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The Rock Art of Eastern North America Capturing
Images and Insight 1st Edition Carol Diaz-Granados
Digital Instant Download
Author(s): Carol Diaz-Granados, James R. Duncan
ISBN(s): 9780817350963, 0817350969
Edition: 1st
File Details: PDF, 5.08 MB
Year: 2004
Language: english
The Rock-Art of Eastern North America
 The Rock-Art
of Eastern
North America
Capturing Images and Insight

Edited by
Carol Diaz-Granados

and
James R. Duncan

T H E U N I V E R S I T Y OF A L A B A M A PR E S S

Tuscaloosa
Copyright © 2004
The University of Alabama Press
Tuscaloosa, Alabama 35487-0380
All rights reserved
Manufactured in the United States of America

Frontispiece: Mohawk Chief Hendrick, standing next to a tree into

which there is carved a tabulation of his 39 coupes. The eight incised
figures with heads depict the number of prisoners he had taken and
the 31 incised figures without heads depict the enemies he had killed.
(Lithographic print courtesy of the Library of Congress; the dates and
artist are not identified)

Typeface: AGaramond

∞
The paper on which this book is printed meets the minimum requirements
of American National Standard for Information Science–Permanence
of Paper for Printed Library Materials, ANSI Z39.48-1984.

Library of Congress Cataloging-in-Publication Data

The rock-art of eastern North America : capturing images and insight / edited by
Carol Diaz-Granados and James R. Duncan.
p. cm.
Includes bibliographical references and index.
ISBN 0-8173-1394-X (cloth : alk. paper) —
ISBN 0-8173-5096-9 (pbk. : alk. paper)
1. Indians of North America—East (U.S.)—Antiquities.
2. Petroglyphs—East (U.S.) 3. Rock paintings—East (U.S.)
4. Picture-writing—East (U.S.) 5. East (U.S.)—Antiquities.
I. Diaz-Granados, Carol, 1943– II. Duncan, James Richard,
1942–
E78.E2R63 2004
709´.01´1308997073—dc22
2004005273

ISBN 978-0-8173-5096-3 (pbk. : alk. paper)

ISBN 978-0-8173-8404-3 (electronic)
This book is dedicated to the trailblazers of eastern rock-art research and
founding “fathers” of the Eastern States Rock Art Research Association:
James Swauger
Fred E. Coy, Jr.
Charles H. Faulkner
 Contents

List of Illustrations
xi
List of Tables
xix
Preface
xxi
Acknowledgments
xxiii
Introduction
xxv
DENDROGLY PHS
1. Native American Dendroglyphs of the Eastern Woodlands
Fred E. Coy, Jr.
3
ET HNOGR A PH Y
2. Ratcliffe Sacred Rock and the Seven Sacred Stones, Iowa
Lori A. Stanley
19
3. Mississippian Cosmology and Rock-Art at the Millstone Bluff Site, Illinois
Mark J. Wagner, Mary R. McCorvie, and Charles A. Swedlund
42
4. Pica, Geophagy, and Rock-Art in the Eastern United States
Kevin L. Callahan
65
PAT TER N I NG OF SI TES A ND MOT IFS
5. On the Edges of the World: Prehistoric Open-Air Rock-Art in Tennessee
Charles H. Faulkner, Jan F. Simek, and Alan Cressler
77
viii Contents

6. Rock-Art and Late Woodland Settlement in the Northern Ozarks

Richard Edging and Steven R. Ahler
90
7. Pattern and Function at the Jeffers Petroglyphs, Minnesota
Robert Alan Clouse
110
8. Elemental Forms of Rock-Art and the Peopling of the Americas
Jack Steinbring
126
9. Re®ections of Power, Wealth, and Sex in Missouri Rock-Art Motifs
Carol Diaz-Granados and James R. Duncan
145
10. Association between a Southeastern Rock-Art Motif and Mortuary Caves
Jan F. Simek, Alan Cressler, and Elayne Pope
159
GENDER
11. Farming, Gender, and Shifting Social Organization: A New Approach to
Understanding Kentucky’s Rock-Art
Cecil R. Ison
177
12. Empowering the SECC: The “Old Woman” and Oral Tradition
James R. Duncan and Carol Diaz-Granados
190
SU RV EY, R ECOR DI NG, CONSERVAT ION,
A ND M A NAGEMEN T
13. Recordation, Conservation, and Management of Rock Imagery
at Samuel’s Cave, Wisconsin
Johannes H. N. Loubser and Robert F. Boszhardt
219
14. Rock-Art Sites on the Susquehanna River
Paul Nevin
239
15. The South Carolina Rock-Art Survey
Tommy Charles
258
HISTOR IC
16. The Peterborough Petroglyphs: Native or Norse?
Joan M. Vastokas
277
Contents ix

