The elements of architecture, collected by Henry Wotton Knight, from the best authors and examples

The elements of architecture, collected by Henry Wotton Knight, from the best authors and examples

Table of contents

Title page

THE PREFACE.

OF THE ELEMENTS OF ARCHITECTVRE. The I. part.

Theoreme 1.

Theoreme 2.

Theorme 3.

Theoreme 4.

Theoreme 5.

Of Doores and Windowes.

Of Staire-cases.

OF CHIMNIES.

OF THE ELEMENTS OF ARCHITECTVRE. The II. part.

Errata.

§

§

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THE ELEMENTS OF ARCHITECTVRE, Collected by HENRY WOTTON Knight, from the best Authors and Examples.

LONDON Printed by IOHN BILL. M.DC.XXIV.

THE PREFACE.

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I Shall not neede (like the most part of Writers) to celebrate the Subiect which I deliuer. In that point I am at ease. For Architecture, can want no commendation, where there are Noble Men, or Noble mindes; I will therefore spend this Preface, rather about those, from whom I haue gathered my knowledge▪ For I am but a gatherer and disposer of other mens stuffe, at my best value.

[Page] Our principall Master is Vitruuius and so I shall often call him; who had this felicitie, that he wrote when the Roman Empire was neere the pitch; Or at least, when Augustus (who fauoured his endeauours) had some meaning (if he were not mistaken) to bound the Monarchie▪ Tacit. lib. 1. Annal. This I say was his good happe; For in growing and enlarging times, Artes are commonly drowned in Action: But on the other side, it was in truth an vnhappinesse, to expresse himselfe so ill, especially writing (as he did) in a season of the ablest Pennes; And his obscuritie had this strange fortune; That though he [Page] were best practised, and best followed by his owne Countrymen; yet after the reuiuing and repolishing of good Literature, (which the combustions and tumults of the middle Age had vnciuillized) he was best, or at least, first vnderstood by strangers: For of the Italians that tooke him in hand, Those that were Gramarians seeme to haue wanted Mathematicall knowledge; and the Mathematicians perhaps wanted Gramer: till both were sufficiently conioyned, in Leon-Batista Alberti the Florentine, whom I repute the first learned Architect, beyond the Alpes; But hee studied more indeede to [Page] make himselfe an Author, then to illustrate his Master. Therefore among his Commenters, I must (for my priuate conceite) yeild the chiefe praise vnto the French, in Philander; and to the high Germans, in Gualterus Riuius: who, besides his notes, hath likewise published the most elaborate translation, that I thinke is extant in any vulgar speech of the world: though not without bewayling, now and then, some defect of Artificiall tearmes in his owne▪ as I must likewise; For if the Saxon, (our mother tongue) did complaine; as iustly (I doubt) in this point may the Daughter: Languages, for the [Page] most part in tearmes of Art and Erudition, retayning their originall pouertie, and rather growing rich and abundant, in complementall phrases and such froth. Touching diuers moderne men that haue written out of meere practise, I shall giue them their due, vpon occasion.

And now, after this short Censure of others, I would faine satisfie an Obiection or two, which seeme to lie somewhat heauily vpon my selfe; It will be said that I handle an Art, no way suteable either to my employments, or to my fortune. And so I shall stand charged, both with Intrusion, and with Impertinency.

[Page] To the First I answere, that though by the euer acknowledged goodnesse of my most deare and gracious SOVERAIGNE; and by his long indulgent toleration of my defects. I haue borne abroad some part of his ciuill seruice; yet when I came home, and was againe resolued into mine owne simplicitie, I found it fitter for my Pen (at least in this first publique aduenture) to deale with these plaine compilements, and tractable Materials; then with the Laberynthes and Mysteries of Courts and States; And lesse presumption for mee, who haue long contemplated a famous Republique, to write now of Architecture; [Page] then it was anciently for Aristot. 2. lib. Politi. cap. 6. Hippodamus the Milesian, to write of Republiques, who was himselfe but an Architect.

To the Second, I must shrinke vp my shoulders, as I haue learn'd abroad, and confesse indeed, that my fortune is very vnable to exemplifie, and actuate my Speculations in this Art, which yet in trueth, made mee the rather euen from my very disabilitie, take encouragement to hope; that my present Labour, would find the more fauour with others, since it was vndertaken for no mans sake, lesse then mine owne. And with that cofidence, I fel into these thoughts; Of which, there were two wayes to [Page] be deliuered▪ The one Historical, by description of the principall workes, performed already in good part, by Giorgio Vassari in the liues of Architects: The other Logicall, by casting the rules and cautions of this Art, into some comportable Methode: whereof I haue made choice; not onely as the shortest and most Elementall; but indeed as the soundest. For though in practicall knowledges, euery complete example, may beare the credite of a rule; yet peraduēture rules should precead, that we may by them, be made fit to iudge of examples: Therefore to the purpose; for I will preface no longer.

OF THE ELEMENTS OF ARCHITECTVRE.
The I. part.

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IN Architecture as in all other Operatiue Arts, the end must direct the Operation.

The end is to build well.

Well building hath three Conditions. Commoditie, Firmenes, and Delight. A common diuision among the Deliuerers of this Art, though I know not [Page] how, some what misplaced by Vitruuius himselfe lib. 1. cap. 3. whom I shalbe willinger to follow, as a Master of Proportion, then of Methode.

Now, For the attayning of these Intentions, wee may consider the whole Subiect, vnder two generall Heads.

The Seate, and the Worke.

Therefore first touching Scituation.

The Precepts thereunto belonging, doe either concerne the Totall Posture, (as I may tearm it) or the Placing of the Parts: wherof the first sort, howsoeuer vsually set downe by Architects as a piece of their Profession: yet are in truth borrowed, from other Learnings: there being betweene Arts and Sciences, as well as betweene Men, a kinde of good fellowship, and communication of their Principles.

For you shall finde some of them, to bemeerely Physicall, touching the qualitie [Page] and temper of the Aire: which being a perpetuall ambient, and ingredient, and the defects thereof, incorrigible in single Habitations (which I most intend) doth in those respects, require the more exquisite caution; That it be not too grosse, nor too penetratiue; Not subiect to any foggy noysomnesse, from Fenns or Marshes neere adioyning; nor too Mineral exhalations, from the Soile it selfe. Not vndigested, for want of Sunne, Not vnexercised, for want of Winde: which were to liue (as it were) in a Lake, or standing Poole of Aire, as Alberti the Florentin Architect, doth ingeniously compare it.

Some doe rather seeme a little Astrological, as when they warne vs from Places of malign Influence: where Earthquakes, Contagions, Prodigious Births, or the like, are frequent without any euident cause: whereof the Consideration is peraduenture not altogether [Page] vaine: Some are plainely Oeconomical; As that the Seate be well watered, and well fewelled, That it bee not of too steepie and incommodious Accesse to the trouble both of friends and familie. That it lie not too farre, from some nauigable Riuer or Arme of the Sea, for more ease of prouision and such other Domestique notes.

Some againe may bee said to bee Optical? Such I meane as concerne the Properties of a well chosen Prospect: which I will call the Royaltie of Sight. For as there is a Lordship (as it were) of the Feete, wherein the Master doth much ioy when he walketh about the Line of his owne Possessions: So there is a Lordship likewise of the Eye which being a raunging, and Imperious, and (I might say) an vsurping Sence, can indure no narrow circumscription; but must be fedde, both with extent and varietie. Yet on the other side, I finde vaste and indefinite viewes which [Page] drowne all apprehension of the vttermost Obiects, condemned, by good Authors, as if thereby some part of the pleasure (whereof we speake) did perish. Lastly, I remember a priuate Caution, which I know not well how to sort, vnlesse I should call it Political. By no meanes, to build too neere a great Neighbour; which were in truth to bee as vnfortunately seated on the earth, as Mercurie is in the Heauens, for the most part, euer in combustion, or obscuritie, vnder brighter beames then his owne.

From these seuerall Knowledges as I haue said,Ioannes Heurnius Instit: Medicin: lib. 7. cap. 2. and perhaps from some other doe Architects deriue their Doctrine about election of Seats: wherin I haue not beene so seuere, as a great Scholer of our time, who precisely restrayneth a perfect Scituation, at least for the maine point of health, Ad locum contra quem Solradios suos fundit cum sub Ariete oritur, That is, in a word hee [Page] would haue the first salutation of the Spring. But such Notes as these, wheresoeuer we finde them in graue or slight Authors, are to my conceite rather wishes then Precepts; and in that qualitie, I will passe them ouer. Yet I must withall say that in the seating of our selues (which as a kinde of Marriage to a Place) Builders should bee as circumspect as Wooers; lest when all is done that Doome befall vs,Opidum quidem aedificatum eleganter sed imprudenter positum. which our Master doth lay vpon Mitylene: A Towne in truth (saith hee) finely built, but foolishly planted. And so much touching that, which I termed the Totall Posture.

The next in Order is the placing of the Parts; About which (to leaue as little as I may in my present labour, vnto Fancie, which is wilde and irregular) I will propound a Rule of mine owne Collection, vpon which I fell in this maner. I had noted, that all Arte was then in truest perfection, when it [Page] might bee reduced to some naturall Principle. For what are the most iudicious Artisans but the Mimiques of Nature? This led me to contemplate the Fabrique of our owne Bodies, wherein the High Architect of the world, had displaied such skill, as did stupifie, all humane reason. There I found the Hart as the fountaine of Life placed about the Middle, for the more equall communication of the vitall spirits. The Eyes seated aloft, that they might describe the greater Circle within their view. The Armes proiected on each side, for ease of reaching. Briefly (not to loose our selues in this sweet speculation) it plainely appeareth, as a Maxime drawne from the Diuine light; That the Place of euery part, is to be determined by the Vse.

So then, from naturall structure, to proceed to Artificiall; and in the rudest things, to preserue some Image of the excellentest. Let all the principall [Page] chambers of Delight, All Studies and Libraries, be towards the East: For the Morning is a friend to the Muses. All Offices that require heat, as Kitchins, Stillatories, Stoues, roomes for Baking, Brewing, Washing, or the like, would be Meridionall. All that need a coole and fresh temper, as Cellers, Pantries, Butteries, Granaries, to the North. To the same side likewise, all that are appointed for gentle Motion, as Galleries, especially in warme Climes, or that otherwise require a steadie and vnuariable light, as Pinacothecia (saith Vitruuius) by which he intendeth, (if I may guesse at his Greeke, as wee must doe often euen at his Latine) certaine Repositories for workes of rarity in Picture or other Arts, by the Italians called Studioli, which at any other Quarter, where the course of the Sunne doth diuersifie the Shadowes, would loose much of their grace. And by this Rule hauing alwayes regarde to the [Page] Vse, any other Part may bee fitly accommodated.

I must here not omit to note that the Ancient Grecians, and the Romanes by their example in their buildings abroad, where the Seat was free, did almost Religiously scituate the Front of their houses, towards the South; perhaps that the Masters Eye, when hee came home▪ might not be dazeled, or that being illustrated, by the Sunne, it might yeeld the more gracefull Aspect; or some such reason. But from this, the Moderne Italians doe varie▪ wherof I shall speake more in another place. Let thus much suffice at the present for the Position of the seuerall Members, wherein must bee had as our Author doth often insinuate, and especially lib. 6. cap. 10. a singular regard, to the nature of the Region: Euery Nation, being tyed aboue al Rules whatsoeuer, to a discretion, of prouiding against their owne Inconueniences: And therefore [Page] a good Parler in Aegypt would perchance make a good Celler in England.

There now followeth the second Branch of the generall Section touching the Worke.

In the Worke, I will first consider the principall parts, and afterwards the Accessorie, or Ornaments; And in the Principall, first the Preparation of the Materials, and then the Disposition, which is the Forme.

Now, concerning the Materiall part; Although surely, it cannot disgrace an Architect, which doth so well become a Philosopher, to looke into the properties of Stone and Wood: as that Firre Trees, Cypresses, Cedars, and such other Aereall aspiring Plants, being by a kinde of naturall rigour (which in a Man I would call pride) inflexible downewards are thereby fittest for Posts or Pillars or such vpright vse; that [Page] on the other side, Oake, and the like true hartie Timber being strong in all positions, may bee better trusted in crosse and trauerse worke, for Summers, or guirding and binding beames, as they tearme them. And so likewise to obserue of Stone, that some, are better within, and other to beare Weather: Nay, to descend lower euen to examine Sand and Lyme, and Clay (of all which things Vitruuius hath discoursed, without any daintines, & the most of new Writers) I say though the Speculatiue part of such knowledge be liberall: yet to redeeme this Profession, and my present paynes, from indignitie; I must heere remember that to choose and sort the materials, for euery part of the Fabrique, is a Dutie more proper to a second Superintendent, ouer all the Vnder Artisans called (as I take it) by our Author, Officinator lib. 6. cap. 11. and in that Place expressely distinguished, from the Architect, whose glory doth [Page] more consist, in the Designement and Idea of the whole Worke, and his truest ambition should be to make the Forme, which is the nobler Part (as it were) triumph ouer the Matter: whereof I cannot but mention by the way, a forreigne Paterne, namely the Church of Santa Giustina in Padoua: In truth a sound piece of good Art, where the Materials being but ordinarie stone, without any garnishment of sculpture, doe yet rauish the Beholder, (and hee knowes not how) by a secret Harmony in the Proportions. And this indeede is that end, at which in some degree, we should ayme euen in the priuatest workes: whereunto though I make haste, yet let me first collect, a few of the least triuiall cautions, belonging to the Materiall Prouision.

