THE ELEMENTS OF Architecture, Collected by HENRY WOTTON Knight, from the best Authors and Examples.  
LONDON Printed by John BILL. M.DC.XXIV.   

THE PREFACE.  
I Shall not need (like the most part of Writers) to celebrate the subject which I deliver. In that point I am at ease. For Architecture, can want no commendation, where there are Noble Men, or Noble minds; I will therefore spend this Preface, rather about those, from whom I have gathered my knowledge▪ For I am but a gatherer and disposer of other men's stuff, at my best value.  
Our principal Master is vitrwius and so I shall often call him; who had this felicity, that he wrote when the Roman Empire was near the pitch; Or at least, when Augustus (who favoured his endeavours) had some meaning (if he were not mistaken) to bond the Monarchy▪ 
Tacit. lib. 1. Annal.  This I say was his good hap; For in growing and enlarging times, arts are commonly drowned in Action: But on the other side, it was in truth an unhappiness, to express himself so ill, especially writing (as he did) in a season of the ablest pens; And his obscurity had this strange fortune; That though he were best practised, and best followed by his own Countrymen; yet after the reviving and repolishing of good Literature, (which the combustions and tumults of the middle Age had uncivillized) he was best, or at least, first understood by strangers: For of the Italians that took him in hand, Those that were Gramarians seem to have wanted mathematical knowledge; and the Mathematicians perhaps wanted grammar: till both were sufficiently conjoined, in Leon-Batista Alberti the Florentine, whom I repute the first learned Architect, beyond the Alps; But he studied more indeed to make himself an Author, then to illustrate his Master. Therefore among his Commenters, I must (for my private conceit) yield the chief praise unto the French, in Philander; and to the high Germans, in Gualterus rivius: who, besides his notes, hath likewise published the most elaborate translation, that I think is extant in any vulgar speech of the world: though not without bewailing, now and then, some defect of artificial terms in his own▪ as I must likewise; For if the Saxon, (our mother tongue) did complain; as justly (I doubt) in this point may the Daughter: Languages, for the most part in terms of Art and Erudition, retaining their original poverty, and rather growing rich and abundant, in complemental phrases and such froth. Touching diverse modern men that have written out of mere practice, I shall give them their due, upon occasion.  
And now, after this short Censure of others, I would fain satisfy an objection or two, which seem to lie somewhat heavily upon myself; It will be said that I handle an Art, no way suitable either to my employments, or to my fortune. And so I shall stand charged, both with Intrusion, and with Impertinency.  
To the First I answer, that though by the ever acknowledged goodness of my most dear and gracious sovereign; and by his long indulgent toleration of my defects. I have borne abroad some part of his civil service; yet when I came home, and was again resolved into mine own simplicity, I found it fit for my Pen (at least in this first public adventure) to deal with these plain compilements, and tractable Materials; then with the Laberynthes and Mysteries of Courts and States; And less presumption for me, who have long contemplated a famous republic, to write now of Architecture; than it was anciently for 
* Aristot. 2. lib. Politi. cap. 6.  Hippodamus the Milesian, to write of republics, who was himself but an Architect.  
To the Second, I must shrink up my shoulders, as I have learned abroad, and confess indeed, that my fortune is very unable to exemplify, and actuate my Speculations in this Art, which yet in truth, made me the rather even from my very disability, take encouragement to hope; that my present Labour, would find the more favour with others, since it was undertaken for no man's sake, less than mine own. And with that cofidence, I fell into these thoughts; Of which, there were two ways to be delivered▪ The one Historical, by description of the principal works, performed already in good part, by Giorgio Vassari in the lives of Architects: The other logical, by casting the rules and cautions of this Art, into some comportable method: whereof I have made choice; not only as the shortest and most elemental; but indeed as the soundest. For though in practical knowledges, every complete example, may bear the credit of a rule; yet peradventure rules should precead, that we may by them, be made fit to judge of examples: Therefore to the purpose; for I will preface no longer.   

OF THE ELEMENTS OF Architecture.  
The I. part.  
IN Architecture as in all other operative Arts, the end must direct the Operation.  
The end is to build well.  
Well building hath three Conditions. Commodity, firmness, and Delight. A common division among the deliverers of this Art, though I know not how, some what misplaced by vitrwius himself lib. 1. cap. 3. whom I shallbe willinger to follow, as a Master of Proportion, then of method.  
Now, For the attaining of these Intentions, we may consider the whole subject, under two general Heads.  
The seat, and the Worke.  
Therefore first touching situation.  
The Precepts thereunto belonging, do either concern the Totall Posture, (as I may term it) or the Placing of the Parts: whereof the first sort, howsoever usually set down by Architects as a piece of their Profession: yet are in truth borrowed, from other Learnings: there being between Arts and Sciences, as well as between Men, a kind of good fellowship, and communication of their Principles.  
For you shall find some of them, to bemeerely physical, touching the quality and temper of the air: which being a perpetual ambient, and ingredient, and the defects thereof, incorrigible in single Habitations (which I most intent) doth in those respects, require the more exquisite caution; That it be not too gross, nor too penetrative; Not subject to any foggy noisomeness, from fens or Marshes near adjoining; nor too Mineral exhalations, from the soil itself. Not undigested, for want of sun, Not unexercised, for want of wind: which were to live (as it were) in a Lake, or standing pool of air, as Alberti the Florentin Architect, doth ingeniously compare it.  
Some do rather seem a little Astrological, as when they warn us from Places of malign Influence: where Earthquakes, Contagions, Prodigious Births, or the like, are frequent without any evident cause: whereof the Consideration is peradventure not altogether vain: Some are plainly Oeconomical; As that the seat be well watered, and well fewelled, That it be not of too steepy and incommodious access to the trouble both of friends and family. That it lie not too fare, from some navigable river or arm of the Sea, for more ease of provision and such other domestic notes.  
Some again may be said to be Optical? Such I mean as concern the Properties of a well chosen Prospect: which I will call the royalty of Sight. For as there is a Lordship (as it were) of the feet, wherein the Master doth much joy when he walketh about the Line of his own Possessions: So there is a Lordship likewise of the Eye which being a ranging, and Imperious, and (I might say) an usurping sense, can endure no narrow circumscription; but must be fed, both with extent and variety. Yet on the other side, I find vast and indefinite views which drown all apprehension of the uttermost objects, condemned, by good Authors, as if thereby some part of the pleasure (whereof we speak) did perish. Lastly, I remember a private Caution, which I know not well how to sort, unless I should call it Political. By no means, to build too near a great Neighbour; which were in truth to be as unfortunately seated on the earth, as Mercury is in the heavens, for the most part, ever in combustion, or obscurity, under brighter beams than his own.  
From these several Knowledges as I have said, 
* Joannes Heurnius Instit: medicine: lib. 7. cap. 2.  and perhaps from some other do Architects derive their Doctrine about election of Seats: wherein I have not been so severe, as a great scholar of our time, who precisely restraineth a perfect situation, at least for the main point of health, Ad locum contra quem Solradios suos fundit cum sub Ariete oritur, That is, in a word he would have the first salutation of the Spring. But such Notes as these, wheresoever we find them in grave or slight Authors, are to my conceit rather wishes than Precepts; and in that quality, I will pass them over. Yet I must withal say that in the seating of ourselves (which as a kind of Marriage to a Place) Builders should be as circumspect as Wooers; lest when all is done that doom befall us, 
Opidum quidem aedificatum eleganter sed imprudenter positum.  which our Master doth lay upon Mitylene: A town in truth (saith he) finely built, but foolishly planted. And so much touching that, which I termed the Totall Posture.  
The next in Order is the placing of the Parts; About which (to leave as little as I may in my present labour, unto fancy, which is wild and irregular) I will propound a Rule of mine own Collection, upon which I fell in this manner. I had noted, that all art was then in truest perfection, when it might be reduced to some natural Principle. For what are the most judicious Artisans but the Mimiques of Nature? This led me to contemplate the fabric of our own Bodies, wherein the High Architect of the world, had displayed such skill, as did stupefy, all humane reason. There I found the Hart as the fountain of Life placed about the Middle, for the more equal communication of the vital spirits. The Eyes seated aloft, that they might describe the greater Circle within their view. The arms projected on each side, for ease of reaching. Briefly (not to lose ourselves in this sweet speculation) it plainly appeareth, as a maxim drawn from the divine light; That the Place of every part, is to be determined by the use.  
So then, from natural structure, to proceed to artificial; and in the rudest things, to preserve some Image of the excellentest. Let all the principal chambers of Delight, All Studies and Libraries, be towards the East: For the Morning is a friend to the Muses. All Offices that require heat, as Kitchens, Stillatories, stoves, rooms for Baking, Brewing, Washing, or the like, would be meridional. All that need a cool and fresh temper, as Cellars, Pantries, Butteries, Granaries, to the North. To the same side likewise, all that are appointed for gentle Motion, as Galleries, especially in warm Climes, or that otherwise require a steady and unvariable light, as Pinacothecia (saith vitrwius) by which he intendeth, (if I may guess at his Greek, as we must do often even at his Latin) certain Repositories for works of rarity in Picture or other Arts, by the Italians called Studioli, which at any other Quarter, where the course of the sun doth diversify the shadows, would lose much of their grace. And by this Rule having always regard to the use, any other Part may be fitly accommodated.  
I must here not omit to note that the Ancient Grecians, and the Romans by their example in their buildings abroad, where the Seat was free, did almost Religiously situate the Front of their houses, towards the South; perhaps that the master's Eye, when he came home▪ might not be dazzled, or that being illustrated, by the sun, it might yield the more graceful Aspect; or some such reason. But from this, the modern Italians do vary▪ whereof I shall speak more in another place. Let thus much suffice at the present for the Position of the several Members, wherein must be had as our Author doth often insinuate, and especially lib. 6. cap. 10. a singular regard, to the nature of the Region: every Nation, being tied above all Rules whatsoever, to a discretion, of providing against their own inconveniences: And therefore a good parlour in Egypt would perchance make a good cellar in England.  
There now followeth the second Branch of the general Section touching the Worke.  
In the work, I will first consider the principal parts, and afterwards the accessory, or Ornaments; And in the principal, first the Preparation of the Materials, and then the Disposition, which is the form.  
Now, concerning the material part; Although surely, it cannot disgrace an Architect, which doth so well become a Philosopher, to look into the properties of Stone and Wood: as that fir Trees, Cypresses, Cedars, and such other aereal aspiring Plants, being by a kind of natural rigour (which in a Man I would call pride) inflexible downwards are thereby fittest for Posts or Pillars or such upright use; that on the other side, oak, and the like true hearty Timber being strong in all positions, may be better trusted in cross and traverse work, for Summers, or guirding and binding beams, as they term them. And so likewise to observe of Stone, that some, are better within, and other to bear wether: Nay, to descend lower even to examine Sand and lime, and Clay (of all which things vitrwius hath discoursed, without any daintiness, & the most of new Writers) I say though the speculative part of such knowledge be liberal: yet to redeem this Profession, and my present pains, from indignity; I must here remember that to choose and sort the materials, for every part of the fabric, is a duty more proper to a second Superintendent, over all the under Artisans called (as I take it) by our Author, Officinator lib. 6. cap. 11. and in that Place expressly distinguished, from the Architect, whose glory doth more consist, in the designment and Idea of the whole work, and his truest ambition should be to make the form, which is the nobler Part (as it were) triumph over the Matter: whereof I cannot but mention by the way, a foreign pattern, namely the Church of Santa Giustina in Padova: In truth a sound piece of good Art, where the Materials being but ordinary stone, without any garnishment of sculpture, do yet ravish the Beholder, (and he knows not how) by a secret Harmony in the Proportions. And this indeed is that end, at which in some degree, we should aim even in the privatest works: whereunto though I make haste, yet let me first collect, a few of the least trivial cautions, belonging to the Material provision.  
Leon Batista Alberti, is so curious, as to wish all the Timber, cut out of the same forest, and all the Stone, out of the same Quarry. Philibert del'Orme the French Architect goes yet somewhat further, and would have the lime made of the very same Stone, which we intent to employ in the work; as belike imagining that they will sympathise and join the better, by a kind of original kindred. But such conceits as these seem somewhat too fine among this Rubbage, though I do not produce them in sport. For surely the like agreements of nature, may have oftentimes a discreet application to Art. always it must be confessed, that to make lime without any great choice of refuse stuff, as we commonly do, is an English error, of no small moment in our Buildings. Whereas the Italians at this day, and much more the Ancients did burn their firmest stone, and even fragments of Marble where it was copious, which in time became almost Marble again, or at least of indissoluble duritie, as appeareth in the standing theatres. I must here not omit, while I am speaking of this part, a certain form of brick described by Daniele Barbaro Patriarch of Aquileia, in the largest Edition of his Commentary upon vitrwius. The Figure triangular, every side a foot long, and some inch and a half thick, which he doth commend unto us for many good conditions: As that they are more commodious in the management, of less expense, of fairer show, adding much beauty & strength to the Mural Angles, where they fall gracefully into an indented work: so as I should wonder that we have not taken them into use, being propounded by a man of good authority in this knowledge; but that all Nations do start at novelties, and are indeed married to their own Moulds. Into this place might aptly fall a doubt, which some have well moved; whether the ancient Italians did burn their brick or no; which a passage or two in vitrwius hath left ambiguous. Surely where the natural heat is strong enough, to supply the artificial, it were but a curious folly to multiply both Labour and expense. And it is beside very probable, that those Materials with a kindly and temperate heat would prove fairer, smother, and less distorted, then with a violent: only, they suffer two exceptions. First, that by such a gentle drying much time will be lost which might otherwise be employed in compiling. Next, That they will want a certain sucking and soaking thirstiness, or a fiery appetite to drink in the Lime, which must knit the fabric. But this question may be confined to the South, where there is more sun and patience. I will therefore not hinder my course, with this incident scruple, but close that part which I have now in hand, about the materials, with a principal caution: That sufficient Stuffe and Money be ever ready before we begin: For when we build now a piece, and then another by Fits, the work dries and sinks unequally, whereby the walls grow full of Chinques, and crevices; Therefore such pawsings are well reproved by Palladio, lib. 1. cap. 1. and by all other. And so having gleaned these few remembrances, touching the preparation of the Matter, I may now proceed to the Disposition thereof, which must form the Worke. In the form, as I did in the seat, I will first consider the general Figuration, and then the several Members.  
Figures are either simple or Mixed. The simple be either Circular or Angular. And of Circular, either complete, or Deficient, as Ouals, with which kinds I will be contented, though the Distribution might be more curious.  
Now the exact Circle is in truth a Figure, which for our purpose hath many fit and eminent properties; as fitness, for Commodity and receipt, being the most capable; fitness for strength and duration, being the most united in his parts; fitness for beauty and delight, as imitating the celestial orbs, and the universal form. And it seems, beside, to have the approbation of Nature, when she worketh by Instinct, which is her secret school: For birds do build their nests Spherically: But notwithstanding these Attributes, it is in truth a very unprofitable Figure in private Fabriques, as being of alother the most chargeable, and much room lost in the bending of the walls, when it comes to be divided: besides an ill distribution of light, except from the centre of the roof. So as anciently it was not usual, save in their Temples and amphitheatres, which needed no Compartitions. The Ouals and other imperfect circular forms, have the same exceptions, and less benefit of capacity: So as there remains to be considered in this general survey of Figures, the Angular, and the Mixed of both. Touching the Angular, it may perchance sound somewhat strangely, but it is a true observation, that this Art doth neither love many Angles nor few. For first, the Triangle which hath the fewest sides and corners, is of all other the most condemned, as being indeed both incapable and infirm (whereof the reason shall be afterwards rendered) and likewise unresoluable into any other regular form than itself, in the inward Partitions.  
As for Figures of five, six, seven, or more Angles; They are surely fit for Military Architecture, where the Bulworks may be laid out at the Corners, and the sides serve for curtains, then for civil use; though I am not ignorant of that famous Piece at Caprarola, belonging to the house of Farnese, cast by Baroccio into the form of a Pentagone, with a Circle inscribed, where the Architect did ingeniously wrestle with diverse inconveniences in disposing of the Lights, and in saving the vacuities. But as designs of such nature do more aim at Rarity, than commodity: so for my part I had rather admire them, then commend them.  
These things considered, we are both by the Precepts and by the practice of the best Builders, to resolve upon Rectangular Squares, as a mean between too few, and too many Angles; and through the equal inclination of the sides (which make the right Angle) stronger then the Rhombe, or lozenge, or any other irregular Square. But whether the exact Quadrat, or the long Square be the better, I find not well determined, though in mine own conceit I must prefer the latter, provided that the Length do not exceed the Latitude above one third part, which would diminish the beauty of the Aspect, as shall appear when I come to speak of Symmetry and Proportion.  
Of mixed Figures, partly Circular, and partly Angular, I shall need to say nothing; because having handled the simple already, the mixed according to their composition, do participate of the same respects. Only against these, there is a proper objection, that they offend uniformity: Whereof I am therefore opportunely induced to say somewhat, as fare as shall concern the outward Aspect, which is now in Discourse.  
In Architecture, there may seem to be two opposite affectations, uniformity and variety, which yet will very well suffer a good reconcilement, as we may see in the great pattern of Nature, to which I must often resort: For surely there can be no Structure, more uniform, than our Bodies in the whole Figuration: Each side, agreeing with the other, both in the number, in the quality, and in the measure of the Parts: And yet some are round, as the arms, some flat, as the Hands, some prominent, and some more retired: So as upon the Mater, we see that diversity doth not destroy uniformity, and that the limbs of a noble fabric, may be correspondent enough, though they be various; provided always, that we do not run into certain extravagant inventions, whereof I shall speak more largely, when I come to the parting and casting of the whole Worke. We ought likewise to avoid Enormous heights of six or seven Stories, as well as irregular forms; and the contrary fault of low-distended Fronts, is as unseemly: Or again, when the Face of the Building, is narrow and the Flank deep; To all which extremes, some particular Nations, or towns, are subject, whose Names may be civilly spared: And so much for the general Figuration, or Aspect of the Worke.  
Now concerning the Parts in severalty. All the parts of every fabric, may be comprised under five Heads, which division I receive from Batista Alberti, to do him right. And they be these.  

