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 Liber hie cui Titulus (A Parallel of Archi- 
 teHure the Antique with the Modern) uc quod 
 melius eft eligatur. 
 
 Ex &dib. Lambe- 
 thorns Nov, 21. 16630 
 
 f. Frond ^ S. T. T. ‘fyveren* 
 diJTimo in Chrifto Tatri , ac 
 Dom . Dow. Gilb. Archi-Ep. 
 Cantuar. a Sams Domejlicis. 
 
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 tyrwriz- 
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 CHITEC THEE 
 
 BUXHE ■ 
 
 CIENT XMOMRNE 
 
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 ROLAND freaet.e:de CEAMBRAT 
 
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OF THE 
 
 ANTIENT ARCHITECTURE 
 
 WITH THE 
 
 M ODER N. 
 
 In a Collection ofTVw Principal Authors who have written upon the 
 
 Five Orders, 
 
 PALLADIOandwD.BARBAROahd vBULLANT and 
 
 JCATANEO, QDELORME, 
 
 aL. B. ALBERTI and^A Compared with onean- 
 fVIOLA^ jC other. 
 
 The three Greeks Orders , D o R i Q.u e, Ion i q.u e, and Corinthian, 
 
 comprifc the Firft fart of this Treatife. 
 
 Vi^ 
 
 jSCAMOZZI 
 \SERLIO and 
 VIGNOLA, 
 
 Written in French by ROLAND F RE AR1\ Sieur de Chambray ; 
 Made Englijh for the Benefit of Builders . 
 
 To which is added an Account of Architects and Architecture , in an Hijlorical, and Etymological 
 Explanation of certain Tearms particularly affe&ed by Architects. 
 
 With Leon Baptijla Alberti's Treatife of S T A T V E S. 
 
 LONDON, Printed by 7 ho* Roy croft, for 'John Place, and are to be fold at his Shop 
 at Fvrnivals-Tnn Gate in Bolborn , M DC LXIV, 
 
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 IN € E the Great Auguftus vouch* 
 fafed to patronize a Work 0/ this na¬ 
 ture which was Dedicated to him by Vi¬ 
 truvius ; I had noreafon to apprehend 
 Tour Majefty would reprove thefe Addrefles of 
 7tiine y if in prefenting Ton with thofe Antiquities on 
 which that excellent Matter form’d his Studies, I 
 intituled Tour Majefty to a Work fo little inferior 
 to it , and fo worthy to go in paragon with it. And 
 indeed to whom could I more aptly Infcribe it? a Di- 
 fcourfe of Building, than to fo Royal a Builder * 
 whofe augujl attempts have already given fo great a 
 fplendor to our Imperial Gity, and fo illuflrious an 
 Example to the Nation ! It is from this contempla¬ 
 tion Sir, that after I had ( by the Commands of the 
 t i a 2 Royal 
 
The Epistle 
 
 Royal Society ) endeavour'd the improvement of 
 Timber, and the planting of Trees , I have ad¬ 
 vanced to that 0/Building at its proper and natural 
 confequent: Not with a preemption to incite, or 
 inferudl pour Majefty, which were a vanity unpar¬ 
 donable ; but by it to take occajion of celebrating Tour 
 Majefties great Example, who ufe Tour Empire 
 and Authority fo worthily, as Fortune feems to 
 have confuted her reafon when jhe poured her fa¬ 
 vours upon Tou ; fo as I never cajl my Eyes on that 
 generous Defignation in the Epigram 
 
 . i- ... 
 
 Cre fomfl-e 0 ^are Paft ' ropes —-ut donem, Paftor,& <edificem. 
 
 Propter quod vulgus 3 crafla- 
 que turba rogat?^. 
 
 Eft fyderateftor. ruperos>ac without immediate reflections on Tour Ma- 
 
 E fto°r ) &^difi“ra° nemjPa ' jeffcy, who feem onely to value thofe roy~ 
 
 Man. Ep. i. 9 . a i advantages you have above others y but 
 
 that you may Oblige,and that you may Build. 
 
 And certainly , Sir, Tour Ma jefly has confuted the 
 nobleft way of eflablifhing Tour Greatnefs, and of per¬ 
 petuating Tour Memory; fence, whilefe Stones can 
 preferve Infcriptions , Tour Name will be famous 
 to Pofterity, and when thofe Materials fail, the Be¬ 
 nefits that are engraven in our Hearts, will outlafe 
 thofe of Marble. Tt would be no Paradox , but a 
 Truth, to ajfirme, that Tour Majefty has already 
 Built and Repair’d' more in three or four Tears 
 (notwithfeanding the difficulties, and the neceffetie of an 
 extraordinary Oeconomy for the publicfe concern¬ 
 ment ) than all Tour Enemies have dep'oy’d in 
 
 T wenty \ 
 
Dedicatory. 
 
 Twenty; nay then all Tour Majefties Predecejjors 
 have advanc’d in an Hundred, as I could tafily make 
 out-, not only by what Tour Majefty has fo magnificent¬ 
 ly defignd and carried on at that Tour antient Honour 
 of Green-Wich, under the conduft of Tour mofi 
 indujlrious and worthy Surveyor; but in thoje Splen¬ 
 did Apartiments, and other ufeful Reformations fot 
 fecurity and delight, about Tour Majefties Pabaci 
 at White-Hall; the chargeable covering, firft 
 Paving and reformation of Weftminfter-Hall; 
 care, and preparation for Saint Paul’s, by the impiety 
 and iniquity of the late confujions almojl Dilapidated 3 
 With what Her Majefty the Queen Mother has 
 added to her Palace at Sommerfet Houfe in a Stru¬ 
 cture becoming her Royal grandeur, and the due venera¬ 
 tion of all Your Majefties Subjeffs for the honour Shp 
 has done both this Your native City and the whole Nati¬ 
 on Nor may I here omit (what I fo much defire to tranfmit 
 to Pofterity) thoje noble, ana profitable amaenities 
 of Tour Majefties Plantations, wherein Toumoft re- 
 femble the Divine Architect; becaufe Tour Maje¬ 
 fty haspropofedinit fucha Patterns Tour Subjects, 
 as merits their imitation , and profoundefl acknowledg¬ 
 ments , in one of the mofi worthy , and Kingly Improve¬ 
 ments that Nature is capable of. I know not what 
 they talfof former Ages, and of the now contemporary 
 Princes withTour Majefty ; Thefe things are via¬ 
 ble ; and fhould I here defcend to more Particulars, 
 which yet were not foreign to the fubjeCt of thisDti- 
 courfe, I would provoke the whole World to produce 
 
The Epistle 
 
 me an Example parallel with Tour Majefly, for 
 Tour exadl judgment , and mervailous ability in all that 
 belongs to the Naval Architecture, both as to its 
 Proper tearms, and more folid ufe, in which Tour Ma- 
 jelly is Mailer of one of the moft noble , and profitable 
 Arts that can be wijhedin a Prince, to whom God has 
 defigtid the Dominion of the Ocean, which renders 
 Tour Majefties Empire Univerfal; when by exer- 
 cifjng Your royal talent , and kpowledg that way , You can 
 bring even the Antipodes to meet , and the Poles to 
 kifs each other ; for fo likewife (not in a Metaphori¬ 
 cal, but natural fence) Your equal and prudent Go¬ 
 vernment of this Nation has made it good, whileft 
 Your Majefly has foprofperoujly guided this giddy 
 Bark through fuch a Storm, as no hand fave Your 
 Majefties could touch the Helm , but at the price of 
 their temerity. But to return to that of Architecture 
 again (for it is hard not to Hide into the Panegyric, 
 when once one begins to fpeak „ of Your Majefly ) lam 
 witnefs not only how pertinently You difcourfe of the 
 
 Art, but how judicioujly You contrive ; and as in all 
 other Princely and magnificent things Your Notices 
 are extraordinary , fo I cannot but augure of their ef¬ 
 fects, and that Your Majefly was defigtid of God 
 for ablejjingto this Nation in all that can render it hap- 
 py , if we can have the grace but to difcern it , and be 
 
 thankful for it. 
 
 This is , Sir, the glorious Idea which I have con¬ 
 ceiv'd of Tour Serene Majefly, and which I propofe 
 
Dedicatory* 
 
 for as emulous an Example as any Age has hitherto 
 Produc'd ; nor can there any thing be added more , but 
 that permanency which the reft of Your Virtues do 
 promtfe us : If fuch were thofe glorious Hero’s of old , 
 who firjl brought Men out of VVilderneftes into 
 Walled and well built Cities, that chafed Barbarity, 
 introduced Civility ,gave Laws to Republiques, 
 and to whofe rare Examples and Industry we are 
 accomptable for all that we pojfefs of ufeful in the Arts, 
 and that we enjoy of benefit to the Publique; how 
 much caufe have We in thefe Nations torejoyce , that 
 whilejt Your Majefty purfues thefe Laudable Under¬ 
 takings, that Race ofDe my-Gods is not altogether 
 extinfi! And if after the fupport of Religion, and 
 the eftablifhment o/Laws, the Perfection of Sciences 
 be the next in order to the Well-being of a State , This 
 of Architecture (as one of the moft beneficial, and 
 ufeful to Man-kind ) ows her renafcency amongft 
 Us to Toz/rMajefties encouragements , and to as ma¬ 
 ny of thofe Illuftrious Perfons as by their large and 
 magnificent Structures tranfcribe Your Royal Exam¬ 
 ple *, in particular , my Lord high Chancellor of 
 England, my Lord high Treafurer, and my Lord 
 the Earl of Saint Albans, whofe memories deferve 
 this Confecration ; 
 
 I have now but one thing more to fpeap. Sir, and 
 that is for the reputation of the Piece I prefent to 
 Your Serene Majefty* It is indeed a T ranflation; 
 but it is withallthe marrow and very fubftance of no 
 
The Epistle, Prc. 
 
 lefs than ten. judicious Authors, and of almoft twice 
 as many the moft noble Antiquities now extant upon 
 the bofom of the Earth; ’twere elfe a difficult Province 
 to conceive how one fhould entertain Tour Majefty 
 without a Spirit and <2 Subject worthy Tour applica¬ 
 tion. There is fomethingyet of addition to it, which 
 is new, and of mine Own ,the defeSls whereof do fup- 
 plicate Tour Majefties pardon; to fay nothing of the 
 difficulty of rendring a V V ork of this nature intel¬ 
 ligible to the vulgar, and not unworthy the Stile of a 
 Gentleman; feeing it is not the talent of every one 
 who underftands a Language, unlefs he alfo under¬ 
 hand the Art; But thefe may feem to defer to my own 
 Glory, which is confpicuous in nothing fo much, as 
 in laying it at Tour Majefties Feet, and the permiffi- 
 on of ufing that Sacred Name to protePi 
 
 Says-Couri 
 20. Aug. 1664.. 
 
 SIR, 
 
 Your Majefties ever loyal, 
 
 moft obedient, and 
 
 faithful SubjePi 
 
 J. E v E L y n. 
 
S JOHN DENHAM, 
 
 KNIGHT 
 
 OF THE 
 
 HONOURABLE Order 
 
 OF THE 
 
 B A T H, 
 
 • > ' , / t •: r . 
 
 Superintendent and Surveyor 
 
 ' v ’ - •* ■; JOS ?'I ~ui , -V.- * ■ ■ ’ 
 
 OFHIS^ v 
 
 MAJESTIES 
 BVILDINGS and ‘WORKS. 
 
 « f I » 2 it f"' \ * l . c. r * T ’ / 
 
 . * r i! v: / > 1 . . „; _ • . r . J * > • : ' L- ■ • : J f > 
 
 » /. 4 * - • - * ♦ j »• j • » i : „ v , 
 
 T is now fome ten years fince, that to gratifie a 
 friend of mine: in the Qountry , I began to inters 
 pret this ‘Parallel ; but other things intervene 
 ing,it was lay’d afide^nd had fo continu’d with¬ 
 out thoughts of reafumption, had notthepaffi- 
 on of my worthy Friend M r * Hugh May 
 to oblige the Publicly and in commiferation of 
 the few affi fiances which our Workmen have of this nature (com- 
 par'd to what are extant, in other Countries) found o^t an ex¬ 
 pedient, and by procuring a moft accurate Edition of the Plates , 
 encourag’d me to finifh what l had begun ; and to make a will¬ 
 ing Prefent of my labour and of whatever elfe 1 was able to co% 
 tribute to fo generous a defigne* 
 
 *b Sir, 
 
The E p i st l e 
 
 Sir, I am not to inftrud: you in the merits and ufe of this ex¬ 
 cellent Piece • but it is from your approbation and particular in¬ 
 fluence, that our JVorkpnen ought to efteem it, and believe me too 
 when i affirme it: That the Ten Authors in this Ajfembly, which 
 compofe both fo many, and (for not being vulgar) unintelligi¬ 
 ble Volumes , will neither afford them fo full inftrudtions in the 
 Art , nor io well inable them to judg, and pronounce concerning 
 the true Pyles and 'AALaximes of it as this one little y but incom¬ 
 parable, Collection. You well know,that all the mifchiefs and ab- 
 furdities in our modern StruBures proceed chiefly from our bufie 
 and (jotic triflings in the Compofitions of the Five Orders • and 
 that an able U^orfynan, who is after of his A*, and has a true 
 
 relifii indeed, carries on all his undertakings with applaufe and 
 fatisfadtion: That there is not in the whole Catalogue of Authors 
 who have Written on this Subject, a more fafe 5 expeditc and per¬ 
 fect guide than this Parallel • where, from the nobleft Pymaines 
 of Antiquity accurately zfALeafur'd, and perfpicuoufly Demon - 
 firated y the Pples are lay’d down ; and from a folid, judicious, 
 and mature companion of modern Examples , their Srrours are de¬ 
 tected ; fo that were but a little more pains taken by our young 
 ArchiteBs and their Suhfidiaries , about the eafier Principles of (yc- 
 ometrie y the Pudiments of PerfpeBive , and a ready addrefs of well 
 Defigning y we might by the converfation of this Author alone, 
 promife our Country , and the Age to come, a miraculous improve¬ 
 ment of thtir Puddings in a fhort time. Nor would this be in 
 the leaft, to the augmentation of their expenfes j fince there is 
 nothing cofts dearer, and difpleafes more, than our undigefted 
 contrivances, and thofe intolerable defedls which we have enu¬ 
 merated. It is from the afymmetrie of our Buildings y want of 
 decorum and proportion in our Houfes, that the irregularity of our 
 humors and affeBions may be (hrewdly difeerh’d : But it is from 
 His <lS? Vfajefiies great Cjenius , and the choice he has made of fuch 
 an Injlrument) that we may hope to fee it all reform’d ; it being in 
 fo worthy an imitation of that magnificent 8mperour> that touch’d 
 with the like indignation at the Encroachments and Deformities of 
 the publick Edifices and fVaies , caufed a like reformation alfo • 
 fo as we may now affirme of London , as the Poet once o fPome, 
 
Dedicatory. 
 
 P\£unc Roma eft , nttpermagna taber~ 
 na fuit . 
 
 that it now begins to have the face of a Ci- 
 tie indeed. And truely it is an improve¬ 
 ment fo extraordinary which it has re" 
 ceiv’dfince His Majefties gracious influ“ 
 ence upon it, thatfhould 1 have beenfi- 
 lentof His praifes , I might juftly appre¬ 
 hend mox lapides clamdturos , that the very 
 Stones would cry out and become vocal : 
 
 But neither here tnuft 1 forget what is a- 7on f ur > Ca “p°> coquus, Lanins fa 
 lone due to you dir for the reformation of Nnnc Ro ma ^ miper magncl u , 
 a tboufand deformities in the Streets , as by 
 your introducing that incomparable form 
 of Taking, to an incredible advantage of 
 the Public when that which is begun in 
 Holborn (hall becom univerfal, for the fa^ 
 
 Abflulerat tot am temerdrius in fa 
 tor urbentj 
 
 Inque fa nullum limine limen 
 erat. 
 
 JujJijli tenues Germanice , crefcere 
 vicos 5 
 
 Et mo do qu<c fuerat fernita 0 faff a 
 ria eft. 
 
 Nulla eaten at is pi la eft preecirMa 
 lagems 5 
 
 Nec Prxtor medio cogitur ire 
 Into. 
 
 Stringitur in denfa nec caeca novacu- 
 la turba , 
 
 Occupat aut totas nigra popina 
 vias. 
 
 berna fuit. 
 
 Mart. Lib. 7. Epig. 60. 
 
 The particulars of that reformati¬ 
 on in Rome fo much refembling 
 rohat His Majefty has commanded 
 for the cleanfng , and enlarging 
 • r rr/i ii/"* 1 r Streets 3 th e demolition of 
 
 vmgof wheels and Carriages , the cure of Bulks, and other obftacies, that 
 noyfom Q utters, the deobftruBion of En- E ^ m thc a r 
 
 counters , the difpatch of c Bufinefs, the clean - 
 nefs of the Way, the beauty of the ObjeB, the eafe of the lnfirme, and 
 thc preserving of both the Mother and the Babe - fo many of the 
 fair-Sex and their Ojf-Jpring having perifh'd by mifchances (as I 
 am credibly inform'd} from the ruggednefs of the unequal 
 Streets , &c. 
 
 But 1 know not Sir, how thefe Inftances may be relifh’d and 
 valu'd amongft the vulgar, nor am 1 much folicitous; fure 1 am, 
 that more has been done for the Ornament and ‘Benefit of the Pub - 
 lich^ in two years time, that your Self ^ with the Comiffioners who 
 undertook the InfpeBion, have a<£ted, then inyJW hundred before: 
 They were not a foolifh or impoliticly People, who from the very 
 Principles of humanitie , deftin’dfor the eafe of their SubjeBs, fo 
 many fpacious jVaies , cool Fountains , fhady Wallis, refrefhing 
 (gardens, and places of publick Bgcreation , as well as (lately Pctu¬ 
 ples, and Courts of fuftice, that Beligion and the Laws might be 
 publilhed with the more pomp and veneration: And if his Ma- 
 
The Epistle, he 
 
 jejlji, with your pains and induftry, hath contributed to fometbing 
 of all this, it is that for which the whole JA (ation becomes obli¬ 
 ged; as the promoting of fuch public^ and ufeful Works ('and 
 efpecially that of ‘Building) a certain Indication of a prudent 
 (governments of a flourifhing and happy Teople : So that if there re¬ 
 main but one thing more to be defir’d in order to th tffonfummation 
 of its perfect felicity • how infinitely were it to be mfhed , that 
 whileft the beautie and benefit of the Qty increafed in one part,the 
 Deformity and apparent Buine of it might ceafe on the other: But 
 this we are to hope for, when, to bring this monftrous Body into 
 fhape, and fcatter thefe ungovernable enormities , either the re¬ 
 fir aint of Building irregularly fhall polifh the Suburbs jOrCwhich 
 1 rather could wifh) fome royal Turchafe contract and demolifh 
 them. But Sir 9 I have done, and I know you will pardon this 
 Zealand accept of this expr«fTion of my profound refpe&s from 
 
 5 I ^ 
 
 Servant 
 
 J. E v E L Y N 
 
 'HI" 
 
 i f 
 
 / 
 
Ami co optimo & Chariflimo 
 
 JOHANNI EVELYNO Armig. 
 
 E. Societ. Regali Lond. Sec. 
 
 J O. B E A L E S. T. T>. 
 
 In ARCH IT E CTV R A M abipfo Anglice redJitam is 
 
 Graphice exornatam . 
 
 L-J Effulferefhitos difeutiente Deo 0 
 
 Hortus erat primus: Tunc Teffajk. Mceniafk. Vrbes g 
 Tandem Sc Pyramidum nobiJefurgit opus. 
 
 Hie aliquis molem Tubjungit: In aere pendet 
 Hortus j 8c unde venit, quxrere jure licet. 
 
 Nec fatis eft vitam ducamus in Arce beatam 
 Qualem agit^etherea Juppiter ipfe domo, 
 
 Sed Talis fuperefle juvat poft funera longa, 
 
 ( Quamvis hie cineres urnula parva capit) 
 
 MauJbUa exin ccelos ta&ura fepulchra 
 Inferiptum Her bis nomen ad aftra vehunt. 
 
 Stat quoque 3 ft favit Vidoria ; grande Trophmm 3 
 Attollenlqueapicem tunc Obelifcus ovat. 
 
 Mox fpirare trucem poteris jurare Coloffvm, 
 
 Sic movet, ut trepident,8c mihi membra labent. 
 
 Sunt quibus excidium laudi eft 3 Sc lata ruina 5 
 Atqui exornandi gratia major erit. 
 
 Parcite Mortales^ Famam prohibete Nepotes 3 
 Ni feelus in caufa deteriore cadit. 
 
 Sunt quoque T<enariis quibus eft fuffulta columnis 
 Alta 8c larga nimis 5 led minus apta domus: 
 
 Sumptibushic turgent operola palatia vanis 3 
 ’Materia exuperat 3 fplendor 3 8c ordo deeft. 
 
 Ec ceAvibus nidoSj Apibus compingere cordi eft,, 
 Paftor Ariftaus quos ftupet ipfe, favos. 
 
 Aurea fic textrix fubter laquearea Arachne 
 Divini Artificis provocat ingenium. 
 
 Hojpitium fibi quoque parant animalcula gratum 5 
 Solus Homo impends ple&itur ipfe fuis. 
 
 Machina quid prasftet Thufcis tradanda peritis, 
 Angligenee ut difeant 3 Clare Ejvelyne, t facis. 
 
 Nec tantum debent Volfao priftina fecla 3 
 Quantum debcbuntpoftetioratibL 
 
 Creditur Amphion molimina laxea quondam 
 Thebarum in muros concinuijje Lyra: 
 
 Tu Saxa, 8c Sylvas ( nam fic decet Orphea ) pleftro 
 Aurato in Regum Tcffa coire doces. 
 
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I 
 
 To my mod Dear Brothers 
 
 JOHN FREARTEfq- 
 
 SIEUR DE CHANTELOU 
 COUNSELLOR to the KING 
 
 AND 
 
 PROVINCIAL GOMMIS SARIE 
 
 in Champagne Alfatia Lorraine and (jemany. 
 
 AND 
 
 PAUL FRE ART% 
 
 SIEUR DE CHANTELOU 
 COUNSELLOR and MASTER 
 
 of the H0USHOLD in ORDINARY to the KING. 
 
 My Deareft Brothers, 
 
 7 is by your commands, that I have finiffjed this Treatife of the Antient 
 Archite&ure compared with the Modern, which I had altogether layd 
 afide■, and even effac’d out of my mind fnce the deceafe o/Monfeigneur 
 De Noyers to whom I had devoted it, a* to the Mecrnas of the Age, 
 and more particularly, for being indeed the true Authour of thus Book; 
 fince I had never taken it in hand but by his fpecial Order, and to afford 
 him fome little entertainment during his Solitude of Dangu, where, he was pleafed, and in¬ 
 deed defired ., I flaould follow him after his retreat from the Court , there to enjoy with him 
 that fweetneft and tranquillity of life, which we were never before acquainted with during 
 the time of his being Minifter 0 /State. But this bleffed leifure, and which you fo often con¬ 
 gratulated, was quickly interrupted by I know not what unlucky Genius, and by an intern- 
 peftive and precipitous death, which foon extinguifht this glorious light of Vertue. In this 
 great loft ( which was, my dear Brothers, common to us all, fince we all had the honour to be 
 
 A 2 related 
 
The Epistle. 
 
 related to him both by our fervices and birth j I onely had the affliction to be prefent at the 
 lugubrom Objedy and to behold it with mine eyes . This hat often caus'd me ferioufly to re- 
 fled upon the vanity and volubility of the fortunes of the Court, of which I am now fluffed- 
 ently difabusd: For confidering that fo rare a Perfonage , the greatefi Minifter, the mod 
 disinterejT d y mod laborious, mod fuccefifuf of fo extraordinary and approv’d a Probity , 
 fo univerfal in all forts of excellent qualities , andy in a wordy fo extraordinary after a 
 twenty years fervice and employment in the greateft Offices of Statey that a Subjed (I fay ) 
 of fo great merit ftmld come to conclude hit dayes in the Country like an Exile : I confefty 
 my dearefl Brother s, whilfe 1 think of thiSy all things appear fo tranfitory and uncertain in 
 Greatnefy that I find the Retreat of the difgrac'd (provided they are honeft men ) infinitely 
 preferrible to their Favour. Could Merit and confiderable Services have for ever fixt 
 
 and efiablifb'd a man at Court, or been a rampart againfl that envy andjealoufiey which 
 are the immortal enemies and pefis o/Vertue, unhappily reigning in that Climat: The 
 late Monfeigneur de Noyers was the mod worthy to have finifhdhis dayes glorioufly in his 
 high Employments ; fince he alone performed morey in lefs then ten years fpacey than all his 
 Predeceffors together had done in an hundred ; whether we have regard to Works which 
 are neceffary for the Confervation and good of the State, or confider Thole onely which gave 
 fplendour and magnificence to the Kingdom. It is not my defign to repeat them here for 
 your infer ud ion , becaufe you know them much better then my felf ; Onely that I may leave 
 feme Memorials to the Publique, Ifljall mention a few of them. It may be affirm’d in ge- 
 neraly that he had in his time exalted the nobled Arts to the fupreamed degree of Perfedion 
 that was ever feen in France: as Archite&ure Civil, and Military; Painting, 
 Sculpture, and Printing which he then made truely Royal when he lodgd it at the 
 - Louure ; the very fird Produdions whereofy were not onely unparalleld Mafter-pieces, 
 buty as one may fay 7 Libraries compleat; for in two years there were publijh'd threefcore 
 and ten great Volumes, in Greek, Latine, French, and Italian; from one part of whichy 
 one may judge of the refty viz. that general Colledion of all the Councils, feet forth in feven 
 and thirty Volumes, which is certainly the mod nobky modufefuly and royal Work that 
 ever faw the light to this hour : This incomparable Stamp was accompany d with ano¬ 
 ther very rich oney I mean the new Money, which Monfeigneur de Noyers plac’d alfo in 
 the fame appurtment of the Louure, that he might allye together two of the mofi univerfal 
 and mod permanent Monuments o/Kings, fpreading ihemfelves over all Nations, and re¬ 
 maining for fo many fucceffeons cf Ages. The excejfive abufes which were found in the years 
 1638, and 1639, both in the title and weight of the greatedpart of the Moneys as well of 
 this Kingdom as of otherSy which had almod all of them been changd or disfigufdy flood 
 in need of this excellent man to reform themy whofe affedion and zeal to the Publique might 
 produce fo extraordinary effeds: But as it wasimpoffible to remedy it on the fudden without 
 putting Commerce into very great diforder , he, from the illcourfe of thofe Moneys which 
 for feme time they were forced to connive aty well knew how to derive the greatefi advantages 
 of State, and mod fignal honour to the King. And in effedy twos none of the leafi pieces of 
 Politiques, to permit and even authorife this abufe by an Edift, which could not elfe have 
 been fo eafely oppos’d ; whilft in the mean timty it invited the People of the neighbouring 
 
 States 
 
The Epistle. 
 
 ’ T ' ‘ . ; C * , . ' f ■ *, 
 
 States in hopes of gain, totranjfort into France all the light Gold and Silver which they, 
 had, and which remain'd there by reafon of its being decryd a few months, after, bearing now, 
 the Armes o/France, with the Name W.Effigies of Lovis le Jufte, by that mble con -- 
 verfeon which he order'd to be made of it. Whit ft thus ftrange Matter was uniting to ours , 
 he fought out and difcover d prompt and eafie expedients of giving it that excellent Form 
 which it now bears, curing at the fame inftant, and by the fame remedy, both tbeprefent in¬ 
 convenience, and that to come : Thus- we fee,that its juft and equal roundnefi, the Grenetis 
 or graining which is about it, and the Politure which is on the flat of every piece, not ontly 
 defends it from the Clipping, the File, and operation cf Strong-waters, but even renders its 
 imitation in a manner impofftble to our falfe Coyners ; fo as one may affirm of this Money, that 
 it is themoft artiftly contriv'd, and the mob} commodious, that ever was ufed in Commerce. 
 He caufed tobecoyned in left then four years above an hundred and twenty Millions, and 
 that after fifteen or fexteen years that the Warr had lafted, and the State feemd to have been 
 utterly exhaufiedby the great and continual expences which were inceffantly made, laid out 
 in fortifying ofplaces, paying of Armies, and the affeftance ofthe Allies of the Crown. At 
 the fame time was the Louure feen to augment, and the Royal Houfe cf Fontainebleau, 
 which owe not onely apart cf their Ornaments to the carecf this great Minifter, but their con -- 
 fervation alfo and abfolute reftauration ; fence but for him., they had been at prefent but 
 one vaft mine , a very Carkajl of building, defolate and uninhabitable : The Cafiles cf S. 
 Germains and Verfailles, which were then the ordinary refedence anddelices of the King, 
 carry on themfeme marks of the fame hand ; The firft by the Conftrubiion of the noblefl Sta¬ 
 bles and Manege which is in France, with divers other accommodations necejfary for the 
 lodging of a Royal Court; and the other, by a Terraffe de Grefferie, which is of the kind 
 an incomparable work, with a Circle of an hundred and twenty yards diameter/ But 
 whilfl he thus worthily acquitted himfelf in the charge of Superintendent of the Royal 
 Houfes and Buildings (/France ( with which the King was pleasd to gratifie him for four 
 or five years') he employ'd in the mean time his chief eft cares for the fafety and enlargement of 
 ^Kingdom, difpencing all neceffary Orders for the Armies both of Sea and Land; pro¬ 
 viding and furniftnng the Magazines and Garrifons of Places, and a good part of the 
 Provinces: But as things ufeful and neceffary are to bepreferrdbefore fplendour and mag¬ 
 nificence, he firft began with Military Architecture which he caufed to march before the 
 Civil: All our Frontiers are full of his Works ; In Picardy the Port-royal of Calais, 
 composd of two of the greatefi Baftions of Maffonry, the moft regular and noble that are 
 in Europe / all the Fortifications of Ardres; moft of the Baftions of Peronne, of S* 
 Quentin, of Vi m, o/La Fere,Dourlans, Amiens, and /Montreuil, efpecially an Horn- 
 work alfo of Maflonry of extraordinary beauty, and magnitude ; hot to omit that half Moon 
 of Abbeville, where the Inhabitants not prevailing with him to have his Armes fit on it, 
 in acknowledgment of the favour which they had by this means received (permitting it in no 
 place built by him, from a particular fentimentof honour to the King, and out cf a moft fen - 
 gular modefty ) planted two rows of Walnut-trees, that under that Pretext they might call it 
 by his Name: & Champagne, thcFortrefe of Mount Olympus, which ferves Charleville 
 for a Citadel; feveral other Works at Stenay, at Mezieres, Mouzon, and Rocroy, 
 
 then , 
 
The Epistle. 
 
