A parallel of the antient architecture with the modern in a collection of ten principal authors who have written upon the five orders ... : the three Greek orders, Dorique, Ionique, and Corinthian, comprise the first part of this treatise, and the two Latine, Tuscan and Composita, the latter / written in French by Roland Freart, sieur de Chambray ; made English for the benefit of builders ; to which is added An account of architects and architecture, in an historical and etymological explanation of certain tearms particularly affected by architects ; with Leon Baptista Alberti's treatise Of statues, by John Evelyn, Esq. Parallèle de l'architecture antique et de la moderne. English Fréart, Roland, sieur de Chambray, 1606-1676. 1664 Approx. 426 KB of XML-encoded text transcribed from 92 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2003-01 (EEBO-TCP Phase 1). A31653 Wing C1923 ESTC R19331 12043024 ocm 12043024 53015

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Early English books online. (EEBO-TCP ; phase 1, no. A31653) Transcribed from: (Early English Books Online ; image set 53015) Images scanned from microfilm: (Early English books, 1641-1700 ; 86:11) A parallel of the antient architecture with the modern in a collection of ten principal authors who have written upon the five orders ... : the three Greek orders, Dorique, Ionique, and Corinthian, comprise the first part of this treatise, and the two Latine, Tuscan and Composita, the latter / written in French by Roland Freart, sieur de Chambray ; made English for the benefit of builders ; to which is added An account of architects and architecture, in an historical and etymological explanation of certain tearms particularly affected by architects ; with Leon Baptista Alberti's treatise Of statues, by John Evelyn, Esq. Parallèle de l'architecture antique et de la moderne. English Fréart, Roland, sieur de Chambray, 1606-1676. Evelyn, John, 1620-1706. Alberti, Leon Battista, 1404-1472. De statua. [24], 159, [1] p. : ill., port. Printed by Tho. Roycroft for John Place ..., London : 1664. Translation of: Parallèle de l'architecture antique et de la moderne. Added t.p. engraved: A parallel of architecture both ancient and moderne. Errata: p. 159. Advertisement: p. [1] at end. Reproduction of original in British Library.

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eng Architecture -- Orders. Sculpture -- Early works to 1800. 2002-05 Assigned for keying and markup 2002-06 Keyed and coded from ProQuest page images 2002-07 Sampled and proofread 2002-07 Text and markup reviewed and edited 2002-08 Batch review (QC) and XML conversion

Imprimatur. Liber hic cui Titulus (A Parallel of Architecture the Antique with the Modern) ut quod melius est eligatur.

Ex Aedib. Lambethanis Nov. 21, 1663. I. Franck S. T. P. Reverendissimo in Christo Patri, ac Dom. Dom. Gilb. Archi-Ep. Cantuar. à Sacris Domesticis.

To the most happie Memorie of Monseiur de Noyers Baron of Dangu Minister, and Secretarie of State.

A PARALELL OF ARCHITECTURE BOTH ANCIENT & MODERNE BY ROLAND FREART. Sr. DE CHAMBRAY

A PARALLEL OF THE ANTIENT ARCHITECTURE WITH THE MODERN, In a Collection of Ten Principal Authors who have written upon the FIVE ORDERS, Viz. PALLADIO and SCAMOZZI, SERLIO and VIGNOLA, D. BARBARO and CATANEO, L. B. ALBERTI and VIOLA, BULLANT and DE LORME, Compared with one another. The three Greek Orders, DORIQUE, IONIQUE, and CORINTHIAN, comprise the First Part of this Treatise. And the two Latine, TUSCAN and COMPOSITA the Latter.

Written in French by ROLAND FREART, Sieur de Chambray; Made English for the Be •• fit of Builders.

To which is added an Account of Architects and Architecture, in an Historical, and Etymological Explanation of certain Tearms particularly affected by Architects. With Leon Baptista Alberti's Treatise of STATVES.

By JOHN EVELYN Esq Fellow of the ROYAL SOCIETY.

LONDON, Printed by Tho. Roycroft, for Iohn Place, and are to be sold at his Shop at Furnivals-Inn Gate in Holborn. MDCLXIV.

To the Most SERENE MAJESTY OF CHARLES THE SECOND.

SINCE the Great Augustus vouchsafed to patronize a Work of this nature which was Dedicated to him by Vitruvius; I had no reason to apprehend Your Majesty would reprove these Addresses of mine, if, in presenting You with those Antiquities on which that excellent Master form'd his Studies, I intituled Your Majesty to a VVork so little inferior to it, and so worthy to go in paragon with it. And indeed to whom could I more aptly Inscribe it? a Discourse of Building, than to so Royal a Builder, whose august attempts have already given so great a splendor to our Imperial City, and so illustrious an Example to the Nation! It is from this contemplation, Sir, that after I had (by the Commands of the Royal Society) endeavour'd the improvement of Timber, and the planting of Trees, I have advanced to that of Building as its proper and natural consequent: Not with a presumption to incite, or instruct Your Majesty, which were a vanity unpardonable; but by it to take occasion of celebrating Your Majesties great Example, who use Your Empire and Authority so worthily, as Fortune seems to have consulted her reason when she poured her favours upon You; so as I never cast my Eyes on that generous Designation in the Epigram Credis ob hoc me Pastor opes fortasse rogare Propter quod vulgus, crassaque turba rogat? &c. Est nihil ex istis: superos, ac sydera testor. Ergo quid? ut donem, Pastor, & aedificem. Mart. Ep. L. 9. —ut donem, Pastor, & aedificem. without immediate reflections on Your Majesty, who seem onely to value those royal advantages you have above others, but that you may Oblige, and that you may Build. And certainly, Sir, Your Majesty has consulted the noblest way of establishing Your Greatness, and of perpetuating Your Memory; since, whilest Stones can preserve Inscriptions, Your Name will be famous to Posterity, and when those Materials fail, the Benefits that are engraven in our Hearts, will outlast those of Marble. It would be no Paradox, but a Truth, to affirme, that Your Majesty has already Built and Repair'd more in three or four Years (notwithstanding the difficulties, and the necessitie of an extraordinary Oeconomy for the publick concernment) than all Your Enemies have destroy'd in Twenty; nay then all Your Majesties Predecessors have advanc'd in an Hundred, as I could easily make out, not only by what Your Majesty has so magnificently design'd and carried on at that Your antient Honour of Green-VVich, under the conduct of Your most industrious and worthy Surveyor; but in those Splendid Apartiments, and other useful Reformations for security and delight, about Your Majesties Palace at VVhite-Hall; the chargeable covering, first Paving and reformation of Westminster-Hall; care, and preparation for Saint Paul's, by the impiety and iniquity of the late confusions almost Dilapidated: With what Her Majesty the Queen Mother has added to her Palace at Sommerset House in a Structure becoming her Royal grandeur, and the due veneration of all Your Majesties Subjects for the honour She has done both this Your native City and the whole Nation Nor may I here omit (what I so much desire to transmit to Posterity) those noble, and profitable amaenities of Your Majesties Plantations, wherein You most resemble the Divine Architect; because Your Majesty has proposed in it such a Pattern to Your Subjects, as merits their imitation, and profoundest acknowledgments, in one of the most worthy, and Kingly Improvements that Nature is capable of. I know not what they talk of former Ages, and of the now contemporary Princes with Your Majesty; These things are visible; and should I here descend to more Particulars, which yet were not foreign to the subject of this Discourse, I would provoke the whole World to produce me an Example parallel with Your Majesty, for Your exact judgment, and mervailous ability in all that belongs to the Naval Architecture, both as to its proper tearms, and more solid use, in which Your Majesty is Master of one of the most noble, and profitable Arts that can be wished in a Prince, to whom God has design'd the Dominion of the Ocean, which renders Your Majesties Empire Universal; when by exercising Your royal talent, and knowledg that way, You can bring even the Antipodes to meet, and the Poles to kiss each other; for so likewise (not in a Metaphorical, but natural sence) Your equal and prudent Government of his Nation has made it good, whilest Your Majesty has so prosperously guided this giddy Bark through such a Storm, as no hand save Your Majesties could touch the Helm, but at the price of their temerity. But to return to that of Architecture again (for it is hard not to slide into the Panegyric, when once one begins to speak of Your Majesty) I am witness not only how pertinently You discourse of the Art, but how judiciously You contrive; and as in all other Princely and magnificent things Your Notices are extraordinary, so I cannot but augure of their effects, and that Your Majesty was design'd of God for ablessing to this Nation in all that can render it happy, if we can have the grace but to discern it, and be thankful for it.

This is, Sir, the glorious Idea which I have conceiv'd of Your Serene Majesty, and which I propose for as emulous an Example as any Age has hitherto produc'd; nor can there anything be added more, but that permanency which the rest of Your Virtues do promise us: If such were those glorious Hero's of old, who first brought Men out of VVildernesses into Walled and well built Cities, that chased Barbarity, introduced Civility, gave Laws to Republiques, and to whose rare Examples and Industry we are accomptable for all that we possess of useful in the Arts, and that we enjoy of benefit to the Publique; how much cause have We in these Nations to rejoyce, that whilest Your Majesty pursues these Laudable Undertakings, that Race of Demy-Gods is not altogether extinct! And if after the support of Religion, and the establishment of Laws, the Perfection of Sciences be the next in order to the Well-being of a State, This of Architecture (as one of the most beneficial, and useful to Man-kind) ows her renascency amongst Us to Your Majesties encouragements, and to as many of those Illustrious Persons as by their large and magnificent Structures transcribe Your Royal Example; in particular, my Lord high Chancellor of England, my Lord high Treasurer, and my Lord the Earl of Saint Albans, whose memories deserve this Consecration;

I have now but one thing more to speak, Sir, and that is for the reputation of the Piece I present to Your Serene Majesty: It is indeed a Translation; but it is withall the marrow and very substance of no less than ten judicious Authors, and of almost twice as many the most noble Antiquities now extant upon the bosom of the Earth; 'twere else a difficult Province to conceive how one should entertain Your Majesty without a Spirit and a Subject worthy Your application. There is something yet of addition to it, which is new, and of mine Own, the defects whereof do supplicate Your Majesties pardon; to say nothing of the difficulty of rendring a VVork of this nature intelligible to the vulgar, and not unworthy the Stile of a Gentleman; seeing it is not the talent of every one who understands a Language, unless he also understand the Art; But these may seem to defer to my own Glory, which is conspicuous in nothing so much, as in laying it at Your Majesties Feet, and the permission of using that Sacred Name to protect

Says-Court 20. Aug. 1664. SIR, Your Majesties ever loyal, most obedient, and faithful Subject J. EVELYN.
TO Sr. JOHN DENHAM, KNIGHT OF THE HONOURABLE ORDER OF THE BATH, SUPERINTENDENT and SURVEYOR OF HIS MAJESTIE'S BVILDINGS and WORKS. SIR,

IT is now some ten years since, that to gratifie a friend of mine in the Country, I began to interpret this Parallel; but other things intervening, it was lay'd aside, and had so continu'd without thoughts of reasumption, had not the passion of my worthy Friend Mr. Hugh May to oblige the Publick, and in commiseration of the few assistances which our Workmen have of this nature (compar'd to what are extant, in other Countries) found out an expedient, and by procuring a most accurate Edition of the Plates, encourag'd me to finish what I had begun; and to make a willing Present of my labour and of whatever else I was able to contribute to so generous a designe.

Sir, I am not to instruct you in the merits and use of this excellent Piece; but it is from your approbation and particular influence, that our Workmen ought to esteem it, and believe me too when I affirme it: That the Ten Authors in this Assembly, which compose both so many, and (for not being vulgar) unintelligible Volumes, will neither afford them so full instructions in the Art, nor so well inable them to judg, and pronounce concerning the true Rules and Maximes of it as this one little, but incomparable, Collection. You well know, that all the mischiefs and absurdities in our modern Structures proceed chiefly from our busie and Gotic triflings in the Compositions of the Five Orders; and that an able Workman, who is Master of his Art, and has a true relish indeed, carries on all his undertakings with applause and satisfaction: That there is not in the whole Catalogue of Authors who have Written on this Subject, a more safe, expedite and perfect guide than this Parallel; where, from the noblest Remaines of Antiquity accurately Measur'd, and perspicuously Demonstrated, the Rules are lay'd down; and from a solid, judicious, and mature comparison of modern Examples, their Errours are detected; so that were but a little more pains taken by our young Architects and their Subsidiaries, about the easier Principles of Geometrie, the Rudiments of Perspective, and a ready address of well Designing, we might by the conversation of this Author alone, promise our Country, and the Age to come, a miraculous improvement of their Buildings in a short time. Nor would this be in the least, to the augmentation of their expenses; since there is nothing costs dearer, and displeases more, than our undigested contrivances, and those intolerable defects which we have enumerated. It is from the asymmetrie of our Buildings, want of decorum and proportion in our Houses, that the irregularity of our humors and affections may be shrewdly discern'd: But it is from His Majesties great Genius, and the choice he has made of such an Instrument, that we may hope to see it all reform'd; it being in so worthy an imitation of that magnificent Emperour, that touch'd with the like indignation at the Encroachments and Deformities of the publick Edifices and Waies, caused a like reformation also; so as we may now affirme of London, as the Poet once of Rome, Nunc Roma est, nuper magna taberna fuit. Abstulerat totam temerarius inst tor urbem, Inque suo nullum limine limen erat. Iussisti tenues Germanice, crescere vicos; Et modo quae fuerat semita, facta via est. Nulla catenatis pila est praecincta lagenis; Nec Praetor medio cogitur ire luto. Stringitur in densa nec coeca novacula turba, Occupat aut totas nigra popina vias Tonsor, Caupo, Coquus, Lanius sua limina servant. Nunc Roma est, nuper magna taberna fuit. Mart. Lib. 7. Epig. 60. that it now begins to have the face of a Citie indeed. And truely it is an improvement so extraordinary which it has receiv'd since His Majesties gracious influence upon it, that should I have been silent of His praises, I might justly apprehend mox lapides clamaturos, that the very Stones would cry out and become vocal: But neither here must I forget what is alone due to you Sir for the reformation of a thousand deformities in the Streets, as by your introducing that incomparable form of Paving, The particulars of that reformation in Rome so much resembling what His Majesty has commanded for the cleansing, and enlarging the Streets, the demolition of Bulks, and other Obstacles, that the whole Epigram merits the application. to an incredible advantage of the Publick; when that which is begun in Holborn shall becom universal, for the saving of Wheels and Carriages, the cure of noysom Gutters, the deobstruction of Encounters, the dispatch of Business, the cleanness of the Way, the beauty of the Object, the ease of the Infirme, and the preserving of both the Mother and the Babe; so many of the fair-Sex and their Off-spring having perish'd by mischances (as I am credibly inform'd) from the ruggedness of the unequal Streets, &c.

But I know not Sir, how these Instances may be relish'd and valu'd amongst the vulgar, nor am I much solicitous; sure I am, that more has been done for the Ornament and Benefit of the Publick in two years time, that your Self, with the Cōmissioners who undertook the Inspection, have acted, then in five hundred before: They were not a foolish or impolitick People, who from the very Principles of humanitie, destin'd for the ease of their Subjects, so many spacious Waies, cool Fountains, shady Walks, refreshing Gardens, and places of publick Recreation, as well as stately Temples, and Courts of Iustice, that Religion and the Laws might be published with the more pomp and veneration: And if his Majesty, with your pains and industry, hath contributed to something of all this, it is that for which the whole Nation becomes obliged; as the promoting of such publick and useful Works (and especially that of Building) a certain Indication of a prudent Government, of a flourishing and happy People: So that if there remain but one thing more to be desir'd in order to the Consummation of its perfect felicity; how infinitely were it to be wished, that whilest the beautie and benefit of the City increased in one part, the Deformity and apparent Ruine of it might cease on the other: But this we are to hope for, when, to bring this monstrous Body into shape, and scatter these ungovernable enormities, either the restraint of Building irregularly shall polish the Suburbs, or (which I rather could wish) some royal Purchase contract and demolish them. But Sir, I have done, and I know you will pardon this Zeal, and accept of this expression of my profound respects from

SIR, Your most humble Servant J. EVELYN.
Amico optimo & Charissimo JOHANNI EVELYNO Armig E. Societ. Regali Lond. &c. Jo. BEALE S. P. D. In ARCHITECTVRAM ab ipso Anglicè redditam & Graphicè exornatam. SIC, ubi de Coelo quondam primordia rerum Effulsere, Chäos discutiente Deo, Hortus erat primus: Tunc Tecta, & Moenia, & Vrbes: Tandem & Pyramidum nobile furgit opus. Hic aliquis molem subjungit: In aëre pendet Hortus; & unde venit, quaerere jure licet. Nec satis est vitam ducamus in Arce beatam Qualem agit aetherëâ Iuppiter ipse domo; Sed Talis superesse juvat post funera longa, (Quamvis hîc cineres urnula parva capit) Mausolaea exin coelos tactura sepulchra Inscriptum Heröis nomen ad astra vehunt. Stat quóque, si favit Victoria, grande Trophaeum; Attollénsque apicem tunc Obeliscus ovat. Mox spirare trucem poteris jurare Colossum, Sic movet, ut trepident, & mihi membra labent. Sunt quibus excidium laudi est, & lata ruina; Atqui exornandi gratia major erit. Parcite Mortales, Famam prohibete Nepotes; Ni scelus in causâ deteriore cadit. Sunt quoque Taenariis quibus est suffulta columnis Alta & larga nimis, fed minus apta domus: Sumptibus hîc turgent operosa palatia vanis; Materia exuperat; splendor, & ordo dëest. Ecce Avibus nidos, Apibus compingere cordi est, Pastor Aristaeus quos stupet ipse, favos. Aurea sic textrix subter laquearea Arachne Divini Artificis provocat ingenium. Hospitium sibi quaeque parant animalcula gratum; Solus Homo impensis plectitur ipse suis. Machina quid praestet Thuscis tractanda peritis, Angligenae ut discant, Clare Evelyne, facis. Nec tantum debent Volsaeo pristina faecla, Quantum debebunt posteriora tibi. Creditur Amphion molimina saxea quondam Thebarum in muros concinuisse Lyrâ: Tu Saxa, & Sylvas (nam sic decet Orphëa) plectro Aurato in Regum Tecta cöire doces.
To my most Dear BROTHERS JOHN FREART Esq SIEUR DE CHANTELOU COUNSELLOR to the KING AND PROVINCIAL COMMISSARIE in Champagne Alsatia Lorraine and Germany. AND PAUL FREART Esq SIEUR DE CHANTELOU COUNSELLOR and MASTER of the HOUSHOLD in ORDINARY to the KING. My Dearest BROTHERS,

IT is by your commands, that I have finished this Treatise of the Antient Architecture compared with the Modern, which I had altogether layd aside, and even effac'd out of my mind since the decease of Monseigneur De Noyers to whom I had devoted it, as to the Mecaenas of the Age, and more particularly, for being indeed the true Authour of this Book; since I had never taken it in hand but by his special Order, and to afford him some little entertainment during his Solitude of Dangu, where he was pleased, and indeed desired, I should follow him after his retreat from the Court, there to enjoy with him that sweetness and tranquillity of life, which we were never before acquainted with during the time of his being Minister of State. But this blessed leisure, and which you so often congratulated, was quickly interrupted by I know not what unlucky Genius, and by an intempestive and precipitous death, which soon extinguisht this glorious light of Vertue. In this great loss (which was, my dear Brothers, common to us all, since we all had the honour to be related to him both by our services and birth) I onely had the affliction to be present at the lugubrous Object, and to behold it with mine eyes. This has often caus'd me seriously to reflect upon the vanity and volubility of the fortunes of the Court, of which I am now sufficiently disabus'd: For considering that so rare a Personage, the greatest Minister, the most disinteress'd, most laborious, most successful, of so extraordinary and approv'd a Probity, so universal in all sorts of excellent qualities, and, in a word, so extraordinary, after a twenty years service and employment in the greatest Offices of State, that a Subject (I say) of so great merit should come to conclude his dayes in the Country like an Exile: I confess, my dearest Brothers, whil'st I think of this, all things appear so transitory and uncertain in Greatness, that I find the Retreat of the disgrac'd (provided they are honest men) infinitely preferrible to their Favour. Could Merit and considerable Services have for ever fixt and establish'd a man at Court, or been a rampart against that envy and jealousie, which are the immortal enemies and pests of Vertue, unhappily reigning in that Climat: The late Monseigneur de Noyers was the most worthy to have finish'd his dayes gloriously in his high Employments; since he alone performed more, in less then ten years space, than all his Predecessors together had done in an hundred; whether we have regard to Works which are necessary for the Conservation and good of the State, or consider Those onely which gave splendour and magnificence to the Kingdom. It is not my design to repeat them here for your instruction, because you know them much better then my self; Onely that I may leave some Memorials to the Publique, I shall mention a few of them. It may be affirm'd in general, that he had in his time exalted the noblest Arts to the supreamest degree of Perfection that was ever seen in France: as Architecture both Civil, and Military; Painting, Sculpture, and Printing which he then made truely Royal when be lodg'd it at the Louure; the very first Productions whereof, were not onely unparallel'd Master-pieces, but, as one may say, Libraries compleat; for in two years there were publish'd threescore and ten great Volumes, in Greek, Latine, French, and Italian; from one part of which, one may judge of the rest, viz. that general Collection of all the Councils, set forth in seven and thirty Volumes, which is certainly the most noble, most useful, and royal Work that ever saw the light to this hour: This incomparable Stamp was accompany'd with another very rich one, I mean the new Money, which Monseigneur de Noyers plac'd also in the same app rtment of the Louure, that he might allye together two of the most universal and most permanent Monuments of Kings, spreading themselves over all Nations, and remaining for so many successions of Ages. The excessive abuses which were found in the years 1638, and 1639, both in the title and weight of the greatest part of the Moneys as well of this Kingdom as of others, which had almost all of them been chang'd or disfigur'd, stood in need of this excellent man to reform them, whose affection and zeal to the Publique might produce so extraordinary effects: But as it was impossible to remedy it on the sudden without putting Commerce into very great disorder, he, from the ill course of these Moneys which for some time they were forced to connive at, well knew how to derive the greatest advantages of State, and most signal honour to the King. And in effect, 'twas none of the least pieces of Politiques, to permit and even authorise this abuse by an Edict, which could not else have been so easily oppos'd; whil'st in the mean time, it invited the People of the neighbouring States in hopes of gain, to transport into France all the light Gold and Silver which they had, and which remain'd there by reason of its being decry'd few months after, bearing now the Armes of France, with the Name and Effigies of Lovis le Juste, by that noble conversion which he order'd to be made of it. Whil'st this strange Matter was uniting to ours, he sought out and discove'd prompt and easie expedients of giving it that excellent Form which it now bears, curing at the same instant, and by the same remedy, both the present inconvenience, and that to come: Thus we see, that its just and equal roundness, the Grenetis or graining which is about it, and the Politure which is on the flat of every piece, not onely defends it from the Clipping, the File, and operation of Strong-waters, but even renders its imitation in a manner impossible to our false Coyners; so as one may affirm of this Money, that it is the most artistly contriv'd, and the most commodious, that ever was used in Commerce. He caused to be coyned in less then four years above an hundred and twenty Millions, and that after fifteen or sixteen years that the Warr had lasted, and the State seem'd to have been utterly exhausted by the great and continual expences which were incessantly made, laid out in fortifying of places, paying of Armies, and the assistance of the Allies of the Crown. At the same time was the Louure seen to augment, and the Royal House of Fontainebleau, which owe not onely a part of their Ornaments to the care of this great Minister, but their conservation also and absolute restauration; since but for him, they had been at present but one vast ruine, a very Carkass of building, desolate and uninhabitable: The Castles of S. Germains and Versailles, which were then the ordinary residence and delices of the King, carry on them some marks of the same hand; The first by the Construction of the noblest Stables and Manege which is in France, with divers other accommodations necessary for the lodging of a Royal Court; and the other, by a Terrasse de Gresserie, which is of the kind an incomparable work, with a Circle of an hundred and twenty yards diameter: But whil'st he thus worthily acquitted himself in the charge of Superintendent of the Royal Houses and Buildings of France (with which the King was pleas'd to gratifie him for four or five years) he employ'd in the mean time his chiefest cares for the safety and enlargement of the Kingdom, dispencing all necessary Orders for the Armies both of Sea and Land; providing and furnishing the Magazines and Garrisons of Places, and a good part of the Provinces: But as things useful and necessary are to be preferr'd before splendour and magnificense, he first began with Military Architecture which he caused to march before the Civil: All our Frontiers are full of his Works; In Picardy the Port-royal of Calais, compos'd of two of the greatest Bastions of Massonry, the most regular and noble that are in Europe: all the Fortifications of Ardres; most of the Bastions of Peronne, of S. Quentin, of Han, of La Fere, Dourlans, Amiens, and of Montreuil, especially an Hornwork also of Massonry of extraordinary beauty, and magnitude; not to omit that half Moon of Abbeville, where the Inhabitants not prevailing with him to have his Armes set on it, in acknowledgment of the favour which they had by this means received (permitting it in no place built by him, from a particular sentiment of honour to the King, and out of a most singular modesty) planted two rows of Walnut-trees, that under that Pretext they might call it by his Name: In Champagne, the Fortress of Mount Olympus, which serves Charleville for a Citadel; several other Works at Stenay, at Mezieres, Mouzon, and Rocroy. Then, in Lorrain, the Citadel of Nancy; the Places de Vic, Moyenvic, and of Marsal. In Normandy, Havre de Grace; where (besides the Fortifications of the Place) he excavated a large Basin of Masons work in the Port, of near two hundred yards long, and above sixscore wide, to contain Vessels always afloat: Also at Brouage in the Isles of Xainctonge, which are two maritime Keyes of the Kingdom. In Italy, Pignerole, and all the new Fortications of Cazal. Now for works and curiosities of Painting and Sculpture (which are as 'twere the two Sisters of the Art I am now going to treat of) it would require a large discourse to particularize them one after another; besides that, one could not well do it, without a little reproach to our Nation, which (by reflecting on sudden cessation of so many excellent things) one would almost believe had but one onely person capable of those rare Productions. It shall suffice then to say in general, that he made the Louure the Center of the Arts whose concourse thither in a few years began to render it the most noble and magnificent Structure of the World. It was for this glorious Design, and for the decoration of other Royal Houses, that the famous Monsieur le Poussin had the honour to be sent for by the King at the beginning of the year 1640. It was then that the late M. de Noyers dispatch'd us, You and my Self (dear Brother) towards his Holiness about an important affair, with order at our return to make way for France to all the greatest Vertuosi of Italy; and as he was their Load-stone, we easily drew a considerable number after him, whereof the Chief was that renowned and singular Painter M. le Poussin, the glory of the French in his Profession, and, as it were, the Raphael of our Age: To this effect we likewise used great diligence to get made, and collect together all that the leisure and the opportunity of our Voyage could furnish us of the most excellent Antiquities, as well in Architecture as Sculpture; the chief pieces whereof were two huge Capitals, the one of a Column, and the other of an angular Pilaster from within the Rotunda, which we chose as the most noble Corinthian Models remaining of Antiquity: Two Medails of eleven Palms diameter, taken from the Triumphal Arch of Constantine; threescore and ten Bas-reliefs moulded from Trajans Column, and several other of particular Histories, some of which were the next year cast in Brass; others were employed in manner of incrustation about the Compartiment of the arched Cieling of the Louure great Gallery, in which M. le Poussin most ingeniously introduc'd them, and that with an extraordinary address and consideration, to answer a certain design which was then requir'd of him, not as the most magnificent, and superb he could have compos'd; but for an Ornament which should be speedily executed, and of moderate cost, with regard to the time and the impatient humour of our Nation. A little while after that, you returned (my dear Brother) to obtain the Popes blessing of the two Crowns of Diamonds, and the Golden Babe carried by an Angel, which their Majesties sent you to present our Lady of Loretto in acknowledgment and as a token of gratitude which they rendred to the Virgin for the most happy and almost miraculous Birth of our Daulphin, the King which now reigns; You continued to have divers figures and Bass-relievo's wrought off, particularly the Flora and the Hercules in Farnese's Palace, of which there is now one cast at Paris: Two other Medails from the same Arch of Constantine, and both the Colosses of Montecavallo with their Horses, the greatest, and the most celebrated works of Antiquity, which M. de Noyers designed to have also cast in Copper, to place them at the principal Entry of the Louure. You behold the splendor which all this great Provision made in Rome, and how every body wonder'd that the French, who were till now renown'd onely for their valour and invincible courage in Warr, and seem'd to be affected onely to the Arts Military, should shew so much passion for These which assum'd the reputation of being the most glorious, by a Prerogative above others; as if the Hemisphere of France had been lately chang'd, and Mercury in conjunction with Mars began now to pour down new Influences upon her. For my own part, I can testifie how the report of it spread as far as Constantinople, whither Fame had born the name of Monseigneur de Noyers with so much glory, that the Patriarch of that renowned City writ him Letters full of profound admiration, which he address'd to Monfieur de Villeray, a Noble Athenian Resident in France for the Duke of Parma, delivering them to my Lord at Dangu after his Retreat from the Court, and where I have had and kept them a great while, and read them to several of my Friends. They take notice chiefly, how new and unheard of a thing it was that there should be found a Grand Vizier of our Nation so transcendent in all excellencies; of which some markes he had seen, easily perswaded him to believe all the other marvels which were reported of him: (these Exemplars were the Books of the Royal Press, and some Pieces of Coyn) His Letter was somewhat prolix, and written in a more polite Style then the vulgar Greek now spoken in that Country: It were great pity that a thing so memorable and signal should be buried in oblivion, and therefore I take notice of it with more circumstances then many others. But during all these mighty Projects, there happen'd a strange revolution which in less then six Moneths changed the whole face of the State, by the death of that superlative Minister the great Cardinal de Richelieu, the very Column and Ornament of Monarchy; and a short space after that, by the Recess of Monseigneur de Noyers; and immediately upon this, by that loss to all France, the King himself; so as all these noble beginnings had none that follow'd them, there remaining not one of those which enter'd afterwards into the management of the publique Affairs, who had, with their affections, the Knowledge and the Talents which were requisite for the continuation of these great Designs. We then presently beheld the work of the Louure abandoned, the finishing of the great Gallery to cease; and generally all the Fortifications in France, without hopes of seeing the Work reassumed and taken in hand again of a long time, it being necessary, for such an enterprise, to find assembled in the same person (as it was seen in that of M. de Noyers) virtues and qualities both rare and extraordinary. Besides, to produce such a one as he was, of an universal Genius and Capacity, that loved the Arts with judgment, and cultivated them; that would neglect his proper Interest, to preserve that of the State and of the Publique, who, amids an Authority and extreme Favour, retaining still the modesty of a private man, thinks not of establishing his house, and, against the ordinary course so natural to all men, should refuse to augment and heap up riches, or seek Titles and Dignities for it, and that never took thought, or laboured, as did he during an employment of twenty years (for the latter six of which he had almost the universal management of State affairs) but for the safety, enlargement, and splendour of the Kingdom; For such a Master-piece of nature, I say, there needs the efforts of many Ages: The recompence of so many Virtues was very small on man's part, but great and inestimable on God's who crown'd this illustrious life with a most happy death. I reserve as a treasure inestimable a certain small Collection of the sayings of this holy Courtier, our most dear Master, during the continuance of his Sickness, which was assisted by his Director the R. P. de Sainct Jure who was with him to the last; and as I have had the sad consolation of being present at this last act of his life, during which I remember to have heard from his own mouth all that is contain'd in this recital, I am not able to read them without a great deal of tenderness, and indeed without tears. He dyed in his Castle of Dangu on Friday the twentyeth of October, at one a clock after noon, in the Year 1645. and in the six and fiftyeth of his Age, two years and an half after his Recess from Court, his body being transported to the Church of the Noviciat belonging to the Jesuits, which he had built in honour of St. Xauierius, and destin'd for his Sepulchre. This Church is look'd upon as the most regular piece of Architecture in Paris; and though it be not so exceedingly charg'd with Ornaments, as some others are, yet it appears very noble in the eyes of Intelligent persons; all that is there being done with an attention and care so extraordinary. But that which in it excells all therest is a Picture of one of the Miracles wrought by St. Xauier, which was Painted here at the same time, with that admirable Supper of the Apostles (which he caused to be plac'd at the Altar of the Chappel-royal of the Castle of St. Germains, where all the figures exceed the natural:) both of them the Works of our famous Master le Paussine, and indeed worthy his Pencil, though the first of them was Painted with extraordinary hast, and during the Winter.

You see (dear Brothers) a small draught of a part of the life of our most precious and most honour'd defunct M. de Noyers, that incomparable Genius of France never to be sufficiently praysed, never enough regreted, because comparable to the greatest examples of Antiquity. I would by all means place him in the front of this Book of mine, to let the world see that I had no other object in the finishing of this Work (of which he honour'd me with the charge) then to render the same service and veneration to his Memory being dead, I could perform to his Person were he yet alive. However, in reassuming it at your request; My first ardour being much aloy'd, what was heretofore a liberal and divertissant Study during the presence of my late Lord and Master, is now become a difficulty and a kind of constraint; since I have been forc'd to alter, and even retrench divers particularities which were then very essential to my designe, but would now have been altogether useless and unseasonable. Receive then (my dear Brothers) this Fragment of a Book, so much at least as remains of it, and if there occurr any thing which may prove yet considerable in such clear and discerning eyes as yours are, and that my designs seem worthy of any place amongst your other curiosities, you owe the entire obligation of it to our common Friend Monsieur Errard, who was pleased to take a great deal of pains to see it perfected; and has not only perswaded me (as well as you) to publish it to the world, but has more then this contributed likewise to it, of his own labour and particular elucubrations.

