserve">Ma ſe la grandezza del Theatro ſerà piu ampia, all’hora ſi partira l’altezza in quattro parti, perche ſi facciano tre ſpa-
              <lb/>
            tij trauerſi per tre ordini di celle, dellequali uno ſi darà al genere Armonico, l’altro al Chromatico, il terzo al Diatoni
              <lb/>
            co, & </s>
            <s xml:id="echoid-s12757" xml:space="preserve">dal Baſſo la prima regione ſi darà all’ Ordinanza dell’ Armonia, ſi come hauemo detto di ſopra nel Theatro mi-
              <lb/>
            nore. </s>
            <s xml:id="echoid-s12758" xml:space="preserve">Ma nella prima parte dell’ordine di mezzo ſi hanno à porre ne le eſtreme corna que uaſi, che riſpondino all’ec
              <lb/>
            cellenti del genere Chromatico, ne i ſecondi da queſti la Diateſſaron alla Chromatica diſgiunta, ne i terzi la Diapen-
              <lb/>
              <note position="left" xlink:label="note-0158-02" xlink:href="note-0158-02a" xml:space="preserve">20</note>
            te alla Chromatica congiunta, ne i quarti la Diateſſaron alla Chromatica mezzana, ne i quinti la quarta alla Chro-
              <lb/>
            matica prima, ne i Seſti alla uicina alla mezzana, perche queſti ſuoni hanno corriſpondenza di conſonanza, & </s>
            <s xml:id="echoid-s12759" xml:space="preserve">del-
              <lb/>
            la Diapente con la Chromatica eccellente, e della Diateſſaron con la Chromatica congiunta. </s>
            <s xml:id="echoid-s12760" xml:space="preserve">Ma nel mezzo non ſi
              <lb/>
            deue porre alcun uaſo, perchenel genere Chromatico, niun’altra qualità de ſuoni puo hauer conſonanza di Sim-
              <lb/>
            phonia.</s>
            <s xml:id="echoid-s12761" xml:space="preserve"/>
          </p>
          <p>
            <s xml:id="echoid-s12762" xml:space="preserve">Egli ſi deue auuertire, che quando Vitr. </s>
            <s xml:id="echoid-s12763" xml:space="preserve">dice. </s>
            <s xml:id="echoid-s12764" xml:space="preserve">Ma nella prima parte dell’ordine di mezzo ſi hanno à porre nelle eſtreme corna
              <lb/>
            que uaſi, che riſpondino alle eccellenti del Genere Chromatico. </s>
            <s xml:id="echoid-s12765" xml:space="preserve">Non piglia la Nete Hyperboleon, ma una di quelle Hiperbolee,
              <lb/>
            cioe la Trite Hiperboleon, & </s>
            <s xml:id="echoid-s12766" xml:space="preserve">coſi di ſotto nel Genere Diatonico egli piglia la Paranete Hiperboleon per prima ſu l’eſtreme corna, altrimen-
              <lb/>
            ti ſe egli pigliaſſe in tutte tre i Generi la Nete Hyperbolem non ci ſarebbe differenza tra un Genere all’altro, perche tutti i termini de i Tetra
              <lb/>
            cordi ſarebbon gli isteβi, perche quei ſuoni ſono ſtabili come termini delle conſonanze, da questi principij ſi hanno gli altri ſuoni come dimo-
              <lb/>
              <note position="left" xlink:label="note-0158-03" xlink:href="note-0158-03a" xml:space="preserve">30</note>
            ſtra la figura. </s>
            <s xml:id="echoid-s12767" xml:space="preserve">hora ſi uiene al terzo ordine.</s>
            <s xml:id="echoid-s12768" xml:space="preserve"/>
          </p>
          <p>
            <s xml:id="echoid-s12769" xml:space="preserve">Ma nella diuiſione di ſopra, & </s>
            <s xml:id="echoid-s12770" xml:space="preserve">nell’e ſtrema regione delle celle ponganſi i uaſi nelle prime corna ſuonanti alla Diatoni-
              <lb/>
            ca eccellente, ne i ſecondi la Diateſſaron alla Diatonica diſgiunta, ne i terzi la Diapente alla Diatonica congiunta
              <lb/>
            ne i quarti la Diateſlaron alla Diatonica mezzana, nei quinti la Diateſſaron alla Diatonica prima, ne i ſeſti la Dia-
              <lb/>
            teſſaron all’aggiunta, nel mezzo alla mezzana, perche la mezzana riſponde la Diapaſon alla aggiunta & </s>
            <s xml:id="echoid-s12771" xml:space="preserve">la Diapen
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            te alla prima Diatonica.</s>
            <s xml:id="echoid-s12772" xml:space="preserve"/>
          </p>
          <p style="it">
            <s xml:id="echoid-s12773" xml:space="preserve">Quello che Vitr. </s>
            <s xml:id="echoid-s12774" xml:space="preserve">ha detto fin qui ci ſerà manifeſtato per la figura ſotto ſcritta.</s>
            <s xml:id="echoid-s12775" xml:space="preserve"/>
          </p>
          <p>
            <s xml:id="echoid-s12776" xml:space="preserve">Ma chi uorrà à perfettione ridurre facilmente queſte diſſegnationi, auuertiſca alla figura nel fin del libro diſſegnata cõ