17. The Bald Friar Petroglyphs of Maryland:

Threatened, Rescued, Lost, and Found
Edward J. Lenik
290
18. Clift’s Rock: Unionism and the Civil War in East Tennessee
Rex Weeks
308
DAT I NG MET HODS
19. Passamaquoddy Shamanism and Rock-Art in Machias Bay, Maine
Mark Hedden
319
20. Analyzing and Dating the Nisula Site, Québec
Daniel Arsenault
344
References Cited
361
Contributors
407
Index
411
 Illustrations

Frontispiece. Mohawk Chief Hendrick

1.1. Iroquois clan animal drawings taken from a tree (with the bark
removed) 8
1.2. Record of Iroquois exploits carved into a tree 10
1.3. Indian warmarks transcribed from a tree on the banks of the
Muskingum River, Ohio 12
1.4. Various markings on trees recorded by Lieutenant
Colonel Hubley 14
1.5. Trees painted by Indians between the headwaters of
the Susquehanna 16
2.1. Location of Allamakee County, Iowa, and the Ratcliffe Sacred Rock
petroglyph boulder 20
2.2. Ratcliffe Sacred Rock 21
2.3. Sacred Rock petroglyph 21
2.4. Diamond-shaped glyph from Bear Creek Rock Shelter; elliptical glyphs
with central groove from Woolstrom/Malone-Blake Crevice 22
2.5. Seven arrow points and their clamshell container recovered from the
site of Ratcliffe Sacred Rock 24
2.6. Members of the Winnebago Tribe of Nebraska who visited Ratcliffe
Sacred Rock in 1997 26
2.7. Morphology and ®aking patterns con¤rming ¤ve of the Sacred Rock
arrow points (housed at Ef¤gy Mounds National Monument) 28
2.8. Road grading activities completely exposed the south face of
Sacred Rock 30
2.9. Ellison Orr beside Ratcliffe Sacred Rock 31
2.10. Copper or brass serpent artifacts from Oneota contexts in the
Upper Iowa River valley 37
3.1. Illinois counties with reported rock-art sites 43
3.2. Millstone Bluff site topographical map showing locations of eastern,
western, and central petroglyph groups 44
3.3. Photograph of eastern petroglyph group, Millstone Bluff site 50
3.4. Map of eastern petroglyph group, Millstone Bluff site 51
xii Illustrations

3.5. Map of repeating pattern of three motifs, falconid bird,

anthropomorph, and bilobed arrow, eastern petroglyph group,
Millstone Bluff site 52
3.6. Photograph of falconid bird, eastern petroglyph group,
Millstone Bluff site 53
3.7. Photograph of plumed bilobed arrow motif, eastern petroglyph group,
Millstone Bluff site 54
3.8. Mississippian birdman image, Mound C, Etowah site; piasa image
showing use of bisected chevrons to indicate wings 55
3.9. Map of western petroglyph group, Millstone Bluff site 56
3.10. Photograph of elk-antlered serpent being, western petroglyph group,
Millstone Bluff site 58
3.11. Map of central petroglyph group, Millstone Bluff site 59
3.12. Millstone Bluff site: falconid bird with bilobed arrow headdress; large
male anthropomorph with upraised arm 61
4.1. The cupmarked boulder at Blood Run, Iowa 67
4.2. Close-up of the Blood Run, Iowa, boulder 67
4.3. A cupmarked sandstone block, discovered in Lawrence
County, Ohio 68
4.4. Cups and furrows on the wall of Saint Mary’s Church, at
Greifswald, Pomerania 69
5.1. Photograph of red disk pictograph on bluffs above the
Harpeth River 78
5.2. Map of Tennessee showing the physiographic regions described in
the text 79
5.3. Sketches by Thomas Lewis of red pictographs in a rockshelter along
the Tennessee River 81
5.4. Drawing of bison pictograph in a rockshelter near the
Harpeth River 82
5.5. Red pictographs of anthropomorphs, geometric shapes, and a
winged image from rockshelters in the southern Cumberland
Plateau escarpment 83
5.6. Petroglyphs from Gernt Shelter Rock in the northern
Cumberland Plateau 84
5.7. Photograph of lobed cross from the Cross site in the southern
Cumberland Plateau 85
5.8. Photograph of winged anthropomorph from a rockshelter on the
eastern escarpment of the central Cumberland Plateau 88
5.9. Enigmatic petroglyph engraved into the surface of a large natural rock
bridge in northeastern Tennessee 89
6.1. Fort Leonard Wood showing site complexes discussed in the text 92
6.2. Late Woodland sites in the Miller complex 95
Illustrations xiii