The Foundation.  
The walls.  
The Appertions or overtures.  
The compartition.  
And the cover.   
About all which I purpose to gather the principal Cautions, and as I pass along, I will touch also the natural Reasons of Art, that my discourse may be the less mechanical.  
First then concerning the Foundation, which requireth the exactest care; For if that happen to dance, it will mar all the mirth in the House: Therefore, that we may found our Habitation firmly, we must first examine the Bed of Earth (as I may term it,) upon which we will Build; and then the underfillings, or Substruction, as the ancients did call it: For the former, we have a general precept in vitrwius twice precisely repeated by him, as a point indeed of main consequence, first lib. 1. cap. 5. And again more fitly lib. 3. cap. 3. in these words as Philander doth well correct the vulgar Copies.  
Substructionis Fundationes fodiantur (saith he) si queant inveniri adsolidum, & insolido. By which words I conceive him to commend unto us, not only, a diligent, but even a jealous examination what the soil will bear: advising us, not to rest upon any appearing solidity, unless the whole Mould through which we cut, have likewise been solid; But how deep we should go in this search, he hath no where to my remembrance determined, as perhaps depending more upon Discretion▪ then regularity, according to the weight of the work; yet Andrea Palla●dio hath fairly adventured to reduce it into Rule: Allowing for that Ca●uazione (as he calleth it) a sixth part of the height of the whole fabric, 
Vnderdiging, or Hollowing of the Earth.  vnles● the cellars be under ground, in which case he would have us, (as it shoul● seem) to sound somewhat lower.  
Some Italians do prescribe, that when they have chosen the floor, or Plot, and laid out the Limits of the work, we should first of all dig wells and cisterns, and other underconducts and conveyances, for the Suillage of the House, whence may arise a double benefit, for both the Nature of the Mould or soil, would thereby be safely searched, and moreover those open vents, will serve to discharge such Vapours, as having otherwise no issue might peradventure shake the Building. This is enough for the natural Grounding, which though it be not a part of the solid fabric, yet here was the fittest place to handle it.  
There followeth the Substruction, or groundwork of the whole Edifice, which must sustain the walls; and this is a kind of artificial foundation, as the other was Natural. About which these are the chief Remembrances. First, that the bottom be precisely level, where the Italians therefore commonly lay a platform of good board; Then that the lowest Ledge or Row be merely of Stone, and the broader the better, closely laid without mortar, which is a general caution for all parts in Building, that are contiguous to board or Timber, because Lime and Wood are insociable, and if any where unfit confiners, then most especially in the Foundation. Thirdly, that the breadth of the Substruction be at least double to the insistent Wall, and more or less, as the weight of the fabric shall require; for as I must again repeat, Discretion may be freer than Art. Lastly, I find in some a curious precept, that the Materials below, be laid as they grew in the quarry, supposing them belike to have most strength in their natural and habitual Posture. For as Philippe de l'Orme observeth, the breaking or yielding of a stone in this part, but the breadth of the back of a knife, will make a Cleft of more than half a foot in the fabric aloft, So important are Fundamental errors. Among which notes I have said nothing of Pallification, or Pyling of the Ground-plot, commanded by vitrwius, when we build upon a moist or marshy soil, because that were an error in the first choice. And therefore all Seats that must use such provision below (as Venice for an eminent example) would perhaps upon good enquiry, be found to have been at first chosen by the counsel of Necessity.  
Now the Foundation being searched, and the Substruction laid, we must next speak of the Wals.  
Walls are either entire and continual, or intermitted; and the Intermissions be either Pillars or Pylasters'; for here I had rather handle them, then as some others do, among Ornaments.  
The entire Muring is by Writers diversely distinguished: By some, according to the quality of the Materials, as either Stone or Brick, etc. where, by the way, let me note, that to build walls and greater works of Flint, whereof we want not example in our island, & particularly in the province of Kent, was (as I conceive) merely unknown to the Ancients, who observing in that material, a kind of Metalicall Nature, or at least a Fusibility, seem to have resolved it into nobler use; an Art now utterly lost, or perchance kept up by a few chemics. Some again do not so much consider the quality, as the Position of the said Materials: As when brick or squared stones are laid in their lengths with sides and heads together, or their points conjoined like a network (for so vitrwius doth call it reticulatum opus) of familiar use (as it should seem) in his Age, though afterwards grown out of request, even perhaps for that subtle speculation which he himself toucheth; because so laid, they are more apt in swagging down, to pierce with their points, then in the jacent Posture, and so to crevice the Wall: But to leave such cares to the meaner Artificers, the more essential are these.  
That the walls be most exactly perpendicular to the groundwork: for the right Angle (thereon depending) is the true cause of all Stability; both in artificial and natural positions; A man likewise standing firmest, when he stands uprightest. That the massiest and heaviest Materials be the lowest, as fit to bear, then to be borne. That the work as it riseth, diminish in thickness proportionally, for ease both of weight, and of expense. That certain courses or Ledges of more strength than the rest, be interlayed like Bones, to sustain the fabric from total ruin, if the under parts should decay. Lastly, that the Angles be firmly bound, which are the nerves of the whole Edifice, and therefore are commonly fortified by the Italians, even in their brick buildings, on each side of the corners, with well squared stone, yielding both strength and grace And so much touching the entire or solid Wall.  
The intermissions (as hath been said) are either by Pillars, or Pylasters'.  
Pillars which we may likewise call columns (for the word among Artificers is almost naturallized) I could distinguish into Simple & Compounded. But (to tread the beaten and plainest way) there are five Orders of pillars, according to their dignity and perfection, thus marshaled: 

