Joseph Furttenbach - The Noble Mirror of Art

The following text is from the English translation of Furttenbach’s third treatise ‘The Noble Mirror of Art’ by A. Nicoll, J.H. McDowell and G.R. Kernodle in Hewitt (ed., 1958) The Renaissance Stage, documents of Serlio, Sabbattini and Furttenbach. Coral Gables.

How to design the wings as shown in the first scene

In the space between the front pit and the shutters, wings that revolve [periaktoi] are to be erected to form the scene. These must have their pivots carefully placed so that they not only present one scene, such as this one of houses, but also revolve to show another, such as the garden of the secunda scena, and on occasion still other scenes. They must permit entrances or "streets" for actors and for various machines. Hence their construction is most important.

The whole scene must be planned in good proportions for the best perspective effect, and so planned that the lamps that stand at the sides will have good position for lighting the successive scenes. This scene I made 34 feet wide at the front and 14 feet wide at the back, and 20 feet high at the front, decreasing to 10 feet at the back.

To mask and cover what is not part of the setting, thin boards well joined and planed are built at the sides (at m to n and o to p on [Figure 1]) 5½ feet wide and 30 feet high to the ceiling. The proscenium is finished by a section (Schirm) between the side walls 4¼ feet wide, made of smoothly planed boards and fastened to the ceiling. On this planking is painted a beautiful curtain tied in rosettes. This gives a beautiful finish to the front - then the scene opens and you cannot see behind at all but only a well proportioned perspective setting 34 feet wide and 20 feet high.

To place the setting according to perspective art, four principal points must be established on the stage floor. The front points are established at the back of the proscenium walls 3 feet to the right and the left of the scene opening. The two back points are at the shutters, 7 feet on each side of the center. Then two red lines are laid out by carpenter's chalk-line from the front points to the back points. On these red lines, beginning at the back, first a 3-foot street is left, then the 4-foot face of the periaktoi. Then from the two front corners of the periaktoi, the point for the other corner is found by drawing with a compass two arcs with radii of 2 feet and of 3½ feet. These three points mark the sides for a triangularwing or periaktoi with a 4-foot front, a 3½-foot back, and a 2-foot end.

The main difficulty is to find a point for the iron pivot, so that when the periaktoi turn they may have the proper positions with respect to each other and to the entrances. The point is found in this manner: From the middle point of the 2-foot end a line is run to the opposite corner. Then the point for the pivot is on that line, 1¾ feet from the end.

The two secondary periaktoi which join two of the main ones to form complete houses, have sides of the same dimensions as the three main ones on the red line, but the sides are in different order. The 4-foot sides are visible to the audience at the same time as the 4-foot sides of the three main periaktoi. To find the point for the pivot of the two secondary periaktoi, a line is run from the center of the 2-foot end to the opposite corner just as in the case of the other three prisms. But here the point is marked 1 foot from the 2-foot end instead of 1¾ feet.

These periaktoi, with the frames that are fastened on them and the top and bottom into which the iron pivots are fixed, can easily be made by an ordinary carpenter or cabinet maker with the instructions here given. The two farthest back on each side are made 9 feet high. After another 3-foot street is left, the next pair are made 12 feet high. After another 3-foot street there is a single periaktoi at each side, 14 feet high. In all there are five similar periaktoi on each side of the stage with four 3-foot streets or entrances.

For the back shutters (Schnurramen) four grooves from ╪ to S are cut into a supporting beam at the level of the stage. Each shutter is a frame of wood 9 feet long and 10 feet high covered with cloth. The two shutters for the first scene, painted as part of the scene of houses, run in the first groove. They fit together at the center so that no space can be seen between. They can be drawn apart to the ends of the groove, where they are out of sight, to disclose the second shutters painted as part of the garden scene. When the scene is to be changed again, the second pair of shutters are drawn to the side in the groove to show the third pair of shutters painted as a camp, and finally the fourth pair painted as a grove or a desert or mountain. At the center at R an iron stop ¼ inch thick and 1 inch high is set in each of the grooves so that when the shutters are pushed to the center they will not go too far to one side.

When all the shutters are drawn aside there is a large opening to the inner stage, where a tapestried room like a hall may be shown. At V at the back of the inner stage a royal throne may he placed for a prince, king, or emperor with his councillors at each side, With excellent effect. Such a room can be used for many other occasions. If the boards are removed it becomes a rear pit where the sea is shown with waves, where ships, whales, and similar maritime objects can be seen.