From Paris the 22. of May 1650.
A PARALLEL OF THE ANTIENT ARCHITECTVRE WITH THE MODERN. THE PREFACE. READER,

BEFORE I do altogether resign this Book to thy judgement, I advertise thee, that 'twas not my design in compiling it to teach any man, much less yet to satisfie those Critical spirits which the World so much abounds with: nor, is the Publique at all beholding to me; I have no thought of obliging it, an envious, and evil Judge: In a word, being nothing inclin'd to give them satisfaction, I have easily gratified my labour with the desir'd success: My principal drift was, First, to satisfie my self, nor has it cost me much trouble; though we sometimes find certain humors that are more averse, and difficult to themselves, then they would prove to others: For my part, I do not so use, to treat my self: We have Enemies enough besides; and whatever I were able to do, I expect that men should presently say of me, all that Jealousie does commonly suggest in reproach of Novelty. That being no Artisan, it did not become me to prescribe to others the rules of their Mystery; That I teach nothing particular and extraordinary here; That the Books from whence I have gather d all that I say being common and much ampler then mine, there was no need to have scumm'd them thus superficially perficially over; That it had been better to have search'd, and produc'd something which the World had not yet seen: That the mind is free, not bound, and that we have as good right to invent, and follow our own Genius, as the Antients, without rendring our selves their Slaves; since Art is an infinite thing, growing every day to more perfection, and suiting it self to the humor of the several Ages, and Nations, who judge of it differently, and define what is agreeable, every one according to his own mode, with a world of such like vain and frivolous reasonings, which yet leave a deep impression on the minds of certain half-knowing people, whom the practice of Arts has not yet disabus'd; and on simple Workmen, whose Trade dwells all upon their fingers ends onely: but we shall not appeal to such Arbiters as these. There are others to be found (though truely very rarely) that having their first studies well founded on the Principles of Geometry before they adventur'd to work, to afterward easily, and with assurance arrive to the knowledge of the perfection of the Art: It is to such onely that I address my self, and to whom I willingly communicate the thoughts which I have had of separating in two branches the five Orders of Architecture, and forming a body a part of the Three which are deriv'd to us from the Greeks; to wit, the Dorique, Ionique, and the Corinthian, which one may with reason call the very flower and perfection of the Orders; since they not onely contain whatsoever is excellent, but likewise all that is necessary of Architecture; there being but three manners of Building, the Solid, the Mean, and the Delicate; all of them accurately express'd in these three Orders here, that have therefore no need of the other two (Tuscan, and Composita) which being purely of Latine extraction, and but forrainers in respect to them, seem as it were of another species; so as being mingl'd, they do never well together, as those to whom I discourse will soon perceive, when they shall have once put off a certain blind respect and reverence, which Antiquity, and a long custome (even of the greatest abuses) does commonly imprint in the most part of men, whose judgements they so pre-occupate, that they find it afterwards a difficult matter to undeceive themselves; because they deferr too much, and hardly dare to examine what has been receiv'd by the vulgar approbation for so long a time: Let them but consider, that we find no antique example where the Greek Orders are employ'd amongst the Latine, and that so many ages of ignorance have pass'd over us, especially in the Arts of Architecture, and Painting, which the Warr, and frequent inundations of Barbarians had almost extinguish'd in the very Country of their Originals; and which were in a manner new born again but a few years since, when those great Modern Masters, Michael Angelo, and Raphael, did as it were raise them from the Sepulchers of their antient ruines, under which, these poor sciences lay buri'd; and I shall have fair hopes of their Conversion, and to see them of my opinion. It is the very least of my thoughts to broach Novelties; on the contrary, I would (were it possible) ascend even to the very sourse of the Orders themselves, and derive from thence the Images, and pure Ideas of these incomparable Masters, who were indeed their first Inventors, and be instructed from their own mouths; since doubtless the farther men have wander'd from their Principles, transplanting them as it were into a strange soile, the more they are become degenerate, and scarce cognoscible to their very Authours. For to say truth, have we at this present any reason in the World to call those three by the name of Orders, viz. Dorique, Ionique, and Corinthian, which we daily behold so disfigur'd, and ill treated by the Workmen of this age? to speak seriously, remains there so much as a simple Member, which has not receiv'd some strange and monstrous alteration? Nay, things are arriv'd to that pass, that a man shall hardly find an Architect who disdains not to follow the best and most approved examples of Antiquity: Every man will now forsooth compose after his own fansie, and conceives, that to imitate Them, were to become an Apprentise again; and that to be Masters indeed, they must of necessity produce something of new: Poor men that they are, to believe, that in fantastically designing some one kind of particular Cornice, or like Member, they are presently the Inventors of a new Order, as if in that onely consisted, what is call'd Invention; as if the Pantheon, that same stupendious and incomparable Structure (which is yet to be seen at Rome) were not the Invention of the Architect who built it, because he has vary'd nothing from the Corinthian Ordinance of which it is intirely compos'd? 'Tis not in the retail of the minuter portions, that the talent of an Architect appears; this is to be judg'd from the general distribution of the Whole Work. These low and reptile Souls, who never arrive to the universal knowledge of the Art, and embrace her in all her dimensions, are constrain'd to stop there, for want of abilities, incessantly crawling after these poor little things; and as their studies have no other objects, being already empty, and barren of themselves; their Ideas are so base and miserable, that they produce nothing save Mascarons, wretched Cartouches, and the like idle and impertinent Grotesks, with which they have even infected all our Modern Architecture. As for those other to whom Nature has been more propitious, and are indu'd with a clearer imagination, they very well perceive that the true and essential beauty of Architecture consists not simply in the minute separation of every member apart; but does rather principally result from the Symmetry and Oeconomy of the whole, which is the union and concourse of them all together, producing as 'twere a visible harmony and consent, which those eyes that are clear'd and enlightned by the real Intelligence of Art, contemplate and behold with excess of delectation. The misery is, that these noble Genius's are in very small numbers, whereas the vulgar Workmen like to Ants swarm prodigiously in all places. Would but our Grandees once devest themselves of that prejudice and disdain which they conceive of the Arts, and of those who apply themselves unto them, and but consider the necessity which they above all others particularly have of this of Architecture, there would be great hopes we should yet see them reflourish, and be born again as 'twere from New to Antique: We have had fresh experience of this under the Reign of Francis the first, one of the most illustrious Princes that History has recorded, and who from an affection extraordinary which he bore to Virtue, and great Attempts, peopl'd his State with Persons the most rare and accomplish'd of the age wherein he liv'd, who erected those glorious Monuments to the memory of this incomparable Monarch. It is in my opinion, the onely expedient to re-establish all the Arts in that primitive splendor from whence this unworthy neglect has precipitated them. The Greeks who were the first Inventors of them, and with whom alone they happily arriv'd to their supreamest perfection, preserv'd them in so high esteem amongst them, that the Greatest Personages of their Common-wealths were not asham'd to make open profession of them, but after a manner nothing Mercenary; Their Works were payd with Honor; and as they propos'd to themselves the glory onely, and immortality of their Name for recompence; so, nor did they make any thing save what was truely great and magnificent. It would appear incredulous, to relate onely what we read of this Nation, were not the credit of their Ancestors altogether irreproachable, and that there did not remain even to this very day, the most visible marks of what is reported. There is not in the whole Vniverse any thing worthy of renown, which that divine Country did not once produce in its height of excellency. Those great Captains, so many Philosophers of all sects, Poets, Orators, Geometricians, Painters, Sculptors, Architects, and, in summ, whatsoever hath stamp'd on it the Character of Vertue proceeded first from thence. Would wee now do worthily? Let us not then forsake the paths which these excellent guides have trac'd before us; but pursue their footsteps, and generously avow, that the few gallant, things which have yet reached down to us, are due onely as deriv'd from them. This is the subject that has invited me to assemble and begin this Collection by the Greek Orders, which I had first drawn our of Antiquity her self, before I so much as examin'd the Writings of our modern Authors: For even the very best-Books extant on this Argument, are the Works of these old Masters which remain to this day, and whose beauty is so perfect, and so universally receiv'd, as has for almost two thousand years been admired by the whole World. It is to them we should repair to learn to accustom the eys, and to conform the imagination of Young Men to the Ideas of those excellent spirits, who being born in the midst of the light and serenity of the fairest Climat under heaven, were so defecate and inlightn'd, that they discern'd those things as 'twere naturally, which we discover with so much pain, after a long and laborious indagation. I know 'tis free for every one to esteem what pleases him best in the mix'd Arts, such as is this, whose Principles for being soly founded upon Observation, and the authority of Examples, can challenge no precise demonstration, and therefore I shall make bold to assume the same priviledge which I leave to others, of judging according to their fansie: For my part, I find so excellent, and particular a beauty in the three Greek Orders, that I am hardly at all concern'd with the other two of the Latine in comparison; and the Station which has been assign'd them, sufficiently demonstrates that there was no place for them, but after all the rest, as if indeed they had been refus'd by them both: The rusticity and meanness of the Tuscan having exil'd it from the Cities, has sent it to the Country Cottages; and as unworthy of entering into Temples and Palaces, tis become the very last, as even destitute of employment: For the other, which would pretend to exceed, and refine upon the Corinthian, and what they name the Composita, tis in my apprehension yet more irrational, and truely methinks altogether unworthy to be call d an Order, as having been the sourse of all that confusion which has been brought into Architecture, since Workmen have taken the liberty to dispense with those which the Antients had prescrib'd us, to Engotish (as one may say) after their own capricious humour an infinite many which do all pass under this appellation. Honest Vitruvius in his time well foresaw the ill consequence which those of the Profession would introduce out of their love of Novelty, which already began it seems to incline them to Libertinism, and the disdain of the Rules of that Art, which ought to remain most sacred and inviolable; so that we must look on this as on a grey-headed evil which grows worse and worse daily, and is become now almost incurable: Notwithstanding, would our Modern Architects but yet fix any limits to the freedom they have taken, and keep themselves within the precincts of the Roman Order, which is the legitimate and true Composita, and which has likewise its Canons and Rules as well as the rest, I should find no cause of complaint, since we see instances of it among the Vestigia's and footsteps of the most flourishing ages; as in particular, that of Titus Vespasianus; to whom the Senate (after the sack of Ierusalem) erected a most magnificent Arch Triumphal, compos'd of this Order: But then it should never be employ'd without mature advice, and always alone by it self; for so we find the Inventors of this Order us'd it, who well knowing its defects (compar'd with the rest) did ever forbear to paragon them together: But our Architects never entring into this consideration, have faln into an Errour which admits of no excuse, by forcing the weaker to support the stronger. Scamozzi is the first that has spoken of this in his Treatise of the five Orders, where he assignes to the Corinthian the most eminent place: However, to avoid all contest, I find it safest, never to mix them together at any time, seeing it was never practis'd by the Antients; though Philibert de Lorme, and Sebastian Serlio fansy to have both of them seen it in the Coloseum, and produce likewise a design for an Example of their Composed Order. But believe it, the observation is very erroneous; for they are indeed two Corinthians, the one over the other, and albeit in the upmost, which forms the Corona of this great Coloss of Building, the Cornic resembles not the other, as being very particular; yet are the Capitals for all that of the same Order, as Scamozzi has not forgotten to observe. This may therefore suffice to advertise us, not lightly to credit what is deliver'd to us out of Books, when we have the opportunity of repairing to the fountain, and to be satisfied of the truth from thence: For having oftentimes diligently examin'd the designs of sundry Masters on the same subject, and made an exact calculation of the measures which they establish, we seldom find them to agree amongst themselves, notwithstanding that all of them profess to have accurately observ'd them. But that we may wound no mans reputation, since every one does the best he is able, and that we have ever some obligation to those who have so freely imparted their Labours to us, I will forbear to exemplifie. Let it suffice to have given you this Caution: Those who shall be so curious as to try, and which will (I assure them) be no fruitless attempt, shall soon find difficulty enough in the extraordinary confusion of the different manners of those Architects, who instead of working upon the accompt of the Models of Columns (which is the most natural Method, and particularly affected to the Proportions of Architecture) amuse us with Palms, Feet, and other general Measures (as eer Masons would do) which so confounds the Imagination, that 'tis extream difficult to dis-intangle ones self out of them, and costs a world of time ere one comes at last to reduce and apply them to the Scale of the Model, without which, all their industry becomes fruitless, and to no purpose. To this it is I have principally endeavour'd to apply a timely remedy, reducing all the designs of this Treatise to one Common Model, namely, to the Semidiameter of the Column divided into thirty Minutes, that so I may approach the precise measures as near as is possible: There are haply some Workmen who upon the suddain will not approve of it, as being not accustom'd to so exact an examen of the particulars which concern their employment: However (to prevent their censure) I shall referr them to the writings of Andrea Palladio, and Scamozzi, two of the greatest Masters which we have of the Profession, who in their Treatises of the five Orders (taking the intire diameter for Model) have assign'd it no less then sixty minutes, which yet they frequently subdivide into halfs, thirds, and fourths, according as they conceive it necessary, and as will appear in this Collection, where I have punctually reported their designs parallel'd one with the other, by a Method so perspicuous, that one may instantly perceive both in what, and how much they differ amongst themselves: so that by help of this Comparison, every man has the liberty of pleasing his own fansy, and following whether of the Authors I propose, as being all of them within the common approbation. But to the end we may proceed solidly, and made a judicious Election, it will first be requisite to be throughly instructed in the Principles of Architecture, and to have apply'd our studies to Antiquities, which are the very Maxims and Rules of this Art: Not as if generally the Antients were to be imitated indifferently; on the Contrary, there are but very few of them good, and an infinite number of them bad, which is that has produc'd this confus'd variety amongst our Authors, who treating of the Orders, and their Measures, have differ'd so strangely from one another. It is therefore undoubtedly the safest way to have access to the Sourses themselves, and to follow precisely the Models and Proportions of such antient Structures as have the universal consent, and approbation of those of the Profession. Such Examples we have at Rome in the Theatre of Marcellus, the Temple of the Rotunda, the three Columns near the Capitol, and some others of this sort, whose several Profiles I shall produce on every of the Orders, and after them, those of our more Modern Architects, that so in confronting them to these glorious Examples which are the Originals of the Art, they may as to an impartial Touchstone have recourse to them, for the tryal and examination of their Works, as I my self have done with extraordinary satisfaction in compiling of this present Treatise, and which every one may do as well as I, and at a far less expense by all that time I have spent in opening and preparing for them the way. This is, Reader, what I thought fitting to inform Thee of concerning my Labour, to the end thou mayest have a sincere, and judicious estimation of it.

The First Part.
CHAP. I. Of the Orders in General.

IT is sufficiently difficult to determine precisely, what the name of Order may signifie amongst our Architects, though it be indeed very necessary to understand it well. Of all the Moderns who have written upon the five Orders, there is none save Scamozzi, who has once remember'd to give us the definition, and it is in the 1. cap. of his second part, line 42. where he saith, That it is a kind of excellency, which infinitely adds to the shape, and beauty of Buildings, Sacred, or Profane. But in my opinion, he had even as good have held his peace, as the rest have done, as to have spoken in such wandring terms, and with so little solidity. The Father Vitruvius in c. 2. l. 1. calls it Ordinance, and the term is at present in huge vogue amongst our Painters: When they would express the elegant composition of a Piece, or the distribution of Figures in an History, they say, that the Ordinance is good: Notwithstanding this is not yet exactly the intention of Architects; and Vitruvius (in pain to express it to us) adds, That it is An apt, and regular disposition of the members of a Work separately; and a comparison of the universal proportion to the symmetrie. Another peradventure more subtile and penetrant than I am, might find out the mystery of these words, which I confess I comprehend not; and therefore it is, that I have thus translated them purely from the Latine text word for word, that I may the more naturally propose them to those who shall desire profit by them: Daniel Barbaro (who hath given us two excellent Commentaries upon this Author) has been very industrious to clear this passage, which yet is not without some difficulty; Philander, on the same chapter, found out a shorter way to say nothing at all, and amuses himself upon other matters far more unnecessary: so that to get out of this Labyrinth we must even take it in pieces, and consider the things apart, that so it may, as it were, touch our imagination, and distinctly form its Idea's in us, which is the business we are to enquire after: For the Art of Architecture does not consist in Words; the Demonstration ought to be sensible, and ocular. It is very perspicuous to all those of this Mystery, that the principal Piece of an Order is the Columne, and that its Entablature being once placed on the Capital produces the entire Composition. If therefore we will define it exactly, and give the most express meaning of it, we must, as it were, make a very Anatomy of the parts, and say, that the Column, with its Base, and Chapiter, crown'd with an Architrave, Frieze, and Cornice, formes that kind of Building which Men call an Order; seeing all these individual parts do generally encounter, and are found through all the Orders; the difference amongst them consisting in no other particular, then in the proportion of those parts, and the figure of their Capitals. They have yet indeed some peculiar ornaments, as Triglyphs, the Dorique; Dentelli, or Teeth, the Ionique; and the Corinthian her Modilions; but they are none of them of so general and indispensible obligation, but that even the most regular of the Antients themselves, have upon some considerations frequently dispensed with them. For Ornaments are but accessories in the Orders, and may be diversly introduced as occasion requires; principally in that of the Corinthian, where Artists being to represent an effeminate and virginal beauty (as we may easily deduce from what Vitruvius has recounted to us of Callimacus. 1. cap. 4. book) ought to omit nothing which may contribute to the perfection and embellishment of the Work: and the Antients have prescrib'd us so many Examples of this Order, in which they have been so profuse and luxurious in Ornaments, that one would swear, they had drawn their imagination quite dry to crown this Master-piece of Architecture. But it is not with the other Orders after this sort, where there is a more masculine beauty requir'd; especially in the Dorique, the solidity whereof is totally repugnant to the delicateness of these Ornaments; since it succeeds so much better in the the plain and simple regularity of its proportions. Garlands and Posies suit not with Hercules; He is best adorn'd with a rough-hewn and massie Club: For there are Beauties of several kinds, and those oftentimes so unlike, as what is agreeable to the one, is quite contrary to the other. As for the Ionique Order, 'tis as it were in the middle of the two extreams, holding in a manner the Balance 'twixt the Dorique solidity, and gentileness of the Corinthian; for which reason we find it diversly employ'd in ancient Buildings, simple and plain according to the genius of the Architect, or quality of the Structure. So as these three Orders may very well furnish all the Manners of building, without being at all oblig'd to have recourse to the Tuscan Order, or that which is Compos'd, both which I have therefore expresly reserv'd for the conclusion of this Treatise, and separated from the rest, as in truth but Supernumeraries, and almost inutile. For the excellency and perfection of an Art, consists not in the multiplicity of her principles; but contrarily, the more simple they are, and few in number, the more worthy are they of our admiration: This we see manifested in those of Geometry, which is in truth the very foundation, and universal magazine of all those Arts, from whence This has been extracted, and without whose aid it were impossible it should subsist. Well therefore may we conclude, That the Orders being no other then the very Elements of Architecture, and these Three first which we have deduc'd from the Greeks, comprehending all the Species of Building; it were but a superfluous thing we should pretend to augment their number.

CHAP. II. Of the Dorique Order.

IT is no small advantage for the Dorique Order, to demonstrate that it has been the very first regular Idea of Architecture; and that, as the first-born and heir of this Queen of Arts, it has had the honour also to have been the first builder both of Temples and Palaces.

The Antiquity of its Original (according to all those who have written thereof) is, in a manner, immemorial; notwithstanding Vitruvius referrs him (and that with sufficient appearance) to a Prince of Achaia, named Dorus; who being Sovereign of Peloponesus, built in the famous City of Argos a magnificent Temple to the Goddess Iuno, which was the very first model of this Order: In imitation whereof, the neighbouring people erected divers others; amongst which, the most renown'd was that which the Inhabitants of the City Olympia dedicated to Iupiter, whom they furnam'd Olympicus. The Iland of Delos built another very famous one to the God Apollo, in memory of his Birth in that place, and of which there is to this day some Vestigia's remaining. And in this it was that the first Triglyphs were made in the form which we now behold them, representing the Figure of an antique Lyre, of which Instrument this God had been the Inventor. In Elis a City of the same Countrey there were divers memorable Fabricks consisting all of this Order, whereof the principal were a large Peristyle or Porch, serving for a publick place, having about it a triple range of Portico's built on Col mns, and three magnificent Temples, as Pausanias in his fifth Book makes mention; the one consecrated to the Goddess Iuno, environ'd with huge Marble Pillars; the other to Dyndima, the mother of the Gods; and a third to Minerva, which bore the name of their City: And this last was without doubt a most incomparable Master-piece, having been built by the famous Scopas competitor with Praxiteles in the Structure of that stupendious Mausoleum which the Queen Artemisia erected in memory of her Husband. In his Preface to the seventh Book, Vitruvius makes mention of others, amongst which he celebrates those of Ceres, and Proserpine in the City of Elusina, as a work of prodigious Grandure. But it would be but unprofitable for us to make any further disquisition concerning these Edifices, since those who have treated of them, have left us no particular remarks touching their form, from whence we might derive any thing of advantage for our Imitation. They talk much also of the names of many great Architects of this age, who themselves writ the Rules of their professions, amongst whom, one named Silenus had generally treated of the Dorique proportion; and a certain Theodorus made the description of a Temple of the same Order, erected to the Goddess Iuno by the Inhabitants of the Ile of Samos, with sundry other mention'd in the same place, whose Books and Works are not now to be found; so that after the loss of so many incomparable Authors, who were the very source and fountain of the Art whence we might at present extract the purity of its Original, we must of necessity content our selves with the Observations and Conjectures which the Moderns have made upon certain tracks and footsteps of Antiquity, which in this conjuncture serve us instead of Books, and wherein all those Masters which I have here assembled, as to an Oecumenical and general Council of Architecture have finish'd and perform'd their Studies.

But for as much as naturally every man abounds in his own sense, and dresses up a beauty after his particular mode, I conceiv'd it expedient from the Designs which they have left us for Rules, to have continual recourse to the Antients, as to the best and most invariable Compass which we can possibly steer by; amongst whom we shall find sufficient variety, reasonably to satisfie the Gust of such as are desirous of choice. And for this purpose, I shall upon every Order exhibit two or three Examples drawn from the Originals themselves, and very accurately measur'd by the account of the Modole of the Column, with the very Division which I have observ'd in the Designs of other Masters; that so all concurring in one Uniformity, and under the same Scale, the Comparison and Examen may become the more easie and intelligible: For the multiplying of Operations is ever disadvantageous by reason of the Confusion which it ordinarily produces in the minds of those who work, and that it also wastes more time; both which inconveniencies are of very great importance. And when all the fruit of my Travel in this Assembly of Authors should be of no further profit to the Studious in this Art, then to have thus adjusted them together, I conceive they ought to be very well satisfied.

But let us return to the Dorique Order, and consider its form, proprieties, and difference from the others in gross, before we enter into the Parcels of its Proportions, since general rules are ever to precede particular. Having then propos'd for a foundation, that this Order represents Solidity to us, as its Specifique and principal quality, we ought not to employ it but in great massie Buildings and Edifices of the like nature; as for Ports of Citadels, and Fortresses of Towns, the outside of Churches or Publique places, and the like, where the delicateness of the Ornament is neither convenient, nor profitable; for as much as the heroick and gigantine manner of this Order does excellently well in those places, discovering a certain masculine and natural beauty, which is properly that the French call la grand Maniere.

Upon this subject I am observing a thing which in my opinion is very curious touching the beginning of the difference of Manners; whence it proceeds, that in the same quantity of Superficies, the one seems great, and magnificent, and the other appears poor and but trifling. The reason of which is very prety, and not ordinary. I say then, that to introduce into Architecture this grandure of Manner of which we speak, we ought so to proceed, that the division of the principal Members of the Orders consist but of few parts, that they be all great and of a bold and ample Relievo and Swelling; that the Eye beholding nothing which is little and mean, the Imagination may be the more vigorously touch'd and concern'd with it. For Example: In a Cornice, if the Gola, or Cy atium of the Corona; the Coping, the Modilions, or Dentelli make a noble shew by their graceful projectures; and that we see none of that ordinary Confusion which is the result of those little cavities, quarterrounds of the Astragal, and I know not how many other intermingl'd particulars which produce no effect in great and massie Works, and which very unprofitably take up place to the prejudice of the principal Members; it is most certain, that this manner will appear solemn and great, and that, on the contrary, become pitiful and mean by reason of the multitude of these smaller ornaments which divide and scatter the angles of the sight into so many beams, and so press'd together, that the whole appears but a Confusion. And though one would judge upon the sudden, that the multiplicity of the parts should contribute something to the appearance of the grandure and state; yet notwithstanding it happens quite otherwise, as we may easily perceive in examining it by Examples, and in the Designs of the Masters which I have here collected together, where in the same instant a man may discern both the quality of their Genius's, and the variety of their judgments: For some of them esteem that to be delicate and rich, which others term mean, and confused; and that which seems to us of the Grand maniere, in their eyes appears to be but gross and heavy; and indeed it would so prove if one should exceed the terms of proportion, and did incline too much to either extreme: But be this only spoken in Passage; We proceed now to our Orders in general.

The Colomnes of the Dorique Order have this of remarkable amongst the rest, that in the fairest Works of Antiquity in which they have been employ'd, we find them without Bases; as in the Theater of Marcellus at Rome; in that at Vicenza, and in a very magnificent Triumphal Arch at Verona; and Vitruvius having treated of this very Order more exactly then of any other, speaks not so much as a word of its Basis, albeit he hath sufficiently describ'd the measures of the Ionique, and of the Attique for the Corinthian, without having so much as omitted that of the Tuscane; though there is not one of our modern Architects but make some cavil at it, forming one to themselves after their own invention.

For my part, I should make a great scruple to condemn these old Masters who did all with so much circumspection. One had much better endeavour to discover their Intention, who did certainly proceed with great judgment; then to add any thing preposterously to this Order, and which may prove repugnant to its Principles.

Let us take therefore the thing from its original, and consider upon what account they added Bases to the foot of Colomns, and what there they represent, that thence we may infer whether they are likewise as proper to these we speak of here, as they be to the other.

Vitruvius tells it us in the first Chapter of his fourth Book, and had not it seems so much as once spoken of it, but upon occasion of the Ionique, which he affirms to have been compos'd after the module of a feminine beauty, to which he suits all the rest of the parts; as the Voluta's of the Capital to the mode of the head-tire and tresses of Womens hair. The Vivo, or shaft of the Colomn, to their airy and delicate shape: the flutings and Channelling to the plaits of their Robes: and the Base to the buskin'd Ornament of their legs and feet.

In the same place he compare our Dorique to a robust and strong Man, such as an Hercules might be, whom we never represent but on his bare feet: so as from hence we may reasonably judge, that to the Dorique Order also Bases are no wayes proper.

But the custom which has licentiously been introduc'd amongst so many Examples as we find among the Antiques, has so strangely debauch'd and prevented the Imagination, by I know not what false appearance of Beauty; that it now transports it quite besides Reason. Nevertheless such as are clear-fighted, being advertis'd of this abuse, will soon rectifie, and undeceive themselves: and, as what seems most likely is then detected to be erroneous when 'tis diligently examin'd; so also the appearances of Beauty, when they are against Reason, become in fine but the more extravagant.

This Observatio being establish'd upon those great Examples which I have cited, and Reason serving for its guide, let it pass for demonstration.

But we will now consider the rest of the Order.

His Entablature is more massie, and tall, then any of the following Orders; because the strength of the Colomn for being greater, prepares him also for the greater burthen. It has ordinarily one fourth part of the Colomn, whereas in the other he has very often but a fifth, and sometimes less. The Cornice would not be deck'd with and Foliage, or like trimming; but in case you allow him Modilions, they should be square, and very plain. The Freeze has a regular Ornament, which are the Triglyphs, the Compartiment whereof obliges one to a very great inconvenience, and which was heretofore so cumbersome, that even the skilfullest Masters had much ado to disengage themselves. But Vitruvius has found a very sufficient Expedient, as may be seen in his fourth book Cap. 3. In the interim let it suffice, to affirm here, that all the inconveniency consists in so contriving the matter, that the Triglyphs be precisely plac'd over the middle of the Colomn which it encounters; and that the Metops (that is to say) the spaces twixt the Triglyphs, be perfectly square; for that is so effential in this Order, that one should never dispence with it. That which renders the execution difficult proceeds from the distribution of the Intercolumniations, which have also their distances regular, and determin'd, which does not justly quadrate and suit with those of the Triglyphs. See the second Chapter of the third Book of Vitruvius, Commented by the Reverend Daniel Barbaro, where all this is rarely well explain'd, both by discourse and figure.

The Architrave hath also its Ornament particular, which consists in certain pendent drops under the Triglyphs that seem after a sort, to be fastned to it, as if they were all of a piece; for that one never sees the one, without the other.

The entire body of the Architrave ought to appear solid and very substantial; for which effect I would not have it exceed one full face, lest parting it in two, it appear feeble and weak, according to the principle which we have newly establish'd upon the diversity of Manners; Nevertheless this is but of small consequence here, provided one be careful not to break it in three faces as in the other Orders they do; in which case, the fault would be remarkable.

Behold then in gross as 'twere a rough draught of the Dorique Order, upon which one may with ease find out all the several parts of its members in particular, with their respective measures, which is by this expedient found alwayes within the regular terms of its extent.

I shall touch some of the Principal only, that I may facilitate the way; referring you for the rest, to the Designs, where every thing is so clear, and punctual, that having once conceiv'd the Model (which I make use of throughout) to be the Semidiameter of the Colomn, divided into thirty Minutes; and, that I continually begin to measure the projectures of every Profile from the Central line of the Colomn, to have (in the mean time) with the proportion of the Members, the right position, and just level of the Pillar, all the rest admits not of the least imaginable difficulty: for presently you'l find, that thirty minutes making the semidiameter, sixty must compose the whole diameter, and forty five the three quarter; forty, two thirds; twenty, one third; fifteen a quarter, and so of the rest, as I have expresly observ'd it, that I may by the same means make you comprehend, how I have reduc'd all the Measures of my designs by minutes, without making use of the terms of Module, Diameter, Thirds, Quarters, or the like proportions, to avoid perplexity, and cumbring the designs with so much writing; and indeed, for that they are not precise enough, and would have often oblig'd me to superadd the minutes, and to repeat one Module and three Minutes, two thirds of a module and four minutes, a quarter of a minute, half a module and two minutes, with a number of such like fractions, which would have created much unprofitable labour, and bred infinite confusion.

This establish'd, let us proceed to the application, and take our Dorique Order again in pieces. But lest the Variety which we frequently encounter amongst the designs of the modern Authors that I have here collected, should hinder us from resolving upon something fix'd, and determin'd, I will only pursue that Antient Example taken out of the Theater of Marcellus, as being the most regular of all the rest, by the universal suffrage of those of the Profession; and so conformable to what Vitruvius has written concerning the general proportions of this Order, that some are of opinion he was himself the Architect of this magnificent work. But I must confess, I am not of their faith, because of the Dentelli which are cut in the Cornice; for Vitruvius in the second Chapter of his first Book, plainly interdicts them the Dorique Order, as being naturally affected to the Ionique: but this Question concerns not our present discourse. I find then that the whole shaft of the Colomn has in length seven times its diameter; which on the foot of the division of the half diameter in thirty minutes (for in all this Treatise I ever take the semidiameter of the Colomn for the module of the Orders) make four hundred and twenty minutes, which amounts to fourteen modules. The height of the Chapter contains thirty minutes, which make one module; as does likewise the Architrave; The Freeze with its Fillet (which is that flat, and thin band or list which separates it from the Cornice) has one module and a quarter, which are thirty seven minutes and an half; so that all these modules computed together, and the number of their minutes reduc'd to a total sum, the altitude of the entire Order amounts to eighteen modules and three quarters, which make up five hundred sixty two minutes and an half; and the Entablature (which is the Architrave, Freeze, and Cornice) being to contain one quarter part of the Colomn (which is its regular proportion) comprehends just an hundred twelve minutes and an half, which are three modules and three quarters; and which I expresly repeat, that I may yet add, that though all the Examples of this Order (which may be as well found amongst the Antients, as the Modern) have not always the Entablature comprehended within the same Termes of Modules that this has here, they may yet notwithstanding be according to rule in the general proportion; provided that the Entablature contain a quarter of the Colomn; which is neither limited to fourteen Modules, nor yet to fifteen, but may sometimes advance even to sixteen and more as occasion presents it self: So that a Colomn of seven Modules shall have a higher Entablature then one of fourteen. But then it is necessary, that all this difference of one Entablature to the other happen only in the Cornice, in regard that the Freeze, and the Architrave have alwayes their precise and determinate measures: The one has a Module; the other a Module and an half, without any respect to the different height of the Colomns. Now the Cornice being to supply what is deficient to arrive to the fourth part of the Colomn, 'tis evident that its particular proportion must depend on that of the Colomn; and that the Cornice of one Profile, can never serve for another, though it be of the same Order, unless the height of the Colomns be likewise equal in them both, which thing ought very diligently to be consider'd: that from this observation a man may arrive to a good, and judicious examen of all those Profiles which the Modern have given us of this Order; and understand such as are worthy the being follow'd; For the general proportion being once defectuous, 'tis in vain to search for it in the retail, or minuter parts; because that is necessarily relative, and that the one, cannot possibly subsist without the other.

But to the end we may render what we have discuss'd easie to the Reader, who happly, for want of practise may find himself at a loss, I am going to deliver him a Method extraordinarily short and expedite, by means whereof, he may instantly make it without the least disorder or confusion,

He must take the whole height of the Entablature of the Design which he would examine, and thereof make a multiplication conformable to the proportion which it ought to bear with its Colomn, having still a regard to the Order which it represents. Put case, for example, one quarter, as in this of the Dorique; he must multiply the Entablature by four; if it be a fifth (as we shall see in some of the following Examples of the Corinthian) he must multiply it by five; and so of the rest: For the total of this multiplication ought to give us precisely the height of the Colomn; and wherever this does not quadrat, certain it is, the Profile is irregular.

I should be too prolix if I pretended to decifer thus by smaller scruples, and minutes all that belongs to these Principles, and whiles I think to render my self intelligible, by a tedious discourse and Calculations, become in fine both confus'd and troublesome to my Reader, who doubtless will sooner comprehend it all by seeing my Designs, since Words are never so express as Figures.

CHAP. III. A Particular remarkable in the Profile, drawn from the Theater of Marcellus.

I Admire that of all our modern Architects, the greatest part whereof have seen, and spoken of this Examples, as of the most excellent Dorique model which has been left us by the Antients; there is not so much as one of them who has followed, or perhaps well observed in the Original the just compartiment of the members of the Capital, nor the height of the Freeze, the which I find here visibly less then that which they allow to their Designes; though some of them (particularly Vignola) have proposed the very same Profile for the Rule of the Order; but with so much alteration in its members, that there is not one of them remains entire: A man shall easily find it by conferring them together; all the designs of this Assembly being therefore fitted to the same Scale. As for the Capital, they do all without exception affect the dividing of it in three parts, as Vitruvius will have it in his fourth Book, Chap. III. giving one to the Hypotrachelion, or neck of the Pillar; the other to the Echinus bracelets, or small mouldings; and the third to the Abacus or plinth of the Capital; whereas they ought to have considered, that the Text of this Authour, besides that it is oftentimes suspicious, and especially then when he is not conformable to the practice of the Antient Masters his Contemporaries, it is by no means just, he that should presume thus to carry it against such Examples as this here, which is without all reproach and exception. It had been more reasonable that they who propose it for their model, had at least been so discreet as to have added nothing, but left him in his original proportion. As for those others who have formed designs after their own fancies, they are no more to be blamed for having followed the opinion of Vitruvius, and obliged themselves to the terms which he has prescribed, though they might haply have well dispensed with it, and with more reason have imitated the Antients where this irregularity is not to be found. The Crown of the Cornice is also sufficiently observable for its extraordinary projecture, and which is after a sort augmented by the sloops which the Architect has given to the drops which compose the ornament of the nether face, and which fall on the Triglyphs. Now albeit this piece of Opticks be admirable in this huge Coloss of Building, yet is it by no means to be indifferently used every where, and upon all occasions, for in places much inclosed, where there is not ample space and freedom for the Eye, as the inside of Churches, &c. it would produce but an ill effect. Wherefore I have thought it necessary to propose here divers antient Examples upon each Order, that I may thereby give opportunity to those of the Profession to make use of them judiciously; regard being duly had to the Place, and the Occasion.

CHAP. IV. Another Profile taken from the fragments of the Dioclesian Bathes at Rome.

THIS Profile was one of the most excellent pieces of Architecture in the Baths of Dioclesian as far at least as I am able to conjecture from a good number of draughts which lye yet by me, all of them design'd by the same hand very neatly, and measur'd with extraordinary study; although some of them methinks appear to be sufficiently licentious: But this Profile is of so noble a composition, and so regular, that it's nothing inferiour to that which went before: And though the specifique proprieties of this Order are to be single and solid; yet are the Ornaments here so very judiciously applyed upon every of the Members, that they conserve the one without the least violation to the other.

It may serve upon some occasions where that of the Theater of Marcellus would not be so proper, in as much as the projecture of its Cornice is a great deal less; add to this, the curiosity of its mouldings which allure the eye to consider them at a nearer distance.

The general Proportion of it is not absolutely conformable to that of our first Example; and the difference makes me judge, that the Column belonging to it contained eight diameters, that is to say, sixteen Modules; for so the Entablature (which is of four Modules high) comes to make up a fourth part of the Pillar.

That which is considerable in this Profile, as universally observed through all the Moderns for the height of the Freeze, is, that in this partition of the three members of the Entablature, the flat Fillet which forms the Capital of the Triglyphs composes a part of the Cornice, and is not compriz'd within the limits of the Freeze, though in that of Marcellus's Theater I have made it to be a part, to the end we may religiously preserve our selves within the termes of the general rules of the Order, which precisely requires that the height of the Freeze should be of one Module and an half, that so the square intervals of the Metops with the Triglyphs (which is indeed an inconvenience very great, but withall most necessary) may be handsomely adjusted. To the rest, I will not affirm positively that the Column of this Profile was without a Basis, for my design gives me onely the Entablature and Capital; though I might well be inclin'd to think so for the reasons before deduc'd, and amply demonstrated in the second Chapter.

CHAP. V. Another very antient Profile after the Grand Maniere elevated in Perspective, and now extant at Albano near Rome.

