The first Book of Architecture, made by Sebastian Serly, entreating of Geometry. Translated out of Italian into Dutch, and out of Dutch into English. LONDON Printed for Robert Peake, and are to be sold at his shop near Holborn conduit, next to the Sun Tavern. ANNO DOM. 1611. TO THE HIGH AND MIGHTY PRINCE, HENRY, Prince of Wales▪ SJR, NO vain ambition of mine own Desire, much less presumption of my none Desert, incited me to present this Volume to your Princely view; but rather, the gracious Countenance, which (even from your Childhood) you have ever deigned to all good endeavours, invited Me also (after so many others) to offer at the high-Altar of your highness favour, this new-Naturalized Work of a learned Stranger: Not with pretence of Profit to your Highness (who want not more exquisite Tutors in all excellent Sciences) but, under the Patronage of your powerful Name, to benefit the Public; and convey unto my Countrymen (especially Architects and Artificers of all sorts) these Necessary, Certain, and most ready Helps of Geometry: The ignorance and want whereof, in times past (in most parts of this Kingdom) hath left us many lame Works, with shame of many Workmen; which, for the future, the Knowledge and use of these Instructions shall happily prevent, if the event but answer (in any measure) to that Hope of mine, which alone both induced this Desire and produced this Design: Wherein I must confess my part but small, saving my great adventure in the Charge, and my great goodwill to do Good. All which, together with my best Services, I humbly prostrate at your Princely feet, as beseems Your highness most humble Servant Robert Peake. To the Lovers of Architecture. Our learned Author Sebastian Serly, having great foresight to show and explain the common rules of Architecture, did first publish his Fo●r●h Book, entreating of Architecture, and after his Third Book, declaring excellent Antiquities. Fearing that if he had begun with Geometry and Perspective, common workmen would have thought (that the two sornter although small) had not been so needful to study and practise as the other: Which friendly Reader, considered, hindered me long either from Translating or Publishing the two former, being persuaded by sundry friends and workmen, to have desisted my purpose, both from translating or publishing. The which I had surely effected, if I had been overruled by their requests and persuasions; alleging strong reasons, that the common Workmen of our time little regarded or esteemed to Work with right Simmetrie: the which is confused and erroneous, in the judgement of the Learned Architect, if they will follow the Order of Antiquities hereafter ensuing Wherefore lest my good meaning, together with my Labour in Translating and Publishing, should not be regarded and esteemed (as worthy) considering it not only tendeth to the great profit of the Architect or Workman, but also generally to all other Artificers of our Nation: I advise all generally, not to deceive themselves, nor to be self-conceited in their own works, but well understand this my labour (tending to common good) and be persuaded that who so shall follow these rules hereafter set down, shall not only have his Work well esteemed of the common people, but also generally commended and applauded of all workmen, and men of judgement. Vale. ¶ The first Book of Architecture, made by Sebastian Serly, entreating of Geometry. ¶ The first Chapter. HOw needful and necessary the most secret Art of Geometry is for every Artificer and Workman, as those that for a long time have studied and wrought without the same can sufficiently witness, who since that time have attained unto any knowledge of the said Art, do not only laugh and smile at their own former simplicities, but in truth may very well acknowledge that all whatsoever had been formerly done by them, was not worth the looking on. Seeing then the learning of Architecture comprehendeth in it many notable Arts, it is necessary that the Architector or workman, should first, or at the least (if he cannot attain unto any more) know so much thereof, as that he may understand the principles of Geometry, that he may not be accounted amongst the number of stone-spoilers, who bear the name of workmen, and scarce know how to make an answer what a Point, Line, plain, or Body is, and much less can tell what harmony or correspondency meaneth, but following after their own mind, or other blind conductors that have used to work without rule or reason, they make bad work, which is the cause of much uncut or uneven workmanship which is found in many places. Therefore seeing that Geometry is the first degree of all good Art, to the end I may show the Architector so much thereof, as that he may thereby be able with good skill, to give some reason of his work. Touching the speculations of Euclides and other Authors, that have written of Geometry, I will leave them, and only take some flowers out of their Garden, that therewith by the shortest way that I can, I may entreat of divers cutting through of Lines, with some demonstrations, meaning so plainly and openly to set down and declare the same, both in writing and in figures, that every man may both conceive and understand them, advertising the Reader not to proceed to know the second figure, before he hath well understood and found out the first, and so still proceeding, he shall at last attain unto his desire. A Point. point FIRST, you must understand that a point is a priche made with a Pen or Compass, which can not be divided into any parts, because it containeth neither length nor breadth in it. A Line. line A Line is a right consecutive imagination in length, beginning at a point, and endeth also at a point, but it hath no breadth. Parable. parallel lines When two Lines are set or placed of a little wideness one from the other, those two lines, according to the Latin phrase, are called Parable, and by some men they are named Equidistances. Superficies. surface When those two Equidistances aforesaid are at each end closed together by another Line, it is then called a Superficies: and in like sort all spaces in what manner soever they are closed, and shut up, are called Superficies or plainness. Perpendicular. right angles Strait corners. right angles When there is a strait upright Line placed in the middle of a cross strait line, than it is called a Perpendicular or Catheta Line: and the ends of the cross or strait Line on both sides of the Perpendicular, are called Strait corners. Obtusus. Acutus. acute and obtuse angles When a leaning or strait Line is placed upon a strait Line without Compass or equality, as much as the same Line bendeth, so much shall the corner of the strait Line be narrower below, and the other so much broader than a right or even corner: and the strait corner in Latin is called Acutus, which signifieth sharp, and the wider corner Obtusus, which signifieth dull. Piramidal. acute angle A corner or point called Piramidal, and also Acutus in Latin, is, when two even long strait lines meet or join together at the upper end, as the figure right against this declareth. Triangle. triangle And when such a figure is closed together at the foot thereof, with a long strait line, it is then called a Triangle, because it hath 〈◊〉 sharp corners. Triangle. right triangle When a Triangle with two even strait lines, is closed together with a longer line than these two are, it shall have such a form as here you see. Triangle. scalene triangle But a Triangle which is made of three unlike lines, it shall also have three unlike corners. Quadrangle. quadrangle When two long and two direct down right lines are joined together at the four corners, it is called Quadrangle with even sides or corners, but when the four lines are all of unlike or contrary lengths, than it is a Quadrangle of uneven sides, as this figure showeth. You must note that although all four cornered figures may be called Quadrangles: nevertheless, for that the direct four cornered figures are called Quadratus: for difference from them, I will name all figures which are like unto a table, (that is longer than broad) Quadrangles. Rombus. rhombus WHen four even long strait lines are joined together at the corners, they are called Quadratus, which are four cornered: when you make the two corners thereof sharp, and the other two corners somewhat blunter, than it is called a Rombus. Figures with divers corners. polygons ALthough you may turn and make all the figures aforesaid right four square: Yet the workman may find other figures with divers corners. The which (as I will hereafter show) he may make four square. Superficitie of a crooked Line. Circumferentie. Centre. Diameter. The half Circle. The plom line. right corner. perfect four square. A Triangle with even points, may be divided thrice into two equal parts, dividing each side in two parts, as in the figure P. Q. R. it is seen through the three lines, which on either side make two great Triangles. A Gain, you may easily change a Quadrate into a Quadrangle, as long or as narrow as you desire to have it, doing thus: Make your Quadrate A. B. C. D. and lengthen your line A. B. and the live B. C. Which do●e then set the length of the Quadrangle, which you desire to have upon the line A. G. Then from the point G. draw a line along by the corner of the Quadrate D. to the line C. F. and there you find the shortest line of the Quadrangle: and so to the contrary you shall by the least side of the Quadrangle find the longest also, as you may also prove by the foresaid Figure: for when you take away the Triangles M. N. and O. P. which are both alike, than the two parts which are K. L. are also alike. architectural drawing LEt by example your many cornered figures first be marked with the great Quadrangle with these letters A. B. C. D. and then with a less Quadrangle, as E. F. G. H. the rest are all Tryangles. Now set the greatest Quadrangle L. in a place by itself, and then the other marked with M. which set upon it, that the two corners or sides may be alike: which done, lengthen the line E. F. and the line E. G. and where they stay or touch under the great Quadrangle L. there set an I. from this I. a diagonal line, being drawn through the corners B. H. the same line shall be drawn to the point: that, by the shutting of the Characters B. M. L. D. will show you another Quadrangle, of the like quantity that the Quadrangle M. is: so that the whole Quadrangle D. C. L. M. containeth the two aforesaid Quadrangles. Touching the Triangles, when you have changed the same (accorting to your former instruction) in to Quadrangles, as you may see by the Triangle N. so may you put that Quadrangle also in the greatest Quadrongles (for less trouble.) The great Quadrangle A. L. M. C. is once again placed above with the small Quadrangle O. P. Q. R. set upon it, and the diagonal line is placed behind the greater (which is L. M. T. S. both marked with N. so that the Quadrangle A. C. S. T. containeth three Quadrangles L. M. N. end as many more as there are: you may in this sort bring them all in one Quadrangle: if there falleth out any crocked lines, the skilful Architector or workman may almost bring them into a square, and those Quadrangles, if need be, may also be reduced into perfect four squares, as aforesaid. architectural drawing architectural drawing architectural drawing WHen a man hath a line or other things of unequal parts, and there is also another longer line, or some other thing, which a man would also divide into unequal parts, according to the proportion of the shorter line, then let the shortest line be A. B. and the greatest 〈◊〉 A▪ C. newest is necessary that from the uppermost point A. you should make a corner as A. B. and A. A. Then ta●e your longer line, and set it with the end C. upon B. and let the other ●nd rest at the hanging line A. A. then from every point of the uppermost line A. B. let a hanging line fall upon the line A. C. so that they may be equidistant with the line A. A. & where yn said lines cut through each other, there is the right division proportioned, according to the smaller. This rule shall not only serve the Architector for many things, as I will partly show: but will also serve many Artificers to reduce their small works into greater. architectural drawing architectural drawing THE Architector must have a well proportioned Cornice, which if he would make greater, keeping the same proportion, he may do it as he is formerly taught, as in this Figure following is showed by the short line marked A. B. and the longer line marked A. C. architectural drawing architectural drawing THe further that any material thing standeth from our sight, so much it seemeth to l●ssen, and diminish by means of the air, which consumeth our sight: therefore when a man will make or place one thing above another, against any place or wall, & would have the same thing to show above in the middle, and beneath, as great in one part as in the other, it is convenient for him to follow this rule, which is, for that our sight runneth in circumference: therefore a man must first choose the place, from whence he will see the same: there placing a Centre, and then draw a quarter of a Circle from your eye upwards. Which dividing in even parts, you shall, by the lines that go out of the Centre through the Circle against the wall, find the unequal parts: the which although upwards against the wall, they shall seem greater: yet in your sight they will show all of one greatness. By this rule you may also measure heights, aiding yourself with the numbers. architectural drawing MAny men are of opinion, that strait lines, in what manner soever they are closed, contain as many spaces one ●ay as another, (that is to say) if a man had a cord of forty foot long, and should lay it diversly in a round, long, three cornered, four square, or five cornered form: but the superficies are not of one self same space, which may be seen by these four square figures following; for the first line holdeth on either side ten, which is forty: and the space contains ten times ten, which is an hundred. The other line upon the two longest sides contains fifteen spaces, and on the shortest sides five, making forty also: but five times fifteen make but seventy and five. architectural drawing architectural drawing IF the Quadrate stretcheth further out, so that the two longer sides were eighteen a piece, than the shortest sides must each have th●o to have forty upon the line, but the space should contain but six and thirty. And hereby you see what a perfect form may do against an unperfect. And this rule the workman shall use, that he may not be deceived when he will change one form 〈◊〉 to another. architectural drawing architectural drawing architectural drawing If a man should make three pointo (which should not stand upon a right live) and desiring to have a circumference made, the compass must pass along upon each of these points. To do it from the point one, to the point two, h●e must draw a line, and from the pornt two, to the point three another: which two lives shall each of them be denied into two equal parts, and setting the squires half way in them, as you so it in the figure, by that cross it will show you the Centre, wherein you must se● one foot of the Compass, and with the other draw the Circle through all the said three points. YOu may find the Centre of three points another way, without your Compass, moking a two cornered superficie from the our point to the other, through the which Corners two strait lines being drawn long enough downwards where they cross one over the other, they will show you the Centre of the three points. architectural drawing architectural drawing BUt for the a workman holds this to be a superfluens speech, and a thing of no moment, it may be that a workman may have a piece of a round work to do, which he is to perfect and make full round, by this rule he may find the Centre, Circumference, and Diameter thereof, as the figure showeth. WE find in Antiquities, and also in modern works, many Pillars or Colomnes, which beneath in the jointo at the Bases are broken asaude●, which is, because their Bases were not well made according to their corners: or cise, because they are not rightly placed: so that they have more weights upon them on the one side, then on the other, whereby the Cantons break, which the lines, and help of Geometry, may prevent in this manner: That is. He must make the Pillar round underneath, and his Base hollow inward: so that when you place the Pillar by the Lead, it may presently settle itself without any hurt. To find this roundness, you must set the one point of the Compass upon the highest part of the Pillar that is under the A. and the other point thereof upon B. and then draw, or wind it about to C. and that shall be the roundness, making the hollowing of the Base, according to the same measure: you may do the like with the Capital, as you see in the Pillar by it. architectural drawing IF a frokeman will make a Bridge, bow, or any other round Arched piece of work, which is wider then a half Circle, although Masons practise this with their lines, whereby they make such kind of works, which show will to mine sight, yet if the workman will follow the right Theoric and reason thereof, he must observe the order heretofore showed. When he hath the wideness of the height, than he must make half a Circle out of the middle: after that, upon the same Centre, he must make another lesser Circle, which must be no greater than he will make the height of the Bow or Arch: then he must divide the greatest Circle in equal parts, which must all be drawn with lines to the Centre: than you must hang out other Perpendiculars upon your Lead: and where the lines that go to the Centre ●ut through the lesser Circle, from thence you must draw the cross lines toward the Perpendicular, and where they close together, there the Bow or Arch which is made, shall be closed: as by the points or pricks hereunder is showed. architectural drawing BUT if you destre to make the Bow or Arch lower, than you must follow the rule aforesaid, and make the innermost Circle so much less, which is to be understood, that the wore parts that you make of the greater Circle, so much the easher you shall draw the crooked lines which you would have: from this rule there are many others observed, as herealter you shall see. architectural drawing Calling the former rule to mind, I devised the manner how to form and fashion divers kinds of vessels by the same, and I think it not amiss to set down some of them: This only is to be marked, that as wide as you will make the vessels within, so great you must make the innermost Circle. The rest, the suilfull workman may mark by the figures, that is, how the lines are drawn to the Centre, and the Parables, and out of the small Circle. The Perpendiculars hanging, the vessels are form: the foot and the neck may be made as the workman will. architectural drawing BUT if you will make the body of the vessel thicker, than you must make the half Circle so much the greater, and make the belly hanging down under it, to touch the great Circle, by the falling of the Perpendiculars upon the cross line, as by these Figures 3.4.5. it is showed: whereby a man by this means may make divers vessels, differing from mine. The necks and covers of these vessels are within the small Circles: the other members and Ornaments are always to be made, according to the will of the ingenious workman. architectural drawing IT is an ercellent thing for a man to study or practise to do any thing with the Compass, whereby in time men may find out that which they never imagined: as this night it happened unto me, for that seeking to find a nearer rule▪ to make the form of an Egg, than Albertus Durens hath set down: I found this way to make an Antic vessel, placing the foot beneath at the foul of an Egg, and the neck with the handles above upon the thickest part of the Egg. But first, you must frame the Egg in this manner: Make a strait cross of two lines, and divide your cross line in ten equal parts: that is, on each side five. Then, set the Compass upon the Centre A. and with the other foot thereof, draw in two parts, that is, to C. making half a Circle upwards. That done, set one foot of the Compass upon the point marked B. and with the other draw in the uttermost point C. drawing a piece of a Circle downwards toward the Perpendicular, other side, you must make a point below. Then take the half of the half Circle above that two parts, and place it at the undermost point of the Perpendicular upwards above O. where the Centre to close the Egg, shall stand: the rest under chalk for the foot: the neck, without doubt, may be made two parts high, and the rest according to the workman's pleasure, or according to the figure hereunder set down. architectural drawing YOu may also make another form of a Cup or vessel, after the rule aforesaid. But from the poyst A. (which doth show the breadth of the foot, and the wideness of the mouth) you must make your Circle upwards, from C. unto the two Perpendiculars, where the body shall be closed up. The neck standing above it, shall ●e two parts high: but the rest of the workmanship shall be made according to the will and device of the workman. architectural drawing By this means you may make other different kinds of Cups or vessels: but these that follow, you must make in this sort: you must divide your cross line in twelve parts through the point A. making two Perpendiculars to show the foot and the neck: then setting one foot of the Compass upon B. and the other foot upon I. drawing a piece of a Circle downwards, towards the Perpendicular: and the like being done on the other side to the Figure of 2. then place your Compass upon the point C. and teaching the sides 3. and 4. then the bottom of the vessel will be closed up: then place the Compass upon the point between I. and A. and it will be the roundness of the vessel above: the other four parts serve for the neck of the vessel, with the rest of the work. architectural drawing A Man may make a vessel only by a Circular form, making therein a Circular cross, and dividing every line into six parts: the half circle shall be the belly of the vessel, and a sixth part upward for a Freeze, that there may be more place to beautify it: an other part shall be the height of the neck, and another part the cover: and for the foot, although it be but a half part high, it may well go a sixth part without the round: and although I have set down but six manner of cups or vessels, yet according to the rule aforesaid, a man may make an infinite number of vessels, and a man may alter them by their Ornaments, whereof I say nothing, that you may see the line the better. architectural drawing A Man may make Ouale forms in divers fashions, but I will only set down four. To make this first figure, you must set two perfect Triangles one above the other, like a Rombus, and at the joining of them together, you must draw the lines through to 1.2.3.4. and the corners A B. C. D. shall be the four Centres, than set one foot of the Compass upon B. and the other upon I. and draw a line from thence to the figure 2. After that, from the point A. and 3. to 4. you must also draw a line: which being done, set the one end of the Compass in the point C. and then draw a piece of a Circle from 1. to 3. and again, the Compass being in the Centre D. draw a piece of a Circle from 2. to 4. and then the form is made. You must also understand, that the nearer that the figures come to their Centres, so much the longer they are: and to the contrary▪ the further that they are from their Centres, the rounder they are: yet they are no perfect Circles, because they have more than one Centre. architectural drawing architectural drawing FOR the making of the second Ouale, you must first make three Circles, as you see here drawing, where the four strait lines stand: the four Centres shallbe I.K.L.M. Then placing one point of the Compass in K. you must draw a line with the other point from the figure of 1. to 2. Again, without altering the Compass, you shall set the one foot of the Compass in I. and so draw a piece of a Circle from the figure 3. to the figure 4. and that maketh the Compass of the Circle. This Figure is very like the form of an Egg. architectural drawing THE third form is made by two four cornered squares, drawing Diagonen lines in them, which shall show the two Centres G. H. and the other two the corners E. & F. Then draw a piece of a Circle from F. to the figure 1. and so to 2. Do the like from E. to 3. and 4. which done, from the points G. and H. make the two sides from 1. to 3. and from 2. to 4. and so shut up the Ouale. IF you will make this fourth Ouale, then make two Circles that may cut through each others Centre, & the other two Centres for the closing of the Circle be N.O. after that, whether you draw the right lines or not from the points O. N. you shall shut up the sides from 1. and 2. and from 3. to 4. And although our Author saith, there are four forms of Ouales: yet this last figure is of the same form as the first, only this is easter to make. architectural drawing TOuching the Circles, there are many figures which are round, and yet some have 5.6.7.8.9. and 10. corners, etc. But at this time, I will speak only of these three principally: because they are most common. THis Octogonus, or eight points, is drawn out of a right four cornered square, drawing the Diagonus which will show you the Centre: then set one foot of your Compass upon the corners of the Quadrate, and leading the other foot through the Centre, directing your Circle toward the side of the Quadrate, there your right points shall stand to make it eight cornered: and although a man might only do it by the Circle, making a cross therein, and dividing each quarter in two, yet it 〈◊〉 not be so well, and therefore this is a surer and more perfect way. architectural drawing THE Hexagonus, that is, the sixth cornered Circle, is easiest made in a Circle: for when the Circle is made, you may divide the Circumference in six parts equally, without stirring the Compass, and drawing the line from one point to another, the six corners are made. architectural drawing architectural drawing BUT the Pentagonus that is five cornered, is not so easily to be made as the others are, because it is of an uneven number of corners, notwithstanding you may make it in this manner: when the Circle is made, then make a strait cross therein: then divide the one half of the cross line in two parts, which is marked with the figure 3. then place the one foot of the Compass upon 3 and with the other, placing it under the cross, draw downward to the cross line marked 2. from thence also from under the cross, you shall find the length of every side of the Pentagonus. In this figure also you shall find the Decagonus, that is, ten corners: for, from the Centre to the figure 2. that shall be one side thereof, you may also make a sixteen cornered figure out of this wideness 1.2. and place a Particular line upon the point 3. And Albertus Durens saith, that the same also will serve to make a seven cornered figure. THis figure will serve such men as are to part a Circumference into unequal parts, how many soever they be: but not to bring the Reader into confusedness, with making of many forms, I will only set down this divided into nine corners, which shall serve for an example of all the rest, which is thus: Take the quarter of the Circle, and divide it into nine parts, and four of these parts will be the ninth part of the whole Circumference: you must also understand the same so, if you divide a Quadrate into eleven, twelve, or thirteen parts, etc. for that always four of these parts be the just wideness of your parts required. architectural drawing architectural drawing THere are many Quadrangle proportions, but I will here set down but seven of the principallest of them, which shall best serve for the use of the workman. FIrst, this form is called a right four cornered Quadrate. THe second form or figure in Latin, is called Sexquiquarta, that is, which is made of a four cornered Quadrate, and an eight part thereof joined unto it. THe third figure in Latin, is called a Sexquitertia, that is, made of a four squared Quadrate, and a third part thereof joined unto it. THe fourth, is called Diagonea, of the line Diagonus: which line divideth the four square Quadrate cross through the middle, which diagonal line being touched from under to the end thereof upwards with the Compass, and so drawn, will show you the length of the diagonal Quadrangle: but from this proportion there can be no rule in number well set down. THE fift figure is called a Sexquialtera, that is, a four square, and half of one of the four squares added unto it. architectural drawing THe sixth is called Superbitienstercias', that is, a four square, and two third parts of one of the four squares added thereunto. architectural drawing THE seventh and last figure, is called Dupla, that is, double: for it is made of two four square forms joined together: and we find not in any Antiquities, any form that passeth the two four squares, unless it be in Galleries, Entries and other to walk in: and some gates, doors, and windows have stood in their heights: but such as are wise will not pass such lengths in Chambers or halls. architectural drawing architectural drawing MAny accidents like unto this, may fall into the workman's hand, which is, that a man should lay a steling of a house in a place which is fifteen foot long, and as many foot broad, & the rafters should be but fourteen foot long, and no more wood to be had: then in such case, the binding thereof must be made in such sort as you see it here set down, that the rafters may serve, and this will also be strong enough. IT may also fall out, shalt a man should find a Table of ten foot long, and three foot broad: with this Table a man would make a door of seven foot high, and four foot wide. Now to do it, a man would saw the Table long wise in two parts, and setting them one under another, and so they would be but six foot high, and it should be seven: and again, if they would cut it three foot shorter, and so make it four foot broad, than the one side shall be too much péeced. Therefore he must do it in this sort: Take the Table of ten foot long, and three foot broad, & mark it with A. B. C. D. than saw it diagonal wise, that is, from the corner C. to B. with two equal parts, then draw the one piece thereof three foot backwards towards the corner B. then the line A. F. shall be four foot broad, and so shall the line E. D. also hold four foot broad: by this means you shall have your door A. E. F. D. seven foot long, and four foot broad, and you shall yet have the three cornered pieces marked E. B. G. and C. F. and C. left for some other use. architectural drawing IT happeneth many times, that a workman hath an eye or round window to make in a Church, as in ancient times they used to make them, and he doubted of the greatness thereof, which if he will make after the rules of Geometry, he must first measure the breadth of the place where he will set it, and therein he must make a half Circle: which half Circle being enclosed in a Quadrangle, than he shall find the Centre by two diagonal lines: then he must draw two lines more, which shall reach from the two lowermost corners above the Centre, and touch the just half of the Circle above: and where the said lines cut through the diagonal lines, there you must make two Perpendicular lines, which Perpendicular lines shall show the wideness of the desired window: the list about it, may be made the sixth part of the Diameter, being round in breadth. architectural drawing IF a workman will make a Gate or a Door in a Temple or a Church, which is to be proportioned according to the place, than he must take the wideness within the Church, or else the breadth of the wall without: if the Church be small, and have Pilasters of Pillars within it: then he may take the wideness between them, & set the same breadth in a four square, that is, as high as broad, in which four square, the diagonal lines, and the other two cross cutting lines will not only show you the wideness of the door, but also the places and points of the ornaments of the same Door, as you see here in this Figure. And although it should fall out, that you have three doors to make in a Church, and to that end cut three holes, yet you may observe this proportion for the smallest of them. And although (gentle Reader) the cross cutting thorough or dividing is innumerable, yet for this time, lest I should be too tedious, I here end my Geometry. architectural drawing Here endeth the first Book of Architecture, treating of Geometry, translated out of Italian into Dutch: And now out of Dutch, into English, for the benefit of our English Nation, at the charges of Robert Peake. 1611. The second Book of Architecture, made by Sebastian Serly, entreating of Perspective, which is, Inspection, or looking into, by shortening of the sight. Translated out of Italian into Dutch, and out of Dutch into English. LONDON Printed for Robert Peake, and are to be sold at his shop near Holborn conduit, next to the Sun Tavern. ANNO DOM. 1611. The second Book. A Treatise of Perspectives, touching the Superficies. The second Chapter. ALthough the subtle and ingenious Art of Perspective is very difficult and troublesome to set down in writing, and specially the body, or model of things, which are drawn out of the ground: for it is an Art which cannot be so well expressed by figures or writings, as by an undershewing, which is done severally: Notwithstanding, seeing that in my first Book I have spoken of Geometry, without the which Perspective Art is nothing: I will labour in the briefest manner that I can in this my second Book, to show the workman so much thereof, that he shall be able to aid and help himself therewith. In this work I will not trouble myself to dispute Philosophically what Perspective is, or from whence it hath the original: for learned Euclides writeth darkly of the speculation thereof. But to proceed to the matter, touching that the workman shall have cause to use, you must understand, that Perspective is that, which vitrvuius calleth scenography, that is, the upright part and sides of any building or of any Superficies or bodies. This Perspective then, consisteth principally in three lines: The first line is the Base below, from whence all things have their beginning. The second line is that, which goeth or reacheth to the point, which some call sight, others, the horizon: But the horizon is the right name thereof, for the horizon is in every place wheresoever sight endeth. The third line, is the line of the distances, which ought always to stand so high as the horizon is far or near, according to the situation, as when time serveth, I will declare. This Horizon is to be understood to stand at the corners of our sight, as if the workman would show a piece of work against a flat wall, taking his beginning from the ground, where the feet of the beholders should stand. In such case it is requisite, that the Horizon should be as high as our eye, and the distance to see or behold that work, shall be set or placed in the fittest place thereabouts, as if it were in a Hall, or a Chamber, than the distance shall be taken at the entry thereof: but if it be within, or at the end of a Gallery or Court, than the distance shall be set at the entry of the same place, and if it be in a Street against a wall or an house, than you must set your distance on the other side, right over against it. But if in such a case the street is very narrow, than it were good to imagine a broad distance, lest the shortening fall out to be over-tedious or unpleasant unto you: for the longer or the wider the distance is, the work will show so much the better and pleasanter. But if you will begin a piece of work of five or six foot high from the ground whereon you stand, than it is requisite that the Horizon should stand even with your eyes (as I said before) but if a man should see no ground of the work, whereon the uppermost part doth stand (and a man would work very high) it would not be correspondent with the eyes: In such a case a man must take upon him to place the Horizon somewhat higher, by the advice of some skilful workman, which maketh histories or other things upon Houses, thirty or forty foot high above a man's sight, which is unfittingly. But cunning workmen fall into no such errors; for where they have made any thing above our sight, there you could see no ground of the same work, for that the notable Perspective Art hath bridled them: and therefore (as I said before) Perspective Art is very necessary for a workman: And no Perspective workman can make any work without Architecture, nor the Architecture without Perspective. To prove this, it appeareth by the Architectures in our days, wherein good Architecture hath begun to appear and show itself: For, was not Bramant an excellent Architector, and was he not first a Painter, and had great skill in Perspective Art, before he applied himself to the Art of Architecture? and Raphael Durbin, was not he a most cunning Painter, and an excellent Perspective Artist, before he became an Architector? And Balthasar Perruzzie of Sienna, was also a Painter, and so well seen in Perspective Art, that he seeking to place certain Pillars and other Antic works perspectively, took such a pleasure in the proportions and measures thereof, that he also became an Architector: wherein he so much ex●elled, that his like was almost not to be found. Was not learned jeronimus Genga also an excellent Painter and most cunning in Perspective Arte, as the fair works, which he made for the pleasure of his Lord Francisco Maria, Duke of Urbin, can testify; under whom he became a most excellent Architector? julius Romanus, a scholar of Raphael Durbin; who, by Perspective Art and Painting, became an excellent Architector, witnesseth the same. Then to come to my purpose; I say, that a man must be diligent and vigilant in this Art, wherein I will begin with small things, and then proceed to greater; until I have showed you the full Art and manner thereof, as I desire.; TO the end that men by small matters may attain to greater, therefore I will begin to show how to shorten a four cornered thing, from whence all the rest shall be derived. Then the Base of this four square thing, shall be A. G. and the height of the Horizon (as I said before) shall be imagined according to the fight, and that shall be P. whereunto all the lines do run, as the lines of the sides A. P. and G. P. then at the one end of the quadrant you must set a Perpendicular line, which is G.H. which done, then draw the Base A. G. K. long though, and then out of the Horizon draw a Parallel or an Equidistant sine from the Base, as far as you will that the eye or sight shall stand from that which you will look on; for how much the more you will have the four square thing to seem shorter, so much further you must go with yoin sight I. from H. to behold the four square thing. And then, taking H. I. for the distance from the point I. to the corner A. draw a line, and where the line cutteth through the Perpendicular line H. G●th it is on B. there the termination of the shortening of the four square thing shall be, as you may see in the figure following. But if you will make more four squares one above the other, upon the same Horizon or point: than you must draw another line from the shortening point of the four square or Quadrant, to the letter I. and where it cutteth through the Perpendicular line aforesaid, that is at C, there the second Quadrant shallbe rut off, and in like sort you must draw another line to the point of the distance: and where it toucheth the Lead, or Perpendicular line that is on D. you shall make the third quadrant, the same may be done with E. and so you must go, until you come just under the Horizon. architectural drawing THe rule aforesaid is the perfectest, and you may prove it by the line G. H. which is called the line of the quadrant: but because it is cumbered with a greater number of lines, and so more tedious: therefore the rule ensuing shall be shorter, and easilier to be done then the other: for when the Base A. G. is drawn, and the two side lines make a Triangle A. P. G. then you must draw the Parallels of the Base & of the Horizon long enough; and as far as you will stand from the work to see it, so far you must set the Perpendiculars I. K. from the point G. then you must draw a line from the point I. to the point A. and where it cutteth through the line G. P. there shall be the termination of the first shortened Quadrant: and if you will place more Quadrants upwards from that Quadrant, you must do as I said before: and although there are other ways to shorten a Quadrant, yet will I follow this order, as being the shortest and easiest to be set down in writing. architectural drawing A Man must also use himself unto divers distances and grounds, and therefore you must make the ground following, which is of three Quadrantes high, in this manner. First, you must draw the line A. B. as long as the breadth of the work shall be: which line or Base, must be divided into so many equal parts as are needful, which being all drawn to the Horizon or point, than you must place the distances as far as you desire, according to the rule aforesaid; for here is no place to set it in, although it is a length and a half from the Base, as you see it marked with 1½. Which Base, because it is of four parts, therefore the first Quadrant containeth sixteen small Quadrantes, which are found by the line B. D. for where that line cutteth through the four lines, which go to the point; there you must draw the Parallel over, that thereby the sixteen Quadrantes may be form: But if you will set other Quadrantes upon it, than (as aforesaid) you must draw another line to the distance D. and where that cutteth through the other lines that reach to the point, that shall be the termination of the second Quadrant, containing in it also four times four Quadrantes: The like must be understood of the third Quadrant, (and more besides if need be.) But you must also understand, that the lines marked D. run all the distances, as it is taught before. architectural drawing IF you will make a pavement with great Quadrantes to be cut or Compassed with fashion, fasen or lists, as you will term them, then upon A. B. you must divide the fasen or Quadrantes, and draw them all to the Horizon; than you must imagine the distances as you are taught before: and the line D B. being drawn from the point B. to the point of the distances; then by cutting through of the Horisentall lines, it will show the terminations of the Quadrants, Fasen, or Borders. To draw the Pacalels, then if you will make the like Quadrantes somewhat higher, than you must draw another line to the distances: and where it toucheth the Horisentall or Radiall lines, there also you must draw the Parallels through; so you must also do with the third, and the point of the distances of these figures stand as far from A. as the line or Base A. B. is long: If you will make divers forms in these Quadrants, as Roots, Crosses, six points, or right points, I will show the manner of them particularly, because I will be as brief here in as I may. architectural drawing THis figure is a Quadrant, containing in it a Rote or an other Quadrant, which with the points thereof toucheth the sides of the uttermost Quadrant; whereby it is but half so great as the uttermost Quadrant, as I have taught you in the first Book of Geometry, and the manner to make this, is thus. First, you must make a Quadrant (as you are taught before) with his distances; and in this Quadrant you must draw two diagonal lines, and also the right cross lines, whereby you may easily find the Root, as you see it in the figure directly against this▪ In it is sort you may make the Roots in the other Quadrantes before set down, that is, to draw diagonal and cross lines in them without seeking other distances. architectural drawing IN this figure there is a cross showed (to make it) you must divide the lowest line or Base of the Quadrant in five parts; of the which five parts, one part is the breadth of the cross: which breadth being dr●w●n to the points, the Di●g●nall lines will show you the Parallel lines of the cross, to use where ●éede is. architectural drawing THE eight pointed figure you may see in Perspective works in divers forms, which forms are all difficult enough: but that I may séke the easiest way so near as I can in this my writing: Therefore I have set down the manner thereof hereunto annexed, which is very easily; and that is thus. The Quadrant being meed in shortening, you must divide the Base into ten equal parts, and on either side you shall leave three parts, and in the middle four parts, than the two lines being drawn to the Horizon, you shall find the terminations of the Parallel lines, by the Diagonal lines, whereby you may close up the eight corners, as you may see it in the Figure. architectural drawing architectural drawing THE shortest way to place this six cornered Quadrant, in Perspective works, is thus; When the Quadrant according to the rule aforesaid, is placed in shortening, than you must make four equal parts of the Bases, whereof two shall be in the middle, and on each side you must leave one, and then draw the lines upwards to the Horizon or points: than you must draw the diagonal lines, and in the middle where they meet together, you must draw a Parallel line cleave through, by the which you shall find all the points to make this six cornered Figure. architectural drawing NOw I have showed how you shall make simple or plain Perspective works of four corners, of six corners, and eight square corners: Now I will show, how you shall make them double, that is, that every simple figure shall have his band. When you have made a plain Superficies of six points, according to the rule aforesaid; then as much as you will have the band or fase to be in breadth, that you must draw upon the Base, and draw that also up to the Horizon: and where the diagonal lines cut through it, there you must draw Parallel lines both under and above: and then draw two Diagonal lines more, out of the four innermost points or corners of the six cornered Superficies; and so you shall find your terminations to shut or close up your smallest six points or cornered Superficies. Which second Diagonal, Parallel, and Horisontall lines are all drawn with pricks, for a difference from the first lines; that you may know them one from another. architectural drawing THE like must be done with the eight cornered Superficies or Perspective work, for when the same is made within a foursquare, making the Compass of what breadth you will, according to the rule aforesaid: then out of every point or corner of the eight square, a small line being drawn to the Centre, you shall fin●e the termination to shut up the innermost eight squares and then, when from point to point the lines are drawn, than one square or Compass is full made. This eight squa●e form may be changed into a round, fouling the middle on either side, or else without. over the points or corners; a good workman may easily draw a Circular shortening round line with his hand. ALthough I have said before that a man may make a round Circle about an eight square, yet for more security you may by this way attain to a more perfection therein; for that the more points or sides the Circular form hath, the round Compass or Circle will be the fuller. But to make this Figure, it is necessary to make half a Circle under the Bases, and to divide the Circumference into as many parts as you will, so that they be even; in this form the half Circle is divided into eight parts, so that the whole Circle must be sixteen parts: which being done, you must set Perpendicular lines in all the parts of the Circumference, as far as to the Bases of the shortened Quadrant, these parts being elevated to the Horizon, and two diagonal lines drawn in the quadrant, they by cutting through the Horisentall or Radiall lines, will show you the Parallel lines. Then if you will draw a little diagonal line, beginning at the middle point of the Base, from the ●ne side unto the other, and so from the one point unto the other upwards going ever the points: then the forms will be closed, as you see them here; whereby it will be easy for you to draw around form with your hand, for it is unpossible to be done with the Compass to make it shorten well. This figure you must be expert in, and you must also understand it well, and so you must those that I have before set down, before you proceed further: for they will serve you for many pieces of work hereafter ensuing, as you shall both see and find to be true. architectural drawing WHen you understand the Figure aforesaid perfectly, than you must proceed further, and shut the cound Circle also with an edge or border, according to the breadth that you will have; you must also make the uttermost half Circle, and the aforesaid parts of the great Circle drawn towards the Centre, will come into the small Circle: the which parts of the small Circle being also set down in Perpendicular lines with pricks not to darken the other lines, and those likewise that are drawn to the Horizon. Then by cutting through of the diagonal lines, you shall find the Parallel lines. To make the innermost shortening a round or Circle according to the first example set down, as you may see; the first round with perfect lines, and the second with pricks, as you see in this Figure. But, friendly Reader, you must not be weary to be long in learning this Figure, or in making it often times, until you can do it perfectly and understand it well: for I am sure and certain, that it will he very hard unto many men, yet without this, you cannot do much; and he that can do it well, shall easily understand and make all the things hereafter ensuing. architectural drawing IT salleth out many times shalt a workman will show a House b●th without and within, which to do, he must place the ground in Perspective form, that he may the surer and better draw that up which he will have seen, and to lean the rest on the ground: if then you will place a foundation in Perspective manner, to make it well, you must first set it on a flat form, that out of that you may draw it into a Perspective form. To do this, I have set down a kind of open Building, that a man may the easilier conceive it for a beginuing, for when a man can do this well, he may after that place many other and harder things in Perspective form. I need not to take any great pains to write or show how this shortening should be done, because it is so easily and so openly placed in a figure that a man may presently centeave it: for that leading all the lines that go from the corners and outsides of the flat ground to the Base, which you will make in the shortening; and the same being drawn up to the Horizon, together with the imagination of the distances: than you may shut or close up the shortening four square. Then you must draw the diagonal lines therein, through drawing the Parallel lines, presently you shall find the way how to form the Columns and pilasters, so that it is unpossible to fail therein; and especially for those that do well conceive and understand that, which I have set down before. architectural drawing THis Figure following is somewhat harder then that before, but when you go from the smallest to the greatest, you conceive things the easier, and specially he that will learn this Art; he must not leave nor refuse to exercise any of the Figures before set down, but must use all the diligence he can to be perfect in them all, and he must also take a pleasure to do them all, otherwise he that will omit now one, and then another, because he can hardly understand or conceive them (although I labour and strive at all times in setting down these rules to show all difficulties) shall little profit himself in this Arte. The manner how to place this ground in Perspective form, is easily conceived, without any other demonstration: for you must follow the manner or operation of the figure before set down, with this advertisement; that the two Diagonal lines evermore direct the work, together with the Horisentall lines: and although a man may show many forms of grounds that are to be placed in shortening, yet these two shall suffice for this time, because I have other things to entreat off: for a skilful workman, by the help of these, may form others for his purpose, and such as he shall have occasion to use. And if he will erect any piece of work for a show, he must necessarily first measure the Orthography with the same measure that he measureth the ground withal, and then place it in a shortening manner, as when time serveth, shall be she wed. architectural drawing Of Perspective works, touching Bodies or Massive things. The third Chapter. TOuching the grounds and other Superficies of divers forms, I think I have sufficiently spoken. Now I will speak of Bodies which are drowme up out of the ground: and first, you know that I have taught before, how you should frame an eight square form plainly in itself; and then, I have showed how you should compass this Figure about, with a border or edge: but if a workman will show an eight square Figure in Perspective witted, as a Well; then he must first make the ground, as he is taught before, as high as he will, that the said Well shall stand elevated above the ground or foot thereof: there he must make the same form once again, drawing it to the same Horizon; then from all the uppermost corners or points to the lowest; you must draw Perpendicular lines as well from the innermost figures, as from the uttermost, whereby the through cutting eight square bodies will be form, as you may see in the Figure hereunto annexed. architectural drawing I Have spoken before of the open frame of a Well with eight pornis or corners, which is necessary to be learned, how to make it, before you make the body thereof, as this figure showeth, which is the same that is before showed, both form and measure, but all the lines which cannot outwardly be seen, are hidden; and there is as much difference between an open body and a , as there is between the model of a man's body, that is nothing but bones without flesh and skin: and a lining body of a man covered over with flesh (although it is hidden under it.) And as those Painters are much perfecter that have seen, and perfectly beheld right Anatomies, than others that only content themselves with the outward bare show of the Superficies, so it is with Perspective works; for they that well understand and perfectly bear in mind the hidden lines, they shall better understand the At to than others, that content themselves only with that show of outward Superficies. It is very true that when a man hath sufficiently experimented, practised and beareth in his mind these inward hidden lines, then helping themselves with the principal, he may mak● many perfect things, without using all this labour. architectural drawing FOr these three figures following, every one is drawn out of the foursquare, in such manner as I have taught befores and they go all three to eve Horizon or paint as they should do, or as need requires; by the which figures any man may help himself in many things, as I have further declared: and he that is perfect in these, may make all kind of round forms, and without knowing of these, he can do little in round for●●es. For out of these figures you may draw a round Solude or Pyramidal Building with Pillars, or without Pillars; and also a round winding pair of stairs: for this Figure will show you how to make the stairs round, with other things more, and yet not without your own industry: for the things that by these may be made are wonderful and infinite, so that you ware not weary, and spare no pains till you are perfect in them, because that the bowing or Arches of gates and other things will seem hard unto you, as I will hereafter show you; notwithstanding that they take their beginning altogether from these. But if any man that desireth to learn this Art, will at the first understand these figures, as some bluntly will take upon him to do it. I believe certainly, he will be put to an non plus, and deceive himself; but if by learning all the former things, he proceedeth unto these as well in Geometry as in Perspective Arte: Then, I say, he is of a very gross understanding, if he cannot understand or conceive these figures, or the figures that hereafter follow. These three figures, to speak truth, are but Superficies; nevertheless, if you draw Perpendicular lines from all the terminations, as well within as without: than you shall have a through cutting or open body, and the innermost lines covered, than they will be a Massy body: And wonder not, gentle Reader, nor let it be strange unto you, though I do sometimes make a long discourse of some things, for (as I said before) they are not only learned by many words and great pains, but it is also necessary that they were showed unto some men playnety by drawing them before them, that they may the better conceive them. architectural drawing THE most of great Rivers or water-falles that fall down from high Hills or Mountains, by means of tempests with great force and power, when they enter into a Valley, than sometimes they ●yn out of their Channel, and so much ground as they then usurp upon on the en● side, so much they lose again on the other side; and so doth Perspective work in cornered things, for that no much as a man loseth of the point or corner whereon he looketh, so much greater the other point or coruer showeth that standeth out, which is showed to in the Figures hereunto avered. architectural drawing The Reader must then mark that the square in the middle signifieth the thickness of a foursquare Column or Pillar, and the bordee that is without and goeth about it, signifieth the thickness or bearing out of the Bases and the Capital. The Figure under this platform is the Base, and the uppermost Figure is the Capital; the manner how to shorten them I will show you: You must make the Pillar ●●at before without thickness, and upon it you shall form the Bases and Capital, making the Projecture or bearing out thereof on either side alike, but you must draw them lightly as the pricks here●n set town ode show you: then draw the side of the Pillar which you will have seen towards the Horisen; and having found how thick the decreasing or shortening side must be, by the ruled that are showed in the first part of Perspective work, so you shall have the shortening ground of the Pillar, wherein you must lightly draw the two diagonal lines long enough through, and from the Bases below, which is same in the shortening; you must draw a line towards the Horizon, which you shall also let go down or sink so far, till it reacheth benesath the diagonal lines, and there shall be the terminations of the shortening Bases: and thus you see that the Perspectivenes taketh somewhat oft from them, that is, the space between the points and the full black line; then from the terminations to the other uttermost point of the Bases, you must draw a Parallel line under the ground of the Pillars, so long that it may touch the Diagonal lines, and there you shall find that which is taken of from the Bases on the one side, and given to them on the other side, and the Projecture of the Bases showeth, that the one point is drown inwards, and the other cometh further out, than the uppermost line of the Bases being also to the Horizon: then upon the shortening fide by a line you find the third part of the Bases below, and that which is h●re spoken of the Bases, you must understand the same also of the Capitals. architectural drawing architectural drawing architectural drawing THE other three Figures are the same which are showed before; the first were hollow, but these are perfect and with all their members, and although that in the Figures before I have not showed how you should form and frame these members, which in truth would be a very confused and troublesome thing to set dewne in writing; therefore I have only showed the first terminations, that a man may keep them well in his memory, and in these present Figures I have showed how they show in a man's sight, that you may see the effect that they work: but from henceforward because (as I said before) it is a troublesome thing, I will make another form of them with all their members by dark lines: and then (according to my ability) I will set down the manner how to find the terminations of the members oen after another, for all of them grow a little one over, or more than the other. architectural drawing architectural drawing But you must consider that these Bases and Capitals on the one side give inward, and on the other side beareth out, which you must well remember, that you may first be well instructed herein touching that which you will make. For it is true that the Theoric consisteth in the understanding; but experience is gotten by practice and right use or handling: Therefore t●e most notable Painter Leonardus Vinci, was never pleased nor satisfied with any thing that he made, bringing but little work to perfection, saying, the cause thereof was that his hand could not effect the understanding of his mind: And for me part, 〈◊〉 I should do as he did, I should not, neither would I suffer any of my works to come forth: for (to say the truth) whatsoever I make or write, it pleaseth me not: but (as I said in the beginning of my work) that I had rather exercise in work that small talon, which it hath pleased God to bestow upon me, then suffer it to lie and rot under the earth without any fruit; and although I shall not please thereby such as are curious, to set down the ground and perfection of all things, yet at least I shall help young beginners that know little or nothing thereof, which hath always been my intent. architectural drawing FOr that (as I said before) of Projecture in Prospective work, it would be great labour and much work to find all the terminations of the parts or members, and specially because they do always wax greater as they come further outward, as well those which we behold from beneath upwards, as tho●e that we behold from above downwards; yet I have not spared to make this Figure, and to form and proportion it with all the members and parts thereof, that you may the better understand it. In the first Figure but one, next to this, I have showed how you shall find the terminations of the points of the Projecture which are made plain without any members; the easilier to conceive how things wax bigger when they come further outwards. But now I think that men understand it well, I will show the means and manner how to find the inlardging of all the members particularly by themselves, every one according to their greatness or smallness of their Projecture. And first, you must frame this Base with all the members, and with the right Projecture thereof, to be without any shortening before, yet you must draw it lightly with a piece of Lead, or some other thing, as it is showed unto you here with pricks; then in the ground or foot of the Pillar you must draw the two diagonal lines long enough out, and thereby (as I said before) you shall find the diminishing and the increasing of the particular parts of the crests of the said Base, whereas the undermost line or foot of the crests of the Base, bear much more broader and longer than those that are marked with the pricks; then at each corner of the Crest of the Base you must draw an upright line almost as high as the first crest of the Base (although I have done it) but upon the uttermost point not to cumber the work within: than you must draw the uppermost corners of the first Crest with pricks also, toward the Horizon, which downwards will touch against the two upright lines; and there shall be the terminations to close or shut up the second great Crest with a full black line: then draw another black line from the innermost point of the Crest upwards to the Horizon, and there the shortening Crest shall be closed. And as this Crest or Plinthus is closed and drawn on all sides with black lines, so you must do with all the other lines of the Base, for when from the uppermost corner of the first marked Base you draw a hilding line to the innermost corner of the greatest Crest with the black lines, by it you shall lightly find the terminations of all the parts or members, drawing the corners of the first Base towards the Horizon. And when you have form all the innermost corners of the Bases, by the Horisentall line you may easily do the second, and by the Parallel lines the uttermost of all; although by the lines of the distances, you may bring the said corners somewhat nearer as you may so by the diagonal lines. But at this time I will not speak of that difficult or hard work, for he that hath any understanding herein, may herewith help himself. That which is here said of the Bases, you must also understand of the Cornices, only that every thing is contrary, and where you set Perpendicular lines below, which cut through the Horisentall or Radiall lines, so you must also fall above the Lead lines or Catheten upon the Horisentall lines, as you may better see it and learn it in the Figure, than it can be expressed by words: and you must not be afraid or abashed, although at first you cannot conceive it, for that by practising you shall in time find it; for it is not said that a man shall or can learn all things at once in one day: by this Cornice you may make all Cornices, be they higher or lower, harder or easier, always drawing every member and part towards the Horizon as it should be done. ALthough there are divers manners & ways to place Columns one behind the other, standing upon one ground in Perspective wise, thereby to make Portals, Galleries and other things, yet this hereunto annexed is the easiest. First, you must make a Pavement with a quantity of four cornered Quadrants, as it is also showed in the beginning of this Book; which may be of such breadth, as you will: Say that these four square stones are two foot broad, which shall be the thickness of a Pillar: between the two first Pillars beneath in the breadth, there shall be eight square stones, and the height of the Pillars made of what quantity you will; and they being raised toward the Horizon, than you must draw two several lines over both the Pillars, and then out of the middle of the first line you must make two half Circles above upon the flat side before, and divide them in as many parts as you will; which parts shall be drawn to the Centre of the half Circle, standing in the uppermost line: then out of the middle of the two several lines you must draw the less half Circle, and all terminations of the flat Arch being drawn to the Horizon, than the first Arch or Gate is made: the other two Pillars upwards drawn to the Horizon, than the first Arch or Gate is made: the other two Pillars upwards shall also stand eight Quadrants distant from the first Pillars, which will make a four corned place on all sides: containing 64. square stones: and you must do with this gate as you did with the first, only (when they are all of one wideness as these are) you need not denied the Arches again, for the Horisentall lines of the stones of the first Arch will show you the terminations of all the other Arches, and also how long the Gallery must be, and how many Arches it must contain. I have placed no Arches here in the sides, because I would not cumber you too much at this time; but I will speak thereof hereafter particularly. The two Doors on each side are both partly covered with the Pillars, but the wideness of them is four Quadrentes, besides that from the corner of the doors to the Pillars on each side there is two Quadrantes, as you see the half thereof; and the other half you must suppose to be behind the Pillars. The beams above the Arches which bear up the Chamber above, you may well guess, although I writ not particularly thereof: I have not likewise set the Bases nor the Capitals upon these Pillars, because they should not darken them too much; but in another place I will also entreat thereof. architectural drawing TH●se two Bows or Arches are only made to know how to join their Bases and Capitals to them, whereof in two several places I have spoken before, and showed how they rise on the one side, and fall or decrease in sight on the other side; that a man may the better learn how to do them: for in truth if a man could show it unto you in effect, you would the easilier understand it; but to set it down in writing or Figures as I do, that men hereafter might know and learn them: it is requisite to entreat of them more at large, and that you may the better discern and perceive the points of the thin lines from the other points or corners of the black lines; therefore here I have placed