DOI Page / Citation link:
https://doi.org/10.11588/diglit.47233#0051
ARCHITECTURAL DESCRIPTION AND ANALYSIS.
35
CHAP.
Ill
Holes in kerbs.
Purposes of holes.
Regulations of
outfall.
Gutter stones not
fixed together.
Pedestals.
On the outer and inner kerbs of the
e. On the inner kerb they are to
on the outer kerb
I
\
this case the outfall would probably have been regulated by sluices, or in some
that it acted as an overflow on ordinary occasions, and, when there was a heavy rain-
have been opened up in order to let the water run off quickly and so prevent
gutter are some small holes,
lie found opposite the ends
next the orchestra they are cut at irregular
are marked on the plan (Plate VII.). These
about 2-} inches
of the benches,
intervals. They
holes may have
been used for various purposes, such as for fitting in iron standards
to support an awning—there is a hole on one of the steps as if
to tie a rope through, and similar holes are found at Athens,
Argos, &c.—or some of them may have been cut for the purpose
of fixing a thin temporary covering or passage-way over the
gutter, opposite tlie steps.
The stones composing the gutter itself are not, apparently,
fixed together with cramps or dowels.
Of the pedestals in the orchestra, it is only necessary
to say here that they are obviously later additions, and are
probably not even in their original positions as such.10 A
drawing (Fig. 23) is given of the one on the west side, of which
the base and drum are still in position. There is a pedestal
of a, similar design and of almost exactly the same size in front
of the Temple at Lykosoura, and, from it, the capping, shown
by dotted lines on the drawing, is restored.
Of the pedestal on the east side of the Orchestra (Pedestal A), only the base stone
is left standing.
(D). The Auditorium.
The curve of the Auditorium, which is rather more than a semicircle, is a true arc
of a circle all round and does not widen out beyond the semicircle, between the cross axis line
of the theatre and the retaining walls, as at other theatres such as those at Epidaurus,
Athens, Eretria, &c.
Auditorium.
(Plates V., VII.,
VIII., IX., and
XI.)
Nature of curve.
The auditorium is divided into nine wedges of seats (/cep/c/Ses) by eight sets of steps,
and there is also a set at each end next the retaining walls. The centre lines of these
sets of steps all radiate towards the centre of the orchestra.
Most of the stone seating has entirely disappeared. The present remains consist of
the front row of benches (θρόνοι}, the passage behind the same, and several tiers of seats
behind that again. The first three tiers are practically complete all round, and in one place
as many as nine consecutive tiers can be traced. The ordinary seats are made of stones of
unequal length and are not in one piece with the footstones, as at Epidaurus, Athens, &c.,
these latter being, in this case, separate flat slabs averaging 6 inches thick. Some of these
slabs are of limestone and others of conglomerate, and the two varieties seem to have
been used indiscriminately. Neither the blocks of the seats themselves nor those of the
footstones have been joined together with iron cramps.
A diagram is given (Fig. 24) showing, in detail, a section through the seats and,
for the sake of comparison, those at Athens and Epidaurus are likewise drawn alongside to
the same scale.
Divided into nine
wedges.
Remains of
seating.
Nature of seats.
A curious although slight difference is found between the seats in the wedges on either
side next the retaining walls, and those in the other wedges. While in the majority of
the seats there is a small sinking in the back of the seat block of about inch
deep (see Fig. 24)—the level of the sinking having evidently been that of the footstone
Variety in the
seats.
18 I am informed by Mr. Ernest Gardner that, during the
course of thoroughly cleaning out this drain since my visit
to Megalopolis, a sinking has been found in the cill towards
the west end, which looks as if it had been cut for the
purpose of letting the water escape.
19 As they at present stand they are not symmetrically
placed with regard to one another and to the cross axis of
the theatre.
35
CHAP.
Ill
Holes in kerbs.
Purposes of holes.
Regulations of
outfall.
Gutter stones not
fixed together.
Pedestals.
On the outer and inner kerbs of the
e. On the inner kerb they are to
on the outer kerb
I
\
this case the outfall would probably have been regulated by sluices, or in some
that it acted as an overflow on ordinary occasions, and, when there was a heavy rain-
have been opened up in order to let the water run off quickly and so prevent
gutter are some small holes,
lie found opposite the ends
next the orchestra they are cut at irregular
are marked on the plan (Plate VII.). These
about 2-} inches
of the benches,
intervals. They
holes may have
been used for various purposes, such as for fitting in iron standards
to support an awning—there is a hole on one of the steps as if
to tie a rope through, and similar holes are found at Athens,
Argos, &c.—or some of them may have been cut for the purpose
of fixing a thin temporary covering or passage-way over the
gutter, opposite tlie steps.
The stones composing the gutter itself are not, apparently,
fixed together with cramps or dowels.
Of the pedestals in the orchestra, it is only necessary
to say here that they are obviously later additions, and are
probably not even in their original positions as such.10 A
drawing (Fig. 23) is given of the one on the west side, of which
the base and drum are still in position. There is a pedestal
of a, similar design and of almost exactly the same size in front
of the Temple at Lykosoura, and, from it, the capping, shown
by dotted lines on the drawing, is restored.
Of the pedestal on the east side of the Orchestra (Pedestal A), only the base stone
is left standing.
(D). The Auditorium.
The curve of the Auditorium, which is rather more than a semicircle, is a true arc
of a circle all round and does not widen out beyond the semicircle, between the cross axis line
of the theatre and the retaining walls, as at other theatres such as those at Epidaurus,
Athens, Eretria, &c.
Auditorium.
(Plates V., VII.,
VIII., IX., and
XI.)
Nature of curve.
The auditorium is divided into nine wedges of seats (/cep/c/Ses) by eight sets of steps,
and there is also a set at each end next the retaining walls. The centre lines of these
sets of steps all radiate towards the centre of the orchestra.
Most of the stone seating has entirely disappeared. The present remains consist of
the front row of benches (θρόνοι}, the passage behind the same, and several tiers of seats
behind that again. The first three tiers are practically complete all round, and in one place
as many as nine consecutive tiers can be traced. The ordinary seats are made of stones of
unequal length and are not in one piece with the footstones, as at Epidaurus, Athens, &c.,
these latter being, in this case, separate flat slabs averaging 6 inches thick. Some of these
slabs are of limestone and others of conglomerate, and the two varieties seem to have
been used indiscriminately. Neither the blocks of the seats themselves nor those of the
footstones have been joined together with iron cramps.
A diagram is given (Fig. 24) showing, in detail, a section through the seats and,
for the sake of comparison, those at Athens and Epidaurus are likewise drawn alongside to
the same scale.
Divided into nine
wedges.
Remains of
seating.
Nature of seats.
A curious although slight difference is found between the seats in the wedges on either
side next the retaining walls, and those in the other wedges. While in the majority of
the seats there is a small sinking in the back of the seat block of about inch
deep (see Fig. 24)—the level of the sinking having evidently been that of the footstone
Variety in the
seats.
18 I am informed by Mr. Ernest Gardner that, during the
course of thoroughly cleaning out this drain since my visit
to Megalopolis, a sinking has been found in the cill towards
the west end, which looks as if it had been cut for the
purpose of letting the water escape.
19 As they at present stand they are not symmetrically
placed with regard to one another and to the cross axis of
the theatre.