6.3. Images reported for the Miller Petroglyphs site: vulvar motif or
bisected oval; winged zoomorph 97
6.4. Late Woodland sites in the Lohraff complex 99
6.5. Images documented on Lohraff Petroglyphs Rock No. 1 101
6.6. Photographic detail of the Lohraff “shaman” ¤gure 102
6.7. Line drawing of images on the entire rock face, Lohraff Petroglyphs
Rock No. 2 104
6.8. Photograph of the spotted eagle/owl/hawk image on Lohraff
Petroglyphs Rock No. 2 with details enhanced by snow 105
7.1. Location of the Jeffers Petroglyphs site in southwestern
Minnesota 111
7.2. Clusters de¤ned for Jeffers Petroglyphs; locations of Type 1
anthropomorphs; locations of Type 3 anthropomorphs 113-115
7.3. Type 3 horned anthropomorph 118
7.4. Humanoid stick ¤gure type anthropomorphs 119
7.5. Correspondence analysis graphs: glyph types; clusters; glyphs and
clusters at Jeffers Petroglyphs site 121-123
7.6. View of Jeffers Petroglyphs site and terrain 125
8.1. Superb Rau lithoprint of a formalized cupule site in India 128
8.2. Typical cup and ring site: Torrs Farm site in southwestern
Scotland 129
8.3. The Alberta Corridor as commonly conceived, 12,000 b.p. 132
8.4. A pecked mass containing noncontiguous dots at the Mud
Portage site, Ontario 134
8.5. Small, solidly pecked animal petroglyphs at the Mud Portage
site, Ontario 134
8.6. Flake tools from the Mud Portage site, Ontario 136
8.7. Prehistoric quarry on high ground overlooking the Mud Portage
site, Ontario 137
8.8. Flake tools from the Rush Bay Road site 138
8.9. Periglacial refugium in northwestern Ontario; access to refugium from
northeastern Minnesota, available as early as 14,500 b.p. 140
8.10. One of two ribstones on the crown of a steep hill near Viking,
Alberta, Canada 142
9.1. The Cahokia Birdman on incised sandstone tablet; anthropomorphic
hawk on a Wul¤ng Plate from Dunklin County, Missouri 147
9.2. Birdman ¤gures: Picture Cave; Peene-Murat site; Washington State
Park-A 147
9.3. Petroglyph panel at the Maddin Creek site: twins of Morning Star
battling the giant 148
9.4. Drawings of two shell maskettes: Rogana, Tennessee, and Yokem site,
Pike County, Illinois 149
xiv Illustrations

