I 

I 



THE GETTY CENTER LIBRAR Y 

j 


t 

THE AMPHITHEATER 

FLAVI O 

' 

. 

DESCRIPTED 

E 

DE 
LINE 
ATO 

FROM THE KNIGHT 

CARLO. F˜NTANA . 

.. 

IN THE HE I A, 

Appreffo 
-¥,. 
...THE S A C O V A I L I N T, 

-¥.. M, D CC, X X V.

GENERAL PROEM. 

SSENDOCI we are going to tr11t prej11ct of e/1' Amphitheatre 
Flavius, and that which in effe appartime, and the11 fpecie of the fl!a 
Amichit, Erezzio11e , & Ampiezz.a , Jicome also for which 
end Ji erigejfe , co11 le di lui Parts more conjpicue cd infi


The whole world can't miss the propoflo Subject , to the 
Which has there 1110/Jo the seeing and the certain ejfer, which of the fimi/the Subjects 'Vertmo 
Aatore has been piously treated and dimo/lratio. f2.!.1indi J“ is , that animated 
by the Beauty and Gravity of the Building, fmza pcnfˆre alfa Fatigue and Study 
Of which of which there is a biological sewer, I pray Thee will form the prejudgment of it, 
11 For which there Jimno ingenuously set there those Eruditions and Doctrurers, which from 
more a111ogr11ji Writers has been polllto deduce , 1111ite co11 effe le noflre Delineazioni, 
for which we have applied og11i 'Diligmza imaginabile. We pe,- t1111to 
We will procure to Jpiegare , with this occajio11e, the Artificio & lnd11jlria , that 
was research to make people understand the Erezzione d'un Teatro /i famofo: all however {/1/Che 
Glue Escort of Vitf11vio , and of other great H11omi11i , which in Jimil .Materia 
prevaljer..., which therefore seems to us [11perjl110 the reply from us 1111ovame111e 
the Rules. 

We will therefore be able, as the main object, to defend the theatres first, 
Ji of their Principle, as a11che of the Multiplication of their Fabricators 
Other Coj that from Ajf111111to from us prefo 1111itame11te dipmdo110 
: 
and then, of the said Amphitheatre, by the refs of the two parts of effe, which rejiede the11 
Feet (*); that therefore we have, so to say, myatomized it, to cover it to 
Amateurs those ig11ote & artificiofe Particolaritll del Jottili! J“mo Artificio col 
Which is flato fabricato, 11011 ejfe11dovi in effe 1111a minimum Part, which pojfa dirf“ 
otiofa. Everything is therefore flato by us co11 all the 'Diligences ejˆt1a111and11te re- 

co11ojŽi11to. 


* 
2 Coji,

(') The Year .M. DCC. VII. 


P R O E M I O G E N ERA L E. 

Cofi, . doppo hnver dnto 1111 little Snaggio della nojlrn l11tenzio11e III quejlo 
prophe11th Proemio, pnJ!nremo it dar principio ali- Opera, /11 quale [periamo f“a 

to reufcire of q11t1lcbe Satisfaction to' Curiophy, and of 11011 small Beloved to the Ernditi. 
And (and that 11011 J will make/is reufcita of all Pleasure , / I will attribute the blame first to the 11oflrn little Intelligence , the other to the Jcarjzza of time 
co11ce/[oci in jclll "fo Year fi,1110, for ejfer lightened in said time alq11a11to 
dnl pejo of the Fubrics, and of the cotidirme Fatiche prlfVmimti from the 11oflre Cnriches 
as the first architect of the f'atica110 Temple, of the Supreme Pontiff, of the 
Camera Apojlolica, and other Regii Pe1fo11aggi, co11 many Sowm1i. 
BOOK INDEX. 
INTRODUCTION: 
FIRST BOOK: 
SECOND BOOK: 
THIRD BOOK: 
FOURTH BOOK: 
FOURTH BOOK: 
Of the 7Žatri and Amphithearians. 
Of the Prefect State defl' Flavio Amphitheatre, 
Of the ancient state of!' Flavian Amphitheatre. 
Profane eruptions around the Flavian Amphitheatre. 
Sacred eruptions around the Flavian Amphitheatre. 
Of the rej/ituir /'Onore al/' Anfiteatro Flavio. 
Pog. I3, r..r,. 30 f!131. Oode the Senate! "Oode the Senate! 
port...i.ffc b. ..ella curulc'. 6: fopra quella fcddTc in Teatro Giulio Ccfarc; for &c. 
Read, Onde 11 Senato fiab11l a Marcello in Celebritˆ dc' Giuochi, che fi portaffe la Sella. 
curule, and fopra quella fedcCfe in Te:i.tro. Giulio Cefare, for &c. 
39 
53 
Yes 
IIj" 
159 
ANFI-

THE AMPHITHEATER 
FLAVIO 
DESCRIBED AND OUTLINED. 
I.N T R O D U C T I O N .
OF THE ORIGIN, OF THE F AB RICA,
AND BULL BUILDING 
OF THEATERS AND AMPHITHEATERS. 
C A P I T OL OP R I A1 O. 
OF THE FIRST INVENTION, OR FIRST 
...OF THE THEATER. 
And R what he gets from the writers, he believes that the Invention 
the best friend of the amphitheatres, 
having had that principle in other domains before the 
Roman Power; and phyt, fertile Calfiodorus in X 
of the Epiphyllis, found by the Rufians of Greece, who... 
in the days of the Fefie folevano raunadi iniieme for the Villas and Bofchi, ˆ far 
I amused the Sacrifices and Games in Honour of their Gods, in more Forms, 
But, the magisterial, oblique, and, with such a way, that each one could see 
How much did they do in between, and then, in time, they were erected in the Cicu... 
<Leali Atenie!i, with m:rgire Perfection. He didn't spend much time, 
Which Dioniiius added and perfected the inventiveness; and they were made of it 
A alcu-
THE AMPHITHEATER 
FLAVIO 

DESCRIBED AND OUTLINED. 
I.N T R O D U C T I O N .
OF THE ORIGIN, OF THE F AB RICA,
AND BULL BUILDING 
OF THEATERS AND AMPHITHEATERS. 
C A P I T OL OP R I A1 O. 
OF THE FIRST INVENTION, OR FIRST 
...OF THE THEATER. 
And R what he gets from the writers, he believes that the Invention 
the best friend of the amphitheatres, 
having had that principle in other domains before the 
Roman Power; and phyt, fertile Calfiodorus in X 
of the Epiphyllis, found by the Rufians of Greece, who... 
in the days of the Fefie folevano raunadi iniieme for the Villas and Bofchi, ˆ far 
I amused the Sacrifices and Games in Honour of their Gods, in more Forms, 
But, the magisterial, oblique, and, with such a way, that each one could see 
How much did they do in between, and then, in time, they were erected in the Cicu... 
<Leali Atenie!i, with m:rgire Perfection. He didn't spend much time, 
Which Dioniiius added and perfected the inventiveness; and they were made of it 
A alcu-

2 THE DESCRIPTED FLAVIO ANphytheater, I11trod11z. 


some in the!' lfola Antirodo , near Ale!Iamlria, cd in diverl“ others Luo- 

GIs, celebrating there in effi ciency some Games, but in Honour of 

Bacchus. 