Leon Batista Alberti, is so curious, as to wish all the Timber, cut out of the same Forrest, and al the Stone, out of the same Quarrie. [Page]Philibert del'Orme the French Architect goes yet somewhat further, and would haue the Lyme made of the very same Stone, which wee intend to imploy in the Worke; as belike imagining that they will sympathize and ioyne the better, by a kinde of Originall kindred. But such conceits as these seeme somewhat too fine among this Rubbage, though I doe not produce them in sport. For surely the like agreements of nature, may haue oftentimes a discreet application to Art. Alwayes it must be confessed, that to make Lyme without any great choyce of refuse stuffe, as we commonly do, is an English error, of no small moment in our Buildings. Whereas the Italians at this day, and much more the Ancients did burne their firmest stone, and euen fragments of Marble where it was copious, which in time became almost Marble againe, or at least of indissoluble duritie, as appeareth in the standing Theaters. [Page] I must here not omit, while I am speaking of this part, a certain forme of Bricke described by Daniele Barbaro Patriarch of Aquileia, in the largest Edition of his Commentary vpon Vitruuius. The Figure triangular, euery side a foot long, and some inch and a halfe thicke, which he doth commend vnto vs for many good conditions: As that they are more commodious in the management, of lesse expence, of fayrer show, adding much beautie & strength to the Murall Angles, where they fall gracefully into an indented Worke: so as I should wonder that wee haue not taken them into vse, being propounded by a man of good authoritie in this knowledge; but that all Nations doe start at Nouelties, and are indeede maried to their owne Moulds. Into this place might aptly fall a doubt, which some haue wel moued; whether the ancient Italians did burne their Bricke or no; which a passage or two in Vitruuius [Page] hath left ambiguous. Surely where the Naturall heat is strong enough, to supply the Artificiall, it were but a curious folly to multiply both Labour and Expence. And it is besides very probable, that those Materials with a kindely and temperate heate would proue fairer, smoother, and lesse distorted, then with a violent: Onely, they suffer two exceptions. First, that by such a gentle drying much time will bee lost which might otherwise bee employed in compiling. Next, That they will want a certaine sucking and soaking Thirstinesse, or a fiery appetite to drinke in the Lime, which must knit the Fabrique. But this question may be confined to the South, where there is more Sunne and patience. I will therefore not hinder my course, with this incident scruple, but close that part which I haue now in hand, about the Materialls, with a principall [Page] caution: That sufficient Stuffe and Money bee euer ready before we beginne: For when wee build now a piece, and then another by Fits, the Worke dries and sinkes vnequally, whereby the Walles growe full of Chinques, and Creuices; Therefore such pawsings are well reprooued by Palladio, lib. 1. cap. 1. and by all other. And so hauing gleaned these few remembrances, touching the preparation of the Matter, I may now proceede to the Disposition thereof, which must forme the Worke. In the Forme, as I did in the Seate, I will first consider the generall Figuration, and then the seuerall Members.

Figures are either simple or Mixed. The simple be either Circular or Angular. And of Circular, either Compleate, or Deficient, as Ouals, with which kindes I will bee contented, though the Distribution might bee more curious.

[Page] Now the exact Circle is in truth a Figure, which for our purpose hath many fit and eminent properties; as fitnesse, for Commodity and Receit, being the most capable; fitnesse for strength and duration, being the most vnited in his parts; Fitnesse for beautie and delight, as imitating the celestiall Orbes, and the vniuersall Forme. And it seemes, besides, to haue the approbation of Nature, when shee worketh by Instinct, which is her secret Schoole: For birds doe build their nests Spherically: But notwithstanding these Attributes, it is in truth a very vnprofitable Figure in priuate Fabriques, as being of allother the most chargeable, and much roome lost in the bending of the Walles, when it comes to bee diuided: besides an ill distribution of light, except from the Center of the Roofe. So as anciently it was not vsual, saue in their Temples and Amphi-Theaters, which needed no [Page] Compartitions. The Ouals and other imperfect circular Formes, haue the same exceptions, and lesse benefite of capacity: So as there remaynes to bee considered in this generall suruey of Figures, the Angular, and the Mixed of both. Touching the Angular, it may perchance sound somewhat strangely, but it is a true obseruation, that this Art doth neither loue many Angles nor few. For first, the Triangle which hath the fewest sides and corners, is of all other the most condemned, as being indeed both incapable and infirme (wherof the reason shall be afterwards rendred) and likewise vnresoluable into any other regular Forme then it selfe, in the inward Partitions.

As for Figures of fiue, six, seuen, or more Angles; They are surely fitter for Militar Architecture, where the Bulworks may be layed out at the Corners, and the sides serue for Curtaines, then for ciuill vse; though I am not ignorant [Page] of that famous Piece at Caprarola, belonging to the house of Farnese, cast by Baroccio into the forme of a Pentagone, with a Circle inscribed, where the Architect did ingeniously wrestle with diuers inconueniences in disposing of the Lights, and in sauing the vacuities. But as designes of such nature doe more ayme at Rarity, then Commoditie: so for my part I had rather admire them, then commend them.

These things considered, we are both by the Precepts and by the Practise of the best Builders, to resolue vpon Rectangular Squares, as a meane betweene too few, and too many Angles; and through the equall inclination of the sides (which make the right Angle) stronger then the Rhombe, or Losenge, or any other irregular Square. But whether the exact Quadrat, or the long Square be the better, I finde not well determined, though in mine [Page] owne conceit I must preferre the latter, prouided that the Length doe not exceede the Latitude aboue one third part, which would diminish the beauty of the Aspect, as shall appeare when I come to speake of Symmetry and Proportion.

Of mixed Figures, partly Circular, and partly Angular, I shall neede to say nothing; because hauing handled the simple already, the mixed according to their composition, doe participate of the same respects. Onely against these, there is a proper Obiection, that they offend Vniformity: Whereof I am therefore opportunely induced to say somewhat, as farre as shal concerne the outward Aspect, which is now in Discourse.

In Architecture, there may seem to be two opposite affectations, Vniformitie and Varietie, which yet will very well suffer a good recōcilement, as we may see in the great Paterne of Nature, to [Page] which I must often resort: For surely there can be no Structure, more vniforme, then our Bodies in the whole Figuration: Each side, agreeing with the other, both in the number, in the qualitie, and in the measure of the Parts: And yet some are round, as the Armes, some flat, as the Hands, some prominent, and some more retired: So as vpon the Mater, wee see that Diuersitie doth not destroy Vniformitie, and that the Limmes of a noble Fabrique, may bee correspondent enough, though they be various; Prouided alwayes, that we doe not runne into certaine extrauagant Inuentions, whereof I shall speake more largely, when I come to the parting and casting of the whole Worke. We ought likewise to auoyde Enormous heights of sixe or seuen Stories, as well as irregular Formes; and the contrary fault of low-distended Fronts, is as vnseemely: Or againe, when the Face of the Building, is narrow [Page] and the Flank deepe; To all which extreames, some particular Nations, or Townes, are subiect, whose Names may be ciuilly spared: And so much for the generall Figuration, or Aspect of the Worke.

Now concerning the Parts in Seueraltie. All the parts of euery Fabrique, may be comprised vnder fiue Heads, which Diuision I receiue from Batista Alberti, to doe him right. And they be these.

The Foundation.

The Walles.

The Appertions or Ouertures.

The Comparti [...]ion.

And the Couer.

About all which I purpose to gather the principall Cautions, and as I passe along, I will touch also the naturall Reasons of Art, that my discourse may be the lesse Mechanicall.

First then concerning the Foundation, which requireth the exactest care; For [Page] if that happen to dance, it will marre all the mirth in the House: Therefore, that wee may found our Habitation firmely, we must first examine the Bed of Earth (as I may tearme it,) vpon which we will Build; and then the vnderfillings, or Substruction, as the Auncients did call it: For the former, we haue a generall precept in Vitruuius twice precisely repeated by him, as a point indeed of mayne consequence, first lib. 1. cap. 5. And againe more fitly lib. 3. cap. 3. in these words as Philander doth well correct the vulgar Copies.

Substructionis Fundationes fodiantur (saith he) si queant inueniri adsolidum, & insolido. By which words I conceiue him to commend vnto vs, not onely, a diligent, but euen a iealous examination what the Soile will beare: aduising vs, not to rest vpon any appearing Soliditie, vnlesse the whole Mould through which wee cut, haue likewise beene solid; But how deepe wee should goe [Page] in this search, hee hath no where to my remembrance determined, as perhaps depending more vpon Discretion▪ then Regularitie, according to the weight of the Worke; yet Andrea Palla [...]dio hath fairely aduentured to reduce it into Rule: Allowing for that Ca [...]uazione (as he calleth it) a sixt part of the height of the whole Fabrique, Vnderdiging, or Hollowing of the Earth. vnles [...] the Cellers be vnder ground, in which case hee would haue vs, (as it shoul [...] seeme) to sound somewhat lower.

Some Italians doe prescribe, that when they haue chosen the Floore, or Plot, and laid out the Limits of the Worke, wee should first of all Digge Wels and Cesternes, and other vnderconducts and conueiances, for the Suillage of the House, whence may arise a double benefit, for both the Nature of the Mould or Soile, would thereby be safely searched, and moreouer those open vents, will serue to discharge such Vapours, as hauing otherwise no issu [...] [Page] might peraduenture shake the Building. This is enough for the naturall Grounding, which though it bee not a part of the solid Fabrique, yet here was the fittest place to handle it.

There followeth the Substruction, or Ground-worke of the whole Edifice, which must sustaine the Walles; and this is a kinde of Artificiall foundation, as the other was Natural. About which these are the chiefe Remembrances. First, that the bottome be precisely leuell, where the Italians therefore commonly lay a platforme of good Bord; Then that the lowest Ledge or Row be meerely of Stone, and the broader the better, closely layd without Morter, which is a generall caution for all parts in Building, that are contiguous to Bord or Timber, because Lime amd Wood are insociable, and if any where vnfit confiners, then most especially in the Foundation. Thirdly, that the bredth of the Substruction bee at least [Page] double to the insistent Wall, and more or lesse, as the weight of the Fabrique shall require; for as I must againe repeate, Discretion may be freer then Art. Lastly, I finde in some a curious precept, that the Materials below, be layd as they grew in the Quarrie, supposing them belike to haue most strength in their Naturall and Habituall Posture. For as Philippe de l'Orme obserueth, the breaking or yeelding of a stone in this part, but the bredth of the backe of a knife, will make a Cleft of more then half a foot in the Fabrique aloft, So important are Fundamentall errors. Among which notes I haue sayd nothing of Pallification, or Pyling of the Groundplot, commanded by Vitruuius, when we build vpon a moist or marshy soile, because that were an error in the first choyce. And therefore all Seats that must vse such prouision below (as Venice for an eminent example) would perhaps vpon good enquiry, be found [Page] to haue beene at first chosen by the counsell of Necessity.

Now the Foundation being searched, and the Substruction layd, wee must next speake of the Wals.

Wals are either entire and continuall, or intermitted; and the Intermissions be either Pillars or Pylasters; for here I had rather handle them, then as some others doe, among Ornaments.

The entire Muring is by Writers diuersly distinguished: By some, according to the quality of the Materials, as either Stone or Brick, &c. where, by the way, let me note, that to build Wals and greater Workes of Flint, whereof wee want not example in our Iland, & particularly in the Prouince of Kent, was (as I conceiue) meerly vnknown to the Ancients, who obseruing in that Materiall, a kinde of Metalicall Nature, or at least a Fusibility, seeme to haue resolued it into nobler vse; an Art now vtterly lost, or perchance kept vp by a few Chymicks. [Page] Some againe doe not so much consider the quality, as the Position of the sayd Materials: As when Bricke or squared stones are laid in their lengths with sides and heads together, or their points conjoyned like a Networke (for so Vitruuius doth call it reticulatum opus) of familiar vse (as it should seeme) in his Age, though afterwards growne out of request, euen perhaps for that subtill speculation which hee himselfe toucheth; because so layd, they are more apt in swagging down, to pierce with their points, then in the jacent Posture, and so to creuice the Wall: But to leaue such cares to the meaner Artificers, the more essentiall are these.

