A 
 
 PARALLEL 
 
 In a Colle&ion of Ten Principal Authors' who have 
 Written upon the Five Orders, 
 viz. 
 
 PAI.LADIOandSC AMOZZb rL. B A L B E RT I and VI O L A, 
 SERLIO and VIGNOLA, > •! BULL ANT andDELORME, 
 D. BARBA RO and CATA N E 0,J [Compared with one another. 
 
 The Three Greek Orders , D o r i c y, I o n i c k, and Corin- 
 thian, comprife the Firji Part of this Treatife. 
 
 And the two Latin , T uscan and Compos ita, the Latter. 
 
 Written in French by ROLAND FR E A R T, Sieur de Chambray. 
 Made Englifh for the Benefit of Builders. 
 
 To which is added, An Account of Architects and Arc h it e c t u r E,in an Hijlori- 
 cal and Etymological Explanation of certain Terms particularly afFccfted by Architect. s. 
 With LEON BATTISTA ALBERTI’s Treatife of Statues. 
 
 ~ By JOHN E V E L T N, Efg; Fellow of tk Ro yal Sqcieiv. 
 
 The Third Edition, with the Addition of The Elements of Architecture; 
 Collett ed by Sir Henry Wotton Knt. from the bef Authors and Examples ; and 
 alfo other large Additions. 
 
 L U N ‘D O N: 
 
 Printed by T. IV. for D. B r o w ne, J. W a l t h o e, B.and S.Tooke, D. M i d w in t er, 
 W. M e a r s, and E C l a y, MDCC XXIII. 
 
 O F T H E 
 
 Antient Archite&ure 
 
 WITH THE 
 

 N 
 
 
 
 ■" i V S / : T 
 
 v 
 
 . 
 
 J no 
 
 • . . 
 
 
 
 3 
 
T O T H E 
 
 Moft Serene M A J E S T Y 
 
 O F 
 
 CHARLES II. 
 
 IN C E the Great Augufius voucbfafed 
 to Patronize a JFi ork of this Nature, 
 which was Dedicated to him by TAtru- 
 vius ; I had no reafon to apprehend, 
 Your Majejiy would reprove thefe Ad- 
 dr efj'es of mine, if, in prefen ting You 
 with thofe Antiquities on which that 
 Excellent Mafter form’d his Studies , I 
 intituled ^ our JVIajeJiy to a IV ork, fo little inferiour to it, 
 and fo worthy to go in paragon with it. And, indeed, to 
 whom could I more aptly Jnfcribe a Difcourfe of Building , 
 than to fo Royal a Builder , whofe Auguft Attempts have al- 
 ready 
 
The E P 1 S T L E 
 
 ready given fo great a Splendor to our Imperial City , and fo 
 Ifluftrious an Example to the Nation ! It is from this Con- 
 templation, Sir, that after 1 had (by the Commands of the 
 Royal Society ) endeavour’d the Improvement of Timber, 
 and the Planting of Trees, I have advanc’d to that of Build- 
 ing, as its proper and natural Confecjuent : Not with a I le- 
 fumption to Incite or Inltruct Your Majefiy , which were a 
 Vanity unpardonable; but by it to take occafion of celebrat- 
 ing Your Majefiy s great Example, who ufe Your Empire 
 and Authority fo worthily, as Fortune feems to have confult- 
 ed her Reafon when lhe poured her Favours upon You ; fo 
 as I never call my Eyes on that generous Defignation in the 
 
 EKra "’ Ut imenh Pqjlor, & Miificem, 
 
 Credis ab hoc me Pallor opes 
 fortafl'e rogare 
 
 Propter quod vulgus, crafl’a- 
 que turba rogat ? &c. 
 
 Eft nihil exiftis : Superos, ac- 
 fidera teftor. 
 
 Ergo quid ? Ur donem, Pa- 
 llor, & jEdificem. 
 
 Mart. Ef. Lib. IX. 
 
 without immediate Reflections on your Maje- 
 fiy, who fee ms only to value thofe Royal Ad- 
 vantages You have above others, but that Tou 
 may Oblige, and that Tou may Build. And cer- 
 tainly, Sir, Your Majefiy has confulted the 
 Nobleft Way of Eltabliffiing Your Greatnefs, and of Per- 
 petuating Your Memory', iince, wbilft Stones can piefeive 
 Infcriptions, Your Name will be famous to Pofierity ; and 
 when thofe Materials fail, the Benefits that are engraven in 
 our Hearts, .will outlaft thofe of Marble. It would be no 
 Paradox, but a Truth , to affirm, That Your Majefiy basal- 
 ready Built and Repair d more in three or four Years (not- 
 withstanding the Difficulties, and the Necellity of an cxtia- 
 ordinary Oeconomy for the Pubhck Concernment) than all 
 Your Enemies have DefiroyW in Twenty, nay, than all \ our 
 Majefiys PredecelTors have Advancd in an Hundred , as I 
 could ealily make out, not only by what Your Majefiy has 
 fo magnificently defign’d and carried on at that \ oui anci- 
 ent Honour of Greenwich, under the Conduct of \ our molt 
 Induftrious and Worthy Surveyor ; but in thofe fplendid A- 
 partments, and other ufeful Reformations for Security and 
 Delirht, about Your Majefiy s Palace at White-Hall ; the 
 
 chargeable 
 
DEDICATOR Y. 
 
 chargeable Covering , Hr ft Paving and Reformation of W eji- 
 minjier-IIaU ; Care and Preparation for St. Paul's, by the 
 Impiety and Iniquity of the late Confulions almoft Dilapi- 
 dated : With what Her MajeJiy the §lpeen-Mother has added 
 to her Palace at Somerfet-Houfe , in a Structure becoming her 
 Royal Grandeur, and the due Veneration of all Your Ma- 
 jejiy's, Subjects for the Honour She has done both this Your 
 Native City and the whole Nation. Nor may I here omit 
 (what I fo much defire to tranfmit to Pofierity ) thofe noble 
 and profitable Amcenities of Your MajeJiy s Plantations , 
 wherein You mod referable the Divine Architect ; becaufe 
 Your MajeJiy has propofed in it fuch a Pattern to Your Sub- 
 jects, as merit their Imitation and profoundeft Acknowledg- 
 ments, in one of the molt Worthy and Kingly Improve- 
 ments that Nature is capable of. I know not what they talk of 
 former Ages, and of the now contemporary Princes with 
 Your MajeJiy ; thefe Things are vijible : and fhould I here 
 defeend to more Particulars, which yet were not foreign to 
 the Subject of this Dijcourfe, I would provoke the whole 
 World to produce me an Example parallel with Your Ma- 
 jeJiy , for Your exact Judgment, and marvellous Ability in 
 all that belongs to the Naval Architecture, both as to its pro- 
 per T erms, and more folid UJe ; in which Your MajeJiy is 
 Majier of one of the moft noble and profitable Arts that 
 can be wifhed in a Prince, to whom God has defigned the 
 Dominion of the Ocean, which renders Your MajeJiy s Em- 
 pire Univerfal; when by exercifing Your Royal Talent and 
 Knowledge that Way, You can bring even the /Intipodes to 
 meet, and the Poles to kifs each other; for fo likewife (not 
 in a metaphorical, but natural Senfe) Y our equal and prudent 
 Government of this Nation has made it good, whilft Your 
 MajeJiy has fo profperoully guided this giddy Bark through 
 fuch a Storm , as no Hand, fave Your MajeJiy s, could touch 
 the Helm, but at the Price of their Temerity. But to return 
 to that of Architecture again (for it is hard not to Aide into 
 the Panegyrick, when once one begins tofpeak of Your Ma- 
 
 ' (t>) i e fiy) 
 
The E PI S T L E 
 
 jejly) I am Witnefs not only how pertinently You difcourfe 
 of the Art, but how judicioully You contrive: and as in all 
 other Princely and Magnificent Things, Your Notices are 
 extraordinary, fo I cannot but augure of their Effects, and 
 that Your MajeJiy was defigned of God for a Blelling to this 
 Nation in all that can render it happy, if we can have 
 the Grace but to difcern it, and be thankful for it. 
 
 This is, Sir , the glorious Idea which I have conceiv’d of 
 Your Serene MajeJiy , and which I propofe for as emulous an 
 Example as any Age has hitherto produc’d ; nor can there any 
 thing be added more, but that Permanency, which the reft of 
 Your Virtues do promife us. If fuch were thofe Glorious 
 Heroes of Old, who firft brought Men out of IVilderneJfes 
 into walled and well-built Cities , that chafed Barbarity , in- 
 troduced Civility , gave Laws to Re public ks, and to whofe 
 rare Examples and Indujlry we are accountable for all that we 
 pollefs of ufeful in the Arts , and that we enjoy of Benefit to 
 the ‘Public k ; How much Caufehave We in thefe Nations to 
 rejoice, that whilft Your MajeJiy purfues thefe laudable Un- 
 dertakings, that Race of Demy-Gods is not altogether extinct! 
 And if after the Support of Religion , and the Eftabliiliment 
 of Laws , the Perfection of Sciences be the next in order to 
 the Well-being of a State, This of Architecture (as one of 
 themoft beneficial and ufeful to Mankind) owes her Renafcency 
 amongft Us to Your MajeJiy s Encouragements, and to as 
 many of thofe Illvfirious Perfons, as by their large and mag- 
 nificent Structures tranfcribe Your Royal Example ; in par- 
 ticular, my Lord High Chancellor of England, my Lord High 
 Treafurer , and my Lord the Earl of St. Albans , whofe Me- 
 mories deferve this Confecration. 
 
 I have now but one thing more to fpeak, Sir, and that is 
 for the Reputation of the Piece I prefent to Your Serene Ma- 
 jefly : It is indeed a TranJIation ; but it is withal the Marrow 
 and very Sub fiance oi no lefs than Tew judicious Authors, and 
 
 of 
 
• DEDICATORY. 
 
 of almoft twice as many the rnoft Noble Antiquities now ex- 
 tant upon the Bofom of the Earth : ’twere elfe a difficult 
 Province to conceive how one ffiould entertain Your Maje- 
 Jiy without a Spirit and a Subject worthy Your Application. 
 There is fomething yet of Addition to it, which is New, and 
 of mine own, the Defects whereof dofupplicate Your Ma- 
 jeftfs Pardon ; to fay nothing of the Difficulty of rendring 
 a Work of this Nature intelligible to the Vulgar, and not 
 unworthy the Stile of a Gentleman-, feeing it is not the Ta- 
 lent of every one who underftands a Language, unlefsheal- 
 fo underltand the Art. But thefe may feem to defer to my 
 own Glory, which is confpicuous in nothing fo much, as in 
 laying it at Your Majefifs Feet, and the Permiffion of that 
 Sacred Name to protect, 
 
 Says- Court, 
 
 20 Aug. 16154 . 
 
 SIR, 
 
 Tour Majejly’s ever Loyal, 
 
 Moft Obedient, and 
 
 Faithful Subject, 
 
 J. Evelyn. 
 
1 . 
 
 ' 
 
 1 ■ 
 
 ' 
 
 ■. . . . ■ • '• 
 
 ■ 
 
 ' 
 
 i ■ i : ' 
 
 
 
 
 
 W 'V '• ‘V 
 
 
 ' 
 
Sir JOHN DENHAM, 
 
 knight. 
 
 o F T H E 
 
 Honourable ORDER a/ the BAT H. 
 
 Superintendant and Surveyor of his Maieftv’s 
 BUILDINGS and WORKS. J 7 
 
 kS' I R , 
 
 T is nowfome Ten Tears Jince, that to gratify a 
 Friend of mine in the Country, I began to in- 
 terpret this Parallel; ( which I think I fir ft 
 bn ought out of I ranee J but other things inter- 
 vented , it was laid afide , and had Jo conti- 
 nued without 7 bought s of Reaftumption , had not 
 
 the raft ion of my Worthy Friend , Mr. Hugh May, to oblige the 
 Pubhck, and in Commiferation of the few Aftijtances which 
 our VV orkmen have of this Nature ( compared to what are ex- 
 tant in other Countries) found out an Expedient , and by procur- 
 ing a moft accurate Edition of the Plates, encourage me to ft- 
 nijh what I had begun ; and to make a willing Prefent of my La- 
 bour, and of whatever elfe I was able to contribute to fo gene- 
 rous a Defign. * 
 
 ( c ) Sir. 
 
 , 
 
The EPISTLE 
 
 People, who from the very Principles of Humanity, deftind 
 for the Eafe of their Subjects fo manyfpacious Ways, cool Foun- 
 tains, fhady Walks, refrejhing Gardens, and Tlaces (f puhlick 
 Recreation, as well as ftately Temples, and Courts of Juftice, 
 that Religion and the Laws might he puhl/fhed with the more 
 Pomp and Veneration : And if his Majefty, with your Tains 
 and Tnduftry , hath contributed to fomething of all this , it is that 
 for which the whole Nation becomes obliged ; as the promoting 
 of fuel: publick and ufeful IV orks ( and efpecially that of Build- 
 ing,) a certain Indication of a prudent Government, of a 
 flourifhing and happy People : So that if there remain but one 
 Thing more to be dejired in order to the Confummation of its 
 perfect Felicity, how infinitely were it to be wilhed, that whilft 
 the Beauty and Benefit of the City increafed in one part , the 
 Deformity and apparent Ruin of it might ceafe on the other : 
 But this we are to hope for , when , to bring this monltrous Bo- 
 dy into Shape , and fcatter thefe ungovernable Enormities, either 
 the Reftraint of Building irregularly Jhall polifh the Suburbs, 
 or ( which I rather could wifh ) fome royal Purchafe contrail 
 and demolifh them. But , Sir, / have done , and I know you will 
 pardon this Zeal, and accept of this Expreffm of my profound 
 Refpeffs, from , 4 
 
 S I R, 
 
 Your moft humble Servant, 
 
 J. Evelyn. 
 
SlEURDeCHA N T E L 0 U, 
 
 Counfellor to the KIN G, and Provincial Commif- 
 fary in Champagne , Alfatia , Lorrain , and Germany . 
 
 AND 
 
 PAUL F R E A R T, Efq ; 
 
 SJEUR De CHANT ELOU, 
 
 Counfellor and Mailer of the Houftiold in Ordinary to 
 
 the K I N G, 
 
 My Deareji Brothers, 
 
 T is by your Commands, that I have finifhed thisTreatife 
 of the Jntient Architecture compar’d with the Modern, which 
 I had altogether laid alide, and even effac’d out of Mind 
 fince the Deceafe of MonJeigneurDeNoyers, to whom I had de- 
 voted it, astothe Mecanas of the Age; and more particu- 
 larly, for being indeed the trueAuthor ofthis Book ; iince 
 I had never taken it in Hand, but by his fpecial Order, 
 and to afford him fome little Entertainment during his Solitude of Vingu, 
 where he was pleafed, and indeed defired, I fhould follow him after his 
 Retreat from the Court, there to enjoy with him that Sweetnefs and Tran- 
 quility of Life, which we were never before acquainted with during the 
 
 (d) time 
 
The EPISTLE. 
 
 he firft began with Military Architecture, which he caus’d to march before 
 the Civil : All our Frontiers are full of his Works : In Ticardy , the Tort- 
 (fpyal of Calais, compos’d of two of the greateft Baftions of Majfonry , the 
 mod regular and noble that are in Europe: All the Fortifications of Aries-, 
 mod of the Baftions of Tcronne, of S. Quentin , of Han, of La Fere, Vour- 
 Ians, Amiens, and of Montreu.il, efpecially an Horn-Work alfo of Majfonry of 
 extraordinary Beauty and Magnitude ; not to omit that Hall-Moon of Ab- 
 beville, where the Inhabitants not prevailing with him to have his Arms fet 
 on it, in Acknowledgement of the Favour which they had by this Means 
 received (permitting it in no Place built by him, from a particular Senti- 
 ment of Honour to the King, and out of a rnoft lingular Modefty) plant- 
 ed two Rows of Wallnut-Trees, that under that Pretext they might call it 
 by his Name. In Champagne, the Fortrefs of Mount Olympus, which ferves 
 Charkville for a Citadel ; feveral other Works at St may, at Metres, Mogon, 
 and focroy. Then, in Lorrain, the Citadel of TSlancy ; the Places de Vic, 
 Moyenvic, and Marjal. In Normandy, Havre de Grace 5 where (befides the For- 
 tifications of the Place) he excavated a large Bafin of Mafons Work in the 
 Port, near two hundred Yards long, and above fixfcore wide, to contain 
 Veflels always afloat : Alfo at Four age in the Ifles of XainEltmg, which 
 are two Maritime Keys of the Kingdom. In Italy, fignerol, and all the 
 new Fortifications of Ca^al. Now for Works and Curiofities of fainting 
 and Sculpture (w'hich are as ’twere the two Sifters ol the Art I am now to 
 treat of ) it would require a large Difcourfe to particularize them one after 
 another 5 befides that, one could not well do it, without a little Reproach 
 to our Nation, which (by reflecting on the fudden Ceflation of fo many 
 excellent Things) one would almoft believe had but one only Perfon capa- 
 ble of thofe ra”e Productions. It fliall fuffice then to fay in general, that 
 he made the Louvre the Center of the Arts, whofe Concourfe thither in a few 
 Years began to render it the moft Noble and Magnificent Structure of the 
 World. It was for this glorious Defign, and for the Decoration of other 
 Royal Houfes, that the famous Monfieur le foujfin had the Flonour to be fent 
 for by the King at the beginning of the Year 1640. It was then that the 
 late M. de Noyers difpatched us, You and my Self (dear brother) towards his 
 Holinejs about an important Affair, with Order at our Return to make way 
 for France to all the greateft Vertuofi of Italy ; and as he was their Load- 
 ftone, we eafily drew a confiderable Number after him, whereof the Chief 
 was that renowned and fingular Painter M. lefouffin, the Glory of the French 
 in his Profeffion, and, as it were, the faphael of our Age: To this EffeCt 
 we likewife ufed great Diligence to get made, and colleCt together, all that 
 the I^eifure and Opportunity of our Voyage could furnifh us, of the moft 
 excellent Antiquities, as well in Architecture as Sculpture-, the chief Pieces 
 whereof w=ere two huge Capitals, the one of a Column, and the other of 
 an angular Pilafter from within the Rotunda, which we chole as the moft 
 Noble Corinthian Models remaining of Antiquity: Two Modules of eleven 
 Palms diameter, taken from the Triumphal Arch of Conjlantine -, threefcore 
 and ten Bafs-Reliefs moulded from Trajan's Column, and feveral other of 
 particular Hiftories, fome of which were the next Year call in Brafs; others 
 
 were 
 
 3 
 
The E P I S T L E. 
 
 were employed in manner of Incruflation about the Compartiment of 
 the arched Ceiling of the LouVre great Gallery, in which M. le Pouffin moll 
 ingenioufly introduced them, and that with an extraordinary Addrefs and 
 Confideration, to anfwera certain Defign, which was then requir’d of him, 
 not as the molt magnificent and fuperb he could have compos’d ; but for 
 an Ornament, which fhould be fpeedily executed, and of moderate Cod, 
 with regard to the Time and impatient Humour of our Nation. A little 
 while alter that, you returned (my dear Brother) to obtain the Pope’s 
 Bleffing of the two Crowns of Diamonds, and the Golden Babe carried 
 by an Angel, which their Majellies fent you to prefent our Lady of Loretto 
 in Acknowledgment, and as a Token of Gratitude which they rendred to 
 the Virgin, lor the mod happy, and almoft miraculous Birth of our Dau- 
 phin, the King which now reigns : You continued to have divers Figures 
 and ’Bafs-d^elieVo’s wrought off, particularly the Flora and the Hercules in Far- 
 neje’s Palace, of which there is now one call at Paris : Two other Modules 
 from the fame Arch of Conflantine , and both the Colojfes of Monteca\’allo with 
 their Horfes, the greateft, and the molt celebrated Works of Antiquity, 
 which M- de Noyers defigned to have alfo call in Copper, to place them at 
 the principal Entry of the LouVre. You beheld the Splendor which all this 
 great Provifion made in P{ome, and how every Body wonder’d that the 
 French , who w'ere till now' renown’d only for their Valour and invincible 
 Courage in War, and feem’d to be affefted only to the Arts Military, fhould 
 fhew lo much Paflion for Thefe, which alfum’d the Reputation of being 
 the moft Glorious, by a Prerogative above others; as if the Hemilphereof 
 France had been lately chang’d, and Mercury , in Conjunction with Mars, 
 began now to pour down new Influences upon her. For my own part, I 
 can teftifie how the Report of it fpread as far as Conflantinople, whither Fame 
 had born the Name of Monfcigneur de Noyers with fo much Glory, that the 
 Patriarch of that renowned City writ him Letters full of profound Admira- 
 tion, which he addrefs ’d to Monjieur de Fdleroy, a noble Athenian , Refident in 
 France for the Duke of Parma, delivering them to my Lord at Dangu after 
 his Retreat from the Court, and w'here I have had and kept them a great 
 while, and read them to feveral of my Friends. They take notice chiefly, 
 how new and unheard of a Thing it was, that there fhould be found a 
 Grand Vizier of our Nation, fo tranfcendent in all Excellencies; of which 
 fome Marks he had feen, eafily perfwaded him to believe all the other Mar- 
 vels which w'ere reported of him : (thele Exemplars were the Books of the 
 Royal Prefs, and iome Pieces of Coin) his Letter was fomew'hat prolix, 
 and written in a more polite Style than the vulgar Greek now lpoken in that 
 Country. It were great Pity that a Thing fo memorable and lignal fhould 
 be buried in Oblivion, and therefore I take Notice of it with more Circum- 
 fiances than many others. But during all thefe mighty ProjeCis, there 
 happen d a flrange Revolution, which in lefs than fix Months changed the 
 whole Face of the State, by the Death of that iuperlative Miniffer the great 
 Cardinal de ( pjchlicu, the very Column and Ornament of Monarchy; and 
 a fhort Space after that, by the Recefs of Monjeigneur de Noyers ; and im- 
 mediately upon this, by that Lois to all France, the King himfelt; lo as all 
 1 (e) thefe 
 
The E PI S T L £, 
 
 thefe noble Beginnings had none that followed them, there remaining not 
 one of thofe which enter'd afterwards into the Management of the publick 
 Affairs, who had, with their Affe&ions, the Knowledge and the Talents 
 which were requifite for the Continuation of thofe great Defig.ns. We then 
 prelently beheld the Work of the Louvre abandoned, the finifhing of the 
 great Gallery to ceafe ; and generally all the Fortifications in France, with- 
 out Hopes of feeing the Work reaffirmed and taken in hand again of along 
 time, it being neceffary, for fuch an Enterprife, to find alfembled in the 
 fame Perfon (as it was feen in that of M de Noyers) Virtues and Qualities, 
 both rare and extraordinary. Befides, to produce fuch a one as he w as, of an 
 univerfal Genius and Capacity, that loved Arts with Judgment, and cul- 
 tivated them ; that would negletft his proper Intereft, to preferve that of the 
 State and of the Publick; who, amidft an Authority and exceeding Favour, 
 retaining ftill the ModelFy of a private Man, thinks not of eftablifhing his 
 Houfe, againft the ordinary Courfe fo natural to all Men, fhould refufe to 
 augment and heap up Riches, or feek Titles and Dignities for it, and that 
 never took Thought, or laboured, as did he during an Employment of 
 twenty Years (for the latter fix of which he had almoft the univerfal Ma- 
 nagement of State Affairs) but for the Safety, Enlargement, and Splendour 
 of the Kingdom : For fuch a Mafterpiece of Nature, I fay, there needs 
 the Efforts of many Ages : The Recompence of fo many Virtues was very 
 fmall on Man’s part, but great and ineftimable on God’s, w'ho crown’d 
 this Iilulfrious Life with a moft happy Death. I referve, as a Treafure inefti- 
 mable,a certain fmall Colledlionof the Sayings of this holy Courtier, our moft 
 dear Mafter, during the Continuance of his Sicknefs, which w'as affifted by 
 his Director, the R. F. de SainEl Jure , who was with him to the laft : And 
 as I have had the fad Confolation of being prefent at this laft A<ft of his 
 Life, during which I remember to have heard from his own Mouth all that 
 is contain d in this Recital, 1 am not able to read them without a great deal 
 of Tendernefs, and indeed without Tears. He died in his Caftle of Dangu, 
 on Friday the twentieth of Ottober , at one a Clock after Noon, in the Year i 645, 
 and in the fix and fiftieth of his Age, two Years and a half after his Recefs 
 from Court, his Body being traniported to the Church of the Novitiat be- 
 longing to thejeluits, which he had built in Honour of St. XaVerius, and 
 deftin’d for his Sepulchre. This Church is look’d upon as the moft regular 
 Piece of Jrcbitcfture in Far is 5 and tho’ it be not fo exceedingly charg’d with 
 Ornaments as fome others are, yet it appears very noble in the Eyes of 
 intelligent Perfons ; all that is there being done with an Intention and Care 
 fo extraordinary. But that which in it excels all the reft, is a Picture of one 
 of the Miracles wrought by St. Xavier , which was Painted here at the fame 
 time with that admirable Supper of the Apoftles (which he caufed to be 
 plac d at the Altar of the Chapel-Royal of the Caftle of St. Germains , where 
 all the Figures exceed the natural :) both of them the Works ot our famous 
 Mafter le Toujin, and indeed worthy his Pencil, tho’ the firft of them was 
 Painted with extraordinary Hafte, and during the Winter. 
 
 You 
 
— . ■ 
 
 The E P I S T L E. 
 
 You fee (dear Brothers) a fmall Draught of a Part of the Life of our 
 mod precious and mod honour'd defutvid M. de Noyers , that incomparable 
 Genius of France, never to be diffidently praifed, never enough regretted 
 becaufe comparable to the greated Examples of Antiquity, I would by all 
 Means place him in the Front of this Book of mine, to let the World fee 
 that I had no other Objecd in the finifhing of this Work (of which he ho- 
 nour’d me with the Charge) than to render the fame Service and Veneration 
 to his Memory, being dead, 1 could perform tohisPerfon, were he yet alive. 
 However, in reaffirming it at your Requed, my fird Ardour being much 
 alloy’d, what was heretofore a liberal and diverdling Study, during the Pre- 
 fence of my late Lord and Mader, is now become a Difficulty, and a kind of 
 Condraint; fince I have been forc’d to alter, and even retrench divers Par- 
 ticulars which were then very effential to my Defign, but would flow have 
 been altogether ufelefs and unfeafonable. Receive then (my dear Brothers) 
 this Fragment of a Book, fo much at lead as remains of it; and if there 
 occurs any thing which may prove yet confiderable in fuch clear and dif- 
 cerning Eyes as your’s are, and that my Defigns feem worthy of any Place 
 amongd your other Curiolities, you owe the Obligation of it to our com- 
 mon Friend Monfieur Errand , who was pleafed to take a great deal of Pains 
 to fee it perfected ; and has not only perfwaded me (as well as you) topub- 
 liffi it to the World ; but has, more than this, contributed likewife to it of 
 his own Labour and particular Elucubrations. 
 
Amico Optimo &c Chariffimo 
 
 JOHANNI EVELYN O, 
 
 II Societ. Regall Lontl. die. 
 
 JO. BEALE, S. P. D. 
 
 In ARCHITECTURAM ab ipfo Anglice redditam 
 
 phice e xornatam. 
 
 S I C, ubi de Ctclo quondam primordia rerum 
 Effulfere, Chaos difcutiente ‘Deo , 
 
 Hortus erat primus : Tunc Tetta, 8c Mania, & Vrbes : 
 Tandem & ‘Pyramidum nobile furgit opus. 
 
 His aliquis molem fubjungir : In acre pendet 
 Hortus ; & unde venit, quterere jure licer. 
 
 Nec fatis eft vitam ducamus in Arce beatam 
 Qualem agit astherea Juppiter ipfe domo ; 
 
 Sed Talis fuperefte juvar poll funera longa, 
 
 (Quamvis hie cineres urnula parva capit) 
 
 Manfohsa exin coelos tadtura fepulchra 
 Infcriptum Herois nomen ad aftra vehunt. 
 
 Star quoque, ft favit Vidtoria, grande Tropxum ; 
 
 Attollenfque apicem tunc Obeli feus ovat. 
 
 Mox Ipirare trucem poteris jurare Colojfum, 
 
 Sic movet, ut trepident, & mihi membra labent. 
 
 Sunt quibus excidium Jaudi eft, & lata ruina ; 
 
 Atqui exornandi gratia major erit. 
 
 Parcite Mortales, famam prohibete Nepotes ; 
 
 Ni Icelus in caufa deteriore cadit. 
 
 Sunt quoque Tanariis quibus eft fuffulta columnis 
 Alta 8c larga nimis, fed minus apta domus : 
 
 Sumptibus hie turgent operofa palatia vanis ; 
 
 Materia cxluperat ; fplendor, & ordo deeft. 
 
 Ecce Avibus nidos, Apibus compingere cordi eft, 
 
 Paftor Arifteus quos ftupet ipfe, favos. 
 
 Aurea ftc textrix fubter laquearia Arachne 
 Divini Artificis provocat ingenium. 
 
 Hofpitium fibi qusque parant animalcula gratum; 
 
 Solus Homo impenfis pledlitur ipfe fuis. 
 
 Machina quid prsftet Thufcis tradtanda peritis, 
 
 Angligena ut dilcant, Clare Evelyne, facis. 
 
 Nec tantum debent Voljteo priftina ftecla, 
 
 Quantum debebunt pofteriora tibi. 
 
 Creditur Amphton molimina laxea quondam 
 Thebarum in muros concinuijfe Lyra : 
 
 Tu Saxa 8c Silvas (nam fic decet Orphea) pledtro 
 Aurato in Regnum TeCta coire doces. 
 
 Armig. 
 
 Gra- 
 

 i • 
 
 \ 
 
 THE 
 
 ELEMENTS 
 
 O F 
 
 architecture 
 
 N • 
 
 Collected by Sir Henry Wotton, Knt. 
 
 from the heft Authors and Examples. 
 
V. 
 
 
 
 
 a ; T 
 
 r T VI 3 . M 3 13 
 
 
 a o 
 
 < ' ?JUT3aiSH:)i! 
 
 
 AvJi t VL O T T « ) W '{ il 3 I ^ a * 
 
 jhtoA 
 
 
 
 
 
 
Shall not need (like the moft Tart of Writers) to celebrate the 
 SubjeCt which I deliver 5 in that Toint I am at eafe : For Ar- 
 chitecture can want no Commendation, where there are noble 
 Men or noble Minds : I will therefore /pend this Preface, 
 rather about thofe from whom I have gathered my Jfnowledge ■, 
 For I am but a Gatherer and Difpofer of other Mens Stuff at my 
 bejl Value. 
 
 Our principal Matter is Vitruvius, and fo I /hall often call him, who had this Fe- 
 licity, that he wrote when the Roman Empire was near the Titch-, or at leaf, when 
 Auguflus (who favoured his Endeavours) had fame Meaning (if he were not mifta- 
 ken) to bound the * Monarchy : This, I Jay , was his good hap, for ingrowing and en- 
 larging Times, Arts are commonly drowned in ACtion : <But on the other fide , it was 
 in truth an Unhappinefs to exprefs himfelf fo ill , cfpecial/y writing (as he did) in a Sea- 
 fon of the ablejl Pens , and his Obicurity had this ftrange Fortune , that though he were 
 bejl praElifcd and bejl followed by his ownCountrymen.yet after the reviving and repolijh- 
 ing of good Literature, (which the Combuftions andTumults of the middle Age had unci- 
 vilized) te was bejl, or at leafl,firfi underflood by Strangers : For of the Italians that 
 toofhim in hand, thofe that were Grammarians feem to have wanted Mathemati- 
 cal Knowledge, and the Mathematicians perhaps wanted Grammar, till both were 
 fufficiently conjoined in Leon Baptifta Alberti the Florentine, whom I repute the 
 fvf learned Architect beyond the Alps 5 but he Jludied more indeed to make himfelf 
 an Author, than to illuftrate his Mailer : Therefore among his Commenters, I muft 
 (for my private Conceit ) yield the chief Traife unto the French, in Philander; and to 
 the High Germans, in Gualterus Rivius, who, befdes his Notes, hath likewife pub- 
 lifhed the moft elaborate Tranflation that I thinf is extant in any vulgar Speech of the 
 World, though not without bewailing, now and then, fame TefeH of artificial Terms in 
 his own, as I muft likewife-, for if the Saxon (our Mother Tongue) did complain ; as 
 juftly (I doubt) in this ( Point may the Daughter : Languages for the moft Tart in 
 Terms of Art and Erudition, retaining their orginal ToVerty, and rather growing rich 
 and abundant m complemental Thrafes, and Juch Froth. Touching divers modern Men 
 that have written out of meer TraElice, I Jhall give them their Due upon Occafton. 
 
 And now , after this fhort Cenfure of others, I would fain fatisfy an Objection or 
 two, which feem to lie Jomewhat heavily upon my felf : It will be faid that I handle an An 
 no way Juitable either to my Employments, or to my Fortune 5 and fo I ft>all ftand 
 charged both with Intrufion and with Impertinency. 
 
 To 
 
 Ail 
 
 
 
 * Tacit. Lib. 1. Anna!. 
 
The PREFACE. 
 
 To the Firft lanfwer, That though by the ever 'acknowledged Goodnejs of my moft 
 dear and gracious Sovereign, and by his long indulgent Toleration of my Defects, 
 1 have born Abroad fome Tart of his Civil Service-, yet when I came Home , and was 
 again refolded into mine own Simplicity , I found it fitter for my Pen (at leaf} in this 
 firft public f Adventure) to deal with thejc plain Compilements, and trattable Materi- 
 als, than with the Labyrinths and Myfteries of Courts and States ; and lefs Trefum - 
 ptton for me who have long contemplated a famous Republick , to write now of Archi- 
 tecture, than it was anciently for * Hippodamus the Milefian to write of Repub- 
 beks, who was himfelf but an Architect. 
 
 To the Second, I muft f hr ink up my Shoulders , as I haVe learn d Abroad , and con- 
 fefs indeed , that my Fortune is Very unable to exemplify and adtuate my Speculati- 
 ons in this Art, which yet in truth made me the rather , even from my Very Difabtlity, 
 take Encouragement to hope , that my prefent Labour would find the more Favour with 
 others , fince it was undertaken for no Mans fake lefs than mine own : And with that 
 Confidence I fell into thefe Thoughts , of which there were two ways to be delivered ; The 
 one huftorkal, by ‘Dejcription of the principal Works, performed already in good Tart, 
 by Giorgio Valfari in the Lives of Architects: Te other Logical, by cafling the 
 Rules and Cautions of this Art into fome comportable Method, whereof I haVemade 
 choice, not only as the fhorteft and mofi elemental, but indeed as the founded: ? For 
 though in practical Knowledges, every compleat Example may bear the Credit of a 
 Rule, yet peradventure Rules Jhould precede, that we may by them be made fit to judge 
 of Examples : Therefore to the Purpofe, for I will Treface no longer. 
 
 * Ariftot. 2 . Lib. Polit. Cap. 6 . 
 
 m 
 
 THE 
 
ArchiteBure, as in all other Operative Arts, the End 
 mull direct the Operation. 
 
 The End is to Build well. 
 
 Well Building hath three Conditions ; Commodity , Firm - 
 nejs, and "Delight. 
 
 A common Divilion among the Deliverers of this 
 Art, though I know not how, fomewhat mifplaced by Vitruvius himlelf, 
 Lib. 1. Cap. 3. whom I lhall be willinger to follow, as a Mailer of Propor- 
 tion than of Method. 
 
 Now, for the attaining of thefe Intentions, we may confider the whole 
 Subject under two General Heads ; 
 
 The Seat and the IE rfk. 
 
 Therefore, firll touching Scituation. 
 
 The Precepts thereunto belonging, do either concern the Total Pollure, 
 (as I may term it) or the placing of the Parts : Whereof the firll Sort, how- 
 foever ufually fet down by Architects as a Piece of their Profelfion, yet are 
 in truth borrowed from other Learnings; there being between Arts and Sci- 
 ences, as well as between Men, a kind of good Fellowfhip, and Communi- 
 cation of their Principles. 
 
 For you {hall find fome of them to be meerly Phyfical, touching the 
 Quality and Lemper of the Air; which being a perpetual Ambient and 
 Ingredient, and theDefedls thereof incorrigible in fingle Habitations (which 
 I moll intend) doth in thofe Relpects require the more exquifite Caution : 
 That it be not too grofs, nor too penetratious, not fubjed: to any foggy 
 Noifomenefs from Fenns or Marlhes near adjoining; nor to Mineral Exha- 
 ladons from the Soil it felf. Not undigelled for want of Sun, not unexer- 
 cifed 1 lor want of Wind; which were to live (as it were) in- a Lake, or 
 Handing Pool of Air, as Alberti the Florentine Architect doth ingenioufly com- 
 pare it. 
 
 b Some 
 
1 1 
 
 ji The Elements of Architecture , 
 
 Some do rather feem a little A Urological, as when they warn us from 
 Places of malign Influence, where Earthquakes, Contagions, Prodigious 
 Births, or the like, are frequent, without any evident Caufe, whereof the 
 Confideration is, peradventure, not altogether vain : Some are plainly Oe- 
 conomicalj as that the Seat be well watered and well fewelled ; that it be 
 not of too fteepy and incommodious Accefs to the Trouble both of Friends 
 and Family ; that it lie not too far from fome navigable River, or Arm of 
 the Sea, for more Eafe of Provifion, and fuch other Domeftick Notes. 
 
 Some again may be laid to be Optical; fuch I mean as concern the Pro- 
 perties of a well-chofen ProipeCt, which I will call the Royalty of Sight: For 
 as there is a Lordfhip (as it were) of the Feet, wherein the Mafter doth much 
 joy when he walketh about the Line of his own Pofleffions : So there is a 
 Lordfhip likewife of the Eye, which being a ranging and imperious, and 
 (I might fay) an ufurping Senfe, can endure no narrow Circumfcription ; 
 but mull be fed both with Extent and Variety. Yet on the other fide, I find 
 vaft and indefinite Views, which drown all Apprehenfions of the uttermoft 
 Objects, condemned by good Authors, as if thereby fome part of the Plea- 
 fure (whereof we fpeak) did perifh Laflly, I remember a private Caution, 
 which I know not well how to fort, unlefsl fhould call it Political: By no 
 means to build too near a great Neighbour; which were in truth to be as 
 unfortunately feated on the Earth, as Mercury is in the Heavens, for the 
 moft part ever in Conrbuftion or Obfcurity, under brighter Beams than 
 his own. 
 
 From thefe feveral Knowledges, as I have faid, * and perhaps from fome 
 other, do ArchiteBs derive their DoCtrine about Election of Seats, where- 
 in I have not been fo fevere as a great Scholar of our Time, who precifely 
 reftraineth a perfect Scituation, at leaft for the main Point df Health, Ad 
 locum contra quern Sol radios fuos fundtt cum fub Ariete oritur , that is, in a word, He 
 would have the firfl Salutation of the Spring. But fuch Notes as thefe, 
 wherefoever we find them in grave or flight Authors, are to my Conceit, 
 rather Willies than Precepts; and in that Quality I will pafs them over. Yet 
 I mull withal fay, that in the Seating of our felves (which is a kind of 
 Marriage to a Place) Builders fhould be as circumfpeCt as Wooers, left 
 when all is done, that Doom befall us, f which our Mafter doth lay upon 
 Mitykne : A Town in truth (faith he) finely built , but foolifdy planted. And fo 
 much touching that, which I termed the Total Pofture. 
 
 The next in Order, is the placing of the Parts; about which (to leave as 
 little as I may in my prefent Labour, unto Fancy, which is wild and irre- 
 gular) I will propound a Rule of mine own Collection, upon which I fell 
 in this manner : I had noted, that all Art was then in trueff Perfection, 
 when it might be reduced to fome natural Principle : For what are the moft 
 judicious Artifans, but the Mimicks of Nature ? This led me to contem- 
 plate the Fabrick of our own Bodies, wherein the High Architect of the 
 World had difplayed fuch Skill, as did ftupify all humane Reafon. There 
 I found the Heart, as the Fountain of Life, placed about the Middle, for 
 
 * Joannes Heurnius Injiit. Medicin. Lib. 7. Cap. i. t Opidum quidem adificatum eleganter fed an- 
 prudemer pofttum. 
 

 The Elements of Architecture, 
 
 the more equal Communication of the vital Spirits 5 the Eyes feated 
 aloft, that they might delcribe the greater Circle within their View ■ the 
 Arms projected on each Side, for eafe of Reaching. Briefly, (not to lofe 
 our felves in this fweet Speculation) it plainly appeareth as a Maxim 
 drawn from the divine Light, that the Place of every Part is to be deter- 
 mined by the life. 
 
 So then, from natural Stru&ure to proceed to artificial, and in therudefl: 
 Things to preferve fome Image of the excellenteft, let all the principal 
 Chambers of Delight, all Studies and Libraries, be towards the Baft ; for 
 the Morning is a Friend to the Mufes. All Offices that require Heat, as 
 Kitchins, Stillatories, Stoves, Rooms for Baking, Brewing, Walking, or 
 the like, would be Meridional. All that need a cool and frefh Temper, as 
 Cellars, Pantries, Butteries, Granaries, to the North. To the fame Side 
 likewife, all that are appointed for gentle Motion, as Galleries, efpecially 
 in warm Climes, or that otherwife require a Heady and unvariable Light, as 
 Tinacotbecia (faith Vitruvius) by which he intendeth, (if I may guefs at his 
 Greek, as we mult do often even at his Latin) certain Repofitories for 
 Works of Rarity in Picture or other Arts, by the Italians called Studioli, which 
 at any other Quarter, where the Courfe of the Sun doth diverfify the Sha- 
 dows, would lofe much of their Grace: And by this Rule, having always 
 regard to the life, any other Part may be fitly accommodated. 
 
 I mud here not omit to note, that the ancient Grecians, and the Romans, 
 by their Example in their Buildings abroad, where the Seat was free, did 
 almoft religioully fcituate the Front of their Houfes towards the South, per- 
 haps that the Mailer’s Eye, when he came home, might not be dazzled, 
 or that being illuftrated by the Sun, it might yield the more graceful 
 Afpedt, or lome fuch Reafon. But from this the modern Italians do vary, 
 whereof I fhall fpeak more in another Place. Let thus much fuffice at the 
 prefent for the Pofition of the feveral Members, wherein mull be had, as 
 our Author doth often infinuate, and efpecially, Lib. 6- Cap. 10. a fingular 
 Regard to the Nature of the Region : Every Nation being tied above all 
 Rules whatfoever, to a Difcretion of providing againfl: their own Inconve- 
 niencies ; and therefore a good Parlour in JSgypt, would perchance make a 
 good Cellar in England. 
 
 There now followeth the fecond Branch of the general Sedtion touching 
 the Work. 
 
 In the Work, I will firfl: confider the principal Parts, and afterwards the 
 Acceffory, or Ornaments : And in the Principal, firfl: the Preparation of 
 the Materials, and then the Dilpofition, which is the Form. 
 
 Now concerning the material Part, although, furely, it cannot difgrace 
 an ArchiteEl, which doth fo well become a Philofopher, to look into the Pro- 
 perties of Stone and Wood ; as that Fir-Trees, Cyprefles, Cedars, and fuch 
 other aereal afpiring Plants, being by a kind of natural Rigour (which in a 
 Man I would call Pride] inflexible downwards, are thereby fitted for Pods 
 or Pillars, or fuch upright life 5 that on the other Side, Oak, and the like 
 true hearty Timber being drong in all Pofitions, may be better trulled in 
 crofs and traverfe Work, for Summers, or girding and binding Beams, as 
 they term them. And fo likewife to obferve of Stone, that fome are bet- 
 ter 
 
iv The Elements of Architecture. 
 
 tef within, ' and ocher to bear Weather. Nay, to defcend lower, even to 
 examine Sand and Lime, and Clay, ("of all which Things Vitruvius hath 
 difcourfed, without any Dainties, and the moil of new Writers) 1 fay, 
 though the Speculative Part of fuch Knowledge be liberal, yet to redeem 
 this Profeffion, and my prefent Pains from Indignity, I mull here remem- 
 ber, that to chafe and fort the Materials for every part of the Fabrick, is a 
 Duty more proper to a fecond Superintendent over all the Under Artiians, 
 called (as I take it) by our Author, Offi'cinator, Lib. 6. Cap. 1 i. and in that 
 Place exprefly diftinguifhed from the Architect , whofe Glory doth more con- 
 lift in the Defignment and Idea of the whole Work, and his trueft Ambi- 
 tion fhould be to make the Form, which is the nobler Part (as it were) tri- 
 umph over the Matter; whereof I cannot but mention by the way a foreign 
 Pattern, namely the Church of Santa Giuftina in Tadua. In truth, a lound 
 Piece of good Art, where the Materials being but ordinary Stone, without 
 any Garnifhment of Sculpture, do yet ravifli the Beholder, (and he knows 
 not how) by a fecret Harmony in the Proportions. And this indeed is that 
 End, at which, in fome degree, we fhould aim even in the privateft Works ; 
 whereunto though 1 make hafte, yet let me firft colled: a .few of the leaft 
 trivial Cautions belonging to the materal Provifion. 
 
 Leon Baptifla Alberti is fo curious, as to wifii all the Timber cut out of the 
 fame Foreft, and all the Stone out of the fame Quarry. 
 
 <Philibert de l' Orme, the French Architect, goes yet fomewhat farther, and would 
 have the Lime made of the very fame Stone which we intend to imploy in the 
 Work ; as belike imagining, that they will fympathize and join the better, 
 by a kind of original Kindred. But fuch Conceits as thefe feem fomewhac 
 too fine among this Rubbifh, though I do not produce them in Sport ; for 
 Purely the like Agreements of Nature may have oftentimes a difereet Appli- 
 cation to Art : Always it mull be confefled, that to make Lime without any 
 great Choice of refufe Stuff, as we commonly do, is an Englijh Error of no 
 lmall Moment in our Buildings : Whereas the Italians at this Day, and much 
 more the Antients, did burn their firmeft Stone, and even Fragments of 
 Marble, where it was copious, which in Time became almoft Marble again, 
 or at leaft of indiffoluble Durity, as appeareth in the Handing Theatres. I 
 muft here not omit, while I am fpeaking of this Part, a certain Form of 
 Brick deferibed by Daniel Barbara, Patriarch of Aquileia , in the largeft Edi- 
 tion of his Commentary upon Vitruvius. The Figure triangular, every 
 Side a Foot long, and fome Inch and a half thick, which he doth com- 
 mend unto us lor many good Conditions ; as that they are more commo- 
 dious in the Management, of lefs Expence, of fairer Show, adding much 
 Beauty and Strength to the mural Angles, where they fall gracefully into an 
 indented Work ; lo as I fhould wonder that we have not taken them into 
 Ufe, being propounded by a Man of good Authority in this Knowledge, but 
 that all Nations do ftart at Novelties, and are indeed married to their own 
 Molds. Into this Place might aptly fall a Doubt, which fome have well 
 moved, whether the ancient Italians did burn their Brick or no ; whichaPaf- 
 fage or two in Vitruvius hath left ambiguous. Surely, where the natural 
 Heat is ftrong enough to lupply the artificial, it were but a curious Folly 
 to multiply both Labour and Expence. And it is befides very probable, 
 
V 
 
 The Elements of Ar chit e dure. 
 
 that thofe Materials, with a kindly and temperate Heat, would prove fairer, 
 fmoother, and lefs diftorted than with a violent : Only they fuffer two 
 Exceptions, Firft, That they are likely by fuch a gentle drying, to be the 
 more ponderous, an important Circumftance to the Main of the Work in 
 theCompilement. The next is of no lefs Moment, That they will want 
 a certain lucking and foaking Thirftinefs, or a fiery Appetite to drink in the 
 Lime which mud knit the Fabrick. But this Queftion is to be confined to 
 the South, where there is more Sun and Patience : I will therefore not hin- 
 der my Courfe with this incident Scruple, but clofe that part which I have 
 now in hand about the Materials, with this principal Caution, That fuffici- 
 ent Stuff and Money be ready before we begin; for when we build now a 
 Piece, and then another, by Fits, the Work dries and finks unequally, 
 whereby the Walls grow full of Chinks and Crevices ; wherefore fuch a 
 paufing Humour is well reproved by <Palladio , Lib. 1. Cap. 1. and by ail 
 other. And fo having gleaned theie few Remembrances touching the Pre- 
 paration of the Matter, I may now proceed to the Difpofition thereof, 
 which muff form the Work. In the Form, as I did it in the Seat, I will 
 firft confider the general Figuration, and then the feveral Members. 
 
 Figures are either fimple or mixed ; the fimple be either circular or angu- 
 lar : And of circular, either compleac or deficient, as Ovals ; with which 
 Kinds I will be contented, though the Diftribution might be more curious. 
 
 Now the exadt Circle is in truth a Figure, which for our Purpofe hath 
 many fit and eminent Properties, as fitnefs for Commodity and Receipt, 
 being the mod capable ; fitnefs for Strength and Duration, being the moil 
 united in his Parts ; fitnefs for Beauty and Delight, as imitating the Cele* 
 ftial Orbs, and the Univerfal Form : And it leems, befides, to have the 
 Approbation of Nature, when fire worketh by Inftindl, which is her fecret 
 School; for Birds do build their Nells lpherically : But notwithftanding 
 theie Attributes, it is in truth a very unprofitable Figure in private Fabricks, 
 as being of all other the moft chargeable, and much Room loft in the 
 bending of the Walls when it comes to be divided, befides an ill Diftribu- 
 tion of Light, except from the Center of the Roof: So as anciently it was 
 not ufual, lave in their Temples and Amphi-Theatres, which needed no 
 Compartitions. The Ovals and other imperfedi circular Forms, have the 
 fame Exceptions, and lefs Benefit of Capacity : So as there remains to be 
 confidered in this general Survey of Figures, the angular and the mixed of 
 both. Touching the Angular, it may perchance found fomewhat ftrangely, 
 but it is a true Obfervation, that this Art doth neither love many Angles, 
 nor few. For, firft, the Triangle, which hath the feweft Sides and Corners, 
 is of all other the moft condemned, as being indeed both incapable and in- 
 firm (whereof the Reafon fhall be afterwards rendred) and likewile unre- 
 folvable into any other regular Form than it lelf in the inward Partitions. 
 
 As for Figures, of five, fix, feven, or more Angles, they are furely fit- 
 ter for Military Architecture, where the Bullworks may be laid out at the Cor- 
 ners, and the Sides ferve for Curtains, than for Civil Ule, though I am not ig- 
 norant of that famous Piece at Capnirola, belonging to the Houfe of Farneje, 
 caft by FSaroccio into the Form of a Pentagon, with a Circle inlcribed, where 
 the Architect did ingenioufly wreftie with divers Inconveniencies in difpoling 
 
 c of 
 
vj The Elements of Architecture . 
 
 of the Lights, and in faving the Vacuities. But as Defigns of fuch Nature 
 do more aim at Rarity than Commodity ; fo for my Part, I had rather ad- 
 mire them than commend them. 
 
 Thefe Things confidered, we are both by the Precepts and by the Pra- 
 ctice of the belt Builders, to refolve upon Rectangular Squares, as a Mean 
 between too few, and too many Angles ; and through the equal Inclination 
 of the Sides (which make the right Angle) ftronger than the Rhombe, or 
 Lozenge, or any other irregular Square. But whether the exaCt Quadrat, 
 or the long Square be the better, I find not well determined, though in mine 
 own Conceit I mult prefer the latter, provided that the Length do not ex- 
 ceed the Latitude above one third Part, which would diminifh the Beauty 
 of the Afpect, as Brail appear when I come to fpeak of Symmetry and Pro- 
 portion. 
 
 Of mixed Figures, partly Circular, and partly Angular, I fhall need to 
 fay nothing, becaufe having handled the fimple already, the mixed accord- 
 ing to their Compofition, do participate of the fame RefpeCts : Onlyagainlt 
 thefe there is a proper Objection, that they offend Uniformity, whereof I 
 am therefore opportunely induced to fay fomewhat, as far as fhall concern 
 the outward AfpeCt, which is now in Difcourfe. 
 
 In Architecture there may feem to be two oppofite Affectations, Uniformi- 
 ty and Variety, which yet will very well fuifer a good Reconcilement, as 
 we may fee in the great Pattern of Nature, to which I mult often refort : For 
 furely there can be no Structure more uniform than our Bodies in the whole 
 Figuration, each Side agreeing with the other, both in the Number, in the 
 Quality, and in the Meafure of the Parts : And yet fome are round, as the 
 Arms 5 fome flat, as the Hands; fome prominent, and fome more retired ; 
 fo as upon the Matter, we fee that Diverfity doth not deftroy Uniformity, 
 and that the Limbs of a noble Fabrick may be correfpondent enough, 
 though they be various; Provided always, that we do not run into certain 
 extravagant Inventions, whereof I fihail fpeak more largely when I come 
 to the parting and calling of the whole Work. We ought likewife to avoid 
 enormous Heights of fix or feven Stories, as well as irregular Forms; and 
 the contrary Fault of low diftended Fronts is as unfeemly : Or again, When 
 the Face of the Building is narrow, and the Flank deep, to all which Ex- 
 tremes fome particular Nations or Towns are fubjeCt, whofe Names may 
 be civilly fpared ; and fo much for the general Figuration or Afpect of the 
 Work. 
 
 Now concerning the Parts in Severalty : All the Parts of every Fabrick 
 may be comprifed under five Heads, which Divifion I receive from Baptijla 
 Alberti , to do him right : And they be thefe, 
 
 The Foundation. 
 
 The Walls. 
 
 The Appertions or Overtures. 
 
 The Compartition, 
 
 And the CoVer. 
 
 About all which I purpofe to gather the principal Cautions; and as I pafs 
 along, I will touch alio the natural Reafons of Art, that my Difcourfe may 
 be the lefs mechanical. 
 
 Firft 
 
The Elements of Architecture. 
 
 Firft then concerning the Foundation, which requireth the exa&eft Care ; 
 for if that happen to dance, it will mar all the Mirth in the Houfe: There- 
 fore, that we may found our Habitation firmly, we muff firft examine the 
 Bed of Earth (as I may term it) upon which we will build 5 and then the 
 Underfilings or Subftruction, as the Antients did call it : For the former, we 
 have a general Precept in Vitruvius, twice precifely repeated by him, as a Point 
 indeed of main Confequence 5 firft Lib. i. Cap. 5, And again more fitly, Lib. 1. 
 Cap. 3. in thefe Words, as Philander doth wellcorred the vulgar Copies. 
 
 Subftruttioms Fundattones fodiantur (faith he) ft queant inVeniri ad folidum, in 
 
 folido. By which Words I conceive him to commend unto us, not only a 
 diligent, but even a jealous Examination what the Soil will bear, advifinc 
 us not to reft upon any appearing Solidity, unlefs the whole Mold through 
 which we cut, have likewife been folid ; but how deep we fliould go in 
 this Search, he hath no where to my remembrance determined, as perhaps 
 depending more upon Difcretion than Regularity, according to the Weight 
 of the Work ; yet Andrea Palladio hath fairly adventured to reduce it into 
 Rule, allowing for that * CaVafione (as he calleth it) a fixth Part of the 
 Height of the whole Fabrick, unlefs the Cellars be under Ground, in which 
 Cafe he would have us (as it fhould feemj to found fomewhat lower. 
 
 Some Italians do prefcribe, that when they have chofen the Floor, or Plot, 
 and laid out the Limits of the Work, we fliould firft of all dig Wells and’ 
 Cifterns, and other Under-condufts and Conveyances for the Suillage of the 
 Houfe, whence mayanfea double Benefit, for both the Nature of the Mold 
 or Soil would thereby be fafely fearched ; and moreover, thofe open Vents 
 will ferve to difcharge fuch Vapours, as having otherwife no Iffue might 
 peradventure fliake the Building. This is enough for the natural Ground- 
 ing, which though it be not a Part of the folid Fabrick, yet here was the 
 fitted Place to handle it. ’ " 
 
 There followeth the Subftruction or Groundwork of the whole Edifice 
 which muft fuftain the Walls; and this is a Kind of artificial Foundation as 
 the other was natural, about which thefe are the chief Remembrances • Firft 
 That the Bottom be precifely level, where the Italians therefore commonly 
 lay a Platform of good Board 5 then that the lowed Ledge or Row be 
 meerly of Stone, and the broader the better, clofely laid without Mortar 
 which is a general Caution for all Parts in Building that are contiguous to 
 Board or Timber, becaufe Lime and Wood are infociable, and if any 
 where unfit Confiners, then moll efpecially in the Foundation. Thirdly 
 That the Breadth of the Subftrudion be at leaft double to the infiftent Wall 
 and more or lefs, as the Weight of the Fabrick Avail require • for as I muft 
 again repeat, Difcretion may be freer than Art. Laftly, I find in fome a 
 curious Precept, That the Materials below be laid as they grew in the Quar- 
 ry, fuppofing them belike to have moft Strength in their natural and habi- 
 tual Polture. For as Philippe de lOrme obferveth, the breaking or yielding of 
 a Stone in this Part but the Breadth of the Back of a Knife, will make a 
 Cleft of more than half a Foot in the Fabrick aloft, fo important are Fun- 
 damental Errors ; among which Notes I have faid nothing of Pallificati- 
 
 on. 
 
 * Under digging, or Hollowing of the Earth , 
 
The Elements of Architecture. 
 
 on, or plying of the Groundplot, commanded by Vitruvius when we build 
 upon a moift or marlTiy Soil, becaufe that were an Error in the firft Choice $ 
 and therefore all Seats that mufl tile fuch Provifion below (as Venice for 
 an eminent Example) would, perhaps, upon good Enquiry, be found to 
 have been at firft chofen by the Counfel of Neceflity. 
 
 Now the Foundation being fearched, and the Subftruftion laid, we mull 
 next fpeak of the Walls. 
 
 Walls are either entire and continual, or intermitted, and the IntermilTions 
 be either Pillars or Pilafters, for here I had rather handle them, than as 
 fome others do, among Ornaments. 
 
 The entire Muring , is by Writers diverfly diftinguifhed : By fome, ac- 
 cording to the quality of the Materials, as either Stone or Brick, isre. where, 
 by the way, let me note, that to build Walls and greater Works of Flint, 
 whereof we want not Example in our Ifland, and particularly in the Pro- 
 vince of lyent, was (as I conceive) meerly unknown to the Antients, 
 who obferving in that Material a kind of Metalical Nature, or at leaft a Fu- 
 fibility, feem to have refolved it into nobler Ufe, an Art now utterly loft, or 
 perchance kept up by a few Chymicks. Some again do not fo much confi- 
 der the Quality, as the Pofition of the faid Materials 5 as when Brick or 
 fquared Stones are laid in their Lengths, with Sides and Ffeads together, or 
 their. Points conjoined like a Network (forfo Vitruvius doth call it, O^cticuhi- 
 tumOptts ) of familiar Ufe (as it fhould feem) in his Age, though afterwards 
 grown out of Requeft, even perhaps for that fubtil Speculation which he 
 himfelf toucheth 5 becaufe fo laid, they are more apt in fwagging down, to 
 pierce with their Points, than in the adjacent Pofture, and fo to crevice the 
 Wall. But to leave fuch Cares to the meaner Artificers, the more eftential 
 are thefe : 
 
 That the Walls be moft exaftly perpendicular to the Groundwork ; for 
 the right Angle (thereon depending) is the true Caufe of all Stability both 
 in artificial and natural Pofitions, a Man likewife Handing firmed when he 
 Hands uprighteft. That the maffieftand heavieft Materials be the loweft, as 
 fitter to bear than to be born ; that the Work as it rifeth, diminifh in Thick- 
 nefs proportionally, for eafe both of Weight and of Expence ; that certain 
 Courfes or Ledges of more Strength than the reft, be interlaid like Bones, to 
 fuftain the Fabnck from total Ruine, if the under Parts fihould decay. Laft- 
 ly ? That the Angles be firmly bound, which are the Nerves of the whole Edi- 
 fice, and therefore are commonly fortified by the Italians, even in their Brick 
 Buildings, on each fide of the Corners, with well fquared Stone, yielding 
 both Strength and Grace : And fo much touching the entire or folid Wall. 
 
 The Intermiffions (as hath been faid) are either by Pillars or Pilafters. 
 
 Pillars, which we may likewife call Columns (for the Word among Arti- 
 ficers is almoft naturalized) I could diftinguifh into fimple and compound- 
 ed. But (to tread the beaten and plaineft way) there are five Orders of 
 Pillars, according to their Dignity and Perfeftion, thus marfhalled 5 
 The Tujcan. 4 
 
 The Vonck. 
 
 The Ionick- 
 The Corinthian. 
 
 And 
 
The Elements of Architecture, ix 
 
 And the Compound Order, or as fome call it, the (Roman, others more gene- 
 rally, the Italian. 
 
 In which five Orders I will firft confider their Communities, and then 
 their Properties. 
 
 Their Communities (as far as I obferve) are principally Three : Firft, 
 They are all round, for though fome conceive Columna Atticurges mentioned 
 by Vitruvius, Lib. 3. Cap. 3. to have been a fquared Pillar, yet we mud pafs 
 it over as irregular, never received among thefe Orders, no more than cer- 
 tain other licentious Inventions, of wreathed, and vined, and figured Co- 
 lumns, which our Author himfelf condemneth, being in his whole Book a 
 prolelfed Enemy to Fancies^ 
 
 Secondly, They are all diminifihed or contracted infenfibly, more or lefs, 
 according to the Proportion of their Heights, from one third Part of the 
 whole Shaft upwards, which Finlander doth prescribe by his own precife mea- 
 furing of the ancient Remainders, as the moft graceful Diminution. And 
 here I mult take lea\ e to blame a Practice grown (I know not howj in certain 
 Places too familiar, of making Pillars fwell in the Middle, as if they were 
 Pick of fome T yrnpany or Dropfy, without any authentick Pattern or Rule, 
 to my Knowledge, and unfeemly to the very Judgement of Sight True it 
 is, that in Vitruvius, Lib. 3. Cap. 2. we find thele Words, De adjelhone , iju.e 
 adjicitur m medtis Columns 5 cpu.e apud Grecos Evram appellatur , in extremo libro erit 
 formatio ejus ; which Paffage feemeth to have given fome countenance to this 
 Error. But of the Promile there made, as of divers other el fe where, our Ma- 
 tter hath failed us, either by flip of Memory, or injury of Time, and fo we 
 are left in the Dark. Always lure I am, that befides the Authority of Ex- 
 ample, which it wanteth, it is likewife contrary to the original and natural 
 Type in Trees, which at firft was imitated in Pillars, as FitruVms himfelf ob- 
 ferveth. Lib. yCap. 1. For whoever faw any CyprefsorPine (which are there 
 alledged) lmall below and above, and tumerous in the middle, unlefs it were 
 fome difealed Plant, as Nature (though otherwife the comelieft Miftrels) 
 hath now and then her Deformities and Irregularities. 
 
 Thirdly, They have all their llnderfettings or Pedeftals, in Height a 
 third part of the whole Column, comprehending the Bafeand Capital^ and 
 then upper Adjun&s, as Architrave, Frize, and Cornice, a fourth part of the 
 faid Pillar 5 which Rule, of lingular life and Facility, 1 find fettled by Jacobo 
 Baroccio, and hold him a more credible Author, as a Man that moft intend- 
 ed this Piece, than any that vary from him in thofe Dimenfions. 
 
 d hefe are their moft confiderable Communities and Agreements. 
 
 Their Piopeities or Diftindlions will beft appear, by fome reafonable De- 
 feription of them all, together with their Architraves, Frizes, and Cornices, 
 as they are ufually handled. 
 
 Fiift, rhereiore, the Tufcan is a plain, mafly, rural Pillar, refembling 
 fome fturdy well-limbed Labourer, homely clad, in which kind of Com- 
 panions, Vitruvius himfelf feemeth to take Pleafure, Lib. 4. Cap. 1 . The 
 Length thereof fhall be fix Diameters, of the groffeft of the Pillar below, 
 of all Proportions in truth the moft natural 5 forour Author tells us, Lib. 3. 
 Cap. 1 . that the Foot of a Man is the fixth Part of his Body in ordinary Mea- 
 lure, and Man himfelf, according to the Saying of Protagoras (which Ari- 
 
 d Jlotle 
 
x The Elements of Architecture . 
 
 Jlotlc doth fomewhere vouchfafc to celebrate) is <m dtraiTW /m t&>v. 
 
 as it were the Prototipe of all exaCt Symmetry, w'hich we have had other Oc- 
 cafion to touch before : This Column I have by good warrant called Rural, 
 J/itru Lib. 3. Cap. 2. and therefore we need not confider his Rank among 
 the reft. The Diftance or Intercolumniation (which Word Artificers do 
 ufually borrow) may be near four of his own Diameters, becaufe the Ma- 
 terials commonly laid over this Pillar, were rather of Wood than Stone, 
 through the Lightnefs whereof the Architrave could not fuffer, though thin- 
 ly fupported, nor the Column it felf being fo fubftantial. The Contracti- 
 on aloft fhall be (according to the moft received Practice) one fourth part of 
 his Thicknefs below'. To conclude, (for I intend only as much as fhail 
 ferve for a due Diftinguifhment, and not to delineate every petty Mem- 
 ber) the Tufcan is of all the rudeft Pillar, and his principal Character, Sim- 
 plicity. 
 
 The Dorick . Order is the graved: that hath been received into civil Ufe, pre- 
 ferring, in Comparifon of thofe that follow, a more mafculine AfpeCt, and 
 little trimmer than the Tufcan that went before, fave a fober Garnifh- 
 ment now and then of Lions Heads in the Cornice, and of Triglyphs and 
 Metopes alw'aysin the Prize: Sometimes likewife, but rarely channelled, and 
 a little flight Sculpture about the Hypotrachelion, or Neck, under the Capi- 
 tal. The Length feven Diameters. His Rank or Degree is the lowed: by all 
 Congruity, as being more maffy than the other three, and confequently 
 abler to lupport. The Intercolumniation thrice as much as his Thicknefs 
 below. The Contraction aloft, one fifth of the fame Meafure. To difcern 
 him, will be a Piece rather of good Heraldry than of Architecture-, for he is 
 bed: known by his Place, when he is in Company, and by the peculiar Or- 
 nament of his Frize (before-mentioned) v'hen he is alone. 
 
 The lonick. Order doth reprefent a kind of Feminine Slendernefs, yet faith 
 Vitruvius, not like a light Houfewife, but in a decent Dreffing, hath much of 
 the Matron. The Length eight Diameters. In Degree, as in Subftantialnefs, 
 next above the T)orick_, fuftaining the third, and adorning the fecond Story. 
 The Intercolumniation, cwo of his own Diameters. The Contraction, one 
 fixth part, bed known by his Trimmings $ for the Body of this Column is 
 perpetually channelled, like a thick pleated Gown. The Capital drefled on 
 each Side, not much unlike Womens Wires, in a fpiral Wreathing, which 
 they call the Ionian Valuta. The Cornice indented. The Frize dwelling like a 
 Pillow, and therefore by Vitruvius not unelegantly termed <P ulVmata . Thefe 
 are his bed: Characters. 
 
 The Corinthian , is a Column lacivioudy decked like a Curtefan, and there- 
 in much participating (as all Inventions do) of the Place where they were 
 firft born : Corinth having been without Controverfy, one of the wantoneft 
 Towns in the World. This Order is of nine Diameters. His Degree one 
 Stage above the Ionic^, and always thehigheft of the iimpie Orders. The In- 
 tercolumniation, two of his Diameters, and a fourth part more, which is of 
 all other the comlieft Diftance. The Contraction one leventh Part. In the 
 Cornice, both Tentelli and Modigliani. * The Frize adorned with all Kinds of 
 4 Figures 
 
 • 0;tr Artizcms call them 7ceth and Cancm.es. 
 
The Elements of Architecture. x j 
 
 Figures and various Compartments atPleafure: Tbe Caoiral rm 
 
 beautifulleft Leaf that Nature doth yield, which fureiv L -i u ^ 
 Pardalianches (rejected perchance asan ominous Plant) is the 2 an tbus or 
 ca Urjini, though Vitruvius do impute the Choice thereof unto ChL ce \ 
 muff be contented to believe him : In fliort, as Plainnefs did chara^edze the 
 
 Tujcan, fo mud Dehcacy and Variety the Corinthian Pillar, befides the E 
 of his Rank. r "icignc 
 
 The laft is the Compounded Order; his Name being a Brief of his Nature- 
 For chi PilUr is nothing dfe* but a Medly, or an Amafs of all then” ' 
 
 u 0r “ m f” s > "! akin S * oewKtnd by Stealth, and though the moll 
 richly tricked, yet the pooreft in this, that he is a Borrower of all his Beau- 
 ty. His Length, (that he may have fomewhat of his own) fhali be of ten 
 Chameters^ His Degree fliould, no doubt, be the higheft, by Reafons before 
 yielded . But few Palaces, ant.ent or modern, exceed the third of the Civil Or- 
 ders. The Intercdummation but a Diameter and an half, or always fomewhat 
 Ids than two. The Contraction of this Pillar mull be one eighth Part lefs 
 
 SSoa t Mt° W Mm ’ ty tbC V " y “ MrC ° f 
 
 And fo much touching the five Orders of Columns, which I will con. 
 elude with two or three not impertinent Cautions : 
 
 Firjl , That where more of rhefe Orders than one (hall be fet in feveral 
 Stones or Continuations, there mull be an cat he Care to place the Co- 
 
 lumns precfely one over another, that fo the Solid may anfwel to the Solid 
 and the Vacuities to the Vacuities, as well for Beauty is Strength of he S 
 brick, and by tins Cannon the Conference is plain, that when we fp alt 
 of the Intercolumniation or Diftance whtch is due to each Order we me! 
 in a f.hnd 1 .meal, Cmmhm Porch or Cloyller, or the like of ok Cornier 
 nation, and not in Storied Buildings. ntl §" 
 
 Secondly , Let the Columns above be a fourth Part lefs than thofe below ' 
 faith Vitruvius, Lib . j. Cap. 15. A ftrange Precept, in my Opinion, and fo 
 ftrange, that perad venture it were more fuitable even to his own Principles 
 to make them rather a fourth Part greater ; for Lib. 3 . Cap. 2 . where our Ma 
 fter handleth the Contraftion of Pillars, we have an Optick Rule that the 
 higher they are, the lefs Ihould be always their Dim, nu, ton aloft, bkauf h! 
 ge,t felt doth naturally contra* all Objefts, moreor lefs, acckdine he 
 
 atfiril Si s fe . kern to have been forgot- 
 ten in the Caution we have now given; but Vitruvius (the bell Interpreted of 
 
 ^t hef! wir'd,' 7f V ° f hiS “ B ° 0t > «S»«ed hisVmo- 
 
 r Lv h f le W ° r(js i Columns fupenores quarta parte minor es, qu dm infer lores, funt 
 
 prefe nnt £5 lik7r e r^ ’ T' *** fmt H^ora, firmiora ejfe dint s 
 
 deal "ndVe^bL r C h f n r Ck> tke " atural ^afon before the Mathema- 
 tical, and knlible Conceits before abftradted : And yet Lib a Cab a he 
 
 KJZ: S r“ b,i V a JJ ow ing Pillars the more theyltre^channel- 
 
 diftindllv meaf 110 ^ ^ ^ ecau ^ while our Eye {faith he) doth as it were 
 
 appeal Z hZ AT™ ^ f h ° lloWed Pa “ s > the Total Object 
 
 fupnlied bv V n^’ ° c . a , S mUch as tkoke ExcavatI ons do fubtratt, is 
 
 K^ha y ve « i ^ 0f r t 5 eS, ! hC u : BUCherC ’ mechlnks ’ our Mafter Ihould 
 ke ife have rather confidered the natural Inconvenience 5 for though Pil- 
 lars 
 
xij The Elements of Architecture ] 
 
 larsby channelling, beLeemingly ingrafted to our Sight, yet they are truly 
 weakened in thenftHves, and therefore ought perchance in found Reafon, 
 not to be the more (lender, but the more corpulent, unlefs Appearances 
 preponder Truths; but Contra Magiftrum , non eft Diftutandum. 
 r A 71 'iift Caution fhall be. That all the projected or jutting Parts ("as they 
 arc tcriucd.) be very moderate, efpecially the Cornices of the lower Orders; 
 for whilft fome think to give them a beautiful and royal Afpedt, by their 
 Laraenefs, they lometimes hinder both the Light within, (whereof I fhall 
 fpcalc more in due Place) and likewife detraft much from the View of the 
 Front without, as well appeareth in one of the principal Fabricks at Venice, 
 namely, the Palace of the Duke Grimani on the Canal Grande , which by 
 this magnificent Error is fomewhat difgraced. I need now lay no more 
 concerning Columns and their Adjundls, about which Architedls make fuch 
 a Noife.in their Books, as if the very Terms of Architraves, and Frizes, 
 and Cornices, and the like, were enough to graduate a Mafter of this Ait; 
 yet let me before I pafs to other Matter, prevent a familiar Objection. It 
 will perchance be faid, that all this Doctrine touching the five Orders, were 
 fitter for the Quarries of Jjta y which yielded One hundred and twenty-feveri 
 Columns of Sixty Foot high, to the Epheftan Temple; or for Numidia, where 
 Marbles abound, than for the Spirits of England, who muff be contented 
 with more ignoble Materials. To which I anfwer, That this need notdif- 
 courage us; for I have often at Venice viewed with much Pleafnre, an Atri- 
 um Gr cecum (we may tranOarc k an Anti-Porch, after the Greek manner) 
 railed by Andrea Palladio, upon eight Columns of the Compounded Order; 
 the Bales of Stone, without Pedeftals; the Shafts or Bodies of meer Brick, 
 three Foot and an half thick in the Diameter below, and confequently 
 thirty-five Foot high, as himfelf hath defcribed them in his Second Book, 
 than which mine Eye hath never yet beheld any Columns more (lately of 
 Stone or Marble ; for the Bricks having firfl been formed in a circular Mould, 
 and then cut before their burning into four Quarters or more, the Sides af- 
 terwards join fo clofely, and the Points concenter fo exactly, that the Pillars 
 appear one entire Piece ; which fhort Defcription I could not omit, that there- 
 by may appear how in truth we want rather Art than Stuff to fatisfy our 
 
 greatefl Fancies. , , 
 
 After Pillars, the next in my Diflribution, are Pilafters, mentioned by 
 Vitruvius, Lib. 5. Cap. 1. and leant any where elle, under the Name of Pa- 
 raftates, as Philander conceiveth; which Grammatical Point (though perchance 
 not very clear) 1 am contented to examine no farther. Always, what we 
 mean by the Thing it felf, is plain enough in our own Vulgar, touching 
 which, I will briefly colled! the mod coniiderable Notes. 
 