9.5. Morning Star (the son or nephew) carrying the head of his father
(or uncle) Morning Star 149
9.6. Hawks and anthropomorphs: Wallen Creek; Washington State Park-A;
Maddin Creek 151
9.7. Male ¤gures with prominent phalli: Picture Cave ¤gure; Plains
rawhide cutout 153
9.8. Bilobed arrow petroglyphs at the Maddin Creek site 153
9.9. Bilobed arrow pictograph at the Lost Creek site 154
9.10. Vulvar petroglyphs: Miller Cave; Three Hills Creek; Washington State
Park-A; Bushberg-Meisner 154
9.11. Petroglyph of vulvar motif at Bushberg-Meisner site 155
9.12. Concentric circles with serpent motifs, Plattin Creek site 156
9.13. Birthing (puerperal) panels: Maddin Creek; Three Hills Creek 157
10.1. Petroglyphs from 5th Unnamed Cave, Tennessee 161
10.2. Photograph of face and toothy mouth petroglyphs from 6th Unnamed
Cave, Tennessee 163
10.3. Photographs of face ef¤gies with toothy mouths from 11th Unnamed
Cave, Tennessee 165
10.4. Petroglyphs from 14th Unnamed Cave, West Virginia 168
10.5. Petroglyphs from 15th Unnamed Cave, Georgia 170
10.6. Toothy mouth petroglyphs from 34th Unnamed Cave, Tennessee 171
11.1. Human footprints sharing a common rock face with a hominy hole 182
11.2. Petroglyph resembling a plant/organic form, located in shelter with
hominy holes 183
11.3. Map of Kentucky showing locations of early cultivar concentrations,
hominy hole distribution, and petroglyph sites 184
12.1. Map of research area indicating concentration of rock-art depicting
gender motifs 192
12.2. West-facing vulvaform located at Washington State Park, Site A 193
12.3. Distribution of vulvar motifs, as well as vulvar-phallic and
puerperal motifs 194
12.4. Red and white painted, hooded bottle depicting an Old Woman from
the Campbell site 195
12.5. Vulvar motifs found in Missouri petroglyphs 196
12.6. The Birger ¤gurine, an early Stirling phase image of the
Old Woman 197
12.7. “Deer Woman” petroglyph at the Maddin Creek site 198
12.8. Deer iconography: deer petroglyphs at 1,000 Hills State Park 199
12.9. Bone hairpin fragment carved in the likeness of a doe deer 200
12.10. Groeper “horned serpent” pictograph on the wall of a shelter, Warren
County, Missouri 201
12.11. Old Woman/celestial family chart 202
12.12. Late Mississippian pottery bottle in the shape of an Old Woman 204
Illustrations xv

12.13. Osage Big Moon altar (vulvaform) 205

12.14. Second daughter: the West ¤gurine 206
12.15. Avian petroglyphs carved with accompanying stick and ball: Washington
State Park-A; Bushnell Ceremonial Cave; Maddin Creek 207
12.16. Osage Roadman’s staff for use during the Big Moon
peyote ceremony 208
12.17. Spiro gorget displaying striped pole 209
12.18. Morning Star ¤gure at Picture Cave 209
12.19. Women carrying the scalps of slain enemies perform an adoption rite
as part of a lengthy mourning ceremony among the Osage 210
12.20. Nopawalla blanket ¤gure 211
12.21. The World Tree depicted on a Spiro cup 212
12.22. Dorsey’s World Tree 213
13.1. Diagrammatic representation of the conservation management
planning process 220
13.2. Plan map of Samuel’s Cave, showing interior rock surfaces and
location of motifs 223
13.3. Cross-section map of Samuel’s Cave, showing areas with motifs 224
13.4. Redrawn tracing of Area C, Samuel’s Cave 226
13.5. Redrawn tracing of Area H, Samuel’s Cave 228
13.6. Redrawn tracing of Area I, Samuel’s Cave 229
13.7. Redrawn tracing of Area O, Samuel’s Cave 230
13.8. Close-up of bottom central portion of Area O, Samuel’s Cave 231
13.9. Redrawn tracing of Area S, Samuel’s Cave 232
13.10. Diagrammatic representation of the relative sequence of motif types
within Samuel’s Cave 234
14.1. Typical Bald Friar design motifs 240
14.2. Typical Walnut Island design motifs 241
14.3. A two and one-half foot long serpent executed in outline or relief on
Little Indian Rock 242
14.4. Close-up view of petroglyphs on the southern end of Circle Rock 246
14.5. Anthropomorphs on Big Indian Rock 251
14.6. Thunderbird and anthropomorphs on Big Indian Rock 252
14.7. Petroglyphs on the main portion of Little Indian Rock 253
14.8. Petroglyphs on Eagle Rock 254
14.9. Possible eclipse motif on Little Indian Rock 254
14.10. Some of the Safe Harbor designs having associated cupules: Little
Indian Rock; Big Indian Rock; Circle Rock 255
14.11. Some of the Safe Harbor carvings indicating direction: Little Indian
Rock; Big Indian Rock; Eagle Rock 255
15.1. South Carolina’s geographical zones 260
15.2. Circle petroglyph with radiating lines at site 38PN127 263
15.3. Cupules incorporated into petroglyph at site 38OC378 264
xvi Illustrations