That the Walles bee most exactly perpendicular to the Ground-worke: for the right Angle (thereon depending) is the true cause of all Stability; both in Artificiall and Naturall positions; A man likewise standing firmest, [Page] when he stands vprightest. That the massiest and heauiest Materials bee the lowest, as fitter to beare, then to be borne. That the Worke as it riseth, diminish in thicknesse proportionally, for ease both of weight, and of expence. That certaine courses or Ledges of more strength then the rest, be interlayed like Bones, to sustaine the Fabrique from totall ruine, if the vnder parts should decay. Lastly, that the Angles bee firmely bound, which are the Nerues of the whole Edifice, and therefore are commonly fortified by the Italians, euen in their Bricke buildings, on each side of the corners, with well squared stone, yeelding both strength and grace And so much touching the entire or solid Wall.

The intermissions (as hath beene sayd) are either by Pillars, or Pylasters.

Pillers which we may likewise call Columnes (for the word among Artificers is almost naturallized) I could [Page] distinguish into Simple & Compounded. But (to tread the beaten and plainest way) there are fiue Orders of Pillers, according to their dignity and perfection, thus marshalled:

The Tuscan.

The Dorique.

The Ionique.

The Corinthian.

And the Compound Order, or as some call it the Roman, others more generally the Italian.

In which fiue Orders I will first consider their Communities, and then their Proprieties.

Their Communities (as farre as I obserue) are principally three. First, they are all Round; for though some conceiue Columna Atticurges mentioned by Vitruuius, lib. 3. cap. 3. to haue beene a squared Pillar, yet wee must passe it ouer as irregular, neuer receiued among these Orders, no more then certaine other licentious inuentions, of Wreathed, [Page] and Vined, and Figured Columnes, which our Author himselfe condemneth, being in his whole Booke a professed enemy to Fancies.

Secondly, they are all Diminished, or Contracted insensibly, more or lesse, according to the proportion of their heights, from one third part of the whole Shaft vpwards, which Philander doth prescribe by his owne precise measuring of the Ancient remainders, as the most gracefull Diminution. And here I must take leaue to blame a practice growne (I know not how) in certaine places too familiar, of making Pillars swell in the middle, as if they were sicke of some Tympany, or Dropsie, without any Authentique Paterne or Rule, to my knowledge, and vnseemely to the very iudgement of sight. True it is that in Vitruuius, lib. 3. cap. 2. wee finde these words, De adiectione, quae adijcitur in medijs Columnis, quaa apud Grecos [...] appellatur, in extremo[Page]erit formatio eius; which passage, seemeth to haue giuen some coutenance to this error. But of the promise there made, as of diuerse other elsewhere, our Master hath fayled vs, either by slip of memory, or iniury of time, and so wee are left in the darke. Alwayes sure I am, that besides the authority of example which it wanteth, It is likewise contrary to the Originall and Naturall Type, in Trees, which at first was imitated in Pillars, as Vitruuius himselfe obserueth, lib. 5. cap. 1. For who euer saw any Cypresse, or Pine, (which are there alledged) small below and aboue, and tumerous in the middle, vnlesse it were some diseased Plant, as Nature (though otherwise the comliest Mistresse) hath now and then her deformities and Irregularities.

Thirdly, they haue all their Vndersettings, or Pedistals, in height a third part of the whole Columne, comprehending the Base and Capitall; and their [Page] vpper Adiuncts, as Architraue, Frize, and Cornice, a fourth part of the sayd Pillar; which rule of singular vse and facility I find setled by Iacobo Baroccio, and hold him a more credible Author, as a man that most intended this piece, then any that vary from him in those Dimentions.

These are their most considerable Communities and agreements.

Their Proprieties or Distinctions will best appeare by some reasonable description of them all, together with their Architraues, Frizes, and Cornices, as they are vsually handled.

First therefore the Tuscan is a plain, massie, rurall Pillar, resembling some sturdy well-limmed Labourer, homely clad, in which kinde of comparisons Vitruuius himselfe seemeth to take pleasure, lib. 4. cap. 1. The length thereof shall be six Diameters, of the grossest of the Pillar below. Of all proportions, in truth, the most naturall; For our [Page] Author tells vs, lib. 3. cap. 1. that the foote of a man is the sixt part of his bodie in ordinary measure, and Man himselfe, according to the saying of Protagoras (which Aristotle doth somewhere vouchsafe to celebrate) is [...]: as it were the Prototype of all exact Symmetrie, which we haue had other occasion to touch before: This Columne I haue by good warrant called Rurall, Vitru. cap. 2. lib. 3. And therefore we need not consider his rank among the rest. The distance or Intercolumniation (which word Artificers doe vsually borrow) may bee neere foure of his owne Diameters, because the Materials commonly layd ouer this Pillar, were rather of wood then stone; through the lightnesse whereof the Architraue could not suffer, though thinnely supported, nor the Columne it selfe being so substantiall. The Contraction aloft shall be (according to the most receiued practice) [Page] one fourth part of his thicknesse below. To conclude, (for I intend only as much as shall serue for a due Distinguishment, and not to delineate every petty member) the Tuscan is of all the rudest Pillar, and his principall Character Simplicity.

The Dorique Order is the grauest that hath beene receiued into ciuill vse, preseruing, in comparison of those that follow, a more Masculine Aspect, and litle trimmer then the Tuscan that went before, saue a sober garnishment now and then of Lions heads in the Cornice, and of Triglyphs and Metopes alwayes in the Frize. Sometimes likewise, but rarely, chaneled, and a little slight sculpture about the Hypotrachelion, or Necke vnder the Capitall. The length, seuen Diameters. His ranke or degree, is the lowest by all Congruity, as being more massie then the other three, and consequently abler to support. The Intercolumniation, thrice as [Page] much as his thicknesse below. The Contraction aloft, one fift of the same measure. To discerne him, will bee a peece rather of good Heraldry, then of Architecture: For he is best knowne by his place, when he is in company, and by the peculiar ornament of his Frize (before mentioned) when he is alone.

The Ionique Order doth represent a kinde of Feminine slendernesse, yet saith Vitruuius, not like a light Housewife, but in a decent dressing, hath much of the Matrone. The length eight Diameters. In degree as in substantialnesse, next aboue the Dorique, sustayning the third, and adorning the second Story. The Intercolumniation two of his owne Diameters. The Contraction one sixt part. Best knowne by his trimmings, for the bodie of this Columne is perpetually chaneled, like a thicke plighted Gowne. The Capitall dressed on each side, not much vnlike womens Wires, in a spirall wreathing, [Page] which they call the Ionian Voluta. The Cornice indented. The Frize swelling like a pillow; And therefore by Vitruuius, not vnelegantly tearmed Puluinata. These are his best Characters.

The Corinthian, is a Columne, laciuiously decked like a Curtezane, and therein much participating (as all Inuentions doe) of the place where they were first borne: Corinthe hauing been without controuersie one of the wantonest Townes in the world. This Order is of nine Diameters. His degree, one Stage aboue the Ionique, and alwaies the highest of the simple Orders. The Intercolumniation two of his Diameters, and a fourth part more, which is of all other the comeliest distance. The Contraction one seuenth Part. In the Cornice both Dentelli and Modiglioni. The Frize, Our Artizans call them Teeth and Cartonzes. adorned with all kinds of Figures and various Compartments at Pleasure. The Capitall, cut into the [Page] beautifullest leafe, that Nature doth yeeld, which surely next the Aconitum Pardalianches (reiected perchance as an ominous Plant) is the Acanthus or Branca Vrsina though Vitruuius doe impute the choice thereof vnto Chance, and wee must be contented to beleeue him: In short, As Plainenesse did Charactarize the Tuscan, so must Delicacie and Varietie the Corinthian Pillar, besides the height of his Ranke.

The last is the Compounded Order: His name being a briefe of his Nature. For this Pillar is nothing in effect, but a Medlie, or an Amasse of all the precedent Ornaments, making a new kinde, by stealth, and though the most richly tricked, yet the poorest in this, that he is a borrower of all his Beautie. His length, (that he may haue somewhat of his owne) shalbe of ten Diameters. His degree should, no doubt, bee the highest by reasons before yeelded. [Page] But few Palaces Auncient or Moderne exceede the third of the Ciuill Orders. The Intercolumniation, but a Diameter and an halfe, or alwayes somewhat lesse then two. The Contraction of this Pillar must be one eight Part lesse aboue then belowe. To know him will be easie by the verie mixture of his Ornaments, and Cloathing.

And so much touching the fiue Orders of Columnes, which I will conclude with two or three, not impertinent Cautions:

First, that where more of these Orders then one, shalbe set in seuerall Stories or Contignations, there must bee an exquisite care, to place the Columnes precisely, one ouer another, that so, the solid may answere to the solid, and the vacuities to the vacuities, as well for Beautie, as strength of the Fabrique: And by this Caution the Consequence is plaine, that when wee speake of the Intercolumniation or distance, which is [Page] due to each Order, we meane in a Dorique, Ionicall, Corinthian Porch, or Cloister, or the like of one Contignation, and not in Storied buildings.

Secondly, let the Columnes aboue be a forth part lesse then those below, saith Vitruuius, lib. 5. cap. 1. A strange Precept, in my opinion, and so strange, that peraduenture it were more sutable, euen to his owne Principles, to make them rather a fourth Part greater, For lib. 3. cap. 2. where our Master handleth the Contractions of Pillars, wee haue an Optique Rule, that the higher they are, the lesse should be alwayes their diminution aloft, because the Eye it selfe, doth naturally contract all Obiects more or lesse, according to the Distance; which consideration, may, at first sight, seeme to haue beene forgotten in the Caution wee haue now giuen; but Vitruuius (the best Interpreter of himselfe) hath in the same place of his fift Booke, well acquitted [Page] his memorie by these words: Columnae superiores quarta parte minores, quàm inferiores, sunt constituendae; proptereà quòd, operi ferendo quaesunt inferiora, firmiora esse debent; preferring like a wise Mechanick, the naturall Reason, before the Mathematicall, and sensible conceits before abstracted. And yet lib. 4. cap. 4. he seemeth againe, to affect Subtiltie, allowing pillars the more they are chaneled, to bee the more slender; because while our Eye (saith hee) doth as it were distinctly measure, the eminent and the hollowed Parts, the Totall Obiect appeareth the bigger, and so as much as those excauations, doe subtract, is supplied by a Fallacie of the Sight: But here mee thinks, our Master should likewise haue rather considered, the naturall Inconuenience; for though Pillars by chaneling, bee seemingly ingrossed to our Sight, yet they are truely weakened in themselues; and therefore ought perchance [Page] in sound reason not to bee the more slender, but the more Corpulent, vnlesse apparances preponder truths, but Contra Magistrum, non est disputandum.

A third Caution shalbe that all the proiected or Iutting Parts (as they are tearmed) be very moderate, especially, the Cornices of the lower Orders, for whilest some thinke to [...]iue them, a beautifull and royall Aspect, by their largenesse, they sometimes hinder both the Light within, (whereof I shall speake more in due place) and likewise detract much from the viewe of the Front without, as well appeareth in one of the principall Fabriques at Venice, namely the Palace, of the Duke Grimani on the Canal Grande, which by this magnificent errour, is somewhat disgraced: I neede now say no more concerning Columnes & their Adiuncts, about which Architects make such a noyse in their Bookes, as if the very tearmes of Architraues, and Frizes, [Page] and Cornices, and the like, were enough to graduate a Master of this Art; yet let me before I passe to other matter, preuent a familiar Obiection; It will perchance bee said, that all this Doctrine touching the fiue Orders, were fitter for the Quarries of Asia which yeelded 127 Columnes of 60 Foote high, to the Ephesian Temple, or for Numidia where Marbles abound; then for the Spirits of England, who must be contented with more ignoble Materials: To which I answere, that this neede not discourage vs: For I haue often at Venice viewed with much pleasure, an Atrium Graecum (we may translate it an Anti porch, after the Greeke manner) raised by Andrea Palladio, vpon eight Columnes of the Compounded Order; The Bases of Stone, without Pedistals, The shafts or Bodies, of meere Brick; three foote and an halfe thicke in the Diameter below, and consequently thirty fiue foote high, as [Page] himselfe hath described them in his second Booke; Then which, mine Eye, hath neuer yet beheld any Columnes, more stately of Stone or Marble; For the Bricks, hauing first beene formed in a Circular Mould, and then cut before their burning into foure quarters or more, the sides afterwards ioyne so closely, and the points concenter so exactly, that the Pillars appeare one entire Peece; which short description, I could not omit, that thereby may appeare, how in truth wee want rather Art then stuffe, to satisfie our greatest Fancies.

After Pillars, the next in my distribution, are Pylasters, mentioned by Vitruuius, lib. 5. cap. 1. and scant any where else vnder the name of Parastates, as Philander conceiueth, which Grammaticall point (though perchance not very cleere) I am contented to examine no farther. Alwayes, what we meane by the thing it selfe, is plaine [Page] enough in our owne vulgar; Touching which, I will briefly collect the most considerable notes.

