THE EFFIGIES OF M GIACOMO BAROZZIO DA VIGNOLA W Sherwin sculpsit et ex●u●l●● portrait of Giacomo Barozzio da Vignola THE Regular Architect: OR THE GENERAL RULE OF THE FIVE ORDERS OF ARCHITECTURE OF M. GIACOMO BAROZZIO Da VIGNOLA. WITH A New Addition of MICHAEL ANGELO BUONAROTI Rendered into English from the Original Italian, and Explained, By JOHN LEAKE STUDENT and TEACHER of the MATHEMATICS, For the USE and BENEFIT of Free Masons, Carpenters, Joiner's, Carvers, Painters, Bricklayers, Plasterers: In General For all Ingenious Persons that are concerned in the Famous ART of BUILDING. LONDON, Printed for Rowland Reynolds, and William Sherwin, and are to be sold at their shops at the Sun and Bible in Postern-street near Moor-gate, and next door to the Star in Little Britain, MDCLXIX. To the READER. Courteous Reader, I Intent here briefly to declare, for the better understanding hereof, what was the occasion that moved me to make this small Work, and afterward to publish it for the common service of those that take delight therein. Having Exercised this Art of Architecture for divers years in sundry places, I have been always pleased to see the Opinions of as many Writers as I had, concerning this practice of the Ornaments, and by comparing them both among themselves, and with the Works of the Ancients, which are seen yet in being, to draw from thence some Rule, on which I might rely with such security, as might please, if not all, yet at least the greater part of them that are capable to judge of this Art, and that only to serve my own use, without any other end. Therefore laying aside many things of those Writers, from whence ariseth no small difference, to the end to rest more secure, I proposed to myself the ancient Ornaments of the five Orders which are seen among the Antiquities of Rome; and considering all together, and examining them by diligent Measures, I have found that those which seem most beautiful to common judgement, and which represent themselves with most grace before our Eyes, those I say have a certain correspondence and proportion of Numbers among themselves not intricate, seeing that each of the lesser Members measure the greater, punctually distributing them into so many parts. From whence considering more nearly, that all our Senses are pleased in this Proportion, and displeasing things are different from it, as the Musicians do most sensibly demonstrate in their Science; I have taken Pains these many years to reduce the said five Orders of Architecture under one brief Rule, easy, and which might readily be put in practice; and the manner which I have observed in it is thus. Desiring to bring to this Rule the Doric Order, for an Example I have found the Theatre of Marcellus to be the most commended among all others, according to the judgement of every one, and therefore also I have taken it for the Foundation of the Rule of the said Order; of which having determined the principal parts, if afterward certain of the lesser Members have not so exactly answered to the proportion of Numbers (a thing which often happens by the work of the Tools, or other accident, which may often be in these small things) that I have fitted to my Rule, not differing in any thing of importance, but accompanying rather that small licence with the authority of other Doric Orders, which also are esteemed beautiful; from whence I have taken the other smaller parts, always when it was necessary to supply it. Not as Zeuxis did of the Virgins among the Crotoniacks, but as my judgement hath led me. I have made this Election of all the Orders, taking them purely altogether from the Ancients, and not mixing any thing of my own, except it be the distribution of Proportion, founded on simple Numbers, not having regard either to the Braces, Feet, or Palms of any Place, but only to one Arbitrary Measure, called A Module, divided into so many parts as from Order to Order may be seen in its proper place. And by this means I have so facilitated this part of Architecture (otherwise difficult) that any mean understanding, if he have but only some taste of the Art, may comprehend the whole at one view; and easily use the same, without taking much pains in reading. Yet had I no intent to publish this Work, if it had not been for the entreaty of many of my Friends which desired it; and much more by the Liberality of my perpetual, most Illustrious, and most Reverend Lord, Cardinal Farnese; which, besides that I have received such courtesies from his Honourable House, which hath given me favour to make this diligence, hath also given me the mean to be able to satisfy my Friends in this particular, and to give you suddenly other greater things on this Subject, if this Part be so accepted of you as I hope it will be. And seeing that in this place it is not my design to answer Objections, which I know will be propounded by some, that being not my intention; so leaving the charge to the Work itself, which being acceptable to the Judicious, will cause them to answer for me against the Objections of others: I say only, That