 Theft-, in Lor rain, the Citadel of.Nancy; the Places de Vic, Moyenvic, and of Marfel. 
 In Normandy,Havre de Grace; where (befides the Fortifications of the Place') he excavated 
 a large Bafin of Mafons work in the Port, of near two hundred yards long , and above fix- 
 fcore wide,to contain Veftels always afloat: Alfo at Brouage in the Ifles of Xdin&onge,which 
 are two maritime Keyes of the Kingdom. In Italy, Pignerole, and all the new Forti- 
 cations of Cazal. Now for works andcuriofities of Vdinting and Sculpture ( which are as 
 ’twerethetwo Sifters of the Art I am now going to treat of) it would require a large dif- 
 courfe to particularize them one after another ; befides that , one could not well do it , without 
 a little reproach to our Nation, which (by reflecting on the fudden cejfation of fo many excellent 
 things) one would alrnod believe had but one onelyperfon capable cf thofe rare Productions. 
 It fhall fuffice then to fay in general , that he made the Louure the Center of the Arts whofe 
 concourfe thither in a few years began to render it the mod noble and magnificent Structure of 
 the World. It was for this glorious Vefign , and for the decoration of other Royal Houfes, 
 that the famous Monfieur le Pouflin had the honour to be fent for by the King at the begin¬ 
 ning of the year 1640. It was then that the late M. de Noyers difpatch'd us, You and my 
 Self ( dear Brother ) towards his Holinefs about an important affair , with order at our re¬ 
 turn to make way for France to all the greated Vertuofi of Italy; and as he was their 
 Load-fione , we eafely drew a confiderable number after him , whereof the Chief was that re¬ 
 nowned and fingular Painter M. le Pouflin, the glory of the French in his Profeffion, and, 
 as it were, the Raphael of our Age; To this effebi we likewife ufed great diligence to get 
 made, and colled together all that the leifureand the opportunity of our Voyage couldfurnijh 
 us cf the mod excellent Antiquities, as well in Archite&ure as Sculpture; the chiefpieces 
 whereof were two huge Capitals, the one of a Column, and the other of an angular Pilafter 
 from within the Rotunda, which we chofe as the mod noble Corinthian Models remain¬ 
 ing of Antiquity: Two Medails of eleven Palms diameter , takgnfrom the Triumphal Arch 
 efConftantine; threefcore and Bas-reliefs moulded from Trajans Column, andfever al 
 other of particular Hiftories ,fome of which were the next year cad in Brafs ; others were 
 employed in manner cf incruftation about t^Compartiment of the arched Cieling of the 
 Louure great Gallery, in which M. le Pouflin modingenioufly introduc'd them, and that 
 with an extraordinary addrefi and confederation^ to anfwer a certain defign which was then 
 requir'd of him, not as the mod magnificent , andfuperb he could have compos'd ; but for an 
 Ornament which ft.rnld be ffeedily executed.and of moderate cod , with regard to the time 
 and the impatient humour of our Nation. A little while after that , you returned ( my dear 
 Brother) to obtain the Popes bleffing of the two Crowns e/Diamonds, and the Golden Babe 
 carried by an Angel, which their Majefties fent you to prefent our Lady of Loretto in acknow¬ 
 ledgment and as a token ofgratitude which they rendred to ^Virgin for the mod happy and 
 almod miraculous Birth of our Daulphin, the King which now reigns ; Tou continued to have 
 divers figures and Baft-relievo’s wrought off.\ particularly the Flora and the Hercules in 
 Farnefe’s Palace, of which there is now one caft at Paris .* Two other Medails from the 
 fame Arch of Conftantine, and both the Coloftes of Montecavallo with their Horfes, the 
 greated , and the mod celebrated works of Antiquity, which M. de Noyers defigned to have 
 alfo caft in Copper , to place them at the principal Entry cfthe Louure. Tou behold the fplendor 
 
 which 
 
The Epistle. 
 
 which all this great Provifion made in Rome, and how every body wonder d that the French, 
 who were till now renown d onely for their valour and invincible courage in Warr, andfeernd 
 to be aftetted onely to the Arts Military, fhould flacw fo much paffion for Thefe which af- 
 fum'd the reputation of being the mo ft glorious, by a Prerogative above others ; as if the He- 
 mifphere (/France had been lately chang d, and Mercury in conjunction with Mars began 
 now to pour down new Influences upon her. For my own part, I can tejlifie how the report of 
 it fpread as far as Conftantinople, whither Fame had born the name c/Monfeigneur de 
 Noyers with fo much glory, that the Patriarch of that renowned City writ him Letters///// 
 of profound admiration, which he addrefi'dto Monfleur de Villeray,^ Noble Athenian 
 Refident in France for the Duke of Parma, delivering them to my Lord at Dangu after 
 his Retreat from the Court, and where I have had and kept them a great while, and read 
 them to fever al of my Friends . They take notice chiefly, how new and unheard of a thing it 
 was that there fhould be found a Grand Vizier of our Nation fo tranfcendent in all excellen¬ 
 cies ; of which fome markes he hadfeen, eafily perfwaded him to believe all the other marvels 
 which were reported of him: (thefe Exemplars were the Books of the Royal Prefs, andfome 
 Pieces of Coyn ) His Letter was fomewhat prolix, and written in a more polite Style then the 
 vulgar Greek now ftoken in that Country : It were great pity that a thing fo memorable and 
 fignalflm Id be buried in oblivion, and therefore I take notice of it with more circumftances 
 then many others . But during all thefe mighty Projects, there happen'd a jlrange revolution 
 which in left then fix Moneths changed the whole face of the State, by the death of that fuperla - 
 live Minifter the great Cardinal de Richelieu, the very Column and Ornament of Monar* 
 chy ; and a jbort fface after that, by the Recefs of Monfeigneur de Noyers ; andimme 
 diately upon this, by that loft to all France, the YTmghirnfelf ; fo as all thefe noble beginnings 
 had none that follow'd them,there remaining not one of thofe which enter d afterwards into the 
 management of the publique Affairs, who had,with their affedions, the Knowledge and the 
 Talents which were requifite for the continuation of thefe great Defigns. We then prefently 
 beheld the work, of the Louure abandoned, the finifhingof the great Gallery to ceafe; and 
 generally all the Fortifications in France, without hopes of feeing the Work reaffumed and ta « 
 ken in hand again of a long time fit being neceffary, for fuch an enterprife, to find affembled in 
 the famtperfon ( as it was feen in that of M. de Noyers) virtues and qualities both rare and 
 extraordinary. Befides, to produce fuch a one as he was, of an univerfal Genius and Capa¬ 
 city, that loved the Arts with judgment, and cultivatedthem ; that would negled his pro v 
 per Intereft, to preferve that of the State and of the P ublique, who,amids an Authority and ex¬ 
 treme Favour, retaining Jlill the mode fly of a private man, thinks not of eftabliftnng his houfe, 
 and, againft the ordinary courfe fo natural to all men, fhould refufe to augment and heap up 
 riches, or feekTitles and Dignities for it, and that never tookthought, or laboured, as did he 
 during an employment of twenty years ( for the latter fix of which hi had almofl the uni¬ 
 verfal management of State affairs') hut for the fafety, enlargement, and fflendour of the 
 Kingdom; For fuch a Mafter-piece of nature, I fay, there needs the efforts of many Ages: 
 The recompence of fo many Virtues was very f mall on man’s part, but great and inefiimable 
 on God’s who crown'd this illuftrious life with a mod happy death. I referve as a treafure 
 inefiimable a certain fimall Collection of the Payings of this holy Courtier, our mod dear 
 
 Mailer 
 
The Epistle. 
 
 Matter, the continuance of bit Sicknefs, which wot affifiedby his DireCtor the R. P. 
 de SainCt Jure who wa 6 with him to the lafi ; and a* I have had the fad confolation of being 
 prefent at tbit lajl a£l of hit life , during which I remember to have heard from his own mouth 
 all that is contain'd in this recital , I am not able to read them without a great deal of tender- 
 nefs , and indeed without tears. He dyed in his Cattle of Dangu on Friday the twentyeth of 
 QCtober, at one a clock, after noon , in the Tear 1645. and in the fix and fiftyeth of his Age, 
 two years and an half after his Recefs from Court, his body being tranfported to the Church 
 df the Noviciac belonging to the Jefuits, which he had built in honour of St. Xauierius, and 
 defin'd for his Sepulchre. This Church is looked upon as the moft regular piece of Ar¬ 
 chitecture in Paris ; and though it be not fo exceedingly chargd with Ornaments, as fome 
 others are , yet it appears very noble in the eyes of Intelligent perfons ; all that is there being 
 done with an attention and care fo extraordinary. Rut that which in it excells all the reft 
 is a Picture of one of the Miracles wrought by St. Xauier, which was Painted here at the 
 fame time , with that admirable Supper of the Apoftles (which he caufed to be plac'd at the 
 Altar of the Chappel-royal of the Cattle of St. Germains , where all the figures exceed 
 the natural:) both of them the Works of our famous Mafier le Paufiine, and indeed worthy his 
 Pencil, though the firfi of them was Painted with extraordinary haft , and during the Winter . 
 
 Ton fee (dear Brothers') a fmall draught of apart of the life of our moft precious and moft 
 honour'd defuntt M. de Noyers,tte incomparable Genius of France never to be fufficiently 
 prayfed, never enough regreted, becaufe comparable to the greateft examples of Antiquity. 
 
 I would by all means place him in the front of this Book of minejo let the worldfee that I had 
 no other objeffi inthefinifhing of this Work, (of which he honour d me with the charge) then 
 to render the fame fervice and veneration to his Memory being dead.\ I could perform to his 
 Perfon were he yet alive » However , in reaffuming it at your requeft ; My firft ardour be¬ 
 
 ing much ahy d^ what was heretofore a liberal and divtrtiffant Study during the prefence of 
 my late Lord and Matter, is now become a difficulty and a kind of conftraint; fince I have 
 been forc'd to alter , and even retrench divers particularities which were then very effentialto 
 my defigne , but would now have been altogether ufelefs andunfeafonable. Receive then (my > 
 
 dear Brothers) this Fragment of a Book ^fomuch at leaft as remains of it , and if there oc- 
 curr any thing which may prove yet conftderable in fuch clear and difcerning eyes as yours are , 
 and that my defigns feem worthy of any place among ft your other curiofities, you owe the 
 entire obligation of it to our common Friend Monfieur Errard, who was pleafed to 
 take a great deal of pains to fee it perfefted ; and has not only perfwaded me (as well as you) 
 topublijb it to the worlds but has more then this contributed likiwife to it, of his own labour 
 and particular elucubrations. , 
 
 From Paris the 
 2 2. of May 1650. 
 
 
. mS . 
 
 A NTIE NT 
 
 n I j.' jj • : ■ t { ■' 
 
 T* ).' • i ; Us j - ‘ r ■ { .\ y-. 
 
 OF THE 
 
 ARC HITECTVR 
 
 \ \ * r 
 
 WITH THE 
 
 MODERN. 
 
 \ . . . , J . £ . '• ... i ) 
 
 THE PREFACE. 
 
 READER, 
 
 E F 0 R E I do altogether refign this Book.to thy judgement, 1 
 advertife thee, that ’twas not my defign in compiling it to teach 
 any man, much lefs yet to fatisfie 'thole Critical fpirits which the 
 World fo much abounds with: nor, is the Publique at all behold¬ 
 ing to me; I have no thought of obliging it, an envious, and 
 evil Judge: In a word, being nothing inclin’d to give them fa- 
 tisfa&ion, I have eafily gratified my labour with the defir’d fuc- 
 cefs: My principal drift was, Firft, to fatisfie my felt] nor has it coft me much 
 trouble ; though we fometimes find certain humors that are more averfe, and dif¬ 
 ficult to themfelves, then they would prove to others: For my part, I do not fo ufe 
 to treat my felf: We have Enemies enough befides; and whatever I were able to do, 
 I exp eft that men fhould prefently lay of me, all that Jealoulie does commonly fug¬ 
 ged in reproach of Novelty. That being no Artifan , it did not become me toprefcribe 
 to others the rules of their My fiery ; That I teach nothing particular and extraordi¬ 
 nary here; That the Books from whence I have gather’d all that I fay being com¬ 
 mon and much ampler then mine, there was no need to have fcumm’d them thus fu- 
 
 B perficially 
 
 ■t 
 
2 A Parallel of the antient ArchiteBurt 
 
 perficially over; That it had been better to have fearch’d, and produc’d fomething 
 which the World had not yet leen : That the mind is free, not bound, and that 
 we have as good right to invent, and follow our own Genius , as the Antients,mt\\ont 
 rendring our felves their Slaves ; fince Art is an infinite thing, growing every day 
 to more perfe&ion, and fuiting it felf to the humor of the feveral Ages, and Nati¬ 
 ons, who judge of it differently,and define what is agreeable, every one according to 
 his own mode,with a world of fuch like vain and frivolous reafonings,which yet leave 
 a deep impreffion on the minds of certain half-knowing people, whom the pra&ice 
 of Arts has not yet difabus’d ; and on fimple Workmen , whole Trade dwells all upon 
 their fingers ends onely: but we (ball not appeal to fuch Arbiters as thefe. There 
 are others to be found ( though truely very rarely ) that having their firft ftudies 
 well founded on the Principles of Geometry before they adventur*d to work, do after¬ 
 ward eafily, and with a durance arrive to the knowledge of the perfection of the Art : 
 It is to fuch onely that I addrefs my felf, and to whom I willingly communicate the 
 thoughts which I have had of feparating in two branches the five Orders of Archite¬ 
 cture ,and forming a body a part of the Three which are deriv’d to us from the Greeks ; 
 to wit, the Dorique , Ionique , and the Corinthian , which one may with reafon call the 
 very flower and perfection of the Orders ; fince they not onely contain whatfoever 
 is excellent, but likewife all that is neceffary of Architecture ; there being but three 
 manners of Building. , the Solid., the Mean, and the Delicate ; all of them accurately 
 exprefs’d in thefe three Orders here , that have therefore no need of the other two 
 ( Tufcan, and Compofita ) which being purely of Latine extraction, and but fbrrainers 
 in refpeCt to them , fern as it were of another fpecies ; fb as being mingl’d, they 
 do never well together, as thofe to whom I difeourfe will foon perceive, when they 
 fihall have once put off a certain blind refpeCt and reverence,which Antiquity , and a 
 long cuftome (even of the greateft abufes) does commonly imprint in the moft part 
 of men, whofe judgements they fo pre-occupate,that they find it afterwards a diffi¬ 
 cult matter to undeceive themfelves ; becaufe they deferr too much, and hardly 
 dare to examine what has been receiv’d by the vulgar approbation for fo long a time; 
 Let them but confider, that we find no antique example where the Greek Orders are 
 employ’d amongft the Lathe, and that fo many ages of ignorance have pafs’dover us, 
 efpecially in the Arts of Architecture, and Painting. , which the Warr, and frequent in¬ 
 undations of Barbarians had almoft extinguifh’d in the very Country of their Originals; 
 and which were in a manner new born again but a few years fince, when thofe great 
 Modern Mafters , Michael Angelo , and Raphael, did as it were raifethem from the Se¬ 
 pulchers of their antient mines, under which, thefe poor feiences lay buri’d; and I 
 fhall have fair hopes of their Converfion,and to fee them of my opinion. It is the very 
 lead of my thoughts to broach Novelties ; on the contrary, I would ( were it poflible) 
 afeend even to the very fburfe of the Orders themfelves, and derive from thence the 
 Images , and pure Ideas of thefe incomparable Mafters, who were indeed their firft In - 
 ventors,and be inftruCted from their own mouths; fince doubtlefs the farther men have 
 wander’d from their Principles , tranfplanting them as it were into a ftrange foile, the 
 
 more 
 
with the Modern. ■ 3 
 
 more they are become degenerate, and fcarce cognofcible to their very Authours. For 
 to fay truth, have we at this prefentany reafon in the World to call tho fe three by the 
 name of Orders , viz. Dorique , Iontque , and Corinthian,wh\ch we daily behold fo disfi¬ 
 gur'd,and ill treated by the Workmen of this age ? to fpeak ferioufly,remains there fo 
 much as a Ample Member ,which has not receiv’d fome ftrange and monftrous alterati¬ 
 on ? Nay,things are arriv'd to that pafs, that a man {hall hardly find an Architect who 
 dildains not to follow the bell and moft approved examples of Antiquity : Every man 
 will now torfooth compofe after his own fanfie, and conceives,that to imitate them, 
 were to become an Apprentife again ; and that to be Majlers indeed, they muft of ne- 
 ceffity produce fomething of new : Poor men that they are, to believe, that in fan- 
 taftically defigning fome one kind of particular Cornice , or like Member , they are pre* 
 fently the Inventors of a new Order , as if in that onely confided, what is call’d Inven¬ 
 tion ; as if the Pantheon , that fame ftupendious and incomparable Stru&ure (which 
 is yet to be feen a zRome ) were not the Invention of the Architect who built it, be- 
 cauft he has vary’d nothing from the Corinthian Ordinance of which it is intirely 
 compos’d ? ’Tis not in the retail of the minuter portions , that the talent of an Archi¬ 
 tect appears ; this is to be judg’d from the general diftribution of the Whole Work. 
 Theft low and reptile Souls , who never arrive to the univerfal knowledge of the Art, 
 and embrace her in all her dimenfions , are conftrain’d to ftop there , for want of 
 abilities, inceflantly crawling after theft poor little things ; and as their flu- 
 dies have no other obje&s, being already empty, and barren of themfel ves ; their 
 Idea* are fo baft and miftrable, that they produce nothing fave Mafcarons , wretched 
 Cartouches , and the like idle and impertinent Grotesks , with which they have even in- 
 fefted all our Modern Architecture. As for thofe other to whom Nature has been 
 more propitious, and are indu’d with a clearer imagination, they very well perceive 
 that the true and eflential beauty of Architecture confifts not Amply in the minute 
 ftparation of every member apart; but does rather principally refult from 
 the Symmetry and Oeconomy of the whole , which is the union and concourft of them 
 all together, producing as ’twere a vifible harmony and confent, which thofe eyes 
 that are clear’d and enlightned by the real Intelligence of Art , contemplate and be¬ 
 hold with excefs of delegation. The mifery is, that thefe noble Genius's are in ve¬ 
 ry fmall numbers, whereas the vulgar Workmen like to Ants fwarm prodigioufly in 
 all places* Would but our Grandees once deveft themfelves of that prejudice and 
 difdain which they conceive of the Arts , and of thole who apply themfelves unto 
 them, and but confider the neceffity which they above all others particularly have 
 of this of Architecture , there would be great hopes we fhould yet fee them reflourifh, 
 and be born again as ’twere from New to Antique: We have had frefti experience of 
 this under the Reign of Francis the firft, one of the moft illuftrious Princes that Hi- 
 ftory has recorded, and who from an affe&ion extraordinary which he bore to Vir¬ 
 tue , and great Attempts , peopl’d his State with Perfons the moft rare and accomplish'd 
 of the age wherein he liv’d,who ere&ed thofe glorious Monuments to the memory of 
 this incomparable Monarch. It is,in my opinion,the onely expedient to re-eftablilh all 
 
 the 
 
A Far diet of the antient Architecture 
 
 the Arts in that primitive fplendor from whence this unworthy negleft has precipi¬ 
 tated them. The Greeks who were the firft Inventors of them, and with whom alone 
 
 : f* • » - ' 
 
 they happily arriv’d to tlieir fupreameft perfection,preserv'd them in fo high efteem 
 amongft them, that the Greatefi Perfohdges of* their Common-wealths were not afham’d 
 to make open profeffion of them, but after a manner nothing Mercenary ; Their 
 Works were payd with Honor ; and as they propos’d to themfelves the glory onely, 
 and immortality of their Name for recompence • io, nor did they make any tiring 
 fave what was truely great and magnificent. It would appear incredulous, to relate 
 onely what we read of this Nation , were not the credit of their Anceflors altogether 
 irreproachable, and that there did not remain even to this very day, the moft via¬ 
 ble marks of what is reported. There is not in the whole Vnherfe any thing worthy 
 of renown, which that divine Country did not once produce in its height of excellen¬ 
 cy. Thole great Captains , fo many Philosophers of all feffs, Poets, Orators , Geometrici¬ 
 ans, Painters , Sculptors, Architects, and, in fumm, whatfoever hath damp’d on it the 
 Character of Vertue proceeded firft from thence. Would wee now do worthily ? Let 
 us not then forfake the paths which thefe excellent guides have trac’d before us ; 
 but purfue their f'ootfteps, and generoufly avow, that the few gallant things which 
 have yet reached down to us, are due onely as deriv’d from them. This is the Sub¬ 
 ject that has invited me to afiemble and begin this Collection by the Greek. OrdersguEich 
 i had firft drawn out of Antiquity her felf, before 1 fo much as examin’d the Writings 
 of our modern Authors : For even the very beft Books extant on this Argument , are 
 the Works of thefe old Mafiers which remain to this day , and whofe beauty is fo 
 perfeft, and fo univerfally receiv'd, as has for almoft two thoufand years been ad¬ 
 mired by the whole World. It is to them we fhould repair to learn to accuftom the 
 eys, and to conform the imagination of Young Men to the Ideas of thofe excellent Spi¬ 
 rits., who being born in the midft of the light and ferenity of the faireft Clirnat under 
 heaven, were fo defecate and inlightn d, that they dilcern’d thofe things as ’twere 
 naturally, which we difcover with fo much pain, after a long and laborious indagati- 
 on. I know ’tis free for every one to efteem what pleafes him beft in the mix’d Arts , 
 finch as is this , whofe Principles for being foly founded upon Observation , and the au¬ 
 thority of Examples , can challenge no precife demonftration , and therefore I fhall make 
 bold to affiime the fame priviledge which I leave to others, of judging according to 
 their fanfie : For my part, I find fo excellent, and particular a beauty in the three 
 Greek. Orders , that I am hardly at all concern’d with the other two of the Latine in 
 companion ; and the Station v/hich has been affign’d them, fufficiently demonftrates 
 that there was no place for them, but after all the reft, as if indeed they had been 
 refus’d by them bo:h : The rufticity and meannefs of the TuScan having exil’d it 
 from the Cities , has lent it to the Country Cottages ; and as unworthy of entering into 
 Temples and Palaces , tis become the very Lift, as even deftitute of employment: For 
 the other , which would pretend to exceed, and refine upon the Corinthian , and what 
 they name the Compofita , tis in my apprehenfion yet more irrational, and truely me* 
 thinks altogether unworthy to be call dan Order , as having been the fourfe of all that 
 
 confufion 
 
with the Modern. < 
 
 Confufion which his been brought: into Architecture , fince Worktnen have taken the li¬ 
 berty to difpenfe with thofe which the Antients had prefcrib'd us, to EngotijbQ as one 
 may lay) after their own capricious humour an infinite many which do all pafs under 
 this appellation. Honeft Vitruvius in his time well forefaw the ill confequence which 
 thofe of the Profefion would introduce out of their love o {'Novelty, which already be¬ 
 gan itfeems to incline them to Libertinifm , and the difdain of the Rules of that Art, 
 which ought to remain mo ft 1'acred and inviolable; fo that we muft look On this as on 
 a grey-headed evil which grows worfe and worfe daily,and is become now almoft in¬ 
 curable : Notwithstanding, would our Modern Architects but yet fix any limits to the 
 freedom they have taken, and keep themfelves within the precin&s of the Roman Or - 
 der , which is the legitimate and true Compofita , and which has likewife its Canons and 
 Rules as well as the reft, I fhould find no caufe of complaint, fince we fee inftances 
 of it among the Veftigia's and footfteps of the moft flourifhing ages; as in particular, 
 that of Titus Vefpaftanus, to whom the Senate ( after the fack of Jerufalem') ere&ed a 
 moft magnificent Arch Triumphal , compos’d of this Order : But then it Should never 
 be employ'd without mature advice,and always alone by.it felf; for fo we find the In* 
 ventors of this Order us’d it,who well knowing its defers (compar’d with the reft)did 
 ever forbear to paragon them together: But our Architects never entring into this con¬ 
 sideration, have fain into an Errour which admits of no excufe,by forcing the weaker 
 to fupport the ftronger .Scamozgi is the firft that has lpoken of this in his Treatife of the 
 five Orders, where he afiignes to the Corinthian the moft eminent place: However, to a- 
 void all conteft,I find it lafeft,never to mix them together at any time,feeing it was ne¬ 
 ver practis’d by the Antients ; though Philibert de Lor me find Sebaftian Serlio fanfy to 
 have both of them feen it in the Colcfeumfind produce likewife a deftgn for an Example 
 of their Compofed Order. But believe it,the obfervation is very erroneous; for they are 
 indeed two Corinthians ,the one over the other, and albeit in the upmoft, which forms 
 the Corona of this great Colofs of Building, the Comic refembles not the other,as being 
 very particular ; yet are the Capitals for all that of the fame Order , as Scarnozgi has noc 
 forgotten to obferve. This may therefore fuffice to advertifeus, not lightly to credit 
 what is deliver’d to us out of Books, when we have the opportunity of repairing to the 
 fountainfind to be fatisfied of the truth from thence; For having oftentimes dili¬ 
 gently examin’d the defigns offundry Mafters on the fame fubjeff, and made an exad 
 calculation of the meafures which they eftablifti, we feldom find them to agree a- 
 mongft themfelves, notwithftanding that all of them profefs to have accurately ob- 
 ferv’d them. But that we may wound no mans reputation, fince every one does the 
 beft he is able,and that we have ever fome obligation to thofe who have fo freely im¬ 
 parted their Labours to us, I will forbear to exemplifie. Let it fuffice to have given 
 you this Caution: Thofe who fhall be fo curious as to try, and which will (1 affure 
 them) be no fruitlefs attempt, fhall loon find difficulty enough in the extraordinary 
 confufion of the different manners oCdnofeArchiteCtsfirho inftead ofworking upon the 
 accompt of the Alodels of Columns (which is the moft natural Alethodfind particular¬ 
 ly affefted to the Proportions of Architecture) amufe us with Palms,Feet find other ge~ 
 
 C neraf 
 
6 A Parallel of the antient Architeclure 
 
 neral Meafures (as meet Mafons would do) which To confounds the Imagination,that 
 tis eXtream difficult to dif-intangle ones felf out of them,and cofts a world of time ere 
 one comes at laft to reduce and apply them to the Scale of the Model; without which, 
 all their induftry becomes fruitlefs,and to no purpofe.To this it is I have principal- - 
 iy endeavour'd to apply a timely remedy, reducing all the defigns of this Treatife to 
 one Common Model , namely, to the Semidiameter of the Column divided into thirty Mi- 
 nutes , that fo I may approach the precife meafures as near as is poffible • There are 
 haply fome Workmen who upon the fuddain will not approve of it, as being not ac- 
 cuftom’d to fo exadt an exarnen of the particulars which concern their employment: 
 However (to prevent their cenfure) I (hall referr them to the writings of Andrea Pal - 
 ladto , and Scamozgi, two of the greateft Mafters which we have of the Profeffion , who 
 in their Treatife s of the five Orders (taking the intire diameter for Models have affign'd 
 it no lefs then fixty minutes, , which yet they frequently fubdivide into balfs , thirds,znd 
 fourths , according as they conceive it neceffary, and as will appear in this Collections 
 where I have punctually reported their defigns parallel’d one with the other , by a 
 Method fo perfpicuous, that one may inftantly perceive both in what, and how much 
 they differ amongft themfelves: fo that by help of this Comparifon, every man has the 
 liberty of pleafing his own fanfy,and following whether of the Authors I propofe, as 
 being all of them within the common approbation. But to the end we may proceed 
 folidly,and make a judicious Election , it will firft be requifite to be throughly in* 
 ftru&ed in the Principles of Architedure,znd to have apply’d our ftudies to Antiquities , 
 which are the very Maxims and Rules of this Art : Not as if generally the Antients were 
 to be imitated indifferently; on the Contrary, there are but very few of them good, 
 and an infinite number of them bad, which is that has produc’d this confus’d varie¬ 
 ty amongft our Authors, who treating of the Orders, and their Meafures, have differ'd fo 
 ftrangely from one another. It is therefore undoubtedly the fafeft way to have accefs 
 to the Sourfes themfelves,and to follow precifely the Models and Proportions of fuch 
 antient Strudures as have the univerfal confent,and approbation of thofe of the Pro¬ 
 feffion. Such Examples we have at Rome in the Theatre of Marcellus, the Temple of the 
 Rotunda , the three Columns near the Capitol, and fome others of this fort, whofe feve- 
 ral Profiles I fhall produce on every of the Orders, and after them, thofe of our more 
 Modern Ar chit efts, that fo in confronting them to thefe glorious Examples which are 
 the Originals of the Art, they may as to an impartial Touchjione have recourfe to them, 
 for the tryal and examination of their Works, as I my felf have done with extra¬ 
 ordinary fatisfadlion in compiling of this prefent Treatife, and which every one may 
 do as well as I, and at a far lefs expenfe by all that time I have fpent in opening and 
 preparing for them the way. This is. Reader, what I thought fitting to inform 
 Thee of concerning my Labour, to the end thou mayeft have a lincere, and judicious 
 eftimation of it. 
 
 The 
 

 The Firffc Part. 
 
 — ——;— - 1 - ., ;-:—... , - 
 
 CHAP. L 
 
 Of the Orders in General. 
 
 ' is fufficiendy difficult to determine precifely, what the name of 
 Order may fignifie amongft our Architects, though it be indeed 
 very neceffary to underftand it well. Of all the Moderns who 
 have written upon the five Orders, there is none fave Scamozgii 
 who has once remember'd to give us the definition, and it is in 
 the i . cap. of his fecond part , line 42 . where he faith. That it is a 
 kind of excellency,which infinitely adds to the drape, and beauty 
 of Buildings, 5 Wra/,or Profane. But in my opinion, he had even as good have held 
 his peace, as the reft have done,, as to have fpoken in fuch wandring terms, and 
 with fo little folidity.; The Father Vitruvm in c. 2. l.i. calls it Ordin-mr% and 
 the term is at prefent in huge vogue amongft our Painters : When they wo d 1 
 prefs the elegant compolition of a Piece , or the diftribution of Figures in an Ftiflory* 
 they fay,that the Ordinance is good; Notwithftanding this is not yet exa&ly the inten¬ 
 tion of Architects ; and Vitruvius (in pain to exprefs it to us) adds. That it is At 
 apt,and regular dijpofition of the members of a Work feparately ; and a comparifon cf theirnU 
 verfal proportion to the jymmetrie. Another peradventure more fubtile and penetrant 
 than I am, might find out the myftery of thefe words, which I confefs I comprehend 
 not; and therefore it is, that I have thiis trandated them purely from the Laitne 
 text word for word, that I may the more naturally propofe them to thole whofhall 
 delire profit by them: Daniel Barbara ( who hath given us two excellent Com¬ 
 mentaries upon this Author ) has been very induftrious to clear this paflage, which yet 
 is not without fome difficulty ; Philander, on the fame chapter, found out a fhorter 
 way to fay nothing at all, and amufes himfelf upon other matters far more unnecef- 
 fary ; fo that to get out of this Labyrinth we muft even take it in pieces, andcOn- 
 fider the things apart, that fo it may, as it were, touch our imagination, and diftin&ly 
 form its Idea's in us, which is the bufinefs we are to enquire after : For the Art of Ar¬ 
 chitecture dees not conftft in Words ; die Demonftration ought to be fenfible, and ocu¬ 
 lar. It is very perfpicuous to all thofe of this Myftery , that the principal Piece of 
 ♦ - art 
 
8 A Parallel of the ament Archile Eh re 
 
 an Order is die Columne, and that its Entablature being once placed on the Capital pro¬ 
 duces the ent ire Compofition. If therefore we will define it exactly , and give the moft 
 exprefs meaning of' it, we miifl, as it were, make a very Anatomy of the parts, and 
 fay,that the Column, with its Bafe, and Chapiter,crown'd with an Architrave, Frieze, and 
 Cornice, formes that kind of Building which Men call an Order ; feeing all thefe indivi¬ 
 dual parts do generally encounter,and are found through all the Orders ; the difference 
 amongft them confining in no other particular, then in the proportion of thofe parts, 
 and the figure of their Capitals. They have yet indeed fome peculiar ornaments, as 
 Inglyphs, the Dorique ; Dentelli, or Teeth,the lonique ; and the Corinthian her Modilions ; 
 but they are none of them of fo general and indifpenfible obligation, but that even 
 the moft regular of the Antients themfelves, have upon fome conliderations frequently 
 difpenfed with them. For Ornaments are but acceflories in the Orders, and may be 
 diverfly introduced as occafion requires; principally in that of the Corinthian, where 
 Artifts being to reprefent an effeminate and virginal beauty ( as we may eafily de¬ 
 duce from what Vitruvm has recounted to us of Callimacut. i. cap. 4. book) ought 
 to omit nothing which may contribute to the perfection and embellifliment of the 
 Work : and the Antients have preferib’d us fo many Examples of this Order, in which 
 they have been fo profufe and luxurious in Ornaments, that one would fwear, they had 
 drawn their imagination quite dry to crown this Mafter-piece of Architecture. But 
 it is not with the other Orders after this fort, where there is a more mafeuline beauty 
 requir’d; efpecially in the Dorique, the folidity whereof is totally repugnant to 
 the delicatenel's of thefe Ornaments; fince it fucceeds fo much better in the plain 
 and fimple regularity of its proportions. Garlands and Fofies fuit not with Her¬ 
 cules ; He is beft adorn d with a rough-hewn and maflie Club: For there are Beau¬ 
 ties of feveral kinds, and thofe oftentimes fo unlike, as what is agreeable to the one, is 
 quite contrary to the other 1 . As for the lonique Order, ’tis as it were in the middle of 
 the two extreams, holding in a manner the Balance ’twixt the Vorique folidity,andgen- 
 tilenefs of the Corinthian ; for which reafon we find it diverfly employ’d in ancient 
 Buildings,Ample and plain according to the genius of the Architect, or quality of the 
 StruCfure. So as thefe three Orders may very well furnifli all the Manners of build¬ 
 ing, without being at all oblig'd to have recourfe to the Tufcan Order, or that which is 
 Compos'd, both which 1 have therefore exprefly referv’d f or the conclufion of this 
 Treatife, and feparated from the reft,as in truth but Supernumeraries, and almoft inu¬ 
 tile. For the excellency and perfection of an Art, confifts not in the multiplicity 
 of her principles ; but contrarily, the more fimple they are,and few in number , the 
 more worthy are they of our admiration : This we fee manifeftedin thofe of Geo¬ 
 metry^ which is in truth the very foundation,and univerfal magazine of all thofe Arts, 
 from whence ThB has been extracted , and without v hofeaid it were impoffibleit 
 fliould lubfift. Well therefore may we conclude, That the Orders being no other 
 then the very Elements of Architecture , and thefe Three firfi which we have deduc’d 
 from the Greeks', ccmprehending all th e Species of Building ; it were but a fuperflu- 
 ous thing we fliould pretend to augment their number. 
 