Pylasters, must not bee too tall and slender, least they resemble Pillars, nor too Dwarfish and grosse, least they imitate the Piles or Peeres of Bridges: Smoothnesse doth not so naturally become them, as a Rusticke Superficies, for they ayme more at State & Srength, then Elegancie. In priuate Buildings they ought not to be narrower, then one Third, nor broader then two parts of the whole Vacuity, betweene Pylaster and Pylaster; but to those that stand at the Corners, may be allowed a little more Latitude by discretion, for strength of the Angles: In Theaters and Amphi-theaters, and such weighty Workes, Palladio obserueth them, to haue beene as broad as the halfe, and now and then as the whole Vacuitie: Hee noteth likewise (and others consent with him) that their [Page] true Proportion, should bee an exact Square; But for lessening of expence, and inlarging of roome, they are commonly narrower in Flanke, then in Front: Their principall Grace doth consist in halfe or whole Pillars, applied vnto them; in which case it is well noted by Authors, that the Columnes may bee allowed somewhat aboue their ordinary length, because they leane vnto so good Supporters. And thus much shall sufice touching Pilasters, which is a cheape, & a strong, and a noble kinde of Structure.

Now because they are oftner, both for Beauty and Maiesty, found Arched, then otherwise; I am heere orderly led to speake of Arches, and vnder the same head of Vaults: for an Arch is nothing indeed but a contracted Vault, and a Vault is but a dilated Arch: Therefore to handle this Piece both compendiously, and fundamentally, I will resolue the whole businesse into a few Theoremes.

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Theoreme 1.

All solid Materials free from impediment, doe descend perpendicularly downewards, because ponderosity is a naturall inclination to the Center of the World, and Nature performeth her motions by the shortest lines.

Theoreme 2.

Brickes moulded in their ordinary Rectangular forme, if they shall be layd one by another in a leuell row, betweene any Supporters sustayning the two ends, then all the pieces between, will necessarily sinke, euen by their owne naturall Grauity, and much more if they suffer any depression by other waight aboue them, because their sides being paralell▪ they haue roome to descend perpendicularly, without impeachment, according to the former Theoreme▪ Therefore to make them stand, wee must either change their Posture, or their Figure, or both.

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Theorme 3.

If Brickes moulded, or Stones squared Cuncatim (that is, Wedge wise, broader aboue then below) shall be layd in a Row leuell, with their ends supported, as in the precedent Theoreme, pointing all to one Center; then none of the pieces betweene can sinke till the Supporters giue way, because they want roome in that Figuration, to descend perpendicularly. But this is yet a weake piece of Structure, because the Supporters are subiect to much impulsion, especially if the line be long; for which reason this Forme is seldome vsed, but ouer Windowes, or narrowe Doores. Therfore to fortifie the Work as in this third Theoreme wee haue supposed the Figure of all the Materials different from those in the second: So likewise wee must now change the Posture, as will appeare in the Theoreme following.

Theoreme 4.

If the Materials figured as before [Page] Wedge-wise, shall not be disposed leuelly, but in forme of some Arch, or portion of a Circle, pointing all to the same Center: In this case neither the pieces of the sayd Arch, can sinke downewards, through want of roome to descend By the first Theor. perpendicularly: Nor the Supporters or Butments (as they are tearmed) of the sayd Arch can suffer so much violence, as in the precedent flat Posture, for the roundnesse will alwayes make the Incumbent waight, rather to rest vpon the Supporters, then to shoue them▪ whence may be drawn an euident Corolary; that the safest of all Arches is the Semicircular, and of all Vaults the Hemisphere, though not absolutely exempted from some naturall weakenesse,Which is the sole prerogatiue of perpendicular lines and [...]ight Angles. as Barnardino Baldi Abbot of Guastalla, in his Commentary vpon Aristotles Mechaniques, doth very well prooue, where let me note by the way, that when any thing is Mathematically demonstrated weake, it is much more [Page] Mechanically weake: Errors euer occurring more easily in the management of Grosse Materials, then Lineall Designes.

Theoreme 5.

As Semicircular Arches, or Hemisphericall Vaults, being raised vpon the totall Diameter, bee of all other the roundest, and consequently the securest, by the precedent Theoreme: So those are the gracefullest, which keeping precisely the same height, shall yet bee distended, one fourteenth part longer then the sayd entire Diameter; which addition of distent will conferre much to their Beauty, and detract but little from their Srength.

This obseruation I finde in Leon-Batista Alberti; But the practice how to preserue the same height, and yet distend the Armes or ends of the Arch, is in Albert Durers Geometry, who taught the Italians many an excellent Line, of great vse in this Art.

[Page] Vpon these fiue Theoremes, all the skill of Arching and Vaulting is grounded: As for those Arches, which our Artizans call of the third and fourth point; And the Tuscan writers diterzo, and di quarto acuto, because they alwayes concurre in an acute Angle, and doe spring from diuision of the Diameter, into three, foure, or more parts at pleasure; I say, such as these, both for the naturall imbecility of the sharpe Angle it selfe, and likewise for their very Vncomelinesse, ought to bee exiled from judicious eyes, and left to their first inuentors, the Gothes or Lumbards, amongst other Reliques of that barbarous Age.

Thus of my first Partition of the parts of euery Fabrique, into fiue Heads, hauing gone through the two former, & been incidently carried into this last doctrine touching Arches and Vaults. The next now in order are the Apertions; vnder which tearme I [Page] doe comprehend Doores, Windowes, Staire-cases, Chimnies, or other Conducts: In short, all Inlets or Outlets; To which belong two generall Cautions.

First, That they bee as few in number, and as moderate in Dimension, as may possibly consist with other due respects: for in a word, all Openings are Weaknings.

Secondly, That they doe not approach too neere the Angles of the Wals; for it were indeed a most essentiall Solecisme to weaken that part, which must strengthen all the rest: A precept well recorded, but ill practised by the Italians themselues, perticularly at Venice, where I haue obserued diuerse Pergoli, or Meniana (as Vitruuius seemeth to call them, which are certaine ballised out-standings to satisfie curiosity of sight) very dangerously set forth, vpon the very point it selfe, of the Murall Angle.

[Page] Now, Albeit I make haste, to the casting and comparting of the whole Worke, (being indeede the very Definitiue Summe of this Art, to distribute vsefully and gracefully a well chosen Plot) yet I will first vnder their seuerall Heads, collect briefly some of the choisest notes belonging to these particular Ouertures.

Of Doores and Windowes.

THese In [...]lets of Men and of Light, I couple together, because I find their due Dimensions, brought vnder one Rule, by Leone Alberti (a learned Searcher) who from the Schoole of Pythagoras (where it was a fundamentall Maxime, that the Images of all things are latent in Numbers) doth determine the comeliest Proportion, betweene breadths and heights; Reducing Symmetrie to Symphonie, and the harmonie of Sounde, to a kinde of harmonie in Sight, after this manner: The two [Page] principall Consonances, that most rauish the Eare, are by consent of all Nature, the fift, and the Octaue; whereof the first riseth radically, from the proportion, betweene two and three. The other from the double Interualle, betweene One and Two, or betweene Two and Foure &c. Now if we shall transport these proportions, from Audible to visible Obiects; and apply them as they shall fall fittest (the nature of the Place considered) Namely in some Windowes, and Doores, the Symmetrie of Two to Three, in their Breadth and Length; In others the double as aforesaid; There will indubitably result from either, a gracefull and harmonious contentment, to the Eye; Which speculation though it may appeare vnto vulgar Artizans, perhaps too subtile, and too sublime, yet wee must remember, that Vitruuius himself doth determine many things in his profession; by Musicall grounds, and much [Page] commendeth in an Architect, a Philosophical Spirit; that is, he would haue him (as I conceaue it) to be no superficiall, and floating Artificer; but a Diuer into Causes, and into the Mysteries of Proportion; Of the Ornaments, belonging both to Doores and Windowes, I shall speake in other place; But let mee heere adde one obseruation; That our Master (as appeareth by diuers passages, and particularly lib. 6. cap. 9) seemes to haue beene an extreame Louer of Luminous Roomes; And indeede I must confesse that a Franke Light, can misbecome noe A Edifice whatsoeuer, Temples onely excepted; which were anciently darke, as they are likewise at this day in some Proportion. Deuotion more requiring collected then defused Spirits. Lum en est diffusiuum sui & alieni▪ Yet on the other side we must take heede to make a House (though but for ciuill vse) all Eyes, like Argus; which in Northerne Climes would be too could, In Southerne, too hot: And therefore the [Page] matter indeede importeth more then a merry comparison. Besides, There is no part of Structure either more expencefull, then Windowes; or more ruinous; not onely for that vulgar reason, as being exposed to all violence of weather; but because consisting of so different and vnsociable pieces, as Wood, Iron, Leade, and Glasse, and those small and weake, they are easily shaken; I must likewise remember one thing, (though it be but a Grammatical note) touching Doores. Some were Fores, & Some were Valuae. Those (as the very word may seeme to import) did open outwards, These inwards; And were commonly of two Leaues or Panes, (as we call them) thereby requiring indeed, a lesser Circuit in their vnfoulding; And therefore much in vse among Italians at this day; But I must charge them with an Imperfection▪ for though they let in as well as the former, yet they keepe out worse.

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Of Staire-cases.

TO make a compleate Staire-case, is a curious peece of Architecture: The vulgar Cautions are these.

That it haue a very liberall Light, against all Casualtie of Slippes, and Falles.

That the space aboue the Head, bee large and Airy, which the Italians vse to call Vn bel [...]sfogolo, as it were good Ventilation, because a man doth spend much breath in mounting.

That the Halfe-paces bee well distributed, at competent distances, for reposing on the way.

That to auoyd Encounters, and besides to gratifie the beholder, the whole Staire-case haue no nigard Latitude, that is, for the principall Ascent, at least ten foot in Royall Buildings.

That the breadth of euery single Step or Staire bee neuer lesse then one [Page] foote, nor more then eighteen inches.

That they exceede by no meanes halfe a foot in their height or thicknesse; for our Legges doe labour more in Eleuation, then in Distention: These I say are familiar remembrances, to which let meadde;

That the steps bee layd where they joyne Con vn tantino di scarpa; we may translate it somewhat sloaping, that so the foot may in a sort both ascend and descend together, which though obserued by few, is a secret and delicate deception of the paines in mounting.

Lastly, to reduce this doctrine to some Naturall, or at least Mathematicall ground, (our Master, as we see, lib. 9. cap. 2.) borroweth those proportions, that make the sides of a Rectangular Triangle, which the Ancient Schoole did expresse in lowest tearmes, by the numbers of 3. 4. and 5. That is, Three for the Perpendicular, from the Staire-head to the ground; Foure for the [Page] Ground-line it selfe, or Recession from the wall; And Fiue for the whole Inclination or slopenesse in the ascent, which proportion, saith he, will make Temperatas graduum librationes. Hitherto of Staire-cases which are direct: There are likewise Spirall, or Cockle staires, either Circular, or Ouall, and sometimes running about a Pillar, sometimes vacant, wherein Palladio, (A man in this point of singular felicity) was wont to diuide the Diameter, of the first sort into three parts, yeelding one to the Pillar, and two to the Steps; Of the second into foure, whereof he gaue two to the Staires, and two to the Vacuitie, which had all their light from aboue, And this in exact Ouals, is a Master-piece.

OF CHIMNIES.

IN the present businesse, Italians (who make very frugall fires, are perchance not the best Counsellers.) Therefore [Page] from them we may better learne, both how to raise faire Mantels within the roomes, and how to disguise gracefully the shafts of Chimnies abroad (as they vse) in sundry formes (which I shall handle in the latter part of my labour) and the rest I will extract from Philippe de l' Orme: In this part of his Worke more diligent, then in any other, or, to doe him right, then any man else.

First, hee obserueth very soberly, that who in the disposition of any Building will consider the nature of the Region, and the Windes that ordinarily blow, from this, or that Quarter; might so cast the roomes, which shall most need fire; that hee should little feare the incommodity of Smoake, and therefore hee thinkes, that inconuenience, for the most part to proceede from some inconsiderate beginning. Or if the error lay not in the Disposition but in the Structure it selfe; then hee [Page] makes a Logicall enquiry▪ That either the Winde is too much let in aboue, at the mouth of the Shafte, or the Smoke stifeled below; If none of these, Then there is a repulsion of the Fume, by some higher Hill or Fabrique, that shall ouertoppe the Chimney and worke the former effect: If likewise not this, Then he concludes, that the Roome which is infested, must bee necessarily both little and close, so as the smoke cannot issue by a naturall Principle, wanting a succession and supply of new Ayre.

