W Treatise ” 
 
 FIVE ORDERS 
 
 5^3 OF f|gg 
 
 WColuimis*® 
 
 Earchitec tfre 
 
 E niz^ 
 
 F To/ ran, 
 Doricjlonic, 
 Corinthian 
 
 k--10S'D 
 
 | Compofite. 
 
 i Written in French In/ 
 
 | ( '/iittdc P< mu lit 
 
 Hade Fn/lJ/h (y 
 Joins’ James 
 
 of Cireemvirh . 
 
 Illlllllllllillllllllllllllllllllllllllll 
 
■m 
 
A TREATISE of the 
 
 Five Orders of Columns 
 
 I N 
 
 Architecture, 
 
 Tofcan.'DoncJoiurXo.nntlitauiiuiCompofttr. 
 
 1 THE R EIN 
 
 The Proportions and Cliararters oftheMembers 
 Of tlieir lever al 
 
 Pedestals, Columns and Entablatures, 
 
 , ire dijlmclli / confidercL n ’ ilh refpect to the Pmctice of 'the 
 
 An tien ts an dModerr is . 
 
 AL S 0 
 
 l mojtlSatimilEa/ic andPiaehcah/c Method laid ' dorvnJm. detmnuimq 
 the nwJiminidcPafl in all the Cede r.\ without a Fraction. 
 
 UnUilnd) is Tuuffii, 
 
 ADi S COURSE concerning Pilasters: 
 
 . i!Y L D (X/' s£‘l yi'Ji. 4 L 
 
 CABUStES introduc'd into MR CHlPFCPl r WE. 
 
 Ibiiiraven on Six Folio Plates of the (coeval Orders, culotnd n r ith Twenty-Fonr 
 Borders, ( w many Initial Letters, and a like nurnher o/Tail -Pieces//’// 
 
 Joint nut. 
 
 Written in French bv 
 
 Claude Pc /ran It 
 
 Ofthr'ROYML ACADEMY of PARI S, t Ft/ioro/y tclcl. rated 
 Comment oxCitruyies. 
 
 ( A ' 
 
 ’ wnew’ch ’cenwich. 
 
 EON I) O N: 
 
 PRINTE D by Benj. Motto, M D C C V IK. 
 
 S aid In/ John Start in Golden -Idem- Corn •/ 
 in Alderfe;ate Street. 
 
 IhL J. EwL uC»*» . LIBRARY 
 
wlr i . / ;) I 
 
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 I! .■ ; ; }/. M.|/ , I Cl r in : 
 
 . > i • wV ,\ .A’ '*■ 
 
Lord President of 
 
 Her. //;/ " inoli I Ion^'C* /•/>•/// aunaY: 
 
 L cum Lieutenant General ^ 
 
 *Vnd General Governor of rhe Kingdom of Ireland, 
 
 to/l/u n io/l\ \o />/ • O/'t/cr of the Cra/E/:^ 
 
 /la grate/u/ ~ ] /n/c o/nmny FA T HERS /rcc/in) from 
 y our L ORDSI -IIP, , iiF . ■'/ ranflatian 0 moflhumlr/i/ 
 
 ( Gcc/ica ti\/ In/, 
 
 My Lord, 
 
 YOUR L ORD SHIPS 
 
 tnaft h am Pic and 
 0 dcdtcnl Pctman/ 
 
 John James. 
 

 
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 ti nilio mi? ! Wohfi’gr 
 
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 r i/A/(7v/ i rrf. 
 A 
 
 His Grace die Duke of S t ALBAX S. 
 it r Bob C Uct Painter, ( hetfea ( olt: 
 U ’’Tho.^-lcsxs . 
 
 Uti/lalne C/fii 
 Henry, Hdrich r DD.HC.C. 
 
 Edumtd . (Lxander Gen P. 
 
 I aph. Hattfiecv . Ltasn . « . 
 
 Hltl 1 ". CUenoffB afjeUfon in the 
 Co unit/ of Wilis Qent. 
 ii'JrfepP * i//eine c ,Uri(ina . it V 
 
 - iP'Vi(l"\4lli sy/hanijeac he/ ‘o file 
 *- 1 Lithe mat. ( han el -Bo (c-LPe/tni C 
 
 «- H 'John Hilary harre, Carjjentcr in 
 v the 'Lower. 
 
 Janice Andesfion, (/ en rfHftte r to Her 
 •s i Cn/^ u 0 Sic/) lc E dintm > yh . 
 ^WRcJUndr 'eios J-, dies' Founder. 
 J o/vti Jnioldffeut; to no - ditch tie ft f 
 . iP'Bx ?/’ 1 fiketc, Painter. 
 
 Jtw ,A(kinfon(jenP. 
 
 « it’ John jlrc her Joyner. 
 
 - I 1 r Pti ifilfi imj ton . 
 
 L casus „ Ptertmru, LLP). 
 
 Philip * /lyres, (yesrP. 
 
 c 
 
 // r C/sl/fophcr Cap. 
 
 • trl/utr Cha/dott D.D. . Ha/ier of 
 Llnmerfiiu Lott : Oxen . 
 
 . /t r RjS\'/ l arhr,Jn / ncr. 
 it flames ( (arte , . U a/on . 
 
 K ' 7. act aria/ ( Vert, Painter. 
 
 . it' If i/( m t er/e t of in 'ie/enham Jcn/n 7 . 
 The Hon blc Edw^ Coke EPc^. 
 
 / i ' it > tit am ( oteman, ( 'a rp enter, 
 in A im lot ten . 
 
 The R'Hoir theL P CONING S BY. 
 S r Godfrey Copley Bar* of Sprot 
 b rough in the Co anti/ OpYovk. 
 
 . IP C/eorye Collin sfiun’V ttafon . 
 IP H ill ,n lovper, Bi'iellayer. 
 
 IP Peter Cemrlhope, fPn//ier. 
 it 1 it m ( caper, Suryecn. . 
 
 4P hdw ^ t oca per, PrvnL- feller, 
 it ' Dan f C rate/; ( aspen ter, in 
 fie Old It dace-lfa/j . 
 ll r Ric/i d GmyerJ 
 IP John C/urc/il Haftc rCaipenn 
 'to HerMajefty. 
 
 AC Rot t Chur chill, ^ Ha/ cm. 
 tt’L ho. ( Aur chill, Bricklm/er 
 LP'Lho Curtis, Joyner. 
 
 |*- i l 1 PieJiPiiiAa; Procter ^ Hath emu ft 
 •.IP Henry Ranches,. Ha fin . 
 
 « ttC Hat ft ’co Banekes, ( a spent cr. 
 . tP'Jo/m Bat /ics, Baolfiller 
 « 1( r C Win Barton, ( arpenrer. 
 
 • IP't hr Batcmon,B -< ok filin'. 
 
 - 4 l ten Bat/uirfi iff ■ 
 
 - H 'fieri miah Berri(,P/a/lesrr. 
 
 His Grace theDuke oTBEAUFORD. 
 1 he Hoo b ^ c the Lady Mary Bertie. 
 
 *- U 1 Pact. Bit tin yhttr/i, Bricklayer. 
 
 *- 1 1 * C/coryeB iekJx am . 
 
 . U r ltitt m Byy^ Ptafirfi. 
 
 | l In- i [on / t i/t m Bridg es Kfj r Survcyo / • 
 j y crural efithe Ordnance . 
 
 |. iV Hahn Bsnmfirlt. Ha/ on 
 Pehmnth, Snfiex . 
 
 H ? James Broum d /erk of 'the 
 7 1 ink s at c VPmdfin . 
 
 . lt’vi;// m B, * omn Ha/on . 
 
 . fumes B rriu/ titan. C/cnif l f e/tm 
 . I /'.‘Win Bracmi an, ( as pcs lies *7 lef ’ 
 L if '//r/ n Buck Ics \ 
 
 I* H , ! > ill >n Butcher jus/ ( us pen/, s : 
 Tii," li‘Ho,i tlc RicliardTTVRL of 
 HiIU.INTtTOX. 
 
 / ) } <rtf Bla. il fim r ( icnt. 
 
 I> 
 
 DcwiuU'.Coyiier. 
 
 • H r l f ill m Danis, Career. 
 
 Claries Del a /a ye C/en h I f e/bn C 
 
 The R l Hon^ le EARL oTl)ENBIGH. 
 
 f( > Francis Deunny,^ lla/fn . 
 
 * /I'AinPAh-ekdn/dm 
 
 . IP Henri/ Dip,/, Carpenter, 
 i 4 at in Dip tn/ Ffi/ ■ 
 
 » H' John Dot fan, C i/pentcr. 
 
 «- H v Dillon, fin fhe afi if the t Ho 
 t/cmat.Jchcol isi ( li sl/ls Ho ( pit at ■ 
 
 » Ho/itayue (/eras'd D/nkc Llf j,. 
 Edmusut Du /sissies- E/jj. 
 
 E 
 
 . K'lliH ,n Eti)ier;Joipie/;]-/ 'ut ay fi> 
 
 ft* /!,/. linoth,af ( hr/’ i/i 1/xtand. 
 
 I he IT Hou t,e tJieE.oTES SEX . 
 
 it r Jots i Elite, o/J/ozE. 
 
 * H 1 f oh si J\ cans, Joyner. 
 
 F 
 
 H r f ohsi Fas 4cnr, Paisitcr. 
 
 H r 'H HI "D'aidconcs; Jo y/ies *. 
 it' Rich h, < life? '/tone, C ltlo/ 7 ici/,Lond 
 
 «. H i fo (? ' xLern,'(y end, Cu/ tom -hofie 
 7/ r Qtd tumy zJf/~t 1 ef : lhe Ordinance . 
 A ho. Ch Letcher f/ertp at the bxchey er. 
 UJcftiua ffiteleher iThaJon . 
 ijJairniah Jrxmktin.Oxcni . 
 IPVHuUpJs reman, Joyner. 
 
 H r tHn/nis CAry, Jlussibor . 
 
 U 1 ftfene . h icl/cifi Cu'/dci • . 
 
 G 
 
 . it r Leonard (famzrion, (to/ficr Ha* 
 Ptot/s a tPFhitehaH. 
 fiohn Jape A/f • 
 
 . tt'f dry ^Cjec, Chanecry - Oj/Jiee . 
 (Jeo/firy (filbert; tjd . 
 
 »7 1 ' Do hi i (yitha ssl Joyner. 
 
 7/ 7 Joh n fyiU, Clulfia Coil: 
 
 . Ml* Stephe n Qitt. 
 
 . it r Jots ifi/o'idiny/Jp m her JEisnptX \ 
 • H r (h sd/otd/ny, L asp \ Hidhus'/t. 
 
 H r Who. Cfteqy . 
 
 I apt • Ho/ in Pf oodioin . 
 
 IP J Jin t/ciu/L, Qy&nt. 
 
 Hitt. Ic/frand £//• 
 
 JP (Rich 7 C/ rcijoyy. Carpi 
 01 1 chd/sy t/f a m &fefy r 
 4t ’ JohnY/reyJd' tiec/roruj/ti ofi 
 Herts ncore Hampffiire. 
 f P'f/oudyc, i. / )ook.fiUesHlc(i r Halt . 
 AP'Jltc/i J/sry. 
 
 H 
 
 At 'Charles Hide, Oft lender. 
 
 H r 04lo( t fit aniUd ricAtay er. 
 
 H 1 Chariest jail ford, Faaircr. 
 S rt JtwJ(an met djar ■ ( 
 
 John J Cams HI). 
 
 JPjchn OfirnsJ fi/cJltifher 
 M’Jo/m fita/risf aspeni'Chich filer. 
 iP'Edeoard Hanfion . 
 
 « it ’John Jtar/roifi l fOndfir. 
 
 , it ’ i \ JCdwhjm oer. 
 
 Their i lou b ^S r Charles Hedges K l &J 
 
 IPPUdJCf/hr. 
 
 fhcJCeicit <t /(ffi/urc OaksLJottiny./h . 
 t H’Jhc . Jfekiny. 
 
 JohnJ/ciitcy Off- 
 H r (fee rye fiCJmcs ■ 
 
 / / Jena than Ofichs, f I iajonfietctusx/ . 
 H ’FhvJuyt snore, Serjeant t ciisi/er. 
 AP'jhoJtdl. 
 
 DV'Llw.Ofitl, ! tafin, Chelfia Celt, j 
 .7 Pjchn JO, '('fin, Junes'. 
 tP James JCodj fin, E R .S . 
 APlAdamJ Celt Gardener, OuMtiani . 
 The l hm bb: 'S r James J i ow. 
 
 .11 ''Cha vies Odo yuet . 
 
 / t r hho./'Coudat.Cjncklai/ e/' Jfeio . 
 
 I la ft. / lumbcpficit cfllumlerficii E/</.. ' 
 
 it’ Jtenn/Plunt, ( ixr/Jerdcr. 
 
I 
 
 // r Cpeet 'ipeHn/ i ea (//Printer: 
 
 Mo/m Minp/i/l^ M. D. 
 
 M r . ( dof ' ' f/np/J/h, Ccmptt'o/er of Her 
 \Ia‘ i< ‘ s Royal Holpilal at C /e//ca . 
 irHilU'n/lar. ( atpcnfer. 
 
 H r Menmia7 Monco. 
 
 . M r £dwPldmeo. 
 
 . ft 7 ' Mfenry Sdmeo, 
 tl 7 'Mameo Mann. l f rin .C o//. t amir. 
 
 K 
 
 . 1 ho/nao Me tap C/ent. A ^Mu/neoo. 
 
 . U'/Kempf/lerSeiil « Ma/on . 
 
 IV'Mxenip/terMun/'. lia/on . 
 
 . It 7 ' Daniel H i it up. 
 
 H r //ohn Mi/np t/rml/eller 
 . // r Mat two 'A/inip. 
 
 . I l "Mill. MCirup C Painter. 
 
 . IV/do/^Shityp Hidden 
 
 . ICtdo/ ^Knaplcrck, CBook/ellcr 
 . IV'y/ie. Mvnu/ht, Carp!" 
 
 . MrtUuu&entMntinq W r 
 . H'X dart/ol . ( dej/let/ l Vl< i/o n 
 ( /cm cut tdetif' C/py 
 . Madam ( M/erotlca ( dc/d. 
 
 . M "Hdttieo C Pc h }'!•>;( P/amiLcnt). V.11.S. 
 . // 7 HolnC dovey, Moyne > • . dice -lane 
 . tM'FdmuiidC ('o/re/( Printer*. 
 
 . // 'Holm ( Price fun 'f/tla/on/die/nd. 
 . //'.’^ "Mnfe/iMmpner/M anric/danc . 
 
 R 
 
 L 
 
 H r /demand Me no ben/'i Pain ter, 
 
 ( ft rau 'em/ oil 7 'fo C 7/ ri/h Ho /pda/. 
 . ll r Bernard Me nd\ 
 
 PrSdio d Menu. ] 
 
 // v 0 w p/ : /> iiph/fero/ C a/iwr 
 
 !l 1 . d(t/m . /if on ■ 
 
 Indreio Hooke .1 M.t/eomJ} vf7(p\/)Uell 
 if' ( fen/. . fookcCPoojzf filer, 
 ff r f oln ^ 'oa 7icjc/ul . fond . 
 H r l/cot'qc . 7. ncnc.u n bCBri/iot . 
 l( r ‘JJ ill" 1 , 'ouuicocnd (Ivon . 
 
 UK In /tin . b nuncaend, ZAaintcr/H c/bh 
 ( apt. t f lit' ( \hp//ioll 7 / c/bn ! 
 
 . iMHo/m fdiiffnc/1 Hoi/ner' / le/tvC 
 Cholnumdlct / 1 f urner f '/]_]■ 
 
 t 'die ^j/voodc.' . I. . U..).( oil. O.xwi. 
 ^ U .lofcpfi . 'homp/on . 
 
 The R'Hoo blc The LORI) RABY. 
 
 ( Inf tope/ r (bntelin/rn l/tp,/anca/hine 
 t'eleo d die/ard.' f '/</>, M.B. /.vet ' ( oil . 
 
 It " f/otiat/on ( . dir/ard.r , . Ma/on . M c t dn/rrue/li Ctvnptr'bflier. Ha/fiin/s. 
 Hone ''•> ■ undo 0Ucard,( Painter. 
 
 U 7 'l ' lo { dear/ f/oi/n f ( . dii/t/ea <ort/i A 
 
 i Scn/ido/in/ondec. to t/e Date lie Is of 
 
 Bucclough. 
 
 S r Ji ill rn f d i d’in/on c di' 
 
 C f) /*( /ann-ed idol in/on . 
 
 U r f/o/n i do/in/on,. 1 dne/lu i/er. 
 
 . ii dd/c/r ^ /deeper /cm , L a/pwnter. 
 
 The R‘Hon ble J ames Earl of 
 Salisbuby. 
 
 dclm baveupe D.D. 
 
 S rc 7/io:Saundera feM/q/di (far/ 
 
 H re Tno:Sau uper; t arp enter, /die/ m ' 
 
 U r Uill:Mu/h Carp/S liarulcrio S/'cet. Tin R l HoTi bIe die E of SEAFIELI) 
 
 The Hon We S R Philip Sydenham . 
 
 , U r Simon S cat/ i/f/ for' f/e «. lladiern: 
 M Soc./bmeo ( o/fec-ticii/c Fine/ -lane . 
 
 « tl r S/o/n Sim 071 o,Jenpner 
 ( Ziar/eo S/ai/c C petit. 
 
 D r d(ane bio a tie, S. It . S . 
 
 It KSZo/m Small until //unS/loipnet: 
 IV'l/o/ep/ Smart. /Tenon Cl. Office . 
 S'ameo brni/ly Irc/.b cirt. 
 tC'l/lnu'ip . \/ndli, Carp! 
 l/ r ( denf . fmd/i't atpS 
 U r //onn bn unit . Ha /on . 
 IC'/da/p/t Snow/ H } ritin<p ( 77l / 
 
 tC'Cdiu ^S ran/on Ml l a/ on . 
 IC'CC/o. Stan/al. 
 
 Ii r ' liana flan . Maine, Carver 
 IV" l l ill. Ua/fnf Painter 
 US do//. More; Mbit imp. MS 
 il r //<y/in . Ho ore S^oi/ tie t,S d ic/n C 
 W'dameo , lloore, CoZi/tief-ma/et; in 
 
 (i n d/ Cre - 7 / 
 
 IIS' ho:. Hi v ’no Uoipnei ; dn< it ft -n/ am . 
 U ddetip:. ((cite/ Printer, 
 ti "l/eotye . Hou/f C/ipmi/i. 
 
 H } ff/e:. Haderxi. 
 
 IC'S/o/n . Uotp/etU'/np Stafion n Jfalt 
 
 ll rc l f airen t jtic/laipet: 
 
 1t"dl ill 1 "'!! lilU Carver 
 ' am dtero C/enh 
 . H 1 Sam ^ H at/cm, l atwer. 
 
 . U rc M d/ m l ! I id l/eloved/ at pent/ 
 
 Sl/iup^ lb: C H c/ttn r 
 
 nrPdhctiu-dktPlaOtt ’net: 
 
 . // r P/iibp C H Zicafip /tench! 
 
 . /H'Slo/n MHiite. 
 
 . V '/l/aao V / / din a, / ft ich tape/ : 
 
 . / 1 'Sidm ' ( C Uttiamo, (Ci-i/itn: 
 
 . H r /dich ^ 'll if/iaH (atpon/l 
 . l/ 7 \(/w l I /tfrtiert'e wattirer. 
 
 C ohn ( H i//in/tni V pent. ; / wiliey ! 
 ft r C'dud‘tOi/up, l it /pn: titer, 
 t F'C/o/n ‘/ 1 1 nrdal l,^ i tafen i 
 A ’ CAid/ 'll or/lei/ t dar/ 
 
 // Mich ‘l/rrton Hi ft Beverley in 
 d/ork/hirc . 
 iuinpi/ircir 7 ti’ld c /p.'^ 
 
 N 
 
 U r . ( lo 71 . dap/e/urtvi/ dncA/aipet: 
 
 S atnf S fe/dmup t /</ r 
 
 7/ 11/ m C\'a/.in- Op' 
 
 . H 7 /do/' b tee// doo/y linden 
 
 , Ijjifi'yDeplfirip 
 
 H Wht/an b tee/ Hoi/ tier. 
 
 . U r Davibl \cdo//eu'o * ilini/tei: 
 
 tl r t \/u > ** Siro/i ip, . Ma/on . 
 
 . U r Mdin .‘ Vh hot/ ot if d o c/i/ die/: 
 
 /I anno b tone If e tit. i l.l a/p> n1 Htali. 
 
 . ir/lo/n l 1 c/riof M e/lni '■ 
 
 L tHl/o'b huirf, Station ' Lend, hr/depe . 
 
 It ' //din t V utt/di 'inter: 
 
 . U 'Hacol . hurt! U ovt/lou/e . V ti /lit up to 
 
 
 Suffix. 
 
 
 Edw Saver Ehj yAar/Aani/iecel . 
 
 o 
 
 . lt n U alter • Ltfto/i/Haifer. 
 
 His Gracef/<*DUKEof Ormond. 
 
 . // ' ( feo/rpe . hnd/fdricAlaper. 
 
 . It 1 ', lu/tiii Olde/nwrt/, b tafioncr. 
 
 . /l r Ho/n ( ylor/tc, f/cipncn 
 
 . it' 7 ' Stephen bun t/e r, C/(i rile tier 
 
 p 
 
 t 
 
 . It d/o/n 'dallman. 
 
 L M r //o/i n /dune . 
 
 Hl'l/ecord '■J/wmaof.dr inter, Cxon. 
 
 |. // r< M ill Zddnic/; . Hafon. 
 
 , It 7 ' Mat neu /oni/iitl/^ainfer. 
 
 . // nAic/i lyhrfe/t&atn/er. 
 
 Ho/in /thorp, M B. C ) xo/i-.F.R .S . 
 

 / 
 
 ■ ' ' ..... . ■ . 
 
 ■ '■ ' \\ 
 
 .ml 
 
 
 . ■ v. 
 
 . •. \\ 
 ’."'W 
 
 
 
 
 
 
 
 
 
 
 
 . 
 
 
 
 
 
 
 
 
 
 
 
 - 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
TO MY LORD 
 
 COLBERT, 
 
 MARQUIS of SEIGNELAY, 
 
 BARON of SEAUX, &c. 
 
 MINISTER and SECRETARY of STATE, 
 
 and of the King’s Commands ; Commander and Grand Trea- 
 furer of His Majefty’s Orders ; Comptroller General of the 
 Finances ; Superintendant and Surveyor General of His Majefty’s 
 Buildings and Gardens, and of the Arts and Manufactures of 
 France. 
 
 Y LORD, 
 
 After haring, by your Lordfhip's Order, tranjhted and 
 explain'd Vitruvius, mb a Succejs owing principally to the 
 
 *** Judgment 
 
DEDICATION 
 
 Judgment jour Lordfhip bos given of it, and which I could 
 never have had the Confidence to hope for, had I not relied on 
 that incredible Tower which your Lordfhip’ s Care and ConduB 
 has to make every Thing fucceed you undertake ; The TOOK^ 
 which 1 now take the Freedom to prefent your Lordfhip, having 
 the fame Advantage, in the good Fortune, that its Vefign, as 
 bold and extraordinary as it is, has receiv’d your Lord/hip’s 
 approbation, I expofe it to the World with the fame Confidence. 
 As this is a fort of Supplement to what was not particularly 
 enough treated of by Vitruvius, ’tis probable thofe who are 
 curious in the noble Art that Author has taught us, may be 
 pleas’d with the Ofovelties this Tool [ contains ; and that fuch 
 as pleafe to put its Rules in TraBice, will find them of confi - 
 derable Vfe in making thofe Things eafie and delightful that are 
 wont to give the greatcfl Trouble. For fully to anf ver the In- 
 tentions your Lordfhip has, to furnifh the Lovers of Arc hi- 
 teBure, with all poffible Means that may render them accom- 
 plifhd, and make them capable of contributing, by eternal Mo- 
 numents, to the Cjlory of our invincible Monarch, it was not 
 enough to have drawn fo many Rarities, contain'd in the excel- 
 lent Too{s of Vitruvius, out of almofl an impenetrable Ob. 
 fcurity , to have explain’d, from this Author , with greater 
 Clearnefs than formerly, the Trinciples and Trecepts of the 
 Art of Tuilding, and the T articular s of thofe Ancient W mders 
 of the World that he has defcrib’d to us : but it was farther 
 reauifite to clear that Confufion and Tif order wherein the Mo- 
 dern Authors have left the greatefl part of what belongs to the 
 
 five 
 
 i 
 
DEDICATION. 
 
 five Orders of Columns , where we fcarce find any certain Buie ,j 
 Authors all differing concerning the Troportions thofe beautiful 
 Tarts ought to have , which male all the Ornament and Ma~ 
 jefly of great 'Buildings. But my Lord , how difficultly foevet 
 the Means by which I propofe to confine thefe Troportions 
 within certain Titles, may be receiv'd . , by reafon of the great 
 Efleem there is defervedly far thofe of a contrary Opinion to 
 mine, and whofe Wor{s being Jo generally approv'd, feem , in 
 fome Meafure, to oppo/e my Vefign ; 1 am nevertbeiefs per- 
 fwaded that it will not appear altogether raff and inconfiderate, 
 when the World [hall know your Lordffip has not dif approv'd it. 
 I mention thefe Tarticulars, my Lord, for the Concern I have 
 the Tublicf ffould be inform d, that my Boo{ having Jfieed of 
 fuch an Authority as your Lordffips, 1 would not omit to explain 
 this Authority, if the Weight of it could poffibly be doubted of, 
 as it might whether I have the Honour of being fuppor ted by it. 
 The great Light of that vafi Cjenius, which renders You capa- 
 ble of all forts of Knowledge, has j hind fufficiently to inform 
 the World long fince, that the mojl fublime Things which ufu - 
 ally poffef r your Mind, do not f i wholly fill it, but that there 
 is room for the lefs important ; and no one can fail of being 
 consume d but ARCHITECTURE, that Queen of the 
 Beauteous Arts, has a principal Tlace among thofe for which 
 You have the greatefl Inclination , if we confider the excellent 
 Works perform d by Your Orders , in f o great Ufiumbers, and 
 in fio little Time, to the Admiration of the Intelligent, and the 
 utmost Satis t faBion of all who paffionately love the Cjlory of tbes 
 

 DEDICATION. 
 
 (freat Monarch under whom we live , and of the happy dge We 
 have the good Fortune to be born in. But what more particu- 
 larly obliges me to inform the World that a Wor\fo apparently 
 uf eful was done by "Your Lordfhips Order, is the Hope 1 have 
 that the Tublic, who will receive the Benefit of it , will alfo 
 ajfifl me to acknowledge part of the Obligation due from me to 
 Your Lord [hip, for having been pleas’d to trufl me with a Work ^ 
 of this Importance : there being nothing in the World I more 
 ardently defire than to give your Lordfhip Troofs of that pro- 
 found 'Rp/peB with which I anu> , 
 
 My LORD, 
 
 Tour Lordjhip’s mojl humble, 
 and mojl obedient Servant, 
 
 perrault. 
 
I 
 
 THE 
 
 PREFACE. 
 
 T was not without P eafon the Ancients 
 thought that the P, tiles of thofe 'Propor- 
 tions , which make the Beauty of Buildings , 
 were taken from the Proportions of humane 
 Bodies, and that as Nature has riven a 
 flrongcr "Make to Bodies ft for Labour, 
 and a f ighter to thofe of Activity and Ad- 
 drefs ; Jo there are different Prides in the 
 Art of Building, according as a Fabricf may he defgnd maffy or more 
 delicate. Now thefe different Proportions, accompanied with their proper 
 Ornaments, make the Differences of the Orders of Architecture 5 in which, 
 the moft vifhle Characters which diflinguifi them, depend on the Ornaments, 
 as the mofl effential Differences confjl in the Proportions that their Parts 
 have in regard of each other. 
 
 Tbefe Differences of the Orders, taken from their Proportions and Cha- 
 racters, without much exaCl Punctuality, are the only Things that Archi- 
 tecture has well determin’d : all the reft, which conftjls in the precife 
 
 ( a ) Meafures 
 
1 1 
 
 The PREFACE. 
 
 Meafures of the federal Members, and a certain turn of their Figures, has, 
 as yet, no certain tattles, in which dll Architects agree ; each having en- 
 deavour’d to give thefe Farts all pojfible Perfection, chiefly in what rf 
 fpecis the Proportion : fo that feVeral, tho' by different Ways, have , in 
 the Opinion of the judicious, had equal Succefs : Which Jhews that tlje 
 I 'Beauty of a 'Building is fo far like that of a humane Body, that it confijls 
 not fo much in the exaClnefs of one certain Proportion, or Conformity of 
 Si%e, which the parts have one with the other, as in the Grace of the Form, 
 which is nothing elfe but its agreable Modification, upon which, an excel- 
 lent and perfeEl Beauty may be founded, without JlriClly obferving this Very 
 » kind of Proportion. For as a Face may be handjom, or homely, with one 
 
 and the fame Proportion, fierce the Change we obferve in the Parts, when , 
 for Inflance, Laughing lejfcns the Eyes , and widens the Mouth, is like 
 what we fee in the fame Face, when it weeps ; this very change of Propor- 
 tion, which pleafes in the one, being difagrceable in the other ; and on the 
 contrary, two Faces, with different Proportions, may be equally beautiful : 
 So we fee in Works of Architecture, Very different Proportions, fo grace- 
 ful, as to be equally approv’d of by the judicious, and fuch as have the true 
 Tafi of Architecture. 
 
 But as it mujl be granted, that no one certain Proportion is abfolutely 
 required in the Beauty of a Face, it is, notwithfianding , likewife true, 
 there is a Proportion, from which, it cannot Vary much, without lofing the 
 Perfection of its Beauty ; there are alfo, in Architecture, Pules of Pro- 
 portion, not only in the general, fuch as are thofe which dijlinguifh the Orders 
 each from other, but likewife in the particular Parts, from which we cannot 
 deviate, without lofng much of the Grace and Elegaiice 'of the Structure : 
 but in thefe Proportions , the Architect has a fuffleient Latitude to augment 
 or diniinifh the Dimenfons of the Parts, as occafon fhall require. ’Tis by 
 Virtue of this Privilege, that the Ancients have made Works J o extraordi- 
 nary in their Proportions, fuch as the Doric and Ionic Cornices of the The- 
 atre of Marcellus, and that of the Frontif piece of Nero, which are half 
 as large again as they ought to be, according to the Pules of Vitruvius : 
 And on the fame Account, all thofe that have wrote of Architecture, Vary 
 from each other ; fo that we cannot find, either in the remains of the Buil- 
 dings of the Ancients, or among the great Number of Architects that have 
 , treated 
 
The PREFACE. 
 
 treated of the Proportions of the Orders, that any two Buildings, or any 
 two Authors, agree, and have followed the fame (Rides. 
 
 This Jhews what Ground there is for the Opinion of thofe, who imagine 
 that the Proportions, which ought to be ohfervd in Architecture, are ccr- 
 tain and invariable, as thofe are which make the Delicacy and Agreement 
 of Sounds in Muficf, which depend not upon us, but are fuch as Nature 
 has fix’d, and eflablifl? d, with fo precife an ExaClnefs, that they cannot 
 be alter’d, without immediate Offence to the leaf: curious Ear : for if it 
 were fo, it mujl needs follow, that thofe Works of Architecture, which have 
 not thefe true and natural Proportions, which, ’tis pretended, they are ca- 
 pable of having, would be condemn’d by common Confent, or at leafit, by 
 thofe, who, through their great Knowledge and Abilities, are the beft Judges 
 in this Affair : And, as we fee, Muficians never differ about the Truth of 
 a Confonance, bccaufe there is a certain and evident Beauty in the Exafl- 
 nefs of it, of which, the Senfes are eafdy, and even necejfarily convinc’d ; 
 fo would ArchiteBs agree in thofe (Rides which would make the Proportions 
 of Architecture perfeCi ; efpecially after having fought them with fo much 
 Diligence, as ’tis plain they have, in running through, by a Vaft number 
 of Experiments, all the feVeral Degrees that might give them this Perfe- 
 ction ; as is eafdy evinc’d from the Example of the different ProjeClurcs 
 • which have been given the Doric Capital. For Leon Baptifta Alberti 
 makes this ProjeCture of no more than two Minutes and a half, fixty of 
 which Minutes are the Diameter of the Column -, Scamozzi makes it of 
 five Minutes $ and Serlio^iw it /even and a half- that of the Theatre 
 of Marcellus has feVen and three quarters, and that of Vignola eight ; 
 Palladio allows it nine, De Lorme ten ; and, in the Colifeum, it is 
 feventeen. Thus ’tis near two thoufand Rears, that Architects, affaying 
 and trying, from two and a half to feVentcen, have made this ProjeCture 
 near (even times larger, fame than others, without taking Offence at the 
 Extravagance of Proportions, fo different from that which they would have 
 pafs for the true and natural one, as they mufl have done, had any of thefe 
 Proportions been fuch, and which would necejfarily have had the fame Ef- 
 feCl, as thofe Things which offend or pleafe us, without our knowing where- 
 fore. 
 
 Not* 
 
IV 
 
 The PREFACE. 
 
 Now, the Pgafon why it cant be /aid, that the Proportions of Archil 
 tcElure pleafe the Sight on an unknown account , ami that , of their own Na- 
 ture, they perform tlseir EJfeBs, as harmonious Sounds produce theirs in 
 the Ear, notwithftanding the Hearer's Ignorance of the %cafon of their Con- 
 fonance ; is, that the Knowledge which we have, by Means of the Ear, of 
 what refults from the Proportion of two Strings, wherein the Harmony 
 confifts, is quite different from the Knowledge we have, by the Eye , of 
 what arifes from the Proportion of the Parts, of which A Column is 
 compos’d ; for if the Mind is touch’d by the Interpofttion of the Ear, with 
 what refults from the Proportion of two Strings, without its knowing that 
 Proportion, ’tis becaufe the Ear is not capable to transferr this IQiowledge i 
 but the Eye, which hath a Capacity of communicating the knowledge of that 
 Proportion which is pleajtng, cannot otherwife make the Mind fenfible of 
 any EffeEl of it, than by the knowledge it gives of the Proportion it felf ; 
 from whence it follows , that what is agreable to the Eye, is not fo, on ac- 
 count of its Proportion , when the Eye k>iows it not, as it Very often happens. 
 
 To make a juft Comparifon, then, between Muftck and ArchittBicre, we 
 viuft not conftder Confonances, barely in themfelves, which are all, natural- 
 ly fuch as cannot he chang’d, but the Manner of making life of them, which 
 is different by different Muftcians, and in divers Nations , like as the Pro- 
 portions of Architecture are in different Authors and 'Buddings : for as we 
 know not any one Way of compoftng Harmony, that is necejfarily and in- 
 fallibly better than another, nor any fteafon that can demon fir ate the French 
 Muftck to excel the Italian, fo there can be none found to prove, that a 
 Capital, which has more or left ProjeBure, ftnuld necejfarily and naturally 
 he more beautiful than another 5 nor is it here as in a ftmple Confonance , 
 where it may be demonftrated that a String which has either a little more 
 or lefs than half the Length of another, makes an intollerable Thfcord with 
 this other, hy reafon the Proportion naturally and necejfarily produces fuch 
 EffeB in their Sounds. 
 
 There arc alfo other EffeBs, which Proportion, of it felf, naturally pro- 
 duces in Mechanicks , for the Movement of Bodies, which cannot he compar’d 
 to thofe it produces for the Pleafure and Delight of Sight : for if a certain 
 Length of one Arm of <* Balance, in refpeB to the other, caufes one Weight 
 
 necejfarily 
 
V 
 
 The PREFACE. 
 
 neceffarily and naturally to outweigh the other , it does not thence follow , tba* 
 a certain 'Proportion, which the Parts of a Building have in regard of Inch 
 other, mujl produce a Beauty that has fuch cffeEl upon the Mind, as to forte 
 it, { if 1 may fo fpeakj and oblige it to an Approbation, as the Proportion 
 of the Arm of a Ballance, makes it infallibly go down on that Side where the 
 Ann is longefl. This however, is what mojl ArchiteEls fay, when they would 
 have us believe that what makes the Beauty, as for Injlance, of the Pan- 
 theon, is the Proportion, which the Tbickiicfs of the Walls has with the 
 Vacuity of the Temple, that of its Breadth with its Height, and a hundred 
 other Things, which are not difcernablc without Mcaf uring, and by which, 
 when perceiv'd, we can no ways be affur’d that they might not as well haVe 
 been otherwife, without being difagreeable. 
 
 1 Jhould not infefe fo milch on this Queflion, thd ’ tis a Point whofc pe- 
 folution is of the greatejl Importance to my prefent Befign, being well 
 affurd, that thofe who will give themfelves the Trouble to examine, will 
 foon find the Opinion 1 efpoufe, has no great need of other peafons than thoje 
 I have produc’d ; were it not that mojl Architects hold the contrary : For 
 that I hews we ought not to look upon this Problem as unworthy our Exami- 
 nation ; fence if peafon appears on one Side, the Authority of ArchiteEls, 
 which is on the other, ought to ballance the Matter, and keep it in fufpence, 
 though, I confefs, ArchiteEiure would not otherwife be concern’d in this Di- 
 fpute, were it not for fame particular Works, and Examples taken from 
 thence, which ferVe to evince, that there are many Things, which, tho’ 
 contrary to peafon and good Senfe , fail not to pleafe , but all ArchiteEls 
 agree in the Truth of thefe Infeances. 
 
 Flow, although we oftbn life Proportions that are conformable to the Pules 
 of ArchiteEiure, without knowing why we affeEl them, it may, however, bt 
 truly fatd, that we ought to have fome Peafon for this Love, and the Diffi- 
 culty is only to know whether this peafon be always fomething that is pofe - 
 five, as is that of the Confonance of Mujicf, or whether it is not mofl comi- 
 vionly founded upon Cuflom only-, and whether that which renders the Pro- 
 portions of a Building agreeable, be not the fame thing with that which 
 makes a modifh Habit pleafe on account of its Proportions, which ncVerthi - 
 lefs have nothing pofetively beautiful, and that ought to be lov’d for it felf -, 
 fence when Cuflom, and other Peafons not pofetiVe, which induc’d this LoVe, 
 tome to change, we affeEl them no longer, tho they remain the fame. 
 
 ( b ) T<f 
 
VI 
 
 The PREFACE, 
 
 To judge rightly in this Caje , we muft fuppofe two Sorts of Beauties in 
 JrchiteBure , namely thofe that are founded on folid convincing peafons, 
 and thofe that depend only on Prepofeffion and prejudice-, by Beauties found- 
 ed on convincing < Peafons, 1 underjland fuch as caufe Buildings to pleafe 
 every one, becaufe their Worth and Value are eajie to be known, fuch as 
 are the pichnefs of the Materials, the Grandeur and Magnificence of the 
 StruBure, the ExaBnefs and Neatnefs of the Performance, and the Sym- 
 metry, which denotes that kind of Proportion, which produces an evident and 
 remarkable Beauty : for there arc two Sorts of Proportions, whereof one, 
 which is difficult to be perceiv’d, con/ijls in the relative Conformity of the 
 proportional Parts, fuch as the Dimenjions of the Parts in refpeB of each 
 other, or of the whole. The other Proportion, which we call Simmetry, 
 and which confifls in that Correfpondence the Parts have one with another , 
 on account of the Equality, and Parity of their Number, their Magnitude, 
 their Situation, and their Order, is a thing very obvious, and the EffeBs 
 thereof fuch as we can never fail of difcovering, as is evident from the In - 
 Jide of the Pantheon, where the Compartment of the Vault, having no pc- 
 fpcB to the Windows beneath, caufis a Difproportion, and want of Simme- 
 try eajie to be obferv’d by any one, and which, had it been correBed, would 
 haVe produc’d a more vijiblc Beauty than what proceeds from the Proportion 
 which the Thicktiefs of the Walls bear to the Vacuity of the Infde of the 
 Temple, or from the other Proportions found in this StruBure, as that of the 
 Portico, which has, in breadth, three Fifths of the Diameter of the whole 
 Temple, from out to out. 
 
 Now to thefe kinds of Beauties, which 1 call PofitiVc and Convincing, I 
 oppofe thofe I call Arbitrary , becaufe they depend upon the Will we haVe to 
 give fuch a certain Proportion, Form and Figure to Things, which might 
 have another without Deformity, and which are not agreeable, for Peafons 
 of which, every one is a Judge, but only through Cuflom, and a Connexion 
 which the Mind makes of two Things of a different Nature, for by this 
 Connexion, it comes to pafs, that the Ejleem, wherewith the Mind is pre- 
 poffefs’d, for fame Things whofe Value it kiiows, injinuates an Ejleem, alfo, 
 for others, whofe Worth it kjiows not, and infenjibly engages it to reJpeB 
 them alike. This Principle is the natural Foundation of Belief , which is 
 nothing elfe but an EjfeB of that Prepojfeffion, by which the Jfnowledge and 
 
 good 
 
The PREFACE. 
 
 good Opinion we have of him who affures us of any thing whofe Truth we 
 are ignorant of, difpofes us to make no Doubt of it. ’Tis this PrepoJfejfion, 
 alfo, that makes us like Things in the Mode, and the Ways of Speaking 
 us’d at Court : for the (Regard we have for the Merit and good Graces of 
 the Court, makes us love even their Drefs and manner of Speech, though 
 thefe Things have nothing in them pojitively amiable, and fame jhort time 
 after they become difagreeable, without having undergone any Change in 
 themf elves. 
 
 Thus it is in Architecture, there are Things which Cufiom only renders 
 fo agreeable , that ive cannot bear to have them otherwife, thd they haVe no 
 Beauty in themf elves , that muft infallibly pleafe, and ncceffarily demand 
 Approbation , fucb as is the (Proportion which Capitals generally have with 
 their Columns : and there are even fome Things, which Reafon and good 
 Safe would render deform’d and difagreeable, that Cufiom has made tolera- 
 ble, fuch as the Situation of Modillions in Pedaments, that of Dentels un- 
 der the Modillions, the richnefs of Ornaments in the Doric Cornice, the 
 plainnefs of the Ionic, the Pojition of Columns, which flood not plum in 
 the Porches of the Temples of the Ancients, but inclining towards the Wall. 
 For all thefe Things, which ought to give Difiafie, as being contrary to 
 Re of on and good Senfe, were firfi born with, bccaufe join’d with pofitive 
 Beauties ; and at length became agreeable by Cufiom, which has even had 
 fuch Influence on thofe who may be faid to have had the Tafl of Architecture, 
 that they haVe not been able to permit they fhould be otherwife. 
 
 To kpow how many Rules there are in Architecture for Things which 
 pleafe, although contrary to Reafon ; we ought to confider that the Reafons 
 which fhould chiefly regulate the Beauty of Architecture , ought to be found- 
 ed, either upon the Imitation of Nature, fuch as is the Correfpondence of 
 the Parts of a Column with its i vhole ; like as there is between the entire 
 Body of a Man, and all its Parts, or upon the Refemblance that a Fabric f 
 may have ivith the firfi Buildings, that Nature taught Men $ or upon the 
 Likenefs that the Quarter-rounds, Ogees , Afiragals, and other Members 
 have to the Things from whence the Figures of thoje Mouldings were taken j 
 or, lafily, upon the Imitation of what is done in particular Arts, as in Car- 
 pentry, whence are derived the Freezes, Architraves, and Cornices, with 
 their feVeral Members , as Modillions and Mutules. NeVerthelefs ’tis not 
 
 upon 
 
VI 1 1 The PREFACE. 
 
 upon tbefe Imitations and Pefemblances, that the Grace and 'Beauty of all 
 thefe Things depends ; for if it were fo their grcatcjl Beauty would conjijl 
 in the mofl exaEl Imitation. Now we do not find that the Proportions and 
 Figure , which all thefe Things ought to have to make them agreeable , and 
 which cannot be chang’d, without giving Diflajle, are taken exactly from 
 the Proportions and Figure of the Things they reprefent and imitate. Frtr 
 it is certain that the Capital, which is the Head of that Body, the whole 
 Column reprcfents, has not the Proportion which the Head ought to have to 
 a Body, fmce the more fquat the Body is, the fewer times doth it contain the 
 Length of the Head, and on the contrary, the thickejl Columns haVc the lowejl 
 Capitals, and the jlendereft have the highejl in proportion to the whole Co* 
 lumn. In the fame manner, thoje Columns are generally difhfid, which 
 neareji refemble the Bodies of Trees, which were the Pofls of the JirJl Huts 
 that were built ; and we commonly chufe to haVe them fuelling in the mid- 
 dle, which is never feen in the Trunks of Trees, for they are gradually ta- 
 pering to the Top. Nor ivould Cornices give greater SatisfaBion, did their 
 Members more exaBly reprefent the Figure and Difpofition of the Pieces of 
 Carpentry, from whence they were firjl devis’d : for then the Dentels ought 
 to be above the Modtllions, which in Cornices, at the EaVes , reprefent the 
 Ends of pafters ; and the Modillions, which, in the Cornices of Pediments, 
 exprefs the Ends of Purlins, ought to lye fquare to the floping Line of the 
 Pediment, as the Purlins do to the Declivity of the poof, and not perpen- 
 dicular to the Entablature, as is generally praBis’d ; and lafily , were th$ 
 Quarter-rounds to bear a greater Likenefs to Chefnuts in their prickly Shell, 
 the Ogees to the Waves of a Pjver, and the Afiragals to a Heel, they 
 would be never the better relijh’d by the judicious. ’Twcrc alfo requifite , 
 did Peafon alone dircB our Judgment, that the Ionic Cornices Jhould be rich- 
 er, and more adorn’d than the Doric ; it being but juft, that a more deli- 
 cate Order Jhould have more Ornaments than that which is more maftve ; and 
 in fine, we Jhould never be able to fuffer, as they did formerly, the Columns 
 to be fet leaning of one fide, had not Cufitom made tolerable a Thing in it- 
 felfi fo contrary to Peafon. 
 
 Neither the Imitation of Nature, nor Peafon, nor good Senfe, are then 
 the Foundation of thofe Beauties, which we fancy we fee in the Proportion, 
 Order, and Difpofition of the Parts of a Column ; and it is impojfiblc to afflgn 
 
 any 
 
IX 
 
 The PREFACE, 
 
 any other Cauft. of their Agreeablenefs, than Cuftom. So that thofe irho 
 firji invented thefe Proportions, having fcarce any other Pjdcth.pi thmy 
 Fancy, according as that has chang d, new Proportions have been introduc'd, 
 which likcwife pleas’d in their turn. Thus the Proportion of the Corinthian 
 Capital, which was counted beautiful by the Greeks, was not approv'd of by 
 the Romans, the former allotting only the Diameter of me. Column for its 
 Height, and the latter having added a ftxth part more. I knew Very well, 
 it may be faid, that when the Romans increas’d the Height of this Ca- 
 pital, they did it with Ppafon, for that it makes room to give the Stalks 
 and Volutes a more agreeable turn, than could be done, where the Capital was 
 Jhort and wide. And ’tis on this account, that the Capitals of the great 
 Columns, of the Front of the Louvre, are made even higher than thofe of 
 the Pantheon, after the Example of Michael Angelo, whp in the Capitol, 
 at Rome, has made them fill higher than they are at the Louvre. Put 
 this only fhews, that the Taft of thofe Architects, who have approv’d, or 
 do Jlill approve the Proportion, which the Greeks gave their Corinthian 
 Capitals, ought to be charg’d upon fome other Principle than that of a Bcau- 
 ty , pofitive, convincing, and amiable in it felf, exifting in. the thing as fuchf 
 that is, as having this Very Proportion ; and that it is difficult to find any 
 other Peafon for this Efteem, than Cuftom and Prcpojfeffion. I confefs, 
 indeed, this PrepoffeJJion, as was faid before, is founded on an infinite 
 number of Beauties, convincing, pojitive and rational, which meeting togcr- 
 ther in Worfi with this Proportion , have been able to render it jo graceful, 
 tho’ the Proportion contributed nothing to its (Beauty, that the juft Efteem 
 Men have had for the entire Worfi, has made them lilcewijc fingly refpeCf 
 all the Parts which compofe it. 
 