Give the Greeks pafi˜ to the Romans, in the year of their City 391; effendo Confoli, 
C. On the pizio, and caid licino stolone. He was ali' now in R...but an Innocence 
incurable, to which not finding them Remedy for Human Ingenuity, 
And they penned for the help of their full Gods, and infused various Fefie; 
To appease that Deity believed to be irate, and! 
e!fcrcitatc with more Pump and Rite, they called from the Tofcana people to 
qucCl:' Effect, and they made some Dances, with Sound of diversions Stromenti: of the 
that the People are very much attracted, and here! the unhealthy E! fercitii della 
War, I'll start with every sound to address the Vanity, reciting 
Verily Camo; and this continued for 122 years. They arrived at such a time 
Do it, that Lucio Andronio accommodated the Fairytale: and that, which before 
was femplice Giuoco, became Art, dividing into different Species, fe.condo the quality of the Subjects of which it dealt with. For, introducing them into the 
Favob Regi, and Great Lords, was called Tragedy; and the Verfo was of Stile 
more serious, cofi Ovid tefofica : and in Rapprefemazioni amoroze, fefievoli... 
eJ allegre, called Comed1; and the others, which contained Biat“no ago. 
tirico, fi called Pajlorali.
THE DESCRIPTED FLAVIO ANphyteur, Introduz. 3 
CHAPTER TWO. 
DIFFERENCE THAT IS BETWEEN 'THE THEATRE 
AND THE AMPHITHEATER. 
Difference, which is from the Theatre to the Amphitheatre, is eh' cl Tea... 
I was, fertile Varro, is contained by a hemicycle Figure 
with another paralellogram, which contains by circumference 
ˆ circumference of width in the diametral line the fourth 
And that circular one fervid for the Spectators and the Orche- 
{ra, and the other for the Scene: waves, together, make up the Amphitheatre, 
as Calfiodoro saying, Ampbitheatrmn quaji i11 1111111 junŽla 
duo Jlijoria. Likewise, Ampbitheatrum diŽ/11111 quod ex duobui. 
TbeatrisjitfaŽlmn. And the mede!“m say Ovid, Calfornio, and others 
Writers compare it to the Oval Figure; and coli afferifcono, which 
that part, which is strong for Orchestral and Scene at the Theatre, strong in part for the orchestra and the theatre... 
Amphitheatre for Arena , overo for Ara cruel. 
A 2 
I 
THE DESCRIPTED FLAVIO ANphyteur, Introduz. 3 
CHAPTER TWO. 
DIFFERENCE THAT IS BETWEEN 'THE THEATRE 
AND THE AMPHITHEATER. 
Difference, which is from the Theatre to the Amphitheatre, is eh' cl Tea... 
I was, fertile Varro, is contained by a hemicycle Figure 
with another paralellogram, which contains by circumference 
ˆ circumference of width in the diametral line the fourth 
And that circular one fervid for the Spectators and the Orche- 
{ra, and the other for the Scene: waves, together, make up the Amphitheatre, 
as Calfiodoro saying, Ampbitheatrmn quaji i11 1111111 junŽla 
duo Jlijoria. Likewise, Ampbitheatrum diŽ/11111 quod ex duobui. 
TbeatrisjitfaŽlmn. And the mede!“m say Ovid, Calfornio, and others 
Writers compare it to the Oval Figure; and coli afferifcono, which 
that part, which is strong for Orchestral and Scene at the Theatre, strong in part for the orchestra and the theatre... 
Amphitheatre for Arena , overo for Ara cruel. 
A 2 
I 

..J
THE DESCRIPTED FLAVIO ANPHITHEATER, l11trod11z. ... 

CA PI T O L O TE R Z O. 

MATTER AND COVERAGE OF THE THEATRES 
IN THEIR ORIGIN. 


As b Variation of Times and Places, they diverged an- 
that the rubble of which they were as chickens, more and less the Ability, 
The People's Bifogno is fruitful. To the report of Caffio.doro, in the Library. IV, Epi! V, in Greece, it was the Theatres ago. 
...with marble and tableware. In Athens, they were the puppies of Le- 


Don't worry, you can easily re-furl and re-furl in other Sites. Vicruvius affirms, in the 
Bookcase. V, Cap. V, eh, there were a lot of Wooden Medefimamence Theaters erected, 
for the I!lelpha cagione. 

I appreciate the Old Ones, who were the naked and fopen theatres, and they came... 
Defe!i from the Rains, and from the Sun, by means of some Sails of Ships, ad effi 
Foprapo! One of the most important things that the theatre has ever done is to make the 
Those times covered up, as of the games of theatrical games, in some of them 
Of which he gave Liberty to the Doves and to other Augelli, who freely gave them 
they were ufcivano. 

In the course of time, the LuCTo grew, and the Phallus was augmented, in the 
{y:i}Greece, {y:i}which began to cover {y:i}with boards. It says Philosopher in Herod, 
that in Athens they inhaled a Theatre, and dedicated to their Gods, and the 
He's top and bottom was floated like cedar chicken. Double, they imitated the 
I mede!imo the Corinthians, to one whose UFO also elves the Roof to the Roof 
Theaters. Ed in Romae, fertile Pliny, Libr. XXXVI, Cap. XV, Valerio 
Oflienfe Architect loffe the first to cover the Theatres of Canvases and Tables 
fucking movable. 

The Sup-:rbia entered the ancient Romans, not content to cover them up. 
on the Vele, as it's called, and Lini's; but, they put there Drappi nobilif!
imi di Seta, as Dione relates. It was a chicken in such a UFO Pump it up there 
first by Cefare, and then followed by Campani, as he says again 
Ammiano Marcellin. 

From Pliny's testimony, he makes you Lenmlo Spintrio was the first 
who found the Invention of Tying Ships' Antennae to the Sails, and doubled up 
for Theatre Blanket. See! The same is for Lucretius, Propertius, and Martial 
, with their Commentators, and diffused the already mentioned Pliny , and 
more Chapter V 111 of the Book lii of the previous Treaty. 

B 



_j
THE DESCRIPTED FLAVIO ANphyteur, Introduz. 
CHAPTER !2.._UARTO. 
OF THE MEANING OF THE SCENE 
AND HIS QQQS. 
7 
AIIiodoro efpone the Definition of the Scene, and says e/Ter la 
Front of the Theatre, It was a Loco , for which they used to use the -
Hl:rioni avanti il Profcenio: Scene Frons Theatri fit , J 
Locttr AŽlorum, u11de in Profcenittm prodibant Hijlriones aŽl11ri.
Etiliodoro, in Libr. XVIII, Chap. XLIII, says 1st Scene 
A real Loco between the Theatre, a fabricar and erected in the shape of a Cafe with the 
Pulpit, which is called again by another name Orcheilra, where they sang 
the Comedians and Tragedians, and they were the lilrions: modernly there 
call Antifcenium. 
..eile Significance of the Scene, reported by the two appointed Authors, 
The UFO and Coilume de'Greci are understood to be fruitful, then imitated in part by the noilres 
Romans. We will not fail to mention, however, that the Scene has had the fire 
Principle weak and inferior, limibly ancient and original purity 
Tearri: so that Virgil affirms, in the I of the Enei'de,elfer the Scenes made 
of Branches and Frondi, who fervently fervent to repair the Sun. If we believe in 
Ariilide, they were begun to make them then of boards, and double conilrutti with well 
The most comfortable and noble of the Walls, which, for Ornament 
major, were painted of various coffers belonging to the bifogno 
of the plays. Then the Adornments of the Fertile Scenes were changed. 
Azactions that related them to you: that is, the Tragics were adorned with Columns 
and Statues, and with gifts Apparatus; the Comedies , of private Buildings and 
Mignani , with Profpeilo di Fineilre , Lodges , Roads , Squares , Towers , 
and more; the Satiriche, with Trees , Caverns , Mountains , Caverns , Marshes,. 
Rivers, Algeylre cliffs, Bolhi full of horrors. All this erudite, 
and with great diligence, says Vetruvio (*). 
(-) Ytdet, #1/Cbt the C-pito/Q rI I of q-efl- Introduction. 
B2 
THE DESCRIPTED FLAVIO ANphyteur, Introduz. 
CHAPTER !2.._UARTO. 
OF THE MEANING OF THE SCENE 
AND HIS QQQS. 
7 
AIIiodoro efpone the Definition of the Scene, and says e/Ter la 
Front of the Theatre, It was a Loco , for which they used to use the -
Hl:rioni avanti il Profcenio: Scene Frons Theatri fit , J 
Locttr AŽlorum, u11de in Profcenittm prodibant Hijlriones aŽl11ri.
Etiliodoro, in Libr. XVIII, Chap. XLIII, says 1st Scene 
A real Loco between the Theatre, a fabricar and erected in the shape of a Cafe with the 
Pulpit, which is called again by another name Orcheilra, where they sang 
the Comedians and Tragedians, and they were the lilrions: modernly there 
call Antifcenium. 
..eile Significance of the Scene, reported by the two appointed Authors, 
The UFO and Coilume de'Greci are understood to be fruitful, then imitated in part by the noilres 
Romans. We will not fail to mention, however, that the Scene has had the fire 
Principle weak and inferior, limibly ancient and original purity 
Tearri: so that Virgil affirms, in the I of the Enei'de,elfer the Scenes made 
of Branches and Frondi, who fervently fervent to repair the Sun. If we believe in 
Ariilide, they were begun to make them then of boards, and double conilrutti with well 
The most comfortable and noble of the Walls, which, for Ornament 
major, were painted of various coffers belonging to the bifogno 
of the plays. Then the Adornments of the Fertile Scenes were changed. 
Azactions that related them to you: that is, the Tragics were adorned with Columns 
and Statues, and with gifts Apparatus; the Comedies , of private Buildings and 
Mignani , with Profpeilo di Fineilre , Lodges , Roads , Squares , Towers , 
and more; the Satiriche, with Trees , Caverns , Mountains , Caverns , Marshes,. 
Rivers, Algeylre cliffs, Bolhi full of horrors. All this erudite, 
and with great diligence, says Vetruvio (*). 
(-) Ytdet, #1/Cbt the C-pito/Q rI I of q-efl- Introduction. 
B2 

..) 

