DOI Page / Citation link:
https://doi.org/10.11588/diglit.785#0310
208
FERENTO.
[chap. XIII.
state of preservation, the scena in this ruin gives us a more
complete idea of that part in ancient theatres than can be
derived from any other remain of the same description
extant, particularly in the distinction between the " royal
gate " in the centre, and the " stranger-gates " on either
hand.1 Canina has called this theatre a Roman structure,
as late as the time of Otho ; yet in his cursory notice of it,2
he must have referred only to the arches and brickwork,
for the lower part of the facade has an air of much supe-
rior antiquity, and from its resemblance to the masonry of
other Etruscan sites, has very strong claims to be con-
sidered Etruscan.3
Ferentum, though small, and probably at no time of poli-
tical importance, was celebrated for the beauty of its public
monuments. Vitruvius cites them as exhibiting "the
infinite virtues " of a stone hewn from certain quarries,
called " Anitianse," in the territory of Tarquinii, and espe-
cially in the neighbourhood of the Volsinian Lake. This
stone, says he, was similar to that of the Alban Mount in
colour, i.e., it was grey like peperino; it was proof alike
1 Vitruv. V. 6. The seven gates in the
outer wall are a very unusual number;
but in the scena there is only the legiti-
mate number of three ; the rest opening
into the postscenium alone. There are
no traces of a portico in front, or rather
at the back of the theatre, as was com-
mon in Greek edifices of this descrip-
tion. Vitruv. V. 9.
This is certainly the best preserved
scena in Italy ; but that of Taormina in
Sicily is more perfect, having a second
story ; and that of Aspendusin Pamphy-
lia is entire, with three stories inside,
and four outside, as I learn from the
drawings of that enterprising traveller,
Mr. Edward Falkener.
2 Ann. Inst. 1837, 2, p. 62—64. The
plan of this theatre, and its measurements
in Tuscan braccia, are given in the
Annals of the Institute 1839. Tav. d'
Agg. F.
3 The semicircle of arches, though of
the same material as this facade, and
very massive, seems, from the regularity
of its masonry, to be of later date. I
regard it as Roman. That the brick-
work is but a repair of a more ancient
structure is most clear, from the irre-
gularity of the upper line of the masonry
below it, and from the brickwork filling
up its deficiencies. See the woodcut
at page 201. The original Etruscan the-
atre had fallen into decay, and Otho, or
one of the early Emperors, put it into
repair.
FERENTO.
[chap. XIII.
state of preservation, the scena in this ruin gives us a more
complete idea of that part in ancient theatres than can be
derived from any other remain of the same description
extant, particularly in the distinction between the " royal
gate " in the centre, and the " stranger-gates " on either
hand.1 Canina has called this theatre a Roman structure,
as late as the time of Otho ; yet in his cursory notice of it,2
he must have referred only to the arches and brickwork,
for the lower part of the facade has an air of much supe-
rior antiquity, and from its resemblance to the masonry of
other Etruscan sites, has very strong claims to be con-
sidered Etruscan.3
Ferentum, though small, and probably at no time of poli-
tical importance, was celebrated for the beauty of its public
monuments. Vitruvius cites them as exhibiting "the
infinite virtues " of a stone hewn from certain quarries,
called " Anitianse," in the territory of Tarquinii, and espe-
cially in the neighbourhood of the Volsinian Lake. This
stone, says he, was similar to that of the Alban Mount in
colour, i.e., it was grey like peperino; it was proof alike
1 Vitruv. V. 6. The seven gates in the
outer wall are a very unusual number;
but in the scena there is only the legiti-
mate number of three ; the rest opening
into the postscenium alone. There are
no traces of a portico in front, or rather
at the back of the theatre, as was com-
mon in Greek edifices of this descrip-
tion. Vitruv. V. 9.
This is certainly the best preserved
scena in Italy ; but that of Taormina in
Sicily is more perfect, having a second
story ; and that of Aspendusin Pamphy-
lia is entire, with three stories inside,
and four outside, as I learn from the
drawings of that enterprising traveller,
Mr. Edward Falkener.
2 Ann. Inst. 1837, 2, p. 62—64. The
plan of this theatre, and its measurements
in Tuscan braccia, are given in the
Annals of the Institute 1839. Tav. d'
Agg. F.
3 The semicircle of arches, though of
the same material as this facade, and
very massive, seems, from the regularity
of its masonry, to be of later date. I
regard it as Roman. That the brick-
work is but a repair of a more ancient
structure is most clear, from the irre-
gularity of the upper line of the masonry
below it, and from the brickwork filling
up its deficiencies. See the woodcut
at page 201. The original Etruscan the-
atre had fallen into decay, and Otho, or
one of the early Emperors, put it into
repair.