FOOTNOTES:
[1]See Shaw’s Travels in Barbary vol. ii. p. 286.
[2]“About forty years ago, when M. Le Maire was French consul at Tripoly, he made great inquiries, by order of the French court, into the truth of this report; and amongst other very curious accounts relating to the same place, he told me a remarkable circumstance to the great discredit and even confutation of all that had been so positively advanced with regard to the petrified bodies of men, children, and other animals. Some of the Janizaries who, in collecting the tribute, travel over every year one part or other of this district of Ras Sem, promised him that, as an adult person would be too heavy and burdensome, they would undertake, for a certain number of dollars, to bring him from thence the body of a little child. After a great many pretended difficulties, delays, and disappointments, they produced at length a little Cupid, which they had found, as he learnt afterwards, among the ruins of Leptis; and to conceal the deceit, they broke off the quiver and some other of the distinguishing characteristics of that deity.”
“M. Le Maire’s inquiries (he continues), which we find were supported by the promise and performance of great rewards, have brought nothing further to light. He could never learn, after sending a number of persons expressly, and at a great expense, to make discoveries, that any traces of walls or buildings, animals, or utensils, were ever to be seen within the verge of these pretended petrifactions. The same account he heard from a Sicilian renegado, who attended him as Janissary while in Egypt, and assured him that he had been several times at Ras Sem; and also from another Sicilian renegado, whom the Bashaw of Tripoly had appointed Bey or Viceroy of the province of Derna, where Ras Sem was immediately under his jurisdiction.”
[3]The position of Ghirrza, and of several of the most conspicuous objects on the road to that place from Tripoly, are as follows:—
| Latitudes. | Longitudes. | |
|---|---|---|
| ° ′ ″ | ° ′ ″ | |
| Ghirrza Ruins | 31 07 16 | 14 40 50 |
| Benhoulat Square Tower | 31 28 10 | 14 18 15 |
| Benioleet Castle | 31 45 38 | 14 12 10 |
| Wady Denator-huts | 31 52 10 | 14 03 50 |
| Wou-lad-ben-Merian Pass | 32 21 40 | 13 34 22 |
| Wahryan Mountain-summit | 32 07 50 | 13 02 10 |
[4]The passage of Vitruvius in question, is as follows, as we have extracted it from Wilkins’s translation:—
“From the foregoing investigations,”—those of Aristoxenus on the doctrine of harmony, “brazen vases have been made upon mathematical calculations, proportioned to the magnitude of the theatre. They are so constructed, that upon being struck, they form amongst themselves concords of the fourth, fifth, regularly in succession, on to the double octave. They are then arranged amongst the seats of the theatre according to a certain musical proportion, in cells made for their reception. They ought not to be placed in contact with the wall, but have a vacant space above and around them. They should be inverted, and the edge next the stage raised by means of wedges, six inches in height at the least: apertures ought to be made in the seats of the lower row, opposite to the cells, two feet in width, and one in height.”
“If the theatre be not very spacious,” continues our author, “thirteen arched cells will be sufficient, in which as many vases are to be placed in the order which he proceeds to point out, by observing which, the voice,” he says, “which diverges every where from the stage, as from a centre, striking each of these hollow vases, will acquire an increase of clearness and strength, and at the same time produce corresponding tones in concord with its own sounds.” “It may, perhaps, be said,” continues Vitruvius, “that many theatres are built every year at Rome, in which no attention has been paid to these points: the objection, however, is not applicable; because it is not considered that all public theatres constructed with wood have many surfaces, which act as sounding-boards. The truth of which will be manifest, if we observe those who sing to the harp; who, whenever they wish to sing in a higher tone, turn themselves to the leaves of the scene; from which they receive the assistance of corresponding sounds. But when theatres are not sonorous, in consequence of their being built with solid materials, such as stone or marble, whether wrought or unhewn, it then becomes necessary to have recourse to the expedient just explained. Many skilful architects, who have built theatres in small towns, have, in order to lessen the expense, adopted vases of pottery instead of brass, of the same pitch; and, by arranging them according to these principles have produced the most useful effects.”
We may remark on this subject, that it has hitherto been doubted, by persons well qualified to judge of architectural details, whether the practice alluded to by Vitruvius in the foregoing passage, was ever really adopted by the ancients for the purpose which he mentions. Mr. Wilkins has noticed a passage in Pliny, which alludes to a mode of building peculiar to the walls of theatres; in the construction of which, hollow vessels of earthenware were immured, and whenever it was required to prolong the vibrations, or to increase the powers of the voice, the orchestra was strewn with sand or saw-dust, by which means, the voice being directed to the body of the house, the sounds were carried along the walls so long as there was no impediment to obstruct their course; whereas, in the walls of other edifices, the interior space between the two faces of the wall was filled in with rubble. “In describing this mode of building,” continues Mr. Wilkins, “Pliny might have had our author in view; whose mention of vases received a degree of confirmation from the fact, that earthern vessels were sometimes inserted in the masonry of ancient buildings. An instance in which this practice has been adopted, occurs in the Circus of Caracalla. Vases are there found regularly distributed in the stone work above the crown of the arches, which were constructed for the purpose of giving a proper degree of elevation to the seats of the spectators. The object of their introduction seems to be the diminution of weight. Vitruvius confesses (Mr. Wilkins adds) that there was no theatre at Rome which had vases for such a purpose; although he states them to have been in use in the provinces of Italy, and in most of the cities of Greece. It is certain, however, that in the various theatres which have fallen within our observation, no provision has been made for the reception of vases, in the situation which Vitruvius assigns to them.”