.. 1

: 


/' 

.;: 

!
THE DESCRIPTED FLAVIO ANPHYTHEATER, lntroduz. 9 

CA P P I T O L O Q__ U IN T O. 

OF THE USUAL MACHINES USED 
NO THEATERS. 


Theatres, nor what were the usual ones! 
Tragic, they were capable of three machines, i.e. defira, fini!
Ira, and media; and those Machines, in the Tragedies, face- 
The office room of Porre, it is the Greffi, with Vecchi adorned with 
Simulacrums of Heroes, for liquor palf the Pcrfone that ended up in the


...the serious Azactions. And that was put into effect in Greece, 
when he painted the Euripides' Hour, and with great care... 
in the Host of Plautus. 

The ancient Tragics began to introduce the Machines of the Gods. 
Aquatics: and they were Achelous, Thetis, Proteus, & Arctufa; coli in the Oedipus 
of Sophocles, is in all the other Greek Compounders of Tragedy. He fcovers 
but from the few mentioned Eruditions, in the propofito of the Machines, 
Running there great difference between those which the Greeks used to make, and those which I give 
invented the Latins, who differed greatly and varied from no! lre, 

.. in Tragic, as in Comic and Satirical, but with greater and more vague... 
multiplicity:d' Appearances. 
e 



r 

¡' ., 

i-' 

-¥ 

......., 

\', 

. 

f
“'f
l
THE DESCRIPTED FLAVIO ANphyteur, lntroduz. 11 
C A P l T O L O S E S T O. 
OF THE WAY THE ANCIENTS USED TO 
MAKE SOUNDS, AND VOICES, 
NO THEATERS. 
at the time of Vetruvius there were many public theatres in Rome. 
nor what the author says that there was no Vafo the 
which one could refute. By which I mean Erudition, 
is gives faped“, eh elfendo the theaters cofirutti of 
Robbe folide, as of Sappho, of Marble, of Cimenti, 
˜ on the other hand, that they did not reufcienri fufficienri to render Sound, made of meftieri 
dc' Vali, which havefiro hability to make the sound resound, 
and amuse it for all the Vafiitˆ of the Theater, so that all the Voice 
fonora. The ephiimonius of quephiiimonium is Lucius Mummy, who, after that 
ruined the Teatro de' Corinrhii, brought to Rome the Bronze Vafi of him, and there 
pofe in Diana's Theatre. More, Vetruvio says, in the Libr. V, Cap. 
VI, that many prudent Architects having to build some Theatre 
Of men Luifo ; and of inferior Spefa , they placed there in the Parliaments some 
Grolfe Vittine of Crete, to complement those of Copper and Bronze, for the 
I'll rephrase. Of this Vali also defends arifiotile nor your troubles, 
Saying e! Yesterday, let the Walls shelter and bring the Accents 
To the Hearing; signing the said Philosopher, who with the strong one of Stromenti ii 
can form an artificial Echo in a Cafa. And because of that, friends... 
Architects were working on some open spaces in the theaters; and here they came from 
They called them Cellee, though firm! Iro to another effect, so that the Air 
venilfe to form the Sound ˜ Rimbombo major , to bring back 
clearer and more defiant of the Parole to the Spectators. 
See what will tell them more in this Propolitus in the previous Treaty (*). 
(') Chapter XI de! Book II l. 
c 2 
THE DESCRIPTED FLAVIO ANphyteur, lntroduz. 11 
C A P l T O L O S E S T O. 
OF THE WAY THE ANCIENTS USED TO 
MAKE SOUNDS, AND VOICES, 
NO THEATERS. 
at the time of Vetruvius there were many public theatres in Rome. 
nor what the author says that there was no Vafo the 
which one could refute. By which I mean Erudition, 
is gives faped“, eh elfendo the theaters cofirutti of 
Robbe folide, as of Sappho, of Marble, of Cimenti, 
˜ on the other hand, that they did not reufcienri fufficienri to render Sound, made of meftieri 
dc' Vali, which havefiro hability to make the sound resound, 
and amuse it for all the Vafiitˆ of the Theater, so that all the Voice 
fonora. The ephiimonius of quephiiimonium is Lucius Mummy, who, after that 
ruined the Teatro de' Corinrhii, brought to Rome the Bronze Vafi of him, and there 
pofe in Diana's Theatre. More, Vetruvio says, in the Libr. V, Cap. 
VI, that many prudent Architects having to build some Theatre 
Of men Luifo ; and of inferior Spefa , they placed there in the Parliaments some 
Grolfe Vittine of Crete, to complement those of Copper and Bronze, for the 
I'll rephrase. Of this Vali also defends arifiotile nor your troubles, 
Saying e! Yesterday, let the Walls shelter and bring the Accents 
To the Hearing; signing the said Philosopher, who with the strong one of Stromenti ii 
can form an artificial Echo in a Cafa. And because of that, friends... 
Architects were working on some open spaces in the theaters; and here they came from 
They called them Cellee, though firm! Iro to another effect, so that the Air 
venilfe to form the Sound ˜ Rimbombo major , to bring back 
clearer and more defiant of the Parole to the Spectators. 
See what will tell them more in this Propolitus in the previous Treaty (*). 
(') Chapter XI de! Book II l. 
c 2
' 

I 

l 




THE DESCRIPTED FLAVIO ANPHYTHEATER, lntrQ(/uz. 13 

C A P P I T O L O S E T I A1 O. 

OF THE ORCHESTRA, OF THE SEATS, AND OF THE WAY 

AND REASON TO SIT DOWN NOR THEATERS 

ROMANS. 

-'Orcheflra 1 Appreciate the Friends, it was a portion of the-e

the Cavea contiguous to the Scene , where the Comic Poets 
But Tragic, they defended themselves to sing stories.evolmentc their Compolitions to race; and, while those who sang, others did the Scene roar. As Suidaela defines: Loeo has the Solo of Tables, and where the Mimes act. 
A limi! Loco comes bora pracatticaro da' Moderni; but a fola Strifcia: the 
refio fi calls Auditorium, ufata by the Ancients tl1tta for Orchcfira. 

In Rome, Suetonius was fertile, so that he would offer himself as a marvel. 
The Action that Calligola made, when he condues in the!' Orehefira ˆ pillowcases 
the Knights, and the Elves' Wives; but in time, the Bizarreness of that Prince 
He found followers in such a UFO, as we shall say in apprefio. FcrifR waves: 

Pliny: Admomii Rom, and Senntores fedijfe in Orchejlrr1. 

But to take away all the poffable noises, and the Difeordie, which seemed to be 
nafcere for the multitude nor theaters, was in Rome to all the States of 
Pcrfone gladdened the Loco to be pillowed; and he said of them, Jus fedendi i,, 
'Theatro. Waves the Senators were faithful in the orchephra, and behind them the fourteen 
Orders of Horsemen: double those, in the midst of the already said Seats, 
fed the Citizens, and all other HUMANS of whatever state, that 
...to these acts. At the top of the steps they wash the women, 
...their grades, and ...altitudes. There was then the Loco still , 
But but for theorapheres, and wayfarers, and wayfarers, as medephimammonts 
was the one of T1ibunitii. 

But there were also many who believed in the Phthromemians, 
I fecundate the Dignity and Diverse Charges of those who affify you. 
Waves the Senate to mavello in the celebrity of the games, which are 
porraffe la Sella curulc, and fopra quel fedeffe in Teatro Giulio Cefare; 

D for 



14 THE DESCRIPTED FLAVIO ANphytheater, I11troduz. 

for what Suetonius tells, .fed in the Orchefrra fopra il Suggello. 
And Sejano, and Tiberius, proudly brought to the Theatre, for Federvi, the Saddles. 
said by Romans I11to11rate; from which ii comes in cognition, which fecundates the 
Sublimity of, Degrees varied the Seats. 