 Thus it fell out in the firfi Works of Architecture, when the Pichnefs of 
 the Materials, the Grandeur, the Magnificence and Delicacy of the Work? 
 manfhip, the Symmetry, that is, the Equality and juft Comfpomknce, which 
 the Parts have each to other, in keeping the fame Order and Situation, the 
 good Judgment in T kings capable of it, and where other evident pcafons of 
 Beauty were found, the Structures appear’d fo beautiful, and gain d fuel i 
 Admiration and Efteem, that they were judged fit to be the Pule and Pattern 
 of others, and as it was believ’d impojfiblc to add to, or alter any Thing in all 
 thefe pofitive Beauties, ivithout impairing thofe of the whole Workj. fo they 
 could not imagine, but that the Proportions, which might hally have been 
 
 ( c ) otherwife, 
 
The PREFACE. 
 
 otherwife, without prejudice to the other Graces, would have produc’d an ill 
 EffeB, had they been alter’d. JuJl as when a man is pajjionately in loVe 
 with a Face, tho’ it has nothing perfeBly beautiful but the Complexion, yet 
 he cannot help thinking the Proportion too fo agreeable, that he. knows not 
 how to believe, any Change thereof could render it more charming : forafmuch 
 as the great Beauty of a Part making him loVe the Whole, the loVe of the 
 Whole neceffarily includes that of all the Parts. 
 
 ‘Tis certain, then, that there are fome Beauties in ArchiteBure, which are 
 poftive, and fome that are only arbitrary, though they fcem pofitiVe through 
 prejudice, from which it is Very difficult to guard our felves. ’Tis alfo true, 
 that a good Judgment is founded on the Knowledge of both thefe Beauties 3 
 but it is certain, that the Knowledge of arbitrary Beauties, is mofl proper 
 to form what we call a right Taft, and ’tis that only which diftinguiflies 
 true ArchiteBs from thofe that are not fo 3 becau/e common Senfe alone is 
 fufficient for knowing the greatejl part of pofitiVe Beauties 3 nor is their any 
 great difficulty in judging that a large Fabric f of Marble, wrought with 
 great Nicety and ExaBnefs , is handfomer than a fmall Budding of rough - 
 hewn Stones, where there is nothing exaBly level, fquare, or perpendicular. 
 It requires no Very great Ability in ArchiteBure, to know that the Court of a 
 Floufe ought not to be lefs than the Chambers, that the Cellars Jhould not be 
 lighter than the Staircafes, and that Columns ought not to be thicker than 
 their Pedeflals. . But good Senfe can never inform us, that the Bafes of 
 Columns ought to have in Height, neither more nor lefs, than half the Dia- 
 meter of the Column 5 that the Modillions and Dentels, in Pedaments Jhould 
 be perpendicular to the Horigon 5 that the Dentels ought to be under the 
 Modillions 3 that the Triglyphs Jhould have in Breadth half the Diameter 
 of the Column, and that the Metopes fhould be precifely fquare. 
 
 It is alfo eajie to conceive that all thefe Things might have had other 
 Proportions, without Offence to the mofl exquifite and delicate Senfe 5 and 
 that it is not here as in the Conjlitution of our Bodies, which, when dif- 
 erder’d, may be dangerous, though the fief perfon knows not the degrees of 
 thofe Qualities which make it fo : for to be d f pleas’d or pleas’d with the Pro- 
 portions of ArchiteBure, we mufl be inJlruBed by a long ObferVation of the 
 PQdes, which Ufe alone has eftablifh’d, and of which, gooTSenfe could ne- 
 ver haVe given us the leajl KQiowledge : as in the Civil Laws, there are 
 
 fome 
 
XI 
 
 the PREFACE. 
 
 feme which depend on the Will of the Legiflators , and the Confent of the 
 People, which the natural Light of Equity does not difcoVer to us. 
 
 If, then, true Architects, in confidering Works of different Proportions, 
 as was faid before , approve only of thofe that are in a Mean between the 
 two Exceffes in the Examples before cited, it doth not follow, from thence, 
 that thefe Exceffes offend a judicious Eye, on account of any Deformity, 
 that, for a natural and pofitive Peafon, mufl neceffarily difpleafe every one, 
 as being contrary to good Senfe ; but only as not being according to that 
 Manner which has us’d to pl'eafe in the beautiful Works of the Ancients, 
 where thefe excejfive Proportions are not ordinarily encountred ■, and where 
 even this Manner is not pleajing fo much in itfelf, as becaufe it is accom- 
 panied with other pofitive, natural and rational Beauties, which, if 1 may 
 fo fpeaf, make it lov’d for company. 
 
 But becaufe this Manner, confijling in a Mean, equally diflant from the 
 Extremes , obferVable in the propos’d Examples, has not only a Latitude, not 
 precifdy determin’d in thefe different Works, which, for the mojl part, are 
 equally approv’d ■, but has likewtfe no reafon in it that fhould require fo Ve- 
 ry nice and precife an Exactnefs to make it agreeable j and that by confe - 
 quence, properly fpeaking , Architecture has no Proportions true in them - 
 felves ; it remains to be examin’d, if we can ejlablifh thofe that are pro- 
 bable and likely, founded upon pofitive Peafons, without departing too far 
 from the Proportions ufually received. 
 
 The Modern Architects, who have wrote of the Pules of the five Orders 
 of Architecture, have treated of this SubjeCl two Ways : Some have only col- 
 lected from the Ancient and Modern Works, the mojl illuflrious and approv’d 
 Examples ; and as thefe Works contain different Pules, they have contented 
 themfelves with propofing all, and comparing them together, without deter- 
 mining fcarce any thing as to the Choice we ought to make. Others have 
 thought that in this Diverfity of Opinions of Architects, concerning the Pro- 
 portions which ought to be obferv’d in the feVeral Members of each Order, it 
 might be permitted them to give their Judgments on thofe Opinions which had 
 all Authors, fo great, that they could not ejlablijh a bad Choice : and they 
 have even made no Scruple to propofe their own private Sentiments, as a 
 %ule : For we may fay, that Palladio, Vignola, Scamozzi, and mojl 
 
XI I 
 
 The PREFACE. 
 
 of the other famous ArchitcBs have done thus , who haVc neither been careful, 
 punBually to follow the Ancients, nor to conform to the Moderns. 
 
 The Befign of thefe latter is neVerthelefs commemhble, in that they have 
 endeavour d to ejiabhfb certain and determin’d Pj ties , to which, pccourfe 
 might always be bad for every thing capable of fuch Bedfion. 'But it were 
 to be wifls’d , either that fame one amongfl them had had an Authority fuffi- 
 cient to make fuch Laws as Jhould have been inviolably obferv’d 5 or that 
 fuch Pities could be found out, that had in themfelves Truth jo evident , or at 
 leafl, fuch (probabilities and Pyafons as might make them preferable to all 
 others, that have been propos’d ■, that one way or other there might be fame- 
 thing fix’d, conflant, and ejlablijlr’d in ArclnteBure, at leafl in regard to 
 the Proportions of the five Orders, which would not be Very difficult : for 
 thefe Proportions relate to things ivhich need no Study, Search or BifcoVery 
 to be made of them, as there does of what concerns the Strength and ConVe- 
 niency of Buildings , where there is certainly room for a great many new 
 and Very confiderable Improvements ; neither are they of the Nature of 
 thofe Proportions, requifite in the Works of Military ArchiteBure, and in the 
 makjng all Sorts of Machines , where the Proportions are of the greatefl 
 Importance. 
 
 For ’tis certain it fignifies little to the Beauty of a Building, whether in 
 the Ionic Order, for injlance, the Height of the Bent el, in the Cornice , 
 he prccifely equal to the fecond Face of the Architrave ; or whether the Pyfe, 
 in the Corinthian Capital, defeends lower than the Abacus 5 or whether the 
 Volutes, in the Middle, rife jufl as high as the Pjm of the Vafe of the Capi- 
 tal ; for although thefe Proportions were obferv’d by the Ancients, and pre- 
 ferib’d by Vitruvius, the Moderns have not followed them : and there can 
 be no other Caufe affign’d for it, than that thefe Proportions are not founded 
 upon necejfary and pojitive Pyafons, as they are in many other Things, as 
 in Fortifications and Machines, where a Line of Defence, for Example, 
 ■cannot be longer than the reach of the Artillery, nor one Ann of a pair of 
 Scales fhorter than the other, without rendering thefe things ahfolutely ufe- 
 lefs and defeBiVe. 
 
 For this Pgafon, we may conflder the two Manners of treating of the 
 Proportions of the five Orders, praBic’d and receiv’d at prefent, as not being 
 
 the 
 
xi i • 
 
 The PREPACE, 
 
 the only ones that may he made life of, and that there is nothin * ought to 
 hinder the receiving of a third. To make this plain by a Comparifon I have 
 already us’d, and which is Very natural to the Subjecl I am now fpeakjng to, 
 ( wherein the third Manner tonftfts) I fay, we may imagine that thofe who 
 follow the firjl Manner, do juft as if in preferring the Proportions of a 
 beautiful Face, they fhould give exaBly thofe of Helena, Andromache, 
 Lucretia, or Fauftina ; in which, for Example, the Forehead, the Nofe, 
 and the Space from the Nofe to the Extremity of the Chin, were equal within 
 a few Minutes, yet differently in each of thefe Faces : and that the Architects, 
 who follow the fecond Manner, do like thofe, who, giving the Proportions of 
 a beautiful Face, fhould allow nineteen Minutes and a half, from the ftpot of 
 the Flair to the beginning of the Nofe ; twenty Minutes and three quarters, 
 from the beginning of the Nofe to its End, and nineteen Minutes and three 
 quarters, from the Extremity of the Nofe to that of the Chin : and laftly, the 
 third Manner is to make thefe three Spaces equal, by giving each twenty Minutes. 
 
 Thus, to apply this Comparifon to ArchiteBure, if it [bould be demanded, 
 according to the fbft Method, what ought to be the Proportions, for Inftance, 
 °f the Height of the whole Architrave, in refpeB of the Freeze 5 the Anfwer 
 would be, That in the Temple of Fortuna Virilis, in the Theatre of Mar- 
 cellus, and almoft generally, they are equal within few Minutes ; the Freeze 
 being a Jmall matter the higher, in fome of thefe Fabricks, and the Archi- 
 trave in others, if we confult the fecond Method, we JJ? all find that thofe 
 who lay down Pydes for the Proportions we fpeaf of, do not Vary much from 
 this Equality, but their Meafures are fomewhat different from thofe of the 
 Ancients, and fome make them equal in one Order, and not in another. 
 Put in following the third Method, we fhall always make them equal in the 
 Ionic, Corinthian and Compofite. 
 
 Now it is Very obvious, that this third Manner is at ledft more eafte and 
 convenient than the others, ftnee if it is true, that the one hundred and twen- 
 tieth Part of the whole Face added to, or taken from the Forehead, Nofe } 
 or Chin, doth not make the Face more or lefs agreeable ; it is likewife as 
 true, that nothing is more eafte than to find, imprint and retain in memory, 
 the Proportion it ought to have. So that if we cannot fay this Proportion 
 is precifely the true one, ftnee a Face may have all the Agrceablenefs poffible , 
 without this'Very Proportion, and may be diftigreeable with it, yet it ought, 
 
 ( d ) at 
 
XIV 
 
 The PREFACE. 
 
 ttt leaf , to be ejleem d the mojl likely , Jince it is founded upon a poJitiVe 
 Reafon, which is the Regularity of the Thufion of the Whole, into three c- 
 qual Tarts . This Method is that which the Ancients follow'd , and that 
 Vitruvius made ufe of in the Explanation of the Proportions he has riven 
 where he always proceeds by methodical Tivifions, eafie to be retain'd ; and 
 this Way was left off by the Moderns, for no other Reafon, but becatfc they 
 found they could not accomodate it to the irregular Meafures that are in the 
 Members of the noble (Remains of Antiquity, which are found Very diffe- 
 rent from what Vitruvius hath left us : f 0 that they would have been ob- 
 lig d to alter them, in fome meafure , to reduce them to the regular Propor- 
 tions, which this Method requires : and yet the greatefl part of Architects are 
 perfuaded that thefe Works would have loft all their Beauty, if one Minute 
 only had been taken from, or added to, any of the Members, other than 
 what the admirable Artijls of Antiquity afign’d them. 
 
 For ’tis hardly to be imagin’d what a fuperftitious Reverence ArchiteBs 
 have for thofe Works we call Antique, in which, they admire eVery thing, 
 but principally the Myftery of their Proportions, which they are pleas’d to 
 contemplate with a profound RefpeB, without daring fo much as to undertake 
 an Inquiry into the Reafons, why the Dimenfions of a Moulding were not 
 a little leffcr or greater - which is a Thing, we may well prefume, was 
 unknown, even to thofe that made them. This would not be fo Jtrange, 
 weic we affurd that the Proportions, we fee in thefe Wolfs, were not alter’d 
 and fomewhat different, from thofe which the firft Inventors of ArchiteBurc 
 ejtablifh’d •, or were we of the Opinion of Yillalpandus, who pretends that 
 God, by a particular Inflation, taught all thefe Proportions to the Archi- 
 teBs of Solomon’* Temple, and that the Greeks, whom we efteem the In- 
 ventors , learn d them only, from thofe ArchiteBs. 
 
 I[ " true > ^ever, that this excejfiVe RefpeB, ArchiteBs have for the 
 Antique, which is common to them with the moft part of thofe that make 
 Profeffion of humane Sciences, whofe Opinion is, that there is nothing made 
 now, comparable with thofe of the Ancients, takes its Rife, as unreaf ena- 
 ble as it is, from that true RefpeB which is due to holy things. It is well 
 known, that the Barbarity of the latter Ages, in the cruel War made upon 
 all the Sciences, which totally extirpated them, Theology only excepted, was 
 the Rcajon that what little Learning remain’d having taken SanBuary in the 
 
 Cloiftcrs , 
 
The P R E F A C E. 
 
 Cloifters, ingenious and inqufttive Rerforts, were oblig’d to fearch tho/e f 
 CCS for the SubjeEl of all curious Knowledge, as well of Antiquity as of 
 Nature, and there exercife themfehes in the At of Reafoning uud Inform- 
 ing their Judgment. Sut this At, which, in its own Nature, is equally 
 proper for all the Sciences, not hating been us’d, during fo long a time, by 
 any but Ditines, whofe Sentiments arc entirely captitated and fubjeEled t <3 
 ancient Dccifions, had fo loft the Habit of ufmg that Liberty, which is ne- 
 ceffary in curious Refearches, that feteral Ages were paft before we were et- 
 hic to reafon in humane Sciences, otherwife than is done in Ditinity. And 
 this was the (Reafon why formerly the Learned had no other Aim in their 
 Studies, than to find out the Opinion of the Ancients, accounting it fat- 
 greater Honour to have found the true Scnce of a Text of Ariftotle, than 
 to have dtfco'ver’d the Truth of the Thing treated of in that Tcott. 
 
 This Spirit of SubmijJlon in the Manner of learning and treating of the 
 Sciences and Arts, is fo nurs’d up, and fortified, by the natural Docility of 
 Men of Letters, that ’tis Very difficult to lay it aftde ■ and we can hardly 
 accuftom ourfelvcs to make that Diftinflion, which there is, between the Rc- 
 fpecl due to Things facred, and to thofe that are not fo 5 which we may be 
 permitted to examine, criticise upon, and cenfure with modefty, when we 
 endeavour to find out the Truth ; and in which, we contemplate no Myfteriesj 
 of like Nature with thofe that (Religion propofes to us, and which we wonder 
 not, in the leaft, to find incomprehenftble. 
 
 As ArchiteElure, as well as Tainting and Sculpture, has been often hand- 
 led by Men of Letters, fo it has been govern’d by this Humour more than 
 the other Arts ; they have taken all their Arguments from Authority, imagin- 
 ing that the Authors of the admirable Works of Antiquity, did nothing but 
 for good Reafons, though we cannot find them out. 
 
 'But thofe who will not allow that the (Reafons which cdufe thofe beautiful 
 Works to be admir’d, are incomprehenftble, after having examin’d all that 
 belongs to this Subjetl, and been mftrubled by the moft able Rerfons 5 will 
 be convinc’d, if they confult good Senfe, that ’tis no great Abfurdity to thinfi 
 that thofe Things, for which no Reafon can be found, are really without any 
 that contributes to their Beauty , and that they have no other Foundation than 
 Chance , and' the Humour of the Workyncn, who fought for no Reafon to 
 
XVI 
 
 The PREFACE. 
 
 guide them in the Determination of thofc things , the Precifenefs of which , 
 was of no Importance. 
 
 1 know Very well, that, notwithfianding all I can fay, this Propofitioti 
 will hardly go down, hut will pafs for a Paradox that may probably meet 
 with much Oppofition, and that even from fame well-meaning Per fans, who 
 fincerely believe that the Glory of Antiquity lies at Stake, which they are 
 fond of having reputed infallible, and inimitable, pojjibly becaufe they have 
 never fufficicntly Jludied the Point, and many others may think themfelves 
 concern’d, who know Very well what they do, when they make ufe of this 
 blind PgfpeH for the Works of Antiquity, to conceal the Dejirc they have, 
 that the Things of their Profeffion fhould feem to haVe Myjleries, of which , 
 they themfelves are the only Expofitors. 
 
 But as my Intention is not, even though I fhould prove and demonfirate 
 tlsis Paradox, to make any other Advantage of it, than to get leave to change 
 fome Proportions, which differ from the Antique in Things only inconfide- 
 rable, and of fmall Importance ; I hope it will not be taken amijs, efpecially 
 having declar’d that I admire and ref peel the Works of the Antique Archi- 
 teilure, as they really deferVe, and if I fpeaf of them differently from others , 
 my Defign is only to obviate fome Objections, which the too fcrupulous Ad- 
 mirers of pafl Ages may make to me, upon the Inconvenience they find in not 
 following, in every thing, the Examples of thefe great Mafters, and upon 
 the Danger I expofe my felf to, of not being credited in what I propofe 
 new. 
 
 For thofe that do not intend to wrangle, nor make an ill Ufe of the Au- 
 thority of Antiquity, will not employ its Power in things needlefs, as the 
 Bignefs of an Afiragal, the Height of a Corona, or the exaEi Dimenfions 
 of a Dentel 5 the Precifenefs of thefe Proportions not being that which makes 
 the Beauty of the Antique, nor the Change of them, of an Importance 
 comparable to that of having the Proportions truly adjufled, in all the Mem- 
 bers, of which the Orders are compos’d, for the efiablijhing an eafie and con- 
 venient Method. 
 
 As to the Succefs of my Defign, if it does not take, 1 fhall not be much 
 -mtrn'd at the Misfortune, being the fame that has befallen the mofl illu - 
 
 firious 
 
The PREFACE. 
 
 firms perfons, fince neither Hermogenes, Callimachus, Philo, Clefi- 
 phon, Mecagenes, Vitruvius, Palladio nor Scamozzi, with all their 
 great Ability, could obtain fuels Approbation as to haVe their 'Precepts re- 
 ceiv'd for the Stiles of the Proportions of Architecture. If it be objected 
 that the Method 1 propofe, fitould it even be approv’d , was not any thing 
 difficult to be found out 3 that I make little or no Alteration in the Propor- 
 tions 5 and that there is fcarce any of them but what is found in fome of the 
 Works of the Ancients and Moderns 3 I freely own I baVe invented no 
 new Proportions : but this is my Satisfaction, that I have no other Dcfivn, 
 in this Work, than to /hew, that, without Offence to the Idea Architects have 
 of the Proportions of each Member, they may all be reduc’d to Meafures eafi- 
 ly commenfurable , which I call probable, there being great Pyafon to thinf 
 that the firfl Inventors of the Proportions of each Order, did not make them 
 fuch as we fnd in the Antique, where they only come near thefe Meafures 
 eafly commenfurable 3 but that they made them actually juft , and that , for 
 Infiance, they gave not the Corinthian Column nine Diameters and an half-, 
 fixteen Minutes and an half, as it is in the Porch of the Pantheon 3 nor 
 ten Diameters eleven Minutes , as it is in the three Columns of the Forum 
 Romanum : but that they made them exactly fometimes nine Diameters 
 and an half, fometimes ten 5 and that the Negligence of the Workrnen of the 
 Antique Remains, is the only real Caufe of the DefeCl in thefe Proportions 
 that they are not exaClly according to the true ones, which, it’s reafonable to 
 believe were eftabliftid by the firfl Inventors of Architecture. 
 
 I do not fee what can be faid agdinfi this Opinion, becaufe I neither know, 
 nor believe it poffible for any one to difcoVer, the peafons which induc’d Ar- 
 chitects to uje broken and difficult Proportions, without any Necejfity, and 
 to affeCl the changing of the Ancient ones, which were eafie, confifiing of 
 entire Numbers. Why, for Example, the Ancients, before Vitruvius, 
 having always given to the Plinth of the Attic Dafe, the third of the whole 
 Pafe, the Architect of the Theatre of Marcellus, fhould add one Minute 
 and a quarter to this Third, which is of ten Minutes 5 and why, the Ancients 
 having always made the Doric Architrave equal to the Semi-diameter of the 
 Column, the Architect of the Paths of Diocletian, fhould think. . fit to add 
 a fifth Part more, and Scamozzi a fixth, and in fine, upon what myfte- 
 rious Account it is, that, in the Porch of the Pantheon, there are fcarcely 
 found two Columns of the fame Diameter. Nor do I believe it poffible to 
 
 ( e ) guefs 
 

 K1 
 
 ACE. 
 
 guefs why Scamozzi has affignd in his Ordonance of Architecture, Propor. 
 tions fo intricate, that ’tis not only difficult to remember, but even to com- 
 prehend them. 
 
 1 may fay then, that if the Changes of Proportions, which the Architects, 
 Jince Vitruvius, haye introduc’d, are without any Reafon, that is kjiown 
 to us, I haye caufe to thinly, thofe, which I propofe, will appear to be found- 
 ed upon clear and eyident Reafons, fuch as the Eafmcfs of making and re- 
 membring the DiVfions : and that wbat I add new, is notfo much to cor- 
 rect the Antique as to cndeayour to re-cftablifi it in its prifline Perfe- 
 ction ; which 1 do not pretend to do by my own Authority , nor by any know- 
 ledge peculiar to my fclf, but always grounding my Sentiments on fome Ex- 
 amples taken from the Antique Worfs, or from approVd Writers 5 and 
 rarely making ufe of Reafons and Conjectures, which Priyilege, howeyer 
 1 thinly Jhould not be denied me, in regard I propofe them with an entire 
 Submiffion to the judicious, who will be at the Pains to examine them . 
 
 ; 
 
 For after all, my Opinion is, that if the Works we haye of the Antique, 
 are like the Books from whence we mufl learn the Proportions of Architecture 
 thefe Works are not the Originals made by the firfl and real Authors , but on- 
 ly Copies differing from one another, and of which fome are faithful and cor- 
 rect, in one thing, and fome in another : fo that, in Architecture, to re- 
 flore the true Sence of the Text, if I may fo Jpeaf, it’s neceffary to fearch 
 thefe . different Copies, which being approVd Works, mufl each contain fome- 
 thing correCl and faithful, the Choice of which ought manifejtly to be founded 
 upon the Regularity of Diyifions, not broken without Reafon, but eafte and 
 commodious, as they are in Vitruvius. 
 
 For as to any Doubt that may be made, whether the Works of the An- 
 tique are defeCliye Copies, and different from the firfl Originals, as to Pro- 
 portions, 1 bclieye that is fufficiently made out to be jujl and allowable, by 
 the Reafons and ConjeClures throughout this Preface, wherein I haye endea- 
 your’d to proye that the Beauty of the Antique Works, as admirable as it is, 
 is not fufficient to make us conclude, that the true Proportions were obfery’d 
 in them, haying fhewn that the Beauty of Structures docs not corfifl in the 
 ExaClnefs of thefe true Proportions, fence it ’s plain, fomething may be omit- 
 ted without impairing the Beauty of the Workj, and it ’s poffible, that were 
 
 thefe 
 
The PREFACE, 
 
 tbefe true Proportions obfervd, it might not Ic more agreeable if dejhtute 
 of other Parts , in which, the real Beauty confifts -, fuck as, amongfl other 
 things, are the Manner of defcribmg agreeably the Out-lmes and Profils, 
 and the At of deputing with Judgment, all the Parts that make the Cha- 
 mbers of the federal Orders : which is, as has been faid, the fecund Part, 
 which being join’d with Proportion, comprehends all that belongs to the 
 Beauty of Architebure. 
 
 After having explain’d in general, the peafons that may authorise the 
 Liberty 1 have taken to propofe Jome Change in the Proportions of the Orders, 
 and referving for the following Treatife, the Particulars of each Alteration $ 
 it remains, that 1 give the Peafons why I change fomething likewije in the 
 Chambers which difiinguifh the Orders ; which is /till a greater Licence 
 than that which touches Proportions, becaufe this Change is moft eafily dif- 
 coVer’d, the Eye alone, without pule or Compajfes, being capable of per- 
 ceiving it. 
 
 Thofe that arc of Opinion there is no Pea/on can juflifie any Change of 
 tbofe Pules, which they fuppofe were ejhiblijh’d by the Ancients, may alfo 
 take the Liberty to deride my Arguments, and cenfure the Pafhnefs of my 
 Defign: but 1 make no Appeal to fucb, there being no difputing with tbofe 
 that deny Principles-, and I hold it for one of the chief in Architebure, as 
 well as in all other Arts, that none of them being brought to the highejl 
 Perfebion, there is caufe to think, that, if that be unattainable, we may, 
 at leaft, approach nearer to it by diligent Search 5 and tbofe who believe it 
 not impojfible, ought rather to pretend to it than thofe that are perfuaded of 
 the contrary. 
 
 The Orders of Architebure are employed in two Sorts of Works, either in 
 Strubures built abually for Service, fucb as Churches, Palaces, and other pub- 
 Uck and private Buildings, which require Ornaments and Magnificence -, or 
 in hiftorical Beprefentations, where there U need of Architebure, fuch as 
 are made in Painting , Sculpture, or in the Machines of Theatres, Entries 
 of Princes, Balls and Carroufels. In performances of this latter Sort, ’tis 
 certain the Ancient Architebure ought punbudlly to be followed in all its par- 
 ticular Ciramfiances, and that for Infiance, in the Peprefentation of the Story 
 of Thefeus, or of Pericles, if the Doric Order be made ufe of, the Columns 
 
 fhould 
 
 XIX. 
 
XX 
 
 The PREFACE. 
 
 fliould have no Bafes 5 if the Ionic, the great Torus ought to be on the up- 
 permofl part of the Bafe , and if the Corinthian be employed , the Capital 
 ought to be fquat, the Abacus fbarp at the Horns, and the Cornice without 
 Modillions. But when we dejign an Order for a Building, now to be ereB- 
 ed, 1 do not thinffo fcrupulons an Imitation of the Antique to be neceffary, 
 dnd as we could not approve the Dejign of an Artijl, who, in writing the 
 Words of a Medal of the Kgng, or an Infcription dated in Jixteen hundred 
 eighty three, fiould ufe the fame CharaBers we fee on the Antique Roman 
 Medals, which are different, and have nothing of the Beauty of the Roman 
 CharaBers, now fo much improv’d and in ufe 5 fo I think we ought not to 
 blame an ArchiteB who curioufly obferVes and follows the Changes which the 
 moft skilful in his Art have introduc’d with B{eafon and Judgment , and even 
 with Approbation. 
 
 There are none of thofe who have wrote of the Orders of ArchiteBure, 
 that have not added and correBed fomething in what they pretend the An- 
 cients ejlablifli’d, as Guiles and Laws inviolable : and thefe Writers, who 
 except Vitruvius, are all Moderns, have followed the Examples of the 
 Ancients thevf elves , who, inflead of Books, have left us Works of Archi- 
 teBure, in which every one has put fomewhat of his own Invention : Now 
 thefe Novelties have been always confider’d as the EffeB of that Bains and 
 Study, which Berfons of an inventive Genius haVe taken for completing 
 thofe things which the Ancients left with fame ImperfeBion : for though 
 fame of thefe Innovations have not met with Approbation ; there are, never - 
 thelefs , fo great a number receiv’d and follow’d, even in things Very confide- 
 rable, as plainly f?ew, that Alterations of this kind, are, in themfelves, 
 not only no rafb Undertaking, but even, that a Change for the better, is jio 
 fuck difficult thing, as the paffimate Admirers of Antiquity would make us 
 believe. 
 
 The Bafes we call Ionic, which were the only ones in ufe, amongfl the 
 Ancients, for all the Orders that had Bafes, were fo generally daflilfd by 
 the ArchiteBs that came after Vitruvius, that they fcarcely ever made ufe 
 of them. The Ionic Capital has been found inconvenient and difagreeable 
 by a Change of Taft fo uniVerfal, that there is no <I(oom to doubt but the 
 Dijlike of it has fome Foundation in Bgafon. The Ionic Capital, which 
 Scamozzi has fubjlituted of his own Invention, inflead of the Antique, 
 
 has 
 
XXI 
 
 The PREFACE. 
 
 las not only been Jo well receiv’d, that , at prefent, fcarce any other is made 
 to this Order ; hut our Architects, fince Scamozzi, have introduc’d Alte- 
 rations in this Capital, which have brought it much nearer Perfection as 
 full he explain’d in its proper <Place. The fame may he f aid of the 
 Compofite Capital , which is no other than the Corinthian Capital cor- 
 rected and redrejs’d : for that too has lately receiv’d the Perfection it wan- 
 ted, not only in the Antique, hut alfo in all the Modern Authors who have 
 treated of the Orders. 
 
 1 may, then, have reafon to hope, that my T)efgn, in this Work, which , 
 to many , may feem fonmvhat too daring, will not appear altogether fo rafh 
 an Undertaking, to thofe who confider that 1 propofe nothing which has not 
 illuflrious Examples and Authors. If any one, for this Ppafon, pretend to 
 fay that my Bookcontains nothing new, fince the Changes , as well in the Pro- 
 portions, as in the Characters of the Orders, have been practis’d in all times ■, 
 
 , I readily grant it, and declare, that my Aim is only to extend this Change a 
 little further than has been hitherto done 5 to fee if, by attempting to per- 
 fwade thofe of more Ifyiowledge and a greater Genius, than I have, to endea- 
 vour the good Succcfs of a Defign fo ufeful and reafonahle, I might he the 
 Caufe of giving, the Pyles of Architecture, that Precifenefs, Perfection, and 
 Eafinefs to he rememhred, which they wanted. 
 
 This Work, is divided into two Parts : In the firfi, I lay down the gene- 
 ral Pules of the Proportions common to all the Orders, Jucb as are thofe of 
 the Entablatures, the Heights of Columns, Pedefials , See. fhewing that 
 thefe Meafures are either equal, as in the Height of all the Entablatures, 
 or that they go increafing by equal Proportions : In the fecond Part, I de- 
 termine the Si%e and particular Characters of the Members, of which the 
 Columns, in all the Orders, are compos’d ; which I do by the Examples I 
 produce, both of Antique Works, and Modern Writers. Now, though 
 the Truth of what I mention of the Antique, be a Thing more difficult to 
 be prov d, than what 1 have taken front the Moderns, the (Book which 
 Monf. Defgodcts has lately printed of the Ancient Buildings of Rome, 
 will be a great Affi fiance to fuch peaders as are curious to be infiruCled in 
 thefe things, as it was Very fcrviceable to me in finding precifely the diffe- 
 rent Proportions, which that Architect has taken with the greateft ExaCi* 
 nefs. 
 
 ( O A 
 
 t 
 
A TABLE of the CHAPTERS of 
 
 Part I. 
 
 II. Of the Meafure which regulates the Proportions of the Orders. 
 
 III. Of the general Proportion of the three principal Tarts of entire 
 
 Columns. 
 
 IV. Of the Height of Entablatures. 
 
 V. Of the Length of Columns. 
 
 VI. Of the Height of entire Pedejlals. 
 
 VII. Of the Proportion of the Parts of Pedejlals. 
 
 VIII. Of the Diminution and Swelling of Columns. 
 
 IX. Of the ProjeBure of the Pafe of Columns. 
 
 X. Of the ProjeBure of the Safe and Cornice of Pedejlals. 
 
 XI. Of the ProjeBure which the Cornices of Entablatures ought to 
 
 have. 
 
 XII. Of the Proportion of Capitals. 
 
 XIII. Of the Proportion which the Aflragal and CinBure of the 
 
 Shaft of Columns ought to have. 
 
 Part II. 
 
 III. Of the Ionic Order. 
 
 IV. Of the Corinthian Order. 
 
 V- Of the Compofite Order. 
 
 VI. Of Pilajlers. 
 
 VII. Of the Jhufcs of the Change of Proportions. 
 
 VIII. Of fame other Ahufes introduc’d into the Modern ArcbiteBur ? „ 
 
 4 the 
 
COLUMNS, 
 
 After the Method of the Ancients. 
 PART I. 
 
 Of 'Things common to all the 0 RT) 8 % S. 
 CHAP. I. 
 
 What Ordonance , and an Order of Architecture is. 
 
 RDONANCE, according to Vitru- 
 Vm , is thac which regulates the Size of 
 all the Parts of a Building, with refpedt 
 to their Ufe. Now, by the Parts of a 
 Building, arc underftood, not only the 
 Pieces, of which it is compos'd, fuch as 
 a Court, aVeftible, or a Hall ; but al- 
 fo thofe which go to the Conftrudlion 
 of each of them, fuch as intire Columns, 
 In which are comprehended the Pedeftal, the Column, and the En- 
 tablature, confiding of the Architrave, Freeze, and Cornice, which 
 are all I treat of here, and of which, Ordonance directs the Pro- 
 portions, giving each, Dimenfions proper to the Ufes for which 
 they are defignd , as thac of being more or lefs ftrong, and fit to 
 
 A fuftain 
 
2 The Ordonance of the Parti. 
 
 Chap. I. fuftain a great Weight, or more or lefs capable of receiving thofe 
 delicate Ornaments, either of Sculpture or Mouldings, wherewith 
 they may be enrich’d : for the Ornaments and Imbellifhments be- 
 long alfo to the Ordonance 5 and give even more vifible Chara- 
 cters, to defign and regulate the Orders, than the Proportions do 5 
 in which, however, according to Vitruvius, the moft eflential Dif- 
 ferences of the Orders confift. 
 
 An Order of Architecture, then, is that which is regulated by 
 the Ordonance, when it prefcribes the Proportions of intire Co- 
 lumns, and determines the Figure of certain Parts which are pro- 
 per to them, according to the different Proportions which they 
 have. The Proportions of Columns, take their Differences from 
 their Heights, greater or leffer, compar’d to their Thicknefs 5 and 
 the Form of the particular Members, proper to their Proportion, 
 takes its Differences from the Plainnefs, or Richnefs, of the Orna- 
 ments of their Capitals, of their Bafes, of their Flutings, and of 
 the Modillions, or Mutules, which are in their Cornices. 
 
 Thus, in the three Orders of the Ancients , which are the Doric, 
 Ionic, and Corinthian ; the Doric, which is the moft maffy, has, in 
 all its Parts, a Grofnefs and Plainnefs, that diftinguifhes it from 
 the others : for its Capital has neither Volutes, nor Leaves, nor 
 Stalks : the Bafe, when it has one, is compos’d of very thick Tores, 
 without Aftragals, and with only one Scotia ; its Flutings are 
 fiat, and fewer in number than in the other Orders, and its Mu- 
 tules are no more than a plain Block, without any Scroul or Fo- 
 liage. On the contrary, the Corinthian has, in its Capital, feveral 
 delicate Ornaments, which Sculpture bellows on it, cutting two Rows 
 of Leaves, from which, proceed Stems or Stalks cover’d by Volutes: 
 its Bafe is inrich’d with two Aftragals, and a double Scotia : its 
 Modillions are delicately carv’d in Scrouls, adorn’d with Leaves, 
 like thofe of the Capital. The Ornaments, of the Ionic Order, 
 hold a Mean between the Extremes of the two others ■, its Bafe ha- 
 ving no Torus next the Plinth, its Capital no Leaves, and its Cor- 
 nice only Dentels inftead of Modillions. 
 
 The Moderns have added to the three Orders of the Ancients, two 
 others, whole Ordonance they have regulated, in proportion to 
 that of the Ancient Orders, for they have made one which they call 
 the Tufcan , more grofs and plain even than the Doric, and one 
 call’d the Conipofite, which they have made more compounded than 
 the Corinthian, its Capital being made up of that of the Corinthian, 
 whence it has its Leaves, and of that of the Ionic, of which it has 
 borrow’d the Volutes, as we may fay, that the Corinthian is com- 
 pos’d of the Ionic, whence it has the two Scotias, and the Aftragals, 
 in its Bafe, and of the Dene, having, in its Capital, aNeckorVafe, 
 
 which 
 
Part I. five Kinds of Columns. 3 
 
 which is not in the Ionic. Thefe two Orders are taken from Vitruvius, 
 who has prefcrib’d the Proportions of the Tufcan, but has not put 
 it into the Number of the Orders j and who has given the Inven- 
 tion of the Compojite, when he fays that the Capital of the Corinthian 
 Column, may be chang’d into it, by making one, whofe Parts 
 fhould be taken from the Ionic and Corinthian Capitals : but he fays 
 further, that this Change of the Capital, ought not to cftablifh a 
 new Order, bccaufe the Proportion of the Column is not chang’d j 
 this Capital being of the fame Height with that of the Corinthian, 
 which makes an Order different from the Ionic, by reafon its Capi- 
 tal, lefs than the Corinthian, renders the whole Column fhorter. 
 
 By which, we may perceive, that, according to Vitruvius, the Pro- 
 portion is more effendal to determine the Orders, than are the 
 particular Chara&ers of the Figure of their Parts. 
 
4 
 
 The Ordonance of the Part 1. 
 
 CHAP. II. 
 
 Of the Meafure which is to regulate the Proportions of the 
 
 Orders. 
 
 OR determining the Meafures, which 
 make the Proportions of the Members, 
 whereof, Columns are compos’d, and 
 in which, confifts the principal Diffe- 
 rence of the Orders; Architects have 
 made ufe of two Ways. The firft is, 
 that they take a fix’d and certain Mea- 
 fure, which is either mean, or very fmall, 
 they ufe the Mean, which is the Diame- 
 ter of the lower Parc of the Column, call’d a Module, when they 
 they would regulate fuch Meafures, as much exceed that of the 
 Diameter or Module ; as for example, in taking eight or nine Dia- 
 meters for the Height of the Column, and two, chree or four, for 
 the Intercolumnation. The fmalleft Meafure, which is call’d a 
 Part or Minute, and which is ufually the fixtieth Part of the Mo- 
 dule, is made ufe of to determine thofe Meafures that are lefs 
 than the Module : as in giving ten Minutes to the Plinth of the 
 Atttc Bale, feven and a half, feven and a half to the greater Torus 
 five to the lelfer, isrc. 
 
 In the fecond Method, there is no ufe made of Minutes, nor of 
 other certain and Hated Portions of the Module, but the Module 
 or other Meafures, determin’d by the Module -or otherwife, is divi- 
 ded into as many equal Part§ as is necelfary : thus the Height of the 
 
 Attic 
 
5 
 
 Part I. five Kinds of Columns. 
 
 Attic Bafe, which is half the Module, is divided either into three 
 to have the Height of the Plinth, or into four, for that of the great- 
 er Torus, or into fix for that of the lelfer. 
 
 Both thefe Manners have been practis’d, as well by the Ancient 
 as Modern Archite&s : but the fecond, which the Ancients generally 
 ufed, is, in my Opinion, preferable to the other, not fo much 
 for that it always fuppofes the Relation, which the whole has to its 
 Parts ; for I do not think that any thing arifes from thence, that 
 can affeift the Eye with Delight, there being nothing properly, but 
 the Agreement of Order, or Equality, that can be pleafing to the 
 Sight, becaufe, other Proportions are not alike obvious to it. But 
 that which I think the Method of the Ancients the better for, is the 
 Help it affords the Memory to retain the Meafures, becaufe it is 
 founded upon a Reafon, capable of producing what we call Re- 
 membrance, whofe Effedt is much more certain than that of the bare 
 Apprehenfion of the Memory. For, when we once know that the 
 third Part of the Attic Bafe is the Height of its Plinth, the fourth 
 Part that of its under Torus, and the fixth Part that of the other 
 Torus, ’tis almoft impoffible to forget the Proportions of this Bafe- 
 But it is not fo of the ten, feven and a half, and five Minutes - 
 which are the Meafures of the Parts of this Bafe ; by reafon, the 
 Proportions, that thefe Numbers have one to the other, are no 
 otherwife known, and eafie to be retain'd in Memory, than be- 
 caufe ten is the third Part, feven and a half the fourth, and five 
 the fixth Parc of thirty Minutes, which is the Height of the whole 
 Bafe. 
 
 Wu a t has oblig’d the Moderns always to make ufe of the fame 
 Minutes, is the Neceffity, they often had, to denote AFeafures that 
 hold no Proportion, either with the Meafure of the entire Module, 
 or that of the other Parts ; as when the Plinth of the Attic Bafe, 
 inftead of ten Minutes, has but nine and a half, or when it has ten 
 and a half : and thus they were oblig’d to do, becaufe they only 
 propos’d to give the Meafures of the Works that remain of the An- 
 cients, which, probably, not being the true Originals, had not that 
 juft Precifenefs of Proportions, which the firft Inventers gave them: 
 there not being any Appearance of Reafon, why they fhould come 
 fo near a juft Divifion, without making it exadt. 
 
 As I intend not, in this Work, to lay down the Proportions, 
 otherwife than by Meafures, which have all relation each to other, 
 and to come, as near as poffible, to the true ones eftablifh’d by the 
 Ancients ; I {hall ufe no other than their Manner of Meafuring. 
 As VitruVuis, then in the Doric Order, has lefien’d the Module, 
 which, in the other Orders, is the Diameter of the lower Part of 
 the Column, and has reduc’d this great Module to a mean one, 
 
 B which 
 
6 The Ordonance of the Parti 
 
 Chap. II. which is the Half-Diameter ; I here reduce the Module to the 
 third Part for the fame Reafon Vitruvius had, namely, the Conve- 
 niency of determining thereby, feveral Meafures without a Fraction: 
 for in the Doric Order, befides that the Height of the Bafe, as in 
 the other Orders, is determin’d by one of thefe mean Modules ; 
 the fame Module gives likewife the Heights of the Capital, Archi- 
 trave, Triglyphs and Metops. But our little Module, taken from 
 the Third of the Diameter of the lower Part of the Column, has 
 Ufes much more extenfive ; for by this, the Heights of Pedeftals, 
 of Columns, and of Entablatures, in all the Orders, are deter- 
 min’d without a Fraction, 
 
 As then, the great Module, which is the Diameter of the Co- 
 lumn, has fixty Minutes, and the mean Module thirty, our little 
 Module has twenty 5 fo that the great Module contains three little 
 ones ; the mean Module one and a half, two great Modules make 
 fix little ones, two mean ones make three, (?c. as may be feen in 
 the following Table. 
 
 The Table of the Modules. 
 
 Great Module. 
 
 Min. 
 
 Mean Module. |Min. 
 
 Little Module. 
 
 |Min. 
 
 
 
 I. contains 
 
 3 ° 
 
 I. contains 
 
 I 10 
 
 | 20 
 
 I. contains 
 
 
 
 II. 
 
 I ,0 
 
 
 II. 
 
 60 
 
 1 40 
 
 
 
 III. 
 
 1 60 
 
 II. 
 
 
 III. 
 
 90 
 
 IV. 
 
 1 70 
 
 1 80 
 
 1 20 
 
 
 V. 
 
 I 90 i 
 
 IV. 
 
 
 1 100 
 
 
 
 1 20 
 
 VI. 
 
 | T IO 
 * 120 
 
 
 
 V. 
 
 150 
 
 VII. 
 
 |“ 7 ~ 
 
 III. 
 
 1 80 
 
 ■ 
 
 VIII. 
 
 1 ivo 
 
 VI. 
 
 1 80 
 
 I 160 
 
 
 
 IX. 
 
 I 170 
 ' 180 
 
 
 
 VII. 
 
 2 10 
 
 X. 
 
 I TOO 
 
 1 200 
 
 IV. 
 
 240 
 
 
 
 XI. 
 
 I 210 
 
 VIII. 
 
 
 ' 220 
 
 
 
 24O 
 
 XII. 
 
 U 220 
 
 i 24O 
 
 
 
 IX. 
 
 17 0 
 
 XIII. 
 
 1 2 VO 
 
 1 200 
 
 V. 
 
 500 
 
 
 XIV. 
 
 270 
 
 X. 
 
 
 | 280 
 
 
 
 O 
 
 O 
 
 CV'v 
 
 XV. 
 
 I 200 
 
 • 300 
 
 What 
 
Part L five Kinds of Columns. 
 
 What is ufualiy call’d a Pair,' which is the Thirtieth Part of the 
 Semi-diameter of the Column, fhall, in this Treatife, be always 
 call’d a Minute, to avoid any Doubt, which the Name of Parc 
 might occafion, becaufe it fignifies here, not a certain Part, fuch 
 as the Name of Minute implies 5 but a Quota, that is to fay 3 
 Third, a Fifth, &c. of another Part. 
 
!■ liij 
 
 1 ii 
 
 CHAP, III. 
 
 Of the general 'Proportion of the three principal Tarts of 
 entire Columns. 
 
 HE entire Columns, in every Order, are 
 compos’d of three principal Parts, which 
 are the Pedeftal, the Column, and the 
 Entablature. Each of thefe Parts is a- 
 gain compos’d of three others : The Pe- 
 deftal having its Bafe, its Die or Trunc, 
 and its Cornice. The Column has its 
 Bafe, its Shaft, and its Capital : And 
 the Entablature confifts of the Archi- 
 trave, Freeze, and Cornice. The Heights of thefe three principal 
 entire Parts, are determin’d by a certain Number of the little Mo- 
 dules ; for as the Entablatures, in all the Orders, are always equal, 
 according to my Suppolition, each has fix little Modules, which 
 make two Diameters, or great Modules. But the Height of the 
 Pedeftal, being different in each Order, as well as that of the Co- 
 lumn, thefe Parts always go increafing by equal Proportions, ac- 
 cording as the Orders are lighter, and lefs maffive. This Augmen- 
 tation is conftantly of one Module, in the Pedeftals 5 and\of two 
 in the Columns : So that the Tufcan Pedeftal, which is equal to its 
 Entablature, has fix Modules, the Doric feven, the Ionic eight, the 
 Corinthian nine, and the Composite ten. 
 
 S o likewife the Columns, with their Bafe and Capital, having 
 their Augmentation, as I faid before, of two Modules, it follows 
 that the Tufcan having twenty-two Modules, the Doric has twenty- 
 
 four 
 
 
 T 
 
9 
 
 Parti, five Kinds of Columns. 
 
 four, the Ionic twenty-fix, the Corinthian twenty-eight, and the Com- 
 pojite thirty. ' "*"* ’ 1 "* 
 
 Lastly, the Proportions of the three Parts, which compofe 
 the Pedeftals, are alfo equal in all the Orders, for the Bale is al- 
 ways the fourth Part of the Pedeftal, and the Cornice the eighth 
 Part 5 the Socle, or Plinth of the Bafe, has always two Thirds of 
 the Bafe itfelf, and thence it follows, that the Height of the Die, 
 is what remains of the whole Height of the Pedeftal, which is al- 
 ready determin’d. 
 
