Echea

An echea, or sounding vase (literally echoer),[1] is a pot, chamber or vessel that is similar in function to a modern-day bass trap. They were supposedly used in ancient Greek theaters to enhance the voices of performers through resonance,[2][3] though no archaeological evidence has been found. They were typically made of bronze, but were also made of earthenware[4] for economic reasons.

Construction

The vessels mentioned by Vitruvius in his Ten Books on Architecture are made of bronze and designed specifically for each unique theater. They were then placed in niches between the theater's seats, specifically so that nothing was touching them. They used mathematical calculations to decide where they should be placed[5]. "They should be set upside down, and be supported on the side facing the stage by wedges not less than half a foot high."[6]

Usage

Both their use in Roman times and usefulness have been debated. Thomas Noble Howe wrote in his commentary on Vitruvius' Ten Books on Architecture,[6] "These vessels, bronze or clay, may be another example of Vitruvius singling out a highly technical feature of Greek architecture that was uncommon, but between eight and sixteen potential sites with evidence of echea have been identified. It is debatable whether such vessels amplified or deadened sound."[7] Echea were used with a, "due regard to the laws and harmony of physics," according to Roman writer Vitruvius. The vases operated by resonance, enhancing key frequencies of the performers' voices and absorbing those of the audience, which altered the sound in the theater to make the performers' voices clearer and more lush.[3] The size and shape of a theater determined the number of echea used, and their positioning within it.[2]

There is the possibility that echea were not used at all, as they may have never existed. Brill states that, "It is possible that Vitruvius, following the teachings on harmony by Aristoxenus, took speculation for reality."[5]

History

Vitruvius mentions a man named Lucius Mummius, who destroyed the theater of Corinth. He then brought the remains of the building's bronze echeas back to Rome. After selling the fragments, Mummius used the money to make a dedicatory offering at the temple of Luna.[6]

Similar devices were used in early churches. Some were discovered in the vaulted ceiling of the choir of Strasbourg Cathedral, as well as in mosques dating to the 11th century.[2][3]

In a city park in Syracuse, Italy, artist Michele Spanghero built the Echea Aeolica in 2015. This fiberglass and steel sound sculpture is based on the ancient echea "to create a connection to the ancient history of the land as if it leads an echo from afar."[8] The permanent installation is interactive, encouraging viewers to use it as a listening device.

References

  1. ↑ Reed Business Information (21 November 1974). New Scientist. Reed Business Information. pp. 552–. ISSN 0262-4079. Retrieved 6 May 2013.
  2. 1 2 3 John Britton, John Le Keux, George Godwin (1838). A Dictionary of the Architecture and Archaeology of the Middle Ages. Longman, Orme, Brown, Green, and Longmans. p. 118.
  3. 1 2 3 "Ready Acoustics, Acoustical Primer". Retrieved 2008-04-05.
  4. ↑ Birch, Samuel (1858). History of Ancient Pottery. J Murray. p. 321.
  5. 1 2 Brillls New Pauly CYR-EPY. Boston: Leiden. 2004. p. 782.
  6. 1 2 3 Pollio, Vitruvius (19 July 2016). The Ten Books on Architecture. Vitruvius Pollio. p. 171–173. ISBN 978-605-04-8404-5.
  7. ↑ Vitruvius (1999). Howe, Thomas Noble, ed. Ten Books on Architecture (9th Printing ed.). New York, NY: Cambridge University Press. p. 245. ISBN 978-0-521-00292-9.
  8. ↑ "Echea Aeolica | michele spanghero". www.michelespanghero.com (in Italian). Retrieved 2018-04-05.


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