The museum of classical antiquities : being a series of essays on ancient art . nd extent is to take a map of the Romanempire, and attribute to every town or city shown thereon atemple, theatre, baths, triumphal arches, and the other usualevidences of Roman grandeur. It is probable that the reader is not aware that theatres, andthose of no little magnitude, may still be traced in the ancientcities of Verona and Vicenza; and yet these places are not outof the common route of travellers, but are on one of the highroads of Italy. It is remarkable that each of these theatres isindebted for its exc
The museum of classical antiquities : being a series of essays on ancient art . nd extent is to take a map of the Romanempire, and attribute to every town or city shown thereon atemple, theatre, baths, triumphal arches, and the other usualevidences of Roman grandeur. It is probable that the reader is not aware that theatres, andthose of no little magnitude, may still be traced in the ancientcities of Verona and Vicenza; and yet these places are not outof the common route of travellers, but are on one of the highroads of Italy. It is remarkable that each of these theatres isindebted for its excavation to a single individual. The theatreat Verona has been explored at the sole charge of Sig. AndreaMonga; and the theatre at Vicenza, though excavated at theexpense of the Austrian government, the Academy of Venice,and the municipality of the place, owes its reappearance to theexertions of the architect Miglioranza, who has devoted hiswhole life to its accomplishment. It is to this theatre that Iwould first direct the attention of my readers. 169 THE THEATRE OF Plau of the Theatre of Vicenza.—From Barbaros edition of Vitruvius. In the vicinity of the Piazze cle Gualdi and S. Giuseppe andthe Contrada de SS. Apostoli, a stranger may behold a circularform of street, without having any idea of its real origin; buton entering one of the houses, he will at once perceive that theback fronts form one regular curve directed toward the straightline of what he might fancy to be the scene of an ancienttheatre, and such indeed it proves to be. On more attentiveconsideration, the gardens of these houses will be seen to 170 ON THE THEATRES OF VICENZA AND VERONA : decline toward one common centre, and the party fence wallswill be found to represent the converging lines of the ancientscal^e. With the exception of a rude drawing, published by Mazzariin 1603, and of one or two subsequent drawings unpublished,Sig. Miglioranza claims to be the first who has devoted himselfto the el
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