The Tuscan.  
The Dorique.  
The Jonique.  
The Corinthian.    
And the Compound Order, or as some call it the Roman, others more generally the Italian.  
In which five Orders I will first consider their Communities, and then their Proprieties.  
Their Communities (as fare as I observe) are principally three. First, they are all Round; for though some conceive Columna Atticurges mentioned by Vitrwius, lib. 3. cap. 3. to have been a squared Pillar, yet we must pass it over as irregular, never received among these Orders, no more then certain other licentious inventions, of Wreathed, and Vined, and Figured columns, which our Author himself condemneth, being in his whole book a professed enemy to Fancies.  
Secondly, they are all Diminished, or Contracted insensibly, more or less, according to the proportion of their heights, from one third part of the whole Shaft upwards, which Philander doth prescribe by his own precise measuring of the Ancient remainders, as the most graceful Diminution. And here I must take leave to blame a practice grown (I know not how) in certain places too familiar, of making Pillars swell in the middle, as if they were sick of some Tympany, or dropsy, without any authentic pattern or Rule, to my knowledge, and unseemly to the very judgement of sight. True it is that in Vitrwius, lib. 3. cap. 2. we find these words, De adiectione, quae adijcitur in medijs Columnis, quaa apud Grecos 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 appellatur, in extremo erit formatio eius; which passage, seemeth to have given some countenance to this error. But of the promise there made, as of divers other elsewhere, our Master hath failed us, either by slip of memory, or injury of time, and so we are left in the dark. Always sure I am, that besides the authority of example which it wanteth, It is likewise contrary to the original and natural Type, in Trees, which at first was imitated in Pillars, as vitrwius himself observeth, lib. 5. cap. 1. For who ever saw any cypress, or Pine, (which are there alleged) small below and above, and tumerous in the middle, unless it were some diseased Plant, as Nature (though otherwise the comeliest Mistress) hath now and then her deformities and Irregularities.  
Thirdly, they have all their vndersetting, or pedestals, in height a third part of the whole column, comprehending the Base and capital; and their upper adjuncts, as Architrave, freeze, and Cornice, a fourth part of the said Pillar; which rule of singular use and facility I find settled by jacobo Baroccio, and hold him a more credible Author, as a man that most intended this piece, than any that vary from him in those dimensions.  
These are their most considerable Communities and agreements.  
Their Proprieties or Distinctions will best appear by some reasonable description of them all, together with their Architraves, Frizes, and Cornices, as they are usually handled.  
First therefore the Tuscan is a plain, massy, rural Pillar, resembling some sturdy well-limmed Labourer, homely clad, in which kind of comparisons vitrwius himself seemeth to take pleasure, lib. 4. cap. 1. The length thereof shall be six Diameters, of the grossest of the Pillar below. Of all proportions, in truth, the most natural; For our Author tells us, lib. 3. cap. 1. that the foot of a man is the sixth part of his body in ordinary measure, and Man himself, according to the saying of Protagoras (which Aristotle doth somewhere vouchsafe to celebrate) is 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉: as it were the Prototype of all exact symmetry, which we have had other occasion to touch before: This column I have by good warrant called Rural, Vitru. cap. 2. lib. 3. And therefore we need not consider his rank among the rest. The distance or Intercolumniation (which word Artificers do usually borrow) may be near four of his own Diameters, because the Materials commonly laid over this Pillar, were rather of wood than stone; through the lightness whereof the architrave could not suffer, though thinnely supported, nor the column itself being so substantial. The Contraction aloft shall be (according to the most received practice) one fourth part of his thickness below. To conclude, (for I intent only as much as shall serve for a due Distinguishment, and not to delineate every petty member) the Tuscan is of all the rudest Pillar, and his principal Character Simplicity.  
The Dorique Order is the gravest that hath been received into civil use, preserving, in comparison of those that follow, a more Masculine Aspect, and little trimmer than the Tuscan that went before, save a sober garnishment now and then of Lion's heads in the Cornice, and of Triglyphs and Metopes always in the freeze. Sometimes likewise, but rarely, chaneled, and a little slight sculpture about the Hypotrachelion, or neck under the capital. The length, seven Diameters. His rank or degree, is the lowest by all Congruity, as being more massy than the other three, and consequently abler to support. The Intercolumniation, thrice as much as his thickness below. The Contraction aloft, one fift of the same measure. To discern him, will be a piece rather of good Heraldry, then of Architecture: For he is best known by his place, when he is in company, and by the peculiar ornament of his freeze (before mentioned) when he is alone.  
The jonique Order doth represent a kind of Feminine slenderness, yet saith vitrwius, not like a light Housewife, but in a decent dressing, hath much of the matron. The length eight Diameters. In degree as in substantialness, next above the Dorique, sustaining the third, and adorning the second Story. The Intercolumniation two of his own Diameters. The Contraction one sixth part. Best known by his trim, for the body of this column is perpetually chaneled, like a thick plighted gown. The capital dressed on each side, not much unlike women's Wires, in a spiral wreathing, which they call the Ionian Voluta. The Cornice indented. The freeze swelling like a pillow; And therefore by vitrwius, not unelegantly termed Puluinata. These are his best Characters.  
The Corinthian, is a column, laciviously decked like a courtesan, and therein much participating (as all inventions do) of the place where they were first borne: Corinthe having been without controversy one of the wantonest towns in the world. This Order is of nine Diameters. His degree, one Stage above the Jonique, and always the highest of the simple Orders. The Intercolumniation two of his Diameters, and a fourth part more, which is of all other the comeliest distance. The Contraction one seventh Part. In the Cornice both Dentelli and Modiglioni. The freeze, 
Our artisans call them Teeth and Cartonzes.  adorned with all kinds of Figures and various Compartments at Pleasure. The capital, cut into the beautifullest leaf, that Nature doth yield, which surely next the Aconitum Pardalianches (rejected perchance as an ominous Plant) is the Acanthus or Branca Vrsina though vitrwius do impute the choice thereof unto Chance, and we must be contented to believe him: In short, As plainness did Charactarize the Tuscan, so must delicacy and variety the Corinthian Pillar, besides the height of his rank.  
The last is the Compounded Order: His name being a brief of his Nature. For this Pillar is nothing in effect, but a medley, or an Amasse of all the precedent Ornaments, making a new kind, by stealth, and though the most richly tricked, yet the poorest in this, that he is a borrower of all his beauty. His length, (that he may have somewhat of his own) shallbe of ten Diameters. His degree should, no doubt, be the highest by reasons before yielded. But few Palaces ancient or modern exceed the third of the civil Orders. The Intercolumniation, but a Diameter and an half, or always somewhat less than two. The Contraction of this Pillar must be one eight Part less above then below. To know him will be easy by the very mixture of his Ornaments, and clothing.  
And so much touching the five Orders of columns, which I will conclude with two or three, not impertinent Cautions:  
First, that where more of these Orders than one, shallbe set in several Stories or Contignations, there must be an exquisite care, to place the columns precisely, one over another, that so, the solid may answer to the solid, and the vacuities to the vacuities, as well for beauty, as strength of the fabric: And by this Caution the Consequence is plain, that when we speak of the Intercolumniation or distance, which is due to each Order, we mean in a Dorique, jonicall, Corinthian Porch, or Cloister, or the like of one Contignation, and not in Storied buildings.  
Secondly, let the columns above be a forth part less than those below, saith Vitrwius, lib. 5. cap. 1. A strange Precept, in my opinion, and so strange, that peradventure it were more suitable, even to his own Principles, to make them rather a fourth Part greater, For lib. 3. cap. 2. where our Master handleth the Contractions of Pillars, we have an optic Rule, that the higher they are, the less should be always their diminution aloft, because the Eye itself, doth naturally contract all objects more or less, according to the Distance; which consideration, may, at first sight, seem to have been forgotten in the Caution we have now given; but vitrwius (the best Interpreter of himself) hath in the same place of his fift book, well acquitted his memory by these words: Columnae superiores quarta parte minores, quàm inferiores, sunt constituendae; proptereà quòd, operi ferendo quaesunt inferiora, firmiora esse debent; preferring like a wise mechanic, the natural Reason, before the mathematical, and sensible conceits before abstracted. And yet lib. 4. cap. 4. he seemeth again, to affect subtlety, allowing pillars the more they are chaneled, to be the more slender; because while our Eye (saith he) doth as it were distinctly measure, the eminent and the hollowed Parts, the Totall object appeareth the bigger, and so as much as those excavations, do subtract, is supplied by a fallacy of the Sight: But here me thinks, our Master should likewise have rather considered, the natural inconvenience; for though Pillars by chaneling, be seemingly engrossed to our Sight, yet they are truly weakened in themselves; and therefore ought perchance in sound reason not to be the more slender, but the more Corpulent, unless appearances preponder truths, but Contra Magistrum, non est disputandum.  
A third Caution shallbe that all the projected or jutting Parts (as they are termed) be very moderate, especially, the Cornices of the lower Orders, for whilst some think to ●iue them, a beautiful and royal Aspect, by their largeness, they sometimes hinder both the Light within, (whereof I shall speak more in due place) and likewise detract much from the view of the Front without, as well appeareth in one of the principal Fabriques at Venice, namely the Palace, of the Duke Grimani on the Canal Grande, which by this magnificent error, is somewhat disgraced: I need now say no more concerning columns & their adjuncts, about which Architects make such a noise in their books, as if the very terms of architraves, and Frizes, and Cornices, and the like, were enough to graduate a Master of this Art; yet let me before I pass to other matter, prevent a familiar objection; It will perchance be said, that all this Doctrine touching the five Orders, were fit for the Quarries of Asia which yielded 127 columns of 60 foot high, to the Ephesian Temple, or for Numidia where Marbles abound; then for the Spirits of England, who must be contented with more ignoble Materials: To which I answer, that this need not discourage us: For I have often at Venice viewed with much pleasure, an Atrium Graecum (we may translate it an Anti porch, after the Greek manner) raised by Andrea Palladio, upon eight columns of the Compounded Order; The Bases of Stone, without pedestals, The shafts or Bodies, of mere Brick; three foot and an half thick in the Diameter below, and consequently thirty five foot high, as himself hath described them in his second book; Then which, mine Eye, hath never yet beheld any columns, more stately of Stone or Marble; For the Bricks, having first been form in a Circular Mould, and then cut before their burning into four quarters or more, the sides afterwards join so closely, and the points concentre so exactly, that the Pillars appear one entire piece; which short description, I could not omit, that thereby may appear, how in truth we want rather Art then stuff, to satisfy our greatest Fancies.  
After Pillars, the next in my distribution, are Pylasters', mentioned by Vitrwius, lib. 5. cap. 1. and scant any where else under the name of Parastates, as Philander conceiveth, which grammatical point (though perchance not very clear) I am contented to examine no farther. Always, what we mean by the thing itself, is plain enough in our own vulgar; Touching which, I will briefly collect the most considerable notes.  
Pylasters', must not be too tall and slender, lest they resemble Pillars, nor too Dwarfish and gross, lest they imitate the Piles or peers of Bridges: smoothness doth not so naturally become them, as a rustic Superficies, for they aim more at State & Srength, than elegancy. In private Buildings they ought not to be narrower, than one Third, nor broader than two parts of the whole Vacuity, between Pylaster and Pylaster; but to those that stand at the Corners, may be allowed a little more Latitude by discretion, for strength of the Angles: In theatres and amphitheatres, and such weighty works, Palladio observeth them, to have been as broad as the half, and now and then as the whole vacuity: he noteth likewise (and others consent with him) that their true Proportion, should be an exact Square; But for lessening of expense, and enlarging of room, they are commonly narrower in flank, then in Front: Their principal Grace doth consist in half or whole Pillars, applied unto them; in which case it is well noted by Authors, that the columns may be allowed somewhat above their ordinary length, because they lean unto so good Supporters. And thus much shall sufice touching Pilasters, which is a cheap, & a strong, and a noble kind of Structure.  
Now because they are oftener, both for Beauty and majesty, found Arched, then otherwise; I am here orderly led to speak of Arches, and under the same head of Vaults: for an Arch is nothing indeed but a contracted Vault, and a Vault is but a dilated Arch: Therefore to handle this Piece both compendiously, and fundamentally, I will resolve the whole business into a few theorems.  