 CHAP. 
 
with the Modern , 
 
 y 
 
 311 ' 
 
 
 jnxnoo 
 
 
 or!j 10 't 
 
 CHAP. II. 
 
 i-li • ; . . , 
 
 
 .aoibuf 
 
 orique Order. 
 
 r'j ) > 
 
 fl > ] 
 
 I T is no (mall advantage for the Dorique Order , to demonftrate that it has been 
 the very firft regular Idea of Architecture ; and that, as the firft-born and heir 
 of this Queen of Arts? itdias had the honour alfo to have been the firft builder both 
 of Temples and Palaces. : , • : ! - 
 
 The Antiquity of its Original (according to all thofe who have written thereof) 
 is, in a manner* immemorial; notwithftanding Vitruvius referrs him (and that with 
 fufficient appearance) to a Prince of Achaia, named Dor us ; who being Sovereign 
 of Peloponefus, built in the famous City o f Argos a magnificent Temple to the Goddefs 
 Juno, which was the very firft model of this Order.ln imitation whereof the neighbour 
 ring people ereded divers others; amongft which,the moft renown’d was that which 
 the Inhabitants of the City Olympia dedicated to Jupiter , whom they furnam’d Olym¬ 
 pian. The Hand of Delos built another very famous one to the God Apollo , in me¬ 
 mory of his Birth in that place, and of which there is to this day fome Veftigias re¬ 
 maining. And in this it was that the firft Triglyphs were made in the form which we 
 now behold them, reprefenting the Figure of an antique Lyre , of which Inftrument 
 this God had been the Inventor. In Elis a City of the fame Countrey there were 
 divers memorable Fabricks confifting all of this Order , whereof the principal were 
 a large Periflyle or Porch, ferving for a publick place,having about it a triple range 
 of Porticos built on Colomns, and three magnificent Temples , as Paufanias in his fifth 
 Book makes mention; the one confecrated to the Goddefs Juno , environ’d with huge 
 Marble Pillars ; rhe other to Dyndima , the mother of the Gods ; and a third to Mi¬ 
 nerva , which bore the name of their City : And this laft was without doubt a moft 
 incomparable Mafter-piece, having been built by the famous Sccpas competitor 
 with Praxiteles in the Structure of that ftupendious Maufokurn which die Queen Ar- 
 temifia ere&ed in memory of her Husband. In his Preface to the feventh Book, Vitru¬ 
 vius makes mention of others, amongft which he celebrates thofe of Ceres , and Pro- 
 ferpine in the City of Elufina , as a work of prodigious Grandure. But it would be 
 but unprofitable for us to make any further difquifition concerning thefe Edifices, 
 fince thofe who have treated of them, have left us no particular remarks touching 
 their form, from whence we might derive any thing of advantage for our Imitation* 
 They talk much alfo of the names of many great Architects of this age, who them- 
 felves writ the Rules of their profeffions, amongft whom, one named Siknus had ge¬ 
 nerally treated of the Dorique proportion ; and a certain Theodoras made the defer";pri¬ 
 on of a Temple of the fame Order , ereQed to the Goddefs Juno by the Inhabitants of 
 
 Id the - 
 
io A Parallel of the antient Architeofure 
 
 the He of Samos, with fundry other mention’d in the fame place, whole Books and 
 Works are not now to he found ; fo that after the lofs of lo many incomparable Au¬ 
 thors, who were the very fource and fountain of the Art whence we might at prefent 
 extraft the purity of its Original , we muft of neceflity content our felves with the 
 Obfervations and Conjectures which the Moderns have made upon certain tracks and 
 footfteps of Antiquity I which in this conjuncture ferve us inftead of Books-^nd wherein 
 all thole Matters which I have here affembled, as to an Oecumenical and general Coun¬ 
 cil of Architecture have finifh’d and perform’d their Studies. 
 
 But for as much as naturally every man abounds in his own fenfe, and drefles up 
 a beauty after his particular mode, I conceiv’d it expedient from the Defigns which 
 they have left us for Rules*, to have continual recourfe to the Antients, as to the beft 
 and mow invariable Compafi which we can poffibly fteer by ; amongfl whom we (hall 
 find fufficient variety, reafonably to fatisfie the Gutt offuch as are defirous of choice. 
 And for this purpofe, I (hall upon every Order exhibit two or three Examples drawn 
 from the Originals themfelves, and very accurately meafur’d by the account of the 
 Module of the Colcmn ,with the very Divifwn which I have obferv’d in the Dejigns of o- 
 ther Matters ; that fo all concurring in one Uniformity, and under the fame Scale , 
 the Comparifon and Examen may become the more ealie and intelligible : For the 
 multiplying of Operations is ever difadvantageous by reafon of the Confufion which 
 it ordinarily produces in the minds of thole who work, and that it alfo waftes more 
 time; both which inconveniences are of very great importance. And when all the 
 fruit of my Travel in this Aflembly of Authors fhould be of no further profit to the 
 Studious in this Art, then to have thus adjuffed them together,I conceive they ought 
 to be very well fatisfied. 
 
 But let us return to the Dorique Order, and confider its form, proprieties, and differ¬ 
 ence from the others in grofs, before we enter into the Parcels of its Proportions, 
 fince general rules are ever to precede particular. Having then propos’d for a foun¬ 
 dation, that this Order reprefents Solidity to us, as its Specifique and principal quality, 
 we ought not to employ it but in great maffie Buildings and Edifices of the like na¬ 
 ture ; as for Forts of Citadels, and Fortreffes of Towns, the outfide of Churches or Pub- 
 liqueplaces, and the like, where the delicatenefs of the Ornament is neither conveni¬ 
 ent, nor profitable; for as much as the heroick and gigantine manner of this Order 
 does excellently well in thole places,difeovering a certain mafeuline and natural beau¬ 
 ty, which is properly that the French call la grand Maniere . 
 
 Upon this fubjeft I am obferving a thing which in my opinion is very curious 
 touching the beginning of the difference of Manners ; whence it proceeds , that in 
 the fame quantity of Superficies, the one feems great, and magnificent, and the o- 
 ther appears poor and but trifling. The reafon of which is very prety, and not 
 ordinary. 1 fay then,that to introduce into Architecture this grandure of Manner of 
 which we fpeak, we ought fo to proceed, that the divifion of the principal Mem¬ 
 bers of the Orders confift but of few parts, that they be all great and of a bold and 
 ample Relievo and Swelling; that the Eye beholding nothing which is little and 
 
 mean, 
 
with the Modern. n 
 
 mean,the Imagination may be the more vigoroufly touch'd and concern’d with it. For 
 Example : In a Cornice the Gola,oc Cynatium of the Corona ; the Coping, the Modi- 
 lions, or Dentelli make a noble (hew by their graceful procedures ; and that we fee 
 none of that ordinary Confulion which is the refult of thofe little cavities, quarter- 
 rounds of the Aftragal , and I know not how many other intermingl’d particulars 
 which produce no efted in great and maflie Works, and which very unprofitably 
 take up place to the prejudice of the principal Members ; it is moft certain , that 
 this manner will appear folemn and great, and that , on the contrary, become pitiful 
 and mean by reafon of the multitude of' thefefmaller ornaments which divide and 
 fcatter the angles of the fight into fo many beams, and fo prefs’d together, that the 
 whole appears but a Confufion. And though one would judge upon the fudden, 
 that the multiplicity of the parts fhould contribute fomething to the appearance of 
 the grandure and {late ; yet notwithftanding it happens quite otherwife, as we may 
 eafily perceive in examining it by Examples , and in the Defigns of the Mafters which 
 I have here cohered together, where in the fame inftant a man may difcern both 
 the quality of their Gerunds, and the variety of their judgments : For fome of them 
 efteem that to be delicate and rich,which others term mean, and confuted; and that 
 which feems to us of the Grand maniere, in their eyes appears to be but grofs and 
 heavy; and indeed it would fo prove if one fhould exceed the terms of proportion, 
 and did incline too much to either extreme: But be this only fpoken in Pailage; We 
 proceed now to our Orders in general. 
 
 The Colomnes of the Dorique Order have this of remarkable amongft the reft, that 
 in the faireft Works of Antiquity in which they have been employ’d, we find them 
 without Bafes ; as in the Theater of Marcellws at Rome ; in that at Vicenza , and in a 
 very magnificent Triumphal Arch at Verona ; and Vitruvius having treated of this ve¬ 
 ry Order more exa&ly then of any other, fpeaks not fo much as a word of its Bafts, 
 albeit he hath fufficiently defcrib’d the meafures of the loruque, and of the Attique for 
 the Corinthian, without having fo much as omitted that of the Tufcane ; though there 
 is not one of our modern Architects but make fome cavil at it, forming one to them- 
 felves after their own invention. 
 
 For my part, I fhould make a great fcruple to condemn thefe old Mafters wild 
 did all with fo much circumfpe&ion. One had much better endeavour to difco- 
 ver their Intention, who did certainly proceed with great judgment; then to add 
 any thing prepofteroufly to this Order, and which may prove repugnant to its Prin¬ 
 ciples. 
 
 Let us take therefore the thing from its original, and confider upon what account 
 they added Bafes to the foot of Colornns, and what there they reprefent, that thence 
 we may infer whether they are likewife as proper to thefe we fpeak of here, as they 
 be to the other. 
 
 Vitruvius tells it us in the firft Chapter of his fourth Book, and had not it feems 
 fomuch as once fpoken of it, but upon occafion of the Ionique , which he affirms 
 to have been compos’d after the module of' a feminine beauty, to which he Grits all 
 
 D 7 the 
 
12 A Parallel of the antient'Architecture 
 
 the reft of the parts ; as the Volutds of the Capital to the mode of the bead-tire and 
 treffes of Womens hair. The Vivo , or {haft of'the Colomn , to their airy and delicate 
 fhape f the fittings and Channelling to the plaits of their Robes; and theBafe to the 
 bufkin’d Ornament of their legs and feet. 
 
 In the fame place he compares our Dorique to a robuft and ftrong Man, fuchas 
 an Hercules might be , whom we never reprefent but on his bare feet: fo as from 
 hence we may reafonably judge, that to the Dorique Order alfo Bafes are no wayes 
 proper. 
 
 But the cuftom which has licentioufly been introduc’d amongft fo many Exam¬ 
 ples as we find among the Antiques as fo ftrangely debauch’d and prevented the Ima¬ 
 gination , by 1 know not what falfe appearance of Beauty ; that it now tranfports it 
 quite befides Reafon. Neverthelefs fuch as are clear-lighted, being advertis’d of this 
 abufe,will loon re&ifie, and undeceive themfelves: and, as what feems moft likely is 
 then dete&ed to be erroneous when ’tis diligently examin’d; fo alfo the appearances 
 of Beauty, when they are againft Reafon, become in fine but the more extravagant. 
 
 This Oblervation being eftablifh’d upon thefe great Examples which I have cited, 
 and Reafon ferving for its guide, let it pafs for dernonjlration . 
 
 But we will now confider the reft of the Order. 
 
 His Entablature is more maftie, and tall, then any of the following Orders ; be- 
 caufe the ftrength of the Colomn for being greater, prepares him alfo for the greater 
 burthen. It has ordinarily one fourth part of the Colomn , whereas in the other he 
 has very often but a fifth, and fometimes lefs. The Cornice would not be deck’d widi 
 any Foliage ,or like trimming ; but in cafe you allow him Modiliom , they fhould be 
 fquare, and very plain. The Freeze has a regular Ornament, which are the Triglyphs , 
 the Compartment whereof obliges one to a very great inconvenience , and which was 
 heretofore fo cumberfome,thateven the skilfulleft Mafiers had much ado todifengage 
 themfelves. But Vitruvius has found a very fufficient Expedient, as may be leen in 
 his fourth book. Cap. q. In the interim let it fuffice, to affirm here, that all the incon- 
 veniency confifts in fo contriving the matter, that the Triglyphs be precifely plac’d 
 over the middle of' the Colomn which it encounters ; and that the Metops (that is to 
 fay ) the fpaces twixt the Triglyphs , be perfectly fquare; for that is fo effential in this 
 Order , that one fhould never difpence with it. That which renders the execution 
 difficult proceeds fr om the diftribution of the Intercolumniathns ,which have alfo their 
 diftances regular, and determin’d, which does not juftly quadrate and fuit with thole 
 of the Triglyphs . See the fecond Chapter of the third Book of Vitruviws , Commented 
 by the Reverend Daniel Barbaro , where all this is rarely well explain d, both by dif- 
 courfe and figure. 
 
 The Architrave hath alfo its Ornament particular, which confifts in certain pen¬ 
 dent drops under the Triglyphs that feem after a fort, to be faftned to it, as if they were 
 all of a piece; for that one never fees the one, without the other. 
 
 The entire body of the Architrave ought to appear folid and very fubftantial ; for 
 which efieft I would not have it exceed one full face , left parting it in two, it 
 
 appear 
 
 i 
 
with the Modern,. i\ 
 
 appear feeble and weak,according to the principle which we have newly- eftablifh’d 
 * upon the diverfity of Manners ; Neverthelefs this is but of fmall confequence here, 
 provided one be careful not to break it in three faces as in the other Orders they do ; 
 in which cafe, the fault: would be remarkable. 
 
 Behold then in grofs as ’twere a rough draught of the Dorique Order, upon which 
 one may with cafe find'out all the feveral parts of its members in particular , with 
 their refpedive meafures, which is by this expedient found alwayes within the regu¬ 
 lar terms of its extent.- \ ,V.., o.:; f\tA 
 
 I fhall touch fome of the Principal, only,that I may facilitate the way ; referring 
 you for. the reft, to the Defigns , where every thing is fo clear, and punctual, that ha¬ 
 ving once conceiv’d the Model (which I make ufe of throughout) to be the Semidia- 
 meter of the Colomn, divided into thirty Mimtes;md,tha.t I continually begin to meafure 
 the projettures of every Profile from the Central line of the Colomn, to have ( in the 
 mean time) with the proportion of the Members,the right pofition, and juft level of 
 the Pillar , all the reft admits not of'the leaft imaginable difficulty : for prefently 
 you! find,that thirty minutes making the femidiameter , fixty muft compofe the whole 
 diameter, and forty five the three quarter; forty, two thirds ; twenty, one third; fif¬ 
 teen a quarter,and fo of the reft,as I have exprefly obferv’d it,that I may by the fame 
 means make you comprehend, hoW I have reduc'd all the Meafures of my defigns by 
 minutes, without making ufe of the terms of Module, Diameter, Thirds, Quarters, or the 
 like proportions, to avoid perplexity, and cumbring the defigns with fo much wri¬ 
 ting ; and indeed, for that they arfc not precife enough, and would have often ob¬ 
 lig’d me cofuperadd the minutes, and to repeat one Module and three Minutes, two 
 thirds of a module and four minutes, a quarter of a minute, half a module and two minuies, 
 with a number of fuchlike fradions, which would have created much unprofitable la¬ 
 bour, and bred infinite confufion. 
 
 This eftablifh’d, let us proceed to the application, and take our Dorique Order a- 
 gain in pieces. But left the Variety which we frequently encounter amongft the 
 defigns of the modern Authors that 1 have here colleded, fhould hinder us from re- 
 folving upon fomething fix’d, and determin’d, I will only purfue that Antient Exam¬ 
 ple taken out of the Theater of Marcella 6 , as being the moft regular of all the reft, by 
 the univerfal fuffrage of thofe of the Profeffion; and fo conformable to what Vitruvius 
 has written concerning the general proportions of this Order , that fome are of opi¬ 
 nion he was himfelf the Archited of this magnificent work. But I muft confefs, I 
 am not of their faith, becaufe of the Dentelli which are cut in the Cornice ; for Vitru¬ 
 vius in the fecondChapter of hh firft Book > plainly interdids them the Dorique Order, as 
 being naturally affeded to the lonique: but this Qutfiion concerns not our prefent dif- 
 courfe.I find then that the whole jbaft ofthe Colomn has in length feven times its diameter; 
 which on the foot of the divifion of the half diameter in thirty minutes (for in all th is 
 Treatifel ever take the femidiameter of the Colomn for the module of the Orders') make 
 four hundred and twenty minutes, which amounts to fourteen modules. The height of the 
 Chapter contains thirtj minutes, which make one module ; as does likewife the Archi¬ 
 trave ; 
 
14 A Parallel of the antient ArchitePhirt 
 
 trave : The Freeze with its Fillet ( which is that fiat, and thin band or lift which 
 ieparates it from the' Cornice ) has one module and a quarter , which are thirty feven mi¬ 
 nutes and dn half ; fo that all thefe modules computed together , and the number of 
 their minutes reduc’d to a total fum , the altitude of the entire Order amounts to eigh¬ 
 teen modules and three quarters , which make up five hundred fixty two minutes and an 
 half \ and the Entablature (which is the Architrave , Freeze , and Cornice') being to con¬ 
 tain one quarter part of the Colomn(y\\\ch. is its regular proportion)comprehends juft 
 an hundred twelve minutes and an half which are three modules and three quarters ; and 
 which I exprefly repeat,that I may yet add, that though all the Examples of this Order 
 ( which may be as well found amongft the Antients , as the Modern ) have not always 
 the Entablature comprehended within the fame Termes of Modules that this has here^ 
 they may yet notwithftanding be according to rule in the general proportion; pro¬ 
 vided that the Entablature contain a quarter of the Colomn ; which is neither limited 
 to fourteen Modules , nor yet to fifteen , but may fometimes advance even to fixteen and 
 more as occafion prefents it felf: So that a Colomn of fixteen Modules fhall have a 
 higher Entablature then one of fourteen. But then it is neceffary, that all this diffe¬ 
 rence of one Entablature to the other happen only in the Cornice , in regard that the 
 Freeze , and the Architrave have alwayes their precife and determinate meafures : 
 The one has a Module ; the other Module and an half without any refped to the dif¬ 
 ferent height of the Colomns . Now the Cornice being to fupply what is deficient to 
 
 arrive to the fourth part of the Colomn , Us evident that its particular proportion 
 muft depend on that of the Colomn ; and that the Cornice of one Profile , can never 
 ferve for another, though it be of the fame Order , unlefs the height of the Colomns be 
 likewife equal in them both, which thing ought very diligently to be confider’d: 
 that from this obfervation a man may arrive to a good, and judicious examen of all 
 thofe Profiles which the Modern have given us of this Order * andunderftand fuchas 
 are worthy the being follow’d: For the general proportion being once defe&uous. 
 Us in vain to fearch for it in the retail , or minuter parts ; becaufe that is necefla- 
 rily relative, and that the one, cannot poffibly fubfift without the other. 
 
 But to the end we may render what we have difcufs’d eafie to the Reader, who 
 happly, for want of pradlife may find himfelf at a lofs, I am going to deliver him 
 a Method extraordinarily fhort and expedite, by means whereof, he may inftantly 
 make it without the leaft diforder or confufion, 
 
 He muft take the whole height of the Entablature of the Defign which he would 
 examine, and thereof make a multiplication conformable to the proportion which it 
 ought to bear with its Colomn , having ftill a regard to the Order which it reprefents. 
 Put cafe for example , one quarter , as in this of the Dorique ; he muft multiply the En¬ 
 tablature by four ; if it be a fifth (as we fhall fee in fome of the following Examples 
 of the Corinthian ) he muft multiply it by five; and fo of the reft : For the total 
 of this multiplication ought to give us precifely the height of the Colomn ; and 
 wherever this does not quadrat, certain it is, the Profile is irregular. 
 
 I 
 
with the Modem. j $ 
 
 Ifliould.be too prolix if I pretended to decifer thus by fmallerfcruples, and mi¬ 
 nutes all that belongs to thefe Principles , and whiles I think to render my felf intel¬ 
 ligible, by a tedious difcourfe and Calculations, become in fine both confus'd and 
 troublefome to my Reader , who doubtlefs will fooner comprehend it all by feeing 
 my Defigns, fince Words are never fo exprefs as Figures . 
 
 
 i 
 
16 A Parallel of the antknt Architecture 
 
 CHAP. III. 
 
 A Particular remarkable in the Profile, drawn from 
 
 the Theater of Marcellus. 
 
 1 Admire that of all our modern Architects, the greateft part whereof have feen, and 
 fpoken of this Example,as of the moft excellent Dorique model which has been left 
 us by the Antients; there is not fo much as one of them who has followed, or perhaps 
 well obferved in the Original the juft compartment of the members of the Capital, nor 
 the height of the Freeze, the which I find here vifibly lefs then that which they allow 
 to their Defignes; though fome of them (particularly Vignola ) have propofed the 
 very fame Profile for the Rule of the Order ; but with fo much alteration in its mem¬ 
 bers, that there is not one of them remains entire: A man fhall eafily find it by con¬ 
 ferring them together ; all the deftgns of this Affembly being therefore fitted to the fame 
 Scale As for the Capital, they do all without exception affed: the dividing of it in three 
 parts, as Vitruvius will have it in his fourth Book , Chap. III. giving one to the Hypotra - 
 chelion, or neck of the Pillar; the other to the Echinus bracelets, or fmall mouldings; 
 and the third to the Abacus or plinth of the Capital; whereas they ought tohavecon- 
 ftdered, that the Text of this Authour, befides that it is oftentimes fufpicious,and efpe« 
 cially then when he is not conformable to the pra&ice of the Antient Mafiers his Con¬ 
 temporaries , it is by no means juft, he that fhould prefume thus to carry it a- 
 gainft fueh Examples as this here, which is without all reproach and exception. It had 
 been more reafonable that they who propofe it for their model, had at Ieaft been fo 
 difcreet as to have added nothing, but left him in his original proportion. As for thofe 
 others who have formed deftgns after their own fancies, they are no more to be blamed 
 for having followed the opinion of Vitruvius, and obliged themfelves to the terms 
 which he has prefcribed, though they might haply have well difpenfed with it,and with 
 more reafon have imitated the Antients where this irregularity is not to be found. The 
 Crown of the Cornice is alfo fufficiently obfervable for its extraordinary proje&ure, and 
 which is after a fort augmented by the floops which the Architect has given to the drops 
 which compofe the ornament of the nether face, and which fall on the Triglyphs. Now 
 albeit this piece o fOptich be admirable in this huge Colofi of Building, yet is it by no 
 means to be indifferently ufed every where, and upon all occafions, for in places 
 much inclofed, where there is not ample fpace and freedom for the Eye, as the infide 
 of Churches, See. it would produce but an ill effefh Wherefore I have thought it ne- 
 cefiary to propofe here divers antient Examples upon each Order, that I may thereby 
 give opportunity to thofe of the Profeffwn to make ufe of them judicioufly; regard 
 being duly had to the Place, and the Occafion c 
 
with the Modern. 
 
 4 < U| 4 *^ 
 
A Parallel of the antknt Architefture 
 
 18 
 
 CHAP. IV. 
 
 Another Profile taken from the fragments of the Dio¬ 
 cletian Bathes at Rome. 
 
 T HIS Profile was one of the rrioft excellent pieces of Architecture in the Baths of 
 Dioclefiams far at leaft as 1 am able to conje&ure from a good number of draughts 
 which lye yet by me, all of them defigffd by the fame hand very neatly, and meafur’d 
 with extraordinary ftudy; although fome of them methinks appear to be fufficiently 
 licentious: But this Profile is of fo noble a compofition, and fo regular, that it’s no¬ 
 thing inferiour to that which went before: And though the fpecifique proprieties of 
 this Order are to be fingle and folid; yet are the Ornaments here fo very judicioufly 
 applyed upon every of the Members, that they conferve the one without the leaft 
 violation to the other* 
 
 It may ferve upon fome occafions where that of the Theater of Marcellas would 
 net be fo proper, in as much as the proje&ure of its Cornice is a great deal lefs; add 
 to this,the curiofity of its mouldings which allure the eye to confider them at a nearer 
 diftance. 
 
 The general Proportion of it is not abfolutely conformable to that of our firft Ex¬ 
 ample ; and the difference makes me judge, that the Column belonging to it contained 
 eight diameters , that is to fay, iixteen Modules ; for fo the Entablature ( which is of 
 four Modules high) comes to make up a fourth part of the Pillar. 
 
 That which is confiderable in this Profile , as univerfally obferved through all the 
 Moderns for the height of the Freeze, is, that in this partition of the three members of 
 the Entablature , the flat Fillet which forms the Capital of the Triglyphs compofes a part 
 of the Cornice , and is not compriz d within the limits of the Freeze , though in that of 
 Marcellm s Theater I have made it to be a part, to the end we may religioufly preferve 
 our felvcs within the termes of the general rules of the Order, which precifely requires 
 that the height of the freeze fhould be of one Module and an half, that fo the fquare in¬ 
 tervals of the Metops with the Triglyphs (which is indeed an inconvenience very great, 
 but withall moft neceffary) may be handfomely adjufted. To the reft, I will not af¬ 
 firm pofitively that the Column of this Profile was without a Bafts , for my defign gives 
 me onely the Entablature and Capital ; though 1 might well be inclin'd to think fo for 
 the reafons before deduc d., and amply demonftrated in the fecond Chapter. 
 
with the Modern 
 
 A 
 
A Parallel of theantient AtchitePlwe 
 
 CHAP. V. 
 
 Another very antient Profile after the Grand Maniere 
 elevated in Perfpe&ive, and now extant at Albano 
 near Rome. 
 
 I Conceiv’d it very advantageous, and indeed in fome fort necelfary the better to 
 reprefent the beauty and goodly effed of this Profile , to give you one elevated in 
 Perfpettive ; becaufe I would gratifie the eye with as much as Art is capable to add 
 to the real and natural Beliew , and fhew how it ought to fucceed in the execution. 
 
 This incomparable Borique Mafter-piece was difcovered at Albano, joyning to the 
 Church of St. Mary , amongft divers other old fragments of Architecture very curious, 
 and of which I have a good number defignd, and with great diligence examin’d as 
 to their meafures, though drawn fomething in hafte and as it were in palling, by 
 the hand of the famous Pyrrho Ligorio . 
 
 That which I particularly efteem in this is a certain grandure of Manner majeftical 
 and furprifing which is altogether extraordinary ; all which refults from its having but 
 few members, and from the largenefs of thole which it has; an account whereof I 
 have already given, fpeaking of the difference of Manners in the fecond Chapter . For 
 the reft, the ffjaft of the Column ftands limply on a ftep which ferves it inftead of a 
 Plinth , as I have here reprefented him. 
 
 Now to the end this defign may not only prove agreeable to the eye, but likewife 
 profitable to thole who fhall defire to put it in'pradice, I have alfo accompanied it 
 with its Profile , and particular Meafures. 
 
 I advertife moreover, that the Pillar has fifteen Modules in height, and the 
 Entablature three, with two thirds, which amount juft to the quarter which is the 
 regular proportion of the Dorique Entablature with the height of its Column: I have 
 omitted the Profile of the Capital for want of fpace, as likewife for that it is fo little 
 differing from the ordinary in its mouldings, and fo perfectly refembles it in pro¬ 
 portion. 
 
 That which is moft worthy remark, and indeed to be admir’d in this Compofi- 
 tion, is, the richnefs, and extraordinary form of his Modilions , which lying plumb 
 over the Triglyphs , and being as it were a kind of Capitals to them, produce a mar¬ 
 vellous effect, which is yet much augmented by thofe great Rofes of the Sofitto or Eves 
 of the Corona, w hich having an extraordinary projedure, render th e Order altogether 
 Gigantique • and this is properly that which they term the Grand Maniere . 
 
with the Modern. 
 
 It 
 
22 
 
 A Parallel of the antient ArchitePlure 
 
 CHAP. VI. 
 
 A Judgment in general upon all the Authors fummorid 
 
 together in this Collection. 
 
 T HAT the Reader may now come with fomekind of preparation to the par¬ 
 ticular Examen of the Defignes which follow, I (hall here endeavour to give 
 him a general hint of the feverall talents and abilities which I have remark’d 
 in every one of thofe Mafiers we are taking a furvey of in paragon one with the 
 other* 
 
 The firft of all is without any conteft the famous Andrea Palladio , to whom we 
 are oblig’d for a very rare Colle&ion of antique Plans and Profiles of all forts of 
 Buildings, defign’d after a moil excellent manner, and mcafur’d with a diligence fo 
 exaft, that there is nothing more in that particular left us to defire : Befides the very 
 advantageous opportunities which he has had at Venice , and in all the Vincentine his 
 native Country do leave us fuch markes as clearly fhew d him not onely to have 
 been a Senator of thefe great Mafiers of Antiquity; but even a Competitor with 
 them, and emulous of their glory. 
 
 The Man who neareft approaches to him is alfo another Vincentine , Vincent Sea - 
 mozgi by name, a far greater talker (as well appears in his Books) but a much in- 
 feriour workman, and Ids delicate in point of defign : A man may ealily perceive 
 it by the Profiles which he has left us of the five Orders , the manner whereof is a little 
 dry; befides that, he is very poor and trite in his Ornaments, and but of an ill 
 gufio : He is notwithftanding this the neareft that approaches him as to the regula¬ 
 rity of his proportions, and the moft v/orthy to be parallel d with Palladio. 
 
 Sebafiiano Serlio and Jacomo Baroygio furnanf d Vignola hold of' the fecond Clafl ; 
 and albeit they have both follow’d contrary wayes, and very different manners, yet 
 1 forbear not to place them in the fame range, and am indeed in fome difficulty to 
 determine which of the two has deferv’d more of the Publique ; were it not that 
 one might fay, the firfi had the good fortune to work for Mafiers who needed onely 
 to be fihew’d the Idea of the things in grofs, without having any thing to do with the 
 retail of their Proportions; and that the other onely propos d to himfelf the inftru- 
 &ion of young beginners, and to deliver to them the rules of Art and good defign : 
 But it were of excellent advantage for us all that Serlio s Book had been defign’d 
 like that of Vignola ; or that Vignolas ftudy and diligence in learching, had been e- 
 qual to that of Serlio. 
 
 The 
 
with the Modem 25 
 
 The famous Commentator of Vitruvius, Daniel Barbaro Patriarch of Aquilea , whoni 
 with very great juftice we may fitly ftyle the Vitruvius of our Times, fhall in this place 
 befeatedin the middle of all the Mafters to be their Prefident; as being indeed the 
 Interpreter and Oracle of the very Father ofArchiteCfs : and his Companion Pietro Cataneo 
 ( whom I aflign onely to prefer ve an equal conformity in my defigris of compa¬ 
 ring Modern Authors ) fhall fcrve only as a petty Chaplain in the retinue of this great 
 Prelate though he might well claim Peer age even with the moft part of the reft. 
 
 Among the other latter four, I have a particular efteem for one above the reft, and 
 that is LeonBaptifta Alberti , the moft Ancient of all the Modern^ and happly too, the 
 moft knowing in the dr* of Building , as may be eafily colle&ed by a large and ex^ 
 cellent Volume which he has publifhed, wherein he fundamentally fhews whatever is 
 neceffary for an ArchiteCi to know. But as to the Profiles of the Orders themfelves 
 and his regulation ofthem,I cannot but ftrangely admire at his negligence in drawing 
 them no more corre&ly, and with fo little art himfelf being a Painter ; ftnee it had 
 fo notably contributed to its recommendation, and to the merit of his works. But 
 this I have reform d in our following ColleClion , and believe in fo doing to have per¬ 
 form’d him no little fervice,as happly in danger to have otherwife never been follow’d; 
 there being hardly any appearance, that whilft the defigns of his Book were fo pitifully 
 drawn, being made ufe of in work, they ftiould ever produce fo good effect* 
 
 To the moft Antient I would affign for Cor rival, the moft Modern, that by confron¬ 
 ting them to each other, we might the better come to difeover whether the Art it 
 felf improve and proceed to any further perfe&ion, or do not already begin to im¬ 
 pair and decline. Thislaft Author, namely Viola, is of the Categorie of thofe which 
 the Italians call Cicaloni, eternal Talkers to no purpofe. He, whilft he propofes to 
 himfelfto write of the Orders and Proportions of Architecture, of the Rules of PerfpeCtive, 
 of fome Elements of Geometry and other the like dependencies on his principal Sub¬ 
 ject, amufes himfelf, poor man, in telling ftories ; fo that in fteadof a Book offdr- 
 chitedure, he has made (ere he was aware) a Book of Metamorphofes. Befides he has 
 this in common with Leon Baptift Alberti, that his defigns are both very ill-contriv'cJ, 
 and executed ; notwithftanding he follows a more elegant manner, and conforma¬ 
 ble enough, to that of Palladio ; but the Method which he ufes in his partitions is fo 
 groft, and mechdnique, that he reckons all upon his fingers, and feems to have never 
 fo much as heard fpeak either of Arithrnetique or Cyphers. 
 