15.4. Possible anthropomorphic ¤gures at site 38PN81 265

15.5. Human and animal ¤gures at site 38LU422 265
15.6. Cupules associated with petroglyphs at site 38OC378 266
15.7. A recently discovered site in Pickens County, South Carolina, with
numerous human ¤gures and geometric or abstract forms 267
15.8. The “King Beetle Rock” at site 38RD668 268
15.9. The two major variations of the circle and line petroglyph motif 268
15.10. Pictograph at site 38PN102 270
16.1. “Solar-boat,” Peterborough Petroglyphs; Bronze Age petroglyph,
Bohuslan, Sweden 278
16.2. General view of the north side of the Peterborough Petroglyphs site 281
16.3. Ti¤nagh script 282
16.4. Shaman ¤gure, Peterborough Petroglyphs; example of
“sacred outline” 288
17.1. Copy of D. H. Landis photograph of petroglyphs on a “rocky inlet
about 100 yards northwest of Miles Island” 294
17.2. Bald Friar glyph characterized as a “face” 296
17.3. Possible face and vulvar glyphs at Bald Friar 297
17.4. Bald Friar ¤sh petroglyph, 18 inches by 10 inches 298
17.5. Glyph interpreted by Landis as an anthropomorphic ¤gure 299
17.6. Quarried Bald Friar petroglyphs stored at Druid Hill Park,
Baltimore, Maryland 300
17.7. One specimen of a quarried Bald Friar petroglyph in the pile stored
at Druid Hill Park, Baltimore, Maryland 300
17.8. Quarried ¤sh petroglyph from Bald Friar 302
17.9. Concentric circles with linear appendage from Bald Friar 303
18.1. Colonel William Clift in his Federal uniform 310
18.2. Geographical location of Clift’s Rock 311
18.3. Drawing of petroglyphs on Clift’s Rock 312
18.4. Left hand petroglyph at Clift’s Rock 314
18.5. Presbyterian meetinghouse petroglyph at Clift’s Rock 315
19.1. Map of the Maritime peninsula with Machias Bay and the
Passamaquoddy-Maliseet (Etchemin) tribal territories in a.d. 1600 322
19.2. Machias Bay outer ledge at 62.1, looking northwest at low tide 323
19.3. Machias Bay petroglyphs: Style 1, Style 2, Style 3 327
19.4. Machias Bay Style 5a, shaman/spirit as active performer with bird
attributes 336
19.5. Machias Bay Style 5a, shaman or anthropomorphic spirit featuring
arms out and bent upward in gesture of “bearing gifts” 337
19.6. Machias Bay Style 2, shaman invested by spirit, which is represented
only by a second pair of legs connected to the central “spirit path” 339
19.7. Machias Bay Style 4, shaman with “full belly” spirit 340
19.8. Meda spirit who hears, sees all 341
Illustrations xvii

19.9. Maymaygwayshi healing spirit 343

20.1. Map of the Province of Québec showing the location of
rock-art sites 346
20.2. General view of the Nisula site under winter conditions 350
20.3. Front view of the Nisula site partly covered with ice 351
20.4. The main panel of the Nisula site displaying dozens of elements traced
with red ochre 352
20.5. Anthropomorphic ¤gures on the main panel of the Nisula site 353
20.6. Close-up view of a digital tracing at the Nisula site, showing the clear
imprint of the painter’s ¤ngertip 354
20.7. Motifs and associated lines visible on the rock surface of panel II,
the main decorated panel of Nisula site 355
20.8. One of the two motifs depicting a horn-headed ¤gure from which a
pigment sample was taken for AMS dating 357
20.9. Detail of an old map of the so-called Domaine du Roy en
Nouvelle-France, the ¤rst mention of a rock-art site in Canada 358
 Tables

3.1. Comparison of major motif types, Millstone Bluff site 50

10.1. Radiocarbon age determinations for Southeastern cave art sites with
burials discussed in the text 162
14.1. Distribution and frequency of designs at Safe Harbor
petroglyph sites 250
15.1. Rock-art sites in South Carolina 261
19.1. Diagnostic features in Machias Bay petroglyphs by style period 328
19.2. Depths below mean high tides and distances from shore for each
style period 330
19.3. Metrics, contours, and wear of Machias Bay petroglyphs by
style period 334
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parastaticae pedum
xviii,

latae binos, crassae

pedem, quae
excipiunt item
trabes
sustinentes cantherium et
porticuum, quae
sunt summissa
7 infra testudinem, tecta.
reliqua spatia inter
parastaticarum
et columnarum trabes per |
intercolumnia
luminibus sunt 25
relicta. columnae sunt in
latitudine testudinis
cum angularibus
dextra ac sinistra
quaternae, in
longitudine quae
est foro proxima cum
isdem | angularibus
octo, ex altera 107
 a
2 quā (qm S): sic x.
8 ne HS: nec G.
x
9 zophora x. | e ṭ simmetriis
G c.
12 colonię G: columniae H,
colūnę S.
13 faciendum G (-dam H, -
dā S).