 Pilafters mull not be too tall and flender, lead they referable Pillars ; nor 
 too dwarfifh and grofs, leaft they imitate Piles or Peers of Bridges: Smooth- 
 nefs doth not fo naturally become them, as a ruftick Superficies, for they aim 
 more at State and Strength than Elegancy. In private Buildings they ought 
 not to be narrower than one Third, nor broader than two Parts of the w o e 
 Vacuity, between Pilafter and Pilafter; but to thole that Hand at the Cor- 
 ners, may be allowed a little more Latitude by Dilcretion, for Strength of 
 
 the Angies. In Theaters and Amphi-Theaters, and fuch weighty Works, 
 D 'Palladio 
 
 4 
 
The Elements of Architecture. 
 
 Palladio obferveth them to have been as broad as the half, and now and then 
 as the whole Vacuity. He noteth likewife (and others confent with him) 
 that their true Proportion fhould be an exacft Square; but for leffening of Ex- 
 pence, and inlarging of Room, they are commonly narrower in Flank 
 than in Front: Their principal Grace doth confift in half or whole Pillars 
 applied unto them 5 in which Cafe it is well noted by Authors, that the Co- 
 lumns may be allowed fomewhat above their ordinary Length, becaufethey 
 lean unto fo good Supporters. And thus much fhall fuffice touching pfia- 
 fters, which is a cheap, and a ftrong, and a noble kind of Strufture. & 
 
 Now, becaufe they are oftner, both for Beauty and Majefty, found arched 
 than otherwife, I am here orderly led to fpeak of Arches, and under the 
 fame Head of Vaults 5 foranArch is nothing indeed but a con traded Vault 
 and a Vault is but a dilated Arch ; therefore to handle this Piece both com- 
 pendioufly and fundamentally, I will refolve the whole Bufinefs into a few 
 Theorems. 
 
 THEOREM I. 
 
 All folid Materials free from Impediment, do defcend perpendicularly 
 downwards, becaufe Ponderolity is a natural Inclination to the Center of 
 the World, and Nature performeth her Motions by the fihorteft Lines. 
 
 THEOREM II. 
 
 Bricks moulded in their ordinary Rectangular form, if they flrall be laid 
 one by another in a level Row, between any Supporters fuftaining the two 
 Ends, then all the Pieces between, will neceffarily fink, even by their own 
 natural Gravity, andmuch more if they fufferany Depreffion by other Weight 
 above them, becaufe their Sides being parallel, they have room to defcend 
 perpendicularly, without Impeachment, according to the former Theorem- 
 therefore to make them Hand, we muff either change their Pofture or their 
 Figure, or both. J 
 
 THEOREM III. 
 
 If Bricks moulded or Stones fquared Cuneatim (that is, Weda e -wife 
 broader above than below) fhall be laid in a Row level, with their Ends fuo- 
 ported, asm the precedent Theorem, pointing all to one Center • then none 
 of the Pieces between can fink till the Supporters give way, becaufe they 
 want room in that Figuration to defcend perpendicularly. But this is vet a 
 weak Piece of Structure, becaufe the Supporters are fubjeit to much Impul- 
 • ^fpecully ff the Lme be long 5 for which Reafon this Form is feldom 
 ufed, but over Windows or narrow Doors. Therefore to fortify the Work 
 as in tbs Third Theorem, we have fuppofed the Figure of all the Ma- 
 tenals different from thofein the Second: So likewife we muff now change 
 the Pofture, as will appear in the Theorem following. 
 
 THEOREM IV. 
 
 i 1 u thC M acenals fi g ur ed as before Wedge-wife, fhall not be difpofed level- 
 ly, but in Form of JomeArch or Proportion of a Circle, pointing all to the 
 fame Center. In this Cafe, neither the Pieces of the faid Arch can fink 
 
 e downwards 
 
The Elements of Architecture. 
 
 downwards, through want of room to defcend * perpendicularly; nor the 
 Supporters or Butments (as they are termed) of the faid Arch can fuffer fo 
 much Violence, as in the precedent flat Pofture, for the Roundnefs will al- 
 ways make the incumbent Weight, rather to reft upon the Supporters than 
 to fhove them. Whence may be drawn an evident Corailary ; that the fafeft 
 of all Arches is the Semicircular, and of all Vaults the Hemifphere, though 
 not abfolutely exempted from fome natural Weaknefs, f as Harnardino Baldi, 
 Abbot of Guaftalk, in his Commentary upon Ar'tjlotle s Mechamcks, doth ve- 
 ry well prove ; where let me note by the way, that when any thing is ma- 
 thematically demonftrated weak, it is much more mechanically weak, 
 Errors ever occurring more ealily in the Management of grofs Materials, 
 than lineal Defigns. 
 
 THEOREM V- 
 
 As Semicircular Arches, or Hemifpherical -Vaults, being raifed upon 
 the total Diameter, be of all other the roundeft, and confer] uently the fe- 
 cureft, by the precedent Theorem : So thofe are the gracefulleft, which 
 keeping precifely the fame Height, (hall yet be diftended one fourteenth 
 Part longer than the faid entire Diameter ; which Addition of Diftent will 
 confer much to their Beauty, and detraft but little from their Strength. 
 
 This Obfervation I find in Leon Baptijla Alberti ; but the Practice how to 
 preferve the fame Height, and yet diftend the Arms or Ends of the Arch, is 
 in Alberty Durer s Geometry, who taught the Italians many an excellent Line, 
 of great Life in this Art. 
 
 Upon thefe fi \e Theorems all the Skill of Arching and Vaulting is ground- 
 ed : As for thofe Arches, which our Artifans call of the third and fourth 
 Point ; and the Tufcan Writers di terzp, and di quarto acuto ; becaufe they al- 
 ways concur in an acute Angle, and do fpringfrom divifion of the Diameter, 
 into three, four, or more parts at pleafure ; I fay, fuch as thefe, both from 
 the natural Imbecility of the fharp Angle itfelf, and likewife for their very 
 Uncomelinefs, ought to be exiled from judicious Eyes, and left to their firft 
 Inventors, the Goths or Lombards, amongft other Relieves of that barbarous 
 
 Age. 
 
 Thus of my firft Partition of the Parts of every Fabrick, into five Heads, 
 having gone through the two former, and been incidently carried into this 
 laft Doctrine touching Arches and Vaults. The next now in order, are the 
 Apertions, under which Term I do comprehend Doors, Windows, Stair- 
 Cafes, Chimnies, or other Conducts ; in flhort, all Inlets or Oulets, to 
 which belong two general Cautions. ■ 
 
 Firft, That they be as few in Number, and as moderate in Dimenfion, 
 as may polfibly confift with other due Refpe&s; for in a word, all Open- 
 ings are Weakenings. 
 
 Secondly, That they do not approach too near the Angles of the Walls; 
 for it were indeed a mod effential Solecifm to weaken that Part which muft 
 ftrengthen all the reft : A Precept well recorded, but ill pra&ifed by the Ita- 
 lians themfelves, particularly at Venice, where I have obferved divers Tergoh, 
 ' or 
 
 * Bf thefirji 'theorem . i Which is the foie Prerogative of Perpendicular Lines and Right Aught- 
 
The Elements of Architecture. xv 
 
 or Meniana (as Vitruvius feemeth to call them, which are certain ballifed Out- 
 ftandings to fatisfy Curiofity of Sight) very dangeroufly fet forth, upon the 
 very Point it felf of the Mural Angle. r 
 
 Now, albeit I make hafle to the calling and comparting of the whole 
 Work, (being indeed the very definitive Sum of this Art, to dillribute ufe- 
 fully and gracefully a well-chofen Plot) yet I will firlt under their feveral 
 Heads, colled briefly fome of the choice!! Notes belonging to thefe parti- 
 cular Overtures. a r 
 
 Of Door s and Win d o w s. 
 
 Thefe Inlets of Men and of Light, I couple together, becaufe I find 
 their due Dimenfions brought under one Rule, by Leon Alberti (a learned 
 Searcher) who from the School of Pythagoras (where it was a fundamental 
 Maxim, That the Images of all Things are latent in Numbers) doth deter- 
 mine the comelielt Proportion between Breadths and Heights, reducing Sym- 
 metry to Symphony, and the Harmony of Sound, to a kind of Harmony 
 in *§ a ' cer t ' , ’ s manner : The two principal Confonances that molt ra- 
 V r 1 c E n r ’ Z r K , ^ con ^ ent:0 f all Nature, the Fifth and the OEtaVe-. where - 
 ot the firlt rifeth radically, from the Proportion between two and three. 
 
 1 he other from the double Interval, between one and two, or between two 
 an ruf’ ^ 0W ’ ^ we lHaall tranfport thefe Proportions, from audible 
 to viable Objects, and apply them as they fiiall fall fitted, (the Nature of 
 the Place confidered) namely in lome Windows and Doors, the Symmetry 
 °r c 7V 0 , chree their Breadth and Length; in others the double, as 
 aforelaid, there will indubitably refult from either, a graceful and harmo- 
 nious Contentment to the Eye 5 which Speculation, though it may appear 
 unto vulgar Artizans, perhaps, toofubdle, and too fublime, yet we mull re- 
 member, that Vitruvius himfelf doth determine many Things in his Pro- 
 tein on by Mufical Grounds, and much commendeth in an Architect, a Phi- 
 lolophical Spirit ; that is, he would have him (as I conceive it) to be no fu- 
 perficial and floating Artificer, but a Diver into Caufes, and into the My- 
 iteries of Proportion, Of the Ornaments belonging both to Doors and 
 Windows, I fnall fpeak in another Place ; but let me here add one Obferva- 
 tion, That our Mailer (as appeareth by divers Palfages, and particularly, 
 Lib. 6. Cap. p.) feems to have been an extreme lover of luminous Rooms : 
 con f e f s 5 that a frank Light can misbecome no Edifice 
 what oever, Temples only excepted, which were anciently dark, as they 
 are hkewife at this Day in fome Proportion ; Devotion more requiring colleEted 
 than dijjujed Spirits. Yet on the other Side, we mud take heed to make a 
 Houle (though but for civil Ufe) all Eyes, like Argus, which in Northern 
 Climes would be too cold, in Southern too hot : And therefore the matter 
 indeed importeth more than a merry Comparifon. Befides, there is 
 no art o Stru&ure either more expenceful than Windows, or more rui- 
 nous; not only for that vulgar Reafon, as being expofed to all Violence of 
 eat er, ut becaufe conlifting of fo different and unfociable Pieces, as 
 3 Wood, 
 
 * Lumen eft diffufiura fui & alieni. 
 
xvj The Elements of Architecture. 
 
 Wood, Iron, Lead, and Glafs, and thofe fmall and weak, they are eafily 
 
 fhaken. I mull likewife remember one Thing (though it be but a Gram- 
 matical Note) touching Doors. Some were Fans, andiome were Va/lve; thofe 
 (as the very Word may feem to import) did open outwards, chefe inwards; 
 and were commonly of two Leaves or Panes, (as we call them) thereby 
 requiring indeed a lelfer Circuit in their unfolding, and therefore much in 
 Ufe among Italians at this Day: But I mull charge them with an Imperfecti- 
 on, for though they let in as well as the former, yet they keep outworfe. 
 
 To make a compleat Stair-Cafe is a curious Piece of ArchiteBure: The 
 vulgar Cautions are thefe ; 
 
 That it have a very liberal Light, againft all Cafualty of Slips and Falls. 
 
 That the Space above the Head be large and airy, which the Italians ufe to 
 call tin bd-sfogolo, as it were good Ventilation, becaufe a Man doth fpend 
 much Breath in mounting. 
 
 That the half Paces be well diftributed, at competent Diftances, for re- 
 pofing on the Way. 
 
 That to avoid Encounters, and belides to gratify the Beholder, the whole 
 Stair-Cafe have no nigard Latitude, that is, for the principal Afcent, at leaft 
 ten Foot in royal Buildings. 
 
 That the Breadth of every fingle Step or Stair, be never lefs than one 
 Foot, nor more than eighteen Inches. 
 
 That they exceed by no means half a Foot in their Height or Thick- 
 rrefs, for our Legs do labour more in Elevation than in Diftention: Thefe, 
 I fay, are familiar Remembrances, to which let me add, 
 
 That the Steps be laid where they join Con un tantino di Jcarpa ; we may 
 tranflate it fomewhat floaping, that fo the Foot may in a fort both afcend 
 and defcend together, which though obferved by few, is afecret and delicate 
 Deception of the Pains in mounting. 
 
 Lafily , To reduce this Dodrine to fome Natural, or leaft Mathematical 
 Ground, (ourMafter, as we fee, Lib. 9. Cap.i.) borroweth thole Proportions 
 that make the Sides of a redangular Triangle, which the antient School did 
 exprefs in loweft Terms, by the Numbers of Three, Four, and Five ; that is. 
 Three forthe Perpendicular, from the Stair-head to the Ground, Four forthe 
 Ground-Line it felf, or Receflion from the Wall ; and Five for the whole In- 
 clination or Slopenefs in the Afcent ; which Proportion, faith he, will make Tem- 
 peratas graduum liberationes. Hitherto of Stair-Cafes which are dired : There are 
 likewife Spiral, or Cockle Stairs, either circular or oval, and fometimes run- 
 ning about a Pillar, fometimes vacant, wherein Palladio, (a Man in 'this 
 Point of fingular Felicity) was wont to divide the Diameter of the firft Sort 
 into three Parts, yielding one to the Pillar, and two to the Steps : Of the 
 fecond into four, whereof he gave two to the Stairs, and two to the Vacuity, 
 which had all their Light from above ; and this in exad Ovals, is a Ma- 
 
 Of Stair-Cases. 
 
 fterpiece. 
 
The Elements of Architecture. xvij 
 Of Chimnies. 
 
 tn the prefent Bufinefs, Italians (who make very frugal Fires) are perchanee 
 flot the beft Counfellors. Therefore from them we may better learn both 
 how to raife fair Mantels within the Rooms, and how to difguife gracefully 
 the Shafts of Chimmes abroad (as they ufe) infundry Forms (which I fhall 
 handle in the latter Part of my Labour) and the reft I will extra# from 
 Tbiltppe de I'Onne , in this Part of his Work more diligent, than in any other 
 or, to do him right, than any Man elfe. 
 
 Ftrft, Heobferveth veryfoberly, that who in the Difpofition of any Build- 
 ing will conlider the Nature of the Region, and the Winds that ordinarily 
 blow from this or that Quarter, might lo call the Rooms which fhall mod 
 need Fire, that he fhould little fear the Incommodicy of Smoak, and there- 
 fore he thinks that Inconvenience for the moft part to proceed from fome 
 inconfiderate Beginning. Or if the Error lay not in the Difpofition, but m 
 the Structure it ielf, then he makes a Logical Enquiry, That either the 
 Wind is too much let in above, at the Mouth of the Shaft, or the Smoak 
 itifled below: If none of thefe, then there is a Repulfion of the Fume by fome 
 higher Hill or Fabnck, that fhall over-top the Chimney, and work the former 
 Effe# : If hkewife not this, then he concludes, That the Room which is 
 intefted, mull be neceftar.ly both little and clofe, fo as the Smoak cannot if- 
 iue by a natural Principle, wanting a Succeftion and Supply of new Air. 
 
 Now, m thefe Cafes he fuggefleth divers artificial Remedies, of which I 
 will allow one, a little Defcription, becaule it favoureth of Philofophy and 
 was touched by VitruVm him felf, Lib. i . Cap. 6. but by this Man ingeni- 
 oufly applied to the prefent Ule : He will have us provide two hollow Brafs 
 Balls of realonable Capacity, with little Holes open in both for Reception 
 of Water, when the Air fhall be firft fucked out : One of thefe we muft 
 place with the Hole upwards, upon an Iron Wire, that fhall traverfe the 
 Chimney, a little above the Mantel, at the ordinary Height of the fharpeft 
 Heat or Flames, whereof the Water within being ratified, and by Rarifadi- 
 on refolved into Wind, wall break out, and fo force up the Smoak, which 
 c*herwife might linger in the Tunnel by the way, and oftentimes revert : 
 Wuh the other (faith he) we may fupply the Place of the former, when it is 
 exhaulted, or for a need, blow the Fire in the mean while 5 which Inventi- 
 on l have interpoled for fome little Entertainment of the Reader I will 
 conclude with a Note from Palladio, who obferveth, that the Antients did 
 warm their Rooms with certain fecret Pipes, that came through the Walls 
 tranfporting Heat (as I conceive it) to fundry Parts of the Houfe, from one 
 common Furnace ; I am ready to baptize them CaltduBs, as well as they are 
 termed FentiduBs and JquHucts, that convey Wind and Water; which whe- 
 ther it were a Cuftom or a Delicacy, was furely both for Thrift and for 
 Idle, far beyond the German Stoves ; and I fhould prefer it likewife before 
 our own Falhion, if the very Sight of a Fire did not add to the Room a kind 
 et Reputation, as old * Homer doth teach us in a Verfe, fufficient to 
 prove that himlelf was not blind, as fome would lay to his Charge. 
 
 ^ Touching 
 
 > — D 
 
 * A’iSsmVb -j ' m Igjf y. e ?{Jl, s Q- ,7*©. ; JSSJ. Horn. Epig. 
 
xviij The Elements of Architecture. 
 
 Touching Con duffs for the Suillage, and other Neceflities of the Houfe, 
 (which how bafe foever in Ufe, yet for Health of the Inhabitants are as 
 confiderable, and perhaps more than the reft) 1 find in our Authors this 
 Counfel, That Art fhould imitate Nature in thofe ignoble Conveyances, and 
 feparate them from Sight, (where there wants a Running Water) into the 
 moll remote, and lowell, and thickeft Part of the Foundation, with fecret 
 Vents palfing up through the Walls like a Tunnel to the wild Air aloft, 
 which all Italian Artizans commend for the difchatge of noilome Vapours, 
 though elfewhere, to my Knowledge, little praffifed. 
 
 Thus having conlidered the precedent Appertions, or Overtures, in Seve- 
 ralty, according to their particular Recpiifites, I am now come to the Call- 
 ing and Contexture of the whole Work, comprehended under the Term of 
 Compartition ; into which (being the maineft Piece) I cannot enter with- 
 out a few general Precautions, as 1 have done in other Parts. 
 
 Firjl, therefore, let no Man that intendeth to build, fettle his Fancy upon 
 a Draught of the Work in Paper, how exaftly loever meafured, or neatly 
 fet off in Perfpeftive 5 and much lefs upon a bare Plant thereof, as they call 
 the Schiograpbia, or Ground-Lines, without a Model or Type of the whole 
 Struffure, and of every Parcel and Partition in Pallboard or Wood. 
 
 Next, that the faid Model be as plain as may be, without Colours or 
 other Beautifying, leaf! the Pleafure of the Eye preocupate the Judgement 5 
 which Advice, omitted by th e Italian Architects, I find in 'Philippe de I'Orme, and 
 therefore (though France be not the Theatre of bell Buildings) it did merit 
 lome mention of his Name. 
 
 Lajlly, The bigger that this Type be, it is Hill the better ; not that I will 
 perfwade a Man to fuch an Enormity, as that Model made by Antonio La- 
 baco , of St. Peter's Church in Ppme, containing Twenty-two Foot in Length, 
 Sixteen in Breadth, and Thirteen in Heighth, and colling Four thoufand 
 One hundred and eighty four Crowns, the Price in truth of a reafonable 
 Chapel. Yet in a Fabrick of fome Forty or Fifty Thoufand Pounds Charge, 
 I wifh Thirty Pounds at lead laid out before-hand in an exaff Model 5 for 
 a little Mifery in the Premifes, may eafily breed lome Abfurdity of greater 
 Charge in the Conclufion. 
 
 Now, after thefe Premonifhments, I will come to the Compartition it 
 felf 5 by which the Authors of this Art (as hath been touched before) do un- 
 derftand a graceful and ufeful Dillribution of the whole Ground-Plot, both 
 for Rooms of Office, and of Reception or Entertainment, as far as the Capa- 
 city thereof, and the Nature of the Country will comport. Which Circum- 
 llancesinthe prefent Subjeft, are all of main Conlideration, and might yield 
 more Dilcourle than an elemental Rhapfody will permit. Therefore ( to ana- 
 tomize briefly this Definition) the Graceiulnefs (whereof we lpeak) will 
 confilt in double Analogy or Correfpondency. Firjl , between the Parts and 
 the Whole, whereby a great Fabrick fliould have great Partitions, great 
 Lights, great Entrances, great Pillars or Pilafters 5 in fum, all the Mem- 
 bers great. The next, between the Parts themfelves, not only conlidering 
 their Breadths and Lengths, as before, when we lpeak of Doors and Win- 
 dows ; but here likewiie enters a third refpeft of Height, a Point (I mull 
 confels) hardly reduceableto any general Precept. 
 
 True 
 
The Elements of Architecture . xix 
 
 True it is, that the Aritients did determine the Longitude of all Rmoms, 
 xvhich were longer than broad, by the Double of their Latitude. Vitruvius, 
 Lib. 6 . Cup. 5. And the Height by the half of the Breadth and Length 
 hummed together. But when the Room was preeifely fquare, they made 
 the Height halt as much more as the Latitude 5 which Dimenfions the mo- 
 dern Architects have taken leave to vary upon Difcretion : Sometimes fquar- 
 ing the Latitude, and then making the Dicipontal, or overthwart Line, trom 
 Angle to Angle, of the laid Square, the Meafure of the Height fometimes 
 more, but feldom lower than the full Breadth it felf 5 which Boldnefs of 
 quitting the old Proportions, fome attribute fir ft to Michael Angelo da Buonaro- 
 ti, perchance upon the Credit he had before gotten in two other Arts. 
 
 The fecond Point is Liefulnels, which will coniift in a lufficient Num- 
 ber of Rooms of all Sorts, and in their apt Coherence, without Diftradtion, 
 without Confufion 3 lo as the Beholder may not only call it, Una Fabnca ben 
 raccolta, as Italians ufe to fpeak of well-united Works, but likewife that it 
 may appear airy and Ipiritous, and fit for the Welcome of cheerful Guells 3 
 about which the principal Difficulty will be in contriving the Lights and 
 Stan-Cafes, whereof 1 will touch a Note or two : For the firft, 1 obferve, 
 that the antient Architects were at much F.afe 5 for both the Greeks and Ro- 
 mans (of whole private Dwellings Vitruvius hath left us iome Defcription) 
 had commonly two cloiftered open Courts, one ferving for the Womens 
 Side, and the other for the Men 3 w'ho yet, perchance, now-a-days would 
 take lo much Separation unkindly. Howfoever, by this Means the Recep- 
 tion of Light into the Body of the Building, was very prompt, both from 
 without and from within 3 which we muff now lupply, either by fome open 
 Form of the Fabrick, or among graceful Refuges, by Tarrafing any Story 
 which is in danger of Darknels; or laftly, by perpendicular Lights from 
 the Roof, of all other the moft natural, as (hall be fhew'ed anon. Forthe 
 fecond Difficulty, which is calling of the Stair-Cafes, chat being in it felf 
 no hard Point, but only as they are Incumbrances of Room for other Ufe 5 
 (which Lights were not) I am therefore aptly moved here to fpeak of them. 
 And firft of Offices. 
 
 I have marked a Willingnefs in the Italian Artizans, to diflribute the 
 Kitchen, Pantry, Bakehoufe, Wafhing-Rooms, and even the Buttery like- 
 wife, under Ground, next above the Foundation, and lometimes level with 
 the Plain or Floor of the Cellar, raffing the firft Afcent into the Houle fif- 
 teen Foot or more for that End, which beltdes the Benefit of removing luch 
 Annoys out of Sight, and the gaining of fo much more Room abov.e, doth 
 alio by Elevation of the Front, add Majefty to the w-hole Afpedt, And with 
 fuch a Difpohtion of the principal Stair-Cafe, which commonly doth deli- 
 ver us into the Plain of the lecond Story, there maybe Wonders done with 
 a little Room, whereof I could alledge brave Examples Abroad 3 and none 
 mote artificial and delicious than a Houfe built by Daniel Barbara, Patriarch 
 of Jquileia before-mentioned, among the memorable Commenters upon 
 Vitruvius. But the Definition (above-determined) doch call us to fome Gon- 
 ftderation of our own Country, where, though all the other Petty-Offices 
 (before rehearfed) may well enough be lo remote, yet by the natural Hofpi- 
 tality of England, the Buttery mull be more vifible, and we need perchance 
 
XX 
 
 The Elements of Architecture. 
 
 for our Ranges, a more fpacious and luminous Kitchen than the forefaid 
 Compartition will bear, with a more competent nearnefs likewife to the Di- 
 ning-Room 5 or elfe, befides other Inconveniencies, perhaps fome of the 
 Dilbes may ftraggle by the way. Here let me note a common Defedt that 
 we have of a very ufefulRoom, called by the Italians, IlTinello ; and fami- 
 liar, nay, almoft eifential, in all their great Families : It is a Place proper- 
 ly appointed to conferve the Meat that is taken from the Table, till the 
 Waiters eat, which with us by an old Fafhion, is more unfeemly fet by in 
 the mean while. 
 
 Now touching the Diftribution of Lodging-Chambers; I mull here take 
 leave to reprove a Fafhion, which I know not how hath prevailed through 
 Italy, though without ancient Examples, as far as I can perceive by Vttru- 
 Yius. The Thing I mean, is, that they fo calf their Partitions, as when all 
 Doors are open, a Man may fee through the whole Houfe ; which doth ne- 
 ceflarily put an intolerable Servitude upon all the Chambers, fave the inmoft, 
 where none can arrive but through the reft 5 or elle the Walls muft be ex- 
 treme thick for fecret Pafiages. And yet this alfo will not ferve the Turn, 
 without at leaft three Doors to every Room 5 a Thing moft inlufferable in 
 cold and windy Regions, and every where no fmall weakening to the whole 
 Work : Therefore with us, that want no cooling, I cannot commend the di- 
 rect Oppofition ol fuch Overtures, being indeed meerly grounded upon the 
 fond Ambition of dilplaying to a Stranger all our Furniture at one Sight, 
 which therefore is moft maintained by them that mean to harbour but a 
 few ■ whereby they make only Advantage of the Vanity, and feldom prove 
 the Inconvenience. There is likewife another Defeat (as Abfurdities are 
 fudom' iolitary) which will neceffarily follow, upon fuch a fervile difpo- 
 fing of inward Chambers, that they muft be forced to make as many com- 
 mon great Rooms, as there fhall be feveral Stories ; which (befides that 
 they are ufually dark, a Point hardly avoided, running as they do, through 
 the middle of the whole Houle) do likewife devour lo much Place, that 
 thereby they want other Galleries and Rooms of Retreat, which I have 
 often confidered among them (I muft confefs) wdth no fmall Wonder 5 for 
 I obferve no Nation in the World by Nature more private and referved 
 than the Italian, and on the other fide, in no Habitations lefs Privacy ; fo 
 as there is a kind of Conflict between their Dwelling and their Being. It 
 might here perchance be expected, that I fhould at leaft deferibe (which 
 others have done in Draughts and Defigns) divers Forms of Plants and 
 Partitions, and Varieties of Inventions. But fpeculative Writers (as I am) 
 are not bound to comprife all particular Cafes within the Latitude of the 
 Subject which they handle, general Lights and Directions, and Pointings at 
 fome Faults is lufficient: The reft muft be committed to the Sagacity of 
 the Architect, who will be often put to divers ingenious Shifts, whenheisto 
 wreftle with Scarcity of Ground. As fometimes * to damn one Room 
 (though of fpeciall Life) for the Benefit and Beauty of all the reft ; another 
 while, to make thofe faireft, which are moft in Sight; and to leave the other 
 
 (like 
 
 * 7be Italians call it Una ftanza dannata, as when a Buttery is caji under a Stair-Cafe, or the 
 like. 
 
The Elements of Architecture. xxv 
 
 (like a cunning Painter) in Shadow, cum mult, s aliis, which it were infinite 
 to purl ue. I will therefore clofe this Part touching Compartition, as cheer- 
 ully as I can, with a fiiort Defcription of a Fealling or %ertainingRoom, 
 after the Egyptian Manner, who feem ('at the leaft till the Time of VitruYius) 
 from the ancient Hebrews and Phenicians (whence all Knowledge did flow) 
 to have retamed with other Sciences, in a high Degree, alfo the Principles 
 xrni r ‘l C ^ e ° f thls magnificent Art. For as far as I may conjecture by our 
 Malter s lext, Lib. 6. Cap. y. where (as in many other Places he hath tortured 
 I'! 5 Interpreters) there could no Form, for fuch a Royal Ufe, be compara- 
 bly imagined, like that of the aforefaid Nation, which Khali adventure to 
 explain. 
 
 Let us conceive a Floor or Area of goodly Length, (for Example, at leaft 
 of One hundred and twenty Foot) with the Breadth fomewhat more than 
 the half of the Longitude, whereof the Reafon (hall be afterwards rendred. 
 About the two longeft Sides, and Head of the faid Room, fhall run an 
 Older of Pillars, which Palladio doth fuppofe Corinthian (as I fee by his De- 
 fign) Jupplying that Point out o f Greece, becaufe we know no Order proper 
 t0 Egypt The fourth Side I will leave free for the Entrance : On the fore- 
 
 77 j Y 5 T aS 3ld an Archimve > which Vitruvius mentioneth alone : Pal- 
 ladio adds thereunto (and with Reafon) both Freeze and Cornice, over 
 which went up a continued Wall, and therein, half or three quarter Pillars, 
 anfwenng dnedlly to the Order below, but a fourth Part lefs, and between 
 thefe half Columns above, the whole Room was Windowed round about. 
 
 Now, from the loweft Pillars there was laid over a Contignation or Floor, 1 
 born upon the outward Wall, and the Head of the Columns with Terrace and 
 Pavement, Subdio (faith ourMafter) and fo indeed he might fafely determine 
 the matter m Egypt, where they fear no Clouds : Therefore Palladio (who 
 leaveth this Terrace uncovered in the middle, and ballifed about) did per- 
 chance conftrue him rightly, though therein difcording from others : Al- 
 ways wemuft underftand a fufficient Breadth of Pavement left between the 
 open Part and the Windows, for fome Delight of Spectators that might look 
 down into the Room : 1 he Latitude I have fuppoled contrary to fome for- 
 mer Pofiuons, a little more than the half of the Length 5 becaufe the Pil- 
 lars Handing at a competent Diftance from the outmoft Wall, will by In- 
 terception of the S!ght, fomewhat in Appearance diminiflh the Breadth 5 in 
 which Cafes (as I have touched once or twice before) Difcretion may be more 
 icentious than Art This is the Defcription of an Egyptian Room, for 
 Feafts and other Jollities. About the Walls whereof we mull imagine en- 
 ure Statues, placed below, and illuminated by the defcending Light from the 
 Terrace, as likewife from the Windows between the half Pillar? above : So 
 as this Room had abundant and advantageous Light 5 and befides other 
 garmfhing, mull needs receive much State by the very Height of the Roof, 
 drat lay over two Orders of Columns : And lo having run through the four 
 Parts of my firft general Divifion, namely. Foundation, Walls, °Jppertwns, 
 and Compartition, the Houle may now have leave to put on his Hat: having 
 ^euo been uncovered it felf, and confequently unfit to cover others^ 
 Which Point, though it be the laff of this Art in Execution, yet it is al- 
 ways in Intention the firft, for who would build, but for Shekel i Therefore 
 
 g obtaining 
 
-*■4 
 
 The Elements of Architecture. 
 
 obtaining both thir Place, and the Dignity of a final Caufe, it hath been di- 
 ligently handled by diverfe, but by none more learnedly than Bernardino <Bal- 
 di P Abbot of Outwalk (before cited upon other Occafion) who doth funda- 
 mentally and mathematically demonftrate the firmeft Knittings of the up- 
 per Timbers, which make the Roof. But it hath been rather my Scope, 
 inchefe Elements , to fetch the Ground of all from Nature herfelf, which in- 
 deed is the fimpieft Mother of Art. Therefore I will now only deliver a 
 few of the propereft, and (as 1 may fay) of the naturaleft Confederations that 
 belong to this remaining Piece. . 
 
 There are two Extremities to be avoided in the Cover or Roof: That it 
 be not too heavy, nor too light. The firft will fuffer a vulgar Objection of 
 preffmg too much the under Work. The other containeth a more fecret 
 Inconvenience 5 for the Cover is not only a bare Defence, but likewife a 
 kind of Band or Ligature to the whole Fabrick, and therefore would require 
 fome reafonable Weight. But of the two Extremes, a Houfe Top-heavy 
 is the worft. Next there muff be a Care of Equality, that the Edifice be 
 not preffed on the one Side more than on the other 5 and here Talladio doth 
 wifh (like a cautelous Artizan) that the inward Walls might bear fome good 
 fibare in the Burthen, and the outward be the lefs charged. 
 
 Thirdly, The Italians are very precife in giving the Cover a graceful Pcn- 
 dence or Slopenefs, dividing the whole Breadth into nine Parts 3 whereof 
 two fhall ferve for the Elevation of the higheft Top or Ridge, from the 
 loweft. But in this Point the Quality of the Region is confiderable : For 
 (as our Vitruvius infinuateth) thofe Climes that fear the falling and lying of 
 much Snow, ought to provide more inclining entices • and Comelinefs 
 muff yield to Neceffity. 
 
 Thefe are the ufefuiieft Cautions which I find in Authors, touching the 
 laft Flead of our Divifion, wherewith I will conclude the firft Part of my 
 prefent Travail. The fecond remaineth, concerning Ornaments within, 
 or without the Fabrick : A Piece not fo dry as the meer Contemplation of 
 Proportions. And therefore I hope therein, fomewhat to refrefh both the 
 Reader and my felf. 
 
 The 
 
xxvij 
 
 THE 
 
 ELEMENTS 
 
 O F 
 
 ARCHITECTURE. 
 
 Part II. 
 
 VERY Man s proper Manfion Houfe and Home being the 
 Theatre of his Hofpitality, the Seat of Self-Fruition, the 
 comfortableft Part of his ownLife, the noblefl of his Son’s 
 Inheritance, a kind of private Princedom 5 nay, co the 
 Polfelfors thereof, an Epitomy of the whole World ; may 
 well deferve by thefe Attributes, according to the De- 
 gree of the Mailer, to be decently and delightfully adorned. For 
 which End, there are two Arts attending on Architecture, like two of her 
 principal Gentlewomen, to drefs and trim their Miftrefs, Picture and Sculp' 
 ture-, between whom, before I proceed any farther, I will venture to deter- 
 mine an ancient Quarrel about their Precedency, with this Dillindtion ; that 
 in the garnishing of Fabricks, Sculpture no doubt mull have the Pre-emi- 
 nence, as being indeed of nearer Affinity to Architecture it felf, and conse- 
 quently the more natural, and more Suitable Ornament. But on the other 
 Side, (to confider thefe two Arts, as I fhall do Philofophically, and noj: 
 Mechanically) an excellent Piece of Painting, is to my Judgment the 
 more admirable Objedt, becaufe it comes near an artificial Miracle 5 to make 
 divers dillindl Eminencies appear upon a Flat by force of Shadows, and yef 
 the Shadows themielves not to appear 5 which I conceive to be the uttermofl 
 Value and Vertue of a Painter, and to which very few have arrived in all 
 Ages. 
 
 In thefe two Arts (as they are appliable to the Subjedt which I handle) ir 
 fhall be fit firll to confider how to choofe them ■ and next, how to dilpofe 
 them. To guide us in the Choice, we have a Rule fome where (I well re- 
 memoer) in Pliny, and it is a pretty Oblervation, That they do mutu- 
 ally help to cenfure one another. For Picture is bell, when it flandeth off, as 
 if it were carved ; and Sculpture is bell, when it appeareth fo tender, as if it 
 were painted 5 I mean, when there is fuch a Seeming Softnefs in the Limbs, 
 as if not a Chilfel had hewed them out of Stone, or other Material, but a 
 
 Penfil 
 
xxviij The Elements of Architecture. 
 
 Penfil had drawn and ftroaked them in Oil, which the judicious Pt)ft took 
 well to his Fancy. 
 
 Excudent alij /piranha mollius tera. 
 
 But this Generality is notfufficient to make a good Chufer, without a more 
 particular Contraction of his Judgment. Therefore, when a Piece of Art 
 is fet before us, let the firft Caution be, not to ask who made it, leaft the 
 Fame of the Author do captivate the Fancy of the Buyer : For, that excel- 
 lent Men do always excellently, is a falfe Conclufion ; whereupon I obferve 
 among Italian Artizans, /three notable Phrafes, which well decipher the de- 
 grees of their Works. 
 
 They will tell you,° that a Thing was done Con diligen^a, Con Jhtdio , and 
 Con amove : The firft, is but a bare and ordinary Diligence ; the kcond, is a 
 learned Diligence; the third, is much more, even a loving Diligence ; they 
 mChn not with Love to the Befpeaker of the Work, but with a Love and De- 
 , light in the Work it felf, upon fome.Jpecial Fancy to this or that Story; 
 and when all thefe concur (particularly the laft) in an eminent Author, then 
 perchance Titianus Fecit , or 6p/Si* s stow, will ferve the turn, without farther 
 'Inquifition: Otherw'ife, Artizans have not only their Growths and PerfeCli- 
 ons, but likewife their Vains and Times. 
 
 The next Caution mull be (to proceed Logically) that in judging of the 
 Work it felf, we be not diftraCted with too many Things at once : There- 
 fore firft (to begin with Picture) we are to oblerve whether it be well drawn, 
 (or as more elegant Artizans term it) well defign’d ; then whether it be well 
 coloured, w hich be the two general Heads ; and each of them hath two prin- 
 cipal Requifites ; for in well Defigning, there mull be Truth and Grace; 
 in well Colouring, Force and AffeCtion; all other Praifes are but Confe- 
 quences of thefe. 
 
 Truth (as we metaphorically take it in this Art) is a juft and natural Pro- 
 portion in every Part of the determined Figure. Grace is a certain free Dif- 
 pofition in the whole Draught, anfwerable to that unaffected Franknefs of 
 Fafhion in a living Body, Man ot Woman, which doth animate Beauty 
 where it is, and fupply it, where it is not. 
 
 Force confifteth in the Roundings and Railings of the Work, ac- 
 cording as the Limbs do more or lefs require it ; fo as the Beholder 
 fhall fpy no Sharpnefs in the bordering Lines; as when Taylors cut out a 
 Suit; which Italians do aptly term according to that Comparifon, Conform 
 taglienti ; nor any Flatnefs within the Body ol the Figure, which how it is 
 done; we mull fetch from a higher Difcipline; for the Opticks teach us. 
 That a Plane will appear prominent, and tas it were) emboffed, if the Parts 
 fartheft from the Axeltree, or middle Beam of the Eye, fhall be the mod 
 fhadowed : becaufe in all Darknefs there is a kind of Deepnefs. But as in 
 the Art of Perfwafion, one of the moll fundamental Precepts is, the Con- 
 cealment of Art; fo here likewife, the Sight muft be fweetly deceived by an 
 infenfible Paffage, from brighter Colours to dimmer, which Italian Artizans 
 call the middle TinCtures ; that is, not as the Whites and Yelks of Eggs 
 lie in the Shell, with vifible DiftinCtion ; but as when they are beaten and 
 blended in a Difh ; which is the neareft Companion that 1 can iuddenly con- 
 ceive. Laftly , 
 
The Elements of Architecture. xxix 
 
 Lajl'ly , Affe&ion is the lively Reprefentment of any Paffion whatfoever, 
 ■as if the Figures flood not upon a Cloth or Board, but as if they were act- 
 ing upon a Stage : And here I mull remember, in truth with much mar- 
 vel, a Note, which I have received from excellent Artizans, that though 
 Gladnefs and Grief be Oppofites in Nature, yet they are fuch Neighbours 
 and Confiners in Art, that the lead Touch of aPenfil will tranllate a * Cry- 
 ing into a Laughing Face ; which Inllance, befides divers other, doth often 
 reduce unto my Memory, that ingenious Speculation of the Cardinal Cuja- 
 nus, extant in his Works, touching the Coincidence of Extremes, And thus 
 much of the four Pequijites and Perfections in Picture. 
 
 In Sculpture likewife, the two firfl are abfolutely neceffary, the third im- 
 pertinent 5 for folid Figures need no Elevation, by Force of Lights or Sha- 
 dows : Therefore in the Room of this, we may put (as hath been before 
 touched) a kind of Tendernefs, by the Italians termed Morbidegga, wherein 
 the Chiffel, I mull confefs, hath more Glory than the Penld, that being lo 
 hard an Inflrument, and working upon fo unpliant Stuff, can yet leave 
 Stroaks of fo gentle Appearance. 
 
 The fourth, which is the exprelfing of Affection (as far as it doth depend 
 upon the Activity and Geflure of the Figure) is as proper to the Carver as 
 to the Painter, though Colours, no doubt, have therein the greateft Power 5 
 whereupon, perchance, did firfl grow with us the Fafhion of Colouring, 
 even Regal Statues, which I muff take leave to call an English Barbarifm. 
 
 Now in thefe four Requihtes already rehearfed, it is flrange to note, that 
 no Artizan, having ever been blamed for Excefs in any of the three laft ; 
 only Truth (which Should feem the mofl innocent) hath Suffered Some Ob- 
 jedtion, and all Ages have yielded Some one or two Artificers, fo prodigi- 
 oufly exquifite, that they have been reputed too natural in their Draughts ; 
 which will well appear, by a famous Paffage in Quintilian, touching the Cha- 
 racters of the antient Artizans, falling now fo aptly into my Memory, that 
 I mull needs tranllate it, as in truth it may well deServe. 
 
 The Place which I intend, is extant in the laft Chapter Save one of his 
 whole Work, beginning thus in Latin : 
 
 Vrimi, quorum quidem opera non Vetuflatis modo gratia yifenda funt clari Piclores 
 fuijfe dicuntur , Polygnotus atque Aglaophon , &c. 
 
 The whole Paffage in EngliJJ? flandeth thus : 
 
 THE firfl (painters of Name, whofe Works be confiderable for any thing 
 more than only Antiquity, are Said to have been Polygnotus and Aglaophon , 
 whofe bare Colourings (he means I think in White and Black) hath even 
 yet So many Followers, that thofe rude and firfl Elements, as it were of that, 
 which within a while became an Art, are preferred before the greateft Pain- 
 ters that have been extant after them, out of a certain Competition (as I 
 
 h conceive 
 
 1 A I A A. £ 
 
 •flfrfWr *i'aw &y iQn vjk, 
 
 TlcuJ'iiv, (mv KtiucPti mKtu 
 
 Axxpvoev yccAgtoixou.. — - That is, 
 
 She took her Son into her Arms, weepingly laughing; 
 
xxx The Elements of Architecture, 
 
 conceive it) in Point of Judgment. After thefe, Zeuxes and Parajtus, not 
 far diftant in Age, both about the Time of the Pcloponefian War, (for in 
 Xenophon we have a Dialogue between Parajtus and Socrates) did add much 
 to this Art. Of which the fird is faid to have invented the due Difpofition 
 of Lights and Shadows. The fecond, to have more fubtilly examined the 
 Truth of Lines in the Draught ; for Zeuxes did make Limbs bigger than the 
 Life, deeming his Figures thereby the more (lately and majedical, and 
 therein (as iome think) imitating Horner., whom the flouted: Form doth 
 pleafe, even in Women. On the other Side, tarafius did exactly limit all 
 the Proportions fo, as they call him the Law-giver , becaufe in the Images of 
 the Gods, and of Heroical Perfonages, others have followed his Patterns 
 like a Decree ; but PiEture did mod: dourifh about the Days of Philip, and 
 even to the SuccefTors of Alexander , yet by fundry Habilities 5 for Proto- 
 genes did excel in Diligence 5 Pamphilius and Melanthius, in due Proportion ; 
 Antiphilus, in a frank Facility; Theon of Samos, in Strength of Fantafie, and 
 conceiving of Paffions ; Apelles, in Invention and Grace, whereof he doth 
 himfelf mod: vaunt ; Euphranor deferves Admiration, that being in other ex- 
 cellent Studies a principal Man, he was likewife a wondrous Artizan both 
 in Painting and Sculpture. The like Difference we may obferve among the 
 Statuaries • for the Works of Calon and Egefias were fomewhat diff, like the 
 Tufcan manner; thole of Calamis , not done with fo cold Stroaks ; and Myron , 
 more tender than the former ; a diligent Decency in Polycletus above others, 
 to whom though the higheft Praife be attributed by the mod:, yet lead he 
 fhould go free from Exception, fome think he wanted Solemnefs ; for as he 
 may perchance be faid to have added a comely Dimendon to humane Shape, 
 fomewhat above the Truth; fo, on the other Side, he feemed not to have 
 fully expreffed the Majedy of the Gods : Moreover, he is faid not to have 
 meddled willingly with the graver Age, as not adventuring beyond fmooth 
 Cheeks: But thele Vertues that were wanting in Polycletus, were fuppliedby 
 Phidias and Alcmenes ; yet Phidias was a better Artizan in the reprefenting of 
 Gods than of Men ; and in his Works of Ivory, beyond all Emulation, 
 even though he had left nothing behind him but his Miner'va at Athens, or the 
 Olympian Jupiter in Elis, whofe Beauty feems to have added fomewhat, even 
 to the received Religion ; the Majedy of the Work, as it were, equalling 
 the Deity. To Tmtb, they affirm Lyjippus and Praxiteles to have made the 
 neared Approach ; for Demetrius is therein reprehended, as rather exceeding 
 than deficient, having been a greater Aimer at Likenefs than at Lovelinefs. 
 
 This is that witty Cenfure of the antient Artizans, which Quintilian hath 
 left us, where the lad Character of Demetrius doth require a little Philophi- 
 cal Examination 5 How an Artificer, whole End is the Imitation of Nature, 
 can be too natural; which likewife in our Days was either the Fault, or (to 
 fpeak more gently) the too much Perfection of Albert Durer, and perhaps 
 alfo of Michael Angelo da Duonaroti, between whom I have heard noted by an 
 ingenious Artizan, a pretty nice Difference, that the German did top much 
 exprefs that which was ; and the Italian, that which fhould be : Which fevere 
 Obfervation of Nature, by the one in her commoned, and by the other in 
 her abfoluted Forms, mud needs produce in both a kind of Pjgidity, and 
 confequently more Nacuralnefs than Gracefulnefs : This is the cleared Rea- 
 
 fon, 
 
The Elements of Architecture. xxxj 
 
 fon, why fome exa£t Symmetrifts have been blamed for being too true, as 
 near as I can deliver my Conceit. And fo much touching the choice of Pi- 
 thire and Sculpure: The next is, the Application of both to the beaurtfyino- 
 of Fabricks. 7 ° 
 
 Firjl, therefore, touching Picture, there doth occur a very pertinent Doubt, 
 which hath been parted over too flightly, not only by fome Men, but by 
 fome Nations $ namely, whether this Ornament can well become the Out- 
 fide of Houfes; wherein the Germans have made fo little Scruple, that their 
 beft Towns are the mod painted, as Augufta and Noremberg. To determine 
 this Queftion in a word : It is true, that a Story well fet out with a good 
 Hand, will every where take a judicious Eye : But yet withal it is as'true, 
 that various Colours on the Out-Walls of Buildings, have always in them 
 more Delight than Dignity : Therefore I would there admit no Paintings 
 but in Black and White, nor even in that kind any Figures (if the Room be 
 capable) under nine or ten Foot High, which will require no ordinary Ar- 
 tizan; becaufe the Faults are more vifible than in fmall Defigns. In unfi- 
 gured Paintings, the nobleft is, the Imitation of Marbles, and”of ArchMlure 
 it felf, as Arches, Tree^es, Columns, and the like. 
 
 Now for the Infide, here grows another Doubt, whether Grotefca (as the 
 Italians) or Antique W ork (as we call it) fhould be received, againfl: the ex- 
 prefs Authority of Vitruvius himfelf, Lib. 7. Cap.'), where Pictura (faith he) 
 fit ejus, quod eft, feu poteft effe ; excluding by this fevere Definition, all Fi- 
 gures compoled of different Natures or Sexes 5 fo as a Syrene or a Centaur had 
 been intolerable in his Eye : But in this we mull take leave to depart from 
 our Mailer, and the rather, becaufe he fpake out of his own ProfeiTion, al- 
 lowing (painters (who have ever been as little limited as Poets) a lefs Scope 
 in their Imaginations, even than the graveft Philofophers , who fometimes do 
 ferve themfelves of Inftances, that have no Exiftence in Nature 5 as we fee 
 in Plato s Amphisbcena , and Ariftotle s Hirco-CerVus. And (to fettle this Point) 
 what was indeed more common and familiar among the (pomans themfelves, 
 than the Picture and Statue of Terminus , even one of their Deities ? which 
 yet if we well confider, is but a Piece of Grotefca. I am for thefe Reafons 
 unwilling to impovenfh that Art, though I could wifh fuch medly and mot- 
 ly Defigns confined only to the Ornament of Freezes and Borders, their 
 propereft Place. As for other ftoried Works upon Walls, I doubt our Clime 
 be too yielding and moift for fuch Garnifhment ; therefore leaving it to the 
 Dweller’s Difcretion, according co the Quality of his Seat, I will & only add 
 a Caution or two, about the dilpofing of Pictures within. 
 
 Firft, That no Room be furniflhed with too many, which in truth were a 
 Surfeit of Ornament, unlefs they be Galleries, or fome peculiar Repofitory 
 for Rarities of Art. r 
 
 Next, that the bell Pieces be placed not where there is the leaft, but where 
 there are the fewelt Lights j therefore not only Rooms windowed on both 
 Ends, which we call thorough-lighted, but with two or more Windows on 
 thefame Side, are Enemies to this Art 5 and fure it is, that no Painting cm 
 be leen in full Perfection, but (as all Nature is illuminated) by a lingle 
 Light, . “ " , 
 
 Thirdly; 
 
xxxij The Elements of Architecture. 
 
 Thirdly, That in the Placing there be Tome Care alfo taken, how the 
 (painter did (land in the Working, which an intelligent Eye will eafily dif- 
 cover, and that Pofture is the moll natural ; fo as Italian Pieces will appear 
 bell in a Room where the Windows are high ; becaufe they are commonly 
 made to a defeending Light, which of all other doth let off Men’s Faces in 
 their trileft Spirit. 
 
 Lajlly , That they be as properly bellowed for their Quality, as fitly for 
 their Grace 5 that is, cheerful Paintings in FeaftingandBanquetting-Rooms, 
 graver Stories in Galleries, Landskips, and Bofcage, and fuch wild Works 
 in open Terraces, or in Summer-Houfes fas we call them) and the like. 
 
 And thus much of (picture , which let me clofe with this Note, That though 
 my former Difcourfe may lerve perchance for fome reafonable Leading in 
 the choice of fuch Delights 3 yet let no Man hope by fuch afpeculative Eru- 
 dition, to difeern the mafterly and myfterious Touches of Arc, but an Ar- 
 tizan himlelf ; to whom therefore we mull leave the Prerogative, to cenfure 
 the manner and handling, as he himfelf mull likewile leave fome Points, 
 perchance ot no lefs value, to others 5 as for Example, whether the Story 
 be rightly reprefented, the Figures in true Adtion, the Perfons fuited to 
 their leveral Qualities, the Affedtions proper and ftrong, and fuch like Ob- 
 fervations. 
 
 Now for Sculpture, I muft likewife begin with a Controverfy, as before 
 (falling into this Place) or let me rather call it a very meer Fancy, ftrangely 
 taken by Palladio, who having noted in an old Arch or two at Verona, fome 
 part of the Materials already cut in fine Forms, and fome unpolifhed, doth 
 conclude (according to his Logick) upon this Particular, that the Antients 
 did leave the outward Face of their Marbles or Free-Stone, without any 
 Sculpture, till they were laid and cemented in the Body of the Building; 
 for which likewife he findeth a Reafon (as many do now and then very 
 wittily, even before the thing it felf be true) that the Materials being left 
 rough, were more manageable in the Mafons Hand, than if they had been 
 fmooth ; and that fo the Sides might be laid together the more exactly ; 
 which Conceit, once taken, he feems to have farther imprinted, by mark- 
 ing in certain ftoried Sculptures of old Time, how precifely the Parts and 
 Lines of the Figures, that pafs from one Stone to another, do meet , which 
 he thinks could hardly fall out fo right, (forgetting while heffpeaks of an- 
 cient Things, the ancient Diligence,) unlefs they had been cut, after the join- 
 ing of the Materials. But all thefe Inducements cannot countervail the foie 
 Inconvenience of fhaking and disjointing the Commiffures with fo many 
 Strokes of the Chiffel, befides an incommodious Working on Scaffolds 3 efpe- 
 cially having noTeftimony to confirm it, that I have yet feen, among the 
 Records of Art : Nay, it is indeed rather true, that they did fquare, and carve, 
 and polifh their Stone and Marble Works, even in the very Cave of the 
 Quarry, before it was hardened by open Air : But (to leave Difputation) I 
 will let down a few pofitive Notes, for the placing of Sculpture ; becaufe the 
 chujing hath been handled before. 
 
 That firft of all, it be not too general and abundant, which would make 
 a Houfe look like a Cabinet ; and in this Point, Moral Philofophy, which 
 tempereth Fancies, is the Superintendant of Art. 
 
 3 That 
 
The Elements of Architecture. xxxiij 
 
 That efpecially, there be a due moderation of this Ornament in the 
 iirft Approach ; where our Authors do more commend (I mean about 
 the principal Entrance,) a Doricl than a Corinthian Garnishment 5 fo as if 
 the great Door be arched, with fome brave Head cut in fine Stone or 
 Marble for the Key of the Arch, and two incumbent Figures gracefully 
 leaning upon it, towards one another, as if they meant to confer ; I 
 Should think this a fufficient Entertainment for the firft Reception of any 
 judicious Sight, which I could wifh feconded with two great Handing 
 Statues on each fide of a paved Way, that Shall lead up into the Fabrick, 
 fo as the Beholder at the firft entrance, may pafs his Eye between them. 
 
 That the Niches, if they contain Figures of white Stone or Marble, 
 be not coloured in their Concavity too black; for though Contraria jux- 
 ta fe pofita trngis illucejcunt (by an old Rule) yet it hath been fubtilly, 
 and indeed truly noted, that our Sight is not well contented with thofe 
 fudden Departments, from one extream to another ; therefore let them 
 have rather a duskifih Tindture, then an abfolure Black. 
 
 That fine and delicate Sculptures be helped with Nearnefs, and Grofs 
 with Diftance; which Was well feen in the old Controverfy between 
 1 Phidias and Alcmenes about the Statue of Venus : Wherein the firft did fliew 
 Difcretion, and fave Labour ; becaufe the Work was to be viewed at 
 good height, which did drown the fweet and diligent Strokes of his 
 Adverfary : A famous Emulation of two principal Artisans, celebrated 
 even by the Greeks Poets. 
 
 That in the placing of Handing Figures aloft, we muft fet them in a 
 Pofture fomewhat bowing forward • becaufe (faith our Mafter, Lib. 3. 
 cap. 3. out of abetter Art than his own) the vifual Beam of our Eye, ex- 
 tended to the Head of the faid Figures, being longer than to the Foot, 
 muft necefiarily make that part appear farther ; fo as to reduce it to an 
 eredf or upright Pofition, there muft be allowed a due advantage of 
 ftooping towards us ; which Albert Durer hath exactly taught, in his fore- 
 mentioned Geometry. Our Vitruvius calleth this Affection in the Eye, 
 a (Rcfupination of the Figure : For which word (being in truth his own, 
 for ought I know) we are almoft as much beholding to him, as for the 
 Obfervation it lelf : And let thus much fummarily luffice, touching the 
 choice and ufe of thele adorning Arts. For to fpeak of garnifhing the 
 Fabrick with a row of eredted Statues, about the Cornice of every Con- 
 tignation or Story, were Difcourfe more proper for Athens or (Rome, in 
 the time of their true Greatnefs, when (as L'liny recordeth of his own 
 Age) there were near as many carved Images as living Men ; like a no- 
 ble Contention, even in point of Fertility, between Art and Nature ; 
 which Paffage doth not only argue an infinite abundance, both of Arti- 
 zans and Materials, but likewile of Magnificent and Majeftical Defires 
 in every common Perlon of thofe Times, more or lefs according to 
 their Fortunes. And true it is indeed, that the Marble Monuments and 
 Memories of weli-deferving Men, wherewith the very Highways were 
 ftrewed on each fide, was not a bare and tranfitory entertainment of the 
 Eye, or only a g- ntle deception of Time to the Traveller ; but had alfo 
 a lecret and ftrong Influence, even into the advancement of the Mo- 
 
 i narcny, 
 
xxxiv The Elements of Architecture. 
 
 narcy, by continual reprefentation of vertuous Examples ; fo as in that 
 Point, Art became a piece of State. 
 
 Now as I have before fubordinated (picture and Sculpture to Archite- 
 cture, as their Miftrefs; fo there are certain inferior Arts likewife fubor- 
 dinate to them : As under Picture, Mojaici under Sculpture , Plajlicl ^3 
 which two, I only nominate, as the fittefl to garnifh Fabricks. 
 
 Mofaick^ is a kind of Painting in fmall Pebbles, Cockles and Shells of 
 fundry Colours ; and of late days likewife with pieces of Glafs, figured 
 at pleafure 3 an Ornament in truth, of much Beauty, and long Life, 
 but of moll ufe in Pavements and Floorings. 
 
 Plajlick, is not only under Sculpture, but indeed very Sculpture itfelf: 
 but with this difference, that the Plafferer doth make his Figures by Ad- 
 dition, and the Carver by Subtraftion ; whereupon Michael Angelo was 
 wont to fay fomewhat pleafantly, that Sculpture was nothing but a pur- 
 gation of Superfluities. For take away from a piece of Wood, or Stone, 
 all that is fuperfluous, and the Remainder is the intended Figure. Of 
 this Plajlicl^ Art, the chief ule with us is in the graceful fretting of Roofs: 
 but the Italians apply it to the mantelling of Chimneys, with great Fi- 
 gures : A cheap piece of Magnificence, and as durable almofl within- 
 doors, as harder Forms in the Weather. And here, though it be a little 
 Excurfion, I cannot pals unremembred again, their manner of dilgui- 
 fing the fhapes of Chimneys in various fafhions, whereof the nobleft 
 is the Pyramidal ; being in truth a piece of polite and civil Difcretion, 
 to convert even the Conduits of Soot and Smoak into Ornaments ; 
 whereof I have hitherto fpoken as far as may concern the Body of the 
 Building. 
 
 Now there are Ornaments alfo without, as Gardens, Fountains, Groves, 
 Confervatories of rare Bealls, Birds, and Fifhes. Of which ignobler 
 kind of Creatures, We ought not (laith our greatefl * Mafter among the 
 Sons of Nature) childiJ 1 ?ly to defpije the Contemplation ; for in all things that are 
 natural, there is ever fomething that is admirable. Of thefe external Delights, 
 a word or two. 
 
 Firfl, I muff note a certain Contrariety between Building and Gar- 
 dening : For as Fabricks fhould be regular, fo Gardens fhould be irregu- 
 lar, or at leafl caft into a very wild Regularity. To exemplify my 
 Conceit, I have feen a Garden (for the Manner perchance incomparable) 
 into which the firfl accefs was a high Walk like a Terrace, from whence 
 might be taken a general View of the whole Plot below ; but rather in 
 a delightful Confufion, than with any plain Dillindtion of the Pieces. 
 From this the Beholder defcending many Steps, was afterwards conveyed 
 again by feveral Mountings and Valings, to various Entertainments of 
 Scent and Sight : which I fhall not need to defcribe (for that were poe- 
 tical 3) let me only note this, that every one of thefe Diverfities, was as 
 if he had been magically tranfported into a new Garden. 
 
 But though other Countries have more benefit or Sun than we, and 
 thereby more properly tyed to contemplate this Delight, yet have I 
 
 feen 
 
 * 'Arift. lib. 1. cap. 5, de part. Anim. /m} S'j%gy'iveiv mtJixai <#■ <at u etTiy^ni^uv £ oav ’Ey 7 iSc 
 
 roi( tpvtnmi tnpm dzvpx&r. 
 
The Elements of Architecture, xxxv 
 
 feen in our own, a delicate and diligent Curiofity, furely without paral- 
 lel among foreign Nations 5 namely, in the Garden of Sir Henry Fan- 
 P?aw, at his Seat in Ware-Far^, where I well remember, he did fo pre- 
 cifely examine the Tinctures and Seafons of his Flowers, that in their 
 fetting, the inwardeft of thofe which were to come up at the fame time, 
 fhould be always a little darker than the outmoft, and fo ferve them for 
 a kind of gentle Shadow, like a Piece not of Nature, but of Art : 
 Which mention (incident to this Place) I have willingly made of his 
 Name, for the dear friendfhip that was long between us : Though I 
 mull confels, with much wrong to his other Vertues, which deferve a 
 more folid Memorial, than among thefe vacant Obfervations. So much 
 of Gardens. 
 
 Fountains are figured, or only plain Water’d- works : Of either of which, 
 I will defcribe a matchlefs Pattern. 
 
 The Fuji, done by the famous hand of Michael Angelo da Suonaroti , in 
 the Figure of a fturdy Woman, walhing and winding of Linen Cloaths j 
 in which Ad:, fhe wrings out the Water that made the Fountain: which 
 was a graceful and natural conceit in the Artificer, implying this Rule, 
 That all defigns of this kind fhould be proper. 
 
 The other doth merit fome larger Exprelfion : There went a long, 
 {freight, molfy Walk of competent breadth, green and foft underfoot, lift- 
 ed on both fides with an AquHuEt of white Stone, Breaft-high, which had 
 a hollow Channel on the Top, where ran a pretty trickling Stream ; on 
 the Edge whereof, were couched very thick all along, certain fmall p’ipes 
 of Lead, in little holes, fo neatly, that they could not be well perceiv- 
 ed, till by the turning of a Cock, they did fpurt over interchangeably 
 from fide to fide, above Man’s height, in form of Arches, without any 
 interfedion or meeting aloft, becaufe the Pipes were not exadly oppo- 
 fite ; fo as the Beholder, befides that which was fluent in the AquHuBs on 
 both hands in his view, did walk as it were under a continual Bower or 
 Hemifphere of Water, without any drop falling on him. An Inventi- 
 on for Refrefhment, furely far excelling all the Alexandrian Delicacies, 
 and Pneumaticks of Hero. 
 
 Groves, and artificial Devices under-ground, are of great Expence, 
 and little Dignity j which for my part 1 could wifh converted here into 
 thofe Crypteria, whereof mention is made among the curious Provifions 
 of Tycho Fraghe the Damp) Ft ole my, as I may well call him : which were 
 deep Concaves in Gardens, where the Stars might be obferved even at 
 Noon. For (by the way) to think that the brightnefsof the Sun’s Body 
 above, doth drown our difcerning of thelefler Lights, is a popular Error 
 the foie Impediment being that Luftre, which by Refledion doth fpread 
 about us, from the Face of the Earth ; fo as the Caves before touched, 
 may well conduce, not to a delicious, but to a learned Pleafure. 
 
 In Aviaries of Wire, to keep Birds of all forts, the Italians (though 
 no waftful Nation) do in fome Places beftow vaft Expence ; including 
 great fcope of Ground, variety ofBufhes, Trees of good height, running 
 Waters, and fometimes a Stove annexed, to contemper the Air in Win- 
 ter. So as thofe Chanterelles, unlefs they be fuch as perhaps delight as 
 » much 
 
xxxvj The Elements of Architecture, 
 
 much in their Wing, as in their Voice, may live long among fo good 
 Provifions and Room, before they know that they are Prifoners ; reduc- 
 ing often to Memory, that Conceit of the (Roman Stoick, who in com- 
 parifon of his own free Contemplations, did think divers great and fplen- 
 dent Fortunes ofhis Time, little more than commodious Captivities. 
 
 Concerning Ronds of Rleafure near the Habitation ; I will refer my 
 felf to a grave Author of our own (though more Illuftrious by his other 
 * Work) namely Sarisburienjts de Rif cim. 
 
 And here I will end a fecond Part, touching Ornaments both within 
 and without the Fabrick. 
 
 How as almofl: all thofe which have delivered the Elements of Lo- 
 gickj do ufually conclude, with a Chapter touching Method , fo I am 
 here feized with a kind of critical Spirit, and dellrous to fhut up thefe 
 building Elements with fome methodical Direction how to cenfure Fa- 
 bricks already raifed. For indeed without fome w'ay to contradl our 
 Judgment, which among fo many Particulars would be loft by Diffufi- 
 on ; I fliould think it almofl harder to be a good Cenfurer, than a good 
 Architect : becaufe the working part may be helped with Deliberation, 
 but the judging muft flow from an extemporal Habit. Therefore, (not 
 to leave this laft Piece without fome Light) I could wifh him that com- 
 eth to examine any noble Work, firfl of all to examine himfelf, whe- 
 ther perchance the fight of many brave Things before (which remain 
 like impreffed Forms) have not made him apt to think nothing good, 
 but that which is the belt ; for this humour were too fowre. Next, 
 before he come to fettle any imaginable Opinion, let him by all 
 means feek to inform himfelf precifely, of the Age of the Work upon 
 which he muft pafs his Doom, And if he flmll find the apparent De- 
 cays to exceed the Proportion of Time, then let him conclude without 
 farther Inquifition, as an abfolute Decree, that either the Materials were 
 too flight, or the Seat is nought. Now, after thefe Premifes, if the Houfe 
 be found to bear his Years well, (which is always a Token of found Con- 
 ftitution) then let him fuddenly run backwards, (for the Method of Cen- 
 furing, is contrary to the Method of Compofing) from the Ornaments 
 (which firft allure the Eye) to the more effential Members ; till at laft 
 he be able to form this Conclufion, that the Work is commodious, 
 firm, and delightful ; which (as I faid in the Beginning) are the three 
 capital Conditions required in good Buildings, by all Authors both An- 
 cient and Modern. And this is, as I may term it, the moft fcientifical 
 way of Cenfuring. There are two other, which I muft not forget. The 
 firft in Georgia Vaffano , before his laborious Work of the Lives of Ar- 
 cbitcEls, which is to pafs a running Examination over the whole Edifice, 
 according to the Properties of a well-fhapen Man. As whether the 
 Walls ftand upright upon clean Footing and Foundation : Whether the 
 Fabrick be of a beautiful Stature : Whether for the Breadth it appear well 
 burnifhed: Whether the principal Entrance be on the middle Line of the 
 Front or Face, like our Mouths: Whether the Windows, as our Eyes, be 
 
 * De Nugis Curia!. z?c. 
 
The Elements of Architecture . 
 
 fet in equal number and diftance on both Sides ; whether the Offices like 
 
 the Veins in our Bodies, be ufefully diftributed, and fo forth : For this 
 Allegorical Review may be driven as far as any Wit will, that is at lea- 
 fure. 
 
 The fecond Way, is in Vitruvius himlelf, Lib. 1 . cap. 2. where he fum- 
 marily determineth fix Confiderations, which accomplilh this whole 
 Jrt : _ » 
 
 Whereof (in my conceit) we may fpare him the firft two; for as far 
 as I can perceive, either by his Interpreters, or by his own Text (which in 
 that very Place, where perchance he fihould be cleared:, is of all other 
 
 a neat and full expreffion of thefirft Idea or Defignment thereof; which 
 perchance do more belong to the Artificer , than to the Cenfurer. The 
 other four are enough to condemn, or abfolve any Fabric 4 whatfoever. 
 Whereof Eurythmia is that agreeable Harmony between the breadth, 
 length, and height of all the Rooms of the Fabrick, which fuddenly, 
 where it is, taketh every Beholder, by the fecret power of Proportion : 
 Wherein let me note this, That though the leaft Error or Offence, that 
 can be committed againft Sight, is excefs of height; yet that fault is no 
 where of fmall importance, becaufe it is the greateft offence againft the 
 Purfe. 
 