 Concerning the two which remain,a man cannot well affirm them to have been in- 
 feriour to thofe who preceded them, nor yet to have been of the fame force with tire 
 firft,though I conceive they may well compare with three or four of them at leafh And 
 
 Thele are two French Mafters fufficiently renown’d both by their Works and Wri¬ 
 tings ; Philibert de Lorme, and Jean Bullant, whom yet I do not here place in the laft 
 range as being at all their inferiours; but onely that I may feparate them from the 
 Italians who are in far greater numbers. 
 
 CHAP. VII. 
 
24 
 
 A Far allel of the antient ArchiteZhre 
 
 
 CHAP. VII. 
 
 Palladio and Scamozzi ufonthe Dorique Order. 
 
 L E T us now then pafs to the Ocular Demonftration of the precedent Chapter by 
 the Parallel of the Architects which I have there afiembled together, and whofe 
 dtfigns I am haftning to examine by comparing them with our three Antique Defigm, 
 that according to their more or lefs conformity with thefe Original Models, we may 
 pronounce concerning their merit, and fee what efteem they indeed deferve. From 
 this confideration it is, that of all the choice of the other Maflers, I have extracted 
 Palladio and Scamozgi, who having propos’d to thernfelves the imitation of the antient 
 Architefis by ftudying thofe admirable Monuments yet remaining in the City of Rome, 
 have follow’d a manner infinitely more noble, and proportions more elegant then thofe of 
 the School of Vitruvius. 
 
 The firft Profile of Palladio hath a great affinity with our fecond example, Antique , 
 taken out of Dioclefean s Bathes ; for excepting onely the Dentelli which he may have 
 with reafon omitted, all the reft of the Entablature is upon the matter the fame. 
 
 He has likewife been fodifcreet (being peradventure oblig’d to follow the vulgar 
 errour, which will have the Bafe of a Column of this Order to be all one with the others) 
 to advertife before hand by an example which has none at all, that the Antients did 
 never ufe it after this manner. . ~‘~ 
 
 He allows but fifteen Modules to the Column , without Bafe, and with its Bafe he 
 makes it of lixteen, and fometimes proceeds even to feventeen and a third. The reft 
 of the meafures are fo diftin&ly mark’d upon the Profile , that it were fuperfluous 
 to explain them. 
 
 Scamozzi gives ever precifely feventeen Modules to his Columnes , accommodating 
 it with the fame Bafe that Palladio does; but to a great deal lefs purpofe, in as much 
 as he thinks fit to deck the Tores with I know not what delica te foliages, .which does 
 not at all become the Order ; no more then does the Ionique fluting which is abufively 
 employ’d in this place in ftead of the natural Dorique. His Entablature (as well as that 
 of Palladio ) fufficiently refemblesour fecond Model, to which he has onely added a 
 (mall cavity betwixt the Corona and the greater round, a thing not at all confiderable. 
 
 The Compofition of his Profiletdken in grofs, and altogether fimple appears of a 
 great Idea, but the Ornaments are to be reje&ed. ‘ v ' 
 
 * 1 < • . ,, V ' \ . 'A' - ■ 
 
 \ j> ,.S\v. •• .j . * ' ... j 
 
 
 
 
 • ' ' ’ I f 
 
 r\ ^ >o,r I , f - 
 
 ../ij jJl!: 1 J! l J i:.- 
 
 ■ r n 
 
 iLi lii 
 
 onv/ 
 
with the Moderni 2 $ 
 
A Parallel of tht antient Architedlure 
 
 %4l 
 
 CHAP. VIII. 
 
 Serlio and Vignola upon the Dorique Order. 
 
 T HESE two Mafters are infinitely oblig’d to their Interpreters who produced 
 them firft amongft the Tramontani and ftrangers, and particularly to our work¬ 
 men in France who hold them in very great eftimation; And though they are in 
 truth highly worthy of it, neverthelefs being compar’d to the preceding two? they 
 lofe much of their luftre, and come exceedingly fhort of them. 
 
 This the Reader may eafily find by comparing the one to the other with the Antient 
 Originals which I have prefixd as the Lantern and Comp aft of all true Architecture . 
 But it were not juft we fhould treat Serlio in this Examen with the fame rigour we 
 have done his Companion ; for that intending to follow Vitruvius (who is the moft 
 renown d and venerable Author of the Antients ) he has worthily acquitted himfelf; 
 Whereas Vignola who has purfu’d another courfe, really a more noble, and the very 
 fame which 1 alfo obferve here, knew not how to proceed without deviation. The 
 Dorique Profile which he here prefents us, is taken out of the firft Order of the Theater 
 of Marcellus, and the moft worthy example of'this kind which is to be met with 
 amongft all the Roman Antiquities , and of which alfo I have made choice for the firft 
 model of this Collection , with this onely difference, that 1 have precifely obferv’dall 
 the meafures and allowances of the Original, which you will perceive in this Au¬ 
 thor to be exceedingly changed, particularly in the Cornice and Capital: The com¬ 
 paring of the two defigns will in one inftant afford more light to the Reader, then I 
 can do by the difcourfe of an entire Page. 
 
 Serlio gives here fourteen Modules onely to his Column , comprehending the Bafe 
 and Chapter ; and the height of the Entablature amounts to three Modules and a little 
 more then two thirds, in fomuch as (contrary to his ordinary cuftom) he extremely 
 exceeds the quarter of his Column , which is the largeft proportion that the Antients 
 did ever pra&ife; fo as this great excefs puts me in doubt whether the Text of Vitru¬ 
 vius upon which he relies be not corrupted in that place; or elfe, when he fpake of 
 that Column , he did not mean the Shaft without its Capital: for fo by adding one 
 Module more ( which is the precife height of the Chapter ) the entire Column would be 
 fifteen Modules, and confequently the Entablature hold proportion conformable to 
 the Antients. 
 
 Vignola forms his Column of fixteen Modules, and the Entablature of four, which 
 is exa&ly the fourth part of the Column , and which makes it appear very regular: As 
 touching the Bafe introduc’d by the Moderns into this Order , I have already declar’d 
 my Opinion concerning it* 
 
 : • ”r.irrrr:. v" - ••“•}' " ; *"» 
 
 ; . • \ f-;-r * . y. 
 
 - - - - I ‘1 
 
 ' V • ' ■ 1 
 
37 
 
 \ 
 
28 
 
 A Parallel of theantient Architecture 
 
 CHAP. IX. 
 
 Daniel Barbaro, and Pietro Cataneo upon the 
 
 Dorique Order. 
 
 T his is here the perfeft School of Father Vitruviu*, whofe very name and 
 authority does extremely recommend it to us. Not that we are oblig’d in¬ 
 differently, and without choice to follow all thofe who pretend to have underftood 
 this grave and abftrufe Authour ; feeing every man ft rives to make him of his own 
 party, and to accommodate him to his particular Genius. 
 
 The very beft of them all was without exception Daniel Barbara, as well for his 
 excellent Commentaries, as for the exa&itude, and cleannefs of his defigns. A man 
 may perceive by the Parallel of his Profile with that of Cataneo his adjunft ; of Ser- 
 lio in the page before, and fome others following this Clafi, that heprefides here as 
 a Mafter among his Difciples. 
 
 It were an amufement to no purpofe, and very impertinent fhould I quote every 
 minute and fmall difference of one defign from the other; fince the Reader may better 
 fee it by one caft of his eye, then I can deferibe it to him in all the reft of this Page. 
 
 I will add onely this general advertifement, that the proportion of' the Colomn, 
 with its Entablature, is the fame here which Serlio gave us before, without being ne- 
 ceffitated to repeat my own opinion thereof; fince my Obfervation is upon Vitruvius, 
 and not againft thofe who have explained him. 
 
 Daniel Barbara has judicioufly introduc d a Bonder in the angular Metop of the 
 Freeze, thereby fignifying, that all Ornaments fhould be accommodated to the Or¬ 
 ders which they are applied to; and that this being of a robuft, and martial kind, 
 one may asoccafion requires, enrich it with Trophies of Arnes, Clubbs, Quivers of Ar¬ 
 rows, and fuchlike inftrumentsof Warr. 
 
 To the prejudice of Cataneo § defign, I find that the Gula of thefuperiour part of 
 the Entablature is fomewhat too great, that the Projection of the Plinth of the Capital is 
 a little too fmall, and renders the whole Chapter mean, and fhort, which extremely 
 disfigures his Profile ; befides, that the Bafe below has that in excels, which is defe¬ 
 ctive in the Chapter above. 
 
with the Modern . 
 
 29 
 
 r 
 
A Parallel of the antient Architecture 
 
 CHAP. X. 
 
 Leon Baptifta Alberti, and Jofepho Viola on the 
 
 Dorique Order. 
 
 A T fight of this firft defign of Leon Baptifta Alberti whofe Capital is entirely Gotique , 
 one might with reafon wonder why I fhould fpeak fo advantageoufly of him 
 in the general Examen which I have made of the modern Architects , amongft whom I 
 affign him one of the principal places ; and in earneft I cannot excufe him here of 
 that ill relifh, and of this fo ill-favour d a Compofition, however he pretends to 
 have feen it, and to have taken it from fome antient fragments .* But fuppofe it true 
 (for a man may meet with bad ones enough) he might alfo have found others a great 
 deal more tolerable: That which falls out the moft unluckily for him in this his firft 
 production of Ml, is, that it is of very great importance for a man to begin well; 
 finee the firft impreflion continues long, and introduces a confequence for thofe who 
 follow after. Neverthelefs, be it what it will, every man is obliged to accord with the 
 truth, and to judge of things honeftly, and without preoccupation. And therefore 
 to do him juftice, having firft condemned this defective part in his Profile , we are not 
 to rejeCt all the reft for that reafon; feeing it is in truth very good, of a great and 
 noble manner. It has alfo much conformity with our third antique Example in the 
 Modilions , whofe projeCtures put into work would produce a noble effect, as may be 
 judg’d by the Perfpedive which I have made of it. His Architrave and Freeze are both 
 regular, and the Entablature entire to its exaCt proportion with the Column ; for it 
 confifts of four Modules in height, and the Column of fix. The proportions of the 
 Baft are likewife very handfome, fo as in the whole defign there is nothing fcandalous 
 befides the Capital , which may eafily be fupplied by borrowing from his Collegue 
 Viola, whofe Profile is fufficiently correCt, and upon the matter the very fame v/ith that 
 of Palladio whom I perceive he has imitated in all the following Orders as well as in 
 this here. But fince he endevours to difguife his theft as much as poflible in alter¬ 
 ing lome of the mouldings, or mutilating fome member, he has here made a quarter 
 round in ftead of the direct Cymatium or Ogee of the Cornice , which is but a thing in¬ 
 different, or tolerable at leaft in the Dorique Order , that of Marcellud s Theater being 
 the very fame. 
 
 i 
 
31 
 
 with the Modern. 
 
32 
 
 A Parallel of the antient Architetturt 
 
 CHAP. XI. 
 
 John Bulliant:, and Philibert de Lorme on the 
 
 Dorique Order. 
 
 T IS not without fome difficulty that I have been able to reduce the fecond Profile 
 of this Page to thetermes you here behold it, Philibert de Lorme having defign’d 
 it fo flightly, and in fo fmall a Volume (though that in his book be large enough) that 
 it had been impoffible to give any of the members its due proportion without the 
 afliftance of the Text, upon which he has made three large Chapters; whereas by the 
 aid of fome better draught, he might ealily have fpar’d many words and letters of 
 direction extremely confus’d throughout his whole difcourfe, which he ufes to ex- 
 prefs the particulars of the proportions of each part of his Profile ; and this makes 
 me judge that the good man was no great P efigner? which is a Very ordinary defect 
 amongft thofe of his Profeffion : But this does not much concern our Subject in 
 hand, where we have onely to examine, whether the Dorique Order which he propofes, 
 has any conformity to the Antique , or at leaft to the Precepts of Vitruvius; as one 
 may perceive by the Parallel of his Companion John Bulliant , who has followed 
 this old Author in his Profile very pun&ually, though he alfo produce others from 
 Antiquity , in which I find him not io juft and exaft as I took him to be in the mean- 
 ing of Vitruvim, 
 
 I will not here ftand to particularife the difference which there is betwixt thefe 
 two Archhdhj left I my felf fall into the fame inconvenience which I but now re¬ 
 prehended in Philibert de Lome ; and for that the exadlnefs of my defigns have 
 neither need of illuftration or difcourfe: However, this I may add in favour of John 
 Bulliant , that he is the foie Senator of Vitruvius who has contain’d himfelf within 
 the regular termes of his Mafter as to the height of the Entablature , to which heal- 
 iowes three Modules and a half that precifely make the fourth part of the Column , 
 which ought to have but feven Diameters in height, according to Vitruim Lib. IV. 
 Cap. L which amounts to fourteen Modules, 
 
J t, 
 
 with the Modern. 
 
 . * 
 
 r** 
 
H 
 
 A Parallel of the antknt Archit edime 
 
 CHAP. XII. 
 
 A very antknt Sepulchre to befeen near Terracina, at 
 the fide of the high way leading Naples. 
 
 A T Terracina upon the confines of the State Ecclefiajiic there is yet extant the 
 Vejiigia and footfteps of this fmall Maufoleum fufficiently entire joyning to 
 the Appian way, where that diligent obferver of all thefe antient Monuments Pirn 
 Ligorio having difcovered and (as one may fay) disinterr’d it (for ’twas almoft bu¬ 
 ried amongft the brambles of a wild and uncultivated place as himfelf reports, at 
 the foot of the defign which he has made of it) took the plan mod exactly, and the 
 elevation of the Profile , upon which I have taken my directions to reduce it to that 
 Ichnographical form which I here prefent you. I was extremely glad to encounter 
 an example fo exprefsand convincing againft the abufe of the Moderns, who have 
 very inconfiderably introduc’d Bafes to the Columns of this Order? of which I have 
 formerly difcours d fufficiently. 
 
 The four faces of the Edifice appear to have been all alike, and on that which re- 
 fpefts the Wefl, there has been fome kind of Infcription upon the Architrave , but 
 there now remains nothing legible. 
 
 The Mafonry is of huge fquare Brick. •> and the Columns with their Entablature are 
 made of Tiburtine ft one, the Pyramid being alfo of the fame material. 
 
 The Diameter of the Columns is near upon two Palmes , the Entablature makes a fifth 
 of the entire Order ; that is to fay, a fourth part of the Column , which was but feven 
 Diameters in height. 
 
 This Sepulchre feems to be fully as antient as the very Appian way it felfl 
 
 / 
 
with the Modern . 3$ 
 
A Farallel of the antient Architecture 
 
 
 CHAP. XIII. 
 
 Of the Ionique Order* 
 
 ^W** H E firft produ&ions ot Arts have alwayes been exceedingly rare, becaule it is 
 JL fo difficult to invent; but it is not the lame of Imitation : For after men had 
 once feen Regular Structures, and thofe famous Temples of the Dorique Order men¬ 
 tioned by Vitruviws and lome others, Architecture did not long remain in its In¬ 
 fancy ; the concurrence and emulation of the neighbouring people advanc’d its 
 growth, and made it foon arrive to its perfection. The Iordans were the firft Compe¬ 
 titors with the Dorics in this divine Art, which feem’d to be defcended from the 
 Gods themlelves to gratifie Mankind with more opportunity of honouring them; and 
 though thefe had neither the advantage nor the glory to be Inventors of it,they ende- 
 voured yet to improve and raife it even above the very Authors. Confidering there¬ 
 fore that the figure of a Mans body, on which the Dorique Order had been form’d, was 
 of a fhape too robuft and maffy to fit holy Places and become the reprefentation of 
 Celefliahhings, they would needs compofe an Order after their own Mode, and chofe 
 a Model of a more elegant Proportion, wherein they had more regard to the Beauty 
 then to the Solidity of the Work, which gave the firft occafion of calling it the Fe¬ 
 minine Order , as indeed degenerating towards an effeminate foftnefs. And the truth is, 
 the Order of the Caryatides quickly fprung up after it, which was an extraordinary 
 affront to this poor Sex, and a very fhame to Architecture it felf^ for having fo irratio¬ 
 nally employ’d a feeble and delicate thing to perform an office where ftrength and 
 folidity were the onely neceflaries. Vitruviws , and divers of the Modern fince him, 
 mention the Original of this Order , and tell us, that the Inhabitants, of a certain City 
 of Peloponnefus named Cary a, having made a league with the Perfians againft their own 
 Nation the Greeks , after the rout of the Perfians , were afterwards belieged by the 
 Conquerours, and fo barbaroufly faccag’d, that putting every man to the fword, 
 confuming the City to afhes, and carrying the Women away Captive, their venge¬ 
 ance being not yet extinCf, they refolv’d toeternife their refentment by caufing pub- 
 lique Edifices to be ereCted, wherein for a mark of the fervitude of thefe Captives 
 they ingraved their Images in ftead of Columns , that lo they might overwhelm them 
 likewife under the weight of the punifhment which they had merited by the guilt of 
 their Husbands, and leave an everlafting memory thereof to future Ages: This is 
 the Example which Vitruviws has made ufe of to prove how neceftary it is that an Ar¬ 
 chitect fhould be knowing in Hijiory , to the end he introduce nothing impertinently 
 in his works, and without good reafon. The Gotique Order , which is the folly and very 
 Ape of Architecture, in imitation of the Caryatides has compos’d certain lame figur’d 
 Mufils or Corbells in ftead of Cartouzes fuftained by I know not what Chimeras and ri¬ 
 diculous Monkeys , to be met with in every corner of our old Churches ; but fome of 
 the Modern having ( with very good reafon ) found fault that fuch extravagances 
 fhould be feen in holy Places where reverence and modeftyare fo eflential, and con- 
 iidering how much more decent it were to fit thofe places with fome devout Repre- 
 fentations, without any refpeR at all to their Profeffion,or for want rather ofunder- 
 
 ftanding 
 
" with the Modern. 7 
 
 Handing the propriety of the Orders of Architecture, have amufed themfelves to place 
 the figure of Angels and other Saints in Head ol the Caryatides ; making them like fo 
 many Slaves* o carry huge Cornices , ahd even entire Altars upon their fhoulders, teu: 
 ftifying thereby how prepofteroufly and without judgment they confulted Vitruvius 
 upon the occafion of the Original of the Caryatides : For they would otherwife have, 
 underftood that this Order cannot be employed or indifferently enter into all forts of 
 Buildings, and that it requires no fmall difcretion to be aptly and difcreetly placed : 
 Above all, that itfhould never be ufed in Churches , which are the Houfes of God, and 
 Afylums of Mercy, where fervitude and revenge ought never to appear. They 
 had proceeded much better to have oneiy ufed the plain Regular Order which we 
 are now going to defcribe according to an excellent Antique Example taken from the 
 Temple of Fortuna Virilvs atprefent the Church ol St. Mary the Egyptian in Rome, the 
 Profile whereof has been fortunately met with among!! lome Papers of mine of that 
 great Antiquary Pyrro Ligorio ; whofe Manuscripts and Defigns are conferved as a very 
 rare Treafure in the Bibliotheque of the Duke of Savoy , which has furnifhed me with 
 a means to examine and verifie divers Meafures that at prefent a man would hardly 
 know where to take ; and to repair the Cornice with its proper Ornaments, which are 
 now fo impaired through age, that’it is extremely difficult to difeern them. This is 
 then the Model l fihall follow, and which fhall here ferve for the Rule of this Order, 
 having with mature confideration, and for divers reafons preferr’d it before that 
 which is in the Theater of Marcellus, from whence I have taken the Donque ; which 
 neverthelefs I fhall propofe in what follows, remitting others who concurr not with 
 my opinion to their own affe&ion and fancy. 
 
 c But before I enter upon the retail: of its proportions (for recommendation of this 
 Order, and the curiofity of the Reader ) I v/ill here recount: to you the names of fome 
 famous Temples built by the People of hnia, whofe antiquity is at the leaf! of two 
 thoufand years. The moft memorable, though not moft antient, is that renowned 
 Temple of Diana, ereded (as fome think) by the Amazons in Ephefius. This was a work 
 of fo ftupendious a grandure, that there was fpent above two hundred years in finifih- 
 ing it, all Afia contributing to this ineftimableexpenfe. Vitruvius in his third Book ., 
 Chap . /. fayes,.it was of the dipteryque figure; that is, inviron’d with a two-fold range 
 of Columns in form of a double Portico ; It was in length four hundred and twenty 
 five foot upon two hundred and twenty. All thefe Columns were of Marble foventy 
 foot in height. The Archhed of this proud Edifice, according to the fame Vitru¬ 
 vius, was one named Ctefephon , whom he mentions in his tenth Book, where he fpeaks 
 of an excellent Machine chat he invented to tranfport the Columns of this Temple ; 
 which for being of fo prodigious a length, that no ordinary force was able to move 
 and bring from their quarries, had been all to no purpofe, had not this extraordi¬ 
 nary Genius di(covered fome artificial forces to lupply the deleft of others. This 
 Structure is efteemed for one of the Worlds [even Wonders : There were yet in the fame 
 City of Ephefus many other Temples of this Order ; whereof two (one dedicated to A- 
 polio , the other to Bacchus') are principally remarkable, as having been in fome fort 
 comparable to this firfi , had they received their ultimate perfe&ion; but they were 
 left off unfinifhed, by reafon of the warrs again!! the Perfians , who were in conclu- 
 
 fion 
 
3 3 A Parallel of the antient Architecture 
 
 fion the utter ruine and fubverfion of this People: For Cyrm having fubjugated 
 Afia, plunder’d all this Country, faccag’d their Cities, demolifh’d the Temple, and made 
 fo univerfal and barbarous a devaluation, that there hardly remain’d^ any thing of 
 fuch an infinity of ftupendious Monuments which this noble Nation had ere&ed 
 throughout all Greece : Notwithftanding this, he fpared that of Diana of Ephefus 
 whofe aftonifhing beauty ferv’d as a Bulwark, to the fury and rage of this mighty 
 Conquerour. In Athens one of themoft flour idling Cities of the World, there was 
 alfo of the lame Ionique Order a very great number of Temples, amongft which, that of 
 the Delphic Apollo and his Son Eficulapm were highly celebrated. There is yet to be feen 
 in the fame place certain Vefligids reduc’d to the form of a Citadel', which they report 
 to have been heretofore the Temple of' the Goddejl Juno Attica . I could enumerate di¬ 
 vers others like thefe, of which the Antiquaries we have cited report marvels; but 
 in general termes, and without any benefit to the fiudiou* of the Art, who ftand in 
 need of fome more eflential remarks and inftru&ions. I will therefore manage the 
 reft of this difcourfe in defcribing the Compofition , and the parts of this Order , confor¬ 
 mable to the Profile which I have chofen for our Model, and which is precifely taken 
 from the Antique . 
 
 CHAP. XIV. 
 
 \The Ionique Profile taken from f A* Temple of Fortuna Virilism Rome, 
 Vbhichis atprefentthe Church of St. Mary the Egyptian. 
 
 A ccording to the opinion of that threefold grand Antiquary, Painter, and Archi¬ 
 tect Pino Ligorio, of whom I have heretofore fpoken, and from whom I have 
 borrowed this Profile, I may fafely propofe it for one of the moft regular Examples 
 of the whole Ionique Order which is now extant of antient Architecture; Add to this 
 the inftance which Palladio makes of it in his fourth Book and thirteenth Chapter, 
 being the onely one of this Order which he has inlerted amongft the whole colle&ion 
 of his Studies; fo as thefe two great Mafiers approving theele&ion and judgment I 
 have made thereof, it is not to be doubted for a Mafier-piece of fupreme perfe&ion. 
 I will therefore make the general defcription thereof, deducing the principal Mem¬ 
 bers and proportions in grofs, without amufing my felf with the fmaller retail of 
 the meafures of each particular part, which the Defign ought to fupply. 
 
 The entire Order from the Superficies of the Area to the Cornice, contains eleven 
 Diameters of the whole Column , which amounts to twenty two Models. 
 
 The Column with the Bafe and Chapter has eighteen Modules. 
 
 The’Entablature (that is to fay. Architrave, Freeze, and Cornice') contain four Mo¬ 
 dels lacking four Minutes, which are not considerable upon the total; and this height 
 making two nineths of the Column produce5 a proportionate mediocrity ’twixt that of 
 the Dorique Order before deferib’d ( whereof the Entablature compofes one quarter) 
 and that of the Corinthian ( as we Shall fee hereafter ) to which the Moderns do ordi¬ 
 narily attribute a fifth part. 
 
 The Voluta of the Capital is after an oval form, producing a very noble effeft, not¬ 
 withftanding that none of our ArchiteCis have put it in practice; but the reafon in my 
 opinion, is, the difficulty of tourning it with a grace, and for that they are generally 
 accuftom’d to do all with the Rule and Compaft, which are here in a manner ufelefs. 
 
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 LimtMMUHHMI HU HU 
 
 
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 nMMn 
 
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 'TheiaripU rfjfanly Tartune. at 
 
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 •*-1+ 
 
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 55 
 
A Parallel of the antient ArchitePlure 
 
 40 
 
 CHAP. XV. 
 
 Another Ionique Profile taken from the Theater of 
 Marcellus at Rome. 
 
 S OME may imagine that I ought to have effablifh’d mine lomqut Order upon this 
 Example, being as ’twere the twin-Brother of thefirft Dorique with which I have 
 commenced this Collection of Architecture, being both of them extracted out of the fame 
 Edifice, which is the Theater of Marcellus. And to fpeak truth, it was my firft de- 
 fign : But fecond cogitations being ordinarily the more judicious; I have fince con- 
 fidered that the amplenefs of the Entablature with its extraordinary plainnefs, was a 
 particular effeft of the Architects diferetion, who refolving to place this Order in an 
 exceeding large Building, and alfo upon an elevated place, where the fight could 
 hardly enjoy thofe Ornaments wherewithall it is ufually enriched, had regard onely 
 to the reformation of that by a rule of the Opticks, which the Eye might poflibly find 
 fault with in the grace of its general proportions from the diftance of its Elevation ; 
 fo that we may affirm of this Profile, that it does excellently well in Work, as ’tis placed 
 in the Original; but would not fucceed fo well in another of more mediocrity; and 
 above all in a work of one onely Order, unlefs it were of a Coloffean magnitude; which 
 is yet in truth neither proper nor natural to its feminine kind: However I will here 
 prefent you with its Proportions as well as with the others. 
 
 The height of the entire Order is twenty two Models, and two thirds. 
 
 The Column with her Bafe and Chapter hath but eighteen, and thofe precife enough; 
 fo as the whole Entablature confift ing of four and two thirds, it happens to be of an 
 extraordinary grandure, in as much as it exceeds a quarter of the Order,-which is the 
 largeft Proportion can juftly be given even to the Borique it felf. 
 
 The ProjeCture or Jette of the Cornice is alfo a little extravagant; but the Architect 
 has for all that fhewed himfelfvery judicious, having refpeft in that to the entire mafs 
 of the Building, and to the eminence of the fire of this fecond Order; For the fame 
 reafon he afforded but very little diminution to the Column above. 
 
 The Volutds of the Capital are Oval, as in the precedent Order, and this fhape of 
 the Valuta's was much pra&isd by the Antients ; but the method of tourning them with 
 the Compaji is fomewhat difficult, and has never as yet beendemonftrated. 
 
42 A Parallel of the antient 'ArchlteBure 
 
 •: , CHAP. XVI. 
 
 The PerfpefHve Elevation of a Profile drawn from the 
 Baths 0/Dioclefian at Rome. 
 
 I Would needs make an Elevation in Perffeffhe of this Profile , that fo I might add 
 fome variety to my defigns, and for that likewife it is an advantageous means to 
 reprefent the Idea of an Order, and the effeft which it produces being put in Work.-, for 
 their fakes who are not much practis’d in the Myftery. This piece flood in the Bath 
 of Vioclefian at the angle or coinage of a return of a Wall, as I have found out by a 
 Defign of mine very antient and of a good hand, where the Proportions as Well of 
 the Plan as of the Profile are exa&ly noted, even to the lead particulars. I have re¬ 
 duced and accommodated them to the divifion of my ordinary Model , as you may 
 perceive them on the Profile which is under the Perffeliive Entablature. 
 
 The height of the whole Order , from the Bafe to the top of the Cornice , amounts 
 to ten Diameters and a fourth ; which, according to our manner of meafuring con¬ 
 tains twenty Models and an half; which being divided ’twixt the Column and the En¬ 
 tablature takes up fevenreen, and the three Models and half remaining make up the 
 height of the Entablature: Now though there be a confiderable difference in the al¬ 
 titude of our firfl lonique Example, and this here , it rather yet conlifls in the total 
 quantity of the Order , then in the proportion of their parts; for I find here that the 
 Entablature compared to its Column has alfo the fame relation of two ninths; which 
 is to fay, that the height of the Column divided into nine parts, that of the Entablature 
 comprehends two of them; which is a Symmetric particularly affe&ed to this Order? 
 as I have elfewhere fhewed* 
 
 The Volutas of the Capital were tourn’d with the Compafi , after the manner I fhali 
 hereafter defcribe in a Page by its felf, and with which I fhali conclude this Order . 
 
with the Modem 
 
 
 
44 
 
 A Parallel of the antient Architecture 
 
 CHAP. XVII, 
 
 Palladio, and Scamozzi#/wz the Ionique Order. 
 
 , C ; ' A' 
 
 T H E R E is fo great a refemblance ’twixt the mouldings and the medfures of thefc 
 two Profiles, that the difference is hardly confiderable, unlefs it be in the fi¬ 
 gure of the Capitals , which in truth is very different in fhape, though fufficiently re- 
 fembling in proportion. 
 
 The Voluta of Scamozgi is particular, and by confequence hath lefs of the Antique 
 then that of Palladio : But Scamozgi has excogitated this expedient, that his Capital 
 might front on all fides, not liking (it may be) this variety of afpedl which we find 
 in the ordinary Voluta s. 
 
 The altitude of the Column according to Palladio contains nine Diameters , which 
 make after our meafure eighteen Models ; of which he gives to the Entablature but 
 one fifth part, being the fame proportion which hereafter he afligns to his Corinthian ; 
 He had yet peradventure done better to have contriv’d for this here a more propor¬ 
 tionable Medium ’twixt the Dorique and the Corinthian, proceeding by a certain grada¬ 
 tion from the f olid kind to the more delicate. Moreover, I could have wifh’d that the 
 Cornice had rather been tooth dthen Modilion'd, for the reafon already rendred in the 
 general Chapter of the Ionique Order ; which I mention onely to advertife (by the way 
 as ’twere ) what does in my judgment feem worthy to be obferv’d in this Profile, 
 which in the reft of the parts is exceedingly rare, and in this very particular notab- 
 lolutely to be condemned ; feeing things which may be improv’d, are not therefore 
 to beefteemed for ill. 
 
 As for Scamozgij befides that the fame obfervations which I have made on the 
 Profile of Palladium are repugnant to him, there is this yet worfe, that the Capitalhe ing 
 a great deal more mafiy, in ftead of giving a greater height to his Cornice, and com¬ 
 posing it of more ample members, he has contrarily made it lefs, and cut off three 
 or four Small Beglets which renders it very dry and trifling. 
 
46 
 
 A Parallel of the antient Architecture 
 
 CHAP. XVIII. 
 
 Serlio, and Vignola upon the Ionique Order. 
 
 v ... . . •. . .. . _ ‘■ y> 
 
 T HE inequality ofthefe two Profiles is fo wide, chat ’tis almoft impoflible to ap¬ 
 prove of them both, and yet neverthelefs there is in a manner as little reafon 
 to condemn either the one or the other ; for having each of them their principles 
 fufficiently regular, together with their Authorities and Examples* 
 
 The firft, which is Serlio^ having made a handfome ColleUiion of all the moft confi- 
 derable Antiquities of Italy , from whence he fhould have taken a noble Idea of the Or¬ 
 ders^ is returned back to the School of Vitruvius. j, whither the flendernefs of his Genius 
 has recalled him. 
 
 On the contrary, Vignola is falln with excefs into the other manner that we 
 name the Grand\ which though indeed more noble and advantageous, has yet for all 
 that its juft limits, which being once exceeded becomes vitious and extravagant. 
 
 Now the great difference of thefe two Mafters proceeds from Serlids making his 
 Column but of feven Diameters and an half, allowing onely a fifth part to the Entabla¬ 
 ture ; and Vignolas compofing his of nine Diameters , and his Entablature of a full 
 quarter. 
 
 That which I chiefly reprove in this laft, is, that he makes ufe of th eBafe which 
 Vitruvius compofed for his Ionique ; a thing not to be excufed but in thofe who follow 
 him likewife in all the reft: For others who have endeavoured to imitate the Antique , 
 have no reafon to employ it, there being no prefident for it. And in truth alfo it ne¬ 
 ver has had the approbation of the ableft modern Mafters , who upon examination 
 have greatly wondred that Vitruvius fhould impofe fo vaft a Torus upon fo fmall Cin- 
 ftures. , charging the ftrong upon the weaker, which being totally repugnant to the 
 order of Nature , is very oftenfive to the eyes of the Curious* 
 
48 
 
 A Parallel of the antient Architecture 
 
 CHAP. XIX. 
 