              <lb/>
            ragione di Muſica, la quale Ariſtoxeno con gran uigore, & </s>
            <s xml:id="echoid-s12777" xml:space="preserve">induſtria partendo i canti per generi laſcio formata, & </s>
            <s xml:id="echoid-s12778" xml:space="preserve">
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            da quella diſſegnatione (ſe alcuno ui porra mente) potra ordinare, e ridurre à compimento i Theatri, & </s>
            <s xml:id="echoid-s12779" xml:space="preserve">alla natura
              <lb/>
              <note position="left" xlink:label="note-0158-04" xlink:href="note-0158-04a" xml:space="preserve">40</note>
            delle uoci, & </s>
            <s xml:id="echoid-s12780" xml:space="preserve">al diletto de gli aſcoltanti. </s>
            <s xml:id="echoid-s12781" xml:space="preserve">Potrebbe forſe dire alcuno, che per molti anni ſtati ſono molti Theatri à Ro-
              <lb/>
            ma, ne però in alcuno di quelli hauerſi hauuto alcuna conſideratione di queſte coſe, ma in queſto chi dubita? </s>
            <s xml:id="echoid-s12782" xml:space="preserve">erra: </s>
            <s xml:id="echoid-s12783" xml:space="preserve">im
              <lb/>
            peroche tutti i publici Theatri, che ſon fatti di legno hãno molti tauolati, iquali neceſſario è, che rendino ſuono, & </s>
            <s xml:id="echoid-s12784" xml:space="preserve">
              <lb/>
            queſto ſi può auuertire da Citharedi, iquali quando uogliono cantare il Tuono ſoperiore, ſi riuoltano alle porte del
              <lb/>
            la Scena, & </s>
            <s xml:id="echoid-s12785" xml:space="preserve">coſi dall’aiuto di quelle riceuono la conſonanza della uoce. </s>
            <s xml:id="echoid-s12786" xml:space="preserve">Ilche non farebbeno, ſe la uoce in que tauolati non do-
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            ueſſe riſuonare. </s>
            <s xml:id="echoid-s12787" xml:space="preserve">Ma quando di ſoda materia cioe di pietra, muratura, ò di marmo ſi fanno, che ſon coſe, che non poſ
              <lb/>
            ſono riſuonare, allhora con queſta ragione da quello, che detto hauemo, ſi deono eſplicare. </s>
            <s xml:id="echoid-s12788" xml:space="preserve">Ma ſe egli ſi cercaſſe in
              <lb/>
            che Theatro à Roma, que uaſi ſi trouino, certamente nõ lo potemo dimoſtrare, ma ſi bene nelle parti d’Italia, & </s>
            <s xml:id="echoid-s12789" xml:space="preserve">in
              <lb/>
            molte città de Greci, oltra che hauemo per capo L.</s>
            <s xml:id="echoid-s12790" xml:space="preserve">Mummio, ilquale rouinato il Theatro di Corinthi, portò i uaſi di
              <lb/>
            rame di quello à Roma, & </s>
            <s xml:id="echoid-s12791" xml:space="preserve">delle ſpoglie dedicoglii al tempio della Concordia: </s>
            <s xml:id="echoid-s12792" xml:space="preserve">Et moltiancho ſuegliati Architetti,
              <lb/>
              <note position="left" xlink:label="note-0158-05" xlink:href="note-0158-05a" xml:space="preserve">50</note>
            che in terre picciole hanno fatto fare i Theatri per la careſtia con uaſi di terra cotta, riſonante, nel modo, che detto ha
              <lb/>
            uemo, & </s>
            <s xml:id="echoid-s12793" xml:space="preserve">con queſte ragioni compoſti ad utilisſimi effetti gli hanno condotti.</s>
            <s xml:id="echoid-s12794" xml:space="preserve"/>
          </p>
          <p style="it">
            <s xml:id="echoid-s12795" xml:space="preserve">Perche noi non hauemo ne eſſempio, ne altra memoria altroue, è neceſſario che crediamo à Vitr. </s>
            <s xml:id="echoid-s12796" xml:space="preserve">però di queſto non ne diremo altro, perche (come
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            dice Leon. </s>
            <s xml:id="echoid-s12797" xml:space="preserve">Bat queſta coſa è facile da dire, ma quanto facilmente ella ſi poſſa eſſequire con l’opra, ſapianlo gli eſperti.</s>
            <s xml:id="echoid-s12798" xml:space="preserve"/>
          </p>
        </div>
        <div xml:id="echoid-div385" type="section" level="1" n="54">
          <head xml:id="echoid-head54" xml:space="preserve">CAP. VI. DELLA CONFORMATIONE DEL THEATRO.</head>
          <p>
            <s xml:id="echoid-s12799" xml:space="preserve">MA La conformatione del Theatro ſi deue fare in queſto modo: </s>
            <s xml:id="echoid-s12800" xml:space="preserve">che prima ſi ueda quanto grande eſ-