Theorem 1.  
All solid Materials free from impediment, do descend perpendicularly downwards, because ponderosity is a natural inclination to the centre of the World, and Nature performeth her motions by the shortest lines.   

Theorem 2.  
Bricks moulded in their ordinary Rectangular form, if they shall be laid one by another in a level row, between any Supporters sustaining the two ends, than all the pieces between, will necessarily sink, even by their own natural gravity, and much more if they suffer any depression by other weight above them, because their sides being parallel▪ they have room to descend perpendicularly, without impeachment, according to the former Theorem▪ Therefore to make them stand, we must either change their Posture, or their Figure, or both.   

Theorme 3.  
If bricks moulded, or Stones squared Cuncatim (that is, Wedge wise, broader above than below) shall be laid in a Row level, with their ends supported, as in the precedent theorem, pointing all to one centre; then none of the pieces between can sink till the Supporters give way, because they want room in that Figuration, to descend perpendicularly. But this is yet a weak piece of Structure, because the Supporters are subject to much impulsion, especially if the line be long; for which reason this form is seldom used, but over windows, or narrow doors. Therefore to fortify the Work as in this third theorem we have supposed the Figure of all the Materials different from those in the second: So likewise we must now change the Posture, as will appear in the theorem following.   

Theorem 4.  
If the Materials figured as before Wedge-wise, shall not be disposed levelly, but in form of some Arch, or portion of a Circle, pointing all to the same centre: In this case neither the pieces of the said Arch, can sink downwards, through want of room to descend 
* By the first Theor.  perpendicularly: Nor the Supporters or Butments (as they are termed) of the said Arch can suffer so much violence, as in the precedent flat Posture, for the roundness will always make the Incumbent weight, rather to rest upon the Supporters, then to shove them▪ whence may be drawn an evident Corolary; that the safest of all Arches is the Semicircular, and of all Vaults the Hemisphere, though not absolutely exempted from some natural weakness, 
* Which is the sole prerogative of perpendicular lines and ●ight Angles.  as Barnardino Baldi Abbot of Guastalla, in his Commentary upon Aristotle's Mechaniques, doth very well prove, where let me note by the way, that when any thing is Mathematically demonstrated weak, it is much more Mechanically weak: Errors ever occurring more easily in the management of Gross Materials, then Lineal designs.   

Theorem 5.  
As Semicircular Arches, or Hemisphericall Vaults, being raised upon the total Diameter, be of all other the roundest, and consequently the securest, by the precedent theorem: So those are the gracefullest, which keeping precisely the same height, shall yet be distended, one fourteenth part longer than the said entire Diameter; which addition of distent will confer much to their Beauty, and detract but little from their Srength.  
This observation I find in Leon-Batista Alberti; But the practice how to preserve the same height, and yet distend the arms or ends of the Arch, is in Albert Durer's Geometry, who taught the Italians many an excellent Line, of great use in this Art.  
Upon these five theorems, all the skill of Arching and Vaulting is grounded: As for those Arches, which our artisans call of the third and fourth point; And the Tuscan writers diterzo, and di quarto acuto, because they always concur in an acute Angle, and do spring from division of the Diameter, into three, four, or more parts at pleasure; I say, such as these, both for the natural imbecility of the sharp Angle itself, and likewise for their very Vncomelinesse, aught to be exiled from judicious eyes, and left to their first inventors, the Goths or Lumbards', amongst other relics of that barbarous Age.  
Thus of my first Partition of the parts of every fabric, into five Heads, having gone through the two former, & been incidently carried into this last doctrine touching Arches and Vaults. The next now in order are the Apertions; under which term I do comprehend Doors, windows, Staire-cases, chimneys, or other Conducts: In short, all Inlets or Outlets; To which belong two general Cautions.  
First, That they be as few in number, and as moderate in Dimension, as may possibly consist with other due respects: for in a word, all Openings are weakenings.  
Secondly, That they do not approach too near the Angles of the walls; for it were indeed a most essential solecism to weaken that part, which must strengthen all the rest: A precept well recorded, but ill practised by the Italians themselves, particularly at Venice, where I have observed divers Pergoli, or Meniana (as vitrwius seemeth to call them, which are certain ballised outstanding to satisfy curiosity of sight) very dangerously set forth, upon the very point itself, of the Mural Angle.  
Now, Albeit I make haste, to the casting and comparting of the whole work, (being indeed the very definitive sum of this Art, to distribute usefully and gracefully a well chosen Plot) yet I will first under their several Heads, collect briefly some of the choicest notes belonging to these particular overtures.   

Of doors and windows.  
THese In●lets of Men and of Light, I couple together, because I find their due Dimensions, brought under one Rule, by Leone Alberti (a learned Searcher) who from the school of Pythagoras (where it was a fundamental maxim, that the Images of all things are latent in Numbers) doth determine the comeliest Proportion, between breadths and heights; Reducing symmetry to symphony, and the harmony of sound, to a kind of harmony in Sight, after this manner: The two principal Consonances, that most ravish the ear, are by consent of all Nature, the fift, and the octave; whereof the first riseth radically, from the proportion, between two and three. The other from the double Interualle, between One and Two, or between Two and four etc. Now if we shall transport these proportions, from Audible to visible objects; and apply them as they shall fall fittest (the nature of the Place considered) Namely in some windows, and doors, the symmetry of Two to Three, in their Breadth and Length; In others the double as aforesaid; There will indubitably result from either, a graceful and harmonious contentment, to the Eye; Which speculation though it may appear unto vulgar artisans, perhaps too subtle, and too sublime, yet we must remember, that vitrwius himself doth determine many things in his profession; by musical grounds, and much commendeth in an Architect, a Philosophical Spirit; that is, he would have him (as I conceive it) to be no superficial, and floating Artificer; but a diver into Causes, and into the Mysteries of Proportion; Of the Ornaments, belonging both to doors and windows, I shall speak in other place; But let me here add one observation; That our Master (as appeareth by diverse passages, and particularly lib. 6. cap. 9) seems to have been an extreme lover of Luminous rooms; And indeed I must confess that a Frank Light, can misbecome no A Edifice whatsoever, Temples only excepted; which were anciently dark, as they are likewise at this day in some Proportion. Devotion more requiring collected then defused Spirits. 
Lum en est diffusiwm sui & alieni▪  Yet on the other side we must take heed to make a House (though but for civil use) all Eyes, like Argus; which in Northern Climes would be too could, In Southern, too hot: And therefore the matter indeed importeth more than a merry comparison. Besides, There is no part of Structure either more expenseful, than windows; or more ruinous; not only for that vulgar reason, as being exposed to all violence of weather; but because consisting of so different and unsociable pieces, as Wood, Iron, lead, and glass, and those small and weak, they are easily shaken; I must likewise remember one thing, (though it be but a Grammatical note) touching doors. Some were Foreste, & Some were Valuae. Those (as the very word may seem to import) did open outwards, These inwards; And were commonly of two leaves or Panes, (as we call them) thereby requiring indeed, a lesser Circuit in their vnfoulding; And therefore much in use among Italians at this day; But I must charge them with an Imperfection▪ for though they let in as well as the former, yet they keep out worse.   

Of Staire-cases.  
TO make a complete staircase, is a curious piece of Architecture: The vulgar Cautions are these.  
That it have a very liberal Light, against all casualty of slips, and falls.  
That the space above the Head, be large and Airy, which the Italians use to call Vn bel●sfogolo, as it were good Ventilation, because a man doth spend much breath in mounting.  
That the Halfe-paces be well distributed, at competent distances, for reposing on the way.  
That to avoid Encounters, and beside to gratify the beholder, the whole staircase have no niggard Latitude, that is, for the principal Ascent, at least ten foot in Royal Buildings.  
That the breadth of every single Step or Staire be never less than one foot, nor more than eighteen inches.  
That they exceed by no means half a foot in their height or thickness; for our legs do labour more in elevation, then in distension: These I say are familiar remembrances, to which let meadde;  
That the steps be laid where they join Con un tantino di scarpa; we may translate it somewhat sloping, that so the foot may in a sort both ascend and descend together, which though observed by few, is a secret and delicate deception of the pains in mounting.  
Lastly, to reduce this doctrine to some natural, or at least mathematical ground, (our Master, as we see, lib. 9 cap. 2.) borroweth those proportions, that make the sides of a Rectangular Triangle, which the Ancient school did express in lowest terms, by the numbers of 3. 4. and 5. That is, Three for the Perpendicular, from the stairhead to the ground; four for the Ground-line itself, or Recession from the wall; And five for the whole Inclination or slopeness in the ascent, which proportion, saith he, will make Temperatas graduum librationes. Hitherto of Staire-cases which are direct: There are likewise spiral, or Cockle stairs, either Circular, or Ouall, and sometimes running about a Pillar, sometimes vacant, wherein Palladio, (A man in this point of singular felicity) was wont to divide the Diameter, of the first sort into three parts, yielding one to the Pillar, and two to the Steps; Of the second into four, whereof he gave two to the stairs, and two to the vacuity, which had all their light from above, And this in exact Ouals, is a masterpiece.   