\ 


41 

I 

L
THE DESCRIPTED FLAVIO ANphyteur, lntrod11z. 15 

CA P P I T O L O O T A V O. 

OF THE" TEATRL ORNAMENT 

 

Ti, ˆ caufa eh' were of Wood, portable in those Places where 

Wanted to repent the Pharaohs: nevertheless, they abhorred themselves


No with spelling Spefe; and fi ha that Claudio Pulcro imro- 

,,, dulfe the UFO to paint the Scene, with other ways to decorate it. 

Formia Siracufano covered it with Pelli roffe, C. Antonio inargent˜ it, Petreio 
the gilded, Q Carulo the ebony imerfio , and M. Antonio in a Scenic Day 
made it out of silver. Coli still adorned the Parieti that circled the Cavea, 
And Steps , nobly; and, fruitful the qualities of the Fefre, they vefriavano them 
with Fra! he Wreaths, with Flowers, and more. 

In Greece, there were many women's theatres of Timber; but, the 
more ornate, and the first, was the one in Arcadia made by Policleto. By Paufania, 
in Book I , is celebrated greatly. The other, though not foffe 
of the Wall, it was in Athens, where Statues of the Diverted Like- 
Of Tragic diants, and Comedians; and there was a cavern in a Sappho, which of 
far away he represented a Woman in a feeble and lamentable act, equally 
laptops, designed in such a way, that they could easily be easily put together there, and put them back together again... 
With a beautiful order, which they gave Scola to the Romans (*). 

(-) VeJete 111uht the sign.t deJ CapitqJo IV of quf'jla lntrod,izirme. 


D 
:i. 

THE DESCRIPTED FLAVIO ANphyteur, I11trod11z, q 

CA P I P I T O L O N. 

CONSECRATION AND DEDICATION IN 

EARLY DAYS OF THE ORIGIN 
E 

THEATERS.
The Theater was found by the Ancients, to electrify in 

And/and the many bonfires, but more to honour the Gods; with them is the sky. 

Fold Valerio .Mafi“mo: Ut 'Diis Cttltt1s, & Homi11ibw 

ObleŽlatio qu,ereretur. And Tertullian named it Seat of Im


...for effer fagro to Venus and Bacchus. The me-
demo therefore we are authenticated by Arifiide , with such Difiinzione however, 
eh' the Scenic Games were dedicated to Bacchus, & the Loco where fi fi celebrated 
It was phagro to Venus: and, for such a reason, Lactantius argues that 
Pompey calls it your Venus Vittrice Theatre. 

Cipriano, in the Epiphyla centefima third, wants Romulus infiituilfe the 
Theatre, to dedicate it to Confo God of the Configlio, to Ceres, & to Bacchus; 
and the gi.. quoted Ariphiid, a true Writer among Greeks, states that '] 
Foife Theatre dedicated to Apollo, Diana, Minerva, and the Mufe. 
Diverfe fono le Ragioni per le quali dicefi effer fagro la Teatro alle prenominate 
Gods, which, in order not to be propofito, Icr ˆ nofiro, are not omitted; affignando 
some the Caufa for the Scenes, others for the Theatre, and others for the 
Azactions that no theatres ever performed. However, there is no shortage of other a- 
he writers, who mention, e!Icr dedicated the Theatre to Diana , 
Named by them Goddess Eleuli“na , for the Moti amused them that they did neither 
Chori per hour andenziali in Opere de' Greci. I am the most probable 
Opinions about the Confegration and Dedication of T chariots. 

E 


r 


_) 



THE DESCRIPTED FLAVIO ANphyteur, lntroduz. 19 


and A p I T o L o D E and I M o. 

OF THE THEATRES' BUILDERS 

...AFTER THE ROMANS. 


The first, which in Rome was Qginto's Fiabile Theater 
Gallium, as in teil:ificaTertullian. Plutarch in Pompey, 
and Pliny in Bookshelves VIII, Cap-VII, they want to, what? 
Theatre 11:skillful foll erected by Pompeo Magno, in the Circus 
Flaminio, poil:o in the ninth Region of the City : and that 
In the comiguous Regions I offer you four Theatres, the first of which was of 
Pompey, the fruitful one of Marcellus, the third of Balbo dedicated by Claudio, 
the quarter of Trajano in Campo Marzo; as I appreciate better, we will 
by clapperboard. According to Lampridio, it was from Adriano diil:burp. Cofi 
With the Teil: Pliny's testimony authenticates the Bulengero, in his Treatise 
Theaters, at the Bookcase. I, sheet 28. 


E 2 



_j
THE DESCRIPTED FLAVIO ANphyteur, lntrod11z. 21 

and A p I T o L o u N D E and I M o. 

1)E L T E A T R O D I M S C H A U R E. 
Arco Scauro gave birth to the first theatre made with 
Shufti pompous. Much goes! l:o, and in the futility of degrees 
was surrounded by Loggie fo!l:enute by 360 Columns. 
In Front had, fecund the Authors, three Orders of 
Scenes, mae! Ofamcnte difpo!l:e 
And with great art, one 
over the other, The Moustache Scene was 3 8-foot Marble Pillars; 
the middle one, Glass; the third, a que! l:e due fuperior, had the 
Gilded Wooden Columns 
And yet, there were only 300 statues of 
Bronze. It was that! Theater capable of 80000 Perfonnas, making the reftante 
adorned with bellifl“me Paintings & T at farts. Que!l:a is the Defcription 
that of the Theatre of M. Scauro does Pliny, in the Library. XXXVI, Chap. XV. 


F 



-. I 



THE DESCRIPTED FLAVIO ANphyteur, Introduz. 23 

and A p IT o Lo Duo DE and I Mo. 

D E L T E A T R O D I M. C URI O. 

i Curio, who died at the time of the Civil War between Cefare 
$ and Pompey, in the Death of the Father, did two Theaters of Let 
gno, fofpefi high, fabricati with such Artifice, eh' in a' 
...if I time the grindstone, the millstone, various Comedies, those 
'...eh' were in one not femivano what it said in the


Then, turning them over to the heads of two theatres with the people who believed they were perfecting, and joining them together, they made an amphitheatre in which they performed. 
femavanfi Caccie ,, and other games. Certainly marvelous opera; but, ma, the 
Great Spefa , with the little Judgment of those Senators and their People in the!'' 
"The furniture, the machine, was Biafmo's, and the linen from the 
ifiefio Plinio who is the Ifiorico. 


F :-. 



...J 

11 

':} 

--¥á' 


/" 

there 

l
THE DESCRIPTED FLAVIO ANPHITHEATER, Introduz. 25 

e A p p I T o L o D E e I M o TE R z o. 

D E L E C T R O F P O M P E O. 

ARTIC 
OLO I. 

OF THE REAL SITE OF THE PUMPñ THEATRE. 

...--a-...-On fi denies as a verun Writer of Antiquity, elfer flato ií 

Pompey's Theatre where the Palazzo degli Orfini in Cam... 
po di Fiore, today a polfeduto from Eccellentiffima Calˆ Pia; 
in which many writers of the Pafiˆto century were 
seen the Leftovers, & also to the prefect fi admires which


That Veiligio of ancient Wall; and; from those reliduals .Parts reconfirmed 
from us ab ungtte Leonis, makes us argue the great Magnificence of the me


. demo, and /like the Efl:enzione of that great Palagio filed in the ancients 
Walls confirms the ability, while fi hˆ ; what a capable fofie also 
He of eighty thousand Places: and having investigated us the Pofaura and the 
We find, by the mercy of those Relics, those relics; e!fere fl:ata la Cavea verfo 
The Chiavaci, and the Orchefl: the Piazza of Campo Fiore, it corroborates 
with the Nardini Authority, which eoneludes and fofie the Scene 
I verfo the Piazza fudetta, and the Cavea as fopra, and had joint 
anehe Temple of Venus in front of the Head of the Circus Fbminio, who 
...between 'I l'Olmo and Mattei's Piazza was meeting him. And, for 
give reasonably to the Theatre , tour and space, it is better to make 
That what is between the Via de' Chiavati and Campo di Fiore, is forfc 
even part of this camp, occupies Ife. 