 Symmetria, is the Conveniency that runneth betwxen the Parts and the 
 Whole, whereof I have formerly fpoken. 
 
 Habitation. Whence Falladius did conclude, that the principal Entrance 
 was never to be regulated by any certain Dimenfions, but by the Dig- 
 nity of the Mafter ; yet to exceed rather, in the More, than in the Lefs, 
 is a mark of Generality, and may always be exculed with fome noble 
 Emblem, or Inlcription, as that of th c Conte di DeVilacqua, over his large 
 Gate at Verona, where perchance had been committed a little Difpro- 
 portion. 
 
 Fatet Jama : Cor magis. 
 
 And here likewife I muft remember our ever memorable Sir Dhilip 
 Sidney, (whofe Wit was in truth the very Rule of Congruity) who well 
 knowing that Daftlius (as he had painted the ftate of his Mind^) did ra- 
 ther want fome extraordinary forms to entertain his Fancy, than room 
 for Courtiers ; was contented to place him in a Star-like Lodge ; which 
 
 Dijlributio, is that ufeful calling of all Rooms for Office, Entertainment, 
 or Dleajure, which I have handled before at more length, than any other 
 Piece. 
 
 Ordinatio. Symmetria. 
 
 Difpojitio. Decor, and 
 
 Eurythmia. Dijlributio. 
 
 the cloudieft) he meaneth nothing by Ordination, but a well fettling of 
 the Model or Scale of the whole Work. Nor by Difpojition, more than 
 
 Decor is the keeping of a due Relpedt between the Inhabitant and the 
 
 otherwife in fevere judgment of Art, had been an incommodious Fi- 
 
 gure. 
 
 k 
 
 Thefe 
 
xxxviij The Elements of Architecture. 
 
 Thefe are the four Heads which every Man fhould run over, before 
 he pafs any determinate Cenfure on the Works that he {hall view, 
 wherewith I will clofe this laft Part, touching Ornaments. Again!! which 
 (methinks) I hear an Objection, even from fome well-meaning Man ; 
 That thefe delightful Crafts, may be divers ways ill applied in a Land. 
 I mull confefs indeed, there may be a lafeivious, and there may 
 be likewife a fuperftitious ufe, both of TiBure and of Sculpture : To which 
 poflibility of Mifapplication, not only thefe Semi-liberal Arts are fub- 
 je£t, but even the highell Perfections, and Endowments of Nature. As 
 ! 'Beauty in a light Woman ; Eloquence in a mutinous Man 5 [ %efolution in an 
 Alfaffmate 5 prudent OlferVation of Hours and Humours, in a corrupt 
 Courtier ; Sbarpnefs of Wit and Argument, in a feducing Scholar, and 
 the like. Nay, finally, let me ask, what Art can be more pernicious, than 
 even Religion itfelf, if itfelf be converted into an Inllrument of Art i 
 Therefore, Ab ctbuti ad non uti , negatur confequcntia. 
 
PARALLEL 
 
 O F T H E 
 
 JNTIENT ARCHITECTURE 
 
 WITH THE 
 
 MODERN. 
 
 The PREFACE. 
 
 Reader, 
 
 E F OR E I do altogether refign this Book to thy 
 Judgment, Iadvertife thee, that ’twasnot my De- 
 fign in compiling it to teach any Man, much lefs 
 yet to fatisfy thofe Critical Spirits which the World 
 fo much abounds with : Nor, is the Publick at all 
 beholding to me ; I have no thought of oblffiino- 
 it, an envious, and evil Judge: In a Word, beinn 
 nothing inclin’d to give them Satisfaction, I have 
 . . eafily gratified my Labour with the defir’d 
 
 Succels : My pnnapal Drift was, Firft, to fatisfie myfelf ; nor has it coft me 
 much Trouble; though we fometimes find certain Humours that are 
 more averle, and difficult to themfelves, than they would prove to others: 
 For my part I do not fo ufe to treat myfelf: We have Enemies enough 
 belides ; and whatever I were able to do, I expect that Men fhould pm- 
 lently fay of me all that Jealoufy does commonly fugged in reproach of 
 Novelty : That being no Artifan , it did not become me to prefc-ribe to 
 others the Rules of their Myftery ; That I teach nothing particular and extra- 
 ordinaiy here : That the Booh from whence I have gather’d all that I fay 
 being common and much ampler than mine, there was no need to have 
 
 ® fcumm’d 
 
 ;i ■ 
 
 
2 A Par allel of the antient Architecture 
 
 fcumm’d them thus fuperficially over ; That it had been better to have fearch’d 
 and produc’d fomething which the World had not yet feen : That the Mind is 
 free, not bound, and that we have as good right to invent, and follow our 
 own Genius , as the Antient s, without rendring our felves their Slaves • fince 
 Artis an infinite thing, growing every day to more Perfection, and fuiting it 
 fell to the Humour of the feveral Ages and Nations, who judge of it differently, 
 and define what is agreeable, every one according to his own Mode, with a 
 world of fuch like vain and frivolous Reafonings, which yet leave a deep Im- 
 preffion on the Minds of certain half-knowing People, whom the Practice of 
 Arts has not yet difabus’d; and on fimple Workmen, whofe Trade dwells all 
 upon their Fingers ends only : But we fhall not appeal to fuch Arbiters as 
 thefe. There are others to be found (though truly very rarely) that having 
 then fit ft Studies well founded on the Principles of Geometry before they ad- 
 ventur’d to work, do afterward eafily, and with affurance arrive to the 
 knowledge of the Perfection of the Art. It is to fuch only that I addrefs 
 my felf, and to whom I willingly communicate the Thoughts which I have 
 had of feparating in two Branches the five Orders of Architecture, and for- 
 ming a body a part of the Three which are deriv’d to us from the Greeks ; 
 to wit, the Touch, lonick, and the Corinthian , which one may with reaion 
 call the very Flower and Perfection of the Orders ; fince they not only con- 
 tain whatfoever is excellent, but likewife all that is neceflary of Architecture - 
 there being but three manners of 'Building , the Solid, the Mean, and the Tel 
 lie ate 5 all of them accurately exprefs d in thefe three Orders here, that have 
 therefore no need of the other two (Tufcan and Compojite ,) which being pure- 
 ly of Latin Extraction, and but Foreigners in relpeCt to them, feem as it 
 were of another fpectes ; fo as being mingled, they do never well together, as 
 thofe to whom I difeourfe will foon perceive, when they fhall have once put 
 off a certain blind RefpeCt and Reverence, which Antiquity , and a lo^ig Cuftorrv 
 (even of the greateft Abufes) does commonly imprint in the mod part of Men, 
 whofe Judgments they fo pre-ocupate, that they find it afterwards a diffi- 
 cult matter to undeceive themfelves; becaule they defer too much, and 
 hardly dare to examine what has been receiv’d by the vulgar Approbation for 
 fo long a time . Let them but confider, that we find no antique example where 
 the Greek Orders are employ’d amongft the Latin, and that fo many Ages 
 of Ignorance have pafs'd over us, efpecially in the Arts of Architecture, and 
 Tainting, which the War, and frequent Inundations of Barbarians had al- 
 moft extinguiih’d in the very Country of their Originals ; and which were in 
 a manner new born again but a few years fince, when thofe great Modern 
 Majlers, Michael Angelo, and Raphael, did, as it were, raife them from the 
 Sepulchers of their antient Ruins, under which thefe poor Sciences lay bu- 
 ried; and I fhall have fair hopes of their Converfion, and to fee them of 
 my Opinion. It is the very leafL of my Thoughts to broach Novelties : 
 On the contrary, I would (were it poffible) afeend even to the very Source 
 of the Orders themfelves, and derive from thence the Images, and pure 
 Ideas ot thefe incomparable Majlers, who were indeed their firfl Inventors 
 and beinftruCfed from their own Mouths; fince doubtlefs the farther Men have 
 wander’d from their Trinciples, tranfplanting them as it were into a fi range 
 
 Soil, 1 
 
with the Modern . j 
 
 Soil, the more they are become degenerate, and fcarce cognofcible to their very 
 Authors. For to Fay truth, have we at this prefent any reafon in the World to 
 call thole three by the name of Orders, viz. Torick, lonick and Corinthian, 
 which we daily behold fo disfigured, and ill treated by the Workmen of this 
 Age ? To fpeak ferioully, remains there fo much as a fimple Member, which 
 has not receiv’d fome ftrange and monftrous Alteration ? Nay, things are ar- 
 riv'd to that pafs, that a Man fhall hardly find an Architect who difdains not 
 to follow the bell and moll: approved Examples of Antiquity. Every Man 
 will now forfooth compofe after his own Fancy, and conceives, that to imi- 
 tate Them, were to become an Apprentice again ; and that to be Maften in- 
 deed, they mull of necelfity produce fomething of New : Poor Men that 
 they are, to believe that in fantallically Defigning fome one kind of particular 
 Cornice, or like Member, they are prefently the Inventors of a New Order, 
 as if in that, only confifted what is call’d Invention ; as if the Pantheon , that 
 lame ftupendious and incomparable Structure which is yet to be feen at 
 Pome, were not the Invention of the Architect who built it, becaufe lie has 
 vary’d nothing from the Corinthian Order of which it is intirely compos'd ? 
 ’Tis not in the Petal of the minuter Portions, that the Talent of a n Archi- 
 tect appears : This is to be judg'd from the general Diftnbution of the Whole 
 Work. Thefe low and reptile ■Sot</r,who never arrive fo the univerfal Knowledge 
 of the 4rt, and embrace her in all her Dimenfions, are conftrain’d t<> Hop 
 there for want of Abilities, incelfantly crawling after thefe poor little Things ; 
 and as their Studies have no other Objedts, being already empty and barren 
 of themfelves j thetr Ideas are fo bafe and miferable, that they produce no- 
 thing fave Majcarons, wretched Cartouches, and the like idle and impertinent 
 Grotejque, with which they have even infedted all our Modern Architecture. 
 As for thofe others to w 7 hom Nature has been more propitroiis, who are ii\- 
 du’d with a clearer Imagination, they very well perceive that the true and ef- 
 .fential Beauty of Architecture confifts not fimply in the minute Separation of 
 every Member apart ; but does rather principally refult from the ‘Symmetry 
 and Oeconomy of the Whole, which is the Union and Concourfe of them all 
 together, producing as it were a vifible Harmony and Confer, which thofe 
 Eyes that are clear’d and enlightned by the real Intelligence of.^t, contem- 
 plate and behold with excefs of Deledation. The miferyis, that thefe noble 
 Genius's are in very fra all Numbers, whereas the vulgar Workmen, like to Ants, 
 fwarm prodigioufly in all places. Would but our Grandees once deveft them- 
 felves of that Prejudice and Difdain which they conceive df the Arts, and of 
 thofe who apply themfelves unto them, and but confider the Necelfity which 
 they above all others particularly have of this of Architecture, there would 
 be great hopes we flrould yet fee them reflourifh, and be burn again as.Ywere 
 from New to Antique. We have had frefh Experience . of this under the 
 Ppign of Francis the Firft, one of the moll Illuftrjous PrinceYtWti Fliftbry has 
 recorded ; and who from an Affedtion extraordinary which he bore to ?/>- 
 tue and great Attempts , Peopled his State with Perfons the moll Rare and 
 Accomplifh d of the Age wherein he liv’d, who eredted tfiofe glorious Mo- 
 numents to the Memory of this incomparable Monarch. Ft is, in my Opini- 
 on, the only Expedient to re-eftablilb all the Arts in that primitive Splendor 
 
 from 
 
4 A Parallel of the antient Architecture. 
 
 from whence this unworthy Neglett has precipitated them. The Greeks who 
 were the firft Inventors of them, and with whom alone they happily 
 arnv d to their fupreameft Perfection, preferv’d them in fo high Efteem 
 amongft them, that the Greateft Perfonages of their Common-wealths were not 
 afliam d to make open Profeffion of them, but after a manner nothing Mer 
 cemry. Their Works were pay’d with Honour 5 and as they propos’d to 
 themlelves- the Glory only, and Immortality of their Name for recompence 
 fo, nor did they make any thing fave what was truly Great and Magnificent’ 
 It would appear incredulous, to relate only what we read of this Nation 
 were not the Credit of their Anceftors altogether irreproachable and that 
 there did not remain even to this very Day, the moft vifible Marks of what is 
 reported. There is not in the whole UniVer/e any thing worthy of Renown 
 which that Divine Country did not once produce in its height of Excellency’ 
 Thofe great Captains, fo many ! Philo/ophers of all Setts, Poets , Orators Geo' 
 metricians, Painters, Sculptors, Architects, and in fumm, whatfoever’ hath 
 ftamp d on it the Charatter of Ferine, proceeded firft from thence. Would 
 we now do worthily? Let us not then forfake the Paths which'thefc Ex- 
 cellent Guides have trac’d before us ; but purfue their Footfteps and aene" 
 roufly avow, that the few gallant things which have yet reached down 
 to us, are due only as deriv’d from them. This is the SubjeEl that has in- 
 vited me to aftemble and begin this Collection by the Greek Order 's which I 
 had firft drawn out of Antiquity her felf, before I fo much as examined the 
 Writings of our Modern Authors. For even the very bell: Books extant on 
 this Argument, are the Works of thefe old Ma/lers, which remain to this Day 
 and whofe Beauty is fo perfett, and fo uni verfally receiv’d, as has for almoft two 
 thouland Years been admired by the whole World. It is to them we fhould 
 repair, to learn to accuftom the Eyes, and to conform the Imagination of 
 Young Men to the Ideas of thofe excellent Spirits, who being born in the 
 midft of the Light and Serenity of the Faireft Climate under Heaven we 
 fo Defecate and Inlightned, that they difcern’d thofe things as Were natiT 
 rally, which we difcover with fo much Pain, after a long and laborious In" 
 dagation. I know us for every one to efteem what pleafes him b eft in the 
 mixd Arts fuch as is this, whofe Principles being folely founded upon Obfer 
 nation and the Authority of Examples, can challenge no precife 'DemonflJion. 
 and therefore I flrall make bold to affume the fame Priviledge which I 
 leave to others, of judging according to their Fancy : For my part I find 
 lo excellent and particular a Beauty in the three Greek Orders that I am 
 hardly at all concern’d with the other two of the Latin in comparifon • and 
 the Station which has been alfign’d them, lufficiently demonftrates’ that 
 there was no place for them, but after all the reft, as if indeed they had been 
 refus d by them both : The Rufticity and Meannefs of the Tufcan having ex- 
 iled it from the Cmes, has fent it to the Country Cottages -, and as unworthy 
 of entering into lemples and Palaces, tis become the very laft as even de 
 ftitute of Employment: For the ot her, which would pretend to exceed and 
 refine upon the Corinthian, and what they name the Compofite ’tis in mv 
 Apprehenfion yet more irrational, and truly methinks altogether unwor- 
 thy to be. call d an Order, as having been the Source of all that Confu- 
 
 fion 
 
with the Modern . ^ 
 
 fion, which has been brought into Architecture, fince Workmen have taken 
 the Liberty to difpenfe with thofe which the Antients had prefcrib’d us to 
 Engothifh (as one may fay) after their own capricious Humour, an infinite 
 Number, which do all pafs under this Appellation. Honeft Vitruvius in his 
 Time well forefaw the ill Conference which thofe of the TrofeJJion would 
 introduce out of their Love of Novelty, which already began it feems to in- 
 cline them to Liber tinifm, and the difdain of the 1(ules of that Art , which 
 ought to remain mod Sacred and Inviolable : fo that we mud look on this 
 as on a Grey-headed Evil, which grows worfe and worfe daily, and is be- 
 come now almoft incurable. Notwithftanding, would our Modern Archi- 
 tects but yet fix any Limits to the Freedom they have taken, and keep 
 themfelves within the Precindts of the 1{oman Order , which is the ligitimate 
 and true Compofite, and which has likewife its Canons and pities as well as the 
 reft, I fhould find no Caufe of Complaint, fince we fee Inftances of it among 
 the Fejligia, and Footfteps of the moft flourifhing Ages ; as in particular 
 that of Titus Vejpafianus, to whom the Senate (after the Sack of Jerufalem] 
 eredted a moft Magnificent Arch Triumphal , compofed of this Order; But 
 then it fhould never be employ’d without mature Advice, and always alone 
 by itfelf; for fo we find the Inventors of this Order ufed it, who well 
 knowing its Defedts (compar’d with the reft) did ever forbear to paragon 
 them together : But our Architects never entring into this Confideradon, have 
 fain into an Error which admits of no Excufe, by forcing the Weaker to 
 fupport the Stronger. Scamo^j is the firft that has fpoken of this in his 
 Treati/e of the five Orders , where he affigns to the Corinthian the moft emi- 
 nent Place : However, to avoid all contcft, I find it fafeft, never to mix 
 them together at any Time, feeing it was never pradtifed by the Antients $ 
 though ' Philibert de Lorme, and Sebajlian Serlio, fancy to have both of them 
 feen it in the Colifeum, and produce likewife a Vefigrt for an Example of 
 their Compofed Order. But believe it, the Obfervation is very errone- 
 ous ; for they are indeed two Corinthians, the one over the other : And 
 albeit in the upmoft, which forms the Corona of this great Colofs of Build- 
 ing, the Cornice refembles not the other, as being very particular $ yet are 
 the Capitals for all that of the fame Order , as Scamo^i has not forgotten to 
 oblerve. This may therefore fuffice to advertife us, not lightly to credit 
 what is deliver'd to us out of Books, when we have the Opportunity of re- 
 pairing to the Fountain, and to be fatisfied of the Truth from thence : For 
 having oftentimes diligently examin’d the Dejtgns of fundry Majlers, on the 
 fame Subjedt, and made an exadt Calculation of the Meafures which they 
 eftablifh 5 we feldom find them to agree amongft themfelves, notwithftand-' 
 ing that all of them profels to have accurately obferv’d them. But that we 
 may wound no Man’s Reputation, fince every one does the beft he is able, 
 and that we have ever fome Obligation to thofe who have fo freely imparted 
 their Labours to us, I will forbear to exemplify. Let it fuffice to have 
 given you this Caution : Thofe who fliall be fo curious as to try, and which 
 will (I affure them) be no fruitlefs Attempt, fhall foon find Difficulty 
 enough in the extraordinary Confufion of the different Manners of thofe 
 Architects , who inftead of Working upon the Account of the Models 
 
 C of 
 
6 A Parallel of the antient Ar chit e dure 
 
 of Columns (which is the moft Natural Method , and particularly affedted 
 to the Proportions of Architecture) amufe us with Palms , Feet , and other ge- 
 neral Measures (as meer Mafons would do) which fo confounds the Ima- 
 gination, that ’tis extream difficult to difentangle one’s felf out of them; and 
 cofts a world of Time ere one comes at laft to reduce and apply them to 
 the Scale of the Model ; without which, all their Induftry becomes fruitlefs, 
 and to no Purpofe. To this I have principally endeavour’d to apply a 
 timely Remedy, reducing all the Defigns of this Treatife to one Common Mo- 
 del , namely, to the Semidiameter of the Column divided into thirty Minutes , 
 that fo I may approach the Precife Meafures as near as is polfible. There are 
 haply fome Workmen who upon the fudden will not approve of it, as being 
 not accuftom d to fo exadt an Examen of the Particulars which concern their 
 Employment: However, (to prevent their Cenfure) I fhall refer them to the 
 Writings of Andrea Pallidio, and Scamozgi, two of the greateft Mafters which 
 we have of the ProfeJJion ; who in their Treatifes of the five Orders (taking 
 the entire Diameter for Model ) have aflign’d it no lefs than Sixty Minutes ; 
 which yet they frequently fubdivide into Halfs, Tlrirds, and Fourths, accord- 
 ing as they conceive it neceffary, and as will appear in this Collection, w-here 
 I have pundfually reported their Defigns , parallel’d one with the other by a 
 Method fo perfpicuous, that one may inftantly perceive both in what, and 
 how much they differ among themfelves : fo that by help of this Comparijon , 
 every Man has the Liberty of plealing his own Fancy, and following whether 
 of the Author jjj I propofe, as being all of them within the common Approbation. 
 But to the end we may proceed folidly, and make a Judicious Election , it 
 will firft be requifite to be throughly inflrudfed in the Principles of Archi- 
 tecture, and to have apply’d our Studies to Antiquities, which are the very 
 Maxims and Pities of this Art: Not as if generally the Antients were to be 
 
 imitated indifferently; on the contrary, there are but very few of them good, 
 and an infinite number of them bad, which is that has produc’d this confu- 
 fed Variety amongft our Authors, who treating of the Orders, and their Mea- 
 fures, have differ’d fo ftrangely from one another. It is therefore undoubt- 
 edly the fafefl Way to have Accefs to the Sources themfelves, and to follow 
 precifely the Models and Proportions of fuch antient Structures, as have the 
 Univerfal Confent and Approbation of thofe of the Profejfion. Such Ex- 
 amples we have at Pome in the Theatre of Marcellus, the Temple of the 
 Pptunda, the three Columns near the Capitol, and fome others of this fort, 
 whofe feveral Profiles I fhall produce on every of the Orders, and after them, 
 
 . thofe of our more Modern Architects ; that fo in confronting them to thefe 
 glorious Examples, which are the Originals of the Art, they may, as to an 
 Impartial Touchfione, have recourfe to them , for the Trial and Examination 
 of their Works, as I myfelf have done with extraordinary Satisfaction in 
 compiling of this prefent Treatije, and which every one may do as well as I, 
 and at a far lefs Expence, by all that Time I have fpent in opening and prepa- 
 ring for them the Way. This is, Peader, what I thought fitting to inform 
 Thee of concerning my Labour , to the End thou mayeif have a fincere and 
 judicious Eftimation of it. 
 
 A D- 
 
7 
 
 with the Modern , 
 
 advertisement 
 
 Concerning This 
 
 edition 
 
 ;N Reviling the Parallel and Preparincr it f or a vr ew [ rnni ., > /r 
 | once had thoughts of fob .joining tl exfalld c,S£S 
 fures ofMonfieur deGaudete: Who reckoning from the Dj ame 
 r ° f th ; \®t a™, divided mm slS pit's 
 
 Part Ind“l T ^ ^ Pa “ f ° and thofe 
 
 very nice, and «P<>n fo 
 
 Ejfaitul Members , but even of tire leller Aer/JeT oTJl ihe I'lnT" 
 yet extant, and of Undeniable A»'i^ Z h ° h ‘ he S'i 
 and Famous of our Modern ArchitpR <■ UmJ i , the molt s ^dful 
 and propofed f„, ,hl Ex^pfe If ft to tn £" ““ f ”« 
 
 Account of all that has hitherto been done This f^F u a ^ 
 
 Serho and the reft I think mvfelf™ ’ s l “^ m g chiefly on Palladio, 
 
 (Author of this Excellent ^ 
 
 and (Hardly, if at all to be difrernVh f Cem C ^°^ e ^ cru pl cs ? 
 
 ces) to be very material, (confiderini th^Modeft Sbcrev” 
 
 quently been taken bv even the Ann' u n EuPerty which has fre- 
 
 take off the Prejudice! whtch W Sv ™ rdveSUp ° n °“ afioi D but to 
 wife think them of more Imoo l I C ° nC f‘ Ve ’ wh ° mi g htoth ^' 
 
 ally, Cnee (beiide many other; we have thellff”*” f h 7 "k! V “j 5 cl P' d ' 
 JntiuR, the lace Moniieur «L j . f . mipof that able and knowing 
 
 «*, A,, , “ d t ; Is m P 1 Ka, "/ m , ol ,he r ft Fam »“ 
 
 ;; That mold 
 
 - SiyESri « is -lidlr't 
 “ 5ft; uxrzztt 
 
 “ “ ° f Advantage? is alfolis 
 
 “ feveral 
 
8 A Parallel of the antient Architecture 
 
 « feveral and different Meafures, (which, till now, render’d them fo exceed- 
 “ ingly troublefome and perplexing) to one and the fame Jingle Divifion of Mo- 
 tt dules into thirty Tarts ; which being offuch Uni verfal Ad vantage, 1 know of 
 “ nothing more eafy, ufeful and highly beneficial than that excellent and 
 “ noble Work of his. 
 
 ’Tis true indeed, Monfieur Colbert, having in the Year 1674, procur’d 
 the Eftablifirment of an Academy for Architecture in Paris, and (paring no 
 coil: to encourage, advance, and carry it on to the higheft Pinacle (after all 
 that Palladio and the reft had perform’d of more life and Accuracy than had 
 ever yet been done ; and by their Inftru&ions, Travels, and Experience, 
 publifh'd and approv’d of with fuch Applaufe) to fend Des Oodet ^ a Student 
 in the Academy (with other Artifts) to Pome, to perfect and improve them- 
 felves in Architecture, Painting and Sculpture, fubfervient to it ; where he 
 made a more exaCt and nice Pjfearch among the Antiquities of that City, re- 
 meafuring and recalling to a new Calculation what had been before fo often 
 done ; and bringing back his new Defigns, with the Admeafurements, and 
 a Precifion fo delicate (and even to a Hair-breadth, as they fay) fo fcrupuloufly 
 nice, as reaches not only to fingle Feet, Inches and Lines alone, but even to 
 the minuted Part of a Part of a Line, curioufiy engraven at the French King’s 
 Charge, and pompouilyfet forth under the Title of the Ancient Buildings of Rome, 
 with Difcourfes upon them. 
 
 But now, whether after all this critical and elaborate Scrutiny, they a- 
 mount to any confiderable Advantage in the main, is left to the Judicious, 
 and thofe who (hall think it worth the while to examine and collate them 
 with the Plates and Figures, where one draft meet feveral other Defigns and 
 Defcriptions of ancient Buildings (befides what are extant at P(pme) per- 
 form’d (as to the Graving Part) with extraordinary Accuracy by the ‘Bu- 
 rbles of Marot, Le Cler, B offer e, Chajlillon, Pautus, Guerard , Bonart , Tournier, See. 
 aft of them incomparable Artifts, and of Paris alone, where they abound 
 with excellent Gravers ■ whilft our whole Nation hardly affords us One com- 
 parable to any I have nam’d, or indeed, that’s almoft tolerable. 
 
 This I mention to ftir up an Emulation, and if poffible, to encourage our 
 Country-Men (whofe Genius may lead them to fo laudable a Quality and 
 Addrefs) by applying themfelves more ferioufly to it : And that we may not 
 for ever be out-done by the French and Dutch, to the reproach of thofe 
 fliamelefs Bunglers of our’s, who daily difgrace fo noble and ingenious an 
 Art, with their wretched Sculps of Front ijfieces, lame Figures, Landslips and 
 ProjpeCts, without Defign, Simmetry, or any regard to PerffeCliVe. 
 
 One thing more I cannot but applaud before I have done with Monfieur 
 Des Godet which is this; That whereas other Architects have generally 
 reprefented thofe venerable and famous Puines of the Antients as entire 
 as when firft Erefted, or rather, fuch as they fancied them before their Demo- 
 lition' (when all this while there perhaps remains not (landing above two or 
 three Columns, broken Capitols , Bufis, Bates, Cornices, and other miferable Frag- 
 ments of collapfed Temples, Theatres, AqueduCls, Amphitheatres, Triumphal Arches ,&c. 
 and other heretofore glorious Structures) Monfieur Des Godet ^ has defign’d and 
 oiven us them as they are at prefent, or with very little Reftoration, unlefs 
 
 O'*- 1 
 
 2 where 
 
with the Modern . p 
 
 where fome principal Member was Defective in the Foliage or Valuta of a 
 Capitel, See. whilfl: what remain’d found and entire, left no O^cafion of doubt- 
 ing, that what he fupply’d was really the fame when PerfedL 
 
 That yet our Parallel may not fuffer thro’ any material Overfight • where 
 7 )cs Gaiety more finifih’d Refearches may in any fort contribute to its Perfe- 
 dlion, I have not fpared the giving Notice of them 5 that when our Work- 
 men fhall well confider of how fmall Importance the Particulars confift 
 (and how eafily reform'd where necellary) they may proceed, and with the’ 
 more Courage and AlTurance rely upon our Parallel. 
 
 This Admonition (together with what of my own may attend it) I leave 
 out of the great Ajfetlion as well as the (Relation I have to the Prolbenty of that 
 Auguft and truly Glorious Foundation , which is now Ere&ing at Greenwich to 
 be a Handing Seminary for the Supply, Entertainment, Relief and Encou- 
 ragement ol Emented and Deferring Seamen, next under God alone the Guar, 
 dians and Protection of thefe Dominions. ’ 
 
 NON NOBIS SOLUM N AT I SUMUS r SED PARTIM 
 
 PATRIT 
 
 EXCEPTIONS. 
 
 M. Des Gaudct K . M. Be Cbambray. 
 
 f»age Plate Page Plate 
 
 28 
 
 29 
 
 VIII 
 
 3 1 
 
 3 1 
 
 IX 
 
 55 
 
 5 6 — 
 
 XX 
 
 101 
 
 102 
 
 IX 
 
 1 48 
 
 149 & 1 
 
 50- I II 
 
 1 82 
 
 ,83 — 
 
 IV? 
 
 1 84 
 
 .85 _ 
 
 — . VS 
 
 294 
 
 295 
 
 — - III 
 
 296 
 
 297 — 
 
 IV 
 
 298 
 
 2 99 
 
 V 
 
 66 — - 67 Portico of the Pantheon. 
 
 As before — - 
 
 84 
 
 38 
 
 68 
 
 Altar of the Pantheon. 
 
 • 39 Fortuna Vtrilis. 
 
 - 6p Tone di Nerone. 
 
 124 1 2 j 125 Arch of Titus. 
 
 1 ^ ~ 1 7 Altar of Marcellas. 
 
 As before — 
 
 4 ° — 41 The fame. 
 
 OBSERVATIONS. 
 
 As to the Meajures ■, Would one in earned think it much worth the pains 
 or to any great prejudice of Monlieur de Cbambray , that fome few Members 
 and Membretti, were by a 20th part, and 25th part of a part too High or 
 too Low; A 19th part and 24th part of a part too Narrow or Broacf? Or 
 eleven 3 6th parts of a part too Long or too Short ? A ProjeSture too far 
 Saltan by 1 T he Gutta under a Triglyph too broad by 22 parts of a part t 
 That an Aflragal beneath the Eggs, was too low by 1 £ parts of a parti 
 Or that among the Ornaments and Acceffories, a plain Water Leaf was put 
 
 D inflead 
 
■ I’' 
 
 ■ A 
 
 A Parallel of the antient Arc bite dure 
 
 indented one ? That in a Chaplet, the 'Beads did not fall exa&ly 
 , with Darts between the Foliage, where other Leaves fhould 
 have been carv’d ? Acanthus in a Capitel, in (dead of Olive or Barfley, and a 
 fmall (lender Caulicle, between the larger Foliage of a Compoftte Capitel Making 
 the Hollow of the Voluta plain, and without Ornament; and embellifhing 
 the Edges of another with a Fret ? Sticking a By>Je in the middle of the Blinth * 
 A Cyna By Cl a in place of an Ovolo ? Extending the Lift with a return above 
 the Architrave, and over the Triglyphs, which fhould be even and {freight ; 
 and the upper part of the half Channel Chamfer’d, &cc. ? 
 
 Such in truth, and the like, are frequently the A iinutix and Animadverjlons 
 lo nicely infilled on (tho’ I do not fay there are none more material) but 
 whether worth his travelling fo far, and buffering fo much to bring Home, 
 after his being redeem’d from the barbarous Byrates and Corfairs (into whofe 
 Hands he fell at his return) I leave to others. What his ObferVations and Ex- 
 ceptions are on thofe of Balladio, Serlto and their Companions in the Barallel, I 
 am not much follicitous about ; lince the Curious may conjult and confront the 
 Deftgns and 'Plates themfelves. Thofe in the mean time, which concern 
 Monfieur De Chambray (not exceeding a Dozen) would have been lefs charge- 
 able to have been added by the Book/eller than by the Buyer: But he defpair- 
 to meet with any tolerable Graver among us, (capable of Approaching 
 thole whom Monfieur Des Gaudet^ employ’d ) I could not impofe it on him : 
 Nor was it thought of fo great Importance, confidering fas already noted) 
 the modefi: Liberty, which ’tis known has now and then been taken, even 
 by the Antients themfelves. Let therefore our Students in Architeblure, and in- 
 duftrious Workmen proceed with good AJfurance, that following the Author of 
 our Barallel, they Copy after an excellent and approv’d Majkr. 
 
with the Modern 
 
 ii 
 
 Chap. I. 
 
 Of the Orders in General. 
 
 T is fufficiently difficuk to determine precifely, what the 
 Name of Order may fignify amongft our Architects, though it 
 be indeed very neceftary to underftand it well. Of all the 
 Moderns who have written upon the Five Orders, there is none,' 
 fave Scamo^gi, who has once remember’d to give us the Defi- 
 nition; and it is in the ift Chap. of his fecond fart, Line 42. 
 where he faith, That it is a kind of Excellency, which infinitely adds to 
 the Shape and Beauty of Buildings, Sacred or frophane. But in my Opinion, 
 he had even as good have held his Peace, as the reft have done, as to have 
 fpoken in fuch wandring Terms, and with fo little Solidity. The Father 
 VitruVtus in C. z. L. 1. calls it Ordonance, and the Term is at prefent in huge 
 Vogue amongft our fainters : When they would exprefs the Elegant Com- 
 pofition of a ficce, or the Diftribution of Figures in an Hiflory, they fay, 
 that the Ordonance is good : Notwithftanding, this is not yet exactly the 
 Intention of Architects ; and Vitruvius (in pain to exprefs it to us) adds, That 
 it is an apt, and regular Dfpoftlion of the Members of a W ork. feparately ; and d com - 
 parifon of the Univerfal froportion with Symmetry. Perault tranflates it, An apt 
 and regular Difpojition of the Members of a Work feparately, with refpeti to the fropor- 
 tion or Symmetry of the Whole. Another, peradventure more fubtile and penetrant 
 than I am, might find out the Myftery of thefe Words, which I con- 
 fefs I comprehend not; and therefore it is, that I have tranflated them 
 purely from the Latin Text Word for Word, that I may the more naturally 
 propofe them to thofe who fhall defire to Profit by them. Daniel farbaro 
 (who hath given us two Excellent Commentaries upon this Author) has been 
 very induftrious to clear this Paflage, which yet is not without fome 
 Difficulty, f Inlander, on the fame Chapter, found out a lliorter way, to fay 
 nothing at all, and am tiles himfelf upon other Matters far more unnecel- 
 fary : So that to get out of this Labyrinth, we mull even take it in Pieces, and 
 confider the things apart ; that fo it may, as it were, touch our Imaginati- 
 on, and diftindtly form its Ideas in us, which is the Bufinefs we are to en- 
 quire after : For the Art of Architecture does not confift in Words ; the 
 'Demonflration ought to be fenfible and ocular. It is very perfpicuous to all 
 
 thole 
 
12 A Parallel of the antient Arc bite dure 
 
 thofe of this My fiery, that the Principal Piece of an Order is the Column, and that 
 its Entablature being once placed on the Capitel, produces the entire Compofition. 
 If therefore we will define it exactly, and give the moll exprefs Meanino of 
 it, we mull, as it were, make a very Anatomy of the Parts, and fay, thafthe 
 Column, with its Bafe, and Chapiter, crown’d with an Architrave, Fri^e and Cornice 
 forms that kind of Building which Men call an Order ; feeing all thefe indivi- 
 dual Parts do generally encounter, and are found through all the Orders ; the 
 Difference amongfl them confuting in no other particular, than in the Propor- 
 tion of thofe Tarts, and the Figure oftheir Capitels. They have yet indeed fome 
 peculiar Ornaments, as Triglyphs , the Derick ; Dentelli , or Teeth, the lonicK] 
 and the Corinthian her Modiltons ; but they are none of them of fo general and 
 indifpenlable Obligation, but that even the mod regular of the Antients them- 
 fclves, have, upon lome Confiderations, frequently difpenfed with them. For 
 Ornaments are but Acceffories in the Orders, and may be diverfly introduced as 
 occafion requires 5 principally in that of the Corinthian, where Artifts being to 
 reprefent an Effeminate and Virginal Beauty (as we may eafily deduce from 
 what VitruYtus has recounted to us of Callimachus, i . Chap. 4. Took) ought to omic 
 nothing which may contribute to the Perfection and Embellifliment of the 
 Work : and the Antients havepreferib d us fo many Examples of this Order, in 
 which they have fo profufe and luxurious in Ornaments, that one would 
 iw'ear, they had drawn their Imagination quite dry to crown this Mafler-piece 
 o( Architecture. But it is not with the other Orders after this fort, were there is 
 a more Mafculine Beauty requir’d ; efpecially in the Dorick, the Solidity 
 whereof is totally repugnant to the Delicatenefs of thefe Ornaments ; fince it 
 lucceeds fo much better in the plain and fimple Regularity of its Proportions. 
 Garlands and Tofies fuit not with Hercules he is bell adorn’d with a rough- 
 hewn and maffy Club : For there are Beauties of feveral Kinds, and thofe 
 oftentimes fo unlike, as what is agreeable to the one, is quite contrary to the 
 other. As for the lonick Order, ’tis, as it were, in the middle of the two Ex- 
 treams, holding in a manner the ballance ’twixt the Dorick Solidity and Gen- 
 teelnefs of the Corinthian-, for which Reafon me find it diverfiy employ’d in 
 antient Buildings, fimple and plain, according to the Genius of the Archi- 
 tect, or Quality of the Structure. So as thefe three Orders may very well fur- 
 nifii all the Manners of Building, without being at all oblig’d to have recourfe 
 to the Tufcan Order, or that which is Compofcd 5 both which I have therefore 
 exprefly referv d for the Conclufion of this Treatife, and feparated from the 
 rell, as in truth but Supernumeraries and almofl: Inutile. For the Excel- 
 lency and Perfection of an Art, confifts not in the multiplicity of her Trmci- 
 ples but contrarily, the more fimple they are and few in Number, the more 
 worthy they are of our Admiration. This we fee manifefted in thofe of 
 Geometry, which is in truth the very Foundation and univerfal Magazine 
 of all thofe Arts from whence this has been extracted, and without whole Aid 
 it were impoffibleit fhould fubfilt. Well therefore may we conclude, That 
 the Orders being no other than the very Elements of Architecture, and thefe three 
 firjl, which we have deduc’d from the Greeks, comprehending all the Species 
 of Building; it were but a fuperfluous thing we fhould pretend to augment 
 their Number. 0 
 
 CHAP. 
 
with the Modern . 
 
 13 
 
 CHAP. II. 
 
 Of the D o r 1 c k Order, 
 
 I T is no fmall Advantage for the Dorick Order, to demonftrate that it has 
 been the very firft regular Idea of Architecture i and that, as the Firft-born 
 and Heir of this Queen of Arts, it has had the Honour alfo to have been the 
 firft Builder both of Temples and Palaces. 
 
 The Antiquity of its Original (according to all thofe who have written 
 thereof) is, in a manner, immemorial 5 notwithftanding Vitruvius refers it 
 (and that with fulficient appearance) to a Prince of Achaia, named Dorus - 
 who being Sovereign of Peloponnefus, built in the famous City of Argos , a 
 magnificent Temple to the Goddefs Juno , which was the very firft Model of 
 this Order ; In imitation whereof, the neighbouring People ere&ed divers 
 others 5 amongft which, the molt renown d was that which the Inhabitants 
 of the’ City Olympia dedicated to Jupiter, whom they furnam’d Olympicus. 
 The I (land of Delos, built another very famous one to the God Apollo, in 
 Memory of his Birth in that Place, and of whom there are to this Day fome 
 Veftiga remaining. And in this it was that the firft Tryglyphs were made in 
 the Form which we now behold them, reprefenting the Figure of an antick 
 Lyre, of which Inftrument this God had been the Inventor. In Elis , a City 
 of the fame Country, there were divers memorable Fabricks, conliftingall of 
 this Order, whereof the principal were a large Pcriftyle, or Porch, ferving fora 
 publick Place, having about it a triple Range of Porticos built on Columns, 
 and three magnificent Temples, as Paufanias in his filth Book makes mention 5 
 the one Confecrated to the Goddefs Juno, environ’d with huge marble Pil- 
 lars 5 the other to Dyndima, the Mother of the Gods 5 and a third to Minerva, 
 which bore the Name of their City : And this laft was without doubt a molt 
 incomparable Mafter-piece, having been built by the famous Scopas, Compe- 
 titor with Praxiteles in the Structure of that ftupendious Maufoleum, which 
 the Queen Artemijia erected in Memory of her Husband. In his Preface 
 to the feventhBook, Vitruvius makes mention of others, amongft which he 
 celebrates thofe of Ceres and Proferpine in the City of Eleufts, as a Work of 
 prodigious Grandeur. But it would be but unprofitable for us to make any 
 further Difquifition concerning thefe Edifices, lince thofe who have treated of 
 them, have left us no particular Remarks touching their Form, from whence 
 we might derive any thing of Advantage for our imitation. They talk much 
 alfo of the Names of many great Architects of this Age, who tnemfelves 
 writ the Pules of their Profelfion, amongft whom, one nam’d Silenus, had 
 generally treated of the Dorick Proportion 5 and a certain Tbeodorus made 
 the Defcription of a Temple of the fame Order, erected to the Goddefs 
 
 E Juno 
 
1 4 A Parallel of the antient Architecture 
 
 Juno by the Inhabitants of the Iflc of Samos, with fundry others mention’d in 
 the fame Place, whofe Books and Works are not now to be found 3 fo that af- 
 ter the lofs of fo many incomparable Authors, who were the very’source and 
 Fountain of the Art whence we might at prefent extrad the Purity of its Ori- 
 ginal, we mull of Necelfity content our felves with the Obfervations and 
 Conjectures which the Moderns have made upon certain Tracks and Foot- 
 fteps of Antiquity, which in this Conjuncture ferve us inftead of 'Books and 
 wherein all thofe Mafters, which I have here alfembled, as to an Oecumenical 
 and General Council of Architecture, have finiflt'd and perform’d their Studies. 
 
 But for as much as naturally every Man abounds in his own Senfe, and 
 drelles up a Beauty after his particular Mode, I conceiv’d it expedient from 
 the Defigns which they have left us for Pules, to have continual Recourfe to 
 the Antients, as to the belt and moll invariable CompaJ ? which we can poffi- 
 ble fleer by • amongll whom we fliall find fufficient Variety, reafonably to 
 fatisfie the Oujl of fuch as are defirous of Choice. And for this purpofe, I 
 fhall upon every Order exhibit too or three Examples drawn from the Origi- 
 nals themfelves, and very accurately meafur’d by the Account of the Module 
 of the Column , with the very Divijion which I have obferv’d in the Dejigns 
 of other Mafters-, that fo all concurring in one Uniformity, and under the 
 fame Scale, the Comparifon and Examen may become the more eafie and in- 
 telligible . For the mutiplying of Operations is ever difadvantagious, by 
 reafon of the Confufion which it ordinarily produces in the Minds of thofe 
 who Work, and that it alfo waltes more Time ; both which Inconveniencies 
 are of very great importance. And when all the Fruit of my Travail in 
 this Alfembly of Authors fihould be of no further Profit to the Studious in 
 this Art, than to have thus adjulled them together, I conceive they oughc 
 to be very well fatisfied. 
 
 But let us return to the BoricK Order, and confider its Form, Proprieties, and 
 Bifterence from the others in Grofs, before we enter into the Parcels of its 
 Proportions, fince general Rules are ever to precede particular. Having 
 then propofed for a Foundation, that this Order reprefents Solidity to us, as its 
 Specifick and principal Quality, we ought not to employ it but in great malfy 
 Buildings and Edifices of the like Nature ; as for Torts of Citadels, and For- 
 trejjes ot Towns, the Outfide of Churches or publick Places, and the like, where 
 the Delicatenels of the Ornament is neither convenient nor profitable 5 for 
 as much as the heroic and gigantine Manner of this Order does excellently well 
 in thofe places, difeovering a certain mafeuline and natural Beauty, which is 
 properly that the French call Lagrand Maniere. 
 
 Upon this Subjed I am obferving a thing which in my Opinion is very 
 curious touching the beginning of the difference of Manieres ; whence it 
 proceeds, that in the fame Quantity of Superficies, the one feems great and 
 magnificent, and the other appears poor and but trifling. The Reafon of 
 which is very pretty and not ordinary. I fay then, that to introduce into 
 Architecture this Grandeur of Maniere of which we fpeak, we ought fo to 
 proceed, that the Divifion of the principal Members of the Orders confift 
 
 but 
 
 l 
 
with the Modern. j t t 
 
 but of few parts ; that they be all Great and of a bold and ample <%eliel>o and 
 Swelling ; that the Eye beholding nothing which is little and mean, the Ima- 
 gination may be more vigoroufly touch’d and concern’d with it. For exam- 
 ple : In a Cornice, it the Gola or Cymatium of the Corona, the Coping, the 
 Modilions , or Dentelli, make a noble fhew by their graceful Projedures/and 
 that we fee none of that ordinary Confulion which is the refult of thofe lit- 
 tle Cavities, Quarter-rounds of the Aftragal, and I know not how many 
 other intermingled Particulars, which produce no Etfed in great and maffy 
 Works, and which very unprofitably take up place to the prejudice of the 
 principal Members 5 it is mofl certain, that this Manner will appear lolemn 
 and great ; and that, on the contrary, become pitiful and mean, by reafon of 
 the multitude of thefe fmaller Ornaments, which divide and fcatter the An- 
 gles of the Sight into fo many Beams, and fo prefs’d together, that th e Whole 
 appears but a Confulion. And though one would judge upon the fudden 
 that the multiplicity of Parts fhould contribute fomething to the appearance’ 
 of the Grandeur and State ; yet notwithflanding it happens cjuite otherwife, 
 as we may eafily perceive in examining it by Examples, and in the Defigns 
 of the Majiers which I have here colleded together; where in the fame inftant 
 a Man may difcern both the Quality of their Genius’s, and the Variety of 
 their Judgments: For fome of them efteem that to be delicate and rich, 
 which others term mean and confus’d ; and that which feems to us of the 
 Grand Maniere, in their Eyes appears to be but grofs and heavy 5 and indeed it 
 would fo prove if one fhould exceed the Terms of Proportion, and did in- 
 cline too much to either Extreme: But be this only fpoken enpalfant. We 
 proceed now to our Orders in general. 
 
 The Columns of the Dorick. Order, have this remarkable amongft the reft- 
 that in the faireft Works of Antiquity, in which they have been employ’d, we 
 find them without B afes ; as in the Theatre of Marcellas at %ome, in that at 
 Vicenza, and in a very magnificent Triumphal Arch at Verona ■ and Vitruvius 
 having treated of this very Order, more exadlly than of any other, fpeaks nor 
 fo much as a Word of its Bafts, albeit he hath fufficiently defcrib’d the 
 Meafures of the Ionic k, and of the Attick for the Corinthian, without having fo 
 much as omitted that of the Tufcan ■ though there is not one of our Modern 
 Architects but make lome Cavil at it, forming one to themfelves after their 
 own Invention. 
 
 For my part I fhould make a great Scruple to condemn thefe old Mailers, 
 who did all with fo much circurafpeftion. One had much better endeavour 
 to dilcover their Intention, who did certainly proceed with great Judament 
 than to add any thing prepofteroufly to this Order, and which may prove re- 
 pugnant to its Principles. 
 
 Let us take therefore the thing from its Original, and confider upon what 
 Account they added Bafts to the Feet of Columns, and what there they repre- 
 sent, that thence we may infer whether they are like wife as proper to thefe we 
 
 Ipeak of here, as they be to the other. 1 
 
 Vitru- 
 
1 6 A Parallel of the antient Architecture 
 
 Vitruvius tells it us in the firft Chapter of his fourth Book, and had not it 
 feems fo much as once fpoken of it, but upon occafion of the lonick, which 
 he affirms to have been compos’d after the Module of a feminine Beauty, to 
 which he fuits all the reft of the Parts 5 as the Valutas of the Capitol, to the 
 Mode of the Head-tire and Trejfes of Womens-Hair : The Vivo, or Shaft of 
 the Column, to their airy and decliate Shape : The Flutings and Channelling 
 to the Plaits of their Robes : And the Safe, to the buskin' d Ornament of their 
 Legs and Feet. 
 
 In the fame place he compares our Dorickto a robuft and ftrongMan, fuch 
 as an Hercules might be, whom we never reprefent but on his bare Feet: 
 So as from hence we may reafonably judge, that to the Dorick Order alfo 
 !BaJes are no ways proper. 
 
 But the Cuftom which has licentioufly been introduc’d among fo many 
 Examples as we find among the Jntiques, has fo ftrangely debauch’d and 
 pofTeft the Imagination, by I know not what falfe appearance of Beauty, that 
 it now tranfports it quite befides Reafon. Neverthelefs, fuch as are clear- 
 fighted, being advertis’d of this abufe, will foon redtifie, and undeceive 
 themfelves : And, as what feems mod likely, is then detected to be erroneous 
 when ’tis diligently examin’d ; fo alfo the appearances of Beauty, when they 
 are againft Reafon, become in fine but the more extravagant. 
 
 This Obfervation being eftablifh’d upon thole great Examples which I 
 have cited, and Reafon ferving for its guide, let it pals for Demonjiration. 
 
 But we will now conftder the rejl of the Order. 
 
 His Entablature is more mafly and tall than any of the following Orders • 
 becaufe the ftrength of the Column being greater, prepares him alio for the 
 greater Burthen. It has ordinarily one fourth part of the Column $ whereas 
 in the other, he has very often but a fifth, and fometimes lels. The Cor- 
 nice would not be deck’d with any Foliage, or like Trimming ; but in cafe 
 you allow him Modtlions, they fhould be fquare and very plain. The Freeze 
 has a regular Ornament, which are the Triglyphs, the Compartment whereof 
 obliges one to a very great inconvenience, and which was heretofore fo 
 cumberfome, that even the skilfuleft Maflers had much ado to difengage 
 themfelves. But Vitruvius has found a very fufficient Expedient, as may be 
 feen in his fourth Book, cap. 3. In the interim let it fuffice to affirm here, 
 that all the inconveniency confifts in fo contriving the Matter, that the Tri- 
 glyph be precifely plac’d over the middle of the Column which it encounters • 
 and that the Metops ("that is to fay) the Spaces ’twixt the Fryglyphs, be perfectly 
 fquare 5 for that is fo effential in this Order, that one fhould never difpenfe 
 with it. That which renders the Execution difficult, proceeds from the 
 Diftribution of the Inter calumniations, which have alfo their Diftances regular 
 and determin’d, which does not juftly quadrate and fuit with thofe of the 
 Triglyphs. See cap. i. of the Third Book of Vitruvius, Commented by the Re- 
 verend Daniel Barbara, where all this is rarely well explain'd, both by Dif- 
 courfe and Figure. 
 
 The 
 
with the Modern. 17 
 
 The Architrave hath alfo its Ornament particular, which confids in certain' 
 pendent Drops under the Tryglyphs , that Teem after a fort to be fadened to it, 
 as if they were all of a piece 5 for that one never fees the one without the 
 other. 
 
 The entire Body of the Architrave ought to appear Solid and very Sub- 
 ftantial 5 for which effeCt I would not have it exceed one full Face, lead: 
 parting it in two, it appear feeble and weak, according to the Principle 
 which we have newly edablifh’d upon the Diverlity of Manners: Neverthe- 
 lefs this is but of fmall Confequence here, provided one be careful not to 
 break it in three Faces, as in the other Orders they do ; in which Cafe, the fault 
 would be remarkable. 
 
 Behold then in grofs as Were a rough Draught of the Dorick Order, upon 
 which one may with eafe find out all the feveral Parts of its Members in par- 
 ticular, with their refpeftive Meafures, which is by this Expedient found 
 always within the regular Terms of its Extent. 
 
 I fhall touch fome of the Principal only, that I may facilitate the Way, 
 referring you for the reft, to the Defigns, where every thing is fo clear and 
 punctual, that having once conceiv’d the Module (which I make ufe of 
 throughout) to be the Semidiameter of the Column, divided into thirty Minutes • 
 and, that I continually begin to meafure the ProjeElures of every Profile 
 from the Central Line of the Column, to have (in the mean time) with the 
 Proportion of the Members, the right Polition and juft; Level of the Pillar, 
 all the reft admits not of the lead imaginable Difficulty: For prefently you’ll 
 find, that thirty Minutes making the Semidiameter, fixty mud compofe the 
 whole Diameter, and forty five, three Quarters ■ forty, two Thirds • twenty, one 
 third - fifteen, a quarter, and fo of the red, as I have exprefsly obferv’d it, 
 that I may by the fame means make you comprehend, how I have reduc’d 
 all the Meafures of my Defigns by Minutes, without making ufe of the Terms 
 of Module, Diameter, Thirds, Quarters, or the like Proportions, to avoid Per- 
 plexity, and cumbring the Defigns with fo much writing 5 and indeed, for 
 that they are not preciie enough, and would have often oblig’d me to fuper- 
 add the Minutes, and to repeat one Module and three Minutes, two thirds of a 
 Module and four Minutes, a quarter of a Minute, half a Module and two Minutes, 
 with a number of fuch like Fractions, which would have created much un- 
 profitable Labour, and bred infinite Confufion. 
 
 This edablifh’d, let us proceed to the Application, and take our Dorick 
 Order again in pieces. But led the Variety which we frequently encounter 
 amongft the Defigns of the Modern Authors that I have here collected, 
 fliould hinder us from refolving upon fomething fix’d and determin’d, I will 
 only purfue that Antient Example taken out of the Theatre of Marcellus, 
 as being the mold regular of all the red, by the univerfal Suffrage of thofe 
 of the Profeffion $ and fo conformable to what Vitruvius has written con- 
 cerning the general Proportions of this Order, that fome are of Opinion he 
 was himfelf the ArchiteEl of this magnificent Work. But I mud confefs, I 
 am not of their Faith, becaufe of the Dentelli which are cut in the Cornice ■ 
 for Vitruvius in the jecond Chapter of his firfl Pools, plainly interdicts them 
 
 F the 
 
i 8 A Parallel of the ant lent Arc bite dure 
 
 the Dorick Order, as being naturally affected to the buck : But this Queftion 
 concerns not our prefent Difcourfe. I find then, that the whole Shaft of the 
 Column has in length /even times its Diameter ; which on the foot of the 
 Divifion of the half Diameter in thirty Minutes (for in all this Treatife I 
 ever take the Senudiametcr of the Column for the Module of the Orders) make 
 four hundred and twenty Minutes, which amounts to fourteen Modules. The 
 height of the Chapter contains thirty Minutes, which make one Module ■ as 
 does likewife the Architrave ; The Freeze with its Fillet (which is that ^flat 
 and thin Band or Lift, which feparates it from the Cornice) has one Module 
 and a Quarter, which are thirty /even Minutes and a half- fo that all thefe 
 Modules computed together, and the number of their Minutes reduc’d to a 
 Total Sum, the Altitude of the entire Order amounts to eighteen Modules and 
 three Quarters, which make up five hundred fixty two Minutes and an half ; and 
 the Entablature (which is the Architrave, Freeze and Cornice) being to contain 
 one quarter part of the Column (which is its regular Proportion) comprehends 
 juft an hundred twelve Minutes and an half, which are three Modules and three 
 Quarters ; and which I exprefly repeat, that I may yet add, that though all 
 the Examples of this Order (which may be as well found amongft the Aatients 
 as the Moderns) have not always the Entablature comprehended within the fame 
 Terms of Modules that this has here, they may yet notwithflanding be ac- 
 cording to Rule in the general Proportion; provided that the Entablature 
 contain a quarter of the Column ; which is neither limited to fourteen Modules , 
 nor yet to fifteen, but may fometimes advance even to fixteen , and more, as 
 occafion prefents itfelf: So that a Column of Jixteen Modules fhall have a higher 
 Entablature than one of fourteen. But then it is neceffary, that all this diffe- 
 rence of one Entablature to the other, happen only in the Cornice, in regard that 
 the Freeze and the Architrave have always their precife and determinate Mea- 
 J tires: The one has a Module , the other a Module and an half , without any 
 refpedt to the different height of the Columns. Now the Cornice being to fupply 
 what is deficient to arrive to the fourth part of the Column, ’tis evident that 
 its particular Proportion muff depend on that of the Column ; and that the 
 Cornice of one Fro fie can never ferve for another, though it be of the 
 lame Order , unlefs the height of the Columns be likewife equal in them both, 
 which thing ought very diligently to be confider’d : That from this Obfer- 
 vation a Man may arrive to a good and judicious Examen of all thofe Fro- 
 files which the Moderns have given us of this Order ; and underftand fuch as 
 are worthy the being follow d : For the general Proportion being once de- 
 fedtuous, tis in vain to learch for it in thereto/, or minuter Parts; becaufe 
 that is necelfarily Relative, and that the one cannot poffibly fubfift without 
 the other. 
 
 But to the end we may render what we have difeufs’d eafy to the Reader, 
 who haply, for want of Practice, may find himfelf at a lofs, I am going to 
 deliver him a Method extraordinary fhort and expedite, by means whereof 
 he may inftantly make it without the leaft diforder or confufion. 
 
 He muff take the whole height of the Entablature of the Deftgn which he 
 would examine, and thereof make a Multiplication conformable to the Pro- 
 portion which it ought to bear with its Column, having (fill a regard to the 
 
 Order 
 
with the Modern. 
 
 Order which it reprefents. Put cafe, for Example, one Quarter, as in this of 
 the Dortch 5 he muft multiply the Entablature by four 5 if it be a fifth (as we 
 fhall fee in fome of the following Examples of the Corinthian ) he muft multi- 
 ply it by five, and fo of the reft : For the Total of this Multiplication ought 
 to give us precifely the height of the Column ; and where ever this does not 
 quadrate, certain it is, the Profile is irregular. 
 
 I fhould be too Prolix if I pretended to decypher thus by fmaller Scruples 
 and Minutes all that belongs to thefe Principles 5 and while I think to render 
 myfelf intelligible by a tedious Difcourfe and Calculations, become in fine 
 both confus’d and troublefome to my (Reader, who doubtlefs will fooner 
 comprehend it all by feeing my Defigns, fince Words are never fo exprefs as 
 Figures. 
 
 o 
 
 
20 A Parallel of the antient Architecture 
 
 CHAP. III. 
 
 C'b cl;': 
 
 A Particular remarkable in the Profile, drawn from 
 the Theatre of Marcellus. 
 
 ■JSU.V.': ..... J ■ ] :. 
 
 I Admire, that of all our Modern Architects , the greateft part whereof have 
 feen, and fpoken of this Example, as of the moll excellent Dorich Model 
 ■which has been left us by the Antients, there is not fo much as one of them 
 who has follow’d, or perhaps well obferved in the Original the juft Comparti- 
 ment of the Members of the Capitel , nor the Height of the Freeze, the which 
 I find here vifibly lefs than that which they allow to their Defigns ; though 
 fome of them (particularly Vignola) have propofed the very fame Profile 
 for the Rule of the Order ; but with fo much alteration in its Members, that 
 there is not one of them remains entire: A Man fhall eafily find it by con- 
 ferring them together 5 all the Defigns of this Ajfembly being therefore fitted 
 to the fame Scale. As for the Capitel, they do all without Exception, affect 
 the dividing of it into three parts, as VitruYtus will have it in his fourth 'Book 
 Chap. 5. giving one to the Hypotrachelion, or Neck of the Pillar; the other to 
 the Echinus, Bracelets, or fmall Mouldings 5 and the third to the Abacus or 
 Plinth of the Capitel-, whereas they ought to have confider’d, that the Text 
 of this Author, befides that it is oftentimes fufpicious, and efpecially then 
 when he is not conformable to the Pradice of the Antient Mafters his Con- 
 temporaries, it is by no means juft, that he fhould prefume thus to carry it 
 againft fuch Examples as this here, which is without all Reproach and Ex- 
 ception. It had been more reafonable that they who propofe it for their 
 Model, had at leaf!: been fo difereet as to have added nothing, but left 
 him in his original Proportion. As for thofe others, who have formed 
 Defigns after their own Fancies, they are no more to be blamed for havincr 
 follow'd the Opinion of VitruYtus, and oblig’d themfelves to the Terms which 
 he has prefenb d, though they might haply have well difpens’d with it, and 
 with more Reafonhave imitated the Antients where this Irregularity is not to 
 be found. The Croiwofthe Cornice isalfo fufficiently obfervable for its ex- 
 traordinary Projedure, and which is after a fort augmented by the Sloops 
 which the Architect hasgiven to the Tro/v which compofe the Ornament ofthe 
 nether Face, and which fall on the Triglyphs. Now albeit this piece of Opticks 
 be admirable in this huge Colofs of Building, yet is it by no means to 
 be indifferently us’d every w here, and upon all occafions ; for in places 
 much incloied, where there is not ample lpace and freedom for the Eye, as 
 the infide of Churches, See. it would produce but an ill effed. Wherefore 
 I have thought it neceffary to propofe here divers Antient Examples upon each 
 Order, that 1 may thereby give opportunity to thofe of the Profejfion to make 
 ule of them judicioully, regard being duly had to the Place, and the 
 Occafion. 
 
 A Vi 3 
 
 CHAP, 
 
with the Modern , 2 r 
 
 f-v- 
 
 1 he '’theatre oj 
 
 JVlarceUjtj m ‘K.ovie . . 
 
2 2 A P atallel of the antient Architeduve 
 
 CHAP. IV. 
 
 Another Profile taken from the Fragment of the Dio- 
 clefian Baths at Rome. 
 
 T H I S Profile was one of the mod excellent Pieces of Architecture in the 
 Paths of Diocleftm as far at lead as I am able to conjecture from a 
 good number of draughts which lie yet by me, all of them defign’d by the 
 ame Hand very neatly, and meafur’d with extraordinary Study- altho’ 
 forr.e of them methinks appear to be diffidently Licentious. But this Profile 
 is of fo noble a Compolition, and fo Regular, that it’s nothing inferiourto 
 that which went before : And though the fpecifick Properties of this Order 
 are to be Single and Solid, yet are the Ornaments here fo very judicioufly 
 applyed upon every of the Members, that they conferve the one without 
 the lead violation to the other. 
 
 It may ferve upon fome occafions, where that of the Theatre of Marcellus 
 would not be fo proper, inafmuch as the Projedure of its Cornice is a great 
 deal lefs , add to this the Curiofity of its Mouldings , which allure the Eye t<? 
 confider them at a nearer didance. ; 
 
 The general Proportion of it is not abfolutely conformable to that of our 
 fird Example ; and the Difference makes me judge, that the Column belonging 
 to it contain d eight Diameters that is to fay, dxteen Modules- for fo the 
 Entablature (which is of four Modules high; comes to make up a fourth part 
 of the Pillar. “ 
 
 That which is conliderable in this Profile, as univerfally obferv’d by all 
 the Moderns for the height of the Freeze, is, that in this Partition of the three 
 Members of the Entablature, the flat Fillet which forms the Capitel of the Tri- 
 glyphs compofes a part of the Cornice, and is not compriz’d within the limits 
 of the Freeze ; though in that of Marcellus s Theatre, I have made it to be a 
 part, to the end we may religioufly preferve our felves within the Terms of 
 the general Rules of the Order, which precifely requires, that the height of 
 the Freeze fhould be of one Module and a half, that fo the fquare Intervals of 
 the Metops fhould be of one Module with the Triglyphs (which is indeed an In- 
 convenience very great, but withal mod neceffaryj may be handfomely ad- 
 juded. To the red, I will not affirm pofitively, that the Column of this 
 Profile was without a Bafts, for my Defign gives me only the Entablature and 
 Capitel ; though I might well be inclin’d to think fo, for the Reafons before 
 deduc’d, and amply demondrated in the fecond Chapter. 
 
 CHAP. 
 
24 A Parallel of the antient Architecture 
 
 CHAP. V. 
 
 Another very antient Profile after the Grand Maniere 
 elevated in Perlpe&ive, and now extant at Albano 
 near Rome. 
 
 I Conceiv’d it very advantageous, and indeed in fome fort neceflary, the 
 better to reprefent the Beauty and goodly Effedt of this Profile, to give 
 you one elevated in PerJfieBiVe 5 becaufe 1 would gratify the Eye with as much 
 as Art is capable to add to the real and natural 'Relievo , and fhew how it 
 ought to fucceed in the Execution. 
 
 This incomparable Vorick Mafter-piece was difcoverd at Albano, joining 
 to the Church of St. Mary, among which divers other old Fragments of 
 Architecture, very curious, and of which I have a good number defign’d, 
 and with great diligence examin’d as to their Meafures, though drawn fome- 
 thing in haft as it were in palfing, by the hand of the famous Pyrrho Ligorio. 
 
 That which I particularly efteem in this, is a certain Grandeur of 'Manner 
 majeftical and furprifing, which is altogether extraordinary ; all which re- 
 fults from its having but few Members, and from the largenefsof thofe which 
 it has ; an Account whereof I have already given, lpeaking of the Difference 
 of Manners in the fecond Chapter. For the reft, the Shaft of the Column ftands 
 fimply on a Step, which ferves it inftead of a Plinth, as I have here repre- 
 fented it. 
 
 Now to the end this Vefign may not only prove agreeable to the Eye, but 
 likewife profitable to thofe who fhall defire to put it in Practice, I have alio 
 accompanied it with its Profile , and particular Meafures. 
 
 I advertife moreover, that the Pilar has fifteen Modules in height, and the 
 Entablature three, with two thirds, which amount juft to the Quarter, which 
 is the regular Proportion of the Vorick Entablature with the height of its Column. 
 I have omitted the Profile of th e^Capitel for want of fpace, as likewife for that 
 it is fo little differing from the Ordinary in its Mouldings, and fo perfedtly 
 refembles it in Proportion. 
 
 That which is moft worthy remark, and indeed to be admir’d in this 
 Compofition, is the Richnefs, and extraordinary Form of its Modilions , which 
 lying plumb over the Triglyphs, and being as it were a kind of Capitels to them, 
 produce a marvellous Effect, which is much augmented by thofe gteat Rofes 
 of the Sofitto or Eves of the Corona, which having an extraordinary Projedture, 
 render the Order altogether Gigantick j and this is properly that which they 
 term the Grand Maniere. 
 
 CHAP. 
 
%6 A Parallel of the antient Architecture 
 
 't 
 
 CHAP. VI. 
 
 ^Judgment in general Won all the Authors Jummorid 
 together in ibis Colle&ion. 
 
 T HAT the Reader may now come with fome kind of Preparation to 
 the particular Examen of the Dejtgns which follow, I fhall here en 
 deavour to give him a general Hint of the feveral Talents aftd Abilities which 
 I have remark d in every one of thofe Mafters we are taking a Survey of in 
 Paragon one with the other. b 1 
 
 The firlf of all is without any Conteft, the famous Andrea. Palladio to 
 whom we are obi, g d for a very rare Collection of Antique Plans and Profiles 
 ° f * U fcr L S ^ Buildings, defign 'd after a moll excellent Manner, and mea- 
 ur with a diligence fo exaft, that there is nothing m ore in thatParticular 
 eft us to defire : Befides the very advantageous Opportunities which he has 
 had at Venice, and in all the Vincent me, his Native Country, do leave us fuch 
 Marks as clearly fhew d him not only to have been a Speftator of thefe great 
 
 theuGlory bUt eVCn * Com P etil:or wkh them, and emulous of 
 
 The Man who neareft approaches to aim, is alfo another Native of Vin- 
 cen^a Vincent Scamo^i by Name, a far greater talker (as well appears in his 
 Books) but a much infenour Workman, md lefs delicate in point of Defign • 
 
 ^ Man may eafily perceive it by the Profles which he has left us of the Five' 
 Orders, the Manner whereof is a little dry 5 befides that, he is very poor 
 and trite m h,s Ornaments, and but of an ill Gujlo: He is notwithftanding 
 1 he neareft that approaches him as to the regularity of his Proportions^ 
 and the mod worthy to be parallels with Palladw. P * 
 
 ClTt:!t T* hold of the fecond 
 
 Oaf?- and albeit they have both follow d contrary Ways, and very different 
 
 fomeTf? I i f ° rbea j n ° C t0 pkc , e them in the fame Ra nge, and Im indeed 
 p C , dlfficult y co d «ermine which of the two has deferv’d more of the 
 Pub hek ; were it not that one might fay, th efirjl had the good Fortune to 
 work for Mafters who needed only to be (hewed the Idea of the things in 
 Grols without having any thing to do with the Retail of their Proportions • 
 and that the other only propos'd to himfelf the Inftrudion of young Begin- 
 ners, and to deliver to them the Rules of Art and good Defign : But it had 
 been of excellent Advantage for us all, that Serlios Book had 8 been defign’d 
 
 s,udy and D,li8cncc inf '" chm s> 
 
 The 
 
with the Modern. 
 
 2 y 
 
 wiX very 'great fuTcTZZlyZt" P™" h » f 4*®*. 
 in this pLfe be feated T„ .E.ddfe oSluL S" ° f b°" r , T ™"- 1UI 
 
 as being indeed the Interpreter and Oracle of the wcvHV k° b y h f Ir , Prefic]enl: > 
 his Companion Pietro Cataneo (whom I affirm , > i atheroi ' ^clnteBs, and 
 formity in my Defigns of coipatSJ f fe" *P* Co - 
 petty Chaplain in the Retinue of this g^reat Prelate rh! ^ 7 aS a 
 
 Peerage even with the rnoft patt of die reft ’ gh he mighl: Wel] ckim 
 
 it & h ™ abo - 
 
 derns, and haply too, the Jol hntng m the 1 ^ T 
 
 eafily collefted by a large and exrelRnr v i , , , , as may be 
 wherein he fundamentally (hews whatever" ^cSv V ^ 
 
 of them, , cannot bn, ftraCf/ati^t \ '1 ' "* * M*. 
 no more correftly, and with fo little Art himfel if?!"” ’" dratvin g them 
 had fo notably contributed to its Recomm f bem £ 1 ^ dtnter 5 hnce it 
 
 Works. But this I have reform'd Z T T u^ 0 "’ 2nd t0 che Merit of his 
 
 lo doing to have perform’d him no little Sem^a! haply" in’ dTt ^ 
 otherwife never been follow’d ■ rhero k >’ as ha Pv ln danger to have 
 
 »hilft the Defigns of h, Swe« fo " i, T f T V 
 
 Work, they fiafuld eve, produce fo goS & ’ “ g made ufe of in 
 
 *• «*», «. ty 
 whecher the Art iefeif improve and^nrocep^ ' he , COme “ J »ovei 
 does not already begin to impair and declme.' 0 ThisUft' £ 
 
 tnptrtm, of AchiuBm, of the Info of 'ft !™**- th ' ani1 
 
 try , and other the like Deoendenriec l- ■’ °^ ome Elements of GfoMe- 
 poor Man, in t £ S fo Z ^ -nufeshimfelf, 
 
 has made (ere he iL awareU Boof n? ^ ° f ? ? 6bk ^Murt, he 
 in common with Leon Bttotifta Ahem that hitt>T °-' be this 
 
 triv’d and executed, noTwithC^g he^ll ^ “* ^ VW X i!1 co ' rt ' 
 and conformable enoiwh to that ofW/5 Tf ^ Mannef > 
 
 in his Partitions, is fo Grefs and i*** wh]ch he ** 
 
 kCmS C ° haVC f ° mUGh as ’ heard m enhei oS^M 
 
 C1,mD ‘ «» *K* them to 
 the fame force with the fitlf thonoh (c^ " y “ fo ilW B «n of 
 
 three or four of them at leaft And C ^ Wel1 com P are w kn 
 
 r rt d M by th “ 
 
 in the laft Range as beinTar ll l f ’ wh T yeC 1 do ™ here place 
 - them from*, he ‘ ^ ^ 
 
 CHA P. 
 