the point of the distances and the Horizon downward; and have placed the Pillars in other manner upon this ground without Quadrant stones: In this manner set the breadth of the two first Pillars upon the Base of such thickness as you will, and draw them inwards, towards the Horizon, than you must imagine the distances, as I have already taught you: and these distances are set on both sides, and on either point of the distances you must draw a line both toward the right and left point or corner of each Pillar. These diagonal lines will not only show you the thickness of the first or foremost Pillars when they shorten, but also the thickness of the two other Pillars which stand inward, which are all marked with pricks (and as I have likewise said before) that which is here said of the Bases of the Pillars, the same also must be understood upward of the Capitals: touching the thickness of the bows or Arches underneath, I have showed in the Figure before, how you must place the Centre in the middle of the four cross point lines, to draw the half Circumference: The four square or Quadrant above, is as great as that below on the ground; I need not show how you shall make it, for you see it plain enough in the Figure. architectural drawing THis Figure is like the former, only that the members of the Bases and Capitals are added thereunto; thereby to make it more perfect unto you, and to show you how a thing will stand when it is full made and finished, although I have showed it before; nevertheless, when a man is perfect herein, than he may by practice help himself well enough without all this labour, using discretion and bearing in memory that, which he hath imprinted in his mind: For in truth, by this means (I mean the ground) a man may by practice make many things; which if they be made with discretion, and by a workman, will always beautify the work, as these bows or Arches do, which under are divided with Quadrantes as you may see them. There are, as you know, first two Centres to form the Arch underneath; now a wise workman must not always seek for the perfection of the edge of these Quadrants; but for example, Say that the Arch underneath is divided into eight parts, whereof six shall be for the Quadrant, and two parts for the edge or border that runneth about it: now you must divide the space between the one Centre and the other, also in eight parts, but they must shorten or lessen a little, that is, the neither part against the upper; & then the compass being set somewhat lower, and made narrower: then you must draw the uppermost border, and then the compass being set a little below the nethermost Centre; you must in like sort draw the other edge or border: after, you must square or divide the Quadrants, leaving the space between both, once so broad again as the other, which must be drawn up towards the Horizon; and as much as you will make the Quadrant sink: you must also draw out of the last Centre with the Compass. And in this manner a man may make divers forms and compartments (but as I have said) you must make them all with judgement, and therefore it is very convement that a man should be well instructed therein; for that using only the princicall terminations, you must make the rest by practice: But I am of opinion, that some rigorous Perspective men will take hold of these my words, (to whom I answer) that if they mean I have failed or done amiss, let them prove what difference there is between saying and doing. architectural drawing THe manner how to make a cross roof of a Gallery or House in Perspective work, is always very troublesome to show it unto any man; and therefore also, it is much more troublesome to declare it in writing for men hereafter to understand it. Nevertheless, because it is very necessary to be known, I will do the best I can to show it. First, you must choose the breadth and height of the greatest Arch or Bow that you desire to make, and then by the distances you must make a perfect shortening Quadrant, and also a less Bow or Arch. The greatest Arch before shallbe divided into eight equal parts, and those parts must be drawn towards the Horizon to the small Arch, which being done, than you must set those parts of the greatest Arch below upon the Base; and with the help of the Horisentall and diagonal lines, you may make a shortening Circle within the Quadrant, as in the other places before you have been taught. The terminations hereof shall be 1.2.3.4.5. which shall be set upwards beside the great Arch, as you see it there also marked with 1.2.3.4.5. Without this round below I have drawn the Parallels with pricks to the wall, and where they end, there you must set all your Perpendicular lines upright, which are come out of the Parallel lines of this Circle. Then you must draw the terminations aforesaid, which are placed above, along by the Perpendicular lines with lines to the Horizon; end where the said Horisentall lines cut through the Perpendicular lines, which are drawn up from below; there you must make half a shortening Circle: and that which is marked on this side with Ciphers, must also be understood to stand on the other, as you see it in the Figure. These two half shortening Circles being made, than you must draw a right black line above out of each of the middles, which are marked 5. and where that cutteth through the middlemost line, which goeth from the greatest Arch to the Horizon, there shallbe the terminations & also the middle of the cross work; and then out of all the terminations of the two half Circles; you must draw cross lines on the sides, and where every one of them following an Horisentall, toucheth the Arch marked with 2.3.4. there the terminations shall stand to form the half Circles in the cross, through the which a man with a steadfast hand from termination to termination shall make a shortening half round cross with pricks, as both on the right and left hand you may plainly see in the Figure. In this manner the work should go, although it stood somewhat out at the sides; but it is better first to print it well in your memory, before 〈◊〉 seek an other form where the Horizon standeth on the one side, that then you may the easilier make that whi●● 〈◊〉 seen on that side. architectural drawing Having showed in crosseworke on both sides, how you should place the Arches on the sides in shortening manner ●nd drawn them up out of the ground, although that they be single: now will I show you a hollow Arch, and the manner how to shorten it: But before I proceed thereunto (for it is very cumbersome and difficult) first I will show you the Pilaisters that should carry the said Arches: which Pilaisters stand so plainly in the Figure that I shall not need to take much pains to write of them. In this Figure I have not made the first Arch, that I might not darken the sight of the Arches on the sides, which Arches on the sides, I have also but marked how they shall stand, and are always drawn out of the foursquare Quadrant, as you see by the order of the four square Quadrant, but the hindermost Arch which standeth not in the way, I have drawn fully, and placed it also in his four square. Above in the top or roof, I have made the round form, whereof you may make a Kettel or Tribunal; and you may also make it thus, when it is somewhat sunk. Touching the four Pilaisters, they (as I have taught before) are found by the diagonal lines coming from the point of the distances, and also that each Pilaister is three cornered: standing like a three cornered hook, and on each end (the Arch resteth whereof there shall be four) two Arches before, and two on the sides, so that the roof will be right foursquare, wherein you may make cross work or other manner of Roose work. And if you will make other kinds of works by the same; you must always follow this rule: Item, where you can not well understand my writing, you must help yourself with the figures, which figure also standeth open, so that with a little labour; a man may easily conceive it altogether, although there were nothing spoken of it. architectural drawing NOw you see what way you must follow to place Arches on the sides in shortening manner: And first, you must think upon the third former manner Superficies, wherein I have sufficiently showed you the manner how to frame a round body; but in this Figure I will show it more perfectly. Wherefore a man must imagine that the round Body lying below in his foursquare is made, and shall serve for the two Bows on the sides. This Body then being made (as I have showed before) and as you see it better now, you must first set it, where the Arches begin about the Horizon. And the same Perpendicular lines which stand corner wise from the middle of the four cornered body, must be set like Parallel lines on the right & left sides upwards from the two Arches, there (at it is aforesaid) to direct the Horisentall lines, as you may see it plainly in the Figure. But you must understand, that the two crosses below in this Body, are the two Centres to draw the stones of the Arches both above and below, they also signify the Centres of the Bows upon the Horisentall lines within the Arches. You must also understand, that the black lines do form the Circumference without, and the pricks or this lines betoken the form within; which is covered in the Arches: so that the Arches do show through to be made of pieces, of the which pieces a man may learn to make divers Compartements underneath in the Arch. Now when a man can make this Arch well, than he shall not need still to take all this labour, but by two principal lines helping himself with pricks, he may frame the Arch; and specially, because that the Arch which should come before, covereth or hideth a great part of the Arches on both sides: which Arch I have not made here, that I might not darken or shadow the other shortening Arch. Neither need I write any thing of the Circumferences above in the top or Roof, (nor the eight corners within) for that in the next Figure you shall see them; neither will I speak any thing of the Circumferences in the ground, for they are made (as I have taught you heretofore of all others) and of the round body below (of the which there hath been more said) a man may make many other things which are not here to be spoken of. architectural drawing TO place Pillars with their Arches upon grounds or platforms, I think there is sufficient spoken before; and whatsoever I have spoken of four square Pillars, is also to be understood of round Columns, for that a man must take all round things, out of four square things as well the Spira of the Base, as the round of the Capital. He that can make all the Figures aforesaid perfectly, and particularly this last body, shall help himself well, and not only to do the like things, but also to do many more. If I should in this small Treatise show all that I could set down, it would make a most great Volume; and peradventure I should want time to set forth the rest of my Book, which I have already promised: for there are many things that belong to Building, which need not to be set down in Perspective work. Let us now begin to raise the Building here set down out of the ground, which before, and at the one side is seen, as I promised before to show you. The shortest and surest way is, to make a ground with many Quadrants; and imagine that it is meet with the Foot, with the Elle, or other measure: But ●et us now take every Quadrant for two foot, and as before there are four Quadrants from one Pillar to the other; and the Pillar also containeth a Quadran, there shall also be four Quadrants upward in the length from one Pillar to the other, as you may see it altogether in the Figure. The Pillars then being set of such height as you desire, than the Arches upon them most be made; and the manner how to make them, you may expressly see in the Figure. And although you cannot see the Arches that are behind them, yet I have made them here that you may see their terminations: they are in some places drawn with full black lines, and in some places with pricks. Above the Arches you must make the Architrave, Frise and Cornice; the Projecture whereof, you must make as I have said and taught heretofore, that is, how they make their corners against the two diagonal lines, and by the like rule you shall also make the uppermost Cornice, as you may see in the uppermost part, where the small Quadrant with the diagonal lines stand. The doors that stand under in the Gallery, are each of them two Quadrants broad, and four Quadrants high: below in the ground there are certain tokens which show like Nails, which signify the wideness of the windows above the Cornice: which windows if they stood whole there, than they would be twice as high as they are broad. The other Nails upwards between the shortening Pillars, are also the breadth of the shortening Pillars, which (as I said before) are all four Quadrants high, but they are partly covered with the Cornices. The part of the Arch which standeth at the end, is separated from this Gallery, as the ground also showeth it. I have here made no Bases nor Capitals, that the other things might not be confounded: but you must understand that they must be placed in the work, as is sufficiently before showed. And by this rule you may draw divers Buildings out of the ground, as in the Figure following shall be showed in divers forms. The Centres of the Arches you see them marked, standing all upon one Horisentall line. architectural drawing NOw I have showed the manner how to make a Gallery with Arches and Pillars, with other things thereunto belonging; now by an easier way I will show some form of Houses that are to be built out of the ground. You must make a ground or foot work with Quadrants reatching long enough upwards, which Quadrants must each of them be reckoned at two foot square. And first, at the entry of the House there shall be a door of five foot broad, for that it containeth two Quadrants and a half in the shortening: end the height thereof shall be of ten foot, because it is five Quadrants high: Her Pilaisters or Antipagmentum shall be a foot broad, because they contain a half shortening Quadrant; the Frise shall also contain as much: and the Cornice shall contain so much less, as the under part thereof hearing over containeth, and shall be made according to the rule afore showed. Touching the part yetting over the door, the Megdiliones or Mutiles, shall stand right above the Pilaisters or Antipagmentum of the door. And that little door upon the yetting, shall stand right in the middle above the lowest door, and shall be two foot broad. In the other corner of this first House, there shall be another door, the wideness thereof shall be six foot; you may make it round or square above as you wil But why do I spend my time to set down all these measures, which you may so plainly see in the Figure; only it is necessary to warn such as are studious herein, that what work soever a man raiseth out of the ground, consisteth in three principal things, that is, in length, breadth and height. The length is of certain Houses or Rooms, containing a certain number of feet. The breadth consisteth of Windows, Doors, Gates, Shops, and such like things. The height consisteth of Ports, Windows, jetting, Cornices, Columns, Roofs, and such like things. But there is yet another, that is of the thickness of the Walls, Pillars, Columns and Pilaisters: The length is taken from the shortening Quadrants, and from thence also you take the breadth. But the height is taken out of the breadth in the Quadrants, which breadth must be taken from the Quadran or half Quadran, which toucheth it on the hithermost fide as it standeth: as also from the hithermost door, which is ten foot high, there you must take the measure from the Quadrants, which come to the Parallels on the nethermost corner or point of the door; for if there you take five Quadrants in breadth, it shall be height within the Antipagementum. And that which I have said of these doors, you must also understand of all the other things: The thickness of the Wall is two foot, for you see it containeth a Quadrant. The bearing ever of the second House is of six foot, measured upon the ground: the like also the bearing over or setting of the first House containeth. To conclude all things, as I have said, rising out of the ground on all sides, I have set no Cornices, nor any other ornaments in this Figure, that you may the easier understand it; but a man of ripe judgement and understanding knowing the terminations, can by his own invention help himself to make fair Buildings. And for that I may not spend too much time herein, I will make others to give you more light therein. architectural drawing THE Stairs, degrees or doings up, are very necessary in Buildings, and therefore I will show divers kinds thereof, and first I will begin with the easiest. According to common custom a stair or step is about half a foot high, and about a foot broad upon the step; then let the square stones of this ground be a foot square, therewith we will make a pair of stairs of five foot high, and three foot broad: at the foot of the ground we will take the measure of the breadth, which both on the right and left sides shall be set in Perpendicular lines on the Corners of the Stairs, which shall be divided into ten, as the lines A. B. show you. Then all the parts of A. B. shall be raised to the Horizon, and then you shall take nine Quadrantes upwards in length: and where as two lines are set up cutting through the Horisental lines of A. B. there the corners D. C. of the uppermost steps shallbe, containing a four square of three Quadrants on each side. From the hithermost points of the same uppersteps, you shall draw two hilding lines to the lowest steps; against the which the Horisentall and the Perpendicular lines of the Quadran shall come together and shut up the Stairs. These Stairs are shortened on the one side, and the other is plain or profil, and containeth a step less in the height, which maketh four foot and a half; it is also three foot broad, as it is marked under it on the ground. By this rule you may make Stairs or degrees as high as you will, and make some resting places in the way: always taking the measure from the foot of the ground, as well of the shortening, as of those that are upright. architectural drawing THE going up being plain or profil maketh a great show, and yet are very easy to set in all places, I mean in the turning, and may serve for many things, specially in Buildings, where a man going up softly and with ease, giveth the beholders a kind of pleasure to view them, principally in common places, for that there is a going up on either side, so that upon the one side men may go up, and on the other side they may go down; and although there are only but two doings up, yet by this a man by his own invention may devise others. How these Stairs are made, and with what reason, you may by the Figure perceive them, although I should say nothing thereof: for as it is said before, the Quadrants are of a foot broad, and the steps half a foot high, and so the breadth of the step is one foot. The breadth of the Stairs is five foot, both the first and second: The resting gate containeth in wideness three foot, and is six foot high; which although it seemeth to be shut, and a small door opening in it: yet it may be made whole open and otherwise closed. The two sides above the three steps are five foot broad, although here it is but one foot, because of the narrowness of the Paper. The Perpendicular lines on the sides, signify leaning places, and they should serve well also to the steps, but lest they should cumber the work, I have lest them out. architectural drawing AMongst other things which show well in Perspective work, I find that doings up or steps are very see mely, and the ottner that they turn, the better they show; therefore I have made these two doings up turning, which stand in profil, yet you see the ground and the steps. This first going up is six foot high and three foot broad, as you may see it marked in the ground with pricks: the resting place between the first and second going up, is two four squares long, which is necessary, because of the turning. At the end thereof you find a Portale, the door thereof is two foot wide, the Antipagmentum is half a foot on either side, so that the place is three footefull. The Perpendicular lines on the right side of the plain, signify certain leaning, which may be made of Iron, Wood, or Stone; the like may be made along the Stairs both upward and downward, setting a Baluster upon every stair: The height of this rail or leaning, shall be two foot and an half; for so it is easy to lay a man's hand upon. How these Stairs are made upwards out of the ground, although it may well be seen by the Figure without declaring it: yet I will say some thing thereof, to ease them that are short of memory. The resting gate or round door under the plainness between the second and the third going up, is no deeper than to the wall: Above the same door there standeth another going up, of four steps, which to make, I have sufficiently showed; otherwise a man should continue the ground at the resting door, to draw them up from it. architectural drawing TOuching the several kinds of Stairs, I am assured that they may partly be understood without describing them in wrytingg, and specially the middlemost which goeth up on both sides; and so shall the uppermost also, because it is raised up from the ground as well as the other, and is six foot broad, as you may see and tell it on the ground upon the plain stones. The two Arches under the two doings up are each a foot in thickness, whereby a going down is four foot within, and is also drawn out of the ground as the rest are. The other doings up, which you see through the Arches; you may sufficiently perceive by them how they are made: and so it is with the two pair of Stairs on the left hand, for from the first steps at the resting door, you may easily see how they are raised up out of the ground, and above at the end of them they have a piece of plain ground to come to the other Stairs, which also is drawn up out of the pavement as the rest are, that is, each step half a foot high, and a foot broad. But it is hard to measure in so small things, but it sufficeth that hereby you may see the manner thereof: and when you make them great you shall find that they will come well enough to pass. Under the Stairs last named, there standeth also a round door which is five foot wide: upon this ground, and on these Stairs a cunning Painter might place divers Figures in several forms, either standing or sitting upon the Stairs; and lying upon the ground in shortening manner, and that in this wise: You may place the Figures where you will with feet, and then take six feet or squares whereon they stand, and that shall be their height, for that it is the height of a common or ordinary man: this you must observe both before and behind, and in every place. If the Figure be upon a step, then take the measure of that step whereon it standeth, and make it twelve steps high, which shall be fire foot: And is the Figure lying, do the like; but if it lieth in shortening manner upon the ground, than you must take the length by the shortening Quadrant. architectural drawing I Have showed many kinds of doings up, but there are other kinds, and he that is not well instructed in the former will hardly understand these two which I have here set down. The first shall be winding Stairs in four square, and he that can make these four square Stairs, may well make the round Stairs, for it is all one thing, specially if he useth the rule before set down of the round bodies. The Figure P. is the ground of this winding stair, but it is much less than the uppermost to get ground. This four square ground in shortening you must make half a foot high, which shallbe for the first step. Then before at either end, you must make a Perpendicular line upright, and in it make as many half feet as you desire to make the Stairs high; you must also place the like Perpendicular lines between the middle, & the corners: than you must draw the terminations both on the right and the left sides upwards to the Horizon, which must cut through the Perpendicular lines, which are drawn out of the terminations of the steps; and of the same height that the two cornered Perpendicular lines are: and of the same measure you must make the other two Perpendicular lines between the corners and the middle. Then in the middlemost termination of the ground you must place an other Perpendicular line, and divide it also in half feet, as the other Perpendicular line on the side is: So out of this Perpendicular line of the Centres against the nearest Perpendicular line beneath on the left hand, you must frame the first step with two lines: The second step you shall also frame and shut up out of the Perpendicular line of the Centres in the corner following. Then from that point or corner you must draw a line to the Horizon, which against the second Perpendicular line will make the termination of the third step, which shall also be shut about, according to the aforesaid rule: from that point or corner of the step you must also make an Hor●sental line, which will touch the termination of the fourth step; which being closed, than you must raise that corner also to the Horizon, and that will show you the termination of the fist step. And when that step is also closed with lines: than you must draw the point towards the Horizon, which line will show you the terminations of the sirt step against the hindermost Perpendicular line: and that being also closed up with lives, than out of the same corner you must draw a Pararel line to the termination of the seventh step, and no● towards the Horizon, because it is another side of the four square. Thus you must work round about from step to step, always fellowing this rule by the which you cannot fail. architectural drawing THat I may not forget to set down all kinds of Stairs, and specially such as often times fall out to be made; therefore I have made these Stairs, whereon a man may go up on all sides, whereof the ground standeth above on the right hand, but yet very small. These Stairs must thus be made. First, you must make a four square shortening body of half a foot high, upon this you must draw two diagonal lines, and from the corner inwards there shall be a foot broad left on either side, and the terminations thereof drawn to the Horizon, and so from the diagonal lines you shall see the corners of the second step. Now I need not set down unto you how you shall find the lessening corner of the second step, the which is round about shut up with Parallel and Horisentall lines: then upon the second plain you must draw two Diagenall lines, which doing (as I said before) will show you the third step; which also being closed up with lines, you shall also find the fourth and fifth, with the like rules: This Pyramids is fantastically framed upon them to fill up the place. Also I need not set down to what uses these Stairs may serve, for that the half of them is commonly found in divers pieces of work, as the gates of Palaces, Churches, and other dwelling Houses, and the ascending up to Altars: By this way also you may make round Stairs; and also Stairs of six or eight corners, as by their forms I have showed. architectural drawing I Have promised the studious Reader by this my labour to show as much touching Perspective work, as I can; that he might show his conceit touching Houses or Buildings in Perspective wise, meaning to set down some simple manners thereof, as if he should form a single or double ground, thereupon to raise a body, and therewith mean to make an end. But falling from one work to another, I am entered into a Labyrinth; which peradventure is too far above my reach: which cometh to pass by means of some men that have entreated me thereunto. And therefore, as I thought at this time to make an end of my second Book, I begin to handle a harder matter, which rule is only called an outward four square: nevertheless, it is aswell drawn by the Horizon as by the distances, as you may see in the Figure following; which showeth aright shortening four square, containing in it another four square, the which also may be form by the distances without Horizon: some men place the sides of the four square upon the Base, once so wide again as before. And as you see two like sides of the four square over the corner, so are the distances alike marked D. And as much more as you will have this four square to shorten, so much you must draw the distances from the Horizon; and as much as you will that the edges of the four square shall be broad, so many bredths must you draw upon the Base, between A C. twice drawn. All the terminations of this four square standing above the corners go all to the distances, and none to the Horizon, but only the four square that is set therein. architectural drawing NOw I have showed, how you should shorten a Superficies, overpoynt or outward four square: here I will show how to imbosse or bear out the body thereof with the same Horizon and distances also, which body within is hollow, and you may heave it up as high as you: but I have purposely left it somewhat low, that you might see the ground thereof. And by this Figure you may conceive to how many things this may serve; and also how you may increase or diminish it, according to skill and judgement This shall suffice for these foursquare models or hollow things: but I will show how you shall make them which Crests or Cornices architectural drawing THis Figure is also form by the aforesaid Horizon, and the like distances as the other before, only that they stand a little nearer: Now to crest this body both above & beneath, you must imagine the greatness of the crest, and draw the same greatness both above and beneath the body; then give the Crests above their due Projecture, and from those points you must let Perpendicular lines fall to the points or corners below, whereby you shall have the Proiectives of the Base and top thereof, which must be drawn towards the Distances, and not towards the Horizon. Now you see how the Cornices stand without the four square body: but this is only for Cornices that are made without members, not to cumber you with the shadowing of them, for I will speak of them hereafter particularly. architectural drawing I Spoke before of Cornices without members, which might serve this hollow Quadran, and how you shall make the terminations thereof. Now in this Figure I show you the said Cornices with their members, which you may also make in other manner as it pleaseth the workman, that is, to make them bigger or lesser, as I have spoken of other Cornices, always using good discretion and judgement to choose and make such members therein, as may show well in men's sight. There are some Cornices which reach so far over, that men can not see the members thereof under them; therefore in that case the members are so to be made, that they may be seemly and pleasant in men's sight. architectural drawing THe four Figures aforesaid have their distances equally broad from the Horizon, that is, as much on the one side as the other; but the Figure following is of an other manner: so that the Horisental lines serve both for distances. To understand it, begin thus: First, the Base A.B. is made and is placed in four equal parts, as C.D.E. the lines C.D. are drawn on the right hand towards the Horizon, and the lines A.C. are drawn towards the Horizon on the left side, which form a perfect shortening four square; which four square you see more on the one side, then on the other. The four points or corners of these four square things, are F.G.H.C. If you divide these four square things in two parts, than you must divide the Base D.E. in two parts, and the terminations thereof being drawn to the right side, there you shall find the half of your four square marked with two Stars. But if you will lengthen it an other half four square, then draw a termination E. to the right Horizon, the lines at I.K. the other half four square, so that these Superficies shall be of two perfect four corners: And this will serve the ingenious workman for many things, which I will not here set down for brevity sake. architectural drawing THis body hereafter following is raised up out of the former Figure before set down, and is made with the same Horizon; which body containeth two Quadrants in length, & one Quadrant in height, for the line C.D. is set in Perpendicular manner upon the nethermost corner, whereon the other Superficies are set: thus than this body is of two foursquares, I mean two four squares in length, and one four square broad and high. And this body (as I said before) shall serve for many things: But if you will have more cubits in the length, then lengthen the Base in so many parts more, and you shall always find the truth hereof. And if you will make a border or crest about this body, than you must follow this rule aforesaid. architectural drawing BUT will you make divers things upon one ground, than it is convenient that first you make a pavement, as you see it here set down, and thereupon frame what you think good upon the Quadrants, and the less the Quadrants are, and the more in number, you may the easter frame things upon them. The cross made upon this ground is only to show you the way and entry thereunto; but for such a form, you may make a form of a Christian Church as they are now built. The other form by it, showeth a piece of a foundation of a House, but all these things you may make in a greater form, and set them forth as you will; sometime placing the Horisentall lines in such manner that you may see more of the out sides, but yet the Orisons must stand all of one height. architectural drawing OUT of this Superficial Figure aforesaid, I have raised these bodies, to show how the Orisons of them d●● stand in the work as well above as below, as you shall find by experience, and in truth these works which you see over the points or corners, contain a Book alone by themselves: but (as I said before) my meaning was to sh●w but three or four Figures of them, yet I will show ten of them; intending to leave the student some work, whereof I am well assured: For that he hath more eyes, and more patience than myself, he shall find many things which I writ not of, nor yet set down. architectural drawing Upon this Pavement (as I said) you may form or frame what you will, but in this Pavement here ensuing, you see a column lying, being eight square, which is three Quadrants in thickness, and fourteen in length. This eight square column may be made out of a column of four square, as before in an other place is showed: which four square you may see drawn herein with pricks, and the terminations of the eight square with black lines. But because that this eight square column is too much seen on the sides, the readier to make it out of the four square: I have therefore made an other piece by it, the which, because it draweth nearer to this Horizon, is seen more before, than the other, although not so long; for it is but half so long as the other, as you may see & tell it in the ground or foot thereof. And if it were so that this eight square Figure reached nearer to the Horizon, it would then be better seen, yet it would not be wholly seen before, because it standeth without the four square and corner. architectural drawing THese Columns are the same which are before set down, but the other well hollow, and these massy, whereby an expert workman may find out many things exercising this way, although there are other means to be used, as Albert Duter hath showed, to look through holes with a thread: Thereis also another way, which is drawn out of flat forms which is the surest way, but very troublesome and hard to describe in writing; wherefore I have chosen this as the easiest way to be showed. And if I had not undertaken to show other things of more importance, I would have drawn divers bodies and houses after this manner. But for that I mean to entreat of Scenes, and the preparing of places for to show Comedies and Tragedies, which is now used in this age, and specially in Italy, therefore I will make an end of these four cornered things, leaving it to another (as I said before) to set forth more thereof. architectural drawing BEcause I mean hereafter to entreat of theatres, and Scenes belonging unto them, as we use them in these days. In the which Scenes it will be very hard for a man to show how, & where a man should place the Horizon herein, because it is an other thing then the rule before declared: Therefore I thought it good first to make this profil, that the ground by the profile may both together be the better understood; yet it were convenient first to study the ground, and if it so falleth out that a man cannot attain to all within the ground, than he must proceed to th● profill to be the better instructed therein. First therefore, I will begin with the Scaffold before, which as the eyes shall stand elevated from the earth, and shallbe flat, made by the water compass, marked with C. And the Scaffold from B. to A. shall stand heaved up under the same A. a ninth part of the length thereof, and that standing by behind the seat marked with an M. above it, is the wall of the Hall or other place, against which, or where this Scene shall be made. That which standeth a little distant from the Wall Perpendilar wise, is marked P. shall be the back or upholding behind of the Scene, that a man may go between it and the other wall. The termination O. is the Horizon. The lines with pricks coming cross upon the water compass from L. to O. where it toucheth the back P. there you shall place the Horizon only to serve for the said back. And coming forwards to L▪ this live shall always be the Horizon, for all the Ortograpie of the Houses which shall stand forwards or outwards: But the Seenographies or shortening sides of the Houses, they must have their Orisons standing further to O. And it is reason, which in effect have two sides (as thes must be built that men may see out of them on both sides) should happen two Horizon lines, this is touching the profile of the Scene. But the place which is called Procenie is that which is marked with P. and the part marked with E. is called O●●hestra, which is raised half a foot from the earth, where you see F. marked, are the places for Noblemen an●●●●ghts to sit on. And the first seat or step, mark●● G. are for the Noblewomen and Ladies to sit on: an●●●ing up higher, there must the meaner sort of Nobles sit. The broader place, marked H. is a way, and so is the place marked E. Between H. and E. must sit Gentlemen of quality. And from L. upwards meaner Gentlemen shall sit. But the great space, marked K. shall be for common Officers and other people: which place may be greater or less, according to the length of the Hall, or any other place. And the Theatre, with the Scene or Scaffold, which I made in Vincente, was almost in this sort: and from the one corner of the Theatre to the other, was eight and twenty foot; for it was made in a place where I had room enough, but the Scene or Scaffold was not so broad, because it was placed in a lodge. The frame of the seats was all made in one, as you may see in this Figure. And because the Theatre stood in an open place which had no wall, whereunto it might be made fast, therefore in the circumference I have mode it sticking out, for the more strength and fastness thereof. architectural drawing A Treatise of Scenes, or places to play in. AMong all the things that may be made by men's hands, thereby to yield admiration, pleasure to sight, and to content the santasies of men; I think it is placing of a Scene, as it is showed to your sight, where a man in a small place m●● see built by Carpenters or Masons, skilful in Perspective work, great Palaces, large Temples, and divers Houses, both near and far off; broad places filled with Houses, long streets crossed with other ways: triumphant Arches, high Pillars or Columns, Pyramids, Obeliscens, and a thousand fair things and buildings, adorned with innumerable lights, great, middle sort, and small, as you may see it placed in the Figure, which are so cunningly set out, that they show forth and represent a number of the brightest stones; as Diamonds, Rubins, sapphires, Smaragdes, jacinthes, and such like. There you may see the bright shining Moon ascending only with her horns, and already risen up, before the spectators are ware of, or once saw it ascend. In some other Scenes you may see the rising of the Sun with his course about the world: and at the ending of the Comedy, you may see it go down most artificially, where at many beholders have been abashed. And when occasion serveth, you shall by Art see a God descending down from Heaven; you also see some Comets and Stars shoot in the skies: than you see divers personages come upon the Stage, richly adorned with divers strange forms and manners of Apparel both to dance Moriscoes and play Music. Sometimes you see strange beasts, wherein are men and children, leaping, running, & Tumbling, as those kind of beasts use to do, not without admiration of the beholders: which things, as occasion serveth, are so pleasant to men's eyes, that a man could not see fairer made with men's hands. But for that we are entered into another manner of Perspective work, therefore I will speak more at large thereof. This Perspective work whereof I will speak, although it be contrary to those rules which are showed before, because these aforesaid are imagined to be upon a flat wall: and this other rule because it is material and embossed or raised outward, therefore it is reason we observe another rule therein, according to common custom. First, you must make a Scaffold, which must be as high as a man's eye will reach, looking directly for ward; for the first part thereof which is marked C. But the other part behind it, whereon the Houses stand, you must raise up behind against the wall at least a ninth part thereof, that is, you must divide the plain Stage or Scaffold in nine parts; and than you must make the Scaffold higher by a ninth part behind: then before at B. which must be very even & strong because of the Morised dancers. This hanging downward of the Scaffold, I have found by experience to be very pleasing, for in Vincente which is as sumptuous and rich a Town as any in all Italy; there I made a Theatre and a Stage of wood, than the which, I think, there was never a greater made in our time, in regard of the wonderful sights that there were scene, as of Wagons, Elephants and other Moriscoes. There I ordained, that before the hanging Scene there should be a Scaffold made by water compass, which Scaffold was 12. foot broad, and 60. foot long, according to the place wherein it stood; which I found to be very pleasing and fit for show. This first Scaffold, because it was right, therefore the pavement thereof must not obey the Horizon, but the Quadrants, whereof on every side were four square, from whence at the beginning of the rising Scaffold B. all the Quadrants went to the outtermost Horizon O. which with their due distances do shorten very well. And for th●● some men have placed the Horizon of this Sciographies against the wall right above the Scaffold, whereby it seemeth the Houses run all in one; therefore I determined to place the Horizon before the door, which pleased me so well, that I used the same kind of order in all these kind of works: and so I counsel those that take pleasure in such Arts, to use and esteem this way for the best, as I will show in this Figure following, and have also declared in the profile of the Theatre and Scene. And because the preparation for Comedies are done in three sorts, that is, Comical, Tragical and Satirical; I will first entreat of the Comical, whereof the Houses must be made as if they were for common or ordinary people, which for the most part must be made under roofs in a Hall, which at the end thereof hath a chamber for the pleasure or ease of the personages: and there it is that the ground of the Scaffold is made (as I said and showed before) in the profil. Therefore C. is the first part being the flat Scaffold; and suppose that each Quadran containeth two foot on either side, so shall they upon the hanging Scaffold before on the Base be also two foot broad, which is marked B. And (as I said before) my meaning is not to place the Horizon hereof against the back behind in the Scaffold, but as far as it is from the beginning of the pavement B. to the wall, so far I would also that men shall pass behind through the wall, and so shall all the houses and other things show better in the shortening: and when by convenient distances you have drawn all the Quadrants towards the Horizon, & shortened them, than you must shorten the houses right with the four square stones; which houses are the great lines marked upon the ground, aswell for those that stand upright, as those that shorten. All such houses I always made of spars, or rafter or laths, covered with linen cloth; making doors and windows, both before and in the shortening, as occasion fell out. I have also made some things of half planks of wood, which were great help to the Painters to set out things at life. All the spaces from the back to the wall marked A. shall be for the personages, to the which end the hindermost back in the middle shall stand at the least two foot from the wall, that the personages may go from the one side to the other, and not be seen. Then you must raise a termination at the beginning of the pavement B. which shall be the point L. and from thence to the Horizon there shallbe a line drawn, as it is marked in the profil with pricks, which shall be of like height; and where that toucheth the hindermost back of the Scene or Scaffold, there the Horizon of that back shall stand: and that Horizon shall serve only for that back. But if you stretch a cord or any other thing to the termination L. then you may fasten a thread to it, to thrust backward or forward, to use it out of the steadfast Horizon, & all the Orthography of the houses before. But the Horizon which goeth through the wall, shall serve for all the shortening sides of the houses: and for that men should break the wall, if they would use all this Horizon in gross, which may not be done, therefore I have always made a small model of wood and Paper just of the same bigness, and by the same model set it down in gross, from piece to piece. But this way will fall out hard for some men to understand, nevertheless, it will be necessary to work by models and experiments, and by study a man shall sinned the way: and for that a man can hardly find any Halls how great soever, wherein he can place a Theatre without imperfection and impediment; therefore to follow Antiquities, according to my power and ability, I have made all such parts of these theatres, as may stand in a Hall. Therefore the part marked D. shall be the post scene, and the circular place marked E. shall be the Orchestra: round about this Orchestra shall be the places for the noblest personages to sit, marked F. The first steps marked G. for the noblest women to sit upon. The place H. is a way, so is the part marked I. In the middle between these degrees are steps the easier to go up. The places marked K. must be made so great backward as the Hall will afford, which is made somewhat slooping, that the people may see out ou●● 〈◊〉 others head. architectural drawing TOuching the disposition of theatres and other Scenes, concerning the grounds thereof, I have spoken sufficiently; now I will speak of the Scene in Perspective work: and for that Scenes are made of three sorts, that is, Comical, to play Comedies on, Tragical, for Tragedies, and Satirical for Satyrs. This first shall be Comical, whereas the houses must be flight for Citizens, but specially there must not want a brawthell or bawdy house, and a great Inn, and a Church; such things are of necesstie to be therein. How to raise these houses from the ground is sufficiently expressed, and how you shall place the Horizon: nevertheless, that you may be the better instructed (touching the former of these houses) I have here set down a Figure, for satisfaction of those that take pleasure therein; but because this Figure is so small, therein I could not observe all the measures, but refer them to invention, that thereby you may choose or make houses which show well, as an open Gallery, or lodge through the which you may see an other house. The hangings over or shooting out, show well in shortening work, and some Cornices cut out at the ends; accompanied with some others that are painted, show well in work: so do the houses which have great bearing out, like lodgings or Ch●●nbers for men, and especially above all things, you must set the smallest houses before, that you may see other houses over or above them, as you see it here above the bawdy house: for if you place the greatest before, and the rest behind still lessen, th●n the place of the Scene would not be so well filled, and although these things upon the one side be made all upon one floor: Nevertheless, for that you place great part of the lights in the middle, hanging over the Scene or Scaffold, therefore it would stand better if the floor in the midst were taken away, and all the roundels and Quadrants which you see in the Buildings, they are artificial lights cutting through, of divers colours; which to make, I will show the manner in the last of this Book. The windows which stand before, were good to be made of Glass or Paper, with light behind them. But if I should here write all that I know to serve for this work, it would be overlong to rehearse; therefore I refer that to the wit and discretion of those that exercise and practise themselves herein. architectural drawing House's for Tragedies, must be made for great personages, for that actions of love, strange adventures, and cruel murders, (as you read in ancient and modern Tragedies) happen always in the houses of great Lords, Dukes, Princes, and Kings. Therefore in such cases you must make none but stately houses, as you see it hore in this Figure; wherein (for that it is so small) I could make no Princely Palaces: but it is sufficient for the workman to see the manner thereof, whereby he may help himself as time and place serveth: and (as I said in the Comical) he must always study to please the eyes of the beholders, and forget not himself so much as to set a small building in stead of a great, for the reasons aforesaid. And for that I have made all my Scenes of laths, covered with linen, yet sometime it is necessary to make some things rising or bossing out; which are to be made of wood, like the houses on the left side, whereof the Pillars, although they shorten, stand all upon one Base, with some stairs, all covered over with cloth, the Cornices bearing out, which you must observe to the middle part: But to give place to the Galleries, you must set the other shortening Cloth somewhat backwards, and make a cornice above it, as you see: and that which I speak of these Buildings, you must understand of all the rest, but in the Buildings which stand far backward the Painting work, must supply the place by shadows without any bearing out: touching the artificial lights, I have spoken thereof in the Comical works. All that you make above the Roof sticking out, as Chimneys, Towers, Pyramids, Oblisces, and other such like things or Images; you must make them all of thin boards, cut out round, and well coloured: But if you make any flat Buildings, they must stand somewhat far inward, that you may not see them on the sides. In these Scenes, although some have painted personages therein like supporters, as in a Gallery, or door, as a Dog, Cat, or any other beasts: I am not of that opinion, for that standeth too long without stirring or moving; but if you make such a thing to lie sleeping, that I hold withal. You may also make Images, Histories, or Fables of Marble, or other matter against a wall; but to represent the life, they ought to stir. In the latter end of this Book I will show you how to make them. architectural drawing THe Satirical Scenes are to represent Satyrs, wherein you must place all those things that be rude and rustical, as in ancient Satire they were made plain without any respect, whereby men might understand, that such things were referred to Rush call people, which set all things out rudely and plainly: for which cause vitrvuius speaking of Scenes, saith, they should be made with Trees, roots, Herbs, Hills and Flowers, and with some country houses, as you see them here set down. And for that in our days these things were made in Winter, when there were but few green Trees. Herbs and Flowers to be found; then you must make these things of Silk, which will be more commendable than the natural things themselves: and as in other Scenes for Comedies or Tragedies, the houses or other artificial things are painted, so you must make Trees, Herbs, and other things in these; & the more such things cost, the more they are esteemed, for they are things which stately and great persons do, which are enemies to nigardliness. This have I seen in some Scenes made by jeronimo Genga, for the pleasure and delight of his lord and patron Francisco Maria, Duke of Urbin: wherein I saw so great liberality used by the Prince, and so good a conceit in the workman, and so good Art and proportion in things therein represented, as ever I saw in all my life before. Oh good Lord, what magnificence was there to be seen, for the great number of Trees and Fruits, with sundry Herbs and Flowers, all made of fine Silk of divers colours. The water courses being adorned with Frogs, Snails, Tortuses, Toads, Adders, Snakes, and other beasts: Roots of Corrale, mother of Pearl, and other shells laid and thrust through between the stones, with so many several and fair things, that if I should declare them all, I should not have time enough. I speak not of Satyrs, Nymphs, Mer-maids, divers monsters, and other strange beasts, made so cunningly, that they seemed in show as if they went and stirred, according to their manner. And if I were not desirous to be briefs, I would speak of the costly apparel of some Shepherds made of cloth of gold, and of Silk, cunningly mingled with Embroidery: I would also speak of some Fishermen, which were no less richly appareled then the others, having Nets and Angling-rods, all gilr: I should speak of some Country maids and Nymphs carelessly appareled without pride, but I leave all these things to the discretion and consideration of the judicious workman; which shall make all such things as their paitcons serve them, which they must work after their own devices, and never take care what it shall cost. architectural drawing Of Artificial lights of the Scenes. I Promised in the Treatise of Scenes to set down the manner how to make these lights shining through, of divers colours, & first I will speak of a sure colour which is like to a Zaphir, and yet somewhat fairer. Take a piece of Salamoniacke, and put it into a Barber's Basin, or such like thing, and put water into it: then bruise and crush the Salamoniacke softly therein, till it be all molten, always putting more water unto it, as you desire to have it light or sad colour; which done, if you will have it fair and clear, then strain it through a fine cloth into an other vessel, and then it will be a clear Celestial blue, whereof you may make divers kinds of blue with water. Will you make an Emerald colour, than put some Saffron as you will have it pale or high coloured; for here it is not necessary to prescribe you any weight or measure, for that experience will teach you bow to do it. If you will make a Rubbie colour, if you be in a place where you may have red Wine. than you need not use any other thing; but to make it palls with water, us need requireth: but if you can get no wine, then take Brazill beaten to powder, & put it into a Kettell of water with Alum, let it séethe, and scum it well; then strain it, and use it with water and Vinegar. If you will counterfeit a Ballayes, you must make it of red and white Wine mingled together; but white Wine alone will show like a Topas or a Crisolite? The Conduit or common water being strained, will be like a Diamond, and to do this well, you must upon a glassy ground frame certain points or tablets, and fill them with water. The manner to set these shining colours in their places, in thus, Behind the painted house wherein these painted colours shall stand, you must set a thin board, cut out in the same manner that these lights shall be placed, whether it be round or square, cornered or o●●le, like an Egg; and behind the same board there shall be another stronger board laid flat behind them, for the bottles and other manner of glasses with these waters to stand in, must be placed against the holes, as it shall necessarily fall out, but they must be set fast, lest they fall with leaping and dancing of the Moriscoes. And behind the glasses you must set great Lamps, that the light may also be steadfast: and if the bottles or other vessels of glass on the side where the light stands were flat, or rather hollow, it would show the clearer, and the colours most excellent and fair; the like must be done with the holes on the shortening side: But if you need a great light to show more than the rest, than set a torch behind, and behind the torch a bright Basin; the brightness whereof will show like the beams of the Sun. You may also make glass of all colours and forms, some four square, some with crosses, & any other form with their light behind them. Now all the lights serving for the colours, shall not be the same which must light the Scene, for you must have a great number of torches before the Scene. You may also place certain candlesticks above the Scene with great candles therein, and above the candlesticks you may place some vessels with water, wherein you may put a piece of Camphir, which burning, will show a very good light, and smell well. Sometime it may chance that you must make some thing or other which should seem to burn, which you must wet thoroughly with excellent good Aquavite; and setting it on fire with a candle it will burn all over: and although I could speak more of these fires, yet this shall suffice for this time; & I will speak of some things that are pleasing to the beholders. The while that the Scene is empty of personages, than the workman must have certain Figures or forms ready of such greatness as the place where they must stand, will afford them to be, which must be made of pass board, cut out round and painted, signifying such things as you will, which Figures must lean against a rule or lath of wood, cross over the Scene where any gate, door, or way is made, and there some one or other behind the door must make the. Figures pass along, sometime in form of Musicians with instruments, and some like singers; and behind the Scene some must play on, upon certain instruments and sing also: sometime you must make a number of foot men and horsemen going about with Trumpets, Fifes and Drums, at which time you must play with Drumbes, Trumpets and Fifes, etc. very softly behind, which will keep the people's eyes occupied, and content them well. If it be requisite to make a Planet or any other thing to pass along in the Air, it must be framed and cut out of paste-board; then in the hindermost and back part of the houses of the Scene, there must be a piece of wire drawn above in the roof of the house and made fast with certain rings behind to the paste-board painted with a Planet or any other thing that shallbe drawn softly by a man with a black thread from one end to the other, but it must be far from men's sight, that neither of the threads may be seen. Sometime you shall have occasion to show thunder and lightning as the play requireth; than you must make thunder in this manner: commonly all Scenes are made at the end of a great Hall, whereas usually there is a Chamber above it, wherein you must roll a great Bullet of a Cannon or of some other great Ordinance, and then counterfeit Thunder. Lightning must be made in this manner, there must be a man placed behind the Scene or Scaffold in a high place with a box in his hand, the cover whereof must be full with holes, and in the middle of that place there shall be a burning candle placed, the box must be filled with powder of vernis or sulphire, and casting his hand with the box upwards the powder flying in the candle, will show as if it were lightning. But touching the beams of the lightning, you must draw a piece of wire over the Scene, which must hang downwards, whereon you must put a squib conered over with pure gold or shining latin which you will: and while the Bullet is rolling, you must shoot of some piece of Ordinance, and with the same giving fire to the squibs, it will work the effect which is desired. It would be overlong if I should speak of all things which are to be used in these affairs, therefore I will leave speaking of Perspective things. FINIS. Here endeth the second Book of Architecture, entreating of Perspective Art; translated out of Italian into Dutch, and out of Dutch into English, at the charges of Robert Peake, for the benefit of the English Nation; and are to be sold at his house near Holborn Conduit, under the Sun Tavern. 