Onde la nofl:ra Alfertiva del limato Pompefano Teatro ci vien amenti- 
Dearly beloved of a Tefl:imony of vifl:a, and therefore more worthy of faith. And quefl:o the 
Fulvio, who saw at one time some Religious, and from those he was able to have a few Luminos to add more News and Intelligence. 
true of that in Fabrica. So it says quefl:o Author : ,, Refl:ano still 
...to the view of all some Ve11igie Teatrali next to the Camp eh.: chia" 
hand of Fiore where the Palace of the Orfini by the Band of Die is adelfo" 
tro, of which was the Cavea of the Theatre saw the Aurora.,, Exta11t ndbuc 
Vijligia ˆ ctdtts tergo erat Tbeatri Cavea vtrjs Aurormn. Cofi il cited Au- 
tore Fulvio. 

Qpefl:o is how much it has been able to portray them, and to extract the truth of the Syrian, and 
Grandeur of the Theatre of Pompey; more can be deduced around the 

G cio 



26 THE DESCRIPTED FLAVIO ANphytheater, Introd11z. 


This is by the ancient Authors, and by those who have treated it diffufactorily. 

Palphoremus a of the most e!tential of e{fo, to draw from it Rules, thenfiru z


cds, cds, other cds, other information suitable for the production of books. 

ARTICLE The.

. “ 

-á11 

OF THE MAGNIFICENCE, AND DESIGN, OF THE THEATRE 
POMPEO'S. 

C
C
Ono(ciuto... da Pompeo il Magno l'int?llcrabili Spefe, che con...uma


goes the Roman Hero, in the maintenance and transportation of portable teams, 
Wherein he meditated in the Senate the inevitable Difpendii; and 
Fucked the priest of Parlimony, he nourished a sum of Ambition, and in him reigned 
...and brought the palpable Reasons to life, and he got the license... 
to build the first Marmoreo Theatre in Rome, photo 'l fuo Name: ed 
It was the Building, with so much Pump and Fafio, that the fielder Plutarch... 
and -Tacitus too much Lulfo, not ofiante but was praised by the Senate 
for the Magnificence dcli' Opra , and of the Pefo taken away in the daily life 
Spefe.


Pompey prefers the Idea from the one Pompey saw in Mytilene ; ma 
Between Pa! made in the Magnificence, and Ability, to mofirare, than by others 
Have! You had the Norm: not wanting to remake yourself to a veruna Spefa 
Confidable, he made the Fabrica riu(cille fecund la Grandezza e Generalitˆ. 
All this confirms Plutarco. 

And ollervabile what you report! There is Diane in the Library. XXXIX, in which he says, 
Not only by Pompey, but also by Demetrius. 
Free, and erected by those who have been given the military acquisitions made 
When he fought fuck 'The Commandos of him; and then gave them the Name 
to the Master, but to honour him, but not to give him the opportunity to hurry as 
Havelle could in there little time advance so much Coin. From where you could 
1Collect coli fiona and not verilimile Opinion the already nominated.110 Author 
we don't say it: we do well, however, that the Authors forward attached, 
to whom it is most to be credited, they attribute it to Pompey. But that is true, 
which, in order to cohonefic1re a Spcfa coli immenfa with the title of Pietˆ, adds to the 
Theatre the Temple of Venus Vittrice. And Tertullian, in the Book of Shows, 
you say, that Pompey, wishing to dedicate the Theater, in the Invitation, 
...that he did to the People, tells them to give us a Temple to Venus. Odanli 
le fue Parole : Et ad 'Dcdicatio11em Editto Popu/11111 vocam , 11011 'Tbeatrt1m, 
(and f'cmris Templum 111111cupavit. From the reading of the above mentioned Writer 
"The Temple of Venus was not the temple of Venus. 

Fopra
THE DESCRIPTED FLAVIO ANphyteur, lntroduz. 27 

the Scene, as others would have us believe, but well over the Cavea of the Theatre, 
whose faliva(s) for the Gradi circulars, which, being mainly of the Theater, 
they looked like the Temple. Beyond Tertnllian proves this clearly from 
Suetonius , in the Life of Claudius , where he says , that , in the middle day(s). 
of the new Dedication of the Theatre that he remade, Claudio pa/I˜ per 
the middle of the Cavea in which flava, and not elsewhere, the deserved Temple. 

Gellio, however, at Chap. I of the Book X, calls quefi' i(k/I˜ Tempio di 
Venus, Temple of Victory, saying C111n Pompeitts ./Ede1fl ViŽlori,e dedicatunes 
foret. He far resents the Feeling of Gellio the Teftimonium 
of Marliana, which fcrive haver vifioa, the year 1525, behind the 
Chiefa of S. Maria in Grotta Pinta, together with the Orfini Palace, fuck 
a Marble with quefie Lettere, VE NE R 1 s V I e T R I eI s. You could 
But falsify, and the one, and the other, prudent glue no less eh erudite 
Donati's offer. Reflects this author, who speaking Plutarco of 
quefio Tempio denominates it in plural, fcrivendo Tempia Vmeris ViŽlricis; 
in order to argue the Donatia, eilere winds in the Pompe'iano Teatro due Tempii, 
one of them is dedicated to the Victory, and the other one to Venus Vittrice : and coli 
He would refute Gellio's Tefio correctly and well intact, and would not stray 
by the Public Faith of Marliana. View(s) more defiinitely 
the Lipfio, cd the already said Donati . 

./JR7/C0 
There. 

OF THE POMPEY THEATRE SCENE, AND OF THE 
on or REDUCTIONS. 

F
F
The Scene in this theatre has been remade many times. Tacitus affirms, in the V of the Annals, the breath made by Tiberius; from which he could 
To deduce, that Pompey havelfe not you erect a fable scene: but, be boldly 
It is defenceless from Suetonius, by olferving, who can escape the Scen:i 
Confused by fire, and remade by Tiberius. And behold, it comes to erroneous elbows 
the Judgment of many, who give them to believe, that the Theater, 
from Pompey the imperfect, receiving the last Perfection from the Imperium... 
of Calligola. Well, it is true, that, by fecundating the aforementioned Suetonio , Calligola accomplishes 
to do it again, saying about him, Opera fitb Tiberio femiperfeŽla Temp!t1111 Jl11g11f.ti, 'l'heatrnmque Pompeii, abf˜!vit. In /imi! so therefore, it was removed from 
Tiberius; and from Ca1ligola quafi at all, 'I Name of the first F abricatore; ma 
then by Sentiment of Dionc in the Bookcase. LVIII , Claudius refe ˆ Pompey 
the Memory of your Theater removed forfe by Calligola, with the Name 

G 2 of 



28 L-ANFITRO FLAVIO DESCRIPTED, h1trod11z, 

of Tiberius in the Scene from the middle/third remade , and with (hitting your own 
Name as femplice Confegrator. 

It is from Pliny in the XXXIII Book, and Dione in the LXlll, and Sili.lino , 
That when he came that was Tiridate King of Armenia in Rome, it was by Nero made 
Gild all this: o Theater ailieme with the Scene, in a thick day; and this 
He did so, by the glorious Ofl:entamento of the Roman Power, which makes it 
[hang more Tefori in a day. 

Affirm more Dione and Sililino's and/ or Faith Faith Faith Faith again quefl:a Scene 
Fucking Tyre; and, fruitful Euphebius in thy Chronicle, burning again 
Filippo Macedone , in the Secular Games of the Millennium Year of the City. 
Beyond this, he smells the Donati, the fire told by Vopifco in Carino. 
In the ...supper of this theatre, it happened very much in the real world with the di. 
And he of this, he of this, and not of any other Scene. Cailiodorus says 
...in the Epiphany!' Epiphany:ola LI of the Book. IV, the fourth breath of Pompey's Theater, 
even in your own time, famouse, refracted for the last time by King Theodoric. 
It is confirmed by us, ellerc!side quefl:o Prencipe very Amateur of l“mili 
Building, while the year_ 1691 , in (quarrying in the gardens called the slices Salt with
-to the Amphitheatre, he found in those Ruins a tombstone, where the rebuilding of the medems appeared, like the Amphitheatre. Q.efl:a Lapideef collected by Monfignor Ciampini, in order to confirm the Authority of Ca!liodoro, 
that you have reflexed what you say. From all this he can deduce, that Fabrica, though it has shaped so many Fires, has always remained aagnificionados.