28 A Parallel of the antient Architecture 
 
 CHAP. VII. 
 
 Palladio and Scamozzi upon the Dorick Order. 
 
 L E T us now then pafs to the Ocular Demonftration of the precedent 
 Chapter by the Parallel of the Architects, which I have there aflembled 
 together, and whole Defigns I am haftening to examine, by comparing them 
 with our three Antique Defigns , that according to their more or lefs confor- 
 mity with thefe Original Modules , we may pronounce concerning their Merit, 
 and fee what Efteem they indeed deferve. From this Confideration it is, 
 that of all the Choice of the other Maftcrs, I have extracted Palladio and Sca- 
 mozjzjy who having propos d to themfelves the imitation of the Antient Archi- 
 tects, by ftudying thole admirable Monuments yet remaining in the City 
 of P(ome, have follow’d a Manner infinitely more noble, and Proportions more 
 elegant than thole of the School of Vitruvius. 
 
 The firft Profile of Palladio, hath a great affinity with our fecond Antique 
 Example, taken out of Dioclefiaris Bathes ; lor excepting only the Dentelli which 
 he may have with reafon omitted, all the reft of the Entablature is upon the 
 matter the fame. 
 
 He has likewife been fo difcreet (being peradventure oblig’d to follow the 
 vulgar Error, which will have the Safe of a Column of this Order to be one 
 with the others) to advertife before-hand by an Example , which was none 
 at all, that the Antients did never ufe it after this manner. 
 
 He allows but fifteen Modules to the Column without Safe, and with its Bafe 
 he makes it of fixteen, and fometimes proceeds even to feventeen and a third. 
 The reft of the Meafures are fo diftindtly mark’d upon the Profile, that it 
 were fuperfluous to explain them. 
 
 Scamozzj gives ever precifely feventeen Modules to his Columns, accommo- 
 dating it with the fame Bafe that Palladio does; but to a great deal lefs pur- 
 pofe, inafmuch as he thinks fit to deck the Tore’s with I know not what deli- 
 cate Foliages, which does not at all become the Order, no more than does 
 the lonick Fluting, which is abufively employ’d in this place inftead of the 
 natural Dorick . His Entablature (as well as that of Palladio ) fufficiently re- 
 fembles our fecond Module, to which he has only added a fmall Cavity be- 
 twixt the Corona and the greater Round, a thing not at all confiderable. 
 
 The Compofition of his Profile taken in grofs, and altogether fimple, ap- 
 pears of a very great Idea, but the Ornaments are to be rejected. 
 
 CHAP. 
 

3 o A Parallel of the antient Architecture 
 
 CHAP. VIII. 
 
 Serlio and Vignola upon tk Dorick Order. 
 
 T HESE two Maflers are infinitely oblig’d to their Interpreters , who pro- 
 duced them firft amongft the Tramontani and Strangers, and particu- 
 larly to our Workmen in France , who hold them in very great Eftimation : 
 And though they are, in truth, highly worthy of it, neverthelefs being 
 compar’d to the preceding two, they lofe much of their Lulfre, and come 
 exceeding fhortof them. 
 
 This the Reader may eafily find by comparing the one to the other with 
 the Antients Originals , which I have prefix d as the Lantern and CompuJI of 
 all true Architecture. But it were not juft we ftiould treat Serlio in this hxa- 
 men, with the fame rigour we have done his Companion ; for that intend- 
 ing to follow Vitruvius (who is the mod renown’d and venerable Author of 
 the Antients) he has worthily acquitted himfelf : Whereas Vignola who has 
 purfu’d another Courfe, really a more noble, and the very fame which I al- 
 fo obferve here, knew not how to proceed without Deviation. The Dorick. 
 Profile which he here prefents us, is taken out of the firft Order of the Thea- 
 tre of Marcellus, and the moft worthy Example of this kind, which is to be 
 met with amongft all the Ldpman Antiquities, and of which alfo I have made 
 choice for the firft Model of this Collection , with this only difference, that 
 I have precifely obferv’d all the Meafures and Allowances of the Original, 
 which you will perceive in this Author to be exceedingly changed, particu- 
 larly in the Cornice and Capital. The comparing of the two Defigns, will in 
 one inftant afford more light to the Reader, than I can do by the Difcourfe 
 of an entire Page. 
 
 Serlio gives here fourteen Modules only to his Column, comprehending the 
 IBafe and Chapter ; and the Height of the Entablature amounts to three Mo- 
 dules and a little more than two thirds, infomuch as (contrary to his ordi- 
 nary Cuftomj he extremely, exceeds the quarter of his Column, which is the 
 largeft Proportion the Antients did ever Practice 5 fo as this great Excefs puts 
 me in doubt whether the Text of Vitruvius , upon which he relies, be not cor- 
 rupted in that place; or elfe when he fpakc of that Column, he did not mean 
 the Shaft without its Capital: For fo by adding one Module more (which is 
 the precife Height of the Chapter) the entire Column would be fifteen Modules, 
 and confequently the Entablature hold Proportion conformable to the 
 Antients. 
 
 Vignola forms his Column of fixteen Modules, and the Entablature of four, 
 which is exactly the fourth part of the Column, and which makes it appear 
 very regular. As touching the Baje introduc’d by the Moderns into this Order, 
 I have already declared my Opinion concerning it. 
 
 CHAP. 
 
Sf ■ 
 
 with the Modern, 
 
 31 
 
32 A Parallel of the antient Architecture 
 
 CHAP. IX. 
 
 Daniel Barbaro and Pietro Cataneo, upon the 
 D o r i c k Order. 
 
 T his is here a perfect School of Father Vitruvius, whofe very Name 
 and Authority does extremely recommend it to us. Not that we 
 are oblig’d indifferently and without choice to follow all thofe who pretend 
 to have underftood this grave and abftrufe Author , feeing every Man Arrives 
 to make him of his own Party, and to accommodate him to his particular 
 Genius. 
 
 The very belt of them all, was, without Exception, Daniel Barbaro, as well 
 for his Excellent Commentaries , as for the Exactitude and Cleannefs of his De- 
 figns. A Man may perceive by the (parallel of his Profile with that of Cataneo , 
 that his AdjunCt of Serlio in the Page before, and fome following his Clafl, 
 that he prefides here as a Mafier among his Dilciples. 
 
 It were an Amufement to no purpofe, and very impertinent, fliould I 
 quote every minute and fmall Difference of one Dejign from the other, fince 
 the Pleader may better fee it by one cafi: of his Eye, than I can defcribe it to 
 him in the refi: of this Page. 
 
 I will add only his general Advertifement, that the Proportion of the Co- 
 lumn, with its Entablature , is the fame here which Serlio gave us before, with- 
 out being neceflitated to repeat my own Opinion thereof, fince my Obferva- 
 tion is upon Vitruvius, and not againft thofe who have explained him. 
 
 Daniel Barbaro has judicioufiy introduc'd a Buckler in the Angular Metop 
 of the Freeze, thereby fignifying, that all Ornaments fhould be accommo- 
 dated to the Orders which they are applied to ; and that this being of a robufi: 
 and martial Kind, one may, as occafion requires, enrich it with Trophies of 
 Anns, Clubs, Quivers of Arrows, and fuch like Inftruments of War. 
 
 To the Prejudice of Cataneo’’ s Defign, I find that the Gula of the fuperiour 
 Part of the Entablature is fomewhat too great } that the Projection of the Plinth 
 of the Capital is a little too fmall, and renders the whole Chapter mean and 
 fihort, which extremely disfigures his Profile • befides that, the Bafe below 
 has that Excefs, which is defective in the Chapter above. 
 
 C H A P. 
 
jFA i 
 
 with the Modern . 
 
34 A Parallel of the antient Architecture 
 
 CHAR X. 
 
 Leon Baptifta Alberti ^z/^/Jofepho Viola, on the 
 D orick Order. 
 
 A T fight of this firft Defign of Leon 'Baptifta Alberti, whofe Capitel is entirely 
 Gotbick, one might with reafon wonder why I fihould fpeak fo advan- 
 tageoufly of him in the general Examen which I have made of the Modern 
 Architects, among whom I affign him one of the principal Places • and in 
 earneft I cannot excufe him here of that ill Relifh, and of this fo ill-favour’d 
 a Compofition, however he pretends to have feen it, and to have taken it 
 from lome Antient Fragments : But fuppofe it true (for a Man may meet 
 with bad ones enough) he might alfo have found others a great deal more 
 tolerable : That which falls out the moll unluckily for him in this his firft 
 Production of Skill, is, that it is of very great Importance for a Man to begin 
 well, fince the firft Impreffion continues long, and introduces a Confluence 
 for thofe who follow after. Neverthelefs, be it what it will, every Man is 
 oblig’d to accord with the Truth, and to judge of things honeftly and with- 
 out Prejudice. And therefore to do him juftice, having firft condemn’d 
 this defective Part in his Profile, we are not to reject all the reft for that reafon, 
 feeing it is in Truth of a great and noble Manner. It has alfo much Con- 
 formity with our Antique Example in the Modilions, whofe Projedures put into 
 Work, would produce a noble Effed, as may be judg'd by the Peyjpeciive 
 which I have made of it. His Architrave and Freeze are both regular, and 
 the Entablature entire to its exad Proportion with the Column ■ for it confifts 
 of four Modules in Height, and the Column of fixtftmThe Proportions of the 
 <BaJe are likewife very handfome; fo as in the whole Defign there is nothing 
 fcandalous befides the Capitel, which may eafily be fupplyed by borrowing 
 from his Collegue Viola, whofe Profile is fufficiently corred, and upon the 
 Matter the very fame with that of Palladio, whom I perceive he has imitated 
 in all the following Orders as well as in this here. But fince he endeavours 
 to difguife his Theft as much as poffible, in altering fome of the Moldings, 
 or mutilating fome Member, he has here made a Quarter Round inftead of 
 a dired Cymatium, or Ogee, ofthe Cornice, which is but a thing indifferent, or to- 
 lerable at leaft, in the IDorick Order , that of Marcellus’s Theatre being the very 
 fame. 
 
John Bulliant and Philibert de Lorme, on the 
 Do r ick Order. 
 
 j*— gr - ' I S not without fome difficulty that I have been able to reduce a fe- 
 fl cond (Profile of this Page to the Terms you here behold it ; Philibert de 
 Lorme having defign’d it fo (lightly, and in fofmall a Volume (though that 
 in his Book be large enough) that it had been impoffible to give any of the 
 Members its due Proportion without the Affilfance of the Text, upon which 
 be has made three larg e Chapters $ whereas by the Aid of fome better Draught, 
 he might eafily have lpar’d many Words and Letters of Direction extremely 
 confus'd throughout his whole Difcourfe, which he ufes to exprefs the Par- 
 ticular of the Proportions of each part of his Profile ■ and this makes me judge 
 that the good Man was no Defigner , which is a very ordinary Defedt amongft 
 thofe of his Profeffion. But this does not much concern our Subject in hand, 
 where we have only to examine, whether the Dorick. Order , which he pro- 
 pofes, has any conformity to the Antique , or at lead to the Precepts of Vitru- 
 T nus j as one may perceive by the Parallel of his Companion John 'Bulliant , 
 who has followed this old Author in his Profile very punctually, though he 
 alfo produces others from Antiquity , in which I find him not fo juft and 
 exadt, as I took him to be in the meaning of Vitruvius. 
 
 I will not here (land to particularife the Difference which there is betwixt 
 thefe two Architects, left I myfelf fall into the fame Inconvenience which I 
 but now reprehended in Philibert de Lome 5 and for that the Exadtnefs of my 
 Defigns have neither need of Illuftration or Difcourfe : However, this I may 
 add in favour of John Bulliant, that he is the foie Sedtator of Vitruvius , 
 who has contain’d himfelf within the regular Terms of his Mafter, as to the 
 Height of the Entablature , to which he allows three Modules and a half, that 
 precifely make the fourth part of the Column, which ©tight to have but feven 
 Diameters in Height, according to Vitruvius, Lib. 4. Cap. 1. which amounts to 
 fourteen Modules. 
 
 CHAP. 
 
or . 
 
38 A Parallel of the antient Arc bite dure 
 
 CHAP. XII. 
 
 A very antient Sepulchre to be feen near Terracina, on 
 the Side of the High-way leading towards Naples. 
 
 A T Terracina , upon the Confines of the Ecclejiajlick State , there is yet ex- 
 tant the Vejligia and Foot-fteps of this fmall Maufoleum, lufficiently en- 
 tire, joinmgto the Appian Way, where that diligent Obfervec of all thefe anti- 
 ent Monuments, Tirro Ligorio having difeover'd, and (as one may fay) dif- 
 interr d it (for ’twas almoft buried among!!: the Brambles of a w.ild and un- 
 cultivated Place, as himfelf reports, at the Foot of the Defign which he 
 has made of it) took the Tlan moll exaftly, and the Elevation of the Trofile ; 
 upon which I have taken my Directions to reduce it to that lcbnograpbicat 
 Form which I here prefent you. I was extremely glad to encounter an Ex- 
 ample fo exprefs and convincing againft the Abufe of the Moderns, who have 
 very inconliderably introduc d Bajes to the Columns of this Order , of which I 
 have formerly difcourfed fufficiently. 
 
 The lour Faces of the Edifice appear to have been all alike =, and on that 
 which refpedts the Wejl, there has been fome kind of Injcription upon the Ar- 
 chitrave-, but there now remains nothing legible. 
 
 The Majonry is of a huge fejuare Brick, and the Columns with their Entabla- 
 ture are made oiTiburtine Stone, the Pyramid being alfo of the fame Material. 
 
 The Diameter of the Columns is near upon two Tabus, the Entablature makes 
 a fifth of the entire Order • that is to fay, a fourth part of the Column, which 
 was but feven Diameters in Height. 
 
 This Sepulchre leems to be full as antient as the very Appian Way itfelf. 
 
with the Modern. 
 
 mumm 
 
 if 
 
 
 
 Tjj j 
 
 
 11 
 
 
 
 
 
4 ° A Parallel of the antient Architecture 
 
 CHAR XIII. 
 
 Of the I o n i c k Order. 
 
 T HE firft Productions of Arts have always been exceedingly rare, becaufe 
 it is fo difficult to invent; but it is not the fame of Imitation : For after 
 Men had once feen regular Structures, and thofe famous Temples of the Dorick 
 Order mention’d by Vitruvius and fome others, ArcbiteElure did not long re- 
 main in its Infancy ■ the Concurrence and Emulation of the neighbouring 
 People advanc’d its Growth, and made it foon arrive to its Perfection. The 
 lonians were the firft Competitors with the Dorians in its Divine Art, which 
 feem’d to be defcended from the Gods themfelves, to gratify Mankind with 
 more opportunity of honouring them : and though thefe had neither the Ad- 
 vantage nor the Glory to be Inventers of it, they endeavour’d yet to improve 
 and raife it even above the very Authors. Confidering therefore that the Fi- 
 gure of a Man’s Body, on which the Derick Order had been form’d, was of a 
 Shape too robuft and maffy to fit Holy Places, and become the Reprefenta- 
 tion of Celejlial Things, they would needs compofe an Order after their own 
 Mode, and chofe a Model of a more elegant Proportion, wherein they had 
 more regard to the Beauty than to the Solidity of the Work; which gave the 
 firft occafion of calling it the Feminine Order , as indeed degenerating towards 
 an effeminate Softnefs. And the truth is, the Order of the Caryatides quickly 
 fprung up after it, which was an extraordinary Affront to this poor Sex, and 
 a very fhameto Architecture itfelf, for having fo irrationally employ’d a fee- 
 ble and delicate Thing to perform an office where Strength and Solidity were 
 the only Neceffaries. Vitruvius and divers of the Moderns fince him men- 
 tion the Original of this Order, and tells us, that the Inhabitants of a cer- 
 tain City of P eloponne/us, named Carya, having made a League with the Ter- 
 ftans againft their own Nation the Greeks , after the Rout of the Terfians, were 
 afterwards befieg’d by the Conquerours, and fo barbaroufly Saccag’d, that 
 putting every Man to the Sword, confuming the City to Allies, and carrying 
 theWomen away Captive, theirVengeance being not yet extinCl, they refolved 
 to eternife their Relentment, by caufing publick Educes to be ereCted 
 wherein for a Mark of the Servitude of thefe Captives, they engraved their 
 Images inftead of Columns, that lo they might overwhelm them likewife under 
 the weight of the Punifhment which they had merited by the Guilt of their 
 Husbands, and leave an everlafting Memory thereof to future A°es. This is 
 the Example which Vitruvius has made ufe of to prove how neceffary it is that 
 an ArcbiteEl fhould be knowing in Hiftory, to the end he introduce nothino 
 impertinently in his Works, and without good Reafon. The GothickOrder 
 which is the Folly and very Ape of Architecture, in imitation of the Caryatides 
 has compos'd certain lame Figur’d Mutils, or Corbetts, inftead of Cartou^es lub- 
 ftained by I -know not what Chimeras and ridiculous Monkeys, to be met with 
 in every Corner of our old Churches ; but fome of the Moderns having (with 
 very goodReaton) found fault that fuch Extravagances fhould be feen in Ho- 
 ly Places, where Reverence and Modefty are fo elfential, and confidering how 
 much more decent it were to fit thofe Places with fome devout Reprefentati- 
 
 ons, 
 
with the Modern. 4 1 
 
 ons, without any refpedl at all to their Prolelfion, or for want rather of Under- 
 Handing the Propriety of the Orders of Architecture, have amufed themfelves 
 to place the Figures of Angels and other Saints inftead of the Caryatides 5 making 
 them like fo many Slaves , to carry huge Cornices , and even entire Altars upon 
 their Shoulders ; teftifying thereby, how prepolleroufly and without judg- 
 ment they confulted Vitruvius upon the occafion of the Original of the Carya- 
 tides : For they would otherwife have underflood that this Order cannot be em- 
 ploy’d, or indifferently enter into all Sorts of Buildings, and that it requires no 
 fmall Difcretion to be aptly and difcreetly plac’d : Above all, that it fhould 
 never be us’d in Churches , which are the Houfes of God, and Affyluths of Mercy, 
 where Servitude and Revenge ought never to appear. They had proceeded 
 much better to have only uied the plain Regular Order , which we are now go- 
 ing to defcribe according to an excellent Antique Example, taken from the Tem- 
 ple of Fortum Virilis, at prefent the Church of St. Mary the Egyptian in pome, 
 the Profile whereof has been fortunately met with amongft fome Papers of 
 mine of that great Antiquary Phyrro Ligorio, whofe Manujcripts and Defigns 
 are conferved as a very rare Treafure in the Bibliothique of the Duke of Savoy, 
 which has furnifhed me with aMeans to examine and verifie divers Meafures, 
 that at prefent a Man would hardly know where to take ; and to repair the Cor- 
 nice with its proper Ornaments, which are now fo impair'd thro’ Age, that it 
 is extremely difficult to difcern them. This is then the Model I fhall follow, 
 and which fhall here ferve for the Ptde of this Order 5 having with mature Con- 
 fideration, and for divers Reafons, preferr’d it before that which is in the 
 Theatre of Marcellas, from whence I have taken the Dorick 5 which neverthelefs 
 1 fhall propofe in what follows, remitting others who concur not with my 
 Opinion to their own Affedtion and Fancy. 
 
 But before I enter upon the Retail of its Proportions(for Recommendation 
 of this Order, and the Curiofity of the Reader) I will here recount to you the 
 Names of fome famous Temples built by the People of Ionia, whofe Antiquity 
 is at leaft oITwoTboufand Years. The moll Memorable, tho’ not moll Anti- 
 ent, is that Renowned Temple of Diana, eredted (as fome think) by the Ama- 
 zons in Ephefus. This was a Work of fo llupendious a Grandure, that there was 
 fpent above Two Hundred Years in finifhing it, all Afia contributing to this 
 ineftimable Expence. Vitruvius in his Third Book, Cap. 1 . fays it was of the Dip- 
 terick Figure 5 that is, inviron’d with a two-fold Range of Columns in Form of a 
 double Portico: It was in length 425 Foot upon 220. All thefe Columns were 
 of Marble 70 Foot in Height. The Architect of this proud Edifice, according 
 to the fame Vitruvius, was one named Cte/iphon, whom he mentions in his Tenth 
 Book, where he fpeaks of an excellent Machine that he invented to tranfport 
 the Columns of this Temple ; which for being of fo prodigious a Length, that no 
 ordinary Force was able to move and bring from their Quarries, had been all to 
 no purpofe, had not this extraordinary Genius difcover’d fome artificial Forces 
 to fupply the Defedt of others. This Strudlure is elleem’d for one of the World’s 
 / 'even Wonders. There were yet in the fame City of Ephefus many other Temples 
 of this Order; whereof two (one dedicated to Apollo, the other to Bacchus ) are 
 principally remarkable, as having been in fome fort comparable to this firjt, 
 had they received their ultimate Perfedtion ; but they were left off unfinifhed, 
 by reafon of the Wars againll the Perjians, who were in conclufion the utter 
 Ruin and Subverfion ot this People : For Cyrus having fubjugated Afia, plun- 
 
 M der’d 
 
42 A Parallel of the antient Arc bite time 
 
 der’d all this Country, faccag'd their Cities, demolish’d the Temple , and made 
 fo univerfal and barbarous a Devaftation, that there hardly remain’d any 
 thing of Inch an infinity of Stupendous Monuments, which this noble Nation 
 had eredted thro’out all Greece : Notwithstanding this, he Spar'd that of Dia- 
 na of Ephefus , whofe aftoniflring Beauty Serv'd as a 'Bulwark to the Fury and 
 Rage of this mighty Conquerer. In nthens, one of the moft flourishing Cities 
 of the World, there was. alio of the Same IontckO filer a very great Number of 
 Temples , amongft which, that of the Delphick Apollo, and his Son Atfculapius, were 
 highly celebrated. There is yet to be Seen in the Same Place certain Fefiigia. 
 reduc’d to the form of a Citadel , which they report to have been heretofore 
 the Temple of the Godde/s Juno Attica. I could enumerate divers others like 
 thefe, of which the Antiquaries we have cited report Marvels ; but in general 
 Terms, and without any Benefit to the Studious of the Art, who Stand in need 
 of Some more effential Remarks and Inftrudions, I will therefore manage the 
 reft of his Difcour/e in defcribing the Compofitim , and the Parts of this Order , 
 conformable to the Piofile which 1 have chofen for our Model, and which is 
 preciSely taken from the Antique. 
 
 CHAP. XIV. 
 
 The Ionick Profile taken from the Temple of Fortuna Virilis at 
 Rome, which is atprefent the Church of St. Mary the ^Egyptian. 
 
 A ccording to the Opinion of that threefold grand Antiquary, fainter and 
 ArchiteEl, Phyrro Ligorio, of whom I have heretofore Spoken, and from 
 whom I have borrowed this Profile, I may Safely propofe it for one of the moft 
 regular Examples of the whole Ionick Order , w'hich is now extant of antient 
 Architecture: Add to this, the Inftance which Palladio makes of it in his fourth 
 Book, and thirteenth Chapter, being the only one of this Order, which he has 
 inferred amongft the whole Collection of his Studies 5 fo as thefe two great 
 Majlers approving the Eledtion and Judgment I have made thereof, it is not 
 to be doubted for a Majler-piece of Supreme Perfedtion. I will therefore make 
 the general Defcription thereof, deducing the principal Members and Pro- 
 portions in Grofs, without amuling my Self with the Smaller Retail of the 
 Meafures of each particular Part, which the Deftgn ought to Supply. 
 
 The entire Order from the Superficies of the Area to the Cornice, contains 
 eleven Diameters of the whole Column, which amounts to twenty two Modules. 
 The Column with the Bafe and Chapter has eighteen Modules. 
 
 The Entablature (that is to Say, Architrave, Freeze and Cornice ) contain four 
 Modules, lacking four Minutes, which are not conliderable upon the Total ; 
 and this Height making two Ninths of the Column, produces a proportionate 
 Mediocrity betwixt that of the Dortck Order before defcrib’d ( whereof the 
 Entablature compofes one quarter) and that of the Corinthian (as we {ball fee 
 hereafter) to which the Modems do ordinarily attribute a fifth Part. 
 
 ^ The Valuta of the Capitel is after an oval Form, producing a very noble 
 Effedt, notwithstanding that none of our Architects have put it in Practice ■ 
 but the reafon in my Opinion, is, the difficulty of turning it with a Grace, 
 and foi that they are generally accuftom d to do all with I^ule and Lompaf, 
 which are here in a manner uleiefs. 
 
 CHAR 
 
44 A Parallel of the antient Architecture 
 
 CHAP. XV. 
 
 Another Ion i c k Profile taken from the Theatre of 
 Marcellns at Rome. 
 
 S OME may imagine that I ought to have eftablifhed my lonick Order 
 upon this Example , being as ’twere the Twin-Brother of the firft Dorick 
 with which I have commenced this Collection of Architecture, being both of them 
 extradted out of the fame Edifice, which is the Tljeatre of Marcellus. And 
 to fpeak Truth, it was my firft Defign : But fecond Cogitations being ordi- 
 narily the more Judicious, I have fince confidered, that the Amplenefs of 
 Entablature with its extraordinary Plainnefs, was a particular Effedt of the 
 Architect s Difcretion, who refolving to place this Order in an exceeding large 
 Building, and alfo upon an elevated Place, where the Sight could hardly en- 
 joy thofe Ornaments wherewithal it is ufually enriched, had regard only 
 to the Reformation of that, by a Rule of the OpticKs, which the Eye might pof- 
 fibly find fault within the Grace of its general Proportions from the Diftance 
 of its Elevation 5 fo that we may affirm of this Profile, that it does excel- 
 lently well in Work as tis placd in the Original-, but would not fucceed fo 
 well in another of more Mediocrity 3 and above all, in a Work of one only 
 Order, unlefs it were of a ColoJJean Magnitude 3 which is yet in truth neither 
 proper nor natural to its feminine Kind : However, I will here prefent you 
 with its Proportions as well as with the others. 
 
 The Height of the entire Order, is twenty two Modules, and two thirds. 
 The Column with her Bafe and Chapter hath but eighteen, and thofe pre- 
 cife enough 3 fo as the whole Entablature, confiding of four and two thirds, 
 it happens tp.be of an extraordinary Grandure, in as much as it exceeds a 
 Quarter of th 1 Order, which is the largeft Proportion can juftly be given even 
 to the Dorick itfelf. 
 
 The ProjeCture, or Jette, of the Cornice is alfo a little extravagant 5 but the 
 ArchiteB has, for all that, fhew d himfelf very Judicious, having refpedt in 
 that to the entire Mafs of the Building, and to the Eminence of the Site of 
 this fecond Order : For the fame Reafon he afforded but very little Diminu- 
 tion to the Column above. 
 
 The V data's of the Capital are Oval, as in the precedent Order ; and this 
 Shape of the Volutas was much practis'd by the Antients 3 but the Method 
 of turning them with the Compajs is fomewhat difficult, and has never as 
 yet been demonftrated. 
 
 CHAP. 
 
46 A Parallel of the antient Ar chit e dure 
 
 CHAP. XVI. 
 
 The Peifpe£hve Elevation of a Profile dvavpii fvoin 
 the Baths of Diocletian at Rome. 
 
 I Would needs make an Elevation in PerfpeElhe of this Profile , that fo I 
 might add Tome Variety to my Defigns, and for that likewife it is an 
 advantagious means to reprefent the Idea of an Order, and the effect which it 
 produces being put in Work, for their fakes who are not much practis'd in. 
 the Myftery. This Piece, flood in the Baths of Diocletian, at the An Ae or Coin 
 of the return of a Wall, as I have found out by a Dcjign of mine, very 
 antient, and of a good Hand, where the Proportions, as well of the Plan *s 
 of the Profile, are exactly noted, even to the leaft Particulars. I have reduced 
 and accommodated them to the Divifion of my ordinary Module y as you may 
 perceive them on the Profile which is under the PerfpeEtiye Entablature. 
 
 The Height of the whole Order, from the <Bafe to the Top of the Cornice 
 amounts to ten Diameters and a fourth ; which, according to our manner 
 of Meafuring, contains twenty Modules and a half; which being divided 
 twixt the Column and the Entablature , takes up feventeen, and three Modules and 
 a half remaining, make up the Height of the Entablature : Now though there 
 be a confiderable difference in the Altitude of our firft Ionic k Example, and 
 this here, it rather yet confifls in the total Quantity of the Order, than in the 
 Proportion of their Parts; for I find here, that the Entablature compar’d to its 
 Column, has alfo the fame relation of two ninths; which is to fay, that the 
 Height of the Column divided in nine Parts, that of the Entablature comprehends 
 two of them ; which is a Symmetry particularly atfeded to this Order as I 
 have elfewhere fhewed. 
 
 The V olutas of the Capital were turn’d with the Compajs, after the manner I 
 fhall hereafter defcribe in a Page by itfelf, and with which I {hall conclude 
 this Order. 
 
4- S' 
 
4-8 A Parallel of the antient Architecture 
 
 CHAP. XVII. 
 
 Palladio and Scamozzi upon the Ion i c k Order. 
 
 T HERE is fo great a refemblance ’twixt the Mouldings and the Men- 
 fures of thele two Profiles, that the difference is hardly confiderable, 
 unlels it be in the Figure of the Capitals, which in truth is very different in 
 ihape, though fufficiently refembling in Proportion. 
 
 The Valuta of Scamo^i in particular, and by confequence hath lefsof the 
 Antique, than that of Palladio. But Scamo^gi has excogitated this Expedient, 
 that his Capital might front on all Sides, not liking (it may be ) this variety 
 of AipeCt which we find in the ordinary Valuta's. 
 
 The Altitude of the Column, according to Palladio, contains nine Diameters 
 which make after our Meafure eighteen Modules- of which he gives to the 
 Entablature but one fifth Part, being the fame Proportion which hereafter he 
 afiigns to his Corinthian: He had yet, peradventure, done better to have con- 
 tnv d lor this here, a more proportionable Medium 'twixt the Vonck and the 
 Corinthian, proceeding by a certain Gradation from the Solid kind to the more 
 Delicate Moreover, I could have wifli’d, that the Cornice had rather been 
 Jooth d than Mod, hon'd, for the reafon already render’d in the general Chapter 
 o i the Ionic k Order-, which I mention only to Adverdfe (by the way as ’twere) 
 what does in my Judgment feem worthy to be obferv’d in this (profile, which 
 m the reft of the parts is exceedingly rare, and in this very particular not 
 abfolutely to be condemn’d ; feeing things which may be improv’d 
 are not therefore to be efteem’d for ill. 
 
 As for Scamoggi, befides that the fame Obfervations which I have made 
 on the Profile of Palladius are repugnant to him, there is this yet worfe, that 
 the Capital being a great deal more maffy, inftead of giving a greater Height to 
 his Cm, and compofing it of more ample Members, he has contranly 
 made it lefs, and cut oft three or four fmall %/efr, which renders it very- 
 dry and trifling. 1 
 
 / 7 , 
 
 ■5 b 
 
 CHAP 
 
3«T-- 
 
 with the Modern , 49 
 
50 A P araflel of the cmtient Architecture 
 
 CHAP. XVIII. 
 
 Serlio and Vignola, upon the Ion i c k Order. 
 
 T HE Inequality of thefe two 'Profiles is fo wide, that ’tis almoft i mpo f. 
 
 , 1 , to approve of them both 5 and yet neverthelefs there is in a man- 
 net as little realon to condemn either the one or the other, each of them 
 
 Jnd Examples 3P CS re S ular ’ CO S ether wkh Authorities 
 
 • '! hich ‘ S Serl j°’ havin § made a handfome ColIeElion of all the moll 
 
 confiderable Antiquities of Italy from whence he fhould have taken a noble 
 Idea of the Orders, is return d back to th c School oiFitruyius, whither the den' 
 deinels of his Genius has recall d him. 
 
 On the contrary, Vignola is fallen with Excefs into the other manner that 
 we may name the GW, which though indeed more noble and advantage! 
 
 us, has yet for all that its juft Limits, which being once exceeded, become 
 vicious and extravagant. ’ occome 
 
 Now the great Difference of thefe two Mafters proceeds from Serlio s mak- 
 ing his Column but of feven Diameters and a half, allowing only a fifth part 
 
 That which 1 chiefly reprove in this laft, is, that he makes ufe of the £ a / e 
 which Vitruvius compos d for his lonkk, a thing not to be excus'd but in 
 thofe who follow him likewifc in all the reft: For others who have endea- 
 routed to imitate the Antique , have no Reafon to employ it, there being no 
 
 If ft And i m tlUth air °’ 1C nCVer has had che Approbation ofthe 
 ab left Modern Mafters, who, upon Examination, have greatly wondered that 
 
 ftould impofe fp .all a T.» upon fo fmall Ltjs, chacg ng ,h“ 
 lliong upon che weaker ; which being totally repugnant to the Ordf, of 
 Nature, is very offenlive to the Eyes of the Curious. 
 
5 2 A Parallel of the antient Architecture 
 
 CHAP. XIX. 
 
 D. Barbaro and P. Cataneo upon the Ionick Order. 
 
 Y ° ha y e here tbe y er y St yle that SeWio has obfcrved in the pre- 
 cedent Chapter: And though there be much refemblance in the Tro- 
 pes or all the three Maflers, neverthelels we mull reckon that as to the Mean- 
 ing oi VuruVtus (to whole DoBnne they have univerfally endeavour'd to con- 
 form themfelves) Darnel Barbara is the Captain and chief Conductor, as may 
 be eal.ly difcern d from the Pattern of the Contours only, belonging to the 
 Voluta of the Cap, tel, which is a moll elfential Piece in this Order, and whofe 
 Draught was never fo much as known to our modern Architects before to 
 w hom we are obliged for the recovery of this excellent Mailer-piece of Ament 
 Architecture, though he has had the Goodnefs to divide the Glory of it with 
 his Contemporary and intimate Friend Tailed, o, by whole Conference and 
 
 Defions ackn ° W ed § es to have been a,rifleJ 111 the Delineation of all his 
 
 1 relerve it for the Conclufion of the Ionick Order, to make a Page apart of 
 this manner ot Voluta, where I fhall fhew a way to trace it regularly ac- 
 cording to our^tWs intention. And fince it is more compendious to paint 
 than defenbe it, 1 fhall better give you the Demonllration by (Rule and' Com- 
 fajd, than by employing a tedious D.fcourfe about it 
 ... nd nothing obfervable in thefe two Profiles, befides a certain Over-fim- 
 plicity and Plainnefs : For the reft, the Difference of the Entablature, as well 
 in rektion to the Fleight, as Shape is fo fmall, that it is nothing at allcon- 
 fiderable: What is more worthy of remark ,n the Defign of Daniel Barbara 
 ts this 5 that he gives to every Face of the Architrave, a certain Slope, or kind 
 ot downward ancl inclining Stroke, as tisexprelly ordained in Vitruvius's Third 
 Book, towards the Period of the laft Chapter. But I find that the Rule of Bet 
 jputive, upon which he grounds it, is more refin’d and fubtile for its D.fcourfe 
 than any way fol.d in the Execution 5 and befides, I never faw any Exam- 
 ple of ic in any Work whatfoyer. y 
 
54 A Parallel of tlx antient Architecture 
 
 L. B. Alberti, and Viola, upon the Ionick Order. 
 
 HE Conformity of chefe two Vefigns to thofe of Andrea 'Palladio and 
 
 Scamozjri, is fo confpicuous, that one may eafily judge of their mutual 
 Affiftance of each other : ViZj That Viola made bold with that of Palladio , as 
 he did before in the Vorick: And that Scamo^i has imitated L. 3. Alberti , 
 who is his Senior above an hundred Years. For the reft, it were a difficult 
 thing to decide which of thefe two Profiles is to be preferr’d, in regard the 
 lonickOrder has been fo diverfly treated ot by the Antient s , as may appear in the 
 Examples I have produc’d, of which there are fome enrich’d with Mouldings 
 and Ornaments, others more naked and Ample. That which I fihou d have 
 wifh’d for here, as conducing to a greater and more exadt Regularity, fhould 
 have been to have cut the Ventelli upon the flat Baudot L. B. Alberti's Defign, 
 fincehehas omitted Modilions there, which his Companion Viola, for obferving, 
 may be the better excus’d of: Though for my part, I fhould have rather- 
 employed Ventelli there, as an Ornament more particularly affedled to the 
 Ionick Order, and have referved the Modilions for the Order which follows next. 
 
 The Reader may remember, or elfe, looking back on fome Pages, refledfc 
 upon what I have there obferved on the Profiles of Palladio and Scamo^i • 
 becaufe it fo much agrees with that of Viola here 5 to which I may yet fu- 
 pera.dd, as a new Charge, that he has done ill to imploy another 3d/e diffe- 
 rent from that of the Anttick, fince he faw how his Mafter Palladio had pre- 
 ferr’d it before that of Vitruvius’ s Compofition : He had alfo done much bet- 
 ter to have follow’d precifely the Proportions of the Cornice in the fame Delian 
 of Palladio 5 for in attempting to dilguife his imitation, by adding of fome 
 Members, and changing of others, he has, in fine, render’d it but the more 
 mean and trifling. 
 
 CHAP. XX. 
 
5 6 A Parallel of the autietit Architecture 
 
 CHAP. XXI. 
 
 Bullianr and de Lorme, upon the Ion i c k Order. 
 
 T H I S fir® tr,Jk is exactly after as wdl as that 0 f Srrli 
 
 Cataneo and Daniel Barbara, which you have already Teen : But there 
 is in the other nothing at all worthy of our Imitation, as being neither 
 conformable to any of the Antiques, nor to Vitruvius, nor in the leaft regu- 
 larm its Parts : For firll, the Cornice is cantu/e and blunt, the principal 
 Members, the Cymatmm and Coping fmall and poor 5 the Freeze is larger 
 than the Conuce, and the Baje of the Column changed both m Shape and “he 
 Proportion of its Parts, as appears by the exceffive Dimenfions of the 
 Tore, compared with the two Scotia's underneath 5 befides that extravagant 
 Repetition of the two Aflragals upon the Tlmtb. The Valuta of the Cabitel 
 ls ^°, too Z vo[s ’. and fo ' s the Collar of the War together with its Lift: In 
 a n W i° rd ’r the cnn \ e 1S de ^ervedly ranged in this Place. But after 
 
 all this, I cannot but admire, that a Perfon of this Author's Condition, who 
 was fo < .xti-emdy induftnous ; (as may be eafily deduced from what h.mfelf 
 has published in his Book of Obfervations made at Byrne upon the Antiqui- 
 ties there ) who had fo great a natural Propenfity to Architecture, and fo 
 many Opportunities of ftudying at his Eafe, and of inftrufting himfelf . 
 who proceeded by fo diredfc a Method of the Art, and in fine, was Mailer 
 offo many handfome Occafions of putting his Studies into Practice • that 
 I fay a Man form filed with fomanyAd vantages, Ihould neverthelefs immerge 
 fo ordinary an Am ft. But this fliews us, that we are many times deceived 
 
 Talent ^ ^ C ° ThingS for whlch we have no manner of 
 
5 8 A Parallel of the antient Architecture 
 
 CHAP. XXIII. 
 
 Of the Persian Order. 
 
 T HOUGH thfe Name of this Order be lefs known than that of the 
 Caryatides, under which it feems they would generally exprefs all thofe 
 Orders where Figures are introduc d to fupply the Places oi Columns ; yet 
 ought we not to follow the vulgar Abule, feeing Vitruvius has put a Diffe- 
 rence betwixt ’em in the fame Chapter, where he fpeaks of the Caryatides : 
 And in regard this here fhou’d be iomewhat more Solid, in reference to the 
 Sex, they ordinarily give him a Dorick. Entablature, in Confiderarion whereof 
 I had once intended to have rang'd it at the End of the Dorick Order, or 
 plac’d him the firft here : but confidering, fince that Vitruvius does not 
 treat of it till after the Caryatides, 1 thought it became me not to innovate 
 any thing in a matter offo lmall Importance. I fhall therefore fatisfie my 
 felf in advertifing, that the Romans very rarely made ufe of the Caryatides 5 
 and truly we do not meet with fo much as any Vcjliga of them, though 
 i J>Hny in his Thirty-fifth Hook, and fifth Chapter, has mention’d thofe of the 
 (Rotunda, to the amufing of fo many of our Modern Antiquaries, who, 
 through all that Temple ^nd which to this Day remains fo entire) can by 
 no Diligence find any commodious Place nor Appearance where they fhould 
 have been well defign’d : On the contrary, for thefe Captives, after the Perfian, 
 there are extant fundry Examples 5 fome whereof are yet to be feen in the 
 very Places where they were fet in Work, as particularly in the Arch of Con - 
 flantine, and fome others, which have been tranfported into Gardens and pri- 
 vate Talaces, which were taken no Body knows from whence. What is here 
 defign’d is from an excellent Original, extant yet at Rome in the Palace of 
 Farnegi. 
 
with the Modern , 
 
 59 
 
6o A Parallel of the ant lent Architecture 
 
 CHAR XXII. 
 
 The Order of the Caryatides- 
 
 I Intend not here to repeat the Htjlory from whence this Order has deriv’d 
 its Original, having already fo amply deduced it in the general Chapter 
 of the IomckOrjer, whereof this is here but a Species i all the Difference con- 
 fining in the foie Alteration of the Column, metamorphos’d into the Figure 
 of a Woman, which for appearing fometimes incommodious to ArdnteCls 
 from the extreme over-largenefs of the Veils and Garments cumbring and 
 difordering the Paffage and Symmetry of the Intercolumniation, caufed them to 
 reduce it only to the carving of Heads in place of the Capitels where they 
 adjufted and compofed the DreJJing and Tyre to the Refemblance of Valutas 
 without any Alteration in the reft of the Column, unlefs where they cut 
 Channels or Flutings on it, to reprefent after a Sort the Flattings and Folds of 
 thefe Matrons Garments 5 fince this Ornament is found to change neither the 
 Diameter nor Height of the Shaft, which are the 'Bajes, and as it were, Foun- 
 dations of ArchiteElonical Proportions. 
 
 That which I afferted before concerning the Caryatides in the general Chap- 
 ter of the Jonick Order, fufficiently difeovers how few the Occafions are 
 where they can be employed judicioufty 5 notwithftanding fo many of our 
 modern Architects take fo great a Liberty of introducing them indifferently 
 into all forts of Works : For not only the Palaces of great Princes without: 
 and within, but even the Houfes of private Perfons, Churches and Sepulchres 
 themfelves are filled with them, without any regard either to the P(eafon of 
 the Htjlory, or to juft Decorum: Nay oftentimes, out of an lnfupportable 
 Extravagance, in Lieu of thefe poor and referable Captives, they fee the ve- 
 nerable Figures of the Verms, Mufes , Graces, and Angels themfelves ; whereas 
 they fhould in Truth rather chain and confine the Vices there. 
 
 But it isfufficient to have advertifed you of this Abufe, without any further 
 declaiming again!! it. 
 

 
 •irxH 
 
 2N HEP 
 
 iTATIOA 
 
 MEIN 
 
 with the Modern. 
 
6 2 A Parallel of the antient Ar chit e dure 
 
 CHAP. XXIV. 
 
 Of the Contour or Turning of the Ion ig k Voluta. 
 
 T HE Body of this Cartel, without its Voluta or Scroul, bears a great 
 Conformity to that of the Dorick , as may be eafily difcern'd by con- 
 ferring their 'Profiles the one with the other : For the Diverfity of their Form, 
 which at firft blufh appears fo large to the Eyes of Inch as have never exa- 
 mined the Particulars of the Members that compofe it, confids altogether 
 in the Application of the Voluta upon the Abacus , which gives a mod advan- 
 tageous Variety to the lonickj inafmuch as the Draught of its Contour does 
 confift of the mod indudrious Operation of the Compajf which is pradtifed 
 in the whole Art of Architecture ; fo as whoever of our modem Mafters he were 
 that retriev’d it (for ’twas a long time loft, and totally unknown to thofe of 
 the Profe/fion ) he has render'd doubtlefs a very confiderable Piece of Service 
 to the Art. 
 
 That famous Painter Salviati, Contemporary with the $(. Daniel Barbara, 
 and by conference alfo with Palladio, printed a fmall loofe Sheet, which he 
 dedicated to D. Barbara as to the mod famous Arbiter of Architecture in his 
 Time, who alfo underdood it, and had communicated it with Palladio, who 
 accidentally, and as it were by chance, had been thefird Invedigator of the 
 Practice of it, whiles he met amongd fome ancient fragments aCa/>«e(ofthis 
 Order, on whofe lmperfeft and rough-hewn Voluta he obferv’d the thirteen 
 Centers of this Spiral Line, which gives fo noble and ingenious a Turn. 
 
 I will not here engage myfelf on a tedious Difcourfe about its Defcription, 
 it being fo much a fhorterand more demondrative way to advance to the 
 direcSt Method of its Delineation : Thus then in general you are to proceed. 
 
 The Height of the Chapter, and Partition of each Member being defign’d, 
 one mud regulate the Extent and Proportion of the Abacus conformable to 
 the Meafure decipher’d upon the Profile at the Point of 32, and at the Point 
 2 8 t a little beneath. Where the Cymatium encounters the Lift of the Scroul, 
 make a little perpendicular Line, fo as it may pafs through the very Center of 
 the Eye of this Voluta marked A, till falling upon a Pjght Angle by the Co-inci- 
 dence of another Line proceeding from the middle of Collerine or Chaplet, the 
 Point of InterfeClion give you the jud Center of the Eye: Then about this Cen- 
 ter defcribing a Circle of the widenefs of the Collerine (which Circle, as was faid, 
 points the precife Dimenfions of the Eye, and its true place of Podtion) you 
 ihall form therein a fmall Square , through whofe Angles, having drawn two 
 Diagonals (which cut into four Lriangles) divide each moiety ot the Diagonals 
 into three equal Parts, and each of thefe Points fhall lerve for confequetive 
 Centers one after another, by which to form thofe feveral Quarters of Circles 
 which compofe the Spiral Line of the Voluta. They are didinguifhed by 
 Numbers on the Dejign, according to the Order by which you are to proceed. 
 
 4 
 
 CHAP. 
 
64 A Parallel of the antient Arc hit eel are 
 
 CHAP. XXV. 
 
 A Portico of the Temple of Fortuna Virilism Rome, 
 which is now the Church of St. Mary the Egyp- 
 tian 
 
 
 H Aving throughly examined every Part of the lonick Order, and ob- 
 lerved in particular the Shape and Proportion of all its Members: It 
 leemsnow in a manner neceffary, the better to conceive aperfedt Idea of them, 
 to place them together in one intire Body, that lo we may contemplate the 
 Symmetry and Conformity which they hold mutually to each other : I have 
 to this Effedt, made choice of a Frontif piece the moll noble and magnificent 
 Compofition an Edifice can poifibly be adorn’d with : And to the end we 
 may contain ourfelves within the juft Limits which I have eftablifihed, I fhall 
 here make ufe of the fame Antiquity from whence I extracted my firft Model, 
 whereon I do principally found the Regularity of the Dorick. Order. 
 
 Thofe who fhall have the Curiofity to examine the Plan of this 7 emple 
 with its Mealures and profile of the Door, which is exceeding noble, may 
 find in the Fourth Book of Palladio, Chap. XIII. and at the fame time fee one 
 of the moft curious Pieces of Architecture of that whole Book, which is the 
 Plan of a Capitel he calls Angular, that being plac’d upon the Column of an Angle, 
 renders a Face of two Sides, by which it preferves the fame Alpedt with the 
 reft of the Capitds, which are on the Wings and Front of the Strudlure. 
 
66 A Parallel of the antient Architecture 
 
 CHAR XXVI. 
 
 Of the Corinthian Order. 
 
 T HEhigheft Degree of Perfection to which Architecture did ever afpire, 
 was ereCted for it at Corinth , that moft famous and formerly moft 
 opulent and flourifhing City of Greece , although, at prefent, there hardly re- 
 mains any Footlfeps of the Grandure which render’d it even formidable to 
 the People of B(pme itfelf, but which was alfo the Caufe of her Ruin : For this 
 Nation impatient of Competitors, on pretence that the Corinthians had done 
 fome difpleafure to the Ambajfadors which ilie had fent, took occafion of de- 
 nouncing War againlt her; lo as the Conlul Lucius Mummius going thither 
 with a great Army, reduc’d their City to Allies, and in one Day deftroyed 
 the Work of more than nine Ages from the Period of its firft Foundation. 
 
 It was from thence that our Corinthian Order afilim’d its Original ; and al- 
 though the Antiquity of it be not precifely known, nor under whofe Reign 
 that Callimachus lived, to whom Vitruvius attributes the Glory o r thi cellent 
 Production ; it is yet eafie to judge by the noblenefs of its Ornament, Lhat 
 it was invented during the Magnificence and Splendor of Corinth , and not 
 long after the Ionick Order to which it hath much refemblance, the Capitel only 
 excepted ; for there’s no mention that Callimachus added any thing of his 
 own befides that Ifately Member. 
 
 Vitruvius in the firft Chapter of his Fourth 'Book, reports at large upon what 
 occafion this ingenious ArchiteEt form’d the Idea of this great Mafter-piece, 
 which hath born away the Palm of all Architecture, and render’d the Name 
 of Corinth immortal : And though the Hijiory which he there mentions, may 
 appear fomewhat fabulous in the Opinion of Villalpandus, who treats alfo of 
 this Cap'uel in his fecond Tome, Lib. V- Chap. XXIII. neverthelefs it were very 
 unjuft that the particular conceit of a Modern Writer fliould prevail above the 
 Authority of lo grave an Author. Let us lee then what Vitruvius fays of 
 it. 
 
 A Virgin of Corinth being now grown up, fell lick and died : The Day 
 after her Funeral, her Ntirfe having put into a Basket certain fmall Veffels 
 and Trifles with which fhe was wont to divertife her felf whilft flie lived, 
 went out and fet them upon her Tomb ; and leaft the Air and Weather fhould 
 do them any injury, fhe cover’d them with a Tyle : Now the Basket being 
 accidentally plac’d upon the Root of an Acanthus, or great 'Dock, the Herb 
 beginning to Iprout at the Spring of the Year, and put forth Leaves, the 
 Stalks thereof creeping up along the Sides of the 'Basket , and meeting with the 
 Edge of the Tyle (which jetted out beyond the Margine ol the Basket) 
 were found (being a little more ponderous at the Extremes) to bend theirTops 
 downwards, and form a pretty kind of natural Voluta. At this very time it 
 was that the Sculptor Callimachus (who for the Delicatenels of his Work upon 
 4 Marble 
 
with the Modern . 6 7 
 
 Marble, and Genteelnefs of his Invention, was by the Athenians furnatned Ca- 
 tatechnos, that is to fay, Induflrious ) palling near this Monument, began to 
 call an Eye upon this Basket, and to confider the pretty Tendernefs of that 
 ornamental Foliage which grew about it, the Manner and Form whereof fo 
 much pleafed him for the Novelty, that he Shortly after made Columns at Co- 
 rinth refembling this Model, and ordain’d its Symmetries, didributing after- 
 wards in his Works Proportions agreeable to each of its other Members in 
 Conformity to this Corinthian Mode. 
 
 You fee what Vitruvius, reports: But Villalpandus , who will needs give this 
 Capitel a more illuftrious and antient Original, pretends that the Corinthians 
 took it fir lb from the Temple of Solomon, ot which God himfelf had been the 
 Architect ; and the better to elude what Vitruvius but now taught us, would 
 make us believe, that the Capitds of the Acanthus were rarely ufed by the An- 
 ticnts, who were wont ordinarily to carve them with Olive-leaVes ■ and proves 
 in that which follows by Texts out ot the Bible, and fome other Hijtoriam 
 who have given us the Defcription of this Divine Architecture, that the true 
 Originals of the Temple were of Palm branches bearing Fruit, to which the 
 Leaves of the Olive have a nearer Correfpondenee. The 1 'Itfign which we 
 {full hereafter defenbe, with the whole Entablature of the Older, drawn pre- 
 cifely according to the Meafures which Villalpandus has collected, and which 
 I exprefly follow’d, without regarding the Profile which he has carded to be 
 Engraven, will better difeover that I know not how to decry the Beauty of 
 this Compofition : In the meantime, to be condant and preferve myfelf 
 within the Terms of the Corinthian Architecture, which has been pradtifed by 
 thofe great Majlers of Antiquity as well Greeks as Romans, and of whom there 
 yet remain fuch wonderful Foot-deps, and even entire Temples, which may 
 lerve as fo many exprefs and demondrable Lectures of the Proportions of 
 this Order ; I have made choice of one of the moll famous amongd them, to 
 which I totally conform myfelf, without any relpedt to the Opinion of the 
 modern Authors ; feeing they ought to have purfud the fame Paths, and re- 
 gulated themfelves with me upon thefe Original Examples. 
 
 The Rotunda (heretofore called the Pantheon ) having ever obtained the 
 univerfal Approbation of knowing Perfons, as being the moll regular Corin- 
 thian Work, and indeed the moll famous among all the Remainders of An- 
 tient pome, appears to me to be the very bell Model which I could poffibly 
 make choice of, though there are indeed others to be found which are much 
 richer in Ornaments, and of a Beauty more elegant : But as our Gufts do 
 generally differ, I have preferrd mine own, which rather affeCts things 
 Solid and a little Plain, for that indeed to me they appear fulled of Majefty. 
 Neverthelefs, forafmuch as ’tis necellary that an Architect accomode him- 
 felf to the Perfons Humour which employs him ; and for that one meets with 
 Occafions where Magnificence is proper, as in Triumphal Arches, fling’s 
 Palaces, Temples, and publick ‘Baths , which were much in ufe among the Au- 
 tients, and in divers the like ample Structures, where Splendour and Profu- 
 fion are chiefly confider d. I will produce fome Examples of the mod 
 renown'd of Antiquity, the fird whereof fhall be that great Relique of the 
 Frontijpkce of the Torre di Nerone, fo call’d, which has been dem^lifihed 
 
 within, 
 
ft 
 
 liF 
 
 68 A Parallel of the antient Architecture 
 
 within thefe laft thirty Years, to the great reproach of this Age, by the Ava- 
 rice of fome particular Perfons. 
 
 This was one of the rareff Pieces of Antiquity , as well for the Beauty and 
 Richnefs of its Ornaments, as for the Cornpofures of the Members of the 
 Order, which even in Taper itfelf appears bold and terrible 5 the judicious Ar- 
 chiteB of this Work very well undemanding how to introduce a Grandwe of 
 Manner into his Defign, which fihould equal that Mafs of Stones he heap’d up 
 and contriv’d into the Strufture of this Gigantick. Edifice, udiereof the Columns 
 contained fix Foot Diameter. 
 
 It is not precifely known was it who that caufed it to be built, nor yet to 
 what Purpofe it ferved : Some imagine it was a Temple eredted by the Empe- 
 ror Aurelianus, and Dedicated to the Sun. Others, that ’twas only a particular 
 Talace. The Vulgar have a Tradition, that Nero rais’d it of that Height, to be- 
 hold the Conflagration of Tome ; which is very improbable, as being too great 
 a Work to have been accomplifihed mfofhort a time: But whatever it were 
 certain it is, that it has been the moil magnificent and goodlieffc Order of 
 Corinthian Work which all Tome could boaft of, as one may well perceive by 
 the Defign which I fhall prefent you of it after that of the Trofile of the Tor- 
 tico belonging to the T otu »da, being the Model on w hich I regulate the Tropor- 
 tions of the Corinthian. 
 
 Theenfuing Defign is a fimpleReprefentation of the Hiftory of Callimachus, 
 which I hut now reported, and is placed here only for Ornament fake. 
 

70 A Parallel of the antient Ay chit e chive 
 
 G H A P. XXVII. 
 
 .^Corinthian Profile taken from the Portico of 
 the Rotunda ^iiRome. 
 
 T he whole Height of the Order from the Bafe to the Cornice, amounts to 
 three and twenty Modules and two thirds; whereof the Column with 
 its baje and Chapter, contains nineteen, and the Entablature four and two thirds : 
 lo as the whole Entablature (which is the Architrave, Freeze and Cornice ) makes 
 a quarter of the Column. And albeit it may feem reafonable to follow the 
 Opimmi or lome Authors , who allow it but a fifth 5 yet we find, that the 
 molt famous of the Antique, for Example, this Frontifpiece of Nero, and the 
 three Pillars of Campo Vaccino at Ppme, which in the judgment of Architetts pafs 
 for the nobleft Reliques of Antiquity, challenge an entire fourth part for their 
 Entablature. Upon this Account, I conceive it fafeft to preferve our felves 
 within the Limits of our Example from the Rotunda, left endeavouring to 
 render this Order more fpruce and finical, it become in fine but the more 
 contemptible. 
 
 Behold here its Compofition in general, and the Proportions of the prin- 
 cipal Members, of which the Module is ever the Semediameter of the Column 
 divided into thirty Minutes. * 
 
 The entire Height of the Order contains twenty three Modules and two 
 
 thirds, which amount in Minutes to 
 
 The Bafe has one Module precifely 
 
 The Shaft of the Column fifteen Modules and two thirds, wanting twr» 
 Minutes ’ ° T? 
 
 The Chapter contains two Modules and a third only .. _ 
 
 The Entablature, viz. Architrave, Freeze and Cornice, four Modules and two third S ° 
 two Minutes over . * 
 
 Concerning the fmall Divifions of each part, it would be too tedious Ind 
 indeed fuperfluous to fpecify them here, fince the Defign demonftrates them 
 more intelligibly. 
 
 I have towards the End of the Second Chapter of this Book, taught how 
 one fhould make the Calculation of an Order for the examinina the Propor- 
 tion which the Entablature bears with its Column, and thereby to fee if it hold 
 regular: It would be no lofs of time to the Reader, did he make proof of 
 his Skill upon every Profile. But I advife him before hand, that there are 
 three different Proportions, all of them beautiful, and which may very well 
 agree with this Corinthian Order ; That is to fay, the Fourth, as in this and the 
 following Profile : The two Ninths, which are the mean Proportions of the 
 fourth to the fifth, as in the third Profile taken from the Baths of Diocletian: 
 And laftly, the fifth, as in the Profiles of Palladio and Scamo%jft y not io fre- 
 quently encounter'd among the Antients. 
 
 CHAP. 
 
72 A Parallel of the antient Architecture 
 
 CHAP. XXVIII. 
 
 The Elevation in Perfpective of an excellent Corinthian Profile, 
 which was in the Frontifpiece of theTonc diNerone ittRome! 
 
 A Lthough this Piece of ArchiteBure were one of the mod Magnificent of 
 all Antiquity , as well for the Excellency and Richnefs o? its Orna- 
 ments, as for the Stupendoufnefs of the Work; yet could I never certainly 
 learn what kind of Structure this fihould have been, nor indeed under whofe 
 Reign it was built : Some reporting it to have been a Temple dedicated to the 
 Sun by the Emperor Aurelian ; Others, that it was only a private Palace built 
 by Nero, in which he plac’d that extravagant Colojs of Brafs , which fixt a 
 non ultra, to the Folly of the Sculptors of that Age , who out of a facrilegious 
 Profanation of their Art, would Deify the Emperors , by creeling Statues to 
 them of a prodigious Grandure, as they did heretofore to the Gods to whom 
 this Honour was of right to be referv’d. Andrea Palladio conceiv’d it to have 
 been a Temple of Jupiter ; fome others conjectur'd that it might be a Palace 
 of the Cornelii ; thus every one had his particular Conceit : But fince the truth 
 of this Queftion is very indifferent to our SubjeB in hand, which confides 
 only what relates to ArchiteBure , I fha.ll refign the Debate thereof to our An- 
 tiquaries. 
 
 The Columns were ten Diameters in Height, every Diameter of fix Foot 
 which being of fo exceflive a bignefs, as tranfeended whatfoever had been 
 built at Pome either before or fince, it inclines me to believe it might indeed 
 be fome Work of Nero’s. The Compofition of the Profile in general is of 
 an excellent Idea, and each Member lufficiently regular : For the reft I 
 thought fit to prefent it in PerJpeBtVe, to (hew the ftupendous effedt of this 
 manner of Defign, which even upon Paper itfelf, and without at all exceed- 
 ing the Limits and Proportions which the Art has preferib’d, prefents to the 
 Eye a kind of aftonilfiing Gtandure, proceeding partly from the extraordi- 
 nary Projedture of the Entablature, whofe Corona carries its Jette a great 
 way beyond the Modilions, and which indeed makes the Columns to appear a 
 little weak and furcharg’d : But the ArchiteBs had provided judicioufiy for it, 
 by making ufe of that manner of Columnation which the Greeks have termed 
 Pycnofiylos, where the Pillars are fet very near to one another. 
 
 Now for thofe who have only made their Studies of ArchiteBure but from 
 fimple Profiles, may wonder to fee here fome of the Members extraordina- 
 rily diftant from their accuftom’d Proportion ; 1 advertife them that it pro- 
 ceeds from an effedt of the Opticks, which never prefents things precisely 
 to the Eye, but diverfifies them according to the various Afpedls and Diftan- 
 ces from whence they are beheld 5 and the parts which thence receive a 
 more fenlible alteration, are fuch of them whofe Superficies is moft Flexuous 
 and Circulary, as the Gula, or Ogee, which compofes the Crown of the Cornice 
 which being feen from beneath, and more advanc’d upon the Plan, receives 
 a confiderable accefs of Height. The fame reafon alio makes the’ Column to 
 diminifh, as being fet further within the Plan than any of the reft of the 
 Members. 
 
74 A Parallel of the antlent Architecture 
 
 CHAP. XXXIX. 
 
 Another Gori nthia N/Profile exceedingly enrich’d 
 and full of Ornament, taken from Diocletian ’ s Baths 
 (J/Rom e. 
 
 A FTER this Corinthian Example, we are no more to expert any thing 
 rich in Architecture, but it belongs to the Judicious only to put it in 
 pradtice; for the abundance of Ornaments is not always to be efleemed, nor of 
 advantage to a Building : On the contrary, unlefs the Subjell oblige one to 
 it by Confederations very powerful, one fhould never be too profufc, fince 
 they but difturb the Proportions, and produce a Confulion among the Tarts, 
 which offends the Eyes of thofe who are truly knowing, and carries a certain 
 antipathy to the very name of Order. 
 
 It is not therefore to be employed but in great and publick Works, Houfes 
 of Trinces, and fuch Talaces that are built for magnificence only ; as were 
 heretofore at T° me the Baths of 'Diocletian , of / intomus , and Trajan , whereof there 
 are yet to be feen fuch goodly remainders, and from whence this Trofile had 
 been taken notice of and defign’d by that famous Architect, Tyrrho Ligorio, in 
 the Year 1 574. fince which time thele great Theatres of Architecture have been 
 difmantled of fundry of their Columns with their Ornaments, and of a num- 
 ber of other incomparable pieces, whofe Defigns I have from the hand of fe- 
 veral Majlers , who had there made very curious and profitable Obfervations, 
 from many noble things, which are now no more to be found. 
 
 The Diameter of the Columns of this Trofile, amounted to four Talms: The 
 Chapter had this in particular, that its Stalks and Flexures of the Leaves, were 
 made in the Form of Tams Horns, but the reft after the ordinary Proportions 
 and Foliage. In fum, the whole Ornament in general was fo artificially ela- 
 borated, and finifh’d with that affedtion and politenefs, that Tyrrho Ligorio 
 having accomplifh’d the Defign, writ this underneath it, That by the Deli- 
 catenefs of the Work, one would believe the Sculptors had wrought with 
 their Tools perfum’d. 
 
 The Proportions' of the Order. 
 
 The Column, together with its Bafe and Chapter, has twenty Modules, which 
 
 reduc’d to Minutes (thirty whereof make a Module) amounts to 600 
 
 The Architrave hath a Module and a Third 40 
 
 The Freeze, in like manner, one Module and a Third 40 
 
 The Cornice two Modules within eight Minutes 52 
 
 The whole Entablature amounts to two ninths of the Height of the Column, 
 which is a noble Proportion, and fhews handfomely in Work. 
 
 CHAP. 
 

 H^pnap 1 1 mn apnp - 7™ «p 
 
 
 iSCSI 
 
 s?/Vy& Modern 
 
» ip 
 
 y4 Parallel of the antient Architecture 
 
 CHAP, XXX. 
 
 A Co r i nthian Profile of the Temple of Solo- 
 mon, out of Villalpandus. 
 
 B Ehold here a kind of particular Order, but of an excellent Compaction , 
 which though I dare not affirm to have been precifely the fame Profile 
 with that of Solomons Temple ("the Model which I propofe to my felf) yet as 
 near as one can approach to that divine idea from its Defcription in the Bible, 
 and fome other famous Hiflories mention’d in that great Work of Villalpandus , 
 where all the Ornaments and principal Proportions of each Member are 
 exadtly fpecified, I conceive it to be fufficiently conformable. The Compo- 
 fition is perfectly Corinthian , though the Foliage of the Capitel and its Cauliculi, 
 or Branches, are ot Talmes, and the Freeze of the Entablature has borrow’d the 
 Dorick Ornament, which are the Triglyphs, whofe Solidity bears but little Con- 
 formity with the Tendernefs of the Corinthian. But by what ever name you 
 will call this Order (notwithftanding that JoJephus affirms it to have been the 
 Corinthian) certain it is, there was never any more perfect : And although the 
 Corinthian be a very folt and maidenly Order, which does not require the Strength 
 and Virility of the Dorick , fymboliz’d by the Try glyphs • yet may one, upon cer- 
 tain Occafions, introduce it with that addrefs and reafon, as will not only 
 render it excufable, but very judicious. For inftance, fuppofe one were to 
 build Churches or Altars in memory of thofe generous Virgins , who from their 
 tender Age vanquifh'd the Cruelty of Tyrants for the Defence of Chrijlianity $ 
 furmounting all Sorts of Torments by their Conftancy : What could we ima- 
 gine more expreffive and fuitable to their Courage than this Divine Order * It 
 may alfo be proper on fome profane Occafions, as in Triumphal Arches and the 
 like Struftures. In a Word, fince it gave Ornament to that famous Temple of 
 Jerujalem, which never yet had equal, we may with reafon call it the Flower 
 of Architecture, and the Order of Orders. > 
 
 CHAP. 
 
78 A Parallel of the antient Architecture 
 
 CHAP. XXXI. 
 
 Palladio and Scamozzi upon the Corinthian 
 
 Order. 
 
 O F all the Corinthian Examples which I have formerly produc’d for the 
 P, nit of the Order exprefly chofen from the mod excellent Pieces of 
 Antiquity, there is not one of them of the Proportion which thefe two Majiers 
 here obferve, who make their Entablature but a fifth part of the Column. How- 
 ever when I confider their great Reputation (particularly that ofPalladio,who[c 
 Works even emulate the bell of the Antients ) and the Reafons which they al- 
 ledge for difcharging the Columns proportionably as they are weaken’d by the 
 Altitude and Diminution of their Shaft , according to the Delicatenefs of the Or- 
 ders, lean neither contradict their Judgment, nor blame thofe who would 
 imitate them ; though my own Maxim be ever precifely to conform myfelf 
 to the Gufto of the Antients, and to the Proportions which they have eftablifh d. 
 
 Palladio makes his Column but of nine Diameters and a half j that is to fay, of 
 nineteen Modules ■, fo as the difference of the Height obferv’d betwixt his 
 Entablature and that of Scamo^zj’ s, proceeds from Scamozzi s Columns being 
 often Diameters, which is likewife an excellent Proportion, and indeed more 
 ufual than the other among the Antients. 
 
So A Parallel of the antient Architecture 
 
 CHAP. XXXII. 
 
 Serlio and Vignola upon the Corinthian Order. 
 
 M Ethinks I fee here a Giant next a Pigmy ; fo monftrous is the difpro- 
 portion ’twixt thefe two Majlers : And the reafon of this fo extraor- 
 dinary inequality proceeds from two Caufes ; whereof the firft is, that Ser- 
 lio allows to the Entablature of his Profile but a fifth part of the Column, whereas 
 Vignola makes his own of an entire quarter, and exceeds even that by fome 
 Minutes. The fecond is, that Serlio following Vitruvius , makes the Altitude of 
 his Column but of nine Diameters, and Vignola gives bis ten, the fame which I 
 formerly obferv'd in the Ionick Order, where we met the very fame inconve- 
 nience. But albeit the difference of thefe two Profiles be in general very con- 
 fiderable ; yet coming to the particulars, what we find in their Capitels is of 
 greater confequence, fince we muff of neceffity condemn that of Vitruvius 
 prefcrib’d in his fourth I Book towards the end of the firft Chapter ; there being 
 no reafon to prefer it alone to an almoft innumerable number of moft ex- 
 cellent Modules which remain of Antiquity, amongft which we meet with none 
 in the fame terms to which he has reduc’d the Height of his own ; unlefs it be 
 that out of refpedt to this grave Author, who is indeed worthy the reverence 
 of all thofe of the ProfeJJion, and to avoid the invidious name of Crittck, we 
 fhould chufe a gentler way, which is to elude the Queflion after their Exam- 
 ples, who having already obferv’d the fame miftake before us (either in effedt 
 or out of modefty) believ’d the Text to have been corrupted in this place as 
 well as in divers others where the alteration is manifeft ; fo as affifting the 
 Senfe a little, one may fuppofe that Vitruvius defigning the Height of the Corin- 
 thian Chapter by the largenefs of the Diameter of its Column, he Ihould not have 
 comprehended the Abacus, which is the foie Ambiguity of this Paffage, and 
 which indeed deferves Correction, or to be otherwife underftood than Serlio 
 comprehends it. 
 
82 A Parallel of the antient Architecture 
 
 CHAP, XXXIII. 
 
 Daniel Barbaro, and P. Cataneo, upon the Cori n- 
 
 t h i a n Order. 
 
 O F all the four Orders of Architecture defcrib’d by Vitruvius , (for he (peaks 
 not a Word of the Compofita , which is the fifth,) this of the Corinthian 
 appears to me to be the moft (lightly handled, confidering the noblenefsand 
 magnificence of its Inventors, who having (par'd no cod to render it rich and 
 excellent beyond all the reft, were not likely to borrow any thing fromthofe 
 amongft whom they were ranked. I conceive that Vitruvius therefore at the 
 beginning of his fourth 'Book had no reafon to affirm, that they ufed to im- 
 ploy the Entablature and the Ionick, and fometimes even the Dorick Column alfo, 
 without any other addition fave the Capitel of their own Invention ; fince by 
 the antient Examples of this Order we find the contrary : But the 2^. 
 Daniel Barbaro, his Commentator, whofe Defign is before us, is by no means to 
 be blamed for it, whofe Province was only to exprefs the Meaning of the 
 Mafier whom he explained, and of which he has very worthily acquitted 
 himfelf 
 
 He has therefore fitted an Ionick Entablature to this Corinthian Trofile, forming 
 the Capitel of Acanthus-leaves, conformable to the Defcription and Hiftory of 
 its Original mention’d by Vitruvius. I would not, for all this, advife any 
 Workman to make ufe of this Compofition ; without firft confidering the relative 
 Proportion which the Entablature ought to have with the whole ot the Order, a 
 thing that I find is here extremely changed, and a great deal lefs than it 
 fhould be, by reafon of the confiderable Height which the Column has re- 
 ceived by that of the Corinthian Chapter, which is two thirds higher than the 
 Ionick : but this is remedied by enlarging the Freeze, and by adding fome 
 new Moulding to the Cornice ’twixt the Corona and the Dentelli, as a quarter of a 
 Circle or fo, to carve the Eggs and Anchors in. 
 
