214 



THE CIVIL ENGINEER AND ARCHITECT'S JOURNAL. 



[August, 



feet, of the lateral ones 22 feet. The vestibule was entered by 

 five doors of brunze, the centre one correspondinff in size to tlie 

 middle interci)luniiiiation: those at either side diminished both in 

 height and uidth, and the two last were smaller still. 'I"he portico 

 in the rear was similar to the one in front, except that it stood 

 upon a hi^'her level, bein;^ raised Tive steps above the entrance; 

 one step in descent led from it to the platform of the Acro|)olis. 

 The wings were finished at the extremities with ant?p, and a frieze 

 with trigly|)hs; in the flanks were three Doric columns in aiitis; 

 each 3 feet diameter. In the northern wing was a chamber, in the 

 southern an open jrallery, with a narrow passage leading into the 

 Acropolis by a postern gate. There is no doubt that the I'ropylea 

 was intended as a means of defence as well as an ornamental 

 entrance, and answered the same purposes as the pylons of the 

 Egyptian temples. The Propyhea at Eleusis, Suniiiiu, and else- 

 where, were erected after tliis model, but consisted merely of a 

 vestibule without wings, and formed a grand entrance to the 

 peribolus of the Temple. The extent of the interior of the vesti- 

 bule, and the quantity of light admitted, allowed great scope to 

 the decorative artist. The lacunaria and mouldings of the 

 Pnijiylea at Athens were splendidly adorned with c(dours and 

 gilding; the coffers of the soffits were spangled with gold stars on 

 an azure ground, and the antae enriched with a delicate wreath of 

 ivy leaves. The roof and pediments of the Propylea were 

 destroyed l)y the \'enetians, a.d. 1687. 



Next in importance to the sacred edifices were those appropriated 

 to public amusements. The savage games of the amphitheatre 

 were unknown to the refined and intellectual Greeks until after 

 their subjugation to Home. M'hen the Roman Emperor caused 

 gladiatorial combats to be exhibited in the Agora of Athens, the 

 pliilosoplier Demonax observed that it would first be necessary to 

 throw down the altar to Mercy that stood there. Dramatic 

 entertaiimients appear to have been the great delight of this highly 

 cultivated peoi)le, and consequently in all Greek cities the ruin's 

 of extensive theatres are found. 'J'hese structures were not used 

 exclusively for the representation of the drama, however, for 

 public assemblies were frequently held there; St. Paul addressed 

 the Ephesians in the theatre; and the theatre of Syracuse, as we 

 learn from ancient authors, was constantly so employed. Tlieatrical 

 exhibitions originally commenced in a rural chorus celelirating in 

 the fields the festivals of Bacchus and Ceres. Dramatic recitations 

 first took place on a rustic wagon, next on a moveable wooden 

 platform; but during a contest for the dramatic prize between 

 iEscliylus and Pratinas, the concourse of people flocking to witness 

 the performance caused a serious accident, by the breaking down 

 of the temporary theatre: this was the cause of one of more solid 

 materials being erected; and painted scenery was now first 

 introduced by Agatharchus, instructed by iEschylus. A'itruvius 

 recommends that theatres should not have the concave part towards 

 the south, on account of the heat, and that they should be built in 

 a healtliy situation. "For," says he, "those who frequent tiiem, 

 in company with their families, engaged by the interest thev take 

 in the representations, remain in fixed attention; whence it 

 happens the pores of the body are exposed to the effects of the 

 atnio.sphere, which, in the neighbourhood of marshes and spots 

 othenvise unhealthy, is charged with \apours i)rejudicial to the 

 human frame." The form of the Cireek theatre was that of a 

 segment of a circle, sometimes being more than the semicircle — 

 sometimes with the sides continued in parallel lines, terminated by 

 a parallelogram extended across the base. It consisted of three 

 prin('ij)al parts, the Coilon, containing the seats for the spectators; 