, ....
THE DESCRIPTED FLAVIO ANphytheater, In1,-od11z. 29 
e A p I T o L o DE e I M o Q_u A R T O.
D E L T E A T R O D I MA R C E L L O. 
Ono of so much Sufficiency the Relics, that of prefcnte refiano 
to the villa of the famous theatre of Marcello, to make conofcere 
Validly your beautiful Compofio , while that one 
Parre reliduale verfo Levante makes us the Escort of the nobleman 
Structure , in which vile includes the great Intendi-
Architectural chin with which it was built, with the competition of many 
Harmonic Parts, which can tell you what a breather, will make the Ancient Buildings, 
the most beautiful and admirable; I reconfirmed a great intent. 
in that Eficriority, which makes the Excellence of the Difpo/izionc in the 
other interior : e , fecund 'I nollro Opinion , let's say elferc breath that one , 
frˆ !'Opere Antiche di quefio genre , the most fimirriato and well intcfo 
Building, united the Corrifpondenza delle Parti accelerforie , which ii could 
call Elf Temple of Edification. 
Qgefio Teatro folliene al prefcnte the Palazzo delli Signori Savelli; and, 
fertile Pliny, was erected in the Syrian, where was the Temple of Mercy: ˜ 
Even bifurcated to say, so as not to damn Augustus of impiety, that_ that 
Temple, before the Fabrica of the Theatre, fofTe fallen, or that at least 
Folfe near to the fabricated one, and that I give him the reftafi' raising 
aneh' he stood. 
They want the Antiquities, who from that of Pompey prcnde/Jc Augustus 
the Model; eh' he fabricated it in the Name of Marcellus Marita of Octavia 
Your daughter, in the Holitorium: and he saith unto them, that he is able to do so 
eommodamcntc to receive fedcando 80000 Perfone. 
Yes like the Romans in their ancient Rivers of Celebrations 
Dedication, Tcmpiio's, theatres, the power of attorney... 
fcmprc fcmprc the introduction of some News , for more Reading 
dc' About them. In order to approve this, M. 
Scauro, e/fendo Edile , will give up the Hipotamo , cd the Crocodile , coli' 
OJ! a of the PCFCE to which was efpofia Andromeda; all conducted by 
a Judean city named Gicppc. The Olla of which Mo!lro were 
40 feet long, and taller than the Olla of the Elephans. Coli An- 
gullo, in the Dedication of that Theatre, not ufcirc from the foliar 
A river to let go of some novelty:t , was 'I first eh' cfpofc to the publica 
...he's inside an ellcrmined cage, a tiger domcfiica. Co_ 
Pliny in the Book. Vili, Cap. XVII, and in the mcdcmo Book, 
H al 
THE DESCRIPTED FLAVIO ANphytheater, In1,-od11z. 29 
e A p I T o L o DE e I M o Q_u A R T O.
D E L T E A T R O D I MA R C E L L O. 
Ono of so much Sufficiency the Relics, that of prefcnte refiano 
to the villa of the famous theatre of Marcello, to make conofcere 
Validly your beautiful Compofio , while that one 
Parre reliduale verfo Levante makes us the Escort of the nobleman 
Structure , in which vile includes the great Intendi-
Architectural chin with which it was built, with the competition of many 
Harmonic Parts, which can tell you what a breather, will make the Ancient Buildings, 
the most beautiful and admirable; I reconfirmed a great intent. 
in that Eficriority, which makes the Excellence of the Difpo/izionc in the 
other interior : e , fecund 'I nollro Opinion , let's say elferc breath that one , 
frˆ !'Opere Antiche di quefio genre , the most fimirriato and well intcfo 
Building, united the Corrifpondenza delle Parti accelerforie , which ii could 
call Elf Temple of Edification. 
Qgefio Teatro folliene al prefcnte the Palazzo delli Signori Savelli; and, 
fertile Pliny, was erected in the Syrian, where was the Temple of Mercy: ˜ 
Even bifurcated to say, so as not to damn Augustus of impiety, that_ that 
Temple, before the Fabrica of the Theatre, fofTe fallen, or that at least 
Folfe near to the fabricated one, and that I give him the reftafi' raising 
aneh' he stood. 
They want the Antiquities, who from that of Pompey prcnde/Jc Augustus 
the Model; eh' he fabricated it in the Name of Marcellus Marita of Octavia 
Your daughter, in the Holitorium: and he saith unto them, that he is able to do so 
eommodamcntc to receive fedcando 80000 Perfone. 
Yes like the Romans in their ancient Rivers of Celebrations 
Dedication, Tcmpiio's, theatres, the power of attorney... 
fcmprc fcmprc the introduction of some News , for more Reading 
dc' About them. In order to approve this, M. 
Scauro, e/fendo Edile , will give up the Hipotamo , cd the Crocodile , coli' 
OJ! a of the PCFCE to which was efpofia Andromeda; all conducted by 
a Judean city named Gicppc. The Olla of which Mo!lro were 
40 feet long, and taller than the Olla of the Elephans. Coli An- 
gullo, in the Dedication of that Theatre, not ufcirc from the foliar 
A river to let go of some novelty:t , was 'I first eh' cfpofc to the publica 
...he's inside an ellcrmined cage, a tiger domcfiica. Co_ 
Pliny in the Book. Vili, Cap. XVII, and in the mcdcmo Book, 
H al 

..J
\ 

..... 

-. 

-á
I 


l 

30 L-ANPHITHEATER FLAVIO DESCRIPTED, /11trod11z. 

in Chap. XXVI; and in Lib. IX, in Chap. V: to which Places, as well as 
I'm going to get well in this matter. 

Then, in the light of the situation of the loaves, take the Buildings and Str;Jde, who 
We're in a bit of a pickle because of the Controversy! 
That over this mfcono, between Fefio , and Plinio , to whom, in order not to enter 
in Defpute, we're gonna be okay. It also affects the prefeme. 
can deny them, great Bread of the Theatre of Marcellus, verfo Piazza Monta- 
nara, who made the ancient Olitoria. Vuol Vittore, which was erected in the 
middle/third site, where the Temple of Janus was already built; Ubi crat 
nli11d 7emp!um Jani: fon foe Parole. Ma, in contrast, however, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes. 
the Words of Fefio , saying that the Temple tells them standing up to 
And also that Love was double Augufio, which is to say 
I give the Cofiruzzione of that Theatre: and u(I quote just from the premiere 
Controversy/ia of Pliny and Fefio, emamo in the other also of Fefio and 
Victor; but, for Clarification and Difefa d'ambidue quefi' Authors, is 
to believe them, who foprn the Ruins of Quephio, and the Temple of Mercy, 
The Temple of Marcellus is erected. Of course not! I don't believe it, but... 
Doubtful verily, I am to be understood! It is the Words of Victor; or even, by 
to falsify in any other way! Opinions of your Authors, who claim 
Real wind chimes the said two times standing at time eh' was already 
The Theatre of M. Jrcello, which must be built at this time. 
not fieilero in its own site where it was then '] Theatre, but well / neighbors 
and contiguous to him: and in what way he could in the medium/long-time ef(
the Theater was inhaled, and the already said Temple of Mercy and Janus; 
and with it, that Ubi di Vittore would denote, not Poprietˆ di Sito, 
but fola Vicinita. It proves the already said the Vicinanza del Vico di 

Janus, who was singing at one of these times; so that, like 
The Vico was standing, so that the Temple can still be built there. You<
Porphyry lafirius fopra the last Epiphyllis of the First Book of Horace, which justifiably 
what I mentioned to them confirms it. 



ANFI "f EATRO FLAVIO DESCRIPTED, lntroduz. 3t 

C A P I T O L O Q_ U I N T O D E C 1 M o. 


BALBO TEA. 