OF chimneys.  
IN the present business, Italians (who make very frugal fires, are perchance not the best counsellors.) Therefore from them we may better learn, both how to raise fair mantles within the rooms, and how to disguise gracefully the shafts of chimneys abroad (as they use) in sundry forms (which I shall handle in the latter part of my labour) and the rest I will extract from Philippe de l' Orme: In this part of his work more diligent, then in any other, or, to do him right, than any man else.  
First, he observeth very soberly, that who in the disposition of any Building will consider the nature of the Region, and the winds that ordinarily blow, from this, or that Quarter; might so cast the rooms, which shall most need fire; that he should little fear the incommodity of smoke, and therefore he thinks, that inconvenience, for the most part to proceed from some inconsiderate beginning. Or if the error lay not in the Disposition but in the Structure itself; then he makes a logical enquiry▪ That either the wind is too much let in above, at the mouth of the shaft, or the Smoke stifled below; If none of these, Then there is a repulsion of the Fume, by some higher Hill or fabric, that shall overtoppe the Chimney and work the former effect: If likewise not this, Then he concludes, that the room which is infested, must be necessarily both little and close, so as the smoke cannot issue by a natural Principle, wanting a succession and supply of new air.  
Now, In these cases he suggesteth diverse artificial remedies; of which I will allow one, a little Description, because it savoureth of philosophy, and was touched by vitrwius himself, lib. 1 cap. 6. but by this man ingeniously applied to the present use: he will have us provide two hollow brass balls of reasonable capacity, with little holes open in both, for reception of Water, when the air shallbe first sucked out; One of these we must place with the hole upwards, upon an iron Wire, that shall traverse the Chimney, a little above the Mantell, at the ordinary height of the sharpest heat or flames, whereof the water within being rarified, and by rarifaction resolved into wind, will break out, and so force up the smoke, which otherwise might linger in the tunnel, by the way, and oftentimes revert; With the other, (saith he) we may supply the place of the former, when it is exhausted, or for a need blow the Fire in the mean while; Which invention I have interposed for some little entertainment of the Reader; I will conclude with a note from Palladio, who observeth that the Ancients did warm their rooms, with certain secret Pipes that came through the walls, transporting heat (as I conceive it) to sundry parts of the House, from one common Furnace; I am ready to baptise them Caliducts, as well as they are termed ventiducts, and aqueducts that convey wind and Water; which whether it were a custom or a delicacy, was surely both for thrift, and for use, far beyond the Germane stoves; And I should prefer it likewise before our own fashion, if the very sight of a fire, did not add to the room a kind of Reputation, 
〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉. Hom. Epig.  as old Homer doth teach us in a verse, sufficient to prove that himself was not blind, as some would lay to his charge.  
Touching Conducts for the Suillage and other necessities of the House, (which how base soever in use, yet for health of the Inhabitants, are as considerable, and perhaps more than the rest) I find in our Authors, this counsel; That Art should imitate Nature, in those ignoble conveyances; and separate them from Sight, (where there wants a running Water) into the most remote, and lowest, and thickest part of the Foundation: with secret vents passing up through the walls like a tunnel to the wild air aloft: which all Italian artisans commend for the discharge of noisome vapours, though elsewhere to my knowledge little practised.  
Thus having considered the precedent Appertions, or overtures, in severalty according to their particular Requisites, I am now come to the casting and Contexture of the whole work, comprehended under the term of Compartition: Into which (being the mainest piece) I cannot enter without a few general Precautions, as I have done in other Parts.  
First therefore, Let no man that intendeth to build, settle his fancy upon a draugh● of the work in paper, how exactly soever measured, or neatly set off in perspective; And much less upon a bare Plant thereof, as they call the Schiographia or Ground lines; without a model or Type of the whole Structure, and of every parcel and Partition in Pastboord or wood  
Next that the said model be as plain as may be, without colours or other beautifying, lest the pleasure of the Eye preoccupate the judgement; which advice omited by the Italian Architects, I find in Philippe de l' Orme, and therefore (though France be not the theatre of best Buildings) it did merit some mention of his name.  
Lastly, the bigger that this Type be, it is still the better, not that I will persuade a man to such an enormity, as that model made by Antonio Labaco, of Saint Peter's Church in Rome, containing 22. foot in length, 16. in breadth, and 13 in height, and costing 4184. crowns: The price in truth of a reasonable chapel: Yet in a fabric of some 40. or 50▪ thousand pounds' charge, I wish 30. pounds at least laid out before hand in an exact model; for a little misery in the Premises▪ may easily breed some absurdity of greater charge, in the conclusion.  
Now, after these premonishments, I will come to the compartition itself; By which, the Authors of this Art (as hath been touched before) do understand, a graceful and useful distribution, of the whole Ground-plot both for rooms of Office, and of Reception or entertainment, as fare as the Capacity thereof, and the nature of the country will comport. Which circumstances in the present subject, are all of main consideration, and might yield more discourse than an Elemental rhapsody will permit. Therefore (to anatomize briefly this Definition) the gracefulness (whereof we speak) will consist in double analogy, or correspondency. First, between the Parts and the Whole, whereby a great fabric should have great Partitions, great Lights, great Entrances, great Pillars or Pylasters'; In sum, all the Members great. The next between the Parts themselves, not only, considering their Breadths, and Lengths, as before, when we spoke of doors and windows; but here likewise enters a third respect of Height, a point (I must confess) hardly reduceable to any general precept.  
True it is, that the Ancients did determine the Longitude of all rooms, which were longer than broad, by the double of their Latitude, vitrwius lib. 6. cap. 5. And the height by the half of the breadth and length summed together But when the room was precisely square, they made the Height half as much more as the Latitude; which Dimensions the modern Architects have taken leave to vary upon discretion: Sometimes squaring the Latitude, and then making the Diagoniall or overthwart Line, from Angle to Angle, of the said Square, the measure of the height sometimes more, but seldom lower than the full breadth itself; which boldness of quitting the old Proportions, some attribute first to Michael Angelo da Buonaroti, perchance upon the credit he had before gotten, in two other Arts.  
The second point is usefulness, which will consist in a sufficient Number of rooms, of all sorts, and in their apt Coherence, without distraction, without confusion; so as the beholder may not only call it, una Fabrica been raccolta: as Italians use to speak of well united works, but likewise that it may appear airy and spiritous, and fit for the welcome of cheerful Guests; about which the principal difficulty will be in contriving the lights, and Staire-cases, whereof I will touch a note or two: For the first, I observe that the ancient Archietects were at much ease. For both the Greeks' and Romans (of whose private dwellings vitrwius hath left us some description) had commonly two cloistered open Courts, one serving for the women's side, and the other for the Men: who yet perchance now adays would take so much separation unkindly. Howsoever, by this means, the reception of light, into the body of the building, was very prompt, both from without and from within: which we must now supply either by some open form of the fabric, or among graceful refuges, by Tarrasing any story, which is in danger of darkness; or lastly, by perpendicular lights, from the roof: of all other the most natural, as shallbe showed anon. For the second difficulty: which is casting of the Stayre-cases; That being in itself no hard point, but only as they are encumbrances of room for other use: (which lights were not) I am therefore aptly moved here to speak of them. And first of Offices.  
I have marked a willingness, in the Italian Artisans, to destribute the Kychin, pantry, Bakehouse, washing rooms: and even the buttery likewise, under ground; next above the Foundation, and sometimes levelly with the plain, or floor of the Cellar: raising the first Ascent into the house Fifteen foot or more for that end, which besides the benefit of removing such annoys out of sight, and the gaining of so much more room above, doth also by elevation of the Front, add majesty to the whole Aspect. And with such a disposition of the principal Stayre-case, which commonly doth deliver us, into the plain of the second story, there may be wonders done, with a little room, whereof I could allege brave Examples abroad; and none more artificial, and Delicious, than a House built by Daniele Barbaro Patriarche of Aquileia before mentioned, among the memorable Commenters upon vitrwius. But the Definition (above determined) doth call us to some consideration of our own country, where though all the other petty Offices (before rehearsed) may well enough be so remote, yet by the natural hospitality of England, the buttery must be more visible▪ and we need perchance for our ranges, a more spacious and luminous kitchen, than the foresaid Compartition will bear; with a more competent nearness likewise to the Dining room Or else besides other inconveniences, perhaps some of the Dishes may straggle by the way; here let me note a common defect, that we have of a very useful room, called by the Italians Il Tinello; and familiar, nay almost essential, in all their great families. It is a Place properly appointed, to conserve the meat that is taken from the Table, till the Waiters eat, which with us by an old fashion, is more unseemly set by, in the mean while.  
Now touching the distribution of Lodging chambers; I must here take leave to reprove a fashion, which I know not how hath prevailed through Italy, though without ancient examples, as fare as I can perceive by vitrwius. The thing I mean, is, that they so cast their partitions as when all Doors are open, a man may see through the whole House; which doth necessarily put an intolerable servitude upon all the Chambers save the Inmost, where none can arrive, but through the rest; or else the walls must be extreme thick for secret passages And yet this also will not serve the turn, without at least Three doors to every room: A thing most insufferable, in cold & windy Regions, and every where no small weakening to the whole work; Therefore with us that want no cooling, I cannot commend the direct opposition of such overtures, being indeed merely grounded upon the fond ambition of displaying to a Stranger all our Furniture at one Sight, which therefore is most maintained by them that mean to harbour but a few; whereby they make only advantage of the vanity, and seldom prove the inconvenience. There is likewise another defect (as absurdities are seldom solitary) which will necessarily follow, upon such a servile disposing of inward Chambers. That they must be forced to make as many common great rooms, as there shallbe several Stories; which (besides that they are usually dark, a point hardly avoided, running as they do, through the middle of the whole House) do likewise devour so much Place, that thereby they want other Galleries, and rooms of retreat, which I have often considered among them (I must confess) with no small wonder; for I observe no Nation in the World, by Nature more private and reserved, than the Italian, and on the other side, in no Hanitations less privacy; so as there is a kind of Conflict, between their Dwelling, and their Being: It might here perchance be expected, that I should at least describe (which others have done in draughts and designs) diverse forms of Plants and Partitions, and varieties of inventions; But speculative Writers (as I am) are not bound, to comprise all particular Cases, within the Latitude of the subject, which they handle; general Lights, and Directions, and pointings at some faults, is sufficient. The rest must be committed to the sagacity of the Architect, who will be often put to diverse ingenious shifts, when he is to wrestle with scarcity of Ground. As sometimes * 
The Italians call it una stanza dannata, as when a buttery is cast under a a stayre-Case, or the like.  to dam one room (though of special use) for the benefit and beauty of all the rest; Another while, to make those fairest, which are most in Sight, and to leave the other (like a cunning Painter) in shadow, cum multis alijs, which it were infinite to pursue. I will therefore close this Part touching Compartition, as cheerfully as I can with a short description of a Feasting or entertaining room, after the Egyptian manner, who seem (at least till the time of vitrwius) from the ancient Hebrews and Phoenicians (whence all knowledge did flow) to have retained, with other Sciences, in a high degree, also the Principles, and practise of this magnificent Art. For as fare as I may conjecture by our master's Text, lib. 6. cap. 5. (where as in many other Places he hath tortured his Interpreters) there could no form, for such a royal use, be comparably imagined, like that of the foresaid Nation, which I shall adventure to explain.  
Let us conceive a floor or Area of goodly length, (For example, at least of 120 foot) with the breadth somewhat more than the half of the Longitude, whereof the reason shallbe afterwards rendered. About the two longest sides, and Head of the said room, shall run an Order of Pillars, which Palladio doth suppose Corinthian (as I see by his design) supplying that point out of Greece, because we know no Order, proper to Egypt. The fourth side I will leave free for the Entrance: On the foresaid Pillars was laid an architrave, which vitrwius mentioneth alone: Palladio adds thereunto (and with reason) both frieze and Cornice, over which went up a continued Wall, and therein, half or three quarter Pillars, answering directly, to the Order below, but a fourth Part less, and between these half columns above, the whole room was windowed round about.  
Now, from the lowest Pillars there was laid over a Contignation or floor, borne upon the outward Wall, and the Head of the columns with terrace and Pavement, Sub dio (saith our Master) and so indeed he might safely determine the matter in Egypt, where they fear no clouds: Therefore Palladio (woe leaveth this terrace uncovered in the middle, and ballised about) did perchance construe him rightly, though therein discording from others: always we must understand a sufficient breadth of pavement, left between the open part and the windows, for some delight of Spectators, that might look down into the room: The Latitude I have supposed contrary to some former Positions, a little more than the half of the length; because the Pillars standing at a competent distance from the outmost Wall, will by interception of the Sight, somewhat in appearance diminish the breadth; In which cases, (as I have touched once or twice before) Discretion may be more licentious then Art. This is the description of an Egyptian room, for feasts and other jollities. About the walls whereof we must imagine entire Satues, placed below, and illuminated by the descending Light, from the terrace, as likewise from the windows between the half Pillars above: So as this room had abundant and advantageous Light; and besides other garnishing, must needs receive much State by the very height of the roof, that lay over two orders of columns: And so having run through the four parts of my first general division, namely, Foundation, walls, Appertions, and Compartition; the House may now have leave to put on his hat: having hitherto been uncovered itself, and consequently unfit to cover others. Which point though it be the last of this Art in execution, yet it is always in Intention the first, For who would build but for Shelter? Therefore obtaining both the Place, and the dignity of a Final cause, it hath been diligently handled by divers, but by none more learnedly than Bernardino Baldi Abbot of Guastalla (before cited upon other occasion) who doth fundamentally, and Mathematically demonstrate the firmest knit of the upper Timbers, which make the roof. But it hath been rather my Scope, in these Elements to fetch the ground of all, from Nature herself, which indeed is the simplest mother of Art. Therefore I will now only deliver a few of the properest, and (as I may say) of the naturalest considerations, that belong to this remaining Piece.  
There are two extremities to be avoided in the cover, or roof: That it be not too heavy, nor too light. The first, will suffer a vulgar objection of pressing too much the underworke. The other, containeth a more secret inconvenience; for the cover is not only a bare defence, but likewise a kind of Band or Ligature, to the whole fabric, and therefore would require some reasonable weight. But of the two extremes, a House top-heavie is the worst. Next there must be a care of Equality, that the Edifice be not pressed on the one side more than on the other; and here Palladio doth wisely (like a cautelous artisan) that the inward walls might bear some good share in the burden, and the outward be the less charged.  
Thirdly, the Italians are very precise in giving the cover a graceful pendence or slopeness, dividing the whole breadth into Nine parts; whereof two shall serve for the elevation of the highest top or Ridge, from the lowest. But in this point the quality of the Region is considerable: For (as our vitrwius insinuateth) those Climes that fear the falling and lying of much Snow, aught to provide more inclining Pentices: and comeliness must yield to Necessity.  
These are the usefullest Cautions which I find in Authors, touching the last Head of our division, wherewith I will conclude the first Part of my present travail. The second remaineth, concerning Ornaments within, or without the fabric: A Piece not so dry as the mere Contemplation of proportions. And therefore I hope therein, somewhat to refresh both the Reader, and myself.    