1611. architectural drawing The third Book, Entreating of all kind of excellent Antiquities, of buildings of Houses, Temples, amphitheatres, Palaces, Thermes, Obelisces, Bridges, Arches triumphant, etc. set down in Figures, with their grounds and measures: as also the places where they stand, and who made them. ROMA QVANTA FVIT IPSA RVINA DOCET To the Reader. ALthough divers Authors writ many strange things touching Architecture, as the Egyptians, the people of Asia and Grecia, with divers other nations, and have left them for our example, so that reading them, we may sufficiently satisfy our cares, and fill them with the greatness thereof, that is, touching the length, breadth and depth, that certain places have contained; yet we can not satisfy our eyes, nor the desire we have to see such incredible works, unless it had been our hap to have the contemplation thereof, for that the relics of such works are almost, or for the most part utterly defaced; or unless we might have seen them drawn in propertion unto our eyes, as in this Book we may not only read, what the Romans at the last, after other nations had built, but also the same Authors have set down unto us in Figure (as you may see them here) piece by piece not only how many rods, else feet & palms, but also the minutes thereof, and what compass they contained, all perfectly described. And although it was no part of my intent, to translate this Book of Antiquities of Rome into our mother tongue, regarding the barrenness of our language; or peradventure such as study or favour the same, are all too few to defray my charges therein: yet I have not refrained to do it, being thereunto compelled by the great works of the forification of the City of Andwerp, and other great places; and for this cause specially, that every man that wondereth at the greatness thereof, which was made with most great cost & charges, may hereby see and consider, yea how much greater, & needles charges (to be compared unto this) the Romans (not speaking of other nation) have in time passed bestowed, in making of Obelisces, Pyramids, Thermes, theatres, amphitheatres, triumphant Arches, and many more such like things, which served only for pleasure & triumph: whereby it is to be presumed, that they would have made the fortifications of such Cities or Towns, made for the safety of the Land, far better than they now are. Now it is to be noted, that all, whatsoever the Romans have made, doth not wholly agree with vitrvuius rules, so that many which have counterfeited these, and such like pieces of work, have thereby been abused and deceived: for some would hardly believe, that in those days (as well as at this time) all manner of workmen were one better than another, which many, unawares and unskilfully do many things, which good Antiquities would willingly not suffer, hereof they shall find good instructions in this Book (and they may learn, if they will read it) how to discern good from bad; whereunto the former printed fourth Book is specially made: for in it the whole quantity of the measures is contained, as in the Epistle of the said Book it is promised. So in this third Book, you shall not only find, first the Ichnographia, and then after the Orthographyes, with part of the Sciographies of the most famous antiquities of Rome, Italy, and some of other places, but also of the most excellent buildings in our days, specially those that are made by Bramant. So that the Reader being well instructed in the aforesaid fourth Book, where all the Orders are well set forth and declared, he may of himself judge what is well or ill made, that at one time a man may, without any further labour, make a good and incorrigible piece of work. The third Book of Antiquity. The fourth Chapter. AMong all the ancient building to be seen in Rome, I am of opinion, that the Pantheon (for one piece of work alone) is the fairest, wholest, and best to be understood; and is so much the more wonderful than the rest, because it hath so many members, which are all so correspondent one to the other, that whosoever beholdeth it, taketh great pleasure therein, which proceedeth from this, that the excellent workman, which invented it, chose the perfitest form, that is, the round form, whereby it is usually called, Our Lady of the Round: for within, it is as high as it is broad. And it may be, that the said workman, considering, that all things proceeding orderly, have a principal and only head, whereon the neither parts depend, was of opinion, that this piece of work should have only but one light, and that, in the highest part thereof, that it might spread abroad in all places alike, as in effect you see it doth: for besides other things which have their perfect light, there are six Chapels, which (for that they stand within the thickness of the wall) should be dark, yet they have their due light, by the means of some drawing windows, above in the top of the said Chapels, which give them second light, taken from the uppermost hole, so that there is not any small thing in them, but it receiveth a part of the light, (and this is not made without great judgement:) for this Temple, in old time, being dedicated to all the gods, by which means there stood many Images in it, (which the divers Tabernacles, Seats, and small windows show) it was necessary that every one had his due light. Wherefore such as take pleasure to make Images, and other embossed or graven work, must consider, that such a Cabinet should have his light from above, that every one, standing in his place, need not look for light to see, but that they may be seen altogether at one time. But to come to my first speech: For that the Pantheon seemeth unto me to be the perfectest piece of work that ever I saw, therefore I thought it good to set it first in the beginning of this Book, and for a principal head of all other pieces of work. The founder of this Temple (as Pliny writeth in more than one place) was Marcus Agrippa, to accomplish Augustus Caesar's last will, who being intercepted by death, could not finish it: and so it was built about fourteen years after the birth of our Lord, which is about 5203. years from the beginning of the world. In this Temple (as Pliny writeth) the Capitals were of Copper; and he writeth also, that Diogenes, the Image-maker of Athens, made the excellent Characters in the Pillars, and that the Images placed above the Frontespicium were much commended, although by the highness of the place they could not be so well discerned. This Temple was consumed with lightning, and burnt, about the 12. year of the reign of the Emperor trajan, which was about 113. years after the birth of Christ, and in the 5311. year of the creation of the world: and Lucius Septimus Severus, and Marcus Aurelius Antonius, repaired it again, with all the Ornaments thereto belonging, as it appeareth in the Architrave of the said frame: which Ornaments, you must presume, were all new made, otherwise the Characters of Diogenes would still have been seen there. But in truth, the workman that made it, was very judicious and constant; for that he proportioned the members thereof very judiciously to the body, and would not suppress the work with many cuttings: but as I will show, when time serveth, how to place and divide them excellent well. Also, in all the work, he hath observed the work of Corinth, and would mix no other with it: and withal, the measures of all the members are as well observed as ever I saw or measured in any other piece of work, whereby we may call this Temple an example of workmanship. But leaving this matter (for that it giveth the workman little, or no instruction to the purpose) I will proceed to the particular measures: and that I may go forward orderly in these Antiquities, the first Figure shall be the Ichnography. The second, the Orthography. The third, the Sciography. architectural drawing This Figure following is the Ichnography, that is, the ground of the Temple aforesaid, which is measured by the ancient, or old Romish Palms placed along by the side hereof. And first, speaking of the portal, whereof the Columns are 6. Palms & 29. minutes thick. The Intercolumnes (which are the spaces from one Column to another) are 8. Palms and 9 minutes: the breadth of the portal is 40. Palms: the breadth of the flat Pillars of the portal, is like the Diameter of the Columns: the breadth of the Seats between the Pillars, is 10. Palms: and the Pilasters on the sides are 2. Palms: the wideness of the Gates is 26. Palms and a half: the wideness of the whole Temple (that is, of the Floor within, from one wall to another) is 194. Palms: and just so much is the height from the Floor to the undermost stone of the window above. The said round hole is 36. Palms and a half broad: each of the six Chapels that are made within the thickness of the wall, are 26. Palms, and 30. minutes; and go half as deep into the wall as the thickness of the four square Pillars on each side. But the principal Chapel is thirty Palms broad, and also is an half Circle, besides the Pillars aforesaid. The thickness of the Columns of all the Chapels, is 5. Palms, 3. minutes less: the four square corner Pillars also of the said Chapels, containing as much. The Columns of the Tabernacle between the Chapels are two Palms thick: the thickness of the wall that goeth round about the whole body of the Temple, is 31. Palms. And although that the Chapels make the walls hollow, yet between them there are hollow places made within the walls, which some say, were left for places to receive wind, because of earthquakes. But I am of opinion, that they were left so unfilled, to spare stuff, because they are made circlewise, and are strong enough. The going up, which you see here on the left side, was also on the right side, to go up the portal: men also went from thence round about the Temple, over the Chapels, through a secret way, which is yet there: through the which also, they went without on the steps, to climb up into the highest parts of the buildings, with many doings up which are round about it. It is thought, that this foundation was all one mass or lump, and without, many places hollow, so that some neighbours marking it, and seeking to build, have found such a foundation when they digged. This is the old Romish Palm, which is divided into twelve fingers, and each finger is divided into four parts, which are called Minutes, by the which measure this present Figure, with all the parts following, was measured. architectural drawing The ground of the Pantheon called Rotonde. The form of the Pantheon without. THE Figure hereunder, showeth the whole form of the Pantheon right before, and although at this time men go down into it by certain steps; yet as it was made at the first it was seven steps above the ground. It is no wonder that such and so old a piece of work is yet whole and standing still, for that the foundation was not sparingly made; for it is thought that it was once as broad again under as it is above, as it had been found by the neighbour workmen: but let us proceed to the particular measure thereof from the earth upwards. I said before, that the Diater of the Columen of the Portal is six Palms & nine and twenty minutes, but the height is four and fifty Palms and nine and twenty minutes, without the Bases and Capitals: the Bases are three Palms and nineteen minutes high, and the Capitals seven Palms and seven and thirty minutes high; the height of the Architrave is five Palms, the Freeze is five Palms and thirteen minutes high; the Cornice is four Palms and nine minutes high, above from the top or Scina of the Cornice, to the point of the Gevell, are four and thirty Palms, and nine and thirty minutes. The Timpanum, that is, the flat part of the Gewell, is thought to have been adorned with silver images, although it is not set down in writing; but considering the great power of such Emperors, I am persuaded that it was so, for if the Goathes, Wandals, or other nations (which spoiled Rome more than once) had been desirous or covetous of Copper, they might have taken it from the Architraves and other Ornamento in Portals in great abundance: but let it be as it will, there are Figures and tokens seen, which show that there were Figures and tokens of metal standing thereon. architectural drawing The inner part of the Temple or Pantheon. THis Figure following showeth the Pantheon within, which form (as I said) is taken from Sphera, because it is so wide from one wall unto the other, as it is high from the Pavement to the open place upon the top thereof; which wideness and height are both a hundred ninety and four Palms upwards, from the Pavement to the highest; and from the Cornice to the highest part of the roof is also the same measure, that is, each the half of one hundred ninety and four Palms. The Quadrants in the roof are all like that in the middle; and it is thought that they were also beautified over with Silver plate by certain remnants thereof yet remaining to be seen: for if they had been of Copper, they would yet be seen there, or else those over the Portals would also have been taken away. Let no man wonder that in these things (requiring Perspective Art) that there is no Pavement or other shortening seen, but I make it only out of the ground to show the measure of the height thereof, that you might not miss it by shortening: But in the Book of Perspective Art these things are showed in their right shortening manner (and that in divers ways) that is to say, in Superficies, and many bodies, and divers sorts of houses, serving thereunto: I will not now set down the measure of Cornices downwards, for hereafter I will show the Figures piece by piece, and thereof set down a several measure. The Chapel in the middle, although here it showeth well with the other work, yet many men are of opinion that it is not ancient, because the Arch thereof wanteth the five pillars, which is a thing never used by good Antiquities; but it is thought that it was made greater in the Christians time, as the Christians Temples always have one principal Altar which is greater than the rest. architectural drawing architectural drawing THis Ornament is yet standing above the portal of the Pantheon, which is made in this manner, all of Copper plates, the half Circle is not there; but there was a crooked Superficies finely made of Copper: and many men are of opinion that the beautifying thereof was of Silver, for the reasons aforesaid: but whereof it was, it is not well known; but it is true, it was excellent fair work, considering that which is yet to be seen. THis Figure here under set down, showeth the manner of the portal within, the which both on the sides and before is well set out with Marble, and also without, although by continuance of time is much defaced. The four Pillars are caneled with such a number of Cannels, as you see it here under set down; and because this round Column is thinner above than the Diameter, where the edge or border of the Architrabe is as thick as the Column: If a man would make the Architrabe equal with the four cornered Pillars, which lessen not above, than the edge would have had no Perpendicular, for it world have wanted as much as the lessening of the round Columns. Thus the skilful workman hath placed the Architrabe so much right above the the four Pillars, because such things show well. Touching the doors, they are twenty Palms, and two minutes wide, and forty Palms and four minutes high. Of the other several measures I will hereafter speak at large. architectural drawing The Gate and Face within the portal. architectural drawing This Base is one of those which standeth fast to the flat Pillars, in the second order, which for that they stand far from men's sight, have one Astragelus for two, not to shorten the work. architectural drawing THe proportion of this Door is already set down touching breadth and height, but the Pilaisters thereof is the eight part of the breadth of the wideness of the light: and although vitrvuius maketh the Pilaister of Doriea and jonica about the six part, yet this is not unseemly, because it is Corinthe; for the Corinthian Columns are more sightly than others, yet it seemeth to be so much thicker than the sides are of a good deepness, so that a man's fight beholding them all at one time, it seemeth not to be so small as in effect it is; the Pilaisters on the sides and the Superficies or Architrave upon them is said to be all of one piece, and I for my part have seen no division or parting therein: the particular measures stand here on the sides. architectural drawing The Cornice, Freeze, and Architrave stands above the Door of the Pantheon, touching the measure thereof, the Architrave or Superficie is the eight part of the light; the Freeze, because it is uncut, is a third part less than the Superficies, the Cornice is as high as the Superficie; the other members are proportioned according to the greatness, whereby a man may find the rest with the Compass; TO show all the parts of this most excellent and beautiful piece of work it is convenient to turn it on every side, and therefore having showed the outside thereof majestically as it standeth, with all the things which you see before: now will I show the lodge, she portal and the entering into the Temple, side ways as it standeth. Touching the mensure, the thickness, and the height of the Columns and the Pillars, it is before set down, and therefore peerless to be rehearsed, it sufficeth only to see the disposition of the things within, which, although they be small, they are drawn and proportioned in their measure according to the greatness. The small Pillars at the going into the Temple are foursquare, in manner of Pillaisters, the measure thereof I will hereafter set down, for they are also at the Corners of the Chapels within round about the Temple, and as much as the space of these three inter Columns holds, so far reacheth the Copper roof, whereof I spoke before. architectural drawing The side of the portal The entering into the inner part of the Temple. I Will not take upon me to write of every several cutting or hollowing of the Columns whereof there are many in the Pantheon, but only of the Columns before the great Chapel, because they are very fair and excellent work, I will show something, to the which end the Figures marked with A. and B. show the outward work of the graving of the Columns of the great Chapel, that is, in the flat end in the uprightness and standing up: touching the form and the fashion it is sufficiently showed in these two Figures; and thus will I show you the measures thereof. The Canaels are four and twenty in number, every canal being nine minutes and a half bread, the Thorus with the two Quadrats or lists are both together four minutes and a half, for the Thorus is three minutes, and then there resteth a minute and a half, which divided into two parts, every Quadrate on either side is three quarters of a minute. This hollowing pleaseth the beholders passing well, and such work is upon the Basitica de foro transitorio, for the beautifying of a Gate, as it is showed in the fourth Book. The Base marked with C. is the Base of the said Columns of the great Chapel in the Pantheon, whereof the height is two Palines and eleven minutes and a half, which is in this manner divided, The Plinthus under is nineteen minutes high, the undermost Thorus is seventeen minutes, and the Quadrate above it is three minutes and a half: The first Scotie or Trachile is eight minutes and a third part, the Quadrate under the Astragal is half a minute, so is the other above the Astragall, the two Astragals are six minutes and a half, and so each Astragall is three minutes and a quarter. The second Scotie or Trochile above the Astragals is six minutes, the Supercilie (so named by vitrvuius) or the Quadrate under the second Thorus is one minute: That Thorus is seven minutes and two third parts high, the Cincte, that is the band of the Column above the Thorus, although the Base be not one, is three minutes; the Projecture of this Base is three and twenty minutes proportioned in manner as it is here under showed. architectural drawing THis Figure following representeth a part of the Pantheon within, that is, from the Pavement till you come up to the second Cornice, which beareth up the Tribune or the round roof; and also above the Cornice you see the beginning of the four square hollowing of the said Tribune: This Figure also in the neither part showeth the wideness of one of the sire Chapels, whereof two are in form of the half Circles, and the other four in form of a Quadrangle; yet in show they seem all to be of one form: each of these Chapels have two round Columns, and the corners have their four square Pillars, as you may see in the ground of the Pantheon aforesaid, and in this Figure following. And although it be not set in Perspective manner, whereby a man might see whether it were a round or four square Chapel, that is omittted because of the measure thereof; notwithstanding this is made for a four square, which you may see by the form of the blind windows which are within the Chapel, for the other should run more about. The thickness of these Columns is five Palms three minutes less, the height of the Bases is two Palms and one and twenty minutes, the height of the Columns without the Capitals is forty Palms, the height of the Capitals is five Palms and thirty minutes; and so the whole Column with the Bases and Capitals: is forty and eight Palms high. The height of the Architrave, Freeze and Cornice, are altogether thirteen Palms and a half, and this height in all is divided into ten parts, whereof three parts are for the Architrave; the other three are for the Sophero or the Freeze, and the other four parts are for the Cornice: Touching the rest of the other members, I set down no measures, because this is proportionably declared touching the principallest of them that stand on the side théereof marked with P. And in truth, a man in this Cornice may perceive the judicious skill of the workman, who therein touching the mutiles, would not cut any deatiles therein, thereby not to fall into that common error, wherein so many ancient workmen have fallen, and at this day more modern workmen. The error I mean is this, that all the corners wherein mutiles stand, and under have dentiles cut in them are vicious, and by vitrvuius are rejected in the second Chapter in his fourth Book: and although that in this Cornice the form of denticles are, notwithstanding, because it is uncut, it is not to be condemned in this respect. Above this Cornice there is a Podium, or a manner of bearing out, whereof the height is seven palms and six minutes, which cometh not far out, for the Pillars stand not far out from the Wall: the height whereof, together with the Architrave, Freeze and Cornice, is forty Palms and six and thirty minutes, which height being divided into five parts, the one part shall be for the Architrave. Freeze and Cornice, the which Architrave, Freeze and Cornice proportioned according to the greatness, stands marked with the letter M. In this Cornice, and also in the Architrave, the members are so well divided, part cut, and part uncut, that it darkeneth not the form thereof, but rather the more, because uncut members are mixed with the cut members, and so you see a wonderful grace in them: the window above the Chapel is to give light to the same Chapel, which light, although it be not principal, nevertheless, because it is radially drawn up from the uppermost open place, it giveth the Chapel the dew light: between the Pillars, and also above the windows, there are many fine stones intermixed, and the Freeze of the first Cornice is fine profile stone. architectural drawing architectural drawing THese four Figures hereunto annexed, are members of the Tabernacles in great; as the letters A. B. C. D. shield them. Touching their measures in height, it is showed before, and for the rest it is sufficient for the workman that all things from member to member are set out in great, and proportionably with great diligence brought into this form, although it may be that such as study vitrvuius will, think this Cornice to be too high for the proportion of the Architrave and Freeze; and I for my part would not make it so high, but to see the same in a place that hath great distances, and which standeth not very high, it showeth to be in good proportion. The Capital is far from vitrvuius order of writing, for it is higher without the Abacus, then vitrvuius maketh it with the Abacus: notwithstanding, according to common opinion, they are the fairest Capitals that are in Rome, (and not only the Capitals of the Tabernacles) but they also of the Chapels are of the like form, and those of the portal also in such sort, that I judge (as I said at the beginning) that I have not found a building of greater observation of order then this: but if I should write all that are in it, both within and without, I should peradventure be over tedious, therefore I will make an end of this wonderful Building, and speak of other Antiquities. architectural drawing THis Temple of Bacchus is very ancient, and also whole enough, and also for work, fairness of stones, Plaster, both in the Panement and in walls, also in the Tribunes or round toofes in the middle, and in the roof of the round walk, made altogether after the order of Composita: the whole Diameter within from Wall to Wall, is 100 Palms long, whereof the middlemost body set about with Pillars, containeth 50. Palms: in the intercolumnes I find great difference to liken the one to the other, because that the middle most intercolumnes or spaces between the Columns where you come in, and out of the portal are 9 Palms and 30. minutes; and the other right over against them are but 9 Palms and 9 minutes: those that are over against the greatest Chappelare 8. Palms and 31. minutes, and the other four Columns resting hold 7. Palms 8. minutes, and some 7. Palms 12. minutes. The wideness of the entry within and of the four cornered Chapel over against it, follow the intercolumnes, and so doth the widinesse of the two great places or round Chapels their intercolumnes. The other places or Chapels are 7. Palms and 5. minutes broad. The measure of the portal before, may be taken by the measure of the Temple, which portal is round Re●sed: without before the portal, there walking place made in form of an Egg, which was 588. Palms leng, and in the middle it was 140. Palms broad; and as it appeareth by the decayed monuments, it was full of Pillars, as it may be seen in the Figure. architectural drawing The ground of the Temple of Bacchus' H Here before I showed the ground of the Temple with the measure thereof, now in this Figure I will show the Orthography thereof within, for without it is wholly defaced; the height from the Pavement to the uppermost part of the roof is 86. Palms, the thickness of the Columns is two Palms and 14. minutes; the height of them is 22. Palms and 11. minutes. The height of the Base is one Palm and 7. minutes. The height of the Capital is 2. Palms and a quarter. The height of the Architrave is one Palm and a quarter, so much also the Freeze holdeth. But the height of the Cornices are two Palms and a half. The particular members, as of the Bases, Cornices and Capitals, you see here under proportioned, according to their greatness, and marked in their several places. This Temple standeth without Rome, and is dedicated to S. Annc. architectural drawing THE ichnography hereunder placed is the aforesaid walking place before the Temple of Bacchus, with a lodge round about it, as you may perceive by some very ruinous places thereof, and all about between each intercolumne there was a place or seat beautified with small Pillars, where it is thought a certains Idol stand, (and as it is said) this walking place was made Quale wife, yet very long as of 588. Palms and 140. Palms broad. architectural drawing The Temple of Bacchus (as I said) is full of many Ornaments, and of divers Compartements, whereof I have showed some part, but not all. The three inventions hereunder placed are in the same Temple, some of fair stone and the other of Pilaister. architectural drawing THis Temple of peace the Emperor Vespasian caused to be made by the Market in Rome, which Temple is come mended of Pliny, for it was much beautified with graven work and Pilaister of Stucco; and besides these Ornaments of the said Temple, after the death of Nero, Vespasian caused all the Images both of Copper and Marble to be placed therein, which Ring Nero had gathered together out of divers places, which were no small number. Vespasian also placed in it both his own and his children's Images made of a new kind of Marble brought out of Ethiopia, called Bassalto, being of an Iron colour, a kind of stuff much commended in those times. In the said Temple and the principal Chapel thereof, there stood an Image of white Marble very great, made of many pieces; of which relics there are many pieces yet to be seen in Campidoglo; eassly upon it, whereby a man may guess and among other pieces there is a foot, whereof the greatness of the Image, and it was the nail of the great Toe is so great that I sat made by an excellent workman. architectural drawing THis Temple is measured with , and the Elle is divided into 12. parts, called ounces, the measure which standeth in the middle of the ground of the Temple is half an Elle: First, the length of the ladges about is 122. , the breadth is 15. , the wideness of the places before in the lodgis contain 10. , the thickness of the Pillars at the entry is fine , and between the one Pillar and the other is 10. , the doings in on both sides, both of the portal and of the Temple are 16. wide, the length of the whole Temple is about 170. , the breadth containeth 125. ; the principal place in the middle of the Temple is 35. . The sides of the Pilasters against the which the round Columns stand are 9 and a half, and the thickness of these Columns are 4. , 4. ounces and a half, and they are canelert, every one having 24. Cannels: the cave or hollowing of each Canell is 5. ounces broad, and the list thereof one ounce and a half; the breadth of the principal Chapel is about 32. , and is half a Circle. Those on the sides marked A. B. are 37. broad land go 16. into the Wall, which is less than half a Circle: the thickness of the Wall round about the Temple is 12. , altough in many places, because of the Bows, it is much thinner. The Circumferences of the Chapels are 6. thick, between the one Pilaster and the other, if is 45. ; you may conceane the quantity of the measure of many places and windows with other particular things, by the measures aforesaid, for the Figure is proportioned. Touching the Orthography, which is the Figure heceafter following, because the ground is all ce●●●red over with the ruins thereof; I could not measure it from the ground to the top, but as much as I conceived by that part of the ground, and also of the rains which are there to be seen; I make this piece standing upright. I am not certain whether the Columns have this pedestal under them or not, because that men cannot see the foot of the Columns. And although that Plini much commendeth this Building, yet there are many unhandsome things in it, specially the Cornices above the Columns, which are not accompanted with any thing, but stand hare and naked alone. architectural drawing THis Building is called Templum pietatis, it is made altogether of a kind of rough stone, which is there called Tiburtium, after the River of Tiber; but for that the stone is spongy and full of holes, it was covered all over with a kind of Plaster called Stucco, it is very ruinous, for therein you see no proportion of windows: neverthesse's, I have placed them in the ground where I thought them fittest to stand. This Building is measured with an other Elle, which is divided into 60. minutes; & the line through the middle of the ground of the Temple is the third part of the said Elle: First, the Columes are an Elle & 18. minutes thick; the intercolumnes 3. and 14. minutes, the breadth of the gates is 4. and 14. minutes and a half, the thickness of the wall is one Elle and 20. minutes, the length of the Temple is 18. and 20. minutes, the breadth of the Temple is 8. els and 30. minutes: the Gallery round about the Temple was flat roofed with four square perches: but how the broad place before the Temple was roofed I cannot conceive, because it is so ruinous. The columns of this Temple have no Bases nor any Cinthie, or Projecture, but stand bare upon their ground, & well made of Tiburtium, and covered over with Stuces. This Temple had the frontespiee both behind and before. architectural drawing The height of the Columns with the Capital is 3. minutes less than 10. , the thickness below (as I said before) is 1. Elle and 18. minutes; and the thickness above is 1. Elle and 15. minutes. The height of the Capital is 47. minutes, but the bozel & the rinetic of the Columns are also reckoned with it; the height of the Architrave is 36. minutes, the height of the Fréeses is 1. Elle 165. minutes. The Cornice is 1. Elle & 8. minutes high, & from thence upwards, the Timpanum is two els and two minutes high. The other particular members marked with the characters are in greater form, and accordingly propertioned. architectural drawing At Tinove this Temple standeth upon a River, & is called the Temple of Vesta, the most part thereof is ruinated; it was well wrought after the Corinthia manner: before it is raised by from the earth as the Base thereof standeth, but behind is more than 7. of Wall under the Base. architectural drawing THis last Temple is measured with the last Elle of 60. minutes, and first, the Columns are one Elle and 17. minutes thick, the intercolumnes 2 and 34. minutes; between the Columns and the Wall is 2. and a half: the Pedestal marked A. with the Columns and their ornaments serve for the whole order of the Temple. The height of the Base of the Pedestal is 45. minutes, and the field of the Pedestal is 2. and 48. minutes. The Cornice is 37. minutes and a half high, the height of the Base of the Columns is 38 minutes and a half; the Trunk of the Columns is 10 high: the Capital is an Elle and 24. minutes high. The Architrave, Freeze and Cornice all togetherare about two and a half high. The Door marked with S. Y. is 9 in height, the breadth of the light under is 4. 4. minutes, but the wideness above is 3. 54. minutes, the which is lessened above, according to vitrvuius doctrine. The Antepagmentum is 52. minutes and a half broad, but the Supercilie (because of the lessening) is but 51. minutes; the Freeze is 30. minutes high, and the Cornice 24. The Window marked with T. X. is one Elle 46. minutes and a half broad, the height containeth 5. 3. minutes, and is lessened above, as the Door is. The Antepagmentum is 31. minutes and a half broad, and the Cornices containesh as much, but the other particular members, are in greater form marked with the same letters set by them, and well proportioned: This Window is wrought both within and without. architectural drawing This is the third part of the common of 60. minutes, wherewith the Temple aforesaid, and this also is measured. architectural drawing architectural drawing The old Roman Palm of 12. flugers, and 48. minutes. WIthout Rome this ruinous Temple standeth, and for the most part is made of Brick; you see none of these ornaments therein which I have here placed in Figure; but as it may be conceived by the ground thereof, and also considering the proportioned height, it was made of that fashion as the pieces marked A. B. standing by the ground do show. Thus we have the measure of the ichnography of the ground of the Temple, by the which measure a man may conceive the work of the Orthography: This ichnography or platform, is measured by the old Roman Palm: and first, the door of the Temple is 24. Palms wide, the Diameter of this Temple is 69. Palms and a half: the two places on the sides are as wide as the Deore; the Door of the lesser Temple is also of the same breadth, so are the four Chapels also where men go in, of the same wideness, but backward they arae wider, because the walls of the side run to the Centre of the Temple, and those four Chapels (as it may be conceived) receive their lights from the sides: the Diameter of the small Temple is 63. Palms long; the little Chapels, both they that are hollowed out, and those that are elevated, are 15. Palms broad: but of those two elevated or raised Chapels, I cannot tell how they ended above, for there standeth not so much upright as a man may conceive any thing thereof certainly, but only a beginning above the earth; and (as I have said) although a man cannot see in what manner this Building stood above the ground, yet according to my conceit, I have made this Orthography. And therefore on the one side marked B. representeth a piece of the great Temple, and the other marked with A. showeth a part of the lesser Temple. architectural drawing THis Temple placed under this is without Rome, and is very much ruinated, and for she most part is made of Brick, it is not very great, it cannot also be discerned, that it had any light in it but at the doors, and from the windows above the Cornices. And all the rest of the holes were placed for Idols or such like things; the measure of this Temple was lost by the way, but yet I remember well that the Temple was a full Quadrant and a half, as well on the ground as above, therefore I set down no other measure, but a skilful workman may help himself therewith by invention. architectural drawing THis small Tempel is of no great compass, and all made of Brick; it is measured by the old Roman Palm, the length of the lodge or Gallery is 40. Palms, the breadth thereof is 16. Palms, the Door is 10. Palms, the places in the walls within, are all of one wideness, that is, 14. Palms; the space between them is 6. Palms, the rest may be guessed by sight; for I guessed the height from the Pavement to the Architrave to be 40. Palms, and the Architrave, Freeze and Cornice to be 9 Palms: and touching the rest, I made account that if I allowed a Palm upright for the round roof, than the whole Tempel should be about 70. Palms. architectural drawing The ancient Roman Palm. architectural drawing THis Temple is without Rome, made part of Marble, and the rest of Brick, it is much decayed, it is thought that it was a Sepulchre, and on all sides it is right four square; from the one Wall to the other is 30. Palms broad, the thickness of the walls is 2. Palms and a half, the wideness of the Chapel is ten Palms, the Door is five Palms broad, the height of the Pillars with Bases and Capitals is 22. Palms and a half; the thickness of the Pillars is not much above two Palms: The Architrave, Freeze & Cornice are 4. Palms high, from the Cornice to the height of the roof is 11. Palms: the height of the Bows of the Chapel is 20. Palms. THis Temple hereunder set down is A Tivoli by the River, much decayed, which had the frontispiece before and behind the Columns, on the sides are more than half without the wall; the wideness of the Temple from the one wall to the other, is 11. measure by the same measure that Templum pietatis is measured withal, the length of the Temple is 8. , the thickness of the wall is one Elle and 11. minutes, the thickness of the Columns of the portal is an Ell and a third part, the height of them with Bases and Capitals is about 12. , the height of the Architrave, Freeze and Cornice is three , the Frontispiece from above the Cornice to the height is 3. , the height of the basement is 3. and a half. In the Fascie before, there is no show of a Door, nor of any places in the Walls, by reason of the ruinousness thereof, but I have drawn it out thus, to make the more show, because I judge it had been so; neither can you see any windows in the wales nor sides nor yet behind, although I have placed them here in the ground, where I thought best. The measure of the members both of the Basement and the Cornices above, I will not name particularly, for they are proportioned according to Antiquity, whereof you may see some parts. architectural drawing The third part of the Ell aforesaid. architectural drawing ALthough at the beginning of this Book, I said I would speak only of Antiquities, yet I will not omit withal to entreat of some modern things made in our time, and specially, because our age hath flourished with so many good wits for invention of Architecture. There was in the time of Pope julio the second, a workman called Bramant of Casteldurante in the Dukedom of Urbin, who was a man of so great understanding in Architecture, that it might be said (by means of the aid and performents which the Pope gone him) that he raised by good Architecture again, which from ancient time till then had bone hidden and kept secret: which Bramant in his time laid the foundation or beginning of the wonderful work of S. Peter Tempel in Rome, but being prevented by death, did not only lean it unfinished, but the model thereof also was left unperfect, wherein divers ingenious workmen sought to busy themselves both to perfect and finish it; and amongst many others Raphael Durbin, painter, a man also very skilful in Architecture, following Bramants steps, made perfect this draft, the which in my opinion is one of the fairest draughts that are to be found, out of the which the ingenious workman may help himself in many things. I will not set down all the measures of this Tempel (because that it is well proportioned) and a man may by part of the measure find out the rest. This Tempel is measured with the old Roman Palm, and the broadest walks therein is 92. Palms broad, those of the sides are but half as much: by these two measures you may guess the rest. architectural drawing IN the time of julius the second, there was in Rome one Balthasar Petrucio of Sienne, not only an excellent Painter, but also very skilful in Architecture, who following the doctrine of Bramant, made a model in form hereunder set down: whose meaning was, that the Temple should have four gates to go into it, and that the high Altar should stand in the middle thereof: at the four Corners he made four Sacristes, upon the top whereof men might place the Clocketowers for an ornament thereunto; and the first part or Fancy thereof looked into the City. This Temple is measured with the old Roman Palm, and first, it is in the middle from one Pilaster to another 204. Palms, the Diameter of the Circle in the middle is 184. Palms long. The Diameter of the four small Circles is 65. Palms. The Sacristes are 100 Palms wide. The four Pilasters in the middle make four Bows or Arches which bear up the Lantern, and these four Bows or Arches are all full made, which are in height 220. Palms, and above these Arches a Tribune excellently set forth with Columns, with a round Roof upon it, which Bramant ordained before he died, whereof the ground is here set down. architectural drawing THe Figure hereunder set down, is the ground of the Tribune that should have gone above over the four Bows or Arches (as I said before) whereby a man may perceive, that Bramant in such case was bolder to draw a piece of work, then circumspect therein; because so great and massy a piece of work should have an excellent foundation to stand very fast, and not to be made upon four Bows or Arches of such an height. And for confirmation of my speech, the four Pilasters, and also the Arches without any other weight upon them, are already settled and sunk, yea, and rend in some places: Nevertheless, because the invention is fair and costly, and a thing a give good instruction to a workman: I thought it good to place it here in a model: but not to be tedious in setting down the measures, I will show some of the principallest; the rest you may find with the small Palm which standeth here within the ground, which length containeth 50. Palms: the thickness of the first Column without, is 5. Palms, the thickness of the second Column within, is 4. Palms, and the thickness of the third Column is 3. Palms and three quarters. The wideness of the Tribune within, is 188. Palms, the Diameter of the small Lantern within the middle, is 36. Palms, the rest you may guess by the small Palms. architectural drawing THis is the Orthography both within and without, drawn out of the ichnography afore set down, whereby you may conceive the great mass & weight which should have stood upon the four Archee; which weight may give any wise workman matter to consider, that it had bane futer to set it upon the ground, and not in the air upon such a height; and therefore I counsel all workmen rather to be doubtful them too rash: for if he be doubtful, he will make his work surer, and not despise another man's counsel; which doing, he shall seldom fail: but if he be rash and stout, he will not take any other mous advise, but will trust only to his own invention, whereby oftentimes his work doth him more shame than honesty: therefore I conclude, that stoutness proocéedeth from presumption, and presumption from small understanding; and I say, that doubtfulness or bashfulness is a virtue, making a man to think hea knoweth little, although his understanding be great: the measute of this work is to be found by the aforesaid small Palm. architectural drawing THis ground set under this, is also an invention of Bramant, thought it was never made, which agreed with the old work: that part which is marked with B. is S. Peter's Church in Montorio without Rome; and that part marked with A. is an old Cloister, but that part in the nuddle, Bramant ordained, thereby to help himself with the old work: the place marked C. signifieth a Gallery with four Chapels in the corners. The place B. standeth under the air: the part marked E. is a little Temple, which the said Bramant made: the measures whereof shallbe showed in much greater form in the leaf ensuing. I have said nothing touching the measure of the ground, but I have set this here only forth invention. architectural drawing IN the last side I promised to show Bramants Temple in greater form, which is not very great, but was only made an remembrance of S. Peter the Apostle, for it to said that he was crucified in that place: the said Temple is to be measured by the old Roman scot, which foot is sixteen shugars, and every finger is four minutes: whereof also you shall find the measure by the Roman Palm, augmenting the said ●oure fingers. The Diameter of this Temple is of slew and twenty foot, and two and twenty minutes. The wideness o● the walk round about the Temple is seven foot, the thickness of the Columns are one foot and 25 minutes. The wideness of the Door is three foot and a half: The Quadrants with the roundels within. which go round about the Temple, show the Laturary of the Temple above the Columns: the thickness of the wall is five foot; the rest of the other measures you may conceive by the first. architectural drawing architectural drawing The helfe of the Roman foot. THis is the said Temple standing up, which showeth the one half without, and the other half within, and is made altogether after the Dorica, as you see by the Figure. I will not speak of the particular measures: for by the ground you may conceive this which stoods upright, for that this (though it be small) is set down by the measures thereof, and from the great reouced into the small. architectural drawing NOw I have showed the outside of S. Peter's Temple, in this I will show the innermost part, which is made with such proportion, that the workman by the wideness of the ground, may find all the measures: and although that this Temple showeth too high for the breadth, for that it is thought and showed to be as high as it is broad: Notwithstanding, by the openness of the windows, and the Nichens or Chapels that are in it, the height thereof is not amiss, and especially by means of the double Cornices, which go round about, and cover much of the height together with the Projecture, the Temple showeth much more as it is. architectural drawing architectural drawing The half of the Roman foot, wherewith this foresaid Temple was measured. THis Building is which thou't Rome. at S. Sebastian's, and is all fallen down to the ground, especially the walks about, but the Building in the middle (because it is very sure work) is yet whole, and is made of Brick: you see no ornaments in it at all, & it is dark, because it hath no light but at the Door; and above the four hollow places in the wall, some small Windows. The ground of this work is measured with the old Romish Palm, and the lengths with the bredths are measured with coodes, and every rood is ten Palms. First, the walk or Gallery marked A. is 49. roods and 3. Palms, the other two longer, are 56. roods and 3. Palms: the breadth of the walks is 32. Palms: the thickness of the corner Pillars, with all their members, is 12. Palms: by the which measures you may conceive the rest. Touching the Building in the middle, the place B. is uncovered, and is in length 7. roods and 6. Palms: the breadth is 3. roods and 4. Palms: the part marked C. is covered, and containeth 4. roods in four square. The four Pilasters are ten Palms thick: the thickness of the wall round about the round Building, is 24. Palms: the place marked E. is roost: and that part in the middle is a mass, which beareth the roof; in the middle whereof, there is an opening: and this mass is beautified with many hollow seats in it, which stand right, and accompany those that stand in the wall: touching the heights (because of the brokenness) I measured it not; and especially, because there was no beautifulness of Building. architectural drawing THis Theatre Augustus made in the name of Marcellus his Nephew, and therefore it was called Marcellus Theatre, it standeth within Rome, you may at this day see part of it standing upright, that is part of the Galleries without: it is only of two rules, that is, Dorica and jonica, a work, in truth, that is much commended, although the Doricall Columns have no Bases, nor any Cinete or Projecture under them, but stand plainly without any thing under, upon the flat ground of the Gallery. Touching the ground of this Theatre, men could not well conceive it: but not long since, the great Patrician of Rome, going to make a house, the situation whereof was to be set upon part of the Theatre (this house was made by one Balthasar of Sienna, an excellent workman) and as he caused the foundation to be digged, there were found many relics of divers Cornices of this Theatre, and a great part of the same Theatre was discovered, whereby Balthasar concerted the whole form thereof, and measured it with great circumspection, placing it in the form following: myself being at that time in Rome, saw many of the Cornices, and found friendship to measure them, and in truth, there I found as excellent forms as ever I saw in any old Ruins, and most in the Capitals of Dorica, and also in the imposts of the Arches, which, me thinks, agree well with the doctrine of vitrvuius. Likewise the freeze, Trigliphen, and Methopen, agree well enough: but the Dorica Cornice, although it be very full of members, and well wrought, yet I found it to differ much from vitrvuius instructions: for being licentious enough of members, was of such a height, that the two third parts of such height should have been enough to the Architrave and the Freeze. But I am of opinion therefore, (by the licence of these, or other Antiquities) that a workman in these days should not err, (which error, I mean, is to do contrary to vitrvuius precepts) nor to be peremptory that he will make a Cornice, or other thing just of the same proportion as he hath seen and measured, and then set it in work; because it is not sufficient for him to say, I may do it: for ancient workmen have done it, without consideration whether it be proportioned according to the rest of the building. Besides, although an old workman was so bold, yet we must therefore not be so, (but as reason teacheth us) we should observe vitrvuius rules as our guide, and most certain and infallible directions: for that from that time of great Antiquity, till now, there is no man found to have written better, nor more learnedly of Architecture than he: and as in every Art there is one more learned than another, to whom such authority is given, that his words are fully, & without doubt believed. Who then will deny (if he be not ignorant) that vitrvuius, for Architecture, is worthy of the highest degree? and that his writings where no other notable reason or cause is to move us) ou●ht for the worthiness thereof to be inviolably observed, and to be better credited, than any works of the Romans? which Romans, although they learned the upright manner of building of the Greciens, nevertheless, afterward when they became Rulers over the Grecians, it may be that some of them thereby became licentious: but certainly, if a man might see the wonderful works which the Grecians then did make, (which are now almost all spoiled and cast down in time of war) he would assuredly judge the Grecians work to surpass that of the Latins far. Therefore all those workmen that shall condemn vitrvuius writing, & specially in such cases as are clearly understood, as in the order of Dorica, whereof I spoke, should err much in the Art of Architecture, to gainsay such an Author, as for so many years hath been, and yet is approved by wise men, learned. Now having made this digression, which was necessary for the good of those that would not have considered so much, turning again to the purpose, I say, that this ground was measured by the old Roman foot; and first, the place in the middle, marked A. which is called Orchestra, is in the Diameter 194. foot, and is half a Circle from one corner to the other: of the stages or seats, marked H. it is 417. foot: the place marked B. called Proscenium, is very spacious; and where C. standeth, is the Gallery, which they call Porticus of the Scene, in the middle whereof stood the Pulpit: that part marked with D. was a portal, with Stairs on both sides, which went up to the places marked E. called Hospitalia: the two Galleries on the sides marked G. they used to walk in: Of which things men can see no more above the ground, for that they are covered with other houses. Touching the several measures, as well of the Scene as of the Theatre, and of the degrees, I will say no more: for that in the Amphitheatre called Coliseo, I will declare it more at large, whereby a man may conceive how this stood: but that part without, which went about the Theatre, I will show in the second Figure, which was measured (before this) with a common Ell, which is divided into twelve parts, which parts are called ounces: and every ounce hath five minutes; of which Ell, this is a third part. architectural drawing The third part of the Ell. architectural drawing THis Figure following representeth that part without, of the foresaid Theatre, and is measured with the Ell aforesaid: and first, the thickness of the Columns beneath in the neither part of the first order, is an Ell and 43. minutes in Diameter: and the thickness of the Diameter above under the Capital, is an Ell and 16. minutes: the height of the Capital, is half the thickness of the Columns beneath, the which Capital is more perfecter marked in the fourth Book, in the order of Dorica, in Folio E. 3. And the same Capital is marked with B. Likewise also the impost, whereon the Arch r●steth, is as high also as the Capital, and standeth also in the same leaf E. 3. The Pilasters, beside the Columns, are 19 minutes: the wideness of one Arch, is 7. and 9 minutes: and the height is eleven and sixetéene minutes; the height of the Architrave, is 49. minutes: the height of the Freeze is one Ell and eight minutes. The height of the whole Cornice, is an Ell, and forty minutes: the wideness of the second Arch of the second order, is as wide as that below; but the height is ten and forty and eight minutes: the height of the Pedestal under the Columns of this second order, is an Ell and forty and eight minutes: the thickness of the Columns, is an Ell and twenty & four minutes: the height of the said Columns without Bases or Capitals, is 11. , 27. minutes: the height of the Bases is 44. minutes: the height of the Capital, that is within the Volutes, from the list of the Columns, to above the Capital, is 36. minutes: but the Volute hangs over the Astragall or Bozell 20. minutes and a half, which in all, from beneath the Volutes, to above the Abacus, is 47. minutes and a half: the breadth of the Abacus of the said Capital is one Ell and a half: but the breadth of the Volutes is two else: the height of the Architrave is 59 minutes: the height of the Freeze is 58. minutes: the height of the Cornice is an Ell, & 48. minutes: which Cornice, in truth, is half so much more as it should be (if we will credit vitrvuius precepts.) But I pray you, gentle Reader, esteem me not presumptuous, neither yet account me for a corrector of the works of Antiquity, from whence men learn so much: for my meaning is only, willingly to let you understand and know that which is well made from that which is ill made: and that I will not do after my own conceit, as if you were taught by me, but by the authority of vitrvuius: and also of good Antiquities, which are those which best agree with the doctrine of that Author. The Base of this second order, and the Pedestal under it, the Impost of the Arches, and withal, the Architrave, Freeze and Cornice, you shall altogether find in the fourth Book of the order of jonica in Folio K. the second, and are all marked with T. Likewise you shall find the Capital in the same fourth book, behind in the leaf I. the 4. marked with M. architectural drawing The third part of the foresaid Ell, of 60. minutes. architectural drawing IN Dalmatia there is an ancient town called Pola, lying by the Sea side, wherein you may see a great part of a Theatre; in the making whereof, the expert workman did help himself with the hill whereon it standeth, using the hill for part of the degrees or steps to go up, and in the plain below, he made the Orchestra, Scene, and other buildings belonging to such a piece of work. And in truth, the tuines and the pieces which are yet at this day found, do show that it was a most beautiful and sumptuous piece of work of stone and workmanship; besides this, there you may see a great number of Columns, some standing alone, others with Pilasters, and some Corners with four square Pillars, and some half round, all bound together, and well wrought, after the Corinthia; for the whole work, both without and within, was made after the Corinthia manner. This Building was measured with a modern or usual s●●te; which foot is divided into twelve parts, named ounces, whereof the one half hereafter followeth. The Figure hereafter following, showeth the ichnography, and also the profile of the Theatre, whereof this is the measure: the wideness of the Orche ●ra which is half a Circle, is in Diameter about 130. foot▪ the degrees or steps round about, with the two ways or streets, are of 70. foot: the way marked T. comes even with the plain of the Pulpit of the Scene to the fouretéenth step. The wideness of the Porticus round about the Theatre, is 15. foot, and the sides of the Pillars inward, is of 17. foot & a half, but the fore-rancke of the Pillars round about the Gallery, together with the Columns, holdeth about five foot in breadth, and from the one Pilaster to the other, it is about 10. foot wide: and this is touching the ground of this Theatre. The two greatest Quadrants marked O. are the Hospitalia, from the which places men went into the entry or passing through, marked T. which comes by to the street, half way to the steps, as you may perceive by the Profill marked T. and under the going through, is part of the going in. The Hospitalia is slew and forty foot, the breadth of the Scene, is 21▪ foot, the breadth of the Porticus or Gallery before, is 27 foot, and the length is like the house, the Building which standeth above the ground of the Theatre, signifieth the profile, which is cut through the sides of the Theatre. The Arch marked with A. signifieth the going in, the second Arch C. and B. are under the steps, the Cornice beside marked, with D. is the impost of the Arches: there néded no going up to this Theatre, for the hill aforesaid eased the workman therein, and men might also got up to the Theatre from the Scene, because it was joined to the said Theatre: but the Theatre of Marcellus is separated from the Scene, and therefore the doings up were necessary. architectural drawing This is the half foot of measure, whereby this Theatre was measured with all the ornaments. architectural drawing THis Theatre (as I have said) was very rich of ornaments, all of stone, and made of Corinthia work, very well and richly wrought, and by as much as is seen by the ruins which lie scattering about the Scene, was very beautiful of Columns upon Columns, both double and single, and also in the innermost and outtermost parts, with divers ornaments of Doors and Windows. The innermost part of the Building is much ruinated: and touching the measures, I can say little; but of the outtermost parts, I will say somewhat of their measures. The first, a rustical or clounish order, wherein there is no Columns, is elevated from the earth, together with the whole Cornice, marked E. about 16. foot: the height of the first Pedestal, is slew foot, the height of the Columns with the Bases and Capitals, is 22. foot; the thickness of the Pillars, with the Columns, is 5. foot: the thickness of the Columns alone, is two foot and a half: the wideness of the Arches, is about ten foot: and their height twenty feet: the height of the Architrave, freeze and Cornice, is about slew foot; the second Pedestal marked X. is of four foot and a half: the height of those Columns are about sixteen foot, the Architrave, Freeze and Cornice, is four foot high. I set not down the measures of the particular members, but in the Figure you may conceive them; for they are just of the same proportion: I set not down the measure of the Scene, nor of the other parts within: only I have here set forth a part of the Porticus of the Scene, which is marked P. And also the Cornice, Freeze and Architrave marked F. was in the highest thereof. the Capitals marked S. stood within, with some half round Columns, raised out of some Pilasters, things that were very well wrought: all which things (as I said before) are so sumptuous, both for stone and workmanship, as they may well be compared with those of Rome: the Cornice, Freeze and Architrave, marked A. was in the highest part of the Theatre: the Cornice marked B. is the impost of the second Arch: the Architrave, Freeze and Cornice, marked C. is the Cornice above the first Arch, the Cornice marked D. is the impost of the Arch: the Cornice marked with E. goeth above the rustical basement round about the Building: this line hereunder is half a foot, ●f the whole foot wherewith this Building was measured. And wonder not, gentle Reader, that I set not down all the measures more precisely; for these things of Pola, were measured by one that had more understanding in casting, then in measuring. The half foot, whereby this is measured. architectural drawing architectural drawing AT Ferenten, an old Town lying by Veterben, there is yet to be seen the form of a Theatre, much decayed, being of no great workmanship, and less ornaments, for any thing a man may perceive by the same; for there are no pieces to be seen whereby a man may conceit any matter of importance. But you may yet see in the Porticus going from the Theatre, there were four square Pillars, also the Stairs thereof were very simple and plain: and because it is so much decayed, you can hardly discern how they stood. The Scene of this Theatre is much different from others, as you may see in the ground thereof: neither is there so much standing above ground, that a man may perceive how the Scene and the Pulpit thereof stood. This ground was measured by the ancient foot, and first, speaking of the Orchestra A. which is half a Circle, the Diameter thereof is 141. foot and a half long. The body of the Theatre, that is, from the Orchestra, to the outtermost of the Corner Pillars of the Porticus, is 35. foot: the Pillars of the corner on either side, is 5. foot broad: the entry of the Porticus on the side of the Scene, is 8. foot: the vault under the Stairs, is 22. foot: the thickness of the Wall about the Orchestra, is 3. foot and a half: the Hospitalia, marked X. is in length 40. foot and a half; and in breadth 30. foot: the wideness of the Porticus about the Theatre, is 11. foot: the Pillars are thick and broad, 3. foot and 3. quarters: the wideness of the Arch, is 9 foot: the just breadth of the Orchestra marked B. is 20. foot: the place of the Pulpit C. is in length 40. foot and a half; but the breadth is 12. foot: the going through, is 9 foot. The place marked D. should be the Porticus behind the Scene: yet there is no show of any Columns; but it showeth that there was a wall standing by the water side. The breadth of this place, is 19 foot and a half. Without this Theatre there standeth the foundation of two Buildings, but they are so much decayed, that you can find no end of them: nevertheless, the Building marked F. for as much as you see of it, showeth that it was joined to other things. The wideness wherein the F. standeth, is 31. foot. The 2. small places or stancies holding up the one side, are eight foot and a half; and on the other side, ten foot and a half. The Arches where the four Columns stand (which I take be made in that manner) are in length 27. foot and a half, and in breadth ten foot and a half. The breadth of the Building marked E. is twenty foot: the hollow places in the sides, are 17. foot: the length of all together, is 60. foot, and is distant from the Theatre one hundred and one and forty foot: and from the other Building, seventy foot and a half. The half of the old foot. architectural drawing architectural drawing THE Figure under this, marked A. I think to have been the Scene of a Theatre, it standeth between Fondi and Torracina; but there is so little to be seen of the Theatre, that I measured it not: neither did I measure this part of the Scene, which is more decayed than it showeth here: but as I foot on horseback, I made a slight draft thereof. The Door marked B. standeth at Spolet●, and is very old, made after the Dorica manner, which likewise I did not measure, but made only the invention and form thereof. The Gate marked C. is between Foligus and Rome, out in the street: and although it seem a licentious and unseemly thing, that the Arch should break the passage of the Architrave, Freeze and Cornice; yet nevertheless, the invention disliked me not. I measured only the breadth and the length, the which I found to be eighteen foot, and one and twenty foot and a half. I think it had been a small Temple, or a Sepulchre; but be what it will, it showeth well to a man's sight. architectural drawing architectural drawing architectural drawing IT is said, that this building was called, Porticus, of Pompeo: others say, that it was the house of Mario: but it is called by the Common people, Cacabario: which building, as far as I can learn, was only made for men to ease themselves in: for there is no dwelling in it at all: and although this building at this day is almost decayed, yet it was very great, and contained many places, as you see by many houses of this building which are found in the earth. Where the Line standeth, is now the way to go from Campo Floro, to the jews place: and where the Cross is now, the houses of Sancta Cross stand: where G. stands, is the jews place: where the M. standeth, be the Marcellarii: where the C. standeth, is the Churchyard of S. Saluatorie: and where the E. ie cut through, is the Forefront of the houses of Celsis: so that thereby you may see the great compass thereof. The three round things were Stairs to go up to the two empty Roundles. And for that there is no show of Stairs to be seen in those two, it is to be conceived, that they were open places to make water in, (for such things are necessary.) The ground of this work is measured by the same Ell that the Theatre of Marcellus was measured withal: which measure you you shall find here, after the Obiliscen, and (half an Ell shallbe thirty minutes.) And first, the thickness of the Pilasters is three and a half: the thickness of the Columns is two : the Intercolumnes, are on all sides, nine and a half: the Pilasters of the four Corners, are so much more than the outermost Corners stand over them: which Corners were made with good judgement, for they uphold the Corner by strength, and with beauty of work. Hereby workmen may learn how to make Corners with Columns, and with Pilasters bound together, that the Corner may also be four square, as the Column is, which giveth the Corner more fastness, then if the same Corner were drawn along the Pilaster: and for the Corners which are drawn in, if you see them over the side in diagonal manner, where the two round Columns cover the Corner, than they will seem unperfit Corners, and specially, because they are seen on all sides. architectural drawing TOuching the ichnography, I have said enough; now I must speak something of the form above the ground, although there is not much thereof to be seen: nevertheless, there is yet so much standing upright (although it be hidden) that thereby the back part thereof without, is to be conceived, which, in truth▪ is an ingenious invention, for a fast work, and especially in the first order, which you call Dorica, although it hath neither Architrave, Trigliph, nor Cornice: But yet there is the form, and that very subtly made, with great strength and fair Building (as well of hard stone as of Bricks) as you may see in the Figure following. The thickness and breadth are showed before: the height of the Columns with Bases and Capitals, seventeen : and the height of the Arches, fifteen . The height of the Cunco that is, the shutting stone above the Arch, is 2. : the height of the binding, which is in stead of an Architrave, is 2. , and so much is the Fancy above it. The second order seemeth unsupportable, for that there is a weight of Pilasters standing above an open hole: a thing which in truth is false & erroneous to speak in reason. Nevertheless, for that the first Order is so fast and strong, by means of the shutting stone above in the Arch; as also with the cross stone upon it, with the fast Fancy upon that, and by reason of the good shoulders of the Arch, which altogether show to be such a strength (as in effect it is) that the Pilasters that rest upon it, seem not to oppress the work, as they would, if it were a simple Arch, with an Architrave, Freeze and Cornice: for which cause I blame not this invention therein. The wideness of this Arch is 4. : the height is nine : the breadth of the Pilasters, is two and an half: the thickness of the Columns, is an Ell and a sixth part in Diameter: the height of the Columns is eleven and an eight part with Bases and Capitals, and are made after the Corinthia manner. The height of the Architrave, Freeze and Cornice, is two and three quarters. Although I can give no particular measures of this Cornice, Freeze and Architrave, because such things are not to be seen, yet there is only so much wall, that thereby a man may conceive the Friezes, Cornices and Architrave. The third part of the Ell, wherewith this is measured. architectural drawing architectural drawing AMong other fair Antiquities in Rome, there are two Columns of Marble, all cut full of Histories, very good imbust work. The one is called Antonianas' Column, the other Traian's Column: and for that Traian's Column is the wholest, I will speak somewhat thereof. This Column, as men say, the Emperor trajan caused to be made, which is all of Marble, and made of many pieces; but so closely iorned together, that they seem to be all one piece: and to give the particular measure thereof, I will begin at the feet of the Basement thereof: And first, the degree or step in the first rest, is three Palms high, the Plinthus of the Base, is a Palm and eight minutes high; the carved or graven Base is as much: the flat of the Basement is 12. Palms and six minutes high: the graven Cornice is a Palm and an half high. The place where the Feston hangeth in, is two Palms and ten minutes high: the whole Base of the Columns, is six Palms and 28. minutes, and is divided in this manner: the Plinthus where the Eagle standeth upon one corner (but you must imagine that there is one at every corner) is three Palms and ten minutes high: the Thorus above it, is three Palms and eight minutes high: the Cincte is ten minutes high. The height of the Column, that is, the body, is 18. Palms and 9 minutes: the Astragall with the Quadrants or lists under the Echine, is 10. minutes. The height of the Echine, is 2. Palms and 2. minutes: the height of the Abacus, is 2. Palms & 11. minutes: about upon this Column, there is a Pedestal of a round form, through the which men crept from the winding Stairs, and may go easily round about, because the plain ground thereof, is 2. Palms and a half broad: the height of this Pedestal is 11. Palms; but the Base is two Palms, and the Cornice above, is a Palm high. The Crown above the Pedestal, is three Palms and a half high: the thickness of this Pedestal, is 12. Palms and ten minutes: the thickness of the Column above, is 14. Palms, and the thickness below, is 16. Palms: the roundness marked A. in flat form, showeth the thickness above: and the Circle marked B. is the thickness below. The undenesse of the winding Stairs, is 3. Palms, and the Spill four Palms. The breadth of the Basement, is 24. Palms and 6. minutes; in the which space are cut two Compartements, wherein is contained an Epitaph, under which many Trophies are cut: and in the Epitaph are these letters hereunder written. S. P. Q. R. IMP. CAESARI DIVINERVAE. F. NERVAE. TRAIANO AUG. GERMANIC. DACICO PONT. MAX. TRIB. POT. XVII. COS. VI PP. AD DECLARANDUM QVANTAE ALTITUDINIS MONS ET LOCUS SIT EGESIUS. This Column is histographied with excellent good cut work, and drawn along with Berries; it is also flinted in Doricall manner: in the flintings the Figures are made in such sort, that rising up or bearing out of the Figure, the form of the Columns and flinting, is nothing disparaged; between which Figures there stand some Windows, which give light to the winding Stairs: and although the said Windows are placed orderly, yet they hinder not the History at all, and yet they are 44. in number, and I will show the whole Column in the Figure following: but these are the members thereof, openly written and set down. All these members are measured with the old Roman Palm, as you find it before upon the round. architectural drawing I Have before sufficiently spoken of the breadth of Traian's Column, and of the particular manner thereof, now I will show the whole Column proportioned as it is: So then, the Column marked with T. representeth Traian's Column: but from whence the Obelisces spring or proceed, and how they were brought to Rome, and to what end they serve, I will not speak of, for that Pliny declareth it at large: only I will set the measure here, and show the form of some things which I have seen and measured within Rome: And first, the Obelisce, marked O. is without the Capena, and is all graven and cut with Egyptian letters: the thickness thereof in the foot, is ten Palms and a half: the height is 80. Palms: and this only was measured with the ancient Palm: but the other three by it were measured by a modern or usual Ell of 60. minutes, whereof the line that is between the Obelisces, is the half, and is divided into 30 parts. The Obelisce marked P. standeth in Vaticano (that is) at S. Peter's, and is of Egyptian stone: in the top whereof (they say) the Ashes of the Emperor Gaius Caesar stand: the thickness thereof below, is 4. and 42. minutes: the height is 42. and a half: the part above, is three and four minutes thick: and under at the foot standeth these letters. DIVI CAESARI. DIVI JULII. F. AUGUSTO. TI. CAESARI DIVI AUGUSTI. F. AUGUSTO SACRUM. The Obelisce marked Q. lieth at S. Rochus, broken in the middle of the street in three pieces, and 〈◊〉 say likewise, there lieth buried in the earth a Lady called A l● Augusta: the thickness beneath of the said Obelisce on each Fancy, is two and 24. minutes: the height is 26. and 24. minutes: the thickness above, holdeth an Ell and 35. minutes: the Basement was all of one piece, and the Obelisce marked