Now, In these cases he suggesteth diuers Artificiall remedies; of which I will allow one, a little Description, because it sauoureth of Philosophie, and was touched by Vitruuius himselfe, lib. 1 cap. 6. but by this man ingeniously applied to the present vse: Hee will haue vs prouide two hollow brasse Balles of reasonable capacitie, with little holes open in both, for reception of [Page] Water, when the Aire shalbe first sucked out; One of these wee must place with the hole vpwards, vpon an yron Wire, that shall trauerse the Chimney, a little aboue the Mantell, at the ordinary height of the sharpest heate or flames, whereof the water within being rarified, and by rarifaction resolued into Winde, will breake out, and so force vp the smoke, which otherwise might linger in the Tunnell, by the way, and oftentimes reuert; With the other, (saith he) wee may supply the place of the former, when it is exhausted, or for a neede blow the Fire in the meane while; Which Inuention I haue interposed for some little intertainement of the Reader; I will conclude with a note from Palladio, who obserueth that the Ancients did warme their Roomes, with certaine secret Pipes that came through the Walles, transporting heate (as I conceiue it) to sundry parts of the House, from one [Page] common Furnace; I am ready to baptize them Caliducts, as well as they are tearmed Venti-ducts, and Aquae-ducts that conuey Winde and Water; which whether it were a custome or a delicacie, was surely both for thrift, and for vse, far beyond the German Stoues; And I should preferre it likewise before our owne fashion, if the very sight of a fire, did not adde to the Roome a kinde of Reputation, [...]. Hom. Epig. as old Homer doth teach vs in a verse, sufficient to prooue that himselfe was not blinde, as some would laie to his charge.

Touching Conducts for the Suillage and other necessities of the House, (which how base soeuer in vse, yet for health of the Inhabitants, are as considerable, and perhaps more then the rest) I finde in our Authors, this Counsell; That Art should imitate Nature, in those ignoble conueyances; and separate them from Sight, (where there wants a running Water) into the [Page] most remote, and lowest, and thickest part of the Foundation: with secret vents passing vp through the Walles like a Tunnell to the wilde Aire aloft: which all Italian Artizans commend for the discharge of noysome vapours, though else-where to my knowledge little practised.

Thus hauing considered the precedent Appertions, or Ouertures, in seueraltie according to their particular Requisites, I am now come to the casting and Contexture of the whole Worke, comprehended vnder the tearme of Compartition: Into which (being the mainest piece) I cannot enter without a few generall Precautions, as I haue done in other Parts.

First therefore, Let no man that intendeth to build, setle his Fancie vpon a draugh [...] of the Worke in paper, how exactly soeuer measured, or neately set off in perspectiue; And much lesse vpon a bare Plant thereof, as they call [Page] the Schiographia or Ground lines; without a Modell or Type of the whole Structure, and of euery parcell and Partition in Pastboord or Wood.

Next that the said Modell bee as plaine as may be, without colours or other beautifying, lest the pleasure of the Eye preoccupate the Iudgement; which aduise omited by the Italian Architects, I finde in Philippe de l' Orme, and therefore (though France bee not the Theater of best Buildings) it did merit some mention of his name.

Lastly, the bigger that this Type be, it is still the better, not that I will perswade a man to such an enormity, as that Modell made by Antonio Labaco, of Saint Peters Church in Rome, containing 22. foot in length, 16. in breadth, and 13 in heighth, and costing 4184. crownes: The price in truth of a reasonable Chappell: Yet in a Fabrique of some 40. or 50▪ thousand pounds charge, I wish 30. pounds at least layd [Page] out before hand in an exact Modell; for a little misery in the Premises▪ may easily breed some absurdity of greater charge, in the Con [...]lusion.

Now, after these premonishments, I will come to the Comparti [...]ion it selfe; By which, the Authors of this Art (as hath beene touched before) doe vnderstand, a gracefull and vsefull distribution, of the whole Ground-plot both for roomes of Office, and of Reception or Entertainement, as farre as the Capacity thereof, and the nature of the Countrey will comport. Which circumstances in the present Subiect, are all of maine consideration, and might yeeld more discourse then an Elementall Rapsodie will permit. Therefore (to anatomize briefly this Definition) the Gracefulnesse (whereof wee speake) will consist in double Analogie, or correspondencie. First, between the Parts and the Whole, whereby a great Fabrique should haue great Partitions, great [Page]Lights, great Entrances, great Pillars or Pylasters; In summe, all the Members great. The next betweene the Parts themselues, not only, considering their Breadths, and Lengths, as before, when wee spake of Doores and Windowes; but here likewise enters a third respect of Height, a point (I must confesse) hardly reduceable to any generall precept.

True it is, that the Ancients did determine the Longitude of all Roomes, which were longer then broade, by the double of their Latitude, Vitruuius lib. 6. cap. 5. And the Heighth by the halfe of the breadth and length summed together But when the Roome was precisely square, they made the Height half as much more as the Latitude; which Dimensions the moderne Architects haue taken leaue to varie vpon discretion: Sometimes squaring the Latitude, and then making the Diagoniall or ouerthwart Line, from Angle to Angle, of the said Square, the measure of the [Page] Heighth sometimes more, but seldome lower then the full breadth it selfe; which boldnesse of quitting the old Proportions, some attribute first to Michael Angelo da Buonaroti, perchance vpon the credite he had before gotten, in two other Arts.

The second point is Vsefulnesse, which will consist in a sufficient Number of Roomes, of all sorts, and in their apt Coherence, without distraction, without confusion; so as the beholder may not onely call it, Vna Fabrica ben raccolta: as Italians vse to speake of well vnited Workes, but likewise that it may appeare airie and spiritous, and fit for the welcome of cheerefull Guests; about which the principall difficultie will bee in contriuing the Lightes, and Staire-cases, whereof I will touch a note or two: For the first, I obserue that the ancient Archietects were at much ease. For both the Greekes and Romanes (of whose priuate dwellings [Page] Vitruuius hath left vs some description) had commonly two Cloystered open Courts, one seruing for the Womens side, and the other for the Men: who yet perchance now adayes would take so much seperation vnkindly. Howsoeuer, by this meanes, the reception of light, into the Bodie of the building, was very prompt, both from without and from within: which we must now supplie either by some open Forme of the Fabrique, or among gracefull refuges, by Tarrasing any Storie, which is in danger of darkenesse; or lastly, by perpendicular lights, from the Roofe: of all other the most naturall, as shalbe shewed anon. For the second dificultie: which is casting of the Stayre-cases; That being in it selfe no hard point, but onely as they are incombrances of roome for other vse: (which lights were not) I am therefore aptly moued heere to speake of them. And first of Offices.

[Page] I haue marked a willingnesse, in the Italian Artisans, to destribute the Kychin, Pantrie, Bakehouse, washing Roomes: and euen the Buttrie likewise, vnder ground; next aboue the Foundation, and sometimes Leuel with the plaine, or Floore of the Cellar: raysing the first Ascent into the house Fifteene Foote or more for that Ende, which besides the benefit of remouing such Annoyes out of sight, and the gayning of so much more roome aboue, doth also by eleuation of the Front, adde Maiestie to the whole Aspect. And with such a disposition of the principall Stayre-case, which commonly doth deliuer vs, into the Plaine of the second Storie, there may bee wonders done, with a little roome, whereof I could alleadge braue Examples abroad; and none more Artificiall, and Delicious, then a House built by Daniele Barbaro Patriarche of Aquileia before mentioned, among the memorable Commenters vpon Vitruuius. [Page] But the Definition (aboue determined) doth call vs to some consideration of our owne Countrie, where though all the other pettie Offices (before rehearsed) may well enough bee so remote, yet by the naturall Hospitalitie of England, the Buttrie must be more visible▪ and wee neede perchance for our Raunges, a more spacious and luminous Kitchin, then the foresaid Compartition will beare; with a more competent neerenesse likewise to the Dyning Roome Or else besides other Inconueniences, perhapes some of the Dishes may straggle by the way; Heere let me note a common defect, that wee haue of a very vsefull Roome, called by the Italians Il Tinello; and familliar, nay almost essentiall, in all their great Familes. It is a Place properly appointed, to conserue the meate that is taken from the Table, till the Waiters eate, which with vs by an olde fashion, is more vnseemely set by, in the meane while.

[Page]Now touching the distribution of Lodging chambers; I must here take leaue to reprooue a fashion, which I know not how hath preuailed through Italie, though without ancient examples, as farre as I can perceiue by Vitruuius. The thing I meane, is, that they so cast their partitions as when all Doors are open, a man may see through the whole House; which doth necessariely put an intollerable seruitude vpon all the Chambers saue the Inmost, where none can arriue, but through the rest; or else the Walles must be extreame thicke for secret passages And yet this also will not serue the turne, without at least Three doores to euery Roome: A thing most insufferable, in cold & windie Regions, and euery where noe small weakening to the whole Worke; Therefore with vs that want no cooling, I cannot commend the direct opposition of such Ouertures, being indeede meerely [Page] grounded vpon the fond ambition of displaying to a Stranger all our Furniture at one Sight, which therefore is most maintained by them that meane to harbour but a few; whereby they make onely aduantage of the vanitie, and seldome proue the Inconuenience. There is likewise another def [...]ct (as absurdities are seldome solitarie) which will necessarily follow, vpon such a seruile disposing of inward Chambers. That they must bee forced to make as many common great Roomes, as there shalbe seuerall Stories; which (besides that they are vsually darke, a point hardly auoided, running as they doe, through the middle of the whole House) doe likewise deuoure so much Place, that thereby they want other Galleries, and Roomes of Retreate, which I haue often considered among them (I must confesse) with no small wonder; for I obserue no Nation in the World, by Nature more priuate [Page] and reserued, then the Italian, and on the other side, in no Hanitations lesse priuacie; so as there is a kinde of Conflict, betweene their Dwelling, and their Being: It might heere perchance bee expected, that I should at least describe (which others haue done in draughts and designes) diuers Formes of Plants and Partitions, and varieties of Inuentions; But speculatiue Writers (as I am) are not bound, to comprise all particular Cases, within the Latitude of the Subiect, which they handle; Generall Lights, and Directions, and pointings at some faults, is sufficient. The rest must be committed to the sagacitie of the Architect, who will bee often put to diuers ingenious shifts, when hee is to wrestle with scarsitie of Ground. As sometimes *The Italians call it vna stanza dannata, as when a Buttrie is cast vnder a a stayre-Case, or the like. to damme one Roome (though of speciall vse) for the benefit and beautie of all the rest; Another while, to make those fairest, which are most in Sight, and to leaue the other [Page] (like a cunning Painter) in shadow, cum multis alijs, which it were infinite to pursue. I will therefore close this Part touching Compartition, as cheerefully as I can with a short description of a Feasting or entertayning Roome, after the Aegyptian manner, who seeme (at least till the time of Vitruuius) from the auncient Hebrewes and Phenicians (whence all knowledge did flow) to haue retayned, with other Sciences, in a high degree, also the Principles, and practise of this magnificent Art. For as farre as I may coniecture by our Masters Text, lib. 6. cap. 5. (where as in many other Places he hath tortured his Interpreters) there could no Forme, for such a Royall vse, bee comparably imagined, like that of the foresaide Nation, which I shall aduenture to explaine.

Let vs conceiue a Floore or Area of goodly length, (For example, at least of 120 foote) with the breadth somewhat [Page] more then the halfe of the Longitude, whereof the reason shalbe afterwards rendred. About the two longest sides, and Head of the said Roome, shall runne an Order of Pillars, which Palladio doth suppose Corinthian (as I see by his designe) supplying that point out of Greece, because we know no Order, proper to Aegypt. The fourth side I wil leaue free for the Entrance: On the foresaid Pillars was laid an Architraue, which Vitruuius mentioneth alone: Palladio addes thereunto (and with reason) both Freeze and Cornice, ouer which went vp a continued Wall, and therein, halfe or three quarter Pillars, answering directly, to the Order below, but a fourth Part lesse, and betweene these halfe Columnes aboue, the whole Roome was windowed round about.