if any one shall judge this Work to be vain, maintaining that there can no firm Rule be given, because that according to the opinion of all, and namely of Vitruvius, there must oftentimes be added and substracted to the proportions of the Members of the Ornaments, to the intent to supply by Art in those places, where our sight may be deceived by any accident. To that I answer, That it is wholly necessary in that case to know how we would have them represented to our Eyes, which shall be always a firm Rule, which in another place I have propounded to be observed, seeing that we proceed therein by certain curious Rules of Perspective. The Practice whereof (so much as is necessary to this Art, and to Painting both together) I hope to give you suddenly, in such manner as I am assured will be delectable to you. My intention, as I have said, was none other than to be understood by those only, which have already some taste of the Foundation of the Art, and therefore I had not added the Name to any particular Member of the Five Orders, presupposing them to be already known. But finding afterwards, by experience, that the Work was very acceptable to divers Persons of Quality, moved by the desire they had to be able to understand with little labour the entire of this Art concerning the Ornaments, and that they desired no other thing than the particular Names, I was willing to add them according as they are ordinarily called at Rome, and in such order as you may see, only advertising that the Members which are common to divers Orders, after they have been only once named in the first Order, there is no mention made of them in the other Orders. G. Barozzio. The TRANSLATORS PREFACE. To the Reader. Gentle Reader, COnsidering that those things are easiest comprehended and best retained in memory, which is taught by the fewest Precepts, therefore we have made choice of this Author as an Introduction to the Ornamental part of Architecture, and have styled him, The Regular Architect, because he sets down one general Rule for the Principal Numbers of all the Five Orders; which Rule our Author found from the Observation which he made of the Antiquities of Rome. The Author being perspicuous of himself, we have endeavoured to render him in his own Sense, only adding here and there a word upon occasion to explain his meaning more fully. If this find acceptance, expect in a short time the Rules of Practical Perspective of the same Author, From him, who is A Lover of all ingenious Artists, JOHN LEAKE. TUSCAN DORIC JONICK CORINTHIAN COMPOSITA Intending to treat of the five orders of Columns; that is to Say the Tuscan, the Doric the jonick, the Corinthian, and Composita. it is convenient at the beginning to show the figure of each kind of Which I am to speak, although their particular measures are not set down, being that they are only here put to show a general rule, which afterward shallbe declared particularly in each order architectural diagram Finding no Tuscan order among the antiquities of Rome, from whence I might have form a rule as I have found in the other four orders; the Doric, jonick, Corinthia, & Comparita, I have taken the authority of Vitruvius in his fourth book & seventh Chapter, where he Says, that the Tuscan Column ought to be in height with the base and Capital Seven times his own diameter or thickness In the rest of the ornaments namely the Architrave Fries and Cornice, it is convenient to observe the rule, which I have found in the other orders, that is, that the Architrave Frise and Cornice may be the fourth part of the height of the Column, which is 14 modules with the Base, and Capital, as is Seen set down by numbers; so also the Architrave, Frise and Cornice shallbe 3½ modules, which is the fourth ʰ part of 14, the particular members shallbe exactly Set down in their proper place, architectural diagram Being to make the Tuscan order with out a pedestal, the whole height shallbe divided into 17 ½ partes and each of those parts shallbe called a Module, which again we divide into 12 equal parts, and by these measures at the Said order is form with every particular member thereof, as is Seen in the design Set down both in whole numbers and fractions architectural diagram But being to make the Said order with a pedestal the whole height is to be divided— into 22 parts and ⅙ which is done, because the pedestal requires to be in height the third part of his Column with Base and Capital, which being 14 modules, the third part is 4 modules and ⅔ which added to 17 modules and ½ make together 22 modules and ⅙ architectural diagram Although a pedestal is seldom made to the Tuscan order, yet have I put it here in design to follow order, giving you to understand that in the five orders I have observed it for a general, and that the pedestals with their ornaments ought to be a third part of their Column with Base and Capital, as all the ornaments above, that is to Say, the Architruve Frise and Cornice ought to be a fourth part of the Same, Form which being understood & presuposed there ariseth this