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            fer deue la circonferenza della pianta, è poſto nel mezzo il centro ſi tira un circolo, nelquale ſi fan-
              <lb/>
            no quattro Triangoli eguali & </s>
            <s xml:id="echoid-s12801" xml:space="preserve">di ſpacij, & </s>
            <s xml:id="echoid-s12802" xml:space="preserve">di lati, che tocchino la circonferenza, & </s>
            <s xml:id="echoid-s12803" xml:space="preserve">queſti triango-
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              <note position="left" xlink:label="note-0158-06" xlink:href="note-0158-06a" xml:space="preserve">60</note>
            li ſono à ſimiglianza di quelli, che gli Aſtrologi nella deſcrittione de i dodici ſegni celeſti da una con
              <lb/>
            uenienza muſicale, che hanno le ſtelle tra ſe, ſogliono diſcorrendo cauare. </s>
            <s xml:id="echoid-s12804" xml:space="preserve">Di queſti triangoli quel-
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            lo il cui lato ſerà prosſimo alla Scena, da quella parte, che egli taglia la curuatura del cerchio, iui ſia
              <lb/>
            fatta la fronte della Scena, & </s>
            <s xml:id="echoid-s12805" xml:space="preserve">da quel luogo per lo centro ſia tirata una linea egualmente diſtante, laqual ſepari il Pul
              <lb/>
            pito del Proſcenio, & </s>
            <s xml:id="echoid-s12806" xml:space="preserve">lo ſpacio dell’Orcheſtra, & </s>
            <s xml:id="echoid-s12807" xml:space="preserve">con queſta ragione il Pulpito ſera piu largo, che quello de Greci,
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            perche tutti gli artifici preſtano l’opera loro nella Scena; </s>
            <s xml:id="echoid-s12808" xml:space="preserve">ma nell’ Orcheſtra ſono ilugohi diſſegnati à i ſeggi de i Se-
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            natori.</s>
            <s xml:id="echoid-s12809" xml:space="preserve"/>
          </p>
          <p style="it">
            <s xml:id="echoid-s12810" xml:space="preserve">La Scena è la fronte del Theatro equidiſtante à quella fronte ſia tirata una linea, che paβi per lo centro, la qual ſepari il Pulpito, (cioe il luogo
              <lb/>
            piu alto, che é auanti la Scena, ſopra laquale ſi recitauanole Comedie) dalla parte dell’ Orchestra. </s>
            <s xml:id="echoid-s12811" xml:space="preserve">Orcheſtra era luogo nel mezzo del Thea-
              <lb/>
            tro al piano doue ſtauano i ſeggi per li Senatori appreſſo Rom. </s>
            <s xml:id="echoid-s12812" xml:space="preserve">altramente la Orchestra era del Choro, & </s>
            <s xml:id="echoid-s12813" xml:space="preserve">de ſonatori, la Scena de gli Attori,
              <lb/>
              <note position="left" xlink:label="note-0158-07" xlink:href="note-0158-07a" xml:space="preserve">70</note>
            e recitanti. </s>
            <s xml:id="echoid-s12814" xml:space="preserve">Quando adunque in un circolo harai formati quattro trianguli equilateri, che tocchino con gli anguli loro la circonferenza, tu
              <lb/>
            prenderai uno di que lati, per la fronte della Scena, & </s>
            <s xml:id="echoid-s12815" xml:space="preserve">pot à quello egualmente distante tirerai una linea, che paſſe per lo centro, & </s>
            <s xml:id="echoid-s12816" xml:space="preserve">ſi può di-
              <lb/>
            re tira un diametro equdistante alla fronte della Scena, che, ſepari il Pulpito del Proſcenio dall’ Ochreſta. </s>
            <s xml:id="echoid-s12817" xml:space="preserve">I Theatri de Greci ſono differen-
              <lb/>
            ti da i Theatri d’i Latini: </s>
            <s xml:id="echoid-s12818" xml:space="preserve">perche i Greci nel mezzo del piano induceuano i ſaltatori, & </s>
            <s xml:id="echoid-s12819" xml:space="preserve">i chori, & </s>
            <s xml:id="echoid-s12820" xml:space="preserve">haueuano minor Pulpito, & </s>
            <s xml:id="echoid-s12821" xml:space="preserve">quel piano
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            dalle ſaltationi ſi chiamaua Orcheſtra. </s>
            <s xml:id="echoid-s12822" xml:space="preserve">Ma Romani perche nel Pulpito faceuano ogni coſa, però era neceſſario loro piu largo ſpacio per lo
              <lb/>
            Pulpito, & </s>
            <s xml:id="echoid-s12823" xml:space="preserve">con eſſo ueniuano piu auanti.</s>
            <s xml:id="echoid-s12824" xml:space="preserve"/>
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