Now, from the lowest Pillars there was layd ouer a Contignation or Floore, borne vpon the outward Wall, and the [Page] Head of the Columnes with Tarrace and Pauement, Sub dio (saith our Master) and so indeed hee might safely determine the matter in Egypt, where they feare no Clowds: Therefore Palladio (wo leaueth this Tarrace vncouered in the middle, and ballised about) did perchance construe him rightly, though therein discording from others: Alwayes we must vnderstand a sufficient breadth of Pauement, left between the open part and the Windowes, for some delight of Spectators, that might looke downe into the Roome: The Latitude I haue supposed contrary to some former Positions, a little more then the halfe of the length; because the Pillars standing at a competent distance from the outmost Wall, will by interception of the Sight, somewhat in appearance diminish the breadth; In which cases, (as I haue touched once or twice before) Discretion may bee more licentious then Art. This is the [Page] description of an Egyptian roome, for Feastes and other Iollities. About the Walles whereof wee must imagine entire Satues, placed below, and illuminated by the descending Light, from the Tarrace, as likewise from the Windowes betweene the halfe Pillars aboue: So as this Roome had abundant and aduantageous Light; and besides other garnishing, must needes receiue much State by the very heighth of the Roofe, that lay ouer two orders of Columnes: And so hauing runne through the foure parts of my first generall Diuision, namely, Foundation, Walles, Appertions, and Compartition; the House may now haue leaue to put on his Hatte: hauing hitherto beene vncouered it selfe, and consequently vnfit to couer others. Which point though it be the last of this Art in execution, yet it is alwayes in Intention the first, For who would build but for Shelter? Therefore obtayning both the Place, and the [Page] dignity of a Finall cause, it hath beene diligently handled by diuerse, but by none more learnedly then Bernardino Baldi Abbot of Guastalla (before cited vpon other occasion) who doth fundamentally, and Mathematically demonstrate the firmest Knittings of the vpper Timbers, which make the Roofe. But it hath beene rather my Scope, in these Elements to fetch the ground of all, from Nature her selfe, which indeed is the simplest mother of Art. Therefore I will now onely deliuer a few of the properest, and (as I may say) of the naturalest considerations, that belong to this remayning Piece.

There are two extremities to be auoyded in the Couer, or Roofe: That it be not too heauy, nor too light. The first, will suffer a vulgar obiection of pressing too much the vnder-worke. The other, contayneth a more secret inconuenience; for the Couer is not onely a bare defence, but likewise a [Page] kinde of Band or Ligature, to the whole Fabrique, and therefore would require some reasonable weight. But of the two extreames, a House Top-heauie is the worst. Next there must bee a care of Equality, that the Edifice be not pressed on the one side more then on the other; and here Palladio doth wisely (like a cautelous Artizan) that the inward Walles might beare some good share in the burthen, and the outward be the lesse charged.

Thirdly, the Italians are very precise in giuing the Couer a gracefull pendence or slopenesse, diuiding the whole breadth into Nine parts; whereof two shal serue for the eleuation of the highest Toppe or Ridge, from the lowest. But in this point the quality of the Region is considerable: For (as our Vitruuius insinuateth) those Climes that feare the falling and lying of much Snow, ought to prouide more inclining Pentices: and Comelinesse must yeeld to Necessity.

[Page] These are the vsefullest Cautions which I finde in Authors, touching the last Head of our Diuision, wherewith I will conclude the first Part of my present Trauaile. The second remayneth, concerning Ornaments within, or without the Fabrique: A Piece not so dry as the meere Contemplation of proportions. And therefore I hope therein, somewhat to refresh both the Reader, and my selfe.

OF THE ELEMENTS OF ARCHITECTVRE.
The II. part.

[Page]

EVERY Mans proper Mansion House and Home, being the Theater of his Hospitality, the Seate of Selfe-fruition, the Comfortablest part of his owne Life, the Noblest of his Sonnes Inheritance, a kinde of priuate Princedome; Nay, to the Possessors thereof, an Epitomie of the whole World: may well deserue by these Attributes, according to the degree of the Master, to be decently and delightfully adorned. For which ende, there are two Arts attending on Architecture, like [Page] two of her principall Gentlewomen, to dresse and trimme their Mistresse; PICTVRE & SCVLPTVRE: Between whom, before I proceed any further, I wil venture to determine an ancient quarrell about their Precedency, with this Distinction; that in the garnishing of Fabriques, Sculpture no doubt must haue the preheminence, as being indeede of neerer affinity to Architecture it selfe, and consequently the more naturall, and more sutable Ornament. But on the other side, (to consider these two Arts as I shall doe Philosophically, and not Mechanichally) An excellent Piece of Painting, is to my iudgement the more admirable Obiect, because it comes neere an Artificiall Miracle; to make diuerse distinct Eminences appeare vpon a Flat, by force of Shadowes, and yet the Shadowes themselues not to appeare: which I conceiue to be the vttermost value and vertue of a Painter, and to which very few haue arriued in all Ages.

[Page] In these two Arts (as they are appliable to the Subiect which I handle) it shall bee fit first to consider how to choose them; and next, how to dispose them. To guide vs in the choyce, wee haue a Rule somewhere (I well remember) in Pliny, and it is a prettie obseruation: That they doe mutually helpe to censure one another. For Picture is best when it standeth off, as if it were carued; and Sculpture is best when it appeareth so tender, as if it were painted, I meane, when there is such a seeming softnesse in the Limbes, as if not a Chissell had hewed them out of Stone, or other Materiall, but a Pensill had drawne and stroaked them in Oyle, which the iudicious Poet tooke well to his Fancy.

Excudent alij spirantia mollius aera.

But this generalitie, is not sufficient to make a good chooser, without a more particular contraction of his Iudgement. Therefore when a Piece of [Page] Art, is set before vs, let the first Caution be, not to aske who made it, least the Fame of the Author doe Captiuate the Fancie of the Buyer. For, that excellent Men doe alwaies excellently, is a false Conclusion; whereupon I obserue among Italian Artizans three notable Phrases, which well decipher the degrees of their Workes.

They will tell you, that a thing was done Con diligenza, Constudio, and Con Amore; The first, is but a bare and ordinary diligence, The second, is a learned diligence; The third, is much more, euen a louing diligence; They meane not with loue to the Bespeaker of the Worke, but with a loue and delight in the Worke it selfe, vpon some speciall Fancie to this, or that Storie; And when all these concurre (perticularly the last) in an eminent Author, Then perchance Titianus Fecit, or [...] will serue the Turne, without farther Inquisition; Otherwise Artizans haue not [Page] onely their growthes and Perfections, but likewise their Vaines and Tymes.

The next Caution must be (to proceede Logically) that in Iudging of the Worke it selfe, wee bee not distracted with too many things at once; Therefore first (to beginne with Picture) we are to obserue whether it bee well drawne, (or as more elegant Artizans tearme it) well Design'd; Then whether it be well Coloured, which bee the two generall Heads; And each of them hath two principall Requisites; For in well Designing, there must bee Truth and Grace, In well Colouring, Force, and Affection; All other Praises, are but Consequences of these.

Truth (as we Metaphorically take it in this Art) is a Iust and Naturall Proportion, in euery Part of the determined Figure. Grace is a certaine free disposition, in the whole Draught, answerable to that vnaffected franknes of Fashion, in a liuing Bodie, Man or Woman, [Page] which doth animate Beautie where it is, and supplie it, where it is not,

Force consisteth, in the Roundings & Raisings of the Worke, according as the Limbes doe more or lesse require it; So as the Beholder, shall spie no sharpenesse in the bordering Lines; As when Taylors cut out a Sute, which Italians doe aptly tearme according to that comparison, Contorni taglienti; Nor any flatnesse within the Bodie of the Figure, which how it is done, we must fetch from a higher Discipline; For the Opticques teach vs. That a plaine, will appeare prominent, and (as it were) embossed, if the Parts farthest from the Axeltree or middle Beame of the Eye, shal be the most shadowed. Because in all Darknesse, there is a kinde of Deepenesse, But as in the Arte of perswasion, one of the most Fundamentall Precepts is; the concealement of Arte, Soe here likewise, the Sight must be sweetly deceaued, by an insensible passage, from brighter colours, [Page] to dimmer, which Italian Artizans calle the middle Tinctures; That is, Not as the whites, and yolkes of Egges lie in the Shell, with visible distinction; But as when they are beaten, and blended, in a Dish: which is the neerest comparison, that I can suddenly conceiue.

Lastly, Affection is the Liuely Representment, of any passion whatsoeuer, as if the Figures stood not vpon a Cloth or Boorde, but as if they were acting vpon a Stage; And heere, I must remember, in truth with much marueile, a note, which I haue receiued, from excellent Artizans, that though Gladnesse, and Griefe, be opposites in Nature; yet they are such Neighbours and Confiners in Arte, that the least touch of a Pensill, will translate a Crying, into a Laughing Face; which Instance, besides diuers other, doth often reduce vnto my memorie, that Ingenious Speculation, of the Cardinall Cusanus extant in his Workes, touching the Coincidence of exextremes. [Page] And thus much of the foure Requisites, and Perfections in Picture.

In Sculpture likewise, the Two first are absolutely necessarie; The third impertinent; For Solide Figures neede no eleuation, by force of Lights, or shadowes; Therefore in the Roome of this, wee may put (as hath beene before touched) a kinde of Tendernesse, by the Italians tearmed Morbidezza, wherein the Chissell, I must confesse▪ hath more glory then the Pensill; that being so hard an Instrument, and working vpon so vnpliant stuffe, can yet leaue Strokes of so gentle appearance.

The Fourth, which is the expressing of Affection (as farre as it doth depend vpon the Actiuity, and Gesture of the Figure) is as proper to the Caruer, as to the Painter; though Colours, no doubt, haue therein the greatest Power; whereupon, perchance, did first grow with vs the Fashion of colouring, euen Regall Statues, which I must take leaue to call [Page] an English Barbarisme.

Now in these [...]ower Requisites already rehearsed, it is strange to note, that no Artizan, hauing euer beene blamed for excesse in any of the three last; onely Truth (which should seeme the most Innocent) hath suffered some Obiection, and all Ages, haue yeelded some one or two Artificers, so prodigiously exquisite, that they haue beene reputed too Naturall, in their Draughts; which will well appeare, by a famous Passage in Quintilian, touching the Characters of the ancient Artizans, falling now so aptly into my memory, that I must needes translate it, as in truth it may well deserue.

The Place which I intend, is extant in the last Chapter saue one of his whole Worke, beginning thus in Latine.

Primi, quorum quidem opera non vetustatis modo gratia visenda sunt clari Pictores fuisse dicuntur; Polygnotus atque Aglaophon &c.

[Page] The whole Passage, in English standeth thus:

§

THe first Painters of name, whose Workes bee considerable for any thing more then onely Antiquitie, are said to haue beene Polygnotus, and Aglaophon; whose bare Colourings (hee meanes I thinke in white and blacke) hath euen yet so many followers, that those rude and first Elements, as it were of that, which within a while, became an Arte, are preferred, before the greatest Painters that haue beene extant after them, out of a certaine Competition (as I conceiue it) in point of Iudgement. After these, Zeuxes and Parasius not farre distant in age, both about the time of the Peloponesian Warre, (for in Xenophon wee haue a Dialogue betweene Parasius, and Socrates) did adde much to this Arte. Of which the first is said, to haue inuented the due disposition of Lights and Shadowes; [Page] The second, to haue more subtilly examined, the truth of Lines in the Draught; for Zeuxes did make Limbes, bigger then the life; deeming his Figures, thereby the more stately and Maiesticall; & therein (as some thinke) imitating Homer, whom the stoutest forme doth please, euen in Women. On the other side, Parasius did exactly limit al the Proportions so, as they call him the Law giuer because in the Images of the Gods and of Heroicall Personages, others haue followed his Paternes like a Decree; But Picture did most flourish, about the daies of Phillip and euen to the Successours of Alexander; yet by sundry habilities; for Protogenes, did excell in Diligence; Pamphilus and Melanthius in due Proportion, Antiphilus in a Franke Facilitie; Theon of Samos, in strength of Fantasie and conceiuing of Passions; Apelles, in Inuention, and Grace, whereof hee doth himselfe most vaunte; Euphranor, deserues admiration, [Page] that being in other excellent studies, a principall Man, he was likewise a wondrous Artizan, both in Painting and Sculpture. The like difference we may obserue among the Statuaries; for the workes of Calon and Fgesias were somewhat stiffe, like the Tuscan manner; Those of Calamis not done with so cold stroakes; And Myron more tender then the former; a diligent Decency in Polycletus aboue others, to whom though the highest prayse bee attributed by the most, yet lest he should goe free from exception, some thinke hee wanted solemnesse; for as he may perchance be sayd to haue added a comely dimension to humane shape, somewhat aboue the truth; so on the other side, hee seemed not to haue fully expressed the Maiesty of the Gods: Moreouer, hee is sayd not to haue medled willingly with the grauer age, as not aduenturing beyond smooth cheekes: But these vertues that were wanting in Polycletus, [Page] were supplied by Phidias and Al [...]menes, yet Phidias was a better Artizan in the representing of Gods, then of Men; and in his workes of Iuorie, beyond all emulation, euen though hee had left nothing behinde him, but his Minerua at Athens, or the Olympian Iupiter in Elis, whose Beautie seemes to haue added somewhat, euen to the receiued Religion; the Maiestie of the Worke, as it were equalling the Deity. To Truth, they affirme Lysippus and Praxiteles, to haue made the neerest approach: for Demetrius is therein reprehended, as rather exceeding then deficient; hauing beene a greater aymer at Likenes, then at Louelines.