great facility in the work that being to make any of these five orders after the height which it ought to have is determined it is to be divided into 19 parts with its ornaments (then 3 parts being left above for the Architruve and 4 below for the pedestal, the 12 parts remaning are for the height of the Column with the Base & Capital, which being taken, & making the division of the modules, according as it shallbe either Corinthia or Doric or the other orders, & then the whole order is made by that module divided into its parts, as shallbe Seen in its due place; A the Body or Shafe of the Column: B: Cincta Regula or list: C: Torus: D: the Blinth-E-listello a name most general and used in differently in all the like members whether the be lesser or greater F Cimatum. G the Pedestal H listelo I the Blinth of the Pedestal, architectural diagram Having before described in general the principal measures for drawing the Tuscan order, I have here and in the foregoing page, designed the parts in great to the end that you; may See Particularly, the division of every one of the Smallest parts, together with their projectture and that the clearness of the design with the numbers adjoined may be Sufficient to make you understand the thing without many words, as any one may easily know of himself with Small consideration A. Ouolo. B. Rundel. C. Listello. or. Regula. D. Corona or Dropstone. E. Listetto. F. Cymatium G. Frise H. Facia or List of the Architrave I. Architrave K Chimatium or list of the Abacus L Abacus M Echinus N List, O Frise of the Capital, P Astragal Q Coller of the Column R the Body of the Column architectural diagram The Manner to make the divisions of this Doric order is this The whole height is divided into 20 parts, and of one of those parts is made the module, which is also divided into 12 parts, like as was done in the Tuscan Order the Base with the list or lowest Cincture of the Column shallbe one module, the trunk or Shaft of the Column without the Base Shallbe 14 modules, the Capital shallbe one module and then the ornament, that is to Say the Architrave Frise and Cornice shallbe 4 modules, which is the fourth part of the Column with the Base and Capital as We have Said before, The Architrave ought to be 1 module the Frise 1½ and the Cornice 1 ½ which added together make 4 modules, and being added to the rest make 20 architectural diagram When you would make the ornament of galleries or Porticos according to the Doric order the light (as hath been Said) must be divided into 20 parts, and from thence the module must be form, Then the breadth, must be divided so as between the Pilasters there may be 7 modus and that the Pilasters may have 3 modules, For so the— breadth is divided with the height, 〈◊〉 to the proportion of the opening of the light, of twice the breadth in height, and the distribution of the Metopes and Trigliphs' falls right as you See. It Remains only to Consider that the Column ought to Come forth of the Pilaster ⅓ of a module more than the half which is done to the intent that the projectures of the imposts may not exeede half the Columns and this shallbe a general rule in the like cases of all the— orders architectural diagram Being to make galleries with their pedestals according to the Doric order, the whole height ought to be divided into 25 parts and ⅓, and one of those parts shallbe a module, the breadth between the pilasters shallbe 10 modules, and the breadth of the pilasters shallbe 5 modules for so the distribution of the metops, and Trigliphs' shall fall out right and the void of the Arches in Such proportio ⁿ that the height shallbe double to the breadth which in height as you may See is of 20 modules architectural diagram The Pedestal of the Doric order ought to have 5 modules and ⅓ in height the impost of the Arch designed there above one module and the particular members thereof are to be divided according to the members as they are there Set down A the Channels of the Column B the lowest Cincture of the Column which ought so to be understood of all the orders C Rundel or little stafe architectural diagram This part of the Doric order is taken from the Theatre of marcellus at Rome, as I have said in the preface by way of example, and being designed it retains the same proportion A Hollow of the upper list, B Denticuli, C Capital of the Trigliph, D Trigliph in which the parts 〈◊〉 inward are called Channels and the square space of the frise which Remains between one Trigliph and the other is called metope, E Guttae, drops, or small bells F Cymatium G Annul●t●, cinctures or Lists architectural diagram This other piece of the Doric order is taken from divers relics among the antiquities of Rome, and such a composition is made thereof, which I have found to prove well in work A Cymatium, B Modilions a name by which They are all called althought they be of different forms, when they do the office to sustain the Coruice, C Astragal. architectural diagram Being to make the jonick order without apedestal, the whole height ought to be divided into 22 ½ parts, and of one of those parts is made the module, which is divided into 18 parts, because this order being more gentile than the Tuscan and Doric, hath olso the parts thereof more slaider, The Column ought to have 18 modules comprehending the base and Capital, the Architrave 1 ¼ module, The frise 1½ the Cornice 1 ¾ which numbers being added together, make the Architrave Frise and Cornice 4 ½ modules, which is the 4 part of 13 modules the height of the Column architectural diagram When you would make galleries or Porticos according to the jonick order, The breadth of the Pilasters shallbe 3 modules and the distance between the Pilasters shallbe 8½ modules and the height 17 modules which is the double of the breadth, which is a rule which ought to be observed constantly in all arches of the like ornament, if necessity doth not Constrain to do otherwisse architectural diagram But when you would make Porticos or galleries according to the jonick order with Pedestals, the whole height is to be divided into 28 ½ parts, The pedestal with his ornaments being 6 modules, which is the third part of the Column with base & Capital which is to be obsarved in all the orders as we have said, The breadth between the Pilasters shallbe 11 modules the height of the arch 22 modules. The breadth of the Pilasters shallbe 4 modules, as you may see noted 〈◊〉 numbers in the design. architectural diagram The Cornice of the impost set above is one module in height, and the projecture thereof is ⅓ the particul ar members may be known by the numbers, as also those of the pedestal and 〈…〉 A Scotia or upper hollow B Astragals or Rundles 〈…〉 architectural diagram The manner to make the jonick Capital, as it is here designed in this present figure with the plane and profil for the more Claire 〈◊〉 understanding there must be two perpendicular lines drawn, all the distance of two modules the one from the other, which may pass b●the 〈◊〉 of the eyes of the volutas, which are called 〈◊〉 The whole voluta ought to be 16 parts of a module in height whereof 8 are above the eye 〈…〉 it 〈◊〉 being two parts and the other 6 remains 〈◊〉 the eye. The manner of drawing the voluta 〈◊〉 designed in the following leaf, where also 〈◊〉 shallbe explain 〈◊〉 much as the space will pe●● the manner 〈…〉 which you are to proceed architectural diagram Having drawn the Cathetus of this first voluta, and another line Square to it by the centre of the eye, the Said 〈…〉 ●ided in the manner expressed above in the figure A, and is begun from the first point marked in, and there is drown a fourth part of a Circle with the compasses then from the point marked 2 is drawn another fourth part 〈…〉 proceeding the three turns come to be accomplished, Then to make the breadth of the list so as it may be afourth 〈…〉 which is left above by the first tract so each part which Saws for Centres is divided into 4 and afterwards drawing 〈…〉 of circles, they shallbe accomplished by those centres. But to make the voluta after the manner represented underneath the line called 〈…〉 be drawn, which shall have the h●●ght of 16 parts of a module, whereof a shallbe above the centre and ● beneath and one the Say ᵈ centre, you shall divide the circumference into 8 equal parts, as you See it designed Then afterwards the triangle BCD aught to be made, so as the 〈◊〉 BC ●ay be 9 parts of amodium, and the line CD. 7. and because that it may be Seen and understood by the design 〈…〉 ●●d marked with numbers it is sufficient that I have drawn 〈◊〉 afterwards the points of the line BC ought to be 〈…〉 〈◊〉 ●ide the circumference of the voluta, as 〈…〉 by numbers, and then bracing from point to 〈◊〉 the 〈…〉 found'st 〈◊〉 the first foot of the compasses 〈…〉 ●ning the other foot to the centre 〈◊〉 of the eye of the 〈…〉 circumference within the Saie● 〈…〉 the Compasses you put the first point on the point 〈…〉 where 〈◊〉 that part of, circumference 〈◊〉 ●halbe 〈…〉 circumference from 1 to 2 then Set the 〈◊〉 foot of the compasses on the point and put in the other to the co● 〈◊〉 the voluta & then drawing an arch of a circle as before then without removing 〈…〉 Set 〈◊〉 foot upon the point 3 and turning the other foot where it cuts the Said arch shallbe the other centre which 〈◊〉 ●●aw 〈…〉 the voluta from 2 to 3. And so you ●hal proceed from point to point architectural diagram 〈…〉 this Corinthian order without a Pedestal the whole height is divided into 25 parts, and the 〈◊〉 made of one of them, which is divided into 18 parts, as it was in the jonick order the other principal 〈…〉 seen in the figure, and the distance from one Column to the other aught to be a modules and ⅔, as well that th● architrave above be not overcharged, as to accommodate the modilions above in the Cornice as they 〈…〉 thy to the middle of the Columns in their 〈…〉 ●ment architectural diagram To make the Arches of galleries according to this Corinthian order, you ought to proceed as it is here noted in numbers So as the opening of the Arch may be 9 modules in breadth and 18 modules in height, and the Pilasters shallbe 3 modules architectural