Soooo.
After putting the basics of Makehuman and Makewalk working with bvh files in Blender behind me, (I get sidetracked and have to pursue what I have to pursue) and after figuring out how to make Draftsight behave like autocad, that is, drawing on the z axis comfortably (set view to orthographic-left) its time to get back to the Roman theatre project.
After seeing what this free program can do, it's hard to believe anyone would pay for autocad lite.
I started working on this section on Saturday, but I couldn't get the cube I created to do a boolean operation with the existing seating. So I will do it a different way.
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After solving the issue of how to get the seats and stairs in the orchestra section situated, its time for item 5. Namely the O and P sections of the drawing.
From Vitruvius' Ten Books on Architecture
CHAPTER VI
PLAN OF THE THEATRE
1. The plan of the theatre itself is to be constructed as follows.
Having fixed upon the principal centre, draw a line of circumference
equivalent to what is to be the perimeter at the bottom, and in it
inscribe four equilateral triangles, at equal distances apart and
touching the boundary line of the circle, as the astrologers do in a
figure of the twelve signs of the zodiac, when they are making
computations from the musical harmony of the stars. Taking that one of
these triangles whose side is nearest to the scaena, let the front of
the scaena be determined by the line where that side cuts off a segment
of the circle (A-B), and draw, through the centre, a parallel line (C-D)
set off from that position, to separate the platform of the stage from
the space of the orchestra.
2. The platform has to be made deeper than that of the Greeks, because
all our artists perform on the stage, while the orchestra contains the
places reserved for the seats of senators. The height of this platform
must be not more than five feet, in order that those who sit in the
orchestra may be able to see the performances of all the actors. The
sections (cunei) for spectators in the theatre should be so divided,
that the angles of the triangles which run about the circumference of
the circle may give the direction for the flights of steps between the
sections, as far as up to the first curved cross-aisle. Above this, the
upper sections are to be laid out, midway between (the lower sections),
with alternating passage-ways.
3. The angles at the bottom, which give the directions for the flights
of steps, will be seven in number (C, E, F, G, H, I, D); the other five
angles will determine the arrangement of the scene: thus, the angle in
the middle ought to have the "royal door" (K) opposite to it; the angles
to the right and left (L, M) will designate the position of the doors
for guest chambers; and the two
[147] outermost angles (A, B) will point to
the passages in the wings. The steps for the spectators' places, where
the seats are arranged, should be not less than a foot and a palm in
height, nor more than a foot and six fingers; their depth should be
fixed at not more than two and a half feet, nor less than two feet.
the roman theatre according to vitruvius
[148]4. The roof of the colonnade to be built at the top of the rows of
seats, should lie level with the top of the "scaena," for the reason
that the voice will then rise with equal power until it reaches the
highest rows of seats and the roof. If the roof is not so high, in
proportion as it is lower, it will check the voice at the point which
the sound first reaches.
5. Take one sixth of the diameter of the orchestra between the lowest
steps, and let the lower seats at the ends on both sides be cut away to
a height of that dimension so as to leave entrances (O, P). At the point
where this cutting away occurs, fix the soffits of the passages. Thus
their vaulting will be sufficiently high.
[149]6. The length of the "scaena" ought to be double the diameter of the
orchestra. The height of the podium, starting from the level of the
stage, is, including the corona and cymatium, one twelfth of the
diameter of the orchestra. Above the podium, the columns, including
their capitals and bases, should have a height of one quarter of the
same diameter, and the architraves and ornaments of the columns should
be one fifth of their height. The parapet above, including its cyma and
corona, is one half the height of the parapet below. Let the columns
above this parapet be one fourth less in height than the columns below,
and the architraves and ornaments of these columns one fifth of their
height. If the "scaena" is to have three stories, let the uppermost
parapet be half the height of the intermediate one, the columns at the
top one fourth less high than the intermediate, and the architraves and
coronae of these columns one fifth of their height as before.
From Durm
the theatre at aspendus
7. It is not possible, however, that in all theatres these rules of
symmetry should answer all conditions and purposes, but the
[150] architect
ought to consider to what extent he must follow the principle of
symmetry, and to what extent it may be modified to suit the nature of
the site or the size of the work. There are, of course, some things
which, for utility's sake, must be made of the same size in a small
theatre, and a large one: such as the steps, curved cross-aisles, their
parapets, the passages, stairways, stages, tribunals, and any other
things which occur that make it necessary to give up symmetry so as not
to interfere with utility. Again, if in the course of the work any of
the material fall short, such as marble, timber, or anything else that
is provided, it will not be amiss to make a slight reduction or
addition, provided that it is done without going too far, but with
intelligence. This will be possible, if the architect is a man of
practical experience and, besides, not destitute of cleverness and
skill.
8. The "scaena" itself displays the following scheme. In the centre are
double doors decorated like those of a royal palace. At the right and
left are the doors of the guest chambers. Beyond are spaces provided for
decoration—places that the Greeks call περιἁκτοι,
because in these places are triangular pieces of machinery (Δ, Δ) which
revolve, each having three decorated faces. When the play is to be
changed, or when gods enter to the accompaniment of sudden claps of
thunder, these may be revolved and present a face differently decorated.
Beyond these places are the projecting wings which afford entrances to
the stage, one from the forum, the other from abroad.
9. There are three kinds of scenes, one called the tragic, second, the
comic, third, the satyric. Their decorations are different and unlike
each other in scheme. Tragic scenes are delineated with columns,
pediments, statues, and other objects suited to kings; comic scenes
exhibit private dwellings, with balconies and views representing rows of
windows, after the manner of ordinary dwellings; satyric scenes are
decorated with trees, caverns, mountains, and other rustic objects
delineated in landscape style.