I Conceiv'd it very advantageous, and indeed in some sort necessary the better to represent the beauty and goodly effect of this Profile, to give you one elevated in Perspective; because I would gratifie the eye with as much as Art is capable to add to the real and natural Relievo, and shew how it ought to succeed in the execution.

This incomparable Dorique Master-piece was discovered at Albano, joyning to the Church of St. Mary, amongst divers other old fragments of Architecture very curious, and of which I have a good number design'd, and with great diligence examin'd as to their measures, though drawn something in haste and as it were in passing, by the hand of the famous Pyrrho Ligorio.

That which I particularly esteem in this is a certain grandure of Manner majestical and surprising which is altogether extraordinary; all which results from its having but few members, and from the largeness of those which it has; an account whereof I have already given, speaking of the difference of Manners in the second Chapter. For the rest, the shaft of the Column stands simply on a step which serves it instead of a Plinth, as I have here represented him.

Now to the end this design may not only prove agreeable to the eye, but likewise profitable to those who shall desire to put it in practice, I have also accompanied it with its Profile, and particular Measures.

I advertise moreover, that the Pillar has fifteen Modules in height, and the Entablature three, with two thirds, which amount just to the quarter which is the regular proportion of the Dorique Entablature with the height of its Column: I have omitted the Profile of the Capital for want of space, as likewise for that it is so little differing from the ordinary in its mouldings, and so perfectly resembles it in proportion.

That which is most worthy remark, and indeed to be admir'd in this Composition, is, the richness, and extraordinary form of his Modilions, which lying plumb over the Triglyphs, and being as it were a king of Capitals to them, produce a marvellous effect, which is yet much augmented by those great Roses of the Sofitto or Eves of the Corona, which having an extraordinary projecture, render the Order altogether Gigantique; and this is properly that which they term the Grand Maniere.

CHAP. VI. A Judgment in general upon all the Authors summon'd together in this Collection.

THAT the Reader may now come with some kind of preparation to the particular Examen of the Designes which follow, I shall here endeavour to give him a general hint of the severall talents and abilities which I have remark'd in every one of those Masters we are taking a survey of in paragon one with the other.

The first of all is without any contest the famous Andrea Palladio, to whom we are oblig'd for a very rare Collection of antique Plans and Profiles of all sorts of Buildings, design'd after a most excellent manner, and measur'd with a diligence so exact, that there is nothing more in that particular left us to desire: Besides the very advantageous opportunities which he has had at Venice, and in all the Vincentine his native Country do leave us such markes as clearly shew'd him not onely to have been a Sectator of these great Masters of Antiquity; but even a Competitor with them, and emulous of their glory.

The Man who nearest approaches to him is also another Vincentine, Vincent Scamozzi by name, a far greater talker (as well appears in his Books) but a much inferiour workman, and less delicate in point of design: A man may easily perceive it by the Profiles which he has left us of the five Orders, the manner whereof is a little dry; besides that, he is very poor and trite in his Ornaments, and but of an ill gusto: He is notwithstanding this the nearest that approaches him as to the regularity of his proportions, and the most worthy to be parallel'd with Palladio.

Sebastiano Serlio and Iacomo Barozzio surnam'd Vignola hold of the second Class; and albeit they have both follow'd contrary wayes, and very different manners, yet I forbear not to place them in the same range, and am indeed in some difficulty to determine which of the two has deserv'd more of the Publique; were it not that one might say, the first had the good fortune to work for Masters who needed onely to be shew'd the Idea of the things in gross, without having any thing to do with the retail of their Proportions; and that the other onely propos'd to himself the instruction of young beginners, and to deliver to them the rules of Art and good design: But it were of excellent advantage for us all that Serlio's Book had been design'd like that of Vignola; or that Vignola's study and diligence in searching, had been equal to that of Serlio.

The famous Commentator of Vitruvius, Daniel Barbaro Patriarch of Aquilea, whom with very great justice we may fitly style the Vitruvius of our Times, shall in this place be seated in the middle of all the Masters to be their President; as being indeed the Interpreter and Oracle of the very Father of Architects: and his Companion Pietro Cataneo (whom I assign onely to preserve an equal conformity in my designs of comparing Modern Authors) shall serve only as a petty Chaplain in the retinue of this great Prelat, though he might well claim Peerage even with the most part of the rest.

Among the other latter four, I have a particular esteem for one above the rest, and that is Leon Baptista Alberti, the most Antient of all the Modern, and happly too, the most knowing in the Art of Building, as may be easily collected by a large and excellent Volume which he has published, wherein he fundamentally shews whatever is necessary for an Architect to know. But as to the Profiles of the Orders themselves and his regulation of them, I cannot but strangely admire at his negligence in drawing them no more correctly, and with so little art himself being a Painter; since it had so notably contributed to its recommendation, and to the merit of his works. But this I have reform'd in our following Collection, and believe in so doing to have perform'd him no little service, as happly in danger to have otherwise never been follow'd; there being hardly any appearance, that whilst the designs of his Book were so pitifully drawn, being made use of in work, they should ever produce so good effect.

To the most Antient I would assign for Corrival, the most Modern, that by confronting them to each other, we might the better come to discover whether the Art it self improve and proceed to any further perfection, or do not already begin to impair and decline. This last Author, namely Viola, is of the Categorie of those which the Italians call Cicaloni, eternal Talkers to no purpose. He, whilst he proposes to himself to write of the Orders and Proportions of Architecture, of the Rules of Perspective, of some Elements of Geometry and other the like dependencies on his principal Subject, amuses himself, poor man, in telling stories; so that in stead of a Book of Architecture, he has made (ere he was aware) a Book of Metamorphoses. Besides he has this in common with Leon Baptist Alberti, that his designs are both very ill-contriv'd, and executed; notwithstanding he follows a more elegant manner, and conformable enough to that of Palladio; but the Method which he uses in his partitions is so gross, and mechanique, that he reckons all upon his fingers, and seems to have never so much as heard speak either of Arithmetique or Cyphers.

Concerning the two which remain, a man cannot well affirm them to have been inferiour to those who preceded them, nor yet to have been of the same force with the first, though I conceive they may well compare with three or four of them at least. And

These are two French Masters sufficiently renown'd both by their Works and Writings; Philibert de Lorme, and Iean Bullant, whom yet I do not here place in the last range as being at all their inferiours; but onely that I may separate them from the Italians who are in far greater numbers.

CHAP. VII. Palladio and Scamozzi upon the Dorique Order.

LET us now then pass to the Ocular Demonstration of the precedent Chapter by the Parallel of the Architects which I have there assembled together, and whose designs I am hastning to examine by comparing them with our three Antique Designs, that according to their more or less conformity with these Original Models, we may pronounce concerning their merit, and see what esteem they indeed deserve. From this consideration it is, that of all the choice of the other Masters, I have extracted Palladio and Scamozzi, who having propos'd to themselves the imitation of the antient Architects by studying those admirable Monuments yet remaining in the City of Rome, have follow'd a manner infinitely more noble, and proportions more elegant then those of the School of Vitruvius.

The first Profile of Palladio hath a great affinity with our second example, Antique, taken out of Dioclesian's Bathes; for excepting onely the Dentelli which he may have with reason omitted, all the rest of the Entablature is upon the matter the same.

He has likewise been so discreet (being peradventure oblig'd to follow the vulgar errour, which will have the Base of a Column of this Order to be all one with the others) to advertise before hand by an example which has none at all, that the Antients did never use it after this manner.

He allows but fifteen Modules to the Column, without Base, and with its Base he makes it of sixteen, and sometimes proceeds even to seventeen and a third. The rest of the measures are so distinctly mark'd upon the Profile, that it were superfluous to explain them.

Scamozzi gives ever precisely seventeen Modules to his Columnes, accommodating it with the same Base that Palladio does; but to a great deal less purpose, in as much as he thinks fit to deck the Tore's with I know not what delicate foliages, which does not at all become the Order; no more then does the Ionique fluting which is abusively employ'd in this place in stead of the natural Dorique. His Entablature (as well as that of Palladio) sufficiently resembles our second Model, to which he has onely added a small cavity betwixt the Corona and the greater round, a thing not at all considerable.

The Composition of his Profile taken in gross, and altogether simple appears of a great Idea, but the Ornaments are to be rejected.

CHAP. VIII. Serlio and Vignola upon the Dorique Order.

THESE two Masters are infinitely oblig'd to their Interpreters who produced them first amongst the Tramontani and strangers, and particularly to our workmen in France who hold them in very great estimation: And though they are in truth highly worthy of it, nevertheless being compar'd to the preceding two, they lose much of their lustre, and come exceedingly short of them.

This the Reader may easily find by comparing the one to the other with the Antient Originals which I have prefix'd as the Lantern and Compass of all true Architecture. But it were not just we should treat Serlio in this Examen with the same rigour we have done his Companion; for that intending to follow Vitruvius (who is the most renown'd and venerable Author of the Antients) he has worthily acquitted himself: Whereas Vignola who has pursu'd another course, really a more noble, and the very same which I also observe here, knew not how to proceed without deviation. The Dorique Profile which he here presents us, is taken out of the first Order of the Theater of Marcellus, and the most worthy example of this kind which is to be met with amongst all the Roman Antiquities, and of which also I have made choice for the first model of this Collection, with this only difference, that I have precisely observ'd all the measures and allowances of the Original, which you will perceive in this Author to be exceedingly changed, particularly in the Cornice and Capital: The comparing of the two designs will in one instant afford more light to the Reader, then I can do by the discourse of an entire Page.

Serlio gives here fourteen Modules onely to his Column, comprehending the Base and Chapter; and the height of the Entablature amounts to three Modules and a little more then two thirds, insomuch as (contrary to his ordinary custom) he extremely exceeds the quarter of his Column, which is the largest proportion that the Antients did ever practise; so as this great excess puts me in doubt whether the Text of Vitruvius upon which he relies be not corrupted in that place; or else, when he spake of that Column, he did not mean the Shaft without its Capital: for so by adding one Module more (which is the precise height of the Chapter) the entire Column would be fifteen Modules, and consequently the Entablature hold proportion conformable to the Antients.

Vignola forms his Column of sixteen Modules, and the Entablature of four, which is exactly the fourth part of the Column, and which makes it appear very regular: As touching the Base introduc'd by the Moderns into this Order, I have already declar'd my Opinion concerning it.

CHAP. IX. Daniel Barbaro, and Pietro Cataneo upon the Dorique Order.

THIS is here the perfect School of Father Vitruvius, whose very name and authority does extremely recommend it to us. Not that we are oblig'd indifferently, and without choice to follow all those who pretend to have understood this grave and abstruse Authour; seeing every man strives to make him of his own party, and to accommodate him to his particular Genius.

The very best of them all was without exception Daniel Barbaro, as well for his excellent Commentaries, as for the exactitude, and cleanness of his designs. A man may perceive by the Parallel of his Profile with that of Cataneo his adjunct; of Serlio in the page before, and some others following this Class, that he presides here as a Master among his Disciples.

It were an amusement to no purpose, and very impertinent should I quote every minute and small difference of one design from the other; since the Reader may better see it by one cast of his eye, then I can describe it to him in all the rest of this Page.

I will add onely this general advertisement, that the proportion of the Colomn, with its Entablature, is the same here which Serlio gave us before, without being necessitated to repeat my own opinion thereof; since my Observation is upon Vitruvius, and not against those who have explained him.

Daniel Barbaro has judiciously introduc'd a Boucler in the angular Metop of the Freeze, thereby signifying, that all Ornaments should be accommodated to the Orders which they are applied to; and that this being of a robust, and martial kind, one may as occasion requires, enrich it with Trophies of Armes, Clubbs, Quivers of Arrows, and such like instruments of Warr.

To the prejudice of Cataneo's design, I find that the Gula of the superiour part of the Entablature is somewhat too great, that the Projection of the Plinth of the Capital is a little too small and renders the whole Chapter mean, and short, which extremely disfigures his Profile; besides, that the Base below has that in excess, which is defective in the Chapter above.

CHAP. X. Leon Baptista Alberti, and Josepho Viola on the Dorique Order.

AT sight of this first design of Leon Baptista Alberti whose Capital is entirely Gotique, one might with reason wonder why I should speak so advantageously of him in the general Examen which I have made of the modern Architects, amongst whom I assign him one of the principal places; and in earnest I cannot excuse him here of that ill relish, and of this so ill-favour'd a Composition, however he pretends to have seen it, and to have taken it from some antient fragments: But suppose it true (for a man may meet with bad ones enough) he might also have found others a great deal more tolerable: That which falls out the most unluckily for him in this his first production of skill, is, that it is of very great importance for a man to begin well; since the first impression continues long, and introduces a consequence for those who follow after. Nevertheless, be it what it will, every man is obliged to accord with the truth, and to judge of things honestly, and without preoccupation. And therefore to do him justice, having first condemned this defective part in his Profile, we are not to reject all the rest for that reason; seeing it is in truth very good, of a great and noble manner. It has also much conformity with our third antique Example in the Modilions, whose projectures put into work would produce a noble effect, as may be judg'd by the Perspective which I have made of it. His Architrave and Freeze are both regular, and the Entablature entire to its exact proportion with the Column; for it consists of four Modules in height, and the Column of six. The proportions of the Base are likewise very handsome, so as in the whole design there is nothing scandalous besides the Capital, which may easily be supplied by borrowing from his Collegue Vi la, whose Profile is sufficiently correct, and upon the matter the very same with that of Palladio whom I perceive he has imitated in all the following Orders as well as in this here. But since he endevours to disguise his theft as much as possible in altering some of the mouldings, or mutilating some member, he has here made a quarter round in stead of the direct Cymatium or Ogee of the Cornice, which is but a thing indifferent, or tolerable at least in the Dorique Order, that of Marcellus's Theater being the very same.

CHAP. XI. John Bulliant, and Philibert de Lorme on the Dorique Order.

'TIS not without some difficulty that I have been able to reduce the second Profile of this Page to the termes you here behold it, Philibert de Lorme having design'd it so slightly, and in so small a Volume (though that in his book be large enough) that it had been impossible to give any of the members its due proportion without the assistance of the Text, upon which he has made three large Chapters; whereas by the aid of some better draught, he might easily have spar'd many words and letters of direction extremely confus'd throughout his whole discourse, which he uses to express the particulars of the proportions of each part of his Profile; and this makes me judge that the good man was no great Designer, which is a very ordinary defect amongst those of his Profession: But this does not much concern our Subject in hand, where we have onely to examine, whether the Dorique Order which he proposes, has any conformity to the Antique, or at least to the Precepts of Vitruvius; as one may perceive by the Parallel of his Companion Iohn Bulliant, who has followed this old Author in his Profile very punctually, though he also produce others from Antiquity, in which I find him not so just and exact as I took him to be in the meaning of Vitruvius.

I will not here stand to particularise the difference which there is betwixt these two Architects, lest I my self fall into the same inconvenience which I but now reprehended in Philibert de Lorme; and for that the exactness of my designs have neither need of illustration or discourse: However, this I may add in favour of Iohn Bulliant, that he is the sole Sectator of Vitruvius who has contain'd himself within the regular termes of his Master as to the height of the Entablature, to which he allowes three Modules and a half that precisely make the fourth part of the Column, which ought to have but seven Diameters in height, according to Vitruius Lib. IV. Cap. I. which amounts to fourteen Modules.

CHAP. XII. A very antient Sepulchre to be seen near Terracina, at the side of the high way leading towards Naples.

AT Terracina upon the confines of the State Ecclesiastic there is yet extant the Vestigia and footsteps of this small Mausoleum sufficiently entire joyning to the Appian way, where that diligent observer of all these antient Monuments Pirro Ligorio having discovered and (as one may say) disinterr'd it (for 'twas almost buried amongst the brambles of a wild and uncultivated place as himself reports, at the foot of the design which he has made of it) took the plan most exactly, and the elevation of the Profile, upon which I have taken my directions to reduce it to that Ichnographical from which I here present you. I was extremely glad to encounter an example so express and convincing against the abuse of the Moderns, who have very inconsiderably introduc'd Bases to the Columns of this Order, of which I have formerly discours'd sufficiently.

The four faces of the Edifice appear to have been all alike, and on that which respects the West, there has been some kind of Inscription upon the Architrave, but there now remains nothing legible.

The Massonry is of huge square Brick, and the Columns with their Entablature are made of Tiburtine stone, the Pyramid being also of the same material.

The Diameter of the Columns is near upon two Palmes, the Entablature makes a fifth of the entire Order; that is to say, a fourth part of the Column, which was but seven Diameters in height.

This Sepulchre seems to be fully as antient as the very Appian way it self.

CHAP. XIII. Of the Ionique Order.

THE first productions of Arts have alwayes been exceedingly rare, because it is so difficult to invent; but it is not the same of Imitation: For after men had once seen Regular Structures, and those famous Temples of the Dorique Order mentioned by Vitruvius and some others, Architecture did not long remain in its Infancy; the concurrence and emulation of the neighbouring people advanc'd its growth, and made it soon arrive to its perfection. The Ionians were the first Competitors with the Dorics in this divine Art, which seem'd to be descended from the Gods themselves to gratifie Mankind with more opportunity of honouring them; and though these had neither the advantage nor the glory to be Inventors of it, they endevoured yet to improve and raise it even above the very Authors. Considering therefore that the figure of a Mans body, on which the Dorique Order had been form'd, was of a shape too robust and massy to fit holy Places and become the representation of Celestial things, they would needs compose an Order after their own Mode, and chose a Model of a more elegant Proportion, wherein they had more regard to the Beauty then to the Solidity of the Work, which gave the first occasion of calling it the Feminine Order, as indeed degenerating towards an effeminate softness. And the truth is, the Order of the Caryatides quickly sprung up after it, which was an extraordinary affront to this poor Sex, and a very shame to Architecture it self, for having so irrationally employ'd a feeble and delicate thing to perform an office where strength and solidity were the onely necessaries. Vitruvius, and divers of the Modern since him, mention the Original of this Order, and tell us, that the Inhabitants of a certain City of Peloponnesus named Carya, having made a league with the Persians against their own Nation the Greeks, after the rout of the Persians, were afterwards besieged by the Conquerours, and so barbarously saccag'd, that putting every man to the sword, consuming the City to ashes, and carrying the Women away Captive, their vengeance being not yet extinct, they resolv'd to eternise their resentment by causing publique Edifices to be erected, wherein for a mark of the servitude of these Captives they ingraved their Images in stead of Columns, that so they might overwhelm them likewise under the weight of the punishment which they had merited by the guilt of their Husbands, and leave an everlasting memory thereof to future Ages: This is the Example which Vitruvius has made use of to prove how necessary it is that an Architect should be knowing in History, to the end he introduce nothing impertinently in his works, and without good reason. The Gotique Order, which is the folly and very Ape of Architecture, in imitation of the Caryatides has compos'd certain lame figur'd Mutils or Corbells in stead of Cartouzes sustained by I know not what Chimera's and ridiculous Monkeys, to be met with in every corner of our old Churches; but some of the Modern having (with very good reason) found fault that such extravagances should be seen in holy Places where reverence and modesty are so essential, and considering how much more decent it were to fit those places with some devout Representations, without any respect at all to their Profession, or for want rather of understanding the propriety of the Orders of Architecture, have amused themselves to place the figure of Angels and other Saints in stead of the Caryatides; making them like so many Slaves to carry huge Cornices, and even entire Altars upon their shoulders, testifying thereby how preposterously and without judgment they consulted Vitruvius upon the occasion of the Original of the Caryatides: For they would otherwise have understood that this Order cannot be employed or indifferently enter into all sorts of Buildings, and that it requires no small discretion to be aptly and discreetly placed: Above all, that it should never be used in Churches, which are the Houses of God, and Asylum's of Mercy, where servitude and revenge ought never to appear. They had proceeded much better to have onely used the plain Regular Order which we are now going to describe according to an excellent Antique Example taken from the Temple of Fortuna Virilis at present the Church of St. Mary the Egyptian in Rome, the Profile whereof has been fortunately met with amongst some Papers of mine of that great Antiquary Pyrro Ligorio; whose Manuscripts and Designs are conserved as a very rare Treasure in the Bibliotheque of the Duke of Savoy, which has furnished me with a means to examine and verifie divers Measures that at present a man would hardly know where to take; and to repair the Cornice with its proper Ornaments, which are now so impaired through age, that it is extremely difficult to discern them. This is then the Model I shall follow, and which shall here serve for the Rule of this Order, having with mature consideration, and for divers reasons preferr'd it before that which is in the Theater of Marcellus, from whence I have taken the Dorique; which nevertheless I shall propose in what follows, remitting others who concurr not with my opinion to their own affection and fancy.

But before I enter upon the retail of its proportions (for recommendation of this Order, and the curiosity of the Reader) I will here recount to you the names of some famous Temples built by the People of Ionia, whose antiquity is at the least of two thousand years. The most memorable, though not most antient, is that renowned Temple of Diana, erected (as some think) by the Amazons in Ephesus. This was a work of so stupendious a grandure, that there was spent above two hundred years in finishing it, all Asia contributing to this inestimable expense. Vitruvius in his third Book, Chap. I. sayes, it was of the dipteryque figure; that is, inviron'd with a two-fold range of Columns in form of a double Portico: It was in length four hundred and twenty five foot upon two hundred and twenty. All these Columns were of Marble seventy foot in height. The Architect of this proud Edifice, according to the same Vitruvius, was one named Ctesiphon, whom he mentions in his tenth Book, where he speaks of an excellent Machine that he invented to transport the Columns of this Temple; which for being of so prodigious a length, that no ordinary force was able to move and bring from their quarries, had been all to no purpose, had not this extraordinary Genius discovered some artificial forces to supply the defect of others. This Structure is esteemed for one of the Worlds seven Wonders: There were yet in the same City of Ephesus many other Temples of this Order; whereof two (one dedicated to Apollo, the other to Bacchus) are principally remarkable, as having been in some sort comparable to this first, had they received their ultimate perfection; but they were left off unfinished, by reason of the warrs against the Persians, who were in conclusion the utter ruine and subversion of this People: For Cyrus having subjugated Asia plunder'd all this Country, faccag'd their Cities, demolish'd the Temple, and made so universal and barbarous a devastation, that there hardly remain'd any thing of such an infinity of stupendious Monuments which this noble Nation had erected throughout all Greece: Notwithstanding this, he spared that of Diana of Ephesus whose astonishing beauty serv'd as a Bulwark to the fury and rage of this mighty Conquerour. In Athens one of the most flourishing Cities of the World, there was also of the same Ionique Order a very great number of Temples, amongst which, that of the Delphic Apollo and his Son Esculapius were highly celebrated. There is yet to be seen in the same place certain Vestigia's reduc'd to the form of a Citadel, which they report to have been heretofore the Temple of the Goddess Iuno Attica. I could enumerate divers others like these, of which the Antiquaries we have cited report marvels; but in general termes, and without any benefit to the studious of the Art, who stand in need of some more essential remarks and instructions. I will therefore manage the rest of this discourse in describing the Composition, and the parts of this Order, conformable to the Profile which I have chosen for our Model, and which is precisely taken from the Antique.

CHAP. XIV. The Ionique Profile taken from the Temple of Fortuna Virilis at Rome, which is at present the Church of St. Mary the Egyptian.

ACcording to the opinion of that threefold grand Antiquary, Painter, and Architect Pirro Ligorio, of whom I have heretofore spoken, and from whom I have borrowed this Profile, I may safely propose it for one of the most regular Examples of the whole Ionique Order which is now extant of antient Architecture: Add to this the instance which Palladio makes of it in his fourth Book and thirteenth Chapter, being the onely one of this Order which he has inserted amongst the whole collection of his Studies; so as these two great Masters approving the election and judgment I have made thereof, it is not to be doubted for a Master-piece of supreme perfection. I will therefore make the general description thereof, deducing the principal Members and proportions in gross, without amusing my self with the smaller retail of the measures of each particular part, which the Design ought to supply.

The entire Order from the Superficies of the Area to the Cornice, contains eleven Diameters of the whole Column, which amounts to twenty two Models.

The Column with the Base and Chapter has eighteen Modules.

The Entablature (that is to say, Architrave, Freeze, and Cornice) contain four Models lacking four Minutes, which are not considerable upon the total; and this height making two nineths of the Column produces a proportionate mediocrity 'twixt that of the Dorique Order before describ'd (whereof the Entablature composes one quarter) and that of the Corinthian (as we shall see hereafter) to which the Moderns do ordinarily attribute a fifth part.

The Voluta of the Capital is after an oval form, producing a very noble effect, notwithstanding that none of our Architects have put it in practice; but the reason in my opinion, is, the difficulty of tourning it with a grace, and for that they are generally accustom'd to do all with the Rule and Compass, which are here in a manner useless.

CHAP. XV. Another Ionique Profile taken from the Theater of Marcellus at Rome.

SOME may imagine that I ought to have establish'd mine Ionique Order upon this Example, being as 'twere the twin-Brother of the first Dorique with which I have commenced this Collection of Architecture, being both of them extracted out of the same Edifice, which is the Theater of Marcellus. And to speak truth, it was my first design: But second cogitations being ordinarily the more judicious; I have since considered that the ampleness of the Entablature with its extraordinary plainness, was a particular effect of the Architects discretion, who resolving to place this Order in an exceeding large Building, and also upon an elevated place, where the fight could hardly enjoy those Ornaments wherewithall it is usually enriched, had regard onely to the reformation of that by a rule of the Opticks, which the Eye might possibly find fault with in the grace of its general proportions from the distance of its Elevation; so that we may affirm of this Profile, that it does excellently well in Work as 'tis placed in the Original; but would not succeed so well in another of more mediocrity; and above all in a work of one onely Order, unless it were of a Colossean magnitude; which is yet in truth neither proper nor natural to its feminine kind: However I will here present you with its Proportions as well as with the others.

The height of the entire Order is twenty two Models, and two thirds.

The Column with her Base and Chapter hath but eighteen, and those precise enough; so as the whole Entablature consisting of four and two thirds, it happens to be of an extraordinary grandure, in as much as it exceeds a quarter of the Order, which is the largest Proportion can justly be given even to the Dorique it self.

The Projecture or Iette of the Cornice is also a little extravagant; but the Architect has for all that shewed himself very judicious, having respect in that to the entire mass of the Building, and to the eminence of the fire of this second Order: For the same reason he afforded but very little diminution to the Column above.

The Voluta's of the Capital are Oval, as in the precedent Order, and this shape of the Voluta's was much practis'd by the Antients; but the method of tourning them with the Compass is somewhat difficult, and has never as yet been demonstrated.

CHAP. XVI. The Perspective Elevation of a Profile drawn from the Baths of Dioclesian at Rome.

I Would needs make an Elevation in Perspective of this Profile, that so I might add some variety to my designs, and for that likewise it is an advantageous means to represent the Idea of an Order, and the effect which it produces being put in Work, for their sakes who are not much practis'd in the Mystery. This piece stood in the Baths of Dioclesian at the angle or coinage of a return of a Wall, as I have found out by a Design of mine very antient and of a good hand, where the Proportions as well of the Plan as of the Profile are exactly noted, even to the least particulars. I have reduced and accommodated them to the division of my ordinary Model, as you may perceive them on the Profile which is under the Perspective Entablature.

The height of the whole Order, from the Base to the top of the Cornice, amounts to ten Diameters and a fourth; which, according to our manner of measuring contains twenty Models and an half; which being divided 'twixt the Column and the Entablature takes up seventeen, and the three Models and half remaining make up the height of the Entablature: Now though there be a considerable difference in the altitude of our first Ionique Example, and this here, it rather yet consists in the total quantity of the Order, then in the proportion of their parts; for I find here that the Entablature compared to its Column has also the same relation of two ninths; which is to say, that the height of the Column divided into nine parts, that of the Entablature comprehends two of them; which is a Symmetrie particularly affected to this Order, as I have elsewhere shewed.

The Voluta's of the Capital were turn'd with the Compass, after the manner I shall hereafter describe in a Page by its self, and with which I shall conclude this Order.

CHAP. XVII. Palladio, and Scamozzi upon the Ionique Order.

THERE is so great a resemblance 'twixt the mouldings and the measures of these two Profiles, that the difference is hardly considerable, unless it be in the figure of the Capitals, which in truth is very different in shape, though sufficiently resembling in proportion.

The Voluta of Scamozzi is particular, and by consequence hath less of the Antique then that of Palladio: But Scamozzi has excogitated this expedient, that his Capital might front on all sides, not liking (it may be) this variety of aspect which we find in the ordinary Volutas.

The altitude of the Column according to Palladio contains nine Diameters, which make after our measure eighteen Models; of which he gives to the Entablature but one fifth part, being the same proportion which hereafter he assigns to his Corinthian: He had yet peradventure done better to have contriv'd for this here a more proportionable Medium 'twixt the Dorique and the Corinthian, proceeding by a certain gradation from the solid kind to the more delicate. Moreover, I could have wish'd that the Cornice had rather been tooth'd then Modilion'd, for the reason already rendred in the general Chapter of the Ionique Order; which I mention onely to advertise (by the way as 'twere) what does in my judgment seem worthy to be observ'd in this Profile, which in the rest of the parts is exceedingly rare, and in this very particular not absolutely to be condemned; seeing things which may be improv'd, are not therefore to be esteemed for ill.

As for Scamozzi, besides that the same observations which I have made on the Profile of Palladius are repugnant to him, there is this yet worse, that the Capital being a great deal more massy, in stead of giving a greater height to his Cornice, and composing it of more ample members, he has contrarily made it less, and cut off three or four small Reglets which renders it very dry and trifling.

CHAP. XVIII. Serlio, and Vignola upon the Ionique Order.

THE inequality of these two Profiles is so wide, that 'tis almost impossible to approve of them both, and yet nevertheless there is in a manner as little reason to condemn either the one or the other; for having each of them their principles sufficiently regular, together with their Authorities and Examples.

The first, which is Serlio, having made a handsome Collection of all the most considerable Antiquities of Italy, from whence he should have taken a noble Idea of the Orders, is returned back to the School of Vitruvius, whither the slenderness of his Genius has recalled him.

On the contrary, Vignola is fall'n with excess into the other manner that we name the Grand, which though indeed more noble and advantageous, has yet for all that its just limits, which being once exceeded becomes vitious and extravagant.

Now the great difference of these two Masters proceeds from Serlio's making his Column but of seven Diameters and an half, allowing onely a fifth part to the Entablature; and Vignola's composing his of nine Diameters, and his Entablature of a full quarter.

That which I chiefly reprove in this last, is, that he makes use of the Base which Vitruvius composed for his Ionique; a thing not to be excused but in those who follow him likewise in all the rest: For others who have endeavoured to imitate the Antique, have no reason to employ it, there being no president for it. And in truth also it never has had the approbation of the ablest modern Masters, who upon examination have greatly wondred that Vitruvius should impose so vast a Torus upon so small Cinctures, charging the strong upon the weaker, which being totally repugnant to the order of Nature, is very offensive to the eyes of the Curious.

CHAP. XIX. D. Barbaro, and P. Cataneo upon the Ionique Order.

YOU have here very same style that Serlio has observed in the precedent Chapter; And though there be much resemblance in the Profiles of all the three Masters, nevertheless we must reckon that as to the meaning of Vitruvius (to whose Doctrine they have universally endeavour'd to conform themselves) Daniel Barbaro is the Captain and chief Conductor, as may easily be discern'd from the pattern of the Contours onely belonging to the Voluta of the Capital, which is a most essential piece in this Order, and whose true draught was never so much as known to our modern Architects before Daniel Barbaro, to whom we are obliged for the recovery of this excellent Master-piece of Antient Architecture, though he has had the goodness to divide the glory of it with his Contemporary and intimate friend Palladio, by whose conference and help he acknowledges to have been assisted in the delineation of all his designs.

I reserve it for the conclusion of the Ionique Order to make a Page apart of this manner of Voluta, where I shall shew a way to trace it regularly according to our Author's intention. And since it is more compendious to paint then describe it, I shall better give you the demonstration by Rule and Compass, then by employing a tedious discourse about it.

I find nothing observable in these two Profiles besides a certain over-simplicity and plainness: For the rest, the difference of the Entablature, as well in relation to the height, as shape, is so small, that it is nothing at all considerable: What is more worthy of remark in the design of Daniel Barbaro, is this; that he gives to every face of the Architrave a certain slope or kind of downward and inclining stroke, as tis expresly ordained in Vitruvius's third Book, towards the period of the last Chapter: But I find that the Rule of Perspective upon which he grounds it, is more refin'd and subtile for its discourse, then any way solid in the execution, and besides, I never saw an example of it in any work whatsoever.

CHAP. XX. L. B. Albert, and Viola upon the Ionique Order.

THE conformity of these two Designs to those of Anderea Palladio and Scamozzi is so conspicuous, that one may easily judge of their mutual assistance of each other: viz. That Viola made bold with that of Palladio, as he did before in the Dorique: and that Scamozzi has imitated L. B. Alberti who is his Senior above an hundred years. For the rest, it were a difficult thing to decide which of these two Profiles is to be preferred, in regard the Ionique Order has been so diversly treated of by the Antients, as may appear in the Examples I have produc'd, of which there are some enrich'd with Mouldings and Ornaments, others more naked and simple. That which I should have wish'd for here as conducing to a greater and more exact regularity, should have been to have cut the Dentelli upon the flat Band of L. B. Alberti's design; since he has omitted Modilions there, which his Companion Viola for observing may the better be excused of: Though for my part, I should have rather employed Dentelli there, as an Ornament more particularly affected to the Ionique Order, and have reserved the Modilions for the Order which follows next.

The Reader may remember, or else, looking back on some Pages, reflect upon what I have there observed on the Profiles of Palladio and Scamozzi; because it so much agrees with that of Viola here; To which I may yet superadd as a new charge, that he has done ill to imploy another Base different from that of the Attique; since he saw how his Master Palladio had preferr'd it before that of Vitruvius's Composition: He had also done much better to have followed precisely the Proportions of the Cornice in the same design of Palladio; for in attempting to disguise his imitation, by adding of some Members and changing of others, he has in fine rendred it but the more mean and trifling.

CHAP. XXI. Bullant, and de Lorme upon the Ionique Order.

THIS first Profile is exactly after Vitruvius, as well as that of Serlio Cataneo, and Daniel Barbaro which you have already seen: But there is in the other nothing at all worthy of our imitation, as being neither conformable to any of the Antiques, nor to Vitruvius, nor in the least regular in its parts: For first, the Cornice is camuse and blunt, the principal Members, viz. the Cymatium and Cooping small and poor; The Freeze is larger then the Cornice, and the Base of the Column changed both in shape, and the proportion of its parts, as appears by the excessive dimensions of the Tore, compared with the two Scotia's underneath; besides that extravagant repetition of the two Astragals upon the Plinth. The Voluta of the Capital is also too gross, and so is the Collar of the Pillar together with its List: In a word, the entire Composition is deservedly ranged in this last place: But after all this, I cannot but admire that a Person of this Authors Condition, who was so extremely industrious (as may be easily deduced from what himself has publish'd in his Book of Observations made at Rome upon the Antiquities there) who had so great a natural propensity to Architecture, and so many opportunities of studying at his ease, and of instructing himself; Who proceeded by so direct a Method of the Art, and in fine, was Master of so many handsome occasions of putting his studies into practice; That I say a man furnish'd with so many advantages, should nevertheless emerge so ordinary an Artist: But this shews us, that we are many times deceived by our own Genius, and imported to Things for which we have no manner of Talent.

CHAP. XXII. The Order of the Caryatides.

I Intend not here to repeat the History from whence this Order has deriv'd its Original, having already so amply deduced it in the general Chapter of the Ionique Order, whereof this is here but a Species; all the difference consisting in the sole alteration of the Column metamorphos'd into the Figure of a Woman, which for appearing sometimes incommodious to Architects from the extreme over-largeness of the Vests and Garments cumbring and disordering the Passage and Symmetry of the Intercolumniation, caused them to reduce it onely to the carving of Heads in place of the Capitals, where they adjusted and composed the Dressing and Tyre to the resemblance of Voluta's, without any alteration in the rest of the Column, unless where they cut Channels or Flutings on it, to represent after a sort the plaitings and folds of these Matrons Garments; since this Ornament is found to change neither the Diameter nor height of the Shaft, which are the Bases, and as it were foundations of Architectonical Proportions.