OF THE ELEMENTS OF Architecture.  
The II. part.  
EVERY man's proper Mansion House and Home, being the theatre of his Hospitality, the seat of Selfe-fruition, the Comfortablest part of his own Life, the Noblest of his son's Inheritance, a kind of private princedom; Nay, to the Possessors thereof, an epitome of the whole World: may well deserve by these Attributes, according to the degree of the Master, to be decently and delightfully adorned. For which end, there are two Arts attending on Architecture, like two of her principal Gentlewomen, to dress and trim their Mistress; picture & sculpture: Between whom, before I proceed any further, I will venture to determine an ancient quarrel about their Precedency, with this Distinction; that in the garnishing of Fabriques, Sculpture no doubt must have the pre-eminence, as being indeed of nearer affinity to Architecture itself, and consequently the more natural, and more suitable Ornament. But on the other side, (to consider these two Arts as I shall do Philosophically, and not Mechanichally) An excellent Piece of Painting, is to my judgement the more admirable object, because it comes near an Artificial Miracle; to make divers distinct Eminences appear upon a Flat, by force of shadows, and yet the shadows themselves not to appear: which I conceive to be the uttermost value and virtue of a Painter, and to which very few have arrived in all Ages.  
In these two Arts (as they are appliable to the subject which I handle) it shall be fit first to consider how to choose them; and next, how to dispose them. To guide us in the choice, we have a Rule somewhere (I well remember) in Pliny, and it is a pretty observation: That they do mutually help to censure one another. For Picture is best when it standeth off, as if it were carved; and Sculpture is best when it appeareth so tender, as if it were painted, I mean, when there is such a seeming softness in the limbs, as if not a chisel had hewed them out of Stone, or other material, but a pencil had drawn and stroaked them in oil, which the judicious Poet took well to his Fancy.  Excudent alij spirantia mollius aera. 
But this generality, is not sufficient to make a good chooser, without a more particular contraction of his judgement. Therefore when a Piece of Art, is set before us, let the first Caution be, not to ask who made it, lest the Fame of the Author do captivated the fancy of the Buyer. For, that excellent Men do always excellently, is a false Conclusion; whereupon I observe among Italian artisans three notable Phrases, which well decipher the degrees of their works.  
They will tell you, that a thing was done Con diligenza, Constudio, and Con Amore; The first, is but a bare and ordinary diligence, The second, is a learned diligence; The third, is much more, even a loving diligence; They mean not with love to the Bespeaker of the work, but with a love and delight in the work itself, upon some special fancy to this, or that story; And when all these concur (particularly the last) in an eminent Author, Then perchance Titianus Fecit, or 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 will serve the turn, without farther Inquisition; Otherwise artisans have not only their growthes and Perfections, but likewise their veins and time's.  
The next Caution must be (to proceed Logically) that in judging of the work itself, we be not distracted with too many things at once; Therefore first (to begin with Picture) we are to observe whether it be well drawn, (or as more elegant artisans term it) well designed; Then whether it be well Coloured, which be the two general Heads; And each of them hath two principal Requisites; For in well Designing, there must be Truth and Grace, In well Colouring, Force, and Affection; All other Praises, are but Consequences of these.  
Truth (as we Metaphorically take it in this Art) is a just and Natural Proportion, in every Part of the determined Figure. Grace is a certain free disposition, in the whole Draught, answerable to that unaffected frankness of Fashion, in a living body, Man or Woman, which doth animate beauty where it is, and supply it, where it is not,  
Force consisteth, in the Roundings & Raisings of the work, according as the limbs do more or less require it; So as the Beholder, shall spy no sharpness in the bordering Lines; As when tailors cut out a suit, which Italians do aptly term according to that comparison, Contorni taglienti; Nor any flatness within the body of the Figure, which how it is done, we must fetch from a higher Discipline; For the Opticques teach us. That a plain, will appear prominent, and (as it were) embossed, if the Parts farthest from the axletree or middle beam of the Eye, shall be the most shadowed. Because in all darkness, there is a kind of deepness, But as in the art of persuasion, one of the most fundamental Precepts is; the concealment of art, so here likewise, the Sight must be sweetly deceived, by an insensible passage, from brighter colours, to dimmer, which Italian artisans call the middle Tinctures; That is, Not as the whites, and yolks of eggs lie in the Shell, with visible distinction; But as when they are beaten, and blended, in a Dish: which is the nearest comparison, that I can suddenly conceive.  
Lastly, Affection is the Lively Representment, of any passion whatsoever, as if the Figures stood not upon a Cloth or board, but as if they were acting upon a Stage; And here, I must remember, in truth with much marvel, a note, which I have received, from excellent artisans, that though gladness, and grief, be opposites in Nature; yet they are such Neighbours and Confiners in art, that the least touch of a pencil, will translate a Crying, into a Laughing Face; which Instance, besides diverse other, doth often reduce unto my memory, that Ingenious Speculation, of the Cardinal Cusanus extant in his works, touching the Coincidence of exextremes. And thus much of the four Requisites, and Perfections in Picture.  
In Sculpture likewise, the Two first are absolutely necessary; The third impertinent; For solid Figures need no elevation, by force of Lights, or shadows; Therefore in the room of this, we may put (as hath been before touched) a kind of tenderness, by the Italians termed Morbidezza, wherein the chisel, I must confess▪ hath more glory than the pencil; that being so hard an Instrument, and working upon so unpliant stuff, can yet leave Strokes of so gentle appearance.  
The Fourth, which is the expressing of Affection (as fare as it doth depend upon the activity, and Gesture of the Figure) is as proper to the carver, as to the Painter; though Colours, no doubt, have therein the greatest Power; whereupon, perchance, did first grow with us the Fashion of colouring, even Regal Statues, which I must take leave to call an English barbarism.  
Now in these ●ower Requisites already rehearsed, it is strange to note, that no artisan, having ever been blamed for excess in any of the three last; only Truth (which should seem the most Innocent) hath suffered some objection, and all Ages, have yielded some one or two Artificers, so prodigiously exquisite, that they have been reputed too natural, in their Draughts; which will well appear, by a famous Passage in Quintilian, touching the Characters of the ancient artisans, falling now so aptly into my memory, that I must needs translate it, as in truth it may well deserve.  
The Place which I intent, is extant in the last Chapter save one of his whole work, beginning thus in Latin.  
Primi, quorum quidem opera non vetustatis modo gratia visenda sunt clari Pictores fuisse dicuntur; Polygnotus atque Aglaophon etc.  
The whole Passage, in English standeth thus:  

