‹‹‹ Vitr. 5.5.2 | Table of Contents | Vitr. 5.5.4 ›››
3By the adoption of this plan, the voice which issues from the scene, expanding as from a centre, and striking against the cavity of each vase, will sound with increased clearness and harmony, from its unison with one or other of them. If, however, the theatre be on a larger scale, the height is to be divided into four parts, so that three ranges of cavities may be provided, one for harmonic, the second for chromatic, and the third for diatonic vases. That nearest the bottom is for the harmonic genus as above described, for a lesser theatre.
3On this principle of arrangement, the voice, uttered from the stage as from a centre, and spreading and striking against the cavities of the different vessels, as it comes in contact with them, will be increased in clearness of sound, and will wake an harmonious note in unison with itself.
But if the theatre be rather large, let its height be divided into four parts, so that three horizontal ranges of niches may be marked out and constructed: one for the enharmonic, another for the chromatic, and the third for the diatonic system. Beginning with the bottom range, let the arrangement be as described above in the case of a smaller theatre, but on the enharmonic system.