That which I asserted before concerning the Caryatides in the general Chapter of the Ionique Order, sufficiently discovers how few the occasions are where they can be employed judiciously; notwithstanding so many of our modern Architects take so great a liberty of introducing them indifferently into all sorts of works: For not onely the Palaces of great Princes without, and within; but even the Houses of private Persons, Churches, and Sepulchres themselves are filled with them, without any regard either to the reason of the History, or to just decorum: Nay oftentimes, out of an insupportable extravagance, in lieu of these poor and miserable Captives, they set the venerable figures of the Vertues, Muses, Graces, and Angels themselves; whereas they should in truth rather chain and confine the Vices there.

But it is sufficient to have advertised you of this Abuse without any further declaiming against it.

CHAP. XXIII. Of the Persian Order.

THOUGH the name of this Order be less known then that of the Caryatides, under which it seems they would generally express all those Orders where Figures are introduc'd to supply the places of Columns; yet ought we not to follow the vulgar abuse, seeing Vitruvius has put a difference betwixt 'em in the same Chapter where he speaks of the Caryatides: And in regard this here should be somewhat more solid in reference to the Sex they ordinarily give him a Dorique Entablature, in consideration whereof I had once intended to have rang'd it at the end of the Dorique Order, or plac'd him the first here; But considering since, that Vitruvius does not treat of it till after the Caryatides, I thought it became me not to innovate any thing in a matter of so small importance. I shall therefore satisfie my self in advertising that the Romans very rarely made use of the Caryatides; and truly we do not meet with so much as any Vestigia's of them, though Pliny in his thirty fifth Book and fifth Chapter has mention'd those of the Rotunda to the amusing of so many of our modern Antiquaries, who, though all that Temple (and which to this day remains so entire) can by no diligence find any commodious place nor appearance where they should have been well design'd: On the contrary, for these Captives after the Persian there are extant sundry Examples, some whereof are yet to be seen in the very places where they were set in work, as particularly in the Arch of Constantine, and some others which have been transported into Gardens and private Palaces, which were taken no body knows from whence. What is here design'd is from an excellent Original extant yet at Rome in the Palace of Farnezi.

CHAP. XXIV. Of the Contour or Turning of the Ionique Voluta.

THE body of this Capital without its Voluta or Scroul bears a great conformity to that of the Dorique, as may be easily discerned by conferring their Profiles the one with the other: For the diversity of their form which at first blush appears so large to the eyes of such as have never examined the particulars of the Members that compose it, consists altogether in the application of the Voluta upon the Abacus, which gives a most advantageous variety to the Ionique; in as much as the draught of its Contour does consist of the most industrious operation of the Compass which is practised in the whole Art of Architecture; So as who ever of our modern Masters he were that retriv'd it (for 'twas a long time lost, and totally unknown to those of the Profession) he has render'd doubtless a very considerable piece of service to the Art.

That famous Painter Salviati, contemporary with the R. Daniel Barbaro, and by consequent also with Palladio, printed a small loose sheet which he dedicated to D. Barbaro as to the most famous Arbiter of Architecture in his time, who also understood it, and had communicated it with Palladio who accidentally and as it were by chance had been the first Investigator of the practice of it whiles he met amongst some antient Fragments a Capital of this Order, on whose imperfect and rough-hewn Voluta he observed the thirteen Centers of this spiral line which gives it so noble and so ingenious a Turn.

I will not here engage my self on a tedious discourse about its description, it being so much a shorter and more demonstrative way to advance to the direct Method of its delineation: Thus then in general you are to proceed.

The height of the Chapter, and partition of each Member being design'd, one must regulate the extent and proportion of the Abacus conformable to the measure decipher'd upon the Profile at the point 32, and at the point 28 a little beneath. Where the Cymatium encounters the List of the Scroul make a perpendicular line so as it may pass through the very Center of the Eye of this Voluta marked A, till falling upon a right angle by the co-incidence of another line proceeding from the middle of the Collerine or Chaplet, the point of intersection give you the just Center of the Eye: Then about this Center describing a Circle of the wideness of the Collerine (which Circle (as was said) points the precise dimensions of the Eye, and its true place of position) you shall from therein a small Square, through whose Angles having drawn two diagonals (which cut it into four triangles) divide each moity of the diagonals into three equal parts, and each of these points shall serve for consequutive Centers one after another by which to form those several quarters of Circles which compose the spiral line of the Voluta. They are distinguished by numbers on the design, according to the order by which you are to proceed.

CHAP. XXV. A Portico of the Temple of Fortuna Virilis at Rome, which is now the Church of St. Mary the Egyptian.

HAving throughly examined every part of the Ionique Order, and observed in particular the shape and proportion of all its Members; It seems now in a manner necessary, the better to conceive a perfect Idea of them, to place them together in one entire body, that so we may contemplate the Symmetry and conformity which they hold mutually to each other: I have to this effect made choice of a Frontispiece the most noble and magnificent composition an Edifice can possibly be adorn'd with: And to the end we may contain our selves within the just limits which I have established, I shall here make use of the same Antiquity from whence I extracted my first Model whereon I do principally found the regularity of the Dorique Order.

Those who shall have the curiosity to examine the Plan of this Temple, with its Measures, and Profile of the Doore which is exceeding noble, may find it in the fourth Book of Palladio Chap. XIII. and at the same time see one of the most curious pieces of Architecture of that whole Book, which is the Plan of a Capital he calls Angular, that being plac'd upon the Column of an Angle renders a face of two sides, by which it preserves the same aspect with the rest of the Capitals which are on the Wings and Front of the Structure.

CHAP. XXVI. Of the Corinthian Order.

THE highest degree of perfection to which Architecture did ever aspire, was erected for it at Corinth, that most famous and formerly most opulent and flourishing City of Greece, although at present there hardly remains any footsteps of the grandure which rendered it even formidable to the people of Rome it self, but which was also the cause of her ruine: For this Nation impatient of Competitors, on pretence that the Corinthians had done some displeasure to the Ambassadors which she had sent, took occasion of denouncing War against her; so as the Consul Lucius Mummius going thither with a great Army reduced their City to Ashes, and in one day destroyed the Work of more then nine Ages from the period of its firth foundation.

It was from thence that our Corinthian Order assumed its Original; and although the Antiquity of it be not precisely known, nor under whose Reign that Callimachus lived, to whom Vitruvius attributes the glory of this excellent Production; it is yet easie to judge by the nobleness of its Ornament, that it was invented during the magnificence and splendor of Corinth, and not long after the Ionique Order to which it hath much resemblance, the Capital onely excepted; for there's no mention that Callimachus added any thing of his own besides that stately Member.

Vitruvius in the first Chapter of his fourth Book reports at large upon what occasion this ingenious Architect form'd the Idea of this great Master-piece which hath born away the Palm of all Architecture, and rendred the name of Corinth immortal: And though the History which he there mentions may appear somewhat fabulous in the opinion of Villalpandus, who treats also of this Capital in his second Tome Lib. V. Chap. XXIII. nevertheless it were very unjust that the particular conceit of a modern Writer should prevail above the Authority of so grave an Author. Let us see then what Vitruvius sayes of it.

A Virgin of Corinth being now grown up, fell sick and dyed: The day after her Funeralls her Nurse having put into a Basket certain small vessels and trifles with which she was wont to divertise her self whilst she lived, went out and set them upon her Tomb, and least the air and weather should do them any injury, she covered them with a Tyle: Now the Basket being accidentally placed upon the root of an Acanthus, or great Dock, the herb beginning to sprout at the spring of the year and put forth leaves, the stalks thereof creeping up along the sides of the Basket and meeting with the edge of the Tyle (which jetted out beyond the margine of the Basket) were found (being a little more ponderous at the extremes) to bend their tops downwards, and form a prety kind of natural Voluta. At this very time it was that the Sculptor Callimachus (who for the delicateness of his work upon Marble, and gentileness of his invention was by the Athenians surnamed Catatechnos, (that is to say, Industrious) passing near this Monument, began to cast an eye upon this Basket, and to consider the pretty tenderness of that ornamental foliage which grew about it, the manner and form whereof so much pleased him for the novelty, that he shortly after made Columns at Corinth resembling this Model, and ordained its Symmetries distributing afterwards in his Works proportions agreeable to each of its other Members in conformity to this Corinthian Mode.

You see what Vitruvius reports: But Villalpandus who will needs give this Capital a more illustrious and antient Original, pretends that the Corinthians took it first from the Temple of Solomon, of which God himself had been the Architect; and the better to elude what Vitruvious but now taught us, would make us believe, that the Capitals of the Acanthus were rarely used by the Antients, who were wont ordinarily to carve them with Olive-leaves; and proves in that which follows by Text out of the Bible, and some other Historians who have given us the description of this divine Architecture, that the true Originals of the Temple were of Palm-branches bearing Fruit, to which the leaves of the Olive have a nearer Correspondence. The Design which we shall hereafter describe with the whole Entablature of the Order, drawn precisely according to the measures which Villalpandus has collected, and which I have expresly followed, without regarding the Profile which he has caused to be engraven, will better discover that I know not how to decry the beauty of this composition: In the mean time, to be constant and preserve my self within the terms of the Corinthian Architecture which has been practised by those great Masters of Antiquity as well Greeks as Romans, and of whom there yet remain such wonderful foot-steps and even entire Temples which may serve as so many express and demonstrable Lectures of the Proportions of this Order; I have made choice of one of the most famous amongst them, to which I totally conform my self without any respect to the opinion of the modern Authors; seeing they ought to have pursud the same Paths, and regulated themselves with me upon these Original Examples.

The Rotunda (heretofore called the Pantheon) having ever obtained the universal approbation of knowing persons, as being the most regular Corinthian Work, and indeed the most famous among all the remainders of Antient Rome, appears to me to be the very best Model which I could possibly make choice of, though there are indeed others to be found which are much richer in ornaments, and of a beauty more elegant: But as our Gusts do generally differ, I have preferred mine own, which rather affects things solid and a little plain, for that indeed to me they appear fullest of Majesty. Nevertheless, for as much as 'tis sometimes necessary that an Architect accommode himself to the Persons humor which employs him; and for that one meets with occasions where magnificence is proper, as in Triumphal Arches, Kings Palaces, Temles, and publique Bathes which were much in use among the Antients, and in divers the like ample Structures, where splendour and profusion are chiefly consider'd, I will produce some examples of the most renown'd of Antiquity, the first whereof shall be that great Relique of the Frontispiece of the Torre di Nerone so call'd, which has been demolished within these late thirty years, to the great reproach of this Age, by the avarice of some particular Persons.

This was one of the rarest pieces of Antiquity, as well for the beauty and richness of its ornaments, as for the composures of the members of the Order, which even in Paper it self appears bold and terrible; the judicious Architect of this work very well understanding how to introduce a Grandure of manner into his design, which should equal that mass of stones he heap'd up and contriv'd into the structure of this Gigantique Edifice, whereof the Columns contained six foot diameter.

It is not precisely known who it was that caused it to be built, nor yet to what purpose it served: Some imagine it was a Temple erected by the Emperor Aurelianus and dedicated to the Sun: Others that 'twas onely a particular Palace. The vulgar have a Tradition that Nero rais'd it of that height to behold the Conflagration of Rome, which is very improbable, as being too great a work to have been accomplished in so short a time: But whatever it were, certain it is, that it has been the most magnificent and goodliest Order of Corinthian Work which all Rome could boast of, as one may well perceive by the design which I shall present you of it after that of the Profile of the Portico belonging to the Rotunda, being the Model on which I regulate the Proportions of the Corinthian.

The ensuing Design is a simple representation of the History of Callimachus which I but now reported, and is placed here onely for Ornament-sake.

CHAP. XXVII. A Corinthian Profile taken from the Portico of the Rotunda at Rome.

THE whole height of the Order from the Base to the Cornice amounts to three and twenty Models and two thirds, whereof the Column with its Base and Chapter contains nineteen, and the Entablature four and two thirds; so as the whole Entablature (which is the Architrave, Freeze, and Cornice) makes a quarter of the Column: And albeit it may seem reasonable to follow the opinion of some Authors, who allow him but a fifth; yet we find, that the most famous of the Antique, for example, this frontispiece of Nero, and the three Pillars of Campo Vaccino at Rome, which in the judgment of Architects pass for the noblest reliques of Antiquity, challenge an entire fourth part for their Entablature: Upon this account, I conceive it safest to preserve our selves within the limits of our Example from the Rotunda, lest endeavouring to render this Order more spruce and finical, it become in fine but the more contemptible.

Behold here its composition in general, and the proportions of the principal Members, of which the Model is ever the Semidiameter of the Column, divided into thirty Minutes.

The entire height of the Order contains twenty three Models and two thirds, which amount in Minutes to—710

The Base has one Module precisely—30

The Shaft of the Column fifteen Modules and two thirds, wanting two Minutes—468

The Chapter contains two Modules and a third onely—70

The Entablature, viz. Architrave, Freeze, and Cornice four Modules, and two thirds, two Minutes over;—142

Concerning the small divisions of each part, it would be too tedious and indeed superfluous to specify them here, since the Design demonstrates them more intelligibly.

I have towards the end of the second Chapter of this Book taught how one should make the Calculation of an Order for the examining the Proportion which the Entablature bears with its Column, and thereby to see if it hold regular: It would be no loss of time to the Reader did he make proof of his skill upon every Profile: But I advise him before hand that there are three different Proportions all of them beautiful, and which may very well agree with this Corinthian Order: That is to say the Fourth, as in this and the following Profile; The two Ninths, which are the mean Proportions of the fourth to the fifth, as in the third Profile taken from the Baths of Dioclesian: and lastly the fifth, as in the Profiles of Palladio and Scamozzi not so frequently encounter'd amongst the Antients.

CHAP. XXVIII. The Elevation in Perspective of an excellent Corinthian Profile, which was in the Frontispiece of the Torre di Nerone at Rome.

ALthough this piece of Architecture were one of the most magnificent of all Antiquity, as well for the excellency and the richness of its Ornaments, as for the stupendiousness of the Work; yet could I never certainly learn what kind of Structure this should have been, nor indeed under whose Reign it was built; Some reporting it to have been a Temple dedicated to the Sun by the Emperor Aurelian; Others, that it was onely a private Pallace built by Nero, in which he plac'd that extravagant Coloss of Brass which fixt a non ultra to the folly of the Sculptors of that Age, who out of a sacrilegious profanation of their Art would deifie the Emperors, by erecting Statues to them of a prodigious grandure, as they did heretofore to the Gods to whom this honour was of right to be reserv'd. Andrea Palladio conceiv'd it to have been a Temple of Iupiter; some others conjectur'd that it might be a Palace of the Cornelia's, thus every one had his particular conceit: But since the truth of this question is very indifferent to our Subject in hand which considers onely what relates to Architecture, I shall resign the debate thereof to our Antiquaries.

The Columns were ten diameters in height, every diameter of six foot, which being of so excessive a bigness as transcended whatsoever had been built at Rome either before or since it, inclines me to believe it might indeed be some work of Nero's. The Composition of the Profile in general is of an excellent Idea, and each member sufficiently regular: For the rest, I thought fit to present it in Perspective, to shew the stupendious effect of this manner of design, which even upon paper it self, and without at all exceeding the limits and proportions which the Art has prescrib'd, presents to the Eye a kind of astonishing grandure, proceeding partly from the extraordinary projecture of the Entablature, whose Corona carries its jette a great way beyond the Modilions, and which indeed makes the Columns to appear a little weak and surcharg'd: But the Architects had provided judiciously for it, by making use of that manner of Columniation which the Greeks have termed Pycnostylos, where the Pillars are set very near to one another.

Now for that those who have only made their studies of Architecture but from simple Profiles, may wonder to see here some of the Members extraordinarily distant from their accustom'd proportion; I advertise them that it proceeds from an effect of the Optiques, which never presents things precisely to the Eye, but diversifies them according to the various aspects and distances from whence they are beheld; and the parts which thence receive a more sensible alteration, are such of them whose superficies is most flexuous and circulary, as the Gula or Ogee which composes the Crown of the Cornice, which being seen from beneath, and more advanc'd upon the Plan, receives a considerable access of height: The same reason also makes the Column to diminish, as being set further within the Plan then any of the rest of the Members.

CHAP. XXIX. Another Corinthian Profile exceedingly enrich'd and full of Ornament, taken from Dioclesian's Baths at Rome.

AFTER this Corinthian Example we are no more to expect any thing rich in Architecture, but it belongs to the judicious onely to put it in practise, for the abundance of Ornaments is not always to be esteemed, nor of advantage to a building; On the contrary unless the Subject oblige one to it by considerations very powerful, one should never be too profuse, since they but disturb the proportions and produce a confusion among the Parts which offends the eye of those who are truly knowing, and carries a certain antipathy to the very name of the Order.

It is not therefore to be employed but in great and publick Works, Houses of Princes, and such Palaces as are built for magnificence onely; as were heretofore at Rome the Bathes of Dioclesian of Antoninus, and Trajan whereof there are yet to be seen such goodly remainders, and from whence this Profile had been taken notice of and design'd by that famous Architect Pyrro Ligorio in the year 1574; since which time these great Theaters of Architecture have been dismantled of sundry of their Columns with their ornaments, and of a number of other incomparable pieces, whose Designs I have from the hand of several Masters who had there made very curious and profitable observations from many noble things which are now no more to be found.

The Diameter of the Columns of this Profile amounted to four Palmes; The Chapter had this in particular, that its stalks and flexures of the leaves were made in the form of Ramms horns, but the rest after the ordinary proportions and foliage. In summ, the whole Ornament in general was so artificially elaborated, and finish'd with that affection and politeness, that Pyrro Ligorio having accomplish'd the design, writ this underneath it, That by the delicateness of the work, one would believe, the Sculptors had wrought with their Tools persum'd.

The Proportions of the Order.

The Column together with its Base and Chapter has twenty Models, which reduc'd to Minutes (thirty whereof make a Model) amounts to—600

The Architrave hath a Model and one Third—40

The Freeze in like manner one Model and a Third—40

The Cornice two Models within eight Minutes—52

The whole Entablature amounts to two ninths of the height of the Column, which is a noble proportion, and shews handsomely in work.

CHAP. XXX. A Corinthian Profile of the Temple of Solomon out of Villalpandus.

BEhold here a kind of Particular Order, but of an excellent Composition, which though I dare not affirm to have been precisely the same Profile with that of Solomon's Temple (the Model which I propose to my self) yet as near as one can approach to that divine Idea from its decription in the Bible and some other famous Histories mention'd in that great work of Villalpandus where all the ornaments and principal proportions of each member are exactly specified, I conceive it to be sufficiently conformable. The composition is perfectly Corinthian, though the foliage of the Capital and its Cauliculi or branches are of Palmes, and the Freeze of the Entablature have borrow'd the Dorique Ornament which are the Triglyphs whose solidity bears but little conformity with the tenderness of the Corinthian: But by what ever name you will call this Order (notwithstanding that Iosephus affirms it to have been the Corinthian) certain it is, there was never any more perfect: and although the Corinthian be a very soft and maidenly Order, which does not require the strength and virility of the Dorique, symboliz'd by the Triglyphs; yet may one upon certain occasions introduce it with that address and reason, as will not onely render it excusable, but very judicious: For instance, suppose one were to build Churches or Altars in memory of those generous Virgins who from their tender age vanquish'd the cruelty of Tyrants for the defence of Christianity, surmounting all sorts of Torments by their Constancy, What could we imagine more expressive and sutable to their Courage then this divine Order? It may also be proper on some profane occasions, as in Triumphal Arches and the like Structures. In a Word, since it gave Ornament to that famous Temple of Ierusalem, which never yet had equal, we may with reason call it the flower of Architecture, and the Order of Orders.

CHAP. XXXI. Palladio and Scamozzi upon the Corinthian Order.

OF all the Corinthian Examples which I have formerly produc'd for the Rule of the Order expresly chosen from the most excellent pieces of Antiquity, there is not one of them of the proportion which these two Masters here observe, who make their Entablature but of a fifth part of the Column: However when I consider their great reputation (particularly that of Palladio, whose Works even emulate the best of the Antients) and the reasons which they alledge for discharging the Columns proportionably as they are weakned by the altitude and diminution of their Shaft, according to the delicateness of the Orders, I can neither contradict their judgment, nor blame those who would imitate them; though my own Maxim be ever precisely to conform my self to the Gusto of the Antients, and to the Proportions which they have establish'd.

Palladio makes his Column but of nine Diameters and an half, that is to say, of nineteen Models; so as the difference of the height observ'd betwixt his Entablature and that of Scamozzis proceeds from Scamozzis Columns being of ten Diameters which is likewise an excellent Proportion, and indeed more usual then the other among the Antients.

CHAP. XXXII. Serlio, and Vignola upon the Corinthian Order.

MEthinks I see here a Giant next a Pigmy, so monstrous is the disproportion 'twixt these two Masters; and the reason of this so extraordinary inequality proceeds from two Causes; Whereof the first is, that Serlio allows to the Entablature of his Profile but a fifth part of the Column, whereas Vignola makes his own of an entire quarter, and exceeds even that by some Minutes: The second is, That Serlio following Vitruvius, makes the altitude of his Column but of nine Diameters, and Vignola gives his ten, the same which I formerly observ'd in the Ionique Order, where we met the very same inconvenience. But albeit the difference of these two Profiles be in general very considerable; yet coming to the particulars, what we find in their Capitals is of greater consequence, since we must of necessity condemn that of Vitruvius prescrib'd in his fourth Book towards the end of the first Chapter; there being no reason to preferr it alone to a number almost innumerable of most excellent Models which remain of Antiquity, amongst which we meet with none in the same terms to which he has reduc'd the height of his own; unless it be that out of respect to this grave Author, who is indeed worthy the reverence of all those of the Profession, and to avoid the invidious name of Critique, we should choose a gentler way, which is to elude the question after their examples, who having already observ'd the same mistake before us (either in effect or out of modesty) believ'd the Text to have been corrupted in this place as well as in divers others where the alteration is manifest; so as assisting the sense a little one may suppose that Vitruvius designing the height of the Corinthian Chapter by the largeness of the Diameter of its Column, he should not have comprehended the Abacus, which is the sole ambiguity of this Passage, and which indeed deserves correction, or to be otherwise understood then Serlio comprehends it.

CHAP. XXXIII. Daniel Barbaro, and P. Cataneo upon the Corinthian Order.

OF all the four Orders of Architecture describ'd by Vitruvius (for he speaks not a Word of the Composita which is the fifth) This of the Corinthian appears to me to be the most slightly handled, considering the nobleness and magnificence of its Inventors, who having spar'd no cost to render it rich and excellent beyond all the rest, were not likely to borrow any thing from those amongst whom they were ranked. I conceive that Vitruvius therefore at the beginning of his fourth Book had no reason to affirm, that they used to employ the Entablature and the Ionique, and sometimes even the Dorique Column also, without any other addition save the Capital of their own invention; since by the antient Examples of this Order we find the contrary: But the R. Daniel Barbaro his Commentator whose design is before us, is by no means to be blamed for it, whose province was onely to express the meaning of the Master whom he explained, and of which he has very worthily acquitted himself.

He has therefore fitted an Ionique Entablature to this Corinthian Profile, forming the Capital of Acanthus-leaves conformable to the description and history of its original mention'd by Vitruvius. I would not for all this advise any Workman to make use of this Composition; without first considering the relative proportion which the Entablature ought to have with the whole of the Order, a thing that I find is here extremly changed and a great deal less then it should be, by reason of the considerable height which the Column has received by that of the Corinthian Chapter, which is two thirds higher then the Ionique; but this is remedied by enlarging the Freeze, and by adding some new Moulding to the Cornice 'twixt the Corona and the Dentelli, as a quarter of a Circle of so, to carve the Eggs and Ankers in.

The Design of Cataneo has nothing in it remarkable, unless it be the extravagant Projecture which he allows to the fillet of his Dentelli, as we also find it in the Design of D. Barbaro: They have both in this followed that Maxim which regulates the Projecture of every member to its height, but this rule is not alwayes to be received.

What I have said in the precedent Page touching the height of the Capital according to Vitruvius would here be superfluous to repeat: It may therefore serve both for this, and for all the rest that follow being of the same Species.

CHAP. XXXIV. L. Baptista Alberti, and Joseph Viola upon the Corinthian Order.

I Shall here need onely to examine the design of Alberti, That of his Companion Viola being but an imitation, or rather a perfect Copy after the Profile of Palladio, which we have seen already, and to which I referr the Reader as to its Original.

As touching that of L. B. Alberti, I find two remarkable particulars in his design which seem worthy of reprehension: The first is the low proportion of the Capital, which is onely pardonable in the followers of Vitruvius, for we find no Example of it amongst the Antients since even he himself imitates a Manner both greater and more noble then the Vitruvian: The other observable is in his Cornice, to which he has given no Corona though it be a member so essential and one of the principal in the Entablature: But though this liberty be somewhat bold, and perhaps blame-worthy, yet remains there one considerable Example at Rome, in the Cornice of that famous Temple of Peace built by the Emperour Vespasian, being one of the greatest and most superb Reliques of Antiquity.

The face likewise of the Modilions seems to me of the largest, and besides that the Foliage which domineers in the Freeze holds not sufficient conformity with the Cornice, as too simple and plain for so rich an Ornament: But the remedy is at hand by adding a few Leaves or other Carvings on the Cymatium's of the Cornice and Architrave, with Eggs upon the quarter round; unless it be that you would rather save that work by abating somewhat of the Ornament of the Freeze: There will yet remain this Objection still in the design; That the Author resolving rather to fix upon the Capital of Vitruvius then on those of the Antients, he ought not to have carv'd them with Oliveleaves; since Vitruvius does expresly order them of the Acanthus.

CHAP. XXXV. Bullant, and DeLorme upon the Corinthian Order.

I Should do an injury to one of our prime French Architects Iohn Bullant by name, if by the Examen of this Prefile I should rank him with those of the School of Vitruvius, since he has after this given us others of a nobler form, which he has copied from the Antients; but not finding him so perfectly exact in the measures which he assigns them, I therefore omit 'em: He appears in this design to have imitated Serlio, and indeed the difference between them is very inconsiderable: notwithstanding I observe something in this of more refin'd, as the Projecture of the Dentelli (or rather of the plain fillet on which they should have been cut) which is extremely regular, whereas Serlio's is excessive, besides the impertinent repetition of a small Ogee, which is thrice within the space of the Cornice onely, but which Iean Bullant has had the discretion to diversifie: He also gives his Capital more grace, the leaves and branches whereof are better shaped.

I could have wish'd for conclusion of our Corinthian Order, that De Lorme had left us a more regular Design, and of a better relish: But the good man, though very studious, and a lover of the Antique Architecture, had yet a modern Genius, which made him look upon those excellent things of Rome as it were with Gothique Eyes; as appears plainly in this Profile, which he pretends to be conformable to those of the Chappels of the Rotunda. For the rest, his style is so exceedingly perplex'd, that it is oftentimes very difficult to comprechend his meaning: The Reader will smile to see how he explains himself on the subject of this Cornice ('tis in the fourth Chapter of his sixth Book) For having cited all the measures of each part, piece by piece, he sayes, that as to the height of the Architrave, he had divided it into three and forty parts and an half, to give every thing its proportion, but that not falling out as it ought, hes resolv d to speak no more of it; and these are his very termes: As to the Base of this Profile, I have taken it from the end of the second Chapter of the same Book: And albeit its proportion be very extraordinary, he affirms yet to have design'd and measur'd it from certain Vestigia's very antique (these are again his own expressions:) You may likewise take notice that the stalks or Cauliculi under the roses of the Abacus rise too high in this Capital: In summ, the Talent of this Architect, who has for all this acquir'd a great deal of reputation, consisted chiefly in the contriving and surveying of a Building; And intruth his chief perfection lay more in the art of squaring stones then in the Composition of Orders; and of this he has indeed written with most advantage and at large: But since him, and that very lately, the Sieur Desargues of Lyens one of the most exquisite and subtile Geometricians of this Age, whose Genius delights to render familiar and useful the most excellent speculations of that Science, has exalted that Art to a much higher perfection.

CHAP. XXXVI. The Orthography of one of the Altars of the Rotunda.

NOT to leave the mind of our Reader altogether intangled amongst the Moderns, and happly also deviating from the right path of Architecture, I am presenting him with an Example from the goodliest Temple of Antiquity, which is one of the Tabernacles now standing in the Rotunda; that so he may return and be again reduc'd to this noble and perfect Idea of the Art which I have still been proposing to him in my fixd discourse before every Order by the like Examples; upon which, as upon the most permanent and immovable foundations, he ought to fix and establish his Studies: For, compar'd to this, the writings of the Moderns are but loose Earth, and illbottom'd, upon which one can erect nothing that is substantial; and solid: But having already sufficiently treated of the Modenatures and Proportions of the Corinthian Orders, and that the Design which I here propose is too little for the precisely measuring of each member, I shall only touch two or three particulars here which more import the general composition of the Design then the regularity of the Order; The first whereof is, That its now become as it were the mode, I should say rather an universal madness, to esteem nothing fine, but what is fill'd and surcharged with all sorts of Ornaments, without choice, without discretion or the least affinity either to the Work or the Subject: so as the Composition of this Altar would be esteem'd very mean in the opinion of our small al a M de Masters, who to enrich it, would in lieu of the single Column which at each side sustains the Frontispiece, make a pile of four or six and happly of more, with two or three accumulations of Mouldings in the Cornice to break the Order and exact evenness of the Members, whose regularity is anxious to them: One Fronton would be likewise too few for them, they add frequently two and sometimes three, and that one within the other; nor do they think it fine unless it be broken, carv'd and frett with some Escutcheon or Cartouch at least: Nay even the Columns themselves which are the props and foundation of the Orders scape them no more then the rest; for they not onely abuse and counterfeit them in their Capitals and Bases, but in their very Shafts also: 'Tis now esteemed a Master-stroak to make them wreath'd and full of rings, or some other capricious ligatures about them, which make them appear as if they had been glew'd together and repair'd: In fine, one may truly say, that poor Architecture is very ill-treated amongst them: But it were not just to impute this great reproach to our French Work-men onely; The Italians themselves are now become more licentious, and she us plainly that Rome has at present as well her Moderns as her Antiques.

The End of the FIRST PART.

A PARALLEL OF THE ANTIENT ARCHITECTVRE WITH THE MODERN. The SECOND PART.
CHAP. I. Of the Tuscan Order.

It is an abuse so visible in the Architecture of the Moderns, their confounding the Greek Orders amongst the Latine, that I am astonished at the general inadvertency of so many Authors, as treating of their Symmetries, and the Particularities of their Proportions, have so dispos'd of them as plainly discovers how ignorant they were of their Proprieties and specifique differences, without which it is so very difficult to make use of them judiciously.

I had already hinted something in the Preface of the First Part of this Treatise, to prepare the Reader for the new Order which I am here observing; but which being contrary to the vulgar Opinion and current Practice will have much ado to establish it self, and doubtless provoke many Adversaries. But since the foundations of this Art are principally fixt upon such Examples of Antiquity as are yet remaining, I hope, that in time my opinion may prevail, seeing I tread but upon their footsteps, and rather demonstrate the thing then discourse of it.

Hitherto all our Architects have generally held that the Tuscan Order was a kind of Building which differ'd from the others but in the plainness of its Mouldings, and solidity of its parts; but in the rest, consisting of the same Members, and of like usage: And truly I should be injurious to condemn it, since Vitruvius has in his fourth Book made a particular Chapter of the manner how to build Temples after the Tuscan Order. Notwithstanding, however one might interpret what he there sayes, it will be found very difficult to invent an handsome Idea of Entablature fit to place upon those Columns: And therefore I conceive that the onely piece of this Order which deserves to be put in work, and that can properly recommend it to us, is the simple Column it self without any Architrave at all, as we find it employ'd by the Antients: For whereas by the ordinary usage of it, 'tis ever rang'd in the last place, These great Masters have assign'd it one wholly independent from the others, and treated it so advantageously, that it may for its beauty and nobleness stand in competition with all the rest of the Orders: Nor will this I presume be denyed, when they shall well have considered that renowned Example which I am producing of the Column of Trajan, one of the most superb remainders of the Roman magnificence to be now seen standing, and which has more immortaliz'd the Emperiour Trajan then all the Penns of Historians. This Mausoleum, if so we may call it, was erected to him by the Senate and People of Rome in recognition of those great Services he had rendred the Countrey; and to the end the memory of it might remain to all succeeding Ages, and continue as long as the very Empire it self, they order'd them to be engraven on Marble, and that by the richest touch that was ever yet employ'd. It was Architecture her self which was here the Historiograph of this new kind of History, and who since it was to celebrate a Roman, chose none of the Greek Orders, (though they were incomparably the more perfect and in use even in Italy it self then the two other Originals of the Country) lest the glory of this renown'd Monument should seem to be divided; and to instruct us also, that there is nothing so plain and simple but what Art knows how to bring to perfection: She chose therefore a Column of the Tuscan Order which till that time was never admitted but in gross and Rusti que works; and of this rude and inform mass made to emerge the richest and most noble Master-piece of the World, which Time, that devours all things, has preserv'd and kept entire to this very Day in the midst of an infinity of Ruines which even fill the City of Rome. And 'tis indeed a kind of miracle to see that the Colosseum, the Theater of Marcellus, those great Circus's, the Baths of Dioclesian, of Caracalla, and of Antoninus, that proud Moles of Adrian's Sepulture, the Septizonium of Severus, the Amphitheater of Augustus, and innumerable other Structures which seemed to have been built for Eternity, should be at present so ruinous and dilapidated, that its hard even to divine what their original forms were; whiles yet this Column of Trajan (whose Structure seemed much less durable) remains extant and entire, by a secret of Providence which has destin'd this stupendious Obelisk to the greatest Monarch that ever Rome enjoy'd, the Chief of the Church St. Peter, who possesses now the Seat of that Emperour to whom it had been erected. But to preserve my self within the limits of my subject, which is onely to give you its description according to the design of the Architect who was the Author of it, I shall leave to such as are contemplative the moralizing on this so wonderful Vicissitude; since it would be here from our purpose, and very impertinent to the Art we are illustrating.

Let us then again return to our Column, and its singular use among all the Orders of Architecture, where the rest of the Pillars do in comparison to this appear but as so many Servants and Slaves of the Edifices which they support, whiles ours is a Queen of that Majesty, that reigning as it were alone she is exalted on the Throne of her Piedestal deck'd with all the treasures of glory, and from whence she as freely imparts her magnificence to all those whom she vouchsafes to look upon: The first and most illustrious of her Favourites was Trajan, upon whose Monument I am now forming an Idea of the Order which I would call Tuscan, without troubling my self with what all the Moderns have written of it, who making no difference 'twixt it and the Rustique do no great honour to the Tuscan while they gratifie him with so poor an Invention: But lest our Criticks take it ill we should name that a Tuscan Order which had its first Original in Rome, let them if they please call it the Roman Order; since they may with much more reason do it then those who so name the Composita of which we shall speak hereafter. For my part I regulate my self upon the Profiles of the Capital and Base, which I here find to be the same Vitruvius attributes to the T scan Column: The most important difficulty in my opinion would be how our Column having no Entablature, could be properly reckon'd in the Catalogue of Orders, that being so principal a Member, and in some degree the very Head of the Order. But the Architect of this our Model well foresaw that something was to be substituted in its place, and so contriv'd it after a most excellent manner: He propos'd doubtless to himself the imitation of those miraculous Memphitic Pyramides which the Egyptians (those divine Wits to whom we are so much oblig'd for many excellent Arts) had formerly erected to the memory and Ashes of their Kings, who from the immense and prodigious greatness of their Tombs one would believe had been Giants, and as it were Gods amongst Men: Their Vrns and Statues crowned the summities of these artificial Mountains, from whence, as from some august and terrible Throne, they seemed to the people reigning after their death, and that with more Majesty then when they liv'd: Our prudent Architect being to render the same honour to Trajan, the worthiest Prince that till then had born the Title of Emperour, and whom the City of Rome did strive to immortalize, reflected seriously upon these stupendious Works, whence he drew this high and sublime imitation which we so admire, and which has since become a Rule, and been follow'd on sundry other occasions: Two most renowned Example of this are yet remaining; The Column of Antoninus at Rome also, and that of Constantinople erected to the Emperor Theodosius after his Victory against the Scythians; which sufficiently testifie by their resemblance to that of our Trajan, that this kind of Architecture pass'd currently for an Order amongst the Masters of the Art, seeing they always employ'd it ever since upon the same occasions, together with Tuscan Profilures both at the Base and Capital: This established, the rest will easily follow, so as not to subject it henceforward to the opinion and diversity of the Gus o's of those the Profession; since we have the Original for our Model to which we ought of necessity conform lest we transgress the terms and regularity of the Order: Now suppose an Architect be on some occasion obliged to introduce, or change any thing in it, as the time and the quality of his design may require; he is yet to proceed with extraordinary circumspection, and without in the least altering the form of the principal Members; in which one shall perceive the address of his spirit, and the gallantry of his invention: This is a Maxim so universal through all the Orders, that without it one should never pretend to give Rules, nor propose indeed any Example for imitation; so naturally obnoxious are our inclinations to novelty, and so blind in our own Productions: See then from what sourse the confusion of that Order sprung which they name the Composita, and which the presumption and ignorance of Workmen has begotten like an extravagant Monster blended with so many natures, and sometimes so averse and contrary that tis impossible to distinguish their Species: I have reserved their full Examen for the conclusion of this Treatise, where I shall make choice of what I meet with of most conformity to the rules of Art and of good Architecture, and where I shall produce some of the most famous Examples of Antiquity, that at least men may have faithful Guides through this Labyrinth of Confusion.