 The Defign of Cataneo has nothing in it remarkable, unlefs it be the extra- 
 vagant tProjeBure which he allows to the Fillet of his Dentelli, as we alfo find it 
 in the Defign of D. Barbaro. They have both in this followed that Maxim 
 which regulates the BrojeSlure of every Member to its Height 5 but this Rule 
 is not always to be received. 
 
 What I have faid in the precedent Pago touching the Height of the Capitel 
 according to Vitruvius, would here be fuperfluous to repeat : It may there- 
 fore ferve both for this and for all the reft that follow, being of the fame 
 Species. 
 
 1 
 
 CHAP. 
 
84 A Par allel of the antient Architecture 
 
 CHAP. XXXIV. 
 
 L. Baptifta Albeiti, and Jofeph Viola, upon the 
 Corinthian Order. 
 
 I Shall here need only to examine the Vefign of Alberti, That of his Com- 
 panion being but an Imitation, or rather a perfect Copy after the 
 'rrofie of (Palladio, which we have feen already, and to which I refer the 
 (Reader as to its Original. 
 
 As touching that of I. S. Alberti, I find two remarkable Particulars in his 
 Dejign which lecm worthy of reprehenfion : The firft is the low Propor- 
 tion of the Capttel, which is only pardonable in the Followers of Vitruvius • 
 tor we find no Example of it amongft the Ancients, fince even he himfelfimi-’ 
 tates a Manner both greater and more noble than the Vitruvian. The other 
 Oblervable is in his Cornice, to which he has given no Corona though it be a 
 Member fo eflential, and one of the principal in the Entablature. But though 
 this Liberty be fomewhat bold, and perhaps blame-worthy, yet remains 
 there one confiderable Example at (Rome , in the Cornice of that famous lent 
 pie of Peace built by the Emperor Fefpafian, being one of the greateft and 
 molt luperb \I\eltques or Antiquity. 
 
 The Face likewife of the Modilions feems to me of the largeft, and befides 
 that the Foliage which domineers in the Freeze, holds not fufficient confor- 
 mity with the Cornice, as too fimple and plain for fo rich an Ornament : But 
 the Remedy is at hand, by adding a few Leaves or other Carvings on the Cyma- 
 ttum s of the Cornice and Architrave, with Eggs upon the Quarter Round • unlefs 
 it e that you would rather lave that work by abating fomewhat of the Or- 
 nament of the Freeze. There will yet remain this Objection ftill i n th cDefcn’ 
 That the Author refolding rather to fix upon the Capitel of Vitruvius than on 
 thole of the Antient s, he ought not to have carv’d them with Olive-Leaves 
 iince Vitruvius does exprefly order them of the Acanthus. , 5 
 
 
8(5 A Parallel of the antient Ar c hit e dure 
 
 CHAR XXXV. 
 
 Bnllanf, and de Lorme, upon ^Corinthian 
 
 Order. 
 
 I fhould do an injury co one of our prime French Architects, John Bulliant by 
 name, if by the Examen of this (profile I fliould rank him with thofe of 
 the School of Vitruvius, fince he has after this given us others of a nobler 
 Form, which he has copied from the Antients. But not finding him fo per- 
 fectly exact in the Meafures which he affigns them, I therefore omit 'em. 
 He appears in this Defign to have imitated Serlio ; and indeed the Difference 
 between them is very inconfiderable 5 notwithftanding I obferve fomethin^ 
 in this that is more refin'd, as the ProjeCture of the Dentelli (or rather of the 
 plain Fillet on which they fhould have been cut) which is extremely regular 3 
 ■whereas Serlio s is exceffive, befides the impertinent repetition of a fmail Ogee, 
 which is thrice within the Space of the Cornice only, but which John Bulliant 
 has had the Difcretion to diverfify. He alfo gives his Capitel more Grace, 
 the Leaves and Branches whereof are better fihaped. 
 
 I could have wifli’d, for conclufion of our Corinthian Order, that Ve Lorme 
 had left us a more regular Defign, and of a better Relifh : But the good Man, 
 though very ftudious, and a lover of the Antique Architecture, had yet a Mo- 
 dern Genius, which made him look upon thofe excellent things of Pjime as it 
 were with Gothic Eyes-, as appears plainly in this Profile, which he pretends 
 to be conformable to thofe of the Chapels of the P^otunda. for the reft his 
 Style is fo exceedingly perplex'd, that it is oftentimes very difficult to com- 
 prehend his meaning. The Reader will fmile to fee how he explains himfelf 
 on the Subject of this Cornice ftis in the fourth Chapter of his fixth Book.) For 
 having cited all the Meafures of each Part, piece by piece, he fays, that as 
 to the Height of the Architrave, he had divided it into three and forty Parts 
 and an half, to give every thing its Proportion; but that not falling out as it 
 ought, he’s refolv’d to fpeak no more of it ; and thefe are his very Terms. 
 As to the Ba/e of this Profile, I have taken it from the End of the Second 
 Chapter of the fame Book. And albeit its Proportion be very extraordinary, he 
 affirms yet to have defign’d and meafur d it from certain Vefiigias very 
 Antique (thefe are again his own Expreffions :) You may likewife take notice 
 that the Stalks or Cauliculi under the Pojes of the Abacus, rife too high in this 
 Capitel. In Sum, the Talent of this ArchiteB, who has for all this acquir’d a 
 great deal of Reputation, confided chiefly in the contriving and furveying 
 of a Building 3 and in truth, his chief Perfection lay more in the Art of 
 Jquarmg Stones, than in the Compofition of Orders 5 and of this he has indeed writ- 
 ten with moft advantage and at large: But fince him, and that very lately 
 the Sieur Dejargues of Lyons, one of the moft exquifite and fubtile Geometrici- 
 ans of this Age, whofe Genius delights to render familiar and ufeful the moft 
 excellent Speculations of that Science, has exalted that Art to a much higher 
 Perfection. D 
 
 4 
 
 CHAP. 
 
with the Modern, 
 
 87 
 
 
 
8 8 A Parallel of the antient Architecture 
 
 CHAP. XXXVI. 
 
 The Orthography of one of the Altars of the Rotunda. 
 
 N O T to leave the Mind of our (Reader altogether intangled amongft 
 the Modems , and haply alfo deviating from the right Path of Archi- 
 tecture , I am prefenting him with an Example from the goodlieft Temple of 
 Antiquity, which is one of the Tabernacles now Handing in the (Rotunda that 
 fo he may return and be again reduc’d to this noble and perfect Idea of the 
 Art which I have Hill been propofing to him in my fix’d Difcourfe before 
 every Order by the like Examples ; upon which, as upon the mod permanent 
 and immoveable Foundations he ought to fix and eftablifh his Studies : For, 
 compar’d to this, the Writings of the Moderns are but loofe Earth , and ill— 
 bottom'd, upon which one can erect nothing that is fubftantial and folid. 
 But having already fufficiently treated of the Mouldings and (Proportions of the 
 Corinthian Orders, and that the Dejign which I here propofe, is too little for 
 the precifely meafuring of each Member, I fhall only touch two or three 
 Particulars here, which more import the general Compofition of the Dejign 
 than the Regularity of the Order: The firft whereof is, that its now 
 become as it were the Mode, I fhould fay rather an univerfal Madnefs , to 
 cfteem nothing fine, but what is fill’d and furcharged with all forts of Orna- 
 ments, without Choice, without Difcretion, or the leaft Affinity either to the 
 Work or the Subjell. So as the Compofition of this Altar would be efteem’d 
 very mean in the Opinion of our fmall a la Mode Mafters ; wfio to enrich it, 
 would in lieu of the fingle Column, which at each Side fuftains the Frontif piece, 
 make a Pile of four or fix, and haply of more, with two or three Accumula- 
 tions of Mouldings in the Cornice, to break the Order and exadt Evennefs of 
 the Members, whofe Regularity is anxious to them : One fronton would be 
 likewife too few for them 5 they add frequently two and fometimes three, 
 and that one within the other $ nor do they think it fine unlefs it be broken, 
 carv'd and frett, with lome EJcutcheon or Cartouch at leaft : Nay even the Co - 
 lumns themfelves, which are the Props and Foundation of the Orders, Tcape 
 them no more than the reft ; for they not only abufe and counterfeit them 
 in their Capitels and S afes, but in their very Shafts alfo. ’Tis now efteem’d a 
 Mafler-jlroak to make them wreath'd and full of Rings, or fome other capricious 
 Ligatures about them, which make them appear as if they had been glew’d 
 together and repair’d. In fine, one may truly lay, that poor Architecture is very 
 ill-treated amongft them. But it were not juft, to impute this great reproach 
 to our French Work-men only ; the Italians themfelves are now become more 
 licentious, and fhew us plainly that Rome has at prefent, as well her Moderns 
 as her Antiques. 
 
 The End of the Firft V art. 
 
PARALLEL 
 
 O F T H E 
 
 ANCIENT ARCHITECTURE 
 
 WITH THE 
 
 MODERN 
 
 Part II. 
 
 CHAP. I. 
 
 Of the Tuscan Order. 
 
 T is an Abufe fo vifible in the ArchiteElure of the Moderns, theit 
 confounding the Greek. Orders amongfl: the Latin, that I am 
 aftonilhed at the general Inadvertency of fo many Authors, as 
 treating of their Symmetries, and the Particularities of their 
 * Proportions , have fo difpos’d of them, as plainly difcovers how 
 ignorant they were of their Proprieties and fjoecific Differences, without which 
 it is fo very difficult to make ufeof them jlidicioufly. 
 
 I had already hinted fomething in the 'Preface of the Bird Part of this 
 Treatife, to prepare the Reader for the New Or der, which I am here obfetving; 
 but which being contrary to vulgar Opinion and current Pta&ice, will 
 have much ado to eftablilh itfelf, and doubtlefs provoke many Adverfaries* 
 But fince the Foundations of this Art are principally fixt Upon fuch Exam- 
 ples of Antiquity as are yet remaining, I hope, that in time, my Opinion may 
 prevail, feeing I tread but upon their Footfteps, and rather demon [hate the 
 thing, than dijcour/e ofit. 
 
 Hitherto 
 
92 A Parallel of the antient Arc bite dure 
 
 Hitherto all our Architects have generally held that the Tufcan Order was 
 a kind of 'Building which differ’d from the others only in the plainnefs of its 
 Mouldings, folidity of its Parts •, but in the reft, confifting of the fame Mem- 
 bers, and of like Ufage: And truly I fhould be injurious to condemn it, fince 
 Vitruvius has in his fourth Book made a particular Chapter of the Manner how 
 to build Temples after the Tujcan Order. Notwithftanding, however one 
 might interpret whac he there fays, it would be very difficult to invent an 
 handfome Idea of Entablature, fit to place upon thoie Columns. And there- 
 fore I conceive, that the only Piece of this Order which deferves to be put 
 in Work, and that can properly recommend it to us, is the fimple Column it 
 felf without any Architrave at all, as we find it employ’d by the Antients. 
 For whereas by the ordinary ufage of it, ’tis ever rang'd in the lafl Place 5 
 thefe great Mafters have aflign’d it one wholly independant from the others, 
 and treated it fo advantagioufly, that it may for its Beauty and Noblenefs 
 ftand in competition with all the reft of the Orders : Nor will this I prefume 
 be denied, when they fhall have confider’d that renown’d Example which I 
 am producing of the Column of Trajan, one of the mod fuperb Remainders of 
 the P,oman Magnificence to be now feen {landing, and which has more im- 
 mortaliz’d the Emperor Trajan, than all the Tens of Hijlorians. This Mau- 
 foleum , if fo we may call' it, -was ereCted to him by the Senate and People of 
 pome, in recognition of thole great Services he had render’d his Country ^ 
 and to the End the Memory of it might remain to all fucceeding Ages, and 
 continue as long as the very Empire itfelf; they order’d them to be engra- 
 ven on Marble, and that by the richeft Touch that was ever yet employ’d. 
 It was Architecture her felf which was here the Hiftoriographer of this new 
 kind of Hijlory ; and who, fince it was to celebrate a Poman, chofe none of the 
 Greek Orders, (though they were incomparably the more perfeCt and in ufe 
 even in Italy itfelf, than the two other Originals of the Country) left the 
 Glory of this renown’d MonUfnent fhould feem to be divided ; and to inftruCt 
 us alfo, that there is nothing fo plain and fimple but what Art knows how 
 to bring to Perfection : She chofe therefore a Column of the Tufcan Order , 
 which till that time was never admitted but in Grofs and Pujlick Works j 
 and of this rude and inform Maji made to emerge the richeft and moft no- 
 ble Majler-piece of the World, which Time, that devours all things, has pre- 
 ferv’d and kept entire to this very Day in the midft of an infinity of piims 
 which even fill the City of pome. And ’tis indeed a kind of Miracle to fee, 
 that the Coli/eum , the Theatre of Marcellus, thofe great Circus's, the Baths 
 of Vicclefian, of Caracalla, and of Antonins, that proud Mole of Adrian's Se- 
 pulture, the Septizpnium of. Sever us, the Amphitheatre of Auguftus, and innu- 
 merable other Structures, which feem to have been built for Eternity , 
 fhould be at prefent fo ruinous and dilapidated, that its hard even to divine 
 what their original Forms were 5 whiift yet this Column of Trajan (whofe 
 Structure feem d much lefs durable) remains extant and entire, by a fecret 
 of Providence, which has deftin’d this ftupendious Obelisk to the greateft Mo- 
 narch that ever Pome enjoy’d, the Chief of the Church St. Peter, who poflef- 
 fes now the Seat of that Emperor to whom it hath been ereCted. But to pre- 
 ferve myfelf within the Limits of my SubjeCt, which is only to give you its 
 t Defcription 
 
with the Modern. 93 
 
 Defcription according to the Defign of the Architect who was the Author of it, I 
 fhall leave to fuch as are contemplative, the moralising on this fo wonderful 
 Viciffitude ; fince it would be here from our purpofe, and very impertinent 
 to the Art we are llluftrating. 
 
 Let us then again return to our Column , and its lingular ufe among all the 
 Orders of Architecture , where the reft of the (Pillars do, in comparifon of this, 
 appear but as fo many Servants and Slaves of the Edifices which they fup- 
 port ; while ours is a Queen of that Majefty, that reigning as it were alone, 
 ifie is exalted on the Throne of her Redeftal, deck’d with all the Treafures 
 of Glory, and from whence fhe as freely imparts her Magnificence to all thofe 
 whom Ihe vouchfafes to look upon : The firft and molt illuftrious of her Fa- 
 vourites was T rajan, upon whofc Monument I am now forming an Idea of the 
 Order which I would call Tufcan, without troubling myfelf with what all 
 the Moderns have written of it, who making no difference ’twixt it and the 
 Riijlick, do no great honour to the Tufcan , while they gratifie him with fo 
 poor an Invention : But left our Criticks take it ill we fhould name that a 
 Tufcan Order , which had its firft Original at (Rome, let them, if they pleafe, 
 call it the Roman Order fince they may with much more reafon do it, 
 than thofe who fo name the Com[>ojita, of which we fhall fpeak hereafter. For 
 my part I regulate myfelf upon the Profiles of the Capitel and : Ba[e , which 
 1 here find to be the lame which Vitruvius attributes to the Tufcan Column. 
 The moft important Difficulty, in my Opinion, would be how our Column, 
 having no Entablature, could be properly reckon’d in the Catalogue of Or- 
 ders, that being fo principal a Member, and in forne Degree, the very Mead of 
 the Order. But the Architect of this our Model well forefaw, that fome- 
 thing was to be fubftituted in its place, and fo contriv’d it after a moft excel- 
 lent manner : He propos’d doubtlefs to himfelf the imitation of thofe mira- 
 culous Memphitick Tyramides, which the Adgyptians (thofe divine Wits to 
 whom we are fo much oblig’d for many excellent Arts) had formerly eredted 
 to the Memory and Aftbes of their Kings-, who from the immenfe and prodi- 
 gious greatnefs of their Tombs, one would believe had been Giants, and as it 
 were Gods amongft Men : Their Urns and Statues crown’d the Summities of 
 thefe artificial Mountains, from whence, as from fome auguft and terrible 
 Throne, they ieemed to the People to reign after their Death, and that with 
 more majefty than when they liv’d. Our prudent ArcbiteEl being to render 
 the fame Honour to Trajan, the worthieft Rrince that till then had born the 
 Title of Emperour, and whom the City of (Rome did ftrive to immortalize 5 
 reflected lerioully upon thole ftupendous Works, whence he drew this high 
 and fublime imitation, which we fo much admire, and which has fince be- 
 come a Rule, and been follow’d on fundry other Occafions : Two moft re- 
 nowned Examples of this are yet remaining 5 the Column of Antoninus at Rome 
 alfo, and that at Conjlantinople, eredted to the Emperour Tbcodojhs after his 
 Vidtory againft the Scythians ; which fufficiently teftify by their refemblance 
 to that of our Trajan, that this kind of Architecture pafs’d currently for an 
 Order amongft the Mafters of the Art, feeing they always employ'd it ever 
 fince upon the fame Occafions, together with Tufcan Troftlures both at the 
 ! Bafe and Capitel. This eftablifhed, the reft will eafily follow, fo as not to 
 fubjedt it henceforward to the Opinion andDiverfity of the Guflo'soi thofe of 
 
 B b 
 
94 A Parallel of the dntient Architecture 
 
 the Profeflion, fince we have the Original for oiir Model, to which we ought 
 of neceffity to conform, left we tranfgrefs the Terms and Regularity of the 
 Order. Now fuppofe an Architect be on fome Occafion oblig'd to introduce 
 or change any thing in it, as the time and quality of this Defign may require ; 
 he is yet to proceed with extraordinary circumfpeCtion, and without in the 
 lcaft altering the Form of the principal Members ■ in which one fhall perceive 
 the Addrefs of his Spirit, and the Gallantry of his Invention. This is a Maxim 
 fo univerfal through the Orders , that without it one fhould never pretend to 
 give Rules, nor propofe indeed any Example for imitation ; fo naturally 
 obnoxious indeed are our inclinations to Novelty, and fo blind in our own 
 Productions. See then from what fource the Confufion of that Order fprung, 
 which they name the Com[>ofita , and which the prefumption and ignorance of 
 Workmen has begotten, like an extravagant Monjler blended with fo many 
 Natures, and lometimes fo averfe and contrary, that tis impoffibleto diftin- 
 guifh their Species : I have referv’d their full Examen for the Concluiion of this 
 Treatife , where I fhall make choice of what I meet with ot molt conformity 
 to the Rules of Art and of good Architecture , and where I fhall produce fome 
 of the molt famous Examples of Antiquity, that at leaft Men may have faith - 1 
 ful Guides through this Labyrinth of Confufion. 
 
 Our Trajan Column which we here fubltitute inltead of the Tufcan Order, by 
 the Prerogative of its excellent Compofition, has thwis advantage above the 
 other Orders, that there feldom happening Occafions worthy of it ; that is to 
 fay, filch as are particular and noble enough to merit the putting it in practice 5 
 our j mall Majlcrs incapable of fo high an Employment, have Ipoken nothing 
 of it, and by this means fhe has remain’d in her original purity : But the 
 firft which was ever made in imitation of it, and that exceedingly confirm’d 
 the Eftablifhment of this new Order, was the Column of Antoninus, which is yet 
 very entire, and the only Faragon to ours, though it concede fomewhat to ic 
 in the execution and magi/lerial handling -, but in recompence of this, it lur- 
 palfes it in the greatnefs of its Mafs, a thing very confiderable in this Order, 
 whofe fpedfick Beauty confifts in being vaft, and of a manner Coloffeal. For 
 the reft, the Compofition and Ordinance of the whole Defign are very alike. 
 
 I will now fhew in general, the EffeCt and Form of the principal Members, 
 and of what one ought to be careful in the application of Ornaments, which 
 are to be difpofed with great Difcretion, as being of the very Ejjence and Body 
 of the Order. The firft, and as it were the Foundation of the whole Structure 
 is the Fedejlal, which is here no lefs neceffary than is the Cornice to the Co- 
 lumns of the other Orders-, and its Proportion, though fquare and folid, re- 
 quires an enrichment of handfome Modenatures, and of all other forts of Or- 
 naments at the Fhnth and Cymatium, but above all in its four Faces, which are, 
 as it were, the Tables of Fgnown, where fhe paints the Victories of thofe Heroes 
 to whom. Hie ere&s Inch glorious Trophies. It is there that we behold 
 all the Military Spoils of the vanquish'd, their Arms, the Machines they 
 made ule of in fight, their Enfigns , Shields, Cymeters , the Harnefs of their 
 Hor)es and of their Chariots, their Habiliments of War, the marks of their 
 Religion, and in a word, what ever could contribute to the pomp and 
 magnificence of a Triumph. Upon this glorious 'Booty, our Column, as on a 
 4 Throne 
 
with the Modern. 
 
 95 
 
 Throne is ereded and reverted with the moft rich and iplendid Apparel which 
 Art can invent i and indeed, provided the ArchiteEl be a judicious Perfon, it 
 cannot be too glorious : I repeat it again, that this ought in no fort to alter 
 or in the leaft confound the Proportions and Tufcan Profiles of the B afe and 
 Capital, as being the very Keys of the Confort and Harmony of the whole 
 Order. The laft, but principal thing, becaufe it fets the Crown upon the 
 whole Work, is the Statue ot the Perfon to whom we ered this fuperb and 
 magnificent Strudure ; this hath an Urn under his Feet, as intimatino- a 
 Renafcency from his own Afhes, like the Pbenix, and that the Venue of great 
 Men triumphs over De/liny, which has a power only over the Vulgar. 
 
 As to what concerns the regular Proportion of this Figure and Urn, with the 
 Altitude of the Column, I can here conclude nothing precilely, this part being 
 repair’d in the Original , and that in a manner too modern and wide of the 
 firrt Intention of the ArchiteEl, to derive any advantage thence for our Sub- 
 ject- It may yet be faid with likelyhood enough, that fince his as Were 
 the Entablature of the Order, one fhould allow it a fourth part of the Column 
 as to the Trabeation of the Dorick Order, to which this^be^rs a very great re- 
 femblance. I conceive alfo, that the Figure ought fo to be proportion’d by 
 the Rules of Opticks, that it may appear of a Size fomewhat exceeding the Na- 
 tural, and of an elegant Symmetry, that fo it may be taken notice of above 
 all the reft , but with this Difcretion yet, that being of neceffity to ftand on 
 its Feet, it appear of a firm Pofition, and that the Mafs of the Urn which 
 ferves it for Pedeflal, have a folidnefs agreeable to this effed: For’tis a thing 
 greatly obliging in Architecture, to make every thing not only folid and du- 
 rable, but that it likewife fo appear, and thereby avoid that Gothic Indecorum 
 which affeds it asa Beauty ; the making of their Works feem as Were hang- 
 ing in the Air and ready to fall upon ones head, which is an Extravagance 
 too vifible for us to fpend any time in confuting. 
 
 By this time I think I have left nothing unlaid which concerns the gene- 
 ral Compaction of our Column. As for the lefler retail of the Proportions and 
 Profiles of each Member, the Defign fhews them fo perfpicuoully, that Were 
 but a childilh and impertinent Labour to name them over one by one, as 
 thole firrt Inventors ol Painting did, who, to fupply the weaknefs of the Art 
 not yet arriv’d to lo natural a reprefentation of the things they imitated, 
 were forc’d to write under them, This is an Ox, a Tree, a Horfe, a Moun- 
 tain, See. There will be no need of this here, the Effed of the Dejign havincr 
 fo far exceeded the Expreffion of all Words, that it fhews us more things in 
 an inftant, and that with infinite moreprecifenefs, than could have been de- 
 ferib’d by Difcourfe in a very long time. I will therefore conclude by this rare 
 kind of Language, which has neither need of Ears nor Tongue, and which is 
 indeed the moft divine Invention that was ever yet found out by Man. 
 
 For the reft, you will in my Profile of the Trajan Column perceive with 
 what diligence and exaditude all thefe things conform to the Original, even 
 to the very leaft Ornaments, and thereby judge how exceedingly careful I 
 have been in other things ol greater conference. If the Vfeader be intelli- 
 gent* and that he have attentively view’d, and with amafterlyEye, this rich 
 
 and 
 

 9 6 A Parallel of the antient Architecture 
 
 and incomparable Piece which I defcribe, the Satisfaction he will derive from 
 the accurate Obfervations I have made, and here preietit him, will be pro- 
 portion’d to his Ability : For in thefe Particulars our Eyes fee no further than 
 ourUnderftanding purges them ;nor do their admirable Beauties reveal them- 
 felves at once, nor to all the World in general ; they will be curioufly ob- 
 ferv’d and difcover’d with Induftry. There are likewife feveral kinds which 
 every one confiders according to the force of his Wit, and as they conform 
 to his Genius. Some there are who feek only the Grace and Neatnels of Or- 
 n aments 5 others confider the Noblenefs of the Work, and Novelty ofthe InVen- 
 the moft knowing have regard to the Proportions chiefly, and the regu- 
 
 tion 
 
 iarity ofthe whole with its Parts, to the judicious Compoiition, the great- 
 nefs andfolidity of the Defign, and fuch elfential Beauties as are only vifible 
 to the Eyes of the moft intelligent Architects ; from whence it often falls our, 
 that the fame Work in which all thefe parts are not equally perfect, is vari- 
 oufly efteem'd by thofe of the Profejfm-,(iov there are but few like this of ours 
 fo qualified as to merit a univerfal Approbation) and the mifery of it is, 
 that the beft things have for the moft part many fewer Admirers than the in- 
 different, becaule their are more Dunces than able Men. 
 
 The Module of the following Defign, and the Method of decyphering , is the 
 fame with what went before ; Viz- That palling a Perpendicular through the 
 Center of the Column the whole Height of the Order , I divide the Semidiameter 
 of the Pillar at the foot into thirty Minutes , which compofe the Module, upon 
 which I afterwards regulate all the Members as well for their Height as Sail- 
 ings over, and Projetlure of their Profiles , ftill beginning by this Central Line 
 of the Column, that fo the Pofition of each individual Part be exactly adjufted 
 and precifely in its place. This is fo perfpicuous, and has been fo oft re- 
 peated, that there can remain no poflible Difficulty. 
 
 As to what now concerns the whole Ma/t, the Column contains feventeen 
 Modules, comprehending the 3 afe and Capitel. The Pedeftal with its entire 
 : Bajfament , Cymatium, and that Zocolo or Plynth above wrought with a Fejloon 
 (which in my judgment makes a part of it, as rendering it a perfeCl Cube, of 
 all Geometrical Proportions the moft regular and folid, and conlequently moft 
 agreeable to this Structure) has in Height three Modules, a very little lefs : 
 The Bafe of the Column contains precifely one, and the Capitel two thirds of 
 a Module . 
 
98 A Parallel of the antient Architecture 
 
 CHAP II. 
 
 Palladio and Scamozzi upon the Tuscan Order. 
 
 H Aving declar’d my Opinion touching the Ufe and Form of the Tuf- 
 can Order after the manner of the Antient s^ I will now defcribe to you 
 after what fafliion our Modern Majlers have handled it, and in what reputa- 
 tion it is at prefent amongfl: all our Workmen , who in regard of the mean- 
 nefs of fo poor a Compojition, furname it the fiufiickOrder, and that with reafon, 
 there being fo little probability that the Tu/cans would ever own or acknow- 
 ledge it in fo wretched a Condition. 
 
 Andrew Palladio , of all the Moderns the mod judicious, and to whom in this 
 Collection we have aflign’d the mod eminent Place, prefents us with two Pro- 
 files ; one whereof is fo plain, that it has only a Summer of Timber cover'd 
 with another piece indead of a Coping and Corona for the Entablature of the Co- 
 lumn-, and I conceive he imagin’d it fhould have no other, from what Vitru- 
 vius has written of it. But finding this Compojition too meanly handled to merit 
 the honour of an Order , this indudrious Architect went and fearch’d amonglb 
 the old Relicks of Amphitheaters, which are thofe enormous Maffes of Archi- 
 tecture, where the Solidity of the Building was more requifite than theSpruce- 
 nefs, and Curiofity of the Orders ; till in fine, he difcover’d in the Arenas of 
 Verona, Polo, and other Places, a certain Order, which he conceiv'd one might 
 call the Tujcan, in imitation whereof he compofed this : For he did not tie 
 himfelf precifely to follow one rather than the other ; but from many he 
 form’d and ordain’d this, which I have rather chofen than any of the other 
 Majlers. That of his Companion Scamozzi, might pafs tolerably well, had 
 he not afiign’d him a too great conformity with the Dorick, and not fo much 
 as once mention’d where he had feen any like it; fo as being altogether 
 Modern, and near as rich in Mouldings as the Dorick itfelf, it were much better 
 to make ufe of the Antique-, this being nothing confiderable for a building, 
 but for its Cheapnefs and the faving of Time. 
 
 The Height of the Column with its Paje and Capitels, is of feven Diameters , 
 only, according to Palladio. Scamoz_zj allows to his feven and an half. 
 
 The Entablature contains always a fourth part of the Column. 
 
A Parallel of the antient Architecture 
 
 i j}| ; * 
 
 ft 
 
 
 I mi 
 
 I 
 1 
 
 11 
 
 CHAP. III. 
 
 Serlio and Vignola upon the Tuscan Order. 
 
 W E have feen in the precedent Chapter the Pufcan Order of our Modern 
 ArcbiteEls in its moft advantageous Luftre ; but methinks it is ex- 
 tremely decay'd here, efpecially in the Profile of Serlio, where the Whole is 
 indeed too plain and particular, being the only Perfon who has allow d to 
 every Member of the Order in general, Bafe, Capitel , Architrave, Freeze and Cor- 
 nice like an Altitude ; this Equality being here but a falfe kind of Proportion, 
 and wholly repugnant to what Architecture has borrowed from the Optich. 
 
 Vignola has in this refpeft proceeded more rationally, adding to each Mem- 
 ber what it might diminifh of its Magnitude by the diftance from the Eye 5 
 and therefore he has made the Cornice fomewhat higher then the Freeze or 
 Architrave. 
 
 Serlio allows his Column but fix Diameters ■, though Vitruvius (whom he 
 always ftrives to follow) gives it feven in his Chapter where he treats of 
 building T emples after the Tu/can Manner, which is the Seventh of his 
 Fourth 'Booh 
 
 Vignola, as to what imports the Column, conforms himfelf to Vitruvius ; but 
 for the Mouldings of the Capitel and Cornice, is govern’d wholly by his parti- 
 cular Fancy. 
 
 The Entablature both in the one and the other of thefe twoProfiles, confills 
 of a quarter of the Column. 
 
To the R E A D E R. 
 
 WERE altogether a fruitlefs Study, and but labour loft, to con- 
 tinue any longer in queft of this Order after other Architects, be- 
 tides thofe four , whofe Defigns I have lately produc’d : 1 am there- 
 fore refolv’d to proceed no farther 5 confidering withal, that 
 th°f e w ^° rema i n > are (for the moftpart) oiFitruVius’s School, 
 from whence it is exceedingly difficult to collect any thing more eflential 
 to the T ufcan Order , than the meer fimple Form of the Safe and Capitel , 
 which are already defcrib’d in the Profile of Serlio , whereof the Repetition 
 would be but fuperfluous. As to what concerns the Entablature, fince there 
 remains extant no antient well-confirm’d and pofitive Example, nor indeed 
 fo much as any intelligible Defcription of it in the Writings of Vitruvius, I 
 fhall make no great reckoning of their Inventions. I have likewife obferv’d, 
 that Leon Saptifta Alberti (the very beft of thofe which remain after Daniel Bar- 
 baro ) has fpoken of it, but curforily only, as in truth making no account 
 of it, and without giving us fo much as a Profile. As little does he efteem 
 the Compofita, of which Vitruvius too has been altogether filent. 
 
 io2 A Parallel of the antient Architecture 
 
with the Modern. 
 
 i°5 
 
 CHAP- IV. 
 
 Of the Compounded Order. 
 
 T HE Compounded Order , which has hitherto obtain’d the firft rank a- 
 mongft the Moderns, will find itfelf extremely debas’d in this fevere 
 and exatt Review, which I have made upon the Five Orders ; and where 
 (without at all regarding the Opinion of the Vulgar, and the Judgment of 
 others that have written before me) I value nothing unlefs it be conforma- 
 ble to forne famous and antient Example, or to the Precepts of Vitruvius, that 
 Father of Architects 5 that fo (if poifible) I may at laft re-eftablifh the Art 
 on its genuine Principles and original Purity, from whence thole licentious 
 Compactions of our late Workmen have fo exceedingly perverted it (under the 
 pretext, forfooth, of this feign'd Name of the Compounded Order,) that there 
 hardly remains fo much as the leaf! Idea of regular Architecture in it 5 fo 
 ftrangely thofe Orders, which contributed to it, degenerated into Confufion, 
 becoming even Barbarous themfelves by this extravagant Mixture. But as 
 ’tisathing very difficult to fubdue and reduce fome Spirits to their Devoir, 
 when once they have taken a bent and are abandon'd to Libertinifm fo, nor 
 do I pretend to gain any Difciples , or be fo much as heard by thofe who have 
 thus prefumptuoully taken upon them to be Majlcrs, becaufe they are either 
 grown too old in their deprav’d Gttjio, or afhamed to acknowledge their 
 Miftake j refolving rather to perifih in their own Opinion, by obftinately de- 
 fending it, then be fo ingenuous as to reform it. I addrefs my Difcourfe then 
 to thofe Perfons only, who having not as yet their Imaginations prepoffefs’d, 
 preferve their Judgment more entire, and are better diipos’d to difcern thofe 
 charming Beauties and Originals of the Antient Architecture, acknowledg’d 
 for fo many Ages, confirm’d by fuch a multitude of Examples, and fo uni- 
 verfally admired. Now forafmuch then as it is a thing of main importance, 
 that we feafon our young Spirits with an early Tinbture, and begin betimes 
 to fettle in them thefe Ideas, I do ever ait firft propofe to them the fame Mo- 
 dels that have been left us by thofe great Genius’s, as fo many Pilots and Com- 
 pares fleering the diredt Courfe to the Art, and laving them from that Pro- 
 penfion which they naturally have to Novelty, the very <I(pck and Precipice 
 of the firft Inclinations of the French-, which being once overpafs d, Reafon 
 does then begin to take the Helm, to condudt and let them fee things fuch 
 as they ought to be, that is to fay, in their Principles, without which it 
 will be altogether impolfible to acquire more than a very ordinary and fuper- 
 ficial comprehenfion of them 5 and thofe who travel by any other Path, 
 grope like blind Men in the dark, and walk unfecurely, without ever find- 
 ing any real Satisfadtion in their Work: For the vain Complaifance of nmo- 
 rent Men, be it that they take it from themfelves ias commonly they do,) 
 or that it be deriv’d to them from fuch as are like them, ns fo empty and 
 falfe a Joy, as it oftentimes turns to fhameand confufion, whilft the true and 
 
 4 ■ iolid 
 
1 04 A Parallel of the antient Architecture 
 
 folid Praife which is attributed to the Merit of knowing Mafters, and the 
 Excellency of their Workman [hip, is never obnoxious to this Self-deception.’ 
 Now how little foever it be a Man polTeffes of the Idea of this high Man- 
 ner of the Antient s , and the Greatnefs of their Thoughts, he fhould foon 
 perceive the Meannefs and Impertinency of our Modern Compofition, when 
 in the midft oFfo many Examples of the incomparable and only Architecture 
 of the Greeks, which was the Ornament and Splendour of the Antient 
 (fome (whofe very %uines and Vejlias render her yet auguji above all the 
 Cities of the World-,) thefe wretched and trifling Spirits, indigent in the 
 midfl: of fo great abundance, depart from the right way which thefe great 
 Majlers have opened to them, taking a devious path to purfue an Abortive 
 of Architecture, or the evil Genius of the Art rather, which has introduc’d 
 itfelf amonglt the Orders under the Title of Compofita, the favour of Mens 
 Ignorance, and the indifcreet Prefumption of I know not what pitiful new 
 Architects, who have made it their tools 'Bauble, and clad it in fo many 
 ApiJ h and Capricious Modes, that ’tis now become a ridiculous Chimera, and, 
 like a Proteus, not to be fixt to any conflant Form ; fo as it would be alto- 
 gether Labour in vain, an idle and foolifh Enterprize for us to fearch after 
 it here through all its wild and unlimited Extent, fince it has neither Busies 
 nor Meafures , Principles, Species, nor particular Propriety, andfo by confequence 
 not to be comprehended under the name of an Order. It would in 
 truth (in my Opinion) be neceflary for the Good of the Art, and the Re- 
 putation of Architecture, that this Monfler were altogether fmother’d, and 
 that fome more pertinent and fpecifick name were given to thofe excellent 
 profiles, which we encounter am on gif fome Antiquities of the grand Bejign 
 which (from I know not what Tradition) are call d of the Compounded Or- 
 der-, a Name altogether novel, not fo much as once mention d by Vitruvius, 
 and which is in earned too general and uncertain to fuit with a regular Or- 
 der -, and that fince they refer the Glory of its Invention to the pomans, 
 it were much more proper to call it the Ppman or Latin Order, as Sca- 
 mozzj has judicioully enough done, and moreover obferv d, that its Capitel 
 (by which alone it differs from the Corinthian) is of a more maffy and 
 lefs elegant Compofition, whence he conceives this Order fhould not be plac’d 
 upon the Corinthian, left the weak be burthen’d with the ftronger : To which 
 he might alfo add, that they can never confift in the fame Work together, 
 as I haveelfewhere demonftrated, and that this is fo perfpicuous, that it admits 
 of no poffible Extenuation : However, thofe who would take advantage of 
 this evil Practice and Abufe of the Moderns to do the contrary, might have 
 a way to efcape by this Afinine-Bridge. For the Importance is very inconfi- 
 derable in comparifon to that unbridled Licence which now a-days reigns 
 amongft our Compofiters of the Compofita, who not only change the Rank of 
 the Orders, but reverfe and overturn even all their Principles, undermining 
 the Foundations of true Architecture to introduce a new Tramontane more bar- 
 barous and unfightly than even the Gothick itfelf. But to all this let us reply, 
 (in confufion of its Inventors) that an Architect fhould no more employ his 
 Induftry and Study in finding out new Orders, to fet a value upon his Works, 
 and render himfelf an able Man, than fhould an Orator, to acquire the 
 reputation of being Eloqueut, invent and coin new Words that were yet ne- 
 ver 
 
CHAR 
 
 with the Modern. 105 
 
 ver fpoken 5 or a Poet compofe Verfe ol another Cadence, and meafure then 
 what are prefcrib’d and are in ufe 5 this Affectation being altogether puerile 
 and impertinent : or, admit one would upon fome Occafion take any fuch 
 Liberty, it ought to be with fuch Difcretion, and fo to the Purpofe, that the 
 Reafon thereof fhould to any one appear immediately. Thus it was the 
 Antients made ufe of it, but with fo great Caution, as that they have confin’d 
 their entire Licence to the foie Form of the Capitel, of which they have de- 
 vifed an hundred gentle Compojitions, and to fome Subjects peculiar, where they 
 fucceeded incomparably, and out of whofe Limits one cannot ("without mani- 
 feft Impertinency) employ it in any Work whatfoever. I will therefore 
 choole two or three Examples amongft a good number of Vefigns, which lie 
 by me of that moll famous Pyrrho Ligorio , found out and obferv’d by him 
 in feveral Places of Italy with a Diligence ineftimable. But let us firft con- 
 clude our prime Subject, which is to form the (Roman Compojita, and make of 
 it here as regular and precife an Order as any of the former Four. I pro- 
 pofe (Tor this effeCt) two antique Profiles, both of them excellent in their 
 Kinds } one very rich and full of Ornaments, taken from the Arch of Titus 
 at Ppme 5 and the other much plainer indeed, but great and proud, being 
 that of the Area de Leoni at Verona. 
 
 If thele two Inftances fuffice not our Reader, he may make his Election of 
 others more to his liking, or fix upon any of thofe who belt pleafes him of 
 the Author’s following, which I have therefore exprefsly collected together, 
 and amongft which I acknowledge my particular efteem for Palladio. 
 
1 0(5 A Parallel of the antient Architecture 
 
 CHAP. V. 
 
 A Profile Compofita taken from the Arco de Leoni at Verona. 
 
 B 'Efore I propofe this Compofita for Model, I fiiall firft endeavour to pre- 
 vent and elude certain Objections which our Critickf poflibly raife, left 
 theyimputeittomy Inadvertency fhould I pafs them by inlilence. The firft 
 is, that the Cornice is defective for want of the Corona. The other is the 
 naked placing of the Dentelli, without any feparation on the Freeze. Thirdly, 
 the exceflive Height of the Freeze. And laftly, that the three Faces of the’ 
 Architrave are all inverted from the ordinary Polition. And finally, that 
 the Tlmth of the 'Safe is a great deal too high, being compared to the reft. 
 To all thefe Objections I might reply in a word, That in a Bufinefs of Archi- 
 tecture the reafon is allowable, fince I produce an antique Example, univer- 
 fally approv d, and Inch as this is : Befides, I add, that the very name of Com- 
 pounded feems to infer a kind of Liberty, and that therefore an Architect 
 might fometimes be juftly permitted to take it, as occafion may fuggeft, 
 either by introducing into the Order , or retrenching from it what he thinks 
 moft conducible and proper to his Deftgn- provided it bedifcreetly manag d, 
 as it has been judicioufly oblerv’d in the Profile , where the Author being 
 to make an extraordinary large Freeze for the more commodious placing of 
 many Figures which concern d his SubjeCt, would fpare from the Cornice 
 what he had ufurped of more than the regular Proportion of the Freeze did 
 permit him. To this purpofe it was, he cut off and abated the Corona , though 
 in truth a confiderable Member, but which is yet ("as far as I can collet 
 from other Inftances) not abfolutely neceffary ; fince in the Temple of Peace 
 at Pome (one of the moft ftupendious Works of Antiquity) the Cornice, though 
 Corinthian, has no Corona at all, notwithftanding that the Architect had the 
 Field fo open before him. And L. 'bapti/la Alberti (whofe Authority is 
 greatly prevalent amongft our modern Mafters) without any other reafon 
 For it, than that of his own Gujlo, has given none to this Corinthian Order. 
 Now as concerning the Compartment of the Swaths and Fafc'uz of the Archi- 
 trave, whofe Polition here feems fomewhat prepofterous, ’tis (to fpeak feri- 
 oufly) a little extraordinary, however I well remember to have feen others 
 which were like it, and Palladio produces us one Example of it towards the 
 end of his Fourth Sook, taken from a Temple of Polo in Dalmatia, of the Co- 
 rinthian Order, the Architecture whereof is exceedingly rare and antique - 
 and there I alfo find that the Saje of the Column hath a Plyntb likewife of an 
 exceflive thicknefs, as indeed ours has, which fupply the place of a Zocolo. 
 Thus you have both Pgafon and Exathple fufficient for the Anfwer of every 
 Objection. But from hence one may alfo judge, that this Profile fhould not 
 be employ d in Work without extraordinary Dffcretion, and indeed fome 
 kind of Neceflity. That which I fhall produce in the following Inftance is 
 more regular to Particulars, and by confequence more agreeable to all forts 
 of Works. But the general Proportion both of the one and other is fufficiently 
 equal. The Column itfelf hasten Diameters, and the Altitude of the Entabla- 
 ture amounts to a fourth part of the Column. 
 
 CHAP. 
 
I o 8 A Parallel of the antient Architecture 
 
 CHAP VI. 
 
 A Profile of the Compofita, taken from the Arch of 
 Titus ^Rome. 
 
 T H E incomparable Idea of this Compofita , and the Richncfs of its Orna- 
 ments, makes me conjecture that the Invent er thereof might poflibly 
 accompany Titus at the Expedition and Siege of Jerufalem ; and that it was 
 there he had contemplated the divine Architecture of the Temple of Solomon, in 
 imitation of which (though in a very {lender Copy , compar’d to that miracu- 
 lous Edifice, and efpecially in a different Order) he would fihew how ftudi- 
 oufly he had confider’d it. This Conjecture of mine has for its Foundation, 
 that the Triumphal Arch, from whence I have drawn it, is the very fame 
 which they ereCted to the Glory of that Emperour at his return from that fa- 
 mous Enterprize : And the Architect who haply contriv’d the Ordinance, and 
 the whole Preparation of the Day of Triumph, judicioufly introduced into his 
 Work (which was to make the moll noble and lading part of it) the Figures 
 of the principal Spoils of the Temple, as that of the Golden Candlejlick with its 
 feven Branches, which flood in the Sanctuary, and the Golden Table upon which 
 was fet the Bread of Tropofition, together with fome other Utenfils to this Day 
 extant in the Work. 
 
 Moreover, the Arch has this confiderable amongft others yet remaining of 
 the Antient s, that ’twas the firfl and very Original of this kind of Structure : 
 and albeit there have been fince made fome more fumptuous for greafnefs of 
 Bulk and Magnificence, this is yet of a better Hand, and more exquifite 
 Workmanpip than any of them. 
 
 I give you the Elevation in Terfpeclive , as well to gratifie the Curiofity of 
 thofe who affeCt this Art, as that I may alfo contribute fomething to the 
 Beauty of th t'Defign-, and belidesthat fuchas never faw the Original , may in 
 fome fort judge of the EjfeB which it produces. 
 
with the Modern 
 
3io A Parallel of the antient Architecture 
 
 CHAP VII. 
 
 Palladio and Scamozzi, upon the Compofita. 
 
 A ndrea Palladio propofing this Profile of the Compofita, which he alfo 
 names the Latin Order (to make it fpecifically differ from fome others 
 which bears the fame Appellation) gives us a general Maxim for its Proportion, 
 which is to make it refemble the Corinthian, the Form only of the Capitel ex- 
 cepted. And though he add that this Order ought to be fomewhat more 
 deck’d and gay than the Corinthian, ’tis to be underlfood in reference only to 
 thole who allow the Corinthian Column but nine Diameters (as himfelf does) 
 whereas this fhould ever have ten. 
 
 Scamo^f’s Profile has not fo good a Grace as that of Palladio, nor is it in- 
 deed fo exacF in Regularity of its Entablature with the Column, where it wants 
 but three Minutes upon the Total to make it precifely a fifth : for though 
 this be a very fmall matter, yet fince it had been better to have a little exceeded 
 than come fhort (the Antient s commonly allowing a whole fourth, or at lead 
 two ninths) the Defedt is the more eafily perceiv’d. But what is yet worfe* 
 is, that in the Compofition of the Cornice he has accumulated fo many fmall 
 Members one upon the other, as renders it trifling and a little confuled. 
 
 CHAP. 
 
112 A Parallel of the antient Architecture 
 
 CHAP. VIII. 
 
 Serlio arid Vignola, upon the Compofita. 
 
 I Am aftonifh’d at this laft Production of poor Serlio, who having till now 
 reafonably well conduced the firft Orders of ArcbiceElure under the Di- 
 rection and Government of Vitruvius , fails miferably at the very Port juft as 
 his Pilot has deferted him : And what does raoft of all furprize me, is, that 
 the Man’s Genius (which was to intimate a mean and trifling Manner) 
 fhould revolt in fuch an inftant, and change into fo ftrange an Excefs. I 
 was at firft relolved to havefupprefs’d this Profile (for the Credit ofthe Perlon) 
 had it not been to wrong his Competitor Vignola , and fofruftrate him ofthe 
 great Advantage, which, upon this Occafion, he has over him 5 fince in the 
 precedent Orders I have fometimes conceived him his Inferiour. I fhall not 
 dwell long upon the Particulars, which in this Compofition to me feem de- 
 fective ; becaule I (hall fooner have finifh'd in faying once for all, that 
 there is nothing as it fhould be, though the Cornice be taken from, and (as 
 the Author pretends) follow’d ftroak for ftroak after that of the fourth Order of 
 the Coloffeum, which is indeed one ofthe moft renown’d Vejligia’s of Antiquity , 
 and an admirable Piece of Architecture. But one had need ofa very fteddy Head 
 to be able to climb fuch an Height without fliaking ones judgment. He 
 fhould have confider’d, that this Colojfean Structure being a Mapdot a prodigi- 
 ous Altitude, had need of fome Sophifiications from the Optich, to make it ap- 
 pear regular to the Eye; and that therefore there would bean Error and 
 Miftake in fumming up the Dimenfions and AEtquipondium of its Mem- 
 bers at a more moderate Diftance with the lame Meafures and Proportions. 
 This Inadvertency has made him flip into another Fault much more grofs 
 and unpardonable for he places upon a fmall and pitiful Capitel (after his 
 own Mode} the whole weight of the Coloffeum , that is to fay, a Gigantick En- 
 tablature , which compofes the Corona of this prodigious Edifice. This fo 
 monftrous a Medly appears more here than in the Author becaufe he has 
 defign’d it very flightly, and in fo fmall a Volume (in his fourth Book and 
 ninth Chapter, where he explains this laft Order) that one can hardly difeern 
 the Form of the principal Members. 
 
 Vignola has proceeded with a great deal more exaCtnefs and judgment in 
 his Vefigns, which he has alfo Profil’d very neatly, and in a large Volume, that 
 renders it commendable and of ufe to Workmen. He allows in this Compoji- 
 lion the fame Mealures and Proportions that he does to the Corinthian. 
 
 CHAP. 
 
1 1 4 A Parallel of the ant tent Architecture 
 
 CHAP IX. 
 
 Of a certain Ornament called the Frette. 
 
 A rchitecture is in all this Treatife fo extremely jealous of thofe Libertines 
 that have the rafhnefs of daring to corrupt the Forms of her Profiles 
 by their capricious Inventions, that fhe even refufes entrance to all kind of 
 Novelty whatfoever. This it is which has put me in mind of the promife I 
 made to prefent you here with fome extraordinary Defigns of Cartels drawn 
 from the Antiques: But confidering that they can ferve for no ufe in any fort 
 of Structure at prefent, as being only proper for the Pagan Deities, and that 
 we have now no more Jupiters, Nept unes, or other Gods of that Age, for 
 whofe Temples thefe kind of Capitels were Angularly appropriated, by Repre- 
 fentations fpecifical to every Subject ; I conceiv'd it better to remove thofe 
 Pans which ferv’d likewife but to awaken the ill Genius of our Workmen, to 
 imitate and copy after them. To fupply then their places with fome other 
 thing which fhouldbe profitable and without reproach, I have made a very 
 curious and rare Collection of a certain Ornament, which they call the Frette, 
 and of which the Ant tents made great ufe ; taking infinite Delight in com- 
 pofing variety of forts, as this Defign will fhew you. This Ornament con- 
 fifts in a certain interlacing of two Lifts, or fmall Fillets, which run always in 
 parallel Diftances equal to their Breadth ; with this necelfary condition, that 
 every Return and Interfe&ion, they do always fall into right Angles ; this is fo 
 indifpenfable, that they have no Grace without it, but become altogether 
 Gothick. There is one (amongft the ten I here prefent you) that confifts but 
 of a Angle Fillet, which neverthelefs fills its Space exceedingly well, and 
 makes a very handlome fliow. The Antients did ordinarily apply them 
 upon even and flat Members, as upon the Face of the Corona and Eves of a 
 Cornice under the Proofs, Planceres and Ceilings of Architraves ; alfo about the 
 Doors and on the Plinths of Pafes, when their Torus and Scotia’s were carv’d 5 
 alfo they do rarely aboutPlatfonds and upon Groundworks. 
 
 The End of the Second Part. 
 
A N 
 
 ACCOUNT 
 
 ARCHITECTS 
 
 AND 
 
 ARCHITECTURE^ 
 
 together, 
 
 With anHiftorical, Etymological Explanation of certain 
 
 TERMS, particularly Affeded by 
 
 ARCHITECTS. 
 
 Much Inlarg’d and Improv’d, fince the former Impreffion. 
 
 By JOHN EVELYN, Efq; 
 
 Fellow of the ROYAL SOCIETY. 
 
 TOGETHER, 
 
 With LEON BAPTIST ALBERTI, 
 
 STATUES. 
 
 LONDON : Printed in the Year, 1725. 
 
8TD3TIH3H A 
 
 : . h 10 
 
 ■ ]g\m Wt J 7, AO V [ 
 
 . 
 
 t- 
 
 ■ 
 
 . 
 
n • 
 
 Sir 
 
 T O 
 
 M Y Hhoit Honoured Friend, 
 CHRISTOPHER IV REN, K'. 
 
 Surveyor of His Majefty’s Buildings and Works’ 
 
 SIR, 
 
 T rtSI 1 >u ke . th l?° Idnefs t0 Ad< ™ this Little 
 Wa.k, with the Name of the Mailer of the 
 
 Uorks (whole Patronage alone can give it 
 
 fThf'^A ^ n ° Extu(e but an Ambition 
 ol P ubhckly Declaring the great Efleem I have ever 
 
 had of Jour Venues and AccomplifhmeniS, not only 
 m the Art of Budding but through all the learned Cy- 
 cle O, the molt Ufeful Knowledge and Abjlrujer Sciences 
 
 as we I as of the mofl Polite and Shin.ng: All which is 
 
 o jullly to be allow’d You, that You need no Panern- 
 nc or other H, fiery to Eternize them than th <c greeted 
 Oty of the Um-cerje which You have Rebuilt and Bel 
 Jed and are ftill improving : Witnefs the Church’s 
 
 d ’I ? 3 c Sti a ly H “ ns ' M&**e*, Palaces 
 
 and other Publ.ck Struaures ; beiides what You have 
 
 Bu ~ °!r “ d M agmlicent in both the Univerfities 
 
 of V’ i‘iW in -. the E? 0Untry ’ and aren »w advancing 
 
 ora Marine Hofpital at Greenwich, &c. Ail of 
 them fo many Trophies of Your Skill and Induftry and 
 Conduaed With that Succefs ; that if the whole An 
 
 tV* Pa ■ ’ m ' 8Et be and found 
 
 ? M bt ' 1 1 S ’r the Hiflorical Pillar, and thofe 
 
 d!n l a~ US ° f Y ° Ur Taknt “ d -traor- 
 
 I have named St, Paul’s, and truly, not without 
 Admiration, as oft as I recall to Mind (as frequently 
 
 Ido) 
 
I? Aug. 
 2 Sept. 
 1666, 
 
 The DEV I C AT 10 N. 
 
 I do) the fad and deplorable Condition it was in, when 
 (after it had been made a Stable of HorJ'es, and a Den 
 of Thieves ) You, (with other Gentlemen, and my lelf) 
 were by the late King Charles , nam’d Commiffmers to 
 Survey the Dilapidations , and to make Report to His 
 MajeJly, in order to a lpeedy Reparation : You will not, 
 I am lure, forget the Struggle we had with fome, who 
 were for patching it up any how, (fo the Steeple might 
 ftand) inlbead of New-Building, which it altogether 
 needed : When (to put an End to the Conteft) live Days 
 after, that Dreadful Conflagration happen’d, out of whole 
 AJhes this Phoenix is Rifen, and was by Providence De- 
 fign’d for You' : The Circumflance is too Remarkable , 
 that X could not pafs it over without Notice. I will now 
 add no more, but beg Your Pardon for this Confidence of 
 mine ; after I have acquainted You, That the Parallel 
 (to which this was Annexed) being out of Print, I was 
 Importun’d by the Book-Seller , to add fomething to a 
 New ImpreJJion ; but to which I was no way inclin’d, ’till 
 not long fmce, going to St. Paul’s, to Contemplate that 
 Auguft Pile, and the Progrefs You have made, iome of 
 Your Chief Workmen, gratefully acknowledging the 
 Affiftance it had afforded them ; I took this Opportuni- 
 ty of doing my felf this Honour, who am, 
 
 SIR, 
 
 TVotton. 2 i. Tour moft Humble Servant, 
 
 Feb. 
 
 J. Evelyn. 
 
 To 
 
TO THE 
 
 READER, 
 
 ' | ^ H E Author of the Parallel of the Antient Archi- 
 tecture with the Modern , (which many Years 
 fi nce I made Englijh) had at the end o/VjzjTreatife 
 begun to explain a few of the hard Words , Technical Terms 
 belonging to the Art; the Etymologies whereof he thought ne- 
 ceffary to interpret: And, as If aid, they are but a few indeed, 
 compared to thofe which remain, about a Dozen at the mojl ; 
 nor was it necejfary he fhould exceed that number, in a Coun- 
 try where Workmen are generally more intelligent in the 
 proper Expreffions of the Terms of the Arts unto which 
 they addict themfelves, than ours for the mojl part are ; and 
 therefore, if waving the formal Tranjlation of that Page 
 (for it exceeds very little more) I have in lieu thereof confide- 
 rably enlarg'd upon this Occafion, by a more finijh’dand com- 
 pleat enumeration of the fever al Parts and Members of the 
 Orders, as they gradually fucceed one another in Work, 
 illuflrated with more full and ex ad Definitions (than by any 
 has yet been attempted for the Benefit of our Countrymen.) 
 / hope my Adventure may find both Pardon and Acceptance. 
 Nor let any Man imagine we do at all obfeure this Defign by 
 adorning it with now and then a refin'd, and Philological 
 refearch ; frnce whiljl I feek to gratify the Politer Students 
 of this Magnificent Art, I am not in the leaf difdainful of the 
 lowejl Condefcentions, to the Capacities of the mojl Vulgar 
 Under fiandings ; as far at leaft as the Defects, and Narrow- 
 nefs of our Language will extend, which rather grows, and 
 abounds in Complemental and Impertinent Phrales, and fuch 
 froth (as Sir H. Wotton well obferves from Gualterus 
 RiviusT incomparable Verjion of Vitruvius in the Ger- 
 man Tongue, and is now fo far out-done by the Learned 
 Perault) than in the folid Improvements of it ; by eithef 
 
 B pre- 
 
4 Mr. Wil- 
 lougbie, 
 D- D. Me- 
 rel, Char- 
 leton, 
 Waller, 
 Ray, &c 
 And Mr. 
 Harris in 
 his late 
 tnoji ufeful 
 Lexicon 
 Techni- 
 cum. 
 
 The PREFACE. 
 
 preferring or introducing what were truly needful : And real- 
 ly, thofe who are a little Converfant in the Saxon Writers 
 clearly differed by what they find Innovated, or now rrown 
 Objolete, that we have loft more than we have gain’d-, and as 
 
 Wn )T7 °^n , Arts tn Pabular ', "forgotten and loft a 
 Worldofmoft apt and proper Expreffms which our Fore fathers 
 madeufeof \ without being Oblig’d to otherN mons ; And what 
 care the French have taken upon this Account only , may in part 
 be judged from that pretty, though brief EfTay des Merveilles 
 de Nature & des plus Nobles Artifices, &f c . but efpeci 
 ally by the late Dictionaries , wherein the proper Terms of the 
 mofi \ ulgar as well as more Poli fil’d Arts are Induflriouflv 
 del cered,whilJl(tofi)eakIngenuouJly)I find very littlelmprove- 
 ment in the mojt Pretending Lexicons and Nomenclators yet 
 E * J Bernardinus Ealdus only upon Vitruvius 
 excepted which yet is neither after my Method, nor for 
 
 ZZtfENSfW a f 00k of Price ’ 
 
 in the ^Learned Tongue. It is a very great Deficient 
 indeed and to be deplor d, that thofe indujlrious Compilers 
 did make it no more their Bufmefs togratifie the World with 
 the Interpretation of the Terms of fo many ufeful Arts , I meat 
 the Mechanical: Adnanus Junius has deferved well on 
 
 f l j w U r gr rf Co)nmend ation ; and much it were 
 
 to beWifhed, thatfome Umverfal andPra meal Genius would 
 confummate what he hasfo happily begun, andthatnot only in 
 /k Arts IJhbeml are dijlinguijhed) and things Arti- 
 ficial , but furnifh us likewfe with more ex all Notices of the 
 fever al and diftmcl Species of Natural Things ; f/ch as 
 are the True Names of Birds, F ifl.es, Infers, Stones Co- 
 lours in which divers Worthy * Members of the Royal 
 Society, have already madefo confiderable aProgrefs ■ face it 
 is then and not till then, our Lexicons will have arrived to 
 their fafired Perfection, and that Men will be taught to fpeak 
 (like Orators indeed) Properly on all Subjects, "and oblized 
 to Celebrate their Labours. g 
 
 J. Evel r n. 
 
A N 
 
 A G C O U N 
 
 O F 
 
 ARCHITECTS and ARCHITECTURE \ 
 
 together 
 
 With « Hijhncal ^ 
 
 ocularly AffecHed by ARCHITECTS, j*. 
 
 T ^ul^rfo^having been fjrft ' Ma § nificent and life- 
 we fliould not 1 without Lfint^I ^ 3 the 
 
 or innovate thofe T^/ wh^h if hL elther *%ht’ 
 
 upon the particular Members and C) p eafed fl | era to Impofe 
 feveral Orders ; and that as well J t£ VeTe V ^ °u^ g to the 
 as that ly'G 0 niSrt^^^ W, ^ isdueto 
 we may with the more Facility and AddreF C a ff 1S - nl p a u°? ° f them j 
 and Genuine Meaning of whattfie Mafters in thk PMff'&T 
 liver d to us in their feveral Writings and Works no fZ^ra de_ 
 on ('what is yet not to be defpis’d) the TWn ’ r r t0 up- 
 
 ferly, in an Art which the greateftPriLr and Pof ft Tro ' 
 
 have Vouchfafed to Honour by fo manvl tfnT 7ufl he Earth ’ 
 numents, as do to this Day confecrate their M a " d I1, “ ftr,0Us Mo- 
 Since the Redoes 
 
 Workman is by Natural Order before his Wn -h " and the ^erfon or f‘ k 
 to underhand, A Perfon Skilful in iljyf flff hy %f rchitecH 
 is Wtom a Compound in the i, The Word 
 
 feSlus or if you will Informat or^Ach lhe Pn^lnf 
 or Surveyor of the Works does fully exnrefs • hi f- ft rme ' ld ^ 
 to the Fabri that are under hin/as the On w ^emg relative 
 Subfervient to them ’ e or Labourers are 
 
 b/STend "ng hi "fea^SiT( S* “ 3 - - ca pa- 
 
 takes in Hand. Rmmuan, ,a °\ what he 
 
 ~rst7,£z£rM>-~ mfWfft : 
 
 «»« Tru s* rmtjT'ZiSZjZlft 
 
 a r* 
 
2 
 
 Account of Architects 
 
 artificio difertum , quam Or atom fuijfe, deOrat. I. Seeing his Know- 
 ledge and Ability in this Faculty did not at all Eclipfe and Diminilh 
 his Eloquence and other excellent Parts, but rather added to them ; 
 and this I urge to fhew that it was no mean thing for a Man to ar- 
 rive to the Talents of an accompliffi’d Architcdl ; as he that (ball 
 take his Character out of Vitruvius will eafily conclude ; Itaque Ar- 
 c bite dii (fays he ) qui fine litem contenderunt , ut mariibw cjfent exer- 
 citati , non potuerant efficere ut haberent pro labonbm Authoritatem as 
 if Hands could do little in this Art for their Credit without Letters i 
 Nay, fo Universal will this great Dictator have him ; that in thofe 
 Duodecim necefiarta , he fums up no lefs than Twelve rare Qualities 
 which he would have him furniih’d withal ; Jtaque eum 1 ? Ingeniofum , 
 & c. I will but only touch them : i . He mull be Docil and Ingeni- 
 ous. 2. He muft be Literate. 3. Skilful in Defigning and Drawing. 4.. 
 In Geometry. 5. Opticks. 6. Arithmetic k. 7. Hiflory. 8, Thilojophy. 
 9. Mufick. 10. Medicine. 11. Nay, in Law ; and 12. Ajirology • and 
 really, when (as in the following Chapter) he there affembles his 
 Reafons for all this, you will be both fatisfied with them, and Ju- 
 ftifie his Curiofity. Not that an Architect is obliged to be an Accu- 
 rate Arifiarcbws in Grammar , or an Arifioxenm in Mufick , an AppeUes 
 or a Raphael for Defigning ; in fum, an exaft Trofejfor in all thefe Fa- 
 culties, fed in his non Imperitus : Sufficient it is he be not totally a 
 Stranger to them ; fince without Letters he cannot confult with 
 Authors: Without Geometry and the Graphical Arts, he will never 
 be able to meafure out, and call the Area ; draw the 1 Plot and make 
 the Scale : Being Ignorant of the Opticks he can never well under- 
 ftand the due placing of his Lights , Diftance, Magnitude and Di- 
 menlions of Ornaments: By the affiftance of Arithmetick he Cal- 
 culates the Proportions of the feveral Orders , fums up his Accompts , 
 and makes an Eftimate of the Charge : Being Read in Hiflory he 
 comes to Difcourfe of the Reafons, and Original of many particular 
 Members and Decorations, the Height, Improvement, and Decay 
 of this Art ; why the Greeks inftituted the Order of the Caryatides , 
 and the Terfian Entablatures were fupported by Slaves-, how the 
 Corinthian Capitels came to be adorn’d with Foliage , the Ionic with 
 a Matron-like Voluta , &c. By the ftudy of Tbdojopby he arrives to 
 tire Knowledge of Natural Things, and is able to dilcern the qua- 
 lity of the Elements , and the Materials which he makes ufe of: 
 From fome Infight in Medicine he can Reafon of the Temperature 
 and Salubrity of the Air, and Situation: Mufick will affill him in 
 contriving how in Churches , Tribunals and Publick Theatres , Men 
 may with bed: Advantage hear the Treachers , Magiflrates and Aclors 
 Voices : Without fome Tinfture in the Laws , he cannot be lecure of 
 his Title ; and being wholly Ignorant of Ajirology , Pofition and In- 
 fluences of the Ccelejlial Bodies , the Days, Winds, Weather , Equi- 
 noxes 
 
3 
 
 and Architecture. 
 
 notes, and Courfe of the Heavenly Orbs fas to Bruits) pafs over 
 without Obfervation, Benefit, or Prevention of their Effects. To 
 this Purpole (though much more at large) Vitruvius : But by this 
 you mav fee how^neceffary it is, that an accomplilh’d Matter-Builder 
 fhould be furmlh d beyond the Vulgar, and I have been the longer 
 in the Repetition, not only that I may advance his Reputation, and 
 for Encouragement ; but to (hew that in the proper Notion (and as 
 the great ‘Plato has fomewhere defign’d him) Nullus Architects utu dm a* 
 tur mmmrn Opera, fed utentibus prAft. An Architect is not to be ta- t g 2i, is 
 ken for the commonly illiterate JMechamck (which may bring it j nto P hiIct,us - 
 Contempt) but for the Perfon who Superintends, and Prefides over 
 him with fo many Advantages : Yet neither is this to the Difhonour 
 of the meaneft of thole Excellent W^orkmen^ who make ufe of their 
 Rands and Tools in the groffer Materials, fince God himfelf, and AT 
 tute, the Univerfal Builders, are by Tranjlation truly ftyl’d Architects, 
 both as to what they have excogitated fo wifely, and wrought fo 
 Artificially. J 
 
 J is t ^ crl fpoken of the Superintendent in particular, whom for 
 Dtftmaion lake and the Charafter affign’d him we may name Hr- 
 chneaus Ingenio : For fince to the Perfection of an accomplilh’d 
 Fund mg there were three Tranfcendencies required : i. Strength, a. 
 
 Utility, and 3 . Beauty , for the apt Difiribuhon, ‘Decor and Fitnefs, 
 Symmetry and Proportion ; there was likewife neceflfary as many Ca- 
 paaties ; and that befides the judicious Head there Ihould be a’Skil-. 
 ful TL m , to which let us add, Arc bit edits Sumptuarms , a full and 
 overflowing Turje : Since he who bears this may juilly be alio ftiled 
 a Builder, and that a Mafier one too ; as being the Perfon at whofe 
 Charge, and for whofe Benefit the Fabrich is erected ; and it is indeed 
 the pnmum mobile which both begins, and confummates all defigns 
 of this Nature ; for if that ingredient come once to fall fhort, Men 
 build their Monuments, inftead of their Houfes , and leave Marks of . 
 Difhonour foi Fables of Renown, Homo ijle ccepit adificare i? nequu Eccief. s. 
 vit perficere , Tis Man began to Build, and was not able to finifh 
 Yet thus have I known fome Excellent Perfons abus’d ; who trufting 
 to the Computation of either Dilhoneft, or Unskilful Artifts, 
 have been forc’d to defift, fit down by the Lofs, and fubmit to the 
 Kepioach . But fo it leems would not the Greeks fuffer themfelves 
 to be Over-reach’d ; when thofe great Builders of the Ephefians (who 
 knew lumciently what a Mifchief it was to the Publick, as well as to ‘ 
 Private MenJ ordain d it for a Law ; That if a Clerk undertook a 
 IVork and fpent more than by his Calculation it amounted to, he 
 lhould be obliged to make it good out of his own Eftate ; whilft they 
 moft Liberally and Honourably rewarded him, if either he came 
 within what was firft defign’d, or did not much exceed it. And this 
 was elteem d fo reafonable (upon confideration how many Noble 
 
 C Perfons 
 
4 
 
 -Reg. 
 22 . 7. 
 
 * Office 
 L 2.J 
 
 Account of Architects 
 
 Perfons had been undone, and Magnificent Structures left Imperfect) 
 that Vitruvius writing to the great Augustus concerning this Subject, 
 withes the fame Conftitution were in force at Rome alfo : But thus 
 1 have done with our ArchiteClus Sumptmrius. I come to the 
 
 Manmritts , the third and laft, but not the lead: of our Subjidiaries ; 
 for in him I comprehend the feveral Artizans and Workmen, as Ma- 
 fons , Stone-cutters, Lfttarry-men, Sculptors , Plajlerers , ‘Painters , Car- 
 penters , Joyners , Smiths, Glaziers , and as many as are neceffary tor 
 carrying on of a Building till it be arriv’d to the Perfection of its firft 
 Idea. But tho’ it is not (as 1 faid) expeCted that thefe thould trouble 
 themfelves with much Learning, or have any thing to do with the 
 Accomplilhments of our Majler Superintendent : Yet, fince an 
 ExaCt and Irreproachable Piece of Architecture thould be noXapdf totius 
 Mathefeas. , the Flower, and Crown as it were of all the Sciences Mathe- 
 matical , it were infinitely defirable that even every Vulgar Workman 
 whofe Calling is Converlant about ‘Building, had attained to fome 
 Degree of competent Knowledge in the more eafy and ufeful Princi- 
 ples of thofe Lineary Arts , before they were admitted to their Free- 
 dom, or employed in Defigns of Moment. And truly, if a tho- 
 rough Infight of all thele (as undoubtedly they are) be neceffary to 
 a good Artift ; I know no Reafon but l'uch a Perfon (however it 
 hath pleafed our Umverfities to Employ and Decree their Chairs ) 
 might with very juft Reafon be alfo numbred inter liberalium difci- 
 plinarum Profejfores , and not thruft out as purely Mechanical, inter 
 opificis, a Converfation hitherto only admitted them ; as if Talking, 
 Speculation and Theories, were Comparable to ufeful Demonjlrations 
 and Experimental Knowledge ; in a Word, the very Name imports 
 an Fixcellency above other Sciences ; fo as when the * Orator would 
 Exprefs a Superiority above them, for its vaft Extent and Compre- 
 henfion ; he mentions Archil eClure with the Firft, diftinCt from the 
 Illiberal : Great Pitty then I fay it is, that amongft the Profejfors of 
 Humanity (as they call it) there (hould not be fome Ledures and 
 Schools endowed and ftirnilh’d with Books, Injlruments, Plots, Types 
 and Models of the moft excellent Eabricks both in Civil and Military 
 Architecture, where thefe moft Noble and Neceffary Arts might be 
 Taught in the Englijh and Vulgar Tongue, retriev’d to their proper 
 and Genuine Significations ; and it is to be hoped, that when his Majejly 
 fhall perfeCt his Royal Palace of White-Hall according to the Delign, 
 he will in Emulation of thofe Heroes, Francis the Firjl, Henry the 
 Fourth , Cofimo de Medices , the Dukes of Ur bin, Richlieu , and other 
 Munificent Spirits, Deftine fome Apartments lot the Eafe and Encou- 
 ragement of the ableft Workmen in this, as in all other ufeful. 
 Princely and Sumptutm Arts : I mean for Printers , Painters , Sculptors , 
 Architects, 8cc. by fuch Liberal Honoraries as may draw them from 
 all Parts of the World to Celebrate his Majejly by their Works to 
 
 Pofte- 
 
5 
 
 and Architecture. 
 