 D. Barbara^ and P. Catanco upon the 
 lonique Order. 
 
 Y O U have here the very fame ftyle that Serlio has obferved in the precedent 
 Chapter; And though there be much relemblance in the Profiles of all the three 
 Mafiers , neverthelefs we muft reckon that as to the meaning of Vitruvius (to whole 
 Doltrine they have univerfally endeavour’d to conform themlelves) Daniel Barbarc is 
 the Captain and chief Conductor, as may eafily be difcern’d from the pattern of the 
 Contours onely belonging to the Voluta of the Capital , which is a mod effential piece in 
 this Order , and whofe true draught was never fo much as known to our modern Archi - 
 tells before Daniel Barbaro , to whom we are obliged for the recovery of this excellent 
 Mafter-piece of Antient Architeliure , though he has had the goodnefs to divide the 
 glory of it with his Contemporary and intimate friend Palladio^ by whofe conference 
 and help he acknowledges to have been affifted in the delineation of all his defigns. 
 
 I referve it for the conclufion of the lonique Order to make a Page apart of this 
 manner of Voluta , where 1 (ball fhew a way to trace it regularly according to our 
 Authors intention. And iince it is more compendious to paint then defcribe it, I 
 fhall better give you the demonftration by Pule and Compafi , then by employing a 
 tedious difcourfe about it. 
 
 I find nothing obfervable in thefe two Profiles befides a certain over-fimplicity 
 and plainnefs : For the reft, the difference of the Entablature , as well in relation 
 to the height, as fhape, is fo fmall, that it is nothing at all confiderable: What is 
 more worthy of remark inffhe defignof Daniel Barbaro , is this; that he gives to every 
 face of the Architrave a certain Jlope or kind of down ward and inclining ftroke, as 
 ’tis exprefly ordained in Vitruvius s third Book, towards the period of thelaftC^. 
 ter: But I find that the Rule of PerfieHive upon which he grounds it, is more re¬ 
 fin’d andfubtile for its difcourfe, then any way folid in the execution, and befides, 
 I never faw an example of it in any work whatfoever. 
 
I 
 
5o 
 
 A Parallel of the antient Archite&ure 
 
 CHAP. XX. 
 
 L. B. Albert, and Viola upon the Ionique Order. 
 
 T H E conformity of thefe two Deftgns to thofe of Anderea Palladio and Scamozzq 
 is fo confpicuous, that one may eafily judge of their mutual affiftance of 
 each other: viz^ That Viola made bold with that of Palladio , as he did before in the 
 Dorique : and that Scamozgi has imitated L. B. Alberti who is his Senior above an 
 hundred years. For the reft, it were a difficult thing to decide which of thefe two 
 Profiles is to be preferred, in regard the Ionique Order has been fo diverfly treated of 
 by the Antients , as may appear in the Examples I have produc’d, of which there 
 are fome enrich d with Mouldings and Ornaments , others more naked and limple. 
 That which I fhould have wifh’d for here as conducing to a greater and more exad 
 regularity, fhould have been to have cut the Dentelli upon the flat Band of L. B.. Al¬ 
 berti 's defign ; fince he has omitted Modilions there, which his Companion Viola for 
 obferving may the better be excufed of: Though for my part, I fhould have rather 
 employed Dentelli there, as an Ornament more particularly affe&ed to the Ionique Or¬ 
 der , and have relerved the Modilions for the Order which follows next. 
 
 The Reader may remember, or elfe, looking back on fome Pages, refleft upon 
 what I have there obferved on the Profiles of Palladio and Scamozgi; becaufe it fo 
 much agrees with that of Viola here; To which I may yet fuperadd as a new charge,that 
 he has done ill to imploy another Bafe different from that of the Attique ; fince he few 
 how his Matter Palladio had preferr’d it before that of Vitruvius's Compofition; He 
 had alfo done much better to have followed precifely the Proportions of the Cornice in 
 the fame defign of Palladio ; for in attempting to difguife his imitation, by adding of 
 fome Members and changing of others , he has in fine rendred it but the more mean 
 and trifling. 
 
with the Modern i ,, § t 
 
 ' 4 S - 
 
$2 
 
 CHAP. XXI. 
 
 Builant, and de Lorme upon the lonique Order. 
 
 T HIS firft Profile is exactly after Vitruvius , as well as that of Serlio , Cataneo, and 
 Daniel Barbara which you have already feen: But there is in the other nothing 
 at all worthy of our imitation, as being neither conformable to any of the Antiques , 
 nor to Vitruvius , nor in the leaft regular in its parts : For firft, the Cornice is ta- 
 mufe and blunt, the principal Members , vi^. the Cymatium and Cooping fmall and poor; 
 The Freeze is larger then the Cornice , and the Bafe of the Column changed both in 
 flhape, and the proportion of its parts, as appears by the exceflive dimenflons of the 
 Tore, compared with the two Scotia's underneath; befides that extravagant repeti¬ 
 tion of the two Aflragals upon the Plinth. The Voluta of the Capital is alfo too grofs, 
 and fo is the Collar of the Pillar together with its Lift : In a word, the entire Com- 
 pofition is defervedly ranged in this iaft place: But after all this, I cannot but admire 
 chat a Perfon of this Authors Condition, who was fo extremely induftrious (as may 
 be eaflly deduced from what himfelf has publifh’d in his Book of Obfervations made 
 at Rome upon the Antiquities there ) who had fo great a natural propenfity to Ar¬ 
 chitecture , and fo many opportunities of ftudying at his eafe, and of inftruding him¬ 
 felf ; Who proceeded by fo cli. red a Method of the Art, and in fine, was Mafter of fo 
 many handfome occafions of putting his ftudies into pradice; That I fay a man fur- 
 nifh’d with fo many advantages, fhould neverthelefs emerge fo ordinary an Artifl: 
 But this (hews us, that we are many times deceived by our own Genius, and impor¬ 
 ted to Things for which we have no manner of Talent, 
 
 i 
 
54 
 
 A Parallel of the antknt Architecture 
 
 CHAP. XXII. 
 
 The Order of the Caryatides. 
 
 I Intend not here to repeat the HiJlorj from whence this Order has deriv’d its Origi¬ 
 nal^ having already fo amply deduced it in the general Chapter of the lonique Order, 
 whereof this is here but a Species ; all the difference confifting in the foie alteration 
 of the Column metamorphos’d into the Figure of a Woman, which for appearing 
 fometimes incommodious to Architects from the extreme over-largenefs of the Vefts 
 and Garments cumbring and difordering the Paffage and Symmetry of the Intercolunrm- 
 atm, caufed them to reduce it onely to the carving of Heads in place of the Capitals, 
 where they adjufted and compofed the Dr effing and Tyre to the refemblance of Voluta's, 
 without any alteration in the reft of the Column, unlefs where they cut Channels or Flu¬ 
 tings on it, to reprefent after a fort th eplaitings and folds of thef t Matrons Garments; 
 finoe this Ornament is found to change neither the Diameter nor height of the Shaft, 
 which are the Bafes, and as it were foundations of ArchiteCtonical Proportions. 
 
 That which I afferted before concerning the Caryatides in the general Chapter of 
 the lonique Order, fufficiently difeovershow few the occafions are where they can be 
 employed judicioufly; notwithftanding fo many of our modern Architects take fo 
 great a liberty of introducing them indifferently into all forts of works: For not one¬ 
 ly the Palaces of great Princes without, and within; but even the ffoufes of private 
 Perfons, Churches, and Sepulchres themfelves are filled with them, without any regard 
 either to the reafon of the Hiflory, or to juft decorum: Nay oftentimes, out of an infup- 
 portable extravagance, in lieu of thefe poor and miferable Captives, they fee the vene¬ 
 rable figures of the Vertues, Mufes, Graces, and Angels themfelves; whereas they fhould 
 in truth rather chain and confine the Vices there. 
 
 But it is fufficient to have advertifed you of this Abufe without any further de¬ 
 claiming againft it. 
 
$6 A Tarallel of the antietit Architecture % 
 
 CHAP. XXIII. 
 
 Of the Perfian Order. 
 
 T H O U G H the name of this Order be lefs known then that of the Caryatides , un¬ 
 der which it feems they would generally exprefs all thofe Orders where Figures 
 are introduc’d to fupply the places of Columns ; yet ought we not to follow the vul¬ 
 gar abufe, feeing Vitruvius has put a difference betwixt ’em in the fame Chapter 
 where he {peaks of the Caryatides: And in regard this here fhould be fomewhat more 
 folid in reference to the Sex they ordinarily give him a Dorique Entablature , in con- 
 lideration whereof I had once intended to have rang’d it at the end of the Dorique 
 Order , or plac’d him the firffc here; But confidering fince, that Vitruvius does not 
 treat of it till after the Caryatides. , I thought it became me not to innovate any thing 
 in a matter of fo fmall importance. I fhall therefore fatisfie my felf in advertifing 
 that the Romans very rarely made ufe of the Caryatides ; and truly we do not meet 
 with fo much as any Veftigia's of them, though Pliny in his thirty fifth Book, and fifth 
 Chapter has mention’d thofe of the Rotunda to the amufing of fo many of our modern 
 Antiquaries, who,through all that Temple (and which to this day remains fo entire) can 
 by no diligence find any commodious place nor appearance where they fhould have 
 been well defign’d: On the contrary, for thefe Captives after the Perfian there are ex¬ 
 tant fundry Examples, fome whereof are yet to be feen in the very places where they 
 were fet in work, as particularly in the Arch of' Conftantine , and fome others which 
 have been tranfported into Gardens and private Palaces , which were taken no body 
 knows from whence. What is here defign’d is from an excellent Original extant yet 
 at Rome in the Palace of Farnezi. 
 
57 
 
 
 with the Modern. 
 
 \X£ X© 
 
 2N HE P 
 
 ! 
 
 
A Parallel of the antient Architecture 
 
 CHAP. XXIV. 
 
 Of the Contour or Turning of //?eIonique Voluta. 
 
 T HE body of this Capital without its Voluta or Scroul bears a great conformity 
 to that of the Dorique , as may be ealily dilcerned by conferring their Profiles 
 the one with the other: For the diverfity of their form which at firft blulb appears 
 fo large to the eyes of fuch as have never examined the particulars of the Members 
 that compofe it, conlifts altogether in the application of the Voluta upon the Abacus^ 
 which gives a mod advantageous variety to the lonique ; in as much as the draught 
 of its Contour does confift of die mod induftrious operation of the Compajl which is 
 pra&ifed in the whole Art of Architecture ; So as who ever of our modern Majlers he 
 were that retriv’d it (for ’twas a long time loft, and totally unknown to thole of the 
 Profeffion) he has render’d doubtlefs a very conliderable piece offervice to the Art. 
 
 That famous Painter Salviati , contemporary with the R. Daniel Barbaro , and by 
 confequent alfo with Palladio , printed a fmall loofe Iheet which he dedicated to D. 
 Barbaro as to the moft famous Arbiter of Architecture in his time, who alfo under- 
 ftood it, and had communicated if with Palladio who accidentally and as it were by 
 chance had been the firft Inveftigator of the praftice of it whiles he metamongft 
 fome antient Fragments a Capital of this Order^ on whofe imperfect and rough-hewn 
 Voluta he obferved the thirteen Centers of this ffiiral line which gives it fo noble and fo 
 ingenious a Turn. 
 
 I will not here engage my felf on a tedious difcourfe about its defoription, it being 
 fo much a {hotter and more demonftrative way to advance to the direft Method of its 
 delineation: Thus then in general you are to proceed. 
 
 The height of the Chapter , and partition of each Member being defign’d, one mull 
 regulate the extent and proportion of the Abaca* conformable to the meafure deci¬ 
 pher d upon the Profile at the point 32, and at the point 28 \ a little beneath. Where 
 the Cymafium encounters the Lift of the Scroul make a perpendicular line fo .as it may 
 pals through the very Center of the Eye of this Voluta marked A, till falling upon a 
 right angle by the co-incidence of another line proceeding from the middle of the 
 Collerine or Chaplet , the point of interfieUdon give you the juft Center of the Eye : Then 
 about this Center defcribing a Circle of the widenefs of the Collerme (which Circle (as 
 was faicl) points theprecife dimenfions of the Eye , and its true place of polition) 
 you (ball form therein a fmall Square^ through mhoic Angles having drawn two diagonals 
 (which cut it into four triangles ) divide each moity of the diagonals into three equal 
 parts, and each of thefe points (ball lerve for confequutive Centers one after another 
 by which to form thole feveral quarters of Circles which compofe the jfiiral line of die 
 Voluta. They are diftinguifhed by numbers on the defigr h according to the order by 
 which you are to proceed. 
 
6o 
 
 A Parallel of the antient ArchiteUure 
 
 CHAP. XXV. 
 
 A Portico of the Temple o/Fortuna Virilis at Rome, 
 which is now the Church of St. Mary the Egyp¬ 
 tian. 
 
 H Aving throughly examined every part of the lonique Order , and obferved in 
 particular the fhape and proportion of all its Members ; It feems now in a 
 manner neceflary, the better to conceive a perfect Idea of them, to place them together 
 in one entire body, that fo we may contemplate the Symmetry and conformity which 
 they hold mutually to each other: I have to this effed made choice of a Frontifi- 
 pkce the moft noble and magnificent compofition an Edifice can poflibly be adorn’d 
 with ,* And to the end we may contain our felves within the juft limits which I have 
 eftablifhed, I {hall here make ufe of the lame Antiquity from whence I extra&ed my 
 firft Model whereon I do principally found the regularity of the Dorique Order . 
 
 Thole who (ball have the curiofity to examine the Flan of this Temple , with its 
 Meafures, and Profile of the Doore which is exceeding noble, may find it in the fourth 
 Book, of Palladio Chap . XIIL and at the fame time fee one of the moft curious pieces 
 of Architecture of that whole Book > which is the Plan of a Capital he calls Angular , 
 that being plac’d upon the Column of an Angle renders a face of two (ides, by which 
 it preferves the fame afpe& with the reft of the Capitals which are on the Wings and 
 Front of the Structure, 
 
with the Modern. 
 
62 
 
 A Parallel of the antient Architecture 
 
 CHAP. XXVI. 
 
 Of the Corinthian Order. 
 
 T H E highed degree of perfection to which Architecture did ever^afpire, was 
 ereCted for it at Corinth , that mod famous and formerly mod opulent and flou- - 
 rifhing City of Greece , although at prefent there hardly remains any footdeps of the 
 grandure which rendred it even formidable to the people of Rome itfelf, but which 
 was alfo the caufe of her ruine: For this Nation impatient of Competitors, on pretence 
 that the Corinthians had done fome difpleafure to the Ambajfadors which fhe had fent, 
 took occadon of denouncing War againd her; fo as the Conful Lucius Mummius going 
 thither with a great Army reduced their City to Afhes, and in one day dedroyed the 
 Work of more then nine Ages from the period of its fird foundation. 
 
 It was from thence that our Corinthian Order affumed its Original; and although 
 the Antiquity of it be notprecifely known, nor under whofe Reign that Callimachus 
 lived, to whom Vitruvius attributes the glory of this excellent Production; it is yet 
 eafie to judge by the noblenefs of its Ornament, that it was invented during the 
 magnificence and fplendor of Corinth , and not long after the Ionique Order to which 
 it hath much refemblance, the Capital onely excepted; for there’s no mention that 
 Callimachus added any thing of his own befides that dately Member. 
 
 Vitruvius in the fird Chapter of his fourth Root reports at large upon what occa- 
 lion this ingenious Architect form’d the Idea of this great Mader-piece which hath 
 born away the Palm of all Architecture , and rendred the name of Corinth immortal: 
 And though the Hiflory which he there mentions may appear fomewhat fabulous in 
 the opinion of' Villalpandus y who treats alfo of this Capital in his fecond Tome Lib . F. 
 Chap. XXIIL neverthelefs it were very unjud that the particular conceit of a modern 
 Writer fhould prevail above the Authority of' fo grave an Author . Let us fee then 
 what Vitruvius fayes of it. 
 
 A Virgin of Corinth being now grown up, fell fick and dyed; The day after her 
 Funeralls her Nurfe having put into a Basket certain fmall veffels and trifles with 
 which fhe was wont to divertife her felf whild fhe lived, went out and fee them up¬ 
 on her Tomb, and lead the air and weather fhould do them any injury, fhe covered 
 them with a Tyle: Now the Basket being accidentally placed upon the root of an A~ 
 canthus , or great Dock ., the herb beginning to fprout at the fpring of the year and 
 put forth leaves, the dalks thereof creeping up along the ddes of the Basket and meet¬ 
 ing with the edge of the Tyle ( which jetted out beyond the margine of the Basket } 
 w^ere found ( being a little more ponderous at the extremes ) to bend their tops 
 downwards, and form a prety kind of natural Volnta. At this very time it was that 
 the Sculptor Callimachus ( who for the delicatenefs of his work upon Marble, and 
 
 gentilenefg 
 
with the Modern. 
 
 gentilenefs of his invention was by the Athenians furnamed Catatechnos , (that is to lay, 
 Induflrious ) palling near this Monument, began to call: an eye upon this Basket, and 
 to conlider the pretty tendernefs of that ornamental foliage which grew about it, the 
 manner and form whereof fo much pleafed him for the novelty, that he fhortly after 
 made Columns at Corinth refembling this Model, and ordained its Symmetries diftr ibu- 
 ting afterwards in his Works proportions agreeable to each of its other Members 
 in conformity to this Corinthian Mode. 
 
 You fee .Vfchat Vitruvius reports : But Villalpandus who v/ill needs give this Capital 
 a more illuftrious and antient Original, pretends that the Corinthians took itfirftfrom 
 the Temple of Solomon, of which God himfelf had been the ArchiteSl ; and the better 
 to elude what Vitruvius but now taught us, would make us believe, that the Capitals 
 of the Acanthus were rarely ufedby the Antients, who were wont ordinarily to carve 
 them with Olive-leaves ; and proves in that which follows by Text out of the Bible, 
 and fome other Hifiorians who have given us the defcription of this divine Archu 
 tefture, that the true Originals of the Temple were of Balm- branches bearing Fruit, to 
 which the leaves of the Olive have a nearer Correfpondence. The Defign which we 
 {hall hereafter defcribe with the whole Entablature of the Order, drawn precifely ac¬ 
 cording to che meafures which Villalpandus has collected, and which I have exprefly 
 followed, without regarding the Profile which he has caufed to be engraven, will bet¬ 
 ter difcover that I know not how to decry the beauty of this compofition : In the 
 mean time, to be constant and preferve my felf within the terms of the Corinthian Ar - 
 chiteSiure which has been praffifed by thofe great Mafters of Antiquity as well Greeks 
 as Romans, and of whom there yet remain fuch wonderful foot-fteps and even entire 
 Temples which may ferve as fo many exp refs and demonftrable Lectures of the Pro¬ 
 portions of this Order ; I have made choice of one of the mod famous amongft them, 
 to which I totally conform my felf without any refpeft to the opinion of the modern 
 Authors; feeing they ought to have purfu d the fame Paths, and regulated themfelves 
 with me upon thefe Original Examples. 
 
 The Rotunda (heretofore called the Pantheon ) having ever obtained the univerfal 
 approbation of knowing perfons, as being the mofl regular Corinthian Work, and in-* 
 deed the moft famous among all the remainders of Antient Rome, appears to me to 
 be the very beft Model which I could pofhbly make choice of, though there are in¬ 
 deed others to be found which are much richer in ornaments, and of a beauty more 
 elegant: But as our Gufts do generally differ, I have preferred mine own, which ra¬ 
 ther affe&s things [olid and alittl eplain, for that indeed to me they appear fulleff of 
 Majefty. Neverthelefs, for as much as tis fometimes neceffary that an Architect ac- 
 commode himfelf to the Perfons humor which employs him; and for that one meets 
 with occafions where magnificence is proper, as in Triumphal Arches, Kings Palaces i 
 Temples, and publique BAs which were much in ufe among th t Antients, and in di¬ 
 vers the like ample Scruffures, where fplendourand profufion are chiefly confider d, 
 I will produce fome examples of the moll renown d of' Antiquity, the firft whereof 
 fhall be that great Relique of the Frmtifiiece of the Torre di Nerone fo call d, which has 
 
 been 
 
64 A Parallel of the antient Architecture 
 
 been demolifhed within thefe late thirty years, to the great reproach of this Age, by 
 the avarice ol fome particular Perfons. 
 
 This was one of the rareft pieces of Antiquity , as well for the beauty and richnefs of 
 its ornaments, as for the compofures of the members of the Order, which even in Pa¬ 
 per it felf appears bold and terrible ; the judicious Architect of this work very well 
 underftanding how to introduce a Grandure of manner into his defign, which fhould 
 equal that mafs of ftones he heap'd up and contriv’d into the ftru&ure of this Gigan - 
 iique Edifice, whereof the Columns contained fix foot diameter. 
 
 It is not precifely known who it was that caufed it to be built, nor yet to what 
 purpofe it ferved: Some imagine it was a Temple erefted by the Emperor Aureliams 
 and dedicated to the Sun \ Others chat ’twas oneiy a particular Palace, The vulgar 
 have a Tradition that Nero rais’d it of that height to behold the Conflagration of Rome y 
 which is very improbable, as being too great a work to have been accompliihed in 
 fo fhort a time: But whatever it were, certain it is, that it has been the moft magni¬ 
 ficent and goodlieft Order of Corinthian^ ork which all Pome could boaft of, as one 
 may well perceive by the defign which I fhall preient you of' it after that of the Pro¬ 
 file of the Portico belonging to the Rotunda , being the Model on which I regulate the 
 , Proportions of the Corinthian . 
 
 The enfuing Defign is a fimple reprefentation of the Hifiory of Callimachus which I 
 but now reported, and is placed here oneiy for Ornament-fake. 
 

a 
 
 A Parallel of the antipit Architecture 
 
 CHAP. XXVII. 
 
 A Corinthian Profile taken from the Portico of the Ro¬ 
 tunda at Rome. 
 
 T H E whole height of the Order from the Bafe to the Cornice amounts to three 
 and twenty Models and two thirds, whereof the Column with its Bafe and Chap¬ 
 ter contains nineteen, and the Entablature four and two thirds; fo as the whole En¬ 
 tablature ( which is the Architrave, Freeze, and Cornice ) makes a quarter of the Co¬ 
 lumn : And albeit it may leem reafonable to follow the opinion of fome Authors 7 
 who allow him but a fifth; yet we find, that the moft famous of the Antique , for 
 example, this frontifpiece of Nero, and the three Pillars of Campo Vaccino at Rome, 
 which in the judgment of Architects pafs for the nobleft reliques of Antiquity, chal¬ 
 lenge an entire fourth part for their Entablature: Upon this account, I conceive it 
 fafeft to preferve our felves within the limits of our Example from the Rotunda , left 
 endeavouring to render this Order more fpruce and finical, it become in fine but the 
 more contemptible. 
 
 Behold here its compofition in general, and the proportions of the principal 
 Members, of which the Model is ever the Sernidiarncter of the Column, divided into 
 thirty Minutes . 
 
 The entire height of the Order contains twenty three Models and two thirds, which 
 
 amount in Minutes to---—- - 710 
 
 The Bafe has one Module precifely-----———*- — ^30 
 
 The Shaft of the Column fifteen Modules and two thirds,wanting two Minutes— 468 
 
 The Chapter contains two Modules and a third onely----— 70 
 
 The Entablature , viz. Architrave , Freeze , and Cornice four Modules, and two thirds, 
 
 two Minutes over;-------— - - 14 z 
 
 Concerning the fmall divifions of each part, it would be too tedious and indeed 
 fuperfluous to fpecify them here, fince the Defign demonftrates them more intelligibly. 
 
 I have towards the end of the fecond Chapter of this Book, taught how one fhould 
 make the Calculation of an Order for the examining the Proportion which the Entabla¬ 
 ture bears with its Column , and thereby to fee if it hold regular: It would be no lofs 
 of time to the Reader did he make proof of his fkill upon every Profile: But*Tack- 
 vife him before hand that there are three different Proportions all of them beautiful, and 
 which may very well agree with this Corinthian Order: That is to fay the Fourth, us in 
 this and the following Profile ; The two Ninths, which arc the mean Proportions of 
 the fourth to the fifth, as in the third Profile taken from the Baths of Dioclefian : and 
 laftly the fifth, as in the Profiles of Palladio and Scamozgi not fo frequently encoun¬ 
 ter'd amongft the Antients. ■ ; 'v • f"v- 
 
with the Modern * 
 
 
 Cf»M 
 
 3CT: 
 
 533 
 
 4 ? 
 
A Parallel of the antient Architecture 
 
 CHAP. XXVIII. 
 
 The Elevation in Perfpe&ive of an excellent Corinthian 
 Profile, which was in the Frontifpiece of the Torre di 
 Nerone at Rome. 
 
 A Lthough this piece of Architecture were one of themoft magnificent of all Anti¬ 
 quity, as well for the excellency and the richnefs of its Ornaments, as for the ftu- 
 pendioufnefs of the Work ; yet could I never certainly learn what kind of Strudure 
 this fihould have been, nor indeed under whofe Reign it was built; Some reporting it 
 to have been a Temple dedicated to the Sun by the Emperor Aurelian ; Others,that it was 
 onely a private Pallace built by Nero, in which he plac’d that extravagant Colofi of 
 Brafl which fixt a non ultra to the folly of the Sculptors of that Age, who out of a fa- 
 crilegious profanation of their Art would deifie the Emperors, by ereding Statues to them 
 of a prodigious grandure, as they did heretofore to the Gods to whom this honour was 
 of righttobereferv’d. Andrea Palladio conceiv’d it to have been a Temple of Jupiter ; 
 fome others conjedur’d that it might be a Palace of the Cornelia's, thus every one had 
 his particular conceit: But fince the truth of this queftion is very indifferent to our 
 SubjeCi in hand which confiders onely what relates to Architecture, I fhall refign the 
 debate thereof to our Antiquaries . 
 
 The Columns were ten diameters in height, every diameter of fix foot, which being of 
 fo exceflive a bignefs as tranfcended whatfoever had been built at Rome either before or 
 fince it,inclines me to believe it might indeed be fome work of Afro’s.The Compofition 
 of the Profile in general is of an excellent Idea, and each member fufficiently regular;For 
 the reft, I thought fit to prefent it in Perfftefiive, to fhew the ftupendious effeft of this 
 manner of defign, which even upon paper it felf, and without at all exceeding the limits 
 and proportions which the Art has prefcrib’d, prefents to the Eye a kind of aftonifh^ 
 ing grandure, proceeding partly from the extraordinary procedure of the Entablature , 
 whofe Corona carries its jette a great way beyond the Modilions, and which indeed makes 
 the Columns to appear a little weak and furcharg’d: But the Architects had provided 
 judicioufly for it, by making ufe of that manner of Columniation which the Greeks have 
 termed Pycnofiylos, where the Pillars are fet very near to one another. 
 
 Now for that thofe who have only made their ftudies o f Architecture but from'fimple 
 Profiles, may wonder to fee here fome of the Members extraordinarily diftant from their 
 accuftom’d proportion ; 1 advertifethem that it proceeds from an effed of the Optiques , 
 which never prefents things precifely to the Eye, but diverfifies them according to 
 the various afpeds and diftances from whence they are beheld; and the parts which 
 thence receive a more fenfible alteration, are fuch of them whofe [uperficies is moftfle- 
 %uom and circulary, as the Gula or Ogee which compofes the Crown of the Cornice, which 
 being feen from beneath, and more advanc’d upon the Plan, receives a confiderable 
 accefs of height; The fame reafon alfo makes the Column to diminish, as being fet 
 f urther within the Plan then any of the reft of the Members. 
 
with the Modern. ^ 
 
?o 
 
 A Parallel of the antient Architecture 
 
 CHAP. XXIX. 
 
 Another Corinthian Profile exceedingly enrich'd and full 
 of Ornament , taken from Dioclefian’s Baths at Rome. 
 
 A FTER this Corinthian Example we are no more to expeft any thing rich in 
 Architecture, but it belongs to the judicious onely to put it in pra&ile, for the 
 abundance of Ornaments is not always to be efteemed, nor of advantage to a build¬ 
 ing ; On the contrary unlefs the Subjed oblige one to it by confiderations very pow¬ 
 erful, one fhould never be too profufe, fince they but difturb the proportions and 
 produce a confufion among the Parts which offends the eye of thofe who are truly 
 knowing, and carries a certain antipathy to the very name of the Order. 
 
 It is not therefore to be employed but in great and publick Works, Houles of 
 Princes , and fuch Palaces as are built for magnificence onely; as were heretofore ac 
 Pome the Bathes of Dioclefian, of Antoninus, and Trajan whereof there are yet to be feen 
 fuch goodly remainders, and from whence this Profile had been taken notice of and 
 delign’d by that famous Architect Pjirro Ligorio in the year *574; fince which time 
 thefe great Theaters of Architecture have been difmantled of fundry of their Columns 
 with their ornaments, and of a number of other incomparable pieces, whole Defigns 
 I have from the hand of feveral Mafiers who had there made very curious and pro¬ 
 fitable oblervations from many noble things which are now no more to be found. 
 
 The Diameter of the Columns of this Profile amounted to four Palmes ; The Chapter 
 had this in parti cular, that its fialks and flexures of the leaves were made in the form 
 of Ramms horns , but the reft after the ordinary proportions and foliage . In fumm, the 
 whole Ornament in general was fo artificially elaborated, and finifh’d with that affe¬ 
 ction and politenefs, that Pyrro Ligorio having accomplifh’d the defign, writ this un¬ 
 derneath it. That by the delicatenefs of the work, one would believe, the Sculptors 
 had wrought with their Tools perfurnd. 
 
 The Proportions of the Order, 
 
 The Column together with its Bafe and Chapter has twenty Models , which reduc’d to 
 
 Minutes (thirty whereof make a Model ) amounts to —---—-*- 6 00 
 
 The Architrave hath a Model and one Third----—-—-— 40 
 
 The Freeze in like manner one Model and a Third--———-—— 4© 
 
 The Cornice two* Models within eight Minutes ——-—————-- 52 
 
 The whole Entablature amounts to two ninths of the height of the Column, which 
 is a noble proportion, and fhews handfomely in work. 
 
with the Modern* 
 
 _/- 7 X 
 
 *<r 
 
 Of the bathes \ of QvoclgJxccrt 
 
?2 
 
 A Parallel of the antient Architecture 
 
 CHAP. XXX. 
 
 A Corinthian Profile of the T emple of Solomon out 
 
 of Villalpandus. 
 
 B Ehold here a kind of Particular Order, but of an excellent Compofition, which 
 though I dare not affirm to have been precifely the fame Profile with that of So¬ 
 lomons Temple (the Model which I propofe to my fell) yet as near as one can approach 
 to that divine Idea from its deception in the Bible and fome other famous Hiflories 
 mention’d in that great work of Villalpandus where all the ornaments and principal 
 proportions of each member are exaffly fpecified, I conceive it to be fufficiently con¬ 
 formable. The compofition is perfe&ly Corinthian, though the foliage of the Capital 
 and its Cauliculi or branches are of Palmes, and the Freeze of the Entablature have bor¬ 
 row’d the Dorique Ornament which are the Triglyphs whole folidity bears but little con¬ 
 formity with the tendernefs of the Corinthian : But by what ever name you will call 
 this Order (notwithstanding that Jofephm affirms it to have been the Corinthian) certain 
 it is, there was never any more perfect .• and although the Corinthian be a very foft and 
 maidenly Order, which does not require the ftrength and virility of the Dorique, fymbo- 
 liz’d by the Triglyphs ; yet may one upon certain occafions introduce it with that ad- 
 drefs and reafon, as will not onely render it excufable, but very judicious: For in- 
 ftance, fuppofe one were to build Churches or Altars in memory of thofe generous 
 Virgins who from their tender age vanquish'd the cruelty of Tyrants for the defence 
 of Chrifiianity, furmounting all forts of Torments by their Conftancy, What could we 
 imagine more expreffive and futable to their Courage then this divine Order P It 
 may alfo be proper on fome profane occafions, as in Triumphal Arches and the like 
 Scruff ures. In a Word, finceit gave Ornament to that famous Temple of Jerufalem, 
 which never yet had equal, we may with reafon call it the flower of Architecture, and 
 the Order of Orders. 
 
with the Modern. 
 
 
 *i t*ih 
 
 'o-H 
 
 Of the. Temple, of ffe-rtyaleere^ 
 
74 
 
 A Far add of the antient Architecture 
 
 CHAP. XXXI. 
 
 Palladio and Scamozzi upon the Corinthian Order. 
 