Our Trajan Column which we here substitute in stead of the Tuscan Order, by the Prerogative of its excellent composition has this advantage above the other Orders, that there seldom happning occasions worthy of it; that is to say, such as are particular and noble enough to merit the putting it in practice; Our small Masters incapable of so high an imployment, have spoken nothing of it, and by this means she has remained in her original purity: But the first which was ever made in imitation of it, and that has exceedingly confirm'd the establishment of this new Order, was the Column of Antoninus which is yet very entire, and the onely Paragon to ours, though it concede somewhat to it in the execution and magisterial handling; but in recompence of this it surpasses it in the greatness of its Mass, a thing very considerable in this Order, whose specifique beauty consists in being vast, and of a manner Colossale: for the rest, the Composition and Ordinance of the whole design are very alike.

I will now shew in general the effect and form of the principal members, and of what one ought to be careful in the application of Ornaments, which are to be disposed with great discretion, as being of the very Essence and body of the Order: The first, and as it were the foundation of the whole Structure is the Piedestal, which is here no less necessary then is the Cornice to the Columns of the other Orders; and its proportion though square and solid requires an enrichment of handsome Modenatures, and of all other sorts of ornaments at the Plinth and Cymatium, but above all in its four faces, which are as it were the Tables of Renown where she paints the Victories of those Heroes to whom she erects such glorious Trophies: It is there that we behold all the Military Spoils of the vanquish'd, their Arms, the Machins they made use of in fight, their Ensigns, Shields, Cy neterrs, the harness of their Horses and of their Chariots,; their Habiliments of Warr, the marks of their Religion, and in a word what ever could contribute to the pomp and magnificence of a Triumph: Upon this glorious Booty our Column as on a Throne is erected and revested with the most rich and splendid Apparel which Art can invent; and indeed provided the Architect be a judicious person it cannot be too glorious: I repeat it again that this ought in no sort to alter or in the least confound the Proportions and Tuscan Profiles of the Base and Capital, as being the very keys of the Consort and harmony of the whole Order. The last but principal thing, because is sets the Crown upon the whole Work, is the Statue of the Person to whom we erect this superb and magnificent Structure; This hath an Vrn under his feet, as intimating a renascency from his own Ashes like the Phoenix, and that the Vertue of great men triumphs over Destiny which has power onely over the vulgar.

As to what concerns the regular Proportion of this Figure and Vrn with the altitude of the Column, I can here conclude nothing precisely, this part being repair'd in the Original, and that in a manner too modern and wide of the first intention of the Architect to derive any advantage thence for our subject. It may yet be said with likelihood enough, that since 'tis as 'twere the Entablature of the Order one should allow it a fourth part of the Column as to the Trabeation of the Dorique Order to which this bears a very great resemblance: I conceive also that the Figure ought so to be proportioned by the rules of the Optiques, that it may appear of a size somewhat exceeding the Natural, and of an elegant Symmetry, that so it may be taken notice of above all the rest; but with this discretion yet, that being of necessity to stand on its feet, it appear of a firm position, and that the mass of the Vrn which serves it for Piedestal have a solidness agreeable to this effect: For 'tis a thing greatly obliging in Architecture, to make every thing not only solid and durable, but that it likewise so appear and thereby avoid that Gotique indecorum which affects it as a beauty, the making of their works seem as 'twere hanging in the air and ready to fall upon ones head, which is an Extravagance too visible for us to spend any time in confuting.

By this time I think I have left nothing unsaid which concerns the general Composition of our Column; As for the lesser retail of the Proportions and Profiles of each Member, the Design shews them so perspicuously that 'twere but a childish and impertinent labour to name them over by the piece, as those first Inventors of Painting did, who to supply the weakness of the Art, not yet arriv'd to so natural a representation of the things they imitated, were forc'd to write under them, This is an Ox, a Tree, a Horse, and a Mountain: There will be no need of this here, the effect of the Design having so far exceeded the expression of all words, that it shews us more things in an instant, and that with infinite more preciseness, then could have been described by discourse in a very long time. I will therefore conclude by this rare kind of Language which has neither need of Ears nor of Tongue, and which is indeed the most divine Invention that was ever yet found out by man.

For the rest, you will in my Profile of the Trajan Column perceive with what diligence and exactitude all these things conform to the Original, even to the very least Ornaments, and thereby judge how exceedingly careful I have been in other things of greater consequence. If the Reader be intelligent, and that he have attentively view'd and with a Masterly Eye this rich and incomparable Piece which I describe, the satisfaction he will derive from the accurate Observations I have made and here present him will be proportioned to his ability: For in these particulars our eyes do see no further then our understanding purges them, nor do their admirable beauties reveal themselves at once, nor to all the World in general; They will be curiously observed and discovered with Industry: There are likewise several kinds which every one considers according to the force of his Wit, and as they conform to his Genius: Some there are who seek onely the grace and neatness of Ornaments; Others consider the nobleness of the Work and novelty of the Invention; The most knowing having regard to the Proportions chiefly, and the regularity of the Whole with its Parts, to the judicious Composition, the greatness and solidity of the Design, and such essential beauties as are onely visible to the eyes of the most intelligent Architects; from whence it often falls out, that the same Work in which all these parts are not equally perfect, is very variously esteemed by those of the Profession (for there are but few like this of ours so qualified as to merit an universal approbation,) and the misery of it is, that the best things have for the most part many fewer Admirers then the indifferent, because there are more Dunces then able Men.

The Modul of the following Design, and the Method of deciphering it is the same with what went before; viz. That passing a Perpendicular through the Center of the Column the whole height of the Order, I divide the Semidiameter of the Pillar at the foot in thirty Minutes which compose the Modul upon which afterward I regulate all the Members as well for their height as sailings over and projectures of their Profiles, still beginning by this Central line of the Column, that so the position of each individual part be exactly adjusted and precisely in its place. This is so perspicuous, and has been so oft repeated, that there can remain no possible difticulty.

As to what now concerns the whole Mass, the Column contains seventeen Moduls, comprehending the Base and Capital. The Pidestal with its entire Bassament, Cymatium, and that Zocolo or Plinth above wrought with a festoon (which in my judgment makes a part of it, as rendring it a perfect Cube, of all Geometrical proportions the most regular and solid and consequently most agreeable to this Structure) has in height three Moduls, a very little less: The Base of the Column contains precisely one, and the Capital two thirds of a Modul.

CHAP. II. Palladio, and Scamozzi upon the Tuscan Order.

HAving declar'd my opinion touching the use and form of the Tuscan Order after the manner of the Antients; I will now describe to you after what fashion our Modern Masters have handled it, and in what reputation it is at present amongst all our Workmen, who in regard of the meanness of so poor a Composition surname it the Rustique Order, and that with reason, there being so little probability that the Tuscans would ever own or acknowledge it in so wretched a condition.

Andrew Palladio, of all the Moderns the most judicious, and to whom in this Collection we have assign'd the most eminent place, presents us with two Profiles; One whereof is so plain, that it has onely a Summer of Timber covered with another piece in stead of a Coping and Corona for the Entablature of the Column; and I conceive he imagined it should have no other from what Vitruvius has written of it. But finding this Composition too meanly handled to merit the honour of an Order, this industrious Architect went and search'd amongst the old reliques of Amphitheaters, which are those enormous masses of Architecture where the solidity of the building was more requisite then the spruceness and curiosity of the Orders; till in fine he discover'd in the Arena's of Verona, that of Polo, and other places, a certain Order which he conceived one might call the Tuscan, in imitation whereof he composed this: For he did not tye himself precisely to follow one rather then another; but from many he form'd and ordain'd this, which I have rather chosen then any of the other Masters. That of his Companion Scamozzi might pass tolerably well had he not assign'd him a too great conformity with the Dorique, and so much as once mention'd where he had seen any like it; so as being altogether Modern, and neer as rich in Mouldings as the Dorique it self, it were much better to make use of the Antique; this being in nothing considerable for a building but for its cheapness and the saving of time.

The height of the Column with its Base and Capital is of seven Diameters only according to Palladio: Scamozzi allows to his seven and an half.

The Entablature contains alwayes a fourth part of the Column.

CHAP. III. Serlio, and Vignola upon the Tuscan Order.

WE have seen in the precedent Chapter the Tuscan Order of our Modern Architects in its most advantageous lustre; but methinks it is extremely decay'd here, especially in the Profile of Serlio, where the whole is indeed too plain and particular, being the only Person who has allow'd to every member of the Order in general, Base, Captial, Architrave, Freeze and Cornice a like altitude; this equality being here but a false kind of Proportion, and wholly repugnant to what Architecture has borrowed from the Optiques.

Vignola has in this respect proceeded more rationally, adding to each Member what it might diminish of its magnitude by the distance from the Eye; and therefore he has made the Cornice somewhat higher then the Freeze or Architrave.

Serlio allows his Column but six Diameters; though Vitruvius (whom he alwayes strives to follow) gives it seven in his Chapter where he treats of building Temples after the Tuscan manner, which is the seventh of his fourth Book.

Vignola, as to what imports the Column, conforms himself to Vitruvius; but for the mouldings of the Capital and Cornice is governed wholly by his particular fancy.

The Entablature both in the one, and the other of these two Profiles consists of a quarter of the Column.

To the READER.

'TWERE altogether a fruitless study, and but labour lost to continue any longer in quest of this Order after other Architects besides those four whose Designs I have lately produc'd: I am therefore resolv'd to proceed no farther; considering withall, that those who remain, are (for the most part) of Vitruvius's School, from whence it is exceedingly difficult to collect any thing more essential to the Tuscan Order then the meer simple form of the Base and Capital which are already describ'd in the Profile of Serlio, whereof the repetition would be but superfluous. As to what concerns the Entablature, since there remains extant no antient, well-confirm'd, and positive Example, nor indeed so much as any intelligible description of it in the writings of Vitruvius, I shall make no great reckoning of their Inventions. I have likewise observ'd, that Leon Baptista Alberti (the very best of those which remain after Daniel Barbaro) has spoken of it but cursorily onely, as in truth making no account of it, and without giving us so much as a Profile. As little does he esteem of the Composita, of which Vitruvius too has been altogether silent.

CHAP. IV. Of the Compounded Order.

THE Compounded Order which has hitherto obtain'd the first rank amongst the Moderns, will find it self extremely debas'd in this severe and exact review which I have made upon the five Orders; and where (without at all regarding the opinion of the Vulgar, and the judgment of others that have written before me) I value nothing unless it be conformable to some famous and antient Example, or to the Precepts of Vitruvius that Father of Architects; that so (if possible) I may at last reestablish the Art on its genuine Principles, and original purity from whence those licentious Compositions of our late Workmen have so exceedingly perverted it (under the pretext, forsooth, of this fain'd Name of the Compounded Order) that there hardly remains so much as the least Idea of regular Architecture in it, so strangely have those Orders which contributed to it degenerated into confusion, becoming even barbarous themselves by this their extravagant mixture. But as 'tis a thing very difficult to subdue and reduce some spirits to their devoire when once they have taken a bent and are abandon'd to libertinism; so nor do I pretend to gain any Disciples, or be so much as heard by those who have thus presumptuously taken upon them to be Masters, because they are either grown too old in their deprav'd gusto, or ashamed to acknowledge their mistake; resolving rather to perish in their opinion by obstinately defending it, then be so ingenuous as to reform it. I address my discourse then to those Persons onely, who having not as yet their imaginations preposses'd preserve their judgment more entire, and are better dispos'd to discern those charming beauties and originals of the Antient Architecture, acknowledg'd for so many Ages, confirm'd by such a multitude of Examples and so universally admired. Now for as much then as it is a thing of main importance that we season our young spirits with an early tincture, and begin betimes to settle in them these Idea's, I do ever at first propose to them the same Models that have been left us by those great Genius's, as so many Pilots and Compasses steering the direct Course to the Art, and saving them from that propension which they naturally have to novelty, the very rock and precipice of the first inclinations of the French, which being once over-pass'd, reason does then begin to take the helm, to conduct and let them see Things such as they ought to be, that is to say, in their Principles, without which it will be altogether impossible to acquire more then a very ordinary and superficial comprehension of them; and those who travel by any other path grope like blind men in the dark, and walk insecurely, without ever finding any real satisfaction in their Work: For the vain complacence of ignorant men, be it that they take it from themselves (as commonly they do) or that it be deriv'd to them from such as are like them, 'tis so empty and false a joy as it oftentimes turns to shame and confusion; whiles the true and solid praise which is attributed to the merit of knowing Masters, and the excellency of their Workmanship, is never obnoxious to this self-deception. Now how little soever it be a man possesses of the Idea of this high manner of the Antients and the greatness of their thoughts, he shall soon perceive the meanness and impertinency of our Modern Compositions, when in the midst of so many Examples of the incomparable and onely Architecture of the Greeks, which was the ornament and splendour of the Antient Rome (whose very Ruines and Vestigia's render her yet august above all the Cities of the World) these wretched and trifling spirits indigent in the midst of so great abundance, depart from the right way which these great Masters have opened to them, taking a devious path to pursue an abortive of Architecture, or the evil Genius of the Art rather, which has introduc'd it self amongst the Order under the Title of Composita, the favour of mens ignorance, and the indiscrect presumption of I know not what pittiful new Architects, who have made it their Foolsbauble, and clad it in so many apish and capricious modes, that 'tis now become a ridiculous Chin era, and like a Proteus not to be fixt to any constant form; so as it would be altogether labour in vain, an idle and folish enterprise for us to search after it here through all its wild and unlimited extent, since it has neither Rules nor Measures, Principles, Species, nor particular Propriety, and so by consequence not to be comprehended under the name of an Order. It would in truth (in my opinion) be necessary for the good of the Art, and the reputation of Architecture, that this Monster were altogether smother'd, and that some more pertinent and specifique name were given to those excellent Profiles which we encounter amongst some Antiquities of the grand Design which (from I know not what Tradition) are called of the Compounded Order; a Name altogether novel, not so much as once mentioned by Vitruvius, and which is in earnest too general and uncertain to sute with a regular Order: and that since they referr the glory of its invention to the Romans, it were much more proper to call it the Roman or Latine Order, as Scamozzi has judiciously enough done, and moreover observ'd, that its Capital (by which alone it differs fome the Corinthian) is of a more massy and less elegant Composition, whence he conceives this Order should not be plac'd upon the Corinthian, left the weak be burthened with the stronger: to which he might also add, that they can never consist well in the same work together, as I have elsewhere demonstrated, and this is so perspicuous that it admits of no possible extenuation: however those who would take advantage of this evil practice and abuse of the Moderns to do the contrary, might have a way to escape by this Asinine-bridge: For the importance is very inconsiderable in comparision to that unbridl'd licence which now-a-days reigns amongst our Compositers of the Composita, who not onely change the rank of the Orders, but reverse and overturn even all their Principles, undermining the foundations of true Architecture to introduce a new Tramontance more barbarous and unsightly then even the Gothique it self. But to all this let us reply (in confusion of its Inventors) That an Architect should no more employ his industry and study in finding out new Orders, to set a value upon his Works, and render himself an able man; then should an Orator, to acquire the reputation of being Eloquent, invent and mint new Words that were never yet spoken; or a Poet compose Verse of another cadence and measure then what are prescrib'd and are in use; this affectation being altogether puerile and impertinent: Or, admit one would upon some occasion take any such liberty, it ought to be with that discretion, and so to the purpose, that the reason thereof should to any one appear immediately: Thus it was the Antients made use of it, but with so great caution, as that they have confin'd their entire licence to the sole form of the Capital, of which they have devised an hundred gentile Compositions, and to some subjects peculiar, where they succeeded incomparably, and out of whose limits one cannot (without manifest impertinency) employ it in any work whatsoever. I will therefore choose two or three Examples amongst a good number of Designs which lye by me of that most famous Pyrro Ligorio, found out and observ'd by him in several places of Italy with a diligence inestimable. But let us first conclude our prime Subject, which is to form the Roman Composita, and make of it here as regular and precise an Order, as any of the former Four. I propose (for this effect) two antique Profiles, both of them excellent in their kinds; one very rich and full of ornament taken from the Arch of Titus at Rome; and the other much plainer indeed, but great and proud, being that of the Arco de Leoni at Verona.

If these two Instances suffice not our Reader, he may make his election of others more to his liking, or fix upon any of those who best pleases him of the Author's following, which I have therefore expresly collected together, and amongst which I acknowledge my particular esteem for Palladio.

CHAP. V. A Profile Composita taken from the Arco de Leoni at Verona.

BEfore I propose this Composita for Model, I shall first endeavour to prevent and elude certain Objections which our Critiques may possibly raise, lest they impute it to my inadvertency should I pass them by in silence. The first is, That the Cornice is defective, for want of the Corona: The other is the naked placing of the Dentelli, without any separation on the Freeze: Thirdly, the excessive height of the Freeze: And lastly, that the three Faces of the Architrave are all inverted from the ordinary position: And finally, that the Plinth of the Base is a great deal too high being compared with the rest. To all these Objections I might reply in a word, that in a business of Architecture the reason is allowable since I produce an antique Example, universally approv'd and such as this is: Besides I add, that the very name of Compounded seems to inferr a kind of Liberty, and that therefore an Architect might sometime justly be permitted to take it, as occasion may suggest, either by introducing into the Order or retrenching from it what he thinks most conducible and proper to his Design; provided it be discreetly manag'd, as it has been judiciously observ'd in this Profile, where the Author being to make an extraordinary large Freeze for the more commodious placing of many Figures which concernd his subject, would spare from the Cornice what he had usurped of more then the regular proportion of the Freeze did permit him. To this purpose it was he cut off and abated the Corona, though in truth a considerable Member, but which is yet (as far as I can collect from other Instances) not absolutely necessary; since in the Temple of Peace at Rome (one of the most stupendious works of Antiquity) the Cornice though Corinthian has no Corona at all notwithstanding that the Architect had the field so open before him. And L. Baptista Alberti (whose authority is greatly prevalent amongst our modern Masters) without other reason for it then that of his own gusto, has given none to his Corinthian Order. Now as concerning the Compartiment of the Swaths and Fascie of the Architrave, whose position here seems somewhat preposterous, 'tis (to speak seriously) a little extraordinary, however I well remember to have seen others which were like it, and Palladio produces us one Example of it towards the end of his fourth Book taken from a Temple of Polo in Dalmatia, of the Corinthian Order, the Architecture whereof is exceedingly rare and antique; and there I also find that the Base of the Column hath a Plinth likewife of an excessive thickness, as indeed ours has, which supplied the place of a Zocolo. Thus you have both reason and example sufficient for the answer of every objection. But from hence one may also judge, that this Profile should not be employ'd in work without extraordinary discretion, and indeed some kind of necessity. That which I shall produce in the following instance is more regular to particulars, and by consequent more agreeable to all forts of Works: But the general Proportion both of the one and other is sufficiently equal. The Column it self has ten Diameters, and the altitude of the Entablature amounts to a fourth part of the Column.

CHAP. VI. A Profile of the Composita taken from the Arch of Titus at Rome.

THE incomparable Idea of this Composita, and the richness of its Ornaments makes me conjecture that the Inventor thereof might possibly accompany Titus at the expedition and siege of Ierusalem; and that it was there he had contemplated the divine Architecture of the Temple of Solomon, in imitation of which (though in a very slender Copy, compar'd to that miraculous Edifice, and especially in a different Order) he would shew how studiously he had consider'd it. This conjecture of mine has for its foundation that the Triumphal Arch from whence I have drawn it is the very same which they erected to the glory of that Emperour at his return from that famous enterprize: And the Architect who happly contriv'd the Ordinance, and the whole Preparation of the Day of Triumph, judiciously introduc'd into his work (which was to make the most noble and lasting part of it) the Figures of the principal Spoils of the Temple, as that of the Golden Candlestick with its seven Branches which stood in the Sanctuary, and the Golden Table upon which was set the bread of Proposition together with some other Utensils to this day extant in the Work.

Moreover the Arch has this considerable amongst others yet remaining of the Antients, That 'twas the first and very Original of this kind of Structure; and albeit there have been since made some more sumptuous for greatness of bulk and magnificence, this is yet of a better hand, and more exquisite Workmanship then any of them.

I give you the Elevation in Perspective as well to gratifie the Curiosity of those who affect this Art, as that I may also contribute something to the beauty of the Design; and besides that such as never saw the Original, may in some sort judge of the Effect which it produces.

CHAP. VII. Palladio, and Scamozzi upon the Composita.

ANdrea Palladio proposing this Profile of the Composita, which he also names the Latine Order (to make it specifically differ from some others which bear the same appellation) gives us a general Maxim for its proportion, which is to make it resemble the Corinthian, the form onely of the Capital excepted. And though he add that this Order ought to be somewhat more deck'd and gay then the Corinthian, 'tis to be understood in reference onely to those who allow the Corinthian Column but nine Diameters (as himself does) whereas this should ever have ten.

Scamozzi's Profile has not so good a grace as that of Palladio, nor is it indeed so exact in the regularity of its Entablature with the Column, where it wants but three minutes upon the total to make it precisely a fifth; for though this be a very small matter, yet since it had been better to have a little exceeded then come short (the Antients commonly allowing a whole fourth, or at least two ninths) the defect is the more easily perceiv'd. But what is yet worse, is, that in the composition of the Cornice he has accumulated so many small members one upon the other, as renders it trifling and a little confused.

CHAP. VIII. Serlio, and Vignola upon the Composita.

I Am astonished at this last production of poor Serlio, who having till now reasonably well conducted the first Orders of Architecture under the direction and government of Vitruvius fails miserably at the very Port just as his Pilot has deserted him: And what does most of all surprize me, is, that the man's Genius (which was to imitate a mean and trifling Manner) should revolt in such an instant and change into so strange an Excess. I was at first resolv'd to have suppress'd this Profile (for the Credit of the person) had it not been to wrong his Competitor Vignola, and so frustrate him of the great advantage which upon this occasion he has over him, since in the precedent Orders I have sometimes conceived him his inferiour. I shall not dwell long upon the particulars which in this Composition to me seem defective; because I shall sooner have finish'd in saying once for all, that there is nothing as it should be, though the Cornice be taken from, and (as the Author pretends) follow'd stroak for stroak after that of the fourth Order of the Colosseum, which is indeed one of the most renowned Vestigia's of Antiquity and an admirable piece of Architecture. But one had need of a very steddy head to be able to climb such an height without shaking ones judgment. He should have considered that this Colossean Structure being a Mass of a prodigious altitude had need of some Sophistications from the Optiques to make it appear regular to the eye; and that therefore there would be an errour and mistake in summing up the dimensions and aequipondium of its members at a more moderate distance with the same measures and proportions. This inadvertency had made him slip into another fault much more gross and unpardonable; for he places upon a small and pittiful Capital (after his own mode) the whole weight of the Colosseum, that is to say, a Gigantine Entablature which composes the Corona of this prodigious Edifice. This so monstrous medley appears more here then in the Author; because he has design'd it very slightly, and in so small a Volume (in his fourth Book and ninth Chapter where he explains this last Order) that one can hardly discern the form of the principal Members.

Vignola has proceeded with a great deal more exactness and judgment in his Designs, which he has also Profil'd very neatly, and in a large Volume that renders it commendable and of use to Workmen: He allows in this Composition the same measures and proportions that he does to the Corinthian.

CHAP. IX. Of a certain Ornament called the Fret.

ARchitecture is in all this Treatise so extremely jealous of those Libertines that have the rashness of daring to corrupt the forms of her Profiles by their capricious Inventions, that she even refuses entrance to all kind of Novelty whatsoever: This it is which has put me in mind of the promise I made to present you here with some extraordinary Designs of Capitals drawn from the Antiques: But considering that they can serve for no use in any sort of Structure at present, as being onely proper to the Pagan Deities, and that we have now no more Iupiters, Neptunes, or other Gods of that age, for whose Temples these kind of Capitals were singularly appropriated, by representations specifical to every Subject; I conceiv'd it better to remove those baits which serv'd likewise but to awaken the ill Genius of our Workmen to imitate and copy after them. To supply then their places with some other thing which should be profitable and without reproach, I have made a very curious and rare Collection of a certain Ornament which they call the Fret, and of which the Antients made great use, taking infinite delight in composing variety of sorts, as this Design will shew you. This Ornament consists in a certain interlacing of two Lists of small Fillets, which run always in parallel distances equal to their breadth, with this necessary condition, that at every return and intersection they do always fall into right angles; this is so indispensable that they have no grace without it, but become altogether Gotique. There is one (amongst the ten I here present you) that consists but of a single fillet, which nevertheless fills its space exceedingly well, and makes a very handsome shew. The Antients did ordinarily apply them upon even and flat Members, as upon the face of the Corona and Eves of a Cornice, under the Roofs, Planceres and Cielings of Architraves; also about Doors, and on the Plinths of Bases, when their Torus and Scotia's were carv'd; also they do rarely well about Platfonds and upon Ground-works.

The End of the SECOND PART. FINIS.

The INTERPRETER to the READER.

THE Author of this Parallel had at the end of his Treatise begun to explain a few of the hard Words, Technical tearms belonging to this Art, the Etymologies whereof he thought necessary to interpret: And as I sayd they are but a few indeed, compared to those which remain, about a dozen at the most; nor was it necessary he should exceed that number in a Country where Workmen are generally more intelligent in the proper expressions of the tearms of the Arts unto which they addict themselves, than ours for the most part are; and therefore if waving the formal translation of that Page (for it exceeds very little more) I have in lieu thereof considerably enlarg'd upon this Occasion by a more finish'd and compleat enumeration of the several Parts and members of the Orders as they gradually succeed one another in Work, illustrated with more full and exact definitions, than by any has yet been attempted for the benefit of our Countrymen; I hope my Adventure may find both pardon and acceptance. Not let any man imagine we do at all obscure this design by adorning it with now and then a refin'd and Philological research; since whilest I seek to gratifie the politer Students of this magnificent Art, I am not in the least disdainful of the lowest condescentions to the capacities of the most vulgar understandings; as far at least as the defects and narrowness of our Language will extend, which rather grows and abounds in complemental and impertinent Phrases, and such forth (as Sir H. Wotton well observes from Gualterus Rivius's incomparable Version of Vitruvius in the Germane-tongue) than in the solid improvements of it, by either preserving or introducing what were truely needful: and really, that very final conversation I have had in the Saxon Writers, shews me cleerly by what I find innovated or now grown obsolete, that we have lost more than we have gain'd, and as to tearms of useful Arts in particular, forgotten and lost a world of most apt and proper expressions which our Forefathers made use of without being oblig'd to other Nations: And what care the French have taken upon this account onely, may in part be judged from that pretty, though brief Essay des Merveilles de Nature, & des plus nobles Artifices, &c. wherein the proper tearms of the most vulgar, as well as more Polish'd Arts are most industriously delivered; whilest (to speak ingenuously) I find very little improvement in the most pretending of our Lexicons and Nomenclators yet extant, that of Bernardinus Baldus onely upon Vitruvius excepted, which yet is neither after my Method, nor for our Workmens turn, being a Book of price, and written in the most learned tongue. It is a very great deficient indeed, and to be deplor'd, that those industrious Compilers did make it no more their business to gratifie the World with the Interpretation of the Tearms of so many useful Arts, I mean the Mechanical: Adrianus Junius has deserved well on this Occasion, to his great commendation, and much it were to be wished that some universal and practical Genius would consummate what he has so happily begun, and that not onely in the Arts Illiberal, as they are distinguished, and things artificial; but furnish us likewise with more exact notices of the severall and distinct Species of Natural things; such as are the true Names of Birds, Fishes, Stones, Colours, &c. since it is then, and not till then, our Lexicons, will have arriv'd to their desired perfection, and that men will be taught to speak (like Orators indeed) properly on all subjects, and obliged to celebrate their Labours.

J. EVELYN.
AN ACCOUNT OF ARCHITECTS & ARCHITECTURE, TOGETHER WITH An Historical, and Etymological Explanation of certain TEARMS particularly affected by ARCHITECTS.

THE knowledg of this sumptuous, magnificent, and useful Art for having been first deriv'd to us from the Greeks, we should not without infinite ingratitude either slight, or innovate those Tearms which it has pleased them to impose upon the particular Members and Ornaments belonging to the several Orders; and that as well for the veneration which is due to Antiquity, as that by comprehending the signification of them, we may with the more facility and address attain to the intelligence and genuine meaning of what the Masters in this Profession have deliver'd to us in their several Writings and Works; not to insist upon (what is yet not to be despis'd) the decorum of speaking properly in an Art which the greatest Princes and Potentates of the Earth have vouchsafed to honour by so many signal and illustrious Monuments as do to this day consecrate their memories to posterity.

Since the Agent does always precede the Action, and the Person or Workman is by natural Order before his Work, we are by an Architect Architectual. to understand a person skilful in the Art of Building: The word is 〈 in non-Latin alphabet 〉 , a Compound in the original, and signifies Fabrúm praefectus, or if you will, Informator, which the President, superintendent, or Surveyor of the Works does fully express; his 〈 in non-Latin alphabet 〉 being relative to the Fabri that are under him, as the Operae or Labourers are subservient to them.

Budaeus calls him, Structorum Princes, and such a Person as a capable of rendring a rational and satisfactory accompt of what he takes in hand. Ratiocinatio autem est, quae res fabricatas solertia ac ratione proportionis demonstrare atque explicare potest. Vitr. l. 1. c. 1. So our Master; and such a one it seems was that Philo the Athenian Architect, of whom the Orator, Neque enim si Philonem illum Architectum, qui Atheniensibus Armamentarium fecit, constat perdiserte populo rationem operis sui reddidisse existimandum est Architecti potius artificio disertum, quam or atoris fuisse, de Orat. 1. Seeing his knowledg and ability in this faculty did not at all eclipse and diminish has Eloquence and other excellent parts, but rather added to them; and this I urge to shew that it was no mean thing for a man to arrive to the talents of an accomplish'd Architect, as he that shall take his Character out of Vitruvius will easily conclude; Itaque Architecti (says he) qui sine literis contenderunt, ut manibus essent exercitati, non potuerant efficere ut haberent pro laborius Authoritatem, as if hands could do little in this Art for their credit without letters: nay, so universal will this great Dictator have him, that in those duodecim necessaria he sums up no less then twelve rare qualities which he would have him furnish'd withall; Itaque eum & Ingeniosum, &c. I will but only touch them. 1. He must be docil and ingenious. 2. He must be literate. 3. Skilful in designing and drawing. 4. In Geometry. 5. Opticks. 6. Arithmetick. 7. History. 8. Philosophy. 9. Musick. 10. Medicine. 11. Nay, in Law; and 12. Astrologie; and really, when (as in the following Chapter) he there assembles his reasons for all this, you will be both satisfied with them, and justifie his curiosity. Not that an Architect is obliged to be an accurate Aristarchus in Grammer, or an Aristoxenus in Musick, an Apelles, or a Raphael for Designing; in sum, an exact Professor in all these Faculties, sed in his non imperitus; Sufficient it is he be not totally a stranger to them; since without Letters he cannot consult with Authors: Without Geometry and the Graphical Arts, he will never be able to measure out, and cast the Area; draw the Plot and make the Scale: Being ignorant of the Opticks he can never well understand the due placing of his Lights, distance, magnitude and dimensions of his Ornaments: By the assistance of Arithmetick he calculates the proportions of the several Orders, sums up his Accompts and makes an estimate of the Charge: being read in History he comes to discourse of the reasons, and original of many particular Members and decorations, the height, improvement, and decay of his Art; why the Greeks instituted the Order of the Caryatides, and the Persian Entablatures were supported by Slaves; how the Corinthian Capitels came to be adorn'd with foliage, the Ionique with a Matron-like Voluta, &c. By the study of Philosophy he arrives to the knowledg of natural things, and is able to discern the quality of the Elements, and the materials which he makes use of: From some insight in Medicine he can reason of the temperature and salubrity of the Ayr, and situation: Musick will assist him in contriving how in Churches, Tribunals and publick Theatres men may with best advantage hear the Preachers, Magistrates, and Actors voices: Without some Tincture in the Laws he cannot be secure of his Title: and being wholly ignorant of Astrologie, position and influences of the Celestial bodies, the Days, Winds, Weather, Equinoxes and course of the Heavenly Orbs (like Bruits) pass over without observation, benefit, or prevention of their effects. To this purpose (though much more at large) Vitruvius: But by this you may see how necessary it is, that an accomplish'd Master-builder should be furnish'd beyond the Vulgar, and I have been the longer in the repetition, not only that I may advance his reputation, and for encouragement; but to shew that in the proper notion, and as the great Plato has somewhere defin'd him, Nullus Architectus utitur manuum operâ, sed utentibus praeest. No Architect is to be presum'd for the commonly illiterate Mechanick (which may bring it into contempt) but for the Person who Superintends and Presides over him with so many advantages: Yet neither is this to the dishonour of the meanest of those excellent Workmen who make use of their hands and tooles in the grosser materials, since God himself and Nature the universal Builders, are by translation truely styl'd Architects, both as to what they have excogitated so wisely, and wrought so artificially.