 The Column has likewife its Bafe of the fame Height, in all 
 the Orders : namely, of one Module and a half, which is half the 
 Diameter of the lower Part of the Column. The Capitals are alio 
 of the fame Height in the Tufcan, and in the Doric Order, being 
 equal to that of the Bale. In the Corinthian and Compejite , it is like- 
 wife equal, being three Modules and a half. The Ionic, only, has 
 a Proportion, which is particular to it felf. 
 
 The Heights of the Parts of the Entablatures, have their Pro- 
 portions lefs regular : what they have in common, is, that in all 
 the Orders, except the Doric, the Entablatures have the Architrave 
 and Freeze, both of the fame Height, thefe Parts being each of fix 
 T wentieths of the whole Entablature, and the Cornice of eight 
 Twentieths 5 but as for the Doric Order, that has necelfarily its Pro- 
 portions by it felf, which are regulated by the Trigliphs and Me- 
 tops. 
 
 As to the Breadths, or Projedtures, they are determin’d by Parts 
 of the little Module, divided into five ; fo„ that, for Example, the 
 Diminution of the Columns, is always one of thefe Fifths, the Pro- 
 jedture of the Cindture, at the Bottom of the Column, is alfo one 
 Fifth, taken from the Naked of the lower Part of the Column j 
 the Projcdture of the Bafe is three of thefe Fifths, and fo of the reft. 
 Now this fifth Part contains four Minutes. 
 
 The Explication, and Proof, of all thefe Proportions, will ap- 
 pear in the following Chapters. 
 
 G 
 
 CHAP. 
 
IO 
 
 The Ordonance of the Parti 
 
 CHAP. IV. 
 
 Of the Height of Entablatures. 
 
 HERE is nothing in which Architects 
 are lets agreed, than in the Proportion 
 of the Heights of Entablatures, with re- 
 fpeCt to the Thicknefs of the Columns : 
 for there is fcarce any Work, either of 
 the Ancients or Moderns, where this Pro- 
 portion is not different; there being fome 
 Entablements near twice as high as o- 
 rilrpnfv , r . r . thers > as 's manifeft by the Entabla- 
 tuie of Kens Frontifpiece, compard with that of the Temple of 
 Vejta near TtVoh. * 
 
 This Proportion, however, ought, of all others, to be beft re- 
 gulated, none being of greater Importance, nor more fliockina when 
 it is unreafonable ; becaufe its Defect is more eafie to be perceiv’d 
 than any other. -Tis certain, that among the Rules of Archite- 
 cture, the principal are thofe that appertain to Solidity or Strength- 
 and that there is nothing, which more deftroys the Beauty of l 
 Building, than, when, in the Parts which compofe it, we find Pro- 
 portions contrary to what ought to eftablifh this Solidity, as when 
 , .arts not capableto fuftain what they bear, nor to be born 
 
 by that which fuftains them. Now this is principally remarkable in 
 Entablatures and Columns, the Thicknefs of Columns, being than 
 which renders them capable of bearing, as the Height of Entabla- 
 tures, proportion d to this Thicknefs, is what renders, and makes 
 them appear capable of being fuftain’d. Whence it follows that 
 
 the' 
 
Part I. five Kinds of Columns. 
 
 Height of Entablatures ought to be govern’d by the Thicknefs of 
 the Columns 3 and that if it were neceffiiry, there fhould be fome 
 Diverfity in the Entab atures of the different Orders, where Co- 
 lumns of an equal Thicknefs, are fome longer than others, the 
 leaft Height ought to be given to thofe Entablatures where the 
 Columns are ongeft by reafon, the Length of a Column both 
 renders it weaker, and makes it appear fo. Neverthelefs, we find 
 the contrary praChc d by the Architects of Antique Structures, where 
 the Entablatures are much higher, in proportion to the Thicknefs 
 of the Column, in the Orders where the Columns are longeft as 
 in the Corinthian and Compojite, than in the Voric and Ionic, where 
 they are fhorter. 5 
 
 In the three Sorts of Architecture, which are the Ancient, tauoht 
 us by Vitruvius the Antique, which we ftudy in the Works of the 
 Romans, and the Modern, of which Books have been writ within 
 thefe lix-icore Years 5 we find that Vitruvius , and the erreatefl: Part 
 of the Moderns have, in regard to the Proportions of Entablatures 
 held an Excefs, quite oppoiite to the Architects of the Antique who’ 
 have made Entablatures of a Size that feems utterly infupportable 
 Inch as are thofe of the Frontifpiece of Nero, and the three Columns 
 of the Forum 'Roniamm, commonly Called CampoVaccino } the Moderns 
 again, having made them too mean and pitiful, fuch as Bullant and’ 
 Ve Lome have form’d from the Precepts of Vitruvius, which are not 
 half lo large as thofe of the Antique. So that it feems, that the 5?o- 
 mans, who were the Authors of the Antique, finding the Entabla- 
 tures of the Antient Architecture, propos’d by Vitruvius to be too 
 fmall intending to correct this Defect, fell into the contrary and 
 poffibly as bad an Extreme : and that fome of the Moderns per- 
 ceiving this Excefs, went back again to the Ancient Manner • where- 
 as they ought rather to have approv’d of the Defign the (Romans 
 had to redrefs the Fault of the Ancients, and have contented them- 
 le Ives with condemning only their Excefs. 
 
 Some inquiring into the Caufe of this great Diverfrty of the 
 Height o Entablatures, have told us that the different Size of Build- 
 ings, and the Nature of the Orders, which are fome more, fome 
 efs maffive, might occafion this Change of Proportion, efpecially 
 iince Vitruvius has given Rules, according to which, a Column of 
 twenty-five Feet, ought to have its Architrave a twelfth Part high- 
 er than a Column of fifteen. But ’tis evident, that Architects have 
 had no regard to this Reafon, fince they have made Entablatures 
 to little Columns, larger, in proportion, than to great ones ; as 
 may be feen in the Pantheon, where the Columns of the Altars are 
 but a fourth Part as big as thofe of the Portico, and yet have ’their 
 Entablatures much larger in proportion. Nor have they better 
 
 obferv’d 
 
12 The Ordonance of the Parti. 
 
 Chap.IV obferv’d the Proportion of the Orders, fince the more maffive, fuch 
 as the T ujcan and Doric, which on that account, ought to have their 
 Entablatures greater, have them lefs, in proportion, than the Co- 
 rinthian and Compofite. 
 
 I (hall not pretend to make my felf Judge of a Difference be- 
 tween fo great Perfons, and if I deliver my Opinion upon this 
 Head, and on the reft of the Proportions, which we find to have 
 been practis’d; I defire my Judgment may pafs for no other than 
 what the Lawyers call Judicium %ujlicmn, .'inch is given, where 
 the Caufe is fo perplex’d, that the mold Icerning Judges cannot 
 penetrate into the Merits of it, but decide the Bufinefs by dividing 
 the Thing contended for into Halves. For I think, fince there is 
 nothing that declares the Reafon of this great Diverfity, we can no 
 other way eftablifh a certain Rule with any Probability, than by 
 keeping a Medium, taking a Meafure that has fome Relation to 
 that of the Column, fuch as is the Double of its Diameter, which 
 is alfo equallv diftant from the Extremes we find in the Works of 
 the Antique. 
 
 For if any one fhould object to me, that there are Authors and 
 Works, where the Meafures are lefs than what I propofe, I would 
 oppofe other Authors and Works as Authentic, where they are 
 larger. Let it, therefore, be remembred for the future, that ’tis 
 for this Reafon, I always take for the Rule and Meafure of the 
 Parts, that which is the Mean, and as near as may be equally di- 
 ftant from the Extremes, which we find in the Authentic Examples 
 I produce ; not thinking my felf oblig’d to the Precifenefs of a few 
 Minutes, when I am endeavouring to reduce the Meafures to their 
 juft Proportions, and to whole and unbroken Numbers. 
 
 The following Table has five Columns, for the five Orders, in 
 each of which I fet down the Number of Minutes, that the Enta- 
 blatures, whofe Examples I bring, have more or lefs than the fix- 
 fcore Minutes, which contains the two Diameters, or fix little Mo- 
 dules, which I give to all the Entablatures. For this makes it evi- 
 dent that if there are fome Entablatures lefs than what I propofe, 
 as are that of the Temple of the Sybil, which is lefs by twenty-one 
 Minutes, that of Vignola, which is lefs by thirty, and that of ©«/- 
 hint, which is lefs by thirty-feven j there are, alfo, others larger, 
 as that of the three Columns of the Forum %omanum, which has 
 thirty-fix Minutes more, and that of the Cohjeum, which has twen- 
 fix. 
 
 Table 
 
13 
 
 Part I. five Kinds of Columns . 
 
 The TABLE 6f ENABLEMENT S. 
 
 Tufcan. 
 
 Doric. 
 
 Ionic. 
 
 Corinthian. 
 
 Compofite. I 
 
 Min. 
 
 Min. 
 
 Min. 
 
 Min. 
 
 Min. I 
 
 Vitruvius i ) 
 
 
 Colifeum 26 
 
 3 
 
 T. off. Ki8 
 
 1 
 
 T. of Peace £ 
 
 
 A. of Lions 34, J 3 
 
 Scamozzi 1 1 
 
 
 Scamozzi 27 
 
 
 Vignola 1 8 
 
 3 
 
 P. of Sept. 1 2 
 
 
 Serlio 50 
 
 
 Vignola i y 
 
 ~o" 
 
 Vitruvius 1 5- 
 
 
 Th. of M. 25- 
 
 
 De Lorme 1 9 
 
 3 
 
 0^ 
 
 § 
 
 .^0 
 
 
 Palladio 1 6 
 
 
 Bullant I f 
 
 
 Colifeum 2 6 
 
 
 M. of Ner. 24 
 
 n> 
 
 Sept. Arch 19 
 
 
 Serlio % 
 
 
 Serlio 1 5 
 
 
 Palladio 1 1 
 
 
 3 Columns; 6 
 
 
 Titus Arch 19 
 
 
 
 
 Palladio 1 2 
 
 <T 
 
 Serlio 1 5 
 
 
 Fr. of Nero 47 
 
 I T. of Bacc. 2 
 
 
 
 
 Vignola 1 0 
 
 
 Scamozzi 1 ) 
 
 cT 
 
 Scamozzi 0 
 
 
 Palladio 0 
 
 
 
 
 Barbaro 8 
 
 
 De Lerme 16 
 
 
 Palladio 6 
 
 
 Scamozzi 3 
 
 
 
 
 Th. of M. 7 
 
 
 Vitruvius 1 9 
 
 
 Vignola 1 2 
 
 J 
 
 
 
 
 
 De Lor me 5 
 " 
 
 
 Bullant 3 7 
 
 
 Serlio 14 
 
 £7 
 
 
 
 
 
 
 
 
 
 Vitruvius 1 9 
 
 
 
 
 
 
 
 
 
 
 T. of Sybil 2 1 
 
 
 
 
 It alfo appears, by this Table, that the Tufcan is the only Or- 
 der to which Authors have given lefs than the two Diameters I 
 allow it : and I believe no good Reafofl can be given why it fliould 
 be fo, fince the Doric has fometimes an Entablature greater than 
 the Ionic, Scatno^j having given that, even twenty-feven Minutes 
 more than the hundred and twenty ; and the greateft Entablement 
 we find in the Ionic, being that of the Theatre of Marcellus, exceeds 
 the hundred and twenty Minutes but by twenty-five. And it were 
 more reafonable to give a greater Entablature to the Tufcan, than 
 to the Doric Order, on account of the Thicknels and Strength of 
 the Tufcan Column, anfing from its Shortnefs, in proportion to its 
 Thicknels, as has been already faid. 
 
 D 
 
 CHAP. 
 
T is no lefs difficult to give a Reafon for 
 the Diverlity of the Lengths, which 
 Architects have given to Columns of 
 the fame Order, than for the Difference 
 of the Heights of their Entablatures in 
 the feveral Orders. VitruViws makes the 
 Boric Columns of Temples fhorter than 
 thofe of the Porches behind Theatres, 
 without giving any other Reafon than 
 that they ought to have more Majefty in Temples than any where 
 elfe. (Palladio , who feems to have pradic’d the fame thing, in gi- 
 ving a greater Height to Columns which ftand on Pedeftals, than 
 to thofe which have none, has done it ftill with lefs Reafon : for 
 it feems altogether needlefs to lengthen Columns, whofe Pedeftals 
 are already a fort of Lengthning. Serlio, who makes his Column 
 a Third fhorter when it ftands detach’d, than when it does not, 
 has taken a Liberty he has no Precedent for ; and the Reafons he 
 gives, why fuch a Column fhould be ftronger than another, are 
 good, but he mifapplies them : for fince we may remedy the Weak- 
 nefs of infulate or detach’d Columns, by placing them nearer to- 
 gether, I c^n’t fee why we fhould have Recourfe to the Change of 
 Proportions, without fome greater Neceffity. 
 
 Notwithstanding the great Diverlity of Length that Co- 
 lumns have in the fame Orders, according to different Authors, 
 they ftill have a like Proportion in the feveral Orders, compar’d 
 . f each 
 
 *W 
 
Parti jive Kinds of Columns. 
 
 each with other, by which they go increafing according as the Or- 
 ders are lefs maffive : But this Augmentation is greater in fome 
 Ordonanees than in others. For in the Antique , it is but of five 
 Modules; or Semi-Diameters, for the five Orders 5 the fiiortefl: 
 Column, which is the Tufcan, having fifteen Modules, and the 
 longed, which is the Compofitc, having twenty. In Vitruvius, this 
 Increafe is alfo of five Modules, but it rifes from fourteen Modules 
 to nineteen. The Moderns have made it greater, for in Scamoz^i, 
 it is five Modules and a half; Balladio and Serlio make it fix, as is 
 vifible by the following Table, where it fhould be obferved, that 
 the Particulars I give of the Meafures, which different Architects 
 have allow’d their Columns, is, from thence, to draw one that 
 fhall be a Mean between the Extremes of one and the other, as I 
 have already done in regard to the Heights of Entablatures. 
 
 Thus I fuppofe the Height of the Tufcan Column ought to be 
 about fifteen Modules, and I give it fourteen and two Thirds, 
 which is twenty-two of my little Modules, becaufe this Meafure is 
 a Mean between the fourteen of the Tufcan of VitniVtus, and the 
 fixteen of Trajan’s Column. I likewife fuppofe the Height of the 
 Doric Column ought to be fixreen Modules, which make twenty- 
 four of my little Modules; becaufe this Length is a Mean between 
 the- fourteen of Vitruvius, and the nineteen of the Colifeum. I give 
 alfo feventeen Modules and a Third to the Ionic Column, which 
 are Twenty-fix little Modules, this being a Mean between the 
 fixteen of Serlio, and the nineteen of the Colifeum. The Corinthian 
 Column has likewife eighteen Modules and two Thirds, which 
 make twenty-eight little Modules, this Length being a Mean be- 
 tween the fixteen Modules fixteen Minutes, of the Temple of the 
 Sibyl, and the twenty Modules fix Minutes, of the three Columns 
 of the Forum tfjomanwn. The Compojite Column, by the fame Rule, 
 has twenty common Modules, which amount to thirty little ones ; 
 this Height being a Mean between the twenty of the Arch of Titus , 
 and the nineteen and an half of the Temple of Bacchus . 
 
1(5 
 
 J he Ordonance of the Part I 
 
 The TABLE of Lengths of Columns. 
 
 | The mean Meafure. 
 
 
 Mean Modules. 
 
 Mean Modules | Little Modules. 
 
 
 Vitruvius 
 
 J 4 
 
 
 
 
 Trajan’s Column 
 
 1 6 
 
 
 
 Tu/can. 
 
 Palladio 
 
 14 
 
 *4 r 
 
 22 
 
 Scamtzzi 
 
 >5 
 
 
 Serlio 
 
 12 
 
 
 
 
 Vignola 
 
 *4 
 
 
 
 
 
 Vitruvius in Temples 
 
 14 
 
 
 
 
 V itruvius in Portic. of Temples 
 
 
 
 
 Dork. 
 
 The Coltfcum 
 
 '9 
 
 *(5 
 
 24 
 
 The Theatre of Marcellus 
 
 >5? 
 
 
 Scamozzi 
 
 17 
 
 
 
 
 Vignola 
 
 |6 
 
 
 
 
 The Cslifeum 
 
 — — 
 
 ■ 
 
 
 The Theatre of Marcellus 
 
 
 
 Ionic. 
 
 Palladio 
 
 »7 ? 
 
 2 6 
 
 
 Serlio 
 
 
 
 
 V itruvius 
 
 
 
 
 
 The Porch of the Pantheon 
 
 19 : 06 
 
 
 
 
 The Temple of Vefta 
 
 19 : 09 
 
 
 
 
 The Temple of the Sibyl 
 
 16 : 16 
 
 
 
 
 The Temple of Peace 
 
 19: 02 
 
 
 
 
 The three Columns in the C. V. 
 
 20 : 06 
 
 
 
 Corinthian. 
 
 The Temple of Fauftina 
 
 19 
 
 18 i 
 
 28 
 
 The Bafilic of Antoninus 
 
 20 
 
 
 The Porch of Septimius 
 
 19 : 08 
 
 
 
 
 The Arch of Conjt amine 
 
 l 7 : 07 
 
 
 
 
 The Colifeutn 
 
 17: 17 
 
 
 
 
 Vitruvius 
 
 19 
 
 
 
 _ 
 
 Serlio 
 
 18 
 
 
 
 
 The Arch of Titus 
 
 20 
 
 
 
 Compojite. 
 
 The Temple of Hacchus 
 
 >9 i 
 
 20 
 
 3° 
 
 Scamozzi 
 
 19 i 
 
 
 The Arch of Septimius 
 
 19 : 09 
 
 
 
Part 1 . five Kinds of Columns . 1 f 
 
 If it be objedled that in the Antique, and in Tome of the Modern 
 Architects, we do not find that this progreffive Augmentation of 
 the Heights of Columns, has been obferv'd in the Compofite Order, 
 as it has been in the others, and that the Compofite and Corinthian 
 Columns, are fometimes of the fame Height, as appears by the 
 Examples in the Table : I anfwer, that the Diftin&ion of the Or- 
 ders, principally depending on the Proportion which is between rh<f 
 Length and Thicknefs of the Column, ’tis of neceffity, if we would 
 have the Compofite make an Order different from the Corinthian, that 
 this Proportion alfo, fihould be different. And this is the Reafon 
 why Vitruvius fays, That the Columns, for which, in his time, 
 they made Capitals compos’d of Ornaments, taken from the other 
 Orders, did not make an Order different from the Corinthian, be- 
 caufe thefe Columns were not longer than the Corinthian. It may 
 alfo be objected, that this progreffional Increafe is contrary to the 
 Rules of Vitruvius, who makes the Shaft of the Ionic Column, and 
 that of the Corinthian, of the fame Height, whereas we make the 
 Corinthian Shaft the fhorter. But ’tis true, that the Proportions of 
 the Ancient Architedure have been chang’d in that, as in many 6- ■ 
 ther Things, by the Authors of the Antique Architedure, whom all 
 the Moderns follow except Scamozjf, who makes the Shaft of the 
 Corinthian Column very near equal to that of the Ionic. 
 
 Now becaufe ’tis reafonable, that the progreffional Advance of 
 each Column, in the different Orders, fhould be equal, after ha- 
 ving eftablifh’d the whole Sum of the four Progreffions, from the 
 Tufcan to the Compofite, which I make to be five mean Modules and 
 ten Minutes, that it might be a Mean between the five Modules of 
 the Antique, and the five and a half of the Moderns ; I divide this 
 Sum, which makes one hundred and fixty Minutes, into four equal 
 Parts, giving forty Minutes to the Progreffion of each Order. So 
 that making the Tufcan Column of fourteen mean Modules and 
 twenty Minutes ; I make the Doric of fixteen Modules ; the Ionic of 
 feventeen Modules ten Minutes ; the Corinthian of eighteen Modules 
 twenty Minutes ; and the Compofite of twenty Modules. But be- 
 caufe thefe broken Numbers of the mean Modules are difficult to 
 remember, I make ufe of my little Modules every one of which is 
 twenty Minutes, and give the Tufcan Column twenty-two, the 
 Doric twenty-four, the Ionic twenty-fix, the Corinthian twenty-eight, 
 and the Compofite thirty, the Progreffion being throughout of two 
 of my little Modules, which make forty Minutes, 
 
 E 
 
 CHAP. 
 
Parti. 
 
 The Ordonance of the 
 
 Of the Height of entire 'Tedejlals. 
 
 J,THOUGH Pedeftals, call’d, by the 
 Ancients , Stylobat<e, are not an effential 
 Part of the entire Column, as the Bale, 
 Capital, Architrave, Freeze and Cornice 
 are ; the Moderns, neverthelefs, have ad- 
 ded them to the other Members, which 
 compofe the entire Column, and have 
 aflign’d them their Proportions accor- 
 dingly. 
 
 We find nothing more in Vitruvius concerning thefe Stylobate, 
 than that they were of two Sorts, namely one Continued, and the 
 other Broken into as many Parts as there were Columns fet there- 
 on, which that Author calls a Stylobate made in the likenefs of 
 Stools ; each Part of the continued Stylobatce, which makes a Pro- 
 jedture or Break right under each Column, being as a Stool, upon 
 which the Column is fet : but he fays nothing of the Proportions 
 either of one fort or the other. 
 
 In the Antique, we find continued Pedeftals in the Temple of 
 fejla at Tivoli, in that of Fortum Virilis, and in the Goldfmiths Arch. 
 Broken Pedeftals are feen in the Theatre of Marcellus, in the Altars 
 of the Pantheon, in the Colifeum, in the Arches of Titus, Septimius, 
 and Conjlantine. The Proportions of thefe Pedeftals, which are on- 
 ly for the Ionic, the Corinthian and the Compo/ite, are commonly very 
 different in each Order, but they have neverthelefs fome Agreement, 
 in that thefe Pedeftals, as well as the Columns, have a progreffive 
 
 Augmentation 
 
Part I. five Kinds of Columns. 1 9 
 
 Augmentation neat alike, namely about one Module 5 the mean 
 Height, in the Ionic , being five Modules, in the Corinthian fix, and 
 in the Compofte feven and a half. 
 
 The Moderns have deliver’d Rules for the Heights of entire Pe- 
 deftals to the five Orders : and moll of them augment them from 
 Order to Order, with an equal Progreftion, as the Antique. Vig- 
 nola and Serlio have made their Pedeftals of the fame Height in dif- 
 ferent Orders. The Sum of the Augmentation from the Tufcan to 
 rhe Compofite , is different in thefe Authors, as it is in the Antique, 
 from the Ionic to the Compofite, and in all the Examples exhibited 
 in the following Table, it proceeds from two Modules to four. 
 
 T o reduce all thefe Diverfities to a mean Proportion between 
 the Extremes, I give, according to the Method I propos’d in the 
 third Chapter, four Semi-diameters, or Modules, to the whole 
 Tufcan Pedeftal, which are fix of my little Modules 5 and this 
 Height is a Mean between the extreme Heights, that is to fay, be- 
 tween the higheft and the lowed: Pedeftals, which Authors have 
 given to this Order : and I have alfo allow’d the Compofite Pedeftal 
 fix Semi-diameters and two Thirds, which make ten of my little 
 Modules ; which is alfo a Mean between the Extremes that have 
 been given it : whence it follows that the Sum of the Augmenta- 
 tion is of two Semi-diameters and two Thirds, which being divi- 
 ded into four Parts, gives two Thirds of a Module, or Semi-dia- 
 meter, to each Augmentation, which makes one of the little Mo- 
 dules. So that the Tufcan Pedeftal is of fix little Modules, the Do- 
 ric of feven, the Ionic of eight, the Corinthian of nine, and the Com- 
 pofite of ten 5 the Progreffion being of one Module, as may be feen 
 in the Tabled where the greaffft Height of the Tufcan, which is of 
 five Modules in Vignola, added to the leaft, which is three in (Palla- 
 dio, makes the Sum of eight Modules, the Half whereof is four, the 
 Mean which I take, and the fame with fix little Modules. In the Doric 
 Order, I take the four Modules twenty Minutes of Palladio, which 
 make feven little Modules. In the Ionic, the greateft Height, which 
 is feven Modules twelve Minutes, in the Temple of Manly Fortune, 
 added, to the leaft, which is three Modules eight Minutes, in the 
 Theatre of Marcellus, makes ten Modules twenty Minutes, whofe 
 Half is five Modules ten Minutes, which are equal to eight little 
 Modules. In the Corinthian, the greateft Height, which is feven 
 Modules twenty-eight Minutes in the Altars of the Pantheon, added 
 to the leaft, which is four Modules two Minutes, in the Colifeum, 
 makes twelve Modules, the Half of which is fix Modules, or nine 
 little Modules. In the Compofte, the greateft Height, which is fe- 
 ven Modules eight Minutes in rhe Goldfmith’s Arch, added to the 
 leaft, which is fix Modules two Minutes in Scamozgi, makes the 
 
 Sum 
 
20 
 Ch. VI. 
 
 The Ordonance of the Part I. 
 
 Sum of thirteen Modules ten Minutes, whofe Half is fix Modules 
 twenty Minutes, or ten little Modules. 
 
 The Table of the Height of Tedejlals. 
 
 ! | The mean Meafure. 
 
 1 
 
 Modules.] 
 
 Mean Modules | Little Modules. 
 
 j 
 
 Palladio 
 
 3 
 
 
 
 Tufcan. j 
 
 Scatnezzi 
 
 is 
 
 
 6 
 
 Vignola 
 
 S 
 
 4 
 
 
 
 Serlio 
 
 4 : M 
 
 I 
 
 
 
 
 Palladio Cf- 
 
 4 - 05 
 
 Min. 
 
 
 Doric. 
 
 Scamozzi 
 
 4 : 08 
 
 
 Vt^nola 
 
 5 : 04 
 
 4 ° 
 
 7 
 
 
 Serlto 
 
 6 : 
 
 
 
 
 
 The Temple of Fortuna Virilii 
 
 7 •• 12 
 
 
 
 
 The Theatre of Marcellas 
 
 3 : 08 
 
 
 
 
 The Colifeum 
 
 4 : 21 
 
 
 
 Ionic. 
 
 Palladio 
 
 J : 04 
 
 5 : JO 
 
 s 
 
 
 Scamozzi 
 
 S 
 
 
 
 
 Vignola 
 
 6 
 
 
 ! 
 
 
 Serlio 
 
 6 
 
 
 
 
 
 The Altars of the Pantheon 
 
 1 
 
 K> , 
 
 cc; 
 
 
 
 
 The CtliCeum 
 
 4 : 01 
 
 
 
 Corinthian. 
 
 Palladio 
 
 t : 01 
 
 ( ; 
 
 
 Scamozzi 
 
 6 - 11 
 
 
 9 
 
 
 Vignola 
 
 7 
 
 
 
 
 Serlio 
 
 6 : 15 
 
 
 
 
 
 TheGoldfmitb’s Arch 
 
 7 : 08 
 
 
 
 
 Palladio 
 
 6 : 0 •] 
 
 
 
 Compojite. 
 
 Scamozzi 
 
 6 : ot 
 
 6 : to 
 
 10 
 
 Vignola 
 
 7 
 
 
 
 
 Serlto 
 
 7: 04 
 
 
 
 CHAP. 
 
HE Pedeftal being compos’d of the Bafe 
 the Die or Trunk, and the Cornice ; 
 thefe Parts have very different Propor- 
 tions in the Works of the Ancients , as 
 well as in thofe of the Moderns. The 
 Proportion we find generally obferv’d in 
 the Antique, is, that the Bafe is greater 
 than the Cornice, and that of the two 
 Parts of which the Bafe is compos’d, 
 the Zocco is always greater than the Mouldings, which taken to- 
 gether, make the reft of the Bafe. Among the Moderns , Scrlio 
 and Vignola have not obferv’d thefe Proportions, for they make the 
 Plinth, or Zocco, lefs than the Mouldings : in which, it feems, 
 they defign’d to imitate the Bafes of Columns, where the Plinth, 
 which is as their Socle, makes but a Third or Fourth of the Height 
 of the Bafe. 
 
 Palladio and Scamo^i have followed the general Proportions 
 of the Antique ■, only they are more regular, in that they always 
 make the Bafe double to the Comice. Scamosgi in the Compofite, 
 Ionic and Doric, makes the Socle double to the Mouldings of the 
 afe. 
 
 There needs but little Alteration in the Proportions of thefe 
 three Parts, to bring them to a Regularity through the whole, 
 
 I have done, in all the Orders, making the Bafe the fourth Part of 
 the whole Pedeftal, the Cornice the eighth Part, and the Socle two 
 
 F 
 
22 The Ordinance of the Parti, 
 
 Ch. VII. Thirds of the Bafe. It may be feen, by the following Table, how 
 fmall a matter the Antique and Modern Works differ from the Pro- 
 portions I propofe : and it is to be obferv’d, that the Examples I 
 bring, do not at all relate to the Proportions of Pedeftals, with 
 refpedt to the Orders, but only to the Proportions of the Parts of 
 a Pedeftal, in refpect of the entire Pedeftal, whofe Height, in refe- 
 rence to the Orders, is eftablifh’d in the preceding Chapter. 
 
 I divide, then, the Pedeftal, of each Order, into one hundred 
 and twenty Parts, which I do not call Minutes ; becaufe, as I faid 
 before, by Minute I underftand the fixtieth Part of the Diameter 1 
 of the Column, which is a certain Meafure ; whereas the Part I 
 mean here, is the one hundred and twentieth Part of each Pedeftal, 
 of what Height foever it be. It being thus, I allow the entire Bafe 
 of the Pedeftal thirty of thefe Parts, which is the Fourth of the 
 whole Pedeftal, and twenty to the Socle, which is two Thirds of 
 the Bafe, leaving the remaining ten for the Mouldings of the Bafe. 
 
 I give fifteen of thefe Parts to the Cornice, and the reft, which are 
 leventy-five, to the Die or Trunk. This agrees with the mean 
 Proportions, taken from the Examples of the Antique, produc’d in 
 the following Table, which contains the Number of Particles that 
 each Part of the Pedeftal has in all the Orders. Thus for the 
 Height of the Socle, I add the greateft Height, which is thirty, 
 in the Temple ef Manly Fortune, to the leaft which is ten, in the 
 Arch of Conjlantine, which make forty, the half whereof is twenty, 
 which I allow it. By the fame Method, I find the ten Parts which 
 make the Height of the Mouldings of the Bafe, adding the greateft 
 Height given them, which is fourteen in the Arch of Conjlantine, to 
 the leaft, which is fix in Talladio, which make twenty, the half of 
 which is ten, the Height I aflign them. In like manner, I find the 
 feventy-five Parts, which make the Height of the Die, adding the 
 greateft Height, which is eighty-four in the Goldfmith’s Arch, to the 
 leaft, which is fixty-fix in the Temple of Manly Fortune, which, 
 together, make one hundred and fifty, whofe Half is feventy-five, 
 as I give it. Laftly, the Height of the Cornice is found by adding 
 the nineteen Parts of the Temple of Manly Fortune, to the eleven 
 of the Colijenm, which make thirty, the half of which is fifteen, as 
 I allow it. 
 
 Tire 
 
23 
 
 Part I. five Kinds of Columns . 
 
 The TABLE of the Height of the Parts of Pedcftals, 
 
 
 1 
 
 Soda' 
 
 Mouldings 
 of the Bale. 
 
 Square. 
 
 Cornice. 
 
 Doric. 
 
 Palladio 
 
 1 5 Panic. 1 6 Particul. 1 6fct'arcic.| iBPartic. 
 
 Scamozzi 
 
 17 
 
 '4 
 
 60 
 
 11 
 
 ' 
 
 
 The Temple of Manly Fortune 
 
 3° 
 
 12 
 
 66 
 
 '9 
 
 Ionic. 
 
 Colifeum 
 
 iB 
 
 8 
 
 7; 
 
 I I 
 
 Palladio 
 
 11 
 
 I I 
 
 70 
 
 ‘7 
 
 
 Scamozzi 
 
 
 [2 
 
 6 ? 
 
 18 
 
 
 
 Conftantim’s Arch 
 
 ,o 
 
 14 
 
 79 
 
 '7 
 
 _ r . ! The Colifeum 
 
 24 
 
 I I 
 
 73 
 
 12 
 
 
 Palladio 
 
 19 
 
 11 
 
 73 
 
 >S 
 
 | Scamozzi 
 
 18 
 
 II 
 
 77 
 
 >4 
 
 
 
 Titus's Arch 
 
 26 
 
 14 
 
 67 
 
 13 
 
 
 The Goldfmiths Arch 
 
 r 9 
 
 9 
 
 84 
 
 1 r 
 
 Compojitc. 
 
 Palladio 
 
 11 
 
 10 
 
 74 
 
 
 
 Scamozzi 
 
 21 
 
 10 
 
 74 
 
 
 
 Septimius's Arch 
 
 1 ? 
 
 ‘4 
 
 76 
 
 '4 
 
 
 | Mean Meafures 
 
 10 
 
 16 
 
 7S 
 
 >5 
 
 Pedestals have this, befides, common in all the Orders, that 
 the Breadth of their Die is always the fame, being equal to the 
 Projedture of the Bafes of the Columns, which is alike in all the 
 Orders, as it has been already eftablilh’d in the third Chapter, and 
 (hall be more fully explain’d hereafter. 
 
2-4 
 
 The Ordonance of the Parti 
 
 C HAP. VIII. 
 
 Of the diminution and Smiling of Columns. 
 
 O give Satisfaction in two Points that are 
 the mod important in Architecture j 
 namely, Solidity or Strength, and the 
 Appearance of Solidity, which, as has 
 been already faid, makes a very princi- 
 pal Part in the Beauty of Buildings ; all 
 Architects have made- their Columns 
 lelfer above than below, which is call’d 
 the Diminution : Some alfo have made 
 them a little thicker towards the middle than at the bottom, and 
 that is what they call the Swelling. 
 
 Vitruvius would have the Diminution of Columns differ accord- 
 ing to their Height, and not according to the Number of Modules : 
 fo^that a Column of fifteen Feet high, fhculd be diminifli’d the 
 fixth Part of its Diameter below, and one of fifty Feet high, fhould 
 be diminifh’d but the eighth Part, and fo in other Heights he gives 
 a proportional Diminution. But we don’t find thefe Rules obferv’d 
 in the Antique : For tMe great Columns of the Temple of Peace, of 
 the Portico of the Pantheon, thofe of the Forum Ppmanum, now call’d 
 Campo Vaccina, and of the Bafilic of Antonine, have no other Dimi- 
 nution than thofe of the Temple of Bacchus, which are but a fourth 
 Part of the Height of the others, and there are fome very large, as 
 thofe of the Temple of Faujlina, of the Porch of Septimius , of the 
 Temple of Concord, and of the Baths of 'Diocletian, that have more 
 Diminution than others which are lefs by half, as thofe of the Ar- 
 
Parti, five Kinds of Columns. 
 
 ches of Titus , Septimius , and Conftantine. Laftly, thofe Columns 
 that are lefs than fifteen Feet, have not fo great a Diminution as 
 the fixth Part which Vitruvius gives them, but about two Fifteenths 
 and great Columns, which even exceed the fifty Feet of Vitruvius , 
 have yet a greater Diminution than he prefcribes them, being alfo 
 two Fifteenths, inftead of an Eighth, which, according to the D Rule 
 of Vitruvius , they ought to have. 
 
 ■ The Difference of the Orders does not oblige one to make alfo 
 a different Diminution, there being fmall and great Diminutions in 
 different Works of all the Orders. We muff however except the 
 Tufcan Column, which Vitruvius diminifhes even to a fourth Part. 
 But as fome of the Moderns have not followed Vitruvius in that par- 
 ticular, Vignola making its Diminution but a Fifth, and the Co- 
 lumn of Trajan, which is the only Tufcan Work remaining of the 
 Ancients, having its Diminution flill much lefs, being but’ a ninth 
 Part ; to keep a Medium between thefe Extremes, I allow a fixth 
 Part for the Diminution of the Tufcan Column, inftead of the two 
 Fifteenths only, which the other four Orders have. For though 
 according to Reafon, were we to change the Diminution according 
 to the Orders, we ought to make it lefs rather than to augment it" 
 in thofe where the Columns are fhorter in proportion to their Thick- 
 nefs, becaufe ’tis in thefe the Diminution is mod apparent ; never- 
 thelefs this Diminution, which Vitruvius gives the Tufcan Column, 
 being followed by the generality of Architects, I think fome Regard 
 fhould be had to Cuftom, which is one of the principal Laws of 
 Architecture, and that we ought fomethmg to augment this Dimi- 
 nution of the Tufcan Order. 
 
 I have fet down in the following Table, the Differences of Size 
 in the feveral Orders with their Diminutions, to make it msnifeft 
 by thefe Examples, that the Ancients did not make their Diminu- 
 tions different according to the different Orders, nor according to 
 the different Sizes of Columns ; there being different Diminutions 
 in the fame Order, and in Columns of the fame Size; as there are 
 like Diminutions in the different Orders, and in Columns of a dif- 
 ferent Bignefs. For we fee, for Inftance, that the Doric Column of 
 the Theatre of Marcellus, and that of the Colifeum, which are near 
 of the fame Size, have very different Diminutions, as from twelve 
 to four, that the Ionic of the Temple of Manly Fortune, and that of 
 the Colifeum, which are alfo near the fame bignefs, have their Dimi- 
 nution different as from feven to ten, and that on the contrary, 
 there is the fame Diminution in the Column of the Temple of 
 Manly Fortune, and that of the Porch of Septimius, though one is of 
 the Ionic Order, and has only twenty-two Feet in Height, and the 
 other is of the Corinthian Order, and is thirty-feven Feet high. 
 
 G Now 
 
 ■■m 
 
 2 J 
 
2 6 
 
 H. VIII 
 
 The Ordonance of the PartL 
 
 Now from all the different Diminutions given to thofe Columns 
 whofe Examples are produc’d in this Table, I take a Medium, ad- 
 ding the Number of the leaft Diminution to that of the areateft, 
 and taking the Half of this Number, which is about eight Minutes. 
 For adding the leaft Diminution, being that of the Doric Column 
 of the Colifeum, which is but four Minutes and a half, to the Num- 
 ber of the greateft, which is that of the Doric of the Theatre of 
 Marcellas , and rifes even to twelve Minutes, the half of thefe two" 
 Numbers, which together make fixteen and a half, is eight and a 
 quarter : So likewife, if we add the Number of the leaft^Diminu- 
 tion of the Columns that remain, which is fix and an Eiohth in 
 the Column of the Bafilic of Antonine , to the greateft, which is' ten 
 and an half in the Column of the Temp /e of Concord, the half of 
 thefe two Numbers, which together make fixteen and five Eighths, 
 is eight and five Sixteenths. Now this Meafure of eight Minutes’ 
 which makes two Fifteenths of the Diameter of the Column, is the’ 
 fifth Part of my little Module, or four Minutes on each Side. I 
 have not here inferred the Diminutions of the Moderns, becaufe they, 
 like the Antique, differ in different Authors, and in different Or- 
 ders. 
 
Part I. five Kinds of Columns. 
 
 The TABLE of the Diminution of COLUMNS. 
 
 
 
 The Pleight 
 of the Shaft 
 
 Diameter 
 
 Dimin. 
 
 
 
 Feet Inches 
 
 F. 
 
 Inches 
 
 Min. 
 
 Doric. 
 
 The Theatre of Marcellus 
 
 21 
 
 O 
 
 0 
 
 5 
 
 0 
 
 0 
 
 12 
 
 O 
 
 The Colijeum j 
 
 22 
 
 IO 
 
 
 2 
 
 8 
 
 41 
 
 4 
 
 T 
 
 Ionic. 
 
 The Temple of Concord. 
 
 
 O 
 
 °l 
 
 4 
 
 2 
 
 j | 
 
 IO 
 
 j 
 
 The Temple of Manly Fortune 
 
 22 
 
 IO 
 
 °l 
 
 2 
 
 ll 
 
 °l 
 
 7 
 
 j 
 
 
 The Co life urn 
 
 2 5 
 
 0 
 
 ° 
 
 2 
 
 8 
 
 J I 
 4 1 
 
 IO 
 
 O 
 
 
 The Temple of Peace 1 49 
 
 5 
 
 
 8 
 
 °| 
 
 6 
 
 1 
 
 1 
 
 The Portico of the Pantheon 
 
 36 
 
 7 
 
 °l4 
 
 6 
 
 °| 
 
 6 
 
 ¥ 
 
 
 The Altars of the Pantheon 
 
 IO 
 
 IO 
 
 °l 
 
 I 
 
 4 
 
 •3 J 
 
 8 
 
 O 
 
 
 The Temple of Vefia j 
 
 *7 
 
 r 
 
 °l 
 
 2 
 
 II 
 
 o | 
 
 ~6~ 
 
 s 
 
 Corinthian. 
 
 The Temple of the Sibyl \ 
 
 19 
 
 O 
 
 °l 
 
 2 
 
 4 
 
 0 1 
 
 8 
 
 0 
 
 The Temple of Fauftina 
 
 V 
 
 O 
 
 °l4 
 
 6 
 
 0 1 
 
 8 
 
 0 
 
 
 The Columns of the Campo Vaccina \ 
 
 57 
 
 6 
 
 0 14 
 
 6 
 
 il 
 
 6 
 
 A 
 
 
 i he Balilick of Antoninus | 37 
 
 0 
 
 °l4 
 
 s 
 
 vl 
 
 6 
 
 7 
 
 
 Conftantine s Arch 
 
 21 
 
 8 
 
 °l 
 
 2 
 
 8 
 
 T 1 
 
 7 
 
 O 
 
 
 Infide of the Pantheon 
 
 28 
 
 6 
 
 °l 5 
 
 f 
 
 O j 
 
 7 
 
 O 
 
 
 The Portico of Septimius | 
 
 57 
 
 O 
 
 °l 
 
 5 
 
 4 
 
 °| 
 
 7 
 
 i. 
 
 . 
 
 
 The Baths of Diocletian 
 
 55 
 
 O 
 
 °l 
 
 4 
 
 4 
 
 °| 
 
 11 
 
 1 
 
 Compojite. 
 
 The Temple of Bacchus | 
 
 IO 
 
 8 
 
 °l 
 
 
 4 
 
 tI 
 
 6 
 
 l 
 
 7 
 
 Titus's Arch 
 
 16 
 
 O 
 
 °l 
 
 I 
 
 II 
 
 ?j 
 
 7 
 
 O 
 
 
 Septimius' s Arch 
 
 21 
 
 8 
 
 
 2 
 
 8 
 
 A | 
 
 7 
 
 O 
 
 The Diminution of Columns is made in three different Manners. 
 The firfl and moft general, is to begin the Diminution at the Bot- 
 tom of the Column, and to continue it to the Top. The fecond, 
 which is alfo pradtic d in the Antique, is not to begin the Diminu- 
 tion but from a third of the Heighc above the Bafe of the Column. 
 1 he third, of which we find no Example in the Antique, is to make 
 the Column thicker towards the Middle, and to diminifh it towards 
 both Ends 5 that is, towards the Bafe and Capital, which gives it, 
 as it were, a Belly, which they call the Swelling. 
 
 Some of the Moderns have given this Swelling to Columns, 
 founding their Praftice upon a Place in Vitruvius, where this Au- 
 thor promifes to give Rules for doing it 5 but has not perform’d 
 the lame. Vignola has invented a very ingenious Way to regulate 
 . t . 'J this 
 
The Ordonance oj the Parti. 
 
 Ch. VIII. this Swelling, and to trace the Line of its Profile, fo that the two 
 Lines which make the Profile of the Column, bend towards the 
 Extremities in the fame Proportion, bowing twice as much towards 
 the Top as towards the Bottom, by reafon the upper Part is twice 
 as long as the lower. Monf. Slwtdel, in his Tradt of the four prin- 
 cipal Problems of Architecture, has {hewn how this Line may be 
 defcrib’d at one fingle Stroke, with the Inftrument Nicomedes inven- 
 ted to draw the Line call'd the firft Conchoid of the Ancients. This 
 Method can ferve only for the Line of Diminution, which goes 
 from the Bottom of the Column to the Top, fo that it does not 
 bend inwards towards the Bottom, but falls perpendicularly : un- 
 lefs one would have this Bending begin above the Third from the 
 Bottom, which ought to be ftrait, making two parallel Lines : For 
 in my Opinion, the Column ought not to be diminifh d below, 
 lince neither the Architects of the Antique, nor even the greateft 
 part of the Moderns have done it. 
 
 
 
Part I. 
 
 five Kinds of Columns. 
 
 CHAP. IX. 
 
 Of the TrojeUure of the Bafe of Cold mns. 
 
 HE Project ure of the Bafes of Columns, 
 is another of thofe Things which I be- 
 lieve were originally alike in all the Orders 
 of the Ancients: for we find in the Antique , 
 as well as in the Modern Authors, they are 
 either ecjual or indifferently fometimes 
 greater, fometimes lefs in the fame Orders. 
 Forlnftance in the Colifeum, the Doric has 
 , . the fame Projedture of Bafe, as in the 
 
 Temple of Concord, which is Ionic , and as the Corinthian in the fame 
 Cohfeum , and the Tufcan of Serlio ha's a greater Projedture of Bafe 
 than his Compose 5 when on the contrary, the Compose of Scamo^ri 
 has a Projedture larger than his Tufcan. 
 
 The Rules Vitruvius lays down in this Cafe, are very obfcure. 
 When he fpeaks in general of the Projedfrire of Bafes, he allows 
 them even a fourth of the Diameter on each fide, which much ex- 
 ceeds the greateft Projedture found in the Antique ■ and when he 
 treats of the Ionic Bafe, which he makes nothing different from the 
 Corinthian , he fcarce makes it larger than the lead of the Antique. 
 
 Now the Breadth which I give the Bafes of all the Orders, is 
 eighty-four Minutes, which are forty-two on each Side, by reafon 
 of the twelve which I add to the thirty of the Semi-Diameter. For 
 twelve Minutes, as was faid in the third Chapter, anfwer to 
 three Parts of the five, of which my little Module confifts, which 
 being twenty Minutes, each of thefe Fifths Contains four Minutes : 
 
 - . • ■ il f And- 
 
:1 
 
 M 
 
 The Ordonance of the 
 
 Ch. IX. And thefe twelve Minutes differ very little from a Mean of thofe 
 Proportions' found-in the- - An t iqtt en-rd in the Moderns j as may -be 
 prov d by the following Table, from which this mean Proportion 
 may be taken, as was done in the preceding Chapter, for the Di- 
 minution of Columns. For adding the fum of the lead Proje&ure, 
 which is forty, in the Corinthian of the Colifeum, to the greateft, 
 which is forty-four, in the Arch of Titus, we fhall find eighty-four, 
 whofe Half is the forty-two requir’d : And again, if we add the leaft 
 Projedture we find in the remaining Examples of the Table, which 
 is forty-one, in the Portico of the Pantheon, to the greateft, which 
 is forty-three in the Temple of Manly Fortune, we likewife find the 
 fame Number of eighty-four Minutes. 
 
 The Table of the Projeclure of the Safes of Columns. 
 
 1 
 
 Tufcan j 
 
 Doric 
 
 Ionic 
 
 Corinth. 
 
 Compof. 
 
 The Portico of the Pantheon 
 
 
 
 
 4 1 
 
 
 The 7, Columns of CampoVa cci no 
 
 
 
 
 4 * 
 
 
 Pilafters of the Portico of the Pan. 
 
 
 
 
 43 
 
 
 The Baths of Diocletian 
 
 
 
 
 4 * 
 
 43 
 
 Trajan's Column 
 
 40 
 
 
 
 
 
 Palladio 
 
 40 
 
 40 
 
 41 
 
 4 2 
 
 4 2 
 
 Scamozzi 
 
 40 
 
 4* 
 
 41 
 
 40 
 
 41 
 
 Vignola 
 
 41 
 
 41 
 
 4* 
 
 4 * 
 
 42 
 
 Serlio 
 
 4 * 
 
 44 
 
 41 
 
 40 
 
 4 1 
 
 The Temple of Manly Fortune 
 
 
 
 43 
 
 
 
 The Colifeum 
 
 
 40 
 
 40 
 
 40 
 
 
 The Temple of Bacchus 
 
 
 
 
 
 4 i 
 
 Titus’s Arch 
 
 
 
 
 
 44 
 
 Scptimius s Arch 
 
 
 
 1 
 
 4 r 
 
 CHAP, 
 
Parti, five Kinds of Columns, 
 
 3i 
 
 - 
 
 CHAP. X. 
 