Homily R1lbo, of that Balbo Gaditano nephew that first 
of the Eilerni triumphed in Rome , to please Auguilo 
Made Ronu make a Tearro, because the medemo 
...enjoyed that the city was adorned with noble buildings. The true 
Elf site, however, can not fi can certainly not / tie. Comes 

Elf was built that T earro where is now the Palace of the 
Cefarini; affirming them elfcrvi ilato reconfciuro did only Veiligio 
Theatrical. We, however, argue against this opinion, I surrender, that the Eilenfione of the 
Siro di Campo di Fiore, Piazz,'1 Marrei, and Cefarini, well admits the Capacity 
of the Theatre of Marcellus , with that of Pompey , and Cerchio Flaminio 
with fooi Tempii, but not the other one from Balbo, as foppoilo is; 
For, as it were, they would make a joint construction of one with the other, 
to their neceifarie Longitudes and Widenesses : also the Nardini 
fears it, for the Uncertainty in which the ancient Cofe rempires, and for the 
Difficult to believe those who say they've seen them. About the 
true Situation of queilo Teatro, fruitful what Diane brings 
in the Bookcase. LIV, i.e. that queilo folfe firuaro in Place whiskers and near the Tiber 
The confirmation is not that Cefarini was not the verbal one; while the derro 
Aurore reported, that in the Dedication of Aeilus there came a flood:1, 
...that the Elephant Godfather wouldn't let him in. 

Onde, elfendo cofi varia ]'Opinione di tanti Scrirrori della Situazione 
of the aforesaid T earro , and not to enter in longa Difputa for such Divifione, 
and for elfer the Alfunto noil to talk about it, abban. 
We give the commitment to investigate his location. 


H : 

..J 


L......-..--" --..-

ANFITE'OTHER FLAVIO DESCRIPTED, l11trod11z. 35 

e A p I T o L o D E e I 1M o s E 1 TI M o. 

OF THE MARBLE AMPHITHEATRE PLACED 

IN VERoONA. 

ff Elli Pre?iiodella nobiliffima & ..ritichiflima City of Ve4o

_

rona v1 redeede an Amphitheatre, 11 which, as there is det


[J

-; to, after the one in Rome, is 'the admirable painter and 'lo

more considerate. Sappiafi, who nmi paflati li Amphitheatre

as well as the prelente ˆ days nofl:ri , vulgarly 
in the Cities there they call Arena; believing prefenwm..nte the Name and the 
Ancient voice. The Erudition is of Lipl“oo, who with quefl:e Words 
is to confirm what we say in the pre-treaty. Dig1111m 
autem not!i, is the quoted Author who speaks, q11od etia111 bodi bd'c omnia 
fer Loca Are111is appellant, retcnt:Z pri/i::Z jilicet, & vulgatfi voice. And eia 
Ji is related, to corroborate the nof“ri Feelings, which phono from the Au


According to the Alfertiva del Torelli , 

which called the Amphitheatre fofie built 


in some of the Stones sculpts the Effigy of a Bull, Symbol of Augfl:o, 

by Augfl:o, it is believable, flaunting the quality of Marbles, & Amplitude, that 
And in this he founds Drno Author, who founds an


which is impregnated in the ancient Numbers. 
say Medals: and the Reason for such a Symbol is, to the reference of Sueronius, 
eh' he nafcelfe, to ufar le fue Paroleo, ad Capita B11bula. Waves 
from the gil deno Opinion fi corroborates the Certainty , that quefl:o great Building 
The work of Augustus, he made the first breath to make trouble, 
That po in the ufo of cofl:rurre F abriche the qmli fufiero tune intiere di 
Marble. 

Pailˆremo to the Elf Defcription, fruitful is defectored by various 
Writers. All the Wall efl:eriore, which vulgarly there says Ala, they say 
of marble made at Ruf“ica. The Arches divide them into three Orders, of the 
Which one over the other; and each one of whatsoever contained fenanta 
two Arches. There were many columns in the lower Order over the 
Which of the statues, as evidently the Vefl:igies 
and the refidual relics. Above this:o the medephimous Order was pierced by a 

A wall, in which there were two wings, between two Finefl:kings great and two. The UFO 

I 1 of 



II 
\ .. ¡'" IlI
-á 
/ 
.. 
36 THE DESCRIPTED FLAVIO ANphyteur, Introduz. 
of effe {e fife,} who foife to accrue the Air, and the Light, to the Amphitheatre.
theatre; e/[endo elf covered with Sails: overo foffero made, to give 
To the Wind, he made that Breath composed of so many Winds, and could breathe; and 
also, in the State, to receive Refrigeration from the Twenties. 
/1¥ 
THE DESCRIPTED FLAVIO ANphyteur, I111rod11z. 37 

e A P 1 T o L O D E C I M O o T T A V o. 

CONCLUSION OF THIS INTRODUCTION. 

...Oe!lo dance for News about Origin, Fabric.i, & Edit 
the ancient Theatres and Amphitheatres. It seems to us 
It is superfluous to write more diffufamenre of the Compollo 
of the Theatres and their Figures, while by many Authors 
has the Explanation , and Dimission , in particular by the 
nofuo Legillarore Vitruvius , and Macrobio in the Library. Ili , Chap. XIX; de' 

your Saturnals; with those Afcrirre News from Pollux famous Writer 
Greek, which gives the name of the competing parties alb Scena , 
which give us modern, non-Ufirate, we do not pretend to spread 
which makes the hypophcinium, the Ara, the Paraphcenia, the Oiliolo, the Logeo, the 
Section, the Kerkide, the Felliceo, for effer all diverged from the Roman, 
Ancient, and modern, and out of the End, which is fl:aro fola to place 
I'll fuck the eye with a fuccinar Treatise of the Simple Rubble, to get rid of boredom. 
to those who don't like long Reading of Films Subjects, 


K 



f 


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L I B R o P R I -Nf O. 

OF THE PRESENT STATE 

DEL L' 

FLAVIO AMPHITHEATER, 

CI O IS 

DESCRIPTION OF ITS RESIDUAL 
PAR TE , CHE HORA E" IN PIEDI. 

P R O E E .M 1 O. 


EAST A hora standing of the famous Flavian Amphitheatre 
a large part, which for your own half can form an Idea. 
which would make them incredible, fe la 
Parre refidualc does not make us the undoubted Faith and Ephesiimony. 
He finds therefore such a Qyanti, which is 

habile to learn the total Ephienfion of quefi,1 great 1\lachina, and 
for the Removals of tuuo the Compie/Io; through which, they come 
to a precifa Cognition of the others that are missing from the vi!b prefeme. 

Therefore, we do not have to complain about the Tyranny of the 
Time and Barbarians, mindful that they have made us such a relic of an elf, fufficient 
ad efirarne and penetrarne b of him finiforata Size , and details 
Qyalitˆ, in that way fie/fo as your Principle was. And though there 
! The breath to us is difficult to put the whole of fi fiupendoae fiupendoae lacerated Building, nothing, however, for fi fi fi ingeniously the Difpolizione, to us has brought more pride than I feel, for the Godimemo that fe neahˆ in learning the first state of fi fi fi prodigiofa Fabrica, what we have been recognized of such Vaility: Eminence, who rightly, as we have heard of Ammianus Marcellin, who praised her with the fublime, gave them to believe 
that the Human Eye is worth it! I'm looking at you again.

Ka2 Not 



40 L'ANFITEATRO FLAVIO DESCRIPTED, libr.l 

Not folly the height of him was inclined to the Equality of the two 
the hills of Rome, Celio, and Palatino; but it also came to for- 
mount them, as in the followers Defend everything fi fcorge . 


..J 


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I 

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Horti 

c!l>t;ufŽa ..rena delle ruiduaH !})arti che s( tl'ou,uw iii pi'cdi' 
del!' c51l,yi,te!ilr[lLaui'o !year no8 

Harti' Hortt: 

Eqttt.rCarobuF,mtana. of the 



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4 

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THE DESCRIPTED FLAVIO ANPHYTHEATER, Libr.l. 4t 

CA P I T O L O P R I M O. 

EARTHLY ICHNOGRAPHY OF THE RESIDUAL 
PART THAT'S IN EXISTENCE OF THE 
AN 
FLAVIO PHYTHEATRE. 

A (2.!iantitˆ delle Velligie delle Mura, che hora fono in ef... 
fere of the Flavian Amphitheatre, it is breath to fomminillrare 
Lumens valid for tracing the yellow Delineation 
of the prefect more colorful plant, which denotes the 
Prefect state; and that also contributed to it the Intendament 
and Cognition, to outline the situation of the Parri, 


that the villa is now missing for the entire building, as it was in time... 
of your first state. 

IN'DICE. 

Let them speak of the Pilaflrons, Arks, & Amhulacri, who are now in ejfi:re. 
It denotes the unified situation of the Pilaphyrons, Arches, & Amh11lacri, that 

I'll be missing Noon. 