Be this then spoken of the Superintendent in particular, whom for distinction sake and the Character assign'd him we may name Architectus Ingenio: For since to the perfection of an accomplish'd Building there were three transcendencies required: 1. Strength, 2. Vtility, and 3. Beauty, for the apt Distribution, Decor and fitness, Symmetrie and Proportion, there was likewise necessary as many capacities, and that besides the judicious head there should be a skilful hand, to which let us add Architectus Sumptuarius, a full and overflowing Purse: Since he who bears this may justly be also styled a Builder, and that a master one too, as being the Person at whose Charge, and for whose benefit the Fabrick is erected, and it is indeed the Primum mobile which both begins and consummates all designs of this nature; for if that ingredient come once to fall short, Men build their Monuments, instead of their Houses, See 21. Eccles. 8. and leave marks of dishonour, for Tables of renown, Homo iste caepit aedisicare, & nequivit perficere, This man began to build, and was not able to finish. Yet thus have I known some excellent Persons abus'd, who trusting to the Computation of either dishonest, or unskilful Artists, have been forc'd to desist, sit down by the loss, and submit to the reproach:Vi •• . in P ae . lib. But so it seemes would not the Greeks suffer themselves to be over-reach'd, when those great Builders the Ephesians (who knew sufficiently what a mischief it was to the Publick, as well as to private men) ordain'd it for a Law, That if a Clerk undertook a Work, and spent more then his Calculation amounted to, he should be obliged to make it good out of his own Estate, whilest, they most liberally and honourably rewarded him if either he came within what was first design'd, or did not much exceed it. And this was esteem'd so reasonable (upon consideration how many noble Persons had been undon, and magnificent Structures left imperfect) that Vitruvius writing to the great Augustus concerning this subject,2. Reg. 22. 7. wishes the same Constitution were in force at Rome also. But thus I have done with our Architectus Sumptuarius, I come to the

Manuarius the third and last, but not the least of our Subsidiaries, for in him I comprehend the several Artizans and Workmen, as Masons, Stone-cutters, Quarry-men, Sculptors, Plasterers, Painters, Carpenters, Ioyners, Smiths, Glaziers, and as many as are necessary for the carrying on of a Building till it be arriv'd to the perfection of its first Idea. But though it is not (as I said) expected that these should trouble themselves with much Learning, or have any thing to do with the Accomplishments of our Masters Superintendent: Yet, since an exact and irreprochable Piece of Architecture should be 〈 in non-Latin alphabet 〉 totius Mathese s the Flower and Crown as it were of all the Sciences Mathematical, it were infinitely desirable that even every vulgar Workman whose calling is conversant about Building, had attained to some degree of competent knowledg in the more easy and useful principles of those lineary Arts, before they were admitted to their freedom, or employed in designes of moment. And truely, if a through insight of all these (as undoubtedly they are) be necessary to a good Artist; I know no reason but such a Person (however it hath pleased our Schools in Vniversities to employ and decree their Chaires) might with very just reason be also number'd inter liberalium disciplinarum Professores, and not thrust out as purely Mechanical, inter opifices, a conversation hitherto only admitted them; as if talking, and speculation about words, were comparable to useful demonstrations: Great pitty I say it is, that amongst the Professors of Humanity (as they call it) there should not be some Lectures and Schools endow'd and furnish'd with Books, Instruments, Plots, Types and Modells of the most excellent Fabricks both in Civil and Military Architecture, where these most noble and necessary Arts might be taught in the English and Vulgar Tongue, re riv'd to their proper, and genuine significations; and it is to be hoped, that when his Mojesty shall perfect his Royal Palace of White-Hall according to the design, he will in emulation of those Heroes, Francis the First, Henry the Fourth, Cosimo de Medices, the Dukes of Vrbin, Richlieu and other munificent Spirits, destine some Apartiments for the ease and encouragement of the ablest Workmen in this, as in all other useful, Princely and Sumptuous Arts: I mean for Printers, Painters, Sculptors, Architects, &c. by such liberal honoraries as may draw them from all parts of the World to celebrate his Majesty by their works to posterity, and to improve the Nation: For from such a bounty and provision as this it appears to have been, which made Vitruvius Vitruv. in pr s c. ad lib. 1. to leave us those his incomparable Books, that we have now enjoy'd for so many ages; for so he acknowledges it to the great Augustus, Cum ergo eo beneficio essem obligatus, ut and exitum vitae non haberem iopiae timorem, &c.

I might upon this occasion speak something here concerning the Matter and Form of Buildings, which after the Persons who undertake them, are their most solid and internal Principles; but I purposely pass them over at present, because they do not properly belong to this Discourse, but to some more intire Treatise of the whole Art than is yet extant amongst us, and to be delivered by some industrious Person who shall oblige the Nation with a through examination of what has already been written by Vitruvius l. 2. c. 3. ad 9. Palladio 1. c. 2. Leon Albert l. 2. c. 45. 46. Dan. Barbato l. 11. Sir H. Wotton in his concise and useful Theorems, &c. and in what shall be found most beneficial for our Climat; it were I say, becoming our great needs that some ingenious Person did take this in hand, and advance upon the Principles already establish'd, and not so acquiesce in them as if there were a Non Vltra Engraven upon our Columns like those of Hercules, after which there remained no more to be discovered; at least in the apprehension of our vulgar Workmen, who for want of some more solid directions, faithfull and easy rules in this nature, fill as well whole Cities as private dwellings with rubbage and a thousand infirmities, as by their want of skill in the profession, with the most shameful incongruities and inconveniencies in all they take in hand; and all this for want of Canons to proceed by, and humility to learn, there being hardly a Nation under heaven more conceited of their understanding and abilities, and more impatient of direction than our ordinary Mechanicks: For let one find never so just a fault with a Workman, be the same of what Mystery soever, immediately he shall reply, Sir, I do not come hither to be taught my Trade, I have serv'd an Apprenticeship, and have wrought ere now with Gentlemen that have been satisfied with my work, and sometimes not without language of reproach, or casting down his Tools, and going away in wroth; for such I have frequently met withal. I do not speak this to diminish in the least from the capacitie and apprehension of our Nation who addict themselves to any of the most polite and ingenious Professions, but to court them to more civility, and to humble the ignorant: For we daily find that when once they arrive to a through-inspection and address in their Trades, they paragon, if not exceed even the most exquisite of other Countries; as we may see in that late reformation and improvement of our Lock-Smiths, work, Ioyners, Cabbinet-makers and the like, who from very vulgar and pittiful Artists, are now come to produce works as curious for their filing, and admirable for their dexterity in contriving, as any we meet with abroad, and in particular for our Ioyners, they excell all other Nations whatsoever.

But as little supportable are another sort of Workmen, who from a good conceit of their abilities, and some lucky jobb (as they call it) do generally ingrosse all the work they can hear of, while in the mean time they disdain almost to put their own hands to the Toole, but for the most part employ their Apprentices, of some other ignorant Iourney-men; as if the same of their Masters abilities did any thing contribute to the well performance of Work undertaken, whilest in the interim he hardly appears himself till all the faults be slubber'd over, the remedy either impossible or expensive, and our Master ready to receive his Money, which such Gentlemen-Mechanicks commonly consume on ease and bravery, being puffed up with an empty conceit of their own abilities, which (God knows) is very indifferent, and the less for want of exercise and humility: a practcie so contrary to the usage of all other Nations, that even such as by their knowledg in this kind, have meritoriously attained to the Titles of Military Dignity, have notwithstanding pursued their Employments and Callings in personal cares and assiduous labours, to their eternal same so long as one Stone shall lie upon another in this World; as I could abundantly exemplifie in the works of Cavalieri Fontane, Bramanti, Sansovino, Baglione, Bernini, Fiamingo, &c. whose egregious labours, both before, and since the accumulation of their honours, do sufficiently justify what I report concerning them. And that all such may know I reproach no man out of spleen or the least animosity to their Persons (for such as are not guilty will never be offended at my plainness, or take this for a Satyre) I cannot but exceedingly redargue the want of more acquaintance in these so necessary and becoming Arts even in most of our Nobility and Gentry, who either imagine the Study of Architecture an absolute non-necessary, or forsooth a diminution to the rest of their Education, from whence proceeds that miserable of loss of so many irrecoverable advantages during their Travels in other Countries, as appears at their return; whereas if it were truly consider'd, there is nothing which does more properly concern them, as it contributes to their external honour, then the effects of this illustrious Art: Besides, these being Persons of better parts, are most likely to be furnish'd with the best abilities to learn, and so consequently enabl'd to examine, and direct such as they shall set on Work, without reproch either to their conveniency or expence when they at any time Build, not forgetting the Ornament and Lustre which by this means rich and opulent Structures do add to the Commonwealth; their remaining at this day no one particular, for which Egypt, Syria, Greece, nay Rome her self (beheld in all there State, Wisdom, and Splendor) have been more admir'd and celebrated, then for the Glory, Strength, and Magnificence of their incomparable Buildings; and even at present, the most noble Youth of Italy are generally so well furnish'd with instructions touching this laudable Art, that the knowledg of Architecture (and to speak properly in its tearms &c.) is universal, and so cherish'd, even in men of obscure extraction, that (as is already instanc'd) Architects (I mean the Manuary as well as Ingeniary) have been, and are yet often rewarded with Knighthood, and the Art profess'd as a most becomming and necessary accomplishment in divers of their Academies: Add to this the Examples of so many great and illustrious Persons as (without the numeration of those our Master has recorded in the Preface to his seventh Book) I might here bring upon this Theater famous for their skill and encouragement of this sumptuous Art: Emperours, Kings, Popes, Cardinals and Princes innumerable, who have all of them left us the permanent Monuments of it in the several places of their Dominions, besides the infinite advantage of well managing of great and publick expences, as well as the most private and Oeconomical, an handsome and well contriv'd house being built at a far less charge, than commonly those irregular congestions, rude and brutish inventions, which generally so deform and incommode the several habitations of our Gentry both in City and Country.

But I have done, and I hope all that love and cherish these Arts, and particularly that of Architecture, will not be offended at this Zeal of mine in bespeaking their esteem of it, since if I have said any thing in reproof of the errours either of the Persons who pretend to it, or of the Works which they do to its disgrace; I have only spoken it that both may be reformed and made the better. But least whilest I thus discourse of the Accomplishments of our Artists, and defects of the Pretenders, I my self be found Logodaedalus, and as they say, Architectus Verborum only, I proceed from the Person to the Thing.

Architectura, Architectura. deriv'd from the Greek Substantive 〈 in non-Latin alphabet 〉 , and which is by some taken for the Art it self, by others for the Work, aedificio ipso & opera, by us for both, is thus defin'd; Scientia pluribus disciplinis, & variis eruditionibus ornata, cujus judicio probantur omnia quae à caeteris artibus perficiuntur, opera. Architecture (says our Master Vitruvius) is a Science qualified with sundry other Arts, and adorn'd with variety of Learning, to whose judgment and approbation all other Works of Art submit themselves. Or rather in short and as effectual, cujus praeceptis diriguntur, & judicio probantur, &c. for so it seems to be more explicite, since in a Geometrical Problem there are both the Construction, or Direction Operis faciendi, which these Praecepta define; and also, the Demonstration or Probation Operis jam facti, which is specified by the Iudicium in the Vitruvian definition. I conceive therefore the first part to be the more Essential and inseparable; the latter to be but the result of the former, and no more ingredient into the Art then the image of a Mans face in a Glass is constitutive of him.

But to forbear any farther gloss, you see what a large dominion it has, and I might go on: Ea nascitur ex fabrica & ratiocinatione, to shew that she is the Daughter of Building, and Demonstration: Demonstratio. Then, (for so I affect to render it) that Building is the result of an assiduous and manual practice upon apt materials according to the Model propounded; and lastly, that our Ratiocination is an ability of explicating what we have done by an account of the just proportions; In a word, it is the Art of Building well, that is, handsomly, solidly, and usefully; for so (to omit many other Elogies and Definitions) I find it established; and therefore the learning of our Architect without the diligence of our Workman, umbram, non rem consecuta videtur, may serve to rear a Tabernacle, not build a Temple, there being as much difference between speculation and practice in this Art, as there is between a Shadow and a Substance; but with what advantages those persons proceed who both know, and can apply, I have already demonstrated; and when we consider that the whole Art consists in the most exact and elegant order imaginable, it is not to be wondered there have been so few able men of the Profession: Sir H. Wotton, who reckons those two parts for one, that is, the fixing of the Model to a full expression of the first Idea, passes (with our Master) to the species or kinds of this disposition; whose learned names since our politer Workmen do commonly retain, I think meet to interpret for the benefit of the less knowing. The first is,

Ichnography, Ichnogra. by which we are to understand the very first Design and Ordinance of a Work or Edifice, together with every partition and opening, drawn by Rule and Compass upon the Area or Floor, by Artists often call'd the Plan or Plat-forme as in our reddition of the Parallel: The Greeks would name it 〈 in non-Latin alphabet 〉 Vestigii descriptio, or rather Vestigium operis, the superficial efformation of the future Work, which our Ground-plot does fully interpret. This is properly the Talent and Work of the chief Architect or Surveyor himself (and indeed the most abstruse and difficult) by which he expresses his conception and Idea for the judicious collocation, idoneous and apt disposition, right casting and contrivement of the several parts and Rooms according to their distinct offices, and uses; for as Ordination imports the quantity, so does this the quality of the Building. To this succeeds

Orthography, Orthographia. or the erect elevation of the same in face or front describ'd in measure upon the former Idea: Some do by this comprehend the sides likewise (but so will not I) to be seen as well within as without the Model. It is in truth but the simple representation of that part opposite to the eye of the beholder, and thence by Italians l' Alzato or l' impiedi, facciata and Frontispiece, without shadows or other deceptions, and the second species of disposition. The last is,

Scenography, Scenographia. or (as some) Sciagraphy, which is the same object elevated upon the same draught and center in all its optical flexures, diminutions and shadows, together with a fore-shortning of a third side, so as the whole Solid of the Edifice become visible in Perspective (as they say) because composed of the three principal lines used in that Art, viz. that of the Plan or Plot, belonging to the first Idea; that of the Horizon or eye-line, which denotes the second; and the line of distance which makes the third with all its adumbrations and shadowings, which distinguishes it from what they call the Profile Prophile. signified by the edging stroaks and contours only, without any of this solid finishing. From these three Ideas it is, that same Eurythmia, Eurythmia. and Venusta species Aedificii does result which creates that agreeble harmony between the several dimensions, so as nothing seems disproportionate, too long for this, or too broad for that, but corresponds in a just and regular Symmetry Symmetria. and concent of the Parts with the whole, as the due make of each member in the body denominates the compleatness of the figure, by it in Statue, or the Life. Lastly,

Decor, Decor. which is not only where the Inhabitant, and habitation, suite, seeing that is many times accidental; but where a Building, and particularly the Ornaments thereof, become the station, and occasion, as Vitruvius expresly shews in appropriating the several Orders to their natural affections; so as he would not have set a Corinthian Column at the Entrance of a Prison, nor a Tuscan before the Portico of a Church, as some have done among us with no great regard to the decorum: Here therefore it is, that the Iudgment of an Architect ought to be consulted, since even in the disposition of the Offices of our most private houses, we find no where greater absurdities committed, whilest we many times, find the Kitchin where the Parlour should have been, and that in the first and best story, which should have been damned to the lowermost and the worst.

Philander seems to be in some doubt whither the Architect did after all this make a Model Mode lam. of his future Work, but resolves it in the affirmative for many reasons, ita enim futura deprehenduntur errata, & minimo impendio, nulloque incommodo, &c. for so (saies he) future errors may be timely prevented, with little cost, and without any trouble before the remedy prove incorrigible. There is nothing certainly spar'd to less purpose, and more to the detriment of Builders then the small expence of making this Prototype, which I would have fram'd with all its Orders, and Dimensions, by the assistance of some skillful Ioyner, or other ingenious Artist in some slight material, which may be to remove, uncover and take in pieces, for the intuition of every Contignation, Partition, Passage, and Aperture without other adulteration by Painting or Gaudy artifice, but in the most simple manner as Sir H. Wotton prudently advises, for reasons most material and unanswerable; but from all which we may deduce how absolutely necessary it is, that an Architect have more than a vulgar dexterity in the Art of Designing and Drawing, Quae autem conferant, imo, quae sint Architecto penitus necessaria ex artibus, haec sunt, Pictura & Mathematica; in ceateris doctusne sit, non laboro: So the Patriarch, lib. 9. upon that of our Master, lib. 1. c. 1. Peritus Graphidos, &c. and then concludes, Necessaria igitur est Architecto Graphidis (i. e.) designationis ut Itali dicunt peritia, as being a thing altogether indispensable; but of this already, for by the Method of this Institution I should now proceed to the more particular distributions of this Art, whither in respect to private or publick Buildings, but I leave it for the next Edition of what remains of the incomparable Palladio, when either by the same it is begun, or by some other charitable hand, it shall be taught to speak English; and the title of this Discourse, which minds me of a through explanation of the more dificult tearms of this Art, for being principally, if not only conversant about the five Orders and their Ornaments (the subject of our learned Parallel) calls me back to a distinct Survey of them, and I will begin at the Foundation.

Properly Foundation Fundamtutum. is the very Cofer or ground-bed search'd ad solidum, & in solido, as our Master advises, and upon which a wise man would only Build and raise the Proto-substruction, or first beginning of his Wall. This the Greeks call'd,

Stereobata Stereobata. for its artificial firmeness, as immediately succeeding the underfilling of the former (for so we name those dry Materials upon the Surface) to be the Bases of the whole Edifice: I am not ignorant that some contend about this Office, confounding it with the Stylobata and Pedistals of Columns, assigning them a regular thickness of halfe as much more as the Orders they support; and then the Italians call it the Zoccolo, Pillow or Die (because of its Cubique and solid figure:) But I rather take it for the Basamento of the whole which I would therefore rather augment than contract to that stinted dimension: The Reverend Daniel Barbaro, c. 8. l. 2. describes us all the kinds of them, and calls this in particular (and which confirmes this division) the conceiled part, or fondatio in imo: And then by this elegant distinction defines Structura to be that of Fronts; Instruction, Structura. Instructio. Substructio. that of the middle parts; and Substruction, of the lower; though this last notion does likewise many times import some vast and magnificent Building, for so Baldus has cited that passage in Liu. l. 6. where he names the stately Capital a Substruction only, and other Authors Substructiones insanas, for such vast and enormous Fabricks: But that we may not omit the Pedistal (though of rarer use amongst the Antients) I come next to the

Stylobata; Stylobatum Pedistal. For our Pedistal is vax Hybrida (a very mungrill) not à Stylo, as some imagine, but à Stando, and is taken for that solid Cube, or square which we already mentioned to be that to the Column imposed, which the Superstructure is to this. It is likewise call'd Truncus the Trunk (though more properly taken for the shaft or body of an Order) contained between the Cornice and Base (for Pedistals have likewise those Ornaments inseparably) also Abacus, Dado, Zocco, &c. which is sometimes Carv'd with bass-relievo in Historical Emblems, as that of Trajans at Rome: Poggio, from its office of supporting, and then 'tis constantly adorn'd with a Cornice consisting of a Cymatium on a Corona with Lifts, and sometimes Scotia or shallow cavities and an addition of an upper Zocco or Plinth of a smaler hollow and part of the Cymatium, upon which the Scamilli impares Vitruviani were set, if design'd for Statues: Or, if without, for Columns. The Base has likewise an Ornament of a Cynatium inverted upon a Plinth, as may be seen in the Corinthian Stylobata. But, as we affirm'd, the Antients did seldom use Pedistals unless where Railes and Balusters were requisite, and Parapet walls for Meniana, Pergolas and Balconies, and where they serv'd for Podia or posaries of a leaning-height for which they had a slight Cornice assign'd them; and this minds me of the 〈 in non-Latin alphabet 〉 among the Greeks, as indeed seeming to have been deriv'd from the Eastern 〈 in non-Latin alphabet 〉 used, and to the Iews (we read) enjoyn'd upon their flat-roofed houses, these balusters being in truth but a kind of petty Columns under the Railes or Architrave between Pedistal and Pedistal for that moral reason, the security of the Walkers, especially at what time they used to spread Tents upon them, as frequently they did: But if (as we said) for the better eminence of Figures, then with the imposition of

Scamilli impares, Scamilli. of which there is so much contention amongst our hypercritical Architects, though in fine they prove to be but certain Zoecos or Blocks elevating the rest of the members of an Order, Column, Signum or Statue from being drowned or lost to the Eye, which may chance to be plac'd below their Horizon; that is, beneath the Projectures of the Stylobata Cornices and other Saillies, by an agreeable reconciliation of Geometry with the Opticks: In a word, the Pedistals of Statues do well express them, and those halfe-round elevations, or other unequal eminencies upon the Stylobata, be they one or more Plinths like so many steps succeeding one another for the advantage of what stands upon them. But to proceed to the Orders and their several Members as they naturaly rise in Work.

The Base B s s. deriv'd from the Greek Verb 〈 in non-Latin alphabet 〉 imports the sustent, prop or foot of a thing, and is in Architecture taken not for the lowermost member of an Order, but for all the several ornaments and mouldings from the Apophyges or rising of the Columns shaft, to the Plinth: Sometimes also for the Spire, Spir . which lying on the Plinth like the Coile of a Cable derives thence its name, though something improperly methinks, considering these members do not run Spiral but obliquely rather and in orben: In sum, the Basis is to the Column and its Intablature, what the Stylobata is to the Basis, and the Stereobata to the Pedistal. But to come to each particular,

The Plinth Plinthus. is the first, and very lowest member of the Base. The Word denotes a Brick or square Tyle of which happly they were usually made, but rather for the resemblance, because of the weight it was to bear, and therefore more probably of something more solid to preserve the foot of the Column from rotting, when first Pillars were made but of the tapering bodies of Trees, as we shall shew hereafter: Plinth is likewise taken for a like member about the Capital, but then always with its adjunct, the Plinth of the Capital, &c. because placed just above the Echinus as in the Doric, Ovolo, or quarter round in the other Orders. The Italians familiarly name it Orlo, which importing a round Welt, Hem or Brim, methinks is not so properly applied ot it. The next is,

Torus, Torus. the third member of the Base (of which there is superior and inferior in the Bases of all the Orders, the Tuscan excepted) comes from 〈 in non-Latin alphabet 〉 denoting the roundness and smoothness of it; Torus enim quicquid rotundum, or rather as Scaliger, quod artificialiter elaboratur & tornetur, because artificially made so; but why not from its swelling and brawniness: It much resembles the shape of a round Cushion, torques or Wreath, thence 〈 in non-Latin alphabet 〉 , and the imposed weight makes it seem to swell out as if indeed it were stuffed, and that with reason say the Critics for the more easy and safe position of the

Trochile, Trochilos. from 〈 in non-Latin alphabet 〉 or 〈 in non-Latin alphabet 〉 a rundle or Pully-wheele which it much resembles, and is that Cavity appearing next to the Torus: The Italians name it Bastone, or more properly Cavetto, and Cortice, tanquam baculi cortex, the hollow rind of a Tree, as Barbaro. Our Workmen retain the antient Scotia, Scotia. from 〈 in non-Latin alphabet 〉 , its obscurity proceeding from the shade of the hollowness, but more vulgarly they call it the Casement, and it is ever the Cavity between the former Torus's, and also beneath the Doric Cornice separated from the plain Margen or regula cal'd Mentum and Corona by a small Cymatium, or sometimes a List only: The Capital letter C. is a perfect resemblance of this Moulding, and it is indeed frequently bordured or rather shut in with lists. Lastly,

The Astragal, Astrogolus. which besides divers other things (as the Stem spinae Vertebrae neer the neck) has here its analogy from that done a little above the Heel, whence the French name it the Talon or Heel it selfe (as our Author of the Parallel) nor improperly; but by the Italians il Tondino being a kind of halfe Torus, sometimes wrought in the richer Orders like an over-cast hem or edg to the larger Tore, which frequently is plac'd between, as in the Ionick Base with two Scotias, and sometimes (though rarely) just about the Plinth of the Base, as some marshal it: Otherwhiles again it is taken for the Cincture or Coller next the Hypotrachelium and diminution of a Column listed on both edges; and it runs also under the Echinus of the Ionick. Our Englisher of Hans Bloome names it a Boltell, of Fillet in any part of a Pillar, but I take a Fillet to be more flat, this more swelling and (as I say) Torus-like. Moreover we sometimes find it dividing the Fascia of the Corinthian Architrave where it is wrought in Chapletts and Bends or Berries: and finally in two places, both above and beneath the Lists joyning immediately to the Square or Die of a Pedistal where Stylobata is introduced; and so we have done with the ornaments and mouldings of the Base.

The Columns Column . are next, which being of five denominations or Orders are to Architects what the Modes be in Musick, and the Corminum genera among Poets, all Buildings whatsoever being under the regiment of some one of them, or at least ought to be. It is here properly that round and long Cylinder diversly named by Authors, Scapus, Vivo, Tige, Shaft, Fust, Trunke, &c. containing he body thereof from the Spire of the Base, or lately mention'd Astragal, to the Capitel: Sometimes for the substance and thickness of the bottom of the Pillar, and in Authors for the Checks of a Door Secundum Cardines & Antepagmenta, of which consult the learned Baldus in the World Replo de Sig. Voc. Vitr. also the perpendicular Post of a Winding-staires; but for the most part for that solid of a Column which being divided into three parts, has (as some delight to forme them, but without any reason or good authority) an Entasis Entasis. or Swelling, and under the Collerine or Cimbia of the Capital, a Contracture and comely diminution, by workmen call'd the breaking of the Pillar. But the primary issue or rise of the Shaft next the Astragal and neather Cincture is Call'd the Apophyges Apophyges. from the Greek word 〈 in non-Latin alphabet 〉 , because in part the Column taking as it were a rise, seems to emerge and fly from the Bases like the processus of a bone in a mans leg; and so it is now and then applyed to the Square of Pedistals likewise. In short, 'tis no more then the rings or feruls heretofore used at the extremities of Woden Pillars, when formerly they were made of that material, to preserve them from splitting, afterward imitated an Stone-work as an inseparable part thereof; and thence doubtless it is they took their original contraction: Such trees as grew in the most upright tenor and comely diminution, being chosen for this employment.

These being resembl'd in Stone (that is of one entire one) by Solidae were distinguish'd from the Structiles, or were such Pillars as were compounded of many:

But it is not only that these rings have place, but next the above describ'd Astragal likewise, and where-ever encounter'd by the names of Amulus, Cincta, Climbia, Listello, Fillets, Regula, &c. broader or more narrow as best suits with the consecutive member; like those very small Listellos or Anulers under the Echinus of the Doric Capital, by the Italians call'd Gradetti, Degrees, and by the interpreters of P. Lonazzo, Rulers; and so in like manner the Cimbia beneath the Astragal immediately above the Contraction. But Regulae and Fillets are somewhat larger in places where they edg and shut in the Cymatium of a Cornice, Abacus, or Voluta: Moreover I note, that Listello and Cincta are broader than Annulets which I take to be the very least of all the Mouldings in an Order.

Now, before we enter upon our Capitel, which seems to be the next collective Member; we may do well to observe, that the several Parts, Members and Projectures we have hitherto describ'd, and such likewise as remain, receive all their dimensions, and proportions from one universal Scale, call'd by our Artists the Module, which though sufficiently describ'd in the beginning of the Parallel, I think fit to interpret once for all, to imploy the Senidiameter of a Column of any Order at the rise to its Shaft upon the superior member of the Base, and divided into thirty equal parts which we call Minutes. Minutes. The Tearm in Vitruvius seems to be Ordinatio, which he explaines modic Commoditas, and I take for a Module, Modulus. part or quantity by which to calculate, adjust and compose the rest of the Members of an Order: For instance, In the Ionic Column the Diameter of the thickest part is that proportion, as if it have 14. such Modules, the Base shall challenge One, and so the rest of the parts according to their several proportions. Note, that to distinguish it from Model (by which I would signifie the solid Type of representation of a Building) I read it Module with the fifth Vowel as the former is with the second.

Towards the upper part or diminution of a Column (which is always the less abated if very tall (as is also to be observed in the Chanelling of those Orders where 'tis proper) because the distance effects that in them, which Art produces in the lower) is the

Hypotrachelium, Hypotrachelium. which from the Greek 〈 in non-Latin alphabet 〉 colli parts infra cervicem denotes the neck of the Column, being that part of Scapus below the Astragal: It is as 'twere the Freeze of the Capitel, and so by some term'd, as also the Coller and Gorgerin, where the Pillar seems as if it is were strangled, and my well be taken for a part of the Capitel it self, having both in the Tuscan and Doric another Annulus or Cincta about it next to the

Echinus, Echin ••• . a Bottle cut with an edg, as in our Bloome tis rudely explain'd: It is indeed a quarter round, and sometimes more, swelling above the Cinctures, and commonly next to the Abacus, Carv'd with Ovals and Darts (by our Workmen call'd Eggs and Ankers as little politely) which is frequently shut up with a smaller Ovolo of Beads and Chaplets, or like ornament; but so adorn'd, it commonly runs under the Ionic Voluta and that of the Composita, and next the Doric Abacus; as in that singular example of the Trajan Column it creeps under the Plinth of the Capitel. Such as pretend to Etymologies for every thing they hear, will have it 〈 in non-Latin alphabet 〉 or 〈 in non-Latin alphabet 〉 because of a kind of self contraction; others more rationally from the resemblance and roughness in the Carving 〈 in non-Latin alphabet 〉 as bristling with its darts like a Hedg-hog: Under this, as we said, is a smaller Bracelet again which incircles the Capitel under the Voluta in the Composita, taken for the Fuserole; and so likewise in the other Orders where the Ovolo or Echinus properly enter, having a small moulding beneath it by Palladio nam'd Gradetto, but of this already: In the Corinthian an Echinus frequently comes in 'twixt the Corona and Dentelli.

The Voluta, V luta or as we tearm it properly enough, the Scroul, is not the derivative of any Greek Word, but the Latine, Voluta, à Volvendo, for that it indeed seems to be roll'd upon an Axis or Staff: It is the principal, and only appropriate member of the Ionic Capitel in imitation of a femal Ornament, as both our Master Vitruvius, and the Author of the Parallel have learnedly illustrated. The Face of it is call'd Frons the fore-head a little hollow'd between the Edg or List, and the Return or Pillow betwixt the Abacus and Echinus resembles the side-plaited tresses of Womens haire, to defend as it were the Ovolo from the weight of the Abacus (over which the Voluta hangs) and superior Members, by the same reason as was intimated in the Torus of the Base.

There are also Voluta's in the Corinthian and Compounded Capitels, but they consist rather of certain large Stalkes after a more Grotesco designe, as may be gathered from those Rams horns in the Capitel of the Columns taken out of the Bathes of Dioclesian: and in truth they are only the pretty flexures and scrowlings of Vitici like the tendrells of Vines, whereof the four larger ones bend under the Horns or corners of the Abacus, the other four of lesser size, just under the middle of the Arch thereof, beneath the flower: then the bottom or foot of the Calathus or Panier (for that's divided into three equal parts as will hereafter appear) shews in front two entire Leaves, and as many half ones, viz. at the angles, and 'twixt those again two Stalkes, which, with a tall one in the middle (that touches the midst of the Arch where (as we said) it puts forth a flower upon the brimm of the Abacus) make in all sixteen in number. To be yet as accurate as may be in so nice and florid an Ornament, these Leaves did of old resemble either the Acanthus (though a little more indented and disguised) from the inventor Callimachus, or (as some) the Olive and Palmes, for so it is warranted by Villalpandus from that Capitel of his description standing in the Temple of Solomon. At the extreams of these leaves do issue the Caules, and Codds breaking with the Helices, the rest of the Stalkes adorn'd and furnish'd with budds and tender foliage by the discretion and invention of the ingenious Carver. But the domineering Tendrells and Flexures consist of greater, or smaller Volutas, emerging from between the Abacus and Echinus in smaller Leaves and Stalkes, middling, and inferior foliage, as they are distinguish'd by Workmen in the three above nam'd divisions of the Calathus; but instead of those Helices, at our Corinthian hornes, the Composita has her Voluta much more resembling the Ionica, and in lieu of those, divers Capricious fantsies, as Horses-heads, Eagles, and the like; sed ea doctis non probantur, they are rejected by all good Architects, says Philander.

Now the Center or Eye of the Ionic Voluta is made by Artists with a Cathetus, Cathetus which (not over nicely to distinguish from Perpendicular because the operation of them proceeds from distinct tearms) is meant by a Line let down from above, intersecting the Line of the Collar (as 'tis demonstrated in Chap. 24. of the Parallel, with the History of its investigation) and that small circle at this point of intersection is Metaphorically Oculus, the Eye, from whence the perfect turning of the Voluta has been after an exquisite manner (though by few observ'd and practis'd) found out; it being here indeed that our Workman will be put to the exercise of his Arithmetick, as appears by that accurate Calculation in Nicholas Goldmanus's restitution of this becomming ornament. Lastly

The Abacus 〈◊〉 (from 〈 in non-Latin alphabet 〉 or 〈 in non-Latin alphabet 〉 which signifies a square Trencher, or Table) is that quadrangular piece commonly accompanied with a Cymatium, and serving in stead of a Corona or drip to the Capitel, whereof it is the Plinth and Superior, as has already been noted. This it is which supports the neather Face of the Architrave, and whole Trabeation: In the Corinthian and Composita the Corners of it are nam'd the Hornes, the intermedial Sweep and Curvature the Arch, which has commonly a Rose or some pretty Flower Carv'd in the middle of it.

Thus we have finish'd that Head of our Column, which being taken in general for all these Members together, is commonly distinguish'd by the name of Capitel, taken, I say, 〈◊〉 for the intire Ornament from the Astragal and first Cincture of it, to the Plinth which bears up the Architrave: But it is not to be omitted, that the main body of the Corinthian Chapter (of which we have given a large description under the Title of Voluta) consists of a Bell, or Basket rather, which is that plain and solid part under the Cauliculi, Stalks and Flowers already mention'd, and which in order to their triple Series of Foliage (which seems to include and shadow the body of it as 'tis represented in that curious designe of Callimachus's invention) is divided into three equal parts: But of this aboundantly. There is likewise another Capitel, or rather a Diminutive of it, by the Greeks call'd 〈 in non-Latin alphabet 〉 , which does not only signifie (as sometimes) the former Calathus and Basket, but more properly that Braid or List above the Triglyph in the Freeze.

Moreover, to the bodies or Shafts of some Columns appertain

Striges, Striges. which (not to insist upon what the Learned Voss us and other Critics have contended) are those excavated Channells, by our Workmen call'd Flutings and Groeves: These are particularly affected to the Ionic Order (rarely the Doric) uti stolarum rugae, in imitation of the Plaits of Womens Robes, as our Master resembles them; and some of these Channells we find to go winding about Pillars, &c. but it is not approved. Between these are the Striae, Stri . we may properly English them Raies or Beames; which being twenty (or as some 24.) in number, are those plain spaces between the Flutings in the Ionic, Doric, Corinthian and Composed Orders; which three last have (with some small difference) borrow'd this Ornament from the Ionic. And in some of those (as in that Dioclesian Doric Example) they are so made, as to reduce the Rays to a sharp edg only, by their contiguity without any spaces at all. But sometimes we find the Striges to be fill'd up with a swelling, a third part from the Base, and these we may call Stav'd, or Cabl'd-Columns; for so I think fit to interpret the French Embastone, and Alberti's Rudens. Thus we find some Corinthian Pillars often treated; the Stria being commonly a third or fourth part of the widness of the Flutings, and diminishing with the Contraction of the Scapus, unless the Shaft be very high, in which case the distance does it without the ayd of the Workman; sometimes also we have seen them totally filled. We should now come to the Entablature, but a word of.

Pillasters, Para •••• . call'd in Greek Parastatae, and by the Italians Membretti, for Modul and Ornament observe their entire Columns if they stand alone; but so they do not for their prominencie, which being to gain room, reduces them sometimes to the square, whereof the narrower side is frequently applied to Walls, by which alone some will only have them to differ from Pillars themselves; but that ought to be understood of such as have no Imposts and Arches, upon which occasions the Lights they let in do much govern their proportions, as Palladio has judiciously shew'd in l. I. c. 13. &c. Likewise, where they happen to be at Angles, and according to the surcharg'd weight; and therefore a Rustic superficies (as Sir H. Wotton has discreetly observ'd) does best become them, as well as a greater latitude, for so they have sometimes been enlarg'd to almost a whole vacuity; unless where for their better fortifying, we find half, and sometimes whole Columns applied to them. Where they support large Cornices and Freezes in Wainscoted Rooms they do properly and handsomly, provided their due proportions be observed, without those ridiculous disguisements of Pedistals and idle fancies which we find frequently wrought about them. Also in Chimny-pieces, Fronts of Buildings, Galleries, and Door-cases from whence they were nam'd Antae: Ant The.

Imposts (by Vitruvius call'd Incumbae)Incumi •• . which I mention'd,. are nothing but their Capitels or more protuberant heads, upon which rest the ends of the Arches; but where they exceed the Square and regular thickness, they were nam'd

Pilae, Pilae. and their Quadra's or Tables (as we yet see them in antient Altars and Monuments) were employ'd for Inscriptions; but if shorter, and more massie, they serv'd for the Arches of Bridges, for Buttresses and the sustentation of more solid works.

