360 On the Construction of Theatres . 
The area for the stage might be as large as it was for- 
merly ; but the scenery should be adjusted so as to con- 
tract the stage to reasonable dimensions. To confine the 
voice, the wings should have leaves, or flaps, hinged to 
them, so as occasionally to close the space between the 
wings, leaving sufficient room for exits and entrances. 
When large objects require admission, these leaves 
might be turned back, and would then allow the same 
space as usual between the wings. This would be an 
additional convenience to the actors, while they stand in 
waiting to enter on the stage, as it would screen them from 
the cold. The ceiling of the stage, which at present is 
made by strips of painted linen hanging perpendicularly, 
should be made of well varnished iron or copper frames, 
turning upon centres so as to open at pleasure like Vene- 
tian window-blinds; and by this means to contract, at 
will, the opening of the ceiling, and to conduct the voice 
of the performers towards the audience. The current of 
air, so as it does not amount to wind, should flow from 
the stage to the audience. By experiments tried upon 
sound by sir Thomas Morland and some other members 
of the Royal Society, it appeared that the propagation of 
sound was prodigiously obstructed by the assistance or 
opposition of a slight current of air. We are told by Vi- 
truvius, and Lipsius, that the sound of the actor’s voice 
was increased in a surprising manner by brazen vessels 
placed under the seats of the audience. 
•No satisfactory account remains of the manner in which 
this desirable effect was produced. It would not how- 
ever be difficult to try experiments on this subject in any 
one of our theatres when it is vacant. 
About forty years ago I happened to go with a friend 
into a large cockpit at an inn at Towcester. My friend, 
who was at the opposite side of the pit, appeared to me 
to speak with a voice uncommonly loud and sonorous* 