17 altitudinis S (ex quo supra

-ib; Gc ꝉ is).
18 pedes . l. x.
os
19 latae (-ę GS) x. | ii. Ꞩ ( ii
Ꞩ supra Gc) … i Ꞩ x.
21 pedum xviii (GH, pedū
x&viii. S) x.

22 binum (-ū GS) x.

23 porticum (-cū GS) x.

26 latitudine G: altitudine
HS.
28 ē in foro S. | isdē G:
hisdem HS.
Plain text
 parte cum angularibus vi,
ideo quod mediae
duae in ea
parte non sunt positae ne
inpediant aspectus
pronai aedis
Augusti, quae est in medio
latere parietis
basilicae conlocata
8 spectans medium forum et
aedem | Iovis, item
tribunalis, (5)
quod est in ea aede
hemicyclii schematis
minoris 5
curvatura formatum. eius
autem hemicyclii in
fronte est
intervallum pedum xlvi,
introrsus curvatura
pedum xv,
uti qui apud magistratus
starent negotiantes
in basilica
ne inpedirent. supra
columnas ex tribus
tignis | bipedalibus
(10)
 compactis trabes sunt circa
conlocatae, eaeque
ab 10
tertiis columnis quae sunt
in interiore parte,
revertuntur
ad antas quae a pronao
procurrunt
dextraque et sinistra
9 hemicyclium tangunt. supra
trabes contra
capitula ex
fulmentis dispositae pilae
sunt conlocatae
altae pedes iii,
latae | quoqueversus
quaternos. supra
eas ex duobus tignis
15
bipedalibus trabes
everganeae circa
sunt conlocatae.
quibus
insuper transtra cum
capreolis
columnarum contra
corpora
et antas et parietes pronai
conlocata sustinent
 unum culmen
perpetuae basilicae,
alterum a medio
supra pronaum
aedis.
10 | ita fastigiorum duplex T
uti notae dispositio
extrinsecus 20
tecti et interioris altae
testudinis praestat
speciem venustam.
item sublata epistyliorum
ornamenta et
pluteorum
columnarumque
superiorum distributio
operosam detrahit
molestiam
sumptusque inminuit ex
magna parte
summam.
ipsae vero columnae | in
altitudine perpetua
sub trabes 25
testudinis perductae et
magnificentiam
inpensae et
auctoritatem
operi adaugere videntur.
operi adaugere videntur.
1 vi. HS: sex G.
3 angusti S.
4 tribunal x.
5 (et 6) hemicycli HG,
hemiciclyi (hic, hemicicly
v. 6) S. | scematis x.
7 pedes (bis) x.
10 eaeque H(Gc), ęeque (sic)
S, ea eque G.
13 hemicyclium HG, hemi
ciclyū S.
o
15 quoque (q̅ q̅ G, qq⁊ SGc)
versus x. | quaternis x.
16 trabes G: om. HS. |
euerganeae (-ę GS) x (=
everganeae cf.
Quicherat: Rev. arch. N.
S. III, 71).
17 transtra (L): trasta x.
18 conlocatae (-ę G) HG,
collocatę S(Gc).
20 T uti notae: tectinata H,
tecti | nata G, tecti nata
S ( bi t ti d l
 S (ubi tecti del.
Quicherat).
25 trabes G: trabe HS.

Plain text
II Aerarium, carcer, curia foro
sunt coniungenda,
sed ita
| uti magnitudo
symmetriae eorum
foro respondeat.
maxime 108
quidem curia in primis est
facienda ad
dignitatem municipii
sive civitatis. et si quadrata
erit, quantum
habuerit
latitudinis dimidia addita
constituatur altitudo,
sin autem 5
ob|longa fuerit, longitudo
et latitudo
componantur et
summa (5)
composita, eius dimidia
pars sub lacunariis
altitudini detur.
2 praeterea praecingendi
sunt parietes medii
coronis ex intestino
opere aut albario ad
dimidiam partem
 altitudinis.
quae si non erunt, vox ibi
disputantium elata
in altitudinem 10
| intellectui non poterit
esse audientibus.
cum autem (10)
coronis praecincti parietes
erunt, vox ab imis,
morata
priusquam in aere elata
dissipabitur, auribus
erit intellecta.