Arches consist commonly of simple halfe-Circles, Fornices. and now and then of some lesser point, according to the occasion: At Venice, Pisa and other Cities in Italy they are formd to an incredible and admirable fiatness by the wonderful address of the Workman, for the ease of such as pass over the Bridges, and without interruption of the Streams. The Masonry at the front of these being cut by a peculiar slope of the Stone is calld Pennanted, till it come to joyn with the

Mensula, Mensula which (quast 〈 in non-Latin alphabet 〉 ) seemes to be locked to the Pennants in guize of a Wedg, and therefore by our Artists nam'd the Key-stone: But if Vaults are made, two Arches intersect, which is the strongest manner of Cameration. And here I think not amiss to note, that the Antients very seldom made use of Arched Doors or Windows, unless at the enterance of Cities, and Triumphal intercolumnations for the more commodious ingress of Horse-men arm d with Spears, and Ensignes, &c. This Barbarity therefore we may look upon as purely Gotique, who considering nothing with reason, have introduc'd it into private houses, and been imitated but by too many of our late Architects also, to the no small diminution of the rest which is better conducted. By Intercolumnations I do likewise comprehend all Terraced and Cloister'd- Buildings, Porticos, Galleries, Atria's, &c. contiguous to, or standing out from the body of Edifices in which cases they are becommingly proper: And this does naturally lead me to our Pillars again, and to consider the spaces between them.

Intercolumnation Intercolumna •• d. signifies the distance or voyd between Pillar and Pillar, but this not sufficiently explaining the various distance of the several orders in work, renders it, even in divers of our English Authors where they treat of this Art, of sundry denominations: For thus it was usually call'd

Insulata Columna, Insulata. where a Pillar stood alone like an Island or Rock in the Sea,. the one inviron'd with Ayr as the other with Water:

Arcostylos Arcostylos. belonging chiefly to the Tuscan Order, was where the Intercolumnation is very wide, as at the entrance of great Cities, Forts, &c. upon which occasions at the least four or five Modules may be allow'd.

Diaslylos, Diaslylos. though sometimes improperly taken for any Intercolumnation, is most natural to the Doric and may have three or four Diameters, nay sometimes six in the Ionic, as fittest for Gates, Galleries, and Porches of Pallacex or lesser Buildings, and thence were call'd Tetrastylos and Hexastylos.

The Systylos nam'd also Pycnostylos Systylos. Pycnostylo . (as much as to say thick of Pillars because seldom alow'd above a Module and an halfe, though some distinguish the first by a Module more) belongs chiefly to the Composita, and it was us'd before Temples, and other publick and magnificent Works of that nature: But where in such structures the Intercolumnation did not exceed two, or two and a quarter (as in the Corinthian and especially the Ionic, the proportion of distance was so esteem'd for its beauty and other perfections, that it was by a particular eminence tearmed Eustylos, Eustylos. as being of all other the most graceful. Where the sides had ranges of Columns, as in those large Xystas, Porticos, Atrias and Vestibula of the Greeks and Romans, which were certain Arched or plainely Architrav'd building in form of Cloysters and Galleries, commonly standing out from the rest of the Edifice, and now and then alone, the Antients named it Antyprostylos, Peristylos, &c. These (for being already explain'd by Paulus Lomatius, and long since made vulgar) I have only touch'd for the benefit of our Country Workmen, who do frequently, even amongst our English Translators of Architectonical Treatises, meet with those hard names without their interpretation; when they discourse of these open and Airy Ornaments, whether adjoyning to, and supporting more Contignations and Stories; or invironing them, and prominent from them; and because it is for this, that our Master Vitruvius so passionately wishes that his Architect should be (as of old they styl'd Callimachus) Philotechnos, an industrious searcher of the Sciences, which is the same that a good Philologer is amongst our Literati.

Moreover instead of Columns the Antients (as now the Modern but too often) used to place the whole Figures of Men and Women to support and bear up intire Cornices, and even huge masses of Buildings; but of this at large in Cap. 22. 23. of the Parallel. Part I. These they also nam'd Telamones or Atlas's, the French Consoles where they usually set them to sustain the Architrave, Architrave. which for being the next Member in order to the Capitel we come next to explain.

The Greeks nam'd that Epistylium, Epistylium. which we from a mungril Compound of two Languages 〈 in non-Latin alphabet 〉 Trabs (as much as to say the principal Beam and Summer) or rather from Arcus and Trabs, call Architrave; Vt velint trabem hanc Arcus vices sustinere qui à Columna ad Columnam sinuari solet, as Baldus with reason from its position upon the Column, or rather indeed the Abacus of the Capitel. It is the very first Member of that which we call Entablature in our translation of the Parallel; and formerly in the Tuscan Order framed for the most part of Timber in regard of the distant Intercolumnation: It is also frequently broken into two or three divisions, call'd by Artists

Fascia , Fascia or rather, plain Faces, a little Prominent, the lowest being ever the narrowest: These Breaks arriving sometimes to 17. sometimes to 18. Minutes in breadth, some rather choose to call Faces then Fascias, Swathes, Fillets, or Bands, by which they are usually distinguish'd into first, second, and third, especially in the three latter Orders, for in the Tuscan and Doric they do not so properly enter, though our Parallel yield us two approv'd examples: These are frequently, and indeed for the most part, separated with a small Astragal cut into beads or sum such slight Carving; the Fascias of the Architrave likewise curiously wrought, as in that wonderful Instance of a Corinthian Entablature taken out of Dioclesians Bathes. Fascia, in the notion I would rather take it, should be for that narrower band about the Tuscan and other Basis as some call it; or rather the square list under the superior Torus in some Pedistals nam'd Supercilium, and not properly the Torus it self, as in divers English Profiles they erroniously make it;Supercilium. for Supercilium seems to be a kind of Corona or drip to the subjacent Members. In Chimneys the Architrave is the Mantle; and over the Antepagmenta Antepayment or Iambs of Doors and Lintells of Windows the Hyperthyron which the Italians call Soppra frontale, Hyper •• yron. and our Carpenters the King-piece immediately under the Corona to supply the Freeze, especially in the Doric Order.

The uppermost fascia of the Architrave for the most part is, and indeed alwaies should be (the Tuscan only excepted) adorn'd with a Lysis, Lysis or

Cymatium Cymatium. inverted, which is no more than a wrought or plaine O-gee as our Workmen barbarously name it; The tearm is 〈 in non-Latin alphabet 〉 undula, and signifies a rouling Wave to the resemblance whereof it is moulded. By some it is call'd the Throat, as from the Italian and French, Gola, Geule or Doucine, and of these there are two kinds, the first and principal that alwaies its Cavity above, and doth constantly jett over the Corona or drip like a Wave ready to fall, and then is properly call'd Sima; Sim . the other has its hollow below, and is nam'd inversa: The Letters {thus placed do reasonably well express these kind or mouldings, which not only enter into the Member of the Architrave where 'tis ever inverted, but (as was said) perpetually above the Corona, where they do frequently encounter and meet together with a small Regula between them, but then the neather is ever the reversed, and very narrow; though ofttimes both of them Carv'd and adorn'd with Foliage, &c.

Cymatium is also about the heads of Modilions and constitutes a part of them, as likewise it enters into Abacus, and on Pedistals as in Stylobatae Corona, and the Base thereof, where we find them both inverted; though I remember to have seen the upmost with the recta also in the Cornice above mention'd. But in stead of Cymatium separating the Architrave and Freeze, Taenia oftentimes supplies the room,

Taenia Taenia, is properly Diadema, a bandlet or small Fillet with which they used to bind the head; or rather those Lemnisci and rubans which we see carv'd and dangling at the ends of Gyrlands. The Interpreter of Hans Bloome names it the top of a Pillar, but very insolently; it being indeed the small Fascia part of the Doric Architrave sometimes (but seldom) with a narrow Cymatium, or Regula under it, as that runs under the Triglyphs: Some call it the neather Taenia (as Philander frequently) to distinguish it from the bandage which composes the Capitelli of the Triglyphs and continues between them over the Metops and not seldom under a Cavetto or small Cymatium with which Suidas and other learned Critics many times confound it. In a word, 'tis that which separates the Epistylium or Architrave from the

Freeze, the Word in Greek is 〈 in non-Latin alphabet 〉 ,Freeze opho ••• . and does genuinely import the imaginary Circle of the Zodiac depicted with the twelve Signes, but by our Architects 'tis taken for the second division of the Entablature above the Columns, being like a faire and ample Table between the former Teniae, and which though oftentimes plain should be Pulvinatus pillow'd, or swelling in the Ionic Order; but in the Doric enrich'd with the Triglyph and Metops, and with a thousand Historical, Grotesque and other stored inventions in the rest of the Orders (Tuscan excepted) especially the Corinthian and Composita. Our tearm is deriv'd from the Italian Freggio which denotes any Fring or Embroider'd Belt: Philander saies à Phrygiones, not from the Phryges a people of the Minor Asia as some erroneously, but Phrygionibus, a certain Broidery or flourd Needle-work, as one should say Troy-stitch (whence haply our True-stitch) in imitation whereof they wrough Flowers and compartiments upon the Freeze.

Besides this of the Entablature, the Capitels of both Tuscan and Doric have the Freeze likewise commonly adorn'd with four Roses and as many smaller Flowers, for which cause tis call'd the Freeze of the Capitel also as we noted, to distinguish it from the other; likewise Hypotrachelium from its posture between the Astragal and the Regula or Annulus of the Echinus: This Tuscan Freeze is plain and very simple; but in the rest of the Orders it is employ'd with the Echinus, as in the Ionica, and the Capitel Cauliculi or stalkes in the other two, these Roses are also sometimes Insculped under the prominent Horns or angles of the Doric Abacus.

The Triglyphs Triglyphus. which I affirm'd to be charged on the Doric Freeze is a most inseparable Ornament of it. The Word 〈 in non-Latin alphabet 〉 in Greek imports a three-Sculptur'd piece, quasi tres habens glyphas: By their tringular Furrows, or Gutters rather, they seem to me as if they were meant to convey the Guttae or Drops which hang a little under them; though there are who fansy them to have been made in imitation of Apollo's Lyre, because first put in Work (as they affirme) at the Delphic Temple: You are to note that the two angular hollows are but half Chanell'd, whence they are call'd Semicanaliculae, to distinguish them from the Canaliculi whose flutings are perfect, and make up the three with their interstices or spaces, being as many flat and slender Shanks for so we may interpret the Latine Femora: The Italians name them Pianetti small Plaines, and so do we; and they constantly reach the whole Diameter of the Freeze being crown'd with the formerly mention'd Capitel, part of the upper Taenia, and determining with the neather, where it intercepts them from the prominent

Guttae 〈◊〉 . or Drops. It is certainly the most conspicuous part of the Dori Freeze, supposed to have been at first so Carved upon boards only that had been clap'd on the extremities of the Cantherii or Rafters ends which bore upon the upper Fascia of the Architrave to take off from the deformity. How indispensably necessary they are to be placed in a just and due square from each other, and perpendicularly over their Columns, the Author of the Parallel has shew'd; Chap. 2. Part. I. as in that of the Temple of Solomon according to Villalpandus's design, how they have been admitted into the Corinthian Freeze, but without the Guttae; and so in the Persique. These Guttae are as I said those six appendant Drops or Tears affected only to the Doric Order, seeming as it were to trickle down and flow from the Channels and Shanks of the Triglyp s through the neather Taenia, and small Reglet or Moulding under it.

Guttae are sometimes made in shape of flat Triangles, sometimes swelling like the Section of a Cone or Bell, and therefore so call'd by the French Architects. They are also under the flat Modilions which support the Corona eighteen in number, as in that most conspicuous elevation of the Profile after the stately relique at Albano near Rome, than which nothing can be imagin'd more noble and magnificent. Alberti calls these Guttae, Clavos, as conceiving them to be in resemblance of Nailes, but without any reason for his conjecture.

Metopae, Metopae. are the next in order, and are nothing else save those empty spaces in the Freeze 'twixt the Triglyphs in the Doric Order, either purae and plaine, or figur'd, for that is not necessary alwaies. The Word is deriv'd of 〈 in non-Latin alphabet 〉 and 〈 in non-Latin alphabet 〉 which is foramen, intervallum inter Sculpturae cava, or if you will, the Intertignium, as importing here rather the forenamed spaces, than what those pretend who will fetch it from the 〈 in non-Latin alphabet 〉 or forehead of the Beasts whose Sculles (remaining after the Sacrifices) were usually Carved in these intervals; because in these vacuities were the passages for the ends of the Ioysts, Timbers and Rafters which rested upon the Architrave, and where to fill up that deformity, they usually made it up with some such ornaments, suppose of Skulls, Disbes, and other Vessels, nay sometimes with Iupiters Squib or Thunderbolt, Targets, Battleaxes, Roses, and such other Trophies, as was found most apposite to the occasion, and not preposterously filled them as our Workmen too often do, without any relation to the subject; so as I have frequently seen Oxes heads Carv'd on the Freeze of an House of Pleasure in a Garden, where Roses and Flowers would have been more proper. There are sundry other ornaments likewise belonging to the Freeze; such as Encarpa, Festoons, and Frutages typed to the Hornes of the Skulls with Taeniae and Ribbans tenderly flowing about this member, and sometimes Carried by little Puti, Boys, Cupids, and a thousand other rich inventions to be found in good examples. But we are now arriv'd to the third and last member of the Entablature separated from the Freeze by the superior Taenia, the Cornice.

The Cornice, Coronix Cornix. as it is collectively taken for its several and distinct Mouldings and Ornaments, comprehands a small 1. Regula, 2. Cymatium, 3. Dentelli, 4. Ovolo or Echinus, 5. Modilions or Bedding-mouldings which support the Corona, 6. Sima recta and inversa (rarely a Cavetto) 7. and lastly another Regula which concludes the whole Order. We will begin with the first, being sometimes a small Scotia consisting of an half or quarter round, that now and then also both in the Tuscan and Dorica divides the Freeze from the Cornice in place of the Taenia, as does the Cymatium in the rest of the Orders. The Ovolo Ovolo. is next in the plainer Orders, but it is inrich'd in the Corinthian like the Echinus, which (if you please) you may take for the same thing in an Italian dress: In the Tuscan and Doric 'tis turn'd like a Scima or Cymatium, and is substituted for support of the Corona, but in the last 'tis usually accompanied with a slender Regula above it, and in the Corinthian both above and beneath, where it is likewise frequently Carv'd and adorn'd with a broad Welt like a Plinth.

Dentelli, Dentelli. are the Teeth immediately above the Cymatium of the Freeze, by some named also Asseri from their square form; I say in the Corinthian and Ionic, &c. for in the Doric Order they were not antiently admitted, or rather not properly, according to the opinion of our Master, though we must needs acknowledg to have found them in the most authentical pieces extant: As for their Dimensions they kept to no certain rule, but made them sometimes thicker, sometimes thinner, square, or long, and more in number, but commonly the spaces less by an half, sometimes by a third part then the Teeth, which were themselves twice as high as their breadth, and frequently (especially in the more polite Orders) beginning with the Cone of a Pine, pendent at the very point over the angular Column: Lomatius is yet more precise in this particular, and gives them as much height as the middle Fascia of the Architrave, Projecture equal, Front twice the bredth of their height, and a third part less than their bredth for vacuity. The Dentelli have oftentimes a small Regula, and now and then more then one, as usually in the Ionica, where it has likewise an Ovolo or Echinus for the bedding of the Corona; but if inriched, and that two of them encounter, one should be simple and plain, as where it happens to be inserted beneath it: Next to this superior Echinus are the Modilions, but instead of them Dentelli are thought to have been first instituted, and for that reason superfluously joyn'd where Mutules are; and therefore where we find Taenia under Modilions it is not properly divided into Teeth, nor is it rashly to be imitated, though we have some great examples to countenance it. That of the Pantheon may safely guide us herein, where it is left plain for this very cause, and that the reason of the thing does not in truth allow it: However, it must be acknowledged, nothing has been more grosely abused even amongst our most renown'd Masters.

Modilions, Modilioni. being certain supports in form of Corbells, Cortouzes and Mutules are a king of Bragets to the Corona, and in those Orders where they enter, supply the part of the Bedding-moulding as our Workmen style the Ovolo in this place, for so they frequently do in the Doric and Ionic, but then without any other ornament than a slight Cymatium to edg them, and to be alwaies placed over the Triglyphs: In the Corinthian and Composita they are enrich'd with all the delicateness and curiosity imaginable, capp'd, as I said, with a curiously Carv'd small Cymatium where they are contiguous to the Planceere of Roof of the Corona. Our ordinary Workmen make some distinction between Modilions and those other sorts of Bragets which they call Cartells and Mutules, usually Carv'd like the handles of Vessels Scroul'd, Flower'd and sometimes Sculptur'd with the Triglyph; and such were the Ancones amongst the Greeks: That there should be no Guttae under Mutules is the opinion of divers learn'd Architects, though (as was said) we frequently find them Chanell'd like the Triglyph, and that in authentick Examples: Philander is for it, and pronounces them more proper than even under the purest Triglyph, for signifying (saies he) Cantiorum Capita, unde stillicidum fieri certum est, drops and I sicles commonly hanging at the ends of our Rafters upon every weeping shower, whereas Triglyphi import only the Projectures of the Beams and Tunbers nothing so much exposed: But this I leave to the more judicious.

Mutules quasi 〈 in non-Latin alphabet 〉 have their name from their defect,Mutull. as being made thinner and more abated below than above, and therefore naturally and discreetly destin'd to places where they are but little burthen'd with weight, as here under that little remainder of the Cornice; and so where they are set under the Pedaments and Lintels of Doors and Windows: Most prepostrous therefore and improper is our frequent assigning such weak supporters to such monstrous jetties and excessive Superstructures as we many times find under Balconies, Bay-Windows and long Galleries, where instead of Mutules the Antients would have plac'd some stout Order of Columns: But by these unreasonable Projectures it comes to pass, that in time our strongest Houses are destroyed, and drawn to their irrecoverable ruine. For the proportion of Mutules, I commonly find them a fourth part higher than their breadth, their Intervals being as wide as two; but neither do I find these so constantly regular, only that there be ever one plac'd at the corners, and returnes of the Corona, and then if they interchangably differ as to the spaces and as the Rafters direct, there are examples aboundant for their justification.

I shall not need to define what is meant by Projectures Projectur •• . when I have said it is the same our English Authors call the Sailings over and out Iettings of any Moulding: The Italians name them Sporti, the Greeks Ecphoras, and for the same reason all Margents whatsoever which hand over beyond the Scapus of a Column are Projectures.

Corona, Corond. is the last considerable Member remaining of the intire Entablature, and seems indeed to set the Crown upon the whole Work: I say Considerable, because being regularly plac'd on the uppermost Ovolo, or Mutules, it serves to defend all the rest of the Edifice from the Rain and injuries of the Weather, and therefore has its Projectures accordingly. It is sometimes taken for the intire Coronix or Cornice with all its ornaments, but strictly, for this superior part of it 'twixt two Cymatiums; for even the Ovolo or Echinus forms an Ogee by a turn under the Planceere. We find the Corona omitted and quite left out of that stately Arco di Leoni, but it is worthily reproved by our Author of the Parallel, as being a member of indispensable use. Corona is by some cal'd Supercilium, Supereilium. but rather I conceive Stillicidium the Drip, and with more reason, so the French Larmier, Gocciolatotio and Ventale by the Italians to denote its double office of protecting both from Water and Wind: For this reason likewise have our Latine Authors nam'd this broad Plinth Mentum a Chin, because it carries off the Wet from falling on the rest of the Entablature, as the prominency of that part in mens Faces keeps the sweat of the brows, and other liquid distillations, from trickling into the Neck; and in imitation hereof the Antient Potters invented the brimming of their Vessells, by turning over some of the ductile Matter whem the Work was on the Wheel. Sometimes there have been two Corona's in a Cornice, as in that Corinthian Instance of the Rotunda, and so it is frequently used in Stylobatae under Gula inversa; and truly it may be justly repeated, as the exposure and occasion requires (so it be not too near one another) all Projectures being but a kind of Corona to the subjacent members.

The under part of the Roofs of these Corona's (which are commonly wrought hollow, by sometimes (as we say'd) making part of the Cymatium) are by our Artists call'd Planceeres, Planceeres and those the Cofers Cofers. wherein are cut the Roses, Pomgranades, Flowers or Fretts, which adorne the spaces 'twixt the heads of the Modilions and Mutules. This Ceiling the Italians name Soffito, and it signifies not only that part of Corona which failies over, but the Lacunar, Lacus or Plain of all other Roofs made of Tabulations and Boards appearing between the Ioysts, and which (as now, especially in other Countries) were also formerly Gilded, Carv d and most magnificently Emboss'd with Fretts of wonderful relievo; nay sometimes to the excess of Inlayings with Ivory, Mosaique and other rich and chargeable Works. Pliny l. 35. cap. 11. tells us of one Pamphilius the Master of Apelles to have been the first which brought this, Roof-painting into vogue: But I refer the Reader who thirsts after more of this, to the learned Salmasius on Solinus p. 1215. Nor is yet the Corona perpetually plain as we commonly see it; sometimes (though rarely indeed) I find it Carv'd also, as in that incomparable Composita of Titus's Arch, and that of Dioclesians Bathes in the Corinthian Order, and as is indeed every individual member of that intire Entablature to the utmost excess of Art; but how far this may be imitable, consult the Judicious Parallel, while 'tis yet considerable that it is there but with a kind of Sulcus or Channel, in imitation of Triglyph, or a short Fluting rather, being indeed more proper for the carrying off the Water, than any other Work could have been devised. Corona has over it a small Regula, or an inrichmen of some sleight Chaplet in the Corinthian, &c. after which Cymatium, as in that of Titus's Arch before rehearsed; sometimes likewise with an Ovolo or Echinus cut with Ovals, and Darts, as in that example of Nero's Frontispiece, and upon this again the double Cymatium, whereof the first is inverted, and ever the neathermost and most narrow, the other Recta, very large and prominent, being now and then adorn'd with Lyons heads plac'd just opposite to the Modilions (of which see that curious research of the learned Dr. Brown in his Vulgar Errors) though sometimes they are adorn'd with Foliage only. Lastly, for a final 〈 in non-Latin alphabet 〉 or Super-imposition (if I may be indulg'd so to name it) we are now clim'd to the most supream Projecture, and ultimate part of the whole cornice, namely the

Regula, Regula. which some make a part of the Sima or Gula recta, by Palladeo the Intavolato, and which I think to be the sole Member which I never remember to have seen any where Carv'd, but alwaies Plain, though in some of the Orders of neer eight Minutes in breadth. It is very true, that Scotia (which I now and then call Cavetto or a small hollow) does in some laudable examples support this Member in stead of Cymatium, but not so frequently; and that the Tuscan Cornice terminates in a Cymatium without this Regula, or rather in an Ovolo as in those examples after Sebastian Serlio, &c. but it is not after a true gusto, and the fancy is particular. Regula, call'd also Listello, Cincta, &c. (of which something already hath been spoken) is alwaies that Supercilium or superior member of the Cornice, though it be likewise taken for that which is by some call'd Quadra, being those two Lists commonly including Scotia, as we finde it in the Ionic Spira both above and beneath: Sometimes also it signifies the Rings or small Feruls begirting the Scapus of a Column near the Apophyges, or the Plinth of a Pedistal: Therefore I distinguish them, though yet they may be accounted the same, seeing they usually import any small plain Fillet dividing greater Members; for so Philander calls almost all simple parts broader or narrower, which like Fillets encompass the rest; as in the Doric-Trabeation, Regula, Sima, Cymatium, &c. In the Capitel, Regula, Cymatium, Plinthus: In the Cornice of the Stylobata also Regula, Cymatium, Astragalus: But where it is no less conspicuous, is in that part of the Triglyph, which jets out under the Taenia, and from which the Guttae depend, where it seems to be a part of the very Architrave it self.

And may thus much suffice to have been spoken of the Cornice or upper Member of the Trabeation, Trabeatio. which we mean by the Entablature, for both these tearms signifie but one and the same thing, viz. The Architrave, Freeze and Cornice; which I therefore the more precisely note, because some Writers apply it only to the very cover and upmost top of the Orders; but so does not our Country-man Iohn Shute, whose Book being Printed Anno 1584. (and one of the first that was published of Architecture in the English tongue) keeps rather to the Antient Tearmes than by mixing them with such barbarous ones as were afterwards introduc'd, indanger the confusion of Young Students and such as applied themselves to the Art. Finally, to reform another mistake, I think good to note that where we finde Coronix in our Authors, it is rather meant for all that Moulding projecting over the Dye or square of the Pedistal (by some cal'd also Cima)Cima. than this conclusive superior member of the Entablature which we name the Cornice: But I have done, nor needs there more be added for the perfect intelligence of the most minute Member and Ornament mentioned in this Parallel, or I conceive in any other Author whatsoever treating concerning this Art, and naturally applicable to the Orders: Notwithstanding, inasmuch as there doe yet happen some Super structures which both in Works and Books of this magnificent Science have likewise names of doubtful signification, and to satisfie all that may be farther desir'd for the rendering of this undertaking more useful and instructive, I will in brief proceed to what is used to appear further in Buildings, where they did not flatten the Roofs and Cover of Edifices, and which is certainly of all other the most graceful.

Those Roofs which exalted themselves above the Cornices had usually in face a Triangular plaine or Gabel (that when our Workmen make not so acute and pointed they call a Pedament) which the Antients nam'd

Tympanum, Tympanum but this is to be taken now and then for the whole Frontispiece from the Cornice to the upmost part of the Fastigium or superior Angle of it, and is commonly circumscrib'd with the same Cornice that the subjacent Order is of. At the Cima or very point, and also at each Angle of this, stood smaller Pedistals, for the placing of Statues, Busts, Vrnes, Lamps of Fire, Pine Cones, Bowles, or the like Ornaments, and these Stylobata were call'd

Acroteria, Acroteria. from 〈 in non-Latin alphabet 〉 summa pars, we may properly name them Pinacles, for so Pinnae and Batlements were made sometimes more sharp, Towring or Spiry, as pleased the Workman; but where they stood in ranges (as not unfrequently) with Rail and Balausters upon flat Buildings, they still retain'd their name, with this only difference, that such as were plac'd between the Angular points were (like ranges of Pillars) styl'd the Median or middle Acroteria.

They did likewise sometimes cover (especially Temples, and such magnificent and sacred Buildings) with a Cuppola, Cuppola. which is that Dome or Hemisphaerical Concave made in resemblance of the Heavens, and admitting the light at the top Center or Navil only, without any Lantern, as is to be seen in that incomparable piece of the Pantheon yet extant: This is much in vogue yet in Italy, especially at Rome and Florence, but it is commonly with the Lantern and other Appertures. to let in day without exposure to the Weather, as appears by that on the summit of Saint Peters; but it takes away, in my poor judgment, something from the solemness, and natural resemblance of the other, which yet are happly better to be endur'd in the more Eastern Countries where the Weather is constant; as we see it practis'd in what the Pious Helena erected in the Holy-Land, and her Son Constantine the Great, on that his magnificent Structure of Santa Sophia yet remaining at Constantinople, and to this day imitated by the Turks for the Covering of their Mosques; and that it was an Oriental Covering and invention, the 〈 in non-Latin alphabet 〉 of the Greeks was doubtless deriv'd from the Hebrew 〈 in non-Latin alphabet 〉 Thala Thalas. signifying to Suspend or hang as it were in the Ayr; but the Italian name seems to come from Cuppa a Cvue or great washing Boul, to which it much resembles. They do form some of those Goverings in other shapes and make them mult-angular, but they are nothing so graceful.

Other Accessories and Ornaments are also used in Buildings which I will only touch.

Niches, Niches. quasi Nidi, Neasts, of old Concha, Concha. are a kind of Pluteus or smaller Tribunals (as they are yet called in Italy) wherein Statues are placed to protect them from the down right injuries of the Weather, as well as for ornament to plain and simple Wales: These have their regular Sections, and were usually Escalop'd above, either cut into the solid Stone, or wrought in Plaster: When they were made very much larger and higher, beginning from the Pavement, they were call'd

Tribunals, Tribunal. as of old it seems applied to all high and eminent places: We have a noble resemblance of this in that magnificent Throne describ'd 1 Reg. 10. 19. built by Solomon, which seems to me to have been such an ample Nich in which a Principal person might sit, as it were half Canopied over within the thickness of the Wall.

In Walls likewise did they insert many noble and most exquisite Sculptures and Historical Fables, half wrought up, Emboss'd and swelling, and sometimes more then half, which eminencies they now call in Italy by the name of Basse, and Mezzo relievo: Relievo. These were sometimes wrought in Marble, as in that famous Abacus and Stylobata, yet extant, of Trajan's Pillar. Their ordinary placing was in the Fronts of Edifices, as is yet to be seen in divers Palaces at Rome, and especially in their Villas and Retirements of pleasure, which are frequently incrusted with them, but vilely imitated in our exposed Fretworks about London, to the reproach of Sculpture, especially where it pretends to Figures on the out sides of our Citizens Houses. But not only the Roofs of Houses and their Fronts had their adornments, but the Floores also were inlay'd with Pavements of the most precious materials, as of several Coloured Stones and Woods, and this they call'd

Emblema, Emblema. continued to this day by the Italians in their Pietra Comessa; of which the most magnificent and stupendious Chappel of Saint Laurence at Florence, Paul the First's at Sancta Maria Maggiore in Rome, are particular and amazing instances, where not only the Pavement, but likewise all the Walls are most richly incrusted with all sorts of precious Marbles, Serpentine, Porphirie, Ophitis, Achat, Rants, Coral, Cornelian, Lazuli, &c. of which I can number near thirty sorts cut and lay'd into a fonds or ground of black-Marble (as our Cabinet-makers do their variegated Woods) in the shape of Birds, Flowers, Landskips, Grotesks and other Compartiments most admirably Polished, a glorious and everlasting magnificence: But where it is made of lesser Stones, or rather morsels of them, assisted with small Squares of thick Glass, of which some are Gilded, it is call'd Mosaic-work, Mosaic •• . and it does naturally represent the most curious and accurate sort of Painting, even to the life, nor less durable than the former, as is most conspicuous in that front of Saint Marks Church at Venice, the Cappula of Saint Peters at Rome, and the Altarpiece of Saint Michael near it: These are the Tessellata and Vermiculata or Pavimenta asarota of the Antients, but of which I do not remember to have seen any publick Work in our Country. It is yet not to be forgotten the very Floorings of Wood which her Majesty the Queen Mother has first brought into use in England at her Palace of Sommerset House, which has some resemblance to these magnificencies; because it is exceeding beautiful and very lasting: And this puts me in mind of that most useful Appendix joyn'd to Mr. Richards late Translation of the first Book of Palladio, and those other pieces of la Muet the French Architect, wherein, besides what he has publish'd concerning these kinds of Timber-floors, &c. you have at the conclusion of that Treatise a most accurate account of their Contignations and Timberings of all sorts of Stories, Roofings, and other Erections, with their use, Scantlings and proper names, which, for being so perspicuously describ'd, deserves our commendation and encouragement.

Eum Architectum oportet usu esse peritum & solertem, qui demere, aut adjicere praescriptis velit.

J. E. FINIS
To the READER.

THERE is no man pretending to this Art, or indeed to any other whatsoever, who does not greedily embrace all that bears the name of Leon Baptista Alberti, who was a Florentine Gentleman of illustrious Birth, great Learning, and extraordinary abilities in all the Politer Sciences, as he stands celebrated by Paulus Jovius, and for which he became so dear to that great Mecenas Lorenzo di Medici, who chose him, with Marsilius Ficinus, Christopherus Landinus, and other the most refin'd Wits of that Age, to entertain his Academic retirements and Solitude of Camaldoli: You have an ample Catalogue of his learned Works, Latine and Italian, publish'd at the end of his Life by Rafael du Fresne that great French Virtuoso, together with the History of those many incomparable Structures design'd and conducted by this rare Genius, extant at this day in Florence, Mantoa, Rimini and other Cities of Italy; as being indeed one of the very first that polish'd the now almost utterly lost and extinguish'd Art of Architecture; in which how successfully he joyn'd Practice to Speculation, there are aboundance of examples, some whereof are wrought by his own hands. He composed three Books, De Pictura, full of incomparable researches appertaining to that noble Art: This of Statues was first written in Latine, but it having never been my hap to find it (and I think it was never Printed) I made use of this Version out of the Italian, as it was long since published by that ingenius Person Cosimo Bartoli, and have sub joyn'd it to this Discourse of Architecture, not only because they cannot well be separated, but for that the Author, being one of our Parallel, the Argument appear'd so apposite and full of profitable instruction to our Workmen, who for want of these or the like Rules, can neither securely work after the life, or their own inventions, to the immense disgrace of that divine Art. This brief Account I thought fit to present thee, Reader, concerning this Piece of Alberti's, it being the very first of the kind which ever spake in our Language.

EVELYN.
COSIMO BARTOLI To the most excellent Architect, and Sculptor BARTOLOMEO AMMANTI.

ALTHOUGH I am perfectly assur'd (my most ingenious Bartolomeo) that you, who are so universally accomplish'd, and in particular, so skilful, and well versed in Architecture and Sculpture, have no need of those Rules and Precepts, which the most judicious Leon Baptist Alberti has publish'd concerning Statues; Yet I easily perswaded my self that this address of them to You, would not be a thing unacceptable, as being to a Person so well able to judg of that rare fancy, and incomparable worth of the said Leon Baptista, who in a time wherein little or nothing of Sculpture was known (all good Arts and Sciences being then in a manner annihilated and wholly extinct throughout Italy, by reason of the many inundations of Barbarians) imploy'd the utmost of his abilities to open an easy and secure way for our Youth, who though unexperienc'd themselves, delighted in this most noble Art; and to incite them to joyn diligent practice, with the observation of sure and unerring Rules. No wonder therefore, if from that time forward such wonderful Progress has been made in this Art, as has brought it to that perfection wherein it is seen flourishing at this day: So as in this Age of ours, we have no need to envy those so much admired Statues of the most celebrated Sculptors of the Antient Romans, when we shall well consider what has been perform'd by our Countryman Donato, and not many years since, the Divine Michael Angelo Buonaroti, as after him, by Baccio Bandinelli, Benuenuto Cellini, and lastly, by Your Self; whereof, that I may produce some Instances (besides those many Statues which are extant of all your hands) proclaiming your singular Merits to the admiration of all men, there are to be seen in the Piazza of their Highnesses royal Palace, the most beautiful Judith; the most stupendious Colosso of David, the robust and fierce Hercules; the most masterly handl'd Perseus, together with all his rare and curious adornments; and which is indeed the greatest of all the rest, Your own Neptune, with the other three Statues accompanying it, cut our of one intire piece of Marble, and frain'd with so magisterial a height of Art, as not only produces wonder in all that attentively behold it; but does as it were wholly astonish then to contemplate the Ingenuity, the Science, the Industry, the Diligence, the Affection, and in fine the never to be sufficiently celebrated Skill of the Artists. Vouchsafe therefore that these (however impolish'd) Instructions, so much conducing to the information of unexperienc'd Youth, be recommended to the publick view under Your Name and Protection: And as it has ever been Your Custom heretofore, Love your Friends, amongst whom I conjure You to esteem me none of the least.

Farewell.
LEON BAPTISTA ALBERTI OF STATUES.