 O F all the Corinthian Examples which I have formerly produc’d for the Rule of 
 the Order exprefly chofen from the moft excellent pieces of Antiquity , there 
 is not one of them of the proportion which thefe two Mafiers here obferve, who make 
 their Entablature but of a fifth part of the Column: However when I conlider their great 
 reputation (particularly that of Palladio , whofe Works even emulate the beft of the 
 Antients') and the reafons which they alledge for difcharging the Columns proportio- 
 nably as they are weakned by the altitude and diminution of their Shaft, according to 
 the delicatenefs of the Orders , I can neither contradid their judgment, nor blame thofo 
 who would imitate them ; though my own Maxim be ever precifely to conform my 
 felf to the Gufio of the Antients , and to the Proportions which they have eftabliflfd. 
 
 Palladio makes his Column but of nine Diameters and an half, that is to lay, of nine- 
 teen Models ; fo as the difference of the height obferv’d betwixt his Entablature and 
 that of Scamo^'s proceeds from Scamozzi s Columns being of ten Diameters which 
 is likewife an excellent Proportion? and indeed more ufual then the other among the 
 Antients . 
 
^ctUacLt 
 
 to. 
 
 
 
 33 2 : 
 
 
 
 38 
 
 * 
 
 x.l 
 
 o 
 
 tA 
 
 
 4 * 2 . 
 
 L 
 
 
 
 
 *Jc 
 
 
 
 
 / 7 ^ 
 
 - 8 t - 
 
7 6 A Parallel of the antient AxchiteZlure 
 
 CHAP. XXXII. 
 
 Serlio, and Vignola upon /^Corinthian Order. 
 
 M Ethinks I fee here a Giant next a Pigmy ^ fo monftrous is the difproportion 
 ’twixt thefe two Mafiers ; and the reafon of this fo extraordinary inequality 
 proceeds from two Caufes; Whereof the firft is, that Serlio allows to the Entablature of 
 Ills Profile but a fifth part of the Column , whereas Vignola makes his own of an entire 
 quarter, and exceeds even that by fome Minutes: The fecond is, That Serlio follow¬ 
 ing Vitruvius , makes the altitude of his Column but of nine Diameters, and Vignola gives 
 his ten, the fame which I formerly obferv’d in the Ionique Order , where we met the 
 very fame inconvenience. But albeit the difference of thefe two Profiles be in gene¬ 
 ral very confiderable; yet coming to the particulars, what we find in their Capitals is 
 of greater confequence, fince we muft of neceflity condemn that of Vitruvius pre- 
 fcrib d in his fourth Book, towards the end of the firft Chapter; there being no reafon 
 to preferr it alone to a number almoft innumerable of moft excellent Models which 
 remain of Antiquity , amongft which we meet with none in the fame terms to which he 
 has reduc’d the height of his own; unlefs it be that out of refpeft to this grave Author , 
 who Is indeed worthy the reverence of all thofe of the Prcfeffion , and to avoid the in¬ 
 vidious name of Critique , we fihould choofe a gentler way, which is to elude the que¬ 
 stion after their examples, who having already obferv’d the fame miftake before us 
 (either in effed or out of modefty) believ’d the Text to have been corrupted in this 
 place as well as in divers others where the alteration is manifeft ; fo as aflifting *the 
 fenfe a little one may fuppofe that Vitruvius deligning the height of the Corinthian 
 Chapter by the largenefs of the Diameter of its Column , he fhould not have compre¬ 
 hended the Abacus , which is the foie ambiguity of this Paflage, and which indeed 
 deferves corred ion, or to be otherwife underftood then Serlio comprehends it. 
 
OX 
 
 with the Mbdern, 77 
 
A Parallel of the antient ArchiteBure 
 
 CHAP. XXXIII. 
 
 Daniel Barbaro, and P. Cataneo upon the 
 Corinchian Order. 
 
 O F all the four Orders of Architecture defcrib’d by Vitruvius ( for he fpeaks not a 
 Word of the Compofita which is the fifth ) This of the Corinthian appears to me 
 to be the moft (lightly handled, confidering the noblenefs and magnificence of its In- 
 ven tors , who having fpard no coft to render it rich and excellent beyond all the reft, 
 were not likely to borrow any thing from thofe amongft whom they were ranked. I 
 conceive that Vitruvms therefore at the beginning of his fourth Book had no reafon 
 to affirm, that they ufed to employ the Entablature and the Ionique , and fometimes 
 even the Dorique Column alfo, without any other addition lave the Capital of their own 
 invention; fince by the antient Examples of this Order we find the contrary: But 
 the R. Daniel Barbarous Commentator whole defign is before us, is by no means to be 
 blamed for it, whofe province was onely to exprefs the meaning of the Mafier whom 
 he explained, and of which he has very worthily acquitted himfelf. 
 
 He has therefore fitted an Ionique Entablature to this Corinthian Profile, forming the 
 Capital of Acanthus-leaves conformable to the defcription and hiftory of its original 
 mention’d by Vitruvius. I would not for all this advife any Workman to make ufe of 
 this Compofition ; without firft confidering the relative proportion which the Entabla¬ 
 ture ought to have with the whole of the Order , a thing that I find is here extremely 
 changed and a great deal lefs then it ihould be, by reafon of the confiderable height 
 which the Column has received by that of the Corinthian Chapter , which is two thirds 
 higher then the Ionique ; but this is remedied by enlarging the Freeze, and by adding 
 feme new Moulding to the Cornice ’twixt the Corona and the Dentelli , as a quarter of a 
 Circle or lb, to carve the Eggs and Ankers in. 
 
 The Defign of Cataneo has nothing in it remarkable, unlefs it be the extravagant 
 Frojeciure which he allows to the fillet of his Dentelli , as we alfo find it in the Defign of 
 D, Barbaro : They have both in this followed that Maxim which regulates the Pro- 
 jeorure of every member to its height, but this rule is not alwayes to be received. 
 
 What I have laid in the precedent Page touching the height of the Capital accor¬ 
 ding to Vitruvius would here be fuperfluous to repeat: It may therefore ferve both 
 for this, and for all the reft that follow being of the fame Species. 
 
with the Modern. 
 
 7 9 
 
 30 . 
 
8 o 
 
 A Parallel of the antiint Ar chile Bure 
 
 CHAP. XXXIV. 
 
 L. Baptifta Alberei, and Jofeph Viola upon the 
 
 Corinthian Order. 
 
 I Shall here need onely to examine the defign of Alberti , That of his Companion 
 Viola being but an imitation, or rather a perfect Copy after the Profile of Palladio, 
 which we have feen already, and to which 1 referr the Reader as to its Original. . 
 
 As touching that of L. B. Alberti , I find two remarkable particulars in his defign 
 which feem worthy of reprehenfion; The firft is the low proportion of the Capital , 
 which is onely pardonable in the followers of Vitruvius , for we find no Example of it 
 amongft the Antients fince even he himfelf imitates a Manner both greater and more 
 noble then the Vitruvian: The other obfervable is in his Cornice , to which he has 
 given no Corona though it be a member fo elfential and one of the principalin the 
 Entablature: But though this liberty be fomewhat bold, and perhaps blame-worthy, 
 yet remains there one confiderable Example at Rome, in the Cornice of that famous 
 Temple of Peace built by the Emperour Veffafian , being one of the greateft and mod 
 fuperb Reliques of Antiquity . 
 
 The face likewife of the Modilions feems to me ofthelargeft, and befides that the 
 Foliage which domineers in the Freeze holds not fufficient conformity with the Cor- 
 nice, as too Ample and plain for fo rich an Ornament: But the remedy is at hand by 
 adding a few Leaves or other Carvings on the Cymatiums of the Cornice and Architrave , 
 with Eggs upon the quarter round; unlefs it be that you would rather fave that work 
 by abating fomewhat of the Ornament of the Freeze: There will yet remain this Ob- 
 |edion ftill in the defign ; That the Author refolving rather to fix upon the Capital of 
 Vitruvm then on thofe of the Antients, he ought not to have carv’d them with Olive- 
 leaves ; fince Vitruvm does exprefiy order them of the Acanthus* 
 
or 
 
 with the Modem 
 
 Si 
 
82 
 
 A Parallel of the antient ArchiteBurt 
 
 CHAP. XXXV. 
 
 Bullant, and DeLorme upon the Corinthian Order. 
 
 ] Should do an injury to one of our prime French Architects JohnBullant by name, 
 if by the Examen of this Profile I fhouldrank him with thofe of the School of Vi¬ 
 truvius , fmce he has after this given us others of a nobler form, which he has co¬ 
 pied from the Antients; but not finding him fo perfectly exaCt in the meafures which 
 he affigns them, I therefore omit 'em: He appears in this defign to have imitated 
 SerliOj and indeed the difference between them is very inconfiderable; notwithftand- 
 ing I obferve fomething in this of more refin d, as the Projefiure of the Ventelli ( or 
 rather of the plain fillet on which they fhould have been cut) which is extremely re¬ 
 gular, whereas Serlios is exceffive, befides the impertinent repetition of a fmall Ogee , 
 which is thr ice within the fpaceof the Cornice onely, but which Jean Bullant has had 
 the difcretion to diverfifie: He alfo gives his Capital more grace, the leaves and 
 
 branches whereof are better fihaped. L_.__ 
 
 I could have wiftfd for conclufion of our Corinthian Order , that De Lome had left 
 us a more regular Defign , and of a better relifh .* But the good man, though very ftu- 
 dious, and a lover of the Antique Architecture , had yet a modern Genius., which made 
 him look upon thofe excellent things of Rome as it were with Gothique Eyes ; as ap¬ 
 pears plainly in this Profile , which he pretends to be conformable to thofe of the Chap- 
 pels of the Rotunda . For the reft, his ftyle is fo exceedingly perplex’d, that it is often¬ 
 times very difficult to comprehend his meaning: The Reader will fmile to fee how 
 he explains himfelf on the fubiect of this Cornice (fit is in the fourth Chapter of his ffxth 
 Book ) For having cited all the meafures of each part, piece by piece, he fayes, that 
 as to the height of the Architrave , he had divided it into three and forty parts and an 
 half, to give every thing its proportion, but that not falling out as it ought, he sre- 
 folv d to fpeak no more of it; and thefe are his very termes: As to the Bafe of this 
 Profile , 1 have taken it from the end of the foeond Chapter of the fame Book .* And al¬ 
 beit its proportion be very extraordinary, he affirms yet to have defign’d and mea- 
 fur d it from certain Veftigias very antique (thefe are again his own expreffions; ) 
 You may likewile take notice that the ftalks or Cauliculi under the rofes of the Abacus 
 rife too high in this Capital: In fumm, the Talent of this Architect, who has for all 
 this acquir’d a great deal of reputation, confifted chiefly in the contriving and fur- 
 veying of a Building; And intruth his chief perfection lay more in the art of fqua- 
 ring ftones then in the Compofition of Orders; and of this he has indeed written with 
 moft advantage and at large: But fince him, and that very lately, the Sieur Defargues 
 of Lyons one of the moft exquifiteand fubtile Geometricians of this Age, whofe Genius 
 delights to render familiar and ufeful the moft excellent peculations of'that Science? 
 has exalted that Art to a much higher perfection. - — ^ - 
 
with the Modern. 
 
 
 o 4 
 
84 A Parallel of the antient Architecture 
 
 CHAP. XXXVI. 
 
 The Orthography ofone of the Altars ofthe Rotunda. 
 
 N O T to leave the mind of our Reader altogether intangled amongft the Mo¬ 
 dern^ and happLy alfo deviating from the right path of Architecture, Iampre- 
 fenting him with an Example from the goodlieft Temple of Antiquity, which is one of 
 the Tabernacles now {landing in the Rotunda ; that fo he may return and be again re¬ 
 duc’d to this noble and perfect Idea of the Art which I have ftill been propofing to 
 him in my fix’d difeourfe before every Order by the like Examples ; upon which,as up¬ 
 on the moft permanent and immovable foundations, he ought to fix and eftablifh his 
 Studies: For,compar’d to this, the writings ofth c Moderns are but loofe Earthy and ill- 
 bottom’d,upon which one can ereft nothing that is fubftantial and folid: But having al¬ 
 ready fufficiently treated of the Modenatures and Proportions of' the Corinthian Orders, and 
 that the Defign which I here propofe is too little for the precifely meafuring of each 
 member,I fhall only touch two or three particulars here which more import the gene¬ 
 ral compofition of the Defign then the regularity of the Order; The firft whereof is, That 
 its now become as it were the mode , I fhould fay rather an univerfal madnefi, to efteem 
 nothing fine, but what is fill'd and furcharged with all forts of Ornaments , without 
 choice, without diferetion or the leaf!: affinity either to the Work, or the SubjeC\ : fo as 
 the Compofition of this Altar would be efteem kl very mean in the opinion of our 
 fmall al a Mode Mafters, who to enrich it, would in lieu of the tingle Column which 
 at each fide fuftains the Frontifpiece , make a pile of four or fix and happly of more, 
 with two or three accumulations of Mouldings in the Cornice to break the Order and 
 exaft evennefs of the Members , whole regularity is anxious to them; One Fronton 
 would be likewife too few for them, they add frequently two and fometimes three, and. 
 that one within the other; nor do they think it fine unlefs it be broken, carv'd and frett 
 with fome Efcutcheon or Cartouch at leaft; Nay even the Columns themfelves which 
 are the props and foundation of the Orders fcape them no more then the reft ; for 
 they not onely abufe and counterfeit them in their Capitals and Bafes, but in their very 
 Shafts alfo: Tis now efteemed a Mafier-ftroak to make them wreath'd and full of rings , 
 or fome other capricious ligatures about them, which make them appear as if they had 
 been glew'd together and repair’d: In fine, one may truly fay, that poor Architecture is 
 very ill-treated amongft them: But it were not juft to impute this great reproach to 
 our French Work-men onely ; The Italians themfelves are now become more licentious , 
 and fhew us plainly that Rome has at prefent as well her Moderns as her Antiques. 
 
 The End of the F 1 r s t Par t. 
 
! . .pm 
 
 with the Modern. 85 ' 
 
P A R A A L* L E L 
 
 O F T H E 
 
 ANTIENT ARCHITECTVRE 
 
 WITH THE 
 
 MOD E R N. 
 
 CHAP. I. 
 
 Of the Tufcan Order. 
 
 T is an abufe fo vifible in the Architecture of the Moderns , their 
 confounding the GreekOrders amongft the Latine , that I amafto- 
 nifhed at the general inadvertency of fo many Authors , as treat¬ 
 ing of their Symmetries^ and the Particularities of their Proportions , 
 have fo difpos’d of them as plainly difcovers how ignorant they 
 were of their Proprieties and ffecifique differences, without 
 which it is fo very difficult to makeufe of them judicioufty. 
 
 I had already hinted lomething in the Preface of the Fir ft Part or this Treatife , to 
 prepare the Reader for the new Order which I am here obferving; but which.being con¬ 
 trary to the vulgar Opinion and current Pralike will have much ado to eftablifh it 
 felf,and doubtlefs provoke many Adverfaries. But fince the foundations of this Art 
 are principally fixt upon fuch Examples of Antiquity as are yet remaining, I hope, 
 that in time my opinion may prevail, feeing I tread but upon their fbotfteps, and 
 rather demonftrate the thing then difcourfe of it. 
 
 Hitherto 
 
88 A Tar allel of the antient At chile dure 
 
 Hitherto all our Architects have generally held that the Tufcan Order was a kind 
 of Building which d iffer’d from the others but in the plainnefs of its Mouldings , and 
 folidity of its parts; but in the reft, confifting of the fame Members , and of like 
 ufage: And truly I fhould be injurious to condemn it, fince Vitruvius has in his 
 fourth Book, made a particular Chapter of the manner how to build Temples after the 
 Tufcan Order . Notwithftanding, however one might interpret what he there fayes, 
 it will be found very difficult to invent an handfome Idea of Entablature fit to 
 place upon thole Columns: And therefore I conceive that the onely piece of this 
 Order which deferves to be put in work, and that can properly recommend it to 
 us, is the fimple Column it felf without any Architrave at all, as we find it employ’d by 
 the Antients: For whereas by the ordinary ufage of it, ’tis ever rang’d in the laft place, 
 Theft great Mafters have aflign'd it one wholly independent from the others, and 
 treated it fo advantageoufly, that it may for its beauty and noblenefs ftand in com¬ 
 petition with all the reft of the Orders: Nor will this I prefume be denyed, when 
 they fhall well have confidered that renowned Example which I am producing of the 
 Column of Trajan , one of the moft fuperb remainders of the Roman magnificence to 
 be now feen Handing, and which has more immortaliz’d the Emperour Trajan then 
 all the Penns of Hijiorians. This Maufoleum , if fo we may call it, was ere&ed to him 
 by the Senate and People of Rome in recognition of thole great Services he had rendred 
 the Countrey ; and to the end the memory of it might remain to all fucceeding Ages, 
 and continue as long as the very Empire it felf, they order’d them to be engraven on 
 Marble , and that by the richeft touch that was ever yet employ’d. It was Archite¬ 
 cture her felf which was here the Hiftoriograph of this new kind of Hifory, and who fince 
 it was to celebrate a Roman , chofe none of the GreeKOrders , ( though they were in¬ 
 comparably the more perfect and in ufe even in Italy it felf then the two other Origi¬ 
 nals of the Country ) left the glory of this renown d Monument fhould feem to be divi¬ 
 ded ; and to inftruft us alfo, that there is nothing fo plain and fimple but what Art 
 knows how to bring to perfection: She chofe therefore a Column of the Tufcan Order 
 which till that time was never admitted but in grofs and Ruftiq ; works; and ofthis rude 
 and inform mafi made to emerge the richeft and moft noble Mafer-piece of the Worlds 
 which Time , that devours all things, has prelerv’d and kept entire to this very Day 
 in the midft of an infinity of Ruines which even fill the City of Rome . And ’tis in¬ 
 deed a kind of miracle to fee that the Coloffeum , the Theater of Marcellus , thofe great Cir¬ 
 cus 5, the Baths of Dioclefian, of Caracalla, and of Antoninus , that proud Moles of Adri¬ 
 ans Sepulture , the Septizpnium of Severus , the Amphitheater of Auguftus , and innu¬ 
 merable other Structures which feemed to have been built for Eternity , fhould be at 
 prefent fo ruinous and dilapidated,\ that its hard even to divine what their original 
 forms were ; whiles yet this Column of Trajan ( whole Structure feemed much lefs 
 durable)remains extant and entirely a fecret of Providence which has deftin’d this ftu- 
 pendious Obelishso the greateft Monarch that ever Rome enjoy’d, the Chief of the Church 
 St . Peter, who poffeffes now the Seat of that Emperour to whom it had been ere&ed. 
 But to preferve my felf within the limits of my fubjeff, which is onely to give you 
 
 its 
 
with the Modern. 29 
 
 its defcription according to the defign of the Architect who was the Author of it, I (hall 
 leave to luch as are contemplative the moralizing on this fo wonderful Viciffitude ; fmce 
 it would be here from our purpofe, and very impertinent to the Art we are illuftrating. 
 
 Let us then again return to our Column , and its fingular ufe among all the Orders of 
 Arcbitefture , where the reft of the Pillars do in comparifon to this appear but as fo 
 many Servants and Slaves of the Edifices which they fupport, whiles ours is a Queen of 
 that Majeftj , that reigning as it were alone fhe is exalted on the Throne of her Piedejlal 
 deck’d with all the treafures of glory, and from whence fhe as freely imparts her mag¬ 
 nificence to all rhofe whom fhe vouchfafes to look upon: The firft and moft illuftrious 
 of her Favourites was Trajan , upon whofe Monument I am now forming an Idea of the 
 Order which I would call Tufcan, without troubling my felf with what all the Mo¬ 
 derns have written of it,who making no difference ’twixt it and the Rufiique do no great 
 honour to the Tufcan while they gratifie him with fo poor an Invention: But left our 
 Criticks take it ill we fhould name that a 7ufcan Order which had its firft Original in 
 Rome , let them if they pleafe call it the Roman Order ; fince drey may with much 
 more reafon do it then thofe who fo name the Compofita of which we {hall {peak 
 hereafter. For my part I regulate my left upon the Profiles of the Capital and Bafe, 
 which I here find to be the fame Vitruvius attributes to the Tufcan Column: The moft 
 important difficulty in my opinion would be how our Column having no Entablature , 
 could be properly reckon’d in the Catalogue of Orders , that being fo principal a Mem¬ 
 ber, and in fome degree the very Head of the Order. But the Arc hi ted of this our 
 Model well fbrefaw that fomething was to be fubftitured in its place, and fo contriv’d 
 it after a moft excellent manner* He propos’d doubdefs to himfelftlie imitation of 
 thofe miraculous Memphitic Pyramids which the Egyptians (thofe divine Wits to whom 
 we are fo much oblig’d for many excellent Arts ) had formerly erefted to the me¬ 
 mory and Afhes of their Kings , who from the immenfe and prodigious greitnefs 
 of their Tombs one would believe had been Giants , and as it were Gods among ft Men: 
 Their Urns and Statues crowned the fummities of thefe artificial Mountains, from 
 whence, as from fome auguft and terrible Throne , they feemed to the people reign¬ 
 ing after their death, and that with more Majefty then when they liv’d : Our pru¬ 
 dent Architect being to render the fame honour to Trajan , the worthieft Prince that 
 till then had born the Title of Emperour , and whom the City of Rome did ftrive to im¬ 
 mortalize, reflefted ferioufly upon thefe ftupendious Works, whence he drew, this 
 high and fublime imitation which we fo admire, and which has fmce become a Rule, 
 and been follow'd on fundry other occafions: Two moft renowned Examples of this 
 are yet remaining ; The Column of Antoninas at Rome alfo, and that of Conftantinopte 
 erefted to the Emperor TheodofiusMlcc his Victory againft the Scythians ; which fuffici- 
 ently teftifie by their refemblance to that of our Trajan , that this kind of Architellure 
 pafs’d currently for an Order amongft the Mafters of the Art , feeing they always em- 
 ploy’d it ever fince Upon the fame occafions, together with Tufcan Profilures both at 
 the Safe and Capital: This eftablifhed, the reft will eafily follow, foas not to fubjeft 
 it henceforward to the opinion and diverfity of the Guffs of rhofe of the Profefon ; 
 
<?o A Tarallel of the antient Architecture 
 
 fince we have the Original for our Model to which we ought of necefiity conform 
 left we tranfgrefs the terms and regularity of the Order: Now fuppofe an Architect 
 be on fonie occafion obliged to introduce, or change any thing in it, as the time and 
 the quality of his defign may require; he is yet to proceed with extraordinary cir- 
 cumfpedion, and without in the leaft altering the form of the principal Members ; in 
 which one fhall perceive the addrefs of his fpirit, and the gallantry of his invention: 
 This is a Maxim fo univerfal through all the Orders , that without it onefhould never 
 pretend to give Rules, nor propofe indeed any Example for imitation ; fo naturally 
 obnoxious are our inclinations to novelty, and fo blind in our own Produdions: See 
 then from what fourfe the confufion of that Order fprung which they name the Com- 
 pofita , and which the prefumption and ignorance of Workmen has begotten like an ex¬ 
 travagant Monjler blended with fo many natures, and forcedmes fo averfe and con¬ 
 trary that ’tis impoffibletodiftinguifh their Species: I have relerved their full Exa - 
 men for the conclufion of this Treatife , where I fhall make choice of what I meet with 
 of moft conformity to the rules of Art and of good Architecture , and where I (hall 
 produce fome of the moft famous Examples of Antiquity , that at leaft men may have 
 faithful Guides through this Labyrinth of Confufion. 
 
 Our Troyan Column which we here fubftitute in ftead of the Tufcan Order , by the 
 Prerogative of its excellent compofition has this advantage above the other Orders , 
 that there feldom happning occafions worthy of it; that is to fay, fuch as are parti¬ 
 cular and noble enough to merit the putting it in pradice ; Our fmallMafiers inca¬ 
 pable of fo high an imployment, have fpoken nothing of it, and by this means fibe has 
 remained in her original purity : But the firft which was ever made in imitation of it, 
 and that has exceedingly confirm'd the eftablifhment of this new Order , was the Co¬ 
 lumn of Antomnm which is yet very entire, and theonely Paragon to ours, though it 
 concede fomewhat to it in the execution and magifterial handling ; but in recom- 
 penceof this it furpafles it in the greatnefs of its Mafl , a thing very confiderable in 
 t\i\§ Order, whofe ffecifique beauty confifts in being vaft, and of a manner Colojfale: 
 for the reft, the Compofition and Ordinance of the whole defign are very alike. 
 
 I will now (hew in general the efted and form ot the principal members, and of 
 what one ought to be careful in the application of Ornaments , which are to be difpo- 
 fed with great difcretion, as being of the very Effence and body of the Order: The firft, 
 and as it were the foundation of the whole Strudure is the Pkdejlaf which is here no 
 lefs neceffary then is the Cornice to the Columns ot the other Orders ; and its proportion 
 though fquareand folid requires an enrichment of handfome Modenatures , and of all 
 other forts of ornaments at the Plinth and Cymatium , but above all in its four faces , 
 which are as it were the Tables of Renown where fhe paints the Victories of thofe Heroes to 
 whom foe ereds fuch glorious Trophies: It is there that we behold all the Military 
 Spoils ot the vanquifh’d, their Arms , the Machins they made ufe of in fight, their En- 
 figns , Skidds, Cy meter rs, the harnefl of their Horfes and of their Chariots ,; their Habili¬ 
 ments of Warr, the marks of their Religion , and in a word what ever could contribute 
 to the pomp and magnificence of a Triumph: Upon this glorious Booty our Column 
 
 as 
 
with the Modern. 91 
 
 as on a Throne is ereded and revefted with the moft rich and fplendid Apparel which 
 Art can invent; and indeed provided the Archited be a judicious perfon it cannot be 
 • too glorious.* I repeat it again that this ought in no fort to alter or in the leaft confound 
 the Proportions and Tufcan Profiles of the Bafe and Capital , as being the-very keys of 
 the Confort and harmony of the whole Order . The laft but principal thing, becaufe 
 it fetsthe Crown upon the whole Work, is the Statue of the Perfon to whom weered 
 this fuperband magnificent Strudure ; This hath an Vrn under his feet, as intimating 
 a renafcency from his own Afljes like the Phoenix , and that the Vertue of great men tri¬ 
 umphs over Veftiny which has power onely over the vulgar. 
 
 As to what concerns the regular Proportion of this Figure and Urn with the alti¬ 
 tude of the Column, I can here conclude nothing precifely, this part being repair’d in 
 the Original, and that in a manner too modern and wide of thefirft intention of the 
 'Architect to derive any advantage thence for our fubjed. It may yet be faid with 
 likelihood enough, that fince ’tis as ’twere the Entablature of the Order one- fhould 
 allow it a fourth part of the Column as to the Trabeation of the Dorique Order to which 
 this bears a very great refemblance: I conceive alfo that the Figure ought fo to be pro¬ 
 portioned by the rules of the Optiques ,that it may appear of a fize forr)ewhat exceeding 
 rhe Natural, and of an elegant Symmetry, that fo it may be taken notice of above all the 
 reft ; but with this diferetion yet, that being of neceffity to ftand on its feet, it appear 
 of a firm pofition, and that the mafl of the Vrn which ferves it for Piedeftal have a 
 lblidnefs agreeable to this effed: For ’tis a thing greatly obliging in Architecture, to 
 make every thing not only [olid and durable, but that it likewife fo appear and thereby 
 avoid that Gotique indecorum which affeds it as a beauty, the making of their works 
 feem as ’twere hanging in the air and ready to fall upon ones head, which is an Ex¬ 
 travagance too vifible for us to fpend any time in confuting. 
 
 By this time I think I have left nothing unfaid which concerns the general Com - 
 pofition of our Column As for the lefter retail of the Proportions and Profiles of each 
 Member, the Defign lliews them fo perfpicuoufly that ’twere but a childifh and imper¬ 
 tinent labour to name them over by the piece, as thofe firft Inventors of Painting 
 did, who to fupply the weaknefs of the Art, not yet arriv’d to fo natural a repre- 
 fentationof the things they imitated, were forc’d to write under them, This is an 
 Ox, a Tree, a Horfe, and a Mountain: There wiil be no need of this here, the efFed 
 of the Defign having fo far exceeded the expreffion of all words, that it fihews us more 
 things in an inftant, and that with infinite more precilenefs, then could have been 
 deferibed by difeourfe in a very long time. I will therefore conclude by this rare kind 
 o CLanguage which has neither need o {'Ears nor of Tongue, and which is indeed the 
 moft divine Invention that was ever yet found out by man. 
 
 For the reft, you will in my Profile of the Trajan Column perceive with what 
 diligence and exaditude all thefe things conform to the Original, even to the 
 very leaft Ornaments, and thereby judge how exceedingly careful I have been in 
 other things of greater confequence. If the Reader be intelligent, and that he 
 have attentively view’d and with a Mafterly Eye this rich and incomparable Piece 
 
 O 2 - which 
 
92 A Parallel of the ant lent Architecture 
 
 'which I defcribe, the fatisfadion he will derive from the accurate Cbfervations 
 I have made and here prefent him will be proportioned to his ability; For in thefe 
 particulars our eyes do fee no further then our underftanding purges them, nor do 
 their admirable beauties reveal themfelves at once, nor to all the World in general; 
 They will be curioufly obferved and difcovered with Induftry ; There are likewife 
 feveral kinds which every one confiders according to the force of his Wit, and as they 
 conform to his Genius : Some there are who feek onely the grace and neatnels of 0r<- 
 naments ; Others confider the noblenefs of the Work and novelty of the Invention ; The 
 moft knowing having regard to the Proportions chiefly, and the regularity of the Whole 
 with its Parts, to the judicious Compofition, the greatneft and fclidity of the Defign, 
 and fuch effential beauties as are onely vifible to the eyes of the moft intelligent Archie 
 tells ; from whence it often falls out, that the lame Work in which all thefe parts are 
 not equally per fed, is very varioufly efteemed by thofeof the Prof off ion (for there are 
 but few like this of ours fo qualified as to merit an univerfal approbation,) and the 
 mifery of it is, that the belt things have for the moft part many fewer Admirers then 
 the indifferent , becaufe there are more Dunces then able Men . 
 
 The Modul of the following Defign, and the Method of deciphering it is the fame 
 with what went before ; viz^ That palling a Perpendicular through the Center of die Co¬ 
 lumn the whole height of the Order, l divide the Semidiameter of the Pillar at the 
 foot in thirty Minutes which compofe the Modul upon which afterward I regulate all 
 the Members as well for their height as failings over and projefiures of their Profiles , ftill 
 beginning by this Central line of the Column , that fo the pofition of each individual 
 part be exadly adjufted and precifely in its place. This is fo perfpicuous, and has 
 been fo oft repeated, that there can remain no poflible difficulty. 
 
 As to what now concerns the whole Mafi , the Column contains feventcen Moduls, 
 comprehending the Bafe and Capital . The Piedefial with its entire Baffament, Cymatium , 
 and that Zocolo or Plinth above wrought with a feftoon (which in my judgment makes 
 a part of it, asrendring it a perfed Cube, of all Geometrical proportions the moft 
 regular and folid and confequently moft agreeable to this Strudure) has in height 
 three Moduls, a very little lefs: The Baft of the Column contains precifely one, and 
 the Capital two thirds of a Modul 
 
with the Modern* 
 
94 
 
 A Parallel of the antient Archtteftwre 
 
 CHAP. II. 
 
 Palladio, and Scamozzi upon the Tufcan Order. 
 
 I Aving declar'd my opinion touching the ufe and form of the Tufcan Order after 
 I the manner of the Antients ; I will now defcribe to you after what fafhion our 
 Modern Mafiers have handled it, and in what reputation it is at prefent amongft all 
 our Workmen, who in regard of the meannefs of fo poor a Compofition furname it the 
 Rufiique Order, and that with reafon, there being fo little probability that the Tufcarn 
 would ever own or acknowledge it in fo wretched a condition. 
 
 Andrew Palladio, of all the Moderns the moft judicious, and to whom in this Collection 
 we have aflign’d the moft eminent place, prelents us with two Profiles ; One whereof 
 is fo plain, that it has onely a Summer of Timber covered with another piece in head of 
 a Coping and Corona for the Entablature of the Column; and I conceive he imagined 
 it fhould have no other from what Vitruvius has written of it. But finding this Com- 
 pofition too meanly handled to merit the honour of an Order, this induftrious Architect 
 went and fearch’d amongft the old reliques of Amphitheaters , which are thofe enor¬ 
 mous mafles of Architecture where the fblidity of the building was more requifite then 
 the fprucenefs and curiofity of the Orders ; till in fine he difcover’d in the Arena's 
 of Verona, that of Polo, and other places, a certain Order which he conceived one 
 might call the Tufcan, in imitation whereof he compofed this: For he did ftot tye 
 himfelf precifely to follow one rather then another; but from many he form’d and 
 ordain’d this, which I have rather chofen then any of the other Mafiers . That of his 
 Companion Scamozgi might pafs tolerably well had he not aflign’d him a too great 
 conformity with the Borique, and fo much as once mention'd where he had feen any 
 like it; fo as being altogether Modern, and neer as rich in Mouldings as the Borique it 
 felf, it were much better to make ufe of the Antique ; this being in nothing conflde- 
 rable for a building but for its cheapnefs and the faving of time. 
 
