ing to the lyre, who, when they wish to sing in a higher key, turn towards the folding doors on the stage, and thus by their aid are reinforced with a sound in harmony with the voice. But when theatres are built of solid materials like masonry, stone, or marble, which cannot be resonant, then the principles of the “echea” must be applied.
8. If, however, it is asked in what theatre these vessels have been employed, we cannot point to any in Rome itself, but only to those in the districts of Italy and in a good many Greek states. We have also the evidence of Lucius Mummius, who, after destroying the theatre in Corinth, brought its bronze vessels to Rome, and made a dedicatory offering at the temple of Luna with the money obtained from the sale of them. Besides, many skilful architects, in constructing theatres in small towns, have, for lack of means, taken large jars made of clay, but similarly resonant, and have produced very advantageous results by arranging them on the principles d
re lacking in due moderation, the truly perfect territory, situated under the middle of the heaven, and having on each side the entire extent of the world and its countries, is that which is occupied by the Roman people.
11. In fact, the races of Italy are the most perfectly constituted in both respects—in bodily form and in mental activity to correspond to their valour. Exactly as the planet Jupiter is itself temperate, its course lying midway between Mars, which is very hot, and Saturn, which is very cold, so Italy, lying between the north and the south, is a combination of what is found on each side, and her preeminence is well regulated and indisputable. And so by her wisdom she breaks the courageous onsets of the barbarians, and by her strength of hand thwarts the devices of the southerners. Hence, it was the divine intelligence that set the city of the Roman people in a peerless and temperate country, in order that it might acquire the right to command the whole world.