 Poderity, and to Improve the Nation ; From fach a Bounty and Vteuv ^ 
 Provision as this it appears to have been, which made Vitruvius to w 
 leave us thofe his incomparable Books, that we have now enjoy’d L ‘" 
 for fo many Ages ; for fo he acknowledges it to the Great Augujlm , 
 
 Cum ergo eo beneficw ejfem Obligatue , ut ad exitum Uitse non haberem 
 inoptee Umorern , &c. 
 
 1 might upon this Occafion fpeak fomething here concerning the 
 Matter and Form of Buildings, which after the Perjons who under- 
 take them, are their mod Solid and Internal ‘Principles ; but 1 pur- 
 pofely pafs them over at prefent, becaule they do not properly be- 
 long to this Difcourfe, but to lome more intire Treatife of the 
 whole Art than is yet extant amongft us, and to be delivered by 
 fotne Induftrious Perlbn who fhall oblige the Nation with a thorough 
 Examination of what has already been written by Vttruvm 1 . a. c. 3. 
 ad 9. Palladio 1. c. 2. Leon Alberti 1 . a. c. 45, 46. ‘Don Barharo 1 . it. 
 
 Sir H. Wotton in his Concife and ufeful Theorems , Dejgodes , 
 
 D' Avdar , Permit , Blondel , and others ; and in what fhall be found 
 mod Beneficial for our Climate ; it were I fay, becoming our great 
 Needs that l'ome Ingenious Perlbn did take this in Hand, and Advance 
 upon the Principles already eftablilh’d, and not fo Acquielce in them 
 as if there were a Non Ultra Engraven upon our Columns like thole of 
 Hercules , after which there remained no more to be difcovered ; at 
 lead in the Apprehendon of our Vulgar Workmen, who for want of 
 fome more folid Directions, Faithful and eafy Rules in this Nature, fill 
 as well whole Cities as Private Dwellings with Rubbilh and a thoufand 
 Imfirmities, as by their want of Skill in the Profedion, with the mod 
 fhamefnl Incongruities and Inconveniencies in all they take in Hand ; 
 and ail this for want of Canons to proceed by, and Humility to learn ; 
 there being hardly a Nation under Heaven more conceited of their 
 "Underbandings and Abilities, and more impatient of Direction than 
 our Ordinary Mechanicks : For let one find never fo jud a Fault with 
 a Workman , be the fame of what Myfiery foever, immediately he fhall 
 reply, Sir, I do not come hither to be Taught my Trade, I have 
 ferv’d an Apprenticejhip , and have wrought e’re now with Gentlemen 
 that have been fatisfied with my Work, and fometimes not without 
 Language of Reproach, or calting down his Tools, and going a- 
 way in Wrath ; for fuch 1 have frequently met withal. I do not 
 fpeak this to diminilh in the lead from the Capacity and Apprehendon 
 of our Nation who addiCt themfelves to any of the mod Polite and 
 Ingenious ProfeJ/ions, but to Court them to more Civility, and to 
 Humble the Ignorant : For we daily find that when once they arrive 
 to a thorough InfpeCtion and Addrefs in their Trades , they Paragon, 
 if not Exceed even the mod Exquifite of other Countries, as we 
 may fee in that late Reformation and Improvement of our Lock- 
 Smiths work, Joyners, Cabinet-makers and the like, who from very 
 
 Vulgar 
 
6 
 
 Account of Architects 
 
 Vulgar and Pitiful Artifls , are now come to Produce Works as Curi- 
 ous for the Filing, and admirable for their Dexterity in Contriving , 
 as any we meet with abroad, and in particular to our Smiths and Joy- 
 ners, they Excell all other Nations whatfoever. 
 
 But as little Supportable are .another fort of TTorkmen, who from 
 a good Conceit of their Abilities, and fome Lucky Jobb (as they 
 call it) do generally Ingrofs all the Work they can hear of, while in 
 the mean time they Difdain almoft to put their own Hands to the 
 Fool , but for the moft part employ their Apprentices, or fome other 
 Ignorant Journey-men ; as if the Fame of their Majiers Abilities did 
 any thing contribute to the well Performance of Work undertaken, 
 whilft in the interim He hardly appears himfelf till all the Faults be 
 flubber’d over, the Remedy either impoffible or expenfive, and ouv 
 Majler ready to receive his Money, which fuch Gentlemen Mecha- 
 nicks commonly confume on Eafe and Bravery, being puffed up with 
 an empty Conceit of their own Abilities, which (God knows) is very 
 Indifferent, and the lels for want of Exercife and Humility : A Pra- 
 ctice contrary to the Ul'age of all other Nations, that even fuch as by 
 their Knowledge in this Kind, have Meritorioufly attained to the 
 Titles of Military Dignity, have notwithftanding purlued their 
 Employments and Callings in Perfonal Cares and Affiduous La- 
 bours, to their eternal Fame fo long as one Stone fhall lie upon ano- 
 ther in this World, as I could abundantly exemplifie in the Works of 
 Cavalieri Fontane , Bramanti , Sanfovino , Baglione , Bernini , Fiarnin«o , 
 &c. whole egregious Labours, both before, and fince the Accumu- 
 lation of their Honours, do lufficiently juftifie what I report con- 
 cerning them. And that all fuch may know I reproach no Man out 
 of Spleen or the leaf!; Animofity to their Perfons (for fuch as are 
 not Guilty will never be offended at my Plainnefs, or take this for a 
 Satyr ) I cannot but exceedingly Redargue the want of more Ac- 
 quaintance in thefe fo neceffary and becoming Arts even in moft of 
 our Nobility and Gentry , who either imagine the Study of Archite- 
 cture an ablolute JVon-neceJJary , or Forfooth a Diminution to the reft 
 of their Education, from whence proceeds that miferable lols of fo 
 many irrecoverable Advantages during their Travels in other Coun- 
 tries, as appears at their return ; whereas if they were truly conli- 
 dered, there is nothing which does more properly concern them, as 
 it Contributes to their external Honour, than the Effects of this Uluftri- 
 ous Art : Belides, thefe being Perfons of better Parts, are moft 
 likely to be furnilh’d with the beft Abilities to learn, and fo confe- 
 quently enabl’d to examine, and direCl fuch as they (hall fet on 
 Work, without reproach either to their Conveniency or Expence 
 when they at any time Build, not forgetting the Ornament and Luftre 
 which by this means Rich and Opulent Structures do add to the Com- 
 monwealth ; there remaining at this Day no one particular, for 
 
 which 
 
and Architecture. 
 
 which Egypt, Syria , Greece , my Rome her felf ( beheld in all their 
 State , Wijaom and Splendor ) have been more admir’d and celebrated, 
 than for the Glory, Strength and Magnificence of their Incomparable 
 Buildings ; and even at prefent, the molt noble Touth of Italy are 
 generally fo well furnilh’d with, Inftruftions touching this Laudable 
 At, that the Knowledge of Architecture (and to fpeak properly in 
 its Terms , 1 1c. ) is univerfal, and fo cherifh’d, even in Men of Ob- 
 fcure extraction, that (as is already inftanc’d) Archil eels ( l mean 
 the Mamary as well as Ingemary ) have been, and are yet often re- 
 warded With Knighthood, and the Art profefs’d as a moil: becoming 
 and neceflary Accomplifhment in divers of their Academies : Add to 
 this the Examples of fo many great and illuftrious Perlons as (with- 
 out mentioning thofe our Majler has recorded in the Preface to 
 his feventh Book) I might here bring upon this Theatre , famous for 
 their Skill and Encouragement of this Sumptuous Art ; EmpbroUrs , 
 Kings , Topes , Cardinals and Princes innumerable, who have all 
 of them left us the permanent Monuments of it in the feveral places 
 of their Dominions, befides the infinite Advantage of well manag- 
 ing of great and Tut lick Expepces, as well as the moil: Private and 
 Oeconomical , an handlom and well contriv’d Houfe being built at a 
 tar lets Charge, than commonly thofe irregular Congeflions , rude 
 and brutillr Inventions, which generally fo deform and incommode 
 the feveral Habitations of our Gentry both in City and Country. 
 
 But 1 have done, and I hope all that love and cherifh thele Arts , 
 and particularly that of Architecture, will not be offended at this Z eal 
 of mine in befpeaking their Efteem of it ; fince if I have laid any 
 thing in Reproof of the Errors either of the Terfons who pretend to 
 it, or of the JVorh which they do to its Difgrace ; I have only lpoken 
 it that both may be reformed and made the better. But leaft w'failft 
 I thus difcourle of the Accomplifhment s of our Artijls , and defeats of 
 the ‘Pretenders, I my felf be found Logodcedalus , and as they fay, Ar- 
 chiteclus V irhorum only, I proceed from the Terfon to the Thing. 
 
 Architecture, confider’d as an Art, was doubtlefs (as all others 
 were) very Mean and Imperfeft at firft p when from dark Caverns, 
 hollow Trees, delpicable and lorry Hovells and Cabanes, made with 
 their rude Trunks, cover’d with Sods of Turf or Sedge, to proteft 
 themfelves from the Injuries of the Weather, and Wild-Beafts ( as at 
 prefent Savage People do) Men liv’d not much better Accommodated, 
 than Beafts themfelves, wandering from Place to Place; either to Hunt, 
 and in queft of Food, or to find Pafture ; where like the Nomades, 
 with little Care or Labour, they make them Huts again, to Ihelter 
 them! elves as before ; till coming into fome more Fertile and Fruit r 
 ful Country, and finding no more neceffity of ftraying farther, or 
 removing lo often ; they then ’tis likely begun to Build more Sub- 
 ftantially and Commodioufly ; and as Plenty, their Families and Ci- 
 
 D vility 
 
8 
 
 ArchiteR- 
 
 ura. 
 
 Demon- 
 
 ftratio. 
 
 Account of Architects 
 
 vility increas'd ; began to Inlarge, and make their Habitations, as 
 well lefs Rudely, as more Convenient ; proceeding in trad of time to 
 great Politenefs, _ and to that height of Splendor and Magnificence ; 
 as at laft, Ingenious Men, from long Experience {fill advancing in 
 Improvements, began to frame fuch Rules and Precepts for Building, 
 as lhould anfwer to all thofe Perfections defirable in a Building , namely, 
 Solidity , Ufe , and Beauty , and this Art was called, 
 
 ■ Architecture a T erm deriv’d from the Greek Subftanti ve 'Ap%m*iSmn«, 
 and which is by fome taken for the Art it felf, by others' for the* 
 Work, cedificio ipfo 1? Opera, (by us for both) is thus defin’d ; Scien- 
 tui plurtbus difetphms , 1? varus eruditiombus ornata , cujus judicio pro - 
 bantur, omnia quae a cactris artibus perficiuntur, opera. Architecture 
 (fays our Malfer Vitruvius) is a Science qualified with fundry other 
 Arts , and adorn d with variety of Learning, to whofe Judgment 
 and Approbation all other Works of Art fubmit themlelves. Or 
 rather in fhort, and as effe&ual cujus pracceptis diriguntur, A' judicio 
 probantur, &c. for fo it feems to be more explicite • fince in a Geo- 
 metrical Problem there are both the ConftruCiion, or Diredlion Opens 
 faciendi, which thefe Pr accept a define ; and alfo, the Demonjlration or 
 Probation Opens jam faCli, which is fpecified by the judicium in the 
 Vitruvian Definition. 1 conceive therefore the JirJl part to be the 
 more Effential and lnfeparable ; the latter to be but the Refult of 
 the former , and no more Ingredient into the Art, than the Image of 
 ones Face in a Glafs is conftitutive of the Man. 
 
 But to forbear any farther Glofs, you fee what a large Dominion 
 it has, and I might go on : Ea nafcitur ex fabnea if; ratioctnatione , 
 to {hew that fhe is the Daughter of Building, and ‘Demonjlration: 
 Then, (for fo I affedt to render it) that Building is the refult of an ar- 
 duous and manual Practice or Operation upon apt Materials according to the 
 Model propounded ; and laftly, That our Ratiocination is an Ability of 
 Explicating what we have done by an Account of the juft Proportions ; In a 
 Word, it is the Art of Building well, which (taken in the large 
 Senfe) Comprehends all the forts and kinds of Buildings whatfoever, 
 of which there are more efpecially Three ; which tho’ differing in 
 their Application, Defign land Purpofe, are yet of near Relation to 
 one another, and therefore not improperly, under the fame Deno- 
 mination, with their refpedive Adjuncts of Diftinftion : For ln- 
 ftance, The Building of Ships, and other Veffels for Sailing, War 
 and Commerce, Ac. is call’d Naval Architecture : The Art of Forti- 
 fication and Defence of Places Military Architecture • which, tho’ un- 
 der the fame Rules and general Principles, whereby to work and 
 proceed (but indeed making ufe of different Terms of Art ) yet pals 
 they under the fame general Name of Architecture. Now for as 
 much as there ’9 only One of thefe, which properly concerns the pre- 
 fent Subject (as being indeed the moff Eminent, and Firfi in Order) 
 
 we 
 
and Architecture. 9 
 
 we are here to underftand by Architecture, the Art and Skill of Civil 
 Building for Dwelling-Houfes, Commodious Habitations, and more 
 Publick Edifices. 
 
 What pretence this part of Architecture has to both the other kinds, 
 namely, the Naval and Military ; the Foundation and Building of 
 Cities, Walls, Towers , Magazines, Bridges, Torts , Moles and Havens, 
 abundantly (hew ; together with what our Great Mafier Vitruvius, has 
 taught in the ConftruCfion of divers Machines, and Warlike Engines, 
 as well for Offence as Defence : and to fhew how Reconcilable all 
 thefe different forts of Building are to one another ; we have a Modern, 
 but an Illuftrious Inftance, in that Surprizingly Magnificent Piece of 
 Ait, the Tentagonal Talace ereCted for Cardinal Alexander Furneze at 
 Caprarola ("within twenty Miles of Rome) by that Excellent and Skil- 
 ful Architect Vignola , one of the Firft Rank and Clafs of Artifts in the 
 foregoing Tarallel. 
 
 With Reafon therefore, as well as Right, has the Surveyor of His 
 Majeflies W nks and Buildings, both the Military, as well as Civil Ar~ 
 chiieffure, properly under his Intendency and InfpeCtion, by a Grant 
 (as 1 have heard) of many Hundred Years paft. But 
 
 To Enlarge on the feveral Heads of Civil Architecture (of which 
 there are very many) would be to Extend this Difcourfe to a length 
 not lo proportionable to that which is defign’d : Let it then Suffice 
 to take Notice, That it is the Antient Greek and Roman Architecture 
 only, which is here Intended, as moft entirely anfwering all thofe 
 Perfections requir’d in a Faultlel's and Accomplifh’d Building ; fuch 
 as for lo many Ages were fo Renowned and Reputed, by the Uni- 
 verfal Suffrages of the Civiliz’d World, and would doubtlefs have 
 ftill fubfifted, and made good their Claim, and what is Recorded of 
 them ; had not the Goths, Vandals and other Barbarous Nations 
 Subverted and Demolifh’d them, together with that Glorious Fmpire\ 
 where thofe (lately and pompous Monuments (food ; Introducing 
 in their Head, a certain Fantaftical and Licentious manner of Build- 
 ing, which we have fince call’d Modern (or Gothic rather) Congeft- 
 ions of Heavy, Dark, Melancholy and Monkijh Tiles , without any 
 juft Proportion, Ule or Beauty, compar’d with the truly Antient : 
 
 So as when we meet with the greateft lnduftry, and expenfive Car- 
 ving, full of Fret and lamentable Imagry ; fparing neither of Pains 
 nor Coft ; a Judicious Spectator is rather DiftraCted and quite Con- 
 founded, than touch’d with that Admiration, which refults from the 
 true and juft Symmetric, regular Proportion, Union and Difpofition ; 
 
 Great and Noble manner, which thofe Augujl and Glorious Fabrics 
 of the Antients ftill Produce. 
 
 It was after the Irruption, and Swarms of thofe Truculent Peo- 
 ple from the North ; the Moors and Arabs from the South and Eaft, 
 over-running the Civiliz’d World ; that wherever they fix’d them- 
 
 felves, 
 
io Account of Architects 
 
 felves, they foon began, to Debauch this Noble and Ufeful Art ; 
 when inftead of thofe Beautiful Orders , fo Majeftical and Proper 
 for their Stations, becoming Variety, and other Ornamental Ac- 
 ceflories ; they fet up thofe Slender and Mifquine Pillars , or rather 
 bundles of Staves , and other incongruous Props, to iupport incum- 
 bent Weights, and pondrous Arched Roofs, without Entablature ; 
 and tho’ not without great Induftry fas M. HAviler well obferves) 
 nor altogether Naked of Gaudy Sculpture, trite and bufy Carvings ; 
 ’tis l'uch as rather Gluts the Eye, than Gratifies and Pleafes it with 
 any realonable Satisfaction : For Proof of this (without Travel- 
 ling far abroad) I dare Report my felf to any Man of Judgment, 
 and that has the leaft Tafte of Order and Magnificence ; If after he 
 has look’d a while upon King Henry the Vllth’s Cbappel at Wejlmin- 
 jler ; Gaz’d on its (harp Angles , jetties, Narrow Lights, lame Sta- 
 tues, Lace and other Cut-work and Crinkle Cr ankle • and (hall then turn 
 his Eyes on the Banqueting-Houje built at White-Hall by Inego Jones 
 after the Antient manner ; or on what his Majejlies prefent Surveyor 
 Sir ChriflopherWren has lately advanc’d at St. ‘Pauls ; and confider what 
 a Glorious Object the defign’d Cupola , Portico , Colonads and other (yet 
 Unfinifh’d) Parts, will then prefent the Beholder : Or compare the 
 Schools and Library at Oxford with the Theatre there ; or what he has 
 lately ]&\i\\tatTrtnityCollege\nCambridge, andfinceall thefe at Greenwich 
 andotherPlacesfby which time our Home-Traveller, will begin to have a 
 juft Idea of the Antic, U and Modern Architecture') I fay, let him well con- 
 Tider, and compare them judicioufly, without Partiality and Prejudice ; 
 and then Pronounce, which of the two Manners (trikes the Underftand- 
 ingas well as the Eye with the more Majelty, and lolemn Greatnefs ; tho’ 
 in fo much a Plainer and Simple Drefs, Conform to the RefpeCtive 
 Orders and Entablature ; and accordingly determine, to whom 
 the Preference is due : Not as we faid, that there is not fomething 
 of folid, and Odly Artificial too, after a fort : But then the llniver- 
 ial and unreafonable Thicknefs of the Walls, Clumfy Buttreffes, 
 Towers, (harp pointed Arches, Doors and other Apertures, with- 
 out Proportion ; Non-Senfe Infertions of various Marbles imper- 
 tinently plac’d ; Turrets and Pinacles thick fet with Monkies and 
 Chynueras (and abundance of buify Work and other Incongruities) 
 diffipate and break the Angles of the Sight, and fo confound it, 
 that one cannot confider it with any Steadinefs, where to begin or 
 end ; taking off from that Noble Aier and Grandure , Bold and Grace- 
 ful Manner, which the Antients had fo well, and judicioufly Efta- 
 blifh’d : But, in this fort have they, and their Followers ever fince 
 fill’d, not all Europe alone, but Afia and Africa befides, with Moun- 
 tains of Stone, vaft and Gygantick Buildings indeed ; but not Wor- 
 thy the Name of Architecture : Witnefs (befides frequent Erections 
 in thefe Kingdoms, Inferior to none for their utmoft Perform- 
 ances) 
 
and Architecture. 
 
 ances) what are yet ftanding at Weftminfier, Canterbury, Salisbury , 
 Peter bar ow. , Ely , Wells , Beverly, Lincoln, Gloucejler , Tork, Durham , 
 and other Cathedrals and Minfiers : What at Utrecht , Harlem , Ant l 
 voerp, Strasburg , Bafil, in the lower and upper Germany : At Amiens 
 Paris, Roan , Tours, Lyons, &c. in France ; at Milan, Venice, Florence 
 nay in Rome her felf : In Spain , at Burges, and Seville , with what 
 the Moors have left in Athambrant, Granada. The Santa Sophia at 
 Constantinople ; That of the Temple of the Sepulchre at Jerufalem (at 
 the Decadence at lead of the Art.) The Zerifs Palace at Morocco, 
 fee. befides the innumerable Monafteries and Gloomy Cells , built in 
 all theic Places by the Chrijhans, Greeks, Latines, Armenians, Floors 
 and others fince the Ruin of the Empire • and compare them (al- 
 moft numberlefs as they are) with One St. Peters at Rome only, 
 which, with the reft of thofe venerable Churches, Superb and Stately 
 Palaces there and at Naples , Florence, Genoa, Efcurial , Paris, Amjler- 
 dam, & c. were yet all but forry Buildings, till Bramante , ’ Raphael, 
 Mich. Angelo , Palladio , (Bernini,) and other Heroes and Mafters of 
 our Parallel, Recover’d and even Raifed this Art to Life again and 
 Reftor’d her to her Priftine Splendor and Magnificence, after fo te- 
 dious and difmal a Night of Ignorance and Superftition, in which 
 Architecture had lain Buried in Rubbifh, and fadly deform’d for fo 
 many Ages : The lame may likewife be affirm’d of all thofe other 
 Arts attendant upon her, Sculpture and Painting efpecially, and in- 
 deed ot Letters , and all good Learning too, which had about this 
 time, their Ref uf citation alfo ; In a Word, and after all that has been 
 laid of Architecture Antient or Modern ; ’tis not we fee enough to 
 Build for Strength alone (for fo thofe Gothic Piles we find Hand ' their 
 Ground, and the Pyramids of HLgypt have out-lafted all that Art and 
 Labour have to ffiew) or indeed for bare Accommodation only, with- 
 out due Proportion, Order and Beauty , and thofe other Agreements 
 and Genuine Characters of a Perfect, and Confummate Building ; 
 and therefore an Art not fo eafily attain’d by every Pretender, nor 
 in Truth at all ; without a more than ordinary Difpojition, accom- 
 panied with Judgment, Induftry and Application ; due Inftru&ion, 
 and the Rules of Art Subfervient to it. Thus Accompliffi’d, an Ar- 
 chitect is perfectly qualified to antwer all the Tranfcendencies of this 
 Noble Art, which is to Build Handfomly, Solidly and Ufe fully. 
 
 We have already fpoken of Workmen, and Manuary Affiftants, in 
 the foregoing Paragraphs, without whofe more than ordinary Skill 
 and Diligence, the Learned’!!: Architect miftakes the Shadow, for 
 Subftance, umbram , non rem conjecutm videtur, and may ferve to rear 
 a Tabernacle , not Build a Temple, there being as much difference 
 between Speculation and PraChce in this Art, as there is between 
 a Shadow and a Subfiance ; but with what Advantages thofe Per- 
 ions proceed who both know, and can apply, 1 have already 
 
 E De- 
 
12 
 
 Taxis • 
 
 Account of Architects 
 
 Demonftrated ; and when we confider that the whole Art eonfifts in 
 the moft ExaCt and Elegant Order imaginable, it is not to be won- 
 dered there have been fo few able Men of the Trojejfion : Sir H. Wot- 
 ton , who reckons thole two Parts for one, that is, the fixing of the 
 Model to a full Expreffion of the firft Idcea* pafles (with our Majler) 
 to the Species or kinds of this ‘Difpojition, 
 
 Taxis , or as Architects call it, Ordonance ; as defined by our 
 Majler , to be that which gives to every part of a Building the 
 juft ‘Dimenjion , relating to its Ules ; Mr. Terault fuppofes neither fo 
 explicit, nor as the Thing it felf requires, or anfwerable to the In- 
 tention ; which he takes to confift in the ‘Dimjion of the Tlan or 
 fpot of Ground on which one intends to Build ; fo to be apportion- 
 ed and laid out ( as to the Dimenfion of the refpeftive parts, refer- 
 ring to their Idle) as eonfifts with the Proportion of the whole and 
 intire Fabric ; which in fewer Words, I conceive differs little from 
 the Determinate Meafures of what’s afligned to Compole the feve- 
 ral Appartments ; to which fome add. That which gives the utmoft 
 Perfection to all the Parts and Members of the Building : But (to 
 proceed with the Learned Commentator) ’tis the judicious Contri- 
 vance of the Thin or Model , which he means by Ordonance here : As 
 when, for Inftance, the Court , the HaU, Lodgings and other Rooms are 
 neither too large, or too little : v. g. That the Court afford conve- 
 nient Light to the Appartments about it, and be large enough for 
 ui'ual Accel's ; That the HaU be of fit Capacity to receive Company : 
 Tiie Bed-Chamber s for Perfons of Q.uality, and others ; Or elfe 
 when thefe Divifions are either too great, or too fm all, with RefpeCt 
 to the Place ; as a very large Court would be to a little Houfe , or 
 a little Chamber in a great and Noble Talace : Whereas Diathejis , 
 Difpofition, is where all the Parts and Members of a Building are 
 aflign’d their juft and proper Places, according to their Quality, Na- 
 ture, Office Rank and Genuine Collocation ; without Regard to the 
 Dimenfion or Quantity, which is another Coniideration, as Parts of 
 Architecture • tho’ ftill with Relation to its Perfection. Thus the 
 Vejhbule or Porch, ffiould precede the Hall ; The Had the Tarlor , 
 next the Withdravuing-Room , which are of Ceremony, 1 fpeak (as 
 with us in England) where the Firfi Floor is commonly fo Compoled 
 of : The Anti-Chambers , Bed-Chambers , Cabinets , Galleries and Rooms 
 of Tarade and State in the Second Stage, luitable to the Expence 
 and Dignity of the Owner : I fay nothing of the Height , and other 
 Dimenfions ; becaufe there are Eftablilh’d Rules : But it is what I 
 have generally oblerved, Gentlemen (who are many times at con- 
 fiderable Charges in otherwile Handfome and Convenient Houles) 
 moft of ail to fail in ; not allowing Decent Titch to the refpeCtive 
 Rooms and Appartments, which I find they conftantly Repent when 
 ’tis too late : One fhould feldom therefore allow lefs than Fourteen Feet 
 
 to 
 
and Architecture. i ■] 
 
 to the Firji Floor ■; Twelve, or Thirteen to the Second , in a dwelling 
 Houle of any confiderable Quality ; to greater Fabrics, and inch as 
 approach to "Palaces, 16, 18, ao, 5 ?c. with Regard to other Capa- 
 cities : Nor let the lefs Benign Temper of the Clime (compar’d with 
 other Countries,) be any longer the pretence ; fince if the Building 
 and Finifhing be Stanch ; the Floors well lay’d ; apertures of 'Doors, 
 and Windows dole ; that Objection isanlwered; The fame Rules as 
 to the Conlequence of Rooms and Oeconomy is to be oblerved in the 
 Diftribution of the other Offices , even the moll Inferior, in which 
 the Curious confult their Health , above all Conveniency ; by de- 
 fining their beft I,odging-Chambers towards the Sm-njing ; and fo 
 Libraries, Cabinets of Curiofities and Galleries , more to the North , 
 affording the lefs Glazing and fitted: Light of all other to Tittures, 
 b’c. unlefs where fome unavoidable Inconvenience forbid it. Ano- 
 ther great Mi flake, I likewife have oblerv’d to be the Caule of many 
 Errors as Incurable ; namely, a Fond, Avaritious, or Obftinate Re- 
 folution of many ; who having choice of Situations ; for the lpa- 
 l'ing of an old Kit chin, Out -Houje, Lodge or Vulgar Office ; nay 
 and fometimes of an Antient Wall, a fine Lffiick-fet Hedge, particular 
 Tree or two, or the like ; continue to place the New-Building upon 
 the. Old Foundation, tho’ never fo much awry and out of all Square 3 
 and (as often I have leen) near fome Bank of Earth, which can- 
 not be mov’d , pleas’d with Front or Gaudy Out- fide, whilft all is 
 Gloomy and Melancholy within, and gives Occafion of Cenfure to 
 the Judicious, and Reproach to others ; in a Word, I have verv 
 rarely, or as leldorn found a New-Building joyn’d with any tole- 
 rable Decency or Advantage, to an Old one, as a Young and Beau- 
 tiful Virgin, to and Old, Decay’d and Doating Husband : I might al- 
 moft affirm as much concerning Repairs, where there are great Di- 
 lapidations ; Since by that time they have Calculated all Expences of 
 pulling down and patching up ; they might have Built Intirely 
 New from the Ground, with the fame, and oftentimes, with lefs 
 Charge ; but with abundance more Beauty and Conveniency : Fre- 
 quent Inftances of like Nature might I produce, and of fuch as 
 have too late Repented ; But I am to beg Pardon for this Tranfcur- 
 fion, for which I have no other Apology, than that fince another 
 Edition of this Piece is never likely to come under my Hand again ; 
 
 1 have taken the Liberty of this to fpeak my Thoughts the more freely ; 
 not without hope, that fome may be Edified by it, and have Caufe 
 to thank me for it. 
 
 To return therefore whence I diverted; I now proceed to the 
 proper Argument, and Defign of this Difcourfe, which concerns 
 the Berms of Architecture, with fuch Improvements as fall in with 
 the Subject : Not that our 'Politer Workmen do not underftand them 
 well ; but for the Benefit, and Inftru&ion of the lefs knowing; or 
 
 fuch, 
 
1 4 . Account of Architects 
 
 fucb, who, tho’ Learn’d, and knowing in other Arts , may haply not 
 have much confider’d this, and the firft is, 
 rhim Ichnography , by which we are to underftand the very firft Defign 
 
 pH* and Ordinance of a Work or Edifice, together with every ‘Partition 
 and Opening , drawn by Ride and Compafs upon the Area or Floor, 
 by Artifls often call’d the Geometrical Plan or Platform , as in our 
 Reddition of the Parallel : The Greeks would name it Ae- 
 
 jligti Defcriptio , or rather V fiigium Opens , the fuperficial Efformati- 
 on of the future Work, which our Ground-plot does fully interpret. 
 This is properly the Talent and Work of the Chief Architect or Surveyor 
 himfelf (and indeed the moft Abftrule and Difficult) by which he 
 expreffes his Conception and Idea for the Judicious Collocation, Ido- 
 neous and apt Dilpofition, right Calling and Contrivement of the 
 l'everal Parts and Rooms according to their diftindf Offices , and Ujes ; 
 for as Ordonation imports the Spuantity , fo does this the Sffiahty of the 
 Building , but of this already, to this fucceeds 
 onhogra- Orthography , or the eredt Elevation of the fame in Face or Front, 
 rh ‘“' defcrib’d in Meafure upon the former Idea , where all the Horizontal 
 Lines are Parallels : Some do by this comprehend the Sides like- 
 wife (but fo will not IJ to be leen as well within as without the Model. 
 It is in Truth but the fimple Reprefentation of that Part oppofite 
 to the Eye of the Beholder, and thence by Italian I Alzato or I 
 Impiedi, jacciata and Frontilpiece, without Shadows or other Deceptions, 
 and the Second Species oiDijpofition. The laft is, 
 scmgr*. Scenography or (as lome) Sciography , which is the fame Objeff 
 th*. elevated upon the fame Draught and Centre in all its Optical Flexures, 
 Diminutions and Shadows, together with a fore-fhortning of a Third 
 Side, fo as the whole Solid of the Edifice becomes vifible in PerfpeiSive 
 (as they fay) becaufe compofed of the Three Principal Lines ufed in 
 that Art, viz. that of the Plan or Plot , belonging to the firft Idea ; 
 that of the Horizon or Eye-line, which denotes the Second ; and the 
 Line of Diftance which makes the Third with all its Adumbrations and 
 pn j. le lhadowings, which diftinguiffies it from what they call the Profile 
 lignified by the Edging ftroaks by lome call’d out Lines, and Contours 
 only, without any of this Solid finifhing. From all which it appears, 
 That not the bare Idea , or Species (as the Term is in Vitruvm) or a* 
 others, the various Kinds of Difpofition is to be underftood ; but the fe- 
 veral Dejigns and Reprefentations of the Divifion : Seeing in Truth, 
 thefe three Draughts upon Paper, belong as much to the Ordonance as 
 the DijgoJition (hewing and defcribing the Meafures and Dimenfionsof 
 the lnipective Parts, Order and Pofition : From thefe three Ideas then 
 ; it is, that lame Eurythmia, Majeftic and Venujla Jpecies ALdificii does 
 Rel'ult, which Creates that agreeable Harmony between the l'everal 
 Dimenfions ; fo as nothing l'eems Difproportionate, too long for 
 this, or too broad for that, but Correfponds in a Juft and Regular 
 
 Sym- 
 
*5 
 
 and Architecture. 
 
 Symmetry and Confent of the Parts with the whole : For Symmetry 
 is the Parity and Equality between the Parts Oppofite ; fo as one be 
 not bigger, highei, longer, fhorter, clofer, or wider than the o- 
 ther : Suppofe a Column fwelling more at one tide than the other ■ 
 and not as thole who thought it to Confift in the proportion of fome 
 Principle Part or Member only, Cafitel or Cornice , grofl'er or pro- 
 jeaing farther than the Order permits ; which feem two different 
 I hings ; whilft 1 roportion among Architects confifts in fuch an agree- 
 ment and confent as we find in every well limb’d and compos’d 
 Lwmg Animal , of whatever Species or kind foever, where the due 
 Make of each Member of the Body denominates the Compleat- 
 nefs of the Figure be it Statue , or the Life ; and the fame in 
 Building, and the parts thereof; in a Word, where Conve- 
 nience, Strength and Beauty meet and render it accomplillfd 
 Laftly, 
 
 Decor, which is not only where the Inhabitant, and Habitation ni „ 
 luit, feeing that is many times accidental ; but where a Building. . and '' ‘ 
 particularly the Ornaments thereof, become the Station and C tccafm , 
 as Vitruvius exprefly fliews in appropriating the leveral Orders to their 
 Natural Affefitions ; fo as he would not have fet a Corinthian Column at 
 the Entrance of a Prifon, nor a Tufcan before the Portico of a Church 
 as lome have done among us, with no great Regard to the Decorum ; 
 
 Here therefore it is, That the judgment of an Architect ought to be 
 Confulted fince even in the Difpofition of the Offices of our molt 
 private Houfes, we find no where greater Abfurdities committed 
 whilft we many times find the Kitchin where the Parlour (hould have 
 been, and that in the firft and beft Story, which (hould have been 
 damned to the lowermoft and the worft. 
 
 Philander feems to be in fome doubt whether the Architect did af- 
 ter all this make a Model of his future Work, but at laft refolves jj. Modulus. 
 in the Affirmative for many Reafons, ita emm futura deprehenduntur 
 errata, 4? mimmo impendio , nulloque incommodo , See. for fo (fays he) 
 future Errors may be timely prevented, with little coft, and without 
 any tiouble before the Remedy proves incorrigible. Now tho’ per- 
 haps an accomphfh’d l Architect needs it not, yet as there is nothing 
 certainly lpar d to lefs purpofe, and more to the detriment of Build- 
 eis than the lmall Expence of making this Prototype ; l'o it has been 
 known that fome Excellent Mafters have without Reproach, cauled 
 
 fr’. m u of t he . fame Building, and for {he better, and 
 which fhould be fram d with all its Orders, and Dimenfions, by the 
 Afliftance of fome skilful or other Ingenious Artift in fome 
 
 flig it_ Material, which may be to remove, uncover and take in pie- 
 ces, or the Intuition of every Contignation , Partition , Pajfa<r e , and 
 Aperture without other Adulteration by Painting or gaudy Artifice 
 but in the moft Ample manner, as Sir H. JVotton prudently advifes’ 
 
 F for 
 
16 Account of Architects 
 
 for Reafons mod Material and Unanswerable ; This is by fome 
 fupplied with a perpendicular Sedion of the Orthographical Elevation , 
 which lets the Eye into the Rooms in front only ; the Model into 
 the whole ; but from all which we may deduce how abfolutely 
 neceffary it is, that an Archited have more than a Vulgar Dexterity in 
 the Art of Defigning and Drawing, Sjux autem confer ant, into, quae 
 fint Architedo penitvs neceffaria ex artibus, hate font , Pidura fet Mat he - 
 matica ; in ueteris dodufne fit, non laboro : So the Patriarch , lib. 9 . 
 upon that of our Majler , lib. 1. c. 1. Pentm Graphidos, &c. and 
 then concludes, Ncceffaria igitur ejl Archiiedo Graphidis (i. e.) defig- 
 natiotm ut Itali dicunt peritia , as being a thing altogether indifpen- 
 lable ; but of this already, for by the Method of a Com pleat Courfe 
 or Body of Architecture , one fhould proceed to the more particular 
 Distributions of this Art , whether in Refpeft to Private or Publick 
 Buildings, but I leave it for fome perfect Edition of what remains 
 of the incomparable Palladio ; when either by the fame it is begun, 
 or by fome other Charitable Hand, That, or our Mader, Vitruvius 
 himfelf, as Publish'd by the Learned Perault Shall be taught to fpeak 
 Englifb ; and the Title of this Difcourfe , which minds me of a 
 through Explanation of the more difficult Terms of this Art, for be- 
 ing principally, if not only Converfant about the five Orders and 
 their Ornaments (the lubjeft of our Learned Parallel) calls me back 
 to a diftindt Survey of them, and I will begin at the Founda- 
 tion. 
 
 Now tho’ all that is buried in the Ground to the Area be fo call d, 
 yet properly Foundation is the very Cofer or Ground- bed Search’d ad 
 r ,“A‘ mn ' folidum , 1? m jolt do, as our Mafier advifes, and upon which a wife Man 
 would only Build and raife the Proto-fubjlrufiion , or firft beginning 
 of his Wall, and ought commonly to be double the thicknefs of the 
 Superflrudton. This the Greeks call’d, 
 
 Stereobata stpso&cTH? fAidum fidcimentum, for its artificial firmnefs, as 
 immediately Succeeding the underfilling of the former (for fo we 
 name thofe dry Materials upon the Surface,) to be the Bafis of the 
 whole Edifice : 1 am not ignorant that Some contend about this 
 Office , confounding it with the Stylobata and Pedejlals of Columns , 
 affigning them a regular thicknefs of half as much more as the Or- 
 ders they fupport ; and then he Italians call it the Zoccolo , Pillow or 
 Pie, becaule of its Cubique and folid Figure : But I rather take it 
 for the Bajamento of the whole , which I would threfore lather aug- 
 ment than contra& to that dinted dimeniion : The Reverend Daniel 
 Barbaro, c. 8 . 1. a. deferibes us all the kinds of them, and calls this 
 in particular (and which confirms this divifion) the concealed part, 
 or fundatio in imo : And then by this elegant diflmdion defines Stru- 
 s rtf"*'’- fljffa to be that of Fronts ; Inflruclion, that of the middle Parts ; and 
 Subjlrudion , of the Lower though this laft Notion does likewife 
 
 many 
 
and Architecture. 1 7 
 
 many times import fome vaft and magnificent Building ; for fo Bai- 
 du* has cited that paflfage in Liu. 1 . 6. where he names the ftately Ca- 
 pitol a SubflruClion only, and other Authors SubflruMiones infant*, 
 for fuch vaft and enormous Fabricks : But that we may not omit the 
 Pedejial ("though of rarer ufe amongft the Antients ) 1 come next 
 to the 
 
 Siylobata ; For our Pedejial is vox Hybrida (a very mungril) not stria*, 
 a Stylo , as fome imagine, but a Stando , and is taken for that folid p, 2 pi. 
 Cube , or fquare which we already mentioned to be that to the Column 
 impofed, which the Super Jiru&ure is to this , Fulcimentum Columns : 
 
 It is likewife call’d Truncrn the Trunk (though more properly ta- 
 ken for the Shaft or Body of an Order) contained between the Cornice 
 and Bafe (for Pedejlals have likewife thofe Ornaments infeparably) 
 alio Abacus, Dado, Zocco , & c. which is fometimes Carv’d with Bafs - 
 relievo in Hiftorical Emblems , as that of Trajan's at Rome, and ours 
 on Fifh-jlreet Hill ; But as it was rarely ufed among the Antients ; fo 
 they were all Square alike to all the Orders : till from good Examples, 
 by later Architects, (and efpecially Palladio) reduc’d to Proportion 
 and very graceful. Thofe which are more large than high, are cal- 
 led double Pedejlals fupporting double Columns, and fome which are 
 continu’d thro’ the whole Building. Alfo Poggio , from its Office 
 of fupporting, and then ’tis conftantly adorn’d with a Cornice con- 
 fiding of a Cymatium on a Corona with Lifts, and fometimes Scotia 
 or lhallow Cavities and an addition of an upper Zocco or ‘Plinth of 
 a fmaller hollow and part of the Cymatium, upon which the ScamiUi 
 impure s Vitruviani were fet, if defign’d for Statues : Or, if without, 
 for Columns. The Baje has likewife an Ornament of a Cymatium in- 
 verted upon a Plinth, as may be feen in the Corinthian Stylobata : 
 
 The general Rule is to divide the whole into 19 Parts ; the Pedejial 
 (hall have 4, the Intablature 3, but if a Culumn be without Pedejial , 
 Divide the height but into 5 equal Parts, 4 to the Column, and to 
 the Entablature 1 ; But, as we affirm’d, the Antients did leldom ufe 
 Pedejlals at all, unlefs where Rails and Balufters were requifite, 
 and Parapet Walls for Meniana, Pergolas and Balconies, and where 
 they ferv’d for Podia or Pofaries of a leaning Height, for which they 
 had a flight Cornice affign’d them ; and this minds me of the 
 among the Greeh, as indeed feeming to have been deriv’d from the 
 Eaftern ufed, and to the Jews (we read) enjoyn’d upon their 
 flat-roofed Houfes, thefe Balujlers being in truth but a kind of petty 
 Columns under the Rails or Architrave between Pedejial and Pedejial 
 for that moral Reafon, the fecurity of the Walkers, efpecially at 
 what time they ufed to fpread Tents upon them, as frequently they 
 did : But if (as we faid) for the better eminence of Figures , then 
 with the Impofition of 
 
 Sea- 
 
i8 
 
 Scamilli. 
 
 Bafts. 
 
 Spira. 
 
 Account of Architdls 
 
 ScafaiUi impares , of which there is fo much contention amongft 
 our Hypercritical Architects, though in fine they prove to be but 
 certain Benches, Zoccos or Blocks elevating the reft of the Members 
 of an Order, Column , Signum or Statue from being drowned or loft 
 to the Eye, which may chance to be plac’d below their Horizon ; that 
 is, beneath the ProjeCtures of the Stylobata Cornices and other Sail- 
 lies, by an agreeable Reconciliation of Geometry with the Opticks : 
 In a Word, the Tedeftals of Statues do well exprefs them, and thole 
 half-round Elevations, or other unequal Eminences upon the Sty- 
 lobata, be they one or more Tlinths, like fo many fteps fucceedins, one 
 another for the Advantage of what ftands upon them : In the 
 mean time, we find no Troportions or form affign’d for the placing 
 Statues, 'Bufls or other Figures , which feems to be left Arbitrary, 
 with regard to the Subjedl : The lower Tedeflals belt fuiting 
 with the higher, contrary to Bufls, or where more than one toge- 
 ther, as Groups fitting, and Cumbent Figures, which require longer 
 IsV. with fuch Ornament and Decoration as beft becomes them ; as 
 to Nymphs, Tritons, Sea-Gods, Efcalop-Shells , &c. to Veejfes, the 
 moie Delicate, to Satyrs, Rufhc Work, & c. But to proceed to 
 the Orders and their feveral Members as they Naturally rife in 
 Work. 
 
 The Bafe, deriv’d from the Greek Verb jsa/vav, imports the Suftent, 
 Prop or Foot of a Thing, and is in Architecture taken not for the 
 lowermoft Member of an Order , but for all the feveral Ornaments 
 and Mouldings from the Apophyges or riling of the Columns Shaft, 
 to the Tlmth : Sometimes alfo for the Spire ; which lying on 
 the Tlmth like the Code of a Cable derives thence its Name 
 though fomething improperly methinks, confidering thefe Mem- 
 bers do not run Spiral, but Obliquely rather and in orbem : In fum, 
 the Bafis is to the Column and its Entablature, what the Stylobata is to 
 the Bafis, and the Stereobata to the Tedefial. Here Note, that when 
 a Cornice is added to a Bafe, it becomes a Tedefial , and that to the 
 Corinthian or Compofita the Attic Bafe, and tho’ faireft of all, and us’d 
 in other Orders ; by no means fo properly : It is often inrich’d with 
 Sculpture, efpecially in the Compofita ; for Bafes differ according 
 to the Order : Tufcan has a Torw only ; the i Doric an Aflragal more, 
 by fome efteem d a modern Addition : The Ionics Torus is larger on 
 a double Scotia, betwixt which are two Aflragals : The Compofita an 
 Aflragal fewer than the Corinthian. The Attic Bafe for as fome, the 
 Attic-Curgi ) confifts of a Tlmth, two Torus's and Scotia properly 
 plac’d under the Ionic and Compofita , and indeed, as was faid, to all, 
 'Tufcan excepted, which has its peculiar Bafe : But to proceed to o- 
 ther particulars. 
 
 The 
 
and Architecture. X y 
 
 The Plinth is the firft, and very lowed Member of the Safe. plinlh .. 
 The Word denotes a Brick or fquare Tyle, of which happly they were 
 ufually made, but rather for the refemblance j becaufe of the weight 
 it was to bear, and therefore more probably of fomething more folid to 
 preferve the foot of the Column from rotting, when firlf ‘Pillars were 
 made but of the Tapering Bodies of Trees , as we (hall (hew hereafter • 
 
 Plinth is likewife taken for a like Member about the Camel, but 
 then always with its Adjundq the Plinth of the Cartel, Sec. becaufe 
 placed juft above the Echinus as in the Boric , Qvolo or quarter round 
 in the other Orders. The Italians familiarly name it Orlo, which 
 importing a round Welt, Hem or Brim, methinks is not fo properly 
 applied to it : By Plinth is alfo to be Underftood any flat, thick 
 Moulding in the Fore-Walls of any Building, ranging like a broad Lift 
 with the feveral Floors or Stages. The next is, 
 
 Torus, the third Member of the Bafe (of which there is Superior 
 and Inferior in the Bafes of all the Orders , the Tufcan excepted) conies^' 
 from to'psh denoting the roundnefs and fmoothnefs of it ; Torus emm 
 quicqmd t otundum, or rather as Scaliger , quod artijicialiter elaboratur 1? 
 tornetur , becaufe artificially made fo ; but why not from its fwelling 
 and brawninefs ? It much refembles the Shape of a round Cufhion, 
 Torques or Wreath, thence siGx'c, and the impofed weight makes it 
 teem to fwell out as if indeed it were fluffed, and that with Reafon 
 fay the Critics , for the more eafy and fafe Pofition of the 
 
 Trochile , from r P ^ a or t P % a Rundle or Fully- Wheel, which it w,/,: 
 much refembles, and is that Cavity appearing next to the Torus : The 
 Italians name it Bajlone , or more properly Cavetto , and Cortice tan- 
 quam baculi cortex, the hollow Rind of a Tree, as Barbara. Our 
 Workmen retain the Antient Scotia , from «>?/«, its obfeunty pro- Sc „, 
 ceedirig from the Shade of the hollownefs, but more vulgarly they 
 call it the Cafement , and it is ever the Cavity between the former 
 Torus’s, and alfo beneath the Boric Cornice feparated from the plain 
 Margin or Regula call’d Mentum and Corona by a fmall Cymatium, or 
 fometimes a Lift only : The Capital Letter" C is almoft a perfe& 
 refemblance of this Moulding , and it is indeed frequently bordured 
 or rather fhut in with Lifts. Laftly, 
 
 The Jfiragal, which befides divers other Things (as the Segtem ^u, 
 fftn<e Vertebra: near the Neck) has here its Analogy from that Bone 
 a little above the Keel , whence the French name it the Talon or Heel 
 itfelf (as our Author of the Parallel) nor improperly j but by the 
 Italians , il Tondino , being a xind of half Torus , fometimes wrought in 
 the richer Orders like an Over-caft Hem or Edge to the larger Terr 
 which frequently is plac’d between, as in the Ionic Bafe with two 
 Scot'm , and fometimes (though rarely ) juft about the Plinth of 
 the Bafe , as l'ome marfhal it : Otherwhiles again it is taken for the 
 Hoop, Cmtture or Collar next the Hyfotracheluim and diminution of a 
 
 G Co' 
 
2 o Account of Architects 
 
 Column lifted on both Edges ; and it runs alfo under the Echinus of 
 the Ionic. Our Englifher of Hans Bloome names it a Boltell , or 
 Fillet in any part of a Tillar , but 1 take a Fillet to be more flat, this 
 more fwelling, and (as I fay) Tom-like. Moreover we fometimes 
 find it dividing the Fafcia of the Corinthian Architrave where it is 
 wrought in Chaplets and Beads , Olives or Berries ; and finally in 
 two places, both above and beneath the Lifts joyning immediately 
 to the Square or Die of a Tedeftal where Stylolata is introduced ; 
 and fo we have done with the Ornaments and Mouldings ot the Bafe : 
 We come now to the Column it felf. 
 
 xu\@' nakedly, and ftri&ly taken, is that Part of an Order only, 
 c ,i Km: . which is the Prop or Columen, plac’d to fupport fomething Superior 
 to it, and is here properly that round and long Cylinder diverfly 
 named by Authors, Scapws, Vivo , Tige, Shaft , Fuji , Frunke , &c. 
 containing the Body thereof from the Spire of the Bafe , or lately 
 mentioned AJiragal , to the Capitel : Sometimes for the Subftance 
 and Thicknefs of the bottom of the Tillar, and in Authors for 
 the Chech of a Door Secundum Car dines 1 ? Antepagmenta , of whicli 
 confult the Learned Baldm in the Word Replo de Sig. Voc. Vitr. alfo 
 the Perpendicular Toft of a Winding* flairs ; but for the moft part 
 for that Solid of a Column which being divided into three Parts, has 
 (as fome delight to form them, but without any Reafon or good 
 Authority) an Entajis or Swelling , and under the Collehne or Cimba 
 of the Capitel , a Contrafture and comely Diminution , by Work- 
 men call’d the breaking of the Pillar ; which in Imitation of the 
 natural Tapering of Frees , is fometimes too much contracted, in 
 others exceflively fwell’d. The manner of Operation by applying 
 a thin flat Flexible Rule, of the length of the whole Column , divi- 
 ded into three equal Parts, beginning at the Perpendicular of the 
 loweft, is fo well known, that 1 need fay nothing more of it, than 
 that there is hardly any fenfible Swelling to be perceiv’d in the beft 
 Examples, and therefore to be fparingly us’d, and with Dilcretion, 
 if at all : or as Difgradet and fome affeCt, tapering very infenfibly all 
 the way : Monfieur Terault prefcribes another Method for this Dimi- 
 nution (Tpeaking of Nicomedes s firft Conchoid , in his learned Comment, 
 l. 3. cap. ad. But (returning to where we left) the primary Iflue 
 or Rife of the Shaft next the Aftragal and neather Cindure is call’d 
 >?%« the Apophyges from the Greek Word ’A<j>7rouyii • becaule in that part 
 the Column taking as it were a Rife , feems to Emerge and Fly from 
 the Bafes like the Trocefth of a Bone in a Man’s Leg ; and fo it is 
 now and then applied to the Square of Tedeftals likewife. In fhort, 
 ’tis no more than an imitation of the Rings or Feruls heretofore ufed 
 at the Extremities of Wooden Tillar s, when formerly they were 
 made of that Material, to preferve them from fplitting, afterward 
 imitated in Stone-Work as an infeparable part thereof ; and thence 
 
 doubt- 
 
and Architecture. 2 1 
 
 doubtlefs it is they took their original Contraction : Such Trees as 
 grew in the molt upright Tenor and comely Diminution, being 
 chofen for this Employment. 
 
 Thefe being reiembled in Stone ( that is of one intire one) 
 by Solid x were diftinguifh’d from the StruSiles , or were fuch Pillars 
 as were Compounded of many. 
 
 But it is not here only that thefe Rings have place, but next the 
 above defcrib’d AJlragal likewile, and where-ever encounter’d by 
 the Names of Annulus, CinSa, Cimbia , Liflello , Fillets , Regula , &c. 
 broader or more narrow as belt fuits with the Conlecutive Member ; 
 like thofe very fmall Lijlellos or Amulets under the Echinus, of the 
 "Doric Capitel, by the Italians call’d Gradetti , Degrees, and by the 
 Interpreters of P. Lomazzo , Rulers ; and fo in like manner the Cim- 
 bia, beneath the AJlragal immediately above the Contraction . But 
 Regal# and Fillets are fomewhat larger in places where they edge 
 and (hut in the Cymatium of a Cornice , Abaevs , or V duta : Moreover 
 I Note, That Lijlello and Crncla are broader than Annulets , which I 
 take to be the very leaft of all the Mouldings in art Order. 
 
 The Capitel, with its Ornaments comes now to be the next collective c,pu,u 
 Member. 
 
 We have already fliew’d what we are to Underhand by a Column , 
 which nakedly confidered, does not affume the Name of Order, 
 till it be dreffed and habited with its diftinguifhing Ornaments, the 
 Capitel , See. For tho’ by Ornament Architects in one Word, (ignifie 
 Architrave , Frieze and Cornice , which ever Accompany and Compleat 
 the Order ; yet ’tis the Capitel only which gives its diftinCtion and 
 denomination : and albeit their differences may indeed be alfo ta- 
 ken from the Height, Shape and Subltance, yet hardly without their 
 Heads , as the Ionics and Corinthian. We proceed therefore to the 
 Second Member towards the upper Part or Diminution of a Column 
 ( which is always the lefs abated if very tall, becaufe the Diftance 
 effeCts that in them, which Art produces in the lower) is the 
 
 Hypotrachelium , which from the Greek ^ ov colli pars infra 
 
 cermcem , denotes the Neck of the Column, being that part of Scapws 
 below the AJlragal : It is as it were the Frieze of the Capitel , and fo by 
 fome term’d, as alfo the Collar and Gorgerin , where the ‘Pillar is moil 
 Contracted, and feems as if it were (trangled, and may well be taken 
 for a part of the Capitel it felf, having both in the Tufcan and Doric 
 another Annulus or Crncla about it next to the 
 
 Echinus , a Bottle cut with an Edge, as in our Bloome ’tis rudely 
 explained : It is indeed a quarter round, and fometimes more, 
 fwetling above the Cinctures , and commonly next to the Abacus , 
 Carv’d with Ovals and Darts (by our Workmen call’d Eggs and 
 Ankers as little Politely) which is frequently (hut up with a lmaller 
 Ovolo of Beads and Chaplets , or like Ornament ; but fo adorn’d, 
 
22 
 
 ('alula. 
 
 Account of Architects 
 
 it commonly runs under the Ionic Voluta and that of the Compofita , 
 and next the Doric Abacus ; as in that fingular Example of the Tra- 
 jan Column it creeps under the Plinth of the Capiteh Such as pre- 
 tend to Etymologies for every thing they hear, will have it e* 7 "®' AA 
 TO or etuA^et ictu-rh becaufe of a kind of Self-contra ft ion "; others 
 more rationally from the relemblance and roughnefs in the Carving 
 iztKT&zi-np®', as briftling with its Darts like a Hedge-Hog, or rather 
 the thorny Husk of a Chejl-nut , which being open’d difcovers a kind 
 of Oval Figur’d Kernel, which dented a little at the Top, the La- 
 tins call Decacuminata Ova. Under this, as we laid, is a l'maller 
 Bracelet , again which incircles the Capitel under the Voluta in the 
 Compofita , taken for the Fujerole ; and fo likewife in the other Orders 
 where . the Ovolo or Echinus properly enter, having a lrnall 
 Moulding beneath it, by Palladio nam’d Gradetto , but of this al- 
 ready : In the Corinthian an Echinus frequently comes in betwixt 
 the Corona and Dentilli. 
 
 The V oluta , or as we term it properly enough, the Scroul , is not 
 the derivative of any Greek Word, but the Latin, Voluta, a Volvendo , 
 for that it indeed feems to be roll’d upon an Axis or Staff ; Alberti 
 calls them Snails Shells from their Spiral turn : It is the Principal, 
 and only appropriate Member of the Ionic Capitel, which has Four , in 
 imitation of a hemal Ornament, as both our JVlajler Vtruvius, and 
 the Author of the Parallel have Learnedly illuftrated. The Face of 
 it is called Frons, the Fore-head, a little hollow’d between the Edge 
 or Lift , and the Return, Pulvin or Pillow betwixt the Abacus and 
 Echinus refembles the Side-plaited Trejfes of Womens Hair, to Defend 
 as it were the Ovolo from the weight of the Abacus (over which the 
 Voluta hangs,) and luperior Members, for the lame Reafon as was in- 
 timated in the Torus of the Bafe. 
 
 There are alio Valuta’s in the Corinthian and Compounded Capitels , 
 whereof the firft hath Eight , which are Angular, the reff confiding 
 rather of certain large Stalks after a more Grotefco Defign, as may 
 be gathered from thole Rams Horns in the Capitel of the Columns 
 taken out of the Bathes of Dioclejian : And in Truth they are only 
 the pretty Flexures and Scrowlings of Vitici , like the Tendrels of 
 Vines , whereof the Four larger ones bend under the Horns or Corners 
 of the Abacus , the other Four of lefifer Size, juft under the middle of 
 the Arch thereof, beneath the Flower : Then the Bottom or Foot of 
 the Calathus or Panier (for that’s divided into three equal Parts, as will 
 hereafter appear,) fhows in Front two entire Leaves , and as many 
 half ones, viz. at the Angles, and betwixt thofe again two Stalks, 
 which, with a Tad one in the middle (that touches the midft of the 
 Arch, as we faid, it puts forth a Flower upon the Brim of the Aba- 
 cus) ^ make in all Jixteen in number. To be yet as accurate as mav 
 be in fo Nice and Florid an Ornament, thefe Leaves did of old re- 
 
 femble 
 
<wd Architecture. 
 
 jl tber t!l ; ^cantbm (though a little more Indented and 
 Dtigmfed; from the Inventor Callimachus, or (as fome) th t Olive and 
 for 1C , 1S warranted by Villalpandm from that Camel of his 
 Ddlnpt.on fending in the Temple of Solomon. At the Extreams of 
 thefe Leaves do lffue the Cattles, and Codds, breaking with the Helices. 
 ^ie red ot the Stalks adorn d and furniftfd vvith Buds and tender 
 roliage by the Diicretion and Invention of the Ingenious Carver. 
 But the Domineering Tendrels and Flexures confift of greater or fmaller 
 Vohctu, emerging from between the Abacus and Echinus in (mailer 
 Leaves and Stalks, Midhng and Inferior Foliage, as they are diftin- 
 guilh d by Workmen in the three above named Divisions of the 
 Calathvs ; but inftead of thof e Helices, at our Corinthian Horns, the 
 Carnpofita has hex Voluta much more refembling the lonica, and in lieu 
 divers Capricious Fancies, as Horjes Heads, Eagles , and the 
 Lke ;Jed endows nonprobantur, they are rejected by all good Architect r, 
 lays Philander. Voluta is hkewife among the Ornaments of Mutuli, 
 Lurtoujes , otc. 7 
 
 Now the Center or Eye of the Ionic Voluta is made by Art ids with a 
 Catbetu^ which (not over nicely to diftinguilh from Perpendicular, be-c, 
 caule the Operation of them proceeds from diftinft Terms) is meant 
 by a Line let down from above, interfering the Line of the Collar 
 fas tis demonftrated in Chap. H . of the Parallel , with the Hiflory of 
 itslnveftigationj and that fmall Circle at this Point of Inter fawn 
 is Metaphorically Oculm, the Eye, from whence the Perfect turning 
 of the Voluta has been after an exquifite manner (tho’ by few obferv’d 
 and pradusd) found out ; it being here indeed that our Workman 
 will be put to the Exercife of his Arithmetic , as appears by that accu- 
 rate Calculation in Nicholas, Goldmanuls Reftitutidn of th<s becoming 
 Ornament. Laftly, 
 
 The Abacus (from «e«f or which fignifies a Square Tren- A 
 
 cher, or table) is that quadrangular piece commonly accompanied 
 with a Cymatmm (except in the Tufcan) and lerving inftead of a 
 Corona dr drip to the Capitel, whereof it is the Plinth and Superior 
 as has already been noted This it is which fupports the neather 
 race of the Architrave , and whole Trabeation : In the Corinthian and 
 Compofia the Corners of it are nam’d the Homs. , and are fomewhat 
 blunted and hollowed, the Intermedial Sweep and Curvature with 
 the yfre/j, has commonly a Rofe or fome pretty Flower Carv’d in the 
 middle of it. 
 
 Thus we have finilhed that Head of our Column , which being 
 taken in General for all thefe Members together, is commonly diftin- 
 guifhd by the Name of Capitel (an Effential Member of every c , 
 ° r j/f n >.• „ en ’ l .hy, f° r r he intire Ornament from the A fir ami 
 and firft Ctntture of it, to the Plinth which bears up the Architrave • 
 But it is not to be omitted, that the main Body of the Corinthian 
 
 H Chapiter 
 
2 a Account of Architects 
 
 Chapiter (of which we have given a large Defcription under the Title of 
 Voluta ) confifts of a Bell , or Basket rather, which is that plain and 
 folid part under the Cauliculi , Stalks , and out of which they are Carved 
 with Helices , Tendrels and Flowers already mentioned, and which in 
 order to their triple Series of Foliage (which feems to include and 
 fhadow the Body of it, as ’tis reprefented in that curious defign of 
 Callimachus' s Invention) is divided into three equal Parts : But of this 
 hereafter. There is likewile another Capitel, or rather a Diminutive 
 of it, by the Greeks call’d uttpaAiV'iov, which does not only (igniiie (as 
 fometimes) the former Calathus and Basket , but more properly that 
 Braid, or Lift above the Triglyph in the Freeze. 
 
 Moreover, to the Bodies or Shafts of fome Columns appertain 
 strife,. Striges , which (not to infill upon what the Learned Vojfius and 
 
 other Critics have contended) are thofe excavated Channels, by our 
 Workmen call’d Flutings and Groeves : Thefe are particularly af- 
 fected to the Ionic Order (rarely the Doric ) -uti ftolarum rug#, 
 in imitation of the Plaits of Womens Rohes , as our Mafter refembles 
 them ; and fome of thefe Channels we find to go winding about 
 s, r u. ‘Pillars, & c. but it is not approved. Between thefe are the Striae, 
 we may properly Englijh them Rays or Lifts ; which being twen- 
 ty in the Doric, in the Ionic 24. in number, are thofe plain Spaces 
 between the Flutings in the Ionic, Doric, Corinthian and Composed 
 Orders •, which Ornament the three laft have ( with fome fmall 
 Difference) borrow’d from the Ionic. And in fome of thofe (as in 
 that Dioclefian Doric Example) they are fo made, as to reduce the Rays 
 to a lharpeEdge only, by their Contiguity, without any Spaces at all. 
 But fometimes we find the Striges to be fill’d up with a Swelling, 
 a third Part from the Bafc, and thefe we may call Stav'd, or Call'd 
 Columns ; for fo I think fit to Interpret the French Embajlone , and 
 Alberti s Rudens. 1 hus we find fome Corinthian Pillars often treated ; 
 the*S>m being commonly a third or fourth Part of the widenefs of the 
 Flutings, (in the Doric not too deep) and diminifhing with the Con- 
 traelwn of the Scapus, unlefs the Shaft be very high, in which Cafe 
 the diftance does it without the Aid of the Workman ; fometimes 
 alfo we have l’een them totally filled, and fometimes wrought, but 
 better plain : Note that where they exceed Twenty or Twenty four 
 they make the Columns appear Gouty. We fhould now come to the 
 Entablature, but a Word of 
 
 Tanflat*. Pillafters, or lquare Columns, call’d by the Greeks (if Handing tin- 
 gle) Paraftatce, or by the Italians Membretti. Obferving the fame 
 Module and Ornament in Bafe and Capitel (if alone) with that of 
 the intire Column ; but fo they do not for their Prominencie, which 
 being to gain room and to (Lengthen Works (Fortifie and Uphold 
 capacious Vaults) reduces them fometimes to the Square, whereof 
 One of the (ides is frequently applied to Walls , by which alone fome 
 
and Architecture. 
 
 will only have them to differ from Columns themfeives ; but that 
 ought to _-be underflow} of fuch as have no Impofis and Arches , upon 
 which occafions the Lights they let in do much govern their Pro- 
 portions, as Palladio has Judicioiifly Ihew’d in l. i. c. iq. See Like- 
 wife, where they happen to be at Angles, and according to 'the fur- 
 chargd weight; and therefore a Rufhc fuperficies (as Sir H. Wotton 
 has Difcreetly obferv’d) does beft become them, as well as a greater 
 Latitude, for fo they have fometimes been enlarg’d to almoft a 
 whole y acuity ; _unlels where for their better Fortifying, we find 
 halfy and fometimes whole Columns applied to them As to t^e 
 Extancy ingag’d in the Thicknefs of the Walls, (for fo we mull 
 iuppole them to be) they fometimes thew above a Fourth, Fifth or 
 Sixth Part of their Square, but this is Regulated according to the Na- 
 ture and Difference of the Work, which not feldom reduces it to 
 an higbtb, without any nice Regards to what were requilite if thev 
 ftood alone, feeing they are often deftin’d to Stations which require 
 the molt lubftantial Props. For the reft, they carry the fame Pro- 
 portion with their refpedive Orders, and are very rarely Contracted, 
 unlels where they are plac’d behind whole Columns : If Fluted 
 with not above Seven or Nine at moft : Be this alfo obferved ; That 
 as in the Fronts of Large and Noble Buildings, they (hew very grace- 
 rully, being placd one over the other before the firft and fecond 
 Rories ; io in leffer Fronts and Houfes they look but poorly • Laft- 
 ly, be this farther Noted ; That tho’ we find the Doric mailer with 
 1 rigliph and Metap plac’d about the Cupola, ’tis by no means to be 
 broken in any fort, to humor the Angle of an Upright Wall tho’ 
 there happen to: be i\ Cornice above it, as we frequently find, allowin'* 
 half to one race, and as much to the other. 
 
 fPillaflers are likewife fmaller or fhorter applied to Balconies &c. 
 with now and then Bafes , Plinth and Capitel, and fo in Rails’ up- 
 on Stairs, Battlements , &.c. They alfo do properly and handfomely 
 where they are fet to fupport Cornices and Freezes in Wainfcoted 
 Kooms ; provided their due proportion be obferv’d, without thofe 
 ridiculousDilguizements of Pedejlals andldle fancies commonly wrought 
 about them : They alfo well Adorn 1 Boor-Cafes , Chimney Wit ces, 
 Uallery-tronts , and other places, whence they are call’d 
 
 not improperly (as Monf. Per auk Ihews) from the Latin 
 Antye, tor their being placd Before the Antient 'FempleWnlls and ” ' 
 Comes ftanding out to fecure them, and fo at the fides of Boors : 
 n °rt^ ^ e y are generally ownd among Ptllaflers 9 obferving the 
 ame u e m advancing out of the Work, as Columns themfeives 
 alio do ; otherwile (as was laid) Pillafters us’d to appear very little 
 beyond the Perpendicular of the Wall or Work, where there hap- 
 pen d to be no Ornament above, which Tallied farther, in which cafe 
 
 °n b0t r, 0Ught t0 be alike * or rat ker comply with 
 that of the Tdlaficr. The Impofis 
 
 2 5 
 
2 6 
 
 Ikcumbk. 
 
 
 Csmerd. 
 
 htrnivti r. 
 
 Account of Architects 
 
 Impofls (by Vitruvius call’d Incumbje ) which I mention’d, are no- 
 thing but their Capitels or more protuberant Heads, upon which reft 
 the ends of the Arches ; which alfo mult conform to their Orders ; 
 fo as the TuJ'can has a 1 Plinth only ; the ‘Doric, two Faces around ; 
 the Ionic a Tlancere or Cavity betwixt the two Faces , with now and 
 then carved Mouldings, as has likewife the Corinthian and Compofita 
 a Freeze ; fo as the Sallies of the Impofls exceed not the Body of the 
 Tillafter : Sometimes again the Entablature of the Order ferves for the 
 Impofl of the Arch, which is very Stately, as we fee in divers Churches , 
 to which the height exceedingly contributes, where the Proje&ure i$ 
 fuitable ; in the mean time where they exceeded the Square and regu- 
 lar Thicknefs, they were nam’d 
 
 Tile, and their Quadra's cr Tables (as we yet fee them in antient 
 Altars and Monuments) were employ’d for Infcriptions ; but if ftior- 
 ter, and more MalTy, they ferve for the Arches of Bridges , for Buttrejfes 
 and the Suftentation of more folid Works, as indeed they need to be, 
 handing in the Water ; and gradually built as far as its Level ; nor 
 ought their Breadth be lefs than a Sixth part of the Widenefs of the 
 Arch , nor more than a Fourth : They were fometimes made half 
 Circular ; but the Antients preferr’d the pointed at right Angles as 
 better to relift the impetuous Current, before the more Acute and 
 Sharper. 
 