R. is in circo Antonino Caracalla, and is broken, as you see in the form. The thickness of the Obelisce, is two and 25. minutes below, and above one Ell and 33. minutes: the height is 28. , and 16. minutes: and all the Pedestals are proportioned thereafter. And although (peradventure) there are more of them in Rome, which I have not seen, yet these which I have seen, are here set down to your sight, as being hast known. architectural drawing architectural drawing The Degrees joined thus. The third Ground. The second Ground. architectural drawing This Space, from the ●●e Shaft to the other, were Degrees where the people sat easily. Steps between the Degrees. The fourth Ground. The first Ground. I Have showed the ichnography of the Romish Colisco, in four sorts, even like as the building is of four sorts or orders: now I must show the Profill thereof, by the which a man may conceive a great part of the inward things: therefore the Figure following showeth the whole building above the earth, as if it were cut through in the middle. In which Figure, first you see all the degrees whereon the Spectators sat: there also you may perceive how many ways the doings up were, which (in truth) were very east to go up & down, so that in short time the amphitheatre was filled with a great number of men, without hindrance one of another. You may also see in the outward part, how the thickness of the Pilasters, and the walls upwards lessened, which on the inside are drawn in, and being so drawn in, giveth the building great strength: and to show it to be true, you may see there, at this day, some part of the Fancies without, yet whole, from the top to the bottom, and yet the inward parts are decayed, and that hath the drawing inward of the Centrée dens, which made the work slighter, taking, as it were, a form of a Pyramids. But this is not observed in the common building in Venice, but rather the contrary, because the walls without are in Perpendicular manner, and lessen inwards: and this they do (for want of ground) to get the more space upwards, but that which helpeth such buildings, is, that there are no Arches in it, nor Roofs, of any manner, that force the walls to give out, but the number of Bea●● & which are laid and fastened in the walls, bind the walls and the rooms of the house together, and so such buildings stand fast so long as the Beams endure, which men from time to time renew: nevertheless, these kinds of buildings last not so long as the ancient buildings did, made in such order as you see in the Colisco, whereof I will speak again. And withal, (as I said) the innermost part being so ruinous, that men see no part of the innermost work, which is cut off by the line that hath Shafts or Arrowheads at the ends: and for that you see no parts thereof at all, whether that the uppermost parts of the highest steps, upwards to the top, were all covered with double Galleries, or that the Porticus was alone, and the other left open: therefore I have made it in two manner of ways: the one is (as you see in the same profile) joined with all the work: and the other manner is, which standeth without the degrees or steps, which order also agreeth with the other, if you set it so, that the two Lists in the Pedestals meet each with the other: but for that you see some remainders of the crossed Roofs, which yet hang within on the walls, as the fourth ground showeth, the which, I judge, was only a Porticus, and that the other part was uncovered to receive the people, and being so, must receive them better than if the Galleries had been double: Now to turn to the beginning of the degrees or steps, that I leave nothing untouched, as near as I can, I say, by means of the ruins, and filling up with matter fallen, the plain, or the place in the middle is so filled up, that a man cannot mark how high the first degrees of the plain were elevated: but by the instructions of those that have seen the end, the first degree was so high, that the wild and untamed Beasts could not hurt the beholders: and there was also a Borstwering, and other streets, of a reasonable breadth to go round about, as it is showed where it is marked with C. The two open places, the least and the greatest Arch, were to bring in light. The places standing up about the degrees or steps which are covered and marked A. are D●●res, whereby men went without, up the Stairs to the Theatre. architectural drawing The profile of the amphitheatre of Rome. THE outward part, that is, the Orthography of the Romish Coliscco, is made of four stories: and the first story next above the ground, is made after the manner of Dorica: and although there are in the freeze neither Tr●gliphes nor Metophes, nor yet guts in the Epistolie or Architrave; neither Fulmines and guts under the crown, yet it may be called Dorica. The second Order, is after the manner of jonica: and although the Columns be not fluited, yet in effect they may be called jonica. The third Story, is after the manner of Corinthia, but firm work without cutting, unless it be the Capitals, the which with their height are not exquisitely made. The fourth Story, is Composita; other call it Latina, because it was invented by the Romans: some others call it Italica. But it may well be called Composita, were it but for the mutiles which stand in the Freeze, for that no other Story have their mutiles in the Freeze, but that. Many men ask why the Romans made this Building of four Orders, and made it not all of one form or order as many others are, as that of Verona, which is all of rustical work, and that of Pola also. A man may answer thereunto, that the old Romans, as rulers over all, & especially of those people, from whence the three former Orders had their beginning, would set those 3. generations one above another: & above all those orders, the Composita, as found by themselves; thereby signifying, that they as tryumphers over those people, would also triumph with their works, placing and mingling them at their pleasures. But omitting these reasons, we will proceed to the measures of the outtermost parts and Orthography. This Building was elevated from the earth two degrees: the second degree was five Palms broad, and the first two Palms; the height was little less than a Palm: the Base of the Column was not two Palms, no more is the Dorica: the Column is four Palms thick and two minutes: the height is 38. Palms and 5. minutes, with Base and Capital: the height of the Capital is about two Palms: the Pilasters on either side of the Columns, are three Palms and three minutes: the wideness of the Arch is twenty Palms, and the height is 33. Palms: from under the Arch, to the Architrave, is five Palms and six minutes: the height of the Architrave is two Palms and eight minutes: the height of the Freeze is three Palms and two minutes: the Cornice as much. The Pedestal of the second Order, is eight Palms and ten minutes high: the height of the Columns, with Bases and Capitals, is five and thirty Palms, the thickness is four Palms: the Pilasters and Arches are like those beneath: but the height of the Arch is thirty Palms: from under the Arch, to under the Architrave, is five Palms and six minutes: the height of the Architrave is three Palms: the height of the Freeze, is two Palms and nine minutes: the height of the Cornice, is three Palms and nine minutes. The Pedestal of the fourth Order, called, Composita, (here our Author hath forgotten the third Order, but howsoever, it differeth not much from the jonica) the Pedestal of the Composita, is twelve Palms high: the under-base thereof, is four Palms: the height of the Pillars, with Bases and Capitals, is thirty eight Palms and six minutes: the height of the Architrave, Freeze, and Cornice, is about ten Palms, divided in three, one part for the Cornice, the second for the Freeze, wherein the Mutiles stand, and the third for the Architrave. But for what cause, or reason, the workman set the Mutiles in the Freeze, (things, which, peradventure, before that time were never made) I have delivered my opinion thereof in my fourth Book, in the beginning of the Order of Composita. The Pillars of the fourth Order are flat, and rise but a little: all the rest are round Columns, (that is to say) three fourth parts, rising out of the Pilasters: the Mutiles above the windows upheld some beams, the which are bored through with holes for men to draw cords to cover the hole amphitheatre, as well against the Sun as the rain: for what cause the Columns are all of one thickness, and lessen not one more than the other (as it seemeth they should; and as vitrvuius would) as the second Order are lessened a fourth part, I have also declared my opinion in the fourth Book, and the ninth Chapter. In the treatise of making Columns, longer or shorter; and that the particular members may also be noted, I have marked them also by the Orthography of the Colisceo, which are proportioned according to the principal, together with their Characters whereunto they are likened. architectural drawing IN ●●pello, a very old Town in Italy, there is a very old P●rtor Gate, the work whereof is Dorica, although hath neither Trigliphes', Methopes nor Guts: the two Towers on the sides thereof may be called Modern work, 〈◊〉 regard of the Ornaments above: which Towers are both of one fashion, although I have lest one of them out. The ichnography is underneath the Figure, and was measured with the ancient foot: and from one Tower to the other, are 60. and 10. foot: the middle Gate is 20. foot wide: each Postern Gate is 10. foot wide: the Pilasters between the 2. Ports or Gates, are 10. foot broad: the height I set not down, but only the iunention, because it pleased me well. The Stairs under the Towers, with the ground, E. are by our Author made on both sides: but according to his ground, the Stairs must come as they stand above the ground C. or ●lse not, than the ground must be made like D. This, and other things more (although there consisteth no great matter therein) 〈◊〉 thought good to note, that you may know that I have set them down piece by piece as I found them. architectural drawing THese Cornices, Basements & Bases, are relics of Antiquity: and that which is marked A. a piece of the Columns with Architraves, Fréeses & Cornices; and also with the Basement above, which was all of one stone: the height thereof was 11. ancient foot, proportioned in that manner, it was found without Rome by the River of Tiber. The order marked B. was found in the foundation of S. Peter's, and Bramant caused it to be buried again in the ground, in the same place: all the members also were of one piece; it was 6. ancient foot high, & proportioned thereafter. The Base marked C. is at S. Marks, very well wrought, of Corinthia work, but not very great, it is a foot & an half high, and proportioned accordingly. The Basement marked D. was found in a place called Capranica, very well wrought: the height of the Base, without Plinthus, is 2. Palms, and also proportioned thereafter. The Base marked E. was not very great: it was found among certain rumes, and by reason of the Astragalu● which it had above the Thorns, therefore I esteem it to be Composita: and although I set down no other proportion of all the particular measures, yet they are collected and set down out of the great, into the small measure orderly. architectural drawing architectural drawing AMong many fair Antiquities that a●●●● called La arena, whereof this is the 〈◊〉 thereof, & also how the seats or steps sto●●● from without, went up upon the inward 〈◊〉 to sit in, every one according to his estate 〈◊〉 stood in the said steps: the Figure B. she●●●● or seats: you see also, how the steps were pl●●●● the water and piss that fell down with●●● slope, that water might fall off, and not 〈◊〉 these two here below, and also of other s●●●● was measured with the foot where with the 〈◊〉 ward parts) the thickness of the Pilaster, 〈◊〉 then each Pilaster that beareth up the ●rch●● is 11. foot & an half: but the 4 princ●●●● the Porticus, going round about, is 13. 〈◊〉 9 foot and a half broad; and also round 〈◊〉 broad, and roofed also. But at the two pr●●●● lasters▪ as it appeareth in the ground: 〈◊〉 the measures, you may conceive. ●●●a, there is an amphitheatre of rustical work, 〈◊〉 showeth also a part standing upright in the side ●●es upon the steps were little doors, whereby men 〈◊〉 the seats, and from thence went to the places for men ●●e. The Figure marked A. showeth how the doors ●he doings down & steps were made, in the degrees the gutters on the sides of the stairs were to avoid ●ing any man: the steps also were made somewhat them. In the inner part are many little doors, like ●●ical & rude work. The greatness of this Building ●f Pola is measured: and first, (speaking of the out●●● & a 3. part: the flat Pillars, are 3. foot & a 3. part: ●●●ot and a half broad: the wideness of the Arches, 〈◊〉. The Pilasters on the sides, are 6. foot thick: 〈◊〉 & roofed round: this Porticus in the middle, is 〈◊〉 Porticus in the lowest part, is 8. foot & an half ●ings in, there are 5. broad roofs upon the Pi●●●●●●●●dlemost is broader than the other. The rest of the measures, you may conceive. TOuching the ichnography of the said amphitheatre, I have set down the principal measures, and partly spoken of that part which standeth upright: now I will speak of the outward part, which work can no otherwise be called, then rude and rustical, and have likewise spoken of the thickness and breadth, therefore I will rehearse it no more: only of the height I will say some thing: And first, the height of the first Arch is 23. foot: the height of the Pillars 27 foot: the Form of the Architrave, Freeze and Cornice, is 6. foot high: the Place breast high above the Corince, is 2. foot and a half high: the height of the second Arch is 24. foot, and his wideness 12. foot: the height of the Pillars is 24. foot and a half: the height of the Cornice, Freeze and Form of the Architrave, is 5. foot and a half: the Borstwering or Place breast high of the third Order or Story, is 4. foot and a half high: the wideness of the Arch is 9 foot and 3. quarters: the height of the Arch is 17. foot and a half: the height of the broad Pillars is 20. foot and a half: against these Pillars, as far as a man may perceive, there were Images, of good bigness, set: the third and last Cornice is 5. foot high. But I will not set down the particular measures of the Cornices, for that I have set them down with great diligence, according to the greatness in this small Form, which shall be the first Figures in the side following, and there below, the profile or cutting of the outermost part of the amphitheatre shall stand. And thirdly, there followeth the Orthography of a piece of the said amphitheatre without, which is all wrought after the rustical manner, with stones of Verona, being very hard: but the Cornices are somewhat better made: which Cornices have divers and several Forms of the Romans, and are very like unto the Cornices of the amphitheatre of Pola. Touching the plainness of this amphitheatre, which by the Common people is called, La arena, (taken from arena) which is sand, which was therein strewed for certain Plays or sports, which were there presented or Acted: and therefore I could not see the ground thereof: but as it was told me by some old men of Verona, when the Plays were there made upon the sand, then presently there came water, in the sight of all the beholders, which passed through some Conduits, and in short space filled all the place full, so that there they might make battles, and thrust one at another with Scutes and Boats, in the water, and the place dried up again, as at the first. This, and many other things, men may believe, if we consider the great magnificence of the Romans, in the Antiquities of Verona. There are yet upon the great River of Adixe two fair ancient Bridges, between the which two Bridges, there was a most fair and notable Spectaele, whereon there might stand a great number of people, to behold the Plays and sports there made in Boats, upon the water: which Spectacle was made along by the water side, against a hill: and higher upwards, above this Spectacle, there was a Theatre, the Scene whereof, and the Spectacle joined together: (and for that, as I said before, the Theatre was made very artificially in the hill, so is it above the Theatre in the height of the hill) there was a great building, which surpassed all the other: but the ruins of these buildings are so many, and so cast down in process of time, that it would be great charges and loss of tune to find them out: but for that in many places of the hill I have séne some parts thereof, therefore it makes me wonder thereat. It was also, with good reason, that the Romans made such things at Verona (for that, in my opinion, it is the best situated place of all Italy) as well for plains as hills, and also for waters; and specially, the men of that Town are very familiar and friendly people. architectural drawing GReat things, and in divers forms, were made by the famous Romans; but by the ruins thereof men can not judge whereunto they served, & principally this Building which was named Lesette Zone di Severo: of which Building you see a corner of the House yet standing, which is of 3. roofs, all Corinthia work. But it may be seen, that from the roof it was made of another manner of Buildings, because some Pillars were hollowed and crefted, and some smooth; beside, the Capitals and other forms are not all of one work. I have not measured the height of this Building, but only the ground and thickness of things: and for as much as I can conceive, the roofs above lessen one more than another, the fourth part, as vitrvuius writes in his description of theatres. This Figure hereunder, showeth the ground of the Building, & also the sky or roof of the Lacunary above the Columns: it was measured with the foot that measured the Theatre of Pola. ●●rst, the thickness of the Wall, is 3. foot and an half: between the one Wall & the other, it to 4. foot and an half: between the Wall and the Columns, is 5. foot and 3. quarters: and so is the space between the Columns: the thickness of a Column is 2. foot and 4. quarters. In this Building you see no Chambers at all, nor any show or signs of Stairs, or doings up into the lodgings: but men may conceive, that it was much greater, and that in other places both Stairs and Chambers might have stood; and to speak truth, this Building, when it was whole, was a notable piece of work, in regard of the great number of Columns and Pillars that were in it, together with the costly work thereof. architectural drawing architectural drawing The ground of the amphitheatre in Pola. AT Pola, a town in Dalmatia, this amphitheatre is in the middle of the Town, & yet very whole: which building hath nothing but the first wings without, with the 4. counterforts, ache made of 3. Pilasters, which, I believe, were made for the strengthening thereof, because this wall stood thus alone: so that nothing at all was made of the Building within, but the outtermost wall, with the Arches marked A. But by the show of some holes which are within the wall, men may judge, that there they made the stairs and seats of wood, when they made their sports, and held their feasts: nevertheless, for a beautifying of the Figures, I have set down the part within, as in my opinion, it should be made. This amphitheatre was measured with a modern foot, which is showed here under the ground: the wideness of the Arches is 9 foot, & 2. ounces, but he 4. principal Arches are 15. foot wide, the forefront of the Pilasters is 4. foot & 2. ounces: the flat Pillar, is 2. foot and 2. ounces broad: so the Pilasters on each side, are one foot broad: the Pilasters in the sides, are 5. foot and 3. ounces: between the Pilasters of the counterforts, and the other Pilasters, it is 3. foot and 4. ounces. TOuching the Orthography, or the ground of the amphitheatre of Pola, I have sufficiently spoken: but now I must show the Orthography of the part standing up, beginning at the n●ther part: as touching the Basement, it hath no terminations of measures, (the cause why, is,) for that the Hill is not even: for in the Hill the Pedestal is not only lost, but also the whole first order of the Arches, with all their Cornices upon them, and the Hill is the height of the plain of the second Story; therefore I will set down no height of the measure of the Basements: but will brain from thence upwards. The height of the Pedestal under the Pillar, is 2. foot and an half: the height of the Pillar, of flat Column with the Capital, is about 16. foot: the height of the Arch, is 17. foot and an half: the Architrave is a foot and 9 ounces high: the height of the freeze, is 9 ounces: the height the Cornice, is one foot & 10. ounces: the height of the borstwering or place brest-high (if there be any other) above the Cornice, is ae high as the Cornice: the height of the Pillar is 21. foot & 9 ounces, with the Capital: the height of the Arch, is 18. foot and one ounce: the thickness of the Arch, is 1. foot and 9 ounces: the Architrave, freeze and Cornice, are of the same height that the undermost is: the Basement marked X. is 4. foot and 4 ounces. From the Basement to under the Cornice, is 19 foot: the height of the Cornice is one foot and an half. And this is touching the Orthography of the amphitheatre, the which Orthography is on the next side, marked P. and for that (as in the Treaty of the Ichnographia I have said) the amphitheatre hath some Pilasters on four sides, which were made for strengthening & counterforting of the walls: the which wall stood within, without any thing else; and therefore I mean to show how it stood: the Figure marked Q. showeth the sides of this counterfort: & that part marked H. representeth a Pilaster: that part marked I showeth the profile of the wall of the amphitheatre: between the Pilaster H. and the wall or Pilaster marked I. is a going through of three foot and an half wide: so that two men may go through together. These counterforts have their ground in every order or story, whereon the people might stand; but there are no stairs nor signs of stairs, but were made of wood, as may be seen by some holes before the windows. And that the Cornices of this present Building may be the better understood, therefore I have set them there beside in greater form, that a man may know their members, by their Characters or Letters which they are marked withal. The manner of this Cornicement is much different from the Romish, as men may see: and I, for my part, would not make such Cornices in my work; but with the Theatre of this Town, I would serve my turn, because they are of a better manner of work. I am of opinion, that this was an other workman, different from the other, and it may be that this workman was a high Almain, because the Cornices are made much after the Dutch manner. The half common foot, wherewith the amphitheatre is measured. architectural drawing architectural drawing AT Mount Cavallo within Rome, where now the stone horses Praritiles and Phidia stand, is the ruins of a most costly Palace, whereof one part stood upon the hill, but the part of the doings up was made right against the descending of the third part whereof standeth hereunder. And first in the Niches or hollow places, marked T. and N. were found the figures of Tiberius and Nilus which are now set in Beldeverie: the place marked A. is a street or way of 10 broad: the part marked B. is 12. four square: the part marked C. is 36. in length, and 18. brood: the place D. is 36. four square: the walks round about are 4. each of them: the places E. are Courts, whereof each of them are 114. long, and in breadth 62. and a half. The Galleries F. are 13. broad: the greatest Stairs, to go up to the plain of the Palace, are 11. wide: that part by the Corners marked K. is 12. and a half broad, and long 16. and a half: the parts H. are Cornterforts to hold up the Stairs. The place G. is a Court, which gave light to the place within: the two doings in marked l. were to go up the Stairs, and the building began where the Stairs stand. The great stately Frontispiece in the middle of the building, was of such breadth, as the middlemost part held without the Courts or Gallerities. The two Figures, K. and ✚. which stand without the building, the one showeth the Corner K. in greater and persiter form, and the other is a Corner of the Court D. architectural drawing architectural drawing THese 3. Figures are members of the aforesaid Palace: the part underneath in suiall form, signifieth the profile of the first part of the Palace, that is, the stairs whereby men went up to the plain of the Bailding, because it was upon the hill: and they were magnificent and stately. That part upon the hill, where the Column F. is marked, is the side of the saw building. This great Pillar marked F. is the corner Pill●r of the frontispiece, which is 4. square; but all the rest are round; for that round Pillars are not fit for corners: this Pillar is three broad in the lowest part, and above, it is 2. els and 2. third parts: the height, with Base and Capital, is 39 , and is fluited from the top to the bottom. The height of the Architrauce, is two and an half: as also the Freeze, which is sinely cut, and the height of the Cornice is three and an eight part, and all proportioned according to the greatness. The Freeze on the sides was an hundred long: the Cornicement with the Frontispiece, as much as three Mutiles containeth, is of one piece of Marble; and the Frontispiece rose up in the middle one sixth part. AMong the ruins of Rome, there are many things found out, the which a man cannot mark nor imagine what they have been: a man also seeth there many ruins, which are now cast down and overthrown; whereby a man may conceive the high minds of the Ancient Romans: amongst which Antiquities, this hereafter following, is one, as you may perceive by that which yet standeth. This Building is called the Basilica del foro transitorio: and a man may imagine the greatness thereof by the height of this Pillar, although you see not the ending thereof upwards; for the uppermost Cornice is not there in the work, neither is there any pieces thereof among the ruins to be sound, whereby a man should conceive what stood above such a Building. This ruin was measured with a common or modern Ell, which is divided into 60. minutes: the half whereof standeth between the Obelisces: this Column stood 7. degrees elevated from the earth, of indifferent height: the thickness of the Column marked C. is 3. in Diameter: beneath at the Base and in the upper most part, under the Capital, the Diameter is 2. and 40. minutes: the height of the trunk or bare Column, without Base or Capital, is 24. and 55. minutes: the height of the Base below, is one Ell and an half: the height of the Capital, is 3. and 26. minutes: the height of the Architrave, is two , and 23. minutes: the Cornice between the Column and the counter-pillar, which Cornice is marked D. is 1. Ell and 48. minutes: the Cornice above (as I have said) is not found there: the counter-columne is flat, and is of the same proportion like the round Column, and lesseneth also above, as the round doth. The Capital is form like the Capitals of the Pantheon of the Rotund: the Base marked C. is placed there beside in better form, and is proportioned in measure like the greater: likewise, there also you see the Cornice D. in greater form. I have set down the measure of the greatest Column C. now will I speak of the lesser, marked B. which Column under it, hath a very fair Basement: the height whereof, is 6. : the this kenesse of the said Column in Diameter beneath, is one Ell and a third part; and it is lessened above accordingly, as the greatest : the height thereof with the Base & Capital is 13. and 2. third parts: the height of the Base, is half the thickness of the Column beneath, and is fashioned like the greater: the height of the Capital is one Ell & an half: which Capital is very well made, and the form thereof in great, is seen in my other 4. Book, in the beg●●●●ng of the Composita. This Column is sluited, as the Figure thereof showeth, and hath also a flat Column of the same form: the Architrave, Freeze and Cornice above this Column, are about 4. : which Cornice hath the Mutiles without Dentiles, and is very like the work of the Pantheon; and by as much as I could perceive, this less Column served for an ornament of a Gate or Door of the said Ba●lica. The third part of the common Ell, wherewith this is measured. architectural drawing architectural drawing THe Romans (because of their great proud minds) always sought to build things of great majesty, which might show their great power both by Water and Land: and to that end they made the wonderful Haven of Ostia, for the ease of the City of Rome: which, in truth, (in regard of the commodity and greatness of the Building thereof, and specially the great strength thereof) may well be called wonderful. It is of form Hexagoniick, that is, 6. cornered: and each Fancy is 116. roods long, and each tood is 10. Palms: by these principal measures, you may understand the greatness thereof, every Fancy had a large walking place, with Galleries round about, & 4. Appertiments also, compassed with Galleries, and a walking place in the middle. Along the water side there were trunks of Columns orderly placed, whereunto the ships were fastened; and at the mouth of the Haven, there were towers to defend it from the enemy in time of need. And for that you can hardly perceive the Appertiments in so small a form, therefore I have placed them beneath in greater form, and marked them with A. and B. architectural drawing The Haven of Ostia. THe Thermes of Titus are less than the other; and therefore by the people they were called Thermi minori: nevertheless, (after my opinion) they are well made: the ichnography of these Thermes is measured with the ancient Palm. First, the Diameter of the round form marked A. is about 150. Palms: the part B. is in length 80 Palms, and in breadth 51. Palms: the part C. is 80. Palms in length, and in breadth 60 Palms. The form D. is about 100 Palms in Diameter: and the portal E. is 50. Palms: the part F. is 120. Palms long, and 70. broad: the eight ranked part marked G. is about 100 Palms: the round part H. is 150. Palms in Diameter. The part 1. is 100 Palms, and is almost two four squares: the two parts, each marked with K. is 30. Palms on either side. The part L. is 125. Palms, in length, the breadth 30 Palms. The roundness marked M. is about 120. Palms in Diameter. That part marked N. is 148. Palms long, and 57 broad. The part O. is the same: the preservation of the water followeth after. architectural drawing THe preserving, or the place where the water of the Thermes of Titus, the son of Vespatianus was kept, is wonderfully made, and very Artificial, and that is, for that the Arches of these preservatives are placed in such good order, that a man, standing in the going through of the one, seeth them all overthwarts: and this is the place which the people commonly call, The seven halls, and it was for this cause, because the spaces are seven in number: and in them you see overthwarts, backwards and forewards, always 7. in number: the thickness of the walls, is four foot and an half: the wideness of the Arches is six foot: from one Arch to the other, are 27. foot: the wideness from one wall to the other, is 15. feet, and they are round roofed, of an indifferent height. The walls and roofs are plastered with most hard plaster. The old Roman Palm. architectural drawing IN Rome and elsewhere there are many Bridges made by the Romans, but I will here show the invention of ●oare only, that you may see their manner of making of Bridges. This Bridge is called Ponte S. Angelos, because it standeth upon Tiber, by the Town of Inghelenborch: by the ancient Romans, it was called Ponte Elio, of Elio Adrianus. architectural drawing This Bridge was went to be called Ponte Tarpeio: others call it, Ponte Fabricie: and in our time it is called, Ponte de quatro capi. architectural drawing This Bridge is called Pontus Miluius, but commonly it is called Ponte Molle. architectural drawing architectural drawing This Bridge in former times, was called the Senate's Bridge: others call it Ponte palatino: but now it is called Ponto S. Maria, and also Ponte Sisto. AMong other Thermes which are in Rome, I find this of Antoniano to be● better to be noted then the rest; and although that the Thermes of Dioclesian are greater, yet in this I find much fairer correspondency and knitting together in every part, then in the others: for that in the place C. they might make all kind of Plays or sports without any hindrance. And for that the Thermes were specially made for men to bathe in, as they were used for divers sports to be made in them, so was the preservation of the water made behind the building, marked A. where, by means of the Pipes, they were always filled to serve for such uses. architectural drawing architectural drawing This ground is measured with the common Ell, the third part whereof is hereunder set down by the side of the Building. The line in the middle of the place, is 100 , by the which you shall almost find all the measures, whereof, for brevity, I will not speak directly, but only of the principal things. First, one of the places for the keeping of the water, is thirty long: and 16. broad. The part X. is 81. long, and the breadth 44. : the round Building D. is in Diameter 86. . The place marked B. C. is 700. long. The part in the middle. marked G. is in length about 105. , and in breadth 60. . FOr that in the ground before set down, by reason of the smallness of the figures, which could not be made greater in this Book, a man can not so well know the particular parts, therefore I have in these two sides set down some parts more plainly, as the ingenious workman, by the letters wherewith they are marked, may see and find them, when he compareth them with the whole ground. architectural drawing ALL though these Figures stand thus without order, and in many pieces; yet the wife workman shall know, that they are members of the Thermes afore showed, beholding the letters which stand in them (which comparing with the others) he shall find what parts they are. Also, he must know, that the parts H. and X. belong not to the part F. for the Figures hereunder are three several parts; although, for necessity sake, they are set one by another. I have also not set down the particular measures: for the workman shall bester help himself with the invention, then with the measure. architectural drawing ABout seven miles from Alcaire there is a Pyramids, whereof I will show the form, and also set down the measure, as I had it from a Gentleman of Venice, who measured the same himself, and was both upon it, and within it. This Pyramids was measured by Paces, and every Pace is more than three ancient Palms: the Base, on every side is 270. Paces, and is right four square: it is all of hard stone, and you may climb upon it without, (but not easily) unto the top: for every Pace is three Palms and a half high: but there are not so many Plains, that a man may easily set his foot upon them: the number of the Paces or steps, from the Bases to the top, or the highest part, is 210. and they are all of one height; so that the height of the whole Pyramids is as much as the Base. Many believe that this Pyramids was a Sepulchre: for that within it, there is a place in the middle, whereon lieth a great stone: thereupon men presume, that some great person hath there been buried: but going in, upon the left hand, you find a going up of stone, which turns about the Pyramids within, through the which you go up the Station, in the top within. About the middle of this Pyramids there is another going in, but it is fast shut: on the top of this Pyramids, there is a fair flat or plain, about 8. Paces broad on every side, whereby workmen know, that it was the same plain that was made at the finishing of the Pyramids. Not far from thence, there is a head of hard stone, with part of the breast all of one stone; the face whereof is 10 Paces long: and in this Figure there are some Egyptian letters: of this Pyramids and head, Peter Martyr writeth, and hath also seen and measured them, which differ not much. architectural drawing ALthough the Greeks were the principal founders and inventors of good Architecture (as our Master vitrvuius, and many other Author's witness) nevertheless, by reason of their great wars, and their Land so often overrun and spoiled by the enemies, a man can hardly stade any good work standing whole in all Grecia: but as some men have told me, there are yet the ruins of a Bailding, which, as men conceive, was of one hundred Columns; whereof no man c●n by casting know the height. But (with our Author's licence) for that he makes this by report, and hath no measure thereof, I have only set the fourth part of the ground by the half of the Building (which he hath thereto plated) whereby the workman may conceive the whole ground, and the whole Figure thereof. architectural drawing BYS. G●orge Belabro, you may see this building hereunder, which was made by the Bankiers' & Oxensellers, in the tune of Lucius Septimus Severus, and Marcus Aurelius Antonius: which Building is of Composita work, wellset forth on every side with graving. Let no man wonder, that the Freeze & the Architrave are covered with this table, for that there being much writing to be set into it, the freeze was not great enough to contain so many letters: therefore the workman made it so, and broke not the order of Architecture at all, ●●●●ang th●●n● proportion thereo. in the corners. architectural drawing I Will not set the measure of this Building at large, because it was lost after it was measured● but as I remember, the wideness between the one and the other Pilaster was 12. old foot. The height of that wideness was 20. foot: the thickness of the Pilasters, with all the Columns which are flat, is 4. foot and an half: and so much the Architrave, Freeze and Cornice containeth. This is the ground of the said Building, in the roof there are 15. Quadrants, well wrenght. architectural drawing The innermost part whereupon the roof or ceiling dosh rest. architectural drawing The bottom of the Architrave. architectural drawing In the furthest part of the roof, are 27. Quadrants. architectural drawing architectural drawing This Ichnograhyie is measured by the ancient Palm: but, for that in this ground I have been more curious of the invention, then of any other thing, therefore I set not down the particular measures, which, in truth, would be everlong to rehearse: but I have with great diligence set this sméll form in so good proportion in sorts, that the cunning Architector may in a manner find the measures, using the same small Palm, which standeth in the half Circle, divided in 10 parts, and each part is 10. Palms: so the whole line is 100 Palines: thus with a Compass to your hand, you may partly conceive the measure of this Building. Touching the Orthography. I have not let it down at all, for 3. causes: First, because of the great ruins, there is little sight to be had thereof: the 2. because of the difficulty to measure the same: the 3. for that, in tru●to, a man seeth this building was not made in that fortunate time of good workmen; for in it are many discordances and unfit things, but yet great and costly ornaments. But for that men in so small a form of ichnography can not perfectly show the form of every part and member, therefore hereafter I will show the part in the middle more plainly. The ancient Palm. architectural drawing FOr that (as I said) the ground of Dioclesian's Therm, being placed in so small a form, can hardly be measured from part to part; therefore I have made a part thereof in greater form, which standeth hereunder, and is like the middle thereof, as the letter A. showeth: and the live in the middle thereof, is also 100 Palms, like the other, whereby a diligent workman ●ay almost find all the measures thereof with a pair of Compasses. architectural drawing THe Therm made by Dioclesian, was used for divers common and open sports, and specially to bathe in; whereunto it behoveth to have great quantity of water, which was brought by Pipes a great way off; and it was kept in certain Cisterns, which stood in the Thermes of Dioclesian, in this manner as is hereunder set down: it was made with Pilasters, and above it was cross roofed, with walls about them, of very good stuff; which was so firm, ●●at at this day it is yet to be seen: the thickness of the Pilasters is of each side four foot: between each two Pilasters is 12. foot of the old Roman foot, although the said Therm is measured with Palms: and this line hereunder is half an old foot. The half ancient foot. architectural drawing IN Rome there are many ancient Triumphant Arches, among the which, this Building, by the greatest number, is accounted for a Triumphant Arch: yet by the knowledge that men have of it, it is thought to be a Porticus, or a Gallery, like unto a Burse or Erchange for Merchants: it may be it was made by some one nation alone; as yet to this day in great Towns and Cities, every nation hath a several place, although they are not by that means divided. This Porticus or Gallery stood in Nell foro Boario, and in ancient time was called, The Temple of janus: which is measured with the ancient Palm. This Building hath four gates, as the ground hereunder doth show: between the one and the other Pilaster, there are 22. Palms: round about this Porticus, there are 48. niches or hollow places: but there are no more than 16. to set Images therein; all the rest are but for shows, as being not deep enough cut into the wall: which places were beautified with small Pillars somewhat bearing out from the wall, as you see them, and were Corinthia work, but now it is spoiled of all such ornaments. architectural drawing The ground of the Figure following. THe height of the Arch is 44. Palms: the height of the Bases beneath, marked E. is 1. Palm and an half. The Fancy D. within the corners, is turned into a Cornice, and is the like height. The judgement of the workman pleased me well in the piece, which is, that he made no Cornice in the invermost part, that might trouble the people that should be therein: the height of the other Cornices are not measured, but the forms of them diligently counterforted, follow hereafter. architectural drawing THe five places of Cornices hereunder set down, are the ornaments of the Porticus aforesaid. The Base E. and the Fancy D. were measured, and in this form, the great measure set down; but the other were counterfeited by sight, with these heights where they stand: and there is little difference between the one and the other, for parts, and also in height. The Figure C. is the Fancy under the first Niche or hollow place. architectural drawing THe Arch Triumphant, next following, is called Titus' Arch Triumphant; whereof this Figure hereunder, is the ground, and is measured with the ancient foot. The wideness of the Arch is 18. foot and 17. minutes. The thickness of the Column, is a foot and 26. minutes and an half. The foot wherewith this is measured, is of 64. minutes, whereof the half is here set down. architectural drawing I Have spoken of the wideness and thickness, now I will set down the height: And first, the height of the Bow of Arch is as much again as the breadth. The Base of the Pedestal is 2. foot 4. minutes less in height. The Cornice of the Pedestal is 35. minutes high. The height of the Bases of the Columns is about one foot: all these parts, and also the Capital of the Column, well proportioned in measure, stand in the beginning of the Composita Order, in my fourth Book. The flat of the Pedestal is four foot and a half high. The height of the Column without Base and Capital 17. foot and 13 minutes. The height of the Capital is 1. foot and 27. minutes. The height of the Architrave is one foot and 19 minutes. The Freeze is one foot and 17. minutes. The Cornice is 2. foot and 6. minutes high. The Basement of the Epitaph is of the same with the Freeze. The height of the Epitaph is 9 foot and 12. minutes: the breadth is 23. foot: which members shall hereafter be set down, and figured more at large. architectural drawing SENATUS POPULUSQVE ROMANUS, DIVO TITO DIVI VESPA SIANI, F. VESPASIANO AUGUSTO. IT would be troublesome both to the writer and to the Reader, if I should set down all the parts of these Ornaments, from member to member, as they are diligently measured; & that not only with foot, but also with parts of minutes: but I have taken the pains only to set the same down out of the great into the small form, in such sort, that he that is discreet, may with his Compass find the proportion thereof. It is true, that the Ornaments of the most part of the Triumphant Arches in Rome are much contrary to vitrvuius writing; and this, I think, is the cause, that the said Arches are, for the most part, made by the Roofs of other buildings, (that is, of as many sorts of pieces as they could get:) and it may be, that the workmen in those days were self-willed, and stood not much upon observation, because they were things serving for Triumphs, and it may be (as it happeneth oftentimes) made in haste. That part here on the side set down, marked A. is the Base of the Epitaph. B. is the highest Cornice, Freeze, and Architrave: which Cornice, in my opinion, is very licentious for divers reasons: The first, it is proportioned too high: from the neither Architrave, and above it, there are too many members, and especially Mutiles and Dentiles, which standing alike in one Cornice, are dislilted by vitrvuius, notwithstanding it is very well wrought, and specially the Scima above: but had I such a Cornice to make (observing the right order) I would make the Scima less, and the Cornice more: I would leave the Mutiles as they be, and I would not cut the Denticules, but the Cimated. The Architrave hereof pleaseth me well enough. The two members marked C. show the Fancy and the Profill of the Mensola, which is the closing stone of the Arch. The members marked with E. are, in truth, rich for work, but yet so rich, that the one darkeneth the other: but if the parts were so divided, that the one were graven, and the other plain, I would commend it more. And herein the workman that made the Pantheon, was very judicious, for that you see no such confusion in his Ornaments. The work under this Arch is very well made and divided; it is also a fair Compartment, and rich of work. But it may be, that such as are too much conceited to commend Antiquities of Rome, will (peradventure) think that I am too bold to censure upon that which hath been made by such skilful ancient Romans; but in this respect. I would have them take my speeches in good part, for that all my intent is, to show it them that know it not, and such as will subject themselves to hear my opinion: for it is not sufficient to make ancient things as they stand, but it is another thing with vitrvuius advice to choose out the best and fairest, and to reject the worse. It is true, that the chiefest part of an Architector is, that he mistaketh not himself in giving his censure, as many do, who being obstinate in their opinions, make all things as they have seen them, and hereby cover their unskilfulness, without giving any other reasons of things: and there are some that say, vitrvuius was but a man, and that they also are men sufficient, to make and invent new things, without regarding, that vitrvuius confesseth to have learned it from so many skilful men, partly in his own time, as also by means of the writing of other work men. architectural drawing BEneath the Campi●oglio there is a Triumphant Arch, which by the inscription may be conceived to be made in the tune of Lucius Septimus Severus, and under his name, and by that which men mark and sufficiently find, it is made with Roofs of other buildings: it is also well adorned with good cutting and graving: it is richly wrought both on the sides, and also before and behind: it was measured by the old Roman Palm of 12. fingers, every finger of 4. minutes, which in to tall maketh 48. minutes. The wideness of the Arch in the middle is 22. Palms, 15. minutes and a half. The wideness of the Arches on the sides is 9 Palms, 30. minutes. The thickness of the Arch in the ●●es is 23. Palms, 25. minutes. The little Gates within the Arches are 7. Palms and 30. minutes wide. The breadth of the Pilasters with the Columns is 8. Palms and 7. minutes. The thickness of the Columns is 2. Palms, 30. minutes. The thickness of the flat Columns is 28. minutes. This Arch is now under the earth as far as about the Pedestal, (for so high the earth is there raised with the ruins) but there was a part left uncovered to unasure it, but they could not come to the Base to take the measure thereof, because it was troublesome to remove the ruins. architectural drawing The ground of the Arch Triumphant of Lucius Septimus. BEfore I have set down all the measures of this Arch, touching the ichnography, that is the thickness and breadth, now I will speak of the height. The height of the middlemost Arch, is 45. Palms and 3. minutes. The height of the Arches beside, are 25. Palms. The height of the Pedestal, is about 10. Palms. The thickness of the Columns is 2. Palms and 30. minutes in Diameter beneath: but above under the Capital, they are 2. Palms and 16. minutes. The height of them, is 23. Palms and 25 minutes. The height of the Architrave, in one Palm and 30. minutes. The height of the Freeze, is one Palm, and 3. minutes. The height of the Cornice, is two Palms and 14. minutes. The height of the Plinthus, above the Cornice, marked ✚. is 29. minutes. The Base above the Plinthus, is half a Palm. The uppermost Cornice, is one Palm and 2. minutes, and proportioned in a greater form. IMP. CAES. LUCIO SEPTIMO. M. FIL. SEVERO. PIO. PERTINACI AUG. PATRI PATRIAE PARTHICO ARABICO, ET PARTHICO ADIA BENICO PONTIF. MAX. TRIBUNIC. POTEST. XI. IMP. X●●OS. 3. PRO. COS. ET. IMP. CAES. M. AURELIO. L. FIL. ANTONINO. AV●. PIO FEDICI TRIBUNIC. POTEST. VI COS. PRO●●●. P. OPTIMIS, FORTISSIMISQVE PRINCIPIB●● OB REMPUBLICAM RESTIIUTAM IMPER ●O POPULI ROMANI PRO. PAGATUM INSIGNIBUS VIRTUTIBUS ●O●WM DO●●●ORIS Q. S. P. Q. R. architectural drawing IN the side before, I have set down all the heights and bredths of the Arch Triumphant, of Lucius Septimus Severus: now I will show the particular, and several parts thereof, as I said before. There is no measure of the Base of the Pedestals; but it may be thought, that they contain as much at the least, as the Cornice of the Pedestals: which Cornice is a Palm, and so much the Base may hold: of which part, the form standeth here in the middle, marked G. The Base of the Column standeth thereby marked F. the which Base hath a stone or counterbase under the Plinthus: and this may peradventure be done, because the Columns could not reach to such a height as they should. The Capital is here not set down, because you shall see the like in the beginning of the Order, called Composita, in my fourth Book, for this is Composita work. The height of the Architrave, is one Palm and 30. minutes: the Freeze is 9 Palms and 3. minutes: which freeze, for that it is full of graving, showeth of a small height where it standeth: and by vitrvuius writing, it ought to stand the fourth part higher than the Architrave; and this is less. The height of the Cornice, is two Palms and 14. minutes: which in truth is much too high, according to the proportions of the other members; and it showeth so much the greate● because it hath more proiceture of height: and this makes me specially believe, that this Arch is made of divers pieces o●● the● buildings, because of the shrinking of the members. The form of the Architrave, Freeze and Cornice, is marked ●●th B. The height of the Base, above the said Cornice, is half a Palm: the height of the last Cornice, is a Palm and two minutes, and hath such a great projecture, and hanging over, as you see in the Figure: and in such place, I blame not the Cornice; but affirm that it was made with great judgement: for that the great projecture makes the Cornice show great●● because it is seen from under upwards, and for that there is like matter, it is not in vain for the building. This 〈◊〉 here is marked with A. The Cornice which beareth up the greatest Arch is marked with C. whereof the Prose●●re is much too great: and for my part, in such a subject, I would rather give judgement that it should be high 〈◊〉 it with the bearing out, it should not hinder the sight of the Arch. That work marked D. cometh right on the Fancy, which goeth from Column to Column, above the two little Arches; and this accompanieth the Cornice C. The Cornice marke● with E. is that which upholdeth the small Arch, the which Cornice hath a Scima, wh●●●● should not make fiebich a piece of work: for that all Cornices, whose crowns have not their just Projecture, are 〈…〉 for the 〈◊〉 of a Cornice, is, that the crown be of a good height, and of a good projecture: wherefore 〈…〉 for a co●●●●-rule, that the crowns that are higher than their Scima, and those at least, that shall have as 〈…〉 Projecture 〈◊〉 height, shall always be commended by men of understanding. This I thought good to set down 〈…〉 ruse 〈◊〉 thereof that know it not. architectural drawing IN the kingdom of Naples, viz. between Rome and Naples there are many Antiquities; for that the Romans had great pleasure in those places: among the which, this Triumphant Arch is seen, being yet all whole and fair to sight: and therefore I thought it good to set it among the number of the rest of the Arches (which were made by the Romans.) This Arch is at Benevente, on this side of Naples, and was measured with a modern Ell, whereof the third part is hereunder set down. The Figure here below, is the ichnography of the same Arch; and to show by whom this Arch was made, is needless, because it may be understood by the writing that standeth thereon. The wideness of the Arch, is right : the thickness of the Columns is an Ell: the Pilaster under the Arch, is also as broad: the inter-columne holds three : the height of the Arch, is almost as much again as the breadth: the height of the Base of the Pedestal, with the under-base, is one Ell, ten ounces and six minutes: the flat of the Pedestal, is two , ten ounces and six minutes: the height of his Cornice, is nine ounces: the height of the Bases of the Columns, is seven ounces: the height of the Columns, without Bases or Capitals, is nine and four ounces. The thickness of the Columns beneath, is an Ell in Diameter, and above is lessened a sixth part: the height of the Capital, is an Ell, five ounces and an half: the height of the Architrave, is 15. ounces: the Freeze is seventeen ounces high: the height of the Cornice, is one Ell, three ounces and an half: the Plinthus, which standeth as counterbase above the Cornice, is 19 ounces and a quarter high: the Base standing upon it, is 11. ounces high: the height of the Epitaph, is four and two ounces: the height of the outtermost Cornice, is one Ell and three minutes: the height of the impost of the Arch, is half an Ell. This Ell wherewith the ●●ch 〈…〉 ●●●ed, is divided into 12. ounces, and each ounce into 5. minutes, which comes from 1● 〈◊〉 to 60. minutes: and this is the third part of the said Ell. architectural drawing architectural drawing IMP. CAESARI. DIVI NERVAE FILIO, NERVAE TRAIANO OPTIMO AVG GERMANICO PONT. II. MAX. TRIB. I. POTEST. XVIII. IMP. VII. COS. VII. PP. FORTISSIMO PRINCIPI. S. P. Q. R. THe Ornaments of the Arch of Beneventen, which I have shown in the leaf before, are here, according to the measure set down, with the Original. The Base of the Pedestal, and the Cornice thereof, marked F. are, in truth, two pieces of goed proportion, and fair pieces for Cornicements. The Base of the Pedestal, together with the Counterbase under it, is one Ell, 10. Ounces and 6. minutes high: the Cornice of the said Pedestal is 9 Ounces high: the Base of the Column is 7. Ounces high, and is of Corinthia work, very well proportioned according to the Column, and standeth here marked with F. I have not set the Capital here: for that men (as I said before) shall find such a one in the beginning of the Compesita, in my fourth Book, because this Arch is Composita work. The Arch, Freeze, and Cornice, which stand above this Column, are here marked with C. which pieces are also well proportioned on the remnant of this building: and although that the Cornice is somewhat higher than vitrvuius would have it, nevertheless it is well proportioned of members, and the same flat is not in it that is found in other Cornices, which have the Mutiles and the Dentiles standing together: but this workman, being circumspect therein, would not cut the téth in the Dentiles, although he hath set the torme thereof in the Cornice, to stanne such a slander. The same consideration the workman that made the Panth●on had, in the first Cornice above the Chapels, round about the Temple within: and therefore I counsel a workman, to avoid such a scandal, and not to repose himself upon the doing of licentions and wilful workmen, and excuse themselves, saying, Ancient workmen made it, and therefore I may make it as well as they. And although some will argue and say, Why, so many workmen, and in so many places of the world, (not only in Italy) but also in divers other places, have made Cornices, with Mutiles, and engraven Dentiles, and that such a custom is now turned into a Law, yet I would not observe the same in my works nor counsel others thereunto. The Countr● base, under the Epitaph, above the Cornice, marked B. is 19 Ounces and a half high: the height of the Base thereupon is 11. Ounces: the height of the Epitaph is 4. 4. Ounces: the height of the Cornice is one Ell and 3. Ounces. I much commend the Base of this Epitaph. I commend the Base of this Epitaph, with so little projecture, for the seeing up under it, but the Cornice whereof I will speak, is much too high, according to the proportien of the Epitaph: but were it of less height, and the Crown more, and of more projecture, I judge, it would stand better, and I should commend it more: also, if there were not so much carving or graving in it: for the members ought so to be divided, that the one were plain, and the other graven. But there are many workmen, and most at this day, that, to make men take pleasure in their had workmanship, make so many cuttings in it, that thereby they confound workmanship, and take away the beauty of form from it: and if ever, in times past, that fast and single things, uncut, were by skilful workmen commended, at this time they are not so. This Figure, marked D. is the Impost of the Arch, and is well known for such a member; the same Cornice changeth itself in a Fancy, which goeth round, as you see, and is half an Ell high: and although this Impost of the Arch showeth no Sculpture, yet is it graven where it standeth; but I forgot to draw it is. architectural drawing BY the amphitheatre of Rome, which by the people is called Colisceo, there standeth a very fair Triumphant Arch, which is wonderful rich of Ornaments, Images, and divers Histories, it was dedicated to Constantine, and is usually called, Larco de Trafill. This fair Arch, although it is now buried a great part within the earth, by means of the ruins, and rising of the earth, is nevertheless of great height, and the Gates and passages through it, are yet higher than two four squares. This Arch (as is before said) is passing fair to the eye, and wonderful rich of Ornaments & graving. It is very true, that the Cornices are not of the best manner, although they be exceeding richly graven, whereof I will speak hereafter. This ground hereunder, showeth the Ichnography of the said Arch Triumphant, and was measured with the old Romish Palm: the breadth of the greatest Arch is 22. Palms and 24. minutes: the wideness of the lesser Arches on the sides is 11. Palms, 11. minutes and a half. The thickness of the Pilasters are 9 Palms and 4. minutes: the thickness of the Arches in the sides, is 21. Palms and a half: thus the place within the Arch is almost four square: the thickness of the Pedestals is 3. Palms and 29. minutes: the thickness of the Columns is 2. Palms and 26. minutes; which Columns are stricked or hollowed, by some called chaneld, and are whole round with their Pillars behind them. architectural drawing The ground of the Arch Triumphant of the Emperor Constantius. THe wideness and thickness of this Arch, is sufficiently set down; now I will speak of the height thereof: and first, the Base of the Pedestal, with the Plinto, is one Palm and 30. minutes high. The height of the flat, is 7. Palms and 5. minutes: the height of the Cornices of the Pedestals, is 42. minutes: the height of the counterbase, under the Base, or the Plinthus of the Column, is fifty and two minutes: the height of the Base is 60. minutes: the height of the body of the Columns, without Base or Capital, is 26. Palms and 25. minutes: the height of the Capital, is 2. Palms and 35. minutes, and is Composits. The height of the Architrave, is one Palm and 11. minutes but the Freeze is much less, and yet graven; which, as I have said, at other times is contrary to the doctrine of vitrvuius. The height of the Cornice is a Palm and 21. minutes. The height of the counterbase, under the second story, is 3. Palms and 9 minutes: from thence to the highest part of the Cornices, is 21. Palms: but the height of that Cornice is 33. minutes. The Pedestals above the same Cornices were not measured, and thereon stood Images, and above the Cornices marked B. were Images placed against the 4. Pilasters, which represented the prisoners with whom he went in triumph. The letters which stand here, are above the Arch, in the place maked A. besides many others, which stand in divers places of the Arch. IMP. CAES. FL. CONSTANTINO MAX. P. F. AUGUSTO. S. P. Q. R. QVOD INSTINCTV DIVINITATIS MENTIS MAGNITUDINE, CUM EXERCITV SVO TAM DE TYRANNO, QVAM DE OMNI EIUS FACTIONE, uno TEMPORE JUSTIS REMPUBLICAM VLTVS EST ARMIS, ARCUM TRIUMPHIS INSIGNEM DICAVIT. architectural drawing I Have spoken of the proportion of the measures of the Triumphant Arch of the Emperor Constantine: now I will speak of the several parts and Cornicements, and set their measures down. And first, the Base marked F. is of the Pedestal of the said Arch: the height whereof, is a Palm and 30. minutes. The height of the Plinthus under the Base is 28. minutes: the rest of the parts are measurably divided, and proportioned accordingly. The height of the Cornices of the Pedestal, which stand marked under the Base E. is 42. minutes, and is also proportioned according to the principal. The counterbase, under the Base of the Columns (which I think were placed there accidentally) to heighten the Columns, is 32. minutes high: the whole height of this Base of the Columns, is 53. minutes: touching the height of the Columns, I spoke before, and also of the Capitals; of which Capitals, the form standeth not here, for that the like doth stand in my fourth Book, of the Order of Composita: the height of the Architraves, Fréeses and Cornices, is also spoken of before: and this Cornice is very seemly, for that there is no licentiousness in it, which is in some other Bases of this Arch; as it is in the impost of the middlemost Arch, marked C. the which impost is greater and of more members and parts, than the great and principal Cornice, and is altogether confused in members, and that which is most intolerable, the Dentiles and Mutiles are one above the other: and although the Dentiles were not there, yet there needed not such a Cornice to bear up an Arch. Herein the workman of the Theatre of Marcellus was more circumspect than this: for the imposts of the Arches of the said Theatre, are the fairest and best of show for imposts that ever I saw, and such, as from the which a man may learn to make the like. The impost of the lesser Arches marked D. is one Palm and 23. minutes and an half high: the which impost would stand much better, if the two flats between the Astragall above, and the Echine under, were turned into plainness only; which then would serve for an Abacus, or also for a crown, having the due Projecture. The Base under the second story marked A. is 16. minutes high: the height of the uppermost Cornice, is 43. minutes, which height should be too little in so great a distance, if it were not that the great Projecture or Gallery, or overhanging holp it not; because they are seeing upwards, from underneath, which showeth it to be much greater than it is: therefore I much commend this Cornice in this respect. And truly, all the Cornices, whereof the crown hath more projecture than height, answer always better, and may be made thinner of stone, so that the members of the building endure less weight: nevertheless, you must not make them of too many licentious projectures: but you shall read hereof in vitrvuius, where he entreateth of the Order of crowns, after the manner of jonica and Dorica: for he doth there teach you clearly enough. architectural drawing This Figure should ●and in Folio 52. and the Figure in Folio 52. should stand in this place. WIthout Ancoven upon the haven, there is an head which reacheth itself a good way into the Sea, which we● not made without great cost and charges: it was to defend the ships from the Levant sea. Upon the end of the height thereof, standeth an Arch triumphant, all of Marble and Corinthia work; and there is nothing in it but the Capitals, which are done in very good work: and in truth, this building is so handsome, and of so good correspondency, the members also agreeing with the whole body, that a man, although he understand no Art, would nevertheless take pleasure in the beauty thereof. And those that understand somewhat, seeing such congruity, are not only well contented, but also thank the good workman, that hath given us somewhat in these days to learn out of this fair and well made building: in the ornaments whereof, there is the order of Corinthia as well observed and kept, as in any other Arch that is to be found, and by reason of the strength thereof, it is all whole; only it is unfurnished of many ornaments. This fair Arch, as it is conceived, Nerua Traianus caused to be builded: whereupon, in the highest part of the Arch (as it is said) his Image was erected, sitting on horse back, seeming to threaten she clouds and people, over whom he looked and governed, lest they should rebel again: which Image was of Copper excellently well made. There were also between the Columns, above the Cornices, certain Images of Copper, as the letters in those places written, do show: there are also tokens of holes, which shows that there were Kings of Copper, or other such like things hanging in them, which might be taken from the Eothes, Vandals, or other enemies. This building was measured by the ancient foot, the ground whereof standeth hereunder. The wideness of the Arch is ten foot: the thickness inwards is nine foot and two minutes: the thickness of the Columns is two foot, 11. minutes: the Intercolumnes, for spaces between the Columns, is 7. foot, 5. minutes: the Columns stand without the wall, 1. foot and 11. minutes: the height of the Arch is 25. foot and 1. third part: and this height, although it holdeth more than two four squares, is not therefore misshapen, when you behold the whole mass together: the height of the Pedestals with all their Cornices, is 5. foot: the breadth is three foot, 15. minutes and a half: the height of the Bases of the Columns, together with the Vnderbases are 1. foot and 36. minutes: the height of the Columns to the Capitals, is 19 foot, 22. minutes and a half: the thickness under the Capital is one foot and 56. minutes: the height of the Capital is 2. foot, 24. minutes, with the Abacus; and the Abacus is 10. minutes: the said Capital you shall find in my fourth Book, in the beginning of the order of Corinthia: the height of the Architrave is one foot and 12. minutes: the height of the Freefe is one foot and 18. minutes: the height of the Cornice is 1. foot and 22. minutes: the height of the Plinthus above the Cornice, is one foot, 6. minutes and a half: the height of the Base above the said Plinthus, is 30. minutes: the height of the Epitaph under the Cornice, is 6. foot and 22. minutes; but the Cornice above it was not measured. architectural drawing The half of the old Romish foot. architectural drawing The ground of the Arch triumphant of Ancoven. PLOTINAE AUG. CONIUGI AUG. DIVAE MARTIANAE AUG. SORORI AUG. architectural drawing Imp. Caesari Divi Neruae. F. Neruae Traiano Optimo Augusto. Germanico Dacico. Pont. Max. Tri. Pot. nineteen. Imp. xi. Cos. vi. P. P. Pro videntissimis Principibus. S. P. Q. R. Quod accessum Italiae, hoc etiam addito. Ex Pe cunia sua, Portututiorem Navigantibus reddiderit. IN my opinion, I have said enough of the measure of the Arch of