 The wall back of the inner stage may be made only ½ foot thick or only of boards. When there is need, openings for machines may be made in it. Here the fiery bush was shown (as told in the third chapter of the second book of Moses) in a beautiful wood of natural trees and shrubbery. By means of an opening in the wall the parisol was operated to simulate fire. This is described in detail later.

Further back is the dressing room, with a long table and a bench of the same length. It is easy for the actors to pass unseen through the two doors to the stage, so that the spectators will wonder how the large number of people came to fill the stage.

The placement of the oil lamps

At the front of the stage oil lamps are set 3 feet apart on the floor behind the ¾-foot board shown in the cross section. From this hidden position they send light only over the scene. Behind the side walls of the proscenium next to the scene opening oil lamps are placed in iron rings one above the other 2 feet apart up to the heavens. Behind these lamps are placed glittering pieces of gold tinsel. Other lamps are placed behind the clouds, so that one cloud lights the next, sending down a glow like day. Also in the rear pit 50 oil lamps should he placed, each filled with ¼ pound of olive oil.

In order to change the scene, one man is assigned to each pair of periaktoi; in each hand he grasps one of the handles fastened to the ends of the periaktoi. When the signal for the change is given by a little bell, he pulls the handles towards each other simultaneously, turning the periaktoi so that the backs are turned to the audience and new corners come together to show the second scene. At the same time men turn each of the single periaktoi, and pull the first pair of shutters back by means of strong leather straps. These men, eight in all, change the scene with a quickness that excites the admiration of the audience, who can scarce divine how the change is brought about. The periaktoi are shown in their new positions in [Figure 2]. The new sides of the wings and the second back shutters are painted to represent a garden.

The turn of the periaktoi to the new positions makes the scene larger by the spaces marked Spatium. These provide good places for the actors to go out of sight in the course of the action, as behind mountains or rocks. Above all, the perspective lines are kept intact; there are still sides of houses on the main per- spective line, though that line is further to the side than in the first scene.

For the change to the third scene, the military camp, preparations are made during the second act. Out of sight of the audience, new painted frames with new scenes to cover the first scene are put on the backs of the periaktoi. To hold these frames, guards are glued on or set into the top and the bottom of the periaktoi and the frames are inserted or fastened on with an iron turnbuckle so that they can be taken off at will. When the signal is given by the bell, the same eight men turn the periaktoi in an instant to the first positions and pull to the sides another pair of back shutters. Thus the whole scene is changed to a mili- tary camp as quickly as a man can open and shut his eyes.

For a change to a fourth scene, painted frames are fastened by turnbuckle to the periaktoi on the other side. At the sound of the bell the periaktoi are turned and the shutters are pulled aside to show the fourth pair, painted for the fourth scene, which may be of mountains, hills, and rocks. In this manner the scene may be changed as many times as desired.

Here is shown a section through the length of the theatre. The stage platform is 5 feet high at the front from a to c. For the proper effect of perspective it rises to 7 feet at the back shutters at W to I. The stage is 20 feet deep from A to W. At the front of the stage at c to b is a board or screen rising ¾ foot above the level of the floor to conceal the oil lamps placed behind it every 2½ feet. Round holes are cut into the floor to hold the pointed under part of the lamps. By these lamps the scene may be lighted from below, evenly like day. Behind the lamps a piece of beaten brass or golden tinsel covered with a piece of mica will reflect glimmering rays that will cause the spectator to wonder how the effect is achieved. At the back of the stage is the row of posts to support the lower grooved beam I, K. In this beam are cut four grooves for the shutters. The shutters are 10 feet high from I to g, and their tops are held in a similar beam with four grooves.

Only the beginning of the rear pit is shown in this cross section. Further detail has been shown in the first ground plan. When this space is floored it serves as a room. When the board floor is removed, it is a pit 7 feet deep where the sea is represented and where ships, galleys, and whales are made to pass on the lower floor P. When a land scene is shown, carriages, wagons, horsemen, or such other machines as may be desired, are made to pass over.

In order that this rear pit may he well lighted, at least ten oil lamps with shiny reflectors behind them are set in iron rings 2 feet apart along the upper grooved beam.

The scene opening at the front is 20 feet from b to cc. Above the opening, from cc to d, is the 4½-foot board section of the proscenium on which drapery (Umbhang) is painted.

