Theatre Design & Technology - Summer 2007 - 48

sort of architrave to conceal the mechanisms of
a machine with clouds that lowered, bearing the
Muses for the prologue."
Mutable scenery and special effects,
framed in an arch, have become part of the
visual aspect in performance. They are further
developed in L. del Mazzo's I Fabi for which
we only have a description by I. Danti.28 Citing
Danti, Elena Povoledo continues: "In I Fabii the
scene also represented an ideal view of Florence with 'the ducal palace and all the things
that were around it up to the Vacchereccia.'
After acts two and four the scene changed during the Canto della Paglia [The Song of Straw]
and 'turned so easily and with such order that
such a thing had never been seen before, and
this because all the parts were balanced (bilicato) on certain iron [fixtures] and in such a
way that any young boy could move it with ease.'
The change was done using periaktoi described

by I. Danti after those by Aristotele da Sangallo a
Castro (ca. 1543). The scenic prospect was architectonically complete even though provisional: 'to the side...there were nude figures done
in relief on both sides, marvelously well-crafted
by the hand of Giovan Bologna... [and] these
figures had a large torch in one hand because
they were statues of giants and in the other they
held a cloth which fell down the wall along side
of the perspective.'"
The scene for La Vedova [The Widow]
(fig. 19) is a scenic portrait of Florence seen
from the street in the arcade of the Ufizzi. The
logia of the Ufizzi is seen at the down-stage-left
limit of the set. It is followed by the Palazzo Vecchio with the two statues in front of it, followed
by the statue of Neptune at the fountain of the
same name. The buildings continue to a bend
in the street, over which Brunelleschi's magnificent dome of the Duomo of Santa Maria dei

Fiori dominates the horizon. Stage-right is Loggia on the Piazza della Signoria. Across from it
is a "shop on the corner," only in this case it is a
restaurant. This is the ultimate in localizing the
action of a play in the scenery.
Unfortunately, neither a proscenium arch
nor the face of the forestage is shown in the
design. That both were used in the set is certain. The stage was closed with a "heavens" that
was probably also mounted on a machine "to
be used in the center of the arch with curtains
of wood, all covered with cloth" (i.e., wooden
frames covered with cloth) invented by Vasari
in 1565. The arch opened up to allow passage
of the many machines (clouds, apotheosis machines, and flying cars) that appeared during
the intermezzi. One intermezzo is mentioned by
Danti: "The intermezzo was a representation of
story of the farmers turned into frogs to please
an offence to Latona." As for below, it "opened

Figure 19. Scenic design for La Vedova (The Widow) by B. Lanci

THEATRE
SUMMER

2007

DESIGN

&

TECHNOLOGY

47



Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 2007

Contents
Theatre Design & Technology - Summer 2007 - 1
Theatre Design & Technology - Summer 2007 - 2
Theatre Design & Technology - Summer 2007 - 3
Theatre Design & Technology - Summer 2007 - Contents
Theatre Design & Technology - Summer 2007 - 5
Theatre Design & Technology - Summer 2007 - 6
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