I Have often thought with my self that the several Arts, whereby men at first Industriously set themselves to express, and represent by Work of hand, the shapes and similitudes of bodies, springing from natural procreation, took their beginning from the accidental observation of certain Lineaments either in Wood, or Earth, or some other sorts of materials, by Nature so dispos'd, that by altering or inverting some thing or other in their form, they appear'd capable of being made to resemble the Figures and Shapes of living Creatures; and thereupon, having seriously consider'd and examin'd what course was best to take, they began with utmost Diligence and Industry to try and make experiment, what was necessary to be added, or taken away, or in any other kind perform'd, for the bringing of their Work to such perfection as might cause it exactly to resemble the intended form, appearing, as it were, the very same thing; ever marking as they wrought, to see if they had fail'd in any thing, and still mending as they found occasion, sometimes the Lines, sometimes the Superficies, Polishing and Repolishing, till at length (not without much pleasure and satisfaction) they had accomplish'd their desire: So that it is not a thing so much to be admir'd, that by frequent practice in Works of this nature, the fancies and ingenuities of men have been from time to time improv'd, and advanc d to that height, that at last (without taking notice of any rude Draughts in the Material they wrought upon, to help them in their intended Designs,) they became able by their skill to Design and express upon it whatsoever form they pleased, though in a different manner, some one way, some another; for as much as all were not taught, or apply'd themselves to proceed by the same rule or Method. The course that many take to bring their intended Figures to perfection, is both by adding to, and taking from the Material; and this is the way of those that work in Wax, Plaister or Clay, who are therefore tearm'd Maestri de stucco, others proceed by taking away, and carving out of the Material that which is superfluous, whereby it comes to pass that they produce out of whatsoever Mass of Marble, the perfect shape and figure of a Man which was there hiddenly but potentially before; and those that work this way, we call Sculptors: next of kin to whom are they that grave in Seals the proportions of Faces, that before lay hid in the Matter out of which they were raised. The third sort is of those that perform their Work by only adding to the Material; as Silver-Smithes, who beating the Silver with Mallets, and distending it into thin Plates of what fashion or size they think fit, lay thereupon their Superstructure, adding and inlarging till they have fashion'd and brought to perfection their intended Design. And here perhaps some may imagine, that in the number of this last sort of Artists Painters are to be reckon'd, as those who proceed by way of adding, namely by laying on of Colours; but to this they answer, that they do not strive so much to imitate those lights and shadows in Bodies which they discerne by the Eye, by the adding or taking away of any thing, as by some other Artifice proper and peculiar to their way of Working: But of the Painter and his Art we shall take occasion to speak elsewhere. Now, as to those several kinds of Designers which we have here before mention'd, though they go several ways to work, nevertheless they all direct their aims to this end, namely, that their labours may appear to him that shall well observe them, as Natural, and as like the life as may be; for the bringing of which to effect, it is most evident, that by how much the more exquisitely they follow some certain determin'd rule or method (which Rule we shall afterwards describe) so much the sewer defects will they be guilty of, so much the fewer errors commit, and in all manner of accounts their Works will succeed and come off with the greater advantage: What shall we say of Carpenters? What would they perform to any purpose, if it were not for the Square, the Plummet, the Line, the Perpendicular, and the Compasses for the making of Circles, and by the means of which Instruments they Design their Angles, their Streight-Lines, their Levells, and other their Proportions, thereby finishing and compleating all they take in hand with the greater exactness, and without which they would be able to do nothing substantially? Or can we rationally imagine, that the Statuarie could perform such excellent and admirable Works by chance, rather then by the help of some certain and Infallible rule or guide, drawn from reason and experience? Wherefore this we shall lay down for a Maxim; That from all Arts and Sciences whatsoever, there are Drawn certain Principles, Rules, or natural Conclusions, which if we shall apply our selves with all care and diligence to examine and make use of, we shall undoubtedly find the benefit of, by the perfect accomplishment of whatsover we take in hand: For as we were first instructed by Nature, that from those lineaments which are found in pieces of Wood, Earth, Stone or other Materials, may be drawn (as we said before) the forms of whatsoever Body or Creature the concourses of those Lines resemble; so also the same nature hath taught us certain helps and meanes, by which we are guided to proceed securely and regularly in what we undertake, and by the constant observing and use whereof, we shall most easily, and with the greatest advantage, arrive at the utmost perfection of the Art or faculty we strive to attain. It now remains that we declare what those helps are which Statuaries are chiefly to make use of; and because their principal part is to make one thing to imitate and resemble another, it will be requisite to speak first of Resemblance, a subject our discourse might be abundantly ample in, since Resemblance is a thing so natural and obvious, that it offers it self to our view and observation in each visible object; not only every Animal, but even all things whatsoever that are of the same Species, being in some respect or other correspondent and alike: On the other side, there are not in the whole race of Mankind any two to be found so exquisitely resembling each other, as not to differ some one tittle in the tone of the Voice, or the fashion of the Nose, or of some other part; to which we may add, that those Persons whom, having first beheld Infants, we come to see Children of some growth, and afterwards at the age of Manhood, if at length we meet them when grown Old, we shall find them so chang'd and alter'd by time, that we shall not be able to know them; for as much as the aptitude and position of those numerous Lines and Features in the Countenance still alters, and vary's from time to time, as Age comes on; nevertheless in the same Visage there remains a certain natural and peculiar form, which maintains and keeps up the resemblance inhaerent to the Species: But we shall wave these things, as belonging rather to a particular discourse, and return to persue what we first took in hand to treat of.

The Design and Intention of making resemblances among Statuaries, I take to be twofold; the first is, that the Design or Work intended for the resemblance of any sort of Creature (for example, suppose it a man) be so fram'd, that it come as near in similitude as may be to the said Species, without regarding whether it represent the Image of Socrates more then that of Plato, or any other known individual Person, since it is enough that the Work resembles a man in general. The other Intention proceeds farther, and aims not only at the representing the likeness of Man in general, but of this or that particular Man; as namely, of Caesar, or Cato, not omitting to describe the very Habit he wore, the Posture he affected, and the Action he used; whether sitting in his Tribunal, or making Speeches to the People: It being the proper business of those who addict themselves to this last way of representation, to imitate and express every Habit, Posture and Ayr, peculiar to the Body of that known Person whom we intend to represent. Answerable to these two Intentions, (that we may handle the matter as briefly as is possible) there are especially required two things; that is to say, Proportion, and Limitation. In treating therefore of these two particulars, that which we have to do, is to declare. First, what they are: Next, to what use they serve for the bringing of our Design to perfection: Besides which, I cannot but by the way, take notice of the great benefit that is to be made of them in respect of the wonderful and almost incredible effects which they produce; insomuch that whosoever shall be well instructed in them, shall be able by the help of some certain infallible marks, exactly to observe and point out the lineaments, situation and positure of the parts of any Body, though it were a thousand years after, so as not to faile to place it exactly at his pleasure, in the very same direction and posture it should have hapned to have stood in before; and in such sort, as there should not be the least part of the said Body, which should not be reduc'd and resituated toward the very same point of Heaven against which it was originally directed: As if, for example, You would point out the place with your finger where the Star of Mercury or the new Moon would rise, and it should happen to rise in a direct angle over against the point of the Knee, Elbow, Finger, or any other part; most certain it is, that by these means and helps all this may be done, and that so precisely that there should not follow the least failing or errour imaginable; nor need there any doubt be made of the certainty hereof. Besides this, suppose I should take one of the Statues of Phidias, and so cover it over with Wax or Earth, that none of the Work could be discern'd, and that it should appear to be only a meer shapeless trunck, You might by these rules and helps certainly know how to find out in one place, by boaring with a Wimble, the pupil of the Eye, without doing it any harm by touching it; and in another place the Novel, and finaly in another the great Toe, and so other parts in like manner; by which means you will gain a perfect knowledge of all the Angles and Lines, whether far distant one from another, or nearly concurring together: You may also, beginning which way you will, and whether following the Original, or the Copy, not only Draw or Paint, but also put down in Writing, the various course of the Lines, the circumferences of the Circles, the positions of the parts, in such sort that by the aforesaid helps and means you need not doubt the being able to produce with ease such another figure perfectly resembling, and of what size you please, either less, or just of the same magnitude, or of an hundred Fathomes in length; may, I dare be bold to say, that were there but Instruments to be had answerable to so great a Design, it were not only not impossible, but even no hard matter, to make one as big as the Mountain Caucasus; and that which perhaps you may most wonder at, is, that according as the matter might be order'd, one half of this Statue may be made in the Island of Pharos, and the other half wrought and finish'd in the Mountains of Carrara; and that with such exact correspondence, that the joyntures and commissures of both parts perfectly sitting each other, they may be united into one compleat statue resembling either the Life, or the Copy after which it shall have been figur'd: And for the performing of this so stupendious a Work, the manner and method will appear so easy, so perspicuous and expedite, that for my part I conceive it almost impossible for any to err but those that shall Industriously, to make tryal of the proof of this assertion, work contrary to the rules and method enjoyn'd. We do not hereby undertake to teach the way of making all kind of resemblances in Bodies, or the expressing of all those various aspects which result from several differing and contrary passions and affections; since it is not the thing which we profess to shew, how to represent the Countenance of Hercules when he combats with A ••• us, with all the height of Magnanimity and fierceness which would be requisite upon such an occasion; or casting an obliging, chearful and Smiling air, when he Courts his Deianira; so as that the Countenance of the same Hercules should upon several occasions be represented with as various aspects: But our purpose is rather to take notice of all the different figures and postures that are incident to a Body from the divers situations, Gestures or Motions of the several members or parts thereof; for as much as the proportions and outward lines are one way terminated in a Body that stands upright, another way in him that sits, another way in one that is lying down, another way in those that turn or incline themselves toward this or that side; and so, in like manner, in all other gestures and motions of the Body, of which way of representation our intention is at this time; that is to say, in what manner, and by what certain and infallible rules, these gestures and various dispositions of the Body may be imitated and represented; which rules, as we said before, are reduc'd to two principal heads, namely, Proportion, and Limitation: And first we shall treat of Proportion, which is indeed no other then a constant and certain Observation, by examining the just number and measures, what habitude, symmet ie and correspondence all the parts of the Body have one towards another, and that in respect of every dimension of the Body, both as to length, breadth and thickness.

This Observation is made by two sorts of Instruments, a large Ruler, and two moveable Squares; with the Ruler we take the lengths of the parts, and with the Squares we take their diameters and all the other proportions of the said measures. Upon this Ruler then let there be a line drawn of the length of the Body which you would measure, that is to say, from the crown of the Head to the sole of the Foot: Whence note by the way, that to measure a Man of a short stature, you are to use a shorter Ruler, and for one of a longer stature, a longer Ruler: But whatsoever the length of the Ruler be, it is to be divided into fix equal parts, which parts we will name Feet, from whence we will call it the Foot-measure; and each of these Feet shall again be divided into ten equal parts, which we may tearm Inches.

The whole length therefore of this Model or Foot-measure will consist of 60. Inches; every one of which is again to be sub-divided into 10. equal parts, which lesser parts I call Minutes; so that through this division of our Measure into Feet, Inches, and Minutes, the total of the Minutes will amount to the number of 600. there being in each of the 6. Feet 100. Now, for the measuring of a mans Body by this Instrument, we are thus to proceed: Having divided our Ruler according to the foresaid manner, we are to measure and observe by the application thereof, the distances of the parts of the said Body; as for instance, how high it may be from the sole of the Foot to the crown of the Head, or how far distant any one member is from another: As, how many Inches and Minutes it may be from the Knee to the Navel, or to the cannel bone of the Throat, and so in like manner any other parts; Nor is this course to be at all slighted or derided either by Sculptors or Painters, since it is a thing most profitable, and absolutely necessary; for as much as the certain measure of all the parts being once known, we shall have gain'd a most easy and speedy determination how to proceed in our work with any of the said parts or members without committing the least error: Never think it a matter worth regard or notice, if any capricious humorist shall peradventure find fault that this member is too long, or that too short; since your Model or Foot-measure (which is the rule that must always direct and govern your work, and then which you cannot go by a more infallible guide) will soon determine whether you have proceeded well or ill; and doubtless when you shall have maturely consider'd and examin'd these things, you will not be to seek in those infinite other advantages wherein this Foot-measure will prove serviceable, especially in knowing how with absolute certainty to limit and determine the longitude of the parts in a Statue of a greater magnitude, as well as in one of a lesser.

So as if it should happen that you were to make a Statue of 10. Cubits, or what ever other dimension, it would be requisite to have your Ruler, Model, or Footmeasure likewise of 10. Cubits, and divided into six equal parts, which should have the same correspondence one with another, as those of the lesser Ruler: In like manner should the Inches and Minutes be proportion'd, whence also the use and manner of working would be the same with the other; since half the numbers of the greater have the same proportion to the whole intire, as half the numbers of the lesser have to the whole Intire of the lesser. Wherefore according as the size of your work happens to fall out, your Ruler is to be made proportionably.

We come next to treat of the Squares, which are to be two; the first of which shall be made after this manner: Let two Rulers, in the nature of streight lines, i. e. A. B. and B. C. be joyn'd together so as to make a right angle; the first Ruler A. B. falling perpendicular, the other B. C. serving for the Base: The bigness of these Squares is to be so order'd, that their Bases consist of at least 15. Inches, according to the proportion of your main Ruler, which, as we have said before, is to be made bigger, or lesser answerable to the proportion of the Body you would measure: These Inches therefore with their points and Minutes (however they may fall out) being taken exactly from the said Ruler, you must set down upon your Base, beginning to rockon from the point of the Angle B. and so Proceeding on towards C.

The Square being thus mark'd and divided, as is to be seen in the example A. B. C. there is to be adjoyn'd unto it another Square made after the same manner, according as it is demonstrated by the letters D. F. G. so as that G. F. may serve both for streight Line and Base to both. Now to shew the use of these instruments, I undertake to measure the Diameter of the thickest part of the Head H. I. K. by bringing the two streight Rulers A. B. and D. F. of each Square exactly opposite to each other, to touch the two opposite points of the thickest part of the Head, and by applying interchangeably to one and the same Level, the Base-lines of the said squares; by which means from the points H. I. which are touch'd by the streight Rulers of the said Squares, we shall discover the exact Diameter of the Head.

And after this manner, the thickness and bigness of any part of the Body whatsoever may with great ease and accurateness be found out: Many uses and advantages we could reckon up, which might be made of this Ruler and these Squares, were it needful to insist now upon them; there being several other waies, much after the same manner, which the meanest capacity may of himself find out, for the measuring of the Diameter of any part; as for example, suppose one would know how much the Diameter is from one Ear to the other, and where abouts it intersects the other Diameter which passes from the Head to the Nuca, or the like. Lastly our Workman may safely make use of this Ruler and these Squares as most faithful guides and counsellours, not only for the performing of any part of his Work, but also at the very first, and before he sets upon it, he will receive much light by the help of these Instruments, how to begin and go about it; in so much that there will not be the least part of the Statue he is to make, which he will not before have examin'd and consider'd and render'd most easy and familiar to him; For Example. Who but a very arrogant person would take upon him to be a Master-Ship-wright that had not the perfect knowledg of all the several parts of a Ship, and how one kind of Ship differs from another, and what those particular parts are which belong to one Ship more then to another? And yet who is there of our Sculptors, let him be a man never so subtile and experienc'd in his Art, who if it should be demanded of him, upon what ground or consideration he has made this Member after this manner, or what may be the proportion of this or that Member to the whole structure of the Body? I say, who is there so diligent and accurate as to have well consider'd and observ'd all that is requisite, and which becomes that Person to know who would perform as he should do the Art whereof he makes profession? whereas doubtlesly all Arts and faculties are most advantageously learn'd by rule and method, and by the knowledg of some demonstrable operation that is to be perform'd; nor shall any one attain to the perfection of any Art whatsoever, who hath not first comprehended every several part and branch of the said Art. But thus having sufficiently treated of Measure and Proportion, and after what manner it is to be found out by the Ruler and Squares; it remains that we speak next of Limitation or the prescribing of Bounds: This prescription of Limits is the determining or fixing of a certain period in the drawing of all our Lines, so as to direct to what point they are to be continu'd, whether extended out in length, or reversed; how Angles are to be fix'd, how parts are to be raised, or depress'd by Alto, or Basso Relievo, as Artists tearm it; each Line, Angle and Reliev having their due and certain places assign'd them by the conduct of a sure and perfect rule: And the best way to put this rule of Limitation in practice, will be by a Line and Plummet, falling from a certain determinate Center plac'd in the middle, whereby the distances and extremities of all the lines may be mark'd out and taken notice of, as far as the utmost bounds every way of the said Body extends: But between the measure describ'd above, and this assignation of Limits, there is this difference, namely, that that Measure looks farther backward, and springs from a more native and original consideration, as grounded upon more common and universal principles, which are by Nature more firmly and substantially inhaerent in all Bodies; as the lenght, largeness and thickness of the parts; whereas the prescribing of Bounds is grounded upon the present and accidental variety of postures, resulting from the different dispositions and motions of the several parts of the Body, shewing the manner how to limit and fashion those postures, according to the maxims of Rule and Art.

Now, for the better performance of this last part of Regular Operation, we shall recommend this following Instrument, which is to consist of three parts or branches; that is to say, an Horizon, a Style, and a Plumb: The Horizon is a Plane design'd upon a Circle, which Circle is to be divided into equal parts mark'd with their several members, and their subdivisions set over against each part: The Style is a streight Ruler, one end whereof is fixt in the center of the said Circle, the other end moves about at pleasure, so as that it may be easily transfer'd and directed from one division of the Circle to another: The Plumb or Plummet is a line or thread which falls parallel from the top of the Style down to the Floor or Plane, upon which the Statue or Figure stands whose members and lineatures are to be measur'd and limited: For the manner of making this Instrument, let it be thus; Take a Board well plan'd and smooth'd, upon which let a Circle be drawn having three Foot diameter, and let the extremity of the said Circle's circumference be divided into equal parts, according as Astrologers divide their Astrolabes, which parts we will call Degrees; and let every of these Degrees be subdivided again into as many other parts as shall be thought fit; as for example, suppose every Degree be subdivided into six lesser parts, which we may call Minutes; to all which degrees adjoyn the several numbers, viz. 1. 2. 3. 4. with the rest in order, till the numbers belonging to all the degrees be set down. This Circle, thus made and order'd, we call'd the Horizon, to which we are to fit our moveable Style, being also to be made after this manner; Take a thin streight Ruler, three Foot in length, and fasten one of the ends thereof (with a pegg) to the center of its Horizon or Circle, in such a manner, that though the said end is not to be mov'd from the Center, yet the pegg that fastens it is so far to be relax'd, that the whole Ruler may have liberty to move and play about from one part of the Circle to another, whilest the other extream extends it self a good way beyond the circumference of the said Circle about which it is to be mov'd: Upon this Ruler or Style, mark out the Inches it is to contain, distinguishing them with several points between, after the manner of the Module or Foot-measure above mention'd; and these Inches must also be subdivided into lesser equal parts, as was likewise done in the foresaid Foot-measure; and then beginning from the Center, adjoyn to the Inches also their several numbers, viz. 1. 2. 3. 4. &c. Lastly, to this Style annex a line and Plummet. This whole Instrument thus describ'd consisting of Horizon, Ruler, and Plummet we shall call our Definitor.

This Definitor is to be made use of in this manner: Suppose the Original, or Copie, the limits of whose parts we would determine, were a Statue of Phidias, holding with the left hand, on one side of a Chariot, the Raines of a Horses Bridle: This Definitor is to be set upon the head of the Statue in such sort, that it may lye exactly level upon the plane of the Center, being plac'd just upon the very midst of the head of the Statue, where it is to be made fast with a pegg: Then note that point where it is fastned upon the head of the Statue, and mark it by setting up a needle or pin for the Center of the Circle: Next, by turning the Instrument about from the determin'd place in the Horizon, make out the first design'd degree, so as you may know from whence it is mov'd; which may best be done after this following manner: Bring about the moveable Ruler, which is the Style, upon which the thread and Plummet hangs, till it arrive at that place of the Horizon where the first degree of the Horizon is to be set down; and holding it fast there, turn it about together with the whole Circle thereof, until the line of the Plummet touch some principal part of the Statue, that is to say, some member particularly noted above all the rest, as the Finger of the right Hand or so.

Which may serve as the appointed place from whence upon every new occasion the whole Definitor may be mov'd, and afterwards brought back again to the same place where it stood at first upon the said Statue; yet so, that by the turning of the Style about the Pin, which pierceth from the top of the head of the Statue, through the Center of the Definitor, the Plummet which before fell from the first degree of the Horizon, may return to touch the foresaid Finger of the right Hand. These things thus order'd and design'd, suppose that we would take the angle of the right Elbow, so as to keep the knowledg of it in mind, or to write it down; the way is as followeth: Fix the Definitor with its Center which is upon the head of the Statue, in the place and manner aforesaid, in such sort, that the Plane whereon the Horizon is design'd, may stand firme and immoveable; then turn about the moveable Style, till the line of the Plummet come to touch the left Elbow of the Statue which we would measure: But in the performing of this sort of Operation there are three things to be observ'd, which will much conduce to our purpose: The first is, That we mark how far the Style in the Horizon comes to be distant from the place where it shall have been first mov'd, taking notice upon what degree of the Horizon the Style lies, whether on the twentieth, thirtyeth or whatsoever other: Secondly, Observe by the Inches, and Minutes mark'd in the Style, how far distant the Elbow shall be from the Center of the Circle: Lastly, take notice by placing the Module or Foot-measure perpendicularly upon the Plane whereon the Statue stands, how many Inches and Minutes the said Elbow is raised above the said Plane, and write down these measures in a Book or piece of paper: For example, thus, the angle of the left Elbow is found in the Horizon to be 10. Degrees and 5. Minutes; in the Style or Ruler 7. Degrees and 3. Minutes; that of the Plane in the Module amounts to 40. Degrees and 4. Minutes; and thus by the same rule may be measur'd and computed all the rest of the principal parts of the said Statue or Copy; as for instance: The angles of the Knees, and of the Shoulders and other such like parts that are to be reckoned among the Relievi: But if you would measure Concavities, or those parts which recede inward, and are so remov'd out of the reach of sight and easy access, that the Plummet-line cannot come to touch them (as it happens in the Concavities beneath the Shoulders, in the regions of the reins, &c.) the best way to find them is as follows: Add to the Style or Ruler another Plummet-line which may reach as far as the said Concavitie; how far distant it be from the first, it is not material, since by these two Plummet-lines falling perpendicularly, and being intersected by the Gnomon of the plain Superficies above to which they are fastned, and which extends it self as far as the Center of the Statue, it will appear how much the second Plummet-line is nearer then the first to the Center of the Definitor, which is therefore call'd the middle perpendicular.

These things thus demonstrated, being once sufficiently understood, it will be an easy matter to comprehend what we before commended to your Observation; namely, that if the said Statue should chance to have been cover'd over to a certain thickness with Wax or Earth, you might yet by a Piercer, with great ease, readyness, and certainty come to find out whatsoever point or tearm you would desire to find in the said Statue; for as much as it may be clearly demonstrated, that by the turning about of this Gnomon, the Level makes a circular Line like the Superficies of a Cylinder, with which sort of figure the Statue so superinduc'd as aforesaid, seems to be inclosed and incircled: This Position establish'd, you may safely inferr, that as by making way through the Ayr (the Statue not being cover'd with Wax or Earth) you guide your Piercer directly towards the Point T. (which for example's sake we will suppose to be the Relievo of the Chin) by the same reason, if the Statue were cover'd over with Wax or Earth, might you by boaring through the said Wax or Earth attain the point aim'd at, the Wax or Earth possessing but the same place which otherwise the Ayr would have done: From what hath been thus discours'd concerning these things, it may be concluded, that the effect we mention'd before concerning the making of one half of the Statue in the Isle of Pharos, and finishing the other half in the Mountains of Carrara, is a thing not only not impossible but very easy to be perform'd; For let the said Statue or Model of Phidias be divided into two segments, and suppose, for example, this Section of a plain Superficies be made in the Wast or Girdling place, doubtless by the only assistance of our Definitor it will be easy to mark out in the Circle of the Instrument whatsoever points shall be thought fit, belonging to the divided Superficies: These things granted to be feasible, you shall not need to make any question of being able to find out at pleasure in the Model, any part whatsoever you shall desire to find; and that only by drawing a small red line in the Model, which serves in stead of an interfection of the Horizon, in the place where this segment should terminate, if the Statue were divided; and the points so mark'd will direct you the way how the work may be finished: And in like manner may other things be done, as hath been said before. Finally, by the whole discourse here made concerning all these particulars, it is sufficiently evident, that all Measures, Proportions and Limitations are to be taken, whether in the Life, or Copie, by a most certain and infallible rule for the bringing of any work to perfection in this Art; and we could wish that this way of proceeding were more seriously intended by all our Painters, and Sculptors, since, if it were, they would soon come to find the extraordinary benefit of it: But because all things are most illustrated by example, and that the paines we have already taken in this matter may conduce to the greater advantage; we have thought fit to bestow yet a little farther labour in describing the measures of all the principal parts in mans Body; and not only the parts of this or that particular man, but as far as was possible, even the very perfection of all beautiful and excellent proportions; the several parts whereof having observ'd in several humane bodies, some excelling chiefly in this, some in that external gift of Nature, we have thought material to set down in writing; following the example of him, who being imploy'd by the Crotoniati to make the Statue of their Goddess, went about collecting from the most beautiful Virgins (whom, among many, he with great diligence search'd out) those proportions and handsome Features wherein each of them principally excell'd, and apply'd them to his own Statue. Since much after the same manner we, having taken the Draught from those Bodies, that of divers others were judg'd, by the most sagacious in this inquiry, to be the most exactly built and compos'd, with all their several measures and proportions; and comparing them exactly together, to observe wherein they excell'd, or were excell'd each by the other, have made choice out of this variety of models and examples, of those middle proportions which seem'd to us most agreeable, and which we have here set down by the lengths, bignesses and thicknesses of all the principal and most noted parts; and in the first place the lengths are these following. The heights from the Ground. Feet. Degrees. Minutes. The greatest height from the ground to the Instup of the Foot. 0 3 0 The height up to the Ankle-bone on the outside of the Legg. 0 2 2 The height up to the Ankle-bone on the inside of the Legg. 0 3 1 The height up to the recess which is under the Calf of the Legg. 0 8 5 The height up to the recess which is under the Relievo of the Knee-bone within. 1 4 3 The height up to the Muscle on 〈◊〉 outside of the Knee. 1 7 0 The height up to the Buttocks and Testicles. 2 6 9 The height up to the Os Sacrum. 3 0 0 The height up to the joynt of the Hips. 3 1 1 The height up to the Navel. 3 6 0 The height up to the Wast. 3 7 9 The height up to the Tea s and Blade-bone of the Stomack. 4 3 5 The height up to that part of the throat where the Weezlepipe beginneth. 5 0 0 The height up to the knot of the Neck where the Head is set on. 5 1 0 The height up to the Chin. 5 2 0 The height up to the Ear. 5 5 0 The height up to the roots of the Haires in the Forehead: 5 9 0 The height up to the middle Finger of a Hand that hangs down. 2 3 0 The height up to the joynt of the Wrist of the said Hand. 3 0 0 The height up to the joynt of the Elbow of the said hand. 3 8 5 The height up to the highest angle of the Shoulder. 5 1 8 The amplitude or largenesses of the parts are measur'd from the right hand to the left. The greatest breadth of the Foot. 0 4 2 The greatest breadth of the Heel. 0 2 3 The breadth of the fullest part beneath the jettings out of the Ankle-bones. 0 2 4 The recess or falling-in above the Ankles. 0 1 5 The recess of the mid-legg under the Muscle or Galf. 0 2 5 The greatest thickness of the Calf. 0 3 5 The falling-in under the Relievo of the Knee-bone. 0 3 5 The greatest breadth of the Knee-bone. 0 4 0 The falling-in of the Thigh above the Knee. 0 3 5 The breadth of the middle or biggest part of the Thigh 0 5 5 The greatest breadth among the Muscles of the joynt of the Thigh. 1 1 1 The greatest breadth between the two Flanks above the joynts of the Thigh. 0 0 0 The breadth of the largest part of the Breast beneath the Armpits. 1 1 5 The breadth of the largest part between the Shoulders. 1 5 0 The breadth of the Neck. 0 0 0 The breadth between the Cheeks. 0 4 8 The breadth of the Palm of the Hand. 0 0 0 The breadth and thickness of the Arms, differ according to the several motions thereof, but the most common are these following. The breadth of the Arm at the Wrist. 0 2 3 The breadth of the brawny part of the Arm under the Elbow 0 3 2 The breadth of the brawny part of the Arm above, between the Elbow and the Shoulder. 0 4 0 The thickness from the fore-parts to the binder-parts. Feet. Degrees. Minutes. The length from the great Toe to the Heel. 1 0 0 The thickness from the Instup to the Angle or corner of the Heel. 0 4 3 The falling-in of the Instup. 0 3 0 From the falling-in under the Calf to the middle of the Shin. 0 3 6 The outside of the Calf of the Legg. 0 4 0 The outside of the Pan of the Knee. 0 4 0 The thickness of the biggest part of the Thigh. 0 6 0 From the Genitalls to the highest rising of the Buttocks. 0 7 5 From the Navel to the Reins. 0 7 0 The thickness of the Wast. 0 6 6 From the Teats to the highest Rising of the reins of the Back. 0 7 5 From the Weezlepipe to the knot or joynture of the Neck. 0 4 0 From the Forehead to the hinder part of the Head. 0 6 4 From the Forehead to the hole of the Ear. 0 0 0 The thickness of the Arm at the Wrist of the Hand. 0 0 0 The thickness of the brawn of the Arm under the Elbow. 0 0 0 The thickness of the brawn of the Arm between the Elbow and the Shoulder. 0 0 0 The greatest thickness of the Hand. 0 0 0 The thickness of the Shoulders. 0 3 4

By means of these measures it may easily be computed what proportions all the parts and members of the Body have one by one to the whole length of the Body; and what agreement and symmetric they have among themselves, as also how they vary or differ one from another; which things we certainly conclude most profitable and fit to be known: Nor were it from the purpose to particularize how the parts vary and alter, according to the several gestures incident to humane Bodies, as, whether they by Sitting, or Inclining to this, or that side: But we shall leave the more curious disquisition into these things, to the diligence and industry of our Artist. It would also be of very much conducement, to be well inform'd of the number of the Bones, the Muscles, and risings of the Nerves; and especially to know how, by certain rules, to take the circumferences of particular divisions of Bodies, separately consider'd from the rest, by an inspection into those parts which are not outwardly expos'd to sight: In like manner as if a Cylinder should be cut down right through the middle, so as out of that part of the Cylinder which is visible throughout, there should be separated, by a circular section through the whole length of the figure, an inward consimilar part which was before unseen, so as to make of the same Cylinder two Bodies, whose Bases should be alike, and of the same form, as being indeed wholly compriz'd within the same lines and circles throughout: By the observation of which sort of Section is to be understood the manner of separation of the parts and Bodies before intimated; for as much as the designe of the line by which the Figure is terminated, and by which the visible Super ••• es is to be separated from that whichlies hid from the sight, is to be drawn just in the same manner; and this design being delineated on a Wall, would represent such a Figure as would be much like a Shadow projected thereupon from some interposing light, and which should Illuminate it from the same point of the Ayr, where at first the beholders Eye was plac'd: But this kind of division or separation, and the way of designing things after this manner, belongs more properly to the Painter then the Sculptor, and in that capacity we shall treat of them more largely elsewhere. Moreover, it is of main concernment to whatsoever person would be eminent in this Art, to know how far each Relievo or Recess of any member whatsoever is distant from some determin'd Position of Lines.

The End.
ERRATA,

THe exquisiteness of this graceful Character, and handsom Graving of the Plates, besides the are ••• s of the Subject, will merit of the Reader that he pardon some ew slips of the Pross. As by mistaking Capital for Capital, Colo •• for C lo •• , c. &c. Models for Modul, c. 27. 29. &c. and in some of the rest; the most material being in Epist to St. J. Den. . reassumpti •• . Commissioners. p. 48 l. 6. for ixt first, p. 118. l. 40. r. Alber •• . p. 102. l. 5. . for want, p. 21. . 16. r. Pracep is. p. 130. . 22. r. which for Modul. p. 140, . 29. 1. Pan been. &c.

Courteous READER, These Books following are Printed for John Place, and are to be sold at his Shop at Furnivals-Inn Gate in Holborn.
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THE History of the world, by Sir Walter R leigh Knight, the last Edition in the Press.

ishop Ha ls third To •• , with Partners.

Things New and Old, or a 〈◊〉 -house of Similies, Sentences, Alleg rits 〈◊〉 , Apologies, Divist, Moral and Political, by Iohn Spencer of Sion Colledg.

Observation on C s rs Commentaries, by Sir Clement Edm nds Knight.

The Reports of the learned Judge Popham, sometimes Lord chief Justice of England.

The Reports of the learned Judg Owen, Chief Justice of the Common Pleas.

The Reports and Cases of Law, by William Le nard, Esquire in three parts, with a compleat Table.

L •• ch his Reports.

The Reports of Sir Iohn Bridgman Knight, sometime Chief Justice of Chester.

The Reports of divers Resolutions in Law, Collected by the Right Honourable Sir Iames Ley Knight and Baronet.

C wells interpreter of hard Words in the Law, the last edition.

Maxims of •• ason; or the reason of the Common Law, by Ed •• wingate Esquire; late one of the Benchers of Grays-Inn.

L •• dinopoli •• , or an History of the Cities of London and Westminster, by Iames How ll.

The History of Swedes, Gubes, and Vandalls, by Olaus Maguns Bishop of Vpsall.

The president for Illustrious Princes, or a History of the Wars between the Houses of York and La •• caster, by W. H. Esquire.

The Minister of State, in two Volumes, wherein is shewed the true use of Policy, by Mo ••• ur de Si ••• n Secratary to Cardianl Richlew Englished by Sir Henry Herbert Knight.

Beclesia Resta •••• a, or the Re ormation of the Church of England, by Peter Heylin.

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Commentaries on the Original Writts, in Natura Brevi m, by William H ghes of Grayi-I ••• Esquire.

Gregories Moot-Book, with Additions, by William Hugbe •• .

Declarations and Pleading in English, &c. in the Kings Ben •• h, by William Smale of Furnivals. I ••

Regal argumenta Cousilii, or a Collection of Authentick Arguments, Suaveolent Speeches, and prudent Reasons; delivered and seriously debated in Parliament.

The Faithful Councellor, or the Marrow of Law, by William Sheppard Esquire, the second Part.

The Deed speaking, or the living man Revived, in a Sermon Preached at the Funeral of Mr. Samuel Oliver, by Mr. Chitwind M. A.

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The Tragedy of the fair Irene, by Gilbert Swinnoe Esquire.

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The Grounds and Maxims of the Law, by M. Hawke of the Middle Temple.

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A Cabinet of Jewels, &c. Set forth in eight Sermons, with an Appendix of the nature of Tithes, and expedience of Marriage by a lawful Minister, by Iohn Cragg M. A.

The Royal Prerogative vindicated, to which is Annexed the Kings Supremacy in all causes Ecclesiastical, and Civil, by Iohn Cragg M. A.

The Country Court inlarged by William Greenwood of Furnivals. Inn.

M •• hiavels Discourses, to which is added his Prince, in 12.

Ross his Epitome of Sir Walter Raleigh's History of the World, in 13.

The office and duty of an Executor, by Tho. Wentworth.

The Abridgment of the Lord Dyers Reports, by Sir Thomas Ireland.

Observations on the Office of a Lord Chanc llor, by the Lord Elesmert, late Lord Chancellor.

Justice Restored, or a Guide for his Majesties Justices of Peace.

Justice of Peace his Vade Mecum, together with an Epitome of St ••• ords Ple s of the Crown.

Ihe Lay-mans Lawyer, by Thomas Foster Gent.

Transactions of Chancery, collected by W. Tocbell.

Brook Cases in English, by I. Marsh of Orayt-Inn Barrester.

Perkint of the Laws of England in English.

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Principles of the Law reduced to practice, by W. Philips.

Invisible World, and the Mistery of Godliness, by Ioseph Hall, Bishop of Norwich.

Bishop Hal 's Imposition of hands.

Dr. Prestens Saints Infirmities.

A Treatise of Ph •••• o omy.

A Sermon Preached at the Funeral of Sir Iames Penyma , by Allen Smalwood.

A Comment on the times, or a Character of the Enemies of the Church of England, by Thomas Well, M. A.

A Catechisme containing the Principles of Christian Religion, written by Moses Wall.

Poems by Matthew Stevenson.

Clarestella, by R. eath Esquire.