 Of the Trojetfure of the Safe, and of the Cornice of 
 
 Tedefials. 
 
 S Pedeftals were not fo much in ufe 
 among the /Indents, as they have been 
 fince, the Moderns have not tied them- 
 felves up to follow the Proportions of 
 thofe which remain of the Antique : but 
 above all, they have thrown afide the 
 great Proje&ures the Antique gave their 
 Bafes, which are commonly larger by a 
 Third or more, than they are in the Mo- 
 dern Authors. What can be gather’d from the general Rules, practic'd 
 by the Ancients, is, that they proportion’d this Projecture to the 
 Height of the Pedeftals, which the Moderns have not obferv’d, 
 making it always near the fame in all the Orders, where the 
 Heigh? of the Pedeftals is very different : and I can’t think they 
 afted reafonably herein ; for if in Columns, the Projecfture of the 
 Bafes be equal in all the Orders, though the Heights of the Co- 
 lumns are different, ’tis becaufe the Bafes themfelves have always an 
 equal Height in all the Orders, except only the Tufcan, where it is 
 fomewhat lower than in the others, by reafon it comprehends the 
 Ciniture at the Bottom of the Column : Now, by the fame Rule 
 the Projedturcs of the Bafes of Pedeftals ought to be different, being 
 proportion’d to the Height of the whole Pedeftal, which is different 
 in the different Orders. 
 
 That 
 
3 2 The Ordonance of the Parti. 
 
 Chap. X. Thai we deviate as little as podible from the Rules of our Ma- 
 ilers/ take a TTiidtHr Way, -Tmitating^e v^mTO7itr-in the-Pte® or- 
 tion which the Projedture of the Bafe has with the Height in qieir 
 Pedeftals, and following the Moderns in retrenching fomethinfc of 
 the too gteat Projedture which the Ancients generally gave tnefe 
 Bafes. The Reafons the Moderns had to lclfen this great Projedture, 
 is probably founded upon the Rule of the Appearance of Solidity, 
 of which I have already fpoken : For juft as thofe Foundations, 
 which fet out too far at once, are not the ftrongeft, by reafon be- 
 ing compos’d of divers Stones laid one upon another, thofe below, 
 which make the Extremity of the Foundation, do not fupport the 
 Wall for which the Foundation was made, being without the Per- 
 pendicular of it, but fuftain only the upper Parts of the Foundation ; 
 lo that the Settings-off, or Receffes, which are made from courfe 
 to courfe, fhould be very fmall, if we would have the Foundation 
 folid ; So likewife Bafes cannot appear folid and capable of bearing 
 the Trunk of the Pedeftal, if their Projedture is too large. 
 
 I make, therefore, in all the Orders, the Bafes of the Pedeftals, 
 without including their Zocolo or Plinth, with a Projedture equal 
 to their Height; and thus as the Height of the Bafes is differefit in 
 the Pedeftal of each Order, the Projedture of the Bafe is alfo diffe- 
 rent in all the Orders. 
 
 As for the Projedture of Cornices of Pedeftals, the Ancients, and 
 mod of the Moderns agree, in that they ufually make it either equal 
 or a fmall matter larger than that of the Bafe ; and it is but confo- 
 nant to Reafon, that a Cornice, which is made to cover, fhould 
 advance beyond what is cover’d by it. De Lome, neverthelefs, 
 fays, that the Bafe ought always to have a greater Projedture than 
 the Cornice, although the contrary appears in his Figures. 
 
 The following Table fhews the Proportions of thefe Projedtures, 
 in the Works of the Ancients and Moderns, which I compare with 
 thofe I give them. The Number of Minutes is the Projedture of 
 the Bafe and Cornice, taken from the Naked of the Die of the Pe- 
 dcftal outwards. The Heights of the whole Pedeftal are meafur’d 
 by the mean Module. 
 
 The mean Proportions, in thefe Projedtures of the Bafes and 
 Cornices of Pedeftals, are not precifely the Medium of the Extre- 
 mities, found in the Examples produc’d in the Table : It is futficient 
 that they are between both, and that as there are Inftances of great- 
 er, fo there are alfo of lefs. For Example, the mean Projedture I 
 give the Bafe of the Pedeftal in the Doric Order, which is twelve 
 Minutes, is greater than what Vignola gives it, which is but eleven, 
 and lefs than that of Dalladio, which is fixteen, and fo of the reft. 
 
 The 
 
Part i, five Kinds of Columns. 
 
 The TABLE of the Projedture of the Bafes and Cornice 1 ; of 
 PEDESTALS. 
 
 
 
 The Pro- 
 jefture oi 
 the Bafe. 
 
 Projeflure [Height of 
 of the Cor- j the entire 
 nice (Pedeftal. 
 
 
 1 
 
 Minutes. 
 
 1 Minute?. 
 
 1 m. Mod. Min. 
 
 Dork. 
 
 Palladio 
 
 1 6 
 
 1 1( * 
 
 I 4 
 
 20 
 
 Vignola 
 
 11 
 
 11 
 
 r 
 
 ro 
 
 
 Our Meafure 
 
 
 H 4 
 
 4 
 
 20 
 
 
 The Temple of Manly Fortune 
 
 26 ii 
 
 I? 
 
 7 
 
 4 
 
 Ionic. 
 
 Palladio 
 
 r 4 
 
 H 
 
 f 
 
 f 
 
 
 Vignola 
 
 H 
 
 16 
 
 6 
 
 
 Our Meafure 
 
 H 
 
 *7 
 
 r~ 
 
 2 . 
 
 
 The Temple of Vefla at Tivoli 
 
 *4 i 
 
 2 4 
 
 6 
 
 7 
 
 Corinthian. 
 
 Palladio 
 
 1 6 
 
 1 6 
 
 r 
 
 Vignola 
 
 I? 
 
 
 6 
 
 6 
 
 
 Our Meafure 
 
 ‘f 
 
 19 
 
 6 
 
 
 Titus’s Arch 
 
 28 
 
 27 
 
 8 
 
 If 
 
 Compojite. 
 
 Scptimius’s Arch 
 
 2 4 f 
 
 2 f T 
 
 6 
 
 Palladio 
 
 14 
 
 I i 
 
 6 
 
 
 
 Vignola 
 
 I? 
 
 
 7 
 
 
 Our Meafure 
 
 1 6 
 
 22 
 
 6 
 
 i 
 
 i ; 
 
 I 
 
 CHAP. 
 
14 
 
 The Ordoncmce of the Parti. 
 
 CHAP. XI. 
 
 Of the Trojetfttre which the Cornices of Entablatures ought 
 
 to have. 
 
 1TQHUV1US gives one general Rule for 
 all the ProjeCtures of the Members of 
 Architecture : namely, that their Proje- 
 Cture (hould be always equal to their 
 Height 5 but ’tis certain, this ought to be 
 underftood only of the ProjeCture of the 
 entire Cornices of Entablatures, with 
 refpeCt to their Height : becaufe there are 
 particular Members in Cornices, as the 
 Dentel, whofe ProjeCture is much lefs than its Height ; and others, 
 as the Corona, where it is always much greater : And this Rule, 
 even for entire Cornices, we do not find exactly obferv’d, neither 
 in the Antique, nor among the Moderns : For molt commonly, in 
 the Antique, the ProjeCture of Cornices, is fomewhat lefs than their 
 Height, contrary to what we fee in the Books of the Moderns, 
 where the greateft part of Cornices have more ProjeCture than 
 
 Height. . 
 
 Most Architects are of Opinion, that the main Point of Archi- 
 tecture confifts in knowing how to change the Proportions with 
 Difcretion, thus, with regard to the different Circumftances of the 
 Diverfity of Afpefts, and the Size of Buildings ; for they pretend, 
 that fome require greater ProjeCtures in their Cornices than others, 
 on account of the Nearnefs or Remotenefs which makes a Diffe- 
 rence of View, as well as of the Height or-Lownefs, making the 
 
 ProjeCtures 
 
Part L five Kinds ofi Columns. 3 5 
 
 Projedures to appear Lefler or greater than they are, they fay tis 
 necefTary to remedy this Inconveniency, by augmenting, or dirni- 
 nifhing the Projedures : and they would perfuade us, that the Di- 
 verfity of thefe, which is found in the Works of the Antique, is to 
 be attributed to this Reafon. But ’tis evident, the Ancients had no 
 fuch Intention, fince in Strudures, where the Projedures ought to 
 have been greater, on account of the Afped, whofe Diftance, ac- 
 cording to the reafoning of the Moderns, fhould demand a large Pro- 
 jedurej we find that on the contrary, the Ancients have made it very 
 fmall, as appears by the Pantheon, where the Projedure is left in the 
 Cornice of the Portico, than in that of the Infide of the Temple, 
 where the View is, without comparifon, much left. It is alfo ma- 
 nifeft, that the Projedures have not been chang’d, on account of 
 the Size of the Module, that regulates the Dimenfioris of the Build- 
 ing, becaufe we find the Projedure is equal to the Height, or even 
 that it is left in the greateft Strudures, as is evident in the Temple 
 of Peace, the Columns of Canipo Vaccino , and thofe of the Baths of 
 'Diocletian, which are Antique Buildings, that have the greateft Mo- 
 dule : for in thefe great Orders, the Projedure of the Cornices is 
 left than in the little ones ; fuch as the Temple of Vefta, at Tamil. 
 
 And what makes it plain, that all this Diverfity has no other Found- 
 ation than Accident, is, that there are alfo fmall Buildings where 
 the Projedure is left than in the great ones, as appears in the Altars 
 of the Pantheon, where the Projedure is left than in the Portico, 
 whofe Order is near four times as big. I fhall treat hereafter of the 
 Change of Proportions more fully, in a Chapter by it felf. 
 
 The following Table is to prove the Truth of the Examples 
 before cited. 
 
 The 
 
3 $ 
 
 Ch. XI. 
 
 The Ordonance of the Parti. 
 
 The TABLE of the different Projedures of Entablatures. 
 
 There is more Proje&ure than 
 Height in the Cornices 
 
 Size of 
 'Order. 
 
 There is more Height than 
 Proje&ure in the Cornices 
 
 Size of 
 J'Order. 
 
 
 Min. 
 
 F. • In. 
 
 
 Min. 
 
 F. In. 
 
 Tern, of Vefta at Tiv. by 
 
 4 ° 
 
 *7 4 
 
 GoldfiHiths Arch by 
 
 6 0 
 
 17 0 
 
 Ionic of the Colifeum 
 
 I o 
 
 2 ,- O 
 
 Altars of the PauCheort 
 
 7 0 
 
 16 0 
 
 Doric of the Colifeum 
 
 ° i 
 
 3 1 7 
 
 Arch of Titus 
 
 0 6 
 
 ... 0 
 
 28 6 
 
 Arch of Conflantine 
 
 O 0 
 
 4°' " 
 
 Ionic of the Th. of Mar. 
 
 9 ° 
 
 Porch of Septimius 
 
 2 O 
 
 40 O 
 
 Temple of Bacchui 
 
 7 ° 
 
 28 7 
 
 <u In fide of the Pantheon 
 
 O \ 
 
 47 0 
 
 0 Corinthian of the Colifeum 
 
 3 0 
 
 3° j 
 
 ** Temple of Concord 
 
 1 6 o 
 
 73 7 
 
 £ Temple of Manly Fort. 
 
 12 0 
 
 32 O 
 
 ® Temple of Faufiina 
 
 o ~ 
 
 
 ^ Arch of Septimius 
 
 13.4 
 
 33 0 
 
 Ionic of Scamozzi 
 
 3 ° 
 
 
 Portico of the Tamheon 
 
 2 0 
 
 74 0 
 
 Corinthian of Palladio 
 
 o i. 
 
 
 } Columns of Cam. Vac. 
 
 1 ~ 
 
 f 8 0 
 
 Corinthian of Vignola 
 
 4 o 
 
 
 Temple of Peace 
 
 7 0 
 
 f 8 0 
 
 Compofte of Palladio 
 
 I o 
 
 
 Ionic of Palladio 
 
 7 0 
 
 
 Compojite of Scamozzi 
 
 ■ i 
 
 
 Ionic of Vignola 
 
 1 v 
 
 
 The Diverfity of Proportion, in all thefe Cornices, has made 
 way for reducing it to a Mfean, which is to make the Projedure 
 equal to the Height, in all the Orders except the Doric, when in 
 has Mutules ; becaufe their Length obliges tis to give the entire 
 Cornice more Projedure than Height : but if this Cornice be made 
 without Mutules, as it is in the Colifeum, the Projedure then may 
 be equal to the Height, as it is in that famous Strudure, 
 
 
CHAP. XII. 
 
 Of the Troportion of Capitals l 
 
 LT H O U G H the Bafes of different Or^ 
 ders are very different, fome being more 
 plain, and others having a greater num- 
 ber of Mouldings, yet they are Hill of 
 the fame Height, each having the Semi- 
 diameter of the lower Part of the Co- 
 lumn, the Tufcan only excepted, where 
 the Cindture, at the bottom of the Co-> 
 lumn, is comprehended in this Semi- 
 diameter. But it is not fo with the Capitals, of which there are 
 three feveral Heights in the five Orders, the Tufcan and Doric Capi- 
 tals having the lame Height as their Bafe, and the Corinthian and 
 Compofite having an entire Diameter and a Sixth, which is three lit- 
 tle Modules and a half ; and laftly, the Ionic, which has a particu- 
 lar Proportion, from the Top of the Abacus to the Bottom of the 
 Volutes, being the Semi-diameter of the Bottom of the Column, 
 and an eighteenth Part of this Semi-diameter; and from the Top 
 of the Abacus to the upper Part of the Aftragal at the Head of the 
 Column, eleven of thefe Eighteenths, which indeed are Proportions 
 fomewhat confus’d. 
 
 But the ready Proportions of the other Capitals, are not howe- 
 ver found in all the Antique Works, nor in all the Modern Authors. 
 The Tufcan Capital of Trajan’s Column, is lefs than the Semi-dia- 
 meter at the Bottom of the Column, by an entire Third ; the 
 Doric of the Theatre of Marcellas, is near three Minuces more than a 
 
 K, Semi- 
 
 I 
 
The Or donative of the Part I. 
 
 Ch.XLII. ScmUdiameter, and that of the Colifeum neat eight. The Corinthian 
 Capital of VitniVm is lower than the Diameter of the Column and 
 a Sixth 5 in the Temple of the Sibyl at Tivoli it is lower by thirteen 
 Minutes. It is higher in the Frontifpiece of Nero, by fix Minutes, 
 in the Temple of Vefla at %ome, by more than feven: The Compo- 
 fitc of the Temple of Bacchus is higher by fix Minutes ; that of the 
 Arches of Septimius , and the GoUfmiths, are lower by a Minute and 
 an half. 
 
 S o that thefe oppofite Diverfities may eftablifh the Probability 
 of a mean Proportion, which reduces the Height of the Capitals of 
 the Tufcati and Doric Order to the Semi-diameter of the Bottom of 
 the Column, and that of the Capitals of the Corinthian and Compo- 
 fite, to an entire Diameter and one Sixth, which makes feventy 
 Minutes, or three little Modules and an half. 
 
CHAP. XIII. 
 
 Of the 'Proportion which the Aftragal and Qndure of the 
 Shaft of Qplumns ought to horse. 
 
 N all the Orders, the Columns have cer- 
 tain Members that terminate their Body 
 or Shaft, which commonly are the fame : 
 namely, at the Top, an Aftragal with 
 its Fillet, and a pretty large Lift or 
 Cindture at the Bottom. Thefe Parts 
 have no certain determin’d Proportion 
 in the Antique, where we find they are 
 ; fometimes greater, fometimes lefs, with- 
 out any vifible Reafon for this Diverfity. The Moderns have done 
 the fame Thing : but my Opinion is, we may give thefe Members 
 the fame Proportions in all the Orders, on the lame account that 
 the Height of Entablatures was made alike in the different Orders, 
 becaufe, as the Column lengthens in the more delicate Ordets, thefe 
 Parts though the fame in Size, become, or at leaft appear, more 
 delicate in proportion to the Height of the Column. 
 
 As to the Cindhire, at the Foot of the Column, I allow its Height 
 the twentieth Part of the Diameter there. In the Tantheon, it comes 
 very near this Bignefs, which Vignola, Serllo and Alberti have fol- 
 low d ; and in other Antique Buildings, this Member is fometimes 
 higher, as in the Temple of Antoninus and Faujlina , in that of ' Bac- 
 chus , in the Arch of Septimius, and in the Baths of Vtocletian 5 fome- 
 times it is lower, as in the Temple of Vefla at <Rome, in that of 
 Manly Fortune , and in the Arch of Titus. But in my Judgment, 
 
 we 
 
4o The Ordonance of the Parti. 
 
 Ch. XII. we ought rather to make choice of thofe that are higher than thofe 
 that are lower, fuch as that of the Temple of Vcfia, at fome, which 
 has but the fixtieth Part of the Diameter of the Column : becaufe 
 this Member, which makes the Foot of the Column, and fixes in 
 on its Bafe, naturally requires Strength. Now if there were any 
 Reafon to give a different Height to this Cindlure, it fhould be, 
 methinks, the difference of the Tores upon which it is plac’d ; there 
 bcino fome Pretence to make it larger, where the Tores are great- 
 er, as they are in the Attic and Ionic Bafes. But we find no Inftance 
 of this, in the Works of the Ancients, where this Cindture is indiffe- 
 rently, fometimes large, fometimes fmall, upon the Attic and Co- 
 rinthian Bafes, where the upper Tores, upon which this Member 
 is plac’d, are of a different Thicknefs. 
 
 We fometimes find, that inftead of this Cincture, there is an 
 Aftragai with a Fillet, as in the Temple of fence, in the three Co- 
 lumns of Campo Vaccino, in the Bafilic of Antoninus, and in the Arch 
 of Conflantine 5 which fome of the Moderns, as falladio, Scamo^j, 
 Ve Lorme, and Vt old, have imitated : but I think one may affirm 
 that thofe who ufe the Cincture only, have moll Reafon on their 
 Side, as well becaufe of the Confufion that fo great a number of. 
 Mouldings produces, as becaufe the Standing of the Column ap- 
 pears lefs firm upon an Aftragai, whofe Roundnefs Ipoks more 
 likely to let the Column flip, chan to keep it in its Place, as the 
 Squarenefs of the Cindture feems capable of doing. 
 
 As for the Height of the Aftragai at the top of the Column, I make 
 it the eighteenth Part of the Diameter of the Bottom of the Column, 
 Which is the fixth Part of the little Module, as it is in the Frontif- 
 piece of Kero, in the Bafilic of Antonin, and in the Temple of the 
 Sibyl at Ttvoli ; keeping the Mean between the Extremes we fee in 
 the Antique, as in the Arch of Septimius, the Market of NerVa, the 
 Temple of Manly Fortune, and that of Bacchus, where this Aftragai 
 is a Third and even half as large again 5 or on the other Side, as in 
 the Temple of Vefia at fome, where it is fcarce half fo big. The 
 Excelfes, into which the 'Moderns have run, are no lefs different; 
 there being fome, as Scrlio, who give it not above the half of what 
 it has in falladio, and Barbara. 
 
 But what more efpecially inclines me to this Proportion of the 
 Aftraoal on the Top of Columns, is what is determin’d in the Bo- 
 ric Order, where it ought to be equal to the Breadth of the Eye 
 of the Volute, as fhall be explain’d in its proper Place : for this 
 Proportion being eftablifli’d in this Order, I fee no Reafon to 
 change it in the others. On the fame account, the Proportion of 
 the Cindture, at the Bottom of the Tufcan Column, being deter- 
 min’d by the Divifion of the upper Half of the Bafe, into five 
 
 t ' Parts, 
 
Parc I. five Kinds ofi Columns. 
 
 have, and fo make them always equal 1S ° U ^ C to 
 
 I make the Fillet the Half of the Aftr^l ,o • j 
 
 Te u P l £ ° r { Sacch ^ ^ of the Sibyl at £ wf ’ and 'thatTc" f 
 m the Bafilique of Antonine, and the Arch o [Septimus • as alfoac’ 
 cording to what Scamo^i, Palladio, Cataneo, have'done the 
 
 certain Rule to reconcile the various Opinions, and different Exam 
 
 [ r] C , are Pound m Architecture, and which I propos’d to mv 
 fdf to follow through the whole Courfe of this Work. P 7 
 
 ral ofthe n haVmS i e Ar in . this ¥ l Parc > the Pro Portions in gene- 
 ral, of the principal Members of Architecture, comparing thnVnf 
 
 the feveral Orders one with another ; you will in the fecon 1 P 
 
 jw; 
 
 V* 
 
 rrjj 
 
 
 
 
The EXPLANATION of 
 
 Plate I 
 
 T HIS Hute contains all that has been explain'd in the firfl Wart 
 which treats of the Proportions common to all the Orders, as well 
 what appertains to their Heights, as to their Breadths and ProjeBures ; 
 the Heights being determin’d by entire Modules, and the ProjeBures by the 
 Tnyifion of the Module into foe : fuppofmg, as has been fatd, that the 
 the Module is the Third of the Diameter of the Bottom of the Column, which 
 I call the little Module. 
 
 It appears by this Plate, that all the Eitablatures have fix little Modules 
 in Height , which makes two Diameters of the Bottom of the Column. That 
 the Length of the Column goes increafmg, from Order to Order, by an equal 
 Progrefion of two Modules, the Tufcan hating twenty-two, the Doric 
 twenty-four, the Ionic twenty-fix, the Corinthian twenty-eight, and the 
 Compofite thirty Modules. That all the Pedeflals go likewife increafmg, 
 but only by one Module ; the Tufcan haying fix, the Doric /even, the 
 Ionic eight, the Corinhtian nine, and the Compofite ten. That each 
 Pedefoi divided into four Parts, has one for its whole Bafe, and the Half 
 of one for its Cornice. That the whole Bafe being divided into three Parts, 
 one is given to the Mouldings, and the two others to the Zocolo. And 
 lajlly, that the ProjeBure of the Bafe is equal to the Height of the Mould- 
 ings of the fame Bafe. 
 
 This Plate alfo f>ews, that the other ProjeBures are determtn d by 
 Fifths of the little Module, the ProjeBure, which the Shaft of the Column 
 has below, beyond what it has above, which is call’d the Diminution, being 
 determin’d by one of thefe Fifths, which is the Space from A to B 5 the 
 ProjeElure of the CinBure or Fillet, which is at the Bottom of the Shaft of 
 the Column, by another Fifth, which is the Space from B to C ; that of the 
 upper Torus, and of the Fillet below the Scotia, by another Fifth, which is 
 the Space from C to D, and the ProjeBure of the whole Bafe, by the 
 Part which is from D to E, fuppofmg that each of thefe Fifths contains 
 four Minutes, of which, the Diameter, at the Bottom of the Column, con- 
 tains fixty, the mean Module thirty, and the little Module twenty. 
 
THE 
 
 ORDONNANCE 
 
 of the Five KINDS of 
 
 COLUMNS, 
 
 After the Method of the Ancients . 
 
 PART II. 
 
 Of Things appertaining to each ORT> SR; 
 CHAP. I. 
 
 Of the TUSCAN Order. 
 
 HE Orders of ARCHITECTURE 
 invented by the Greeks , were no more 
 than Three : namely, the Doric , Ionic , 
 and Corinthian ; the <I(omans have added 
 to thefe the Tufcan and the Compojite , 
 by fome call’d the Italic ; but thefe two 
 Orders, have not, properly fpeaking, 
 any efTcntial Characters different from 
 thofe of the Greeks : for the Characters 
 of the Tufcan are near the fame as thofe of the Doric, and thofe of 
 the Compofite very much referable them of the Corinthian, which is 
 not fo in the three Greek Orders, where the Things which diftin- 
 cuifh each from other, are very confiderable and remarkable, as is 
 more particularly explain’d in the firft Chapter of the firft Parr. 
 
 M Ta* 
 
4 6 The Ordonnance of the Parr II 
 
 Chap. I. The Tufcan is in effect no ocher chan the Doric made ftronoer 
 by che Shortnmg of che Shaft or Body of the Column, and plain- 
 er by che fmall Number and Largenefs of the Mouldings, with 
 which the Orders are commonly adorn’d 3 for the Bafe and Cor- 
 nice of it’s Pedeftal have few Mouldings, and for the mod part 
 very large. The Height of this Bafe, and this Cornice, which is 
 as much in Proportion, as is in che other Orders, has fewer Mould- 
 ings 3 the Bafe of the Column has alfo but one Torus, and no 
 Scotia 3 the Abacus of the Capital has no Ogee above 5 the Enta- 
 blature is without Triglyphs or Mutules, and the Cornice has but 
 few Mouldings. 
 
 Th e general Proportions of the principal Parts of this Order, 
 have been given and explain’d in the firft Part of this W O R K 3 
 where it was faid that the whole Order, that is to fay ; the Pede- 
 ftal, Column, and Entablature, have thirty-four little Modules 
 of which the Pedeftal has fix, the Column twenty-two, and the 
 Entablature fix. It was alfo faid, that the Proportions of the 
 three Parts of the Pedeftal are alike in all the Orders, where the 
 Bafe has always the fourth Part of the whole Pedeftal, the Cornice 
 the eighth Part, and the Socle or Plinth of the Bafe two Thirds of 
 the Bafe it felf. It now remains thac I give the Particulars of the 
 Proportions of each Part, with what belongs to their peculiar 
 Character. 
 
 BASE of . Th e Pedeftal is divided in the Tufcan Order, as in all the Others, 
 the lnt0 threc Pa^s, the Bafe, the Die, and the Cornice. The Bafe 
 
 Pedeftal. confifts of two Parcs, which are the Plinth and the Mouldings of 
 the Bafe. Now as the Proportions of the principal Parts of intire 
 Columns were before eftablifh’d in all the Orders, having fuch Re- 
 lation each to other, that the Heights go increafing as the Orders 
 are more delicate -3 the Heights of the Mouldings of the Bafe and 
 Cornice of the Pedeftals do the fame : for as the Orders are more 
 delicate, the Mouldings become fmaller by the Augmentation of 
 their Number which goes always increafing, the Tufcan Bafe ha- 
 ving two, the Dork three, che Ionic four, the Corinthian five, and 
 the Compofite fix. In like manner, the Cornice of the Tufcan Pede- 
 ftal has three Mouldings, that of the Doric four, the Ionic five, the 
 Corinthian fix, and the Compofite leven. 
 
 To determine the Heights and Projectures of thefe Mouldings, 
 
 I divide the Height of the Cornice, and that of the Bafe into a cer- 
 tain number of little Parts, which alfo go increafing. according to 
 the Delicacy of the Orders. For that Part allotted to the Mould- 
 ings of the Tufcan Bafe, is divided into fix Panicles, the Doric into 
 leven, the Ionic into eight, the Corinthian into nine, and the Combo. 
 Jite into ten. The Height of the Cornice of che Tufcan Pedeftal is 
 
 divided 
 
Part II: five Kinds of Columns. 
 
 divide into eight, that of the Voric into nine, the Ionic into ten, 
 the Corinthian into eleven, and the Compofite into twelve ■ all which 
 is explain d by the following Figure, where the Arabic Cipher de- 
 notes the number of Particles into which the Bafe and Cornice are 
 
 of Mould, " gs ' rf 
 
 47 
 
 TuCci 
 
 Doric. 
 
 Ioui c . 
 
 ( orinthian. C omnntif/* 
 
 That Part of the Bafe of the Tufcan Pedeftal, which belongs 
 to the Mouldings, being thus divided into fix little Parts, four of 
 them are given to the hollow, and two to the Fillet or Square un- 
 der it, which are the two Members or Mouldings of this Part. 
 
 The Cornice which is divided into eight Particles, has five for a Cornice 
 Plat-band, which ferves here inftead of a Corona or Drip, and 0 f t y 
 three for a Hollow, with its Fillet, which Fillet has one of thefe pAm,! 
 Particles. 1 eaeltal 
 
 The Projedures of the Members of the Bafe, and of the Cor- 
 nice of this Pedeftal, as alfo thofe of all Sorts of Members in all 
 the Orders, are taken from the fifth Parts of the little Module, as 
 before eftablilh’d : namely, one for the Diminution of the Column, 
 three for the Projedlure of its Bafe, (?c. As to the Pedeftals, ic 
 has been already faid, that the Projecturc of the whole Bafe wi’th- 
 
 out 
 
4-8 7 he Or dormant' e of the Part II. 
 
 Chap. I. out the Plinth, is equal to its Height, and that the Projedure of 
 the entire Cornice, is a (mail matter more than that of the Bafe ; 
 alll which is to be underftood of all the Orders, except the Tufcan, 
 where the Projedures of the Bafe, and of the Cornice of the Pe- 
 deftal are equal. As for the Projedure of the Members of which 
 thefe Parts of the Tufcan Pedeftal are compos'd; the Hollow of the 
 Cornice has one Fifth and a half of the little Module, and the 
 Hollow of the Bafe has two, reckoning from the Naked of the 
 Die, or Trunk of the Pedeftal. 
 
 N ow the Proportions and Characters of this Pedeftal, hold the 
 Mean between the two Exceffes, found in the Works both of the 
 Ancients and Moderns, where the Pedeftal is fometimes exceffively 
 adorn’d, as in the Trajan Column, whofe Bafe and Cornice have 
 all the Mouldings of the Corinthian Pedeftal, and where, fometimes, 
 it has no Ornament at all, as in the Tufcan Order of Talladio, where 
 there is only a kind of fquare Plinth or Socle, without either Bafe 
 or Cornice. The Tufcan Pedeftal of Scamozg!, like this of ours, 
 keeps a Medium between thefe two Extremes. 
 
 BASE of Thi Bafe of the Column, which has a femi-diatneterin Height, 
 the or one little Module and a half, and which comprehends the Fillec 
 
 Column or Cindure, at the Bottom of the Shaft of the Column, is divided 
 only into two Parts, one of which is for the Plinth : the other be- 
 ing again divided into five Parts, four are given to the Torus, and 
 one to the Cindure, which is a part belonging properly to the 
 Shaft of the Column : and this fifth Parc of the half of the Bafe, 
 which is the twentieth Part of the Diameter of the Column below, 
 is as has been faid, the Meafure of all the Cindures at the Bottom 
 of the Columns in all the Orders ; becaufe there is no other Order 
 befides the Tufcan, where this Part is determin’d, and that we find 
 this Proportion has been followed in fome of the Ancients Works ; 
 and in thofe which differ from it, fome making it a great deal lar- 
 ger, and others a great deal lefs, it is reafonable to think that the 
 Mean is to be chofen as the beft. All the other Proportions of 
 this Bafe are alfo in a Medium, between thofe which the Ancients 
 and Moderns have eftablifh’d, which are different : for the Plinth 
 which I make according to VitruYms, half as high as the whole Bafe, 
 is, in the Column of Trajan, lefs by one Minute, and, in that of 
 Scamo^i, greater by three Minutes. The Torus, whofe Height 
 I make twelve Minutes, is in the Column of Trajan, in Talladio and 
 Vignola, twelve and a half, and in Serlio but ten. The Cindure 
 or Fillet, which I make of three Minutes, is of three and a half in 
 the Trajan Column, of five in Serlio, and Talladio and Vignola make 
 it but of two and a half. The Projedure of the Bafe, as has 
 been already mention’d, is of three Fifths of a Module. 
 
 What 
 
Part II. five Kinds of Columns. ^ 
 
 What is remarkable in the Character of this Bafe, is, that Fi- 
 truVius gives the Plinth a Figure very particular, by takina away its 
 four Corners and making it round. The Moderns have not” approv’d 
 of this Manner, and I do not think it ought to be follow’d, becaufe 
 the Comers of the Bafe, anfwering thofe of the Capital, ’the Bafe 
 would appear maim’d when depriv’d of them, on account of the 
 Analogy of the Bafes of the other Orders, which requires there 
 fliould be fome Reafon for this taking away of the Comers in that 
 Order where we do it : For if there were any, it would be in thofe 
 Buildings where the Columns are fet circularly, as they are in the 
 Temples that are round Peripteres, where the Corners of the fquare 
 Plinths agree but ill with the Step or Pedeftal which bears them 
 becaufe they are round. Neverthelefs, we do not fee that the An- 
 cients rounded their Plinths to remedy this Inconvenience ; but ra- 
 ther chofe to take them quite away, as may be feen by the Tem- 
 ple of Vefta at Iforne, and in that of the Sibyl at Tivoli but grant- 
 ing thefe Corners might be taken off in fome Buildings, there is no 
 realon to do it in the Tufcan Order, rather than in the others. 
 
 There are two Things to be adjufted in the Shaft of the T ufcan SHAFT 
 Column; the firft is its Diminution; of which, Mention has been of the 
 made in the firft Part, where it was faid, that it ought to be greater Column, 
 than in the other Orders, and where I have given the Realons which 
 induc’d me to make it of the fixth Part of the Diameter of the Co- 
 lumn below, which is half the little Module, and amounts to five 
 Minutes on each Side ; whereas, in all the other Orders, this Dimi- 
 nution is but one Part of feven and a half, which is two Fifths of 
 the little Module, that is to fay, one Fifth on each Side, which is but 
 four Minutes. The fecond Thing to be determin’d is the Cin- 
 dture at the Bottom of the Column, and the Aftragal at the Top ; 
 
 It has been faid that thefe Parts ought to have the fame Proportions 
 in all the Orders, and that the Cinfture has a twentieth Part of the 
 lower Part of the Column, and the Aftragal an eighteenth ; the Fil- 
 let, underneath it, having half as much : and that the ProjecEures as 
 well of the Aftragal as Cincfture, are one fifth Part of the little Mo- 
 dule, that is to fay, four Minutes beyond the Naked of the Column. 
 
 The Capital has the fame Height as the Bafe ; and is divided in- Capital, 
 to three Parts : one of which is for the Abacus, the other for the 
 Ovolo or Quarter round, and the third for the Neck and Aftraaal 
 under the Ovolo with its Fillet. The Charadter of this Capital 
 confifts in having the Abacus quite plain and without any O^ee ; 
 and that under the Ovolo there are none of thofe Annulets or iSiall 
 Squares which are in the Doric, but only an Aftragal and a Fillet. 
 
 The Proportions of thefe laft are found by parting the lower Third 
 of the Capital into Eight; giving two Eighths of the Aftraaal, and 
 
 N ° one 
 
 
The Ordonnance of the Part 11 
 
 Chap. I. one to the Fillet under it, the Remainder being for the Neck. The 
 Projefture of the whole Capital is equal to that of the Cincture at 
 the Bottom of the Column, which is eight Fifths and a half, taken 
 from the Middle of the Column. The Projedtures of the Aftragal 
 under the Quarter round, as alfo that of the Aftragal at the T op 
 of the Column, is feven Fifths, reckoning alfo from the Middle. 
 
 Vitkwivs , and mod of the Moderns, who make the Diminu- 
 tion of the Tufcan Column very great, give very little Breadth to 
 its Capital, making it not to exceed that of the Diameter of the 
 Column at Bottom. 
 
 Authors neither agree among themfelves, nor with the An- 
 tique about the Character of this Capital. We find in Palladio and 
 Serlio, as well as in Vitruvius, and in the Trajan Column, the A- 
 bacus quite plain, and without an Ogee : Vignola and Scamo^j, 
 inftead of an Ogee, put a Fillet : Philander takes away its Corners 
 and makes it round, poffibly to make it like the Bafe, whofe Plinth, 
 Vitruvius would have to be round. The Trajan Column has no 
 Neck, the Aftragal of the Shaft of the Column being confounded 
 with that of the Capital ; and there are only Vitruvius and Scamo 
 %, who put an Aftragal, with its Fillet, under the Ovolo ; others, 
 as’ Philander, Palladio, Scrlw, and Vignola, put only a Fillet there. 
 As to the Proportions alfo, they are no better agreed ; for fome, 
 as Philander, take the Aftragal and Fillet of the Top of the Co- 
 lumn from the third Part of the Capital, which Vitruvius gives to 
 the Neck and Aftragal under the Ovolo : others, as Serlio and Vi- 
 gnola, give all the third Part to the Neck, and take the Fillet under 
 The Ovolo, from the fecond Part, which Vitruvius gives entirely to 
 the Ovolo it felf. Others, as Palladio, leave this whole Third to 
 the Ovolo, and put only a Fillet inftead of the Aftragal and Fillet, 
 which Vitruvius alfigns there. In all this Diverfity, I have chofen 
 to follow Vitruvius, whofe Manner feems to me more agreeable and 
 confonant to the Analogy and common Rule of all Capitals, which 
 is to be a little more adorn’d, and not fo plain as the Bafes ; for 
 without this Aftragal, which Vitruvius puts under the Ovolo, the 
 Tufcan Capital would be nothing different from the Bafe. 
 
 Enttbia- The Entablature having fix Modules, as has beed faid, the 
 [urc ‘ ' whole is divided into twenty Parts, which is likewife done in all 
 CU1 ' t ke other Orders, except the Doric, as has been already noted. Six 
 ofthefe Parts are given to the Architeftrave, the Fillet whereof has 
 one. The Freeze has alfo fix Parts. Of the eight which remain 
 for the Cornice, two are given to the large Ogee which makes the 
 firft Member, and half a Part to the Fillet of the fame ; two and 
 a half to the Corona or Drip, one to an Aftragal with its Fillet, 
 which is half as much as the Aftragal, and two Parts to the Quar- 
 
 ter- 
 
Part II. five Kinds of Columns. 
 
 ter-round which fupplies the P-ace of the great Cinia, The Proje- 
 dtures are taken from the fame fifth Parts, which determine all 
 the others ; and fo three Fifths are given to the Ogee and its Fillet, 
 reckoning from the Naked of the Freeze, feven and a half to the 
 Corona*; nine to the Aftragal and its Fillet, and twelve to the 
 Quarter-round. 
 
 The Proportions and Character of the Entablature of the Tuf- 
 can Order are very different in Authors. As to the Proportion of 
 the three parts which compofe it, Vitruvius makes the Architrave 
 not only larger than the Freeze, but even than the Cornice. Palla- 
 dio alfo makes the Architrave very high, and greater than the Freeze, 
 Vignola makes it lefs. I have imitated Serlio , who makes the Ar- 
 chitrave and Freezes equal. 
 
 As to its Character, Vitruvius and (Palladio allow no more that! 
 a fquare Beam for rhe Architrave ; on the contrary, Scamosgi gives 
 it exceffive Ornaments, as likewife to the Cornice, where he makes 
 as many imbellifhments as in the Doric Order: He alfo puts in the 
 Freeze a kind of Triglyph not channel’d. Serlio follows a Manner 
 quite oppofite, making his Cornice fo pitiful, that it has but three 
 Members, for the ten which Scamozgi puts in his. The Cornice, 
 which I propofe, and which has much Affinity with that of Vignola , 
 keeps the middle between the Excefs of Delicacy or Number of 
 Mouldings given by Scamozgj, and that of the too great Simplicity 
 and Plainnefs which Serlio affe<5ts. 
 
 51 
 
 1' SI 
 
 
 The 
 
5 * 
 
 The EXPLANATION of 
 
 Plate II. 
 
 A *‘T - ' H E Tufcan ‘Safe, according to the (proportions of \ itru- 
 1 vius. 
 
 B The Safe of Scamozzi, where the Plinth and the Torus are higher 
 than thofe of Vitruvius, fo that the CinBure is not comprehended in the 
 Bafe, as it is in the others. 
 
 C The Bafe of Serlio, where the CinBure is much greater. 
 
 D The Capital according to Vitruvius, where the Abacus has neither 
 an Ogee, nor Fillet } where the Ovolo takes up the whole fecond Part of 
 the Capital, and where there is an Aftragal under the Ovolo. 
 
 E The Capital of Scamozzi without an JJlragal, 
 
 F The Capital of Serlio, where the Abacus has a Fillet, where the 
 Ovolo poffejfes not the fecond Part of the Capital, but leaves Boom for a. 
 Fillet under it, and where an entire Third is given to the Keck of the Capital. 
 
 G The Entablature where the Architrave and Freeze are equal, and 
 where the Cornice confijls of fix Mouldings. 
 
 H The Entablature of Scamozzi, where the Architrave which is lefs 
 than the Freeze, is compos’d of two Faces, and has a Fillet under the Band-, 
 where the Freeze has a kind of Triglyph not channel’ d ; and where the Cor- 
 nice tonffs of ten Mouldings. 
 
 I The Entablature of Serlio, where the Freeze and Architrave are 
 equal, and where the Cornice contains but three Mouldings. 
 
 K The Diminution of the Shaft of the Column, which is a fixth Part 
 of the Diameter of the lower Part thereof. 
 

Part II. five Kinds of Columns. 
 
 5 $ 
 
 CHAP. II. 
 
 Of the DORIC Order. 
 
 N treating of the Orders, it were indeed 
 more natural to begin with the Don't, 
 as being the moll Ancient, and that to 
 which the Tufcan and the others owe 
 their Rife and Origine : But the Cu- 
 ftoin of handling the Tujcan before the 
 Doric, is yet confident with Reafon, on 
 account of the Rank and Place obferv’d 
 when the feveral Orders are employ’d 
 together in Work, where the more maffive is always firlt made ufe 
 of, as bed able to bear and fudain the others. 
 
 The Proportions of the Doric Order in general, which render 
 it lighter and lefs maffive than the Tufcan, have been already eda- 
 blifh d in the fird Part, where ’twas faid, that the whole Order 
 confids of thirty-feven little Modules, feven of which are for the 
 Pededal, twenty -four for the Column, and fix for the Entablature, 
 which agrees with the progreffional Advance of three Modules, 
 which the Orders have one above another, by the addition of one 
 Module to the Pededal, and two to the Column : the whole Tu- 
 fcan Order being but of thirty-four Modules, of which the Column 
 has twenty-two, the Pededal fix, and the Entablature fix, which 
 lad has the fame in all the Orders. What remains, is, to deter- 
 mine the Proportions and particular Characters of thefe three Parts; 
 The Heights of the principal Parrs of the Pededal have been alfo 
 
 O alberta in’d, 
 
5 4 7 he Ovdonnance of the Part It 
 
 Chap. II. aleertain’d, by allowing one eighth. Part of the W hole to the Cor-; 
 nice, a Fourth to the Bafe, and a third of the Bafe to its Mould- 
 ings, the other two Thirds remaining for the Plinth or Socle. 
 
 BASE The Proportions of the Mouldings for the Bafe of the Pedeftal* 
 of the are found by dividing the third of the whole Bafe affign’d them, in- 
 
 Pedeftal. to feven Parts, as was mention’d in the preceding Chapter, of 
 which, four are given to the Torus next upon the Socle; and three 
 to the hollow with the Fillet under it, which are the three Mem- 
 bers whereof thefe Mouldings were faid to confift. The Proje- 
 dure of the Torus is that of the whole Bafe ; the Advance of the 
 Hollow is one Fifth and a half of the little Module beyond the Na- 
 ked of the Die, or Trunk. Authors differ in the Charader of this 
 Bafe. 1 Talla'dio gives it a fourth Member, which is a Square plac’d 
 between the Torus and the Fillet of the Hollow. Scamo^i puts 
 an inverted Cima there. Vignola and Serlio make it more plain ; 
 I have follow’d them, as mod fuitable to the Order which of it- 
 felf is plain: and, as I affign’d but two Members for the Mouldings 
 of the Bafe of the Tufcan Pedeftal, I allow three to the Doric, and 
 continue the fame progreffive Augmentation in the other Orders, 
 increafing the number of the Members, as the Orders advance in 
 Delicacy. 
 
 CAP of The Cornice or Cap of the Pedeftal, which is divided into nine 
 the Parts, has a Hollow with a Fillet thereon, which bears a Drip 
 Pedeftal. crown’d only with a Square : The Drip has five of thefe nine Parts, 
 and its Square one. The Projedure of the Hollow with its Fillet, 
 is one fifth and a half of the little Module, beyond the Naked of 
 the Die ; that of the Drip is of three, and that of its Square is of 
 three and a half. The Charader of this Cornice is different among 
 Authors : Talladio and Vignola give it five Members, and Scamo^gi 
 fix : Serlio makes it plainer, allowing it but four Members ; and I 
 have imitated him in that, becaufe it agrees with the Proportion 
 which this Order fhould bear to the others, according to the pro- 
 greffive Augmentations before explain’d. 
 
 Vitr. v- 
 
Part II. five Kinds of Columns < 
 
 55 
 
 Vnuvvivs gives no Bafe to the Voric Column, and fays that BASE 
 the principal Difference between the Voric and Ionic Orders, is, that of the 
 the Column of the latter has a Bafe. Thus we find it in the The- Column,’ 
 atre of Marcellas , where the Voric Column has no Bafe ; on the o- 
 ther hand, the Voric Order of the Colifeum has a Bafe, though 
 differing from that which mod of the Moderns give to this Order, 
 which is that Vitruvius calls the Attic Bafe, and whofe Proportions 
 he has defcrib’d. Hence it is that we find three forts of Bafes in the 
 Voric Order : The firft is the Attic Bafe of Vitruvius , which has a 
 Plinth, a large Torus below, a leffer above, and a Scotia between 
 them : The fecond is the Bafe of the Voric Order of the Coli- 
 feum which has neither the leffer Torus nor Scotia, but only a 
 fort of blunt inverted Cima, between the Cin&ure at the Foot of 
 the Shaft, and the large Torus. The third is ftill more plain, ha- 
 ving no more on the Plinth than a large Torus and an Aftragal, fo 
 that in this Bafe, as in the Tufcan, the Cindture at the Foot of the 
 Column’s Shaft, makes part of the Height of the Bafe, which in 
 all the other Orders ought to have the Semi-diameter of the Co- 
 lumn below, without including this Cindture. - 
 
 Tbb 
 
5 < 5 
 
 Chap. II. 
 
 The Ordonnance of the Part it 
 
 The Bafe of Vitruvius being mod in Ufe, I have chofen 
 that, and given its Members the Heights found in his Divifion 
 thereof, which is very regular and methodical. The whole Height 
 of the Bafe being parted into three, the Plinth has one ; the re- 
 maining two being divided into four, the uppermoft is for the lef- 
 fer Torus ; the other three being again divided into two, the lower 
 Part is for the great Torus, and the other for the Scotia, one Sixth 
 of which is allow’d to each Fillet. The Heights of thefe Parts 
 may be found by another Method, vi^. by dividing the whole 
 Bafe into three Parts, into four, and into fix, giving a Third to 
 the Plinth, a Fourth to the great Torus, as much to the Scotia, 
 with its Fillets, and a Sixth to the lelfer Torus : for the Divifions 
 of the Parts are equal both ways. 
 
 I n the Works of the Antique, as likewife in Modern Authors, the 
 Proportions of the Parts of this Bafe are different. The Plinth in 
 *he Colifeum is higher by one Minute and a half, than the ten which 
 Vitruvius allows it ; Serlio makes his of nine Minutes and a half ; and 
 Catanco gives but nine. The great Torus alfo has different Heights, 
 that of the Colifeum is higher by half a Minute than the feven and 
 a half which Vitruvius affigns ; and Scamo^i makes his of eight and 
 a half. The upper Torus in Scamo^j, is likewife larger by a Mi- 
 nute, and that in Palladio by half a Minute. Some, as Barbara, 
 Cataneo, Viola, and Be Lorme, make the lower Fillet of the Scotia 
 larger than the upper one, others make them equal, and with more 
 Reafon in my Opinion 5 an Inequality here not being fo neceffary, 
 as in the Scotias of the Bafes of the other Orders, where the Fillets 
 touch, one a Torus, or a Plinth, and the other an Aftragal, which 
 being Members of a very unequal Thicknefs, require that the Fil- 
 lets which are contiguous to them, fhould be alfo of a different 
 Size, but it’s otherwife in the Attic Bafe, where the Difference be- 
 tween one Torus and the other is inconfiderable. 
 