III Cum forum constitutum

fuerit, tum deorum
inmortalium
diebus festis ludorum
spectationibus
eligendus est locus
15
| theatro quam
saluberrimus, uti in
primo libro de
salubritatibus (15)
in moenium
conlocationibus est
scriptum. per
ludos enim cum coniugibus
lb
 et liberis
persedentes
delectationibus
detinentur et corpora
propter voluptatem
inmota
patentes habent venas, in
quas insidunt
aurarum flatus, 20
qui si a re|gionibus
palustribus aut aliis
regionibus vitiosis
(20)
advenient, nocentes
spiritus corporibus
infundent. itaque
2 si curiosius eligetur locus
theatro, vitabuntur
vitia. etiamque
providendum est ne
impetus habeat a
meridie. sol
enim cum implet eius
rotunditatem, aer
conclusus curvatura
25
neque | habens potestatem
vagandi versando
confervescit (25)
 et candens adurit
excoquitque et
inminuit e
corporibus
umores. ideo maxime
vitandae sunt his
rebus vitiosae
3 regiones et eligendae
salubres.
fundamentorum
autem, si
in montibus fuerint, facilior
erit ratio, sed si
necessitas 30
coegerit in plano aut
pa|lustri loco ea
constitui,
solidationes (30)
1 coni(l G)ungenda HG:
adiungenda S.
2 respondeant x.
6 con(m)ponatur x. |
summae(-ę GS) con(cō
S)posita x (cōpositæ Gc).
7 lacunaris altitudine x (-ni
G c)
15 ex(s GS)pectationibus x.
16 uti primo (om. in et libro)
ante corr. S.
17 immoeniū G.
20 insiduntur (-t᷑ GS) x.
23 eligitur ante corr. G.
24 ne GS: nene H.
30 fuerit x.

Plain text
 substructionesque ita erunt
faciendae,
quemadmodum
de fundationibus aedium
sa|crarum in tertio
libro est 109
scriptum. insuper
fundamenta lapideis
et marmoreis copiis
4 gradationes ab
substructione fieri
debent.
praecinctiones
ad altitudines theatrorum
pro rata parte
faciendae videntur, 5
neque altiores quam
quanta |
praecinctionis
itineris (5)
sit latitudo. si enim
excelsiores fuerint,
repellent et eicient
e superiore parte vocem
nec patientur in
sedibus summis,
quae sunt supra
praecinctiones,
 verborum casus
certa significatione
ad aures pervenire. et ad
summam ita est
gubernandum 10
uti linea cum ad imum
gra|dum et ad
summum (10)
extenta fuerit, omnia
cacumina graduum
angulosque tangat.
5 ita vox non inpedietur.
aditus complures et
spatiosos
oportet disponere, nec
coniunctos
superiores
inferioribus
sed ex omnibus locis
perpetuos et
directos sine
inversuris 15
faciendos, uti cum populus
dimittatur | de
spectaculis, ne (15)
comprimatur, sed habeat
ex omnibus locis
exitus separatos
sine inpeditione.
 Etiam diligenter est
animadvertendum
ne sit locus
surdus, sed ut in eo vox
quam clarissime
vagari possit. 20
hoc vero fieri ita poterit, si
locus electus fuerit
ubi non
6 inpedia|tur resonantia. vox
autem est spiritus
fluens aeris, (20)
tactu sensibilis auditu. ea
movetur circulorum
rotundationibus
infinitis, uti si in stantem
aquam lapide
inmisso
nascantur innumerabiles
undarum circuli
crescentes, a centro
25
quam latissime possint
evagantes, nisi
angustia loci
interpellaverit | aut aliqua
offensio quae non
patitur (25)
 designationes earum
undarum ad exitus
pervenire. itaque
cum interpellentur
offensionibus,
primae redundantes
insequentium
7 disturbant | designationes.
eadem ratione vox
110
uti ad circinum efficit
motiones, sed in
aqua circuli planitie
31
6 eicient e superiore parte
GS: eicientem
superiorem partem H.
s
8 pedibus ante corr. (p̣ ) Gc. |
summis: suis x.
9 sunt om. x (add. L).
15 sine: siue HS et ante ips.
corr. G.
22 in(m SGc)pediantur x. |
est: ut x.
23 tactu: &(et G)actu x.
26 possint & vagantes x.
31 uti: ita x. | ininaqua H,
inaquaẹ Gc.