This is that witty Censure of the ancient Artizans, which Quintilian hath left vs, where the last Charactar of Demetrius doth require a little Philosophicall examination; How an Artificer, whose end is the imitation of Nature, can bee too naturall; which likewise [Page] in our dayes was either the fault, or (to speake more gently) the too much perfection of Albert Durer, and perhaps also of Michael Angelo da Buonaroti, betweene whom I haue heard noted by an ingenious Artizan, a prety nice difference, that the German did too much expresse that which was; and the Italian, that which should be: Which seuere obseruation of Nature, by the one in her commonest, and by the other in her absolutest Formes, must needs produce in both a kinde of Rigidity, and consequently more naturalnesse then gracefulnesse: This is the cleerest reason, why some exact Symmetrists haue been blamed, for being too true, as neere as I can deliuer my conceit. And so much touching the choyce of Picture and Sculpture: The next is, the application of both, to the beautifying of Fabriques.

First therefore touching Picture, there doth occurre a very pertinent [Page] doubt, which hath beene passed ouer too slightly, not onely by some Men, but by some Nations; namely, whether this Ornament can wel become the Outside of houses, wherin the Germanes haue made so little scruple, that their best Townes are the most painted, as Augusta and Norembergh. To determine this question in a word: It is true, that a Story well set out with a good Hand, will euery where take a Iudicious eye: But yet withal it is as true, that various colours on the Out-walles of Buildings, haue alwayes in them more Delight then Dignity: Therfore I would there admit no Paintings but in Blacke and White, nor euen in that kinde any Figures (if the roome be capable) vnder Nine or Ten foot high, which will require no ordinary Artizan; because the faults are more visible then in small Designes. In vnfigured paintings the noblest is, the imitation of Marbles, & of Architecture it selfe, as Arches, Treezes, [Page]Columnes, and the like.

Now for the Inside, heere growes another doubt, whether Grotesca (as the Italians) or Antique worke (as wee call it) should be receiued, against the expresse authoritie of Vitruuius himselfe, lib. 7. cap. 5. where Pictura (saith hee) Fit eius, quod est, seu potest esse, excluding by this seuere definition, all Figures composed of different Natures or Sexes; so as a Syrene or a Centaure had beene intolerable in his eye: But in this wee must take leaue to depart from our Master, & the rather because he spake out of his owne profession, allowing Painters (who haue euer bin as little limited as Poets) a lesse scope in their imaginations, euen then the grauest Philosophers, who sometimes doe serue themselues of Instances, that haue no Existence in Nature; as wee see in Platoes Amphisboena, & Aristotles Hirco-Ceruus. And (to settle this point) what was indeede more common and familiar [Page] among the Romanes themselues, then the Picture and Statue of Terminus, euen one of their Deities? which yet if we well consider, is but a piece of Grotesca; I am for these reasons vnwilling to impouerish that Art, though I could wish such medlie and motlie Designes, confined onely to the Ornament of Freezes, and Borders, their properest place. As for other Storied Workes vpon Walles, I doubt our Clime bee too yeelding and moist, for such Garnishment; therefore leauing it to the Dwellers discretion, according to the qualitie of his Seat; I will onely adde a caution or two, about the disposing of Pictures within.

First, that no Roome bee furnished with too many, which in truth were a Surfet of Ornament, vnlesse they bee Galleries, or some peculiar Repository for Rarities of Art.

Next, that the best Pieces be placed not where there is the least, but where [Page] there are the fewest lights; therefore not onely Roomes windowed on both ends, which we call through-lighted; but with two or moe Windowes on the same side, are enemies to this Art; and sure it is, that no Painting can be seene in full Perfection but (as all Nature is illuminated) by a single Light.

Thirdly, that in the placing there be some care also taken, how the Painter did stand in the Working, which an intelligent Eye, will easily discouer, and that Posture is the most naturall; so as Italian pieces will appeare best in a Roome where the Windowes are high; because they are commonly made to a descending Light, which of all other doth set off mens Faces in their truest Spirit.

Lastly, that they bee as properly bestowed for their quality, as fitly for their grace: that is, chearefull Paintings in Feasting and Banquetting Roomes; Grauer Stories in Galleries, Land-schips, and [Page] Boscage, and such wilde workes in open Tarraces, or in Summer houses (as we call them) and the like.

And thus much of Picture, which let mee close with this Note; that though my former Discourse may serue perchance for some reasonable leading in the choyce of such delights; yet let no man hope by such a speculatiue erudition, to discerne the Masterly and Mysterious touches of Art, but an Artizan himselfe; to whom therefore we must leaue the prerogatiue, to censure the manner and handling, as hee himselfe must likewise leaue some points, perchance of no lesse value to others; as for example, whether the Story be rightly represented, the Figures in true action, the Persons suted to their suerall qualities, the affections proper and strong, and such like obseruations.

Now for Sculpture, I must likewise begin with a Controuersie, as before (falling into this Place) or let mee rather [Page] call it a very meere Fancie, strangely taken by Palladio, who hauing noted in an old Arch or two at Verona, some part of the Materials already cut in fine Formes, and some vnpolished, doth conclude (according to his Logicke) vpon this particular, that the Auncients did leaue the outward Face, of their Marbles or Free-stone, without any Sculpture, till they were laid, and Cimented, in the bodie of the Building; For which likewise hee findeth a reason (as many doe now and then very wittily, euen before the thing it selfe be true) that the Materialls being left rough were more managable in the Masons hand, then if they had beene smooth; And that so the sides might bee laide together the more exactly; Which Conceit, once taken hee seemes to haue farther imprinted, by marking in certaine Storied Sculptures, of oulde time▪ how precisely the parts and Lines of the Figures that passe from one Stone [Page] to another, doe meete; which hee thinkes could hardly fall out so right, (forgetting while he speakes of ancient things, the auncient Diligence) vnlesse they had beene cut, after the ioyning of the Materials, But all these Inducements, cannot counteruaile the sole Inconuenience of shaking, and Disioynting the Commissures with so many Strokes of the Chissell, be [...]ides an Incommodious Working on Scaffolds; especially hauing no testimonie, to confirme it, that I haue yet seene among the records of Art; Nay, it is indeede rather true, that they did square, and Carue, and Polish, their Stone and Marble Workes, euen in the very Caue of the Quarrie, before it was hardened by open Aire; But (to leaue disputation) I will set downe a few Positiue notes, for the placing of Sculpture; because the chusing hath beene handled before.

That first of all, it bee not too generall and abundant, which would make [Page] a House, looke like a Cabbinet, & in this point, morall Philosophie which tempereth Fancies, is the Superintendent of Art.

That especially, There bee a due moderation of this Ornament in the first approach; where our Authors doe more commend (I meane about the Principall Entrance) a Dorique, then a Corinthian garnishment▪ So as if the great Doore, be Arched, with some braue Head, cut in fine Stone or Marble for the Key of the Arch, and two Incumbent Figures gracefully leaning vpon it, towards one another, as if they meant to conferre; I should thinke this a sufficient entertainement, for the first Reception, of any Iudicious Sight, which I could wish seconded, with two great standing Statues on each side of a paued way that shall leade vp into the Fabrique, So as the Beholder at the first entrance, may passe his Eye betweene them.

That the Nices, if they containe Figures [Page] of white Stone or Marble, bee not coloured in their Concauitie too blacke, For though Contraria iuxta se posita magis illucescunt (by an olde Rule) yet it hath beene subtilly, and indeede truely noted that our Sight, is not well contented, with those sudden departments, from one extreame, to another; Therefore let them haue, rather a Duskish Tincture, then an absolute blacke.

That fine and delicate Sculptures, be helped with Neerenes, and Grosse with distance; which was well seene in the olde controuersie, betweene Phidias and Alcmenes about the Statue of Venus: wherein the First did shew discretion, and saue labour, because the Worke was to bee viewed at good Height, which did drowne the sweete and diligent strokes of his Aduersarie: A famous emulation of two principall Artizans, celebrated euen by the Greeke Poets.

That in the placing of standing Figures [Page] aloft, wee must set them in a Posture somewhat bowing forward; bebecause (saith our Master, lib. 3. cap. 3. out of a better Art then his owne) the visuall beame of our eye, extended to the Head of the said Figures, being longer then to the Foote, must necessarily make that part appeare farther; so as to reduce it to an erect or vpright position, there must be allowed a due aduantage of stooping towards vs; which Albert Durer hath exactly taught, in his fore mentioned Geometry. Our Vitruuius calleth this affection in the Eye, a resupination of the Figure: For which word (being in truth his owne, for ought I know) wee are almost as much beholding to him, as for the obseruation it selfe: And let thus much summarily suffice, touching the choice and vse of these adorning Arts. For to speake of garnishing the Fabrique with a Row of erected Statues, about the Cornice of euery Contignation [Page] or Story, were discourse more proper for Athens or Rome, in the time of their true greatnesse, when (as Plinie recordeth of his own Age) there were neere as many carued Images, as liuing Men; like a noble contention, euen in point of Fertility, betweene Art and Nature; which passage doth not onely argue an infinite abundance, both of Artizans and Materials; but likewise of Magnificent and Majesticall desires, in euery common person of those times; more or lesse according to their Fortunes. And true it is indeed that the Marble Monuments & Memories of well deseruing Men, wherewith the very high wayes were strewed on each side was not a bare and transitory entertainement of the Eye, or onely a gentle deception of Time, to the Trauailer: But had also a secret and strong Influence, euen into the aduancement of the Monarchie, by continuall representation of vertuous examples; so as in [Page] that point ART became a piece of State.

Now as I haue before subordinated Picture, and Sculpture to Architecture, as their Mistresse; so there are certaine inferiour ARTS likewise subordinate to them: As vnder Picture, Mosaique; vnder Sculpture, Plastique; which two, I onely nominate, as the fittest to garnish Fabriques.

Mosaique is a kinde of Painting in small Pebbles, Cockles and Shells of sundry colours; and of late dayes likewise with pieces of Glasse, figured at pleasure; an Ornament in trueth, of much beauty, and long life, but of most vse in pauements and Floorings.

Plastique is not onely vnder Sculpture, but in deed very Sculpture it selfe: but with this difference; that the Plasterer doth make his Figures by Addition, and the Caruer by Substraction, whereupon Michael Angelo was wont to say somewhat pleasantly: That Sculpture [Page] was nothing but A purgation of superfluities. For take away from a piece of wood, or stone, all that is superfluous, and the remainder is the intended Figure. Of this Plastique Art, the chiefe vse with vs is in the gracefull fretting of roofes: but the Italians applie it, to the manteling of Chimneys, with great Figures. A cheape piece of Magnificence, and as durable almost within doores, as harder Forms in the weather. And here though it bee a little excursion, I cannot passe vnremembred againe, their manner of disguising the shaftes of Chimneys in various fashions, whereof the noblest is the Pyramidall: beeing in trueth a piece of polite and ciuill discretion, to conuert euen the conduits of soote and smoake, into Ornaments; whereof I haue hitherto spoken as farre as may concerne the Bodie of the Building.

Now there are Ornaments also without, as Gardens, Fountaines, Groues, Conseruatories [Page] of rare Beasts, Birds, and Fishes. Of which ignobler kind of Creatures, Wee ought not (saith our greatest Arist. lib. 1 cap. 5. de part. Anim. [...]. Master among the sonnes of Nature) childishly to despise the Contemplation; for in all things that are naturall, there is euer something, that is admirable. Of these externall delights, a word or two.

First, I must note a certaine contrarietie betweene building and gardening: For as Fabriques should bee regular, so Gardens should bee irregular, or at least cast into a very wilde Regularitie. To exemplifie my conceit; I haue seene a Garden (for the maner perchance incomparable) into which the first Accesse was a high walke like a Tarrace, from whence might bee taken a generall view of the whole Plott below; but rather in a delightfull confusion, then with any plaine distinction of the pieces. From this the Beholder descending many steps, was afterwards conueyed againe, by seuerall mountings and valings, [Page] to various entertainements of his sent, and sight: which I shall not neede to describe (for that were poeticall) let me onely note this, that euery one of these diuersities, was as if hee had beene Magically transported into a new Garden.

But though other Countreys haue more benefite of Sunne then wee, and thereby more properly tyed to contemplate this delight; yet haue I seene in our owne, a delicate and diligent curiositie, surely without parallel among foreigne Nations: Namely, in the Garden of Sir Henry Fanshaw, at his seat in Ware-Parke, where I wel remember, hee did so precisely examine the tinctures, and seasons of his flowres, that in their setting, the inwardest of those which were to come vp at the same time, should be alwayes a little darker then the outmost, and so serue them for a kinde of gentle shadow, like a piece not of Nature, but of Arte: which mention [Page] (incident to this place) I haue willingly made of his Name, for the deare friendship that was long betweene vs: though I must confesse, with much wrong to his other vertues; which deserue a more solide memoriall, then among these vacant obseruations. So much of Gardens.

Fountaines are figured, or only plaine Water'd-workes: Of either of which, I will describe a matchlesse patterne.