 Th e Projecturcs of the Mouldings of this Bafe are regulated by 
 the Divifion of the Module into five Parts, of which, as has been 
 faid, three give the utmofl Extent of the Bafes of Columns, in all 
 the Orders : the firft of thefe gives the Projccture of the Cincture 
 at the Foot of the Shaft, the fecond bounds that of the upper Torus, 
 and the third, that of the lower Torus and Plinth. For the Pro- 
 jedtures of the Scotia, the middlemofl of thefe three Parts is again 
 divided into three, taking one for the upper Fillet, two for the un- 
 der Fillet, and three for the Depth of the Hollow of the Scotia. 
 
 Authors are fufficiently agreed upon the Character of this 
 Bafe, except as to the Turn which fome give the Cavity of the Sco- 
 tia, which they hollow and fink down below the upper Edge of 
 the lower Fillet. This we find practis’d in fome Buildings of the 
 
 Antique, 
 
57 
 
 Fart II. five Kinds ofi Columns. 
 
 Antique , as in the Portico and inner Work of the 'Pantheon, in the 
 three Columns of Campo Vaccina , the Frontifpiece of Kero, and the 
 Temple of Bacchus : But there are many more Buildings of good 
 Efteem where this Cavity is not fo wrought, as the Theatre of 
 Marcellus, rhe Temple of Manly Fortune, that of Vefta, of Concord, 
 of Faujlina, and of Peace ; the Bafilic of Antoninus, the Baths of 
 Dioclejian, the Colifeum, the Arches of Titus, Septimius, Conftantine, 
 and the Goldfmiths. Some Moderns, as Vignola, Scambugi, and Viola, 
 have funk this Hollow below the Edge of the Fillet, but the great- 
 eft part have not done it ; and indeed it feems to afford no Beauty, 
 but rather to weaken the Edge of the under-Fillet, which it makes 
 fharp, and a Receptacle for Water and Dirt, which deftroy and 
 fpoil the Stone. There is one Particular more in the Plinth of 
 this Bafe, which Palladio and ScamozgJ have pradtic’d, without 
 any Example of the Antique that I know of, which is, that inftead 
 of making it direftly plum and fquare, they make it defcend with 
 a Sweep to the Nofe of the Cap of the Pedeftal, which is really 
 to abolilh and deftroy this effcntial Part of the Attic and Corinthian 
 Bafe. For though it is true, that in fome Buildings, as in the 
 Colifeum, the Pedeftals have the upper Part of their Caps cut thus, 
 with a Sweep ; yet this Sweep is not taken from the Plinth of the 
 Bafe of the Column, which remains intire, but from the Cornice, 
 or Cap of the Pedeftal. 
 
 Vignola does not approve of the life of this Bafe, either in 
 the Doric, or Corinthian Orders, but thinks it altogether improper, 
 although the Ancients us’d it at leaft in the Corinthian Order, as in 
 the Temples of Vefta, of Peace, of Faujlina, in the Frontifpiece of 
 Kero, in the Bafilic of Antoninus, in the Porch of Septimius, and in 
 the Arch of Conftantine. The Bafe which this Author gives the 
 Doric Order, is that of the third fort beforemention’d, where there 
 is but one Torus with an Aftragal. 
 
 What is particular in the Shaft of the Doric Column, is its SHAFT 
 Flutings, which ought not to exceed the Number of twenty, nor 0 f the 
 be cut fo deep as in the other Orders, where they are hollowed to Column,! 
 an entire Semi-circle ; a fourth, or even a lixth Part, being fuffi- 
 cient for thefe. Befides, here is no Space left between the Flutings, 
 but a bare Ridge or Angle, made by the two curve Lines which 
 form the Cavity. To draw thefe Flutings, the Periptery of the 
 Column being divided into twenty equal Parts, deferibe a Square, 
 whofe Side is equal to one of thefe Parts 5 from the Center of this 
 Square, draw the arch’d Line, which makes a Quarter of a Circle 
 from one Corner of the Square to the other. To make thefe Flu- 
 tings ftill ftiallower, inftead of a Square, deferibe an equilateral 
 Triangle, the vertical Angle of which fhall be the Center for the 
 
 P Curve- 
 
5 8 The Ordonnance of the Part II. 
 
 Chap.II. Curve-line. The Firft Way, which is after Vitruvius, is moft in 
 Ufe. Scamozzi likes neither of thefe Sorts of Flutings, as not ac- 
 counting them graceful : however, they are much in life, and Vi- 
 truvius fays they are particular to the Doric Order: He alfo affirms, 
 that inftead of Flutings, they fometimes make twenty Cants, which 
 they leave quite flat, without any Cavity. There are but few 
 Examples of thefe canted Columns, nor can they have a good 
 Effedt, it being impoffible, but that Angles fo blunt as thofe made 
 on the Periptery by the Lines of two Sides, each of which has but 
 the twentieth Part of the Circumference of the Circle, fhould ap- 
 pear confus’d and difagreeable, through the Difficulty, there is, of 
 making the Separation of the two Faces fufficiently vilible and di- 
 ftinct On this Account it is, I prefer the Flutings of Vitruvius, 
 whofe Cavity is defcrib’d by the Center of the Square, before 
 thofe made from the Point of the Triangle 5 becaufe the former be- 
 ing deeper, the Angles of the Flutings are more acute, and the 
 Flutings, by confequence, more diftindl and confpicuous. 
 
 Capiral. The Heights of the Members of the Capital are found by part- 
 ing its whole Height, which is half the Diameter of the Column 
 below, into three as in the Tufcan, giving one to the Abacus ; one to 
 the Ovolo, with the three Annulets beneath, which are in the place 
 of the Aftragal in the Tufcan Capital ; and leaving the other third 
 Part entirely to the Gorgerine or Neck ; whereas, in the Tufcan , 
 the Ovolo poffeffes one entire Third, and the Aftragal and Fillet 
 under it, are taken out of the part allowed the Neck. I have imi- 
 tated Vitruvius , whom moll of the Moderns have alfo followed. 
 Palladio, Scamoz^i, and Alberti preferibe other Proportions : Alberti 
 makes the whole Capital near half as high again as Vitruvius, and 
 gives alfo the principal Members, Proportions quite different from 
 his. Palladio and Scamozgi, though they alter not the Height of 
 the entire Capital, yet they enlarge that of the Abacus, and leffen 
 that of the Neck. Both the one and the other have Precedents in 
 the Works of Antiquity ; for, at the Colifeum , the whole Capital is 
 eight Minutes and three Quarters higher than that of Vitruvius 5 In 
 the Theatre of Marcellus, it is only three Minutes higher : but, in 
 the latter, the Proportions of the Members, with refpedt to each 
 other, are more different from thofe of Vitruvius, than thofe of the 
 Colifeum are, the Abacus being much greater in Proportion, and the 
 Quarter-round much lels. 
 
 The Heights of the leffer Mouldings are alfo found by dividing 
 and fubdividing into Three : for, the whole Abacus being divided 
 into three, the upper Part is given to the Cima or Ogee, and this 
 being again divided into three, one is allowed to the Fillet, the 
 other two for the Moulding. So likewife that part between the A- 
 
 bacus 
 
Part II. five Kinds of Columns. 
 
 bacus and Neck, being divided into three, two are given to the 
 Quarter-round ■, and the third being fubdivided into three j each 
 of the Annulets have one of them. 
 
 The Projectures are determined, as in the Tu/can, by Fifths of the 
 Module 5 that of the whole Capital having three, from the Naked 
 of the Column at the Top. The firft of thefe being divided into 
 four, one is given to each of the Annulets : the fecond limits the 
 Ovolo ; and the third being alfo divided into four, the firft is for 
 the Projechire which the Square of the Abacus makes beyond the 
 Quarter-round, and the three others diredf the Parts of the Oee. 
 
 There are Inftances of oppofite Exceffes given the Proj'edhire 
 of this Capital in that of the Coli/eum, and Alberti : for, in the for- 
 mer, the Procedure is of five Parts, ours has but three, and that 
 of Alberti has no more than two. 
 
 The Charader of this Capital is different among Authors, in 
 that of the Coli/eum there is an Ogee inftead of the Annulets, which 
 Scamozzj has alfo followed 5 others, as Palladio, Scamo^i, Vignola , 
 
 Alberti and Viola, have put Rofes under the Corners of the Abacus, 
 and in the Neck of the Capital. One may reckon, as belonging 
 to the Charader, the Projedure of the whole Capital, which Alberti 
 and Cataneo have made extremely fmall, and which, in the Coli/eum , 
 is exceffively large 5 this retrenching and enlarging, being a thina 
 that will infallibly give Offence, when one is never fo little accu- 
 ftom'd to fee Capitals made after the ordinary Proportion, which is 
 thirty-feven Minutes and a half in Vitruvius, reckoning from the 
 middle of the Column 5 for that of the Coli/eum extends to forty- 
 feven and a quarter 5 and Alberti and Cataneo make it but thirty- 
 two and a half : ! Bullant allows it forty, Palladio thirty-nine, Vig- 
 
 nola and Viola thirty-eight : Thofe, who with us, have followed 
 Vitruvius, are the Theatre of Marcellus, Barbara, and Serlio. 
 
 The Entablature in the Doric Order, is not divided into twen- Entabla- 
 ty Parts, as in the other Orders, but into twenty-four, of which ture. 
 fix are given to the Architrave, nine to the Freeze, and as many 
 to the Cornice, including the Member that runs immediately over 
 the Try glyph, which Vitruvius calls its Capital. As to the Pro- 
 portions of the Architrave and Freeze, which are thofe given by 
 Vitruvius, and which have refpect to the Diameter of the lower 
 Part of the Column, whereof the Architrave has half which makes 
 the Doric Module, and the Freeze a Module and a half 5 all the 
 Modern Architects have followed them, tho’ we find they are not 
 ftridtly obferv’d in the Antique : For, in the Coli/eum, the Archi- 
 trave has fifteen Minutes too much 5 in the Ruins of Albano, and 
 in the Baths of Diocletian, cited by Monk Cbambray, the Architraves 
 are alfo greater than in Vitruvius, but the Difference is only one 
 
 or 
 

 60 The Ordonnance of the Part 1 1. 
 
 Chap, II. of two Minutes. As to the Cornice, it is not fo high in Vitruvius, 
 nor in the Theatre of Marcellas, where it has feven Minutes and a 
 half lefs than we here give it ; but that of the Colt/eum is much 
 greater, having ten Minutes more. 
 
 Archi- The Architrave being divided into feven Parts, one is given to 
 
 trave. the Lift or Band on the Top : under which are plac’d the Drops 
 
 that feem to hang from a fmali Square : the Drops and Square to- 
 gether, have a fixth Part of the Height of the Architrave 5 this fixth 
 being divided into three, one is given to the fmali Square, the two 
 others to the Drops. The Extent of the Square and Drops breadth- 
 wife, is one Module and a half; this Breadth is parted into eighteen, 
 whereof three are given to each of the Drops, which, are fix in 
 Number, fo that the upper part of the Drop has one of thefe Parts, 
 and the lower Part lomething lefs than three, becaufe there ought 
 to be a little Interval between the Bottom of the Drops. 
 
 The Character of the Doric Architrave is very different in the 
 Antique , and amongft Authors : That which has been deferib’d, 
 is of Vitruvius, and of the Theatre of Marcellas, which has been fol- 
 lowed by Vignola, Serlio, Barbara, Cataneo, Bullant, De Lorme , and 
 moft of the Moderns. In the Colijeum, it is otherwife, being fet off 
 with all the Members that are in the Ionic, and in the Corinthian of 
 this Structure, having three Faces and an Ogee above, but no 
 Drops. In the Ruins of Jlbano, and the Baths of Diocletian, it has 
 but two Faces, but they are feparated by Mouldings, as in the Co- 
 rinthian Order, and under the upper Ogee there are Drops, Balia* 
 dio, Scamoggi, Alberti, Viola, and feveral other Moderns, have fol- 
 lowed this Manner, in giving the Architrave two Faces, but they 
 do not feparate them by Mouldings, and the Drops are under the 
 Plat-band, as in Vitruvius. There is yet fome Difference in the 
 Figure of the Drops, which fome make round as the Fruftum of 
 a Cone ; but, the moft ulual Way, is to make them fquare or pi- 
 ramidal ; the round ones being referv’d for the under Part of the 
 Mutules. 
 
 Freeze. The Freeze lus nine of the twenty-four Parts of the whole En- 
 tablature, which make a Module and a half, of thofe I call Doric, 
 or mean Modules, and two Modules and a Quarter of our little 
 ones : It is generally adorn’d with Tryglyphs, which are a Doric 
 Module in Breadth, and are plac’d right over the Drops, which 
 are on the Columns, and in the Spaces between the Columns, by 
 Diftanccs equal to the Fleight of the Triglyphs, and of the Freeze; 
 which makes the Spaces fquare , thefe Spaces are call’d Metops, 
 
 and 
 
Part II five Kinds of Columns. 6 1 
 
 and are adorn’d with Bafforelievos of Tropliys, Bafons, Sculls of 
 Oxen, and other Things. TheTnglyphs have two Channels, or 
 Gutters, funk from the upper Part to the lower, in their middle, 
 and two half Channels on their Corners : thefe Gutters are fo 
 wrought as to make a right Angle. To perform which, the whole 
 Face of the Triglyph being divided into twelve Parts, two are gi- 
 ven to each of the Channels , one to each Half-channel, and two 
 to each of the Interlaces or Spaces between, which Vitruvius calls 
 the Shanks. The Proje&ure of the Triglyph from the Naked of 
 the Freeze, ought to be one of thefe Parts and a half. Vigvold, 
 who allows it but one, makes it apparently too little, becaufe the 
 Gutters, having two Parts in Breadth, their Depth muft be one 
 Part to make a right Angle 5 now the Sinking and Depth of the 
 Channel, according to Vignola, being equal to the Projedture of 
 the Triglyph, the Half-channel, whole Depth is equal to that of 
 the whole one, defcends to the very Freeze ; which it ought not 
 to do; it being neceffary, that, below the Half-Channel, the Tri- 
 glyph fhould (till have fome Thicknefs left. This Thicknefs, in 
 Palladio, is but half a Minute ; in the Theatre of Marcellus, ic is 
 one Minute and two Ninths, a fmall Matter more than I aflign it, 
 which, is a Mean between that of Palladio, and that of the Thea- 
 tre of Marcellus , and is about three Quarters of a Minute. 
 
 That Part which is call’d the Capital of the Triglyph, is ge- 
 nerally attributed to the Freeze of the Doric Order : but, being a 
 Moulding, fa Thing not ufual for Freezes to have) I think it 
 fhould be reckon’d among the other Mouldings of the Cornice : For 
 the Projedtures, which this Moulding makes over the Triglyphs of 
 the Freeze, do no more argue it to belong to the Freeze, than the 
 Mouldings which cap the Corbels that are in a Freeze, where, 
 fuch as accompany their Projedtures, are not counted par: of the 
 Freeze, but of the Cornice, thefe Mouldings generally taking up 
 all that Part under the Corona, which is an efiential Part of the 
 Cornice. 
 
 The Space left for the Cornice, which is equal to that of the Cornice. 
 Freeze, being nine Parts, the firft is for the Capital of the Triglyph; 
 the five Parts next above, are for the Hollow, Mutule, Ogee and 
 Corona ; the three laft are for the great Cymaife, and for the Ogee 
 that is over the Corona. To have thefe Mouldings more particu- 
 larly ; the fecond and third Part being divided each into four, 
 which makes eight Particles ; the lower five are given to the Hol- 
 low, and the fixth to its Fillet : The fourth Part, with the two 
 Particules which remain of the third Part, are for the Body of the 
 
 Q Mutule, 
 
6i The Ordonnance of the Part II. 
 
 Chap. II. Mutule. The fifth Part being alfo divided into four Particles, the 
 two lowefi: are given to the Ogee, without a Fillet, which caps the 
 Mutule. The fixth Part, with the two Particles which remain of 
 the fifth, are for the Corona. The feventh Part, being alfo divi- 
 ded into four Particules, the three lowed: are given to the Ogee next 
 on the Corona, with its Fillet ; and, laftly, the ninth, being part- 
 ed into two, one is given to the Fillet, or Square of the great Cy- 
 maife, which takes up the Remainder to the Ogee, which crowns 
 the Drip. This Divifion of the Doric Cornice, which leems con- 
 fus’d and obfcure in Difcourfe, is very clear and intelligible in the 
 Figure , for, all the Heights of the Mouldings, are regulated by- 
 two Divifions only ; to wit, by that of the whole Cornice into 
 nine Parts, and, that of each Part into four. 
 
 U n d e * the Mutule, are cut thirty-fix Drops, in fix Rows of Six 
 each. It has been already mention’d, that thefe Drops, of the So- 
 fiko of the Cornice, flrould be round, and Ihap’d like fmall Cones, 
 whofe Points, or Tops, are funk into the Under-bed of the Corona, 
 or Mutule : The Mutule has a hollow Groove, wrought only on 
 the Fore-edge, like that which is made under the Corona of the 
 Ionic Cornice. 
 
 The Chara&er of this Cornice is three-fold: there is one very 
 plain, as that of Palladio, Serlio, 'Barbara, Catanea, Bullant, and 
 Be Lome ; where there are neither Mutules nor Dentels. There is 
 another, more compounded, having Dentels } as, that of the The- 
 atre of Marcellas, of Scamoxgi, and of Vignola. The third is ftill 
 more fo, having Mutules, but no Dentels. I have chofen this laft, 
 on account of the Mutules, following the Defigns which Alberti, 
 Vignola, and Pyrrho Ligorio have given us, as being conformable to 
 fome very ancient Works, whofe Fragments they found : And, be- 
 oaufe the Mutules, are, according to Vitruvius, efiential Parts of 
 the Boric Order, whereas, the Dentels are particularly appropria- 
 ted to the Ionic. I make the great Cymaife with an Ogee, and not 
 with an Hollow, as ’tis held to have been in the Theatre of Mar- 
 cellus, and, as Vignola and Viola have done ; becaufe the Hollow is 
 weaker, and more fubjedt to be broke than the other ; it being a- 
 gainft reafon, that an Order, whofe Property is to be maffive and 
 firong, fiiould have Members more tender, than the more delicate 
 Orders : and, herein, I have followed Palladio, Scamo^i, Serlio, 
 Barbara, Cataneo, Alberti, Bullant, and Be Lorme : If any one has a 
 mind to make it a Hollow, becaufe, fome are of Opinion, ’tis that 
 which Vitruvius calls the Boric Cymaife, he may do it, keeping 
 the fame Proportions which were given for the great Cymaife, al- 
 
Part II. jive Kinds of Columns. 
 
 lowing no more to the Fillet, or Square of the Hollow, than half 
 of one of the nine Parts, and giving what remains between that and 
 the Upper-bed of the Ogee of the Corona, to the Curve of the Hol- 
 low'. Over the Capital of the Triglyph, where Vitruvius would 
 have a Doric Cymaife, I have put a Hollow, or half Scotia, as Tal~ 
 ladio, Viola, and ! Bailout , have done 3 and for the foremention'd 
 Realon, namely, that the Hollow is the Doric Cymaife 5 I find 
 two other Sorts of Mouldings plac’d here 3 in the Theatre of Mar- 
 cellus ’tis an Ogee, and Vignola makes it of a Quarter-round ; that 
 which inclines me to make it a Hollow, is the Authority of Barbctro, 
 who fays that the Hollow is the Doric Cymaife. 
 
The EXPLANATION of 
 
 Plate III. 
 
 A. ' I “‘‘HE 'Safe that Vitruvius calls Attic, which is itfod for the 
 1 Doric Order. 
 
 B The Safe of the Doric Order in the Colifeum. 
 
 C The Safe of the Doric Order after Vignola. 
 
 D Channellings, or Flutings, cut according to Vitruvius. 
 
 A The third Manner of cutting the Shaft of the Doric Column, taught 
 by Vitruvius, where, inftead of Flutings, there are only Cants , without 
 any Cavity or Sinking. 
 
 E Flutings according to Vignola. 
 
 F The Capital of Vitruvius. 
 
 G The Capital of the Doric Order of the Colifeum. 
 
 H The Capital of Alberti. 
 
 I The Entablature taken partly from the Theatre o/Marcellus. 
 
 K The Soffit of the Entablature. 
 
 L The Architrave of the Doric Order of the Colifeum. 
 
 M Figure to explain the Manner of drawing the Cymaife ond Ogee. 
 
 To deforibe the Cymaife, draw a right Line from the lower Corner of the 
 Fill t, mar fid a, to the upper Corner of that of the Ogee mar fid b j divide 
 this Line equally in two at c, and, on each Half make an equilateral Tri- 
 angle ; the Soints of thefe Triangles, marked d and e, are the Centers of 
 the two Sortions of a Circle, each, of which, form half the Sweep of the 
 Cymaife. To make this Sweep more curved , as is fometimes done, when 
 we would give the Moulding lefs SrojeElure, the Lines of the Sides of the 
 Triangle, at the InterfeEiion of which is the Center, muft be fhortned. 
 
 The Defcription of the Ogee, is much after the fame Manner 5 Divide the 
 SrojeElure, given to the Ogee and its Fillet, into five or fix Sarts, take one 
 of thefe Sarts for the SrojeElure, which the Ogee has beyond the Member, 
 upon which it is fit, provided it be not an Afiragal, for the lower fart of 
 an Ogee has no SrojeElure over an Afiragal ^ another Sart is for the Sro- 
 jeElure which the Fillet has beyond the Ogee at Head : from thefe two Soints 
 o and i, draw a right Line, which divide into two Sarts, as in the Cy- 
 maife, and proceed in the fame Manner by two Triangles, and by the Sor- 
 tions of Circles deferib’d from Centers on the Soints of the Triangles, to draw 
 the Contour. The Curvature of this Member is fometimes fo great, that 
 each Sart is almofi an entire Semi-circle, as is feat in the upper Ogee of the 
 Architrave of Conftantine’r Arch. 
 

Fart II. five Kinds of Column f. 
 
 chap. in. 
 
 the IONIC Order. 
 
 Proportions of the Ionic Order, bear 
 the fame Relation to them of the Doric, 
 and the other more delicate Orders, as 
 thofe of the Tujcan do to the Doric, ex- 
 cept as to the Diminution of the Co- 
 lumn, which is much greater in the Tuf- 
 can , than in the others, where it is al- 
 ways alike. The Character of the Ionic 
 Order, is much more particular, the 
 Bale of the Column, the Capital, and the Cornice of the Enta- 
 blature, being fuch, as render it more different from the other Or- 
 ders, than the Doric is from the Tujcan. 
 
 The whole Order, as was faid before, confifts of forty little 
 Modules, of which, the Pedeftal has eight, the Column twenty- 
 fix, and the Entablature fix. Thefe Parts of the Pedeftal are de- 
 termin’d as ufual, as may be feen in Plate I. the Bafe having a 
 Fourth of the whole Height of the Pedeftal, the Cornice one Eighth, 
 and the Mouldings of the Bafe one Third of the whole Bafe. ° 
 
 The Mouldings of the Bafe of the Pedeftal, which are two in B A S E 
 the Tujcan Order, and three in the Doric, are four here : namely, of the 
 an inverted Cymaife with its Fillet, and a Hollow, with its Fillet Pedeftal. 
 under it. To find the Heights of thefe Mouldings, the Third of 
 the Bafe, which, in the Tujcan, is divided into fix, and, in the Do- 
 ric, into feven, is here divided into eight : four of thefe Parts are 
 given to the Cymaife, and one to its Fillet ; two to the Hollow, 
 
 E. and 
 
66 The Ordonnance of the Part II. 
 
 Chap.III. and one to its Fillet. The Procedure of the Hollow is one Fifth of 
 the little Module, taken from the Naked of the Die, that of the Fil- 
 let of the Cymaife is three Fifths. - — 
 
 The Charader, of this Bafe, is taken from the Ionic Order of 
 the Temple of Manly Fortune, and differs from it in nothing, but 
 that the latter has a Fillet between the upper Part of the Cymaife, 
 and the Fillet of the Hollow ; and, that the Fillet of the Cymaife 
 is extraordinary large. Palladio and Scamozxj, inftead of the little 
 Fillet, which is between the Cymaife and the Hollow, put an 
 Aftragal. 
 
 Cornice Th e Members of the Cornice, which are three in the Tufcan , 
 of the and four in the Doric, are five in number here : namely,- a Hollow 
 
 Pedeftal. with its Fillet above, and a Drip, or hanging Square, crown’d 
 with an Ogee and its Fillet. To find the Heights of thefe Mem- 
 bers, divide that of the whole Cornice into ten Parts, as it is divi- 
 ded into nine in the Doric, and eight in the Tufcan : two of thefe 
 Parts are given to the Flollow, and one to its Fillet ; four to the 
 Drip, two to the Ogee, and one to its Fillet. The Proje&ure of 
 the Hollow is one Fifth and a Half of the little Module, taken from 
 the Naked of the Die, that of the Drip is three ; and that of the 
 Ogee and its Fillet, is four. 
 
 The Charatter of this Cornice has no Agreement either with 
 that of the Antique, or the Moderns : In the Temple of Manly For- 
 tune, it confifts of ten Members, which make it ftrangely confus’d : 
 and one may fay, that the Cornices of Palladio and Scamo^i are 
 alfo too full of Members for the Order ; thofe that they preferibe 
 for the Corinthian and Compofite, not having more than they allow 
 this. 
 
 f 
 
 Vnuyvrus 
 
Part II. five Kinds of Columns , 
 
 67 
 
 Ionic 
 
 Tulcan. ' Doric 
 
 on in 
 
 
 
 Vnuyvivs defcribes a Bafe for the Ionic and Corinthian Columns, BASE 
 which moll of the Moderns ufe only for the Ionic, and which is found of the 
 in none of the Ionic Works that remain of the Ancients, who always Column- 
 gave it the Attic Bafe : Some of the Moderns, as Alberti and Viola, 
 give it the Corinthian Bafe, and only follow Vitruvius, in that they 
 give, as he does, the fame Bafe to the Ionic and Corinthian Co- 
 lumns. 
 
 The Proportions of this Bafe, according to Vitruvius, are found 
 by dividing the whole Height of the Bafe into three ; one of which 
 is given to the Plinth, as in the Attic Bafe ; the Remainder being 
 divided into feven Parts, three are given to a Torus, which is at 
 the upper Part of the Bafe, what remains, is again divided into 
 two, and each of thefe two Parts into ten others, of which, two 
 are for a Fillet under the Torus, five for a Scotia, one for the low- 
 er Fillet of the Scotia, and two for an Aftragal, which is accom- 
 panied with another Aftragal of the fame Bignefs, and with ano- 
 ther Scotia, having the fame Dimenfion and the fame Fillets as the 
 former, the greater Fillet being upon the Plinth. 
 
 V it nv- 
 
68 The Ordonnance of the Part It 
 
 Chap.III, Vithwivs has riot given the ProjeCtares of this Bafe ; I take 
 them as ufual, by Divifions of the little Module into five ; <fivino- 
 two Fifths and a Half to the ProjeCture of the Torus, two to that 
 of the Aftragals, one and a half to the Fillet under the Torus, one 
 and three quarters to the Fillets next the Aftragals, and two and 
 three quarters to the Fillet which lyes upon the Plinth. 
 
 The Character of this Bale has fomething in it fo odd, by rea- 
 fon of the largenefs of the Torus above, and the Weaknefs of the 
 Fillet next upon the Plinth, that ’tis no wonder the Ancients reje- 
 cted it : and I place it here, only to diftinguifh the Orders, by 
 whatever each of them may have in particular. De Lome propo- 
 fes another Ionic Bafe, which he pretends to have found in fome 
 Antique Buildings : It differs from that of VitruYms, in that he puts 
 two Aftragals, of different Bignefs, between the Plinth and the 
 Fillet of the firff Scotia. 
 
 SHAFT That which renders the Shaft of the Ionic Column different 
 of the from that of the Doric, is the manner of its Flutings, which are 
 
 Column, common to this, and to the Corinthian and Compojite. Thefe Flu- 
 tings differ from the Doric in their Number, which is twenty-four, 
 and, fometimes, thirty-two, according to Vi truYnts and the Mo- 
 derns, whereas the Doric has but twenty 5 though, in the Temple 
 of Manly Fortune, which is the only fluted one of the Antique Ionics 
 at (Rome, there are but twenty Flutings : But their Character has 
 itill fomething more particular, they not being funk fhallow, as in 
 the Doric, but having the ufual Depth of the entire Semi-circle • 
 for there are few Columns like thofe of the Dantheon, where the 
 Flutings are hollowed lefs than the Semi-circle, or like thofe of the 
 Temple of Jupiter Fulminans, where they are funk deeper. In fome 
 Buildings, the lower Third of the Flutings is half fill’d up, as ic 
 were by a Staff, or thick Rope, which makes them call’d cabl’d 
 Columns, that have this kind of Flutings. Sometimes, inftead of 
 Ropes or Staves, the Bottom of the Flutings is only fill’d up near 
 the Edge of the Side, as it is in the Columns within the D antheon : 
 bur, as thefe Ways of filling the Flutings, are found in very few 
 Works, one may affirm, that they ought to be but feldom put in 
 Practice, and Reafon directs they are not to be made ufe of, but 
 when Columns are fet upon the Level of the Pavement, and not 
 when they are rais’d upon Pedeftals, or in fecond Orders ; though, 
 in the Arch of Conflantine, the Columns that are fet upon the Pede- 
 ftals are cabled ; becaufe this filling up is for no other Purpofe, 
 than that the Sides might not be too much weakn’d by the Flutings, 
 and that they might not be broke by every Blow which their Hand- 
 ing low expofes them to : for, as to the Example of Conjl amines 
 Arch, there can be little Authority in that, it being the general 
 
 Opinion, 
 
The Ordonnance of the Part II, 6g 
 
 Opinion, that this Arch was built with the Ruins of fome other 
 Structure, where ’tis very probable the Columns flood upon the 
 Level of the Pavement. The Proportion of the Hollow of the 
 Flutings, to the Lift between them, which is what we call the Side 
 is not perfectly determin’d, but the mean Proportion is to give the 
 Side a third Part of the Breadth of the Fluting : that is to fay, each 
 twenty-fourth Part of the Periphery of the Column being divided 
 into four, three of them fhould be given to the Fluting, ° and one 
 to the Side. 
 
 These Flutings have different Chara&ers, as to the Manner 
 how they terminate towards the Sweeps at the Bottom and Top 
 of the Shaft. The mod ufual, is to make them round as the Head 
 of a Niche : Sometimes thefe Extremities are cut quite ftrait, as in 
 the Temple of Vcfia, at TtVoli ; fometimes they are cut juft con- 
 trary to the firft mention’d, the Naked of the Column making a 
 Semi-circle on the Fluting, as they were at the Tuteles at Bow- 
 deaux. 
 
 The Ionic Capital confifts of three parts : namely, an Abacus, Capital, 
 which has no more than an Ogee and its Fillet ; a Rind, which 
 produces the Volutes or Scrouls, and an Ovolo, or Quarter-round • 
 for the Aftragal, that is under the Ovolo, belongs to the Shaft of 
 the Column. The middle part is, by fome, call’d the Rind or 
 Bark, becaufe it refembles the thick Bark of a Tree, which having 
 been laid on the Top of a Vafe, whofe Brim is reprefented by the 
 Ovolo, feems, in Drying, to be fhrunk up underneath. VitruYim 
 fiys, that this twirling, which the Volutes make on both Sides the 
 Capital, reprefents the Locks of Hair, which turn into Rin^s or 
 Buckle, on each Side the Womens Faces. 
 
 To find the Height of this Capital taken from the Top of the 
 Abacus down to the Aftragal, the little Module muft be divided 
 into twelve Parts, eleven of which are given to the whole Capital, 
 the Abacus having three, namely, two for its Ogee, and one for 
 its Fillet ; the Rind has four, one of which is for its Rim 5 and 
 the Ovolo has alfo four. From the Top of the Abacus, to the 
 Bottom of the Volute, are nineteen of thefe twelfth Parts of the 
 little Module. 
 
 To defenbe the Contour of the Volute, you muft begin at the 
 Aftragal, on the Top ot the Column, which fhould have two of 
 the foremention’d Twelfths in Thicknefs, and extend to the right 
 and left, as much as the Diameter of the Column below. This 
 Aftragal being drawn on the Face, where the Volute is to be trac’d, 
 a level Line muft be drawn through the middle of the Aftragal* 
 and continued beyond the Extremity thereof : then, from the Top 
 of the Abacus, let fall Perpendicular to the former, another Line 
 
 S paffing 
 
7 o The Ordonnance of the Part II 
 
 Chap.III, paffing through the Center of the Circle, whofe half defcribes the 
 Out-line of the Aftragal : This Circle, which has two T welfths in 
 Diameter, is, by VitruVtus , call’d the Eye of the Volute; and ’tis 
 within this Circle, the twelve Points are to be plac’d, which ferve 
 for Centers to the four Quarters of each of the three Revolutions 
 that compofe the Scroul. To find thefe twelve Points, in the Eye 
 of the Volute, defcribe a Square, whofe Diagonals, are one in the 
 Horizontal Line, and the other in the Plum-line, interfering each 
 other in the Center of the Eye. From the middle of the Sides of 
 this Square, draw two Lines, which divide the Square into four, 
 and each Line being parted equally into fix, they give the twelve 
 Points required. To defcribe the Volute, fet the fix’d Leg of the 
 Compalfes on the fitft Point, which is in the middle of the inner 
 and upper Side of the Square, and extend the other Leg to the 
 Place where the perpendicular Line cuts that of the lower Part of 
 the Abacus, and draw a Quarter of a Circle outwards and down- 
 wards, till it meets the horizontal Line. From this Place, having 
 fet the fix’d Leg in the fecond Point, which is in the middle of the 
 upper and outer Side of the Square of the Eye, make the iecond 
 Quarter of a Circle, turning downwards till it meets the Plum-line, 
 and from thence, having plac’d the fix’d Leg in the third Point, 
 which is in the middle of the lower and outer Side of the Square 
 of the Eye, draw the third Quarter of a Circle, turning upwards 
 and inwards till it cut the horizontal Line. From thence, having 
 fet the fix’d Leg in the fourth Point, which is in the middle of the 
 lower and inner Side of the Square of the Eye, defcribe the fourth 
 Quarter of a Circle, turning upwards and outwards, till it touch 
 the Plum-line. From thence, having plac’d the fix’d Foot in the 
 fifth Point, which is under the firft, tending towards the Center, 
 draw the fifth Quarter of a Circle, and, in the fame manner, the 
 fixth from the fixth Point, which is below the fecond, and the fe- 
 venth from the feventh Point, which is next the third ; and thus go- 
 ing on from Point to Point in the fame Order, you form the twelve 
 Quarters, which make the fpiral Circumvolution of the Scroul. 
 
 The Thicknefs of the Edge, or Border, which is on the Face 
 of the Volute, and which, under the Abacus, is one of thofe twelve 
 Parts, as has been faid, ought to go ftill narrowing, by little and 
 little, till it comes to the Eye : this Border is rais’d above the Vo- 
 lute, one twelfth Part of the Breadth of the Rind, which was four 
 of the Twelfths beforemention’d : Now, as the Rind grows nar- 
 ower and narrower, and this Border diminilhes proportionably, its 
 Elevation ought alfo to diminifih, and this Diminution is determin’d 
 by the Breadth of the Rind of which, it is always the twelfth Part. 
 This Border is defcrib’d by a fecond Draught, in the fame Manner 
 
 as 
 
7 i 
 
 Part II. five Kinds of Columns. 
 
 as the firft was, placing the fix’d Foot of the Compaffes in twelve 
 other Points, very near the firft, namely, at the fifth part of the 
 Diftance that is between the former, under which they ought to be, 
 reckoning towards the Center of the Eye. To find the Projetfure 
 of the Abacus, you give the Ogee and its Fillet a Projedture beyond 
 the perpendicular Line, equal to the Height of the Ogee, which is 
 two Twelfths. 
 
 The Projedture of the Ovolo is equal to its Height, which is 
 four Twelfths. This Member is carv’d with an Ornament, com- 
 monly call’d an Egg, becaufe of its oval Shape. The Greeks call’d 
 it Echinos , becaufe they thought thefe Ovals reprefented Chefnuts 
 half inclos’d in their Shell, which is cover’d with Prickles, like thofe 
 of a Hedghog, call’d Echinos in Greeks five of thefe Eggs are cut 
 in each Face of the Capital, of which there are but three that ap- 
 pear entire, the two that are near the Volutes, are partly cover’d 
 by three fmall Husks, which ifliie out of a Leaf, whofe Stalk lyes 
 upon the firft Circumvolution of the Scroul. 
 
 The Volutes hitherto defcrib’d, are on the Face of the Capital in 
 Front, and on that behind it ; the Faces, on the Sides, are of ano- 
 ther Fafhion. Vitruvius calls this Part on the Side, the Pillow. 
 The Moderns give it the Name of 'Ballujler, becaufe it refembles the 
 Cup of the Flower of the wild Pomegranate, call’d Halauftion in 
 Greek. This ‘Ballujler is double, having a Pomegranate in the mid- 
 dle. Its Edges, towards the Volutes, are two Twelfths, according 
 to Vitruvius i that is, the Breadth of the Eye. The Profile, or 
 Contour of the Pomegranate, is, by the lame Author, call’d the 
 Girdle or Belt 5 but the Out-line of it, which he makes a Semi- 
 circle, agrees not with what we find given it in the Works of the 
 Antique , where it has an irregular Form not to be defcrib’d without 
 a Figure. This Ballufter is carv’d with great Leaves, as the Pome- 
 granate is likewife cover’d with fmall Leaves of Laurel, rang’d like 
 Fifties Scales. 
 
 The Proportions of this Capital, which are thofe of Vitruvius, 
 but explain’d in a more eafy and regular Manner, agree not in eve- 
 ry thing with the Examples left us by the Antients and Moderns : Its 
 Height, which I make of eighteen Minutes, as it is in the Colifeum, 
 and which come near the Proportion Vitruvius gives it, is twenty- 
 one Minutes and two Thirds in the Theatre of Marcellus, and twen- 
 ty-one and a Half in the Temple of Manly Fortune. The Echinus, 
 or Ovolo, which I make of the fame Height as the Rind or Bark, 
 is larger than all the reft of the Capital, in the Temple of Manly 
 Fortune 5 and it is lefs than the Rind in the Theatre of Marcellus. 
 The Voluta, whofe Height I make twenty-fix Minutes and a Half, 
 is but twenty-three and a Quarter in the Temple of Manly Fortune , 
 
 twenty- 
 
Part II. five Kinds of Columns. 
 
 twenty-four and a Half in the Colifcum, and twenty -fix and a Quar- 
 ter in the Theatre of Marcellas. The Breadth of the Volute, which 
 I make of twenty-three Minutes and a Third, as in the Colifcum, is 
 twenty-five and a Quarter in that of Manly Fortune ; and twenty- 
 four in the Theatre of Marcellas. The fame Diverfity of Propor- 
 tions, is found among the Modern Authors, the Ovolo, which is 
 greater than the Rind in Palladio, Vignola, Barbara, Bull ant, and 
 Be Lot me, being equal to it in Alberti and Scamozgi. 
 
 The Differences of the Character, are, firft, that in the Antique, 
 as well as in fome of the Moderns, as Vignola, Serlio, and Barbara, 
 the Eye of the Volute anfwers not the Aftragal on the Top of the 
 Column, as moll; of the Moderns make it, following Vitruvius, who, 
 having faid, that from the Center of the Eye, to the Bottom of the 
 Volute, there are three Parts and a half, he then adds, that there 
 are three below the Aftragal for the Defcent of the Volute : for, 
 from thence, it follows, that the Eye of the Volute, and the Aftra- 
 gal, are in the fame Place, fince the Dimenfion of the Eye, being 
 one Part, as it is, there is then a half Part from the Center to the 
 under Part thereof, which makes the Space, between the Aftragal, 
 and the Bottom of the Volute, lefs by half a Part, than that which 
 is from the Center of the Eye. 
 
 In the fecond Place, the Face of the Volutes, which ufually make 
 a ftrait Flat, is fomewhat curv’d and convex in the Temple of Manly 
 Fortune, fo that the Circumvolutions go advancing outwards, as 
 they do in the Compojite Order of the Arches of Titus, and Septimius, 
 and in the T emple of Bacchus. 
 
 Third it, in this Volute of the Temple of Fortuna Virilis, the 
 Border, or Rim of the Scroul, is not only a plain Sweep, as ufually, 
 but the Sweep is accompanied with a Fillet. Fourthly, the Leaves 
 which inveft the Ballufter, are fometimes long and narrow, either 
 in Water-leaves, as in the Theatre of Marcellus, or elfe rafted very 
 fmall, as Palladio and Vignola make them : Sometimes they are large 
 after the Manner of the Olive-leaves, which are cut in the Corinthian 
 Capital; as they are in the Temple of Manly Fortune. Fifthly, on 
 the angular Columns of the Temple of Manly Fortune, the two Fa- 
 ces of the Volutes are join’d together at the outward Corner, and 
 the Ballufters meet in the fame manner at the inner Corner, which 
 was done to hinder the Capitals of the Columns which make the 
 Return, from having their Faces on the Front and Back-part of the 
 Temple, different from thofe which are on the Sides ; namely, one 
 with Volutes, the other with Ballufters ; for, by this Means, they 
 appear with Volutes on all Sides. 
 
Part II; five Kinds ofi Columns. 7 3 
 
 This Difference of Faces in the Ionic Capital, which renders it 
 inconvenient, has oblig’d the Moderns, following Scamo^i, to chanoe 
 it, in making its four Faces alike, by 'taking away the Ballufter, 
 bending all the Faces of the Volutes, and hallowing them inwards, 
 as they are in the Compofite Order. There are, however, two Things 
 may be cenfur’d, in the Capital of Scamozgj ; One is, that the Volute 
 is of an equal Thicknefs, whereas, in the Ionic of Fortuna V'trilis, 
 and every where in the Compofite Capitals, from whence this Vo- 
 lute was taken, it goes, enlarging itlelf, downwards, very grace- 
 fully. The other is, that he caules the Volute to fpring from the 
 Echinos, or Ovolo, as from a Vafe, after the Manner of the Com- 
 pofite of the Moderns, who have introduc’d this Change, contrary to 
 what we find in mod of the Compofite Works of the Antique, where 
 the Bark palfes over the Ovolo, and under the Abacus, quite flrait, 
 and turns only at its Extremities, which form the Volute : for, 
 without that, the Abacus of the Ionic Capital, which is only an 
 Ogee, appears too thin a Member, and feems to need Support from 
 the Bark, as it has in the Ionic Volute of the Ancients. I think it 
 may alfo be objected, that the Architects, who make ufe of the 
 Capital of Scamozj(i, have chofen that Manner of the two, he pro- 
 pofes, which feems leaf! fuitable to the Ionic Order 5 for this Au- 
 thor makes the Abacus two Ways ; one of which, ij/with a Sweep, 
 as the Volute, as it is in the Compofite Order ; the other is left flrait, 
 and perfectly fquare, as it is in the Ancient Ionic, and in that of the 
 Temple of Manly Fortune, where, the Abacus does not extend it- 
 felf on the Corners of the Volutes, there being only a Leaf, which 
 coming from under the Corner of the Abacus, turns itfelf down 
 upon the Volute, and defcends, till it comes juft againfl the Eye 
 of the Scroul 5 and flill more to diflinguifh this Order from the 
 Compofite, there is no Flower between the Volutes. 
 
 Of late Years, Sculptors have added an Enrichment to the Ionic 
 Capital, which Scamo^i, who new modell’d it, had not inferted 5 
 which is the making Feltoons; that, together with the fmall Husks 
 of the Volutes, fpring from the Flower, whofe Stalk lies upon the 
 firft Circumvolution of the Scroul : and, it feems, that they 
 would, thereby, reprefent the Curls of Hair, hanging down on 
 both Sides of the Face, which VitruYius would have iignified by the 
 Volutes: for, it may be faid, that the Volutes reprefent, rather the 
 Locks of Hair twifled up, and, that the Fefloons bear more Re- 
 femblance to the Buckles of Hair in Curl. 
 
 ’Tis farther remarkable, that there is an Opinion amongfl Ar- 
 chitects, that the Volutes of this Temple are more oval, and broad- 
 er fideways, than they are commonly made, which is not true ; 
 for, although the Capitals of this Building are different, and moft 
 
 T of 
 
74 Part II. five Kinds of Columns, 
 
 Chap.III. 0 f them imperfect, it is certain, that thofe which are finifh’d, are 
 far from having the Volute oval, breadthwife ; having it rather fo up 
 and down, being twenty-fix Minutes and a half high, and twenty- 
 three Minutes and a half wide 5 whereas, in the Theatre of Mar- 
 cellus, where they are but twenty-fix Minutes and a Quarter high, 
 
 • they are. twenty-four wide. 
 
 Entabla- The Entablature has the ufual Height of two Diameters of the 
 ture lower Part of the Column, or fix little Modules. It is alfo divided 
 as in all the other Orders except the Doric, into twenty Parts ; of 
 which, the Architrave has fix, and the Freeze as many, the eight, 
 which remain, being for the Cornice. The Proportions of the 
 three Parts, whereof this Entablature is compos’d, are different in 
 Authors. Vitruvius makes the Freeze greater than the Architrave ; 
 wherein, Vignola and De Lome have imitated him. On the con- 
 trary, in the Temple of Manly Fortune, and in the Theatre of Mar- 
 cellus, the Freeze is lefs than the Architrave ; and this Proportion 
 has been followed by Palladio, Scamsgi, Serlio, PSarbaro, Cataneo, 
 and Viola. Alberti, whom I follow herein, keeps the Middle, and 
 makes the Freeze and Architrave equal : He, alfo, gives eight 
 Parts to the Cornice, of which, the Architrave and Freeze have 
 each fix, which are the fame Proportions I give thefe Parts. 
 
 Archi- To find the Heights of the Members of the Architrave, divide 
 trave. it into five Parts ; giving one to the Cymaife, compos’d of an O- 
 gee and its Fillet : the Remainder being divided into twelve Parts, 
 the firft Face of the Architrave has three, the fecond four, and the 
 third five. The Projeclure-s are determin’d by fifth Parts of the 
 little Module ; fo that a Quarter of one of thefe Fifths, are given 
 to the Projedture of each Face, and an entire Fifth to the Ogee with 
 its Fillet 5 which makes together, one Fifth and a Half, for the Pro- 
 jedfute of the whole Architrave. 
 
 These Proportions are not found in all thofe Works we 
 take our Examples from ; the Cymaife is lefs in Vitruvius than we 
 make it 5 he hollows it but the feventh Part of the Architrave, 
 whereas I make it the fifth, as it is in the Theatre of Marcellas ■ 
 becaufe, in the Antique, it is fometimes much greater, being in the 
 Colifeum, two Ninths, and, in the Temple of Manly Fortune, two 
 Fifths. The Moderns, alfo, differ fome from others, Serlio and Dul- 
 lant make it little, according to Vitruvius, and others make it large, 
 as Palladio, Vignola, Alberti and Viola. 
 
