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Browsing named entities in a specific section of Vitruvius Pollio, The Ten Books on Architecture (ed. Morris Hicky Morgan). Search the whole document.

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Rome (Italy) (search for this): book 5, chapter 5
from the point of view of the nature of the voice, so as to give pleasure to the audience. 7. Somebody will perhaps say that many theatres are built every year in Rome, and that in them no attention at all is paid to these principles; but he will be in error, from the fact that all our public theatres made of wood contain a greatonant, 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 advan
Corinth (Greece) (search for this): book 5, chapter 5
e 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 descri
Italy (Italy) (search for this): book 5, chapter 5
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