Ancona, yet that the parts of the Cornices may be the better understood, I will show them here greater: and first, I will set down the lowest parts, as they stand above the ground of the work. The height of the Pedestal, marked G. is said to be of 5. foot, with all the Cornices thereof: but the height of the Plinthus of the Base, is 18. minutes: the Base above the Plinthus, is 19 minutes, and a third part high: the Cornice of the Pedestal, is 20. minutes, and a third part high; so much doth the stone also hold, standing thereby, marked F. which, by my advice, is placed there, to heighten the Columns, and showeth not badly, but more, because it is set forth with a list round about it; whereby the Base differeth from the Plinthus: and so, in my opinion, standeth well. The Base, which is Corinthia, together with the Cincte of the Column, is 43. minutes high: and the Projecture, is 16. minutes and an half in breadth: the thickness of the Pedestal, is 3. foot, 15. minutes and an half: the thickness of the Column, is 2. foot, 11. minutes: and there stand 13. hollow, or channels, without the Pilaster: the wideness of one channel, is 7. minutes and a half: and the List which parteth them, is 2. minutes and a half. The height of the Capitals are the thickness of the Columns below, without the Abacus: which Capital hath a very fair form, whereby we may be persuaded and believe, that vitrvuius doctrine is false, and that vitrvuius understood the height of the Capital without Abacus: (and for this cause) for that the most part of the Capitals that I have seen and measured, are most of such height, and higher, and specially the Capitals that stand in the Rotund: whereof, in the beginning of this Book you may see one. The height of the Architrave above the Column, is one foot and twelve minutes. The height of the Freeze, is one foot and eighteen minutes. The height of the Cornice, is one foot and two and twenty minutes. These three are marked together with an A. The Plinthus above the Cornice is one foot, six minutes and an half high: The Base upon it, is thirty minutes: the space wherein the letters are written, is sire foot and two and twenty minutes, and is marked with ✚. The Impost of the Arch is marked D. the height whereof is 1. foot and fifteen minutes: but the uppermost Cornice, as I have said, was not measured. The height of the Mensole in place of the closing stone, marked B. above the Arch, is three foot and 30. minutes: and hath a foot and 14. minutes without the wall, in the uppermost part; and in the parts below, it comes out a foot. The four tables with the Cornices upon them, which stand between the Columns, are thought to be placed there, for holding up of half Images: the form whereof, standeth here marked E. and is there also by the profile on the side, whereby a man may see how they are wrought: for they are full of work, even to the Centre. The height of the Cornices, standing above them, is 32. minutes: and although I have not showed all the projectures & heights from part to part, yet I have with great diligence reduced them from the great, into a small form, and were (as I said before of the rest) measured with the old Roman foot. architectural drawing THe Town of Pola in Dalmatia, is adorned with many Antiquities: besides the Theatre & amphitheatre, whereof I spoke before, there are other Buildings, whereof now I will speak. There is an Arch Triumphant, of Corinthia work, rich of ornaments, for Figures, works, and strange devices; so that from the Pedestal upwards, there is no work nor space lest ungraven, not only before, but also on the sides, and within, and under in the Arch, wherein are many and divers works, so that it would require long time to declare them particularly: therefore I will show such parts thereof as are necessary for a workman, for invention and Arte. The ground of the Arch following standeth hereunder, measured with a Modern or common foot, whereof the half is here set down. The Arch is 12. foot and a half wide: the height is about 21. foot. The Pilasters in the sides inward are 4. foot thick. The thickness of a Column is one foot, 9 ounces and a half. The Intercolumne is 2. foot, 3. ounces and a half. The Pilaster of the Arch is one foot, 2. ounces broad. The height of the Plinthus under the Base of the Pedestal, is one foot. The Base is 4. ounces high. The flat of the Pedestal is 3. foot: the Cornice 4. ounces. The Plinthus marked D. under the Columns is 4. ounces. The height of the Base with the Plinthus is 10. ounces and one quarter. The height of the Column is 16. foot, one ounce and 3. quarters. The height of the Capital is 2. foot and one ounce. The height of the Architrave is one foot and one ounce. The height of the Freeze is one foot and 2. ounces. The height of the Cornice is one foot and 10 ounces. The height of the Plinthus above the Cornice is one foot and 2. ounces. The height of the Base of the Pedestal, and also of the Plinthus upon it, is one foot and 2. ounces: but the height of the Base alone is 10. ounces. The height of the flat of the Pedestal is 2. foot and one ounce. The Cornice is 6. ounces. The Cavet above the Cornice, (which vitrvuius, as I think, calleth Corona lisis) is 5. ounces: and this is the measure of the ground following. architectural drawing The half common foot. architectural drawing This is the ground of the Arch triumphant of Pola. The measure of this present Arch is set down before: in this side following, the particular parts shall be showed. These great letters hereunder, stand in the Freeze, marked Y. SALVIA. POSTUMA. SERGI, DE SVA PECUNIA. These under marked, stand in three Pedestals, marked X. H. A. L. SERGIUS. C. F. AED. II. VIR. L. SERGIUS. L. F. LEPIDUS. AED. TRI. MIL. LEG. XXIX. C. SERGIUS. C. F. AED. II. VIR. QVINQ. architectural drawing IN the side before, I have spoken of the universal measure of the Arch triumphant of Pola, and have also showed the Figure thereof, and partly set down some of the richest and fairest ornaments of the same: Now I will set down the particular measures of the parts thereof: and first, I will begin with the neither parts, as that was placed first above the ground. The height of the Plinthus under the Base of the Pedestal, is one foot; although that under it there lieth another of much more height, but it is under the earth: the height of the Cimatie turned about above it, with the Astragalus, is 4. ounces: the flat of the Pedestal, is 3. foot high: the Cimatie above, it is 4. ounces, & so much also is the under-base, above the Cimatie: the height of the Base of the Columns, is 10. ounces, and is very well cut and graven: and although the form is Dorica, yet the delicate works thereof show that it is Corinthia: the Columns are fluited or chaneled from the top to the bottom; and there are also many hollow without the Pilaster, as the Figure hereafter doth show. The height of the Capital with the Abacus, is two foot and one ounce: the which Capital is higher than the thickness of the Column beneath. Nevertheless, it is very well, and showeth pleasing to sight; it is also richly wrought, as it is here showed in the Figure thereof: and always, as the Capital of Corinthia is in such proportion against the Column, I would think it better to the view of workmen; then if with the Abacus it had but the height of the Diameter of the Column: and although vitrvuius writeth thus (as is before said) yet may his text be falsified. The height of the Architrave, is one foot and one ounce: the height of the Freeze, is one foot and two ounces: the height of the Cornice, is a foot and ten ounces: which Cornice is very licentions, although it be rich of work, because such richness of work confoundeth it: but that which is most unseemly in it, is the Echine with the Ouale above the Seima, a thing, in truth, much unsightly: and that, which is more worthy laughter, is, that the said Echine in the upper part, is cut through, without being covered with any list, that it might not be consumed with the water. But there hath always been licentious workmen, as there are yet in our days, who, to please the people, make much graving in their works, without respecting the qualities of the orders, and will also in Dorica work, which should be fast and strong, use much graving and cutting, as in Corinthia work, which, by their folly, asketh many ornaments. But wise and judicious workmen will always observe Decorum: and if they make work after Dorica manner, they will follow good Antiquities: which, for the most part, agree with vitrvuius precepts. If they make any work after the Corinthia manner, than they cover them with Ornaments, as that kind of work requireth. This I have set down, to advertise those thereof that know it not; for they that know it, need not my advice. Now to come to the purpose again: Above this Cornice there is a Basement, which maketh out three Pedestals; the Plinthus under the Basement, which is there set against the projecture of the Cornices, (for otherwise, in looking up, it would darken the Base) is a foot high; above it standeth the Base, whereof the height is 10. ounces: the flat of the Basement, is 2. foot & 1. ounce high: the Cornice above it, is half a foot high; which Cornice is very seemly, and the parts thereof divide themselves very well from each other, for that between the two carved members there standeth one plain above: the Cornice is that member or part, called Corona lisis, as I understand vitrvuius, whereof the height is 5. ounces. Above these there are some stones that show to no end at all, but it may be thought, that some things stood upon them: the height of these stones is 10. ounces: the height of the Impost of this Arch is 10. ounces; the which Impost is very licentiously made: and although those 3. members one above the other, are divers, yet they are like each other in projecture: and therefore in the work they stand to no good effect: the other parts you shall know by the Characters in the great Arch. architectural drawing IN Verona, there are many triumphant Arches; among the rest, there is one Gate, called castle Vecchio: the which, truly, is of good proportion: this Arch, as men conceive, was wrought both before and behind, and also on the sides: it had two doings in, as you may perceive by the ground which is yet seen, although I showed but one side only. This building was measured by the same foot, wherewith the Arch of Pola aforesaid was measured. The wideness of this Arch is ten foot and an half: the thickness of the Columns, is two foot and two ounces: the intercolumnes, are 4. foot and 3. ounces: the Pilaster or Pillar of the Arch, is 2. foot and 2. ounces broad. The thickness of the Arch in the sides inward, is 4. foot and an half: the wideness of the Tabernacle between the Columns, is two foot and ten ounces: and thus much for the wideness and thickness: but coming to the height, the Base of the Pedestal of the Columns, together with the Plinthus, is one foot and three ounces high: the flat of the Pedestal, is four foot, three ounces and an half: the Cornice is ten ounces and an half: the height of the Base of the Columns, is one foot: the height of the body of the Column, without Base or Capital, is 17. foot and three ounces: the height of the Capital, is two foot, four ounces and an half. The height of the Architrave, is one foot and an half: the height of the Freeze is one foot, 7. ounces and an half: the height of the Cornice, is one foot and ten ounces: and although that in this Figure there is the Frontispiece, yet you see it not in the Arch; for from the first Cornice upwards there is nothing at all: nevertheless, although the wall is this year consumed▪ yet you may see there some signs, whereby a man may conceive that the Frontispiece hath been there. The uppermost Cornice is not there, and therefore I set no measures, according to all Antiquities: but I have made one, with such measure and forms, as myself would have made it, having for a common rule, that the uppermost things stand the fourth part less, than the nethermost: this Cornice therefore, shall be the fourth part less than that which standeth under it, and is thus divided, that the whole height should be set in four parts and an half: the half part shall be for the Astragal with the list, and the fourth part shallbe for the Scima. The Projecture must be like the height, & so shall this uppermost Cornice be made in manner aforesaid. Between the Columns stand Tabernacles, wherein there were Images, whereof the wideness is two foot and ten ounces: the height is seven foot, and the depth thereof in the wall, is one foot and ten ounces: the height of their Basement, is 4. foot, with the Base and Scima: the little Pillars on either side, are half a foot thick: the Architrave is 7. ounces and an half: the Freeze is 6. ounces high: the height of the Cornice without the Scima is 4. ounces: the height of the Timpanum of the Frontispiece, is 8. ounces. Above these Tabernacles are small tablets with other Cornices: the which tablets are two foot broad, and hold one foot in height: the height of each Cornice is 11. ounces: the height of the openness of the Arch, although it be somewhat digged below, is yet twice higher than broad: for the wideness thereof, is 10. foot and a quarter: and the height is 25. foot and an half. The Capital under the Arch, is as high as broad: the work of this Arch is Composita, and bravely set out with Images of Marble and Copper, as you may perceive in the void places. This is the ground of the Arch following. architectural drawing THis form of the Arch Triumphant of castle Vecchio in Verona, is made as it is here set down: and although from the Friezes upwards, there are no signs of ornaments; nevertheless, it did stand so. And for that the parts hereof are o●mall that you can hardly understand them, in the next side they shall be for down in a greater and plainer form. This Arch triumphant (by that which is found written within the inner parts thereof) by some is said, that vitrvuius caused it to be made: but I believe it not, and that for two reasons or causes. First, that I see not in the Inscription, that it saith, vitrvuius Polio: but it is possible that it was another vitrvuius that caused it to be made. The second reason is this, that vitrvuius Polio, in his writing of Architecture, doth utterly condemn and reject Mutiles and Dentiles, standing together in one Cornice, and such a Cornice is found in this Arch. And therefore I conclude, that vitrvuius, the great and learned Architector, made it not: but be it as it will, this Arch hath a good form and proportion. These letters are under the Tabernacle in the Pedestal. C. GAVIO. C. F. STRABONI. These letters are cut in she inward side of the Arch. L. VITRWIUS. LL. CERDO ARCHITECTUS. These letters are also in the Pedestal of the Tabernacle. M. GAVIO. C. F. MACRO. architectural drawing BEcause I have not fully written the particular measures of the members of the aforesaid Arch, neither have I showed it in such form that a man may conceive the particular measures: therefore you may see them here set out in greater form, and in such sort as they are: and first, the height of the Plinthus, under the Base of the Pedestal, marked G. is a foot and three ounces. The height of the Base abous upon it, is 6. ounces. The flat of the Pedestal, marked F. is 4. foot, 3. ounces and an half high. The Cornice upon it, is 10. ounces and an half high. The Base of the Column, is one foot high. The Plinthus of this Base turneth into a Corona lisis; which me thinks, is very pleasant: for that I have two some Greek Pedestals so. The Column is strycked, chanelled or hollowed, from the toy to the bottom. The height of the Capital of this Column, is one foot, 4. ounces and an half: but the form is not here, because it is showed in the beginning of the Order of Composita: which Capital, in effect, is Composita, although the Arch may be wholly accounted to be Corinthia: and this Capital standeth in that place, maked C. Also, in the same place you see the Capital of the impost of the Arch, which is marked with D. But the little Capital of the Tabernacle between the Columns, is here marked H. And the Cornice also, with the Ease, marked E. is that which is under the Tabernacle. The Figure C. is the table above the said Tabernacles, and the Figure marked D. is the Architrave, Freeze and Cornice, of the Frontispicium of the Tabernacle. The Figure marked with B. is the work which goeth about the Arch: the Cornice marked A. is the principal Cornice above the Arch; the which, in effect, is very comely, and well wrought: yet it is vicious, as I have often said; that is, the Mutiles and the Dentiles therein are by vitrvuius rejected, with many strong reasons. But in this, many men affirm, that sithence vitrvuius time, many workmen have made Mutiles with Dentiles, in most places of Italy, and there round about, so that now there is no question made thereof; but every man hath liberty to make that in his work which he findeth and seeth in Antiquities: whereunto I answer, that disproving the same, they have proved their cause to be good. But if they will acknowledge vitrvuius for a learned Architector, as most workmen affirm, than (reading vitrvuius with good judgement) they must confess and acknowledge, that they have done amiss therein. The half of the foot, wherewith the ichnography, and the Orthography, together with the ornaments of this Building, are measured. architectural drawing architectural drawing IN Verena, at the Gate Dei Leoni, there is a Triumphant Arch, with two like doings through, which I never saw in any other place beside, but many with 3. Arches: which building, although it hath the figure of 6. windows, yet go they not through, neither yet very deep in the wall: whereby you may judge, that some round Images stood in them. Above the first Cornice this building is hollow, in manner of a Nich or seat, but not very deep in the wall, but yet with help of the projecture, or striking out of the Cornice, men might stand there to do some thing or other, while the Triumph lasted: but for that this concerneth the workman very little, I will speak of the measures. And first, the opening of the 1. Arch is 11. foot wide, and 18. foot high: the Block under the Pedestal, is one foot high: the Base of the Pedestal is 3. Ounces: the flat of the Pedestal is 2. foot and one Ounce high: and the Cornice is 3. Ounces: the height of the Bases of the Columns is 8. Ounces and a half: the height of the Columns, without Bases or Capitals is 12. foot and 1. third part: their thickness is 1. foot, 4. Ounces: the height of the Capital is 1. foot, 8. Ounces: the height of the Architrave is one foot, 5. Ounces: the height of the Freeze is one foot, 8. Ounces; and so much is the height of the Cornices: from the Cornices to the second Roof is 3. foot and a half, whereon there are certain Mutiles, whereupon Images had stood, made fast to the 7. Pilasters, between which, little windows, beautified with small pillars, stand, but not much bearing out: the wideness of a window is 2. foot, 2. Ounces: their height is 4. foot, 3 Ounces: the height of the greatest Columns is 5. foot, 4. Ounces, with Bases and Capitals which are flat, not not much raised up. The height of the second Architrave is 6. Ounces and a half: the height of the Freeze is one foot and a half: the height of the Cornice is 10. Ounces and a half: the Corona licis above the same Cornice, is 10. Ounces high. The Base of the second Pedestal is one foot, the flat o● itself is 3. foot, 7. Ounces and a half high: the Base of the second Column is 8. Ounces: the height of the Columns is 8. foot. 3. Ounces and a half. The thickness of the said Columns is 10. Ounces and a half: the height of the Capital is one foot, one Ounce and a half: the height of the Architrave is one foot and one Ounce: the height of the Freeze is 1. foot, 2. ounces: the height of the Cornice is one foot, whereon there standeth some part of the wall, but a man cannot perceive what it might be. This Arch is not very thick, neither beautified on the sides; for that behind this Arch there is another, standing so near together, that a man can hardly go between them both, as I will show hereafter when I speak of the other figure: the windows stand not in any good order, but somewhat unseemly: for the 2. windows are not right in Perpendicular upon the sharp point of the Frontispiece, but some part aside, which showeth not well: and for that I could not endure such disorder, I have placed them orderly. The Capitals of these Arches are part Composita, and part Corinthia, as hereafter I will set down in Figure. Loving Reader, Corottus, a Painter in Verona, hath counterfeited this Arch: the Cornice under the Timpanum is not there: for he placeth there certain order of figures resting upon the Architrave: the which Architrave, you must understand, is between the 2. Columns over each Arch, and is somewhat flat, because of the writing following. Over this Arch, on the right hand, these letters following stand. T. FLAVIUS P. F. NORICUS, FOUR VIR. ID. V F. BAVIA. Q. L. PRIMA SIBI, ET POLICLITO, SIVE SERVO, SIEVE LIBERTO MEO, ET L. CALPURNIO VEGETO. architectural drawing HEre before, I spoke of the universal measure of the said Arch, and thereunto set down the form, according to the proportion of the same, but cannot give perfectly the particular parts in so small a form. Of which members, for that there are divers ornaments in them, I will in this lease declare them: touching the height and thickness, I will speak no more; for I have done it already: but I will only show which they are. The Figure marked G. is the first Pedestal, with the Bases, and the beginning of the Columns, the which is hollowed: all the members are proportioned according to their greatness. The Capital marked E. having the Architrave upon it, followeth upon the first Column, as the hollowing showeth. The Figure marked D. is the Architrave, Freeze and Cornice together, which stand above the first Column: which Cornice, by the authority and example, which is by me in many places alleged, the judicious Reader may know, whether they be erroneous or good. The Capital marked F. is that, which upholdeth the Arch upon the foursquare Pillars; these two Capitals are called, Latin work, and very fair. I will not, as I have said, speak of the measures, for that this Figure is proportioned after the principal, and with great diligence transported from the great into the small. The half of the common foot, wherewith the aforesaid double Arch, with the following ornaments, is measured. architectural drawing architectural drawing AS I said before, the Arch is very rich of ornaments, and among them, some very fair and perfect; some also very vicious & ill made: and in truth, I find nothing that more misliketh me, than the Cornice marked D. in the other lease, for the reasons before showed: but all the rest before set down are of good proportion, as well the works as the Cornices. And as the parts of the first story are, so are these following of the second story. The Mutiles marked H. are in the beginning of the second story above the Frontispicie: upon which Images (as I have declared) there were Images fastened against the flat Pilasters. The window marked 1 is the form of one of the Windows with the Cornice upon it and therefore just of his measure. That Capital and the Base marked K. is of the same windows, showed in greatest form, that the members may be the better understood. That Base and Capital marked L. is the little Pillar between the Pilasters and the window: and in truth, in these two Bases, that is, that of the greatest of the small Pillars joined with the lesser, the workman was very judicious to accord or agree the one with the other, that the greatest Pillar should have his due Base, and the lesser should also have a less Base, according to proportion, which I commend much. The Architrave, Freeze and Cornice, marked C. showeth that of the second story, above the small Pillars: this Cornice is very seemly, and not confused with cutting. The Pedestal marked B. showeth that of the last story, whereof the Base marked M. doth rest: also the Capital which standeth above, is his companion, and is truly Corinthia, the which is confirmed to the principal, for work and fashion, and in my opinion, very seemly. That Architrave, Freeze, and Cornice, marked A. showeth the last Cornice: the Architrave is not vicious, because it hath only two Fancies; for if it had three, it would, by the far distance, stand cumbered: the Cornice with the Mutiles, liketh me well, because it hath no Dentiles; and is also well divided with members: neither is it confused with much graving, but hath a seemly Projecture, which heaveth up the height thereof a little. The half of the common foot. architectural drawing architectural drawing THis Arch triumphant was made before the Arch aforesaid, which the table showeth, wherein there standeth P. VALERIUS. Q. CECILIUS. Q. SERVILIUS: P. CORNELIUS. it is thought it was set up in the time of Hannibal. This is measured with the same measure that the other is: the wideness of each Arch is 11. foot the height is 17. foot the Pilasters of the Arch are one foot, 8. ounces broad: between the 2. Pilasters are 5. foot, 4. ounces: the sides, each holdeth 3. foot. The Cimatie under the C. in place of an Architrave, is 6. ounces and an half: the height of the Freeze, is one foot. 7. ounces and an half: the list above the freeze is 2. ounces: the Cimatie under the Dentiles, is 4. ounces and a quarter: and the Cimatie above it, is one ounce and an half. That Astragall is one ounce. The Cimatie under the crown, is one ounce and a third part: the crown is 3. ounces and an half high: the Cimatie thereof, is 2. ounces and a quarter. The Scime is 3. ounces and an half high: but the list is 2. ounces: the Projecture of all, is as much as the height. The Basement above this Cornice, is one foot, one ounce and an half in height: the thickness of the hollowed Columns, is 1. foot, 3. ounces: the height without Capitals, is 7. foot, one ounce and an half. The Capital is 10. ounces high. This Column hath no Base nor Cinthe. Carettus, who also counterfeited this Arch, seeth but four places where Histories are graven, and 5. Columns in this third story: in the second story but 4. windows, and 5. Pilasters: and above them, 5. Columns: the third Cornice you cannot come unto. architectural drawing architectural drawing architectural drawing Having spoken of many Antiquities, and placed them in Figure; it is requisite that I also show some of those that were made in these days, and specially, of Bramants work, although I have not altogether omitted it, having showed the wonderful work of S. Peter's Church, and other things belonging to holy Temples. And in truth, a man may well say, that he restored good and perfert Architecture, as yet, by the means of julio P. M. many fair pieces of work were made by him in Rome, do witness; of the which, this set here, is one: this is a Gallery made in Beluedere, in the Pope's Court, wherein are two fair things to be seen: the one is, the strength thereof; the which, for that the Pilasters are of so great breadth and thickness, will last, while the world endureth: the other, for that there are so many accompagments so well set out, with good invention, and excellent proportion: this work is measured with the ancient Palm. The breadth of the Arches, is 18. Palms: and so much are the Pilasters: the breadth of the Pilasters is divided into 11. parts: one part on either side of the Pilaster, which beareth the Arch shall have, which is two parts: other two parts shall be given unto one Column, that is 4. parts: 2. parts shall be given to the little Pilasters of the Niches, or hollow seats, and 3. parts to the Niches themselves: so are the 11. parts distributed. The height of the Pedestals shall be half the wideness of the Pilasters. The height of the Base of the Pedestals, shall have one part of the before said 11 parts. The Cornice is the 9 part less than the Base. The height of the Columns, with Bases and Capitals, are of 9 Diameters, and thereunto also the seventh part. The Base is half the thickness of the Columns. The Capital is of the same thickness: and the seventh part for the Abacus. The height of the Architrave, Freeze and Cornice, is as much as the Pedestal without his Base. And this height is divided into 11. parts, four for the Architrave, 3. for the freeze, because it is ungraven, and 4. for the Cornice, as the half Circle of the Arch is drawn; then the heights of the lights will be double: after that, the imposts being drawn in their places, the which are of half a Column thick, and so the Niches or seats, and the Quadrants above them, have their certain proportion. architectural drawing BEcause I could not (by reason of the smallness of the Figure) perfectly show the parts of the Gallery aforesaid, therefore I have showed them hereunder in greater form: the part C. is the Pedestal of this Gallery, and upon it the Base of the Column slandeth, proportioned according to the great: the part B. showeth the impost of the Arch, with a part thereof. The Figure marked A. showeth the Architrave, Freeze & Cornice above the Columns. The general measures, touching the height, are already sh●wne, therefore not to be mentioned again: for they are proportioned after the great. In this Cornice the workman was very judicious, that he suffered the Corona to go through unbroken; and suffered the other parts of the Corona to bear outwards, which is very seemly, and the crown the stronger, and keepeth the whole work from water: with which invention, the workman may help himself in divers accidents; for the reaching out of Cornices stand not always well, but in some places well, and in some places ill; and the bearings out untolerable, where the Columns on the sides have no Pilasters: of these bearings out, I will say more in the fourth Book, in the handling of four manner of Simmetrie of Columns. architectural drawing IN the leaf before, I showed a piece of work of Bramants making: and now I will show another of his works, from whence a wise workman may help himself much, by means of the divers and sundry ornaments that are in it. In this Gallery, the workman would show three stories or orders one above another, viz. Dorica, jonica, and Corinthia: and in truth, the orders were fair, well set out, and placed: notwithstanding, that the Pilasters of the first story or order being Dorica, were somewhat too weak, and the Arches too wide, to the proportion of the Pilasters; and therewith the weight of the wall of the jonica order standing upon it, was an occasion that it was broken, ruinated and decayed in short time. But Balthasar of Sienna, a skilful workman, repaired the decayed ruins, making counter Pilasters, with under-arches: therefore I have said, wise workmen may learn of this building; not only to imitate fair and well made things, but also to beware of errors, and always to consider what wright the nethermost story is to sustain: therefore I counsel a workman rather to be timorous, then overbold; for if he be timorous, he will always choose the surest way, and make his work with consideration, and will use counsel, yea of such as are less skilful than himself, of whom sometime men often learn: but if he be highminded, and trusteth too much to his own skill and knowledge, than he will scorn another man's counsel, whereby oftentimes he deceiveth and overshooteth himself; so that oftentimes his work falleth out badly. Now I will turn to speak of this Gallery, and set down some notes of the proportion thereof. The wideness of the Arch shall be divided into eight parts, whereof three parts shall be for the breadth of the Pilasters, and the height of the Arch shall contain 16. of such parts. The forepart of the Pilasters shall be divided into four parts, whereof two parts shall be for the Pilasters of the Arches, and the other two shall be for the thickness of the Columns: the height of the Pedestals shall contain half the wideness of the lights: the height of the Columns shall be eight parts of their thickness, with the Bases and Capitals. The height of the Architrave, Freeze and Cornice, is a fourth part of the length of the Column. The second story shall be less than the first by a fourth part, viz. That from the Pavement of the Dorica story, to the highest of the Cornice, shall be divided into 4. parts, and 3. of them shall be for the whole story of the jonica work, and so shall all the parts particularly be lessened in themselves a fourth part. The like also shall be done with the third story, which is Corinthia, in regard of the second order, although it standeth not here, because the Figure is drawn too great: but not to put the Reader in a maze or doubt at the Columns which stand here in the middle, as desirous to know how they end at the top; you must understand, that you shall find such invention in the fourth Book, in the Order of Dorica in the side H 2. that although that those Columns are jonica in the said Book, notwithstanding, you may make them Corinthia. And that the workman might the better understand the members and Cornicements of this work, I have showed them in greater form, and proportioned them according to the principal: I speak of the members of the first story: for a man could not easily come to measure the other. architectural drawing AT Beluedere, at the entry of the Pope's Court, through the Callery, which I have set down before, for the places always go upwards, there is a going up which is very fair: at the head whereof, you come to a plain, which hath the form of a Theatre; the ground whereof is showed under this: and thereto I have set the profile, that you may understand it. Here I have kept no account of the measures, destring only to show the invention of the stairs, and the half Circle as it standeth. This half Circle is very much elevated from the Court of the Pope's house to the Palace-ward: and behind the half Circle, you 〈◊〉 a great plain with fair appertements; at which place, you go through the two Gates, which you see in the sides of this ha●●● Circ●●; in which places there are many fair Images, and among the rest Laocoon, Apollo, Tiber, Venus, Cleopatra, and Hercules. architectural drawing T●●●● the Orthography of the ground showed Folio 69. and as I have said, I will not speak of the measure ●●●●eof, but only of the invention: and although that here on either side, only one Pilaster, with his Columns, ●s showed, yet is it not unlike some Galleries, whereof I have spoken before, and that appeareth by the double Columns, together with the Niches or hollow seats, with the Quadrants above them. In Beluedere there are many other things, which I have shown, & among other things, there are wonderful winding Stairs, in the ground whereof, there standeth a Fountain, flowing exceedingly with water, the which going up is all full of Columns in the innermost part: which Columns are of four Orders: viz. Dorica, jonica, Corinthia, and Composita: but that which is most wonderful and ingenious, is that between one and the other Order, there is no difference or distance, but men go from the Dorica to the jonica, and from the jonica to the Corinthia, and from the Corinthia to the Composita, with such cunning, that a man cannot perceive where one Order endeth and goeth into the other: so that I am of opinion, that Bramant never made a fairer nor costlier piece of work then this. architectural drawing Will out Reme, at Mente Mario, there is a very fair place, with all things belonging to a place of pleasure, of which particular parts I will rather refrain to speak, than not show them sufficiently, only I will speak of a Gallery, with the Fancies thereof, made by an excellent workman Raphael Durbin, who hath made divers appertements and beginnings to other works, as the Courtill, although that it is foursquare, yet he had fashioned it round, as the foundation partly showeth. That Vestibul●●n marked A. and the two places, B. and C. stand not in such form, but I have placed them there to fill up the ground: for the part C. endeth in an hill, as also the part E. but in the other side of the Gallery m●●ked F. there is no half Circle, and that was left out, not to pinch some of the appertements, but to accompany other members by it. The order of this Gallery is very fair: the roof whereof is concordickly, altered: for that the andole part is with a round tribune; and those two on the sides are crosswise. In which roof, and also in the walls, ●anvan Vdenon hath made wonderful great pieces of painted work: so that regarding the fair and excellent workmanship of Architecture, with the beautifying of painting, together with divers ancient Images, this Gallery may well be called, one of the fairest that ever was made. And whereas it is spoken of an half Circle which doth not answer the rest, neither the workman not willing to leave it undecked or unfurnished, his Disciple julio Romano, in the Fancy thereof, painted the great Giant Poliphemus, with many satires round about: which work, Cardinal de Medicis, that after was Pope, by the name of Clement, caused to be made. The measure of this Gallery I will not set down, but the invention shall suffice the workman, for that all things are proportioned according to the great; and hereafter you shall see it made upright, together with the Fancy of the Gallery, but the Niches or hollow seats on the sides are not there. architectural drawing B●● thee part following, marked B. A. you may conceive the roof of the aforesaid Gallery, the sayrenesse whereof consis●eth march in the corner marked ✚ (the which giveth to understand also the three others, being well placed) and s●ew well in the heading up of the tribune in the middle, going always binding with the duplication of Pillars, to each Fancy of the Pilasters: which Pillars (in regard the Coronas remain whole) make not the Pilaster show b●●e, but rather ●●ch bre k●●● o● Pilasters into two Pillars, maketh a large seeing upwards, and stands (nevertheless) in manner and place 〈◊〉 a fra●e Pillar: for the Base of the said Pilasters follow also. And for that in the Figure following in the Pilaster, there is but one Pillar with a piece showed, yet to make it better to be understood, is, that each Fancy of the Pilasters within the Gallery is to be divided into three, of the which a man may make two flat Pillars, and at the corners one Intercolumne: so that (as it is said) although there are two flat Pillars with one Intercolumne, yet, altogether, it is but one Pilaster. architectural drawing AMong other Cities of Italy, Naples is called, Lafoy Gentile, and that not only in respect of the great Barons, Lords, Earls, Dukes, and great numbers of Gentlemen therein, but also, because it is so well furnished with stately Houses and Palaces, as any other parts of Italy. And among other pleasant places that are without the City, there is a place called Poggio Real, which King Alphonsus caused to be made for his pleasure, in that time (than most fortunate) when Italy was in peace, and now unfortunate, by reason of the discords therein. This Palace hath a very fair situation, and is well divided for Rooms, for that in each corner thereof might be lodged a strong company of men: in the middle there are six great Chambers, besides the Rooms under the ground, together with some secret Chambers. The form of this fair building in the ground, as also, the building that standeth upright, is here set down in the next leaf: the measure thereof I set not down unto you, only, because I will show you the invention: for a workman may imagine of what greatness he will have a Chamber, being all of one greatness; and then from those Chambers he may imagine all the measures of the rest of the building: which building the Noble King used for his pleasure, because men accustomed to dwell in the Country in the Summer time. The Court of this Palace is compassed with double Galleries: and in the middlemost place, marked E. men go down a pair of Stairs into a fair eating place, in which place, the King and his Lords used to banquet and eat at pleasure; in which place he caused certain secret places to be opened, whereby in the twinkling of an eye, the place was full of water, so that they sat all in water: likewise at this King's pleasure, all the water voided out of the room again, but there wanted no shifts of clothes to put on, nor yet rich and costly beds for them to lie in, that would rest themselves. O voluptuous Italians, how are you impoverished by your discords! I will not speak of the most beautiful Gardens, filled with all kind of flowers, with divers compartments of the Orchards and Trees of all kind of Fruits, with great abundance of Fishponds and Fishes, of places and cages of divers Birds both great and small, of fair stables, filled with all sorts of Horses; and of many other fair things, which I will not speak of, for that Marcus Antonius Michael, a Gentleman of that Town, very learned in Architecture, hath seen it, and hath written of it at large in a Latin Epistle, which he sent to a friend of his. But to turn again to the parts of the said Palace, which is right four square, it is within, Galleried round about, one above the other: in the four Corners, within the thickness of the walls, stand the winding stairs to go up into the building. The four Galleries without, marked B. are not there, but for the commodity and beautifying of the house, they would stand well there. IN this Figure hereunder, I have showed the Orthography both within and without: the part marked A. showeth the part without: the part marked B. representeth the Galleries within: the part C. showeth the ruins within. I have not set down the covering or roof of this house: for according to my opinion, I would have plastered such a building, that it might only be used for a walking place, to behold the country about. architectural drawing The ground of the Poggio Real of Naples. COnsidering the fair Building of Poggio Real, I have thought good to set down such an other here in this place; but in other form for appertements, and peradventure with more ease, for that the places are all of one greatness, which is not so good a form: but it is necessary that the first should be greater than the second. In this place I make you no place for lights within, for that it is a place in the country, being not cumbered on the sides; it hath light enough on all the four corners: but some men may say, that the Hall with the four Chambers, because they have no light but through the galleries, are dark, for it is no perfect cover: to which I answer, that the house being made to be used in the time of great heat, having no place in the middle, the Hall and the Chambers will always be cold, by reason the Sun cannot come unto them. These places will be very pleasant at none time, for that the said places have not so great lights as the other dwellings; yet have they so much light as they need: such like may be seen in Bolonia, which are made in this manner with Galleries, and daily inhabited. This Building is so dispused, that the corner places being of great thickness, the rest shall be strong enough, yea, although the walls had no great thickness, in regard they are all counterforts one to the other, yet shall they be of sufficient strength. I will not speak of the measures, for that this being proportioned, the skilful workman may imagine (according to his pleasure that caused it to be built) first the greatness of the room, then divide it into so many feet or other measures, thereby to measure all the rest of the building, as the situation of the place may bear it. Then this building, above all things, shall be placed, that the Sun may rise upon one of the corners, and so shine upon all the sides thereof: for if it stands with one side to the East, and the other to the West, than it will follow, that the North side shall never enjoy the Sunshine upon it, which were rheumatic and un wholesome. architectural drawing MEn may build in divers and sundry sorts upon the ground aforesaid: but for that this is a place of pleasure, I thought good, for the braveness thereof, to make it after the Corinthia manner. I will not trouble myself to speak of the measures nor heights; for in my fourth Book, in the Order of Corinthia, O 2. you shall find a Treatise, which, together with the judgement of the wise workman, will serve to set down this measure. And, for that in this Fancy there is no shortening at all, whereby you may know the Galleries, the flat and closed places each from other; therefore I will set down the two highest sides at each end: you must conceive it to have flat Pillars from beneath upwards; that part between both, which is lower, you must suppose hath two Galleries, one above the other, the Columns whereof would be round: the same is to be understood to be both behind, and on both sides. Men may also make above the Galleries a Terrace or Pavement, to defend the rain, the Gallery being made with a Leane-to, or Rail, out of the Cornices of the first order of the Figures aforesaid: and so also the Hall in the middle, together with the 4. Chambers of the second story, would have more light. For 2. causes I have made the small windows above the great, in the first story. The 1. is, if you will make the windows so low, that a man sitting, may easily see out of them, than (if you should make the windows no higher than the door) there would be too much space between the windows and the roof of the house, which would greatly darken the house: and otherwise the windows bring much more light into the Hall. The 2. is, that the Chambers by the Hall need not be of such height, but you may make hanging Chambers therein, whereto those windows will serve. I might speak of many other things, which I referce to the judgement of the workman. architectural drawing AT first, I was not minded to set this ground, nor yet the building of the 100 Columns, placed in M. 1. in this Book; for that they are things which the Author hath made by reports and hearsay, which I esteem not worthy to be set by things that are counterfeited and measured: yet that it should not be said, that I have published this book lame and unperfect, and not full as the Author made it, which might have given slanderous and envious persons occasion to scorn and scandalise this Book; therefore I have not only set this here, but also added this other Figure following by him set down in the leaf R. 3. And now to turn to this ground, our Author saith, that in jerusalem (as it was told him) on a hill, there is a building cut out of a reasonable greatness, in manner hereunder set down: and for that by means of the wideness of the middlemost part, the roof should not fall in, therefore the two Pilasters were left in the middle, and withal, two of a middle sort by them, with two less also before, underholding the roof, which altogether were cut out of the rock with instruments. In the first entry are four little Chapels. In the middle there are 18. and behind there stand 2. and a door locked, which showeth, that men went further: the greatest Chapel is wide the length of a man, whereby you may judge the greatness of the building. This place hath no light, nor can be perceived that it had any light. The Chapels are taken out, as the Figures A. and B. architectural drawing FOr that our Author before, speaketh of an Arch triumphant in Verona, called Dei Bursari, which he termeth to be barbarous and confused of parts and members, as (according to the writing of vitrvuius of good Antiquities) in effect it is: Nevertheless, for that johannes Carottus (which our Author allegeth) hath set it down for an ornament of Verona, in his book of Antiquities, much better, and with more deliberation than all the rest of the Figures by him made (for in truth, the rest are very gross: Therefore I thought it good to show it here to the curious Reader that he may see and also note (by vitrvuius rule aforesaid) what is good or ill in it, which may peradventure please some of this country better than another, because they use to seek for much work in their Architecture. And for that this Figure was too great in form, therefore I have here set down but the half; and you must conceive the other side, that is, an Arch with windows and other ornaments, like these: the foot of Verona, wherewith this building is measured, standeth here on the sides in half proportion: of which foot, one small standeth in the Pedestal, under the great Column; whereby the measure is to be conceited: for the said Carottus gives no other warrant of all his Figures (but only of the Figure of the wonderful spectacle, as he termeth it) with the Theatre above it: but above all, with the doings up to the hill, where a Temple of janus standeth, as our Author showeth afterward in Folio l. 3. in this present Book. Of this building, Carottus saith more than of all the rest: and for that I may satisfy the Reader at full, of all that is said in this Book, therefore I have caused this figure to be printed alone, because it was too great, and (in my opinion) too gross, to set hereby. Vale. architectural drawing The end of the third Book. Translated out of Italian into Dutch, and out of Dutch into English, at the charges of Robert Peake: and are to be sold at his house near Holborn Conduit, next to the Sun Tavern. 1611. The fourth Book. Rules for Masontry, or Building with Stone or Brick, made after the five manners or orders of Building, viz. Thuscana, Dorica, jonica, Corinthia and Composita: and thereunto are added examples of Antiquities; which, for the most part, agree with the instructions of vitrvuius: with some Figures more, added unto them, which were not in the first, and some devices of the Author, which are corrected, and hereunto annexed. Translated out of Italian into Dutch, and out of Dutch into English. LONDON Printed for Robert Peake, and are to be sold at his shop near Holborn conduit, next to the Sun Tavern. ANNO DOM. 1611. To the well-willers of Architecture. vitrvuius saith, that such as have built without learning or instruction (although workmen) could never make any famous or commendable pieces of work: no more can others, being no workmen, such as have followed the letter or writing only, and made no proof: of which, some have presumed to father their doings upon vitrvuius: yet in divers places of their writings, which are found, they could not close up their rules orderly, but have left many things doubtful, and (more) have esteemed that to be good and commendable, which in work is not to be endured. The cause of this error, is, that the last Book of the said vitrvuius, wherein the Figures are, was lost: whereby men might have known and sound out his meanings: so that hereby it appeareth, that some Antiquities have been very bare in their works, and especially, in their Orders of Dorica, because vitrvuius nameth no Dorica Bases: but in stead thereof, speaketh of an Attica. Now it may be, regarding that he there speaketh not of any Order of Attica, therefore they durst not make any Dorica Bases or Columns: on the contrary, others possibly contemning the darkness of the writer, (or for want of knowledge) have so far exceeded their Author in many things, that they have not only forsaken and left the examples and reasons of good Antiquities, but also (more than that) have made their works unseemly, and ridiculous to men's eyes, as may be seen in divers ancient works: whereby, gentle Reader, many workmen, well seen in both, have been cumbered therein, and especially in this our time. Bramant of Castle Durant, Balthasar of Scienne, and many others, for that (not only by means of julius the 2. Pope, but) also by others good Architecture was bettered in their times: who, after long disputation and searching of many, aswell Authors and Commentaries, together with the examples of good Antiquities, have with authority (to make an end of all doubts) not only added this Spira Attica, of the Dorica, but also as many orders as now are used, beginning at the Tuscan, as the grossest and slenderest of all the rest, and have reduced the same into a certain and common form, together with their ornaments and measures: which unless Sebastian Serlius, a workman and scholar of the said Balthasar, hath written, and set out in figures; so that, leaving the obscurities of vitrvuius, we may make an incorrigible work. And for that all those that love workmanship, understand not the Italians, therefore (in my opinion) I have translated the most certain and best rules out of Italian into Dutch, and out of Dutch into English; only the names of all Procels, Bases, Capitals, Cornices, etc. which are not named in Dutch nor English, for that Bastian, by vitrvuius terms, useth the common and modern Italian words, which by some should be as hardly understood as the Latin. But I would commend him, that seeing we take upon us to follow vitrvuius writings, that we give him the name of vitrvuius, that the learned might be understood of the workman, and the workman also understood of the learned. And for that the workman might the better read it, I have printed it in our ordinary Dutch letter. And although this fourth Book of seven was first set out, because it is the best, yet the other also are no less fit and convenient to further Architecture or Art of Building, as in the ensuing Epistle you shall see. Sebastian Serlius to the Reader. Loving and friendly Reader, after I had collected certain rules of Architecture, thinking that not only▪ those of deep conceit would understand them, but that also each indifferent man of wit might conceive them, as he is more or less addicted to such an Art; which rules are divided into seven Books, as hereunder shall be set down: but for that this Art requireth it, therefore I thought it requisite to begin with this fourth Book, and to set it out, first, which is more to the purpose, and more necessary than the rest, for the knowledge of many sorts of Building and ornaments thereof, to the end that every one may have some knowledge of this Art, the which is no less pleasing to the mind of those workmen that think upon things that are to make, than also to men's eyes when they are made. Which Art, by the wisdom of the famous and excellent spirits that are now in the world, doth flourish in these days, as the Latin tongue did in the time of julius Caesar, and Cicero. Then with glad and joyful heart receive at least my good will, (though the effect ensueth not) which, in truth, I have (to pleasure and satisfy your minds) in this respect. In the first Book, I will entreat of the beginning of Geometry, and of divers cuttings through of lines, in such sort, that the workman may yield reason for that he worketh. In the second Book, I will show in Figure, and by reason, as much of Perspective Art, that if the workman will, he may declare his conceit or purpose, by reasons and figure. In the third Book, workmen shall see the ichnography, that is, the ground: the Orthography, that is, the raising up of a Building before. The scenography or Sciographie, that is, the insight, by shortening of the most part of the Buildings that are in Rome, Italy, etc. diligently measured, and set by them in writing, with the places where they are, and their names. In the fourth, which is this, I will speak of five manner of Buildings, and of their ornaments, as Thusscana, Dorica, jonica, Corinthia and Composita, that is to say, mingled. And by these, the whole Art is learned. In the fift, I will speak of divers kinds of Temples, set down in divers forms, that is, round, foursquare, six-cornerd, eyght-cornerd, Ouall-wise, and crosswise, with their ground, heights and shortening, diligently measured. In the sixth, I will speak of all dwellings, which, at this day, may be used, beginning at the meanest house or cotrage, and so from degree to degree, proceeding to the most rich, fair and princely Palaces, as well in Country villages, as in great Cities or Towns. In the seventh and last, shall be set down many accidents, which may happen to workmen in divers places, strange manner of situation, repairing of decayed houses, and how we should help ourselves with pieces of other buildings, with such things as are to be used, and at other times have stood in work. Now then, to proceed readily herein, I will begin with the greatest and rustic order of Building, that is, the Tuscan, being the plainest, rudest, and strongest, and of least grace and seemliness. The Author to the Reader. THe ancient workmen in times past (as Vitruvius affirmeth) dedicated their works and Buildings to the gods, according to their natures, strength or weakness; so is the form called Dorica ascribed to the gods, jupiter, Mars, and valiant Hercules, taking such forms from strong men. The form called jonica, is ascribed to the goddess Diana, Apollo and Bacchus, as of the nature of Matrons, that is, of wise & sensible women, which are both tender and strong: for Diana, by her femurine nature is tender, but by using to hunt, she is strong: Apollo, by reason of his beauty, is tender; but being a man, he is strong: the like of Bacchus. But the Corinthia is taken of ma●ds, and they ascribe all to the goddess Vesta, and her chaste maids: yet at this time I think it good to proceed in another sort, nothing differing from the ancients afore said. My meaning is, to follow the manner and customs of the Christians, that I (as far as I may) will ascribe holy Buildings to God and to his Saints: and profane buildings, as well public as privote, I will ascribe to men according to their professions. So say I then, that the Tuscan manner (after my opinion) is fit for strengths, for Gates of Cities, Towns and Castles, places for treasure, munition and Artillery to keep them in▪ for prisons, havens of the Sea, and such like things, serving for the wars. It is true, that rustic and playns work, that is, such Buildings as are made of rough stones, and others that are made somewhat smother, according to the pleasure which the Stonecutters take therein, are sometimes mixed with Dorica, and sometimes with Dorica and Corinthia. Nevertheless, for that the Tuscan order is the roughest set forth, far more than the other are, I am of opinion, that the Country Building is more like unto the Tuscan, than any of the rest: which you may plainly see to have been observed by the Tuscans, as well in their chief Cities and Towns of Florence, as without in their Country Villages, in so many rich and fair Buildings, made after the rustical manner, as may be seen in all Christendom, mixed with such a slight manner of work, as the workman thought good. Therefore I conclude, that such Buildings are more agreeable to Tuscan order, than any other. Therefore, altering somewhat from Antiquities, and some others of ours, I will in divers sorts show of such works, viz. how to make Gates of Cities, Towns, or Forts; as also, in public and private places, Houses, Galleries, Windows, Niches or seats, hollowed in work, Bridges, Watercourses, and such like several Ornaments, as may happen into a workman's hands to do. Men may also (not differing from the ancient rules) mix this rustical manner with the Dorica, and also with jonica; and sometimes with Corinthia, at the pleasure of those that se●ke to please their own fantasies, which a man may affirm to be more for pleasure then profit: therefore the workman ought to proceed with good advice, especially in public buildings, wherein comeliness is commendable. In the beginning of this Book, I observed the Comedians order, who (when they intent to play any Comedy) first send out a Prologue, who in few words giveth the audience to understand what they intent to entreat of, in their Comedy. So I, meaning in this Book to entreat of five manner of Buildings, viz. Tuscan, Dorica, jonica, Corinthia and Composita, have thought good, that in the beginning thereof, men should see the Figures of all the several kinds whereof I purpose to entreat of. And although that in the Columns and their ornaments, all the measures and proportions are not set down, but only the principal, by general rules; yet will I not fail, as occasion shall serve, to set them down in particularities: but this is done, as I said, to show in general rules for an Introduction only, the better to be understood of every workman, and in the beginning will observe vitrvuius order and terms, marked on the sides with A. B. C. that every workman may name them according to his country speech. And first, the Stilo bato, or Tuscan Pedestal, I mean the flat, without Crown or Base, shall be a perfect foursquare. The perfect Dorica shall be as much more as the drawing of a live from corner to corner, of the perfect foursquare, placing it upright. The Pedestal jonica, shall be of one foursquare and an half: the Pedestal Corinthia, shall be a foursquare and two third parts thereof. The Pedestal Composita shall be of two perfect foursquares. Also, wonder not, that the Chapter next ensuing is the fist, which others would esteem the first; for that the first Book doth contayn● a Chapter of Geometry: the second of Perspective, shall be of two Chapters: the third of Antiquities, shall be of one Chapter, which maketh four Chapters: so that, this considered, the next shall be the fist. architectural drawing Of the order and manner of Tuscan works, and the Ornaments thereof. The fist Chapter. IN vitrvuius fourth Book and seventh Chapter, we find, that a man should make a Tuscan Column of seven parts high, with Capital and Base, which measure should be taken from the thickness of the Column below. The height of the Bases or Basement, should be the half of the thickness of the Column, which shall be divided into two equal parts, whereof one shall be the Plinthus, the other divided in three, two parts thereof shall be the Thorus, the third the Circle, The Projecture you shall make in this manner: First, make a Circle as great as the Column is thick below, placing it 〈◊〉 a foursquare: without the foursquare drew another Circle, close about the corners of the foursquare, which shall be the Projecture. And although all other Bases have their Plinthus foursquare, yet this of Thus, can must beround, as vitrvuius teacheth. The height of the Capital must be like the Base: that divide into three parts: one part shall be the Abacus: the other shall bedevided in four parts, three for the Echino, the fourth for the Annulo or Cintho, which may be called a Girdle, Band, or List in English. The third part resting; shall be for the Hypotrachalium, or freeze. The Astragal with the Cincta, is half the freeze; but that divided in three, two shall be for the Round, the third his List, the hearing out must be as the height: and although this List is there named with the Capital, yet it is a part of the Column, which Column ought to be made thinner above a fourth part; also the Capital in the uppermost part shall not be greater than the Column below. The manner to lessen the Column is thus: Let the body of the Column be divided in three parts: the third part below shall hang at the lead, and the other two third parts you shall divide into as many equal parts as you will: then at the third part of the column draw half a Circle, and from the lives that hang there, from the outtermost corners of the Capital inwards, measure the eight part, which in all shall be a fourth part: from under the corner (where the Column is thinnest) you shall draw two lines by a lead, to the half circle, and those parts of the circle outwards, you shall set below, in as many even parts as the two third parts of the Column holdeth: which being done on both sides, than there shall be as many Parallels or cross lines, drawn from the one point of the half circle to the other, each line being marked with number, from the top downwards, and the like upon the lines that divide the Columns; which numbers being orderly placed, than it is certain, that the first line shall agree with the thinnest part of the Column above: after, take the second line of the half circle, and set it upon the second line of the Column, than the third upon the third, and the fourth upon the fourth: when that is done, there must be a line drawn from the Base of the half circle, to the line 4. and from the line 4. to the line 3. and from the line 3. to the line 2. and from the line 2. to the line 1. also a line: and so from the second side of the column: and although that the lines in themselves are right, yet they make a crooked line, which the judicious workman knoweth how to regeire and moderate at his will on all sides in the gathering of the lines. And although this rule is made for the Tuscan Column, which is lessened above a fourth part, yet it may serve for all sorts of Columns; and the more the dividing of the Columns and the half Circle are in number, so much the lessening will dimynish. architectural drawing A. Abacus or tailloer. B. Echinus. C. Annulus or Cincta. D. Hipotrachelium or Freeze. E. Astrogalos. F. Annulus or Cincta. G. The thickness of the Columns above. H. The thickness of the Column below. I. Cincta. K. Torus. L. Plinthus. M. Projecture or bearing ou● of the Base. N. The thickness of the Columns below. O. The thickness of the Columns above. THe Column being finished with the Capital and Base, than the Architrave, Freeze and Cornice are to be set thereon. That Episiolum or Architrave must be as high as the Capitals, and the Tenia or List, the sixth part thereof. That Sophorus or Freeze of the some height. The Cornice also, with her members, must be the like: and the same being divided in four parts, one part shall be for the Cimatie, two parts for the Corona, and the last for the Fancy under the same. The Projecture or bearing out of them all, must be at least so much as their height. And under in the Corona you may cut channels or hollow, great or small, as the work is, at the pleasure of the workman. But, for that this work is gross, and plain of members, a man (in my opinion) may take upon him to add some parts unto it, which may seem to belong unto the same; which must be done when men desire to moke the work show batter, as you see in this hereunder set down. I commend also those crowns that have most Projecture or bearing out, without their foursquares; especially, when the stones are fit to bear it: Which projectures are both commodious, and beautify the work: commodious in this, that the walking place upon them will be broader, and it will also keep the work from water: beautifying in this, that when men behold the work with convenient distance from it, it will show the greater; and where the stones be scanted, by reason of their smallness, the Projecture will supply that want, by showing greater. architectural drawing Cimatiws, Corond, Cimatiws, Zophorus, Fenid, Epistilius architectural drawing ALthough I said before, that the Tuscan Column (according to vitrvuius rule) ought to be of seven Diameters high, with Bases and Capitals, which proportion is approved good; nevertheless, for that the first Columns (as you have heard in my small Book) were made in six parts, taking the measure from man's feet, which is the sixth part of the same: And also, for that the Columns called Dorica, are now of seven parts, the ancient workmen having another part unto them, to heighten them, therefore, in my opinion, by the same authority, for that the Tuscan Column is stronger than the other, I judge, it might be made lower than the Dorica; and, by my advice, be made but of six parts, with Bases and Capitals, this you may hold for a common rule. And, for that neither vitrvuius, nor any other workman that I have seen, have set down no rule for the Stilobato or Pedestal, and in Antiquities, as far as I can see, were by workmen made, as necessity required; whether it were for raising of Columns, or to a going up with stairs, to Galleries, or by any other occasions: Therefore, not being compelled thereunto, I am of opinion, that every workman should to each hind of Column set a convenient and seemly Pedestal, as reason requireth, and as he seeth cause. It is certain and well known, that the Pedestal at least must be foursquare, that is, the body thereof, without Base or Cime, therefore the Tuscan Column being the best of all, the Pedestal thereof aught to be a perfect foursquare: the forepart thereof aught to be as broad as the Plinthus of the Base of the Column: the height should be divided into four parts, one part whereof shall be set under, for the Plinthus, and one for the Cime, which members shall be uncut: so then, if the Column be of six parts, the Stil●bato or Pedestal shall be of six parts also in itself, according to the proportion of the Column. I Have promised in this Book, only to entreat of the ornaments and different manner of Buildings: therefore I will not at this time, show how men should place the Gates of Towns and Forts, with their sides, places to lay out Cannons, with other circumstances of defence, leaving such care to the workmen belonging to wars, according to the situation and accidents