 The Character is alfo different, in that there are Aftragals, 
 fometimes, inferted between the Faces, as Palladio has done. In 
 the Temple of Manly Fortune, there is but one, and that is not be- 
 tween the Faces, but in the Midft of the fecond Face. Scamosgi 
 puts one under the Cymaife, as in the Corinthian Order. I think 
 
The Or down an ce of the Part I L 75 
 
 the Plainnefs that Vitruvius gives this Architrave, in cutting off the: 
 Aftragals, fuics beft with this Order, which fhould not have thofe 
 Ornaments that are peculiar to the more delicate; though Vitruvius 
 makes no fuch Difference between thefe two Orders, which he di- 
 ftinguifhes, from each other, only by their Capitals 5 the Corinthian , 
 according to thefe Heights, borrowing, fometimes the Entablature 
 of the Ionic Order, fometimes that of the Doric : For, if Architects 
 fince Vitruvius , have added Ornaments to the Corinthian Order, they 
 have done it, in my Opinion, with more Reafon, than thofe who 
 would give thefe very Ornaments to the Ionic Order. The Faces 
 are fometimes made leaning backwards, and the Soffit of their Pro- 
 jetfture not diredt, but rifing up before, as in the Temple of Manly 
 Fortune ; and 'tis pretended this is done, that the Projedtures, and 
 Heights of the Members, may appear otherwife than they really 
 are. Vitruvius would have all the Faces of the Members in Enta- 
 blaments, incline forward, pretending that this Inclination makes 
 them appear plum. We find, however, in the Antique, that the 
 Faces are oftner made leaning backward than forward. But all 
 thofe Things are confider’d in a feparate Chapter, where I difcourfe 
 of the Change of Proportions. However, my Opinion is, that all 
 that fihould appear plum and level, ought to be really made fo ; 
 and, in all the Members, of what Order foever it be, I oovern my- 
 felf by this Rule. ° 
 
 The Freeze, fmall and fwelling, as Vitruvius has made it, is not Freeze, 
 found pradtifed in the Antique, unlefs it be in the Baths of Diocle- 
 fian-, and mod of the Moderns have fiiewn diflike to it. 
 
 The eight Twentieths of the whole Entablature, which are al- Cornice 
 lowed to all the Cornices, except that of the Doric Order, regulate of the 
 the Height of this, and that of all its Members, which are Ten in Entabla- 
 Number. The firft, which is an Ogee, has one of the Twentieths ; ture, 
 the fecond, which is a Dentel, has one and a half ; the third is a 
 Fillet, which has one Fourth of a Part ; the fourth is an Aftragal, 
 which has as much ; the Fifth is a Quarter- round, which has one 
 Part ; the fixth is the Corona, which has one and a half; under 
 the Corona there is a Drip, whofe Depth is one Third of a Part; 
 the feventh Member is an Ogee, which has half a Part ; the eighth 
 is a Fillet, which is a Quarter of one ; the ninth is the Cymaife, 
 which has one Part and a quarter ; the tenth is the Lift, or Square 
 of the Cymaife, which has half a Part. 
 
 The Projedtures are govern’d by Fifths of the little Module, of 
 which, twelve are given to that of the whole Cornice : the O tree 
 has one, taken from the Naked of theTreeze; the Denticle three; 
 the Ovolo, or Quarter-round, with the Aftragal and Fillet under 
 it, four and a half ; the Corona eight and a half ; the Ogee, with 
 its Fillet, nine and a half; and the Cymaife twelve. For 
 
76 
 
 Chap.III. 
 
 The Ordonnance of the Part 11 
 
 For. cutting the Dentel, divide the Height into three Parts, gi- 
 ving two of them to the Denticle, and one to the Space between. 
 
 That, wherein thefe Proportions differ from the Antique , and 
 th e Moderns, is, chiefly, in the Cutting of the Dentel; which, Vi - 
 truVius , and fome Moderns , as 'Barbara, and Cataneo , make very nar- 
 row, giving but half the Height of the Dentel for its Breadth, and 
 two Thirds of the Breadth for the Space between ; and which, o- 
 thers, as Vignola and Serlio, make larger. The Proportion, I af- 
 fign it, is the fame with that in the Theatre of Marcellas , the Cold- 
 fmiths Arch, that of Septimius, the Temple of Jupiter Fulminans, and 
 in the three Columns of Campo Vaccino : for, ' as Vitruvius makes the 
 Dentel very narrow, fo it is fometimes in the Antique made very- 
 large, having almofl: as much Breadth as Height, as it is in the 
 Temple of Manly Fortune, at the Market at NerVa, and the Arches 
 of Titus and Conjiantine. 
 
 The Character I have here made Choice of, is that of Vitruvius , 
 and the Antique, which confifts in that the Ionic Cornice has Denti- 
 cles, which has been follow’d by mod of the Moderns, as Serlio, 
 Vignola, Barbara, Cataneo, Bullant, Be Forme, and Alberti : Thofe, 
 who infert Modillions, as Balladio, Scamoz^i, and Viola, borrow 
 their Cornice from the Temple of Concord, which is an irregular 
 Ionic in all its Parts, but principally in its Cornice ; Modillions be- 
 ing the Character of the Corinthian and Compofite Cornices, as Mu- 
 tules are of the Boric, and Dentels of the Ionic ; and I cannot think 
 that Imitation ought to be approv’d, which Architects have made 
 of the Cornice of the Temple of Concord, as Scamoz^j is commen- 
 ded for having taken the Model of his Ionic Capital from this an- 
 cient Structure. Neither have I cut Eggs in the Quarter-round, 
 which is over the Dentel, nor Leaves with Tongues, or any other 
 Carving in the Ogees of the Architrave or Cornice ; becaufe I think 
 it renders this Cornice too rich for the Order ; which, Vitruvius al- 
 lows no other Ornament but a Dentel. In Cornices, that are not 
 cover’d by a Pediment, Vitruvius puts in the great Cymaife, direCt- 
 lv over each Column, and, in the Spaces, between the Columns, 
 Lions Heads, at equal Diftances, and would have thofe, that are 
 over the Columns, cut through, for carrying off the Water that 
 falls on the Cornice and Roof In the Temple of Fortuna Virilis, 
 thefe Heads neither anfwer the Perpendicular of the Columns, nor 
 the Spaces between them, with Regularity. 
 
 The 
 
77 
 
 The EXPLANATION of 
 
 Plate IV. 
 
 A ; i 'HE 'Safe which Vitruvius gives to all the Orders that have any ; 
 
 M and which , the Moderns appropriate folely to the Ionic. That 
 Piece of the Shaft of a Column, which is fet upon it, is fluted after that 
 Manner we call cabled Flutings. 
 
 BCD The Plan of this Safe. C The Plan of the cabled Flutingsl 
 D Tl)e Plan of that fort of Fluting, which is on the Columns within the 
 Pantheon. 
 
 E The Face of the Ionic Capital of the Antients. 
 
 F The Side of the fame Capital. 
 
 G The Side of the Modern Ionic Capital, reform’d by Scamozzi, 
 and keeping that Form which 1 think, it ought to have, which is to continue 
 its Pjnd or Barf upon the Vafe, without entring into it. You may objerve, 
 that the Part of the Column join'd to it, has the Top of its Flutings cut 
 after the Manner of thofe at the Tuteles at Bourdeaux. 
 
 H The Plan of the reform’d Modern Capital. 
 
 L The Defcription of the Antique Ionic Volute. 
 
 K The Eye of the V olute, {hewn at large, which, in the Volute L, is 
 mar If d a. From a, to b, is the height of the Ititle Module, parted into 
 twelve, of which, the eleven from i, to b, make the Height of the Capital \ 
 and the nineteen taken from b, to the bottom, determine how far the Vo- 
 lutemufl defcend ; d, e, is the horizontal Line, continued through the Cen- 
 ter of the Eye. 
 
 To defcribe the Contour of the Volute, fet the fix’d Foot of the Compares 
 on the firfl Point, anfwering that marlfd i, in the Eye K, and extending 
 the other Foot to m, in the Volute L ; draw outwards the Quarter-circle 
 mar If d m, n. From this Place, having fet the fix’d Foot on the fecond 
 Point, anfwering that marlfd i, in the Eye K, defcribe the fecond Quar- 
 ter-circle marlfd n, o ; and from thence, placing the fix’d Foot on that 
 which anfwers the Point 3, draw the third Quarter-circle from o to d ; 
 from thence, likewife, fetting the fix’d Foot on that which anfwers the 
 Point 4, draw the fourth Quarter of a Circle from d to s 5 and then, pla- 
 cing the fix’d Foot on that anfwering the Point 5, defcribe the fifth Quar- 
 ter-Circle marlfd s, t ; and fo on, from Point to Point, till you have drawn 
 the three Circumvolutions. 
 
 The Line c, anfwers to the Naked of the Bottom of the Column. That 
 which is marlfd m, u, t, gives the Out-line of the Pomegranate of the Bal- 
 lufler, which Vitruvius calls the Belt or Girdle, V 
 
CHAP. IV. 
 
 Of the CORINTHIAN Order. 
 
 I T^UFlUS makes the Corinthian and 
 Ionic Order, differ only in their Capitals, 
 whole Proportion and Character have 
 nothing alike : But we find in Structures, 
 built fince his time, other Differences 
 than thofe of their Capitals ; for the 
 Shaft of the Corinthian Column is fhorter 
 than that of the Ionic : the Bafe is quite 
 different. The Architrave, befides the 
 three Faces, and the Cymaife, has alfo two Aftragals and an Ogee. 
 The Cornice has an Ovolo, and Modillions, which are not in the 
 Ionic Order of VitruVms. 
 
 BASE I n the firft Part of this Treatife, where are eftablifh’d the Pro- 
 0 f t i, e portions in general, there is given to the entire Order, forty-three 
 Pedeftal. little Modules; whereof, the Pedeftal has nine, the Column twen- 
 ’ ty-eight, and the Entablament fix. The Proportions were alfo ad- 
 jufted, by giving the whole Bafe a Quarter of the Height of the 
 Pedeftal, and half a Quarter to the Cornice; the Zocolo, or 
 Plinth of the Bafe, having two Thirds of the whole Bafe, the o- 
 ther Third is parted into nine ; whence are taken the Heights of the 
 five Members, whereof this Part is compos’d ; which are a Torus, 
 an inverted Cymatium, with its Fillet, and an Ogee, with its Fil- 
 let under it. The Torus has two Parts and a half of the nine; the 
 Cymatium three and a Half, which Half is for the Fillet; the Ogee 
 rwo and a Half, and its Fillet half a Part. The Procedure of the 
 
 Torus 
 
Par ' .I five Kinds of Columns. 
 
 Tori at of the whole Bafe ; that of the Cyniatium is two 
 
 Fifth d three Quarters of the little Module 3 and that of the 
 Ogf with its Fillet, is one Fifth. 
 
 The Character of this Bafe, is taken from Palladio , who has 
 fo! wed the Example of that of the Arch of Conflantinc , in every 
 th ig but this, that inftead of the Ogee, which makes the upper 
 A' mber of Palladios Bafe, that has an Aftragal, with a Ca vettd, 
 cr fmall Hollow upon it. In the Altars of the Pantheon , his alfo 
 much the fame, all the Difference being, that the Ogee there has 
 an Aflragal, which fupplies the Place of this Fillet. Cornice 
 
 In the Cornice, the fix Members that compofe it, are an Ogee, of the 
 with its Fillet 5 a Cymatium that rifes under the Corona, which it Pedelhl 
 hollows to make a Drip, a Corona, and an Ogee, with its Fillet, 
 or Square upon it. The whole Cornice is divided into eleven 
 Parts, of which, the lower Ogee has one and a Half, and its Fil- 
 let half a one 5 three are given to the Cymatium, three to the Co- 
 rona, two to the Ogee that crowns it, and one to its Fillet. The 
 lower Ogee, with its Fillet, has, in Projedture, one fifth Part of 
 the little Module, reckoning from the Naked of the Die 5 the Cy- 
 matium to the Drip, has two fifth Parts, and the Sixth of a Part 3 
 the Projecture of the Corona is three Parts 5 and that of the upper 
 Ogee, with its Fillet, is a Fifth of the little Module,beyond the Corona. 
 
 The Character of this Cornice, is alfo taken from Palladio, and 
 differs nothing from that of the Altars in the Pantheon, but, that 
 inftead of the upper Ogee, there is a Cymatium in the Pantheon. 
 
 In the Arch of Conjlantine, this Cornice is very irregular, not having 
 that Relation, the Cornices of Pedeftals generally have to their Ba- 
 fes, which is always to confift of a greater Number of Members 
 than the Bafes 3 for it is fo plain there, that inftead of ,fix Mem- 
 bers, as I allow it, it has but four; namely, a Fillet, an Aftragal, 
 and a Cymatium with its Fillet 3 and its Members are alfo very 
 difproportionate; the Fillet, which is under the Aftragal, being ex- 
 tremely fmall, and the Aftragal, with the Cymaife, excelfively 
 great. In the Temple of Fejia at Tivoli, we find the fame Difpro- 
 portion, but ’tis in the Bafe, which confifts of no more than a large 
 inverted Ogee, with its Fillet, which do the Office of Bafe, and 
 Z-ocolo to the Pedeftal. 
 
 The Antient Architects, who came immediately after Vitruvius, g AS E 
 invented a Bafe for the Corinthian Column, that feems to be a 0 ( £ /, e 
 Compofition of the Attic and Ionic Bafe 3 for it has two Tores as(y 0 [ umn . 
 the Attic, and two Aftragals, and two Scotias, as the Ionic. In 
 this Diverfity of Proportions, found in the Examples, which the 
 Works of the Antients and Moderns give to this Bafe, keeping my 
 accuftom’d Medium, I take the Heights of all the Members, by 
 
 Divifions 
 
8 o The Ordonnance of the Part II. 
 
 Chap.IV. Divifions into Fourths, as was done in the Doric Capital by Thirds; 
 
 for the fourth Part of the Semi-diameter of the Column, which is 
 the Height of the whole Bafe, is the Height of the Plinth ; the fourth 
 of what remains, is the Height of the lower Torus ; the fourth 
 Part of what then remains, is the Height of the upper Torus ; the 
 fourth Part of the Remainder, is for the two Aftragals in the Mid- 
 dle, which have each half of this Fourth ; the Fourth of what re- 
 mains between each Torus, and each Aftragal, is for the greater 
 Fillet of the Scotia, which ought to be next each Torus ; the fourth 
 of what then remains, is for the lefTer Fillet, which fhould be con- 
 tiguous to the Aftragals ; and what afterwards remains, is for the 
 Scotias. 
 
 The Projedures are regulated, as before, by Fifths of the little 
 Module, fo that the great Torus, as alfo the Plinth, has three 
 Fifths, in Projedure from the Naked of the Column ; the Aftragals, 
 and the greater Fillet of the lower Scotia, have two Fifths ; the 
 upper Torus, and the lefler Fillets of the Scotias have one Fifth, 
 and three Quarters of a Fifth ; and the greater Fillet of the upper 
 Scotia, one Fifth and a Half. 
 
 Ih 
 
Part II. five Kinds ofi Columns. 8 i 
 
 In the Proportions, and the Character of this Bafe, I here give, 
 there is fcarce any thing makes it different from the Antique, but the 
 Proportions of the Scotias, which I make equal, though they are 
 found almoft always different in the Antique, that above being lefs 
 than the other. But as all the Modems make them equal, I 
 thought I could not do amifs in following thefe great Mailers. 
 
 What is remarkable in the Shaft of the Corinthian Column, is SHAFT 
 its Height, which, as has been faid, is lefs than that of the Ionic } of the 
 becaufe its Capital, being much higher, had the Shaft been length- Column, 
 ned proportionably to what is done in the other Orders, the entire 
 Column would have had too great an Augmentation of Height. 
 
 As for its Flutings, all that relates to them, has been Ipoken to in 
 the precedent Chapter, there being no Difference in the Flutings of 
 thefe two Orders, either as to Figure, or Number, for if fometimes 
 we find in the Antique, that the Ionic has fewer Flutings than the 
 Corinthian, as in the Temple of Fortum Virilis, where they are but 
 twenty in Number, there are alfo Corinthian Columns that have no 
 more, as in the Temple of the Sibyl at Tivoli. 
 
 The Corinthian Capital is ftiil more different from the three others, Capital, 
 than the Ionic is from the Doric or Tufcan ; for it has neither the 
 Abacus nor Ovolo, which are effential Parts common to the TuJ- 
 can, Doric and Ionic. Here is indeed an Abacus, but altogether 
 different from the others, having its four Faces circular and hol- 
 low’d inward, where there is a Rofe on each of the four. Inftead 
 of an Ovolo, and Annulets, here is only the Brim of a Vafe, and 
 that which is as a Neck, is very much lengthen’d, and enrich’d with 
 a double Row of eight Leaves in each, bending their Heads outwards, 
 from between which, arife fmall Stalks, from whence fpring the 
 Volutes, which have no Refemblance with thofe of the Ionic Capi- 
 tal, and which, inftead of four in the Ionic, are fixtecn in Number 
 here, four in each Face. 
 
 Fott the Height of this Capital, add to the Extent of the whole 
 Diameter, at bottom of the Column, one fixth Part, which makes 
 three little Modules and a Half. This Height being parted into 
 feven, the four loweft are for the Leaves 5 to wit, two for the fivft 
 Row of Leaves, and two for the fecond.The Height of each Leaf being 
 parted into three, the upper Part is for the Defcent, which the 
 Head of the Leaf makes on the Turn. The three Parts at top, 
 which remain of the feven, are for the Stems, Volutes, and Aba- 
 cus. This is divided into feven Parts, of which, the two upper 
 ones are given to the Abacus, the three next to the Volute, and / 
 the two loweft to the Stem or Stalks ; fo that one of thefe two 
 Parts is for the bowing dow’n of the Leaves of the Stems, of which, 
 there are two that meet and join at the Place where the Volutes 
 
 X come 
 
82 The Ordonnance of the PartIL 
 
 Chap.IV. come together and join, which is at the four Corners, and at the 
 four Middles of the Capital. Under the Horns of the Abacus, 
 where the Volutes meet, there is a fmall Leaf of the Acanthus, 
 which turns back towards the Corner of the Abacus, to fill the 
 Space which is between the Volute that defcends, and the Horn of 
 the Abacus that remains ftrait. 
 
 The Leaves, before mention’d, are divided, each making three 
 Ranges of lelfer Leaves, of which they are compos’d, and which they 
 have on each Side, befides the middle Leaf, which turns outwards ; 
 the lelfer Leaves are again parted generally into five, and then are 
 call’d Olive-leaves ; fometimes into three, and then take the Name 
 of Laurel-leaves. The middle Leaf, which bows its Head, is par- 
 ted into eleven, which are convex outward, whereas, the others are 
 fomething hollow. Above the Leaves, in the middle, there is a 
 Flower, which fhoots out between the Stems and the Volutes, like 
 the Stalk of the Rofe, which is in the Midlf of the Abacus. 
 
 T o make the Plan of this Capital, draw a Square equal to the 
 Plinth of the Bafe, and make an equilateral Triangle, of which, 
 -one of the Sides of the Square is the Bafe : the Angle, oppofite to 
 this Bafe, is the Center, on which to defcribe the Sweep of the A- 
 bacus : For the catting off the Horns of the Abacus, divide one of 
 the Sides of the Square into ten Parts, one of thefe is the Breadth 
 of the Florn on the Cant, which mult be made at right Angles to 
 the Diagonal of the Square. 
 
 The Proportions of this Capital are different in the Works of 
 the Antique, and in the Writings of Architects. In the Antique , the 
 whole Capital is fometimes a feventh Part lower, being no more 
 than the Diameter of the Column at bottom, as in the Temple of 
 the Sibyl at Tivoli, which agrees with Vitruvius : Sometimes it is 
 higher, as in the Temple of Vcjla at (ftome, and in the Frontifpiece 
 of Nero, where it has near two fixth Parts more than the Diameter 
 of the Column. It has fometimes the fame Height I give it, as in 
 the upper Order of the Colifeum, and in the Temple of Jupiter Ful- 
 minans : Sometimes it is only a fmall matter lower, as in the Fan- 
 theon, in the three Columns of Campo Vaccino, in the Temples of 
 Faufiina, and Mars the (Rcl’enger ; in the Porch of Septimius , and in 
 the Arch of Conjlantine : Sometimes it is a little higher, as in the 
 Baths of Diocletian. The Moderns are alfo divided, for fome give 
 it the lame Height I do, as Falladio, Scamozgi, Vignola, Viola, and 
 De Lorme ■, others, as 'Bullant, Alberti, Cataneo, Barbaro, and Serlio, 
 make it low, according to Vitruvius. The Abacus, in VtruVtus T 
 as alio, in the three Columns, and the Temple of Faujlina, is the 
 feventh Part of the whole Capital ; it is fometimes lefs, being but 
 an eighth Part, as in the Fantheon, in the Bafilic of Antonine, and 
 
 the 
 
Part II. five Kinds of Columns. 
 
 the Market of NerVa ; which lad, is within one Third of a Minute 
 of what I give it : Sometimes it is greater, having even a Fifth or 
 Sixth, as in the Temple of Vejia at Rome, and that of the Sibyl at 
 Tivoli. 1 
 
 Nor is there lefs Difference in the Chara&er, Vitruvius cuts the 
 Leaves in Manner of the Acanthus, as they are in the Temple of 
 the Sibyl at Tivoli : In the Antique, they are for the mod part made 
 as Olive-leaves rafled into five: fome divide them only into four, 
 as in the Temple of Mars the <1 \eVenger-, others into three, as in the* 
 Temple of Vejia at (Rome. The Moderns, who make them like the 
 Acanthus, are Seriw, Rarbaro, and Cataneo. Thefe Leaves, in the 
 Antique, are fometimes unequal in their Height, the undermod be- 
 ing tailed, as in the Portico, and within the Pantheon, in the Tem- 
 ple of VcJla at Rome, that of the Sibyl at Tivoli, and that of Fauftina, 
 in the Market of NerVa, in the Arch of Conjlantine, in the Coltfeum, 
 and the Baths of Diocletian : Sometimes the fecond Range are hi<rh- 
 cd, as in the Bafilic of Antoninus, and fometimes, alio, they are 
 equal, as I make them, as in the three Columns of Campo Vaccino, 
 in the Temple of Jupiter Fulminant, and MarsUltor, in the Frontif- 
 piece of Nero, and in the Porch of Septimius. The Ribs, in the 
 Middle of the Leaves, are very often rafled on both Sides, as in 
 the Fantbeon, in the Temples of Jupiter Fulminant, and Mars the 
 (Revenger, in the Frontifpiece of Nero, in the Bafilic of Antoninus, 
 the Porch of Septimius, and the Baths of Diocletian : Sometimes 
 they are not cut at all, as in the Temple of Vejia at Rome, of the 
 Sibyl at Tivoli, in the three Columns of Campo Vaccino, in the Mar- 
 ket of NerVa, and in the Arch of Conjlantine. The fird Row of 
 Leaves, commonly belly out, towards the Bottom, but more in 
 fome Buildings than others 5 this Swelling is very remarkable in 
 the Temple of Vejia at Rome. In the Capital of a Pilader, which 
 remains of the Frontifpiece of Nero, and another in the Baths of 
 Diocletian, there are more Leaves than are ufually made in Piladers; 
 for, whereas on each Face of the Pilader, there are commonly bur 
 two Leaves in the fird Row, and three in the fecond, thefe have 
 three in the fird Row, and four in the fecond 5 and, moreover, in 
 that of the Frontifpiece of Nero, there is another Leaf rifes between 
 the Stalks and the middle Volutes, indead of the little Flower. 
 This Leaf is likewife in the Capital of the Temple of Vejia at 
 Rome. 
 
 The Abacus is [harp at the Corners, in the Temple of Vejia 
 at Rome, which feems agreeable to Vitruvius, who mentions no- 
 thing of cutting off the Corners of the Corinthian Abacus, and fpeaks 
 of them, as no more than four in Number, which would be eight, 
 were the Corners cut off The Rofe, which is in the Middle of 
 
 the 
 
 
84 The Ordonnance of the Part II 
 
 Chap. IV- the Abacus, is alfo fomewhat different; Vitruvius makes it the 
 Thicknefs of the Abacus : Some have fince made it drop as low as 
 the under Part of the Brim of the Vafe, or Tambour, and it is vet 
 much larger in the T emple of the Sibyl at Tivoli ; for there it al- 
 mofl covers the middle Volutes ; it differs, alfo, in its Form, be- 
 ing, generally, a Rofe compos’d of fix Leaves, each rafled into 
 five Olive-leaves, from the Middle of which, comes out a Sort of 
 Fifhes Tail, wav’d and turning upwards : Thus it is in the Pantheon, 
 in the Temple of Faujlina , of Jupiter Fulminans , and of Mars the 
 Revenger, in the Market of NerVa, and in the Baths of Diocletian. 
 In the Temple of Vefla, it has the Likenefs of an Ear of Corn, in- 
 ftead of the Fifhes Tail. In the Sibyl's Temple at Tivoli , the Rofe, 
 which is very large, and compos’d of Leaves not rafled, has, alfo, 
 in its Middle, the Form of an Ear of Corn, twilled like a Screw. 
 In the Frontifpiece of Nero, there is a fmall Flower. In the Balilic 
 of Antonine, and in the Arch of Conjlantine , the Bottom of the Rofe 
 is turned upwards, and has an Ear of Corn in the Middle. In the 
 three Columns of Campo Vaccino, the Rofe, which is cut with Leaves 
 of Acanthus, hangs very much downwards, and, in the Midfl, has 
 a Pomegranate, turning alfo downwards. In the Porch of Septi- 
 mius, inllead of the Rofe, there is an Eagle holding a Thunderbolt. 
 This Rofe, or whatever is inferted in the Midfl: of the Abacus, in- 
 flead thereof, has different Projedlures : It extends, fometimes, be- 
 yond the Line which goes from one Horn of the Abacus to the 
 other ; as in the three Columns of Campo Vaccino, in the Altars of 
 the Pantheong in the Temple of the Sibyl, and the Bafilic of Antoni- 
 nus : Sometimes it recedes a fmall Matter within the Line, as in the 
 Temples of Jupiter Fulminans, that of Mars the 'Revenger,, and in the 
 Baths of Diocletian ; and fometimes its Projedture is the fame with 
 the Line, as in the Pantheon, and in the T emple of Faujlina. 
 
 The Volutes are fometimes join’d one to the other, as in the 
 Portico, and Infide of the Pantheon, in the Temples of Jupiter Ful- 
 minans, and Mars Ultor, isre. Sometimes they are wholly feparate, 
 as in the Temple of Vefla, in the Frontifpiece of Nero, and in the 
 Balilic of Antonine, iyc. The Helices of the Volutes are ordinarily 
 of two Manners in the Antique : Some keep twilling even to their 
 End, in the fame Courfe, like the Shell of a Snail; others, towards 
 the Center, turn back again, and form, as it were, a fmall S. 
 Thofe of the firft Sort are within the Pantheon, in the Temples of 
 Vefla and Tivoli, and in the Baths of Diocletian ; the other Manner, 
 more us’d in the Antique, is in the Porch of the Pantheon, and that 
 of Septimius, in the three Columns of Campo Vaccino, in the Tem- 
 ples of Jupiter Fulminans, Mars Ultor, and that of Fanjlina, in the. 
 Frontifpiece of Nero, the Bafilic of Antoninus, the Market of NerVa, 
 
 and 
 
Part II. five Kinds of Columns. 8 5 
 
 and in the Arch of Conjlantine * which, neverthelefs, is not pr.l- 
 dtis’d by the Moderns. But the Volutes of the three Columns in 
 Campo Vaccino, are altogether particular; for thole in the Middle of 
 each Face, inftead of joining at their Edge, as ufual, are fo inter- 
 woven, that that which above palfes over the other, is continued, 
 afterwards, under it again. 
 
 The Entablature, which is of fix little Modules, is divided, as Entabld 
 commonly, into twenty Parts, whereof, fix are given to the Archi- ture. 
 trave, as many to the Freeze, and eight to the Cornice. Thefe 
 Proportions are different, as well in the Antique , as in Authors ; for 
 the Freeze is greater than the Architrave, in the Temple of Jupiter 
 Fulminans, and that of the Sibyl, as alfo in Serlio and Bullant. It is 
 lefs than the Architrave, in the Porch of the Pantheon, in the Tem- 
 ple of Faujlina, in the Bafilic of Antonine, in the Porch of Septim'm f, 
 and the Arch of Conjlantine, in Palladio, Scamozgi, ! Barbara , Cataneo, 
 and Viola : but, within the Pantheon, the Architrave and Freeze are 
 equal. 
 
 T o find the Heights of the feveral Parts of the Architrave, di- Archi- 
 vide each of its fix Parts into three, which makes eighteen in all ; trave. 
 three of thefe are given to the Ogee above, whofe Fillet, or Square, 
 has one and a Quarter of them ; the large Aftragal, under that 
 Ogee, has one Part ; five are given to the upper Face ; one and a 
 Half to the finall Ogee under it ; four to the middle Face ; one 
 Half to the little Aftragal under it, and three to the lower Face. 
 
 For the Projedtures, that of the whole Architrave has two Fifths of 
 the little Module ; the upper Face has one of thefe Fifths ; the mid- 
 dle Face half a one, and the lower Face anfwers the Naked of the 
 upper part of the Column. 
 
 These are mean Proportions, between the different Excelfes of 
 the Antients and Moderns : for the great Ogee, which I make one 
 Sixth of the whole Architrave, has more than a Fifth, in the Porti- 
 co and Infide of the Pantheon ; in the Temples of Faujlina and Jupi- 
 ter Fulminans , in the Market of Nerva, in the Porch of Septim'm , 
 in the Arch of Conjlantine, in the Colijeum, and the Baths of Diocle- 
 tian ; but it has no more than a feventh Part in the three Columns 
 of Campo Vaccino, and in the T emple of Mars the peyenger. The 
 Moderns alfo differ as much, Palladio, Vignola, Alberti and De Lorme, 
 giving it more than a Fifth, and Serlio, Barbara, Cataneo, and Bul- 
 lant allowing it but a Seventh. 
 
 The Differences of the Chara&er, are likewife very various, 
 there being Corinthian Architraves, which inftead of the Ogee above, 
 have a Hollow, and a Quarter-round under it, as in the Temple 
 of Peace, the Frontifpiece of Nero, and the Bafilic of Antoninus 
 Sometimes, inftead of the Quarter-round, there is an Ocree under 
 
 Y the 
 
86 The Ordonnance of the Part II. 
 
 Chap.IV. the Hollow, as in the Temple of the Sibyl, and in Scamozgi. 
 
 There are alfo Architraves that have nothing under the Ogee, nor 
 between the Faces, as in the Colifeum, and in the Arch of Conjlantine ■ 
 Others, where there are only Aftragals, and no little Ogee, as in 
 the Temple of Mars the Revenger-, and there are fome that have but 
 two Faces, as in the Frontifpiece of Nero, and in the Bafilic of An- 
 toninus : Others, which have the middle Face quite fill’d with Or- 
 naments, as in the three Columns of Campo Faccino. 
 
 Freeze. Wh a.t is remarkable in the Freeze, is that there are fome which 
 do not rife fquare above the Architrave, but are join’d to it by a 
 little Sweep. This we find pradtic’d in the Baths of Diocletian, and 
 the Temple of Jupiter Fulminans. Palladio and Sca>?iozgi affedt this 
 Way, although tis but rare in the Antique : and it may be faid, 
 there is fome Inconvenience in the Execution of it, by reafon that 
 the Joint, which falls between the Freeze and the Architrave, when 
 thefe Parts meet fquare, mud be made in the Midft of the Freeze, 
 when they are join d by this Sweep, which produces an ill EfFedt. 
 
 Cornice T o find the Height of the Members, whereof the Cornice is 
 of the compos’d, the whole Cornice is divided into ten Parts. TheMem- 
 
 Entable- bers are thirteen in Number. One of thefe ten Parts is given to an 
 ment. Ogee, which is the firft Member ; the fourth of a Part to its Fillet, 
 which is the fecond ; the third, which is the Dentel, has a Part and 
 a half ; the Fillet, and the Aftragal which are over it, which are 
 counted the fourth and fifth Members, are each one Quarter of a 
 Part; the fixth, which is an Echinos, or Quarter-round, has one 
 Part; the feventh, which is a Modillion, has two Parts; the eighth, 
 which is an Ogee that crowns the Modillion, has half a Part ; the 
 ninth, which is the Corona or Drip, has one Part ; the tenth, 
 which is a fmall Ogee that crowns the Drip, has half a Part ; the 
 eleventh, which is a Fillet, has a quarter of a Part ; the twelfth, 
 which is the great Cymaife, has one Part and a quarter ; and the 
 thirteenth, which is a Fillet, has half a Part. 
 
 The Projedtures are determin’d by Fifths of the little Module, 
 of which, the great Ogee at Bottom, has one, taken from the Na- 
 ked of the Freeze ; the Dentel two ; the Aftragal that crowns the 
 Dentel, two and a half ; the Quarter-round three and a quarter ; 
 the Back-part, which fuftains the Modillion, three and a half ; the 
 Corona nine ; the fmall Ogee, with its Fillet, ten, and the great 
 Cymaife twelve. As the Dimenfions of all the Parts of the Corin- 
 thian Cornice, are fo very different in feveral Works, that we find 
 no two alike ; I have taken the Proportions I affign it, from the 
 Cornices of the Pantheon, the moft approv’d Corinthian Work of all 
 Antiquity : I have alfo followed the fame Charadter throughout, ex- 
 cept in the lmall Ogee, I infert between the Corona and great Cy- 
 
87 
 
 Part II. five Kinds of Columns. 
 
 maife, which we find in all the other Remains of the Antique, tho’ 
 in the Pantheon, there be only a Fillet. 
 
 Th e r e is a great Diverfity in the Character of this Cornice, as 
 Well as in the Proportions ; for we find fome Cornices that have no 
 Corona, as in the Temple of Peace, the Coli/eum, and the Arch of 
 Lions at Verona, where the Modillions are plac’d immediately under 
 the great Cymaife ; others have the Corona of an exceffive Bignefs, 
 as in the Frontifpiece of Nero. There are fome that have two 
 Quarter-rounds, one under the Dentel, and another over it, as in 
 the Temple of Peace. Some that have the Quarter-round under 
 the Dentel, and the large Ogee over the Dentel, as in the three 
 Columns of Campo Vaccina ; and fome where the Dentel is not cut, 
 as in the Pantheon, the Temple of Fauflina, and that of the Sibyl. 
 Vitruvius fays that Dentels ought never to be put with Modillions : 
 but as the Member, in which the Dentels are cut, is found in moft 
 Corinthian Cornices of the Antique, it feems reafonable to reftrain this 
 Precept of Vitruvius, to the cutting of the Dentel, which is, indeed, 
 omitted in the moft approv’d Works ; and, in my Opinion, with 
 great Judgment ; as well becaufe this cutting the Dentel is an Ot- 
 nament peculiar to the Ionic Order, as becaufe the two Members, 
 between which it lies, which are a Quarter-round and a great O- 
 gee, being ufually carv’d, this Clutter of Ornaments caufes a Con- 
 fufion very difagreeable to the Eye. There are Corinthian Cornices 
 without Modillions, as in the Temple of the Sibyl, and that of Fau- 
 fiina, and in the Porch of Septimius. There are fome, whofe Mo- 
 dillions are fquare, and with feveral Faces, as in the Frontifpiece of 
 Nero, which are the Modillions the Moderns give to the Compojite 
 Order ; in others, the Modillions have no Scroul, but are quite 
 fquare before, as in the Temple of Peace : Some, inftead of the 
 Leaf that covers the under Part of the Modillion, have other Sorts 
 of Ornaments, as the Corinthian Cornice, which makes the Import: 
 of Conjlantinc ’ s Arch, where there are Eagles : moft commonly the 
 Leaf which covers the Scroul is cut into Olive-leaves; but fome- 
 times into Leaves of Acanthus, as in the three Columns, and the 
 Baths of Diocletian. Generally, likewife, the Modillions are plac’d 
 without any Refpect to the Columns, and we feldom find them, 
 as in the three Columns of Campo Vaccino, and in Conjlantine’s Arch, 
 fet at fuch Diftances, that one lies diredtly over the Middle of each 
 Column. In the Market of Nerva, where the Entablature is bro- 
 ken over each Column, as ic is in Conftantine's Arch, inftead of three 
 Modillions, as are commonly over every Column, and of which 
 one mull neceftarily be over the Middle of the Column, there are 
 four, fo that there can’t be one in the Middle. 
 
 The 
 
8 8 The Ordonnance of the Part I!. 
 
 Chap.IV- The laft Remark that remains to be made, concerning Modil- 
 lions, is how they are to be plac'd in Pediments. The ordinary 
 Pradtice of the Antique, is to make them perpendicular to the Ho- 
 rizon, there being but few Inftances where they are fquare to the 
 Declivity of the Pediment, as Serlio has reprefented them in the 
 Arch of Verona : and ’tis certain this fo univerfal a Pradtice ought 
 to be taken for a Rule, though Reafon requires the contrary, ac- 
 cording to the Prefcripts of Vitruvius , who would have the Imita- 
 tion of the Works of Carpentry, govern whatever relates to the 
 Modillions and Dentels of Cornices ; becaufe they reprefent the 
 Ends ol thofe Pieces that compofe the Carpentry of the Roof. For 
 as the Modillions, which, at the Eaves, reprefent the Ends of Ra- 
 fters, do, in the Gable Ends, where Pediments are, reprefent the 
 Ends of Purlins, it is but reafonable, that the Pofition of the Mo- 
 dillion, in the Pediment, be luch as the Situation of the Purlin, 
 which being plac’d on the Pediment, with a Tendency perpendi- 
 cular to the Declivity of it, requires that the fame Pofition be alio 
 given to the Modillion. Vitruvius has determin’d nothing upon this 
 Subjedt, by reafon he fays the Greeks put no Modillions in Pedi- 
 ments ; but made the Cornices altogether plain, as they are in the 
 Temple of Chiji ; and the Reafon he alledges, is, that it could not 
 agree with the Imitation of the Works of Carpentry : it not being 
 reafonable, fays he, to make the Reprefentation of the Ends of Ra- 
 fters in a Place where there is no fuch thing; namely, in the Gable 
 End. But fuppofing Modillions to be made in a Pediment, as 
 they cannot reprefent any thing but the Ends of Purlins, they 
 ought to have no other Pofition, or Tendency, than the Purlins 
 have : For thefe Reafons, Some of the Moderns place the Modil- 
 lions and Dentels in Pediments, contrary to the common Ufage of 
 the Ant imt s. The late Monf. Manfard has done it with great Ap- 
 probation, in the Facade of Saint Marys Church, in the Street of 
 Saint Anthony. 
 
 The Lions Heads, which Vitruvius ’puts in the great Cymaife, 
 are fcarce found in any of the Antique Works : in the three Co- 
 lumns of Campo Vaccino, inftead of Lions Heads, there are Heads of 
 Apollo, with Rays, which are plac’d in the Midft of a Rofe com- 
 pos’d of fix Leaves of Acanthus. 
 
 In the Soffite of the Cornice, between the Modillions, there 
 are fquare Pannels that have Rofes in them : the Squares of thefe 
 Pannels are moll commonly oblong, and feldom perfedtly fquare, 
 as they are in the Temple of Jupiter Fulminant, and in the Baths of 
 Diocletian ; for they are oblong in the Porch of the <Pantheon, in the 
 three Columns, and in the Arch of Conjlantine. Sometimes there 
 are Rofes without Pannels, as in the Temple of Peace, and in the 
 
 Colifeum. 
 
Part II. five Kinds of Columns. 
 
 Colifeum. Moll commonly the Rofes are different, and leldom a- 
 like, as they are in the Baths of Diocletian. The Volute of the Mo- 
 dillions fometimes extends it felf beyond the Ogee that caps it, as 
 in the Baths of Diocletian 5 fometimes the Volute leaves the Ogee 
 entirely beyond it, as in the Porch of the (Pantheon , the Market of 
 NerVa, and in the Arch of Confiantine ; fometimes it advances half- 
 way the Ogee, as within the Pantheon , in the three Columns, and 
 in the Temple of Jupiter Fulminant. The Leaf, which covers the 
 Modillion, extends, fometimes, as far as the Volute, as in the Baths 
 of Diocletian ; fometimes leaves the Volute entirely beyond it, as 
 in the three Columns of Campo Vaccina ; and fometimes advances 
 to the Middle of the Volute, as in the Market of Kerva, the Tem- 
 ple of Jupiter Fulminans, and the Arch of Confiantine. 
 
 But among the Moderns, we find a Cornice of a Character al- 
 together lingular, which is that of Scamozgj, where there is no 
 Dentel, and where the Modillions are fo fmall, and the Proje&ure 
 of the Corona fo great, that it extends beyond the Modillion more 
 than half the Length of the Modillion, making a very large Throat, 
 as in the Compofite Order. It feems probable this Projedture beyond 
 the Modillion, was copied from that of Diocletian’s Baths, where it 
 is, however, much lefs. In this Manner of Modillions, there is 
 this Conveniency, that being fmall and clofer together than they 
 ufually are, the Columns may be brought fo near each other, that 
 the Homs of the Abacus of their Capitals may touch, and yet the 
 Modillions Hill keep their Place over the Middle of the Columns ; 
 which cannot be done in the ordinary Methods, where a confidera- 
 ble Interval, between the Extremities of the Abacus of the Capitals, 
 mull of neceffity be left : for this Interval is about forty-five Mi- 
 nutes in Vignola, fixteen in Palladio, and twelve in our Manner. 
 And I am of Opinion that Manner is bell where the Columns may- 
 be brought nearell together, by reafon of the Occafion there is for 
 fo doing, when Columns are coupled in Porticos, where they can- 
 not be fet too clofe. But as the Character of this Cornice is too 
 remote from that which is generally in ufe, not admitting of a 
 Dentel, which is a Part that Guilom has render’d as it were effen- 
 tial to the Corinthian Cornice, I* think it cannot well be employ’d, 
 without taking too great a Liberty. 
 
 Z 
 
 T HE 
 
The EXPLANATION of 
 
 Plate V. 
 
 A * WT*HE Safe invented by the Antient ArchitcBs , that came after 
 I Vitruvius, for the Corinthian and Compofite Orders , in the 
 Members of which, the Heights are determin’d by Sivifions from four to 
 four , and the ProjeBures by the Divifion of the little Module into five. 
 
 B The Corinthian Capital different from that of Vitruvius, as well 
 in its (proportion, which makes it higher, as in its CharaBer, having Olive- 
 leaVes inftead of thofe of Acanthus, which Vitruvius gives it. 
 
 C The Plan of the Capital. 
 
 D The Volute, or Helix of the Capital, which turns in the Form of 
 an S towards the Center. 
 
 E A Laurel-leaf fuch as are in the Capital of the Temple of Vefta at 
 Rome. 
 
 F The Flower of the Abacus of the Capital, in the fame Temple of 
 Vefta. 
 
 G The Pofe of the Abacus of the Capital, on the three Columns in the 
 Campo Vaccino. 
 
 H The Flower of the Abacus of the Capital in the Safilic of Antoni- 
 nus. 
 
 I K L The Entablature ; where may be obferved, the PejpeB that the 
 Modillions, which are over the Upright of the Column, have with the Pro- 
 jeBures of the Safe, and with the Naked, as well of the upper Part, as of 
 the lower Part of the Column. 
 
Plate.V. 
 
 ' 
 
 
 
 
 
 
 (Hi 
 
 
 
 H 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 r| r 1 - 
 
 lillmi.i.iiiiiifillitit 
 
 
 aj 
 
 ; 
 
 T4TW 
 
 4 14 
 
 - J 
 ; 
 
 
 
9i 
 
 Part IL five Kinds of Columns. 
 
 CHAP. v. 
 
 Of the COMPOSITE Order. 
 
 H E Order vulgarly call’d Compofite, is, 
 by Tome, nam’d the Italic, becaufe the 
 (Romans were the Inventers of it, and for 
 that, the Name of Compofite, or Compoun- 
 ded, denotes nothing that is peculiar to 
 it ; the Corinthian itfelf, according to Vi- 
 truvius, being compos’d of the Doric and 
 Ionic : And it may even be faid that the 
 Corinthian Order, as it is found in the 
 Antique, is as different from the Corinthian of Vitruvius, as the Com- 
 pofite is from the Antique Corinthian, which has, in the Cornice of 
 its Entablature, Modillions, and Ovolo ; Aftragals in its Archi- 
 trave 5 Olive-leaves in its Capital, and two Tores id its Bafe 5 
 which are all Parts very confiderable, and not found in the Corin- 
 thian defcrib’d by Vitruvius, which is what was firft invented by 
 Callimachus, and ought to be efteem’d the true Corinthian. 
 
 Seiclio is the firft who has added to the four Orders defcrib’d 
 by Vitruvius, a fifth, which he forms from the Remains of this Or- 
 der. in the Temple of Bacchus ■, in the Arches of Titus , Septimius, 
 and the Goldfmiths, and in the Baths of Diocletian, but he has taken 
 nothing but the Capital from the Antique : Palladio, and Scamoxgi, 
 give it a particular Entablature, which they copy from Nero’s Fron- 
 tifpiece, probably, becaufe this Strudture, which paffes for Corin- 
 thian, on account of its Capital, having a particular Character in 
 its Entablature, not found in other Corinthian Works, thefe Authors 
 
 thought 
 
1 
 
 92 The Ovdonnance of the Part II, 
 
 Chap. V. thought that this Part, which is very confiderable, join'd with the 
 Capital, would fufficiently diftinguifh this Order from all the others. 
 But the Truth is, this Entablature is fomewhat maffy, for an Or- 
 der that ought to be more delicate than the Corinthian, unlefs we will 
 fay that this Grofnefs has refped to that of the Capital, which is 
 really lefs delicate than the Corinthian : ’tis not therefore without 
 Reafon, that Scamo^i places the Compofite under the Corinthian, as 
 it is in the Arch of Lions at Verona. This Compofite Cornice is very 
 fit for Entablatures of Buildings, that have neither Columns nor 
 Pilafters, as there was formerly one on the outfide of the Louvre. 
 
 The Modern Architeds have given this Order its Proportions, 
 which Vitruvius had not done, having only defign’d its Character, 
 when he fays its Capital is compos’d of feveral Parts taken from the 
 Doric, Ionic, and Corinthian : and as he makes no Alteration in the 
 Proportions, either of the Capital, or of the reft of the Column, 
 he does not allow that this Compofition makes an Order different 
 from the others. But Serlio, and moll of the Moderns, give another 
 Proportion to the Compofite Column, and make it higher than the 
 Corinthian. 
 
 I t has been faid, that according to the Augmentation of Heights 
 given to the Orders, in proportion as they become more delicate, 
 the whole Compofite Order has forty-fix little Modules, of which, 
 the Pedeftal has ten ; the Column, with its Bafe and Capital thir- 
 ty, and the Entablature fix. 
 
 BASE The Bafe of the Pedeftal, with its Plinth or Zocolo, has, as in all 
 of the the other Orders, the fourth Part of the entire Pedeftal, and with- 
 Pedeftal. out the Zocolo, the third of the whole Bafe. This Bafe confifts of 
 fix Members befides the Plinth, as the Corinthian does of five : thefe 
 are a Torus, a fmall Aftragal, an inverted Cyma with its Fillet, a 
 large Aftragal and a Fillet, making a Sweep to the Naked of the 
 Die. For the Heights of thefe Members, divide this Part of the 
 Bafe, without the Zocolo, into ten Parts, giving three to the To- 
 rus, one to the fmall Aftragal, half a Part to the Fillet of the Cyma, 
 three and a half to the Cyma, one and a half to the large Aftragal, 
 and half a Part to the Fillet, whence fprings the Sweep. The Pro- 
 jedures being taken, as formerly, by the fifth Part of the little Mo- 
 dule, one is for the large Aftragal, two and two Thirds for the 
 Fillet of the Cyma, the Projedures of the Torus being equal to 
 that of the whole Bafe, which is the fame as its Height. 
 
 Th e Proportions and the Charader of this Bafe are different in 
 the Antique, as well as in Modern Authors. In the Arch of Titus, it 
 is compos’d of ten Members, among which there is a Scotia j in 
 that of Septimius it has but four Members, and in the Coldfmiths 
 Arch, it has five. Scamozgi gives his Corinthian Order the Bafe 
 
 which 
 
Tufcan. 
 
 Doric. 
 
 Ionic . 
 
 C ormtliian. 
 