Portion of the Walls, and Polte, who ended up fucking the seats. 
Fahriche's rejiduality will make them medimes. 

Lt1ogo where the Royal Podium was, the qttale hora is not lilac vijla ; but I am there 
the Ve/ligias from the hiding place. 

Diametric lines that make Jlate the gitqla Delineation Regulators, 

Cavea Air 
Ovro Arena. 

, 


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P/anta delle Rui'duali' Parti del!' c.A"!fi,teatro Flaw'o dal J'aondo ;oz'ano 
of Arnbulacri and declara'a doue were there. 
thursday 

!,\ 
eg 


at the Rena d Cauea 

.Scale d,PalmiRomanz''. 

c--c>.c-...:===...==...==--------.===== and<{j,,

Eq.u Caro! UJ' Fonf:u.na dd, 



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L'ANFITEATRO FLAVIO DESCRIPTED, Libr.l. 43 

e A p I T o L o s E o N D o. 

ICHNOGRAPHY OF THE REMAINING SECOND FLOOR, 
WHICH IS IN PLACE, OF THE AMPHITHEATER... 
FLAVIO. 


0' with your own. Walls, as it comes to the forefront! 

"'...We have found, in the Compo!i detto i detto Piano , lai; Corrifpondenza de' Pila!“roni , & Ambulacri , fimili ˆ ai quelli del Pian Terreno, come anche la refiual Parte delle 
j Vaults of the First Grade Game, and those of the Stairways 


Plant: that is, the more fcurous complexion indicates the refidual prefectory breads; and 

Other clearer ones, those which are missing, as in the feguenre 

I N D I C E 

N¥. ,. Pilajlroni, and Archi, of the Heliptic Ambulacra. 

N-... i. Pilaj/roni, and Archi, of the phimic ambulatory, which make flati dimcttti. 

N-, 3. Walls, and Vejligie of Stairs, which refi ned to the fecund Sphere of Degrees, 
N¡ 
. 4. J/olte ˆ declivio , which formed the first Grade Sphere. 

N¡. r. Precenjione, oilro, Piano del Podio Regio. 

N¡, 6, Aria della Cavea, Ovro Arena. 


L 2 



3 


7Jian'la delle! A..f'J'zdualŽ... Jzano of the 9th amphitheatre... 
doue thermôzano lz' seat and !2],Tcensz1-i' 

Staircase clt'Pal11URomant 

Eq11u Ct1ro/iu Font.'lrut. del 



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L'ANFITEATRO FLAVIO DESCRIPTED, Libr.l. 45 

CA P I T O l O T E R Z O. 

ICHNOGRAPHY OF THE RESIDUAL TO THE PART'. 

D E L T E R Z O P I A N O F T H E 

FLAVIO AMPHITHEATER. 

1migth Appearance of the Flavian Amphitheatre is from Earth 

-

.... ' up to the third floor, which however we have 
1¥ 

Oif“ntion in the prefect Plant of efTo; havendo tralaf-

f the other fuperiors, I take note of their lack: but I do not 

We give news from that lower foliage from the Lower Diet 
Verfo Tramontana , which fpicca from said Plan up to ali' Height of the fire 
Finish, as in the Profiles of the fuffegutive Defenses f1 reconfc.e Che 
But with the plagues, and the effaults in effa that are admired, they have made us 
Valuable Enlightenment, where were attached and iridescent there three Plans 
Demolished: As long as, the most fcurous complexion denotes the part that is in fact in the 
called the third floor, and the other clearer one denotes those that are missing. 

SENDS. 


N-. r. Pilajlroni , and Archi, corri/pondenti agli altri di fatto , verfa Tramontana, 
fapra dd!i q11a!i refreshes the rejlo of the Pariete, where n11e;lre 
, e 
Pilajlri plans. 

N¥. 1. M11ri refid11ali, fajlenevano le Fofu,'del q11arto Piano. 

N'. 3. Part of the!' Building, which is flato demolished verfa Half-DayJlo. 

No. 4. Pilaflri equally demolished, including the P i!ajlroni, Archi, and the Wall of No. 1, 
N¥. 5. Place where the rejid11ali Times that j˜jlenavano all 'turns of the Degrees, 
N¡. 6. L11ogo of Podio Regio. 

N¥. 7. Aria della Cavea, ovro Arena. 


M 



.. 

O'Jl'o'! P 

-C "Pvr:Jp-ectorsiduale de!' EAnj“teatroPlauio 1wfrFiiwnontana comeitroua di'prfmte 



Prefintto re.nduale dell'D.m(jteatro cp/awo uer;/o (Ponen'te, come,n7:rouadifrf/ente 



I 


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,,,,, I 

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41

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L'ANFITEATRO FLAVIO DESCRIPTED, Libr.l. 47 

C A P I T O L O Q U A R T O. 

OF THE PROSPECTUSES, AND RESIDUAL VESTIGES 
EXTERIOR, OF THE" AMPHITHEATER 
FLAVIO 

the Allunto da noi prefo in dimoflrare lo Stato dcli', 
The Flavian Amphitheatre, commonly known as the Colofieum, when 
it was in your Effort and Completion, it is necessary that 
first oven vifle the Parei reliduali that of prefente phono 

--standin' primafle, who have given us fuffi


together with a way to determine the state in which he found himself in the time of the king. 
empire and his empire. 

Waves, in ellcution of this, we put forth in the following Cana the two 
Major Parts re/iduali eh' hora are admired; that is, the Longest Part, 
Which looks verse Tramom.ina, A; and the other verse Poneme , as also 
that midday verse, B: auvanzare, not by the Tyranny of Time... 
But from the Diroccarione will follow, in the sec</ies nearer to us, for 
]' Greed for those Saili. 

Q\iella eh' hora  in piedi verfo Tramontana, compresa la Rivolta dell' 
another western verse, it's num0 
34 Stack!l:you are in the Fire, over and above

-¥ 

which correspond to the others, and Pariere , up to the foo Finish ; e/fendo 
flato [membrate and removed from vifla num0 
46 others at Pian Terreno with

-¥ 

the fuperiors in those higher Provinces: in a way raie , which have enormously 
removed from the vifla that great enjoyment, which gave birth to that- 
intact and marvelous building. And the portion, which is missing vcrfo Noon 
That was the most enjoyed, I surrender the Flat Deflance vcrfo Half -
Day, which admitted the fullness of your vision: a meeting, ]a 
Part of the rhyme is standing, for difgraria de' Riguardami del noflro Secolo, 
not cloth from her Eyes retract such Effect , flame the narrowness of the 
Road, and nearby Hills, which prevent the innermost Godimemo in one:i 
Eye; which therefore would make the ruin of the Parre less badly floated 
Verfo Tramontana, and lafciar standing that verfo Mezzo-Giorno, for 

less defrauding the Vifla. 

In aca/ione that we had tightened quefle re/iduali Vefligie rimaf


It has been found that in the Lower Pariere, which looks like the Levante verfo, 

efiervi in the end some Bows with Safli bowed by their own ligatures, the 

M 2 which 



48 .L'ANFITEATRO FLAVIO DESCRIPTED, libraries.
l. 


which mo{h-have evidently ruined in that Band. Waves are coming out of the 
Affection and Obli go, we have not failed to report to the Pontiffs, 
and Superiors, the Necessary Ailiflaria of a Valuable Shelter, in aflicuring that which is 
A ruinous part; but, for more Difgrazia, the nofires Preci and<l Etlortazioni 
until bora ˆ nada they fervent. 


No. I, 

lvi>- .
. 
N¥. 

3á 

No. 

4á 

N'.

_j f- 

No. 

6 ¥ 

. 

.N, 
7. 

No. 

8. 

No, ?- 

'' 

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INDEX 

The amphitheatre was built by Tramontana. 

First String Sphere for the 1st

polo, at Pian Terreno. 

Second Sfem , to illuminate the //mbu!acres of the -second Floor. 
Third Sphere of /Jrchi, which illuminated /'Amb;,lacro on the third floor. 
Fi11eftre acceffarit!, which illuminated the Ambulacro q11arto. 

Fmeflre, who threatened; I the Amb11/acre fifth. 

Profj>of ji,det10, which makes the Comparfa verfa Ponente. 

Parti rejid11ali ver.fo Mezzo-Giorno. 

Line, which dimojlra the Part that is missing, which is broken breath,