 Arches or Vaults confifting generally of Inftple Half Circles, and 
 now and then of fome leffer Point , of all other, require the Conduct of 
 an able Architect well Skill’d in Geometry : 1 (hall not need to Criticize 
 on the ieveral Species , of Fornices and Cradle Works, as of late Sub- 
 divided into more than we find among the Antients, which were 
 not above Three or Four : The Ample Fornix , or Hemicircular , 
 Strait or Turning : The Tefludo or more circular, and that which 
 by the French is call’d Cul de Four and Oww-like ; and the Concha , 
 which like a Trumpet grows Wider as it Lengthens, l?c. Of thefe 
 fome are fingle, fome double, crofs, Diagonal , Horizontally on the 
 Plain, others Afcending and Defcending, Angular, Oblique, Pen- 
 dent ; fome that Sallie out fufpending an incumbent Burden, 
 of which there are both Concave and Convex, as for the giving Paf- 
 fage under upon Occafion : But of whatever Form, or Portion of 
 the Circle ; Care mull he had, that where they crofs, the Reins or 
 Branches fpringing from the fame Point, and their Moulding alike, 
 they neither crowd too near one another, nor intangle confufedly ; 
 but meeting from Angle to Angle, unite at the Key-ftone, which is 
 commonly carv’d with a Rofe or fome other Ornament ; it being 
 in this Difpofition of the Merves and Branches , wherein confifts the 
 Artifts great Addrefs, and that the Concamerated Spaces be exceeding 
 clofe Joynted, needing no Pegs or fillings up with Mortar ; and 
 above all, that the Butments be Subftantial : As now in Cellars , 
 
 Churches , 
 
and Architecture. , 2 ~ 
 
 Cburches, &c. Vault and Arch-VJotk i n warmer Clrmats, both in the 
 rirft and Second Stories, not without frequent and coftly Sculpture 
 various Irens and Compartments, of which we have Examples 
 AntientzxA Modern far more Rich, Grave, and Stately, than thole 
 Gothic Soffits » graft and heavy, ormlferably trifling: Another m-eat 
 Addrefs in VauluWork is to render them light and cheerful, where Lacunar. 
 they are rais d above Ground, as well as Solid ; efpecially, where 
 there is occafion to contrive them as flat as poflible ; iiich as are to be 
 ieen in many Bridges, efpecially at Pi fa over the Arm, fo flat as 
 the Curvature is hardly difcernable ; and tho’ it conlifts of three Arches 
 yet they are very large ; and there are many at Venice, but not 
 near ot that Length ; That of the Famous Rialto over the GrandTanale 
 is more exalted, being in the Bafe near aoo Foot, the Chord much 
 lefs than half the Diameter, Arches being ever ftronpefl as they 
 approach the half Circle : The Mafonry at the Front of thefe being 
 cut by a peculiar Slope of the Stone , is call’d Tennanted , till it come to 
 joyn with the 
 
 Mcnfula which (quafi f eem s to be locked to the Tennants in 
 Guize ot a IVedge , and therefore by our Artifts nam’d the KeyAone • M! ^ ! - 
 we have Ihewed their ufe where two Arches interfeU, which is the 
 ftrongeft manner of Cameration. Under the Title of ArchIVork 
 may not improperly come in thofe ScaU CoMdes , Spiral. Annular ! 
 
 Oml and of whatfoever Shape, Tenfile, and as it were, hanging 
 with or without Column, receiving fight from above ; all of them 
 requiring the Skilful Geometrician, as well as a Majler-Mafon ; Stairs 
 m general being one of the moft ufeful and abfoluteiy necefiary^, 
 rafts ot an rioufe ; and therefore to be contriv’d with good judg- 
 ment whether of Stone or Timber ; and fo as with Bale and Cheer- 
 Julne/s one may be led to all the Upper Rooms. With Eafe I mean 
 That the Flights be not too long, before one arrives to the Repofes 
 and Landings, without criticizing concerning the Number of Steps 
 f which the Antients made to be odd) provided they exceed not s 
 Inches in Height, or be lefs than i 5 in Breadth, one Foot being fcarcelv 
 Tolerable : And albeit the Length cannot fo pofitively be deter- 
 min d, but fliould anfwer the Quality and Capacity of the Building • 
 it ought not to be fhorter than Five and an half, or Six Foot • that 
 two Perfons may commodioufly afeend together ; I fpeak not of 
 thofe (Seal* occulta?) Back-Stairs, which fometimes require much 
 Contraction (and are more obnoxious to Winding Steps) But a 
 Noble and Ample Houfe may extend even from 8 to n Foot in 
 Length. And here I think not amifs to Note, That the Antients 
 very feldom made ufe of Arched Doors or Windows, unlefs at the en- 
 trance of Cajlles, Cities, and Triumphal Inter columnations for the more 
 Commodious Ingrefs of Horje-Men arm’d with Spears , and Bnfions 
 &c. This Barbarity therefore we may look upon as purely Gothic, 
 
 1 who : 
 
o 8 Account of Architects 
 
 who confidering nothing with Reafon , have introduc’d it into private 
 Houfes, and been imitated but by too many of our late Architects alfo, 
 to the no i'mall Diminution of the reft which is better Conducted. By 
 Intercolumnations 1 do likewile Comprehend all Terraced an dcCloijierdr 
 Buildings, Torticos, Galleries , Atria’s, See. as before, contiguous to, 
 or ftanding out from the Body of Edifices , in which Gafes they are 
 becomingly proper : And this does naturally lead me to our Tillars 
 again, and to confider the Spaces between them. 
 
 Intercolumnation (antiently much the fame in all the Orders with- 
 ul'Zu. out Arches , where Spaces may be wider than betwixt Angle Co- 
 lumns) fignifies the diftance or void between Tillar and Tillar, but 
 this not iufficiently explaining the various Diftance of the leveral 
 Orders in Work, renders it, even in divers of our Enghfb Authors 
 where they treat of this Art , of fundry Denominations : For thus, it 
 was ufually call’d i ' 
 
 Injulata Columna , where a Tillar flood alone like an Ifiland or Rock 
 ^ the one inviron’d with Air as the other with Water. 
 Areotlylos belonging chiefly to the Tufcan Order , was where the 
 
 Ariojtylos. _ / J . ° ° . . J J 1 . 
 
 intercolumnation is very wide, as at the entrance of great Lities, 
 Forts , &c. upon which occafions at the leaft four or five Modules 
 (taken for the whole Diameter ) may be allowed, and commonly requires 
 a Timber Architrave. Others almoft contrary, when they ftand at only 
 a moderate Diftance. 
 
 Diajlylos , though fometimes improperly taken for any Intercolum- 
 niafyk:. m f mt} i s [no ft natural to the Doric , and may have three or four Diame- 
 ters, nay fometimes more in the Ionic , as fitteft for Gates , Galleries , 
 and Torches of Tallaces or lefler Buildings, and thence were call’d 
 Tetrafiylos and Hexajlylos. 
 
 G The Syjlylos nam’d alfo Tycnoflylos (as much as to fay thick of 
 pycnljij. Tillars , becaufe feldom allow’d above a Module and an half, though 
 lome diftinguifh the firft by an half Module more for the Corinthian ) 
 belongs chiefly to the Compofita , and it was us’d before Temples , 
 and other Public and Magnificent Works of that Nature : As at 
 prefent in the Terifiyle of St. Teters at Rome , confiding of near 
 goo Columns ; and as yet remain of the Antients, among the late 
 difeover’d Ruins of Talmyra. But where in fuch Structures the In- 
 tercolumnation did not exceed two Diameters , or very little more, (as in 
 the Corinthian and efpecially the Ionic) the Proportion of Diftance 
 was fo Efteemed for its Beauty and other Perfections, that it 
 was by a particular Eminence termed Eujlylos , as being of all 
 Witts, other the molt Graceful : But it is not now fo frequent as of old, 
 to be at that vaft Charge, as the Number and Multitude of Columns 
 (which were ufually of one intire Stone exceeding all the 
 other Parts and Ornaments of Building ; ) would ingage 
 the molt opulent Trince : Whilft we find thofe enormous 
 
 Structures 
 
and Architecture. 
 
 Structures, of Temples , Amphitheaters , Naumachia, Circus , 
 
 Saf&j, Torches , Tribunals , Gwtj, (and other places of Public 
 Convention ) were built and advanced not only by the general Con- 
 tribution ot the People, or out of the F/jch and charge of the 
 State : But very often by the Munificence ot Bmperors, who (glo- 
 rying in nothing more, than in that of Beautifying and adorning 
 of the molt famous Cities in the feveral Provinces) us’d to Im- 
 pl°y Thousands of their Slaves, to hew and work in the Quarries, 
 abounding with all forts of the richeft Marbles , or with Serpentins, 
 Ophites , Prophym and fuch as for hardnefs and difficulty of Polilhing’ 
 our Tools will now hardly enter : And when the ‘Pillars, ('and Attire 
 about them ) were finilh’d, to fend and beftow them Gratis, to- 
 wards the Encouragement and Advancement of thole Public Works 
 But after this Conjlantme the'Great , meditating the Tranflation 
 of the Imperial Seat (from the Weft to the Eafl) took another Courle 
 (tho’ by no means fo Laudable) Caufing mod of the moll Mag- 
 nificent Buildings to be deprived of their Columns , Statues , Infcriptions 
 and Nobleft Antiquities, to be taken away, and carried to Byzantium 
 (now Conftantmople) to adorn his new City, with the Spoils of Rome; 
 whilft what Ruins and Fragments were left, (and had efcap’d the Sa- 
 vage Goths and Vandals) were ftrip’d of all that yet remained of Ve- 
 nerable and Ufeful Antiquity, by the fucceeding Tontifs, for the 
 Building of Stately Palaces , Villas and Country 'Houfes of the Up- 
 Start Nepotifme , as are Handing both at prelent in the Cities , and 
 the Sweeteft and mod: Delicious Parts of the Country about it ; 
 Proud of what yet flood of the Miferable demolition of Temples \ 
 Arches , Maujoleas , &c. So juftly Perjlrmgd in that Sarcafme, 
 Quod non facerunt Barbari, facentnt Barbarini, and indeed, the fuperls 
 Palaces, of Card. Antonio, Panfilio, & c. Nephews to Pope Urban the 
 VIII. and his Succeffors, are Inflances of this : So as I hardly can tell 
 of any one antient Structure, (not excepting the Pantheon) but what 
 has buffer'd fuch ignominious Marks and Difguifes ; As that the 
 Learned Author of the Parallel, together with all the Affembly of 
 the molt Skilful Artijls, (which he has brought together) have 
 hardly been able, (with infinite Pains, Charge and Induftry) to 
 recover the juft Proportions, and necefifary Adjuncts of the Antient 
 Orders. But to return where we left fpeaking of Columns ’ we 
 are not there obliged to reckon any of them, as meaning dif- 
 ferent Orders , Kinds or Species of Building (as in the follow- 
 ing Enumeration) but as relating to the feveral difpofitions 
 of them, agreeable to their Intercolumnation. For where 
 the fides had ranges of Columns, as in thofe large Xyflas, Tern - 
 pies,. Porticos , Atrias and Veflibula of the Greeks and Romans 
 (which were certain Arched or plainly Architrav d Buildings 
 in form of Cloyfters and Galleries , commonly Handing out from 
 
 the 
 
Account of Af chit efts 
 
 the reft of the Edifice , and now and then alone, and within alfo ) 
 the Antients named no fewer than Seven • according as they \Vere 
 applied to the feveral Species , ' Difpofition or Compofition of the Fabric ; 
 or more plainly, fuch as were more proper for a Temple , according 
 as it was built and plac’d delignedly for more or fewer Ranks of 
 Columns , at the entrance only, on every fide about it, without or 
 within ; not regarding their Proportion or Ornament, which is a 
 different Confideration (for fo I think Vitruv'm may be taken.) Of thefe 
 The Firft is 
 
 i. Antes , of which we have already fpoken. 
 
 а. The Trofiyle , whofe Station being at the Front confifted of only 
 four Columns. 
 
 3. Amphiprofiyle , where the Building had a double Tronaos or 
 Porch, confifted but of four at each. 
 
 4. Teriptere , where the Columns range quite about the Building : 
 Six in Front, the Inter columnation two ‘Diameters of whatever Order 
 it Confift : the Pillars (landing downward. 
 
 5. Tfeudodiptere (Baftard or Imperfeft ) as confiding of a (ingle 
 Rank only, yet of eight Columns in Front at two Diameters diftance ; 
 lb as left fpace enough for another row from the main Building : 
 Whereas the 
 
 б. Diptere has a double row of as many quite about, and Oclofiyle 
 in Front alfo, at the Diftance of Eufiyle , that is, two Diameters and 
 a Quarter ; This made as it were a double Tortico, which we call 
 IJles. Laftly, the 
 
 7. Hypethre , confifts of two Ranks of Columns all about, with 
 Ten at each Face of the Building, and a Terifiyle within of (ingle 
 Columns ; the reft being expos’d to the Air, that is not walled in, 
 (and placed as the Tycno/lyle clofer to one another) we have 
 call’d Terifiyle , which tho’ importing a Colonade , or Series of 
 Columns ranging quite about ; yet are not all which are fo plac’d 
 to be call’d fo, unlefs (landing within the Walls, which is Effential 
 to their Denomination ; fince otherwife, as well the Teriptere , as 
 Monoptere (both confiding but of a (ingle Range or Wing a-piece) 
 fhould then be Terifiyles , which they are not : Befides, the Monop- 
 tere is only where a Roof is fupported without any Wall or Clofure 
 whatloever, as in that Example of Vitruv'm , Lib. 4. Cap. 7. All which 
 I have only mention’d for the Benefit of our Country Workmen, who 
 do frequently, even amongft our Englifh Tranflators of Arcbiteflo- 
 nical Treatifes, meet with thofe hard Names without their Inter- 
 pretation, when the Difcourfe of thefe open and Airy Ornaments , 
 whether adjoyning to, and fupporting more Contignations and Sto- 
 ries ; or invironing them, and prominent from them ; and becaufe 
 it is for this, that our Mafter Vitruvius fo paffionately wifhes that his 
 Archil eel fhould be (as of old they (lyl’d Callimachus ) Thilotechnos , 
 
 an 
 
an induftrious fearcher of the Sciences , which is the fame that a good 
 Philoloser is amongft our Literati. 
 
 Moreover inftead of Columns the Antients (as now the Modern 
 but too often ) ufed to place the whole Figures of Men and Women 
 to fupport and bea-r up intire Cornices , and even huge Maffes of 
 Buildings ; but of this at large in Cap. 22, 25. of the Parallel, Fart 
 1. 1 hele they alfo nam’d Lelamones or Atlas’s, the French Con foies, 
 
 where they ufually fet them to luftain the Architrave , which for be - Jnh,!raVt 
 ing the next Member in order to the Capitel vve come next to 
 Explain. 
 
 The Grech s nam’d that Epiftiltum, which we from a mungril m 
 Compound of two Languages «'p;yi —Trabs (as much as to lay ' 7 
 the principal Beam and Summer, or rather from Arcus and Trabs,) 
 call Architrave ; Ut velint trabem banc Arcus vices fujlmere qui a 
 Columna ad Columnam finnan Jolet, as Baldus with reafon from its Pofi- 
 tion upon the Column, or rather indeed the Aboxus of the Capitel. It is 
 the very firft Member of that which we call Entablature in our 
 Tranflation of the Parallel • and formerly in the Tufcan Order 
 framed for the moft part of Timber in regard of the diftant Lu 
 tercolumnation : It is alfo frequently broken into two or three divi- 
 sions, call’d by Artifts 
 
 Fa few, or rather, plain Faces, a little Prominent, the lowed 
 being ever the narroweft : Thele Breaks arriving lometimes to 1 7, 
 lometimes to 18 Minutes in breadth, l’ome rather choole to call 
 Faces than Fafcias , Swathes, Fillets or Bands, by which they are ufu- 
 ally diftinguilh’d into Firft, Second and Third, elpecially in the three 
 latter Orders ; for in the Tufcan and Doric they do not fo properly 
 enter, though our Parallel yield us two approv’d Examples : Thefe 
 are frequently, and indeed for the moft part, feparated with a fmall 
 Aftrapal cut into Heads, or fome fuch flight Carving ; the Fafcias of 
 the Architrave likewife curioufly wrought, as in that wonderful Iri- 
 ftance of a Corinthian Entablature taken out of Dioclefians Bathes. 
 
 Fafcia , in the Notion I would rather take it, Ihould be for that nar- 
 rower Band about the Tufcan and other Bafts as fome call it ; or ra- 
 ther the fquare Lift under the fuperior Torus in fome Pedeftals nam’d 
 Super cilium, and not properly the Torus it felf, as in divers Englifh 
 Profiles they erronioufly make it ; for Super cilium feems to be a kind s«pmitu 
 of Corona os Drip to the Subjacent Members. In Chimneys the Ar- 
 chitrave is the Mantle ; and over the Antepagmenta or Jambs of Doors 
 and Lintels of Windows the Hyperthyron which the Italians call 
 Soppra frontale, and our Carpenters the King-piece, immediately un-™"'* 7 
 der the Corona , as a large Table to fupply the Freeze ; elpecially in the 
 Doric Order, and chiefly over Forties and Doors ; Whilft as to the pre- 
 cife Rule for the Fillet of the Architrave, the Tufcan Challenges one ; 
 
 K the 
 
 ifl 
 
3 2 Account of Architects 
 
 the ‘Doric and Compofita two ; the Corinthian three ; fometimes in- 
 terrupted to let in a Table for an Infcription. 
 
 I he upper molt Fafcia of the Architrave for the molt part is, and 
 indeed always ihould be (the Tufcan only excepted) adorn’d with a 
 Lyjit , or 
 
 c ynttium. Cymatium inverted, which is no more than a wrought or plain 
 
 O-gee as our Workmen barbaroufly name it; The term is k^«t m 
 undula , and fignifies a routing W ive, to the refemblance whereof it is 
 moulded. By fome it is call’d the Throat , as from the Italian and 
 Trench, Gola, Geule, or Doucme, and of thefe there are two kinds, 
 the Firjl and principal hath always its Cavity above, and doth con- 
 Itantly jett over the Corona or Drip like a U^ave ready to fall, and 
 then is properly call d Sima ; the other has its hollow below, and is 
 w nam’d Inverfa, the one Convex the other Concave: The Letters 
 > thus placed do reafonably well exprefs thele kind of Mouldings , 
 which not only enter into the Member of the Architrave where ’tis 
 ever inverted, but ("as we laid) perpetually above the Corona, where 
 they do frequently encounter and meet together with a fmall Regula 
 between them, which as it were feparate the parts, as the Freeze from 
 the Cornice and the like; but then the neather is the Lesbyan ever 
 reverjed, and very narrow ; though oft-times both of them Carv’d 
 and Adorn d with Foliage , St c. In the Doric Order the upmoft Cy- 
 matium of the Entablature is fomewhat different, as confiding but 
 of a fingle hollow only under the Lift : In the mean time, there is 
 no lmall nicety among Architects about this neceflarv Ornament, 
 both as to the Name and placing; giving to the Larger the Name of 
 Cymatium reversd, or Doucme ; to the Smaller , that of Simus, or 
 Flatnos’d ; commonly plac’d beneath the other, under a fmall Fillet 
 yet not fo effentially, but that it has been fupplied by the AJlragal: 
 However the moft natural place of the great Cymatium, is upon the 
 fuperior Cornice, where our Mafter gives it the Name of Epillheates, 
 and Ihould ever cover the Hoping fides of Frontoons or Tympanum. 
 
 Cymatium is alio about the Heads of Modihons, and conftitutes part 
 of them, as likewife it enters into Abacus, and on Pedefials, as in 
 Stylobatce Corona, and the Bafe thereof, where we find them both 
 inverted ; though I remember to have feen the upmoft with the 
 ReCla alio in the Cornice abovemention’d. But inftead of Cymatium 
 leparating the Architrave and Freeze , Tenia oftentimes fupplies the 
 room. 
 
 Tama is properly Diadema, a Brndlet or fmall Fillet with which 
 they ufed to bind the Head ; and rather thofe Lemnifci and rubans 
 which we fee Carv’d and dangling at the ends of Gyrlands. The In- 
 terpreter of Hans Bloome names it the top of a “Pillar, but very in- 
 dolently ; it being indeed the fmall Fafcia part of the Doric Archi- 
 trave (or as Perault , ftridtly belonging to the Cornice alone ) fome- 
 times 
 
and Architecture. 
 
 times (but feldom) with a narrow Cymatium, or Regula under it 
 as that runs under Ihe Triglyphs as a kind of Bafe : Some call it the 
 neather Larva (as Thilander frequently) to diftinguifh it from the 
 Bandage which compoies the CapneUi of the Triglyphs and continues 
 between them over the Metops, and not feldom under a Cavetto or 
 lmail Cymatium, with which Sodas and other learned Critics many 
 times confound it. in a Word, ’tis that in the Boric Architrave , 
 which Cymatium is in the other Order, and l'eparates the Epiflylmm 
 or Architrave from the 1 
 
 Fr eeze,, the Word in Greek is zootpop^ and does genuinely import f 
 the imaginary Circle of the Zodiac depifted with the twelve Signs • 
 but by our Architects tis taken for the Second divilion of the Enta- 
 blature above the Columns , being like a Fair and Ample Table be- 
 tween the former Temas, and which though oftentimes plain fhould 
 be Tulvinatus, pillow d, or fwelling in the Iomc Orders but in the 
 Boric enrich d with the Triglyph and Metops , and with a Thoufand 
 Hijtoncal Symbolic Grotef. and other fiored Inventions in the reft of 
 the Orders ( Tufcan excepted) efpecially the Corinthian and Compo- 
 Jita, and lometimes with Inlcriptions. Our term is deriv’d either 
 from the Latin Thrygio a Border, or from the Italian Free Go which 
 denotes any Fring’d or Embroider’d Belt : Thilander fays aThrygionu 
 ite, not from the Thryges , a People of the Minor AJia , as lome erro- 
 neously , but Thrygiones , a certain Broidery or flowr’d Needle Work as 
 one lhou d lay Troy -flitch (whence haply our True-fhtch) in imitation 
 whereof they wrought Flowers and Compartiments upon the Freeze • 
 which is commonly no broader than the Architrave : In the Ionic if 
 plain, a fourth Part lefs ; if wrought, a fourth larger, of which 
 lee more where we fpake of Ornaments. 
 
 Befides this of the Entablature , the Capitels of both Tufcan and 
 Boric have the Freeze likewiie commonly adorn’d with four Rofes , 
 
 ~ , aS ^ many Flowers, for which caufe ’tis called the Freeze 
 
 of the Capitel alfo, as we noted, to diftinguifh it from the other; 
 iikewite Hypotrachelmm, , from its pofture between the A fir ami and 
 the Regula or Annulus. of the Ecbmrn : This Tufcan Freeze is plain 
 and very firnple ; but in the reft of the Orders it is employed with 
 the Echinus, as in the lonica, and the Capitel Cauliculi or ftalks in 
 the other two ; thefe Rofes are alfo fometimes Infculped under the 
 prominent Horns or Angles of the Boric Abacus. 
 
 The Triglyphs which I affirm’d to be charged on the Bone Freeze , 
 xs a moft inieparable Ornament of it. The Word in 
 
 Greek imports a three-Sculptur’d piece, qua) tres habens Glyphas : 
 By their Triangular Furrows , or Gutters rather, they feem to me as 
 if they were meant to convey the Guttx, or Drops, which hang a 
 little under them ; though there are who fancy them to have been 
 made in imitation of Apollo's Lyre , becaule firft put in Work (as 
 
34 - 
 
 Guttd. 
 
 Alt top *. 
 
 Account of Architects 
 
 they affirm) at the Delphic Temple : You are to note that the two 
 angular Hollows are but half ChanelTd , whence they are call’d Semi- 
 canaltcuLe , to diftinguifh them from the Camliculi , whofe Flutings 
 are perfect, and make up the three with their Interfaces or Spacer, 
 being as many flat and (lender Shanks , for lb we may interpret the 
 Latin Femora: One of thefe is ever plac’d ’twixt two Columns, and 
 fhould be about the breadth of half its Diameter below : The 
 Italians name them Tianetti, fmall Tlains , and fo do we; and they 
 conftantly reach the whole Diameter of the Freeze , being crown’d 
 with the formerly mention’d Capitel, part of the upper Tenia, and 
 determining with the neatber , where it intercepts them from the 
 Prominent. 
 
 Guttce or Drops. It is certainly the moft confpicuous Part of the 
 Doric Freeze , fuppofed to have been at firft fo Carved upon Boards 
 only that had been clap’d on the Extremities of the Cant her u, 
 Joifls or Rafters ends which bore upon the upper Fafcia of the Ar- 
 chitrave, to take off from the Deformity, as alio were the 'Inglyphs : 
 How indifpenfably neceflary they are both to be placed in a juft 
 and due Square from each other, and Terpendicularly over their Co- 
 lumns, the Author of the Tarallel has fhew’d : Chap. a. Tart i. as in 
 that of the Temple of Solomon according to ViUalpandus' s Defign, 
 how they have been admitted into the Corinthian Freeze , but with- 
 out the Guttas ; and fo in the Perfique. Thefe Guttas are as 1 laid 
 thofe fix Appendant Drops or Tears affedfed only to the Doric Order , 
 l’eeming as it were to trickle down and flow from the Channels and 
 Shanks of the Triglyphs through the neather Tenia, and fmall Reglet 
 or Moulding under it. 
 
 Gut tie are fometimes made in Shape of Flat Triangles , fometimes 
 fwelling like the Section of a Cone or Bell, (but fquare at the bot- 
 tom) and therefore fo call’d by the French Architects . They are 
 alfo under the Tlanton and the Modilions which fupport the Cornice, 
 eighteen in Number, exactly over the Triglyphs , as in that moft 
 Confpicuous elevation of the Trofile after the ftately Relique at Al- 
 bano near Rome, than which nothing can be imagin’d more Noble 
 and Magnificent. Alberti calls thefe Guttce , Clavos , as conceiving 
 them to be in Refemblance of Nails, but without any Reafon for 
 his Conjefture. 
 
 Metopce, are the next in Order, and are nothing elfe fave thofe 
 empty Spaces in the Freeze ’twixt the Triglyphs in the Doric- Order, 
 either Tara? and Plain, or Figur'd, for that is not neceflary always, - 
 to the great eafe of Architects, who oftentimes find it fo difficult to 
 place them at juft diftances, that except in Church-Works, they fre- 
 quently leave them out : The Word is deriv’d of tV and which is 
 foramen, intervallum inter Sculpture cava, or if you will, Intertigni - 
 urn, as importing here rather the forenamed Spaces, than what thofe 
 
 pretend 
 
and Architecture- g t 
 
 pretend who will fetch it from the mWov or forehead of the Beafts 
 whofe Sculls (remaining after the Sacrifices) were ulually Carved 
 in thele Intervals ; becaule in thele Vacuities were the Paflages for 
 the ends of the ffoyfts, Timbers and Rafters which retired upon the 
 Architrave ; and were to fill up that Deformity, they ufually made 
 it up with fome fuch Ornaments, fuppofe of Sculls, Bijhes. , and 
 other Veflels, nay fometimes with Jupiter's Squib or Thunderbolt 
 Targets , Battle-Axes, Rojes , and fuch other Trophies, as was found 7 
 molt appofite to the occafion, and not prepofteroully filled them 
 (as our Workmen too often do) without any Relation to the Sub- 
 ject ; lb as I have frequently leen Oxes Heads Carv’d on the Freeze 
 of an Houfe of Pleajure in a Garden, where Rofes and Flowers would 
 have been more proper. There are furidry other Ornaments like- 
 wile belonging to the Freeze ; fuch as Encarpa, Feftoons, and Fruta- 
 ges tyed to the Horns of the Sculls with Tarnue and Ribbands ten- 
 derly flowing about this Member, and fometimes carried by little 
 Tuti, Boys, Cupids and a Thouland other Rich Inventions to be 
 found in good Examples : But we are now arriv’d to the third and 
 la ft Member of the Entablature leparated from the Freeze by the 
 luperior 1 cema, the Cornice. 
 
 The Cornice, Coronis, or as it is collectively taken for its leveral and 
 Diftintt Mouldings and Ornaments, comprehends a fmall i. Repula, 
 a. Cymatium , 3. BenteUi, 4. Ovolo or Echinus, 5. JVlodiltons or Bed- 
 ding-mouldings which l'upport the Corona, 6. Sima recla and inverfa 
 (rarely a Cavettv) 7. and la fitly another Regula which concludes the 
 whole Order. We will begin with the Fir [l, being fometimes a 
 fmall Scotia confiding of an half or quarter round, "that now and ' 
 then alio both in the Tujcan and Boric divides the Freeze from the 
 Cornice in place of the 'Forma, as does the Cymatium in the reft of the 
 Orders. The 
 
 Ovolo is next in the plainer Orders ; but it is inrich’d in the Cor in- o-^u. 
 than like the Echinus, which (if you pleafe) you may take for the 
 fame thing in an Italian Drefs, fome like Eggs, fome like Hearts 
 with Barts Symbolizing Love, & c. In the Tufcan and Boric ’tis 
 turn’d like a Scima or Cymatium, and is fubftituted for fupport of the 
 Corona ; but in the lafi ’tis ulually accompanied with a flender Regula 
 above it, and in the Corinthian both above and beneath, where it is 
 Iikewife frequently Carv’d and adorn’d with a broad Welt like a 
 2 Plinth. 
 
 Bentelh, are the Teeth (a Member of the Cornice ) immediately 
 above the Cymatium of the Freeze , by fome named alfo Ajferi from 
 their lquare Form ; 1 fay in the Corinthian and Ionic , See. for in the 
 Boric Order they were not antiently addmitted, or rather not Properly, 
 according to the Opinion of our Majler , though we muft needs ac- 
 knowledge to have found them in the molt Authentical pieces extant : 
 
 L As 
 
3 6 
 
 Account of Architects 
 
 As for their 2 )imenJions they kept to no certain Rule, but made 
 them fometimes thicker, fometimes thinner, fquare, or long, and 
 more in number ; but commonly the Spaces lefs by an half, fome- 
 times by a third part than the Teeth , which were themfelves twice 
 as High as their Breadth , and frequently (efpeciaily in the more po- 
 lite Orders ) beginning with the Cone of a Tine , pendent at the 
 very point over the Angular Column : Lomatim is yet more 
 precife in this particular, and gives them as much height as the mid- 
 dle Fafcia of the Architrave, Trojeilure, equal, (fomewhat too 
 much) Front twice the Breadth of their Height, and a third part lefs 
 than their Breadth for Vacuity. The Dentetti have oftentimes a fmall 
 Regida, and now and then more than one, as ulually in the Ionic a, 
 where it has likewife an Ovolo or Echinus for the bedding of the Corona ; 
 but if iuriched, and that two of them encounter, one (hould be Ample 
 and plain, as where it happens to be inferted beneath it : Next to 
 this fuperior Echinus are the Modilions ; but inftead of them ‘Dent e Hi 
 are thought to have been fil'd inftituted, and for that Reafon fuper- 
 fluoufiy joyn’d where Mutules are ; and therefore where we find 
 Hem a under Modilions it is not properly divided into Teeth, nor is 
 it rafhly to be imitated, though we have fome great Examples to 
 countenance it. That of the Tantheon may fafely guide us herein, 
 where it is left Tlain for this very Caule, and that the Reafon of the 
 Thing does not in Truth allow it : However, it muft be acknow- 
 ledged, nothing, has been more groily abufed even amongft our moft 
 renown’d M after s. 
 
 Modilions , being certain fupports in form of Corbetts, Cortouzes and 
 Mutules are a kind of Bragets to the Corona , and in thofe Orders 
 where they enter, fupply the part of the Bedding-moulding as our 
 Workmen ftyle the Ovolo in this place ; for fo they frequently do in 
 the Doric and Ionic, but then without any other Ornament than a 
 flight Cymatium to edge them, and to be always placed over the 
 Triglyphs : In the Corinthian and Compojita (which is their true 
 place) they are enrich’d with all the delicatenefs and curiofity ima- 
 ginable (efpeciaily in the Corinthian) capp’d, as I laid, with a curi- 
 oufly Carv’d fmall Cymatium , where they are contiguous to the 
 Tlanceere or Roof of the Corona. Our ordinary Workmen make fome 
 diftindtion between Modilions and thofe other forts of Bragets which 
 they call Cartetts and Mutules , ufually Carv’d like the handles of 
 Veffels Scroul’d, Flower’d, and fometimes Sculptur’d with the 
 Triglyph ; and fuch were the Ancones amongft the Greeks : And 
 fuch are often found fupporting little Tables for Infcriptions ; the 
 Stools of Windows , which jetty out, and Shields, and Compartments 
 for Coats of Arms , & c. That there fhould be no Quit a under Mu- 
 tules (or Dentetti under Modilions,) is the Opinion of divers learn’d 
 Architects, though (as was faid) we frequently find them Chanell'd 
 
 like 
 
and Architecture. 
 
 like the Triglyph , and that in authentick Examples : T Inlander is 
 for it, and pronounces them more proper than even under the pu~ 
 reft Triglyph, for fignifying (fays he) Cdntermum Capita , unde fid, 
 licidium fieri certum efi, drops and Hides commonly hanging at the 
 ends ot our Rafters upon every weeping Shower, whereas Triglypbt 
 import only the Rropeclures of the Beams and Timbers nothing fo much 
 expofed : But this 1 leave to the more Judicious : Whilft as to their 
 Shape, they fhould be Square under the Corona at double their Breadth 
 the Interval, and juft over the middle of the Columns , how otheryvife 
 us’d, fee in Tympanum, Mutules. 
 
 Mutules quafi ( a kind of Moddions alfo, or rather the fame m»lu 
 
 under an Italian term) have their Name from their Defeft, as being 
 made thinner and more abated below than above, and therefore 
 naturally and difcreetly deftin’d to places where they are but little 
 burthen d with weight, as here under that little remainder of the 
 Cornice , are to bear up, little Statues, Bufis , Vafins, &c. and fo 
 where they are fet under the Pedaments and Lintels of 'Doors and 
 Windows : Mod prepoft’rous therefore and improper is our frequent 
 aligning fuch weak fupporters to fuch monftrous Jetties and excef- 
 iive Superfir uclures zs we many times find under Balconies, Bay, Win, 
 dooms and long Galleries ; where inftead of Mutules the Aitients 
 would have plac’d fome flout Order of Columns : But by thefe 
 unrealonable Trope Bures (obfeuring the Lights of the Rooms under 
 them) it comes topafs, Jhat in time our ftrongeft Houfes are deftroyed, 
 and drawn to their irrecoverable Ruin* For the proportion of 
 Mutules, I commonly find them a Fourth Part higher than their 
 Breadth, their Intervals being as wide as two ; but neither do I find 
 thefe fo conftantly regular, only that there be ever one plac’d at the 
 Corners and returns of the Corona ; and then if they interchangeably 
 differ as to the Spaces, and as the Rafters direff, there are Examples 
 abundant for their Juftification : After all, they little differ from 
 Moddions, fave that they are moft proper to the Doric Cornice , repre- 
 fenting and covering the ends of the Rafters, whereas Moddion ferves 
 for any Order. 
 
 I fhall not need to define what is meant by TrojeBures , when I 
 have laid it is the fame our Englifih Authors call the Sailings over 
 and Out -Jettings of any Moulding beyond the upright Waif: The 
 Italians name them Sporti, the Greeks Ecphoras, and for the fame 
 Realon all A^witr whatfoever which hangover beyond the Scaprn 
 of a Column are Vrojeclures ; and for a general Rule it fhould be 
 equal to the breadth of what Projeiis, relation being difcreetly had 
 to the height, which beft determines it. 
 
 . C orom fi * s next t * le ^ confiderable Member remaining of the arm 
 intire Entablature , and (tho’ but a part only of the Cornice ) feems 
 indeed to fet the Crown upon the whole Work : I fay Confiderable, 
 
 becaufe 
 
Account of Architects 
 
 becaul’e being regularly plac’d fo near the uppermo fkOvolo, or Mutates, 
 it ferves to defend all the reft of the Edifice from the Rain and inju- 
 ries of the Weather, and therefore has its Projeclures accordingly ; 
 and fhould be one of the ftrongeft Square Members of the Cornice : 
 It is fometimes taken for the intire Cornix or Cornice with all its Or- 
 naments, but Jh'iSly, for that part of it above the Slodilions , Ovolo, 
 Echinus, or O-gee by a turn under the Planceere. We find the Corona 
 omitted and quite left out of that (lately Arco di Lconi, but it is wor- 
 thily reproved by our Author of the ‘Parallel, as being a Member of 
 supmi- indifpenlable ufe. Corona is by l'ome call’d Super ahum, but rather 
 1 conceive StiUicidtum the 1 Drip ( Corona elvcollata Vile) and with 
 more Reafon, io the French Farmin' , Goccwlaloio and Ventale by the 
 Italians to denote its double Office of protecting both from Water 
 and Wind: For this reafon likewife have our Latin Authors nam’d, 
 this broad Plinth , Mentwn a Chin ; becaufe it carries off the Wet 
 from falling on the reft of the Entablature, as the prominency of 
 that part in Mens Faces keeps the fweat of the Brows, and other 
 liquid diftillations, from trickling into the Neck ; and in imitation 
 hereof the Antient Potters invented the brimming of their Vejfels, 
 by turning over fome of the DuCtile Matter when the Work was on 
 the Wheel. Sometimes there have been two Corona s in a Cornice, as 
 in that Corinthian Inftance of the Rotunda ; and fo it is frequently 
 ufed in the Stylobates under Gala inverfa ; and truly it may be juft- 
 ly repeated, as the expofure and occafion requires (fo it be not too 
 near one another ) all ProjeSures being but a kind of Corona to the 
 Subjacent Members ; and therefore their Proje&ures are accordingly 
 to be affign’d, and by no means be cut and divided to let in 
 Window, or Tables : Corona is alfo taken for the interior and exterior 
 Curvature of an Arch or Vault. 
 
 The under part of the Roofs of Coronas (which are commonly 
 wrought hollow, by fometimes fas we laid ) making part of the Cy- 
 matium ) are by our Artijls call’d Planceeres, and thofe the Cofers 
 wherein are cut the Rofes, Pomgranades, Flowers or Fretts, which 
 adorn the Spaces betwixt the Heads of the Modilions and Mutules. 
 This Ceiling the Italians name Soffit o , and it fignifies not only that 
 part of Corona which fallies over, but the Lacunar , Lacus or Plain 
 of all other Roofs made of Tabulations and Boards appearing be- 
 tween the fioyfls , and which (as now, efpecially in other Countries) 
 were alfo formerly Gilded, Carv’d and .moft magnificently Em- 
 bofs’d with Fretts of wonderful Relievo ; nay fometimes to the 
 Excels of Inlayings with Ivory, Mofaique and other rich and chargea- 
 ble Works. Pliny l. 35. cap. 1 1. tells us of one Pamphilm the 
 M after of Apelles, to have been the firft which brought this Roof- 
 painting into Vogue : But I refer the Reader who thirfts after more 
 of this, to the Learned Salmafim on Solinus p. 1215. Nor is yet 
 
and Architecture. 39 
 
 the Corona perpetually plain as we commonly fee it ", fometimes 
 ( r hough rarely indeed) I find it Carv’d alfo, as in that incompara- 
 ble Comgofna of Titus's Arch, and that of ! Dioclejian's Baths in the 
 Corinthian Order, and as is indeed every individual member of that 
 intire Entablature to the utmoft excefs of Art ; but how far this may 
 be imitable, confult the Judicious Parallel ; while ’tis yet confide- 
 rabie that it is there but with a kind of Sulcus or Channel, in imi- 
 tation of Triglyph, or a fhort Fluting rather, being indeed more pro- 
 per for the carrying off the Water , than any other Work could 
 have been devifed. Corona has over it a fmall Regula , or an inricli- 
 ment of fome Height Chaplet in the Corinthian , &c. after which Cy- 
 matium , as in that of Titus's Arch before rehearfed ; fometimes 
 likewife with an Cvolo or Echmws cut with Ouals, and Parts, (or as 
 we call them Eggs and Ankers) as in that Example of Nero's Fron- 
 tifpiece , and upon this again the double Cy mat turn, whereof the firft 
 is inverted, and ever the neathermojl and moft narrow, the other 
 Retia, very large and prominent, being now and then adorn’d 
 with Lyons Heads plac’d juft oppofite to the Modilions ( of which fee 
 that curious refearch of the Learned Dr. Brown in his Vulgar Errors) 
 though fometimes they are adorn’d with Foliage only. Laftly, 
 for a final ’tyh3mn or Super-impofttion (if I may be indulg’d lb to name 
 it) we are now climb’d to the moft fupream Projetture, and ultimate 
 part of the whole Cornice, namely the 
 
 Regula , which fome make a part of the Sima or Gula Re 8a, by ^ 
 Palladeo the Intavolato, and which I think to be the lole Member 
 which I never remember to have feen any where Carv'd, but always 
 Plain, though in fome of the Orders of near eight Minutes in 
 breadth. It is very true, that Scotia (which I now and then call 
 Cavetto or fmall hollow) does in fome laudable Examples fupport 
 this Member inftead of Cymatium , but not fo frequently ; and that 
 the Tufcan Cornice terminates in a Cymatium without this Regula , or 
 rather in an Ovolo , as in thofe Examples after Sebajlian Serho , See. 
 but it is not after a true Gujlo , and the Fancy is particular. Regula, 
 call’d alfo Lijlello, Cincla, See. (of which fomething already hath 
 been fpoken) is always that Supercilium or fuperior Member of the 
 Cornice, though it be likewife taken for that which is by fome call’d 
 JUhtadra, being thofe two Lifts commonly including Scotia, as we 
 find it in the Ionic Spira, both above and beneath : Sometimes alfo 
 it fignifies the Rings or fmall Feruls begirting the Scapm of a Column 
 near the Apophyges , or the Plinth of a Pedejlal : Therefore I di- 
 fiinguifh them, though yet they may be accounted the fame, feeing 
 they ufually import any fmall plain Fillet dividing greater Mem- 
 bers ; for fo Philander calls almoft all fimple parts broader or nar- 
 rower, which like Fillets encompafs the reft ; or rather as Sycis, fe- 
 parates the Members from contiguity, both for variety and diftinCti- 
 
 M on'. 
 
4 o 
 
 Trnbeatio. 
 
 Cima. 
 
 Ordo. 
 
 Account of Architects 
 
 on, as in the Doric-Trabeatian , Regula, Sima , Cymatium , Sec. In 
 the Capital . , Regula , Cymatium , Tlmthus : In the Cornice of the Sjy- 
 lobata alfo Regula , Cymatium , Aflragali is: But where it is no lei's 
 confpicuous, is in that part of the Friglyph. , which jetts out under 
 the Tcmice, and from which the depend, where it feems to 
 
 be a part of the very Architrave it felf. Laftly, before I altogether 
 leave the Cornice (which is indeed the top of all, and may be call’d 
 the Crown of the Corona it felf) it may not be amifs to add this fhort 
 Note, for Joyners and luch as make Cornices of IVainfcot , or Fret' 
 Work, concerning the Trojeflures, which having relation to the 
 Height, an Inch allow’d to every Foot fuffice for a room of i 5 Foot 
 pitch, which is one Foot three Inches, where there is Freeze 
 and Cornice , if much higher, and that there be the whole Entablature , 
 each (hall require a tenth part. To conclude, the very meaneft 
 Building, Farm , or Out-houfe deferves a Moulding, Cornice with a 
 quarter round or Ovolo , a Cymatium and Filiet. 
 
 And may thus much fuffice to have been fpoken of the Cornice or 
 upper Member of the frabeation , which we mean by the Entablature , 
 for both thefe terms fignifie but one and the fame thing, viz. The 
 Architrave , Freeze , and Cornice : which I therefore the more pre- 
 cifely note, becaufe Come Writers apply it only to the very cover 
 and upmoft top of the Orders-, but lb does not our Country-man 
 John Shut e, whole Book being Printed Anno 1 584. (and one of the 
 firft that was publifhed of Architedlure in the Englijh Tongue) keeps 
 rather to the Antient Terms , than by mixing them with fuch barbarous 
 ones as were afterwards introduc’d, indanger theConfulion of Young 
 Students , and fuch as applied themfelves to the Art. Finally, to reform 
 another miftake, 1 think good to note that where we "find Coronix 
 in our Authors, it is rather meant for all that Moulding projecting 
 over the Dye or fquare of the Tedefial (by fome call’d" alfo Cima ) 
 than this conclufive Superior Member of the Entablature which we 
 name the Cornice. But I have done, nor needs there more be ad- 
 ded for the perfeCt Intelligence of the moft Minute Member and Or- 
 nament mentioned in this Rarallel , or, I conceive, in any other Author 
 whatfoever treating concerning this Art , and naturally applicable 
 to the Order , by which we are all along to underhand certain Rules 
 and Members agreed on for the proportions and differences of Co- 
 lumns , the Characters, Figures and Ornaments belonging to every 
 Part and Member ; whether bigger or leffer, plain or inrich’d : Or 
 as others, a Regular Arangement of the principal, and conftituent 
 Parts of a Column , from whence there Refults that Compofition 
 which gives it ulefulnefs with Grace and Beauty. This for confid- 
 ing then of the feveral Shapes and Mea fares, obliges us to fay fome- 
 thing more of Troportion , as being indeed the very Foundation of 
 Archhcclure it felf ; rifing as we (hew, from the Reprelentation of 
 
 Natural 
 
and Architecture. 
 
 Natural 1 hings : Nor is it in this Art only applicable to the Dtfpofi- 
 tions and Kinds of thofe Edifices (which we have already fpoken 
 of) but to every individual Member of an Order, which Vitruvius 
 will have taken from the Regular Dimenfions and Proportions of 
 the parts of the Humane Body , in relation to any one moderate 
 Meafure of the fame Body, differently multiplied in i'everal Parts : As 
 for Inftance, the Head for an Eighth part of the whole ; Twice 
 from the point of one Shoulder to the other extream, l?c. Twice in 
 the Arm-, four times from the Hip downwards, Jsfa. Or as Albert 
 Burer, by Multiplying the Face from the bottom of the Chin, to 
 the upper part of the Forehead , reckons the whole length to be 
 ten, El fic de eastern , according to which the Diameter of a Column 
 fhall be ten times in the height of the Corinthian ; the Inter columna- 
 tion Eujlyle , two and a quarter, ISc. of which let the curious con- 
 sult our Mafter learned Interpreter, lib. 3d. cap. 1. where he Di- 
 icourfes of Bojitive and Unalterable Eftablifhnients ; whilft that 
 which we mean by Troportion here, is the Scale by which all the 
 Barts are Regulated as to their juft Meafufes and Projetfures; and 
 this has by Artifls been call’d the 
 
 Modul, or as Vitruvius (and fome will have it) Ordonation ; ex- suduius. 
 plained by Modica commodities , to be taken for the 2 Vf.r or Quantities 
 by which the. I'everal Members of an Order are Calculated and Ad- 
 jufted in their Compohtion In the mean time to avoid all uncer- 
 tainties and Perplexity of Meafures differing in moft Countries, 
 home dividing into more, others into fewer Parts, to the great eafe 
 of both Architects and Workmen ; by * Moduls is to be under- * 
 flood the Diameter or Semidiameter of a Column of whatever Order 'tf'Ait 
 taken from the Rife of the Shaft or Superior Member of the Bafe f"‘ Mo ' 
 namely, at the thickeft, and moft Inferior Part of the Cylinder, from-fcw* 
 whence Monfieur de Chambray (following Balladio and Scamozzi) tak-^Typ « 
 ing the Semidiameter divided into 30 equal Parts or Minutes, make tS 
 it to be the Umverfal Scale : Now tho’ Architects generally meafure 
 by the whole Diameter (excepting only in the Doric, which they 
 reckon by the half) it makes no alteration here, fo as the Workman 
 may take which he pleafes. We proceed next to the Orders them- 
 felves : Nor let it be thought a needlefs Repetition, if having given s' f 
 the Learner (for to fuch I only fpeakj fo Minute and full a Defcrip- 
 tion of all thofe Parts and Members whereof the feveral Orders are 
 compos d and diftinguifh’d ; I go on to fhew how they are put to- 
 gether in Work, by what they have in common, or peculiar to de- 
 nominate the Species, and bring the hitherto fcattered and difper- 
 fed Limbs into their Refpeftive Bodies. 
 
 We have already fhew’d (fpeaking of Capitels) that a Column, 
 which is ftridtly the Naked Bofl or Cylinder only ; does not affume the 
 Name and Dignity of any Order , till compleatly qualified with thofe 
 
 Parts 
 
4 2 
 
 Tufctn* 
 
 Account of Architects 
 
 Parts and Acceffaries, which give it Name , Preeminence and Rank ; 
 but being fo diftinguifh’d, they are no Architects what the feveral 
 Modes are in Mujic , and the Carminum genere among the Poets: Ail 
 Buildings whatfoever coming properly under the Regiment of Pome 
 one or other of them, or at lead, ought to do, and they are Five, 
 (according to the Vulgar Account) namely, Tufcan , Doric , Ionic , 
 Corinthian and Compofita : But fince the Firfl and Lafl of thefe are 
 not admitted by our great M after s, as Legitirnat Orders (to which 
 indeed the Antient Greeks claim only Title) we might with Vitru- 
 vius, and our Author of the Parallel , leave them to bring up the 
 Rear ; did not Cujiom, as we faid, and common ufe fufficiently Jufti- 
 fy our affigning this place for the 
 
 Tufcan , Ruftic, or by whatever name dignified, or difgrac’d ; 
 for being feldom found in the Antient Fabrics of the Romans them- 
 lelves, by which name it is alfo call’d ; it feems yet to Challenge 
 fome regard from its refemblance to thofe plain and fimple Rudi- 
 ments of thofe primitive Buildings, where they laid a Beam on the 
 top of two forked Pofls , newly cut and brought out of the Foreft, 
 to fupport that which gave Covering and Shade to the firft Archi- 
 tects , fuch as they were, and we have deferib’d ; till Time and Ex- 
 perience, which Mature and Perfect all things, brought it. into bet- 
 ter Form and Shape ; when the AJiatic , Lydians , who are faid firft 
 to have Peopl’d Italy , brought it into that part of it, call’d Tufcany: 
 Nor let it altogether be defpis’d, becaufe of its Native plainnefs, which 
 rarely admits it into Buildings, where Ornament is expected; fince 
 befides its ftrength and fufficiency (which might commute for its 
 want of other Beauty, and give place at the Ports and Entrances 
 of great Cities, Munitions, xMagazines, Amphitheatres, Bridges, Pri- 
 fons, he. that require Strength and Solidity we find it capable 
 alfo of fuch llluftrious and Majeftic Decorations, as may Challenge 
 all the Grecian Orders to (hew any thing approaching it, fo long as 
 thofe three Famous Columns , thofe of Trajan , and Antoninus' s at 
 Rome , and a third of Theodofius' s at Conjlantinople , ftand yet Trium- 
 phant, and braving fo many Thoufands of the other Orders , which 
 lie Proftrate, buried in their Dull: and Ruins. Nor is this the firft 
 Example (as fome pretend) as appears by that Antient Pillar erefled 
 to Valerius Maximus, Sirnam’d Corvmus ; on which was plac’d a 
 Raven , in Memory of what happen’d in the Famous Duel between 
 that Hero and the Gygantic Gaule : Thus whilft the reft of the 
 Orders are allifted to fupport their Charge and heavy Burdens by 
 their Fellows, and a Conjugation of Entablature, (not allow’d to 
 this) the Tufcan (lands alone like an IJland , fteady and as immo- 
 vable as a Rock- 
 
 This 
 
and Architecture, 4. 
 
 This Column with its Bafe and Capitel , is in Length Seven ‘Diameters, 
 taken at the thickeft part of the Shaft below ; the Pedeftal one ; the 
 Bafe one Module or half Diameter, which divided into Two equal 
 Parts, one (hall be the ‘Plinth, the other for the Torus, and Cincture, 
 which being but a fourth part of the breadth in this Order only, 
 makes a part of the Bafe (peculiar to it felf alone) as in the other it 
 does of the Shaft it felf. 
 
 The Capitel is one Modul, which divided into three equal Parts, 
 one (hall be for the Abacus, the other the Ovolo , the Third parted into 
 Seven , whereof one is the Lift, and the remaining Sir for the Column : 
 The lower Aftragal is double the height of the Lift under the Ovolo. 
 Note, That Vitruvius makes no difference ’twixt the Capitel of this 
 Order from the Doric, as to Proportions, tho’ Artifts difpute it ; who 
 (as was faid) allow it a Semidiameter. 
 
 Now, tho’ they have not granted it any fixt and certain Entabla- 
 ture, but chofen what they thought fit out of other Orders ; yet they 
 feldom give it lefs than a Fourth Part of the height of the Shaft, 
 like the Doric , which commonly, and very properly, fupplies the 
 Place of the Tufcan, and that with a great deal of more Grace 
 where they (land in Confort, as in Arches, and the like : The di- 
 ftance or Intercolumnation of this Order , fometimes amounting to 
 four Diameters, fometimes requires an Architrave of Timber ; or 
 if of Stone, to be plac’d much nearer, unlefs (as wefaid) in Vault- 
 ing and underground Work, to which fome almoft wholly Con- 
 demn it. 
 
 The Done , fo nam’d from Dorm King of Achafis, reported to m*. 
 have been the firft who at Argos built, and dedicated a Temple to 
 Juno of this Order, is efteem’d one of the mod Noble, as well as the 
 firft of the Greeks, for its Mafculine, and as Scamozzi calls it, Herculean 
 Afpefi, not for its Height and Stature, but its Excellent Proportion, 
 which fits it in all Refpefts, and with Advantage, for any Work 
 wherein the Tufcan is made ufe of, and renders that Column (among 
 the Learned) a Supernumerary, as well as the Compofita. 
 
 The Doric, Bafe and Capitel, challenges Eight Diameters fet alone ; 
 but not fo many by One, in Porticos and Mural Work. 
 
 The Capitel one Modul, with its Abaevs, Ovolo, Amulets , Hypo - 
 trachelium, Aftragal and Lift beneath the Capitel , making a part of 
 the Shaft or Column. 
 
 The Entablature being more fubftantial than in the reft of the 
 Greek Orders, requires a Fourth Part of the Height of the Columns ; 
 whereas the others have commonly but a Fifth. 
 
 The Architrave one Module, compos’d but of a (ingle Fafcia, as 
 beft approv’d, (tho’ the Modern fometimes add a Second,) with a 
 Tania or Band which Crowns it. 
 
 N 
 
 The 
 
Account of Architeffs 
 
 The Freeze with its Lift, which feparates it from the Cornice , is 
 t Modi. 4. The Cornice holds the fame Proportion, with this Note,* 
 That when the Column is above 7 ‘Diameters , both Freeze and Ar- 
 chitrave have their Regulated Meafure, one being of a fingle Module , 
 the other being Three Quarters, and the remainder being a fourth 
 Part of the Column is caft into the Cornice. 
 
 1 his Order had of Old no Tedeftal at all, and indeed ftands hand- 
 fomely without it, but where it is us’d, Talladio allows it Two Dia- 
 meters and a third of the Column , and is often plac’d upon the At- 
 tic-Bafe 3 for antiently it had none : We find it fometimes Fluted 
 with a fhort Edge without Interfile, as there is in other Orders 3 But 
 that which is indeed the proper and genuine Character of the Doric , 
 is (with very moderate Inrichment befides ) the Trigliph and M'etop 
 in the Freeze , with Gutter in the Architrave beneath 3 the due Col- 
 location and placing of which, often fubjefits our Architects to more 
 difficulty, than any other Acceflfary in the other Orders 3 becaufe of 
 the Intercolumnation , which obliges them to leave luch a fpace ’twixt 
 two Columns , as may not be lefs than for one Triglyph to five, 
 counting what falls juft on the Head of the Columns 3 which if plac’d 
 at the entrance of a Building, the diftance muft be for Three ■ which 
 to adjuft is not very eaiy 3 feeing the Intercolumnation ought to cor- 
 relpond with the diftance of the Spaces of the Triglyphs and Metops 3 
 which point of Criticifm, is the Caufe we often find them quite 
 left out in this Order , which fuits fo well in the Tycnojlyle and 
 Acroftyle. 
 
 The Ionic , invented, or introduc’d by Ion , fent by thofe of 
 Athens with a Colony into that part of Greece bearing his Name, 
 (and where he erefted a Temple to Diana ) confifts of proportions 
 between the folid and manly Doric 3 the delicate and more Feminine 
 Corinthian 3 from which it but little differs, fave in the Matron-like 
 Capitel : It contains Eighteen Modules or Nine Diameters (tho’ by one 
 lefs at firft) together with the Capitel and Bafe, which laft was added 
 to give it Stature. 
 
 The Entablature is allowed a Fifth part of the height of the Co- 
 lumn of which the Bafe takes one Module , (with fometimes a fmall 
 Moulding of Twenty Minutes ) the Capitel very little exceeding a 
 Third : But its diftinguifhing CharacteriJhc is the Valuta 3 concern- 
 ing which fundry Archite&s have recommended their peculiar Me- 
 thods, for the Tracing and Turning that Ornament 3 efpecially 
 Vignola and Goldman : The Famous Mich. Angelo had one after his 
 own Mode, and fo others 3 but that which has been chiefly follow’d, 
 is what Fhilip de IVOrme contends to be of his own Invention. 
 
 This Column is Fluted with Four and Twenty Plaits 3 the Spaces or 
 Inter flices not fliarp and edg’d like the Doric, (which is allowed but 
 Twenty j tho’ of the fame depth, and hollow to about a Third Part 
 
 down- 
 
and Architecture. 
 
 45 
 
 downward, where they are convexly fiav d, and thence nam’d 
 Radiant, by fome Rudent, tho’ of old we find them Fluted the 
 whole length ; Thus as the Cartel refembled the modeft Trejfes of 
 a Matron ; fo did the Fluting, the Folds and Plaits of their 
 Garments. 
 
 The Tedejlal is of two Diameters and as many Thirds ; Several 
 other Obfervations pretend to this Order, to render it Elegant, which 
 are left to the curious, but thele are the more Eflential. 
 
 The Corinthian had her Birth from that Luxurious City; trick’d cm* 
 up and adorn’d like the Wanton Sex, and is the Pride and Top of 
 all the other Orders : For the reft it agrees with the Proportion of 
 the Ionic, excepting only in the Capitel : In a Word, it takes with 
 its Safe Nine Diameters and three Quarters, and fometimes 'Fen : 
 
 If Fluted, with as many as the Ionic , half as deep as large ; the Li- 
 ft 1 o r Space between the Groves , a Third of the depth ; yet 
 not fo precifely, but that according to the Compafs and Station 
 of the Column, the Flutes may be Augmented to Thirty and 
 above. 
 
 Our Modern ArchiteSs for the moft part, allow but one Fifth of 
 the Fleight of this Column to the Entablature, comprehending Bafe 
 and Capitel , I fay for the moft part ; but in the nobleft, and moft 
 intire Examples of Antiquity, which is that of the Roman Pantheon. 
 
 I he Entablature is indeed fomewhat deeper ; but with this Circum- 
 fnection to be Imitated, that t-ke FaknV 
 
4.6 Account of Architects 
 
 Note, that the Scrolls feeming to be form’d out of the Caulicukj 
 the Rofes in the middle of the Abacus , was fometimes by the Anti- 
 ents of the fame breadth, which fince they make to bend on the 
 middle Voluta. 
 
 The Bafe of this Order is Fifteen Minutes of a Module : The T e de- 
 ft al requires a Fourth Part of the Height of the Columns , and fhall 
 be divided into Eight Parts : One to the Cymatium ; T w for the Bafe 
 (which is the Attic) the reft for the Zoccole or 2 he : And thus do the 
 Three Greek Orders reprefent thofe Three Species of Building : The 
 Solid, the Mode fl- Mem, and the ‘Delicate , between the fimple plain , 
 the Gay and IV ant on, which are the Latin Extreams ; whilft the 
 Gothic is rifen from the Corruption of them all : For after all, 
 there’s none has been more grofly abufed, than this Flourifhing and 
 Noble Order , by fuch as with their Impertinence, ha’e fometimes 
 rendred it neither Corinthian nor Compofita , which is the Fifth and 
 Laft. 
 
 cowifta. The Compofita, being the Junior of all the reft, and Foreigner to 
 the Greek , is of a Roman Extradition, and therefore by fome call’d Ita- 
 lian ; and tho’ not without fufficient Infolence, taking place of the 
 Corinthian , betwen whom and the Ionic (he’s but a Spawn and Mun- 
 grell, as well as the Tujcan, and fo reckoned among Judicious Archi- 
 tects, and by our Mafler himfelf, not fo much as own’d an Order , as 
 not thinking it poffible to invent a more Noble and Compleat, than 
 the Corinthian : They would fain it feems, have one to bear the 
 Countries Name, and that as they Intuited over and brav’d the reft 
 of the World, fhould fit Triumphant over the reft of the Orders , 
 from whom they have pluck’d their Fine and Gawdy Plumage ; 
 priding it over the Corinthian, from whom and the Ionic, the only 
 differs one Diameter more in height. 
 
 The Capitels four Angular Scrolls , take up all that fpace, which 
 in the Corinthian is partly fill’d with the Cauliculi and Stalks, and now 
 and then an Eagle, Griffon is found to neftle among the Foliage, of 
 which it has a Series of two rows, and under the Ovolo the Ionic 
 Neck-Lace ; whilft others affirm, that the variety of the Capitel , 
 changes not the Species, which confifts (as Terault will have it) in 
 the Length of the Shaft only ; fo as no body is to wonder at the 
 prodigious Licentioufnefs, which fome we find have run into, to 
 gratify their Ambition. The French ( of all the Nations under 
 Heaven , being the fondeft of their own Inventions, how Extrava- 
 gant foever, and- to Impol'e them on all the World befidej call it, 
 forfooth, the Gallic Order , and with a Confidence peculiar to them- 
 felves, to alter and change what for almoft Two Thoufand Years, 
 none has been fo bold to Attempt with that Exorbitance : For 
 they have Garnifh’d this Capitel with Cocks-Feathers and Cocks Wombs 
 too among the Flowrdeluces , ridiculoufly enough hanging the 
 
 Leaves 
 
47 
 
 and Architecture. 
 
 Leaves and Stalks about with the Chains and Ribbons of the Orders of 
 the St. Efprit and St. Michael , with its dangling Cockle-Shells; in imi- 
 tation doubtlefs of Xerxes's tying the Scarfs and Garters of his Con- 
 cnbme and MtJJes, among the Boughs of the Famous Tlatan; whilft 
 one would think we might be content, with what the Romans have 
 alteady let for a Pattern on thole antient Columns of this Order : as 
 I am line the Judicious Author of the ‘Parallel would have been 
 who contrary to the Genius of his Country-Men, had the greateft 
 Averfion to the leaf!: Innovation in this Profeffion ; what (as we Paid) 
 the Romans have left us being abundantly more Graceful, and 
 rather in Excels : Wherefore by another nice diftindion, this learn’d 
 Commentator calls that the Compojita , which keeps to its fix’d Rules 
 and {rated Jdi opottions ; and that which others every Day Invent the 
 T)e Compojit , or as his term is, Compo-Compofit. and fo fets it up for a 
 Sxtb Order. But to proceed. 
 
 The Entablature has by fome been allow’d a Fourth Part of the 
 Column , but by Talladio only five, as to the Corinthian. 
 
 JO, ! S aS 4 f ! e - or a . Compound of it and the Ionic. 
 
 The Redefial has a 1 hird of the Height of the Shaft : Not but that 
 any of tbele Proportions fo eftablilh’d fas fometimes, and upon juft 
 Occailon) may be varied according to the Quality and Gran- 
 dure of the Building, as to the Inlarging or Diminilhing of a Mem- 
 ber, if the Judicious Architect fee Caule, and to be more Graceful, 
 wh,ch is a good Rule in all fuch Cafes in the other Orders , and for 
 which Vitruvius gives excellent Precepts, as helikewife does to their 
 number and placing in fingle or double Ranks, with their diffe- 
 rent Application, as whether clofe to the Wall, or to the Amle and 
 Extremes, where if Infulat and without touching, more thicknels 
 is allowable ; fince being furrounded by the Air only, it is made 
 appear fo much the Slenderer, as that fome which have been found 
 but of ieven Diameters only, have become their Stations better than 
 
 the t iey had hdd the ' r lntIre Dimenfions - There now remains 
 
 Caryatides, of which, and of the Terfian, we have an ample Ac-„ 
 count m the Rarallel out of Vitruvius, introduc’d as a Mark of Tri- 
 umph over the Carydns of Teloponefus ; whom the Greeks having 
 vanquifh d with their Confederates, they caus’d the Images and Re- 
 lemblances or both Sexes and Nations (as Slaves, Atlantes , and 
 i alamones) to be placd and ftand under Maffy Weight and Super- 
 ftrudture inftead of Columns : The Women to fignifie thofe of Cana 
 w nom they only J pared ; and the Men, as Captive Tertians, which 
 gave Denomination to the Order, if at lead: they may be call’d fo 
 fir diituiffion fake only ; fince they differ in nothing either of 
 F igm, Siffftance, or Emablament from the Feminine Ionic , and 
 J\. ..lculine Doric : But how or where they had originally been 
 
 ® employed 
 
Account of Architects 
 
 employed in any remarkable Building, is not fo perfpicuous, from 
 any Antient Vefiigia at prefent remaining ; but as they feem moft 
 properly to be plac’d at Entrances, and before Arches and Porticos in- 
 inftead of TiUafiers ; fo doubtlefs they gave occafion to many Gothic 
 Abfurdities, and Extravagant Poftures of Men, Monkeys, Satyrs , &c. 
 for the bearing up of Cornices , in place of Mutuls , and Cartoufes , to 
 that fhameful Impudence, as we fee them not leldoin in our very 
 Churches. 
 
 There remain yet of Columns divers other Sorts (to mention on- 
 ly the ! Duihan , Rojlral , Mural , Qbjidional , Funebral , Ajlronomial , 
 and other Symbolical Monuments, which may upon fome particu- 
 lar occafions have their Places,! but no more that can honeftly de- 
 rive a Legitimate Pedegree : For fome are Wreath'd , others Spiral 
 and the like : But as we meet them not in any approved Author, or 
 Antient Fabric ; fo are they very fparingly to be made ufe of, if 
 at all : Indeed the Famous Architect, Cavalier Bernini , has caft a 
 Set of thefe Forfed Columns of a vaft height; twilled about again 
 with Branches, among which are Puti, little Angels , Pope Urbans 
 Bees , and other imbofled Sculptures, all of Gilded Copper , to lu- 
 flain the Baldacchno or l'acred Canopy over the high Altar under the 
 Cupola at St. Peters , which are exceedingly Magnificent : But it 
 does not always fucceed fo well where it is praftis’d : ’Tis yet re- 
 ported that there was an Antient Wreath'd Column found fomewhere, 
 wound about with a Serpent, (as Painters reprefent the Tree in Pa- 
 radife) taking nothing away from the ftraightnefs of the Shaft ; for 
 lo the Antients prefer’d the Solid and Subftantial in all their Works, 
 admitting nothing to bear anv weight that lbould feem in the leaft to 
 plie, yield or fnrink under it, as thofe forts of Columns appear to do : 
 But as the great Ma/lers , and luch as Mich. Angelo , &c. Invented 
 certain new Cor bells, Scrolls and Modilions , which were brought into 
 ule ; fo their Followers, animated by their Example (but with much 
 lei’s Judgment - ) have prelum’d to Introduce lundry Baubles and trifling 
 decorations (as they Fancy) in their Works; Ambitious of being 
 thought Invertors , to the great Reproach of this noble Study ; fo 
 dangerous a thing it is to Innovate either in Art or Government, when 
 once the Laws and Rules are prudently fettl’d and Eftablifh’d, without 
 great confideration and neceflity : And therefore, tho’ l'uch Devices 
 and Inventions, may feem pretty in Cabinet-Work , ' Tables , Frames and 
 other Joyners-W ork, for variety, to place China-Diflhes upon ; one 
 would by no means, encourage, or admit them in Great and Noble 
 Buildings. Laftly, 
 
 As to the Placing of the Orders and Stations of Columns in Work ; 
 the fimpleft, ftrongeft, and moft fubftantial, are ever to be aflign’d 
 to fupport the Weaker. 1 he Romans indeed fometimes fet the Com - 
 
 pofita 
 
and Architecture . 
 
 fofita above the Corinthian ; but ’twas not approv’d of by the Judi- 
 cious, nor in truth fhould they appear together in the fame Building: 
 Generally then, the Rule is this, to place the Highefi and Richeft 
 Order over the rriore Solid and Plain ; efpecially, where they are 
 to decore the Face and Fronts of Buildings, confiding of two or three 
 Stages: But whether at all, or not, their Proportions (hould be 
 chang’d or abated, is nicely difputed by our Architects , of which fee 
 MmfieurPtrau.lt on Vitruvius , Lib. VII. Cap. 7. fpeaking of Semes | 
 Concluding, that it ought to be done very lparingly, and with great 
 Confideration : In the mean time, Columns plac’d over Arches , pro- 
 duce this Inconvenience, that the Arches of any of the five Orders 
 if well proportion’d (fuppofe for Inftance, Doric ) it will become 
 defective, in the Ionic and Corinthian , by Realon of the Inter colum- 
 nation ; the Difiance hindring their Collocation fo exaftly over one 
 another, as become them. There is after all, a Lefier fort of Co- 
 lumn !, than any we have fpoken of, which now and then we find 
 plac’d over a much Greater , next the Roof or rather a kind of Pil- 
 lafier after the Attic Mode. To Conclude, 
 
 The Pofition of double Columns , upon the fame Pedeflal , I find 
 quite condemned by M. Blondel as intolerable, accounting it Licen- 
 tious, ever among the Ant tents ; which fas great Artifis do not al- 
 ways agree) Monfieur Perault as learnedly defends, and vindicates- 
 and that one is not fo precifely oblig’d to Rules and hxamples but 
 that in fome Cales, they may lafely be departed from for the better ■ 
 fince it were to put a flop to the Improvements of all Arts and In- 
 ventions whatfoever, none of which were confummately perfeff 
 at the firfi ; befides, that there is nothing Pofitive in the Cafe : 
 However, as to this particular, the Antients did frequently ufe to 
 joyn Columns , two and two very near to one another upon the 
 fame Pedefial , leaving a diftance of two Inter column at ions in One • 
 which tho’ Perault holds to be a little Gothic and much affedted by 
 Iris Country-Men the French (as they do all Novelties) fo they 
 would have it pafs for a peculiar manner of Difpofition : The Pjeu- 
 dofiyle is yet we find made ufe of by great Architects , and therefore to 
 be referr’d to able Judges. 
 
 Notwithftanding, inafmuch as there do yet happen fome Su- 
 perftruRures which both in Worh and Booh of this Magnificent Sci- 
 ence have likewile Names of doubtful fignification, and to latisfie 
 all that may be farther defir’d for the rendring of this Undertaking 
 more ufeful and inftrudtive, I will in brief proceed to what is ufed 
 to appear further in Buildings , where they did not flatten the Roofs 
 and Covers of Edifices , and which tho’ certainly of all other the moft 
 Graceful, is of neceflity alterable according to the Climate. 
 