Above the scene at e to f are two sloping beams to give the heavens the proper perspective form. These beams, called Anhafftungs or Seitenträger, are 1/3 by 1½ feet and are placed one on each side of the stage above the red lines laid out on the ground plan. In them are set the upper ends of the iron pivots of the periaktoi. To the bottom of them are nailed at ♀, ♀, ♀, etc., one behind the other, the six sections of the heavens cut in the form of clouds (Wolcken), about 2 feet wide, and a seventh section is nailed at g to the grooved beam above the back shutters. Behind each section of the heavens, as explained and shown at zzz  on plate 23 of my Architectura Recreationis, a large number of oil lamps are fastened by iron rings. Behind each lamp is nailed a 6-inch-square reflector of gold tinsel. In the fluctuation of the air, the glimmering of these lamps will light up the heavens and send down beautiful beams to the great delight of the audience. Lights with reflectors should be placed in rings behind the upper part of the proscenium frame at cc to light the first cloud.

The front pit at X to z is 10 feet wide. At the ceiling above it, at d to R, is a similar space between two frames. Here at the top are hung two, or sometimes as many as six, curtains. They are let fall into the front pit to lie out of sight of the audience. If a curtain covers the scene when the audience first comes into the hall, it will whet the interest and cause the greater wonder when the curtain falls. If anyone desires to paint on the curtain a perspective scene of buildings, he will find four different designs in plate 20 of my Architectura Recreationis.

The seats for the spectators must be planned with care. A floor is erected on strong pillars, and over this a sloping floor. The seats of the benches are 1 2/3 feet from the sloping floor and 1¼ feet wide, with backs 1 1/3 feet high. A space 1¼ feet is left between the benches for entering and for comfort when sitting. The fact that the benches are set on a sloping floor enables all the spectators to see the stage clearly - a very important provision in a place intended for graciousness and delight.

In the space between the first benches and the front pit are placed sixteen well-appointed chairs for the most distinguished spectators (Principales) with their wives, and for their youths.

This space is separated from the front pit by a parapet (Galleriae) 2¼ feet high. The board frame immediately above at t to S is painted with ornaments of leaves and fruit.

Painting the scene

On the back shutters a street with houses is painted with a fountain in the center, such a fountain as I show in plate 28 of my Architectura Recreationis. The shutters should be so carefully fitted together at the center of the scene that they will appear to be one frame. The vanishing point must not be placed too high or too low but in the proper place. I usually start from the level of the stage floor at the center and locate the vanishing point 4 feet above. Then all the lines of the perspective, both on the floor and in the entire scene, are to be laid out from that vanishing point.

The periaktoi that come together to form one house, as shown on the ground plan, must be fitted together so well that they look like the corner of a real house, and so that nothing can be seen between them. These periaktoi and the single periaktoi at the front are to be drawn and painted as houses of Florentine design with big red stone blocks (Quatterstucken) and white lines. But the windows and door frames are to be painted in shades of gray (graw in graw), so that they will stand out in the light of the lamps. When the heavens are painted to simulate clouds, in shades of gray with a reddish tinge in natural proportions, the first scene is finished.

When the periaktoi are turned and the first back shutters drawn aside as explained in connection with the ground plans, the scene is transformed into a graceful pleasure garden.

On the second pair of back shutters is painted a garden in the middle of which is shown a beautiful open grotto, such as I show in my Architectura Recreationis in plate 28. At either side of the grotto are painted lovely trellised arbors. These back shutters, like the first pair, should be well fitted together as a continuous wall. Here also the vanishing point for the entire scene is placed 4 feet from the floor.

Each pair of the periaktoi, as at L and K, must fit together at the narrow corners so that nothing may be seen between. On the periaktoi are painted splendid trellises or arbored walks with topiary cupolas. The foremost one is painted with a sizable trellis of shrubs trained in a formal pattern, painted green with the clear blue sky shining between.

At I, I, I, etc., on the two sides are the streets or entrances between the pairs of periaktoi, as marked out on the ground plan of [Figure 2]. Then the second scene is complete.

After the lovely pleasure garden, if it is desired to have other changes, such scenes may be designed as a wood or a wilderness, or a scene of the shore with rocks and other rugged objects (Rilppen) painted directly on the faces of the periaktoi. Again after the sound of the drums and trumpet the performers will come on in costumes appropriate to the scene and once more please the audience.