THe first Painters of name, whose works be considerable for any thing more than only antiquity, are said to have been Polygnotus, and Aglaophon; whose bare colour (he means I think in white and black) hath even yet so many followers, that those rude and first Elements, as it were of that, which within a while, became an art, are preferred, before the greatest Painters that have been extant after them, out of a certain Competition (as I conceive it) in point of judgement. After these, Zeuxes and Parasius not fare distant in age, both about the time of the Peloponesian war, (for in Xenophon we have a Dialogue between Parasius, and Socrates) did add much to this Arte. Of which the first is said, to have invented the due disposition of Lights and shadows; The second, to have more subtly examined, the truth of Lines in the Draught; for Zeuxes did make limbs, bigger than the life; deeming his Figures, thereby the more stately and majestical; & therein (as some think) imitating Homer, whom the stoutest form doth please, even in Women. On the other side, Parasius did exactly limit all the Proportions so, as they call him the Law giver because in the Images of the Gods and of Heroical Personages, others have followed his patterns like a Decree; But Picture did most flourish, about the days of Philip and even to the successors of Alexander; yet by sundry habilities; for Protogenes, did excel in Diligence; Pamphilus and Melanthius in due Proportion, Antiphilus in a Frank facility; Theon of Samos, in strength of fantasy and conceiving of Passions; Apelles, in invention, and Grace, whereof he doth himself most vaunt; Euphranor, deserves admiration, that being in other excellent studies, a principal Man, he was likewise a wondrous artisan, both in Painting and Sculpture. The like difference we may observe among the Statuaries; for the works of Calon and Fgesias were somewhat stiff, like the Tuscan manner; Those of Calamis not done with so cold strokes; And Myron more tender than the former; a diligent Decency in Polycletus above others, to whom though the highest praise be attributed by the most, yet lest he should go free from exception, some think he wanted solemness; for as he may perchance be said to have added a comely dimension to humane shape, somewhat above the truth; so on the other side, he seemed not to have fully expressed the majesty of the Gods: moreover, he is said not to have meddled willingly with the graver age, as not adventuring beyond smooth cheeks: But these virtues that were wanting in Polycletus, were supplied by Phidias and Al●menes, yet Phidias was a better artisan in the representing of Gods, then of Men; and in his works of ivory, beyond all emulation, even though he had left nothing behind him, but his Minerva at Athens, or the Olympian Jupiter in Elis, whose beauty seems to have added somewhat, even to the received Religion; the majesty of the work, as it were equalling the Deity. To Truth, they affirm Lysippus and Praxiteles, to have made the nearest approach: for Demetrius is therein reprehended, as rather exceeding then deficient; having been a greater aymer at likeness, then at loveliness.   
This is that witty Censure of the ancient artisans, which Quintilian hath left us, where the last character of Demetrius doth require a little philosophical examination; How an Artificer, whose end is the imitation of Nature, can be too natural; which likewise in our days was either the fault, or (to speak more gently) the too much perfection of Albert Durer, and perhaps also of Michael Angelo da Buonaroti, between whom I have heard noted by an ingenious artisan, a pretty nice difference, that the Germane did too much express that which was; and the Italian, that which should be: Which severe observation of Nature, by the one in her commonest, and by the other in her absolutest forms, must needs produce in both a kind of Rigidity, and consequently more naturalness than gracefulness: This is the clearest reason, why some exact Symmetrists have been blamed, for being too true, as near as I can deliver my conceit. And so much touching the choice of Picture and Sculpture: The next is, the application of both, to the beautifying of Fabriques.  
First therefore touching Picture, there doth occur a very pertinent doubt, which hath been passed over too slightly, not only by some Men, but by some Nations; namely, whether this Ornament can well become the Outside of houses, wherein the Germans have made so little scruple, that their best towns are the most painted, as Augusta and Norembergh. To determine this question in a word: It is true, that a Story well set out with a good Hand, will every where take a judicious eye: But yet withal it is as true, that various colours on the outwalles of Buildings, have always in them more Delight than Dignity: therefore I would there admit no Paintings but in black and White, nor even in that kind any Figures (if the room be capable) under Nine or Ten foot high, which will require no ordinary artisan; because the faults are more visible then in small designs. In unfigured paintings the noblest is, the imitation of Marbles, & of Architecture itself, as Arches, Treezes, columns, and the like.  
Now for the Inside, here grows another doubt, whether Grotesca (as the Italians) or Antique work (as we call it) should be received, against the express authority of vitrwius himself, lib. 7. cap. 5. where Pictura (saith he) Fit eius, quod est, seu potest esse, excluding by this severe definition, all Figures composed of different Natures or Sexes; so as a Siren or a centaur had been intolerable in his eye: But in this we must take leave to departed from our Master, & the rather because he spoke out of his own profession, allowing Painters (who have ever been as little limited as Poets) a less scope in their imaginations, even than the gravest Philosophers, who sometimes do serve themselves of Instances, that have no Existence in Nature; as we see in Plato's Amphisboena, & Aristotle's hircoceruus. And (to settle this point) what was indeed more common and familiar among the Romans themselves, than the Picture and Statue of Terminus, even one of their Deities? which yet if we well consider, is but a piece of Grotesca; I am for these reasons unwilling to impoverish that Art, though I could wish such medley and motley designs, confined only to the Ornament of Freezes, and Borders, their properest place. As for other Storied works upon walls, I doubt our Clime be too yielding and moist, for such Garnishment; therefore leaving it to the Dwellers discretion, according to the quality of his Seat; I will only add a caution or two, about the disposing of Pictures within.  
First, that no room be furnished with too many, which in truth were a surfeit of Ornament, unless they be Galleries, or some peculiar Repository for Rarities of Art.  
Next, that the best Pieces be placed not where there is the least, but where there are the fewest lights; therefore not only rooms windowed on both ends, which we call through-lighted; but with two or more windows on the same side, are enemies to this Art; and sure it is, that no Painting can be seen in full Perfection but (as all Nature is illuminated) by a single Light.  
Thirdly, that in the placing there be some care also taken, how the Painter did stand in the Working, which an intelligent Eye, will easily discover, and that Posture is the most natural; so as Italian pieces will appear best in a room where the windows are high; because they are commonly made to a descending Light, which of all other doth set off men's Faces in their truest Spirit.  
Lastly, that they be as properly bestowed for their quality, as fitly for their grace: that is, cheerful Paintings in Feasting and banqueting rooms; Graver Stories in Galleries, Land-schips, and Boscage, and such wild works in open terraces, or in Summer houses (as we call them) and the like.  
And thus much of Picture, which let me close with this Note; that though my former Discourse may serve perchance for some reasonable leading in the choice of such delights; yet let no man hope by such a speculative erudition, to discern the Masterly and Mysterious touches of Art, but an artisan himself; to whom therefore we must leave the prerogative, to censure the manner and handling, as he himself must likewise leave some points, perchance of no less value to others; as for example, whether the Story be rightly represented, the Figures in true action, the Persons suited to their suerall qualities, the affections proper and strong, and such like observations.  
Now for Sculpture, I must likewise begin with a controversy, as before (falling into this Place) or let me rather call it a very mere fancy, strangely taken by Palladio, who having noted in an old Arch or two at Verona, some part of the Materials already cut in fine forms, and some unpolished, doth conclude (according to his logic) upon this particular, that the ancients did leave the outward Face, of their Marbles or freestone, without any Sculpture, till they were laid, and cemented, in the body of the Building; For which likewise he findeth a reason (as many do now and then very wittily, even before the thing itself be true) that the materials being left rough were more managable in the mason's hand, then if they had been smooth; And that so the sides might be laid together the more exactly; Which Conceit, once taken he seems to have farther imprinted, by marking in certain Storied Sculptures, of old time▪ how precisely the parts and Lines of the Figures that pass from one Stone to another, do meet; which he thinks could hardly fall out so right, (forgetting while he speaks of ancient things, the ancient Diligence) unless they had been cut, after the joining of the Materials, But all these Inducements, cannot countervail the sole inconvenience of shaking, and disjointing the Commissures with so many Strokes of the chisel, be●ides an Incommodious Working on Scaffolds; especially having no testimony, to confirm it, that I have yet seen among the records of Art; Nay, it is indeed rather true, that they did square, and carve, and Polish, their Stone and Marble works, even in the very cave of the quarry, before it was hardened by open air; But (to leave disputation) I will set down a few positive notes, for the placing of Sculpture; because the choosing hath been handled before.  
That first of all, it be not too general and abundant, which would make a House, look like a cabinet, & in this point, moral philosophy which tempereth Fancies, is the Superintendent of Art.  
That especially, There be a due moderation of this Ornament in the first approach; where our Authors do more commend (I mean about the principal Entrance) a Dorique, than a Corinthian garnishment▪ So as if the great door, be Arched, with some brave Head, cut in fine Stone or Marble for the Key of the Arch, and two Incumbent Figures gracefully leaning upon it, towards one another, as if they meant to confer; I should think this a sufficient entertainment, for the first Reception, of any judicious Sight, which I could wish seconded, with two great standing Statues on each side of a paved way that shall lead up into the fabric, So as the Beholder at the first entrance, may pass his Eye between them.  
That the Nices, if they contain Figures of white Stone or Marble, be not coloured in their concavity too black, For though Contraria iuxta se posita magis illucescunt (by an old Rule) yet it hath been subtly, and indeed truly noted that our Sight, is not well contented, with those sudden departments, from one extreme, to another; Therefore let them have, rather a Duskish Tincture, than an absolute black.  
That fine and delicate Sculptures, be helped with nearness, and gross with distance; which was well seen in the old controversy, between Phidias and Alcmenes about the Statue of Venus: wherein the First did show discretion, and save labour, because the work was to be viewed at good Height, which did drown the sweet and diligent strokes of his adversary: A famous emulation of two principal artisans, celebrated even by the Greek Poets.  
That in the placing of standing Figures aloft, we must set them in a Posture somewhat bowing forward; be-because (saith our Master, lib. 3. cap. 3. out of a better Art than his own) the visual beam of our eye, extended to the Head of the said Figures, being longer than to the foot, must necessarily make that part appear farther; so as to reduce it to an erect or upright position, there must be allowed a due advantage of stooping towards us; which Albert Durer hath exactly taught, in his fore mentioned Geometry. Our vitrwius calleth this affection in the Eye, a resupination of the Figure: For which word (being in truth his own, for aught I know) we are almost as much beholding to him, as for the observation itself: And let thus much summarily suffice, touching the choice and use of these adorning Arts. For to speak of garnishing the fabric with a Row of erected Statues, about the Cornice of every Contignation or Story, were discourse more proper for Athens or Rome, in the time of their true greatness, when (as Pliny recordeth of his own Age) there were near as many carved Images, as living Men; like a noble contention, even in point of Fertility, between Art and Nature; which passage doth not only argue an infinite abundance, both of artisans and Materials; but likewise of Magnificent and majestical desires, in every common person of those times; more or less according to their Fortunes. And true it is indeed that the Marble Monuments & Memories of well deserving Men, wherewith the very high ways were strewed on each side was not a bare and transitory entertainment of the Eye, or only a gentle deception of Time, to the traveller: But had also a secret and strong Influence, even into the advancement of the monarchy, by continual representation of virtuous examples; so as in that point ART became a piece of State.  
Now as I have before subordinated Picture, and Sculpture to Architecture, as their Mistress; so there are certain inferior ARTS likewise subordinate to them: As under Picture, Mosaique; under Sculpture, plastic; which two, I only nominate, as the fittest to garnish Fabriques.  
Mosaique is a kind of Painting in small Pebbles, Cockles and Shells of sundry colours; and of late days likewise with pieces of glass, figured at pleasure; an Ornament in truth, of much beauty, and long life, but of most use in pavements and flooring.  
Plastic is not only under Sculpture, but in deed very Sculpture itself: but with this difference; that the Plasterer doth make his Figures by Addition, and the carver by Substraction, whereupon Michael Angelo was wont to say somewhat pleasantly: That Sculpture was nothing but A purgation of superfluities. For take away from a piece of wood, or stone, all that is superfluous, and the remainder is the intended Figure. Of this Plastic Art, the chief use with us is in the graceful fretting of roofs: but the Italians apply it, to the manteling of Chimneys, with great Figures. A cheap piece of Magnificence, and as durable almost within doors, as harder Forms in the weather. And here though it be a little excursion, I cannot pass unremembered again, their manner of disguising the shafts of Chimneys in various fashions, whereof the noblest is the pyramidal: being in truth a piece of polite and civil discretion, to convert even the conduits of soot and smoke, into Ornaments; whereof I have hitherto spoken as fare as may concern the body of the Building.  
Now there are Ornaments also without, as Gardens, fountains, groves, Conseruatories of rare Beasts, Birds, and Fishes. Of which ignobler kind of Creatures, We ought not (saith our greatest 
* Arist. lib. 1 cap. 5. de part. Anim. 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉.  Master among the sons of Nature) childishly to despise the Contemplation; for in all things that are natural, there is ever something, that is admirable. Of these external delights, a word or two.  
First, I must note a certain contrariety between building and gardening: For as Fabriques should be regular, so Gardens should be irregular, or at least cast into a very wild regularity. To exemplify my conceit; I have seen a Garden (for the manner perchance incomparable) into which the first access was a high walk like a terrace, from whence might be taken a general view of the whole Plott below; but rather in a delightful confusion, then with any plain distinction of the pieces. From this the Beholder descending many steps, was afterwards conveyed again, by several mountings and valing, to various entertainments of his scent, and sight: which I shall not need to describe (for that were poetical) let me only note this, that every one of these diversities, was as if he had been Magically transported into a new Garden.  
But though other countries have more benefit of sun than we, and thereby more properly tied to contemplate this delight; yet have I seen in our own, a delicate and diligent curiosity, surely without parallel among foreign Nations: Namely, in the Garden of Sir Henry Fanshaw, at his seat in Ware-Parke, where I well remember, he did so precisely examine the tinctures, and seasons of his flowers, that in their setting, the inwardest of those which were to come up at the same time, should be always a little darker than the outmost, and so serve them for a kind of gentle shadow, like a piece not of Nature, but of art: which mention (incident to this place) I have willingly made of his Name, for the dear friendship that was long between us: though I must confess, with much wrong to his other virtues; which deserve a more solid memorial, then among these vacant observations. So much of Gardens.  
Fountains are figured, or only plain Water'd-workes: Of either of which, I will describe a matchless pattern.  
The first, done by the famous hand of Michael Angelo da Buonaroti, in the figure of a sturdy woman, washing and winding of linen clothes; in which act, she wrings out the water that made the fountain; which was a graceful and natural conceit in the Artificer, implying this rule; That all designs of this kind, should be proper.  
The other doth merit some larger expression; There went a long, strait, mossy walk of competent breadth, green, and soft under foot, listed on both sides with an Aquaeduct of white stone, breasthigh, which had a hollow channel on the top, where ran a pretty trickling stream; on the edge whereof, were couched very thick all along, certain small pipes of lead, in little holes; so neatly, that they could not be well perceived, till by the turning of a cock, they did sprout over interchangeably from side to side, above man's height, in form of Arches, without any intersection or meeting aloft, because the pipes were not exactly opposite, so as the Beholder, besides that, which was fluent in the aqueducts on both hands in his view, did walk as it were, under a continual bower or Hemisphere of water, without any drop falling on him. An invention for refreshment, surely fare excelling all the Alexandrian delicacies, and Pneumatiques of Hero.  
Groves, and artificial devices under ground, are of great expense, and little dignity; which for my part I could wish converted here into those Crypteria, whereof mention is made among the curious provisions of Tycho Braghe the Danish Ptolemie, as I may well call him: which were deep concaves in gardens, where the stars might be observed even at noon. For (by the way) to think that the brightness of the sun's body above, doth drown our discerning of the lesser lights, is a popular error; the sole impediment being that lustre, which by reflection, doth spread about us, from the face of the Earth; so as the caves before touched, may well conduce, not to a delicious, but to a learned pleasure.  
In Auiaries of wire, to keep birds of all sorts, the Italians (though no wasteful Nation) do in some places bestow vast expense; including great scope of ground, variety of bushes, trees of good height, running waters, and sometimes a stove annexed, to contemper the air in Winter. So as those Chanteresses, unless they be such as perhaps delight as much in their wing, as in their voice, may live long, among so good provisions and room, before they know that they are prisoners; reducing often to my memory, that conceit of the Roman Stoic, who in comparison of his own free contemplations, did think diverse great and splendent fortunes of his time, little more than commodious captivities.  
Concerning Ponds of pleasure near the habitation, I will refer myself to a grave Author of our own (though more illustrious by his other 
* D● Nugis Curial. etc.  work) namely Sarisburiensis de Pis●inâ.  
And here I will end the second part touching Ornaments, both within, and without the fabric.  
Now as almost all those, which have delivered the Elements of logic, do usually conclude, with a Chapter touching method; so I am here seized with a kind of critical spirit, & desirous to shut up these building Elements, with some Methodical direction how to censure Fabriques already raised: for indeed without some way to contract our judgement, which among so many particulars would be lost by diffusion; I should think it almost harder to be a good Censurer, than a good Architect: Because the working part may be helped with Deliberation, but the judging must flow from an extemporal habit. Therefore, (not to leave this last Piece without some Light) I could wish him that cometh to examine any noble Work, first of all to examine himself, whether perchance the sight of many brave things before (which remain like impressed forms) have not made him apt to think nothing good, but that which is the best; for this humour were too sour. Next, before he come to settle any imaginable opinion, let him by all means seek to inform himself precisely, of the Age of the work upon which he must pass his doom. And if he shall find the apparent decays to exceed the proportion of Time; then let him conclude without farther inquisition, as an absolute Decree, that either the Materials were too slight, or the seat is nought. Now, after these premises, if the House be found to bear his years well, (which is always a token of sound constitution) Then let him suddenly run backwardly, (for the method of censuring is contrary to the method of composing) from the Ornaments (which first allure the Eye) to the more essential Members, till at last he be able to form this Conclusion, that the work is Commodious, firm, and delightful; which (as I said in the beginning) are the three capital Conditions required in good Buildings, by all Authors both Ancient and modern. And this is, as I may term it the most scientifical way of Censuring. There are two other which I must not forget. The first in Georgio Vassari, before his laborious work of the lives of Architects, which is to pass a running examination over the whole Edifice, according to the properties of a well shapen Man. As whether the walls stand upright upon clean footing and Foundation; whether the fabric be of a beautiful Stature, whether for the breadth it appear well burnished, whether the principal Entrance be on the middle Line of the Front or Face, like our mouths, whether the windows, as our Eyes, be set in equal number and distance on both sides, whether the Offices like the veins in our Bodies, be usefully distributed, and so forth. For this allegorical review may be driven as fare as any Wit will, that is at leisure.  
The second way, is in vitrwius himself, lib. 1. cap 2. where he summarily determineth six Considerations, which accomplish this whole Art.  