diagram But to make galleries with pedestal, the whole height shallbe divided into 32 parts, and of one of them shallbe made the module, 12 of them shallbe the breadth, and 25 the height of the opening: and although it passeth two squares, it is Convenient in this order in respect of the ●landernesse thereof. The pilasteres shallbe 4 modules as it is Set down in the design architectural diagram If the pedestal of this Corinthian order be the third part of the Column, it shallbe Six modules and ⅔, but it may be made of Sev en modules for the more Solidity, very Conformable and agreeable to this order; and also to the end that the pedestal without the Cimatium and Base, may be two Squares, as may be Seen by the numbers the rest, that is to Say the Cimatium and base, Seeing that the are Set down in their Smallest parts, as also the impost of the Arch there needs no farther description of them. A the upper Torus. B the lower Torus. architectural diagram By the ground plat and profil of this Corinthian Capital all the measures may be known, by the ground plate the breadths are measured by making a square whose diagonal line shallbe 4 modules, and on one of the Sides of the Square is made an Equilateral triangle as you see in the figure, and Setting one foot of the Compasses in the Angle marked ✚ the hollow of the Abacus is drawn, in the profil the height of the leaves, Stems and Abacus, and the extente of the leaves and stems is taken by the line which comes from the point of the Abacus to the round of the Column, as may be seen by the design of the profil, the rest may be easily understood with a little Consideration A 〈◊〉 together are called the Abacus of the Capital, but for better understanding A is taken for the Cimatium of the Abacus. C the stem, D the lesser leaves, E the middle leaves, F 〈◊〉 under leaves, G the slower. architectural diagram This Corinthian Cornice is taken from divers places at Rome, & principally from the Pantheon or Temple of the round, and from the three Column ˢ which are in the Roman market, and Compairing their principal members, I have Set down their rule before not differing any thing from the ancients, and reducing itt to that proportion, that a modilion is over the middle of the Column, and that the eggs, denticles anchors and spondyles answer directly the one to the other, in good order as you may See the measures are supplied by numbers made of modules and parts of modules, the module being divided into 18 as hath been Said architectural diagram This Composita Pedestal keeps the proportion of the Corinthian and hath no other difference of members but in the Cymatium and basment, as may be Seen. And because the ornaments of the Composita have the Same proportion with the Corinthian, I have supposed it not necessary to make these Column and Arches apart, reffering to the Corinthian Columns and Arches. Only 〈◊〉 given the diversity of the Base and Capital, and other ornaments, as may be Seen in their peaces architectural diagram This ground plat and profil of the Composita Capital, proceeds in the Same manner as the Corinthian before described, it only differs in this, that where the Corinthian hath its Stems, the Composita hath volutas made after the Same manner with the jonick. The ancient Romans' taking one part of the jonick and another part of the Corinthian have made this Composition to unite together as much as was possible all that which was beautiful in one only part architectural diagram This piece of the Composita order, that is to Say the Capital, Architrave, fr●se, and Comice, is also drawn from divers places among the Antiquities of Rome, and is Reduced to proportion as hath been Said of the Corinthian which being noted with numbers is sufficiently Clear of itself architectural diagram Among the antiquities of Rome there are found almost infinite varieties of Capitals which have no proper name, but may be Comprehended altogether under that general word Composita, and also they follow the principal measures of other Compositas, derived only from the jonick and corinthian, It is true that in Some of them we shall See the images of living Creatures in stead of stems, in others Cormicopias, and in others divers other things according as they found them to Saw their purpose in their designs, as may be judged by this present design, the which hath 4 eagles inplase of the Stem, & in place of the flowers 4 faces of jupiter with lightning underneath, as you may easily, that it was in a Temple consecrated to jupiter, the Same may be Said of the other which hath 4 griffens in place of stems, and 4 eagles in the middle with a dog in their claws, that it: was appropriated to some other of their Idols, their proportion except the Images of the living creatures, is like to the Corinthian. This base is called Attic by Vitruvius in his 3d book and 3d chap: as being first found and put in work by the Athenians, in our time it is used to be Set in work in differently under the Corinthian Composita, jonick and Doric, but it hath more affinity with the composita