 "lo I' ace Pa 
 
 C ompofite 
 
 
93 
 
 Part II. five Kinds of Columns. 
 
 which is in the Compofite of the Arch of Titus : that which I gi ve the 
 Compojite Order, and which has fix Members, is a Mean between 
 that of the Arch of Titus , and that of the Arch of Scptimius $ of 
 which, the one is clutter’d with too much Ornament, and the o- 
 ther is too plain for an Order compos’d of all the others. 
 
 The Cornice of the Pedeftal, which is as the others, one eighth Cornice 
 Part of the whole Pedeftal, is compos’d of feven Members, which of the 
 are, a Fillet with a Sweep over the Die, a large Aftragal, a Cyma Pedeftal. 
 with its Fillet, a Corona or Drip, and an Ogee with its Square or 
 Fillet. The whole Height of this Cornice, being divided into 
 twelve Parts, the Fillet has half a Part, the Aftragal one and a half, 
 the Cyma three and a half, its Fillet half a Part, the Corona three 
 Parts, the Ogee two, and its Fillet one. The lower Fillet, with the 
 Aftragal above it, have, in Projedlure, one Fifth of the little Mo- 
 dule, the Cyma, with its Fillet, has three Fifths, the Corona has 
 three and a Third, and the Ogee, with its Square, has four and a 
 half. 
 
94 
 
 BASE 
 of the 
 Column. 
 
 Shaft of the 
 Column. 
 
 The 
 
 Capital. 
 
 The Ordonnance of the Part II. 
 
 What was laid of the Charadfer, and Proportion of the Parts 
 of the Bafe, may alfo be faid of thofe of this Cornice, the number 
 of thofe Members which compofe it, being exceftive, in the Arch 
 of Titus, and too few in that of Septimius. 
 
 The Bafe of the Column is like that of the Corinthian Order j 
 thus it is in the Arch of Titus : Sometimes, the Attic Bafe is made 
 ufe of, as in the Temple of 'Bacchus, in the Arch of Septimius, in 
 that of Verona, and in the Baths of 'Diocletian. Vignola makes a 
 Bafe particular to his Compofite, taking it from a Bafe which for- 
 merly belong’d to a Corinthian Order of Diocletian’s Baths, and 
 which differs nothing from the Corinthian Bafe, but in that it has 
 only one Aftragal between the two Scotias, and that the other A- 
 ftragal, which this Place is depriv’d of, is put between the great 
 Torus and the firfl Scotia. But belides that this Bafe is not in ufe, 
 the Aftragal, which is the only Member it has, between two Fillets, 
 being but weak, and ill fuftain’d by the Scotias, renders this Part 
 of the Bafe too thin and fharp. It feems as if the Character of this 
 Bafe was taken from the Bafes of the Temple of Concord, which, in- 
 ftead of the two Aftragals, and the two Fillets, that are between 
 the Scotias, have only one Fillet, which is Hill lefs tolerable than 
 the lingle Aftragal of Vignola s Bafe, which, at leaft, is acccompa- 
 nied, and fuftain’d by two Fillets. 
 
 The Shaft of the Column, differs in nothing from the Corinthian, 
 but that its Height is increas’d by two little Modules. 
 
 The Capital makes the principal Chara&er of this Order, the 
 Bafe being often the fame as the Corinthian, as has been faid, and 
 the Entablature fometimes alfo alike in thefe two Orders, as may be 
 feen in the Arch of Titus, where the Entablature is perfedtly Corin- 
 thian. The Height of the whole Capital, as in the Corinthian Order, 
 is taken from the Diameter of the lower Part of the Column, to 
 which is added one fixth Part more. Four Sixths of the Diameter 
 are given to the Leaves, and this being divided into fix Parts, one 
 of them is for the bending of the Head of the Leaves. The three 
 other Sixths that remain above the Leaves, which are for the Vo- 
 lutes, Ovolo, Aftragal and Abacus, is parted into eight 5 fix and a 
 half of thefe are given to the Volute which refts upon the Head of 
 the fecond Range of Leaves, two to the Abacus, one to the Space 
 between the Abacus and Ovolo, two to the Ovolo, and one to the 
 Aftragal with its Fillet. The Flower, which is in the middle of the 
 Abacus, over the Ovolo, rifes to the upper Part of the Abacus : it 
 is broader by half one of thefe Eights than it is high. The Proje- 
 dtures are determin’d by Fifths of the little Module, a s in the Corin- 
 thian Order, and the Plan of the Capital is alfo made in the fame 
 Manner, the Leaves are cut after the Manner of the Acanthus, or 
 
 Brank- 
 
Part II. five Kinds of Columns. 
 
 Brank-Urfin. The Flower in the Middle of the Abacus, is com- 
 pos’d of feveral Leaves ; of which, fome join in the Middle, and 
 others turn off iideways. Under the Horns of the Abacus, there 
 are Leaves which return upwards, as in the Corinthian Capital ; and 
 others, alfo, that lie upon the Side of each Volute. Inftead of the 
 Stalks, which are in the Corinthian Capital, here are fmall Flowers, 
 lying clofe to the Vafe or Bell, twilling round towards the Middle 
 of the Face of the Capital, and terminating in a Rofe, 
 
 In the Works of the Antique, and of the Moderns, we find a Di- 
 verfity as to the Proportions of the Members of this Capital ; and 
 likewife as to its whole Height, which, in fome Buildings, has more 
 than the feventy Minutes I give it 5 as in the Arch of Titus, where 
 it has feventy-four and a quarter, and in the Temple of 'Bacchus, 
 where it has feventy-fix : in fome others it has lefs, as in the Arch 
 of Septimius, where it has but fixty-eight and a half, in the Gold- 
 fmiths Arch, fixty-eight and three quarters, and in Serlio but fixty. 
 The Abacus, which I give feven Minutes aud a half, has eight and 
 two Thirds in the Goldfmiths Arch ; nine in the Arch of Septimius , 
 and in the Baths of Diocletian ■, ten in the Arch of Titus , and thir- 
 teen in the Temple of Bacchus. The Volute, w'hich I make twen- 
 ty-five Minutes, as it is in the Temple.of Bacchus, has twenty-eight 
 in the Arch of Titus, and but twenty-two in the Baths of Diocle- 
 tian. 
 
 The Differences of the Character lie in this, that the Volutes, 
 which ordinarily defeend and touch the Leaves, are, fometimes, 
 feparated from them, as in the Baths of Diocletian, and in the Arch 
 of Septimius ; that the Leaves, which, in the Works of the Antique 
 and Moderns, are unequal in Height, the lower Rank being talleft, 
 are yet equal in fome of the Moderns ; that the Volutes of the Mo- 
 derns, moll: commonly fpring from the Vafe, as they do in the Arch 
 of Titus 5 and fometimes they poffefs the Length of the Abacus,' 
 over the Ovolo, without ftriking into the Vafe, as in the Arches of 
 the Goldfmiths, and of Septimius, in the Temple of Bacchus, and in 
 the Baths of Diocletian. That the Volutes, whofe Thicknefs is con- 
 traded in the Middle, and enlarg’d above and below, in the Tem- 
 ple of Bacchus, in the Arches of Titus and Septimius , and in the Baths 
 of Diocletian, have their Sides parallel in Balladio, Vignola, and Sca- 
 mozgi ; and that the fame Volutes, as well in the Antique, as in 
 thofe Modern Authors that have written, are made as folid ; where- 
 as, at prefent, they are made, by our Carvers, after a more airy 
 and free Manner ; fo that the Folds of the twifted Bark, which 
 compofe them, do not touch, but Hand hollow from each other ; 
 which, in my Opinion, is done with a great deal of Judgement : 
 for, without it, this Volute has fomething in it too maffive, and 
 
 which: 
 
9 <5 The Ordonndnce of the Part 11. 
 
 Chap. V. which fuits not well with an Order, that, in general, is the lightefl 
 and mold delicate of all. 
 
 The Entablature, as in all the other Orders except the Doric, is 
 divided into twenty Parts, of which, fix are given to the Archi- 
 trave, as many to the Freeze, and eight to the Cornice. Thele 
 Proportions are different in Authors : for the Freeze is lefs than the 
 Architrave in the T emple of ’Bacchus , in the Arch of Septimius, and 
 that of the Golifmiths, in IP alladio, Scamo^i, Serlio, and Viola : but 
 thefe two Parts are equal in the Arch of Titus, and in Vignola. 
 
 The Compofite Architrave is more different from the Corinthian, 
 than the Corinthian is from the Ionic, having but two Faces, between 
 which, there is a fmall Ogee, and inftead of the great Cyma above 
 with its Aflragal, there is a Quarter-round between an Aflragal 
 and a Hollow. To find the Heights of thefe Members, the whole 
 Architrave is divided into eighteen Parts, as in the Corinthian Order, 
 of which, five are given to the firft Face, one to the little Ogee a- 
 bove it, feven to the fecond Face, half a Part to the fmall Aflragal 
 next upon it, one Part and a half to the Quarter-round, and three 
 to the Hollow, of which, the Fillet has one and a quarter. The 
 Projedlure is of two Fifths of the little Module, as in the Corinthian 
 Architrave. 
 
 The Proportions and Charadfer of this Architrave, have much 
 Conformity with what we find in the Architrave of the Frontifpiece 
 of Nero, and of the Bafilic of Antoninus, from whence, Balladio and 
 Vignola have modell'd the Architrave of their Compofite Order, tho’, 
 in both thefe Strudfures, the Capital is Corinthian. But the Truth is, 
 that in all the Antique Remains of the Compofite Order, the Archi- 
 trave is very different from this : for in the Temple of Bacchus, the 
 three Faces are quite plain, without any Separation by Altragals ; 
 in the Arch of Septimius, there are indeed but two Faces, but the 
 Cyma above, is an Ogee with an Aflragal, as in the Corinthian 
 Order, and in the Arch, of Titus, it is all perfedlly Corinthian. 
 
 The Freeze has nothing particular, except that in the Temple 
 of Bacchus it is round, which Balladio has imitated j and that in 
 the Arch of Septimius , it is join’d to the Architrave with a large 
 Sweep. The Freeze of the Frontifpiece of Nero, which I have fol- 
 low’d, has alfo a Sweep, but it is above ; the Sweep I give it is 
 much lefs, being only made to join the Naked of the Freeze to the 
 firft Member of the Cornice, which, being a Fillet, ufually requires 
 a Sweep, for the better Conj-anction of it to the Mouldings, or 
 Members, upon which it is plac’d 5 and ’tis probable the Sweep of 
 the Frontifpiece of Nero was. made fo large as it is, becaufe this 
 Freeze is enrich’d with Sculpture of a confiderable Thicknefs, and 
 the Sweep prevents that ill Effedt- which the Carving produces in 
 
 thofe 
 
Part II. five Kinds of Columns* 9 7 
 
 thofe Freezes that have no Sweep, where it equals the Projetfture 
 of the firft Members of the Cornice ; although, in truth, there are 
 more carv’d Freezes without a Sweep, as thole of the Temple of 
 Faujlina , and of Jupiter Fulminant, of the Market of Nerva, of the 
 Arch of Titus, and that of the Goldjmiths ■ than there are that have 
 Sweeps, as that of the Temple of Manly Fortune, of the Sibyl at Ti- 
 voli, and the Frontifpiece of Nero. 
 
 The Cornice is divided, as in the Corinthian, into ten Parts, and The 
 has likewife thirteen Members } but it feems more heavy, by rea- Cornice 
 fon the Corona is much more mafty, and fo are the Modillions, of the 
 which are not cut with a Scroul, nor cover’d with Leaves, but are Entabla- 
 fquare. The firft Member of this Cornice, which is a Fillet, has ture. 
 a quarter of one of thefe ten Parts ; the fecond, which is an Aftra- 
 gal, has as much 5 the third is an Ogee, and has one Part ; the 
 fourth, which is the firft Face of the Modillion, has one Part the 
 fifth, which is a fmall Ogee, has half a Part ; the fixth, which is 
 the fecond Face of the Modillion, has one Part and a quarter ; the 
 feventh, which is a Fillet, has one quarter of a Part ; the eighth, 
 which is a Quarter-round, has half a Part ; the ninth, which is the 
 Corona, has two Parts, it has a Throat underneath, one Third 
 of a Part deep ; the tenth, which is an Ogee, has two Thirds of 
 a Part ; the eleventh, which is a Square or Fillet, has one Third 
 of a Part ; the twelfth, which is a large Cymaife, has one Part and 
 a half, and the thirteenth, which is a Fillet, has half a Part. 
 
 The Project ures are regulated as ufually by Fifths of the little 
 Module: giving one Third of thefe Parts to the firft Member, 
 which is a Fillet, and another Third to the little Aftragal over it, 
 one Part and a Third is given to the large Ogee, which is the next 
 Member ; four Parts and two Thirds to the firft Face of the Mo- 
 dillion, five Parts to the fecond, five Parts and two Thirds to the 
 Quarter-round above the Modillion, eight Parts and a half to the 
 Corona, nine Parts and a Third to the Ogee of the Corona, and 
 twelve to the great Cymaife. 
 
 Aethough the Character of this Cornice, as well as the Pro- 
 portions of its Mouldings, are from the fame Entablature of the 
 Frontifpiece of Nero, from whence the Architrave has been already 
 taken, I have follow’d very near what Palladio and Scamo^yf have 
 copied, fo chat always following the Medium, I at firft propos’d to 
 my felt', I keep between the two Exceffes : for Example, the Coro- 
 na, which is extraordinary large, in the Frontifpiece of Nero, being 
 a Fourth of the whole Cornice, and which, in Palladio, has but a 
 fixth Part, and no more than a feventh in Scamos^i, has here the 
 fifth Part ; the Modillion, which, in the Frontifpiece of Nero, and 
 in Scamo^j, is but the fourth Part of the whole Cornice, has a 
 
 B b Third 
 
9 8 
 
 The Or don mice of the Part II. 
 
 Third of it in (palladia I have followed him in that, as likewife in 
 almoft all the reft, which is more conformable to that of the Front- 
 ifpi«ce of Nero, than what Scamozgi has given us, who has taken 
 from the Corinthian Order, all the Mouldings that are below the 
 Modillions : namely, an Echinus or Ovolo, a Dentel, and a large 
 Ogee. The reft of the Moderns have neither follow’d the Antique, 
 who, in the Arches of Titus and Septimius, give the Compofite Order 
 a Corinthian Cornice, nor the Pattern of Nero’s Frontifpiece : for 
 Vignola gives it a Cornice very plain, not much differing from that 
 of the Ionic Order. Serlio and Hullant have made it even more 
 homely than in the Tufcan Order. For enriching this Cornice, 
 which is not fo very fuitable to an Order of fuch Delicacy as the 
 Compofite, where the Capital is fo much imbelifh’d, there muff be 
 no want of carving thofe Members that are capable of it, fuch as 
 are the Aftragal, and the Ogee below the Modillions, the Ogee 
 and Quarter-round of the Modillions themfelves, and the Ogee 
 which is under the great Cymaife, which Cymaife, probably for 
 this very Reafon, is adorn’d with a very rich Sculpture in Nero’s 
 Frontifpiece, although Carving is not effential to this Part, as it is, 
 in fome meafure, to the other Members of this Cornice. 
 
 
 The 
 

99 
 
 The EXPLANATION of 
 
 Plate 
 
 A ! I X HE Safe of the Compofite Order of the Arch of Titus, which 
 JL w /iwe fW the Ancients gave to the Corinthian Order. 
 
 B The Safe of the Temple of Concord, in Imitation of which , Vig- 
 nola made his Safe of the Compofite Order. 
 
 C The Safe which was formerly in the Saths of Diocletian, copied 
 from that of the Temple of Concord, and given by Vignola to the Com- 
 pofite Order. 
 
 D The Architrave taken from Nero’s Frontifpiece, and the Saftlic of 
 Antoninus. 
 
 E The Freeze, having a Sweep at the upper Part, as it is in Nero’s 
 Frontifpiece, where the Sweep is much greater, probably on account of the 
 Ornaments carv’d in the Freeze. 
 
 F The Cornice, taken alfo from the Frontifpiece of Nero. 
 
 K The Capital, according to the Proportions and CharaSler which our 
 Carvers, of late, have given it where the mojl remarkable Things are, 
 the Equality of Height in the Leaves of Acanthus, the Tendernefs of the 
 Volutes, which are open d Very gracefully, the Circumvolution of the Sarf 
 which compofe them, being parted one from the other, and the Volute not 
 being majjive and folid, as it is in all the Works of the Ancients and Mo- 
 derns. 
 
O F 
 
 PI LASTER S. 
 
 ■ •• •' * ■ ; VaW) 
 
Part II. 
 
 I ox 
 
 five Kinds of Columns. 
 
 'CHAP. VI. 
 
 TILASTERS. 
 
 FTER having fpoken of Columns, ic 
 remains that we difcourfe of what relates 
 to Pilafters, which are fquare Columns. 
 Thefe fquare Columns are of feveral 
 Kinds, their Difference arifing from the 
 Manner in which they are applied to 
 Walls : which makes alfo the Difference 
 between other Columns : for as there 
 are fome infulate or naked, ftanding 
 quite detach’d from the Wall, others that are conjoin’d to it at the 
 Comer, having two Faces free, and others, which being half funk 
 in the Wall, or only a third Part, have none, but the Face in front, 
 entirely free ; fo there are, alfo, fome Pilafters wholly detach’d or 
 infulate ; there are others that have three Faces clear of the Wall, 
 others that have only two, and others that have but one entirely 
 free and difengag’d. 
 
 S qjj are or Infulate Pilafters, are rarely found in the Antique, 
 though there is one Inftance of them in the Temple of Trefi, de- 
 fcrib’d by Palladio. They are plac’d at the Extremities of Porches, 
 to give the greater Strength to the Comers. Thofe that have three 
 Faces out of the Wall, and thofe that have but two, were call’d 
 AnM by the Ancients. VitruYius calls thofe that have but two Faces 
 ouc of the Wall, Angular Ant4, or Ant a: of the Walls that enclofe 
 the Temple; to diftinguifh them from others that have three Fa«* 
 
 C c ces 
 
102 
 
 C H. VI. 
 
 The Ordonance of the Part If. 
 
 ces difengag’d, and which are plac’d at the End of the Walls of the 
 Porch. Pilafters that have but one Face out of the Wall, are alfo 
 of two forts ; for there are fome that ftand half out of the Wall, 
 and others but a fixth or feventh Part : thefe latter, which were fel- 
 dom made ufe of by the Ancients , are now mod common in our 
 Architecture. 
 
 Theie are four principal Things to be regulated in Pilafters, 
 namely, their ProjeCture out of the Wall, their Diminution, the 
 Manner of placing the Entablature upon them, when it lies upon 
 a Column at the fame time, and their Flutings and Capitals. 
 
 The ProjeCture of Pilafters which have only one Face out of the 
 Wall, ought to be half their Breadth, or elfe, at moft but a fixth 
 Part, as it is in the Frontifpiece of Nero, unlefs you are oblig’d, by 
 fomething, to give them a greater ProjeCture. In the Porch of the 
 Pantheon, the Pilafters, that are on the out-fide, advance but a 
 tenth Part, and fometimes they have but a fourteenth Part, as in 
 the Market of Ner~va. But when Pilafters are to receive Impofts, 
 whofe Profils come againft their Side, their ProjeCture ought to be 
 a Quarter of their Diameter 5 and this Proportion has this further 
 Conveniency, that it does not oblige us to cut our Corinthian and Com- 
 pofite Capitals irregularly : for it falls out that the lower Leaf is cue 
 exactly in the Middle, and in the Corinthian Order, the Stalk alfo 
 is cut in like manner. On this very account of the Symmetry of 
 the Capitals, when half Pilafters meet at the inward Angles, they 
 fhould have more than half their Diameter, as fball be fhewn in 
 the following Chapter. 
 
 Piiasters are not ufually diminifh’d, when they have but 
 one Face out of the Wall ; thofe on the out-fide the Porch of the 
 Pantheon are alfo without Diminution : but when Pilafters ftand 
 upon the fame Line with the Columns, and the Entablature is to 
 be continued over both, without making a Break, as it is upon the 
 Side, without the Porch of the Pantheon , the Pilafter, then, ought to 
 have the fame Diminution as the Column ; that is, on the Face 
 which refpeCts the Column, leaving the Sides, without any Dimi- 
 nution, as we fee it practis’d in the Temple of Antoninus and Faujli- 
 na. But when the Pilafter has two Faces clear of the Wall, Hand- 
 ing at a Corner, and one of the Faces anfwering a Column : 
 that Face is diminifh’d as the Column ; as it is in the Porch of 
 Septimius, where the Face that does not anfwer the Column is 
 not diminifh’d : but however, there are Examples in the Antique, 
 where the Pilafters have no Diminution, as within the Pantheon 5 
 
 or 
 
Part II. five Kinds of Columns. 
 
 or where they have but very little, and not fo much as the Co- 
 lumn, as in the Temple of Mars ultor, and the Arch of Conftan- 
 tine. In this Cafe, the Pradice of the Ancients is fometimes to 
 lay the Architrave juft over the Naked of the Column, which 
 makes it recede fomewhat within the Naked of the Pilafter- as is 
 done in the Temple of Mars Uitor, within the Pantheon, and ’in the 
 Porch of Septimius ; fometimes they part the Difference in two, gi- 
 ving the Architrave a Projedure of half the Odds, beyond the Na- 
 ked of the Column, and making it recede the other half within the 
 Naked of the Pilafter, as it is in the Market of Ncrta. 
 
 As to their Flutings, there are fometimes Pilafters that have 
 them, though the Columns they accompany, have none, as in the 
 Porch of the Pantheon ; but in this Building, the Columns not be- 
 ing of white Marble, are without Flutings, becaufe Marbles of di- 
 vers Columns are very feldom fluted. There are alfo Columns 
 fluted, fometimes accompanied with Pilafters not fluted, as in the 
 Temple of Mars Ultor, and in the Porch of Septimius. There are 
 no Flutings made on the Returns of Pilafters, when they have lefs 
 Projedure than half their Diameter. The number of Flutings is 
 different in the Antique ; there are but feven in the Porch of°the 
 Pantheon, in the Arch of Septimius, and that of Conftantine ■, there 
 are nine within the Pantheon, though the Columns have no more 
 than the ufual number of twenty-four. The Flutings of Pilafters 
 are always odd in their Number, unlefs in half Pilafters, that 
 meet at inward Angles, for there, four Flutings are made i’nftead 
 of three and an half, and five inftead of four and an half, when the 
 whole Pilafters have feven or nine. This is to be underftood, that 
 the Pilafters, thus meeting in an inward Angle, fhould have fo 
 much more Breadth than half their Diameter, as may receive the 
 even number of Flutings before-mention d : which is done to avoid 
 the ill Effed of the Capital, that, being folded as it were in the 
 Angle, would be too much narrow’d in the upper Members 5 and 
 in thofe Capitals that have Leaves, this Narrowing would produce 
 a Confufion not to be prevented but by fuch Enlargement. 
 
 The Proportions of thefe Capitals are the fame with thofe of 
 Columns, as to their Heights ; but their Breadths are different, the 
 Leaves being much wider, becaufe Pilafters, being of more ex- 
 tent than Columns, have yet but the fame number of Leaves, 
 which is eight for their whole girt, though there are Inftances of Pi- 
 lafters that have twelve Leaves, as in the Frontifpiece of Kero, and 
 in the Baths of Diocletian. The ufual Difpofition of the Leaves of 
 Pilafters is fuch, that, in the lower Row, where the lefler Leaves 
 
 lOj 
 
 are 
 
104 - The Ordonance of the PartIL 
 
 C h, VI. are 5 there are two on eat -h Face, and, in the upper Row, one in 
 the middle, and two Half-leaves on the Sides, which are half the 
 great Leaves folded back upon the Angle. What is farther remark- 
 able is, that commonly the Rim of the Vafe, or Tambour, is not 
 ftrait, as the lower part is, but a little circular and prominent in 
 the middle : that of the Bafilic of Antoninus advances the eighth Part 
 of the Diameter of the Column below, but in the Porch of Septi- 
 mius it is but a tenth, and no more than a twelfth in the Portico 
 of the Pantheon. 
 
 There are alfo many other Things, relating to Pilaftcrs, dif- 
 cours’d of in the two following Chapters. 
 
Part II. five Kinds of Columns. 
 
 105 
 
 CHAP. VII. 
 
 Of the Ahufe of the (jbange of Troportlons. 
 
 HERE are fome Things fo rivetted in 
 the general Opinion of the World, that 
 a Man would be thought ridiculous, 
 fhould he attempt to fcan them, though 
 they feem not of fo undoubted Autho- 
 rity, when more nearly look’d into. 
 The Change of Proportions, in Archi- 
 tecture, and Sculpture, which, they fay, 
 ought to be made according to the dif- 
 ferent AlpeCts, may juftly be reckon’d among this Number. Ar- 
 chitects fpeak of this as a Point that gains them the greateft Repu- 
 tation, and pretend that ’t is in the Practice of the Rules, they have 
 for this purpofe, that the Excellency of their Art confifts. How- 
 ever, there are fome of Opinion, that this Change is no fuch ftu- 
 pendous Matter, that thefe Rules have not been put in Execution, 
 that even the contrary has been practis’d in the moll approv’d 
 Works, and that the Reafons, upon which they are grounded, are 
 receiv d by common Confent, as they have been a long time, on- 
 ly becaufe they have pafs’d without Examination. 
 
 This Examen is what I intend to make in this Chapter, that I 
 may conclude this Treatife with one Paradox, as I began it with 
 another, which alfo relates to the Change of Proportions. For in 
 the Preface, I have endeavour’d to fhew that the greateft part of 
 the Proportions of Architecture being arbitrary, and not of the 
 number of thofe things that have a pofitive and natural Beauty, 
 
 D d there 
 
i o6 The Or don an ce of the Part II. 
 
 C h. VII- there is nothing ought to hinder us from making fome Change in 
 the cftablifh’d Proportions, and finding out others that would ap- 
 pear as beautiful. And I aflert here, that thefe Proportions, once 
 regulated, ought not to be alter’d, and made different, in different 
 Buildings, for any Reafoqs of the Optics, or Difference of AfpeCts, 
 they may have. But I forefee much more Contradiction in this 
 fecond Paradox, than I found in the firft, where I was only to en- 
 counter the Opinion of Architects, who being govern’d by the Idea 
 they have of what is beautiful, do not confider this Idea as a thing 
 that they themfelves have form’d, by Study, and by obferving ap- 
 prov’d Buildings ; but take it for a natural Principle. For the reft 
 of the World, who are free from the PrepoffefTion of Rules and 
 Cuftom, and on that account, do not perceive whether an Aftragal, 
 or a Torus, have too much, or too little Height, or ProjeCture, 
 will eafily conclude, with me, that had the Proportions of Archi- 
 tecture, Beauties that are natural, we fhould naturally know them, 
 without any need of InftruCtion, by life and Study. But, as to 
 the fecond Paradox, I am affur’d there is no one but thinks the 
 Change of Proportions a thing very juft and reafonable, and who 
 is not confirm’d therein by that famous Story of the two Statues of 
 Minerva, made to be fet on a very high place, of which, they pre- 
 tend, one fucceeded ill, becaufe the Sculptor had not chang’d the 
 Proportions : and I doubt not but thofe who fhall hear the Argu- 
 ments on that Subjed, may yeild to them as being fpecious, and 
 be very loth to quit an Opinion, which, they think, is founded up- 
 on Reafons fo good as thofe drawn from the Optics, and the de- 
 ceitfulnefs of our Senfes, which they think it very reafonable that 
 Art fhould remedy. 
 
 For upon account, that the Images of things painted, in the 
 live, are fmaller, and lefs diftant, when the Objects are more re- 
 mote, than when they are near, and- that a foreright View makes 
 the Objefts appear otherwife than an oblique one, they imagine we 
 ought to fupply that DefeCt, and remedy it by Art : therefore they 
 fay, that Columns, which are ufually really leflen’d towards the 
 top, Ihould have a lefs Diminution, when they are very great, 
 than when they are very fmall; becaufe their Length makes them- 
 appear to be leflen’d upwards, as a Gallery feems narrower at the 
 further End. They would likewife have the Entablatures upon 
 great Columns, larger than the regular Proportion, becaufe their 
 Height makes them appear fmall ; and the Faces of the Members, 
 which are generally plum in moderate Situations, they would have 
 lean forward, when plac’d very high, left they fhould appear too 
 narrow ; and laftly, they require that the Soffites, or under Parts of 
 the Members, which are commonly level, fhould rife up before, 
 
 when 
 
Part II. five Kinds of Columns. 1 07 
 
 when they are plac’d low, and but little above the Eye, left they 
 fhould feem to have too little Projedure. In the fame manner, in 
 Sculpture, they would have thole Figures which are to be fet at a 
 Diftance, made larger, bolder, and more rude, that they might 
 not appear too mean and obfcure ; and that fuch Statues as are 
 plac’d in very high Niches, bend forward, that they may not feem 
 to lean backwards. 
 
 I begin the Examinations of thefe Reafons by matter of Fad, 
 and do affirm, that there are no Inftances of the Pradice of this 
 Rule of the Change of Proportions, and that if fome may poffibly 
 be met with, we are not to think this Change was made for any 
 Reafons from the Optics, but only by chance, fince thefe Changes 
 have not been pradis’d in the moft approv’d Buildings. 
 
 T o begin with the Diminution of Columns, we find that the 
 largeft, and leaft, have the fame Diminution in the Antique, and 
 that there are fmall ones, which have even lefs than the largeft. 
 
 The great Columns of the Temple of Peace, of the Portico of the 
 ( Pantheon , thofe of Campo Vaccina, and of the Bafilic of Antonine , the 
 very Shafts of which are between forty and fifty Foot high, have 
 the fame Diminution as thofe of the Temple of 'Bacchus, where the 
 Shaft is fcarce ten Foot high. But thofe of the Temple of Faujlina, 
 of the Porch of Septimius, of the Baths of Diocletian, and of the 
 Temple of Concord, whofe Shafts have from thirty to forty Foot in 
 Height, have even more Diminution than thofe of the Arches of 
 Titus, of Septimius, and of Conftantine, whofe Shafts have no more 
 than from fifteen to twenty Foot. ’Tis plain, then, that the dif- 
 ferent Diminution of thefe Columns was not determin’d by any 
 Rules of the Optics, fince the tailed having a great Diminution, 
 and the fhorteft a fmall one, would, according to thofe Rules, 
 produce an Effed quite contrary to the Intention of the Architeds. 
 
 A s to railing the Soffites, or Planchers, on the forepart, ’tis pre- 
 tended to be done, that the Projedures of the Members may the 
 better appear, and they hold this to be principally neceflary in 
 three Cafes ; namely, when they are to be view’d at a great Di- 
 ftance, when the Parts are not fituated very high, and when there is 
 not Liberty to give them their proper Projedures. Neverthelefs, we 
 find, that, in thefe very Cafes, the contrary has been pradis’d in 
 the Antique. For, in regard of the Afped, in the Porch of the Pan- 
 theon, where the View may be very diftant, and where, on that 
 account, the Projedures would feem fmall, the Soffites, neverthelefs, 
 are not rais’d before, and yet, within the Temple, they are rais’d, 
 where, the View being neceftarily near, there was no need of it. 
 
 As to parts fituated low, we find the contrary of this Rule, in moft 
 approv’d Buildings, where the Soffites are often rais’d in thofe parts 
 
I o B The Ordonance of the Part II. 
 
 Ch. VII. that are plac’d higheft, which have no need of it, and yet are not 
 rais’d in thofe that are plac’d lowed:. Thus it is in the Theatre of 
 Marcellas, where the Soffites, as well of the Architraves as the Imports, 
 are rais’d in the fecond Order, and are not in the firft ; and in the Co- 
 hfeum, where they are equally rais’d in all the four Orders, and a- 
 gain, in the Temple of Fejld at Tivoli, and in the Temple of 'Bac- 
 chus, which are the fmalleft Orders, and the Entablatures fituated 
 the lowed: of any, where the Soffites are not rais’d at all. Laftly, 
 as to the lmall Projedtures we are fometimes oblig’d to give, this too 
 does not appear to have occafion’d the raidng of the Soffites, fince 
 there are Buildings of good Efteem, where the Projedhires are very 
 large, and yet the Soffites are rais’d 5 as in the Architrave of the 
 Temple of Manly Fortune, where the Soffites of the Faces are tais’d, 
 though the Largenefs of their Projedtures is extraordinary. 
 
 A s to the Inclining of the Faces, which fome think fhould be 
 made to lean forward, to hinder the oblique Afpedt from making 
 them look narrow, they ought to be made fo according to their Rule, 
 when too near a view confines one to fee them obliquely, or when 
 ’t is necelfary that a Face fhould appear large, when we are oblig’d 
 for fome Reafon to make it little : but we do not find it thus in the 
 Antique. For in the Portico, and within the Pantheon, where the 
 Afpedts are different, all the Faces lean backwards ; and fo they do 
 in the Temple of Bacchus, and in the Baths of Diocletian, where 
 the View being near of Neceffity, they ought, according to the 
 Rule, to have lean’d forwards. Again we almoft conftantly find, 
 that though the Faces have no more than their due Proportion, yet 
 notwithftanding they are made leaning backwards, and we find 
 fome that are io, though they are even lefs than they ought to be. 
 This is obfervable in the Temple of Vejla, at Tholi, where the 
 upper Face of the Architrave, which is much too lmall, leans back- 
 wards. In fine, we generally find that the Faces lean backwards, 
 whether they are in thofe Parts that are fituate very high, or low ; 
 nor can any one give a Reafon why they incline forwards in the 
 Temple of Mars Ultor, and in the Market of Ne r~va, which are al- 
 moft the only Antique Buildings where they do fo. For the Rea- 
 fon that obliges one fometimes to make them lean backwards, is 
 the Need there is of giving a convenient Breadth to the Soffites of 
 the Members, of which an Import, a Cornice, or an Architrave, is 
 compos’d, when we are not willing to give that Projedhire to the 
 whole, which it would have, did not the Faces lean backwards. 
 But ’t is evident the Ancients did not make them lean back for this 
 Reafon, fince they did it without any fuch Necelfity, as appears 
 by the Architrave of the Temple of Manly Fortune, where the Faces 
 lean backward, though the Soffites have double the Projedture they 
 ought to have. -j- Nor 
 
Part II. five Kinds of Columns. 
 
 Nor do we find chat the Ancients made their Sculpture more 
 imbofs'd, rude and courfe, nor that their Figures were larger in 
 Works fituated very high, than thofe that were plac’d near the Sighti 
 In the Trajan Column, the Figures of the Bas-relief are neither lar^ 
 ger nor more imbofs’d above than below. The Statue of Trajan , 
 which flood at top of it, had not the fixth Part of the Column j 
 and ’t is certain, it was lefs by half, in proportion to the Column, 
 than the Figures, which (palladia fets upon Columns, Ids by hall 
 than the Trajan Column : and this Architect, who talks like all the 
 reft, of the Change of Proportions, and who practices it no more 
 than the others, makes his Figures, that are plac’d on high, and 
 thofe that are fet below, of the fame bignefs, and very often bigger 
 below than above, in the Antique Temples he has dellgnd. Pliny 
 remarks, that on the Top of the Pantheon, there were formerly Sta- 
 tues, which were not reckon’d into the Number of excellent Works, 
 though they were exquifitely fine, becaufe, fays he, they were plac d 
 too high, that is, the Diftance hindred the feeing them diftindly. 
 Neverthelefs, the famous Athenian, Diogenes, who made them, as he 
 did, alfo, all the other Figures of that Temple, fet them in that 
 Place 5 and there is no ground to think but this famous Artift knew 
 the Story of the two MinerVas, and might value himfelf, as others 
 do, upon the Change of Proportions, but he made the fame ufe of 
 it as the reft, who never practis’d it. 
 
 ’T 1 s true, however, that there are Inftances, both in the Antique 
 and in the Moderns, that make it evident, they have fometimes had 
 Intentions of changing the Proportions, on account of the View : 
 but befides that thefe Sorts of Changes are rare, ’t is certain they 
 produce an ill EfFedt. We have Examples of this in the Court of 
 the Louvre, where the Figures in the Bas-relief of the Attic, are made 
 much larger than thofe that are below, which difpleafes every one. 
 The fame has alfo the like EfFed, at the Portal of Saint Gervais, 
 where, by reafon of the great Height, the Statues are made of an 
 exceflive Bignefs. But the moll remarkable Inftance of the Change 
 of Proportions, made on account of the Optics, is in the Pantheon • 
 it confifts in that the Squares, or Pannels, of the Compartiment of 
 the Vaults, being funk, as it were by Steps, in manner of hollow 
 Piramids, the Axis of thefe Piramids, inftead of tending to the Cen- 
 ter of the Cupola, tends downwards to a Point in the middle of 
 the Temple, five Foot high above the Pavement, fo that this Axis 
 is not perpendicular to the Bafe of the Piramid, as it ought, in re- 
 fped of Symmetry, to have been : for this Change makes thefe 
 hollow Piramids appear from below, in the middle of the Temple, 
 juft as they would, were one rais’d to the Center of the Vault, and 
 that they were all direded thither. But as foon as one goes from 
 
 E e the 
 
 109 
 
 I 
 
1 1 o The Ordonance of the Partll. 
 
 € H. VII. the middle* this Effed ceafes, and we perceive the Obliquity of the 
 Axis, and the Defed of Symmetry in the Piramids * which is a 
 thing much more difagreeable to the Eye, than if the Sinkings had 
 been made with a true and proper Diredion, in refped to thiTceil- 
 ter of the Cupola : for the only Inconvenience of this dired and 
 as I may call it, natural Tendency, is, that one part of the Tread, 
 as it were, of thefe Steps of the lower Side of each Piramid, would 
 have been hid by the Height or Rife of the Steps, when one Hands 
 near the Wall, and that we fhould have feen a greater Part of thefe 
 Treads, the further we went from the middle : -which is no more 
 an Inconvenience than it is, that, in a Face viewed fideways, the 
 Nofe hides fome part of one of the Cheeks. For the Archited of 
 the <Pa»tbeon, has done juft as if a Painter, being to draw a iide- 
 Face, fhould make the Nofe to be view’d fore-righc, leaft, if it were 
 as it ought to be, it fhould hide part of one of the Cheeks. Laba- 
 co, who like other Architeds, commends the Change of Proportions, 
 without pradifing it, has made his Advantage of the ill Succefs this 
 Alteration had in the Pantheon, and in a Defign which he has prin- 
 ted, for the Cupola of Saint Peters, he has made the hollow Pira- 
 mids of the Compartiments of his Vault, tend to the Center of the 
 Arch, as they ought to do, being of Opinion, that the Change of 
 this Center could not have a good Effed, though the great Height 
 of the Church of Saint Peter , above that of the Pantheon, adds 
 mightily to the Inconvenience caus’d by the Thicknefs of the’steps, 
 hiding the Tread of thofe within them. But ’tis likely, he had no 
 regard to this Inconvenience, as being what the Sight is never offen- 
 ded at, there being nothing more common, than to fee fome Parts 
 hide others, and nothing to which the Eye is more accuftom’d than 
 to lupply the Proportions of entire Objeds, by the Judgment it 
 makes of the Bignefs of that whole, of which it fees only a part. 
 
 And this Reafon, of the Judgment of the Sight, is, in general, 
 the Caufe why we ought not to change the Proportions, fince this 
 Judgment is never wanting to inform us right, and hinder our be- 
 ing deceiv d by thofe Alterations and diiadvantageous EfFeds, which 
 are thought to be produc d by Diftance and different Situations. 
 And this is what remains to be explain’d, that there is no Reafon 
 to change the Proportions* as there is no Example, among the yin- 
 dents, that they have been chang d, which has been already fhewn. 
 
 The Judgment, wherewith all the Senfes are furnilh’d, is a thing 
 we polfels without knowing it, and without perceiving that we ufe 
 it, by reafon of Cuftom, which being as a lecond Nature, makes 
 us lefs dilpos’d to perceive that we exercife this Adion, fo that it 
 becomes, as it were, of different Kind from the reft of the Adions 
 of the Judgment, which not being fo often reiterated, cannot be 
 
 t exercis’d 
 
Part II. five Kinds of Co/wnm. i 
 
 exercis’d without bur making Reflexion, and taking particular Ccg- 
 nifance of them. On this account it. is, that, among the Senfes, 
 thofe which are mod commonly us’d, as the Sight and Hearing, 
 have a Judgment much more exaCt than the others, and arc lels 
 deceiv’d, in difccrning the Circumftances that may caufe a Miftake. 
 for this is the Reafon, that we judge fo certainly by the Eye, and 
 the Ear, of the Diftance, Bignefs and force of ObjeCts, and that 
 the other Senfes cannot fo eafily difcern thefe Circumftances 5 as 
 for Example, that the Feeling does not eafily difcern the Difference 
 of the Heat of a great Fire, at a Diftance, from that of a little one, 
 near at hand ; that the Taft does not often diftinguifh the Weak- 
 nefs of a fmall Wine, from that which a ftronger has, when mix’d 
 with Water ; and that the Smell miftakes a Scent that is weak in its 
 own Nature, for that which is only fo, on account of the Smallnefs 
 of its Quantity ; whereas the alrrioft continual Exercife of the 
 Sight, and Hearing, has, by a long Cuftom, gain’d them a Faci- 
 lity and Readinefs, which the other Senfes have not for want of 
 Life. For if, when we feel the End of a Stick, with the Extremi- 
 ties of two Fingers a-crofs one another, we prefently think we feel 
 two Sticks, ’t is becaufe we are not us’d to feel after this manner, 
 fince if we continue to touch it fo for a pretty while, we are no 
 longer deceiv’d, and we perceive that we feel but one Stick. Juft 
 as when the Eyes are any ways difplac’d, and out of their ordina- 
 ry Situation, we fee Things double 5 and yet, thofe that fquint, 
 whofe Eyes are naturally thus difplac’d, do not fo, becaufe they arc 
 accuftom’d to correCt, by their Judgment, the Error, which the 
 unnatural Situation of their Eyes leads them into. 
 
 It is very probable, that Animals, at their Birth, fee very er- 
 roneoufly, and that they judge diftant Objects to be as fmall, as 
 the Draught, made in their Eye, reprefents them, and that Expe- 
 rience having fhewn them they were deceiv’d, corrects the Error of 
 this firft Judgement ; and fo in time, the Judgement becomes ac- 
 cuftom’d to make ufe of all Means to defend it felf from being im- 
 pos’d on, till at laft, it comes to the fame Perfection we find, 
 when we begin to fee well ; and this Perfection is fuch, that there 
 is no one who thinks a Tower at a diftance, which is hid by put- 
 ting the Finger near the Eye, is really lefs than the Finger, nor 
 that a Round, viewed obliquely, is an Oval, nor an Oval a Round 5 
 although the Appearances of thefe Things in the Eye, are really 
 fuch. And ’t is of great Ufe to refleCt upon the ExaCtnefs and Ni- 
 cety of this Judgment, which is fuch as would be incredible, did 
 not Experience confirm it, and did we not fee, every Day, that a 
 Coachman, fifty Paces off, will tell us his Coach cannot pafs be- 
 tween two others, though there wants not above two Inches of 
 
 Room 
 
1 1 2 The Ordonance of the Part II. 
 
 C a. VII. Room enough to do it ; that a Sportfman judges of the Bignefs of 
 a Bird upon the Wing, that a Gardner knows the Size of the Fruit 
 on the Top of a Tree, that a Carpenter knows that of the Tim- 
 bers on the Roof of a Houfe, and that an Engineer meafures ex- 
 actly, by his Eye, the Thicknefs and Height of a Water-fpout. 
 
 Nor is it by Experience only, that we are convinc’d the Eye 
 does not deceive us fo much as fome alledge, but Reafon alfo fliews 
 it, by teaching us what Methods the Judgment takes to hinder our 
 being deceiv’d, and what it founds it felf upon, to acquire fo diffi- 
 cult a Knowledge with fo much Certainty. To know what this 
 Foundation, and what thefe Means are, we muff confider what 
 Painters do when they would deceive the Sight, by making Things 
 appear near or far off. For what they do for this purpofe, is what 
 the Judgement of the Sight oblerves and examines with the greateft 
 Exadtnefs, which confifts principally in two Things, which are 
 the Modification of the Size ana Figure, and that of the Colours. 
 The modifying the Size and Figure, ferves to fhew the Diftance, 
 when Things are leffen’d and dilpos’d as they ought to be, by ma- 
 king, for Inflance, a Floor, or Pavement, to rife, a Cieling to de- 
 fcend, and the further Extremities of the two Sides, to come near- 
 er together ; the Regulation of the Colours ferves to produce the 
 fame Appearance of Diftance, when their Force is diminifh’d, by 
 taking away the too ftrong Lights from the enlightned Parts, and 
 the two great Obfcurity from thofe that are fhadow’d ; and this in 
 fuch Manner, that thefe two Kinds of Modification always go to- 
 gether. For we muft fuppofe, that the Judgement of the Sight ex- 
 amining all thefe Things, concludes, that an Objedt, whole Ap- 
 pearance is fmall in the Eye, is really fmall and near ; if its Parts 
 are enlightned by a very ftrong Light, and the Shadows are very 
 dark, and that a Pavement, which is defcrib’d rifing to the Eye, 
 is not fo in Effedt, but that it is very long, when the Parts that 
 compofe it are fo colour’d, that, as it rifes, the Lights and Shadows 
 grow weaker and weaker. 
 
 Besides thefe two Modifications, which the Judgement of the 
 Sight examines with great Exadtnefs, it alfo takes notice of other 
 Circumftances, and makes ufe of other Means to know the Mag- 
 nitude and Diftance of Objedts far off. Thefe Means confift in 
 the Companion it makes of Things known, with thofe unknown, 
 fo that the Knowledge of the Diftance informs it what is the Mag- 
 nitude, and the Magnitude which it knows, tells it the Diftance : 
 for we judge that thole Objedts whole Size is known, as a Man, a 
 Sheep or a Horfe, are at a good Diftance, when they appear fmall 
 to the Eye ; and for the fame Reafon, when a Tower, which we 
 know to be a great diftance off, feems large to the Eye, we judge 
 
 t that 
 
Part II. five Kinds of Columns . 113 
 
 that the Tower is actually large, and ’tis to be underftood, that this 
 is done by fuppofing that thefe laft Means of judging, taken from 
 the Companion of Things known, with thofe unknown, ought to 
 be join’d with the former, taken from the Modification of Size and 
 Figure, and that of Colours : for the modifying of the Colours, in- 
 abling us to judge of the Diftance, and the Diftance, making us 
 judge of the Size, and the Modification of the Size, making us alfo 
 judge of the Diftance, ’tis certain that the Mind, which has been a 
 long time habituated, by almoft infinite Experiments, to examine, 
 unite, and compare, all thefe things together, acquires, at length, 
 fuch a readynefs of difeerning the Size, Diftance, Figure, Colour, 
 and all the other Truths of diftant Objedts, as is next to infallible. 
 