 The height of the Column with its Bafe and Capital is of feven Diameters only accor¬ 
 ding to Palladio : ScamoTgf allows to his feven and an half. 
 
 The Entablature contains alwayes a fourth part of the Column : 
 
with the Modern, % 
 
% A Parallel of the antlent ArchiteBure 
 
 CHAP. III. 
 
 Serlio, and Vignola upon the Tufcan Order. 
 
 W E have feen in the precedent Chapter the Tufcan Order of our Modern Archi¬ 
 tects in its moft advantageous luftre ; but methinks it is extremely decay’d 
 here, efpecially in the Profile of Serlio, where the whole is indeed too plain and parti¬ 
 cular,being the only Perfon who has allow’d to every member of the Order in general, 
 Bafe, Capital , Architrave , Breeze and Cornice a like altitude; this equality being here 
 but a falfe kind of Proportion , and wholly repugnant to what Architecture has borrow¬ 
 ed from the Optiques . 
 
 Vignola has in this refped proceeded more rationally, adding to each Member 
 what it might diminifh of its magnitude by the diftance from the Eye; and therefore 
 he has made the Cornice fomewhat higher then the Freeze or Architrave . 
 
 Serlio allows his Column but fix Diameters ; though Vitruvius ( whom he alwayes 
 drives to follow) gives it feven in his Chapter where he treats of building Temples after 
 die Tufcan manner, which is the feventhof his fourth Book . 
 
 Vignola , as to what imports the Column , conforms himfelf to Vitruvius ; but for the 
 mouldings of the Capital and Cornice is governed wholly by his particular fancy. 
 
 The Entablature both in the one, and the other of thefe two Profiles confifts of a 
 quarter of the Column . 
 
<j% A Tmallei of the anient ArchiteSm 
 
 B/feREADER. 
 
 ? / | i WERE altogether a fruitlefs fiudy^ and but labour loft to continue any longer 
 X in queft of this Order after other Architects befides thole four whole Vefigw I 
 have lately produc’d: I am therefore refolv’d to proceed no farther; confidering 
 withall, that thofe who remain, are (for the moft part) of Vitruvius's School, from 
 whence it is exceedingly difficult to colled any thing more effential to the Tufcan Or ~ 
 der then the meer fimple form of the Bafe and Capital which are already defcrib’d 
 in the Profile of Serlio , whereof the repetition would be but fuperfluous. As to 
 what concerns the Entablature , fince there remains extant no antient, well-con- 
 firm’d, and pofitive Example , nor indeed fo much as any intelligible defcription of 
 it in the writings of Vitruvius^ I fhall make no great reckoning of their Inventions. 
 1 have likewife obferv’d, that Leon Baptifia Alberti (the very beft of thole which 
 remain after Daniel Barbaro') has fpoken of it but curforily onely,as in truth making 
 no account of it, and without giving us fo much as a Profile . As little does he 
 
 efteem of the Compofita , of which Vitruvius too has been altogether filcnt* 
 
with the Modern. 
 
 . ' 
 
 CHAP. IV. 
 
 Of the Compounded Order. 
 
 T H E Compounded Order which has hitherto obtain’d the firft rank amongft the 
 Moderns, will find it felf extremely debas’d in this fevere and exaft review which 
 I have made upon the five Orders ; and where (without at all regarding the opinion 
 of the Vulgar , and the judgment of others that have written before me) I value no¬ 
 thing unlefs it be conformable to fomc famous and antient Example , or to the Pre¬ 
 cepts of Vitruvius that Father of Architects ; that fo ( if poflible ) I may at laft re- 
 eftablith the Art on its genuine Principles , and original purity from whence thofe li¬ 
 centious Compofitions of our late Workmen have fo exceedingly perverted it ( under the 
 pretext, forfooth, of this fain d Name of the Compounded Order ) that there hardly re¬ 
 mains fo much as the lead Idea of regular Architecture, in it, fo ftrangely have thofe 
 Orders which contributed to it degenerated intoconfufion, becoming even barbarous 
 themfelves by this their extravagant mixture. But as ’tis a thing very difficult to fub- 
 due and reduce fome fpirits to their devoire when once they have taken a bent and 
 are abandon’d to libertinifm ; fo nor do I pretend to gain any Difciples , or be fo much 
 as heard by thofe who have thus prefumptuoufly taken upon them to be Mafters. , be- 
 caufe they are either grown too old in their deprav’d gufio, or afhamed to acknow¬ 
 ledge their miftake • refolving rather to perifh in their opinicn by obftinately defen¬ 
 ding it,then be fo ingenuous as to reform it. I addrefs my difcourfe then to thofe Per- 
 fons oncly, who having not as yet their imaginations prepoffiefs’d preferve their judg¬ 
 ment more entire, and are better difpos’d to difcern thofe charming beauties and 
 originals of the Antient Architecture, acknowledg’d for fo many Ages, confirm'd by 
 fuch a multitude of Examples and fo univerfally admired. Now for as much then 
 as it is a thing df main importance that we feafon our young fpirits with an early tin¬ 
 cture, and begin betimes to fettle in them thefe Idea's , I do ever at firft propofe to 
 them the fame Models that have been left us by thofe great Genius's, as fo many Pilots and 
 Compares fteering the direft Courfe to the Art, and having them from that propenfion 
 which they naturally have to novelty , the very rock and precipice of the firft inclinati¬ 
 ons of the French , which being once over-pafs’d, reafon does then begin to take the 
 helmj to conduct and let them fee Things fuch as they ought to be, that is to fay, in 
 their Principles, without which it will be altogether impoffible to acquire more then a 
 very ordinary and fuperficial comprehenfion of them; and thofe who travel by any 
 other path grope like blind men in the dark., ^nd walk infecurely, without ever find¬ 
 ing any real fatisfa&ion in their Work’ For the vain complacence of ignorant men, 
 be it that they take it from themfelves (as commonly they do) or that it be deriv’d 
 to them from fuch as are like them, ’tis fo empty and falfe a joy as it oftentimes turns 
 
 P 2 to’ 
 
loo A Parallel of the antient Architecture 
 
 to fhame and confufion; whiles the true and folid praife which is attributed to the 
 merit of knowing Mafters , and the excellency of their Workmanjhip , is never obnoxi¬ 
 ous to this felf-deception. Now how little foever it be a man polfefles of the Idea of 
 this high manner of the Antients and the greatnefs of their thoughts, hefhall foon per¬ 
 ceive the meannefs and impertinency of our Modern Compofttions^hen in the midft of fo 
 many Examples of the incomparable and onely Architecture of the Greeks^ hich was the 
 ornament and fplendour of the Antient Rome (whofe very Ruines and Vefiigia's render 
 her yet augud above all the Cities of the World ) thefe wretched and trifling fpirits in¬ 
 digent in the midft of fo great abundance,depart from the right way which thefe great 
 Mafters have opened to them, taking a devious path to purfue an abortive of Archi¬ 
 tecture^ or the evil Genius of the Art rather, which has introduc’d itfelf amongft the 
 Orders under the Title of Compoftta, the favour of mens ignorance, and the indifereet 
 prefumption of I know not what pitiful new Architects , who have made it their Fools- 
 bauble , and clad it in fo many apijh and capricious modes, that ’tis now become a ri¬ 
 diculous Chimera, and like a Proteus not to be fixt to any conlfant form ; fo as it 
 would be altogether labour in vain, an idle and foolifh enterprile for us tofearch 
 after it here through all its wild and unlimited extent, fince it has neither Rules nor 
 Meafures , Principles , Species , nor particular Propriety , and fo by conference not to be 
 comprehended under the name of an Order . It would in truth (in my opinion) be 
 neceflary for the good of the Art, and the reputation of Architecture , that this Mon- 
 fter were altogether Another’d, and that fome more pertinent and jfecifique name were 
 given to thofe excellent Profiles which we encounter amongft fome Antiquities of the 
 grand Defign which (from I know not what Tradition) are called of the Compounded Or¬ 
 der ; a Name altogether novel, not fo much as once mentioned by Vitruvius , and 
 which is in earned: too general and uncertain to fute with a regular Order : and that' 
 lince they referr the glory of its invention to the Romans , it were much more proper 
 to call it the Roman or Latine Order , as Scamozgi has judicioully enough done, and 
 moreover oblerv’d, that its Capital ( by which alone it differs from the Corinthian) 
 is of a more mafly andlefs elegant Compofition , whence he conceives this Order fhould 
 not be plac’d upon the Corinthian , left the weak be burthened with the ftronger: to 
 which he might alfo add, that they can never conlift well in the fame work together, as 
 I have elfewhere demonftrated,and this is fo perfpicuous that it admits of no poflible 
 extenuation: however thofe who would take advantage of this evil pra&ice and abufe 
 of the Moderns to do the contrary, might have a way toefcape by this Afmine-bridge : 
 For the importance is very inconliderable in comparifon to that unbridl’d licence 
 which now-a-days reigns amongft our Compofiters of the -Compoftta, who not onely 
 change the rank of the Orders , but reverfe and overturn even all their Principles , un¬ 
 dermining the foundations of true Architecture to introduce a new r Tramontane more 
 barbarous and unlightly then even the Gothique it felf. But to all this let us reply 
 (in confufion of its Inventors) That an Architect fhould no more employ his induftry 
 and ftudy in finding out new Orders , to let a value upon his Works , and render him- 
 felf an able man ; then fhould an Orator, to acauire tno reputation of being' Eloquent , 
 
 invent 
 
with the Modern. ioi 
 
 invent and mint new Words that were never yet fpoken ; or a Poet compofe Verfe of 
 another cadence and meafure then what are prefcrib’d and are in ufe; this affe&ation 
 being altogether puerile and impertinent: Or, admit one would upon iome occafion 
 take any fuch liberty, it ought to be with that difcretion,and fo to thepurpofe, that the 
 reafon thereof fhould to any one appear immediately: Thus it was the Antients made 
 ule of it i, but with fo great caution , as that they have confin’d their entire licence to the 
 foie form of the Capital ., of which they have dev i fed an hundred gentile CompofitionSyind 
 to fome fubje&s peculiar, where they fucceeded incomparably, and out of whofe limits 
 one cannot (withoutmanifeft impertinency) employ it in any work whatfoever. I 
 will therefore choofe two or three Examples among ft a good number of Defigns which 
 lye by me of that moft famous Pyrro Ligorio , found out and obferv’d by him in feve- 
 ral places of Italy with a diligence ineftimable. But let us firfb conclude our prime 
 Subjetty which is to form the Roman Compofita , and make of it here as regular and 
 precife an Order , as any of the former Four. I propofe (for this effeQ:) two antique 
 Profiles y both of them excellent in their kinds; one very rich and full of ornament 
 taken from the Arch of Titus at Rome; and the other much plainer indeed, but great 
 and proud , being that of the Am de Leont at Verona^ 
 
 If thefe two Inftances fuffice not our Reader , he may hiake his election of others 
 more to his liking, or fix upon any^of thofe who beft pleafes him of the Author 's fol¬ 
 lowing, which I have therefore exprefly colle&ed together, and amongft which I ac- 
 knowledgemy particular efteem for Palladio. 
 
 
102 
 
 A Parallel of the antient Architecture 
 
 “ ! ' ~’’” 7 ‘ ’ " - r r ~ ’ • . • < ' - ’ ■ *> .1 : i 
 
 CRAP. V. -.rr.-r'^v A 
 
 A Profile Compofita tafyn from the Arco de Leoni at Verona, 
 
 B Efore I propofe this Compofita for Model , I fhall firft endeavour to prevent 
 and elude certain Objeftions which our Critiques may polfibly raile, left they 
 impute it to my inadvertency fhould I pafs them by in filence. The firft is. That 
 the Cornice is deleft ive, want of the Corona: The other is the naked placing of 
 the Dentelli, without any feparation on the Freeze: Thirdly, the exceffive height 
 of the Freeze : And laftly, that the three Faces of the Architrave are all inverted 
 from the ordinary pofition r And finally, that the Plinth of the Bafe is a great 
 deal too high being compared with the reft. To all thefe Objections t might re¬ 
 ply in a word, that in a bufinefs of Architecture the reafon is allowable fince I pro¬ 
 duce an antique Example, univerfally approv’d and fuch as this is: Befides I add, 
 that the very name of Compounded feems to inferr a kind of Liberty, and that there¬ 
 fore an ArchiteU might fometime juftly be permitted to take it, asoccafion may fug- 
 geft, either by introducing into the Order or retrenching from it what he thinks moft 
 conducible and proper to his Defegn ; provided it be difcreetly manag’d, as it has 
 been judicioufly oblerv’d in this Profile , where the Author being to make an extraor¬ 
 dinary large Freeze for the more commodious placing of many Figures which con¬ 
 cern’d his fubjeft, would fpare from the Cornice what he had ufurped of more then 
 the regular proportion of the Freeze did permit him. To this purpofe it was he cut 
 off and abated the Corona , though in truth a confiderable Member, but which is 
 yet (as far as 1 can colleft from other Inftances) not abfolutely neceflary ; fince in 
 the Temple of Peaces Rome ( one of the moft ftupendious works of Antiquity j the 
 Cornice though Corinthian has no Corona at all notwithstanding that the Architect had 
 the field fo open before him. And L. Baptifta Alberti (whole authority is greatly pre¬ 
 valent among!! our modern Mafters) without other reafon for it then that of his own 
 gufto, has given none to his Corinthian Order. Now as concerning the Compartment 
 of the Swaths and Fa fix of the Architrave,\f\iofe pofition here feems fomewhat prepo- 
 fterous, tis (to fpeak ferioufly) a little extraordinary, however I well remember to 
 have feen others which were like it, and Palladio produces us one Example of it 
 towards the end of his fourth Boot taken from a Temple of Polo in Dalmatia , of the 
 Corinthian Order , the Architecture whereof is exceedingly rare and antique; and there 
 I alio find that the Bafe of the Column hath a Plinth likewifeofan exceffive thicknefs, 
 as indeed ours has, which fupplied the place of a Zocolo. Thus you have both reafon 
 and example fufficient for the anfwer of every objeftion. But from hence one may alio 
 judge, that this Profile fhould not be employ’d in work without extraordinary difere- 
 tion, and indeed fome kind of neceffity. That which I fhall produce in the follow¬ 
 ing inftance is more regular to particulars, and by confequent more agreeable to all 
 forts of Works: But the general Proportion both of the one and other is fufficiently e- 
 qual. The Column it felf has ten Diameters , and the altitude of the Entablature amounts 
 to a fourth part of the Column. 
 

 ■ 
 
104 
 
 A Parallel of the antient Architecture 
 
 ) ___________ 
 
 CHAP. VI. 
 
 A Profile of the Compofita takpn from the Archtf/Titus 
 
 at Rome. 
 
 T H E incomparable Idea of this Compofita , and the richnefs of its Ornaments makes 
 me conje&ure that the Inventor thereof might poffibly accompany Titus at the 
 expedition and fiege of Jerufalem ; and that it was there he had contemplated the divine 
 Architellure of the Temple of Solomon , in imitation of which (though in a very flender 
 Copy, compar’d to that miraculous Edifice , and efpecially in a different Order ) he 
 would fhew how dudioufly he had confider’d it. This conje&ure of mine has for 
 its foundation that the Triumphal Arch from whence I have drawn it is the very fame 
 which they ere&ed to the glory of that Emperour at his return from that famous en- 
 terprize; And the Architect who happly contriv’d the Ordinance , and the whole Pre¬ 
 paration of the Day of Triumph , judicioufly introduc’d into his work ( which was to 
 make the mod noble and lading part of it) the Figures of the principal Spoils of the 
 Temple , as that of the Golden Candleftkk. with its [even Branches which dood in the San- 
 Viuary , and the golden Table upon which was fet the bread of Fropofition together with 
 fome other Utenfils to this day extant in the Work. 
 
 Moreover the Arch has this conliderable amongd others yet remaining of the An- 
 tients* That ’twas the fird and very Original of” this kind of Structure; and albeit there 
 have been fince made fome more fumptuousfor greatnefs of bulk and magnificence, 
 this is yet of a better hand, and more exquifite WorkjnanJhip then any of them. 
 
 I give you the Elevation in Perfpetiive as well to gratifie the curiofity of thofe who 
 adeft this Art , as that I may alfo contribute fomething to the beauty of the Defign; 
 and befides that fuch as never faw the Original , may in fome fort judge of the Effeft 
 which it produces. 
 
with the Modern 
 
 
io6 A Parallel of the ant lent Architecture 
 
 \ 
 
 CHAP. VI L 
 
 Palladio, and Scamozzi upon the Compofita. 
 
 A Ndrea Palladio propofing this Profile of the Compofita , which he alfo names the 
 Lathe Order (to make it fpecifically differ from fome others which bear the fame 
 appellation) gives us a general Maxim for its proportion , which is to make itrefemble 
 the Corinthian , the form onely of the Capital excepted. And though he add that this 
 
 Order ought to be fomewhat more deck’d and gay then the Corinthian , ’tis to be un« 
 derftood in reference onely to thofe who allow the Corinthian Column but nine Diame - 
 iers (as himfelf does) whereas this fhould ever have ten. 
 
 Scamozzi s Profile has not fo good a grace as that of Palladio , nor is it indeed fo 
 exad in the regularity of its Entablature with the Column , where it wants but three mU 
 flutes upon the total to make it precifely a fifth ; for though this be a very fmall mat¬ 
 ter , yet fince it had been better to have a little exceeded then come fhort (the Anti- 
 ents commonly allowing a whole fourth, or at leaft two ninths) the defeft is the more 
 ealily perceiv'd. But what is yet worfe, is, that in the competition of the Cornice he 
 has accumulated fo many fmali members one upon the other, as renders it trifling 
 and a little confufed. 
 
;j 
 
 i»m 
 
 arm 
 
 I 
 
 II- 
 
 5 
 
 ' 3 
 
A Parallel of the antient Architecture 
 
 CHAP. VIII. 
 
 Serlio, and Vignola upon the Compofica. 
 
 I Am aftonifhed at this laft produ&ion of poor Serlio, who having till now reafon- 
 ably well conduced the firft Orders of Architecture under the dire&ion and govern¬ 
 ment of Vitruvm fails miferably at the very Port juft as his P Hot has deferted him: 
 And what does moft of all furprize me, is, that the man’s Genm (which was to imi¬ 
 tate a mean and trifling Manner ) fhould revolt in fuch an inftant and change into 
 fo Arrange an Excefs. I was at firft refolv’d to have fupprefs’d this Profile (for 
 the Credit of the perfon) had it not been to wrong his Competitor Vignola , and fo 
 fruftrate him of the great advantage which upon this occafion he has over him, fince 
 in the precedent Orders I have fometimes conceived him his inferiour. I fhall not 
 dwell long upon the particulars which in this Compofition to me feem defective ; be- 
 caufe I fhall fooner have finifh’d in faying once for ail, that there is nothing as it 
 fhould be, though the Cornice be taken from, and (as.the Author pretends) follow’d 
 ftroak for ftroak after that of the fourth Order of the Coloffeum , which is indeed one of 
 the moft renowned Veftigia's of' Antiquity and an admirable piece of Architecture. But 
 one had need of a very fteddy head to be able to climb fuch an height without fhaking 
 ones judgment. He fhould have confidered that this Colojfean Structure being a Mafi 
 of a prodigious altitude had need of fome Sophiftications from the Optiques to make it 
 appear regular to the eye; and that therefore there would be an errour and miftake 
 in fumming up the dimenfions and Jtquipondium of its • members at a more moderate 
 diftance with the fame meafures and proportions. This inadvertency has made him 
 flip into another fault much more grofs and unpardonable ; for lie places upon a 
 fmall andpittiful Capital (after his own mode) the whole weight of the Coloffeum , that 
 is to fay, a Gigantine Entablature which compofes the Corona of this prodigious Edi¬ 
 fice, This fo monftrous medley appears more here then in the Author; becaufe he 
 has defign’d it very flightly, and in fo fmall a Volume (in his fourth Book, and ninth 
 Chapter where he explains this laft Orderf that one can hardly difcern the form of the 
 principal Members. 
 
 Vignola has proceeded with a great deal more exa&nefs and judgment in his De~ 
 figns , which he has alfo Profil'd very neatly, and in a large Volume that renders it 
 commendable and of ufe to Workmen: He allows in this Compofition the fame meafures 
 and proportions that he does to the Corinthian. 
 
with the Modern, 109 
 
no 
 
 A Parallel of the antient Architecture 
 
 chap. ix. 
 
 Of a certain Ornament called the Fret. 
 
 A Rcbitefture is in all this Treatife fo extremely jealous of' thofe Libertines that have 
 the rafhnefs of daring to corrupt the forms of her Profiles by their capricious 
 Inventions , that (he even refiifes entrance to all kind of Novelty whatfoever: This it 
 is which has put me in mind of the promife I made to prefent you here with fome 
 extraordinary Deftgns of Capitals drawn from the Antiques: But conlidering that they 
 can ferve for no ufe in any fort of Stru&ure at prefent, as being onely proper to the 
 Pagan Deities , and that we have now no more Jupiters , Neptunes , or other Gods of that 
 age, for whofe Temples thefe kind of Capitals were Angularly appropriated, by repre- 
 fentations ftecifical to every SubjeH ; I conceiv’d it better to remove thofe baits which 
 ferv’dlikewife but to awaken the ill Genius of our Workmen to imitate and copy after 
 them. To fupply then their places with fome other thing which fhould be profit¬ 
 able and without reproach, I have made a very curious and rare Colledion of a cer¬ 
 tain Ornament which they call the Fret, and of which the Antients made great ufe, ta¬ 
 king infinite delight in compofing variety of forts, as this Defign will {hew you. 
 This Ornament confifts in a certain interlacing of two Lifts or fmail Fillets , which run 
 always in parallel diftances equal to their breadth, with this neceflary condition, 
 that at every return and interfteVxion they do always fall into right angles ; this is fo in- 
 difpenfable that they have no grace without it, but become altogether Gotique. There 
 is one (amongft the ten I here prefent you) that confifts but of a fingle fillet , which ne- 
 verthelefs fills its (pace exceedingly well, and makes a very handfome (hew. The An- 
 tients did ordinarily apply them upon even and flat Members , as upon the face of the 
 Corona and Eves of a Cornice , under the Roof's^ Planceres and Cielings of Architraves; 
 alfo about Doors, and on the Plinths of Bafes , when their Torus and Scotia's were carv’d; 
 alfo they do rarely well about Platfonds and upon Ground-works . 
 
 The End of the Second Part. 
 
 F I Wi I $. 
 
with the Modern . 
 
 iii 
 
' 
 
 ‘•“v ■*; r-* * 
 
 A 
 
 . ■' 
 
 ■ A - ' 
 
 ! 
 
 t 
 
 
 * 
 
 
 T 
 
 SL l ' I • - 
 
 ,v •: • 
 
 ; v .:' 
 
 
 X 
 
The I n t e r preter to the Readers 
 
 H E Author of this Parallel had at the end of his Treatife begun 
 to explain a few of the hard Words, Technical tearms belonging 
 to this Art, the Etymologies whereof he thought necejfary to in¬ 
 terpret : And as I fayd they are but a few indeed , compared to 
 thofe which remain, about a dozen at the moft ; nor was it necef- 
 fary he fhould exceed that number in a Countr y where Workmen are generally more 
 intelligent in the proper exprejftons of the tearms of the Arts unto which they addili 
 themfelves, than ours for the moft part are ; and therefore if waving the formahran- 
 Jlation of that Page ( for it exceeds very little morej I have in lieu thereof confi- 
 derably enlarg'd upon this Occafton by a more finifb'd and compleat enumeration of the 
 feveral parts and members of the Orders as they gradually fucceed one another in 
 Work, illuftrated with more full and exaft definitions, than by any hasyet been 
 attempted for the benefit of our Countrymen; I hope fhy Adventure may find both 
 pardon and acceptance. Nor let any man imagine we do at all obfcure this defign by 
 adorning it with now and then a refin'd and Philological refearch ; fence whileft I 
 feekto gratifie the politer Students of this magnificent Art, lam not in the kafi dif- 
 dainful of the loweft condefcentions to the capacities of the moft vulgar underfiandings; 
 as far at leaft as the defers and narrowneft of our Language will extend,\ which ra¬ 
 ther grows and abounds in complemental and impertinent Phrafes , andfuch froth 
 ( as Sir H. Wotton well obfervesfrom Gualterus Rivius *s incomparable Verfion of 
 Vitruvius in the Germane-tongue j than in the folid improvements of it , by either 
 preferring or introducing what weretruely needful: and really, that very final con¬ 
 vention I have had in the Saxon Writers,flews me cleerly by what I find innovated 
 or now grown obfolete , that we have loft more than we have gain'd, and as to tearms of 
 ufeful Arts in particular, forgotten and loft a world of moft apt and proper exprefftons 
 which our Forefathers made ufecf without being oblig'd to other Nations : And what 
 care the French have taken upon this account onely, may in part be judged from that 
 pretty , though brief Effay des Merveilles de Nature, & des plus nobles Artifi¬ 
 ces,^. wherein the proper tearms of the moft vulgar, as well as more polifh’d Arts 
 are moft induftrioufly delivered ; whileft (to fyeak. ingenuoufly j I find very little 
 improvement in the moft pretending of our Lexicons and Ndmcnclitors yet extant, 
 
 R that 
 
‘that of Bernardinus Baldus onely upon Vitruvius excepted? which yet is neither 
 after my Method, nor for our Workmens turn? being a Book, of price, and writ¬ 
 ten in the mofl learned tongue. It it a very great deficient indeed? and to be de¬ 
 plor'd? that thofe indufiriom Compilers did make it no more their bufinefi to grati - 
 fit the World with the Interpretation of the Tearms of fo many ufeful Arts, I mean 
 the Mechanical: Adrianus Junius hasdeferved well on this Occafwn? to his great 
 commendation , and much it were to be wifhed that fome univerfal and practical 
 Genius would confummate what he has fo happily begun? and that not onely in the 
 Arts Illiberal, as they are diflinguifibed? and things artificial; but furnifib us like- 
 wife with more exatt notices of the fever all and diftinU Species of Natural things ; 
 fuch as are the true Names of Birds, Fifties, Stones, Colours, isrc. fince it is then? 
 and not till then? our Lexicons will have arriv'd to their defined perfection ? and 
 that men will be taught to fpeak (like Orators indeed ) properly on all fubjefts, 
 and obliged to celebrate their Labours . 
 
 J. Evelyn. 
 
 . 
 
 
 r.l 
 
 
 ' ^ 
 
AN ACCOUNT OF 
 
 ARCHITECTS & ARCHITECTURE, 
 
 TOGETHER WITH 
 
 ; V. 
 
 An Hiftorical , and Etymological Explanation of certain T E A R M S 
 particularly ajfettedby ARCHITECTS. 
 
 IE knowledg of this fumptuOus, magnificent, and ufeful Art 
 for having been firft deriv’d to us from the Greeks , we fhould 
 not without infinite ingratitude either Right,or innovate thofe 
 Teams which it has pleafed them to impofe upon the par¬ 
 ticular Members and Ornaments belonging to the feveral Or ¬ 
 ders ; and that as well for the veneration which is due to An¬ 
 tiquity, as that by comprehending the fignification of them, we may with the 
 more facility and addrefs attain to the intelligence and genuine meaning of 
 what the Matters in this Profeffton have deliver’d to us in their feveral Writings 
 and Works ; not to infill upon (what is yet not to be defpis'd) the decorum 
 of fpeaking properly in an Art which the greateft Princes and Potentates of the 
 Earth have vouchfafed to honour by fo many lignal and illuftrious Monu¬ 
 ments as do to this day confecrate their memories to pofterity; 
 
 Since the Agent does always precede the Attion , and the Perfon or Workman 
 is by natural Order before his Work, we are by an Architect to underfland a mu 
 perfon skilful in the Art of Building : The word is Wgyfixlcev, a Compound in 
 the original, and lignifies Fabrrn proefeflus, or if you will, Informator , which 
 the Prefident , Superintendent , or Surveyor of the Works does fully exprefs; his 
 A^y being relative to the Fabri that are under him, as the Opera or Labourers 
 are fubfervient to them. 
 
 Bud&us calls Him, StruUiorum Princeps , and fuch a Perfon as is capable of 
 rendring a rational and fatisfa&ory accompt of what he takes in hand. Ratio- 
 cinatioautem eft , qua tes fdbricatas folertia acrationeprcporticnis demonttrare atque 
 explicare potett. Vitr . 1.1. c. i. So our Mattery and fuch a ofle it feems was that 
 Philo the Athenian Architect, of whom the Orator, Nequtenim fiPhilonem ilium 
 Architettum , qui Atheniehftbus Atmdmentarium fecit, conttat perdiftrtepopularatU 
 onemoperis fui reddidiffe exiftimanduni eft Architefti potius artificio difertum , juam 
 oratoris fuijfe , de Or at, 1, Seeing his knowledg and ability in' this faculty did 
 
 R 2 not 
 
u 6 Account of Architects 
 
 not at all eclipfe and diminifh his Eloquence and other excellent parts, but 
 rather added to them ; and this I urge to (hew that it was no mean thing for a 
 man to arrive to the talents of an accomplifh’d Architect, as he that fhall take 
 his Character out of Vitruvius will eafily conclude; Itaque Architect (fays he) 
 quifine liter'ts contenderunt , ut manibus e/fent exercitati, non potuerant ejficere ut bri¬ 
 berent pro laboribus Authoritatem , as if hands could do little in this Art for their 
 credit without letters : nay, fo univerfal will this great Dictator have him, that 
 in thofe duodecim neceffaria he fumsup nolefs then twelve rare qualities which 
 he would have him furnifh’d withall; Itaque eurn tsr Ingeniofum , &c. I will 
 but only touch them, i. He muft be doc'll and ingenious. 2. He mud be literate . 
 3. Skilful in defegning and drawing . 4. In Geometry . 5. Opticks. 6 . Arithmetick, 
 y. Hiffory. 8. Philofophy. 9. Mufick.- 10. Medicine. 11. Nay, in Law\ and 12. 
 Aflrologie ; and really, when (as in the following Chapter) he there aflembles 
 his reafons for all this, you will be both fatisfied with them, and juftifie 
 his curiofity. Not that an Architebi is obliged to bean accurate Arifiarchm 
 in Grammar , or an Arifioxenus in Mufick an Apelles , or a Raphael for Defigning ; 
 in fum, an exaft Profeffor in all thefe Faculties, fed in his non imperitws : Suffi¬ 
 cient it is he be not totally a ftranger to them; fince without Letters he cannot 
 confult with Authors: Without Geometry and the Graphical Arts, lie will never 
 be able to meafure out, and call the Area;d raw the Plot and make the Scale: Be¬ 
 ing ignorant of the Opticks he can never well underftand the due placing of his 
 Lights, diftance, magnitude and dimenfions of his Ornaments: By the affiftance 
 pf Arithmetick. he calculates the proportions of the feveral Orders , bums up his 
 Accompts and makes an eftimate of the Charge : being read in Hifiory he 
 comes to difeourfeofthe reafons, and original of many particular Members 
 and decorations, the height, improvement, and decay of his Art ; why the 
 Greeks inftituted the Order of the Caryatides , and the Perfian Entablatures were 
 fupported by Slaves ; how the Corinthian Capitels came to be adorn’d with 
 foliage , the lonique with a Matron-like Voluta y &c. By the ftudy of Philofophy 
 he arrives to the knowledg of natural things, and is able to difeern the quality of 
 die Elements , and the materials which he makes ufe of; From fome infight in 
 Medicine he can reafon of the temperature and falubrity of the Ayr, and fixa¬ 
 tion : Mufick. will affift him in contriving how in Churches , Tribunals and pub- 
 lick Theatres men may with beft advantage hear the Preachers , Magifirates , and 
 Adors voices: Without fome Tin&ure in the Laws he cannot be fecure of his 
 Title", and being wholly ignorant of Aflrologie , pofition and influences of the 
 Celeftial bodies , the Bays , Winds, Weather, Equinoxes and courfe of the Heavenly 
 Orbs (like Bruits) pafs over without obfervation, benefit, or prevention of their 
 effeds. To this purpofe (though much more at large) Vitruvius: But by this 
 you may fee how neceflary it is, that an accomplifh d Mafier-builder fhould 
 be furnifh’d beyond the Vulgar, and I have been the longer in the repetition, 
 not only that 1 may advance his reputation, and for encouragement; but to 
 
 fliew 
 
and Architedlure. nj 
 
 fhew that in the proper notion, and as the great Plato has fomewhere defin’d 
 him, Nullus Architeftus uiitur manuum opert?fed utentibus prxeft. No Architect is 
 to be prefum’d for the commonly illiterate Mechanick (which may bring it in¬ 
 to contempt) but for the Perfon who Superintends and Prefides over him with fo 
 many advantages : Yet neither is this to the difbonour of the meaneft of thofe 
 excellent Workmen who make ufe of their hands and tooles in the grofler materia 
 als, fince God himfelf and Nature the univerfal Builders,are by tranflationt rue- 
 iyftyl’d Architects, both as to what they have excogitated fo wifely, and 
 wrought fo artificially * I n / j 
 
 Be this then fpoken of the Superintendent in particular, whom for diftinfti- 
 on fake and the Char after aflign’d him we may name Architebius Ingenio : 
 
 For fince to the perfeftion of an accomplifh’d Building there were three tran-» 
 fcendencies required: i. Strength , 2. Utility , and 3. Beauty , for the apt Diflru 
 button? Decor 2nd fitnefs, Symmetric and Proportion, there was likewife necefla- 
 ry as many capacities, and that befides the judicious head there fhould be a 
 fkilful band, to which let us add Architebtu* Sumptuary? a full and overflow¬ 
 ing Purfe: Since he who bears this may juftly be alfo ftyled a Builder? and that 
 a rnafier one too, as being the Perfon at whole Charge, and for whofe benefit 
 the Fabrick is erefted, and it is indeed th tprimum mobile which both begins 
 and confummates all defigns of this nature; for if that ingredient come once to 
 fall fhort, Men build their Monuments? inftead of their lloufes , and leave marks s« 
 of difhonour, for Tables of renown, Homo ijle ceepit eedificare? is nequivit perficere? 
 