Plain text
 in latitudine moventur, vox
et in latitudine
progreditur
et in altitudinem gradatim
scandit. igitur ut
in aqua undarum
designationibus,
item | in voce cum
(5)
offensio nulla primam
undam
interpellaverit, non
disturbat
secundam nec insequentes,
sed omnes sine
resonantia 5
perveniunt ad imorum et
ad summorum
aures. ergo
8 veteres architecti naturae
vestigia persecuti
indagationibus
vocis scandentis
theatrorum
perfecerunt
gradationes,
| et quaesierunt per
canonicam
 mathematicorum et
musicam (10)
rationem ut quaecumque
vox esset in scaena,
clarior 10
et suavior ad spectatorum
perveniret aures. uti
enim
organa aeneis lamminis aut
corneis ηχειοιϲ ad
chordarum
sonituum claritatem
perficiuntur, sic
theatrorum per
harmonicen
ad | augendam vocem
ratiocinationes ab
antiquis (15)
sunt constitutae. 15

IV Harmonice autem est

musica litteratura
obscura et
difficilis, maxime quidem
quibus graecae
litterae non sunt
notae. quam si volumus
explicare, necesse
est etiam
b d
 graecis verbis uti, quod
nonnulla eorum
latinas non
habent appella|tiones.
itaque ut potuero
quam apertissime
20
ex Aristoxeni scripturis
interpretabor et eius
diagramma
subscribam finitionesque
sonituum designabo,
uti qui diligentius
2 attenderit facilius percipere
possit. vox enim
mutationibus
cum flectitur alias fit acuta
alias gravis,
duobusque
modis movetur, | e quibus
unus effectus habet
continuatos 25
alter distantes. | continuata
vox neque in
finitionibus 111
consistit neque in loco ullo,
efficitque
terminationes
non apparentes, intervalla
autem media
apparentia, uti
1 moventur HS (Gc): -etur G
(vox sc. non κυκλικῶϲ,
sed ϲφαιρικῶϲ, ut Stoici
in Plac. phil. 4, 20 adn.
M. Thiel: J. f. Phil. 155,
368).
2 in om. (et alt.) x.
3 item (-ē GS) x: ita Gc.
5 secundā G: -dum HS.
7 prosecuti Gc.
8 voces (-is Gc) scandentes
(-is Gc) x.
12 inaeneis x. ηχειοιϲ: haeae
(heae Hc, hæae G, heę
S) sic x. | cordarum
sonitū x.
13 harmonicen H, armonicen
GS.
16 Harmonice: Harmonia
HG, Armonia S.
19 nonnullae (H, -le G, -lę
SGc) x.
20 potero S.
21 aristoxenis x. | diagragma
 G.
24 fiat x.
26 distantis H.
28 media parentia x.

Plain text
sermone cum dicamus sol
lux flos vox. nunc
enim nec
unde incipit nec ubi desinit
intel|legitur, sed
quod ex (5)
acuta facta est gravis et ex
gravi acuta, apparet
auribus.
per distantiam autem e
contrario. namque
cum flectitur
inmutatione vox statuit se
in alicuius sonitus
finitione, 5
deinde in alterius, et id
ultro citro crebre
faciendo constans
apparet sensibus, uti in
cantionibus | cum
flectentes (10)
vocem varietatem facimus
modulationis. itaque
intervallis
ea cum versatur, et unde
initium fecit et ubi
desiit apparet
in sonorum patentibus
 finitionibus, mediana
autem 10
latentia intervallis
obscurantur.

3 Genera vero sunt

modulationum tria,
primum quod
| Graeci nominant
αρμονιαν, secundum
χρωμα, tertium (15)
διατονον. est autem
harmoniae
modulatio ab arte
concepta,
et ea re cantio eius
maxime gravem et
egregiam 15
habet auctoritatem.
chroma subtili
sollertia ac
crebritate
modulorum suaviorem
habet
delectationem.
diatoni vero
quod na|turalis est, facilior
est intervallorum
distantia. (20)
h b b
in his tribus generibus
dissimiles sunt
tetrachordorum
dispositiones,
quod harmonia
tetrachordum et
tonos et diheses 20
habet binas. dihesis autem
est toni pars quarta,
ita in
hemitonio duae diheses
sunt conlocatae.
chromati duo
hemitonia in ordine sunt |
composita, tertium
trihemitonium (25)
est intervallum. diatono
toni duo sunt
continuati, tertium
24
hemitonium finit
te|trachordi
magnitudinem. ita in
112
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