than with any other order, and is also tolerable in the jonick, when we use not the proper base thereof, but, under the other orders IIudge it altogether impertinent and can give many Reasons for it, but I will not trouble myself to Speak of things passed built, with So great licence, It is sufficient in the same order as before that I Show the Partition thereof, which ariseth from amodule divided into 18. parts, as in the jonick and Corinthian architectural diagram Columnes are diminished in divers manners, two whereof I Set down here which are except 〈…〉 fast and most known is, that the height and thickness of the column being terminated, and how much 〈…〉, at the third part upward from the base where the lessening gins is drawn a Semicircle, and 〈◊〉 parts of the Semicircle which are without the perpendicular lines falling on the Said circle from the lesser part of the column are divided into as many equal parts as you will, and also the two thirds of the column is divided into as many parts by transvers lines and where the perpendicular and transvers lines meet Shatbe the terms of the diminishing as may be Seen in the figure, this sort of column is used in the Tuscan and Doric The other manner I have found of myself by considering, and although it be less known yet it is easy to comprehend by the lineaments, I Say only that all the parts being terminated as is Said, an indeterminate right line ought to be drawn at the thi● 〈…〉 base, which gins from C and passeth by D, then taking the measure D and Setting it from A 〈◊〉 the perpendicular in the pound, and extend AB to E where it intersects the line CD prolonged, and from E draw as many lines as 〈…〉 by the perpendicular to the circumference, and set the measure CD or each of these lines from the perpendicular towards the circumference both above, and beneath the third parley and you have the limits of the 〈…〉 this sort of Column maybe used in the jonick Corinthian and Comp●●●●● These Strait Columns being drawn as you see if you 〈…〉 them as these are at St Peter Church at Rome you must draw the ground plat as here you see, and the Small Circle in the middle (which is as much as you would wreathe it) & divede it into 8 equal p ts, and draw ● lines parallel to the perpendicular then divide the whole Column into ●8 parts & form from thence the Spiral line in the middle, which 〈…〉 column from line to line as you see 〈◊〉 you must observe that the 〈◊〉 numbers 1 2 3 4 marked on the ground plat serves 〈…〉 the beginning ought to be from 〈…〉 you must follow the turning of the Small Circle to 〈…〉 the rest you 〈…〉 as below architectural diagram This Cornice, 〈◊〉 I have 〈◊〉 any time● for the finishing of Frontispiece and 〈◊〉 found it to be very acceptable and 〈◊〉 it be of my one invention I have not thought it impertinent to place it here at the end ●f 〈◊〉 Small work to satisfy those that w●uld use it, the proportion with the Frontspi●● is thus, the whole height being divided into 11 parts, there remains one for the Cornice and 10 for the fronti●●●●e, the re●● is Clear architectural diagram Palmi. 11. Palmi Romani ●on li quali e'fatto il pres en●● dis●gno The Porte of the fabric of the most Illustrious and Reverend Cardinal Farnese at Caprarola architectural diagram This Porte is of Rustic work, and the stones are so well Composed together, Althought there were neither Mortar nor any other mixture, it were sufficient to rule all the Structure be it never so great architectural diagram A Porte designed for the Service of the most Illustrious and Reverend Cardinal Farnese for the Principal entrance of the Pa●ais of the Chancery architectural diagram The Porte of St Laurence in Damaso, a work of Vignola, although the palais is of other Architects architectural diagram MICHAEL ANGELUS BONAROTUS PATRITUS FLORENTINUS ANAGENS. LXXIII THE NEW AND LAST ADDITION OF PORTS OF ARCHITECTURE of Michael Angelo Buonar oti The most excellent Florentine Painter Sculptor and Architect architectural diagram This Ch●●● 〈◊〉 is ma●● 〈…〉 ●●ture of divers Co● 〈…〉 of the most 〈…〉 Reverend Card●●●● St A●●●●l● in his p●●●● 〈◊〉 Rome architectural diagram PIUS IIII PONTIF MAX PORISM IN HANCAMP L●●VDINEM EXTV LIT ●AM ●●AMINIAM STRAVIT ANNO III The P●rt● 〈◊〉 ●al●d del 〈…〉 architectural diagram The design marked with A is the profil of the afore going Porte ●el Pop●lo The design marked with B is the profil of Porta Pia 〈…〉 architectural diagram PIUS IIII PONT MAX PORTAM PIAM SV●LA●A NVMENTANA EXTRUXIT VIAM PIAM AEQVATALTA SEMITA D●XIT- Porta Pia of the mention of Michael Angelo architectural diagram A new work at the Capitole of the invention of Michael Angelo architectural diagram The Porte of the Gardin of the most Illustrious Lord the Duke of Sforza architectural diagram ANTONUS- GRIMANUS— D- V- The Porte of the vineyard of the most Reverend Patriarich Grimano in Strada Pia architectural diagram The Porte of the vineyard of the Cardinal of Sermoneta, which gins at the foot of mount Quirinale, and is extended to the top of strada pia anciently called alta Semita architectural diagram