 the Orchestra for tlie musicians, dancers, and chorus; and the 

 Logeion or proscenium, for the principal ))erformers. This 

 was again divided into three parts ; the llyposcenium, on 

 which the actius recited ; the Scene itself, on which the decora- 

 tions were exhii)ited; and the Parascenium, or enclosures be- 

 hind and on each side of the Scene, containing apartments for 

 the accommodation of the performers, and the preservation of the 

 stage property. The Coilon was composed of rows of seats, 

 rising one above another, separated at intervals by proecinctiones, 

 or passages, and by radiating flights of steps, and' bounded at each 

 extremity by a podium. Tliis ]iart of the theatre was almost 

 always formed on the side of a hill, advantage being taken of the 

 natural elevation, to save labour and expense; indeed, there are 

 only two instances in Euro])e, and one in Asia Minor, of theatres 

 built on level gnmnd. The rows of scats between the passages 

 were appropriated to different ranks of s|)ectators, and above the 

 upjipr coiridor there was frequently a gallery for the accommoda- 

 tion of women ami strangers. A ctivered portico extended round 

 the summit of the Coilon, the entablature of which was level with 



the upjier members of the elevation of the Scene. The Orchestra 

 was generally concentric with the Coilon, and of considerable 

 extent, as the drama alone was exhibited on the stage, other 

 performances, such as singing and dancing taking place in the 

 orchestra; lience the actors were respectively called eitlier scenici, 

 or thymelici. The Orchestra had a separate entrance; in the 

 centre stood a platform, called the Thymele, which served as 

 an altar, on which sacrifices were offered to Bacchus; and 

 around were placed the tripods, crowns, and other prizes for 

 the victorious dramatist or choragus. Steps led from the Or- 

 chestra to the Logeion; when the theatre was used as a place 

 of public assembly, this part was occupied by the orators. Be- 

 tween the acts of the drama a curtain was let down before the 

 Hyposcenium, or stage, during which time the chorus in the Or- 

 chestra entertained the spectators; underneath was the machinery 

 used to produce thunder and other effects. The Hyposcenium, with 

 its decorations, was generally constructed of wood, so that, of 

 course, no vestiges of this part of any ancient theatre remain. 

 The permanent Scene repi'esented the exterior of a palace, and 

 was used for tragic performances. As the Greeks never admitted 

 straneers into the domestic privacy of their houses, it would have 

 been deemed a breach of propriety to picture the interior on the 

 stage. In the Scene were three doors; the centre one was magni- 

 ficently decorated for the admission of the principal personage of 

 the drama; near it was placed a circular altar, dedicated to Apollo, 

 and a table spread with consecrated cakes and sweetmeats: the 

 door on the right was plain, like that of a private dwelling — where 

 the second actor entered; while that to the left, generally a mere 

 opening, was for the inferior performers. When comic or satiric 

 pieces were to be represented, painted scenes were added; in the 

 former, exhibiting the exterior of a private residence, with windows 

 and balconies; and the latter, pastoral subjects, with mountains, 

 trees, and caves formed of grotto work. The Greek drama was 

 recited rather than acted, three or four performers only appeared 

 on the stage at one time, and these seldom crossed each other, or 

 changed their places; the stage, therefore, was of little depth. 



Vitruvius speaks of the Orchestra being divided into twelve equal 

 portions, the same method practised by astrologers in dividing the 

 zodiac into tvvelve constellations, "from a belief," he says, "that 

 a musical concordance exists in the disposition of the stars." He 

 also mentions modulating vases, of earth or metal, placed in two 

 or three rows under the seats, to assist in extending the voice of 

 the performer ; they were in the form of an inverted bell, 

 and were modulated to intervals according to musical propor- 

 tion; so that when the voice was pitched to a certain interval, 

 the vases vibrated in unison, and so carried on the sound. They 

 were placed on jiedestals, about 6 inches high, and an aperture 

 was left in front of the scat, about 2 feet in length, and 6 

 inches in heiglit. It is said, that when Lucius Mummius de- 

 stroyed the theatre at Corinth, he dedicated a temple to Luna out 

 of its spoils, and, amongst other things, brouglit away a number of 

 these brazen vases. The Scene communicated with the lower 

 chambers of the Parascenium by the before-mentioned doors; this 

 part consisted of several stories. On the exterior was a portico 

 with a double row of columns, where the audience found shelter 

 in case of a sudden shower. The exterior ccdumns were generally 

 Doric; the interior Ionic, one-fifth higher. The columns were more 

 slender, and the ornaments more fanciful and elaborate in the 

 theatre than in sacred buildings, according with its fesliveintention. 

 The sjiace in front was laid out in walks, and planted with trees 

 and flowering shrubs, so that the portico of the theatre was a 

 pleasant place of resort for the loungers of ancient Greece. In 

 early times there was no awning stretched over the Coilon, the 

 voluptuous Sybarites having first introduced this luxury: the 

 spectators, therefore, on sunny days, had to carry umbrellas, which 

 must greatly have impeded the view; the ladies were attended by 

 umbrella-bearers. The Dionysaic Theatre, at Athens, had seats for 

 30,000 persons: those of Sparta and Argos were 500 feet diameter; 

 and the theatre in tlie Grove of .3isculapius, at Epidaurus. built by 

 Polycletus, SliO feet diameter. 



Near the great theatre there was generally an Odeion, so called 

 from odi, a song; a smaller building, of similar form, but roofed; 

 it was used for the purpose of musical entertainments, and for the 

 rehearsals of the chorus. The Odeion of Pericles, at Athens, had 

 a wooden tent-shaped roof, constructed with the masts and yards 

 taken from the Persian ships ; this was destroyed by Ariston (8(5 

 B.C.) that Sylla niiglit not make use of the timber in 1 i-! siege of 

 tlie city. Ill Athens it was the custom for each of the demi, or 

 tribes, to a]ipoint a choragus, who Has to conduct a chorus at the 

 musical contest held at the Festival of Bacchus: the prize was a 