of time and place. But I will show you, that when the Gates of the City, Town or Fortress are placed, how men, in my opinion, should set them forth, setting down some Figures thereof. You must understand, that each Gate or Port is to be after the Italian manner, and aught, of necessity, to have a Postern Gate, which are called Porten van Secourse, which are the small Ports on the sides. But to observe the Semetry, that is, a due measure, they ought to be made in this manner. The measure of the Gate is thus, as much as the breadth of the light shall be, the half whereof shall serve for the height. The breadth of the light is divided into six parts, whereof one part shall be for the breadth of the Pilasters on either side of the Gate: the flat of the Pillars thereof shall be as broad as the third part of the light, and the height, with Capitals and Bases. The height of the Bases shall be a third part of the breadth of the Pillars, and so much also the Capitals, observing the rule set down in the first Column. That Epistolum, Zophorus, and Corona shall be altogether of such height, as the breadth of the Pillars, by the rule aforesaid. Between the one Pillar and the other, the Posterns or small Gates shall be, and the wideness shall be as broad as the flat Pillars. The height shall be twice as much as the breadth: the Pilasters shall be the third part of the said Postern. The elevation or raising up above the gate, shall be at the workman's will. But the proportion of the Fastigies or Frontispicie (which is called with us, the spanning, cover, or roof) I will show in two sorts in the order of Dorica. architectural drawing A Pilaster. ANd for that he workman ought to be copious of inventions, to please himself and others, the Gate of the City, Town, or Fortress, may be set out in this manner, observing this rule: that so broad as the going through of the Gate is, the height shall be as much, and half as much again, that is, 2. parts in breadth, and 3. parts in height. The Pilasters shall be the 8. part of the wideness of the Gate: and the Columns stand for the round Columns and flat Pillars, bring the fourth part of the Gate. But for that the Column is a third part set into the wall, and is bound fast with other stones, more for show then bearing, it is to be made 7. parts high, and also of 8. at the workman's will, which will set forth the Gate with more show. The wideness of the Postern shallbe the half of the middle Gate, the Pilasters also (as the greater) that is the half. The height thereof shallbe such as the Fancy that beareth the Arch, and it shallbe the Supercilie, or Architrave thereof, as we call it: and if you find not a stone all of one piece fit for it, than you shall make the Cunei or Pennants as you see them here in the Figure. And thus the proportion of the Postern shall be, that is, 3. parts in breadth, and 5. of the like parts in height. The Cunei or Pennants of the Arch, shall be 15. In the Bases, Capitals, Architrave, Freeze, and Cornice, you must observe the rule aforesaid, and the elevation in the middle shall be at the workman's will, as I said of the other: and all such works, the groser they be made, and boast out, the stronger they are for fortification. architectural drawing A Man may make Gates of Towns and Forts in another manner, both plainer and stronger, following the order hereunder set down: and the proportion or the wideness of the Gate shall be as much as the height is under the Fancy, which beareth up the roof: and from the Fancy upwards, as much higher as the half Circle; yet always at the workman's will to be increased or diminished, and especially, as he is by accident restrained. The two Posterns are to be made, as I have before showed: Their wideness must be the half of the middle Gate, and so much of the wall shall be left between the great Gate and the two small: which height shall be doubled with the breadth, and the Fancy, which upholdeth the Arch, shall also hold up the Cunei of the small Gates. Yet must we take such order, that the Fancy shooting through, should be the Supercilie, which, as I said, may be altered at the will of the workman, without altering them from the Figure. architectural drawing fascia divers kinds of ornaments, many times, put the workman in mind of things which he peradventure would not have thought of: Therefore the Figure ensuing will serve the workman to good end in building, as occasion shall serve: as in the wall of a fortress, where the wall being of a good thickness, this work within it would first serve for a place to stand dry in, making the walking place above broader; and easily for defence in time of war: and for more security, it might within be filled up with earth. It might also be the workman's chance, to build about an Hill: and to free himself thereof from the waters, that always with the rain fall from it, & make the earth to ●●nke, it is therefore necessary for the workman to set the like buildings against such an Hill, whereby he shall be assured from such suspicion, and it will also be a great strengthening to the work. The like invention Raphael Durbin used at Monte Mario, a little above Rome, in the Vineyard of Clement the seventh, by him begun in the time of the Cardinal jeronimi Genga: and without Pisera, for the defence of water against a Hill, was made the like. architectural drawing ANcient workmen, in this kind of rustical work, have used many and several kinds of Buildings, as you may see hereunder, wherewith a workman may help himself in many things, as necessity requireth: the measure shall be, that the light shall be a perfect foursquare, and the wall between both, shall be a fourth part less. That Supercilie or Architrave, shall have the fourth part of the light, and shall be made of Pennants which run upon the Centre in unequal numbers: and above the Supercilie shall be laid an half Circle, divided in nine equal parts, the lines being also drawn upon the Centre. The Cunei or Arch-stone being form, and the three pieces laid between it, with the Fancy above it, will in this sort be an everlasting work. But for that the Cunei of the Architrave must lie fast, it shall be needful to fill the half Circle with Bricks. And for the more beautifying, you may use Roots, as the ancients used to do, as you may, at this day, see in Rome at S. Cosmians and Damian; which, although the stones be old, yet it is very strong. architectural drawing AS in the beginning I said, the workman may use this Gate in divers places, but not for Fortresses, for the passage through serves not for Artillery, or other great preparation for wars; nevertheless, this part may well serve for the outtermost Port or Gate: The proportion shall be, that the light or opening shall be twice so high as the breadth. The Arch-stones of the half Circle shall be nine; drawing upon the Centre of the Circles. The Fancy under the Arch shall be the seventh part of the Gates; from the Fancy downwards to the Pavement, shall be divided into seven parts and an half, and shall be six stones broad: three whereof, shall be each a part and an half, the other three of one part: and thus the seven parts and an half are divided. The height of the middlemost Arch-stone, or the closing stone, which you will, shall be half as broad as the Gate. The Fancy above the Arch-stone, must be as broad as a foot, that is, the thinnest part of the said Stone: but the middlemost Arch-stone, and also the foot under, shall be a fourth part broad. architectural drawing THe proportion of this Gate, viz. the opening is twice as high as broad: the Pilaster and the Arch are a fift part of the breadth of the light: the great Pillar shall be once so broad again, and the height of six bredths. The height of the Base shall be a fourth part, and the Capital a third part, and so great the Capital or impost under the Arch shall be. The Fancy in the place of the Architrave shall be as high as the Capitals: the Freeze also as much, and also the Cornice, following the rule aforesaid: the rest may be found with the Compass. architectural drawing a impost. ALthough the Gate hereunder set down is much different from the fashion of the rest, yet, for that it is Tuscan work, and ancient, I thought good to set it here, the which, in former time, was in Rome, En Capo de la militia Traiana, although by the decays thereof, now not to be seen: the two Niches or seats that stand by it on the sides, are out of their places, with which the ingenious workman may serve his turn withal, if he place them where they should stand. The proportion of them (by the rule aforesaid), may easily be found: touching the gate itself, I will set down no measure, for it is very easy to be found. architectural drawing THis manner of Gate is covered by the sixth part of the Circle, and is very strong work, yet the Peunants will not agree with other Buildings of Stone: therefore it a man will make such work, it would stand well in a wall of Brick. Touching the proportion, I will not speak, for that it is easy with a Compass to find the measure thereof. But the Niches or seats, placed by it to fill up the place, the workman may, at his pleasure, set where he thinketh best, and they may not only serve for Niches, but also for windows: if they should be used for Niches to place Images therein, it is necessary, that the height should exceed the double proportion of the breadth or somewhat more, that they may be more fit and correspondent for Images to stand in, which is always referred to the workman. architectural drawing IN times past, the Romans used to mingle Dorica, jonica, and sometime Corinthia, among their rustical buildings; but it is no error, if a man mix one of them in a piece of rude work, showing in the same, nature and Art, for that the Columns mixed with rough stones, as also the Architrave and Freeze, being corrupted by the Pennants, show the work of nature: but the Capitals, and part of the Columns, as also the Cornice, with the Frontispicie or Gevell, show works of Art. Which mixture, in my conceit, is a good sight, and in itself showeth good strength, therefore sitter for a Fortress then for any other Building: nevertheless, in what place soever the rustical work is placed, it will not do amiss. In such mixtures julius Romanus took more delight, than any other man, as Rome witnesseth the same in sundry places, as also Mantua, and without Rome, the fair Palace called vulgariter El. Te. Which, in truth, is an example in these days, both of good Architecture and painting. The proportion of this Gat● is to be made thus: the wideness must be of double proportion, that is, twice so broad as high, just under the Arch. The Pilaster shall be the seventh part of the wideness, and the Columns twice as thick as the Pilasters: the height with the Capital shall be eight par●s. The Capital, freeze, Achitrave and Cornice, shall be made as i● said before: also, the Fastigium, Frontispicium or the Gevell shall also be showed in Dorica order. The half Circle of the Arch, shall be divided in eleven parts, for the stones of the Arch; but the closing-stone shall be greater: the which stone the workman may, at his will, hang somewhat out. The Fancy which do●th uphold the Arch, shall be half the thickness of the Columns: from thence downwards, you shall divide it into nine parts, whereof two parts shall be for the neither part of the Columns, the other seven divided in●o equal parts, shall be the stones which bind the Columns, drawing cross over them. And the rudelyer this work● is bosse● out (yet artificially) it would, in that case, show more workemanlike, especially the stones that bind the Columns and also the Pennants. architectural drawing IT is not sufficient that the work should be strong, but it must also be made artificially, to please men's sight. Wherefore this building of stone is not only very strong, but also ingenious and pleasing: with which invention, the workman may serve his turn in many things. The proportion shall be, that the openness in the breadth, shall be once, and half as much as in height: the half Circle is divided into 9 parts and an half, because the middlemost stone is one fourth part broader than the rest. The height of the closing stone, is half the openness of the light. The flat Fancy upholding the Arch, is the sixth part of the light: from the Fancy downwards are 7. parts made: the Fancy above the Pennants, shallbe as broad as the closing stone under it is, which may be made hanging out underneath the eight part of his breadth. Touching the binding of the other stones with the Pennants, you see it plainly in the Figure. architectural drawing FOr that pleasure is sometimes turned into beautifying, and sometimes to ornaments surpassing necessity, to show ●rt, according to the wealth of the builder: This invention is made for pleasure, strength and beauty: for pleasure, in regard of the openness thereof: strength, for that betwixt both, there is good store of wall, well bound together: and for beauty, because it is rich of ornaments; with which invention a workman may help himself much, in divers things, as I have said. The proportion thereof shall be, that the closed or massy work shall be as broad as the opening: which opening shallbe of twice so much height. The Pilasters shall be the eight part of the wideness, and the Columns the fourth part. The intercolumnes, that is, the wideness between the two Columns, shall be the thickness of one Column. The height of the Columns, with Bases and Capitals, shall be of eight parts. In the Architrave, Freeze, Cornice, Base and Capital, the rule aforesaid shallbe observed. The Pennants and other bindings are seen in the Figure: and although the Columns surpass the rule two parts; yet, because they stand near together, and are made fast in the work, more for beauty than strength, it may pass well enough, by the authority of ancient workmen. architectural drawing IT is an excellent thing in a workman to be full of invention, in regard of the diversity of accidents which belong unto building: for sometimes a man shall find store of Columns, but so low or short, that they serve not for that purpose, for which men would use them unto, unless the workman devise some means to help them. Therefore, if the Column be not so high as it will reach to the Fancy, that lieth like the roof of this Gallery, then with those manner of Pennants a man may raise it higher, if on both sides it hath good strong shoulders: touching the weight above, it will be very chargeable, therefore to make it without binding of iron bars, it would not be sure: but it is less to be feared, if the Gallery were not so broad, but that it might be covered with stones that were all of one piece, or else to make strong beams therein. The proportion hereof shall be, that the wideness of the Arches shallbe the thickness of 4. Columns, and the height twice as much. The least space between the Columns, shall be of the thickness of 3. Columns, and the height, of the thickness of 6. Columns, and each wideness shall be once again as high as broad. The Columns, if they be overburdened with weight, should be of the measure before set down; the rest are clearly to be seen in the Figure: but touching Bases and Capitals, I have said sufficient at the first, in the treaty of the first Column. architectural drawing AS this Arch is very strong, considering the concordence of the binding, so also it is ingenious and pleasing to view. Which invention shall not only serve for Galleries of such work, but for Bridges over Rivets; Conduits to carry water from one Hill up to another, and so to a Conduit. The proportion is, that the wideness from one Pilaster to another, and also the height, shall be to the Fancy that beareth the Arch. The Fancy shall be the seventh part of that wideness or height: from the Fancy downwards is divided into six parts: the half Circle into nine parts and a quarter; for the closing stone is the fourth part more than the other: the rest may be found with the Compass. architectural drawing IT may sometimes fall out, that a workman should need many holes in great walls, for the building of his House, whereunto this work belongeth, to carry the weight for strengthening thereof: and were there not so much need of light, some of them might be filled up with Brick. The proportion shall be this; that the space of the lights and the massy wall, shall be both of like breadth, and twice so high as broad, although all such things are to be increased and diminished at the workman's pleasure. The like work is yet to be seen in Rome, being not very old made, but such as are in these days made, and stronger. The example whereof is at S. Cosmas and Damianus. architectural drawing IT is said, that sight preserves memory, whereby oftentimes that is made, which workmen would not have made, it it had not been made before in some other place, and so, at some times, you shall see in a Court or elsewhere a side of a Wall, that shall have neither Door nor Windows in it, and yet it is well set out in this rude manner and boo●ish kind of work: by which invention, a workman may help himself: In which places a workman may set Images, or other relics of Antiquity. Touching the measures and proportion thereof, I will not set it down, for I leave it to the workman for to heighten or make broad, as occasion serveth. architectural drawing FOr that the most part of the Supercilies' or Architraves, as we call them, that are set over Gates or other things, by reason of the wideness (if the stones be not of a good bigness) may yield to the weight, whereby in time, they break and decay, as you may see in many places: Therefore you shall, although it be in great distance (so that the shoulders on the sides be strong) make such work of pieces, as hereunder are in divers ways set down: which, without doubt, will be very strong: and the heavier the weight is above, the longer it will last. architectural drawing ALthough that in vitrvuius writings there is no mention made in what manner men in ancient times made places in Palaces and common houses to make fire in, yet men find in old buildings some show of Chimneys, to give a way to void smoke, neither can I find by any workman the truth of any such matters: nevertheless, for that men many years since have used, not only to make fires in halls and Chambers, for their ease, but are also wont to make divers ornaments in, and over such places; and for that I intent in this Book to speak of all the Ornaments that a workman may have cause to use in building, therefore I will show some forms of Chimneys or fire places, after the Tuscan manner, as shallbe needful in such buildings: the one delicately made without the wall, the other rustical work, made within the wall. architectural drawing The first 〈◊〉 wor●es were made in this manner, that is, pieces of stone roughly hewn out, but the 〈…〉 were ●●it 〈◊〉 m●de. architectural drawing After, they divided the stones in more proportion and show, with flat lists, and for more beauty, and for ornaments sake made ●●●se crosses in them. Other workmen brought in wrought Diamonds, and made them decently in this manner. architectural drawing And in process of time, things altered: workmen for flat Diamonds, set flat ●ables, and r●●sed them somewhat h●●●●●r, as in this Figure is to be seen. architectural drawing Some other workmen used more differences and séemelyer work, nevertheless, all such works have their original from rustical work, which is yet commonly called, Works with points of Diamonds. architectural drawing Here endeth the manner of Tuscan work, and now followeth the order of Dorica. The manner of Dorica, and the Ornaments thereof. The sixth Chapter. THe Ancients (as we have heard) considering the state of their gods, ordained Dorica work, and dedicated the same to jupiter, Mars, and Hercules: but we build Temples, and dedicate them to Christ, Paul, Gregory, and such holy personages, that were not only professed Soldiers, but also valiantly and boldly lost their lives, and shed their blood for the faith of CHRIST. All such belong to Dorica, and not to their gods only, but to men of arms, and strong personages, being of quality more or less: for whom, if a workman make or build houses or palaces, they must be Dorica: and the nobler the man is for whom such work is done, the stronger and statelyer they ought to be; and the more effeminate that they are, the more slenderer and pleasanter the building shall be, as I will show when time serveth. But now we will come to the manner of the work. vitrvuius speaketh of this Dorica work, in his fourth Book and third Chapter: but touching Bases of Columns, he speaketh thereof in his third Book; although some are of opinion, that he speaketh & meaneth of the Bases of Corinthia, for that they have been much used on the Corinthia Columns, and jonica. And some also think, that Dorica Columns had no Bases, having respect to many ancient buildings; as the Theatre of Marcellus, one of the fairest works in Italy, being the middle downwards Dorica: which Columns had no Bases, the body of the Columns resting upon a step, without any other support. There is at Carcer Tulliano the signs of a Doricall Temple, the Columns whereof are without Bases. You may also see in Verona an Arch triumphant, of Dorica work, where the Columns are without Bases. Nevertheless, for that workmen have in former times made the Corinthia Bases in another manner, as I will show hereafter: Therefore I affirm, that the Bases Atticurga, which vitrvuius, in his third Book, so nameth, are the Dorica Bases: and this we see, Bramant hath observed in his Buildings which he made in Rome: which Bramant, being the light and Inventor of good and true Architecture, which from Antiquity to his time (being under Pope julius the second) had been hidden, we ought to believe. Then this Base of Dorica shall be the height of half the thickness of a Column: the Plinthus the third part of his height: of the rest there shallbe four parts made; one shall be for the Thorus above: the other three shall be set in 3. even parts: the one for the Thorus above, the second for the Trochile or Scotia: but the same being divided in seven parts, one part shall be the uppermost list, and another the undermost. The Projecture or bearing out of the Base, shall be of half the height, and so shall the Plinthus of each Fancy hold a thickness and a half of the Column. And if the Base standeth below our sight, the corner under the uppermost Thorus, (being of itself darkened) ought to be somewhat lower than the other. But if the Base standeth above our sight, the corner above the nethermost Thorus (also of itself darkened) shall be greater than the other. Thereto also the Scotia, darkened by the Thorus, in such case shallbe made more than the measure appointed. And in such cases the workman must be judicious and wary, as vitrvuius would have him to be learned in the Mathematical science, that doth study his Book. architectural drawing Torus superior, Supercilium, Scotia sive trochilus, astragali, Scotia Plinthus. architectural drawing Abacus, Cimatiws Olinthus, Echiws, Annuli. Hipotiacheliu, ANd for that vitrvuius hath divided this order of Dorica by models, making the Column of two models in thickness, and the height with Capitals and Bases of 14. Models; so then, the height of the Base is a Model: the body of the Column is 12. models: and the Capital one model, which is 14. models in all: The height of the Capital shall be divided in 3. parts, whereof one shall be for the Plinthus, or Abacus, wherein also the Cimatie is to be understood: the second, the Echino with the Annulo: the third, the Hypotrachilo or Freeze, which Hypotrachilo shall be in thickness the sixth part less than the Column below. The breadth of the Capital in the uppermost part shall be in each Fancy 2. Models and a sixth part and this is according to vitrvuius writing. Although I am of opinion, that this place is falsified touching the Projecture, which, in effect, is very lame, in respect of that we see in Antiquities; therefore, after this Capital, I will make another after my fantasy, with the particular measures thereof, better described, for that vitrvuius doth it too briefly. The Capital being divided into 3. parts▪ as I said before, I say also, that the Plinthus or Abacus should also be divided in 3. parts, one part for the Cimatie with her Rule, List, or Fillet: but the same thickness divided in 3. shall be the List, and the other two the Cimatie. The Echinus shall also be divided in 3. parts, and 2. third parts being for the Echinus, and the rest for the Annulo, which shall also be divided in 3. parts, giving each of them one. The Freeze shall be as the others. The Projecture of each part shallbe like the height: and so doing, it shall be made by more certain rules, better, and more easily for show. architectural drawing Upon the Capital you place the Epistilia or Architrave, the height whereof shall be one Model, and divided in 7. parts, one shall be the Tenia or List: the Guts or small Lists under the Tenia (which vitrvuius nameth Sub tenia) are in all, the sixth part of a model: which height being divided into 4. parts, the 3. parts shall be the Guts, and the other the List. The Guts shall be six in number, hanging under the Trigliphes'. The height of the Trigliphes' or Trigliffe shall be one Model and an half, and the breadth one Model: which breadth divided in 12. on either side there shall be one left for the half Channels or hollow, and of the 10. parts resting, 6. shall be for the flat of the Trigliphes', and 4. for the Channels or hollowing in the middle. And from the one Trigliph to the other, there shall be the space of a Model and a half: which space shall be right 4. square (by vitrvuius named, Methopha.) In which spaces, us you please, you may set, cut, or grave, Ox heads, with Dishes; and that, not without secret signification. For in ancient time, when the unbelieving folk sacrificed Oxen, they also used Dishes, & Platters thereunto, placing such things round about their Temples for ornaments. Upon the Trigliphs', you must place their Capitals: the height whereof shall be one sixth part of a Model. Above the Trigliphs' or their Capitals, the Corona must be placed with 2. Cimaties, the one above, the other below: and they both together divided into 5. parts, 3. for the Corona, and two for the Cimaties. But the height of them all, shallbe of half a Model: upon the Corona, you must place the Scima: the height whereof is half a Model, and to it you must add one eight part for the List thereof above. The Protecture of the Corona shall be of 3. parts: two be in one Model: in the ground of the Corona, right above the Trigliphes', the Guts were orderly set, as you see them in the Figure hanging beside. Also, between the Trigliphes' are cut Fulmines, that is, winged lightning: or you may leave the spacies bare. The Projecture or bearing out of the Scuna must be like the height thereof: even so, each part of the bearing out of the Corona shall have their Projecture like their height. But the more Projecture the Corona hath, if the stone may bear it, the more statelyer it showeth. This, we see, that the ancient Romans did observe, as shall be showed when time serveth, both in Figure and measure. architectural drawing Cinatius Cinatius Scimd, Corona, Capitellum fevia Gurte Episfilus architectural drawing IF you will strick or channel the Columns, you must make 20. in number, in manner hollowed, and from the one side to the other: in the spaces of the strikes there must a straight line be drawn, which shall be the side of one 4. square: which 4. square being made, placing the one foot of the Compass in the Centre, and with the other touching both the one and the other end of the line, drawing it about, it will make the right hollowing, which shall be the fourth part of a Circle, as it is héereunder showed. And if, for the raising up of Columns, or for other occasions, it were necessary to have the Stilobatum or Pedestal being not high enough, to be made higher, than the flat of the Stilobatum shall be like the Plintho of the Base of the Column: and the height, that is, the even or flat shallbe thus: of the breadth shall be made a perfect 4. square; and from the one corner to the other, a line drawn for Diagonus, and the length of the Diagonus shall be the height of the flat, as you may see it here beneath, which being divided into 5. parts, there shallbe one part set above for the Cimatie, with that belongeth thereunto, and one other part shallbe given to the Base; and so this Pedestal shallbe of 7. parts, as the Column is. And although this Projecture of the Capital is contrary to vitrvuius rule, because it is Perpendicular with the Plintho of the Base: yet for that I have seen the like in some Antiquities, and have also placed some of the like sort in pieces of work, I thought i● not amiss to set this here, for the use of ●●ose, that will make the like, although some of vitrvuius scholars, not having seen the like in any Antiquities, will contradict it: but if they mark the Abacus of the Corinthia, whose Projecture also hangeth on the Plinthus of the Base, they will not so hastily reject this Projecture. FOr that I find great difference between the writings of vitrvuius, and the things of Rome, and other places of Italy; therefore I have here set down some, which are yet extant in work to be seen: which, although they be of small form, without numbers or measures, yet they are proportioned according to the great, and with great diligence reduced into small form. The Capital R. was found without Rome upon a Bridge, standing over Tiber. That Capital V. is in Verona, in an Arch triumphant. That Capital T. is in Rome, in a Dorical Temple, called All career Tulliano. That Capital P. was found in Pesaro, with divers other commendable Antiquities: the bearing out whereof, although it be great, yet it showeth well to the eye. The Basements, or Bases, and Capital A. are at Rome, in All foro Boario. The Cornice, Capital, and Imposta of an Arch marked B. are in the Theatre of Marcellus. The Cornice, freeze, and Architrave, are also in Rome, in All foro Boario: which I have showed, that workmen may choose that, which liketh them best. Hereafter I will set down some particular measures necessary for the workman. architectural drawing architectural drawing THe parts of the Trigliphes' and Methophes being in this order unprepared, and yet very necessary, I will take pains to declare so well as I can. First, although vitrvuius affirmeth, that the Models of the work Herastilos, viz. of six Columns, may be distributed and divided into 35. parts: yet I find not, that the parts may stand so, for this cause, that giving the middlemost inter-Columne 4. Methophes, and the other spaces 3. the said number will not make the whole: but, as I conceive, if you set 42. as you may see and reckon in this Figure following, as also in the work Thetrustilos, that is, of 4. Columns: the Book saith, that the Forefront of the whole work should be divided into 23. parts, which, I assure you, cannot stand so, if you will give the middle space 4. Methophes, and the other two each of them 3. But, by my advice, there should be 27. as you may see in the Figure following. Then, if the principal of the Temples be divided into 27. parts, the Columns shall be 2. Models thick, the middlemost inter, Columns shall be of 8. Models, that is, the thickness of 4. Columns, and the intercolumnes beside, shallbe each of 5. Models and an half, that is, two and a quarter, and a quarter and half: and so shall the 27. be distributed. And above each Column his Trigliph being set, & the Trigliphes' divided with Methophes, according to the rule aforesaid: then the middlemost space shall have 4. Methophes, and those on the sides shall have 3. The height of the Column, Capital and Architrave, etc. shall be also made according to the rule: but the height of the Fastigium or Gevell shall be the ninth part of the length of the Cimatie, that is above the Corona, setting the measures under the A. upwards to the undermost Cimatie of the Corona B. The Acroteria or Pedestal marked A. upon the Fastigium shallbe half the height of the Fastigium or Gevell, that is, of the even or flat, which vitrvuius calleth Timpanum, and they shall be as broad as the Column is above, and the middlemost must be an 8. part higher than the other. And for that this Door or Gate is of Dorica, and is hard to be understood, therefore I will show in the best sort I can, both in writing and Figure. vitrvuius saith, that from the Pavement to the Lacunary, that is, from the ground of the Gallery, to the roof of the same under A. must be divided into three parts and an half, and two parts shall be for the height of the lights: so saith my Author, in my opinion. But for that a man cannot so well in a small Figure explain the particular measures, I will make it more greater and perfecter in the next leaf. architectural drawing Having made (as is before said) three parts and an half from below upwards, 2. parts shall be for the height of the light, which height being divided in 12. one part shall be the breadth of the Antipagmentum or Pilaster, and the light shall be 5. parts and an half broad: but if the light under be of 16. foot, the Pilaster shallbe lessened a 3. part in the uppermost part: and the same Pilaster shall also be made thinner a 14. part above. That Supercilie or Architrave shall be of the same height, in the which the Cimatium Lesbium with the Astragall is to be made: which Cimatie shall be the 16. part of the Supercilie, I mean the Astralogus Lesbium, as it is showed in the Figure A. It seemeth, that the Author meaneth only the Cimatie above the Supercilium: but as it is seen in some Antiquities, therefore it is so made, in regard of the Antipagmentum. Upon the Supercilium, in stead of a Freeze, you shall set the Hyperthyrium ac high; in the which, the text saith, men cut the Cimatium Doricum, and that Astragalum Lesbium in the Scima Sculptura, which is confused. But here I let myself to understand, that the meaning of the Author is broken, where he saith, Sima Sculptura: he would have said, Sine Sculptura, that is, without cutting or graving; and that is, Cimatium Doricum, together, with the Astragalum Lesbium: the proportion whereof standeth in the Figure marked A. D. Now, for that the text saith, that the Cimatie of the Corona shallbe of like height of the uppermost of the Capitals, which being so, than the Corona will be very great: to which (according to the Author's meaning) I have given as much Projecture as the height of the Supercilie is. Although such Crowns will never be handsome or seemly in work, nevertheless, to entreat of the Ornaments, I thought good to set down my opinion herein, and to show it in Figure. Corrections of the aforesaid text, by S. Serlie. I Have perused vitrvuius writing nearer, and with more deliberation, where he speaketh of the Cimatie Dorica, and the Astragalo Lesbium, in the Sima Sculptura: and I find, that Sima Sculptura is meant of flat cutting, rising very little: now, for that I have found many such like in Antiquities, viz. where the Astragals, Leaves, and Eggs, etc. have but small or little Projecture or rising up, therefore I set this for instruction of Translators, to be corrected touching Doors. ANd for that our Author hath set this correction of the Cimatie and Astragall here, wherein, in my opinion, there consisteth no great matter, I think it not amiss to help him a little in this matter touching doors, wherein consisteth much. For where vitrvuius saith, that you must divide the part from the Pavement to the Lacunary in 3. parts and an half, it must be understood, above towards the Timpanum marked B. and then the door would be well, and the Corona would be like the Plinthus of the Capital. Now, for that the text is so different in other places, as in the middle of the Models, whereof Caesarianus saith, that he hath found 3. or 4. sorts; so it is to be feared, that this also is not well understood. Thus much I have (with your licence) thought good to set down here, that the building should not be left unperfect, as our Athor doth. For although he sets down the Figures of more doors, yet he showeth not how they shall stand in the Building aforesaid. architectural drawing A. Antipagment or Pilaster. B. Supercilie. C. Hiperthire. D. Corona. FOr that men in our time do not use Doors lessened above, as they did in ancient time; which I, for some reason, do not discommend, yet some skilful workman have many, which most part of common workmen like not. If then the workman will make a Thiromatum or Door simply, with little beautifying, after the Dorica order, than he may observe this order and measure hereafter following, whereof the light or that which is open, shall be twice as high as broad. The Antipagmentum or Pilaster shall be the sixth part of the breadth of the light: without the Antipagmentum you must make an Echine with two Lists, which shall be the fift part of the Pilasters or Antipagmentum, although in the Gate, spoken of before, it is the sixth part: nevertheless, for that I have séeve in Antiquities, in a mean Gate of 12. parts, I have done it here also, as I promised: you must not make the Echim●s of the 4. part of the Circle, but it must be flatter and lower, which vitrvuius calleth, Cimatium Lesbium. The rest of the Pilaster shall be divided into 9 parts, whereof 5. shall be for the greatest Fancy, and 4. for the lesser Fancy. Above the Antipagmentum, that is, the Supercilium, the Cornice shall be set of the same height that the Supercilium is, and shall be divided in 3. even parts: the first, for the Cimatie with the Astragall: the second, for the Corona, with her Cimatie: and the third, for the Scima: But there is also the eight part added thereunto, and the Projecture bearing out or shooting over, shall be according to the rule aforesaid, set down in the beginning of this Book. architectural drawing A. Great Fascie. B. Lesser Fascie. C. Astragall. ALthough that in the Order of Dorica vitrvuius maketh mention of one Door or Gate only, and darkly enough (in my opinion) as I showed before, I think it requisite, that men shall not only use one sort of Doors or Gates, but also of divers sorts and fashions, to beautify a piece of work, and to please divers minds: Therefore, when a man will make a handsome Gate, he may follow this Figure: that is, to set the breadth of the Door twice in the height: and the Pilaster must be made of an eight part of the light, and the Columns of the third part of the breadth; which shallbe set 9 times in the height: and although it be more than the measure set down, yet it is not false, because same part is made up in the wall: also some Antiquities use it, which in such cases are not one reurious. Upon the Columns you must set the Architrave as high as the Pilasters or Supercilie. The Freeze shallbe 3. parts of the thickness of the Columns, upon every Column there shallbe Trigliphes' set, and from the one Trigliph to the other, there shall be three Trigliphes' and five spaces divided. The other particular members, as Base, Capital, Freeze, Trigliph and Cornice, follow the rule aforesaid. Now, for that some Fastigies, Frontispicies, coverings and Gevels, are higher than vitrvuius sets them down, their common rule shallbe, that you divide the Cornice from one corner to the other, as from A. to B. in 2. parts, and the half shall hang downwards, straight by the Lead to C. and then the one foot of the Compass set upon the C. and the other foot of the Compass on the corner A. drawing it about to the corner of the Cornice B. that upper part of the Circular line, shall be the due height of the Fastigium or Gevell. architectural drawing The fourth part of the Circle. architectural drawing A. Supercilie. B. Epistilie or Architrave. C. Zophorus or Freeze. ALteration oftentimes is better and more esteemed, then perfect simple form in her own nature: therefore it is the more pleasing, when a piece of work is made of divers members and parts, although of like nature, as you may perceive in the Figure following, wherein there are Trigliphs' and Mutiles, all in one order: which, in effect, I never saw in any Antiquities or writings. But Balthasar of Sienne, one that read and sought out all Antiquities, may, peradventure, have seen some, or at least himself was the Inventor thereof, placing Trigliphes' above the Door, where they bear least stress, and the Mutiles above the firm part of the Pilasters, which bear all the weight of the Fastigium, and in my conceit, seemly, and was much commended by Clement the seventh, who, assuredly, was a man excellently seen in all Artes. This part shall have the light double proportioned; but the Pilaster shall be the 7. part of the height, and the Supercilies' the half thereof. The breadth of the Trigliphes' and Mutiles, is the half of the Supercilies', and the height a double breadth, making 2. Mutiles over one Pilaster, and 4. Trigliphs' over the Door: the spaces shall be all 4. square. Above the Mutiles and Trigliphes', you must set the Capital or Abacus: the height or thickness whereof, shallbe a 4. part less than the breadth of the Trigliph, and the Cimatie the 3. part of the Abacus: The height of the Corona with her Cimatie, shallbe as broad as the Trigliph is, and the Scima also as much: the bearing of the Corona before, shall be as much as the space from one Abacus to another, that in the ground there may be perfect four squares: But the Projecture or over-bearing both on the right hand and on the left, shallbe half so great as before. The Projecture of the Scima and the Cimatie, shall be each according to their height. That Fastigium in the highest part, shall be a fift part of the wideness, from the one corner of the Scima in the right line, to the other. architectural drawing ALthough a man may make divers kinds of Gates in Dorica work, yet for that at this day men covet after novelties, especially, when they are made by rule and reason, although the Column, Freeze and other members are mixed with rustical Building, yet herein you may see form and fashion: and whereas I have said, that a man should use rustical and boorish works in Forts and Fortresses; now this may serve for a change, but not without, for receiving of shot in them, etc. The light thereof is also double in height: the Columns two times so broad as the Pilasters, being 14. Models high, with Capitals, Trigliphes', Fastigium, etc. Let the Reader do his pleasure further herein, for me thinks there consisteth little herein, and there is enough said as before. architectural drawing MY meaning was, in the beginning of this Book, to speak only of the ornaments of the five Orders of Buildings, as of Columns, Pedestals, Epistiliums', Zophorus, Cornices, Gates, Windows, Niches, & such like things. But, after that I determined to augment and enrich this Volume, in showing divers Fancies or foreparts of Edificies, Temples, Palaces and Houses, etc. And for that, when as the Column standeth upon the ground, they are commendable; yet oftentimes it falleth out, that men have not their Columns thick enough, nor long enough, as they desire, so that it is necessary to place Pedestals under them: therefore I have made this order following, the proportion whereof shall be as followeth: that the wideness shall be double in the height: the Pilaster with the Arch, shallbe a 12. part of the wideness: the Column as thick again: the inter-Columne half the wideness of the light or Door: the wideness of the Niches, 2. Columns thick, and 4. in height: the Pedestals, 4. Columns thick in height: his breadth, and the rest, as is before said. The Column, with the Base and Capital, shallbe 9 parts high: the Epistilium is half a Column thick: the Trigliph of the same breadth, and twice so high with the Capital. The Trigliphes' placed as you see them, the Corona and the rest of the members shallbe made as is before shown. The height of these Gevels somewhat exceed vitrvuius writings: but I have seen such an other, somewhat higher, in Antiquities, being made of the sixth part of the Corona in length. The Acroteria shallbe of height and breadth like the Column above, without Cornice: and the middlemost a sixth part higher, as also the Column a 9 part, being made fast in the wall. architectural drawing A. A. A. Acroteria. THis Figure following, may be used by the learned workman for divers things, and may be altered according to the accidents that shall happen: it will also serve for a Painter to beautify an Pillar withal as men at this day do in Italy: it may also s●rue for an Arch triumphant, if you take away the Basement in the middle. Likewise, you may beautify a Gate withal, leaving out the wings on the sides: sometimes, for setting forth a Window, a Niche, a Tabernacle, or such like things: which proportion shall be made thus, The openness or wideness shall be divided in 5. parts, and one of them shall be the thickness of the Columns: the Fancies or List round about shall be half a Column thick. The height of the light shall be the thickness of 7. Columns and the Base and Capital together of the thickness of a Column, and in all, shall be eight parts high. That Pedestal shallbe 3. Columns thick in height, the breadth or forepart like the Plinthus under the Column. The intercolumnes on the sides shall be one Column thick, and in the Corners shall stand the fourth part of a Column: the wings on the sides, wherein the Niches are, shall be of the thickness of a Column and a half, but the Niches a Column broad, and 3. in height. The Architrave shall have the half thickness, and the Trigliph also as broad, but the height without the Capital shall be a 4. square, and two 3. parts; whereby, placing the Trigliphes' on the right side, and on the left, right above the Columns, and between both 3. Trigliphes', and 5. Methophes more: the divisions shall rightly come to be 4. square in the spaces. The Corona and the Frontispicie, and all the other parts, as well below as above, shall be made as is taught in the beginning. And for that the Trigliphes' on the sides differ from vitrvuius doctrine; yet, notwithstanding, I have seen them in Antiquities stand upon the corners, the workmen may, at their good pleasures, make them in work, or bear them out, as occasion shall serve. Further, I had no meaning to set any grounds or platforms in this fourth Book, for that it is intended to be entreated of elsewhere; yet such forefronts as are hard to be understood, I will set the ichnography or ground, for more light to the Reader. architectural drawing architectural drawing ALthough in Antiquities, as far as is found, when workmen had placed the Epistilia upon the round Column, they set nothing else but the Fastigium upon that, using the some order in Churches and Temples, and not in any other buildings: Nevertheless, I will not omit to set down some manner of Houses without Arches: for if you will make Arches with their foursquare Pillars and round Columns before them for beautifying of the work, seeking to make much light in your Callerie, the Pillars with the Arches will hinder a great deal of light: Then if you will set the Arches only upon the round Columns, that were altogether false, for that the four corners of the Arch would surpass the roundness or body of the Columns: therefore I intent, to make some Houses and other Buildings without Arches, both of this order, and also of the other. This shall therefore be made in this manner, that the greatest inter Column shall be the thickness of four Columns, and the smallest of one and an half. The height of the Columns shall be of nine parts, with Bases and Capitals: the Architrave, Freeze, and Cornice, etc. shall be made according to the former rule: the wideness of the windows are of two Columns thickness: the height a foursquare and two third parts: and their Pilasters one sixth part of the light, having the Cornice above, like the Capital. The door shall be of the breadth of three Columns, and seven in height: and so shall the lights of the windows, and of the doors, be all one height. The Trigliphes' and Methophes shall be divided, as you may perceive. The second story shall be less or shorter by a fourth part, according as vitrvuius giveth counsel: so also, shall the Architrave, Freeze, and Cornice be a fourth part lessened: the windows thereof, with the Pilasters, should be as broad as the lowest. The ornaments in the Niches shall stand in Perpendicular, with the Columns: and the hollow of the Niches, shall be as broad as the intercolumnes: their heights shallbe of two four squares and an half: the third story shall be shorter a fourth part then the second: The Architrave, Féese and Cornice accordingly: but being together divided in three parts, one shallbe for the Architrave, the second, for the Freeze and Mutiles or Mogdilions, and the third, for the Cornice: You shall find the particular measures hereof after the Composita: the windows shall also be as broad as the lowest, but the Niches shall be a fourth part less: the rest you shall lightly ●●nd. architectural drawing architectural drawing ALthough in the Tuscan Order, in the Fancy 13. I have showed the like invention, this, notwithstanding, differeth: for that this Gallery would be round roofed, and where the Arches are, the cross would be made as you see in the ground. And for that the Columns cannot uphold the sides, always giving out, therefore above the Columns, you shall lay or fasten Iron bindings, in the sides, as you see it in the platform, but they will last longer, if they be made of brass. The proportion of this Fancy shall be made thus: The greatest Intercolumnes shall be 4. Columns thick, and the least two. The height of the Columns, with Bases and Capitals, shall hold 7. times their thickness. The Epistilium shall be three four parts of a Column thick: above the which, there shall be a half Circle made, the breadth thereof shallbe half a Columns thickness: upon the Arch you shall set the Cornice of the height of the Epistilium. Between both the Arches there shall be the manner of a window made, the wideness whereof shall be like the Intercolumnes under it: and the List or edge, as broad as the Arch. That C●●●t as Trochile, and the Echine above the windows, and part of the Cornices, shall, nevertheless, bear out somewhat above the windows, for to beautify the same. The wideness of the Doors shall be two Columns, and one fourth part. The Pilaster or Antipagmentum, shall be a sixth part of the light: the height of the light shall reach to the Supercilie, just under the Capital of the Column: which form of Capitals shall follow above the doors and windows. The light of the windows shall be in breadth two Columns in thickness: but these thicknesses aforesaid, in these cases, are to be understood as the Columns fall out. The length of the light shall be a four square and a half: The Niches shall also be of the same height. The Roof above, or the second Stage, as you will term it, shall be less or shorter a fourth part, divided in this sort: The Podium or part breast high, of one Column and a half in thickness. The rest shallbe divided in five; one of them shall be Architrave, Freeze and Cornice. The Niches with the Ornaments shall stand in Perpendicular above the windows, between the Arches, but shallbe in breadth five parts: two parts shall be the Columns, the rest the Niches with the Pilasters. The Cornice above the Niches shall be the breadth of one of these Columns: and the Bases, the half breadth thereof. The windows between the Niches, shall in the light contain one fourth part less than the door, and of double height: but of the rest of the Ornaments (for that this work is somewhat mixed) you shall find further satisfaction in the jonica and Corinthia. The Trigliphes' in this comp●●●tion, betwixt the one and the other, will not make their Methopes right four square, because I have set three Trigliphes' above each window, and as many over every of the Niches, as you may see in the figure: wherein, if there be any thing wanting in the measure, or else what, I always refer myself to the rule set down in the beginning. architectural drawing architectural drawing FOr that sometimes, some men will have altogether Arches and Galleries, and for that it is confused work, to place Arches upon round Columns, yet a man may make foursquare Pillars under them with Bases and Capitals, like the other. And although this house is whole, which is but little for a man that hath a great living, yet you may set it forth in 5. Arches, also in 7. Arches. The Division whereof may be, that each Intercolumne may be of the thickness of four Columns. The height of the Columns with Bases and Capitals of six parts: and above them the Arches to be set of the breadth before, of half a Column: the openness shall be of double proportion. Above the Arches you must place the Architrave, Freeze, and Cornice: the height of them all shallbe of 2. Columns thickness: and being divided in 3. parts and a half, one part shallbe the Architrave, half a part for the Frése, and one part for the Cornice: for the other part, you shall follow the rule aforesaid. The door shallbe two Columns outward: the Pilaster, the sixth part of the light: but the Cornices of the door, and the windows, shall have the height of the Capitals. The windows shallbe a Column and a half bearing out: and their length or height, shall be taken in diagonal manner. The corner Columns shallbe as broad as the other: but they shallbe of 8. parts and a half high. The second story above this, shallbe a fourth part less: the corner Columns, with Architrave, Freeze and Cornice, lessened accordingly: The windows above the Arches, with the Pilasters, stalbe as wide as those below: but the height of the 2. foursquares, and the Freeze above them, shall be as broad as the Supercilium: the Cornice also as much: The small windows abone them, are made for two purposes: The first, the Rome's being high, as they show outwardly, will make the chambers and other rooms much lighter. Secondly, for necessity a man map make hanging chambers in them, and then those lights will serve to good purpose. The third story shallbe less than the second a fourth part: and the same being divided in 5. parts, one part shallbe for the Architrave, Freeze and Cornice: and that part divided in 3. one part shallbe for the Architrave and Freeze, and the third for the Cornice: and in the Freeze, the Mutiles and Mogdilions shallbe divided, as you see them. The lights of the windows shallbe as the others, but they shall be a twelfth part higher, because they are further from the sight: the Pilasters, Freeze and Cornice, shallbe like the other. The Frontispiece and Arches shall be made, as I have said, in the doors and gates of the Order of the Dorica: for beautifying, or to place another row of Arches in it, you may set Acroteries or Pilasters upon them, which will pass well in the making of their fire places, or chimneys for annoying of smoke. The spaces between the windows, that remain white, are left to be painted, as the workman will, or at the pleasure of the owner of the house. But for more security of this building, it shallbe necessary to place these Iron bands in it, or at least, over the ●allary, as is taught before. architectural drawing architectural drawing IN the famous Town of Venice, because houses stand near together, they are forced to make their lights as they may, to that then Building differeth much from that Building of Italy: notwithstanding, the workman may give them light mough, observing Antiquities, which shall be thus mads and divided: You shall divide the wideness of an Arch in 2. parts and an half: whereof one shall be for the breadth of the whole Pillar: the thickness whereof shallbe the half, the round Columns also as much: the height of the Arch shallbe of one 4. square, and two 3. parts: you may also make them of two 4. squares, heightening the rest accordingly. The Impost or Capital under the Arch, shall have the half thickness of the Column, according to that which is showed before, of the Theatre of Marcellus. The Door shall be of three Columns thick in wideness, the height of a foursquare and two 3. parts: the Pilaster or Anti●ag ment●m shallbe of the 8. part of the light: the Corona shallbe like the Capital: but the Scima being set upon it, you shall make the Fastigium as is before said, and above it give more or less light, as the house requireth. If the building stand in a fleld or an open place, you make shops, which shall well fall out with the building: above the Columns, the Epistili●m must be set of half a Column thickness: the breadth of the Trigliphes' also as much: the height shall be made more or less, at the workman's will, that the spaces may be 4. square; whereupon you must set the Cornice of a 6. part higher than the Epistilium: the particular parts and measures, you shall make according to the rule before set down. The story above shall be a 4. part less making a Plinthus under the Column, of such a height, as the Proiceture of the Cornice beareth: the rest must be divided in 5. parts, one part shall be the Archtrave, Freeze, and Cornice, (which as before is taught) shall also be divided in three parts. The Columns which uphold the Architrave, shall be nine parts high, the lesser Columns which uphold the Arch, are thinner than the rest a third part: the spaces in the middle, under the Arches shall be twice so, wide as the sides: so then, the Cornices being placed upon the Columns which beace the Arch, and the half Cirde made up to the Architrave, also, the eyes or h●●les besides the Arch, than it will be exceeding light and where there wanteth a Chamber, you may shu● the middlemost lights, and the she's shall serve for windows. nevertheless, this order being observed both without and within, it will not stand much amiss; for the place shut up, shall be for a Fire place or Chimney, which ought always to be made between two windows, like to a man's face, where the windows are the eyes, and the Chimney the nose, which always orawes the smoke. architectural drawing architectural drawing TO divide this present Fancy, saith the Author (for otherwise he maketh no preface) you shall divide the breadth in 14. parts, and one of these parts shall be for a Column: the middlemost inter-Columne shall be of 6. parts, and the other each of 3. parts: the windows shall be of a Column and an half: the height of them, two 4. sevares and an half. The Pilasters shall be of the sixth part of this light: the windows in the first story are of the same breadth: the nethermost, shall be a perfect 4. square, and the other of a 4. square and an half. The port or Gate shallbe 5. Columns wide, that the Columns may have a fast foundation: the height of this Gate is a 4. square, and of two 3. parts: the Arch-stones, and the rest, you shall see sufliciently in the Figure: from below under the Arch, until you be above the Fancy, shall he 2. Colummes thick. And although that all other stories or buildings, being one story above another, would always be shortened a fourth part: yet in this case, (by my advice) for that the compartition of the Columns, being above this rustic work, and that the rough work should not take too much place when it is of sufficient strength, it is requisite that it should be of the same height. Above the first order, as you shall make a Podium of a Column & an half high, whereon you must set the Columns in order (as it is taught) the height without the Podium shall be divided in 5. parts, whereof 4. shall be for the Columns, the other for their ornaments, whereof the Trigliphes' shallbe divided, as you see, observing the rule aforesaid. The middlemost shallbe dealt thus, that the small Columues shall be the half of the greater, and the middlemost inter-Columne shallbe as broad again as those that stand on the sides, which shall be like eyes of the windows. Above the windows, to make more light, you shall make the eyes, and above the smallest spaces in the middle, you shall make that you see here in the Figure, for to accompany the same eyes. And although there rest particular parts, you shall always seek them forward, where you shall be assured to find them. The third order or story and that which belongeth thereunto, shall also be made less a 4. part; but the windows as broad as the lowest, as also their heights, and all other things, you may easily find with the Compass. The raising up in the middle without the Frontispicium, shall be half the third order in height: for the rest, a workman may add and diminish at his pleasure. architectural drawing BEfore, I have showed in two figures, how to make the Fancies or forefronts of Houses after the Venetians manner: but for that in such works men would willingly have some places bearing out, which are, for the most part, made over the water, for fresh air of the water, whereon the most part of buildings have their fairest forefronts or Fancies; as also, to see the triumphs oftentimes made there in Boats and Ships: to which purpose, the said bearings or iuttying out serve well, and yet nevertheless, are unseemly things, and have no other supporters but the Mogdilions: Now, such things as have not their foundation strongly laid and made, hurt the walls of the house or building, whereof ancient workmen were very careful, and made no such bearing out, but only Cornices: therefore I say, if a man will make any such things in any building with good advice, it is necessary that the first wall should be so thick, that it may stand so far out as the flat of the bearing out requireth, as may be perceived in the round: and for that the middlamost wall standeth out more than the sides, if you will not make it so thicks, than you may make a strong Arch within, to uphold the middlemost, although it be hollow and of small weight. This bearing out, is to be understood above the Fancies of the rustical work: which being made, than the compartement of the Fancies shall be above this, so that the middlemost part shall be of three portions, and the sides of three and an half, I mean within the walls, as the ground showeth. The height of this second order or story, shall be like the undermost, according to the rules aforesaid: and first, you shall make the Podium of an indifferent height, to lean upon: then that which resteth shall be divided in five parts, one of those shall be the Epistilium, with the rest of his parts. The wideness of the middle most part, must be thus: the openness with the Arch must be as great agains as the sides, and the height doubled; so the Architraves being set upon the Columns, for the upholding of the Arch, all the Wind●●●●s shall be upon a room: likewise also, for more commodity of light and ornament, the eyes of the Wind●●●●● shall be made. These ornaments, together with many other things, if a man, in regard of cost, will not make them of Marble, or of other stones, they may be set forth with painting. The third order or story shall also be a ●●●●th partlesse than the second: and so every other part thereof accordingly, following the rule aforesaid: and although the jonica be set before the Dorica, which ancient worknen some time have done, you shall find the proportioned 〈◊〉 roof 〈◊〉 in his place. architectural drawing architectural drawing ALthough the workman hath seen so many inventions in this Dorica work, yet they will not further him for ornaments of Chimneys: but I will set two sorts thereof here in Figure, one indifferent whole, & in the thickness of the wall, for a small round Chamber or House: the other, for a greater place without the wall, drawn with Mogdilions: for if a small Chamber should be cumbered with a Chimney, it is requisite to make it wholly within the thickness of the wall, and the height of the opening being made, according to the situation of the place, shall be divided into four parts and an half, and shall be the breadth of the Pilaster, but the Architrave shall contain the half: the Tenia or List, going round about, shall be a seventh part, and all his other Lists of the same breadth: the Trigliphes' and Mogdilions, shall be half the breadth of the Architrave, but their height you shall take in this manner, that the Mutiles stand above the Pilasters, and the Trigliphes' divided between both, the Methopes may have their foursquare of the breadth of the Architrave, but yet the Methopes or spaces betwixt the Mogdilions, shall not be foursquare. The Capitals of the Mutiles and Trigliphes', shall be so high as half the breadth of the Trigliphes'. The Corona, with the Scimatie and Scima, shall be so high as the Architrave; and being divides in two parts, one part shall be for the Corona; of the other you must make three parts, one for the Cimatie with the List, the other shall be for the Scima with his List. The bearing out of the Corona shall be so great or little, that the spaces between the Capitals of the Trigliphes' in the ground of the Corona, may be foursquare, for that, if men will sit round about it, they may have their place of sight. The Prdiecture of the Scima with the Cimatie, shallbe made like that height which standeth above, at the discretion of the workman. But if the Chimney be very small for a little room or Chamber, than a man shall make the Pilaster of the seventh part of the height of the opening. architectural drawing THis other Chimney without the wall, shall be made thus, when the height and wideness of the place, according to the situation, is appointed, the same height, from the ground up to the Architrave, shall be divided in 4. parts, one part for the Architcave, freeze, & Cornice, their parts being made according to the rule aforesaid: and whereas they show greater, that is, because men see them underneath, the breadth of the Modiglions shall be the 7. part of their height: the Capitals the half of that breadth, and shallbe divided as it is said of the Doricall Capitals: some lessen the bredths of these Modiglions underneath the fourth part, that the foot of them may give out a fourth part, so that the Plinthus under the foot, is as broad as the uppermost part. But if you will make such Modiglions all of one breadth, I would commend it in a great work, for that the undermost drawing to the wall, & going from our sight, lessen themselves: for that the part which receiveth the smoke, is Piramides-wise, which will not stand well in a great height. You may set it upon the first Cornice higher or lower, as you will, or according to the situation of the place. This building of Chimneys may be made in great form: but if you will make them small, than you shall divide the height from the Pavement to the Architrave in 5. parts, whereof one shall be for the Cornice: the breadth of the Modiglions shall be the ninth part of that height, the Capital of half the breadth: and thus it will be more seemly in amndifferent mean form. This I speak by experience, for that I have observed this greatest measure in small forms in making of Chimneys, but they prove too great. The end of the Dorica order: and here followeth the jonica. architectural drawing Of the order of jonica, and the Ornaments thereof. The seventh Chapter. vitrvuius speaketh of jonica, in his fourth Book and 1. Chapter: and as I also said, the ancient Pagans took this kind of work from women, and ascribed it to Diana, Apollo, & Bacchus, etc. But we that are Christians, having a Temple to make of this work, we will dedicate it to such Saints as are of nature, either weak or strong: so likewise, common works are fit for peaceable people, men, neither great workmen, nor all too simple in workmanship: and such workmen are fittest for such work. Now let us come to the measures: the jonica Column, by a common rule, must be of 8. parts, with Capital and Base: although that vitrvuius saith, it must be of 8. parts and an half; so may men sometimes make it of 9 parts and more, as some indifferent workmen have affirmed. But this, I say, shall be made of 8. parts, which must hold his thickness below, and so shall their Bases be of half the same thickness, which vitrvuius setteth down diligently, in the 3. Book, and in the third Chapter of the same Book, in this manner, that the Base aforesaid, must be of half the Columns thickness, but the Plinthus must be of the third part thereof: which Plinthus taken of, you shall make seven parts of the rest; whereof three shall be for the Thorus, and four shall be for the two Scoties or Trochiles, with their Astragals and Lists, so that each Trochile must have his Astragall. The Astragall shall be the eight part of the Trochile, the Lists half the Astragals. Although each Scotie with the Appendances are all of one height, yet the undermost shallbe greater; for it shall shoot out underneath, to the outtermost part of the Plinthus. The Projecture on either side, shall be one eight part, and one fixed part: so that the Plinthus on either side shall be one fourth part, and one eight part more than the thickness of the Columns. Now, for that the Cincte or List is suppressed by the