The first, done by the famous hand of Michael Angelo da Buonaroti, in the figure of a sturdie woman, washing and winding of linnen clothes; in which Acte, shee wrings out the water that made the Fountaine; which was a gracefull and naturall conceit in the Artificer, implying this rule; That all designes of this kind, should be proper.

The other doth merite some larger expressiō; There went a long, straight, mossie walke of competent breadth, greene, and soft vnder foot, listed on [Page] both sides with an Aquaeduct of white stone, breast-high, which had a hollow channell on the top, where ranne a prety trickling streame; on the edge whereof, were couched very thicke all along, certaine small pipes of lead, in little holes; so neatly, that they could not be well perceiued, till by the turning of a cocke, they did sprout ouer interchangeably from side to side, aboue mans height, in forme of Arches, without any intersection or meeting aloft, because the pipes were not exactly opposite, so as the Beholder, besides that, which was fluent in the Aquaeducts on both hands in his view, did walke as it were, vnder a continuall bowre or Hemisphere of water, without any drop falling on him. An inuention for refreshment, surely farre excelling all the Alexandrian delicacies, and Pneumatiques of Hero.

Groues, and artificiall deuices vnder ground, are of great expence, and little [Page] dignitie; which for my part I could wish conuerted here into those Crypteria, whereof mention is made among the curious prouisions of Ticho Braghe the Danish Ptolemie, as I may well call him: which were deepe concaues in gardens, where the starres might be obserued euen at noone. For (by the way) to thinke that the brightnesse of the Sunnes body aboue, doth drowne our discerning of the lesser lights, is a popular errour; the sole impediment being that lustre, which by reflection, doth spread about vs, from the face of the Earth; so as the caues before touched, may well conduce, not to a delicious, but to a learned pleasure.

In Auiaries of wire, to keepe Birdes of all sorts, the Italians (though no wastfull Nation) doe in some places bestow vast expence; including great scope of ground, varietie of bushes, trees of good height, running waters, and sometimes a Stoue annexed, to contemper [Page] the Aire in Winter. So as those Chanteresses, vnlesse they be such as perhaps delight as much in their wing, as in their voice, may liue long, among so good prouisions and roome, before they know that they are prisoners; reducing often to my memory, that conceit of the Romane Stoicke, who in comparison of his owne free contemplations, did thinke diuers great and splendent fortunes of his time, little more then commodious captiuities.

Concerning Ponds of pleasure neere the habitation, I will referre my selfe to a graue Author of our owne (though more illustrious by his otherD [...] Nugis Curial. &c. worke) namely Sarisburiensis de Pis [...]inâ.

And here I will end the second part touching Ornaments, both within, and without the Fabrique.

Now as almost all those, which haue deliuered the Elements of Logicke, doe vsually conclude, with a Chapter touching Methode; so I am heere seized [Page] with a kind of critical spirit, & desirous to shut vp these building Elements, with some Methodical directiō how to censure Fabriques alreadie raised: for indeed without some way to contract our Iudgement, which among so many particulars would bee lost by diffusion; I should thinke it almost harder to be a good Censurer, then a good Architect: Because the working part may be helped with Deliberation, but the Iudging must flow from an extemporall habite. Therfore, (not to leaue this last Piece without some Light) I could wish him that commeth to examine any noble Work, first of all to examine himselfe, whether perchance the sight of many braue things before (which remaine like impressed formes) haue not made him apt to thinke nothing good, but that which is the best; for this humour were too sowre. Next, before hee come to settle any imaginable opinion, let him by all meanes seeke to informe himselfe [Page] precisely, of the Age of the Worke vpon which hee must passe his Doome. And if hee shall finde the apparent decayes to exceed the proportion of Time; then let him conclude without farther inquisition, as an absolute Decree, that either the Materials were too slight, or the Seate is nought. Now, after these premisses, if the House be found to beare his yeares well, (which is alwayes a token of sound constitution) Then let him suddenly runne backewardes, (for the Methode of censuring is contrary to the Methode of composing) from the Ornaments (which first allure the Eye) to the more essentiall Members, till at last hee be able to forme this Conclusion, that the Worke is Commodious, Firme, and Delightfull; which (as I said in the beginning) are the three capitall Conditions required in good Buildings, by all Authors both Ancient and Moderne. And this is, as I may tearme it the most Scientificall way of Censuring. [Page] There are two other which I must not forget. The first in Georgio Vassari, before his laborious Worke of the liues of Architects, which is to passe a running examination ouer the whole Edifice, according to the properties of a well shapen Man. As whether the Wals stand vpright vpon cleane footing and Foundation; whether the Fabrique bee of a beautifull Stature, whether for the breadth it appeare well burnished, whether the principall Entrance be on the middle Line of the Front or Face, like our Mouthes, whether the Windowes, as our Eyes, be set in equall number and distance on both sides, whether the Offices like the Veines in our Bodies, be vsefully distributed, and so forth. For this Allegoricall review may be driuen as farre as any Wit will, that is at leasure.

The second way, is in Vitruuius himselfe, lib. 1. cap 2. where hee summarily determineth six Considerations, which accomplish this whole Art.

[Page]Ordinatio.

Dispositio.

Eurythmia.

Symmetria.

Decor, and

Distributio.

Whereof (in my conceit) wee may spare him the first two; for as farre as I can perceiue, either by his Interpreters, or by his own Text (which in that very place, where perchance he should be clearest, is of all other the Clowdiest) hee meaneth nothing by Ordination, but a well setling of the Modell or Scale of the whole Worke. Nor by Disposition, more then a neate and full expression of the first Idea or Designement thereof; which perchance doe more belong to the Artificer, then to the Censurer. The other foure are enough to condemne, or absolue any Fabrique whatsoeuer. Whereof Eurythmia is that agreeable Harmony, betweene the breadth, length, and height of all the [Page] Roomes of the Fabrique, which suddenly where it is taketh euery Beholder, by the secret power of Proportion: wherein let mee onely note this, That though the least error or offence that can be committed against sight, is excesse of height; yet that fault is no where of small importance, because it is the greatest offence against the Purse.

Symmetria is the conueniencie that runneth betweene the Parts and the VVhole, whereof I haue formerly spoken.

Decor is the keeping of a due Respect betweene the Inhabitant, and the Habitation. Whence Palladius did conclude, that the principall Entrance was neuer to be regulated by any certaine Dimensions; but by the dignity of the Master; yet to exceede rather, in the more, then in the lesse, is a marke of Generosity, and may al wayes be excused with some noble Embleme, or Inscription, [Page] as that of the Conte di Beuilacqua, ouer his large Gate at Verona, where perchance had beene committed a little Disproportion.

Patet Ianua: Cor magis.

And heere likewise I must remember our euer memorable Sir Philip Sidney, (whose VVit was in truth the very rule of Congruity) who well knowing that Basilius (as hee had painted the State of his Minde) did rather want some extraordinary Formes to entertaine his Fancie, then roome for Courtiers; was contented to place him in a Star-like Lodge; which otherwise in seuere Iudgement of Art had beene an incommodious Figure.

Distributio is that vsefull Casting of all Roomes for Office, Entertainement, or Pleasure, which I haue handled before at more length, then any other Piece.

These are the Foure Heads which euery man should runne ouer, before [Page] hee passe any determinate Censure, vpon the Works that he shal view, wherewith I will close this last part, touching Ornaments. Against which (mee thinkes) I heare an Obiection, euen from some well-meaning man; That these delightfull Craftes, may be diuers wayes ill applied in a Land. I must confesse indeede, there may bee a Lasciuious, and there may be likewise a superstitious vse, both of Picture and of Sculpture: To which possibility of misapplication, not onely these Semi-liberall Arts are subiect; but euen the highest perfections, and endowments of Nature. As Beautie in a light woman, Eloquence in a mutinous Man, Resolution in an Assasinate, Prudent obseruation of houres & humours, in a corrupt Courtier, Sharpenesse of wit and argument in a seducing Scholler; and the like. Nay, finally let mee aske, what ART can be more pernicious, then euen RELIGION it selfe, if it selfe be conuerted [Page] into an Instrument of ART: Therefore, Ab abuti ad non vti, negatur consequentia.

Thus hauing stitched in some sort together, these Animaduersions, touching Architecture, and the Ornaments thereof; I now feele that contemplatiue spirits are as restlesse as actiue; for doubting with my selfe, (as all weakenesse is iealous) that I may be thought to haue spent my poore obseruation abroad, about nothing but Stone and Timber, and such Rubbage; I am thereby led into an immodestie of proclaiming another Worke, which I haue long deuoted to the seruice of my Countrey: Namely, A Philosophicall Suruey of Education, which is indeed, a second Building, or repairing of Nature, and, as I may tearme it, a kinde of Morall Architecture; whereof such Notes as I haue taken in my foreigne [Page] transcursions or abodes, I hope to vtter without publike offence, though still with the freedome of a plaine Kentish man. In the meane while I haue let these other Gleanings flie abroad, like the Bird out of the Arke, to discouer what footing may bee, for that which shall follow.

FINIS.

Errata.

Pag. 6. lin, 8. for as, reade is. Pag. 48. lin. 2. for cuncatim, reade cuneatim. Pag. 77. lin. 6. for (wo, read (who. Pag. 80. lin. 9. for wisely, reade wish. Pag. 88. lin. 19. omitted in the Margin the verses following, touching the coincidence of extreame affections; represented by Homer in the person of Hoctors wife; as Painters and Poets haue alwaies had a kind of congeniality.

[...]

[...]

[...]

[...].—That is,

Shee tooke her sonne into her armes, we [...] pingly laughing.

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Title statement

The elements of architecture, collected by Henry Wotton Knight, from the best authors and examples

Wotton, Henry, Sir, 1568-1639.

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1624

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Text Creation Partnership,

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2003-03 (EEBO-TCP Phase 1).

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A15742

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STC 26011

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ESTC S120324

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99855523

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99855523

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21018

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(EEBO-TCP ; phase 1, no. A15742)

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— The elements of architecture, collected by Henry Wotton Knight, from the best authors and examples, Wotton, Henry, Sir, 1568-1639..

Extent

[12], 123, [1] p.

Printed by Iohn Bill,. London :: M.DC.XXIV. [1624]. (The first leaf is blank.) (B4 is a cancel, signed "B4". Variant: B4 is cancellandum, unsigned.) (Reproduction of the original in the Henry E. Huntington Library and Art Gallery.)

Creation

Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford.

Editorial practices

EEBO-TCP is a partnership between the Universities of Michigan and Oxford and the publisher ProQuest to create accurately transcribed and encoded texts based on the image sets published by ProQuest via their Early English Books Online (EEBO) database (http://eebo.chadwyck.com). The general aim of EEBO-TCP is to encode one copy (usually the first edition) of every monographic English-language title published between 1473 and 1700 available in EEBO.

EEBO-TCP aimed to produce large quantities of textual data within the usual project restraints of time and funding, and therefore chose to create diplomatic transcriptions (as opposed to critical editions) with light-touch, mainly structural encoding based on the Text Encoding Initiative (http://www.tei-c.org).

The EEBO-TCP project was divided into two phases. The 25,363 texts created during Phase 1 of the project have been released into the public domain as of 1 January 2015. Anyone can now take and use these texts for their own purposes, but we respectfully request that due credit and attribution is given to their original source.

Users should be aware of the process of creating the TCP texts, and therefore of any assumptions that can be made about the data.

Text selection was based on the New Cambridge Bibliography of English Literature (NCBEL). If an author (or for an anonymous work, the title) appears in NCBEL, then their works are eligible for inclusion. Selection was intended to range over a wide variety of subject areas, to reflect the true nature of the print record of the period. In general, first editions of a works in English were prioritized, although there are a number of works in other languages, notably Latin and Welsh, included and sometimes a second or later edition of a work was chosen if there was a compelling reason to do so.

Image sets were sent to external keying companies for transcription and basic encoding. Quality assurance was then carried out by editorial teams in Oxford and Michigan. 5% (or 5 pages, whichever is the greater) of each text was proofread for accuracy and those which did not meet QA standards were returned to the keyers to be redone. After proofreading, the encoding was enhanced and/or corrected and characters marked as illegible were corrected where possible up to a limit of 100 instances per text. Any remaining illegibles were encoded as <gap>s. Understanding these processes should make clear that, while the overall quality of TCP data is very good, some errors will remain and some readable characters will be marked as illegible. Users should bear in mind that in all likelihood such instances will never have been looked at by a TCP editor.

The texts were encoded and linked to page images in accordance with level 4 of the TEI in Libraries guidelines.

Copies of the texts have been issued variously as SGML (TCP schema; ASCII text with mnemonic sdata character entities); displayable XML (TCP schema; characters represented either as UTF-8 Unicode or text strings within braces); or lossless XML (TEI P5, characters represented either as UTF-8 Unicode or TEI g elements).

Keying and markup guidelines are available at the Text Creation Partnership web site.