Ordinatio.  
Dispositio.  
Eurythmia.  
Symmetria.  
Decor, and  
Distributio.   
Whereof (in my conceit) we may spare him the first two; for as fare as I can perceive, either by his Interpreters, or by his own Text (which in that very place, where perchance he should be clearest, is of all other the Clowdiest) he meaneth nothing by Ordination, but a well settling of the model or Scale of the whole Worke. Nor by Disposition, more than a neat and full expression of the first Idea or designment thereof; which perchance do more belong to the Artificer, then to the Censurer. The other four are enough to condemn, or absolve any fabric whatsoever. Whereof Eurythmia is that agreeable Harmony, between the breadth, length, and height of all the rooms of the fabric, which suddenly where it is taketh every Beholder, by the secret power of Proportion: wherein let me only note this, That though the least error or offence that can be committed against sight, is excess of height; yet that fault is no where of small importance, because it is the greatest offence against the Purse.  
Symmetria is the conveniency that runneth between the Parts and the whole, whereof I have formerly spoken.  
Decor is the keeping of a due Respect between the Inhabitant, and the Habitation. Whence Palladius did conclude, that the principal Entrance was never to be regulated by any certain Dimensions; but by the dignity of the Master; yet to exceed rather, in the more, then in the less, is a mark of Generosity, and may all ways be excused with some noble emblem, or Inscription, as that of the Conte di Bevilacqua, over his large Gate at Verona, where perchance had been committed a little Disproportion.  Patet janua: Cor magis. 
And here likewise I must remember our ever memorable Sir Philip Sidney, (whose wit was in truth the very rule of Congruity) who well knowing that Basilius (as he had painted the State of his mind) did rather want some extraordinary forms to entertain his fancy, than room for Courtiers; was contented to place him in a Starlike Lodge; which otherwise in severe judgement of Art had been an incommodious Figure.  
Distributio is that useful Casting of all rooms for Office, entertainment, or Pleasure, which I have handled before at more length, than any other Piece.  
These are the four Heads which every man should run over, before he pass any determinate Censure, upon the Works that he shall view, wherewith I will close this last part, touching Ornaments. Against which (I thinks) I hear an objection, even from some wellmeaning man; That these delightful crafts, may be diverse ways ill applied in a landlord. I must confess indeed, there may be a lascivious, and there may be likewise a superstitious use, both of Picture and of Sculpture: To which possibility of misapplication, not only these Semi-liberall Arts are subject; but even the highest perfections, and endowments of Nature. As beauty in a light woman, Eloquence in a mutinous Man, Resolution in an assassinate, Prudent observation of hours & humours, in a corrupt Courtier, Sharpenesse of wit and argument in a seducing scholar; and the like. Nay, finally let me ask, what ART can be more pernicious, then even RELIGION itself, if itself be converted into an Instrument of ART: Therefore, Ab abuti ad non uti, negatur consequentia.  
Thus having stitched in some sort together, these animadversions, touching Architecture, and the Ornaments thereof; I now feel that contemplative spirits are as restless as active; for doubting with myself, (as all weakness is jealous) that I may be thought to have spent my poor observation abroad, about nothing but Stone and Timber, and such Rubbage; I am thereby led into an immodesty of proclaiming another work, which I have long devoted to the service of my country: Namely, A philosophical survey of Education, which is indeed, a second Building, or repairing of Nature, and, as I may term it, a kind of Moral Architecture; whereof such Notes as I have taken in my foreign transcursions or abodes, I hope to utter without public offence, though still with the freedom of a plain Kentish man. In the mean while I have let these other glean fly abroad, like the Bird out of the ark, to discover what footing may be, for that which shall follow.  
FINIS.   

 

  

  

   

Errata.  
Pag. 6. lin, 8. for as, read is. Pag. 48. lin. 2. for cuncatim, read cuneatim. Pag. 77. lin. 6. for (woe, read (who. Pag. 80. lin. 9 for wisely, read wish. Pag. 88 lin. 19 omitted in the Margin the verses following, touching the coincidence of extreme affections; represented by Homer in the person of hoctors' wife; as Painters and Poets have always had a kind of congeniality.  
〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉  
〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉  
〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉  
〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉.— That is,  
She took her son into her arms, weepingly laughing.