greatness of the Thorus, I am persuaded that it ought to be made the half greater than the other. Observe in all the members and parts with discretion, as should be used in the Dorica. architectural drawing FOR that the Base of the jonica Pillar, written of by vitrvuius, contenteth not the greatest workmen, because the Thorus is very great, and the Astragall small, under so great a member, according to the judgement of expert workmen, that have oftentimes disputed the same, with reverence, and much respect of such an Author; I will frame one here according to my opinion. The Plinthus being made, as I said before, the rest shallbe divided in three parts, whereof one part shallbe for the Thorus: the other under that Thorus divide in six parts; one of them for an Astragall, the Cinthe the half thereof. The Cinthe or Supercilie under the Thorus, must be as broad as the Astragall. The rest is for the Scotie or Trochile: the other three parts that rest, shall also be divided into sire parts: one for the Astragall, one half for the Cinthe, and the undermost also the like: the rest is for the Scotio coming at underneath, as is before alleged. architectural drawing THe jonica Capital shall be made in this manner: the height shall be the third part of a Column, and the former part of the Abacus the breadth of a Column in thickness: to it also must be added the 18. part, which in the whole, shall be nineteen parts, but inwards a part and a half: at either end the line Catheta must be drawn, which shall contain 9 parts and an half, which is the half breadth of the Capital: one part and a half shallbe for the Abacus, which Corners you must make like the right or left side, for both are ancient: the 8. parts that are hanging under the Abacus, shall be for the Volutes. And for that it would be troublesome in this small Figure, especially to set down before your eyes the numbers, therefore in the Lease following, I will show it better in great, and therewithal the manner how to make the strickes in the Columns, with the Figure of the side of the Volutes, and of the Capitals. But if the Column be of 15. foot downwards, than it shall be lessened a sixth part above, as it is written of the Tuscan order: but if it be of 15. foot upwards, than I refer you to vitrvuius, touching the same, in his third Book and second Chapter. architectural drawing WHEN the Capital of this jonica is made, you must make the Volutes, which shall be made by the line, called Catheta, which we here call, The right Lead: and when you leave the Abacus underneath four parts, than the first part shall be for the eye, and so there yet resteth three parts from the eye down wards; and so in all, they make eight, as is before said: the eye shall be divided in six parts, and the numbers set therein, as it is here set down; then place one foot of the Compass upon the point 1. and the other foot under the Abacus, drawing neither ward, up to the Catheta, to the eight part; then letting the same foot of the Compass stand, bring the other foot of the Compass to 2. and draw it upwards again to the Catheta. Then hold the foot of the Compass there, bringing the other foot to 3. drawing it then down wards again to the Catheta: keeping that foot there also, bring the other upon the point 4. then drawing it again to the Catheta, holding the Compass there, the foot will come upon 5. so drawing about, do likewise to 6. and then it comes to shut with the eye; there you may make a roof, it you please. The rest of the particular members you shall easily find with the Compass. The strickes of the Columns, which we call Channels or hollow, shall be 24. in number, and one of them shall be 5. parts: whereof 4. shall be for the Guts or Channels, and the 5. for the List, by vitrvuius called Strix: and so from one side of the flat of the List to the other, you shall draw a straight line, the middle whereof shall be the Centre of the hollowing out. But if the workman please sometimes to make a thin Column to show thick, then there must be 28. strickes: the Abacus of this Capital is as broad on the sides, as before: which sides are proportioned according to that, which is said before. Friendly Reader, I have laid this Volute, according to my simple understanding, because vitrvuius writing is hard to understand, and which is more, promised the same Figure in the last Book, together, with divers other ornaments, which Book is not to be found. S. Serlii upon the speech aforesaid. Loving Reader, there are many things which cannot fully, from point to point, be showed in Figure, unless the workman must help himself by practice, like as the Cincte or band of these Volutes: which (if the Capital be very great) will stand well: if the breadth containeth the fourth part of the eye, and if the Capital be of indifferent greatness, than it must be made of a third part of the eye: but if the Capital be small, than it must be the half of the eye, always at the workman's discretion: for I have seen it so in Antiquities, although they differ. The thickness being marked above, under the Abacus, than you must place the Compass a little below the figure 1. from above the Catheta downward: then again, you must place the Compass a little above the figure 2. drawing your line from beneath upwards to the Catheta. Now, whereas I have said, that the last Book promised by vitrvuius, is not found, by means whereof, divers opinions are spread abroad touching the same, some affirming, that in vitrvuius time, there were many unskilful workmen (as there are now also) having better fortune, then good understanding: (others) that presumption, sister to unskilfulness, beareth such sway among common workmen, that understand not themselves, it is thought, that vitrvuius refused, or at least, would not publish it, in regard of the unthankfulness of such as neglect good learning. Some also affirm, that it was too hard a matter for him to place them in figures; which I can hardly judge to be the mind of such an Author. But whereas some affirm, that this last Book was so pleasing and acceptable, in regard of the figures there at large set out, and he being over-careful in looking unto it, was rob thereof, among other riches and treasures, by unskilful persons: this I believe best, is as war, which is enemy to all good Arts, which yet, at this day, is especially to be lamented, for that men by the figures, might have made diversities of work in the right manner. architectural drawing a. Catheta. b. Eye. c. Cannels, or Fluitings d. Strikes or lines drawn. I Have declared hereafter, according to vitrvuius writing, how to make jonica work, as far as my learning shall serve. Now, I will show how some Antiquities in Rome, of that work, are made, yet standing. The Capital M. standeth yet in the Theatre of Marcellus, whereof I will set down some general measures: the forehead of this Abacus is like unto the Column below. The Volutes give out a sixth part of the Abacus, and so far out as the half of the Abacus: the height of the Capital is a third part of the Column below; but for that some workmen thought that Capital to be but barely set forth, they have added the Freeze which you see in the Capital, unto it, making the height of the Capital of 2. third parts, of the Columns thickness below, which Capital is at this day to be seen in Rome, with others of the like. architectural drawing ANd for that it may sometimes happen to the workman, to make a foursquare shutting with jonica Capitals, so that some workmen have erred in placing of the Volutes; to help or case you of that error, it shallbe needful to make the corner Capitals, as you see them in this ground: of such Capitals, there was the like found in Rome, which caused many to study, where it was made, in such manner, for it was called, The confused Capital: but at last, after long disputation, it was concluded, that it had stood in an open corner, shutting up the order of the Columns marked A. But if the workman have flat Columns to place against the wall, in this Corner, that the Volutes may come alike on both sides, the workman may place them, as in the ground B. is set down. architectural drawing THe Epistilium or Architrave is made thus: If the Column be of 12. to 15. foot high, the Architrave shallbe the half of the Column beneath: if it be of 15. to 20. foot high, than it shallbe divided in 13. parts: one shallbe the height of the Architrave; and from 20. to 25. foot, the Column shall be divided in 12. parts and a half: one part shallbe given to the Architrave: If the Column be of 25. to 30. foot high, than the Epistilium shall be the twelfth part of that height: It the Column be higher, you must increase the Architrave more: for the further it goeth from a man's sight, so much ●●●re it loseth of the greatness. The Architrave being made of his due light, and divided in 7. one shallbe the Cimatie: the Projecture thereof, also as great. That which is over, is divided in 12. three shallbe given to the first Fancies, four to the second, and five to the third. The thickness of the Architrave under, shallbe like the Column above, in the thinnest part: but the thickness of the Architrave above, shallbe like the thickness of the Column below. The Zophorus or Freeze shall have the measure according to the length of the work: but if there be somewhat to cut or grave in it, than it must be made a fourth part higher than the Architrave: but if it be made plain, without cutting or graving, than it must be a fourth part less. The Cimatie must be set upon the Freeze, which must be the seventh part of the same Freeze: and the projecture also as much. Above the Cimatie must the Denticules be placed, in height, like the middlemost Fancy: and the Projecture like the height. The breadth of their teeth must be double in height. The intercutting or hollowing between the teeth, shallbe a third part less. The Cimatie is the sixth part of the Dentile. The Corona, with the Cimatie thereof, is the greatness of the middlemost Fancy. The Projecture of the Corona, with the Denticules, is as much as the height of the Freeze, with the Cimatie. The Scima is an eight part higher than the Corona. The rule or list thereof shall be a sixth part, and the Projecture like the height. Also our Author affirmeth, that all Ecphores or corners will stand well, when their Projecture is like the height. architectural drawing Scima Cimatium, Denticuh, Cimatium, Zophorus, Cimatium, iij. fascia Episti. two. fascia li. i. fascia 'em, architectural drawing FOr that the works of Rome differ from the writing of vitrvuius, I will frame another Column, whereof the Architrave, Freeze and Cornice, shall be the fourth part of the height of the Column: which 4. part divided in 10. parts, three shall be for the Architrave, divided after the rule aforesaid: 3. for the Freeze, and 4. for the Cornices: which 4. shall be divided in 6. whereof one shall be given to the Denticules, one to the Cimatie which upholdeth the Mutiles, and two to the Mutiles and the Corona; the rest to the Scima. The Projecture of all, shall beat least as much as the height: upon such a Cornice was four written, A Sante Sabina, at Rome, in a building of the order of jonica. ANd if sometimes it be necessary to raise up Columns, being not compelled or pinched by any thing thereabout, than the proportion of the Pedestal shall be thus; it shall be as broad before as the Plinthus of the Column: but the height of the flat of the Pedestal shallbe a foursquare, and a fourth part: which divided in six parts, one shall be for the Base, and one for the Cornice, which in all is eight parts: so shall the Pedestal be of eight parts like the Column. This must always be understood, in common, that it is left at the discretion of the workman. architectural drawing BY reason of the great difference, which I find in things of Rome, from those which vitrvuius writeth of; therefore I have here showed some of them, that are best known at this day, extant in Rome to be seen in work. The Cornice, Freeze, and Architrave marked T. is in the Theatre of Marcellus, in the jonica order, above the Dorica; the Pilaster with the Base thereupon, also marked T. is in the same order, under the jonica Column. The Cornice for the impost of an Arch, also marked T. is of the same order, and upholdeth the Arch. The Cornice with the Mutiles marked A. was found at S. Adrians', and S. Laurence, in Rome. That Architrave marked F. was found in Nell Friulle: which Architrave, for that it had three Fancies without Astragals, I judge to be jonica. Here is nothing said of the measures hereof, for I have diligently reduced them from the great into the small: which measures are easy to be found with the Compass. architectural drawing ALthough that the Thiromatum ●onleum, that is, the door by vitrvuius deserived, in my opinion, not proportioned to answer the building (as it ought to do:) therefore I will speak thereof, according to my knowledge: I say then, that vitrvuius writing is not right, touching the height of the light of the Thiromatum Doricum, viz. from the Pavement to the Lacunary, there were 3. parts and an half made, and two parts thereof were for the height of the light, whereby the Coroun was very high, as also of the Dorica. But there followeth yet another error, viz. making the Gate or door 5. parts high, setting three parts thereof below, as vitrvuius saith; also lessened in the upper part, like the Dorica: then I find, that the wideness thereof cometh to be broader than the inter-Columme in the middle, making a Temple of 4. Columns, with the measure which vitrvuius hath set down in his 3. Book, as I have set it down here in Figure, that workmen may see the correspondency of this Gate or Door, with the Temple thereof; which, in my opinion, is not just, for this cause, for, if the door of the Dorica, which order of Columns is lower than that of jonica, hath the height of 2. foursquares, and a little more, I say, the jonica doors, whose Columns are higher, aught to be higher also for light, than the Dorica. But it is not so much, according to vitrvuius Book, which saith, 5. parts in height, and 3. parts in breadth: but let all this he spoken with reverence of so great an Author. Nevertheless, taking the parts in vitrvuius Book, which may be to some purpose, I will make another Figure thereof, without lessening it above: but he that for his pleasure will lessen it above, observeth the Dorica order. The Translator. WHat vitrvuius saith, touching the height of the light of the Door or Gate of this Dorica building, there is sufficiently spoken: but touching the wideness of this Gate or Door, where he saith, that the height or openness thereof should be divided into two parts and a half, and the wideness thereof, to have one part and a half: It may be (as it is in other places) that the place is falsified; and it may also be, that it is a quarter too much: for if it be made of 10. in height, and 5. in breadth, the light then being of 2. foursquares, would be reasonable, so the Intercolumnes were as wide as from the Dorica: for it is of four Diameters, and this but of three Columns wide, and the Antipagmentum would not be darkened; so that leaning out but a quarter, this building would thereby be made perfect. architectural drawing I Say, that the light of this door ought at least to be of 2. foursquares high, the Antipagmentum or Pilaster shallbe the 1●. part of that height, made in such manner as is said of the Epistilume jonicum, & thereto the Astragals shallbe added, as it is showed in the Figure E. If a workman will cut any thing in the Freeze above the Supercilium, than it must be a 4. part higher than the Supercilium: but if you leave it plain, it must be a fourth part less. The Corona, with the other members, shall be as high as the Supercilium, divided as you see it in the Figure F. The Ancones or Prothirides, shall be broad above, like the Pilaster, but in the neither part, like the height of the hanging light, shallbe lessened a fourth part, from the which the leaves hang, us you see in the Figure F. That part of the Circle, in stead of the Fastigium, shall have his height made in this manner; with a Compass you must reach the two corners of the Scima in the uppermost part, and one foot of the Compass sinking to the point of the cross, with the other foot, the part of the Circle being drawn, shallbe the height, which will be the third part of a Circle: which manner of making or not making of a Fastigium, shallbe always referred to the pleasure of the workman; it may also serve for windows. architectural drawing Aneenes, or P●ol●●●●●des. THe light of the Gate following, is more than of double proportion, viz. of two foursquares and a quarter: the flat of the Pilasters shall be the 8. part of the breadth of the light, and the Columns shall be twice as thick: the same Column shall be lessened above a sixth part: the height shall be of 9 parts, with Bases and Capitals, according to the measure aforesaid. And although these Columns hold a part more than the rule aforesaid, yet it is not therefore truth, for that the 2. third parts stand only without the wall, bearing no other weight than the Frontispicium: further, if by any accident these Columns should exceed 9 parts, yet were it not to be blamed: for they are only set for an ornament, being made fast in the wall. The height of the Architrave shall be like the Supercilies' over the door: the Freeze shall be cut, and shall be made higher, as is before: if it be not cut, you may lessen it so much lower: the Cornice shall be higher, like the Epistilium or Architrave: with the other parts you must handle, as it is said in the beginning of this order. The Frontispicie shall be referred to the will of the workman, either to make it higher or lower, by any of the aforesaid rules. By this invention, a workman may help himself in many things, making the light high or low, as need shall require; as sometimes of a foursquare, or of two third parts: but if the workman be not otherwise compelled, I should best commend the double proportion, that is, of two foursquares. architectural drawing ALthough I have set this rustical Gate in the order of Thuscana, and not only in many places applied it to the Thuscana, but also mixed it with the Dorica, yet I have placed it here with the jonica: although it is not therefore to be set in all buildings that are made after the Dorica, nevertheless, to good intent and purpose, as without in the country, in such a case also, it is not to be discommended in a City or Town, for a Merchants or Lawyer's house; in which places it is tolerable. But in what place soever a man will make it in a manner of bearing over, than the proportion of this work shall be thus: the light up to the Arch shallbe two foursquares, and the Pilaster the 8. part of the breadth of the light: the Column shall hold the fourth part thereof, but the height shallbe 9 parts with Bases and Capitals. The Arch of the half shallbe divided in 13. parts and a quarter, because the middlemost stone shall hol● a quarter more than the rest. The Architrave, Freeze and Cornice, are together the fifth part of the Columns: of which three pieces, the workman shall make 11. parts: 4. for the Architrave, 3. for the Freeze, and 4. for the Cornice. The height of the Podium shallbe the breadth of the light. The Cornice and the Base, may be taken out of the aforesaid Stilobato: but the other Base, Capital, Architrave, and Cornice, shallbe made as it is said in the beginning. The Arch-stones and the other that bind the Columns, you may see in the Figure. architectural drawing architectural drawing ALthough the height of this Arch is not of double proportion, as the most part of those which I have showed, yet it is not false, but is made by good discretion, for that it may sometime fall out, that in the compartition of a Fancies, upon occasion of any necessary height, and to make the Arches unequal, which should be so to place the principal gate in the middle, which in such case should not attain to such height: but if we be not constrained by any necessity, I more commend the double height, than any other proportion. The wideness then between one Pilaster and the other shallbe 3. parts, and the height 5. but afterwards the wideness being divided in 5. then the whole Pillars which stand before the 2. Pilasters, have 2. parts, and the thickness of the Columns shallbe of one part: the Pilasters shall each of them be of half a Column in thickness: likewise the Arch, and the Impost which upholdeth the Arch, are of the same height made, as it is showed in the Theatre of Marcellus marked T. The Columns shallbe 9 parts high, with Bases and Capitals, made according to the rule, in the beginning of this Chapter set down: the door in the middle shallbe half the wideness between the Pilasters: the height shallbe found in this manner: The Pilaster being made of the sixth part of the light, the Cornice like the eyes of the Impost, placed above it, and the Scima upon that, making afterward the Freeze the fourth part less than the Antipagmentum, than the height will find itself, which will be little less than two foursquares. The Frontispiece shallbe made according to a rule set down in the Dorica: the Architrave, Freeze and Cornice shallbe made in height, of the fourth part of the heights of the Columns, by the rule aforesaid. The Story above shallbe lower by one fourth part: so shall the Architrave, Freeze and Cornice be of the fift part of that height, which shallbe the fourth part of the height of the Columns: but touching the division of the particular members, you shall find them in full measure in the Order of Composita. The windows being made with Arches, shallbe in breadth like the door: likewise the Pilasters and the Arches, but their height shallbe two foursquares and a half, which is to give more light in the chambers. The Columns shallbe flat, and one fourth part shorter th●n the lower. The breadth of the Niches between the Columns and the windows, is one Column and a half, the height of four Columns thickness. Thus of any parts or members that be resting, you shall find means to make them by the prescription of the aforesaid rules of that order: for of this Corinthia, you shall find the measure in the beginning of that order. Above this story, he that will, may make a walking place, well defended from water: and that the height of this Podium were of reasonable height to lean upon, or to rest upon with a man's arms, these Fancies would be a great beautifying to the building, and much ease to the inhabitants. architectural drawing architectural drawing SOmetime, as is said, a workman shall find a great number of Columns, but so low, that they will not reach high enough for his work, if he cannot help himself therewith, and apply such members, to serve the building which he hath in hand: therefore if the height of the Gallery riseth higher than the Columns, then in the middle of the Fancy you may make an Arch, being upholden by the Architrave, which shallbe above the Columns, which Architrave shall be the Impost or upholding of a round roof. But where the Arch shall be, there shall be a Crociere, as the workman may see in this ground: and for strengthening thereof, let there be Iron or metal bars laid over, as it is taught in the Dorica Order. But the dividing of this Fancy shallbe such, that the middlemost Intercolumne shallbe of 6. Columns thickness: and the height of the Column, with Bases and Capitals shallbe of 8. parts: the Architrave holdeth as much as the Column is in thickness above: likewise the Arch: above the which the workman shall make a Cornice, which height shall hold a fourth part more than the Architrave, without the Thorus under, with the List: which Cornice shall also serve for a Capital upon the Pillars, above the Columns, and shallbe of the same breadth that the Column is above. The Intercolumnes on the sides shallbe of 3. Columns in thickness: the height of the door shallbe so, that the Architrave under the Arch shall serve for the Cornice above the door, changing partly her members, as it is figured. Under the Cornice there shallbe a Freeze set, which shallbe a fourth part less than the Architrave, the Supercilies' with the Pilaster of the same height. But as much as shallbe under the Supercilies', to the stairs, of that half, the breadth of the light shallbe made; and so the light shallbe of two foursquares. The windows shall stand as the eyes of the door stand, and their wideness shallbe of two Columns thickness, but the height shallbe taken in diagonal manner: the second Order or Story shallbe a fourth part less than the first; the Podium being taken of a reasonable height, that which resteth shallbe divided in 5. parts, four whereof shall be for the height of the Columns, the other for the Architrave, Freeze and Cornice, observing the given measures of such a Story. The breadth of the window in the middle, is with the Antipagmentum as wide as the light of the door, but the light shallbe double in height: in the Ornaments above, workmen may follow and observe the rule set down. The windows on the sides shall be like those that stand below, and their height like the greater: the raising up in the middle above the second story, shall also be a fourth part less than the other, and every part thereof lessened accordingly: for the light thereof, the order of the lowe● story is observed: but the making of this third story, or the not making thereof, is at the pleasure of the workman. architectural drawing architectural drawing AS it is said in the beginning of this Book, the manner and order of the jonica being made after the Feminine kind, it is so likewise a material thing, that having a Chimney to make of that order, we must, as near as we can, make some show of that sex therein: the proportion whereof shallbe thus, that the height of the openness, being placed, it shallbe from the ground of the Chamber or Hall, to the Architrave, eight parts high, and that shall be according to the placing of the Columns, which shall be such like, monsters or strange forms (as we call them) made in this manner, which shall serve for Mogdilions. The Architrave, Freeze and Cornice, shall be the fourth part of the height, as it is before said. The table upon the Capitals, which covereth the Architrave and the Freeze, I judge, that ancient workmen have used to find more space to write in, and also, for that they were desirous of novelties: which table, whether it be made or not made, is referred to the will of the workman. The second order, with the Dolphins, is made for two causes, the one is, to make the mouth of the Chimney, which doth receive the smoke wider: the other is, to make a pyramical form, making the neck of the Chimney in a Chamber, but it is still at the will of the workman, to make them more or less, or not at all. architectural drawing THis other manner of Chimney is very easy for small rooms, and they are used to be made lower than a man's sight, that the fire, which is enemy tomkus eyes, may warm the rest of a man's body. The wideness of this Chimney is a full foursquare: the Pilaster shall have a sixth part of the wideness: the Cimatie the seventh part of the Pilaster. Of the rest you may make 12. parts, 3. shallbe given to the first Fancy, 4. the second, and 5. the third Fancy: and for more beautifying, a man may also make the Astragals, as you see them here in the sides. The height of the Volutes shallbe like the 3. Fancies without the Cimatie, and of them must be made 3. equal parts, one part for the Freeze, with the chanelature or hollowing, and the other for the Echine, with the Astragall and List, the third shall be given to the Volutes, which shall hang on the sides like the Cimatie, but the leaves shall hang down as low as the Architrave. The height of the Corona, with the two Cimaties, and the Scima, are like the second and third Fancy, together with the Cimatie: but the Projecture of Corona, Cimatie, and Scima, each of them hold as much as the height. This like form I have made in work, very well liked of: but, as is said of the other, if by occasion of work it taketh overmuch place, than you may make the Pilasters of the 8. part of the wideness, so will they be much more seemly of themselves. That part made over for an Ornament, is also at the workman's will, for this Chimney is to stand in the thickness of a wall, so that this Ornament, of this Order, would serve for a window or door. Here endeth the jonica Order of building: and there followeth the Corinthia. architectural drawing Of the order of Corinthia work, and the Ornaments thereof. The eight Chapter. OF Corinthia work, vitrvuius speaketh only in his fourth Book, and the first Chapter, in a manner as if he would say, that the same, which is said of the jonica Column, is in Corinthia work: and in his second Chapter he speaketh of Mogdilions among the Coronas, therefore not giving any other rules or measures of the other parts: but the ancient Romans using this order of Corinthia much, (as also the rest) made the Bases of these Columns, with a great number of members or parts full of work: of which Bases to set down some rules, I will speak of one of the fairest buildings in Rome, that is, the Pantheon, called by the name of, Our Lady de Rotonde, setting down all the measures thereof. The Column of Corinthia work is made by a common rule, consisting of 9 parts in height, with Capitals and Bases: the Capital whereof, shall be as high as the Column is thick below, but the Base shall be of half the thickness of the Column. Of this half, or height of the Base, there shall be four even parts made, whereof the one is for the Plinthus, the other three shall be divided in five equal parts, whereof one part shall be for the Thorus above, but the Thorus under shall be a fourth part thicker: so that which resteth shall be divided into 2. even parts, whereof one part is for the Scotie below, with the Astragall, and two Lists or borders: that Astragall shall be the sixth part, and each list or border the half thereof: but the list or border under the nethermost Thorus, shall be a third part more than the other. The Projecture of the Plinthus shall stand above in another order of Columns, making them like the jonica order; but if the place be beneath upon the ground, than the Projecture shall be like the Dorica order. Also, according to the place where the Bases shallbe placed, so the workman must add or diminish, as is before said: for as these Bases stand beneath the sight, it will stand well; but if it be placed above the sight, than all the places that are used by the other members, with their several distances, shall be made greater, then by this rule is prescribed. And the higher they be set, so much the less and fairer seem the members therein the workman of the Rotonde was well advised, for that he made the Bases above the first story within, with two Scoties, but yet with one Astragall alone, in stead of two. architectural drawing torus superior, Socita, astragali, Scotia, sive Trochilus Torus inferior, Plinthus, THe derivation of the Capital Corinthia, was from a Maid of Corinthia: but for that vitrvuius in his fourth Book and first Chapter describeth his petygrée; whereof I will not trouble myself to speak of, thus much I will say: If a workman had a Temple to make for the Virgin Mary, or any other Saints that were Virgins, or Houses or sepulchres for persons of honest life and conversation, than a man might use this manner of work. The height of this Capital shall be like the thickness of the Column below: the Abacus the seventh part of that height. Of the rest there shallbe three parts made: one for the leaves below; the other for the leaves in the middle; and the last for the Volutes, as we may call them. But between the Volutes and the middlemost leaves, there is a space left to the lesser leaves, from the which the Volutes grew. The Capital marked B. shall be underneath like the Column above: under the Abacus, there is a Cintha made, the height whereof shall be half the Abacus: of which Abacus, three parts being made, one shallbe for the Cimatie with the Lists, and the rest for the Plinthus. Under the four corners of the Abacus, the greatest Volutes are made; and in the middle of the Abacus, there is a flower as great as the Abacus is thick, under the which the least Volutes shallbe made; under the greatest, and also under the smallest Volutes, the middle leaves shallbe set, between the which the least leaves shall grow out, and out of them the Volutes spring. The middlemost, and also the undermost leaves, shall each be 8. in number, standing between each other, as the figure C. showeth. The wideness of the Abacus, from point to point, shallbe two Diameters of the Columns below: which Diameter shallbe placed in a 4. square, & a Circle drawn without the foursquare, which shall touch the four corners: then, without this great Circle, another foursquare being made, and divided in diagonal, that is, crosswise, those lines will show to be two Diameters in length (as vitrvuius teacheth.) But from the line B. C. you shall make a perfect Triangle: and upon the corner X. shall be to make hollow the Abacus: from the spaces, between the great Circle and the small, there shallbe four parts made, one part shall rest above A. and three shallbe thus taken away: the one foot of the Compass being set upon X. the other upon A. drawing about from B. to C. where the crooked line shall reach on the two sides of the Triangle, there shallbe the termination of the corners of the Capitals. The example is in the figure D. in this manner. The Abacus shall come in Perpendicular, with the Plinthus of the Base. architectural drawing D. The Colunnes' thickness below. g. Leaves. Cimatie. Abacus. Ca●licul. Lessening leaves. Middle leaves. Undermost leaves. C. The Columns thickness above. TOuching the Architrave, Freeze and Cornice of the Corinthia, as I have said in the beginning of this Chapter, vitrvuius setteth down no measure thereof, although he setteth down the original of the Mutiles, which may be made in all manner of Cornices, as we see in Antiquities: but to proceed orderly, and not to leave vitrvuius writing too much, I will set the ornaments of jonica in this Chapter, adding thereto the Astragall in the Architrave, and an Echinus under the Crown, as some Arch-Architects in Rome have done. So I say, when the Architrave is made as it standeth by the jonica, under the middlemost Fancy, there shall be an Astragall made of the eight part of the same Fancy, and under the uppermost Fancy also, one of the eight parts of the said Fancy wrought with Lead, as you see: after that, when the freeze is set with the Cimatie, and thereto the Denticules with the Cimatie, than you must place the Echine above it, of such height as the first Fancy is, the which with the projectures and cuttings, shall show more than the middlemost Fancy: above the Echine, you must set the Corona, Cimatie, and Sima, as it is said in the jonica Order. SOme Romish workmen, proceeding with more boldness, have not only placed Echines above the Denticules, but also made Mutiles and Dentiles together, in one Cornice, which is much condemned by vitrvuius in his fourth Book, and second Chapter: for that the Dentiles represent certain teeth, by vitrvuius called Asseri, and the Mogdilions are for the supporting of other ends of wood, by the said Author called Cantery: which two kind of beams may not stand together in one place; and I, for my part, could never endure Dentiles and Mutiles in one Cornice, although Rome aboundeth therein, and divers places of Italy also: but proceeding orderly in this work, I find a general rule, that is, that the height of the Columns with Bases and Capitals, shallbe divided in 4. parts, whereof one is given to the Architrave, Freeze and Cornice, and such a height agreeth with the Dorica: the fourth part shallbe divided in 10. parts: 3. shall be for the Architrave, as aforesaid, 3. for the Freeze, and 4. for the Cornice. But of those 4. there are 9 parts made, one shall be for the Cimatie above the Freeze, 2. for the Echine with the List, 2. for the Mutiles with their Cimatie, 2. for the Corona, and the 2. last parts for the Sima, with her Cimatie, which shall be the fourth part of the Sima. The Project of all shall be as aforesaid: you may also make this Architrave, Freeze and Cornice, of the first part of the height of the Column, as vitrvuius saith in his fift Book, and seventh Chapter of the Theatre. architectural drawing architectural drawing THe lessening of the Coriathia Column shall be made, as it is said of the other: and also thereafter as the height is, but of 16. foot downwards: it shallbe lessened above the sixth part, by the rule aforesaid: and if it be striked or chaneled, than you shall make it like the jonica; but from the third part netherwards the carving or hollowing shall be full, as you see it in the Figure on the sides. The Corona is without Mutiles, whereof the Architrave is half the Columns thickness: the Freeze, for that it is cut, is the fourth part more than the Architrave: and the Cornice without the Cimatie of the freeze; is as high as the Architrave: the height of all together is somewhat less than the fift part of the Column: nevertheless, if the Projecture of the Corona be well made, than it will show to be higher than it is, and shall be less weight upon the building: wherefore, that the skilful workman may choose out those parts, that best serve his turn, that he may not exceed vitrvuius doctrine, and the good Antiquities, which men, by his writing, acknowledge, if by any accident this Column had need of a proportioned Pedestal, being not let by any occasion, then the proportion thereof shallbe thus: the breadth shallbe divided in 3. parts, whereof 2. parts shall be for the height, that is, one fourth parts, and 2. third parts, (I mean the flat) which height shall be divided in 7. parts: one for the Bases, one for the Cornice above, which shall in all be 9 parts, proportioned according to the Column: but of the particular members of the Bases and Cornices, I will hereafter show more, with some Antiquities, whereof men may take such measure as shall best serve their turns. architectural drawing AMong other Antiquities of the Corinthia, which are seen in Italy, I think the Pantheon of Rome, and the Arch triumphant, at the Haven of Ancona, are the fairest and best to be seen: of which Arch; the Capital hereunder marked A. is with great care proportioned after the great: which height is contrary to the writing of vitrvuius: nevertheless, it had good correspondency; & it may be, that vitrvuius meant, that the height of the Capital should be one Columns thickness without the Abacus: but the text herein is falsified, for that I have not only found this Capital, but others more of such proportion. The Columns hereof are chaneled, as it is showed here: the Pedestal with the Base upon it, is a member of the same Arch, also proportioned in the small: the Cornice hereunto added, was found at All foro transitorio in Rome: that marked with A. is very handsome, for a Corinthian Cornice without Mogdilions: that marked with B. is a little fairer; but that with C. is the unhandsomest, because of the double parts, which have no good grace from the Corona downwards: and also, for that the Corona, upon so much Cornice, hath so small Projecture. The Base of the Pedestal marked D. in my opinion, is very fair, and also the Basement with E. I think hath been a thing that hath continued in some building: which things, altogether, men may apply to the order of Corinthia; and in the jonica I have seen the like. The Architrave V is in Verona, in an Arch triumphant, which Fancies standeth contrary to vitrvuius writing: yet I have set them here to show such difference. architectural drawing architectural drawing OF the doors of Corinthia work, vitrvuius speaketh nothing at all; but I will speak of the Antiquities which are yet to be seen. The Gate or door marked S. Y. is at Tivoh, upon the River of Auiene, in a round Temple, made after the Counthia manner, which door is lessened above the eyghtéenth part. The height is above, 2.4. squares: the rest of the members are proportioned after the great. The window T. and X. is in the same Temple, and lessened above like the door: the Pilasters or Antipagmentum are all proportioned, which a man may find with the Compass. The door following, marked P. Z. is that of the Pantheon in Rome, also Corinthia work; which is 20. ancient Palms broad: the height 40. And it is said, that the Antipagmentum is all of one piece, and I also have seen no other. The Antipagmentum of this door is the breadth 〈◊〉 the 8. parts of the light thereof, and in the sides it is of a good thickness. But for that you cannot see the first, without seeing a part of the sides, therefore it seemeth to such as look on it, to be broader than in effect it is. And this door, because it is so high, comes in Perpendicular, and is not lessened as the other aforesaid: all the other members are proportioned according to the greatness. The Base above the Gate, is like that of flat Columns above the first order, which I have set down by the Corinthia. architectural drawing architectural drawing THe door hereunder set down, is at Palestina, and is Corinthia: the wideness is 2. foursquares: the Antepagmentum or the Pilaster is broad the sixth part of the wideness, divided in manner aforesaid. The Sophore or Freeze is the fourth part more than the Supercilie. The Corona and the rest, are like the Supercilie, divided as you see in the Figure. The Prothyrides or Ancones, with that which is upon them, hang so slightly or loosely, as you see. The Frontispicie is made, as in the order of Dorica, in the second Fancy, is said. architectural drawing ALthough this Door disscreth from all the other, that ever I saw in any Antiquity, nevertheless, it is very pleas●●● to the sight, and showeth well: which Door is without Spoleta, about half a mile without the way, in an ancient Temple, made of the Corinthia manner; of the proportion and particular members, I will say nothing; for he that seeketh near, may find it with a Compass. architectural drawing OF this Order of Corinthia, which is pleasing unto all men, I will make more sorts of busidings, setting down some general rules, to satisfy those that take pleasure to read this work: and for that ancient workmen, in times past, that desired to make their things strong and everlasting, made Pillars (wherein the Pilasters are closed) which bear up the Arches of a great thickness; for that cause, the Forefront or Fancy ensuing hath the Pillar (that is, the whole body) as broad before as the wideness of the Arch is; but the thickness is 1. fourth part less. The thickness of the Columns shall be a sixth part of the Pillar. The Niches between the Columns are 2. Columns thickness in breadth: their height is somewhat less than 2. foursquares. The height of the Pedestals of 3. Columns thickness. The height of the Arch shallbe made of 2. foursquares. The height of the Columns with Bases and Capitals, shallbe 9 parts and a half. The breadth of the Arch with the Pilasters, shallbe of half a Column. The Impost which beareth the Arch, shallbe of the same height, made, in manner, like that of the Theatre of Marcellus, in the Order of jonica: which Impost shall serve for a Cornice above the door: but the height of the door shallbe made thus: Under the said Cornice, the Supercilie shallbe also made of the like height; and from thence downwards there shallbe 2. equal parts made to the Stairs; whereof, one shallbe the breadth of the light, and likewise the Cornice of the door, as the eyes, shall come with the windows, and the Cimatie of the Pedestal shall also come in like sort under the windows. The light of the windows shallbe taken diagonal wise: and the Antepagmentum a sixth part of the light. The particular members of the Pedestal, Base and Capitals, shallbe made, as in the first part of this Order it is said. Above the Columns, the Architrave, Freeze and Cornice shallbe set, divided in such manner as is showed in the beginning. The height of the second Story shallbe a fourth part less than the first, and all the members lessened accordingly, as you may see and measure it in the figure: she elevation above this I esteem not for a whole Story, but much lower: the height thereof is as much as the wideness of the Arch below; and the Cornice which serveth for Architrave, and Freeze, shallbe the fift part of the height of that Story; which measures you may take from the Capital Dorica: and for more Ornament, a man may set a Fastigies above: but setting it in the middle, it would hardly agree with the two small above the Niches, unless it ran round, whereby the work should be changed, and show better to the sight. architectural drawing architectural drawing WHen a workman will build a Temple, the higher the ground or Pavement is elevated, so much statelyer the building will show, for so right ancient workmen have done, although they used other forms of Temples, much different from this here set down: for they made a body alone, but we, that are Christians, make our Temples in three parts, setting one part in the middle, and 2. parts on the sides: and sometimes the Chapels are made without the sides, as you see in the ground. The wideness of this Fancy shall be of 32. parts: one whereof shallbe the thickness of a Column: the middlemost intercolumnes shall contain 7. parts: the greatest intercolumnes on the sides shall be 4. parts and an half. The inter-Columne with the Niche shall be 2. parts: and so the 32. parts shallbe distributed. The Arches with the Pilasters shall be half a Column broad: the wideness of the Door shallbe of 3. parts and an half: the height of 7. parts: the Impost under the Arch is as broad as the Arch. The height of the Pedestal is 3. parts: the height of the Column, with Capital and Bases, is 9 parts and a half. The Architrave, Freeze and Cornice shallbe the fourth part of the height of the Columns: and so for the particular members and parts resting, the first rule shallbe observed. The windows, Niches and other ornaments, a man may conceive in the figure and measure. The second story shallbe a fourth part shorter than the first, and all the members lessened accordingly: but the Architrave, Freeze & Cornice, shallbe placed in 3. equal parts, as I said of the other. The Fastigies shallbe made, as vitrvuius hath showed in the order of Dorica. The 2. sides that stand for beautifying and upholding, shall be the fourth part of a Circle, whereof A. and B. is the Centre; and above each Arch that parteth the Chapels, a man may set such things, which will be a great upholding to the middlemost work, and also along upon them, the water may fall from the uppermost toofe to the nethermost. architectural drawing architectural drawing THe dividing of this work ensuing shallbe thus, that the Pillar shallbe the third part of the wideness of the Arch, but the thickness of the sixth part: the thickness of the Column also as much. The height with Base and Capital of ten parts and an half: the Arch, Pilaster, and impost of the half Column: the measure of the Impost a man may take from the Dorica Chapter, altering the members: the same shall also serve for a Cornice above the door, and for supporting of the windows above the shops: the height of the Arch (for sometimes upon occasion, a man shall be forced to have it so low as you see) shall be of 3. parts in the breadth, and 5. in height: and the door also shall have the same proportion. The Antepagmentum shall be the sixth part of the light; and if the workman will make the height of the Arch of double proportion, the door also will be of such proportion: but the Columns should need a great stone underth Bases, with which things ancient workmen holp themselves. The height of the Architrave, Freeze, and Cornice are of 2. Columns thickness, as it is said in the first part of the rules, or in manner of some Antiquities aforeshewed. And for that the space under the Arch to the sollar, which is even with the flat of the Cornice, should be too great to make crosswise, in such case my advice should be, to make an Arch right behind the Column, and to make each space kettlewise, as you see in the ground. The height of the second story shallbe one 4. part less than the first, divided in this manner: the Podium shall be as high as the thickness of two of the lowest Columns, and from thence upward shall be made 5. parts, one for the Architrave, Freeze and Chrnice, and 4. for the Columns: the Arches with the Pilasters shall be of half a Column; and for the rest, you shall observe the general rule: and if the Fancy standeth in any place or market, as it is showed by the winkels or shops, it will be easy and comely to make a leaning above the uppermost Cornice: but for safety from rain, snow, and frost, above all other things, it shall be requisite to make a roof or pavement well closed and leaning forward, because of the water: but it will be surer, if it be covered with lead. And although good workmen condemn and shun the setting of a Column in an empty place, which I also commend not, nevertheless, for that I have seem the like matter upon the Porticus of Po●pcy in Rome, but made after the Dorica manner, therefore I have presumed to set the like, if it may serve any man's turn. architectural drawing architectural drawing FOr that the Venetians, in their buildings, use much Corinthia work, and also many windows and Podiums, therefore I have made one here, which is full of windows & Podiums, & have also made Story upon Story, which is more commodious than bearings out and leaning over are, and the building will have a better show; for that all the things which a man may see within, will be seemly. The Compertition of this Fancy shall be thus: The breadth shallbe divided in 30. parts, and one of those parts shallbe the thickness of a Column: the middlemost Intercolumnes chalk of 4. but all the rest of 3. and so the 30. parts shallbe distributed. The height of the Columns shallbe of 10. parts & a half, with Bases and Capitals. The Architrave, Freeze and Cornice shall, together, be the fift part of the height of the Columns. The members shallbe divided, as aforesaid. The light of the Windows are a Column and a half wide, all in Perpendicular from the top to the bottom: but the height of the first windows are of 3. parts broad, and 4. high: and those that shall stand upon them, have their height in diagonal manner. The wideness of the Door shallbe of 2. Columns: and the height 4. The Antepagmentum, with the Supercilie, Freeze, and Cornice, shallbe divided, as it is said of the other before: and so shall the Cornice also of the Door be, as the windows below are. The second Story shallbe lower then the first the fourth part: but the leaning with the Balusters being made, as high as a window is broad, the rest of the height shallbe divided in 5. parts: one for the Architrave, Freeze and Cornice, and the other 4. for the Columns, with Bases and Capitals. The height of the windows shallbe of 2. foursquares: with the rest of the Ornaments, you must do as I have said of the like: and also the Door of the Gallery shallbe like that below. The third Story shallbe lessened more than the second one fourth part, and every member proportionably; only, the height of the windows, they shallbe of 2. foursquares, and rather higher then lower, because the height of itself lesseneth: The elevation also in the middle, shallbe the fourth part lessened, as it is said of the other. The Architrave, Freeze and Cornice are the fourth part of that height. The Fastigium shallbe made, as it is said of the Dozion Temple: and if there remaineth other measures, you must always turn to the first rule. Hereunder I will set no flat ground: for the Perspectives of the Galleries show all clearly. architectural drawing AS I have at other times said, that the workman shall have Columns enough, but yet so short, that sometimes they will not serve his turn, unless the industry and cunning of the workman be such, that he can help himself there with. The composition of this Fancy shall be thus, that the wideness of an Arch shall be of double height in breadth: the Pillar shall be half the same wideness before: but that Pillar being made in three parts and an half, one part thereof shallbe the thickness of one Column: The inter-Columne of a half Column: and so much also the Pilasters and the Arch hold. The height of the Pedestals, without the Plinthus under them; shallbe as much as the whole breadth of the Pilaster, the members being divided, as I have said of the Pedestals of Corinthia. The height of the Column, with Bases and Capitals shallbe of 11. parts, and that shall not therefore be false, for it is set fast on a stone, more for ornament, then for upholding of any weight. The height of the Architrave, Freeze, and Cornice shall be made of the fourth part of the Columns, and in Perpendicular the Columns shall bear out all the members without the Corona or Cima, which will go right through without crookening; for good Antiquities used to do so: and Bramant also, the light of Architecture in our age, made such a house in Rome, called Beluedore. The wideness of the door, shallbe of four Columns thickness, and twice as high. The Antepagmentum, Supercilie, and Freeze, shall be made so, that the Cornices, which uphold the Columns, shall serve also above the door, and also over the windows. The wideness whereof shall be of three Columns thickness, and the height of five. The second Story shall be less than the first, the fourth part: but the whole height being divided in 6. one shall be for the Podium, four for the spaces of the windows, and the other for the Architrave, Freeze and Cornice, divided in such manner, as you shall see it in the order of Composita. The wideness of the windows are in Perpendicular to the nethermost; and the breadth twice in the height: the rest of the ornaments, as windows and Niches, shallbe done as in this jonica Gate is showed, which being wrought with more liveliness and flourishings, will be a Corinthian work. The breadth of the Niches with the Pilasters, shallbe in Perpendicular above the Columns, but the wideness thereof, being divided in 7. five shallbe for one Niche, and 2. for the Pilasters. The height shallbe of 3. bredths, because they stand far from sight, whereby they show shorter. The Pillars above the Cornice are made for ornament, and also for commodity, to make Chimneys of some of them. architectural drawing architectural drawing THings that are made for common use (although they are placed in all proportion and measure) are much commended; but not admired. But things that are not used, if they were made for some causes, and well proportioned, shall not only be commended of most men, but also wondered at. Therefore this building following, which representeth a Temple, shall first be made of strong rustical manner, as you see, and of such height as the place and situation requireth; but it must not be higher than 2. men's length: On which flat or Pavement, a man shall go upon, beginning at the step A. standing within the entry, and going up to B. then it shall be flat where the Temple shall have a broad walk, with a leaning round about. The which Temple shall be elevated from the walking or Pavement, till you come above the height of the Podium, or leaning, 3. steps more: and to come to that, you must go upon the step C. to the flat D. which shallbe the height of the Podium, with another leaning, which shallbe higher than the lowest. And from this flat, to the Pavement of the Temple, the said three steps shallbe: the wideness of this Fancy shall be divided in 24. parts, and one of these parts shallbe the thickness of the Column. The middlemost inter-Columne shall have 4. parts: those that stand on the sides, where the windows are, shallbe 3. parts: and where the Niches shall be, they shall each of them have a part and an half, so shall the 24. parts be distributed. The same Stilobato, as is without at the Podium, shall also be made under the Column; of which Pedestal, the height without the Plinthus, the Base shallbe 3. parts. The height of the Columns, with Bases and Capitals, shallbe of 3. parts and an half. The Architrave, Freeze, and Cornice, shallbe a fourth part of the Column, as it is said of others: and the members also divided in 4. sorts, the wideness of the Gate shallbe 3. parts, and the height 7. parts and an half, which is about 2. four squares and an half: and this is done, for that by reason of the distance, they seemed shorter to a man's sight, than these that are below. The wideness of the windows shallbe one part and an half; but the height shallbe more than 2. foursquares, because of the said shortening. The breadth of the Niches shallbe one part, and the height of 3. bredths, for the same reason: the order that the Fastigium holdeth, shallbe like the Pedestal in height, and the Cornice the fourth part of the said height: and the other, where the kettle or Lantern riseth up, is also of the same height, which shall be so much more than half round, as the Projecture shall cover the Cornice. On the 4. corners of the Temple, for the more beautifying, you may make 4. Pyramids: the height whereof (without the Stimen) shall be as the eyes are at the beginning of the Fastigium: and the Scima like the Fastigium: which Fastigium shallbe made by the like rules, as are spoken of before, of the Temple of Dorica. The parts under the Temple, shallbe for certain Oratories, called Confessionals, whereof I have seen many under the high Altar. architectural drawing architectural drawing ALthough in these our days, men make no Arches Triumphant of Marble or of other stones, nevertheless, when any great parsonage entereth into a Town, they use to make Arches triumphant for to welcome him in, which they set in the fairest places of the Town, adorned and painted in most curious manner. Therefore, if you will make an Arch after the Corinthia manner, the proportion and measure shallbe, that the light shallbe of two foursquares, and one sixth part: the thickness of the Columns shall be the 5. part of the wideness of the door or light: The height of the Pedestals shallbe of three Columns thick: and the height of the Column shallbe of ten parts and an half. The Epistilie, Sophore, and Cornice, are together the fourth part of the height of the Column: and so from under the Arch, to under the Architrave, there shall hang a role of two Columns thickness in height, and the lessening thereof under, shallbe drawn up to the Centre of the Arch. Touching the particular members, as the Pedestal, Base, Capital, Architrave, Freeze, and Cornice, you shall observe the rule before set down: the breadth of the Arch, with the Pilaster, shallbe half a Column. The inter-Columne must be of a Column and an half. The Niches are a Column broad, and the height three, for a standing Image to be placed in them. The height of the second order shallbe made thus: the Column without Pedestal, shallbe set in the upper part in the Cornice in three parts, and one of those parts shallbe the height: but of that height there shallbe four parts made: one shallbe the Cornice above; the dividing whereof, may be drawn out of the Chapter of Dorica, altering the members. The height of the Bases stand elevated above the Cornice the thickness of a Column below; and that is, for that the Projecture of the Corona darkeneth the rest of the Bases netherward. The Cornices shall give out, as you see them in the Figure. The height of the Fastigium shall be made by one of the rules set down in the Dorica. This present Figure doth partly resemble the A●ch at Ancona: but with great reverence, in regard of such a workman, I have brought the measures into one general rule, that every man may easily put such measure in use. architectural drawing architectural drawing AS much as need required, I have spoken of Corinthia; although a man might speak of divers kinds of ornaments: but it is needful to speak of the ornament of a Chimney, because of the daily use thereof, so that a man cannot be without it: for not only in great, but also in small Chambers men use to make fire, where, in such strait places, they set such Chimneys within the wall, whereon a man may make divers ornaments after the Corinthia manner. But if you make them in this form, than the wideness must be taken, according to the situation of the place: and the Pilaster shall be made of the sixth part of the wideness; but of the eight part the work will be séemelyer: the which Pilaster or Antepagmentum, together with the Supercilium, shall be divided like the Architrave of the Corinthia. This Freeze above, because it is graven, shallbe made a fourth part greater than the Supercilium. The Cornice, together with the Capitals of the Mutiles, shall hold as much as the Supercilium, and the same divided in three, as it is said of the Cornice, in the Corinthia. The breadth of the Mutiles, or Ancones (as we say) above, shallbe like the Pilaster, but beneath, which reacheth down to the opening, they shallbe one fourth part smallest and under them there hang out two leaves, as you see in the Figure: which Projecture shall be referred to the pleasure of the workman. To make or leave the ornament above, there consisteth not much therein: and this invention shall serve not only for a Chimney to beautify it withal, but also for a door, or other things, and the Frontispicie thereon will agree well with it, when you use it for a door. architectural drawing IN a Hall or a great Chamber there is a great Chimney required, proportioned according to the distance, the which needeth a great conveyance; therefore, if a man will make the Modiglions sufficient for such a bearing out, he must make two places on the sides: but in such a case (I mean) he should make two flat Columns, and before them round Pillars, not close to the other, in such manner, that between them both the place for the Column must be, and in this manner you shall adorn them. As I said in the beginning of this Chapter, the Corinthian manner had her beginning from a maid, of the Town of Corinthia: therefore I have placed a maid here, in stead of a Column: the height and breadth of the opening, being made according to the place, the height shall be divided in nine parts, and one of those parts shall be for the heads of the maids, and the whole Figure being form and swaddled, as you see: then the flat Column or the Pillar shall be of the same proportion, observing the measure before set down. Upon the Column, the Architrave, freeze and Cornice shall beset: which height, together, shall be the fourth part of a Column lying, measured after the rule aforesaid, from the Cornice upwards, to the place; and the height thereof a man may adorn in this manner, as in the Figure: and who doubteth that this invention might not serve for a Door, making such a Column against the wall, and specially before the Gate or Door of a Court, or place of triumph, and such like? The end of the Corinthia manner of building. architectural drawing The manner of Composita Building, with the Ornaments thereof, The ninth Chapter. ALthough vitrvuius speaketh of four manner of Columns, as Dorica, jonica, Corinthia and Thuscana, giving hereby unto us almost the first and simple manner of ornaments of Architecture: nevertheless, I have added one to the said four, as (almost) a fift manner of Pillar, composed of the others aforesaid, moved thereunto by the authority of Roman work, which we may see with our eyes. And, in truth, the workman's foresight ought to be such, that as occasion serveth, he may make many things by the said simple and compound work, respecting both the nature and the subject. And therewithal the workman sometimes (to whose judgement many subjects may be referred) shall be abandoned and left by vitrvuius counsel, that could not conceive all; whereby he should be brought into a strait, and compelled to do, as he seethe case: (I mean) for that vitrvuius, in my opinion, speaketh not at all of this Composita, by some called, Latina, and by others, Italica; which the old Romans, peradventure, being not able to go beyond the invention of the Greeks', finders of the Dorica, after the example of men, and of the jonica, resembled to women, and the Coriothia, after the form of maids, of the jonica and Corinthia made a composition, piecing the Volute of the jonica, with the Echino in the Capital Corinthia; and these they used more in Arches triumphant, then in any other things: which they did with good foresight, for that they triumphed over all those countries, from whence the said work had their beginnings: and so they might well at their pleasures, as commanders over them, set these orders together, as they have done in the great building of the Romish Coliseo. And having therein placed the 3. orders one upon the other, viz. Dorica, jonica and Corinthia, they placed Composita above them all, which, by every one, is called so: although, as men may perceive, the Capitals are almost Corinthia. But it was an excellent judgement, in my opinion, of them, that having placed this order in the highest part of the Coliseo, which being far off from men's sight, men should have seen, if they had set the Architrave, freeze and Cornice of the jonica and Corinthia above the Columns, that such work, by long distance of time, would have proved bad: but placing the Mutiles in the freeze, they made the work rich, and it holp the Projecture of the Corona; and withal, it wrought another effect, which was, that the Architrave, freeze, and Cornice, seemed to be one Cornice alone, by means of the Modiglions that were set in the freeze, for that they seemed great, observing their proportion. THE height of this Column, Composita, shall, with Base and Capital, be of 10. parts: the Base shall be of half the ●●lumne thickness; and it shall be made Corinthia, with the measure set down by the Corinthia: ar●●●ts is yet seen in the Gate of the Arch triumphant of Ti●us, and Vespasian, in Rome. You may make the Columns chaneled, as you do the jonica, and sometime like the Corinthia, make the Volutes somewhat greater than the Caulicoli of Corinthia: which Capital you see in the Arch aforesaid, and is set down here in Figure: for the Architrave, Freeze and Corona, if it stand far from men's sight, than the Architrave shall be as high as the Column is thick above: the Freeze, wherein the Mutiles are, shall be of the same height, The Cimatie of the Mutiles shall be of a sixth part: the Projecture of the Mutiles shallbe like the height. The height of the Corona, with her Cimatie, holdeth as much as the Architrave, and that divided in 2. parts, one shall be the Corona, the other the Cimatie; the Projecture thereof, shall be like the height: and this is a common rule, although that in the Figure ensuing, marked C. you may see the members and measures of that, which is in the Coliseo aforesaid: and for that this Column is the slenderest of all others, therefore the Pedestal ought to louse séemelier than the rest, following the common rule: the height thereof shallbe a double breadth, that is, slat, and of that height there shall be ●yght parts made, one for the Base, and one for the Scima: but of the particular members you may take the example here on the side, in the Figure; which, altogether, are proportioned according to the Pedestals of the aforesaid Arch triumphant: and so, being a Column of ten parts, the Pedestal shall also be ten parts in itself, proportioned after the Column. And although men make all Pedestals in Perpendicular, yet in Athens, a most ancient Town, there are some, that are somewhat lessened in the upper part, which I discommend not. architectural drawing FOr that ancient workmen have used divers mixings of work, therefore I will not set down those that are best known and composed, for that the workman may choose out of them such as he thinketh will serve his turn best. The Capital hereunder set, marked T. is composed of Dorica, jonica, and Corinthia: the Abacus and Cimatie is Dorica: the Echine and Strike, is jonica: the Astragal and Leaves, are Corinthia, as also the Base with the two Thorus, is Dorica: but by the 2. Scoties, and the Astragals, as also, because of the beautifulness thereof, it showeth to be Corinthia; which things are in Trestevere in Rome: the Capital X. and also the Base, are of 2. kinds, Dorica and Corinthia. The Abacus of the Capital, and also the Base, is Dorica; but the Base, by means of the liveliness of the work, may be named Corinthia, and so are the Leaves of the Capital of Corinthia: but for that the Abacus is foursquare, and all the other members round: therefore you shall cut the Rose under the Abacus in the 4. corners, as you see it in the Figure. The Capital A. with the monstrous horse, in place of Caulicules, may be called Composite, and is in the Basilico del foro transitorio. The strikes of the Column are different from others, as you may see them beside the A. The Base X. is Composita, and is in