 Thofe Roofs which exalted themfelves above the Cornices had 
 ufually in Face a Triangidar plain or Gabel within the Mouldings 
 
 (that 
 
■jO Account of Architects 
 
 (that when our Workmen make not fo Acute and pointed they call a 
 Tedament ) which the A ntients nam’d 
 
 Tympanum , but this is to be taken now and then for the whole 
 Front if piece from the Cornice to the upmoft part of the Fajligium 
 or fuperior Angle of it, and is commonly circumfcrib’d with the 
 fame Cornice that the fubjacent Order is of. It is properly plac’d at 
 the Front and Entrance, and over the Torches , Windows , Niches , 15c. to 
 protect them from the Injuries of the Weather; and therefore 
 very impertinently Broken , or Flatted by fome, which expofes all 
 that is under, to many Inconveniences, nor fhould it be at all al- 
 low’d lave where an abfolute neceffity of fetting in fight (not 
 otherwife to be had) pleads for it: Now tho’ they are commonly 
 made Triangular , we frequently find them Semi-Circular (or of fome 
 other Section) whereof the Bafe is the ‘Diameter: Some again have 
 a double Tympanum , as in that Tufcan Example delcrib’d by Terault , 
 Vitr. 1. 5 . where the Handing out of the Torch from the reft of the 
 main Wall of a Temple of that Order T requires it; I fay before a 
 1 cmple ; fince they were never made in the Fronts of any other 
 Buildings ; the Antients Dwdling-Houfes being generally flat at 
 the Top, fuliws Ca?f ar being the firft whom they Indulg’d to raife 
 his Palace in this Fafiigiom manner : As Salmajim tells us in Solin : 
 1 need not add, that the Die of a Tedefral , and other flat and na- 
 ked Parts in out-fide Work and Pannels of Wainfcot is fometimes 
 call’d Tympana; fince it may be to better purpofe, to give fome 
 Directions about the Proportion and Accefiaries belonging to it; it 
 being much difputed ; Vitruvius, allowing neither of Dentelli , or 
 Modilion , but a fimple Cornice only ; tho’ we find them both very 
 ornamently applied ; fome affeCting to place them according to the 
 Slope, others perpendicular to the Horizon , and not to the Cornice 
 which they feem to lupport, as well as Beautifie; or rather to the 
 Pofture of the Rafters-eads which they reprefent. We fometimes 
 find Dentelli under the Modilion , but by none approv’d ; a fingle row 
 of Teeth , or a plain Lift only more becoming on thofe occafions 
 as well as for the Height of the Drum or Tympan (by which fome 
 diftinguifh the Round from the Tointed which they name Frontons ) 
 which lome Noble Statue , or Bafs-Relieve may require a more than 
 ordinary Elevation of ; In the mean time, D’Avilers Figure follow- 
 ing may give fome Direction to Workmen : 
 
 s 
 
 {! 
 
and Architecture v t \ 
 
 Divide the Line a b (which fuppofe the Hypotenufe of the Bafe) into 
 two equal Parts at the Point c, let down the ‘Perpendicular f e d indefi- 
 nite, in which e d being equal to a b from d as the Centre, defcribe 
 the Arch ae/> and where itinterfeds the Perpendicular as at e there 
 (hall be the Fajhgium or Point of the Tympane. 
 
 There are other Methods in Serlio, and the Matters ; fome Ifocele, 
 whole Angles oppofite to the Bafe are more obtufe ; others yet low- 
 er, and higher even to a full ‘Diameter, as were thofe Plmy call’d 
 P lafliC for Statues and taller Figures, as all’o at the Cima or Point, 
 and at each Angle, there flood of thofe fmaller Pedeflals we fpake of 
 for the placing of Statues , Bujls , Urns , Lamps of Fire, Pine Cones , 
 Bowles , or the like Ornaments , and thefe Stylobata were call’d. 
 
 Acroteria , from fumma pars , we may properly name them Amnru, 
 Pmacles , for fo P inn<e and Batlements were made fometimes more 
 lharp, Towring or Spiry, as pleated the Workman ; but where 
 they ttood in Ranges (as not unfrequently) with Rail and Balaujlers 
 upon flat Buildings, they ftill retain’d their name, with this only 
 difference, that fuch as were plac’d between the Angular Points 
 were (like ranges of Pillars) ftyl’d the Median or middle Acroteria : 
 
 For the mofl part a fmall Pie without any Bafe, in proportion 
 lomewhat lefs than the Breadth of the Neck of the Column (if there 
 ftand any diredly under itj and equal in Height to the middle of 
 the middle Tympane ; and that at the very Fajligium may be allow’d 
 an eighth Part more. 
 
 They did likewife fometimes cover (efpecially Temples , and 
 fuch Magnificent and Sacred Buildings ) with a Cupola, 
 which is that Pome or Hemifphxrical Concave made in refem- 
 blance of the Heavens , and admitting the Light at the top Center 
 or Navi l only, without any Lantern , as is to be feen in that incom- 
 parable piece of the Pantheon yet extant : This is much in Vogue 
 yet in Italy , and of late in France , efpecially at Rome and Florence 
 but it is commonly with the Lantern and other Apertures to let in 
 Pay without expofure to the Weather, as appears by that on the 
 lummit of Saint Peter's ; but it takes away, in my poor Judgment, 
 fomething from the folemnefs, and natural refemblance of the 
 other which yet are happly better to be endur’d in the more Ea - 
 fern Countries where the Weather is conftant ; as we fee it Praftis’d 
 in what the Pious Helena erefted in the Holy Land , and her Son 
 Conjlantine the Great , or rather, that at prelent, by the Emperor 
 Jufiinian , (one Anthemius of I 'rales, and Ifidor the Miletan being 
 the ArchiteftsJ upon that Magnificent StruTure of Santa Sophia 
 yet remaining at Conflantinople , and to this Day imitated by the Turks 
 for the Covering of their Mofques ; and that it was an Oriental Co- 
 vering and Invention, the ©Ja®- of the Greeks was doubtlefs de- , 
 
 V nvd 
 
Account of Architects 
 
 riv’d from the Hebrew 'nbn Theda fignifying to Sujpend or hang as it 
 were in the Air ; but the Italian Name feems to come from Cuppa a 
 Cvue or great Wafhing-Bowl, which it much refembles. As to the 
 Name Dome , whether from the Greek a Covering ( as Du 
 Lange) or as VoJJim, Dotmu , I am not concern’d (but when they 
 Call it Dome , it ever fignifies the Cathedral ) ’tis commonly erefted 
 over the middle of the Building where the Ijles crois, and ought to 
 be in Height, half the Diameter of the Church , meaning the Cuppa r 
 only (by lome nam d the Tyramis) and not the Lantern or Flos , by 
 Architects lo call d, from l'ome Flower , or like Ornament which was 
 plac’d upon it : In the mean time, we find fome of thefe Coverings 
 m otliei Shapes, and Mult angular , not exceeding Eight j but they 
 aie nothing lo graceful as the Dome-Spheroid : Sometimes alio 
 they are made to let in greater Light by a fort of Lucarr Windows ; 
 by which are meant thole Subtegularian Windows that appear in our 
 Roots above the Cornices ; of which fome are fquare with Peda- 
 ments , others Round or Oval and Oxe-Eyed as they term them, mold 
 accommodate to the Cupola , and had need have twice and an half the 
 Height of Breadth, by reafon of the diftance, with circular 
 Frontoons , wlrilfl Hindo'wt in upright Walls, ought not to be above 
 a Fifth part lei's wide, than thofe beneath them, which are ever to 
 be even with the Cornices of the Ceiling : Antiently, Windows 
 were open to the very Floor , or only clos’d with a BaUujlre and Rail, 
 much lafer, and as Commodious altogether to look into Streets 
 or enjoy the Propped as our late Alemana and Balconies are, which 
 jettie out, and reft only upon Scrolls and Mutules for 
 Realons already mention’d : Arched Vaults in Cellars fhould have 
 Arched Aperture and Windows. 
 
 Other Accejfories and Ornaments are all'o ufed in Buildings which I 
 will only touch. 
 
 Niches, quafi Nidi , Neafts, of old Concha, are a kind of Tluieus 
 or 1 mailer Tribunals (as they are yet called in Italy) wherein Sta~ 
 tues are placed to proteft them from the down right Injuries of the 
 Weather, as well as for Ornament to plain and fimple Walls : As to 
 their regular Sedions (tho’ as we have already Noted, there be no- 
 thing determin’d) one may allow them double ; half, or quarter 
 more of their Breadth, and half for the Cavity, whether Circular 
 or Square : The reft fuitable to the CharaSer of the main Building 
 and proportion of the Statue delign’d, and therefore in placing an 
 Hercules , Commodm or larger Figure, a Ruflic, or Doric Work and 
 Ornament, would become them better than the Corinthian or Com- 
 pofn delicacy ; fitter for the lefs robuft, and more effeminate, whe- 
 ther naked as the Greeks Statues, or clad as were the Roman : And fo 
 in relpect to fituation ; if low, or even to the Area, or much high- 
 ei , the Hatcher and taller Figures fhould be plac’d in the lower 
 
 Niches : 
 
and Architecture. ^ ^ 
 
 Niches: The (hotter, over thofe, and their Niches thrice the 
 height of the breadth, tho’ the Figure exceed not that of the Impojls. 
 Square Niches have a third of their largenefs in depth, and twice 
 the height. When there happens a very large Leere or Square (as 
 iometimes between the Windows) they fhould obferve the propor- 
 tion of the Aperture both for height and breadth, with fuitable De- 
 coiation . But between Columns or Lillajlers (landing one upon the 
 other, Niches are not fo proper ; becaufe they fill the Spaces too 
 much , and wheie more than one is plac'd, the Interval fhould be 
 equal to their Breadth ; and never to admit them at the Comes of a 
 Building, as frequently we fee them abroad to Infhrine l'ome Saint, 
 that the Image may be feen in feveral Streets : In a Word, the 
 too thick, and frequent Niches becomes no Building, and are un- 
 lufferable where a Cornice is broken to let them in to Groups , 
 and Anemblies of more Figures, as the Action may require ; the 
 Niche is to be fuited, and fhould begin at the Floor or Pavement 
 with ‘Plinth or Ledejlal , higher than for a (landing Figure, which is 
 ever to be allow d the fil'd: And if plac’d in a lpacious Court or 
 Garden, the Ledejlal fhould be higher • lo as the Statue may be 
 viewed round about : As to farther Decoration, it were abfurd to 
 Carve a Mask , Satyrs or Lyons Head, as we fometimes fee them 
 upon the Key-Jlone ; lead danders by, take the Statue for fome two- 
 headed Monder ; nothing more becoming it within, than the 
 ui'ual Ejculop , whether wrought in the Stone or Plader : Indeed Niches 
 drew bed without much Ornament , Columns os Lilla/lers ; unlefs plac’d 
 at the end of Come long Gallery , Tonic, or Veflibule of Church, Ex- 
 change or Courts of Jujhce , &c. Oval Niches do handfomely for 
 Bufls, and V zfas, if not fet in too deep ; and therefore may be al- 
 low d to dand on a Scroll or Alutule : Ladly, when Niches are made 
 very much larger and higher, beginning from the Lavement they were 
 call d. J 
 
 Tribunals, of old it feems applied to all high and eminent Places 
 where the Tribunes of the People us’d to lit as Judges: We have a’ 7> ' W ' 
 Noble Refemblance of this in that magnificent Throne deferib’d i Reo. 
 
 1 o. r 9. built by Solomon , which leems to me to have been fuch an am- 
 ple Nich in which a Lrmcipal Perfon might fit, as it were half Canopi- 
 ed over within the thicknefs of the Wall. 1 
 
 In Walls likewife did they ini'ert many noble and mod exquifite 
 Sculptures and Hijlorical Fables , half wrought up, Embofs'd and 
 f welling, and lometimes more than half, which emmencies they 
 now call in Italy by the name of Bajfe , and Mezzo relievo ■ Thele 
 were lometimes wrought in Marble, as in that famous Abacus and M “"' 
 Stylobata , yet extant, of TrajanI Pillar. Their ordinary placing 
 was in the Fonts of Edifices, as is yet to be feen in divers Palaces 
 at Rome , and efpecially in their Villas and Retirements of Pleafure, 
 
 which 
 
Account of Architects 
 
 which are frequently incrufted with them, but vilely imitated in 
 our expofed Fretworks about London, to the Reproach of Sculpture , 
 eipeciaily where it pretends to Figures on the out fides of our Citi- 
 zens Houfes. I well remember there was in one of the Courts of 
 Nonfuch , feveral large Squares of Hiflorical Relieve moulded off, 
 or wrought in Stucco by no ill Artift (1 think Italian',) which upon 
 the Demolition of that Royal Fabrick, I hear, have been tranflated, 
 and ornamently plac’d by the late moft Honourable Earl of Barkley , 
 at his delicious Villa Burden % in Surrey , not far from Nonfuch) which 
 is thus defcrib’d by Cambden fas lately publish’d by the very learn’d 
 Mr. Gibfon) where l’peaking of that Kingly Palace, he calls it Magni- 
 nificent to Jo high a pitch of OJientation , as one would think the whole 
 Art of ArchiteSIs were crowded into this fimple Work : And then as to 
 the Relievo (which appears to have flood expos’d there ever fince the 
 Reign of Henry VIII. who built the Houfe) fo many Images to the 
 Life , upon the Walls thereof, fo many Wonders of an AccomphjF d Work- 
 manjhip, as even Vie with the Remains of Roman Antiquity. Indeed, 
 this fort of Becoration has of late been fupplied by Tainting in Frefco , 
 and that bv very able Hands, efpecially Signior Verrio , See. as ’tis 
 frequently in Italy by the moft Famous Mafiers ; which I wifh the 
 Inclemency of our feverer Climate , were as favourable to, as the Work 
 deferves. 
 
 Ornaments , however Gay and Fine they appear to the Eye, and 
 are in many Cafes very laudable and neceffary ; there is yet no lmall 
 Judgment requir’d, how, and when to place them appofitely ; fo 
 as they do not rather detraCt from the Beauty of the Work, than 
 at all contribute to it: Now by Ornament we underftand whatloever 
 Of Sculpture and Carving is not of conftant ufe, or abfolutely ne- 
 ceffary in all Members; fuch as Frutagcs, Fafloons , Chaplets , 
 Wreaths and other Coronary Works : Frets , Guilloches , Modilions , 
 Mutuls , Chartoches , Bentelli , Aletops , Triglyphs , Ovola , Tine-Cones : 
 Niches , Statues , Bujls, Relievos , Urns, Sec, In a Word, all forts of 
 Mouldings-, Vitruvius under the name of Ornament , reck’ning the 
 whole Entablature ; in which the Prize fee ms to be the moft proper 
 Field for Decoration, as the moft confpicuous place, and where, 
 tho’ the Sculptor fhew’d his Addrefs and Invention ; The Antients 
 ("who l'pared nothing which might accomplifh the Publick Buildings,) 
 were not at all fo lavifh, in over frequent and unneceflary Gayities : 
 Their Temples , Amphitheatres , drew s, Courts of fufhee, Fora , 
 Torts and Entries of Cities, Trifons , Bridges , Bafilica , Royal Talaces and 
 other Buildings of State, where grave and Solid Structures void of 
 thole little Membrets , trifling Mouldings and fuperfiuous Carvings; 
 which takes away from that Majeftic and Grand Munier that moft 
 becomes them : Referving thofe richer Acceffories and coftly Finifh- 
 ings, for Theatres , Triumphal Arches , Fhffoncal Columns , and o- 
 
and Architecture. 
 
 ther Oftentous Pomps : Nor even in thefe did they ufe them pro- 
 mifcuoufly ; but with great Judgment Symbolical to the Subject 
 and Occafion : And therefore thofe Antient Ornaments would not 
 luit fo properly with the Ages fince, and may I conceive lawfully 
 be chang’d, without Preemption, or Injury to any Eflential Mem- 
 ber : As if (Tor Inftance) inftead of Sphinges and Griffons plac’d 
 
 before the Pagan Temples , (Guardians of Treajure which was kept 
 in thofe Sacred Buildings) Angels fhould be fet before our Churches } 
 And in the ‘Doric Frizes , inftead of Ox-Sculls , the Frieds Secefpita , 
 Gutta>, Acerra, Simpula and other Sacrificing Utenfils; We chang’d 
 them in our Churches (where that Order bed befeems them) into 
 Cherubs , Flaming Hearts, Books laid open, the Tatin, Chalice, Mitre , 
 Crofter , &c. The Frontons of Magazines and publick Munitions : 
 had the Sculps of Antique Casks , Targets , Battle-Axes, Thunderbolts , 
 the Battering Ram , Catapults , 8c c. Which we may anfwer with our 
 Modern Artillery of Canon, Bombs , Mortars , Drums, Trumpets and 
 other Warlike Engines ; and to their Roflra, Rudders , Anchors, Tri- 
 dents, Scalops , &c. the Wonder-Working Nautic-Box , with whatever 
 elfe of uletul and Conlpicuous has improv’d our Navigation. The 
 Tympan before Courts of ffuftice may become her Statue , fitting on a 
 Cube, with Fafces , ./&« and other Emblems of Magijlnicy. 
 
 Therm a? were adorn’d with Jarrs, Ampullae, Strigils in the Frizes : 
 The Maufolea, Urns, Lamps and fmoaking Tapers : Hippodroms, 
 Grew, s had the Statues of Florfes on the Fronts Meta;, Obchfes, 
 &c. The Publick Fountains were feldom without the River Gods, 
 Nymphs, Naides, Tritons , Hippopotoms, Crocudiles , See. Theatres 
 were fet out with Mafcara, Satyrs Heads, Mercuries Cadmem : The 
 Statues of Apollo, Tegafw; the Mufes, little Cupids and Geny, Lau- 
 reat Bufls , & c. Arches Triumphal with Relievo of the Conquerors 
 Expedition, Trophies , Spoils and Harnaffe , ‘Palms and Crowns. And 
 where Tables for Infcriptions were inferted to continue, or but only 
 for a fhorter time, as to Celebrate fome folemn Entry, a Prince’s 
 Coronation, Royal Nuptials , adorn’d with Devifes, and Compartments 
 for Pomp and Show: The Contrivance was under the Diredtion of 
 the Architettw Scenicw, and requir’d a particular Talent and Ad- 
 drefs,. Poetic and Inventive: In Sum, all Ornaments and Decora- 
 tions in general, fhould be agreeable to the Subjedt ; with due and 
 juft Regard to the Order, which the Antients Religioufly obferv’d ; 
 tho’ where (as we faid) it was not abfolutely Eflential; leaving out 
 or putting in as they thought convenient ; for excepting the Drefs , 
 and Tire of the lonica , Corinthian and Compojita Capitels , they were not 
 obliged to charge the other Members with coftly Ornaments ; fo as 
 they frequently left out the Metors and Triglyph in the Frizes of the 
 Firfi (as we have already Noted) the Dentelli, Ovolo and quarter 
 Round, in the Grand Cornice of the Latter, plain and without Car 
 
 Q- ving ; 
 
Account of Architects 
 
 ving ; neither did they often fill the Pedejlals with Relievo ; nor the 
 Staves in the Plating's ; and' rarefy ever allow the Corona any inrichment 
 at all, or fo much as rounded ; and were free to leave the ‘Doric ‘Plan- 
 cere naked, or with fimple Guttas only. They were careful not to 
 Multiply larger Mouldings , which fometimesthey alter’d,- and now 
 and then would feparate them with a i'maller Lift or fimple Fil- 
 let ; fometimes ufing the Carved AJlragal, and at another, the Plain ; 
 always-leaving the Lift of the Superior Cornice Flat,- to fhew us, that 
 the lafeft Rule to go by, is to follow th t Character of each Refpeftive 
 Order: And indeed how odly would the Tufcan or Doric become the 
 Corinthian Coifure , or the fpruce and florid Corinthian a Tufcan Enta- 
 blature : The fame is to be confidered in the Key f one of Arches ; 
 Plain in the Tufcan and Donca with a moderate Projefture : The 
 Ionica Scroll, ferving us a Prothyrides , on 1'uch occafiorts may be rich- 
 ly Flower’d and Carv’d in a Corinthian or Compojit Entrance, and 
 where they fufquert Tables and Menfulce for Tome lnfcription : : . 
 Rofes , Lyons- Heads, Efculops and other decorations are allowable un- 
 der the Corona with this Rule, that whether here, or under any Roof or 
 Ceiling interlacing Fretts, be ever made as Right Angles : Laftly, as to 
 Poclite , Rails and Balufters , fo to humor the Order ; that the Tufcan 
 be plain, but not too gowty, or too dole to one another, or far a- 
 lunder, that is, not exceeding twice the Diameter of the Necks ; nor 
 are they oblig’d to a conftant Shape; for fome fwell below, others 
 above ; and fome are made like Termes p all of them having their pe- 
 culiar Grace and Beauty : What is faid of Tufcan is to be under- 
 ffood of the reft ; fo as the Corinthian and Compofita may be Carv’d 
 and Inrich’d without any Scruple, for any thing that appears to the 
 contrary among the Antients, or our ableft Mafters : To Conclude, 
 not only the Roofs of Houfesl, and their Fronts had their Adorn- 
 ments, but the Floors alfo were inlaid with Pavements of the moft 
 precious Materials, as of feveral Coloured Stones and Woods , and this 
 they call’d 
 
 Emblema , continued to this Day by the Italians in their Pietra 
 Comejfa; of which the moft magnificent and ftupendious Chappel 
 of Saint Laurence at Florence , Paul the Fir ft’s at Sancla Maria Mag- 
 oiore in Rome , are particular and amazing inftances, where not only 
 the Pavement , but likewife all the Walls are moft richly incrufted 
 with all forts of precious Marbles , Serpentine , Prophirie i Ophitis, 
 Achat, Rants , Coral , Cornelian , Lazuli , &c. of which one may 
 number near thirty forts, cut and laid into a Fonds or ground of 
 Black- Marble (as our Cabinet-Makers do their variegated Woods) 
 in the fhape of Birds , Flowers , Landskips , Grotesks and other Com- 
 partments moft admirably Polifhed, a glorious and everlafting 
 Magnificence : But where it is made of lefifer Stones , or rather mor- 
 fels of them, sffifted with final! Squares of thick Glafs , of which 
 
 fome 
 
and Architecture . gfi] 
 
 fome are Gilded , or Cemented in the Stuc or Plafter, it is call’d 
 Mofaic-Worh , Mufivum , and it does naturally reprefent the moft 
 
 curious and accurate fort of Tainting, even to the Life, nor lefs du- 
 rable than the former, as is moft confpicuous in that Front of Saint 
 Mark' s Church at Venice , the Afow or Ship of Gzotto under the Cupola 
 of Saint ‘Peter s at Rome , and the Altar-piece of Saint Alichael near it : 
 Thefe are the "Z ejfellata and Vermiculata or Pavimenta afarota of the 
 Antients , which no Age or expofure Impairs, but of which I do not 
 remember to have feen any Publick Work in our Country. In the 
 mean time not to be forgotten are the Flooring of Wood which Her 
 Majefty the Queen Mother has hrft brought into ufe in England at 
 Her Palace of Sommerfet-Houfe , the like whereof I directed to be 
 made in a Bed-Chamber at Berkley-Houfe : The French call it Parquetaoe, 
 a kind of Segmentatam opw, and which has fome refemblance to thefe 
 Magnificencies ; Becaufe it is exceeding Beautiful and very Lafting : 
 
 And this puts me in mind of that moft ufeful Appendix joyn’d ’to 
 Mr. Richards late Tranjlation of the firft Book of Palladio , and thofe 
 other Pieces of la Muet the French Architect, wherein, befides what 
 he has Publifh’d concerning thefe kinds of Timber Floors , &c. y OU 
 have at the Conclullon of that Treatife a moft accurate Account of 
 their Contignations and Timberings of all forts of Stories , Roofings , and 
 other Erellions , with their ufe, Scantlings and proper Names, which 
 for being fo perfpicuoufly deferib’d, delerves our Commendation and 
 Encouragement. 
 
 May this then fuffice, not only for the Interpretation of the 
 Terms affected to this Noble Art 3 but to Juftifie the Title, and in 
 fome Meafure alfo for the Inftruftion and Aid of divers Builders 
 on fome occafions, wherein they not feldom fail ; efpecially in the 
 Country (where, for the faving a little Charge, they feldom confult 
 an experienc’d Artift, befides the Neighbour Brick-layer and Carpenter ) 
 till fome more dextrous and able Hand, and at greater Leifure, Oblige 
 the Publick, and our Country Men , with fuch a Body and Courfe of Ar- 
 chitecture, as with others, Monficur Blondel, B'Avtlar , (and injlar Omnium 
 the Learned Terault, by his Verjion , and ufeful Comments on Vitruvius) 
 have done for theirs. 
 
 Eum Architeflum oportet ufu ejfe peritum 'Cj Jolertem , qui demerc 
 aut adjicere preferiptis velit. 
 
 J. E. 
 
 F 1 M i S, 
 
To the READE R. 
 
 t~~W~\Here is no Man pretending to this Art, or indeed to any 
 other whatjoever, who does not greedily embrace all 
 JL that bears the Name of Leon Baptifta Alberti, who 
 was a Florentine Gentleman of IUuflrious Birth, great Learn- 
 ing, and extraordinary Abilities in all the Politer Sciences, as 
 he Jlands Celebrated by Paulus Jovius, and for which he became 
 fo dear to that great Mecenas Lorenzo di Medici, who chofe 
 him, with Marfilius Ficinus, Chriftopherus Landinus, and 
 other the moft refin d Wits of that Age , to entertain his Academic 
 Retirements and Solitude of Camaldoli : Tou have an ample 
 Catalogue of his Learned Works , Latin and Italian, pub- 
 liJLd at the end of his Life by Rafael du Frefne that Great 
 French Virtuofo, together with the Hiftory of thofe many in- 
 comparable Structures deftgn’d and conduced by this rare Ge- 
 nius, extant at this Day in Florence, Mantoa, Rimini and 
 other Cities of Italy ; as being indeed one of the very fir ft that 
 polijh’d the now almoft utterly loft and extinguifh’d Art 0 / Archi- 
 tecture ; in which how fuccefsfully hejoyn’d Practice to Specu- 
 lation, there are abundance of Examples , fome whereof are 
 wrought by his own Hands. He Compofed three Books, De Pictu- 
 ra, full of incomparable Refearches appertaining to that Noble 
 Art : This of Statues was fir ft Written in Latin, but it having 
 never been my hap to find it {and I think it Was never Printed) 
 I made ufe of this Verlion out of the Italian, as it was lonl 
 ftnce P ublifhed by that Ingenious Perfon Colimo Bartoli, and 
 have fubjoyn’d it to this Difcourfe of Architecture, not only be- 
 caufe they cannot well be feparated, but for that the Author (be- 
 ing one of our Parallel) the Argument appear’d Jo appofite and 
 full of profitable Inftruflionto our Workmen, who for want of thele 
 or the like R ules, can neither fecurely Work after the Life, or their 
 own Inventions , to the immence Difgrace of that Divine Art. This 
 b lief Account 1 thought fit to prefent thee, Reader, concerning this 
 Piece of Alberti s, it being the very Fir ft of t/jc Kind which ever 
 fpake our Language. 
 
 R 
 
 J. Evelyn. 
 
C 0 S I M 0 B A RT 0 L I 
 
 To the moft Excellent Architect, and Sculptor 
 
 BARTOLOMEO A M M A N T I. 
 
 A hthough I am perfectly affur'd (my moft ingenious Bartolomeo) that 
 you, who aye fo untvefjally accomplifh d, and m particular, jo shil- 
 jul, and well verfed in Architecture and Sculpture, have no need 
 of ’thofe Rules and Precepts, which the moft judicious Leon 
 Baptifta Alberti has Rublijh'd concerning Statues ; Tet I eafily perfwaded my 
 t e lf t h a t this Addrejs of them to You, would not be a thing unacceptable , as 
 beino to- a Perfon fo well able to Judge of that rare Fancy , and incomparable 
 Worth of the faid Leon Baptifta, ‘who in a time wherein little or nothing of 
 Sculpture was known (all good Arts and Sciences being then in a maimer -anni- 
 hilated and wholly extintt. throughout Italy, by Reafon of the many inundati- 
 ons of Barbarians) imployd the utmofl ofhis Abilities to open an eafy and fe- 
 cure way for our Youth : who though unexperienc'd themf elves , delighted in this 
 moft noble Art ; and to incite them to join diligent Brattice, with the Obferva- 
 tionof fwre and unerring Rules. No wonder therefore , if from that time for- 
 ward fuch wonderful Trogrefs has been made in this Art, as has brought it to 
 that Terfettion wherein it is feen flmnjhmg at this Day : So as in this Age of 
 ours we have no need to envy thofe fo much admired Statues of the moft celebra- 
 ted Sculptors of the Antient Romans, when we Jhall well confeder what has been 
 perform’d by our Countryman Donato, and not many Tears • fence the Divine 
 Michael Angelo Buonaroti ; as after him , by Baccio Bandinelli, Benuenuto 
 Cellini, and laky, by Your Self '; whereof, that I may produce fame Inftances 
 ( be fide s thofe many. Statues which are extant of all your Hands ) proclaiming 
 your femgviar Merits to- the Admiration of all Men , there are to be feen in the 
 Piazza of their Highnefles Royal Palace, the moft beautiful Judith ; the moft 
 ftupendious Coloffo of David, the robuft and fierce Hercules ; the moft ma- 
 fterly handl'd Perleus, together with all his rare and curious Adornments ; and 
 wFithis indeed the greateft of all the reft. Your own Neptune, with the other 
 three Statues accompanying it, cut out of one intire piece of Marble, and 
 fram'd with fo ynagtfteriaU % height of Art , as not only produces wonder m all that 
 attentively behold it ; but does as it were wholly aftomfh them to contemplate the 
 Ingenuity, the Science, the Induftry, the Diligence, the Affedtion, and m 
 fine the never to be fufftciently celebrated Skill of the Artifts. Vouchfafe there- 
 fore that thefe (however impoh/h'd) Inftrudtions, fo much conducing to the in- 
 formation of unexperienc'd Touth , be recommended to the pubhek view under 
 Tour Name and Protettion ; and as it has ever been Tour Cufiom heretofore. Love 
 ■ your Friends, amongftwhom I Conjure Ton to to efteemme none of the leaft. 
 
 Farewell. 
 
6 1 
 
 LEON BAPTIST A ALBERTI 
 
 O F 
 
 STATUES. 
 
 I Have often thought with my felf that the feveral Arts, whereby Men 
 at firft Induftrioufly fet themfelves to exprefs, and reprefent by 
 Work of Hand, the Shapes and Similitudes of Bodies, fpringing 
 from natural Procreation, took their Beginning from the accidental 
 obfervation of certain Lineaments either in Wood, or Earth , or l'ome o- 
 ther forts of Materials, by Nature fo difpos’d, that by altering or invert- 
 ing fome thing or other in their form, they appear’d capable of being 
 made to refemble the Figures and Shapes of living Creatures ; and there- 
 upon, having ferioufly confider’d and examin’d what Courfe was belt to 
 take, they began with utmoft Diligence and Induftry to try and make ex- 
 periment, what was neceflary to be added, or taken away, or in 
 any other kind perform’d, for the bringing of their Work to fuch per- 
 fection as might caufe it exadtly to refemble the intended form, appearing, 
 as it were, the very fame thing ; ever marking as they wrought, to fee if 
 they had fail’d in any thing, and ftill mending as they found occafion, 
 fometimes the Lines , fometimes the Superfices , Tolijhing and Repolifhing, 
 till at length (not without much Pleafure and Satisfaction) they had ac- 
 complifh’d their defire : So that it is not a thing fo much to be admir’d, 
 that by frequent Pr aft ice in Works of this Nature, the Fancies and Ingenu- 
 ities of Men have been from time to time improv’d, and advanc’d to^that 
 height, that at laft (without taking Notice of any rude "Draughts in the 
 Material they wrought upon, to help them in their intended Defigns,) they 
 became able by their Skill to Dejign and exprefs upon it whatfoever form 
 they plealed, though in a different manner, fome one way and fome ano- 
 ther ; for as much as all were not taught, or apply’d themfelves to proceed 
 by the lame Rule or Method. The Courfe that many take to bring their 
 intended Figures to Perfection, is both by adding to, and taking from the 
 Material ; and this is the way of thofe that work in Wax , Flaifier or Clay, 
 who are therefore term’d Maejln de Jlucco , others proceed by taking away, 
 and carving out of the Material that which is i’uperfluous, whereby it 
 comes to pals that they produce out of whatfoever Mals of Marble , 
 the perfeCt Shape and Figure of a Man which was there hiddenly but po- 
 tentially before ; and thofe that work this way, we call Sculptors : next of 
 kin to whom are they that grave in Seals the Proportions of Faces, that be- 
 fore 
 
62 Leon Baptifta Alberti of STATUES. 
 
 foie lay hid in the Matter out of which they were raifed. The third fort 
 is of thofe that perform their Work by only adding to the Material ; as 
 Silver -Smiths, who beating the Silver with Mallets, and diftending it into 
 thin Tlates of what Falhion or Size they think fit, lay thereupon their Su- 
 per flrutturt, adding and inlarging till they have fafhion’d and brought to 
 Perfedion their intended ‘Dejtgn. And here perhaps fome may imagine, 
 that in the number of this laft fort of Artifts Tamers are to be reckon’d, 
 as thofe who proceed by way of adding, namely by laying on of Colours ; 
 but to this they anfwer, that they do not ftrive fo much to imitate thofe 
 Lights and Shadows in Bodies which they difcern by the Eye, by the adding 
 or taking away of any thing, as by fome other Artifice proper and pecu- 
 liar to their way of Working : But of the Tainter and his Art we fhall take 
 occafion to fpeak ellewhere. Now, as to thofe feveral kinds of Tefigners 
 which we have here before mention’d, though they go feveral ways to 
 Work, neverthelefs they all dired their Aims to this end, namely, that 
 their Labours may appear to him that fhall well obferve them, as Natural, 
 and as like the Life as may be ; for the bringing of which to effed, it is 
 moft evident, that by how much the more exquifitly they follow fome cer- 
 tain determin’d Rule or Method (which Rule we fhall afterwards defcribe) 
 fo much the fewer Tefefls will they be guilty of, fo much the fewer Errors 
 commit, and in all manner of Accounts their Works will fucceed and 
 come off with the greater Advantage : What fhall we fay of Carpenters ? 
 What would they perform to any purpofe, if it were not for the Square, 
 the Tlummet , the Line, the Terpendicular , and the Compares for the ma- 
 king of Circles , and by the means of which Inftruments they Defign their 
 Angles , their Streight-Lincs , their Levells , and other their Proportions, 
 thereby finifhing and compleating all they take in hand with the greater 
 exadnefs, and without which they would be able to do nothing fubftanti- 
 ally ? Or can we rationally imagine, that the Statuary could perform fuch 
 excellent and admirable Works by chance, rather than by the help of fome 
 certain and Infallable Rule or Guide, drawn from Reajon and Experience ? 
 Wherefore this we fhall lay down for a Maxim ; That from all Arts and 
 Sciences whatloever, there are drawn certain Trinciples , Rules, or natural 
 Conclufions , which if we fhall apply our felves with all care and diligence to 
 examine and make ufe of, we (hall undoubtedly find the benefit of, by the 
 perfed accomplilhraent of whatfoever we take in hand : For as we were 
 frrft infiruded by Nature, that from thofe Lineaments which are found in 
 pieces of Wood, Earth, Stone or other Materials, may be drawn (as we faid 
 before) the forms of whatfoever Body or Creature the concourfes of thefe 
 Lines refemble ; fo alfo the fame Nature hath taught us certain helps and 
 means, by which l we are guided to proceed fecurely and regularly in w hat 
 we undertake, and by the conftant obferving and ufe whereof, we fhall 
 moft eafily, and with the greateft Advantage, arrive at the utmoft per- 
 fedion of the Art or Faculty we ftrive to attain. It now remains that we 
 declare what thofe helps are which Statuaries are chiefly to make ufe of ; 
 
 and 
 
Leon Baptilla Alberti of STATUE 
 
 63 
 
 and becaule their principal Part is to make one Thing to imitate and 
 refemble another, it will be requihte to fpeak firft of Rcfe-mllancc, a Subied 
 our Difcourfe might be abundantly ample in, lince Refemblance is a Thing 
 fo natural and obvious, that it offers it felf to our View and Obfervation 
 in each vifible Objed ; not only every Animal, but even all Things what- 
 ever that are of the fame Species, being in feme refped or other 
 correfpondent and alike : On the other Side, there are not in the whole 
 Race of Mankind any Two to be found fo exquifitelv refembiina each 
 other, as not to differ fome one Tittle in the Tone of 'the Voice, or the 
 Falhion of the Nofe, or of fome other Part ; to which we may add, that 
 thofe Perfons whom, having firft beheld Infants, we come to fee Children 
 of fome Growth, and afterwards at the Age of Manhood, if at length we 
 meet them when grown Old we ffall find them fo chang’d and alter’d 
 
 A 7 JrT’ c 6 3bIe t0 know them • for as much as the 
 
 Aptitude and Pofition of thofe numerous Lines and Features in the 
 Coun enance ft.ll alters, and vanes from Time to Time, as Age comes on ; 
 nevertheless in the fame V.fage there remains a certain natural and 
 peculiar Form, which maintains and keeps up the Refemblance inherent 
 to the Species : But we (hall wave thefe Things, as belonging rather to a 
 particular Difcourfe, and return to purfue what we firft took in hand to treat of. 
 
 The Defign and Intention of making Refemblances among Statuses, 
 be TwofoW; The Firft is, that the Defign or Work intended for 
 the Reiemblance of anyfortof Creature (for example, fuppofe it a Man) 
 be fo fram d, that it corneas near in Similitude as may be to the faid Species, 
 without regarding whether it reprefent the Image of Spates more than 
 S w ° r c "I 7 , oth ? r , kn< ? wn ^dividual Perfon, lince it is enouah, 
 
 Lr 3 th^ fd r < r 1 Ma ° ! n § enerai ' The other Intention proceeds 
 
 farther, and aims not only at the reprefenting the Likenefs of Man in 
 
 general but of this or that particular Man ; as namely, of Ciefar, or Cato, 
 
 LTrS n f M C T y , Habk he WOre ’ the ^re he affeded,’ 
 and the A ftion he ufed , whether fitting in his Tribunal, or making 
 
 fh P em C n 5 V F a 1 h b r e, o S the P 1 ^ ^ who addil 
 
 themfe ves .to this laft way of Reprefentation, to imitate and exprefs every 
 Habit Pofture and Air, peculiar to the Body of that known Perfon whom 
 we intend to reprefent Anfweiahle to thefe two Intentions, (that we may 
 andle the Matter as bnefly as is poffible) there are efpecially required two 
 Tiings , that is to fay, Proportion, and Limitation. In treating therefore 
 of thefe Two Particulars, that which we have to do, is to declare, Firft 
 what they are : Next, to what life they ferve for the bringing of our Defign 
 to Perfection . Befides which, I cannot but by the way, take Notice of 
 he great Benefit that is to be made of them in refped of the wonderful and 
 
 ft If 5 tbey P r ° duce -’ ^much that whofoever 
 
 li-Kl lnftru ^ 111 them , frail be able by the Help of fome certain 
 infallible Marks exadly to obferve and point out the Lineaments Situation 
 and Pofiture of the Parts of any Bodyf though it were a tlioufand Years 
 after, fo as not to fail to place it exadly at his Pleafure,. in the very fame 
 Diredion and 1 ofture it Ihould have happen’d to have ftood in before • 
 and in fuch fort, as there Ihould not be the leaft part of the faid Body* 
 
 8 which 
 
64 Leon Baptifta Alberti of STATUES. 
 
 which fhould not be reduced and relituated toward the very fame Point of 
 Heaven againft which it was originally directed : As if, for example, You 
 would point out the Place with your Finger where the Star of Mercury 
 or the new Moon would rife, and it fhould happen to life in a diredt Angle 
 over againlt the Point of the Knee, Elbovu, Finger, or any other Part; molt 
 certain it is, that by thefe Means and Helps, all this may be done, and 
 that l’o precisely, that there fhould not follow the leaft bailing or Error 
 imaginable ; nor need there any Doubt be made of the Certainty hereof. 
 Befides this, fuppofe I fhould take one of the Statues of Phidias, and fo 
 cover it over with IV ass ox Earth, that none of the Work could be difcern’d, 
 and that it fhould appear to be only a meer (hapelefs Trunk, You might 
 by thefe Rules and Helps certainly know how to find out in one Place, by 
 boaring with a Wimble, the Pupil of the Eye, without doing it any harm 
 by touching it ; and in another Place the Navel, and finally in another 
 the great Toe, and fo other Parts in like manner; by which means you will 
 gain a perfect Knowledge of all the Angles and Lines, whether far diftant 
 one from another, or nearly concurring together : You may alfo, beginning 
 which way you will, and whether following the Original, or the Copy, 
 not only ‘Draw or Paint, but alfo put down in Writing, the various Cour'l: 
 of the Lines ; the Circumferences of the Circles, the Politions of rhe Pa. 
 in Inch Sort, that by the aforefaid Helps and Means, you need not doubt 
 the being able to produce with Eafe, luch another Figure perfedily reiem- 
 bling, and of what Size you pleafe, either Lefs, or juft of the fame Magnitude, 
 or of an hundred Fathoms in length ; nay, 1 dare be bold to fay, that were 
 there but lnftruments to be had, anfwerable to fo great a Defign, it were 
 not only not impofiible, but even no hard matter, to make one as big as 
 the Montain Cavxajus ; and that which perhaps you may raoft wonder at, 
 is, that according as the Matter might be ordered, one half of this Statue 
 may be made in the Ifland of Pharos, and the other Half wrought and 
 finifhed in the Mountains of Carrara ; and that with fuch exadt Corre- 
 fpondence, that the Jointures and Commiflures of both Parts perfectly 
 fitting each other, they may be united into one compleat Statue, reiembling 
 either the Life, or the Copy after which it lhall have been figur’d : And 
 for the performing of this fo ftupendious a Work, the Manner and Method 
 will appear 1b ealy, fo perfpicuous and expedite, that for my part, I con- 
 ceive it almoft impofiible for any to err, but thole that lhall induftrioufly, 
 to make try al of the Proof of this Affertion, work contrary to the Rules 
 and Method enjoyn’d. We do not hereby undertake to teach the Way of 
 making all kind of Refemblances in Bodies, or the exprefling of all thole 
 various Alpects which relult from feveral differing and contrary Paflions 
 and Aftedtiom ; fince it is not the Thing which we profefs to Ihew, how to 
 reprefent the Countenance of Hercules when he combats with Antaeus, with 
 all the height of Magnanimity and Fiercenefs which would be requifite upon 
 fuch an Occalion ; or calling an obliging, chearful and fmiling Air, when 
 he courts his ‘Deimira ; fo as that the Countenance of the fame Hercules 
 fhould upon feveral Occafions be reprefented with as various Afpedts : But 
 our Purpofe is rather to take notice of all the different Figures and Poftures 
 that are incident to a Body from the divers Situations, Geftures or Motions 
 
 of 
 
Leon Baptifta Alberti of ST 'AT U E S. 6 5 
 
 of the feveral Members or Parts thereof ; for as much as the Proportions 
 and outward Lines are one way terminated in a Body that ftands upright, 
 another way in him that fits, another way in one that is lying down, 
 another way in thofe that turn or incline themfelves toward this or that 
 Side ; and fo in like manner, in all other Geftures and Motions of the Body, 
 of which way of Reprefentation our Intention is at this Time; that is to 
 lay, in what Manner, and by what certain and infallible Rules, thefe Geftures 
 and various Diipofitions of the Body maybe imitated and reprelented ; which 
 Rules, as we laid before, are reduced to two Principal Heads, namely, 
 oportton and Limitation : And fir ft we fball treat of Proportion^ which is 
 indeed no other than a conftant and certain Oblervation, by examining the 
 juft Number and Mealures, what Habitude, Symmetry and Correfpondence 
 all the Parts of the Body have one towards another, and that in refpect of 
 every Dimenfion of the Body, both as to -Length, Breadth , and Thicknefs. 
 
 1 his Oblervation is made by two forts of Inftruments, a large Ruler, 
 and two movable Squares ; with the Ruler we take the Lengths of the Parts, 
 and with the Squares we take their Diameters and all the other Proportions 
 of the laid Mealures. Upon this Ruler then let there be a Line drawn of 
 the Length of the Body which you would meafure, that is to fay, from the 
 Crown of the Head to the Sole of Foot : Whence note by the way, that 
 to mealure a Man of a fhort Stature, you are to ufe a fhorter Ruler, and for 
 one of a longer Stature, a longer Ruler : But whatloever the Length of the 
 Ruler be, it is to be divided into fix equal Parts, which Parts we will name 
 Feet, from whence we will call it the Foot-meafure ; and each of thefe Feet 
 lhall again be divided into ten equal Parts, which we may term Inches. 
 
 The whole Length therefore of this Model or Foot-meafure will confift 
 of 60 Inches ; every one of which is again to be fub-divided into 10 equal 
 Parts, which Idler Parts I call Minutes ; fo that thro’ this Divifion of our 
 Meafure into Feet, Inches, and Minutes, the Total of the Minutes will 
 amount to the Number of 600, there being in each of the 6 Feet too. 
 Now, for the meafuring of a Man’s Body by this Inftrument we are thus 
 to proceed : Having divided our Ruler according to the forefaid Manner, 
 we are to meafure and obferve by the Application thereof, the Diftances of 
 the Parts of the laid Body ; as for Inftance, how high it may be from the 
 Sole of the hoot to the Crown of the Head, or how far diftant any one 
 Member is from another : As, how many Inches and Minutes it may be 
 from the Knee to the Navel, or to the Cannel Bone of the Throat, and fo 
 in like manner any other Parts ; Nor is this Courfe to be at all (lighted or 
 derided either by Sculptors or Painters , fince it is a Thing mod profitable, 
 and abfolutely neceflary ; for as much as the certain Meafure of all the Parts 
 being once known, we (hall have gain’d a mod: eafy and fpeedy Determina- 
 tion how to proceed in our Work with any of the faid Parts or Members 
 without committing the leaft Error : Never think it a Matter worth Regard 
 or Notice, if any capricious Humourift (hall peradventure find fault that this 
 Member is too long, or that too (hort ; fince your Model or Footmeafure 
 (which is the Rule that inaft always diredf and govern your Work, and than 
 which you cannot go by a more infallible Guide,) will foon determine 
 whether you have proceeded well or ill ; and doubtlels when you (hall have 
 
 maturely 
 
66 Leon Baptifta Alberti of ST AT U E S. 
 
 maturely confidered and examined thefe Things, you will not be to feek in 
 thole infinite other Advantages wherein this Foot-meafure will prove fer- 
 viceable, efpecially in knowing how with abfolute Certainty to limit and 
 determine the Longitude of the Parts in a Statue of a greater Magnitude, 
 as well as in one of a Lefler. 
 
 So as if it ihould happen that you were to make a Statue of to Cubits* 
 or whatever other Dimeniion, it would be requifite to have your Ruler, 
 Model, or Foot-meafure likewife of 10 Cubits, and divided into fix equal 
 Parts, which fhould have the fame Correfpondence one with another, as 
 thofeof the lefler Ruler : In like manner, fhould the Inches and Minutes be 
 proportioned, whence alfo the ufe and manner of working would be the fame 
 with the other ; fince half the Numbers of the Greater have the lame 
 Proportion to the whole intire, as half the Numbers of the Lefler have to 
 the whole intire of the Lefler. Wherefore according as the Size of your 
 Work happens to fall out, your Ruler is to be made proportionably. 
 
 We come next to treat of the Squares, which are to be two ; the firft of 
 which (hall be made after this manner : Let two Rulers in the nature of 
 freight Lines, i. e. A. B. and B. C. be join’d together fo as to make a right 
 Angle; the firft Ruler A. B. falling perpendicular, the other B. C. ferving 
 for the Bafe : 'I he Bignefs of thefe Squares is to be fo ordered, that their 
 Bafes confift of at leaft i 5 Inches, according to the Proportion of your main 
 Ruler, which, as we have faid before, is to be made bigger, or lefler, 
 anfwerable to the Proportion of the Body you would meafure : Thefe 
 Inches therefore with their Points and Minutes (however they may fall 
 out) being taken exattly from the faid Ruler, you muft fet down upon 
 your Bafe, beginning to reckon from the Point of the Angle B. and fo 
 proceeding on towards C. 
 
 The Square being thus marked and divided, as is to be feen in the F.xam- 
 ple A. B. C. there is to be adjoined unto it another Square made after 
 the fame manner, according as it is demonftrated by the Letters D. F.G. 
 fo as that G. F. may ferve both for ftraight Line and Bafe to both. Now to 
 fhew the Ufe of thefe Inftruments, I undertake to meafure the Diameter of the 
 thickeft part of tire Head H. I. K. by bringing the two ftraight Rulers A. B. 
 and D. F. of each Square exactly oppofite to each other, to touch the two 
 oppofite Points of the thickeft Part of the Head, and by applying interchangea- 
 bly to one and the fame Level, the Bafe-lines of the faid Squares ; by which 
 means from the Points H. I. which are touch’d by the ftreight Rulers of the 
 laid Squares, we (hall difcover the exaft Diameter of the Head. 
 
 And 
 
Leon Baptifta Alberti of STATUE S. 
 
 And after this manner, the Thicknefs and Bignefs of any Part of the Body 
 whatfoever may with great Eafe and Accuratenefs be found out : Many 
 LUes and Advantages we could reckon up, which might be made of this 
 Ruler and thefe Squares, were it needful to infill: now upon them : there be- 
 ing feveral other Ways, much after the fame manner, which the meaneft 
 Capacity may of himfelf find out, for the meafuring of the Diameter of any 
 Bart ; as for example, fuppofe one would know how much the Diameter 
 is from one Ear to the other, and whereabouts it interbeds the other Diame- 
 ter which panes from the Head to the Nuca, or the like. Laftly, our Work- 
 man may lafely make ufe of this Ruler and thefe Squares as moft faithful 
 Guides and Counfellors, not only for the performing of any part of his 
 Work but alio at the very fir ft, and before he fets upon it, he will receive 
 much Light by the help of thefe Inftruments, how to begin and go about 
 it; lnfomuch, that there will not be the lea ft part of the Statue he is to 
 make, which he will not before have examin’d and confider’d and render’d 
 molt eafy and familiar to him. For Example, Who but a very arrogant 
 lerion would take upon him to be a Mafter-fhip-wright that had not^the 
 perfed Knowledge of all the feveral parts of a Ship, and how one kind of 
 Ship differs from another, and what thofe particular Parts are which be- 
 long to one Ship more than to another? And yet who is there of our Sculp- 
 t j f im , ^ a ^ an never fhbtile and experienc’d in his Art, who if 
 it Ihould be demanded of him, upon what Ground or Confideration he has 
 made this Member after this manner, or what may be the Proportion of 
 
 this or that Member to the whole Strudure of the Body? 1 lay, who is 
 
 there fo diligent and accurate as to have well conlider’d and obferv’d all 
 that is requilite, and which becomes that Perlon to know who would per- 
 form as he Ihould do the Art whereof he makes Profelfion ? whereas doubt- 
 lelly all Aits and faculties are moft advantageoufly learn’d by Rule and 
 Method, and Dy the Knowledge of fome demonftrable Operation that is to 
 be peiform d , nor fliall any one attain to the Perfedion of any Art whatfo- 
 ever, who hath not firft comprehended every feveral Part and Branch of 
 the laid Art. But thus having fufficiently treated of Meajure and Tropor- 
 ' T n««, 
 
 
68 Leon Baptifla Alberti of STATUES. 
 
 tion 1 and after what manner it is to be found out by the Ruler and 'Squares ; 
 it remains that we fpeak next of Limitation , or the preferibing of Bounds : 
 This Prefcription of Limits is the determining or fixing of a certain Pe- 
 riod in the drawing of all our Lines, fo as to diredt to what Point they are 
 to be continued, whether extended out in Length, or revers’d; how An- 
 gles are to be fix’d, how Parts are to be rais’d, or deprels’d by Alto, or Bajfo 
 Relievo, as Artifts term it ; each Line, Angle and Relieve having their due 
 and certain Places affign’d them by the Conduct of a Pure and perfect 
 Rule : And the beft way to put this rule of Limitation in pradlice, will be 
 by a Line and Plummet, falling from a certain determinate Center plac’d 
 in the Middle, whereby the Di fiances and Extremities of all the Lines may 
 be mark’d out and taken notice of, as far as the utmoft Bounds every way 
 of the fa id Body extends: But between the Mealure deferib’d above, and 
 this Affignation of Limits, there is this difference, namely, that that Mea- 
 fure looks farther backward, and fprings from a more native and original 
 Con fide rat ion, as grounded upon more common and univerfal Principles, 
 which are by Nature more firmly and fubftantially inherent in all Bodies ; 
 as the Length, Largenefs and Tbicknefs of the Parts; whereas the preferibing 
 of Bounds is grounded upon the prefent and accidental variety of Poftures, 
 refulting from the different Difpofitions and Motions of the feveral Parts 
 of the Body, fhewing the manner how to limit and fafbion thofe Poftures, 
 according to the Maxims of Rule and Art. 
 
 Now, for the better performance of this laft part of Regular Operation, 
 we (ball recommend this following Inftrument, which is to confift of three 
 Parts or Branches ; that is to fay, an Horizon, a Style , and a Rlumb ; The 
 Horizon is a Rlane defign’d upon a Circle, which Circle is to be divided into 
 equal Parts mark’d with their feveral Members, and their Subdivifions 
 let over againft each Part: The Style is a (freight Ruler, one end whereof 
 is fix’d in the Center of the faid Circle, the other End moves about at 
 Plealure, lo as that it may be eafily transferr’d and directed from one Di- 
 vilion of the Circle to another : The Rlumb or Rlummet is a Line or Thread 
 which falls parallel from the Top of the Style down to the Floor or Plane, 
 upon which the Statue or Figure (lands whofe Members and Lineatures are 
 to be mealur’d and limited : For the manner of making this Inftrument, 
 let it be thus ; Take a Board well plain’d and fmooth’d, upon which let a 
 Circle be drawn, having three Foot diameter, and let the Extremity of the 
 faid Circle’s Circumference be divided into equal Parts, according as AJlro - 
 logers divide their AJlrolabes, which Parts we will call Degrees; and let 
 every of thefe Degrees be fubdivided again into as many other Parts as 
 (hall be thought fit ; as for example, fuppofe every Degree be fubdivided 
 into fix lefler Parts, which we may call Minutes ; to all which Degrees ad- 
 join the feveral Numbers, viz. i. a. 5. 4. with the reft in order, till the 
 Numbers belonging to all the Degrees be fet down. This Circle, thus 
 made and order’d, we call’d the Horizon , to which we are to fit our mo- 
 veable Style, being alio to be made after this manner; Take a thin ftrait 
 Ruler, three Foot in Length, and fallen one of the Ends thereof (with a 
 Peggj to the Center of its Horizon or Circle, in fuch a manner, that tho’ 
 the faid End is not to be mov’d from the Center, yet the Pegg that faftens 
 it is fo far to be relax’d, that the whole Ruler may have liberty to move 
 and play about from one part of the Circle to another, vvhilft the other 
 
 Ex- 
 
Leon Baptifta Alberti of ST AT U E S. 69 
 
 Extream extends it felf a good way beyond the Circumference of the faid 
 Circle about which it is to be mov’d : Upon this Ruler or Style, mark 
 out the Inches it is to contain, diftinguifhing them with feveral Points be- 
 tween, after the manner of the Module or Foot-meafure above-mention’d ; 
 and thefe Inches muft alfo be fubdivided into leffer equal Parts, as 
 was likewile done in the forefaid Foot-meafure ; and then beginning from 
 the Center, adjoin to the Inches alfo their feveral Numbers, viz. t. 1. 
 q.q, i?c. Laftly, to this Style annex a Line and ‘Plummet. This whole 
 Inftrument thus defcrib’d confiding of Horizon , Ruler , and Plummet we (hall 
 call our Rt fnitor. 
 
 This Refimtor is to be made ufe of in this manner : Suppofe the Original , 
 or Copy, the Limits of whofe Parts we would determine, were a Statue of 
 ! Phidias , holding with the left Hand, on one Side of a Chariot , the Raines 
 of a Horfe’s Bridle : This Refinitor is to be fet upon the Head of the Statue 
 in fuch Sort, that it may lie exactly level upon the Plane of the Center, being 
 plac’d juft upon the very midft of the Head of the Statue, where it is to be 
 made fa ft with a Pegg : Then note that Point where it is faftned upon the 
 Head of the Statue, and mark it by fetting up a Needle or Pin for the Center 
 of the Circle: Next, by turning the Inftrument about from the determin’d 
 Place in the Horizon , make out the firft defigned Degree, fo as you may know 
 from whence it is mov’d ; which may beft be done after this following man- 
 ner : Bring about the moveable Ruler, which is the Style, upon which the 
 Thread and "Plummet hangs, ’till it arrive at that Place of the Horizon where 
 the firft degree of the Horizon is to be fet down ; and holding it faft there, 
 turn it about together with the whole Circle thereof, until the Line of the 
 Plummet touch fome principal Part of the Statue, that is to fay, fome Mem- 
 ber particularly noted above all the reft, as the Finger of the right Hand or fo. 
 
7° Leon Baptifta Alberti of ST AT U E S. 
 
 Which may ferve as the appointed Place from whence upon every new 
 occafion the whole Definitor may be mov’d, and afterwards brought back 
 again to the fame Place where it ftood at firft upon the faid Statue; yet fo, 
 that by the turning ot the Style about the Pin, which pierceth from the top 
 of the Head of the Statue, through the Center of the Defimtor , the Plum- 
 met which before fell from the firft degree of the Horizon, may return to 
 touch the forefaid Finger of the right Hand. Thefe Things thus order’d 
 and defign’d, fuppofe that we would take the Angle of the right Elbow, fo as 
 to keep the Knowledge of it in mind, or to write it down ; the Way is as fol- 
 lowed! : f ix the Defimtor with its Center which is upon Head of the Sta- 
 tue, in the Place and Manner aforefaid, in fuch Sort, that the Plane 
 whereon the Horizon is defign’d, may ftand firm and immoveable ; then turn 
 about the moveable Style , till the Line of the ‘Plummet come to touch the 
 left hlbow of the Statue which we would meafure : But in the peforming 
 of this fort of Operation there are three Things to be obferv’d, which will 
 much conduce to our Purpole : The Firft is, That we mark how far the Style 
 in the Horizon comes to be diftant from the Place where it (hall have been 
 firft moved, taking notice upon what degree of the Horizon the Style lies, 
 whether on the Twentieth, Thirtieth or whatfoever other : Secondly, ob- 
 ferve by the Inches, and Minutes mark’d in the Style, how far diftant the 
 Elbow (hall be from the Center of the Circle: Laftly, take notice by pla- 
 cing the Module or F oot-meafure perpendicularly upon the Plane whereon 
 the Statue hands, how many Inches and Minutes the faid Elbow is raifed 
 above the laid Plane, and write down thefe Meafures in a Book or piece 
 of Paper: For Example, thus, the Angle of the left Elbow is found in 
 the Horizon to be io Degrees and 5 Minutes ; in the Style or Ruler 7 De- 
 grees and 3 Minutes; that of the Plane in the Module amounts to 40 De- 
 grees and 4 Minutes ; and thus by the fame Rule may be meafured and 
 computed all the reft of the principal Parts of the faid Statue or Copy; as 
 for inftance : 1 he Angles of the Knees, and of the Shoulders and other fuch 
 like Parts that are to be reckoned among the Rehevi: But if you would mea- 
 iure Concavities, or thofe Parts which recede inward, and are fo removed 
 out 0; die reach of Sight and eafy Aecefs, .that the Plummet -Vine cannot 
 come to touch them ('as it happens in the Concavities beneath the Shoul- 
 ders, in the Regions of the Reins, he.) the beft way to find them is as fol- 
 lows : Add to the Style or Ruler another Plummet- line which may reach as 
 far as the laid Concavity ; how far diftant it be from the firft, ’ it is not 
 material, lince by thefe two Plummet-Ymes falling perpendicularly, and be- 
 ing interfered by the Gnomon of the plain Superficies above to which they 
 are faftned, and which extends itfelf as 'far as the Center of the Statue, it 
 will appear how much the fecond Plummet-Yme is nearer than the firft to 
 the Center ot the Defimtor , which is therefore called the middle Perpendi- 
 cular. - . r 
 
 Thefe Things thus demonftrated, being once fufficiently underftood, it 
 will be an ealy matter to comprehend what we before commended to your 
 Oblei vation , namely, that if the laid Statue lhould chance to have been 
 covet d ovei to a certain Thicknefs with IPax or Earth , you might yet by 
 a Fiercer, with gteat eafe, readinefs, and Certainty come to find out what- 
 foever Point or Term you would defire to find in the faid Statue ; for as 
 much as it may be clyarly demonftrated, that -by the turning about of this 
 
 Gnomon , 
 
Leon Baptifta Alberti of ST AT U E S. *ji 
 
 Gnomon , the Level makes a circular Line like the Superficies of a Cylinder' 
 with which fort of f igure the Statue fo fuperinduc’d as aforefaid, feems 
 to be inclofed and incircled : This Pofition eftablifhed, you may fafely in- 
 fer, that as by making way through the Air ( the Statue not being covered 
 with Wax or Earth) you guide your Piercer directly towards the Point T. 
 
 ( which for Example’s fake we will fuppofe to be the Relievo of the Chin) 
 by the fame Realbn, if the Statue were cover’d over with Wax or Earthy 
 might you by boaring through the faid Wax or Earth attain the Point 
 aim’d at, the Wax or Earth pofleffing but the fame Place which otherwife 
 the Air would have done : From what hath been thus difcours’d concern- 
 ing thefe Things, it may be concluded that the Effect we mention’d before 
 concerning the making of one half of the Statue in the Ifle of Pharos, and 
 finifhing the other half in the Mountains of Carrara , is a Thing not only 
 not impoffible, but very cafy to be perform’d ; For let the faid Statue or 
 Model of Phidias be divided into two Segments, and fuppofe, for example, 
 this Seftion of a plain Superficies be made in the Waft or Girdling Place, 
 doubtlefs by the only affiltance of our Pefinitor it will be eafy to mark out 
 in the Circle of the Inftrument whatfoever Points fhall be thought fit, be- 
 longing to the divided Superficies : Thefe Things granted to be feafible, 
 you (hall not need to make any Queftion of being able to find out at plea- 
 fure in the Model, any part whatfoever you fhall defire to find ; and that 
 only by drawing a fmall Red Line in the Model, which ferves inftead of 
 an interfe&ion of the Horizon , in the Place where this Segment (hould ter- 
 minate, if the Statue were divided ; and the Points fo mark’d will direct 
 you the way how the Work may be finifhed : And in like manner may 
 other Things be done, as hath been faid before. Finally, by the whole 
 Difcourle here made concerning all thefe Particulars, it is fufficiently evi- 
 dent, that all Meafures, Proportions and Limitations are to be taken, 
 whether in the Life, or Copy, by a moft certain and infallible Rule for 
 the bringing of any Work to perfection in this Art ; and we could wifh 
 that this way of proceeding were more ferioufly intended by all our Painters 
 and Sculptors , fince, if it were, they would foon come to find the extraor- 
 dinary Benefit of it : But becaufe all Things are moft illuftrated by exam- 
 ple, and that the Pains we have already taken in this Matter may conduce 
 to the greater Advantage ; we have thought fit to beftow yet a little far- 
 ther Labour in defcribing the Meafures of all the principal Parts in Man’s 
 Body; and not only the Parts of this or that particular Man, but as far 
 as was poffible, even the very Perfection of all beautiful and excellent Pro- 
 portions ; the leveral Parts whereof having obferved in feveral humane Bo- 
 dies, fome excelling chiefly in this, fome in that external Gift of Nature, 
 we have thought material to let down in writing ; following the Example of 
 him, who being employed by the Crotoniati to make the Statue of their God- 
 defs , went about collecting from the moft beautiful Virgins (whom among 
 many, he with great diligence fearch’d out) thofe Proportions and hand- 
 fome Features wherein each of them principally excell’d, and apply’d them 
 to his own Statue. Since much after the fame manner we, having taken 
 
 U the 
 
7 2 
 
 Leon Baptifta Alberti of STATUES. 
 
 the Draught from thofe Bodies, that of divers others were judg’d, by the 
 moft Sagacious in this Inquiry, to be the mod exactly built and compos’d 
 with all their leveral Mealures and Proportions; and comparing them ex- 
 aftly together, to obferve wherein they excell’d, or were excell’d each by the 
 other, have made choice out of this variety of Models and Examples, of thofe 
 middle Proportions which teem’d to us moft agreeable, and which we have 
 here let down by the Lengths, Bigneffes and Thickneffes of all the principal 
 and moft noted Parts ; and in the firft place the Lengths are thefe following. 
 
 The Heights from the Ground. 
 
 Feet. Deg. Alin. 
 
 The greateft He’ght from theGround to thelnftupof the Foot o 
 The Height up to the Ankle-bone on the outfide of the Leg. o 
 The Height up to the Ankle-bone on the infide of the Leg. o 
 The Height up to the Recefs which is under the Calf of the Leg. o 
 The Height up to the Recefs which is under the Relievo of? 
 
 the Knee-bone within. $ 1 
 
 The Height up to the Mufcle on the outfide of the Knee. i 
 The Height up to the Buttocks and Tefticles. 2 
 
 The Height up to the Os Sacrum. 
 
 The Height up to the Joint of the Hips. 
 
 The Height up to the Navel. 
 
 The Height up the Waft. 
 
 The Height up to the Teats and Blade-bone of the Stomach. 
 
 The Height up to that part of the Throat where the Weezle- 
 Pipe beginneth. 
 
 The Height up to the Knot of the Neck where the Head is fet on. 
 
 The Height up to the Chin. 
 
 The Height up to the Ear. 
 
 The Height up to the Roots of the Hairs in the Forehead. 
 
 The Height up to the middle Finger of a Hand that hangsdown 
 The Height up to the joint of the Wrift of the faid Hand. 3 
 
 The Height up to the joint of the Elbow of the faid Hand. 385 
 
 The Height up to the higheft Angle of the Shoulder. 518 
 
 The Amplitude or Largeneffes of the Tarts are meafured from the Right 
 
 Hand, to the Left. 
 
 5 
 5 
 5 
 5 
 
 . -1 2 
 
 3 
 
 a 
 
 3 
 
 8 
 
 7 
 
 6 
 
 r 
 
 6 
 
 7 
 
 3 
 
 5 
 
 9 
 
 3 
 
 o 
 
 8 
 
 5 
 
 3 
 
 9 
 
 o 
 
 9 
 
 5 
 
 The greateft Breadth of the Foot. 
 
 The greateft Breadth of the Heel. 
 
 The Breadth of the fulleft Part beneath the Jettings out of the 
 Ankle-bones. 
 
 The Recefs or Falling-in above the Ankles. 
 
 The Recefs of the Mid-leg under the Mufcle or Calf. 
 
 The greateft Thicknefs of the Calf. 
 
 The Falling-in under the Relievo of the Knee-bone. 
 
 4 
 
 a 
 
 o 
 
 o 
 
 o 
 
 3 
 
 4 
 
 5 
 5 
 S 
 5 
 
 The 
 
Leon Baptifta Alberti of S TATXJE S. 
 
 73 
 
 The greateft Breadth of the Knee-bone. 
 
 The Falling-in of the Thigh above the Knee. 
 
 The Breadth of the middle or biggeft Part of the Thigh. 
 Thegreateft Breadth among theMufclesoftheJoint oftheThigh. 
 The greateft Breadth between the two Flanks above thejoints? 
 
 of the Thigh. £ 
 
 The Breadth of the largeftPart of theBreaft beneath the Armpits. 
 The Breadth of the largeft Part between the Shoulders. 
 
 The Breadth of the Neck. 
 
 The Breadth between the Cheeks. 
 
 The Breadth of the Palm of the Hand. 
 
 Feet. ‘Deg. Min, 
 
 i 
 
 i 
 
 o 
 
 o 
 
 o 
 
 t jlvmwcj j uj luo rnd 5 uijjn uccmuing to toe 
 thereof but the moji common are thefe following. 
 
 The Breadth of the Arm at the Wrift. 
 
 The Breadth of the brawny part of the Arm under the Elbow. 
 The Breadth of the brawny Part of the Arm above, between? 
 the Elbow and the Shoulder. 
 
 The Thicbiefs from the Fore-parts to the Hinder-parts. 
 
 The Length from the great Toe to the Heel. 
 
 TheThicknefs from the Inftup to theAngle or Corner of the Heel 
 The Falling-in of the Inftup, 
 
 From the Falling-in under the Calf to the Middle of the Shin. 
 The Outfide of the Calf of the Leg. 
 
 The Outfide of the Pan of the Knee. 
 
 The Thicknefs of the biggeft part of the Thigh. 
 
 From the Genitals to the higheft rifing of the Buttocks. 
 
 From the Navel to the Reins. 
 
 The Thicknefs of the Waft. 
 
 From the Teats to the higheft Rifing of the Reins of the Back. 
 From the Weezlepipe to the Knot or Jointure of the Neck. 
 From the Forehead to the hinder part of the Head. 
 
 From the Forehead to the Hole of the Ear. 
 
 The Thicknefs of the Arm at the Wrift of the Hand. 
 
 The Thicknefs of the Brawn of the Arm under the Elbow. 
 
 The Thicknefs of the Brawn of the Arm between the Elbow, 
 and the Shoulder. 
 
 The greateft Thicknefs of the Hand. 
 
 The Thicknefs of the Shoulders. 
 
74 Leon Baptifta Alberti of STATUES. 
 
 By means of thefe Meafures it may eafily be computed what Proportions 
 all tlie Parts and Members of the Body have one by one to the whole 
 Length of the Body; and what Agreement and Symmetry they have among 
 themfelves, as alfo how they vary or differ one from another ; which Things 
 we certainly conclude moft profitable and fit to be known : Nor were it 
 from the Purpofe to particularize how the Parts vary and alter, according 
 to the feveral Geftures incident to humane Bodies, as, whether they be fit- 
 tina or inclining to this, or that Side: But we (hall leave the more curious 
 Ditquifition into thefe Things, to the Diligence and Induftry of our Artifi. 
 It would alfo be of very much conducement, to be well informed of the Num- 
 ber of the Bones, the Mufcles, and Rifings of the Nerves ; and efpecially 
 to know how, by certain Rules, to take the Circumferences of particular 
 Divilions of Bodies, feparately confidered from the reft, by an Infpedion 
 into thofe Barts which are not outwardly expos’d to Sight : In like manner 
 as if a Cylinder fbould be cut down right through the Middle, fo as out of 
 that part of the Cylinder which is vifible throughout, there fhould be fe- 
 parated, by a circular Seflion through the whole Length of the Figure, an 
 inward confimilar Part which was before unfeen, foas to make of the fame 
 Cylinder two Bodies, whole Bafes fhould be alike, and of the fame Form, 
 as being indeed wholly compriz’d within the fame Lines and Circles through- 
 out : By the Oblervation of which Sort of Seftion is to be underftood the 
 Manner of Separation of the Parts and Bodies before intimated ; for as much 
 as the Defign of the Line by which the Figure is terminated, and by which 
 the vifible Superficies is to be feparated from that which lies hid from the 
 Sight, is to be drawn juft in the fame manner ; and this Defign being deli- 
 neated on a Wall, would reprefent l'uch a Figure as would be much like a 
 Shadow projected thereupon from lome interpofing Light, and which fhould 
 Illuminate it from the fame Point of the Ayr, where at firft the Beholder’s 
 Eye was placed : But this kind of Divifion or Separation, and the way of 
 defigning Things after this manner, belongs more properly to the Painter 
 than the Sculptor, and in that Capacity we (hall treat of them more largely 
 eifewhere. Moreover, it is of main Concernment to whatloever Perfon 
 would be eminent in this Art, to know how far each Relievo or Recefs of 
 any Member whatfoever is diftant from fome determined Pofition of 
 Lines. 
 
 6 '. 
 
 F I 
 
 N 
 
 I