 But that which proves the Exadtnefs and Infallibility of the Judge- 
 ment of the Sight, and demonftrates certainly, that this Senfe is not 
 fubjedt to be lurpriz’d and cheated as fome aflert, is the difficulty 
 of effecting it, though endeavour’d at by the mod perfect and inge- 
 nious Art : for excepting fome few Birds chat fly at Random, we 
 rarely fee an Animal deceiv’d by a piece of Perfpedtive. The Pain- 
 ter may do his utmoft in diminifhing his Figures, in giving a due 
 Obliquity to his fide-lines, and weakening the Lights and Shadows 
 to the fame Degree that Nature throws them in their feveral Diftan- 
 ccs : but as it is impoffible to deferibe them fo precifely as Nature 
 does, the Eye, which is more juft and exadt than the Painter’s Hand, 
 eafily perceives what is wanting of this ultimate Perfedtion. And 
 there can no other Reafon be given why we are not deceiv’d by 
 painting ; but the certainty of the Sight, which, befides the Imper- 
 fedtion that is always in a pidture, by the Fault of the Workman, 
 difeovers, ftill, other Defedts, w hich neceflarily arife from the Thing 
 it felf 5 it being impoffible but that, notwithftanding all the Faint- 
 nefs that can be exprefs’d in the colouring, to make, for Inftance, 
 a Mountain appear very far diftant, the Eye will perceive the 
 Lights and Shadows with the Strength that Bodies have which 
 are nearer : becaufe the Inequalities of the Cloth or Wall, which 
 are really near us, have fome of thefe Lights and Shadows fo ftrong 
 as is not feen in things at a diftance. And ’tis on the fame ac- 
 count, that the Voice of thofe who fpeak, as we fay, from the 
 Belly, which refembles a Voice at a great Diftance, does not de- 
 ceive us, when we mind it with Attention ; becaufe the Ear difeo- 
 vers, in this faint Voice, fome fmall Sounds intermix’d, that have 
 all the Strength of a nearer Sound. For, though a Pidture far off, 
 does not {hew, very diftindtly, the Inequalities of its Surface, yet 
 it is true, that the Fidelity and Exadlnefs of the Sight, is fuch, that 
 the imperfect, and confus’d Perception we haye of it, is fufficient to 
 prevent our being deceiv’d. 
 
 F f 
 
 This 
 
i i 4. 'The Ordonance bf'ttfe Part II. 
 
 C h. VII- Th is Exadnefs of the Judgement of the Sight, and the Certainty 
 of the Knowledge it gives us, being then fo precile as they are, ’t is 
 not very difficult to conceive that the Diftance of Objeds, not be- 
 ing capable to deceive and furprife us, thefe Proportions cannot be 
 chang'd without our perceiving it, and for this very Reafon, fuch 
 Change is not only ulelefs, but ought to be accounted vicious : be- 
 caufe the Eye of one, for Example, who knows what ought to be 
 the Proportion of an Entablature, can’t fail of perceiving that which 
 is made larger upon a great Column, in proportion, than on a lit- 
 tle one, notwithftanding the Height it is rais’d to 5 juft as every one 
 can judge whether a Man that Hands at a high Window, has a Head 
 bigger than Ordinary ; fo that if the ufual Proportion of an Enta- 
 blature be any ways reafonable, on account of that relation which 
 the Mafs, to be fuftain’d, has to the Strength of that which bears it; 
 this Entablature, which is really greater than it fhould be, in pro- 
 portion to the Column that fupports it, will neceffarily difpleafe 
 the Eye : and the fame thing would happen, if, to prevent a Sta- 
 tue in a Nich, or a Bull upon a Confole, from appearing to lean 
 backward, we Ihould fet it leaning forward : for if they do lean 
 forward, they would infallibly appear fo to do. 
 
 For. the fame Reafon, if, in Sculpture, to prevent the great Di- 
 ftance from making the Parts of Works plac d very high, appear 
 too confus’d and indiftind, we make them rude and grofs, the Eye 
 will difcover them to be fo; becaufe comparing the Diftance which 
 it knows, with the Confufion it naturally expects, in things at fuch 
 a Diftance, it will be offended to find that Diftindion which it 
 judges fhould not be there ; as we fhould not like a Pidure, where 
 things, at a diftance, were made as ftrong, and as diftind, as thofe 
 that are near : for if it is true, that none but the ignorant, love to 
 fee the Hairs of the Eye-brows, and the Red of the Lips, diftindly 
 exprefs’d, in Figures that are very remote in a Pidure ; fo there are 
 none to be found, that can bear, in Statues plac’d ever fo high, 
 that the Eyes fhould be hollow’d, the Holes in the Hair-curies made, 
 and the Mufcles {hewn ftronger than they are, unlefs among fuch 
 as know not wherein the Beauty of Sculpture confifts : for thofe 
 who have an Idea of the Perfedion of Workmanlhip, will always 
 perceive that the Proportions are chang’d and fpoil'd, at leaft by 
 comparing one Part with another ; it being impoffible to make eve- 
 ry Part equally hard and expreflive, as for Example, to make the 
 Shadow of the Head upon the Neck, as dark and diftind as that 
 which is about the Eyes, that are hollow’d and funk deeper, on pur- 
 pofe to give them the Strength that is affeded in Sculpture, fitua- 
 ted in Afpeds at a great Diftance. t •; 
 
 For 
 
Part II. five Kinds of Columns. * i 5 
 
 Fod fuppofing that the Eye were not capable, by its Judgement, . . 
 to inform us, very exactly of the Bignefs of things at a diftance, 
 and that a Coachman is not fo well allur'd of the Room he thinks 
 his Coach cannot pafs in, as if he meafur’d it, it mull alfo be con- 
 fider’d that it is not this Exadtnefs alone that is requir’d to make 
 the Eye capable of not being deceiv’d by the Diftance, when the 
 Bufinefs lies in the Knowledge of Proportions: nor is it neceflary, 
 in this Cafe, to know abfolutelv the bignefs of a Thing ; but to 
 know how to compare it, with thofe that are adjoining to it. For as 
 a Coachman judges the Space through which he would pafs, to be 
 little, chiefly, becaufe he compares it with the Size of the two Coach- 
 es between which he mud pafs : fo the Eye judges of the Bignefs of 
 an Entablature, and knows very well when it is too large, though 
 it cannot precifely tell of what Dimenfion it is ; it being fufficient 
 that it compares the Bignefs of it with that of the other Parts of the 
 Building. Now Diftance does not hinder the making this Compa- 
 rifon ; becaufe, though it does leflen the Appearance of the Bignefs 
 of this Entablature, it does the fame, alfo, by the other Parts of 
 the Building that are near, and accompany it, and can, by no 
 Means, prevent the Eye from difcerning the Addition, which the 
 Architect, or Sculptor, has given to the Bignefs of any Part. 
 
 But although it were not certain, that the Judgement of the 
 Sight is capable of hindering the Diftance of Objedts, and their Si- 
 tuation, from deceiving us, yet ’tis certainly true, that the Change 
 of Proportions is no good Remedy for this fuppos’d Defedt 5 be- 
 caufe it cannot have a good Effedt, but from one certain ftated 
 Diftance, and only fuppofing the Eye not to change its Place : and 
 that as in thofe optical Figures, whofe Proportions are fo adjufted, 
 that being view’d at one certain Point, they produce a good Effect, 
 and are utterly deform’d when the Eye is moved to another Place; 
 fo thofe Proportions that are chang’d in a Building, to produce a 
 good Effedt to the Eye, viewing them from one certain Place, would 
 alfo appear very deform’d and difagreeable, when we change our 
 Situation : becaufe the Afpedt, which is oblique, when we are near, 
 ceafes to be fo in proportion to the Diftance we remove : And thus 
 the Face of a Corona, or Drip, which is made larger, or leaning 
 forwards, that the Obliquity of the Afpedt might not make it ap- 
 pear too fmall, would certainly feem too big, when, by changing 
 the Afpedt, this Obliquity ceafes. 
 
 In fine, to conclude in one Word, I believe that upon due Con- 
 fideration, we fhall find no Reafon at all to alter and fpoil the Pro- 
 portions, and make a. Thing defedtive, out of defign to mend it ; 
 all thofe Appearances that Diftance, and the Situation produce,' 
 which are taken for ill EfFedts and Defaults, being the true Condi- 
 i- tion 
 
1 1 6 The Ordonanee of the Part II. 
 
 Cb. VJI. don, and natural Shape of things, which cannot be chang’d with- 
 out rendering them vifibly deform’d. For all that has been, or can 
 be faid, on this SubjeCt, is, that it is not fo fure, that Diftance 
 makes Proportions appear otherwife than they are, as it is cer- 
 tain that the Change of Proportion is, in Effect, the Corruption 
 of it ; and that there is much greater Danger, that a Proportion 
 fhould appear corrupt and vicious, when chang’d, than when it is 
 not fo. 
 
 I n the mean time, what will become of the unanimous Opinion 
 of all Architects, founded upon the Authority of Vitruvius, who 
 teaches this Change of Proportion, and preferibes its Rules ? Is it 
 credible, that for near two thoufand Years, that this Maxim has 
 been eflablifh’d, no one has given himfelf the Leifure to examine 
 it, and that fo many great Perfons, who have probably made Re- 
 flexion on fo important a Queftion, have not been able to difeover 
 the Truth i There mull certainly be fomething in this: and my 
 Opinion is, that as one may have all the Genius neceffary for an 
 Architect, without amufing ones felf with things, which, we be- 
 lieve, have nothing in them, but a vain and fruitlefs Subtlety } 
 thofe that have been capable of refolving the moll fubtle QuefHons 
 may have negleCted this, whofe Difcu/fion was thought ufelefs, be- 
 caufe of the Authority of Vitruvius, who feems to have decided ic • 
 andalfo, becaufe there are fome Cafes, where the Change of Pro- 
 portion, may, in fome meafure, be admitted. But, as on thefe 
 Occafions, the Change is not made on account of the Optics, as 
 will go near to be prov’d * the Truth of the Propofition remains 
 Hill unfhaken, namely, that the Proportions of Architecture are not 
 to be chang’d, according to the different AfpeCts. 
 
 The Ambition that every one has to magnifie the Art he pro- 
 feffes, has inclin’d Architects to turn all thofe things into Myfteries, 
 which they could not give a Reafon of: for making ufe of that great 
 Conceit, we generally have of things of former times, as there arc 
 fcarce any more ancient than thofe we fee in the Remains of the 
 Buildings of the Greeks and iftomans, they would fain eflablifh it as 
 an unmoueable Foundation, that there is nothing in thofe admira- 
 ble Remains, that was not done with the greatefl Reafon ; and 
 when the Diverfity of Proportions, in Buildings equally approv’d 
 of, is objected to them, they attribute it to the Diverfity of AfpeCts, 
 which they fuppofe was the Caufe of this Change of Proportions, 
 which ought to have had different Rules, by reafon of the Diffe- 
 rence of Situation. 
 
 The Examples mention’d in the beginning of this Chapter, ta- 
 ken from the mofl approv d Buildings of Antiquity, have plainly 
 fhewn that this could not be, becaufe, in the fame AfpeCts, the 
 
 t Proportions 
 
Part II. five Kinds of Columns . 
 
 Proportions are very often different, and, on the contrary, they are 
 alike in different Afpedts : It remains to fhew, that in thofe Cafes, 
 where a Change of Proportions is allowable, it is not founded on 
 the Optics, nor upon any Effedl that the Diffance, or the Situation 
 of the Members of Architedhire, can produce. 
 
 The firft Cafe, in which, I think, the Proportions may be chang’d, 
 is when we would not give much Projedlure to a Cornice, an Ar- 
 chitrave, or a Pedeftal : for then, the Faces may be made leaning 
 back, to regain, by fo doing, what we give to the Projedlures : 
 and ’t is certain, that here, Optics have nothing to do ; becaufe the 
 Projedlures have really their due Magnitude ; and that their is no 
 Intention of making them appear otherwife than they truly are. 
 What is to be obferv’d in the Pradlice of this, is, that it ought not 
 to be put in execution, but in Places that arc concave, as on the 
 Inlide of Domes or Lanterns, in the Bands, or Architraves of 
 Arches, Door-cafes, Window, and Pannel Mouldings ; and, gene- 
 rally, in thofe Difpofidons, where, no Angle, made at the Return, 
 may (hew the Profile of the Moulding; in which, thefe Inclina- 
 tions of the Faces, have a very ill Effedl. There are Examples of 
 thefe Faces leaning backwards, made with good Succefs within the 
 'Pantheon, in the Architrave of the Arches that are over the Entrance, 
 and over the middle Chappel : but this is not pradlis’d in the Ar- 
 chitrave of the Attic, where the Faces are diftinguilh’d only by Mar- 
 bles of different Colours, without making any Projedlure one be- 
 yond the other : which may, probably, be one of the Reafons there 
 are, to think, this Attic was not made by the fame Architedl as 
 built the reft of the Temple. 
 
 Another Cafe is when one would fet a Colofs of a Figure in 
 a very high Place ; for then, we may make it much larger than 
 the other Figures that are below it : but ’tis evident, this is not 
 done for any Reafon of the Optics, becaufe the Intention is, thac 
 the Figure fhould appear a Coloffus. And ’tis to be obferv d in 
 fuch Cafe, that this Statue be fet upon fomething that bears a Pro- 
 portion to its Bignefs, it not being proper to put it, for Example, 
 upon a fecond and third Order, which being neceffarily lefs than 
 the firft, ought not to bear Statues difproportionate to it, but fuch 
 as are lefs than thofe of the firft Order. So that it muft be contriv’d 
 in fuch manner, that there may appear to be a Recefs of the Work, 
 comprehending leveral Orders, or, at leaft, bearing Proportion to 
 the Coloffal Statue. This is obferv’d in the Triumphal Arch of the 
 Fauxbourg of S. Anthony, where the Coloffal Statue, of the King, is 
 fet above, upon the Maffive of the Building ; againft which, there 
 is an Order, quite round about, that rifes not above half the Fleight 
 of this maffive Part ; for the maffive ferves for a Pedeftal to the 
 
 G g great 
 
1 1 8 The Ovdonance of the Part II 
 
 Ch. VII. great Statue, which is very much larger than thofe that are upon 
 the Columns of the Order, to which, they are proportion’d, as the 
 great Statue is to the Maffive. 
 
 Neither ought we to make Statues plac’d above, bigger than 
 thofe fet below, when they are of the fame Kind, that is, when 
 both Hand each in their own Story and Order : but, on the con- 
 trary, they ought always to be diminifh’d, as the Orders are, 
 which are necelTarily lefs above than below. 
 
 The third Cafe is, when two half Pilafters make an inward An- 
 gle : for then they mull be allow’d a little more than their Semi- 
 diameter, to prevent the ill Effedt, the Capital and the Flutings 
 would necelTarily produce, were not the half Pilafters inlarg’d in 
 this manner, as I noted in the precedent Chapter. And ’t is 
 manifeft, this Change is not made for any Realon of the Op- 
 tics, but to give fome of the Parts a little more Breadth than 
 they fhould have, that we be not oblig’d to ftraiten and narrow o- 
 thers more than they ought to be : for this is done in the Corinthian 
 Capital, in giving the two half Leaves, of the fecond Range, more 
 than the half, in the inward Angle ; becaufe, had they no more 
 than precifely the half, the bending of the Leaf would be render’d 
 too Tharp and pointed ; and the middle Volutes too clofe together, 
 were they not thus enlarg’d. 
 
 The fourth Cafe is, if we would, according to the Opinion of 
 Scdmozzj, place the Compojitc Order between the Ionic and Corinthian, 
 which I very much approve of, the Conipojite Capital having much 
 Affinity with the Ionic , and the Grofnefs of its Entablature, making 
 it, alfo, bear more Proportion to the maflive Orders, than the Co- 
 rinthian does : for in this Cafe, it would be neceflary to change the 
 Proportions, which might be done, by fetting the Compofite Column, 
 with its Entablature, upon the Corinthian Pedeftal, fihortning the 
 Shaft of the Column by two little Modules, and in like manner, 
 placing the Corinthian Column, with its Entablature, upon the Com- 
 pofite Pedeftal, and adding two little Modules to the Length of its 
 Shaft. There may be, alfo, other Cafes, where it may be permit- 
 ted to change the Proportions : but I believe there are none where 
 it ought to be done, for any Reafons of the Optics : for a Sculp- 
 tor may be allow’d to choofe fuch Poftures as will beft fait the 
 Difpofition of his Figures, and avoid all fuch as would produce 
 an ill Effect 5 as Monf. Girardon has done, very judicioufly, at 
 • Seaux , where he has made a very large Statue of MinerVa, fitting 
 at the Top of the Building, on the fxigheft Acroterion of the Pedi- 
 ment, and difpos’d it lo, that, being feated fomething high, the 
 Knees hide no Part of the Body, as they would have done, had 
 they been rais’d higher: but the Truth is, that in this Change, he 
 
 t had 
 
Part If. five Kinds of Columns . 
 
 had no Defign to make the thing appear otherwife than it is. 
 
 To conclude this Chapter, I cannot but fay, t is ftrange, that, 
 in Cafes, where Proportions fhould have been chang’d, there fome 
 have affeded to make them alike. For Example, the three moft 
 celebrated Authors that have written of Architecture, Vignola, 'Pal- 
 ladio, and Scamoigi, in the Ionic, Corinthian, and Compojlte Orders, 
 make the Height, of all the Entablatures, of the fame Proportion 
 to the Length of the Column ; Vignola giving, all his Entablatues, 
 very near a Fourth of the Column, and Palladio, and Scamofi, 
 giving them all, indifferently, about a Fifth Part. For in my O- 
 pinion, it had been more rational to fet the more maffive Entabla- 
 ture, as is that of the Fourth of the Length of the Column, upon 
 that which is fhort and well-fet, as the Ionic may be faid to be, in 
 Comparifon of the Compofite , and to place the lighter, as is that of the 
 fifth Part of the Length of the Column, upon that which is tall 
 and (lender, as the Compofite may be faid to be, with refped: to the 
 Ionic , ; than to have done the contrary. For this Rcafon, I cann’t 
 but think, that the Variation, and Change of Proportions, which 
 I have us’d in my Entablatures, according to the Difference of the 
 Orders, is fomewhat better founded, than the Change which is 
 made on account of different Situations and Afpe&s. 
 
 I did forget to note, wherein this Diverfity of Proportions, which 
 I give my Entablatures, confifts, in the Place where ’t is exprefly 
 fpoken of in this Treatife, which is in the fourth Chapter of the 
 firft Part, where ’t is faid, that the Entablatures have one and the 
 lame Height, in all the Orders ; and ’tis from this Equality of 
 Height of the Entablatures, that the Difference of their Proportions, 
 with refped to the Columns, arifes : For the Length of the Co- 
 lumns, going always increaftng, while the Height of the Entabla- 
 tures remains the lame, it follows, that the fhortefl Columns have 
 Entablatures larger, in proportion, than the longed. Thus the 
 Length of the Tu/can Column is of three Entablatures and two 
 Thirds ; the Corinthian of four and two Thirds, and the Compofite 
 of five : the Proportion of the Entablature going always diminifh- 
 j n g> equally by one Third of the Height of the whole Entablature, 
 in each Order, as the Order it felf becomes more (lender and deb- 
 cate. 
 
 I 19 
 
 CHAP. 
 
120 
 
 The Ordonance of the PartIL 
 
 CHAP. VIII. 
 
 Of fome other tjbufes introduc’d into the Modem dr chi- 
 
 teHure. 
 
 S, in Languages, there are feveral Ways 
 of Speaking, contrary to the Rules of 
 Grammar, which long Cuftom have fc* 
 authoriz’d, that there is now no correct- 
 ing them ; and others that are not yet 
 fo generally received, but their Efta- 
 blilhment might be prevented, were they 
 rejected by fuch as have the Reputation 
 of Speaking well : So in Architecture, 
 alfo, we may obferve Abufes of both thefe Kinds. There are fome 
 that cuftom has not only render’d tolerable, but even fo neceftary, 
 that, though contrary to Reafon and /indent Rules, they are, them- 
 felves, become Rules of Architecture. Thefe Abufes are fuch as 
 are mention’d in the Preface, as the Swelling of Columns, the Mo- 
 dilions of Pediments perpendicular to the Horizon, and not to the 
 Hope Line of the Pediment ; to which may alfo be added, the re- 
 ceiv’d Cuftom of putting Modilions on the four Sides of a Fabrick, 
 and in the Cornifh, that runs a-crofs under the Pediment, placing 
 them in the firft Order, inftead of referving them for the laft above; 
 Modillions being proper on thofe Sides only, where the Rafters are 
 fet, whofe Ends they reprefent, and not in the Cornice that runs un- 
 der the Pediment, but only in the Pediment it felf, where they repre- 
 fent the Ends of the Crofs-Rafters or Purlins ; there being nothing 
 more contrary to what Modillions are intended to reprefent, than 
 
 to 
 
I 21 
 
 Part If. five Kinds of Columns. 
 
 to put them in thofe Places where there can be neither Rafters nor 
 Purlins. The Cuftom of making Triglyphs in any other Part than 
 over the Columns, which is the only Place where there are Beams, 
 whofe Ends the Triglyphs reprefent, may alfo be put in the num- 
 ber of thofe licentious Practices w hich Cuftom has authoris’d. 
 
 But there are other Abuies which have no more Authority than 
 what is barely fufficient to make them tolerable, and which ought 
 at leaft, to be avoided, for greater Perfection 5 fuppofing they are 
 not abfolutely to be condemn’d. Palladio has made a Chapter of 
 them, and reduces them to four only, which are the placing Car- 
 touches to bear any thing ; the breaking of Pediments, and leaving 
 them open in the middle 5 the affeCting a great ProjeCture for Cor- 
 nices, and the making Columns with Rufticks : but I think others 
 may alfo be added, fome of which, poffibly, might not be intro- 
 duc’d in the Time of Palladio : For befides thofe wffiich I have fpo- 
 ken of, in the precedent Chapter, which refpeift the Change of Pro- 
 portions, I take notice of feveral others, the greateft part of w’hich, 
 indeed, are not fo bad, as thofe mention’d by Palladio. 
 
 The firft is the making Columns, and Pilafters, interfere, and 
 penetrate eacli other. This Penetration, in Columns, is more rare 
 than in Pilafters. There is an Inftance in the Court of the LouVre, 
 where, in the inward Angles, as A, there are plac’d two Columns, 
 B C, inftead of being content with the Column D, which is capa- 
 ble of doing as much as the two Columns B and C, and much 
 more naturally, if I may fo fay, fuppofing, that as the Column E 
 fuftains the two Architraves which make the prominent Angle, the 
 Column D bears alfo thofe which make the inward Angle 5 there 
 being no Reafon why one Column fhould not be fufficient to bear 
 the inwa*rd Angle, fince it is fo, for bearing the outward one. 
 
 1 ’Palladio , in a Palace which he built at Vteen%a, for the Count Vale- 
 rio Chiericato, has alfo made Columns which penetrate each other, 
 which he calls double Columns. 
 
 H h [Th* 
 
122 TheOrdonanceofthe Part II. 
 
 Cm. VIII. The like Abufe is more common in Pilafters, it being the Pra- 
 ctice of the Moderns , when, for Example, the Pilafter G makes 
 an Advance, and caufes the like in the Entablature and Pedeftal, 
 to join to it an half Pilafter H, which both penetrates it, and is pe* 
 netrated by it , this half Pilafter being to lupport the Entablature 
 that runs, continued, over the Pilafter I, the Abufe confifts in this. 
 
 that befides the Parts penetrating each other, the half Pilafter H, is 
 alfo out of its place, and wholly ufelefs, the Pilafters K and L, be- 
 ing fufficient. The Reafon of this is, that thofe Works, where Pi- 
 lafters, and half Pilafters are, as G H [, which have no more Pro- 
 jedture than the fifth or fixth part of the Diameter of the Pilafter, 
 and that make an Advance but of this Thicknefs, ought to be confi- 
 der’d as Bas-reliefs, which reprefent the whole Relievo M N O, and 
 that thofe, which, as L K, have no half Pilafters, reprefent the en- 
 tire Relievo P Q.R. Now it is certain, that the Manner M N O, 
 has no Reafon in it, and that the Difpofition of the Pilafter Q, in 
 the whole Relief, is much better than that of the Pilafter N, which, 
 not being diredtly oppofite to the Pilafter M, but on the ?ide of it, 
 is quite out of its place. And ’tis alfo certain, that the Reprefenta- 
 tion of what is amifs, can be good for nothing 5 unlefs for other 
 Reafons than are taken from the Nature of the Thing, fuch as are 
 here the multiplying of Ornaments, which confifts in the half Ca- 
 pitals, and haft Bafes, plac’d very improperly. So that it may ge- 
 nerally be laid, that all half Pilafters are properly Abufes, not only 
 in the Kind here propos’d, where a half Pilafter is join’d to a whole 
 one, but even, when two half Pilafters meet in an inward Angle. 
 So that the little Corner of the Pilafter Q_, is the only thing that 
 can regularly be put in the inward Angle 5 as is done" within the 
 great Portico’s that are in the Front of the Louvre. For though we 
 find half Pilafters in inward Angles, in the moll approv’d Works of 
 the Antique, fuch as the Vantheon • yet as they always fuppofe a 
 mutual Penetration of two Columns, we may truly fay, they are 
 contrary to exadt Regularity, with which, however, we may lome- 
 
 times 
 
Part II. five Kindi of Columns. 123 
 
 times be permitted to difpence, tvhen there is manifeft Reeafon fo 
 
 to do. 
 
 The fecond Abufe is the Swelling of Columns, of which, I have 
 fpoken, in the eighth Chapter of the firft Part, where 1 have (hewn 
 that this Cuftom is without Reafon, and that we do not find that 
 it has been practis’d in the Antique. . . 
 
 The third Abufe is the Coupling of Columns, which fome can-, 
 not approve of, becaufe there are fcarce any Examples of it in the 
 Antique. But the Truth is, if we may be admitted to make any 
 Addition to the Inventions of the Ancients , this Contrivance deferves 
 to be receiv’d in Architecture, as having a confiderable Beauty and 
 Convenience. As to its Beauty, it is perfectly according to the 
 Taft of the Ancients, who affeCted thofe Buildings where the Co- 
 lumns flood clofe together, beyond all others, and had nothing to 
 objeCt, but the Inconvenience this Clofenefs caus’d, in the Manner 
 they perform’d it : for this Streight oblidg’d them to enlarge the 
 middle Intercolumnations, and was alfo the Occafion that Her- 
 mogenes invented the Pfeudodiptere, to enlarge the Ifles, or Walks, 
 of the Porches of the Temples, call’d Dipteres, becaufe, there, the 
 Ifles were double, having two Rows of Columns, with which, the 
 Wall of the Temple made two Galleries on the out-fide. Now, 
 this knowing Architect, who was one of the firft Inventors of the 
 Ancient Architecture, thought fit to take away the Row of Columns 
 in the middle, and of two narrow Galleries, to make one that 
 would have the Breadth of both, and of a Column befides. From 
 the Example of Hennogenes, the Moderns have introduc’d this new 
 Manner of placing Columns, and, by coupling them, have found 
 a Way to make the Portico’s more free, and the Orders more grace- 
 ful : For placing the Columns two and two, the Intercolumna- 
 tions may be kept fo large, as that the Doors and Windows, which 
 are in the Portico’s, be not darken’d, as they were among the An- 
 cients, where thefe Openings were wider than the Space between the 
 Columns ■, foj in their moft ordinary Methods of placing of Co- 
 lumns, it was neceffary, in an Intercolumnation of eight Feet, that 
 the Columns fhould be of four or five Feet Diameter $ whereas, 
 when the Columns are coupled, ’t is fufficient if they have two, or 
 two Feet and a half diameter : and by this Means, the large Inter- 
 columnations have not the ill Appearance they would have did 
 the Columns ftand fingly, one by one ; which, in that condition, 
 would feem too weak and incapable to fupport the Length of the 
 Entablature, between Column and Column. 
 
 This Manner of placing Columns may be confider’d as a fixth, 
 added to the five Ways that were in ufe among the Ancients, the 
 firft of which was call’d Pycnoftyle, becaufe the Columns were plac’d 
 
 very 
 
1 24 
 
 The Or don an cs of the Part I! 
 
 CH.ViII.V6ry clofe, the Intercolumnations being no more than a Diameter, 
 and a half of the Column 5 the fecond was call’d Syltyle, where 
 the Columns were not quite fo clofe, the Intercol limitations being 
 two Diameters 3 the third was call'd Euftyle, where they were 
 moderately clofe, the Intercolumnation being two Diameters and 
 
 a quarter ; the fourth was call’d Diaftyle, where they were a lit- 
 tle wider, and the Intercolumnation of three Diameters ; and the 
 fifth was call’d Arxoftyle, where the Columns were far diftant, 
 the Intercolumnation being four Diameters. Now this addition- 
 al Sixth, may be faid to partake of the two extreme Kinds, be- 
 fore mention’d, namely, of the Pycnoftle, where the Columns 
 are very clofe, and of the Arasoftyle, where they are very wide 3 
 and that this Difpofition of Columns, which can only be reputed 
 abufive, becaufe the Ancients, did not ufe it, may be plac’d in the 
 number of feveral other things of the like Nature, which Cuftom 
 has authoris’d, and of which, Mention was made at the Beginning 
 of this Chapter. 
 
 The fourth Abufe is the enlarging of the Metopes, in the Doric 
 Order 3 to give the Intercolumnations thofc Breadths we may have 
 need of. For if, for Inflance, we would couple two Columns, we 
 mull necefTarily fet the Triglyphs further afunder, and enlarge the 
 Metope 5 the Space between the Middle of one Triglyph, and the 
 Middle of the other, being much lefs than that between the Mid- 
 dle of one Column, and the Middle of the other, how near foever 
 they are plac d. Now the Ancients were very fcrupulous of making 
 this Enlargement, Vitruvius fays that Bytheus and Tarcbejius , two 
 famous Architects of Antiquity, on this very Account, thought this 
 Order might not be made ufe of in Temples. Hmnogcnes, who, 
 on other Occafions, difpens’d with the Ancient Rules, could never 
 refolve with himfelf to take any Liberty in the Doric Order, for, ha- 
 ving got together a great Quantity of Marble, for building a Tem- 
 ple to Bacchus, he quitted the Defign he had to make it of the 
 Doric Order, and made it of the Ionic. The Moderns have been 
 niore bold 5 Balladio, in the Palace of Count Valerio, which was 
 •mention’d before, has inlarg’d the Metopes, in the middle Interco- 
 lumnation of the Portico, to make it lomewhat larger than the o- 
 ther Intercolumnations, which have two Triglyphs 5 and this he 
 has done without any other Reafon, or Necelfity, than becaufe he 
 would not inlarge his middle Intercolumnation, fo much as he mull 
 have done to receive three Triglyphs 5 which, however, ought to 
 have been done, according to the Rules Vitruvius gives for Porticos 
 of the Doric Order, where he puts three Triglyphs in the middle 
 Intercolumnation, though the other Intercolumnations have but one. 
 The skilful Architect of the Portail of S. GerVais, which is one of 
 
 t 
 
 the 
 
Part 11. fine Kinds of Columns . 
 
 the fineft Structures that have been built thefe hundred Years, has 
 alfo made no Difficulty, that he might couple his Columns to in- 
 large the Metopes in the firft Order, which is Doric. At the Por- 
 tail of the Minimes in the Place Ppyal, there are alfo other Liber- 
 ties taken in the Doric Order, as the putting half Triglyphs in the 
 inward Angles, after the Example of Palladio, who has done it in 
 the fame Palace of Count Valerio. 
 
 The fifth Abufe is the taking away, in the Modern Ionic Capital, 
 the lower part of the Abacus, which fome call the Bark or Rind, 
 being that which makes the Volute, in the Ancient Ionic Capital’ 
 and that makes the lower part of the Abacus in the Compofite Capi- 
 tal, and which, alfo, as I think, ought to do fo in the Modern Ionic ; 
 for this Part being fupprefs’d, there remains only the upper Part, 
 which is an Ogee : fo that the Abacus is left thin as a Tile ; and as 
 it refts only upon the convex parts of the four Volutes, which it 
 touches but in four Points, this produces a very ill Effect ; becaufe 
 it feems to have a Weaknefs that offends the Eye. In the Capitals 
 of the Temple of Concord , and thofe of Fortuna Virilis , which are 
 the Models from whence the Modern Ionic Capital is copied, there 
 is, indeed, an Abacus, that confifts likewife of a fingle Ogee : but 
 this Ogee, though thin, has not that Appearance of Weaknefs, be- 
 caufe it bears not upon the Convexity of the Volutes, thefe Volutes 
 not ifluing out of the Vafe, but running quite ftrait over it, as in 
 the Antique Ionic : So that this Abacus, as thin as it is, has nothing 
 in it offenfive, being every where equally fupported ; which is not 
 fo in the Capital we fpeak of, where there is a large void Space be- 
 tween the Abacus and the Vafe. The bell: Manner, in my Opini- 
 on, would be to leave the Abacus quite whole, as it is in the Com- 
 posite Capitals of the Antique, where the Volutes fpring from the 
 Vafe, and penetrate the lower part of the Abacus. And this is 
 what Palladio has done in the Capital he has defign’d, and which 
 he gives for that of the Temple of Concord, in which, becaufe the 
 Volutes penetrate the Vafe, he has made the Abacus entire, and like 
 that of the Compofite Capital of the Arch of T itus , where the Vo- 
 lules enter into the Vafe. For there is no Reafon not to imitate this 
 Particular of the Abacus of the Antique Compofite Capitals, fince ’t is 
 from their .Model, that all the reft of the Modern Ionic Capital is 
 taken. And T is in the Want of this Imitation, that the Abufe con- 
 fifts. 
 
 The fixth Abufe is to make one great Order, comprehending 
 feveral Stories, inftead of giving an Order to each Story, as the 
 Ancients did : and ft is probable, this Liberty takes its Rife from the 
 Imitation of thofe Courts the Ancients call’d CaVa Aldium, ot inward 
 Quadrangles, and chiefly of thofe ftil’d Corinthian, where the Enta- 
 
 I i blature 
 
 125 
 
12 6 The Ordonance of the Part II. 
 
 Ch.VJII. Mature of the Buildings, which environ’d them, were fuftain’d by 
 Columns that went from bottom to top, and contain’d feveral Sto- 
 ries ; the Difference between thefe Corinthian Courts, and our Build- 
 ings of one great Order, being only that the Columns, in the Co- 
 rinthian Courts, were at fome fmall Diftance from the Wall, to 
 bear the Projedture of the Entablature, which ferv’d as a Pent-ho’ufe, 
 and that our Columns are half funk in the Wall, and that moft 
 commonly, alfo, inftead of Columns, we make ufe of Pilafters on- 
 ly. Now the Abufe lies in the Affectation of a great Order, which 
 is not proper to all forts of Buildings ; for as a great Order is the 
 Majefty of Temples, Theatres, Portico’s, Galleries, Salons, Ve- 
 ftibles. Chapels, and other Buildings, which permit, or even re- 
 quire, a great Height ; fo it may be faid that this Manner of inclu- 
 ding feveral Stories in one great Order, has, on the quite contrary, 
 fomething very mean and poor, as reprefenting a great Palace half 
 mind and abandon d, in which, private Perfons, being willing to 
 dwell, and finding that great and lofty Apartments were not con- 
 venient for them, or being willing to husband Room, had made 
 Eritrefoles, or half Stories in it. 
 
 This does not hinder, but that, fometimes, in great Palaces 
 the Architedl may find a good Pretence for one great Order, when' 
 tis evident, he is oblidgd, by the Symmetry, to continue a great 
 Order in the reft of the Building, which is neceffary for fome con- 
 fiderable part of it. This has been done very judicially in feveral 
 Buildings, but particularly in the Palace of the Louvre, which being 
 built on the Side of a great River, which gives a vaft and fpacions 
 Diftance for the View of it, had need have a great Order, that it 
 might not appear mean and little. This Order, which compre- 
 hends two Stories, and is plac’d upon the lower Story, which ferves 
 it as a Pedeftal, and which is properly the Rampart of the Caftle, 
 is rais d, in this manner, by reafon of two great and magnificent 
 Porticos, which take up the Front of the Entry of the Palace, and 
 \vhich being to ferve as a Veflibule, to all the Apartments of the 
 firft Story, requir d this great and extraordinary Height, which is 
 given to its Order, fhould needs be purfu’d, and continu’d after- 
 wards, quite round the whole Building : For that authorifes, or 
 at leaft, excufes the Impropriety that might have been objected a« 
 gainft the Architect, if he had, without apparent Nece/Iity, done a 
 thing, in it felf, contrary to Reafon : namely, not to give each 
 Story, which is, properly, a feparate Building, its diftind and pro- 
 per Order, and to make one Column ferve to carry two Floors 
 luppofing that it carries one, as we may fay, upon its Head, and 
 the other as hanging at its Girdle. For the Diftance of the View 
 alone, cannot be a fufficient Reafon to raife a Building, which in 
 
Part II. five Kinds of Columns. 127 
 
 its own Nature, ought to be low, any more than the Largenefs of 
 a Theatre fhould oblige us to make the Stairs, Seats, Balluftrades 
 and Rails, higher than ufual, as Vitruvius has remark’d. 
 
 The feventh Abufe is to conltrain ones felf to give a great Height 
 to a Building in proportion to the Greatnefs of its Length, through 
 a falfe Perfuafion, that this pretended Proportion ought to be the 
 principal Rule, though ’tis contrary to a Maxim of Vitruvius, which 
 is, without comparifon, more important : namely, that the Di- 
 menfions of Buildings ought to be regulated by the Conveniency 
 their life requires. For what can be more unreafonable, when, in 
 a great Court, we are oblidg’d to give Buildings a great Extent, 
 than to make them twice the Height that is neceffary, by augment- 
 ing the Number and Height of the Stories, which are thereby made 
 inconvenient, without giving them any Beauty, fince Beauty is not 
 to be found in thofe Things where the Proportion produces a vifi- 
 ble Inconvenience ? It mull, then, be confeis’d, that great and large 
 Buildings do not require a great Height, but when they are capa- 
 ble of it, and feem to demand it, as Temples, Theatres, and other 
 Buildings of that kind. For though it is true that lofty Heights 
 contribute much to the Majefty and Beauty of Archite&ure 3 it 
 depends upon the Prudence of the Architect, to find out, and 
 choofe rational Pretences for giving thefe Heights to fuch Buildings, 
 as, in themfelves, do not require them, fuch as are thofe defign’d 
 for Habitation 3 and for this Purpofe, he lnuft find Means to raife 
 fome large Yeflibule, or great Chapel, which appearing above the 
 Apartments, gives Height to the Building, in thofe Parts, where it 
 is molt proper. And this is what has been very well perform’d in 
 the Efcurial, which, being compos’d of leveral Buildings, of a great 
 Extent, and which have but a moderate Height, being proportion’d 
 to llfes which did not require a great one, has, in the middle, a 
 large and high Chappel , whicn riles like a Head upon the Should- 
 ers of this great Body. For it can n’t be faid this great Body of the 
 Efcurial, confifling of a Convent and a Palace, may not lerve for 
 Palaces alone : Since ’tis no ways inconvenient, to make, in great 
 Palaces, Chapels thus lofty, diftindt and feparate, from the Apart- 
 ments 5 This having been pradtis’d in all times, with good Rea- 
 fon and Agreeablenefs, in ancient Caflles, where the Chapel was 
 never in a Chamber, or a Hall, as we have lately made them, but 
 apart by it felf, with its proper Form of a Chapel. 
 
 The eighth Abufe is that which I fpoke of in the fecond Chap- 
 ter of the feventh Part, treating of the Don't Order : It confifts in 
 this 5 that fome of the Moderns, contrary to the ufual Pradtice of 
 the Ancients, join the Plinth of the Bafe of the Column, to the Ex- 
 tremity of the Cornice of the Pedeftal, with a Sweep, which, in 
 
 Effedt, 
 
12 8 The Ordonance of the Part It 
 
 Cb.VIII. Effect, fuppreffes this effential part of the Bafe, and makes it feerri 
 rather a part of the Cornice of the Pedeftal, than a part of the Bafe 
 of the Column. 
 
 The ninth Abufe, which has fome Agreement with the firft, 
 xvhich confifts in the Penetration of two Columns, or of two Pi- 
 lifters, is the making what we call an Architrav’d Cornice, by 
 confounding the Architrave and Freeze with the Cornice. This is 
 done when there is not room enough for a compleat Entablature : 
 The Abufe confifts in this, that we would have that pafs for an 
 Order, which is not fo ; for ’twere better not to make it an Or- 
 der, but take away the Columns and Pilafters : Or, if this Enta- 
 blature, which we are obliged to make low, through want of 
 room, muft have a ProjeCture that requires fomething Infulate and 
 Detach’d to bear it ; we fhould then put Caryaatides, Thermes, 
 or very large Confoles, or Corbies, and not Columns ; which, in 
 the regularity we are now fpeaking of, always require a Crowning 
 compos’d of all the three parts diftinCt, each from other 5 namely, 
 Architrave, Freeze, and Cornice. 
 
 The tenth Abufe, is the breaking off the Entablature of an ' 
 Order, and making the Cornice of a Pediment rife from the top of 
 a Column, or a Pilafter, or plain Peer, direCtly over which the 
 Entablature is difcontinued, to defcend again upon the other fide,*' 
 where the Entablature is renew’d, without having either Archi- 
 trave, Freeze or Cornice, running a-crofs underneath. This Pra- 
 ctice is quite contrary to the Principles of Architecture ; which, ac- 
 cording to the Precepts of Vitruvius, and the Practice of all good 
 Matters, in what belongs to Entablatures and Pediments, is go- 
 vern’d by the imitation of the Works of Carpentry, fuppofing 
 a Pediment to be like the Trufs of a Roof, confifting of three 
 Parts : Namely, of the two principal Rafters, which are repre- 
 fented by the two Cornices of the Pediment, that rife, meet and 
 reft, one againft the other ; and of one Beam reprefented by the 
 Entablature that runs underneath : for as a Trufs cannot fubfift if 
 we take away one of thefe three parts, fo a Pediment ought like- 
 wife to be efteemed defective, if any of them are wanting : And if 
 Palladio had realon to blame the cutting away the upper part, or 
 top of the Pediment, becaufe it takes away, from the principal 
 Rafters, which this mutilated part reprefents their principal ufe, 
 by hindering the leaning of their upper ends one againft the other ; 
 there is no lefs reafon to find fault with thofe Architects, who break 
 off the Entablature that fhould run under the Pediment, becaufe 
 they take away that which reprefents the Beam that fhould keep 
 the lower ends of the Rafters firm, and prevent their Ipreadinc*, 
 or flying out. 
 
 f 
 
 There 
 
Part II. five Kinds of Columns . 
 
 There are, befides, fome other Abufes, of lefs Importance, as 
 the making Imports to profile againft Columns 5 giving them more 
 Procedure than the Pilafters have, againft which their Profiles come, 
 as is done in S. Veter’s at %me ; the making the Cornice of one 
 Story, ferve for the Rail, or Parapet, to a Terrafs, or to the Win- 
 dows of another Story, above ; the continuing the Window-ftool 
 to make a Facia round the Building ; the breaking, or returning, 
 the Mouldings on the Corners of Doorcafes, and Window-jambs’ 
 with a Knee (as our Workmen term it) as Scamos^i has done, in a 
 very difagreeable Manner ; the making, at the Sides of Doors, and 
 Windows, under the Cornices, that cover them, Corbels which do 
 not fupport thefe Cornices, the true Manner being to make the Bed- 
 moulding, oy thofe Mouldings, under the Corona, advance, and 
 make a Procedure over the Scroul or Corbel : for this Abufe is no 
 lefs to be condemn’d, than that of the Cartoozes, which Talladio fo 
 much blames ; there not being more Reafon to find Fault with the 
 ufe of Cartoozes to bear any thing, becaufe they are not capable 
 of doing it, than there is that Corbels, which are defign’d to fup- 
 port, fhould carry nothing. 
 
 V ALL A Dio has defign’d Scrolls, or Bragets, in the Temple of 
 Manly Fortune, and in that of Hifmes, call’d the Square-houfe, which 
 immediately fupport the Corona. But the Manner we make them 
 at prefent, has fomething more elegant than is in thofe of the An- 
 tique, whofe Proportions, Vitruvius has given us, which are die 
 fame with thofe in the Temple of Manly Fortune: for thefe Corbels 
 of the Antique, are ftrait and flat, not having the fpiral Circum- 
 volutions of their Volutes, prominent, like thofe of the Antique 
 Compojite Capitals, as they are now-a-days made. There are of 
 thefe Corbels, according to the Antique, in the noble Portico, 
 which that excellent Archited, Mr. Mercier, has built to the Church 
 of the Sorbone, on the Side of the Court, which have no good Ef- 
 fed. And this confirms what was faid in the Beginning of this 
 Chapter; namely, that there are Things, in Architedure, which 
 may be call d abufive, becaufe they are not conformable to the 
 Rules of the Ancients, but, however, are very good, and may, 
 without Scruple, be put in Pradice. 
 
 I find, alfo, an Inftance of this, in the Rofes that are put be- 
 tween the Modillions, in the Soffite of the Corona, of the Corinthian 
 Cornice. Thefe Rofes are ufually of a different AFanner, in the 
 Antique: but, I think, they are not to be blam’d, who take the 
 Liberty to make them all alike, after the Example of thofe in the 
 Baths of Diocletian. The Reafon is, becaufe there ought to be a 
 ^ K k Diftindion 
 
 I 20 
 
130 The Ordoncmce of the Part II. 
 
 Ch. VJII. Diflindtion made between thofe Things, which, in Sculpture and. 
 Painting, are reprefented as Ornaments, and thofe that are repre- 
 fented Hiflorically, as containing Truths and Matter of Fadf. For 
 the former ought to be repeated, and renew’d, always in the fame 
 manner, and the latter ought to be diverfified. For Example, if 
 we reprefent the Border of a Flower-garden, it may be adorn’d 
 with leveral Sorts of Flowers, in different Difpofitions , becaufe the 
 thing is really fo in Fadf : But if we would adorn any Member 
 of Architedfure, with Foliage, or Flowers, we fliould not only re- 
 peat the fame Foliage, and the fame Flowers, but they ought, like- 
 wife, to be of the fame Bignefs, and have the fame Difpofition; this 
 Repetion of the fame thing, making a part of that Symmetry, in 
 which, one of the principal Beauties of Architedfure, and Sculpture, 
 confifts, as to the point of Ornaments. And it fignifies nothing to 
 lay that the Rofes we fpeak of are Ornaments of another Kind, 
 than thofe which are continued through the Length of a Square, an 
 Ogee, or a Cimaife 5 and chat thefe Rofes being feparated each 
 from other, ’t is fufficient, for the Symmetry, that they are all of 
 the fame Bignefs : For there is no more Reafon to make thefe Ro- 
 fes different, than there is to make the Modillions fo, which, tho’ 
 they are all of the fame Bignefs, would not be endur’d, if they 
 were made of different Figures, there being no Perfon, that, in a 
 Row of Modillions, would like fome fhould be cut with Olive- 
 leaves, others with Leaves of Acanthus, others with Eagles, others 
 with Dolphins inftead of Leaves, as we find them in different Build- 
 ings of the Antique. 
 
 Although, among' the Reflexions made in this Chapter, up- 
 on the Abufes in Architedfure, lately introduc’d, there are fome 
 that do not very particularly belong to the Subjedf of this Treatife, 
 of the Ordonance of Columns ; I thought, neverthelefs, they ought 
 not to be left out, becaufe they appear’d, to me, fo confiderable 
 that I could not let flip the Opportunity of (peaking of them, tho’ 
 lomething out of the Way, in Hopes that chis Freedom, I take, 
 will be confider’d as one of thofe Abufes, which, though contrary 
 to Rules, are, however, authoris’d, becaufe they are confiderably 
 ufeful on fome Occafions. 
 
 T o conclude this Treatife, I ffiall repeat the Proteftation I for- 
 merly made in the Preface : namely, that I have no Defign the Pa- 
 radoxes, I have advanc’d, fhould be look’d upon as Opinions that 
 I am obflinately refolv’d to maintain, being ready to renounce them, 
 when I fliall be better inform’d of the Truth, fuppofing that I may 
 be now in the wrong. But, above all, as to thofe Things I call 
 
 Abufes, 
 
Part II. five Kinds of Columns . 1 3 i 
 
 Abufes, I declare that all the Reafons I have us’d to condemn them 
 as flich, do not appear, to me, ftrong enough to make me think 
 them preferable to the Authority of thofe great Perfons, who have 
 approv’d and eftablifh’d them , I only thought, that the Veneration, 
 and Refpedt, I have for them, ought not to hinder my treating 
 thefe Queftions as Problems, upon which, I could heartily wifh to 
 have the Decifions of the Learned, who would give their Judgment 
 honeftly, without Partiality or Prejudice. 
 

 
 
 
 
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ERRATA. 
 
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