Rome: the Capital is mere Corinthia, and is at the 3. Columns, beside the Colises. The Capital C. is composed of jonica and Corinthia; and is in an Arch triumphant in Verona. The Capital D. is in the same Arch, on some flat Columns. The Base Y. is Composita, with the Astragalus, which standeth upon the uppermost Thorus, and is of Antiquity in Rome. architectural drawing architectural drawing YOu see not many Arches triumphant made of Composita, and the most part are made of pieces, taken on't of other buildings: nevertheless, having showed a general rule for them; therefore I will not set down any other invention of Edifices of that kind: for the provident workman, as necessity requireth, may help himself with the inventions aforesaid, changing them into Composita. But I will show two orders of attorneys of each sort of work, the one within the wall, & the other without. This Chimney, which should stand cleans within the ●●all, if you will make it in a small place, the height shallbe no higher than to a man's shoulders, that's man's eye and sight may not be hurt by the fires and the widenests; e shallbe according to the bigness of the place wherein it should be set. The height by to the Architrave, shallbe divided in 4. parts, one shallbe the breadth of the Antepagmentum or the Pilaster, wrought in such manner as you see it here set down. And in this Composita, (because it is frée●●●en the other) I have made this Pilaster very much differing from the rest, nevertheless, taking a part of this invention from an ancient stool, which is at S. john de La●era●ēs in Rome. The Architrave shallbe of half the breadth of the Pilasters: the Cimatie of the sixth part: the rest shallbe divided in 7. whereof 3. parts shallbe for the first Fancy, and 4. for the second. The Asteagalus shallbe made of a half part, taken between both the Fancies. The Fréess, because it is cut, shallbe made the fourth part higher than the Architrave: the Cornice is the height of the Architrave, and there shallbe 7. parts made of it▪ 2. for the Cimatie under the Corona: other 2. for the Cor●●●a: and one for the Eimatie thereof. The 2. that re●●ine, are for the Scima; and the Projecture of all shallbe like the height. But if you make the Pilaster of the Art part of his height, and the other members duni●ished accordingly, it will be much more séeruely and specially, if the work be of small form. For the ornaments above the Cori●ce, you may choose whether you will makes them or not that i● referred to the workman. architectural drawing AMan may make other drnaments of Chimneys of this Composita work, & in divers forms as this, because it is more licentious than the other manner of building: and for a changing of the other form, you may also make this by this rule. The height of the Architrave being of a reasonable man's stature, you shall divide the same in 8. parts, whereof one shallbe for the breadth of the Modiglions or Rolls: vitrvuius calleth them Prothyrides. The height of the Pedestals shallbe as high as if they were to sit upon. The order above the Modiglions, which holdeth no rule at all, shallbe two parts and an half of the breadth of the Modiglions. And for that also I have said, this manner is without rule, therefore the leaves and other parts, shallbe referred to the workman. Men may also sometimes set the Dorica and the jonica, and sometimes the Corinthia above the Modiglions: and for that the funnel, which receiveth the smoke, is wide, therefore you may make the small order above it, which will give it a fairer form than the usual, which goeth like a Pyramids, or sharp up. architectural drawing Of four manner of Simmetries. THe Workenan is to have a great judgement, because of the diversity of composition in Ornaments of buildings, for that there are some places in Architecture, of the which there may, almost, certain rules be given, for they are no accidents that happen contrary to our opinions, for every day we see some Columns, that with their different positions, show different measures in themselves, according to the places where they stand. These alterations are so made in buildings in 4. ways, that is, setting the Columns almost in an Insule, without any companion to help it either on the sides or behind. These certainly bear a great weight, and in their height they go not above the aforesaid rule: the example hereof is in the first Column marked A. but if you place them against the wall (though they be round) by the which being underholden and helped, a man may make another thickness higher above the same: the example thereof is in the Column B. Or also drawing alone two third parts from the wall, there may yet a thickness or wall go higher than the other, for that you see the like in some buildings, that rise to nine thicker & a half, and most in the Coliseo of Rome, in the Order of Dorica, as it is showed in the 3. Column C. but they are more helped when they have Pilasters on the sides, which bearing all the weight, give the workman means to make the Columns more seemly, and so slender, that they may be said rather to be placed there to fill a room for beautifying, then for strength. You may also draw a Column two third parts out of the wall, and on each side set half a Pillar, which will help the Columns so well, that you may make another thickness above: and in this case, the Architrave, Freeze and Cornice may bear out upon the round Column, yea although it were flat, because the half Pillars would hold the Architrave, etc. on the sides: but upon one Column alone, it is vicious to make such work bearing out, for the other parts beside should be abandoned without any help. This example you see in the Column D. But when the Columns have any weight to bear up, without the help of another, and shall have fit Intercolumnes, it shall not be thought meet to exceed order, yea, although they have Story upon Story to bear up: it is reason that they should be made better, that the work may be more durable: and although the Pedestal be a great help to raise up Columns, nevertheless, if the Columns be high enough, I would think it better if the Columns had them not, specially in the lowest Story, but in the third and fourth Story with reason. Podiums and Pedestals also serve to raise up Columns, which the 〈◊〉 Romans observed in theatres and amphitheatres. But touching the setting of Column upon Column, there are divers reasons: The first is, that the Projecture of the Pedestals of the Columns placed above, should go no further out, than the thickness of the undermost Column; and this should be a most certain reason: but for that the second Story should lessen much from the first, and would serve no more for any other Story, considering the great lessening ensuing, another reason, and more to the purpose, is this: That the flat of the Pedestal ought, at least, to be in Perpendicular with the Column below, and to set the Column above this Pedestal, lessened a fourth part from that which standeth under, as well in thickness as in height: so this rule agreeth with that of vitrvuius in Theatrum: which figure is above the Column A. and if you will not lessen the Column so much, than you must make the uppermost Column as thick as the nethermost is in the uppermost part: but in this case, the flat or massy part of the Pedestal would be broader than the nethermost Column is thick below: nevertheless, those of the Theatre of Marcellus work that effect. The example hereof is in the Column B. and these three reasons are probable enough. But the ancient Romans, in the great Edifice of the Coliseo, made the Column jonica, Corinthia and Composita all of one thickness; and the Dorica, under all the other, they made thicker, about the twentieth part. And this (in my opinion) they did by good advice: for if they had lessened all the Columns the fourth part, one above the other, the last, in so great a building, by reason of the great distance, would have showed very small, which we now see to be of good correspondence, by reason of the height. The showing of this is in the Column C. And as the Column above the Column D. is less than that which standeth lowest one fourth part: for that, if a man hath a reasonable house to make of 3. Stories, so I would not think it amiss, that a man should lessen every Story the fourth part, according to vitrvuius advice: but if the building be high, than you were better observe the Order of the Coliseo, that the Stories Dorica, jonica and Corinthia, may each be about one height, but the Story above increaseth in height about the fift part: and this is so (as I have said) because of the great distances which part, by means of the great distance, seems to be of the height that the rest are: and although that the showing of these Columns is Doricall, yet it is so in all sorts of Columns. architectural drawing Of Brick. Having spoken of so many and divers Ornaments of stones, it is requisite, that I should also show how they are to be placed in work; and specially, when a man is to mix hard stones & bricks together, which requireth great diligence and Art: for that bricks are like flesh in a piece of work, and hard stones like the bones to knit and hold them together: which two things, if they be not well and fastly bound together, they will, in time, decay: and therefore the foundation being made in such manner as the place affordeth, it is requisite, that the provident workman should make ready, all the hard stones, and also the bricks, with the rest of the stuff belonging thereunto, and so should come to lay and join the hard stones and the bricks together, all at one time: and it is requisite, that the hard stones should be set so far within the wall, that although there were no mortar to hold them together, yet they should, of themselves, stand fast in the wall: which doing, the work will be strong and continue hard. The example hereof is seen in the other side, by the figure A. where it is also showed, how a man may make places breast high, without fear. And if you have Pedestals with Columns to set upon them, where hard and soft stones are mixed together, if the hard stones be not well joined with the soft, as you see in the figure B. the work will not continue long. And if the Columns be of divers pieces, some of them (that is the least) shall go deep into the wall, to hold the other the faster. But if the Columns be of one piece, them they would stand, at least, a third part within the wall; but the Bases and Capitals must enter much more into the wall, and above all the Corona and other Cornices, which bear far out from the wall. The innermost part that is unwrought, must countervail that which is without, that it may bear itself: but if at the same time a man will make any work or Fancy upon the stones, than it is requisite, that the workman, before he gins to lay any work above the ground, should make ready all his stones, together with the other stuff belonging thereunto: and so laying and knitting the stones with the bricks together, I say, that he shall do well to set some of the stones so deep into the wall, that they may hold the other pieces together by force, joining well in, as you see it in the figure C. that in time they may not rive and break asunder one from the other. But that the wall, made of brick, should not sink, and sinking, should break the thinnest parts, by reason of the weight above, it is necessary to have brick well burnt, and mortar well tempered, & between the stones little mortar, & well laid and joined one upon the other: And above all, such work would not be made by any force, nor weight upon weight, to be packed in haste, but you must let it rest somewhat from lay to lay: for if a man will work in haste, and set great weight upon it, it is most certain, the wall will sink, and the stones being not able to bear she weight, will break; but if it be made with leisure, than the stuff will be as it should be: nevertheless, I would always more commend the work that is wholly bound in the wall, then that which is joined together or covered; and specially, in my opinion, men should not make them in walls that stand outward, for that the houses which have been made so in former time, by ancient workmen, and were covered over with Marble and other fine stones, are now seen all without stones before, and nothing but the wall of brick, that stood behind them, standeth still: but those buildings, where the hard stones are bound and joined into, and with the bricks, are yet standing: nevertheless, if you will make such work simple, I think this the surest way, although some workmen, in divers places of Italy, have made some building, with simple walls, leaving places in them for hard stones to be put in, and after, at another time, have put in such Ornaments: nevertheless, for that such things are not well fastened in the wall, but in a manner hacked, you may in many places see the pieces fallen, and every day more and more decay. architectural drawing Of Doors of Wood, and of Metal. The tenth Chapter. AS I think, I have sufficiently spoken of the Ornaments belonging to building of Stone, now I will speak of Doors that shut the houses: whether they be of Wood or Metal, I will set down some Figures thereof: of the hooks I will say nothing, for all the world knows them well enough: nevertheless, those that were used in ancient time, as you see them in the Figure A. were easilier to be opened and shut, than those which are now used in all Countries, as in the Figure B. But whether these Doors are of Wood or Metal, their Ornaments shallbe made in such manner, that the fairer the Ornaments of Stone are, the Ornament of the Gate also shall be correspondent, that they may be one like the other; and to the contrary, if the Ornament be slender, than you shall make the Door of Wood or Metal thereafter, which is to be referred to the workman: and to give you a show of such Ornaments, you shall here see five manners of Ornaments, which, for the most part, are taken out of Antiquities. architectural drawing architectural drawing Of the Frames of Doors IF men make Doors, Gates, or Leaves (as we term them) all of one piece, so that there needeth in that case neither wood nor iron unto them, they make the hooks of the same piece or Metal. But those that are made of wood, and then covered over with Copper of reasonable thickness, which, if it be of flat plates, you must fasten one upon the other, and yet, although they be well joined & pinned, or payled together, nevertheless, the nature of wood is such, that it will ●●●●ke or swell, as the time of the year is brie or moist: if therefore you will make such a door, that w●●l be covered over with Copper, Iron, or any Metal, you see the surest way here in the side, in the figures A. and B. for wood neu●r waxeth longer, but remaineth still in the same form; which is referred to the workman, to make them thick or chin, as he will, according to the weight that they shall bear, and you may also fill the spaces of the same wood. And for that all the ancient doors or doings through, are commonly fourth●●are, only those of gates of Tow●es, or triumphant Arches, which are roost: nevertheless, in our days many do●●● are made round above, peradventure for more strength; and also, for that in some cases they become the houses well, whereof I have showed a figure, and 〈◊〉 that, in truth, a man cannot conceive all things: for many accidents happen to a workman at such time when he is to devise sou● new work. architectural drawing Of Ornaments of Pictures within and without the houses. The eleventh Chapter. THat I may not leave out any kinds of Ornaments, whereof I give not some rule for instruction, as well in Pictures as other things, I say, that the workman ought not only to take care of the Ornaments of stone or marble, but also of the Painters work, to let out the walls withal: and it is requisite, that he should prescribe an order therein, as Surveyor of all the work: for this cause, that some Painters have been workmen good enough, touching the handling of their work, but for the rest, of so little understanding, that desiring to show their skill in the placing of the colours, have disgraced, and sometime spoiled a Story of a house, for want of consideration how to place the Pictures in the same. Therefore if they have a Forefront or Fancy of a house to paint, it is certain, there is no openness to be left, where air or lantshap is to be made, for those break the building; and of a thing that is massy and close, they transform it into an open weak form, like a ruinous and unperfit building. Also there should be no personages nor beasts coloured, unless it were to trim and deck doors, wherein there are men's personages: but if the owner of the house, or the Painter, desire colours, that the work may not be broken nor spoiled, a man may cover a hackled wall over with cloth, and therein paint what he will: and also, after the manner of triumphs, a man may hang on the wall Garlands, and strings of Leaves, and Fruits, Flowers, etc. and also Shields, Trophies, and such things as are to be stirred: but if you will paint the walls with firm matter, than you may fayne things of marble or other stones, cutting therein what you will: you may also beautify some figures in Niches, with metal, and so the work will remain firm, & worthy commendation of all those that know good work from bad. And the Author rehearseth divers excellent workmen, whom (for brevity sake) I will omit, that only used to paint nothing else but white and black in houses, and yet so excellently well, that it made men wonder to behold them. A man may also, with good reason, make and set forth certain openings in walls of lodgings, round about the Courts, and make air, lantshaps, houses, figures, beasts, and such like things, as he will in colours. Also, if a man hath Chambers, halls, or other places, about the ground within, to paint and set forth, than a Painter, in manner of Architecture, may make openings to see through them, as the place is: for above the sight a man must make nothing but air or skies, roofs, high hills, and the upper part of houses: and if you place figures also above the sight, a man must see under them, and not the ground whereon they stand. And if the Painter will make a Hall or any other, or further room perspectively, he may, over the going in, with order of Architecture, make it to show further than in effect it is. And this, Balthazar (a man excellently well learned in Architecture) did, in beautifying the Hall of Augustin Guise, a Merchant of Rome, where, in that fort he set out some Columns, and other Architecture to that purpose: so that Peter Aretin, a man also skilful in Painting and in Poesy, said, that there had not been a perfecter Painter than he in that house, although there is work also in it of Raphael's own doing. And when the walls are painted, and if you will have the roof also done, then follow the steps of Antiquity, making things that are called Grootes, which, for that you may make them as you will, show well therein, as Leaves, Flowers, Beasts, Birds, and other mixed matter. If a man maketh any clothes or apparel of figures, or which are made fast on them, therein a man may do as he will. But if a Painter will make any figures according to the life, in a roof of a house, than he must be very skilful, and much exercised in Perspective work, and very judicious to choose such things as are fittest for the place, and rather heavenly flying things, then earthly things, with such Art, that he must shorten the figures so (although they be monstrous) that when men stand a convenient distance off from them, they may resemble the life. Which thing is excellently well made in L●rette Mantua, and other places in Italy, by divers workmen: yet skilful workmen in our time have shunned such shortening, for that (in truth) it is not so pleasing to the eyes of the common sort of people. Therefore Raphael Durbi●, whom I will always name Divine, for that he never had his fellow, (I say no more) in this thing, as men judged of him when he was to paint the roof of Augustin Guise his Gallery, shunned shortening as much as he could: for when he came to the highest part of the roof, and there meant to make the banquet of the gods, heavenly things, and such as served to the purpose for a roof, taking away the harshness of shortenings, set forth a cloth of azure colour, made fast to the strings or Garlands, as if it had been a thing to be stirred, and therein made the banquet so seemly and so workemanlike, that the Gallery was rather esteemed for a preparation to a triumph, than a plain painting made upon a wall. Therefore the workman, that ought not to be unskilful in Perspective work, should not endure, as being Surveyor over all the workmen in the building, that any thing should be made therein, without his counsel and advice. Of flat Roofs, and the Ornaments thereof. The twelfth Chapter. ALthough in the Netherlands they use not to deck the Chambers in the Roofs with wooden work, nevertheless, when a house without is made wholly after the old manner, it were unfit that the Roof should not be agreeable, as also the Bedsteeds, Banks, etc. And which is more, I would say, that each place should be stuffed and suited within, with things sitting to that which it showeth outward. I say then, If the Roof be high, than the divisions to be wide of space, and rising or bearing out well: and if a man will beautify it with Painting, it must be well done, and conformably painted, according to the greatness and distance thereof. It ought also to be made of light and brown colours: and in the middle of the field you must set a guilt Rose: but if a man will colour it, than the field must be blue, as piercing, but the Roses must be bound with some works or branches, that they may not seem to hang in the air: and the Cornices which close up the foursquare or other fields, must be well guilt, or beautified with the same colour: but if so be the Roof is not high enough, than you must make the work thinner and smaller, as also the painting: and that you may understand it, I have set two figures to show you, which, notwithstanding, are all one: the one of bare wood, the other painted, as I said before. And this Order I observed in the Roof of the great Library in the Palace of Venice, in the time of the Prince Andreagriti, because the Roof was lower than it should be, in respect of the wideness and length of the Hall, and I made it of thin work, for the reason aforesaid. architectural drawing The Timber work of the ceiling aforesaid. architectural drawing The Ornaments and Garnishing of the same work. architectural drawing Another manner of Sieling. architectural drawing architectural drawing The Garden, being an Ornament to the Building, therefore these Mazes and Knots, are set in Figure. architectural drawing architectural drawing LAstly, our Author speaketh of Armour, to show how a man shall make colon●, and place them, according to state, workmanship, or nature; that thereby a man may perceive of what stock, or from whence it is derived 〈◊〉 for, saith 〈◊〉 we see that in former times men m●●● & figured Princes in their majesty, Bishops in Pontifical Robes, Ca●●●●nes armed, and every ma●●● such h●●●●e, as b●●●tted his calling and cond●●●●. And ●●●e will h●●● men to make & colour arms▪ that ar● to be so 〈◊〉 upon, or before houses, with beast●●●●●ds etc. 〈◊〉, sil●er, blue, red, green ●nd bla●● colours 〈◊〉 no ●●●tall upon metal, no● colour upon 〈◊〉. But for that workmen here in this Country make no Arms after their own pleasures, we will let them pass, & in place thereof set down a figure of Letters, the which the workman hath occasion many times to cut, or place above Gates, doors, in Fréeses, and other tables, therein to set names, titles, devices, or other superscriptious, at the pleasure of the owners, or to know a 〈…〉 any other common places o●●●ice or otherwise. Nevertheless, for that here there are roofing works 〈◊〉 to f●ll the place, I will set the Figures of the Arms▪ which he hath made after the Letters, that the Book● may be complete▪ The workman, having n●● knowledge of learning, should be much troubled, to seek far and near for one that should write them for him: and although that he hath them in writing, nevertheless for want of knowing the proportions, they may be spoiled in working, and to bring his work in contempt; as also those that drew them for him: Therefore, although they are drawn by Lucas Patiolus, Geotry Tory, and Albertus' Durer, who, nevertheless, agree not all together, therefore I will set these hereafter down for a common rule, following our Author, who (letting pass all superstition) hath brought the Columns & Pedestals into a due 〈…〉 whose authority, I should almost say, that a man may make the●e letters greater or smaller, according to the orders of Columns; but to write th●●imetry, or not, that I may not digress too far out of the way, I will follow vitrvuius, where he saith, that a jonica Column is 9 parts high, and 〈◊〉 showing of divers Authors, this form of Letters is also found in jonica, and so I leave them of 9 parts: and whether a man would make them by Corinthia or Composita order of 10. parts, it would not be amiss, for as the Corinthia is most used for the slenderness, so these Letters for the most part, are made of 10. parts: by the Dorica and Thuscana, they are made of eight. By that reason thereof, it were not much to be contemned, considering the grossness of the work; also, according to vitrvuius writing, a man may alter the Simetries, as it is sufficiently showed in other places: for upon some occasions, they are greater & smaller, yea, and show altogether false to that they are. To learn easily to make thess letters, first, you must make a perfect foursquare, and set it in as many parts as you will give unto the letters: but if they be of 6.7.8.9. or 10. parts, more or less, the smallest draft shall be the third part of the thickness, and the cross draft the half. The corners shall, at least, have as much Projecture as the thickness of she letter taken with the Compass. But although one letter is within the foursquare, and the ot●●● without, you may see in the figure, where you may set the Compass to draw the round: you may set the O. of the same measure that you set the Q. The tail of the Q. is a quarter and a half of a foursquare, and sinks a half foursquare; some make it shorter. I will not uphold these letters to be the best, but every man take them he liketh best: it is also no need to take so much pains with every small letter: but it falleth out oftentimes, that a man is to make them a foot, or six, more or less, high: which a man shall never bring to good pass, without following a sure proportion. monumental alphabet III A B C D E F G H I K L M N O P Q R S T V X Y Z architectural drawing The end of the fourth Book. The fift Book of Architecture, made by Sebastian Serly, wherein there are set down certain forms of Temples, according to the Ancient manner; and also serving for Christians. Translated out of Italian into Dutch, and out of Dutch into English. LONDON. Printed for Robert Peake, and are to be sold at his Shop, near Holborn Conduit, next to the Sun Tavern. 1611. THE FIFT BOOK: Of divers manners of Temples. The fourteenth Chapter. ALthough we see and find divers forms of Temples and Churches in Christendom, as well ancient as modern, yet for that I have formerly promised to show some Orders thereof, to accomplish the number of my Books, therefore I will entreat of them, and set down twelve several manner of Temples, with their grounds and measures: and for that the round form is the perfitest of all others, therefore I will begin with it: but though in our time, whether it be by reason of small devotion, or cruelty of men, there are no more great Churches begun to be made, and that men finish not them which in former time have been begun, therefore I will make mine so small, as they may pass in reasonable manner, for that with small cost, they might in short time be made. The Diameter of this ground shall be as long as high, according to the Figure of the Circle, that is, of 60. foot. The thickness of the wall shall be the fourth part of the Diameter, that is, 15. foot, that a man may easily make the Chapels within it: which Chapels shall be 12. footbroad. The Niches between the Pillars shall be four foot broad: the other in the Entry, and of the three Chapels, shall be six foot and a half broad: and to spare charges of stone and lime, the great Niches shall be made without the Chapel: the breadth whereof shall be 15. foot. This Chapel is elevated from the earth at least five steps; and if it were higher, it were not amiss: for the earth in time riseth, so that men go downward into many old Temples and Churches, whereunto, in former time they ascended upwards: but this stair would always be uneven, according to Vitrunius writing, speaking of Temples, where he saith: that as a man with his right foot gins to climb up, he may, with the said right foot, step upon the pavement of the Temple. Touching the foundation, a man cannot sail, if he maketh it deep and broad enough: but the least breadth that a man can lay, is this: that a man should from the Diameter of the thickness of the wall, make a perfect foursquare, and the Diagonus of this foursquare shall be the breadth of the foundation under the wall. And so, I think, Vitrunius writeth, where he speaketh of foundations. But touching the Stofes of foundations, in fast or hard ground, and also in watery ground, I need not show it here, because every man knows it. architectural drawing Of divers forms of Temples Having showed the ground of this round Temple, this Figure showeth the body of the Temple, both without and within, for that it is purposely made broken, to see both. The inner part of the Temple is made after the manner of Corinthia. The whole height from the Pavement below, to the Roof above, is 60. foot; whereof 30. foot are for the ●ettle or round roof: the rest netherwards, shall be divided in 5. parts and an half; whereof one part shallbe for Cornice. Freeze and Architrave. The four parts and an half resting, shallbe the height of the Columns, with Bases and Capitals, whereof altogether, you shall find the particular measures in my fourth Book, in the Corinthia. The Niches between the flat Pillars, shallbe 10. foot high the other shallbe of 15. foot high. The hole above the Roof, shallbe the seventh part of the wideness of the Diameter of the Temple: above, upon that hole, there may be a Lantern made, stopped with glass, or it may be left open, whereat there will come in light enough to the middle of the Temple, for that the Chapels have light enough at their windows: the top of this Temple will best be covered with Lead: the Cornice without, shall stand like that within, but much greater of members, because it standeth in the weather. Touching the Doors, you find them sufficiently set volume in my fourth Book. architectural drawing ALthough the ground of this Temple following is round also, yet it hath an alteration by the four bearings out, which are three Chapels, and also the going in of the same fashion. The Diameter of this Temple is 48. foot: the thickness of the wall is a seventh part of the Diameter. The Chapels are 14. foot in foursquare, without the Niches. The other 4. Niches or small Chapels shallbe 9 foot broad: the foursquare▪ Chapels have their light on the sides; but the light of the Temple above in the Roof, shall be wide the fift part of the Diameter, with a Lantern upon it, as it is said of the other: you shall go up to this Temple also with five stairs, and for that the corners without the Temple lie always foul, I think it were not amiss to make a foursquare wall about it, as high as the going up, that people may not so easily come to it. architectural drawing HEre you see the Chapel standing upright (whereof the ground is on the other side) which showeth as well within as without, because it seemeth as if it were broken. The height within, is like the Diameter, that is, 48. foot. The half shall be for the half round roof, and the hole above for the light, as I said before, shallbe wide the fift part of the Diameter; whereon there shall be a Lantern, made with glass, as the Figure showeth, and the Roof without, covered with Lead or other stuff. From the Roof netherwards, the Cornicement shall be made of two foot and an half high, form like Impost of the Arch of the Theatre of Marcellus, in the fourth Book and the seventh Chapter, Folio 37. and shall serve for Capitals, unless it be the Plinthus with the Cimatie, which shall serve for Corona. The Pilasters are broad 4. foot can half. The great Chapels are 21. foot high. The smallest Chapels shallbe 13. foot and an half high, half round above. Above those 3. foursquare Chapels, and over the going in, there may be flat covers, somewhat falling down, to void the water: a man may also make steps within the thickness of the wall, to go up, and an iron or stone rail, to rest or lean upon. The Temple may be covered with such stuff, as may best be provided: but Led would be the surest. architectural drawing AFter the round Figure, which is the perfectest, the best are the Quale, that is, like an Egg; therefore I have made a Temple of that fashion: which Temple shallbe 46. foot broad, and 66. foot long. The thickness of the wall shall be 8. foot, & within it the Chapels shall stand: and although they be not too large, yet a man needs not cut them off. T●e wideness of the 2. greatest Chapels, holds 20. foot and an half; within the which are two Niches▪ each 4. foot bread. The Columns shall be a foot and an half thick, and the half Columns accordingly. The spaces between the middlemost Columns shall be 7. foot and an half: the other shall contain 4. foot and one fourth part. These two Chapels shall each of them have 3. windows: the middlemost shallbe 6. foot wide, and the other on the sides each three foot. The Chapel with the high Altar, shallbe 10. foot broad, and 6. foot far in the wall, with Niches, like the great, and a window above the Altar, of 6. foot wide. The 4. other Chapels shallbe a half Circle, 10. foot wide, having the like Niches also, and a window of 4. foot wide, above the Altar. And for that this Chapel hath light enough of itself, it might suffice for the whole Temple: but to make it lighter, there may be windows made above the Chapels. This Temple shall also go up five steps: the door shallbe six foot wide, and shallbe beautified with 4. Pillars, after the Corinthia manner: the going in shallbe like the Chapel with the high Altar. architectural drawing THis Figure ensuing, showeth the Quale Temple within, which from the Pavement to the Roof, shall be as high as broad, that is, of 36. foot: from the Pavement, till you come above the Cornice, it shallbe 23. foot: which height divided in five, one part shallbe for Architrave, Freeze and Cornice: the other 4. parts shall be for the height of the Pillars, which separate the Chapels. The particular measures hereof you find in my fourth Book, in the order of Corinthia; for that this Temple is made of such work. The height of the round Columns shallbe 12. foot. The Architrave, that holdeth up the Arch, is 2. foot. The Gate (as it is said in the ground) shallbe beautified with four flat Pillars, of such form and measure, as those that stand within the Temple; and also with such Cornicements: the Gate or Door shall have an Arch standing upon two Pillars, between the flat Pillars: the Roof of this Temple may be beautified, as you see it in the Figure; and richlyer also, making the Windows above the Cornice, hanging downwards, as you see, and cover the Temple with Lead, which is best: and so the windows shall be preserved well enough. architectural drawing ALthough this form is five cornered, which in Building is not so handsome, therefore within I have made it of ten corners. The Diameter of this Temple is 62. foot long: the Diameter of the Lantern is 12. foot: the five great Chapels are 15. foot in foursquare, without the three Niches, which are tenfoote wide. The small Chapels are 15. foot broad, and go 4. foot into the wall, to the half Circle, which is, 13. foot wide. The great Chapels shall have two windows, and the small one: the wideness of the doors is 7. foot and an half. The Gallery without, shallbe 10. foot broad, and 24. foot long. The 4. Pillars thereof, shallbe 2. foot foursquare. The middlemost space between the Pillars, shall be 10. foot, and the other 2. spaces shallbe 4. foot. The sides of the Gallery shall have a leaning place made with Balusters: In the sides of the Gates, there shall stand 2. pair of winding stairs, to go up upon the portal, and also round about the Temple. This Temple is 9 foot elevated from the ground, and it may be made hollow underneath. architectural drawing ALthough this Temple is shut, yet I will show the measure within; it is as high as broad within, that is, 62. foot. The Lantern is also as high as broad to the Cornice: the Roose is of half a Circle. The roof of the Temple is also half a Circle, high 31. foot, the rest netherwards. The Cornice shall have two foot and an half, form like the Impost of the Theatre of Marcellus, in the fourth Book, in the order of jonica, marked T. Folio 37. This Cornice shall be set without, like the innermost, but greater. The foursquare Pillars of the portal, are 14. foot high, with Bases and Capital, Dorica. The Architrave is half the thickness of the height of the Pillar: about the Arch, the Cornice is the fourth part less than the great, but of the same form, and shall serve for Capital upon the Pillars. Above this Cornice, there shallbe a place brest-high, made with Iron Balusters. The two pieces above this Temple, show the Chapels within: and that with the cross, showeth the greatest Chapel, whereof the light is 25. foot. The other piece marked L. showeth the less Chapel, which is also 25. foot high: the Pilasters that separate the Chapels, are three foot broad: the height is 19 foot: and there shall be a Cornice made, which shall go round about the Temple, serving for Capitals upon the said Pilasters; which form shallbe made after the Dorica Temple, but a little altered: the Cornicement, upon the Lantern, may be made with Architrave, freeze and Cornice. architectural drawing THe ground of the Temple following shallbe six cornered, being in Diameter 25. foot: and the wall 5. foot thick. The wideness of the Chapels are 10. foot, and stand 4. foot within the wall. The wideness of the Niches is 2. foot. The Door of the Temple is 5. foot wide, adorned with double Pillars, which are a foot and a quarter thick. The going up is 5. steps, or more if you will, yet uneven. Each Chapel hath a Window, of four foot and a half broad, which will bring in light enough, although there be no Lantern. On the 6. corners without the Temple, there shallbe flat Pillars made, of 2. foot and a quarter broad, coming out a little. And if you would make the Temple greater, and for want of stones you could make it no thicker Columns: than you might make it Corinthia, or jonica, or Dorica, if you will: and then you may help yourself with Pedestals. architectural drawing NOw I have showed the ground of the 6 cornered Temple, 〈◊〉 must show it standing upright, and also describe it as well within as without: for although the Temple be wholly closed up, yet I have set a Chapel above ever it, to see it within, for that they are all five or one form; and the going in also is of the same form. But ouching the outermost part, I say, that the height from the pavement below, till you come above the Cornice, shallbe 18. f●ote. The Cornice round about the Temple, shall be made of a foot and a half: but the members of the said Cornice shall be made according to the Chapter of Dorica, for that it shall also serve for Capital upon the Pilasters, at the 6. corners. Touching the Plinthus with the Cimatie, for that it shall serve for a Corona, it shall go but right through above the Pilasters, as you may see in the Figure. The portal before shall be beautified with round Columns, & with flat Counterpillars: whereof the middlemost Intercolumnes (or spaces between the Columns) shallbe 7. foot and a half. The Columns shall be a foot and a half thick: but the space between each 2. Columns, and Pillars, shall be half a foot: these said Columns shallbe 8. foot and three fourth parts high. The Capitals shallbe Dorica: but the Bases, because they stand below at the foot, in the rain and the wind, and also for that they should be the Bases for the flat Pillare, and the great Pilasters, going about the Temple on all sides, therefore they shallbe made Tuscana. The height of the Architrave shall be a foot, whereon the Arch shall stand: and the Door shallbe adorned as you see it in the Figure. The going in shallbe 5. steps at the least. The Roefe shall be covered with a thing, which in those Countries lasteth long, and is easy to be had, otherwise it were best to be of Lead: and this is touching the work without. To speak of the in●●ard part, it is said, that 1. Chapel serveth for all: the breadth of these Chappele hold each of them 10. foot: and in height 13. foot and a half, and enter 4. foot into the wal●: on ●ach side they have a Niche, which to 2. foot broad: above the Altar there is a window, which is 4. foot and a half broad: and 7. foot high. The Cornice within the Temple shall stand of the same height that the outermost doth, and shall also be of the same figures: for the Plinthus with the Cimatie, shall also go right through, round about the Temple, without bearing out above the Pilasters: otherwise a man may make them much slenderer than they that stand in the rain and the wind. You may also make the Bases after Dorica: and although all the other Temples showed before, have their heights within, like the breadth or the Diameter, so shall this, nevertheless, though it be so small, be half a Diameter more higher, that is a Diameter and a half, which is seven and thirty foot and a half. architectural drawing ALthough those aforesaid, and some Temples following, have no Steeple for Bells to hang in, as the Christians use to have; nor any Vestries, nor other places for men to withdraw themselves in: yet they must, nevertheless, be handsomely made without, but so, that men may go through the Temple into them: all which subjects and inventions shall not want in my other Book. The ground of this Temple is 8. square: whereof the Diameter within shallbe 43. foot: and the wall 8. foot. The Chapels are 12. foot wide, and stand 6. foot within the wall. Three Chapels are of half a Circle, and the other 3. with the going in are 4. square. Each Chapel hath 2. Nithes, which are 4. foot broad. The 3. windows in the half Circles are 4. foot broad: the other 3. with the Columns are 11. foot wide. The Door is 5. foot wide. In the middle of the Temple a man may set an Altar, covered with a Tribune, upon 8. Pilasters. The Diameter hereof shallbe 12. foot long: and if you will make this Temple greater, you may make it more feet. architectural drawing THe Figure hereunder serveth for the 8. square ground, afore set down, and is the said Temple as it is without. From the highest step to the uppermost part of the Cornice, it is 21. foot and a half, which is the half of the innermost height. The Cornice shall contain 2. foot, divided as in the Chapter Dorica; and shall also bear out over the Pilasters, without the Plinthus, as in the Figure. You shall also set a simple Base underneath three fourth parts of a foot high. The breadth of the Pilasters at the corners, shallbe of 3. foot: and those that stand inwards shallbe but 2. foot broad. The Door is 5. foot wide, and shallbe 13. foot and a half high. The Ornaments of this Door you find in the fourth Book, by the jonica, Folio 38. The manner of the wideness is sufficiently seen in the Figure: if you will have more light in the Temple, than you may make a hole above, and that to be covered with glass, poynt-wise, against the rain. architectural drawing ACcording to this innermost Orthography, the Cornices and Pillars are of form & height like the innermost: from the Cornices upwards, the roof is a half Circle: the 3. greatest Chapels are roost with Arches, and are 18. foot high. The round Columns shallbe three quarters of a foot thick, and the half accordingly, and shall be six foot and an half high: the Architrave, whereon the Arch comes, shall also be three quarters of a foot: the intercolumnes in the middle, shall be four foot and an half, and on either side two foot and an half. The Chapels of half a Circle, shall also be 18. foot high: the Niches of all the Chapels shallbe ten foot high: the Tribune that should stand in the middle with the Altar, is figured above: and from the ground to above the Cornice, it is 18. foot high: the Cornicement thereof is three foot: the rest is for the Pillars, where, on the sides, you may make Pilasters with Arches, and all Dorica work, as well within as without. The Tribune is of a half Circle. architectural drawing ALthough this ground without is foursquare, yet within it is 8. cornered, whereof the Diameter within is 65. foot, and the wall 16. foot. The going in of all the Chapels, is 12. foot, and the wall there, is 3. foot and an half thick. The corner Chapels shallbe 16. foot foursquare within: the Niches with Altars, shallbe 12. foot broad: the 4. open, and two blind windows, shallbe 3. foot and an half: the two lesser Chapels shallbe 22. foot long within, without the Niches. The Niches shallbe 10. foot broad: the windows shallbe 6. foot wide: the portal without, is 27. foot long, and slew foot wide: right over against the flat Pillars stand round Columns, which are one foot and 3. quarters thick. The door is 6. foot wide: the portal within, is almost like one of the small Chapels. You may also set a high Altar in the middle, with a Tribune, whereof the Diameter is 20. foot: the Pilasters are three foot and an half thick: the flat Pillars at the corners are three foot broad. architectural drawing THis is the Orthography of the aforesaid ground, of the eight cornered and foursquare Temple, which is the Figure as it is without, whereof I will describe the height: and first, from the Pavement, to the highest part of the Cornice, it is 22. foot and an half: the height thereof divided in six parts, one shall be for the Architrave, Freeze and Cornice, the other five parts are for the Pillars, which being two foot and an half broad, yet they are not too long, because they stand two together, and little raised up. The measure of all together, you may find in the order of jonica, in the fourth Book. A●oue this Cornice standeth the Tribune, whereon there shall stand a Lantern, to give light into the middle of the Temple, whereof you may easily find the measure, with the small foot that standeth in the ground. The round Columns before the portal, shallbe 13. foot high: the Architrave is a foot: above the Arch, the Cornice shallbe the thickness of a Column below, divided as in the Capital of Dorica. The Frontispicie riseth to the Architrave of the Temple: the going up is of five steps: the final figure marked with A. is one of the Chapels without, which comes three foot out of the wall: the window whereof is 10. foot high, beside the light above the Cornice, and above it is half round, covered as you see. architectural drawing NOw I have showed the ground and Orthography without of the Temple in foursquare, I will also describe the 8. cornered Temple within, & set it here beneath in Figure. And here you see how men going up the Stairs which are figured in the entry of the ground, go up to the fair walk. The height of this Temple within is almost like all the Temples before set down, and also which are found in Antiquities, that is, as high as broad, which form is taken out of the Circle. The round Roof, as for the half Circle, occupieth the one half, and of the other half downwards there shallbe 6. parts made, whereof one part shall be for the Architrave, Freeze and Cornice, which shallbe made after the Dorica: the other 5. parts are for the wall with the Pillars, which also are 2. foot and a half broad, like the outermost, but for Capital and Base, like the Dorica. The measures both of Capitals, Bases, Architrave, Freeze and Cornice, you shall also find in the aforesaid fourth Book, in the Order of Dorica. The breadth of the going in of all the Chapels is 12. foot: but the height of the said Chapels is 24. foot. The 4. greatest Chapels which stand in the corners are 14. foot within, foursquare, with their Pilasters, with Arches upon them. The height of all the Niches▪ as well of those that are 10. foot broad, as those of 12. foot, shall all be 15. foot high. The Lantern shall hold 13. foot in Diameter: and the rest the Architector shall easily find with the small foot. architectural drawing THis ground standing hereunder may be named crosswise, whereof the principal place in the middle containeth 48. foot in Diameter. The 4. Niches, with the 4. doings through, are each 10. foot broad; but the doings through are 15. foot long. The four small Temples hold in Diameter 36. foot; and their Niches, and Windows, (wherein you may place Altars) and the Doors are each sire foot wide. The 4. places within the 4. corners, may be dwellings for Priests, & other Church Officers, and are 16. foot foursquare: above them, you may place four Towers, and go up into them through the stairs. The four round forms may be Vestries, and other places for men to withdraw themselves. This whole foursquare, without enclosing the innermost round Temple, containeth on all sides 88 foot. The principal going in shall have 9 steps, and the Door may also be greater thou the other two in the sides. architectural drawing FRom the ground before showed, here standeth the Orthography of the said Temple with one of the sides that is before, although a man should set them out all four, at least three, in this manner. The height of the first Story, beginning at the highest step of the going up to the uppermost part of the Cornice, shallbe 38. foot; which height, divided in 6. parts, one shallbe for the Architrave, Freeze and Cornice, and this shall enclose the whole Temple round about. From this first Cornice, to the second of the middle Temple, it shallbe 13. foot: of this height you shall make 5. parts: whereof one shall be for the Freeze, Cornice, and Architrave. The same great part of the Cornices shall also serve for the Lanterns of the 4. lest Chapels: which Lanterns within shall contain 8. foot in Diameter. The 3. Order against the 4. Tower's shall have but a flat Fancy, right like the foot of the greatest Lantern which standeth upon the round roof. The said Lantern within shall hold 10. foot in Diameter; and the height without the Kettle stone shallbe 16. foot: this height divided in 5. the one part shallbe for the Cornicement of this Lantern, and the other shallbe Corinthian Pillars. The fourth Order of the Towers shall also be of the same height, and beautified with the same Cornicement: and although that from this Cornicement netherwards, the Order of the Towers stands not very handsomely, because they are forced to yield to the Cornicement of the Temple; yet according to Antiquity, it is a fault to be borne withal. The uppermost parts, which in no sort are tied to any thing, shallbe as high as the thickness of the said Towers. The 5. part of that height shallbe for the Cornicement, and the rest, for the Columns, made after the jonica. Above the Cornice the leaning place shallbe made, with the round roofs, as you see. architectural drawing HEereunder followeth the Orthography of the aforesaid Temple within, that is, the half of the 3. Temples. And for that the middlemost Temple should receive more light than from the Lantern, as the other also do by the windows below, it is requisite to make the Cornice without higher than the innermost, that a man may, almost, receive the light perpendicular-wise, as you may consider it in the Figure. From the Pavement, to the highest part of the Cornice, it shallbe 44. foot. The Cornice (because there are neither Columns nor Pillars about) a man may make bastard, and at his pleasure, so it have not much bearing out, that it may not take away the sight of the roof. The Cornice shallbe a foot and a half high, and may be made according to the Capital of Dorica. The height of all the Niches are all 15. foot: above the Niches, there shall a Fancy go round about the whole part of the Temple, as well the small Temples as the great. Above the Fancy the half round roofs of the 4. Chapels shall stand. Above these 4. Chapels there shallbe a plain, made a little hanging, to cut off the water, with a place bresthigh round about, where, by the Stairs, a man may go through to the Towers: and if that this Temple standeth in any open place, than there will be a fair walk above it; you must be careful that you let no snow lie upon it, for it soaketh in and hurteth the roof. The Doors on the sides have also 9 steps, although they stand not marked in the ground: and as these and the like houses stand so high, or not so high, from the earth, a man may well make them places of devotion, or otherwise. We see commonly, that round about the Churches all corners lie full, which is uncivil for sanctified places: therefore I would think good, that it should be walled round about as high as the steps, that it might not be so ready for people to go in, and that it were hallowed for a Churchyard. The Towers that should stand behind in this half, because they stand not upon this Diameter, and also for less cumber, for that men may conceive how they are placed: therefore they are not set down in this Figure: and what there wanteth more, it is referred to the discretion of the workman▪ who, in building thereof, shall find many accidents which a man cannot write nor remember all at once▪ architectural drawing ALthough the aforesaid Temple is showed to be crosswise, nevertheless, this that is here set down is much liker: and first, I will speak of the first going in, which shall serve for all the rest, for that they are all of one form. The wideness is 30. foot, and the length 37. foot. The wall is seven foot thick: in the middle, on either side, there are two Niches, which shall each of them be tan foot broad. The Door is eight foot wide: the going through, to go into the Circle, is 22. foot wide. The Pilasters there, are seven foot thick: the Niches, four foot. Within the Pilasters the stairs shall stand to go up, and that the Pilasters should be the faster to bear the Tribune, in the four corners, behind against the Pilasters, you shall make these eight cornered Chapels, of 18. foot in Diameter, and the wall is four foot thick. The Niches. Doors, Windows and blind windows, shall be five foot wide. The corners of the Temple without, have their flat Pillars of three foot broad: the going up is of five steps. architectural drawing THe Orthography without of the four cornered cross Temple, is hereunder set down, and is 44. foot broad at the going in; and the height from the ground to the Cornice is 30. foot: the Cornicement is five foot: the rest resteth for the Pillars, which should be janica. The second story is 22. foot high; which height shall be divided in six parts, one shallbe for the Cornicement, and the other five for the Cornthia Columns. These two stories the Temple shall have, whereof you shall have the measure in the fourth Book. The roof shallbe 10. foot ●igh but here in the Land where it bloweth, raineth, and snoweth much, it may stand much higher. Above the upper part of this Frontispicie or Roof; there shall be a Cornice of two foot, whereon the Kettle or the round Roof shall stand having a Lantern upon it, which is 10. foot high without his cover. The part marked C. she●●eth the cover or roof within, and the other marked L. showeth one of the 4. cornered Chapels: and although these 5. steps, for a going up stand only to this Door, they should also be made to the other two doors on the sides: and the ornament of the doors, you shall find in the aforesaid Book, in the order of jonica. architectural drawing Having showed this foursquare cross Temple without, now here followeth the part within, as if it were Diameter like, cut even in 2. parts. And first, speaking of the middle whereon the Tribune standeth, there is from one of the Corners of the Pilasters, to the other, 30. foot. From the pavement below, to the highest part of the Cornice, it is also 30. foot. The height of this Freeze, Architrave, and Cornice, is 5. foot, and this shall go round about the Temple within. Upon this Cornice the Arches rest which bear up the Tribune. Above the Arches there is a great Fancy; and from thence upwards it is 15. foot high. The Cornice shallbe 2. foot: but shall not bear much over or out, not is let the roof. From this Cornice netherwards, to the Fancy, there shallbe 8. drawing windows made, of 7. foot, foursquare, as you see it in the Figure. The Lantern shallbe 5. foot wide. From the pavement, to the hole of the Lantern, it shallbe 77. foot high. The place where the high Altar standeth, is right over against the principal going in. In the great foursquare there may be an Altar Table set: and above it there shall be a great round window; as also above all the 4. doors. I need not write any thing of the second side: for by the ground and this Figure you may easily conceive it. And although I say nothing here of Towers, yet there may 2. at the least, be set above the Chapels in the corners: also, as in many other places it is showed, the workman, upon good occasion, may alter some things: for although that in Italy, and here in these Countries (where the sun shineth much) men desire small windows for coldness: nevertheless, those that dwell Northward, where it is rumatike, and many times close weather, may, according to the situation, make the windows great, and give more light to the Temples, without breaking Order, as it is said in the fourth Book of the Venetian houses. architectural drawing AS I promised in my fourth Book, so I have showed divers fashions of Temples, viz. round, Quale, or Egg wise, foursquare, five cornered, six cornered, eight cornered, and crosswise, not only after the manner of the Ancients, but also serving for Christians, in such forms as are at this day made in Italy, and elsewhere, whereby I thought I had sufficiently performed my promise: but for that Temples or Churches are made here in these country's crosswise also, like Raphael's ground (of S. Peter's Church in Rome) in my third Book, therefore I will set two or three more of that form here, therein following the manner of the Ancients. The greatest going through, or walk in the middle of the Church, is 30. foot wide: the three Chapels of half Circles, besides the 2. smallest walks, are 25. foot wide, and shall stand somewhat without the wall. The Diameter of the Tribune is 36. foot: the four small Tribunes, or round Roofs, are in Diameter 21. foot, but they shall not come out of the roof. The crosseworke hath a door on either side, and the 3. half Circles are each of them 25. foot wide. The hindermost half Circle, where the high Altar standeth, is 31. foot wide. Besides the Quire, there are two eyght-cornerd Vestries, being 21. foot in Diameter. Before, at the greatest going into the Temple, is the middlemost door, 12. foot wide, and the 2. small doors 6. foot. On the sides, the Towers are 27. foot wide: within the stairs, there stands a wide gate to draw up the Bels. And although this Temple hath many steps or stairs, you may make less. architectural drawing THis is the Orthography of the ground aforesaid, whereof the first Cornice standeth 62. foot high: which height divided in six parts, one part shallbe for Cornice, Freeze, and Architrave, and the rest shall be for the flat Pillars, which shallbe five foot broad, and of Dorica work. The middlemost door is 24. foot high: the two smaller on the sides shallbe 12. foot high. The great and the small doors also shallbe beautified with some works, as you see in this Figure, taking the particular measures out of the Dorica order, in my fourth Book. The elevation or rising up in the middle, shall to the upper part of the Cornice be 25. foot; and the Cornice thereof shall be the fourth part less than the other Cornice under it, made after the form of the Dorica Chapter. The Frontispicie is fifteen foot high, above it stands the cover or the Kettle, with this Lantern upon it, the measure whereof, a man may take out of that before. Below, upon the first Cornice, besides the middlemost bearing up, you shall make a Basement of five foot high; above that Basement, you must place the two Towers, which are 42. foot and an half high, making the Cornice the fourth part less than the other, form after the Dorica Chapter. The third order shall be the fourth part less than the second, and the Cornice thereafter: the fourth order shall also be a fourth part less than the third, and the Cornice thereafter. The places brest-high, above these Cornices, shallbe four foot high: and from the List, to the point of the Pyramids, there are 36. foot. You may double the windows out of my fourth Books. architectural drawing THe Figure following showeth the aforesaid Temple within, whereof the length and breadth is set down in the ground: but here I will speak of the height. The Cornice shall stand high, & be as great as the uttermost, that is, the sixth part of 62. foot, but shallbe made after the jonica manner. The flat Pillars shall also be jonica: the Impost which beareth the Arches, shall also be jonica; whose form, touching the measures, you shall find them all together orderly in my fourth Book: all the Chapels shall have their light of themselves, as you see. Above the Chapels, the Roof shallbe broken like a Moon, therein to make an oval round hole, that it may yield more light: and that the Tribune may have more light than from the Lantern, you shall, from the cover upwards, make a Freeze with a List, and therein also make round holes for light. This small closed figure, standing alone, above the Temple, showeth one of the side doors of the Temple, in the crosseworke, whereof the door is 10. foot wide, and 20. high. The Architrave, freeze and Cornice, under the cover or Roof, although the Pillars are broken after another manner, with the List of the portal, shall nevertheless agree with the Cornicement that goeth round about the Temple. And although it is not here showed how the widest space of the walk between the Pilasters and the roof is, and how that the smallest walk is not so high roofed, nor the form of the small Kettles and Vestries are not showed, yet the workman may imagine it by the ground: for he that undertaketh such a piece of work, must not be unskilful. architectural drawing THis Temple following is 30. foot wide in the middle. The cross work, and also the Tribune, together with the high Quire, shall each of them contain 30. foot. The Arches which bear the Tribune, shallbe 24. foot wide. The Pillars on the sides, where the Niches stand, shallbe 5. foot broad. Each side of the Cross work is 38. foot long, and shall each of them have a Door. The part before the high Quire, towards the Altar, is 4. square. The Pilasters with the Niches, before the half Circle of the high Altar, are 5. foot broad, and stand from other 24. foot. The Niche or half Circle is 23. foot wide. In the 2. corners on the sides of the high Quire, there are 2. Vestries, which shallbe 17. foot wide in 4. square. From the Tribune to the principal going in, there shall stand 5. Chapels on either side, which shallbe 15. foot within 4. square. The walls between both shall be 4. foot thick. The windows shallbe 6. foot wide, and there Altars shall stand. The wall at the Doors shall be 4. foot thick, and on the sides where the Niches stand, 5. foot. Here before there shall come a Gallery of 14. foot broad, and of 68 foot long. The Niches shallbe 8. foot broad. On the sides of this portal the Towers shall stand, and shall stand as broad out at the sides, as the cross work. The Diameter within the Towers is 18. foot: and although they be 8. square, they may also be made 4. square. The winding Stairs stand in the thickness of the wall. Touching the raising upright of the said Temple, first I will speak of the portal, which with the help of the fourth Book, and through the ground, you may find the particular measure of this Order. The portal above shallbe flat without roof, to take no light away in the Temple. From the Pavement, to the top of the Cornice which goeth round about the Temple, it shallbe 47. foot high. The Architrave, freeze and Cornice, are 5. foot. The 2. Order containeth 37. foot: and their Cornicements shall be a fourth part less than the other: the same heights and Cornices shall also serve for the second Order of the Towers, and shallbe a fourth part less than the second Order; and the Cornice shall also lessen the fourth part: above there shall stand a small rising or elevation, whereon the Kettle shall rest. The Figure above the closed Temple, marked with A. showeth the inner part of the 5. Chapels. The height from the pavement to the upper part of the Cornice is 27. foot: the Cornice shallbe 4. foot thereof, made like a Capital Dorica. The other uppermost Cornices shallbe as high as the outtermost; and between this first and the second Cornices, there shall jonica flat Pillars stand; between them the windows shall be made. The other figure above that aforesaid, marked B. showeth the Tribune, the Quire and the sides of the cross work, with the open and the blind Doors. Through the one side (which was purposely broken) you may see the Vestryes within. The Cornice under the Arches, which bear the Kettle, is like the other Cornice which goeth round about the Temple. The Cornice which is above the Arch, and comes under the Kettle, shallbe bastard. The Lantern must be made according to the other Lanterns afore showed. The other part marked C. is one of the Doors on the sides, and is in that manner covered round. The Door is 9 foot wide, and 18. foot high. architectural drawing ALthough that in the Netherlands there are very fair Temples made, as the manner in these days is, not only with three Isles or walks in the body, but also five: my meaning is not to write of such great Temples, for that each Town hath her chief Church: but these are only to make such Churches in places, where, by chance, the Churches are decayed, because in these days, men could hardly make them up again in great form; and to this end I set this last figure here, which is plainer than the other. It shallbe 36. foot wide, and 54. foot long. At each end before and behind, there shall stand half a Circle of 24. foot in Diameter. This half Circle where the high Altar standeth, hath two windows, each 6. foot wide. The door to enter into the Temple, shallbe 8. foot wide. In the cross of the Temple there shall stand two Chapels, being 18. foot long, and 12. foot broad. The windows behind the Altar shall be six foot wide: all the great Niches are also stre foot wide, and the small three foot. The Columns are two foot thick: the intercolumnes in the middle, are 6. foot, and the other on the sides are 3. foot. The 4. Niches within the body, are beautified with round Columns standing in the wall. Without the Temple there is a portal of 10. foot broad, and 52. foot long. The high Pilasters shallbe 6. foot broad, as counterforts,; and the other shallbe three foot broad. Within the thickness of the wall there shall stand two pair of winding stairs: and although this Church hath no Towers, yet you may make them on it, as the other were. architectural drawing THis Figure within is good to understand, and from the Pavement to the first Cornice, it is 21. foot high, whereof the Cornicement is a fixed part: the other is for the jonica Columns. The Pedestal of the Niches shallbe the fift part, whereon there stand Columns of Corinthia. The Frontispicies are three foot above the Cornice: the blind windows above may also be opened. The walks, with the place brest-high above the portal, must be made leaning forward for the water. The Chapels of the high Altar, marked A. have small Niches of 7. foot and an half high. The foursquare above the Altar, is for a table, broad 10. foot, and high 12. foot. The Temple without hath a Doricall Cornice, as high as the innermost. The part of the second order hath Pillars, and Cornices upon them of two foot, which Cornices shall be made according to the Impost of the Theatre of Marcellus, in the fourth Book: and for that above on the fide, in the roof or cover, there is 3. foot of room to space, there may be a leaning place made, both for an ornament, and also for ease: the cover may be covered over with Lead. architectural drawing Here end●th the fift Book: And this also is the end of the whole work of Sebastian Se●li●●; Translated out of Italian into Dutch, and out of Dutch into English, at the charges of Robert ●eake. Printed at LONDON, by Simon Stafford. 1611. B. W.