This reconstruction has been undertaken in a technical mode. For a discussion of modes of process see p.65 of 'Paradigms' (opens in new window). While there is a plan and section by Scamozzi and a detailed photographic survey of the space, in places the plan is quite ambiguous. Two different scales have been used, and at times there seems to be some confusion (or at least inconsistency) in their use. The section is also significantly truncated where the draftsman has apparently run out of paper. The plan has been marked up with measurements, apparently by the same hand as the drawing.

The reconstruction is further complicated by the fact that a comparison with the building as it stands today shows some significant revisions after the completion of the drawing.

Research Questions:
What can be inferred from the ways in which the plan has been drawn and marked up?
In what ways might an understanding of this space be informed by Serlio’s theatre scaffold and the Teatro Olimpico at Vicenza?
What might be inferred from the ways in which perspective has been deployed in this theatre?