 This man began to build, and was not able to finifih, Yet thus have I known 
 
 fome excellent Perfons abus’d, who trufting to the Computation of either 
 difhoneft, or unfkilful Artifts? have been forc'd to deli ft, fit down by the lofs, 
 and fubmit to the reproach: But fo it feemes would not the Greeks fufFer vht. «> 
 themfelvesto be over-reach’d, when thole great Builders the Ephefians (who 10. 
 knew fufficiently what a mifchiefit was to the Publick, as well as to private 
 men) ordain’d it for a Law , That if a Clerk undertook a Work.* and fpent 
 more then his Calculation amounted to, he fhould be obliged to make it good 
 out of his own Efiate, whileft they moft liberally and honourably rewarded 
 him if either he came within what was firft defign’d, or did not much exceed 
 it. And this was efteem’d fb reafonable (upon confideration how many no¬ 
 ble Perfons had been undon, and magnificent Structures left imperfeft) that 
 Vitruvius writing to the great Auguftus concerning this fubjeft, wifhes the fame 
 Conftitution were in force at Rome alfo. But thus I have done with our 
 Architeftus Sumptuarius , I come to the 
 
 Manuarius the third and laft, but not the leaft of our Subfidiaries? for in him 
 I comprehend the feveral Artisans and Workmen, as Mafons? Stone-cutters ,, 
 Quarry-men? Sculptors? Plafterers? Painters? Carpenters? Joyners? Smiths? Glaziers? 
 and as many as areneceffary for the carry ing on of a Building till it be arriv’d 
 to the perfeftion of its firft Idea 6 But though it is not (as I Paid) expefted 
 
nS Account of Architects 
 
 that thefe fhould trouble themfelves with much Learning,or have any thing to 
 do with the Accomplifhments of our Maflers Superintendent: Yet, fince an 
 exad and irreprochable Piece of Architecture fhould be uoXoepw toiiws MatkefeocS 
 the Flower and Crown as it were of all the Sciences Mathematical, it were infi¬ 
 nitely defirable that even every vulgar Workrnan whofe calling is converfanta- 
 bout Building > had attained to fome degree of competent knowledg in the 
 more eafy and uleful principles of thofe lineary Arts , before they were admitted 
 to their freedom, or employed in defignes of moment. And truely, if a 
 through infight of all thefe (as undoubtedly they are) be neceffary to a good 
 Artifi ; I know no reafon but fuch a Perfon (however it hath pleafed our 
 Schools in Vniverfities to employ and decree their Chaires') might with very juft 
 reafon be alfo number’d inter liber ahum difciplinarum Profejfores , and not thruft 
 out as purely Mechanical , inter opifices , a converfaticn hitherto only admitted 
 them ;asif talking, and peculation about words, were comparable to ufeful de¬ 
 monstrations : Great pitty I fay it is, that amongft the Profejfurs of Humanity 
 (as they call it) there fhould not be fome Lectures and Schools endow’d and 
 furnifh’d with Books-, Injlruments, Plots, Types and Modells of the moft excel¬ 
 lent Fabricks both in Cm/and Military Architecture, where thefe moft noble and 
 neceffary Arts might be taught in the Englijh and Vulgar Tongue, rerrivcl to 
 their proper, and genuine fignifications; and it is to be hoped, that when 
 his Mojefty fhall perfeft his Royal Palace of White-Hall according to the de- 
 fign, he will in emulation of thofe Heroes, Francis the Fir Si, Henry the Fourth , 
 Cofimo de Medices,thcHukes ofVrbin,Richlieu and other munificent Spirits,deftine 
 fome Apartments for the eafe and encouragement of the ableft Workmen in this, 
 as in all other ufeful. Princely and Sumptuous Arts: I mean for Printers, Painters, 
 Sculptors, ArchiteSIs, See. by fuch liberal honoraries as may draw them from all 
 parts of the World to celebrate his Majefty by their works topofterity, and to 
 improve the Nation For from fuch a bounty and provifion as this 
 flSfT. Id it appears to haVe been, which made Vitruvius to leave us thofe his incompara¬ 
 ble Books, that we have now enjoy’d for fo many ages; for fo he acknowledges 
 it to the great Auguftus, Cum ergo eo beneficio effem obligatus, ut ad exitum vitje 
 non haberem inopidt timorem, &c. 
 
 I might upon this occalion fpeak fomething here concerning the Matter and 
 Form of Buildings, which after the Perfons who undertake them, are their moft 
 folid and internal Principles ; but I purpofely pafs them over at prefenf, 
 becaufe they do not properly belong to this Difcourfe, but to fome more 
 intire Treatife of the whole Art than is yet extant amongft us, and to be de¬ 
 livered by fome induftrious Perfon who fhall oblige the Nation with a through 
 examination of what has already been written by Vitruvm 1 .2. c. 3. ad 9. 
 Palladio 1 ,c.2 .Leon Alberdi 1 . 2. c.45. 46. Han. Bafbdfo 1 . 11. Sir H. Wctton 'm 
 his concife and ufeful Theorems, Sec. and in what fhall be found moft beneficial 
 for ouxClmatfit were I fay,becoming our great needs that fome ingeniousPerfon 
 t;;:i did 
 
and Architediure. 
 
 did take this in hand, and advance upon the Principles already eftablifh’d, 
 and not fo acquiefce in them as if there were a Non Ultra Engraven upon 
 our Columns like thofe of Hercules, after which there remained no more to be 
 difcovered; at leaftin the apprehenfion of our vulgar Workmen, who for 
 want of fome more folid directions, faithful and ealy rules in riiis nature, fill 
 us well whole Cities as private dwellings with rubbageand a thoufand infirmities^ 
 as by their want of fkill in the profeftion, with the moft fhameful incongruities 
 and inconveniencies in all they take in hand; and all this for want of Canons 
 to proceed by, and humility to learn, there being hardly a Nation under hea¬ 
 ven more conceited of their underftanding and abilities, and more impatient 
 of direction than our ordinary Mechanicks: For let one find never fo juft a 
 fault with a Workman, be the fame of what My fiery foever, immediately he fhall 
 reply, Sir , 1 do not come hither to be taught my Trade, I have lerv d an Ap- 
 prenticefinp, and have wrought ere now with Gentlemen that have been fatisfied 
 with my work, and fometimes not without language of reproach, or calling 
 down his Tools, and going away in wroth ; for fuch I have frequently met 
 withal. I do not fpeak this to diminifh in the lead from the capacitie and 
 apprehenfion of our Nation who addift themlelves to any of the moll polite 
 and ingenious Profejflons, but to court them to more civility, and to humble 
 the ignorant: For we daily find that when once they arrive to a through-in^ 
 fpe&ion and addrefs in their Trades, they paragon, if not exceed even the mod 
 exquifite of other Countries; as we may fee in that late reformation and im¬ 
 provement of our LockeSmiths work, Joyners, Cabbinet-makers and the like, who 
 from very vulgar and pittiful Attifis, are now come to produce works as curi¬ 
 ous for their filing, and admirable for their dexterity in contriving, as any we 
 meet with abroad, and in particular for our Joyners, they excell all other Na¬ 
 tions whatfoever. 
 
 But as little fupportable are another fort of Workmen, who from a good con¬ 
 ceit of their abilities, and fome lucky jobb (as they call it)do generally ingrofle 
 all the work they can hear oft while in the mean time they difdain almod to 
 put their own hands to the Toole, but for the moft part employ their Apprentices , 
 or fome other ignorant Journey-men; as if the fame of their Mafters abilities 
 did any thing contribute to the well performance of Work undertaken, 
 whiled in the interim he hardly appears himfelf till all the faults be flubber’d 
 over, the remedy cither impoffible or expenfive, and our Mafter ready to re¬ 
 ceive his Money, which fuch Gentlemen-Mechanicks commonly cOnfume on 
 cafe and bravery, being puffed up with an empty conceit of their own abili¬ 
 ties, which (God knows) is very indifferent, and the lefs for want of exercifo 
 and humility: a praftcie fo contrary to the ufage of all other Nations, that 
 even fuch as by their knowledg in this kind, have meritorioufly attained to 
 the Titles of Military Dignity, have notwithftanding purfued their Employ¬ 
 ments and Callings in perfonal cares and afliduous labour^ to their eternal 
 
120 
 
 Account of Architects 
 
 fame fo long as one Stone fhall lie upon another in this World, as I could 
 abundantly exemplifie in the works of Cavalieri Fontane, Bramanti , Sanfo• 
 vino , Baglione , Bernini, Fiamingo , &c. whofe egregious labours, both before, 
 and fince the accumulation of their honours, do fufficiently juftify what 1 re¬ 
 port concerning them. And that all fuch may know I reprochno man out 
 of fpleen or the leaft animofity to their Perfons (for fuch as are not guilty will 
 never be offended at my plainnefs, or take this for a Satyrs') I cannot but ex¬ 
 ceedingly redargue the want of more acquaintance in thefe fo neceffary and 
 becoming Arts even in moft of our Nobility and Gentry, who either imagine the 
 Study of Architecture an abfolute non-neceffary , or forfooth a diminution to 
 the reft of their Education , from whence proceeds that miferable lofs of fo 
 many irrecoverable advantages during their Travels in other Countries, as ap¬ 
 pears at their return ; whereas if it were truly confider’d, there is nothing 
 which does more properly concern them, as it contributes to their external 
 honour, then the effe&s of this illuftrious An : Befides, thefe being Perfons of 
 better parts, are moft likely to be furnifh’d with the beft abilities to learn, 
 and fo confequently enabl’d to examine, and direct fuch as they lhall let on 
 Work, without reproch either to their conveniency or expence when they at 
 any time Build, not forgetting the Ornament and Luftre which by this means 
 rich and opulent Struftures do add to the Commonwealth ; their remaining at 
 this day no one particular, for which Egypt , Syria, Greece , nay Rome her felf 
 {beheld in all there State , Wisdom, and Splendor) have been more admir’d and 
 celebrated, then for the Glory, Strength and Magnificence of their incomparable 
 Buildings ; and even at prefent, the moft noble Touth of Italy are generally 
 fo well furnifh’d with inftru&ions touching this laudable At,that the knowledg 
 of Architecture (and to fpeak properly in its teams isrc.) is univerfal, and fo 
 cherifh’d, even in men of obfcure extraction, that (as is already inftanc’d) 
 Architects (I mean the Manuary as well as Ingeniary') have been, and are yet 
 often rewarded with Knighthood, and the Art profefs’d as a moft becomming 
 and neceffary accompli foment in divers of their Academies: Add to this the 
 Examples of fo many great and illuftrious Perfons as (without the numeration of 
 thofe our Mafter has recorded in the Preface to his feventh Book) I might here 
 bring upon this Theater famous for their fkill and encouragement of this fump- 
 tucus Art: Emperours , Kings, Popes , Cardinals and Princes innumerable, who have 
 all of them leftus the permanent Monuments of it in the feveral places of their 
 Dominions, befides the infinite advantage of well managing of great and pub- 
 lick expenses, as well as the moft private and Oeconomical, an handfom and 
 well contriv’d houfe being built at a far lefs charge, than commonly thofe 
 irregular congeftions , rude and brutifo inventions, which generally fo deform 
 an 1 incommode the feveral habitations of our Gentry both in City and 
 
 But I have done, and I hope all that love and eherifo thefe Arts, and par¬ 
 ticularly 
 
. teilura. 
 
 and ArchiieSure. 121 
 
 ticularly tha Lof Architedure y will ndt be offended at this Zeal of mine in be- 
 fpeaking their efteem of it, fince if I have faid any thing in reproof of the 
 errours either of the Perfons who pretend to it, or of the Works which they do 
 to its difgrace; I have only fpoken it that both may be reformed and 
 made the better. But leaft whileft I thus difcourfe of* the Accomplifhments 
 of our Artifts , and defers of the Pretenders, I my felf be found Logodtdalus , 
 and as they fay, Architedus Verhorum only, I proceed from the Perfon to the 
 
 Thing. 
 
 Architedura, deriv’d from the Greek Subftantive ’A^rand^«wi 
 which is by fome taken for the Art it felf, by others for the Work, ddiftcio 
 ipjo is opera , by us for both, is thus defin’d; Scientia pluribiusdifciplinis, is? va- 
 
 rih eruditionibus ornata,cujm judicioprobantur omnia quae a cdteris artibut perficiun- 
 tur , opera. Architecture (fays our Mafter Vitruvius) is a Science qualified with 
 fundry other Arts, and adorn’d with variety of Learning, to whofe judgment 
 and approbation all other Works of Art fubmit themfelves. Or rather 
 in fhort and as effe&ual, cujut preceptis diriguntur, is judicio probantur , &c. 
 forfoit feemstobe more eXplicite, fince in a Geometrical Problem there are 
 both the Conftrudion , or Dire&ion Opens faciendi, which thefe Pr accept a define ; 
 and alfo, the Demonjlration or Probation Operis jam faCti , which is fpecified by 
 the Judicium in the Vitruvian definition. I conceive therefore the firjl part to be 
 the more Effential and infeparable; the latter to be but the refult of the former , 
 and no more ingredient into the Art then the image of a Mans face in a Glafs is 
 conftitutive of him. 
 
 But to forbear any farther glofs, you fee what a large dominion it has, and I 
 might go on: Ea nafcitur exfabrica is ratiocinatione,to {hew that fhe is the Daugh¬ 
 ter ofBuildinggnd Demonjlration: Then, (for fo I affeft to render it)that Building 
 h the refult ofan affiduom and manual pradice upon apt materials according to the Mo¬ 
 del propounded', and laftly, that our Ratiocination it an ability of explicating what we 
 have done by an account ofthejufiproportions; In a word,it is the Art of Building well, 
 that \^,handfomly,folidlygnd ufefully ; for fo(ro omit many other Elegies a ndDefi- 
 nitionsj I find it eftablifhd;and therefore the learning of our Arckited without 
 the diligence of our Workman , umbram , non rem confecuta videtur , may ferve to 
 rear a Tabernacle , not build a Temple , there being as much difference between 
 fpeculation 2nd pradice in this Art, as there is between a Shadow and a Subfiance ; 
 but with what advantages thofe perfons proceed who both know, andean ap¬ 
 ply, I have already demonftrated; and when we confider that the whole Art 
 confifts in the moft exaft and elegant order imaginable, it is not to be won¬ 
 dered there have been fo few able men of the Profeffion : Sir H. Wotton, T*ho rec¬ 
 kons thofe two parts for one, that is, the fixing of the Model to a full expreffion 
 of the firft Idea , pafles (with our Mafter ) to the fpecies or kinds of this difpoft- 
 tion ; whofe learned names fince our politer Workmen do commonly retain, 
 
 I think meet to interpret for the benefit of the lefs knowing* The firft is, 
 
 S Ichnographyi 
 
122 
 
 Account of ArchitcHs 
 
 ichm'u- Ichnography , by which we are to underftand the very firft Defign and Ordi - 
 
 ph *‘ nance of a Work or Edifice, together with every partition and opening, drawn 
 by Rule and Compafs upon the Area or Floor, by Artifis often call’d the Plan 
 or Plat-forme as in our reddition of the Parallel: The Greeks would name it 
 fates y%ci<pr) Veftigii defcriptio, or rather Vefiigium operis, the fuperficial effor- 
 mation of the future Work,which our Ground-plot does fully interpret. This 
 is properly the Talent and Work of the chief Architett or Surveyor himfelf 
 (and indeed the moft abftrufe and difficult) by which he expreffes his con¬ 
 ception and Idea for the judicious collocation, idoneous and apt difpofition, 
 right cafting and contrivement of the feveral parts and Rooms according to 
 their diftinft offices, and vfes ; for as Ordination imports the quantity, fo does 
 this the quality or the Building . To this fucceeds 
 
 QnUgr*. Orthography , or the erect elevation of the fame in face or front defcrib’d in 
 pbla ' meafure upon the former Idea: Some do by this comprehend the fides like- 
 wife (but fo will not i) to be feen as well within as without the Model. It 
 ' is in truth but the fimple reprefencation of that part oppofite to die eye of the 
 beholder, and thence by Italians /’ Alzato or /’ impiedi, facciata and Frontif- 
 piece, without fhadows or other deceptions, and the feccnd fpecies of difpofition . 
 The laft is, 
 
 sccHogn. Scenography , or (as fome) Sciagraphy , which is the fame object elevated upon 
 
 the fame draught and center in all its optical flexures, diminutions and fhadows, 
 together with a fore-fhortning of a third flde, fo as the whole Solid of the Edi¬ 
 fice become vifible in Perffdiive (as they fay) becaufe compofed of the three 
 principal lines ufed in that Art, vig. that of the Plan or Plot, belonging to the 
 firft Idea ; that of the Horizon or eye-line, which denotes the fecond ; and the 
 line of diftance which makes the third with all its adumbrations and fhadowings, 
 F r S pkUe. which diftinguifhes it from what they call tide Profile fignified by the edging 
 ftroaks and contours only , without any of this folid finifhing. From thefe 
 three Ideas it is, that fame Eurythmia , and Venufta fpecies /Edificii does refult 
 EuryJml which creates that agreeable harmony between the feveral dimenfions, fo as 
 nothing feems difproportionate, too long for this, or too broad for that, but 
 . correfponds in a juft and regular Symmetry and. concent of the Parts with the 
 
 S ytftfHCtrtct ■*- ’ ^ ^ ** 
 
 whole, as the due make of each member in the body denominates the com- 
 pleatnefs of the figure , be it in Statue , or the Life. Laftly, 
 
 Decor , which is not only where the Inhabitant , and habitation fuite, feeing 
 Dao ' f ' that is many times accidental ; but where a Building, and particularly the Or¬ 
 naments thereof, become the fiation, and occafion, as Vitruvius exprefly fihews 
 in appropriating the feveral Orders to their natural affe&ions ; fo as he would 
 not have fet a Corinthian Column at the Entrance of a Prifon, nor a Tufcan before 
 the Portico of a Church, as fome have done among us with no great regard to 
 the decorum: Here therefore it is, that the Judgment of an Architect ought to 
 be confulted, fmee even in the difpofition of the Offices of our moft private 
 
 houfes 
 
and Architeffiure. 123 
 
 houfes,we find no where greater abfurdities committed,whiled we many times* 
 find the Kitchin where the Parlour fhould have been, and that in the firft and 
 beft ftory , which fhould have been damned to the lowermod and the word* 
 
 Philander feems to be in fome doubt whither the Architect did after all this 
 make a Model of his future Work, but refolves it in the affirmative for many rea- uoie,Um - 
 Tons, ita enimfutura deprehenduntur errata, isr minimo impendio, nulloque incommode; 
 
 &c. for fo (faies he) future errors may be timely prevented, with little cod, and 
 without any trouble before the remedy prove incorrigible. There is nothing 
 certainly fpar’d to lefs purpofe, and more to the detriment of Builders then 
 the fmall expence of making this Prototype , which 1 would have f ram’d with 
 all its Orders, and Dimenfions , by the affifiance of fome fkillful Joyner, or other 
 ingenious Artift in fome flight material, which may be to remove, uncover 
 and take in pieces, for the intuition of every Contignation, Partition, Paffage, 
 and Aperture without other adulteration by Painting or Gaudy artifice, but in 
 the mod fimple manner as Sir H. Wotton prudently advifes, for reafons mod 
 material and unanfwerable ; but from all which we may deduce how abfo- 
 lutely neceffary it is, that an Architrfi have more than a vulgar dexterity in the 
 Art of Vefigning and Drawing, Qu& autern confer ant, imo, qua fint Architefto 
 penitm neceffaria ex artihus, hate funt, Piftura ist. Mathematica ; in ceteris docrufne 
 fit , non labor 0: So the Patriarch, lib. 9. upon that of our Mafler, lib. i.c. u 
 Per it !ps Graphidos, &c. and then concludes, Neceffaria igitur eft Architelh Gra- 
 phidis (i.e.f defignationi* ut Italidicunt peritia, as being a thing, altogether indi- 
 fpenfable; but of this already, for by the Method of this Inftitution 1 fhould 
 now proceed to the more particular didributions of this Art, whither in re- 
 fpeft to private or publick Buildings, but I leave it for the next Edition of 
 what remains of the incomparable Palladio, when either by the fame it is be¬ 
 gun, or by fome other charitable hand, it fhall be taught to fpeak Englijl) ; 
 and the title of this Vifcourfe, which' minds me of a through explanation of the 
 more dificult tearms of this Art , for being principally, if not only converfant 
 about the five Orders and their Ornaments (the fubjeft of our learned Par allelf 
 calls me back to a diftinft Survey of them, and I will begin at the Foundation. 
 
 Properly Foundation is the very Cofer or ground-bed fearch’d ad folidum,isr in rmdmtrd 
 folido , as our Mafler advifes, and upon which a wife man would only Build tum ' 
 and raife the Proto-fubftruUxion , or fird beginning of his Wall. This the 
 Greeks call'd, 
 
 • ■ / * J 
 
 Stereobata for its artificial firmenefs, as immediately fucceeding the under - Stereobi* 
 
 filling ofthe former (for fo we name thofe dry Materials upon the Surface) to 
 be the Bafes of the whole Edifice : I am net ignorant that fome contend a- 
 bout this Office , confounding it with the Stylobata and Pediftals of Columns , 
 affigning them a regular thicknefs of halfe as much more as the Orders they 
 fupport; and then the Italians call it the Zoccolo , Pillow or Die (becaufe of its 
 Cubique and folid figure ;) But I rather take it for the Bafamento of the whole 
 
 S % which 5 
 
124 Account of Architects 
 
 which I would therefore rather augment than contrad to that ftinted dimen- 
 fion; The Reverend Daniel Barbaro , c. 8.1. 2. defcribes us all the kinds of 
 them, and calls this in particular (and which confirmes this divifton) the 
 conceiled part, or fondatio in imo: And then by this elegant diftfinVtion defines 
 StruUxura to be that of Fronts ; Inftruffion , that of the middle parts; and Sub- 
 
 sub(irnttio.flruftion? of the lower ; though this laft notion does likewife many times im¬ 
 port fome vaft and magnificent Building, for fo Baidu* has cited that paflage 
 in Liu . 1. 6 . where he names the ftately Capitals SubftruUiion only,and other 
 Authors SubftruFtiones infanas , for fuch vaft and enormous Fabricks: But that! 
 we may not omit the Pediftal (though of rarer ufe ambngft the Aments') I come 
 next to the 
 
 ItdljlT™ Sty lob at a ; For our Pediftal is vox Hybrida (a very mungrill) hot d Stylo, as 
 
 fome imagine, but d Stando , and is taken for that folid Cube , or fquare which 
 we already mentioned to be that to the Column impofed, which the Suptrftru- 
 Fture is to thus. It is likewife call’d Truncus the Trunk(though more proper¬ 
 ly taken for the ft)aft or body of an Order) contained between the Cornice and 
 Bafe (for Pediftals have likewife thofe Ornaments infeparably) alfo Abacus, 
 Dado , Zocco, &c. which is fometimes Carv’d with bajf-relievo in Hiftorical Em¬ 
 blems ., as that of Trajans at Rome : Poggio , from its office of fupporting, and 
 then ’tis conftantly adorn’d with a Cornice confifting of a Cymatium on a Corona 
 with Lifts, and fometimes Scotia or (hallow cavities and an addition of an upper 
 Zocco or Plinth of a fmaler hollow and part of the Cymatium , upon which the 
 Scamilli imp ares Vitruviani were fet, if defign’d for Statues: Or, if without, for 
 Columns . The Bafe has likewife an Ornament of a Cymatium inverted upon a 
 Plinth , as may be feen in the Corinthian Sty lob at a. But, as we affirm’d, the 
 
 Antients did feldom ufe Pediftals unlefs where Railes and Balufters were requi- 
 lite, and Parapet walls for Meniana , Pergola* and Balconies , and where they 
 ferv’d for Podia or pofaries of a leaning-height for which they had a flight 
 Cornice affign’d them ; and this minds me of the crTrjXaj among the Greeks , as 
 indeed feeming to have been deriv’d from the Eaftern ufed, and to the 
 Jews (we read) enjoyn’d upon their flat-roofed houfes, thefe balufters being in 
 truth but a kind of petty Columns under the Railes or Architrave be¬ 
 tween Pediftal and Pediftal for that moral reafon, the fecurity of the Walkers, 
 efpecially at what time they ufed to fpread Tents upon them, as frequently they 
 did: But if (as we faid) for the better eminence of* Figures , then with the 
 impofition of 
 
 Scamilli impares , of which there is fo much contention amongft our hyper¬ 
 critical Archite&s, though in fine they prove to be but certain Zoccos or Blocks 
 elevating the reft of the members of an Order, Column, Signum or Statue from 
 being drowned or loft to the Eye, which may chance to be plac’d below their 
 Horizon ; that is, beneath the Proje&ures of the Stylobata Cornices and other 
 Saillies, by an agreeable reconciliation of Geometry with the Opticks: In a word, 
 
 the 
 
the Pedidah of Statues do well exprefs them, and thofe halfe-round elevations, 
 or other unequal emmencies upon the Sty lob at a, be they one or more Plinths 
 like fo many fteps fuccccding one another for the advantage of what Hands 
 upon them. But to proceed to the Orders and their feveral Members as they 
 naturaly rife in Work. 
 
 'The Bafe deriv’d from the Greek Verb [ioujvHv imports the fudent, prop Baft. 
 or foot of a thing, and is in Architecture taken not for the lowermoft member of 
 an Order, but for all the feveral ornaments and mouldings from the Apcphyges of 
 rifing of the Columns fhaft, to the Plinth : Sometimes alfo for the Spire, which s 
 lying on the Plinth like the Coile of a Cable derives thence its name, though 
 fomething improperly methinks, conlidering thefe members do not run Spiral 
 but obliquely rather and in orbem: In fum, the Bafts is to the Column and its 
 Intablature, what the Stylobata is to the Bafts, and the Stereobata to the PedU 
 dal. But to come to each particular. 
 
 The Plinth is the firft, and very lowed member of the Bafe . The Word 
 denotes a Brick or fquare Tyle of which happly they were ufually made, but ra¬ 
 ther for the refemblance, becaufe of the weight it was to bear, and therefore 
 more probably of fomething more folid to preferve the foot of the Column 
 from rotting, when firft Pillars were made but of the tapering bodies of Trees, 
 as we (ball fhew hereafter: Plinth is likewife taken for a like member about 
 the Capitel, but then always with its adjunft, the Plinth of the Capitel, &c. be¬ 
 caufe placed jud above the Echinus as in the Boric, Ovolo or quarter round lit 
 the other Orders . The Italians familiarly name it Or to, which importing a 
 round Welt, Hem or Brim, methinks is not fo properly applied to it. The 
 next is. 
 
 Torus, the third member of the Bafe(of which there is fuperior and inferior in the row, 
 Bafes of all theOrders,theTufcan excepted) comes from denoting the round- 
 
 nefs and fmoothnefs of it; Torus enim quicquidrotundum, or rather as Scaliger, 
 quod artiftcialiter elaboratur is tornetur, becaufe artificially made fo; but why 
 not from its fwelling and brawninefs; It much refembles the fihape of a round 
 Cufhion, torques or Wreath, thence , and the impofed weight makes it 
 feem to fwell out as if indeed it were duffed, and that with reafon fay the Critics 
 for the more eafy and fafe pofition of the 
 
 Trochile, from rgi’x? or rfoyu. arundledr Pully-wheele which it much re- Tmhucti 
 fembles,and is that Cavity appearing next to the Torus:The Italians named Ba - 
 Clone, or more properly Cavetto, and Cortice, tanquam baculi cortex, the hollow 
 rind of a Tree, as Barbaro . Our Workmen retain the antient Scotia, from settu* 
 
 Xxollcc, its obfeurity proceeding from the {hade of the hollownefs, but more 
 vulgarly they call it the Cafement, and it is ever the Cavity between the for¬ 
 mer Torus's, and alfo beneath the Doric Cornice feparated from the plain 
 Margen or regula cal’d Mentum and Corona by a fmall CymaXtum, or fometimes a 
 Lift only: The Capital letter C, is a perfeft refemblance of this Moulding , and 
 
126 Account of Architects 
 
 It is indeed frequently bordured or rather {hut in with lifts. Laftly, 
 ap*g*iu 4 . The Aftragal, which befides divers other things (as the Septem fpinee Ver¬ 
 tebra neer the neck) has here its analogy from that bone a little above the 
 Heel, whence the French name it the Talon or Heel it felfe (as our Author of 
 the Parallel ) nor improperly ; but by the Italians il Tondino being a kind of 
 halfe form, fometimes wrought in the richer Orders like an over-caft hem or 
 edgtothe larger Tore, which frequently is plac'd between, as in the Ionick, Bale 
 with two Scotias, and fometimes (though rarely) juft about the Plinth of the 
 Bafe, as fome marfhal it: Otherwhilesagain it is taken for the CinHure or Coder 
 next the Hypotrachelium and diminution of a Column lifted on both edges ; 
 and it runs alfo under the Echinus of the Ionick .. Our Englifber of Hans 
 Bloome names it a Bolted, or Fillet in any part of a Pillar, but I take a Fillet to 
 be more flat, this more fwelling and (as I fay) Torus-hhe. Moreover we 
 fometimes find it dividing the Fafcia of the Corinthian Architrave where it is 
 wrought in Chapletts and Beads or Berries ; and finally in two places, both a- 
 bove and beneath the Lifts joyning immediately to the Square or Die of a Pe- 
 diftal where Sty lob at a is introduced; and fo we have done with the ornaments 
 and mouldings of the Bafe. . ; . ~ r 
 
 column. The Columns are next, which being of five denominations or Orders are to 
 ArchiteHs what the Modes be in Mufick, and the Carminum genera among Poets, 
 all Buildings whatfoever being under the regiment of fome one of them, or a*; 
 leaft ought to be. It is here properly that round and long Cylinder diverfly 
 named by Authors, Scapws, Vivo,Tige,Shaft,Fuft,Trunke, &c. containingtjjhe bo¬ 
 dy thereof from the Spire of the Bafe, or lately mention’d Aftragal, to the Capitel: 
 Sometimes for the fubftance and thicknefs of the bottom of the Pillar, and in 
 Authors for the Checks of a Door Secundum Car dines ist Antepagmenta, of which 
 confult the learned Baldus in the Word Replo de Sig. Voc. Vitr . alfo the perpen¬ 
 dicular Poft of a Winding-flaires ; but for the moft part for that [olid of a 
 Column which being divided into three parts, has (as fome delight to forme 
 Enufis. them, but without any reafon or good authority) an, Entafts or Swelling, and 
 under the Collerine or Cirnbia of the Capitel, a ContraCture and comely diminu¬ 
 tion, by workmen call’d the breaking of the Pillar. But the primary ifliie or 
 
 jfophyges. rife of the Shaft next the Aftragal and neather Cinthre is call'd the Apophyges 
 from the Greeks word ’Amy* pvyyj, becaufe in that part the Column taking as it 
 were a rife, feems to emerge and fly from the Bafes like the procejfus ot a bone 
 in a mans leg; and fo it is now and then applyd to the Square of Pediftals 
 likewife. In fhort, 5 tis no more then the rings or feruls heretofore ufed at 
 the extremities of Wooden Pillars, when formerly they were made of that ma¬ 
 terial, to preferve them from fplitting, afterward imitated in Stone-work as 
 an infeparable part thereof; and thence doubdefs it is they took their origi¬ 
 nal contraction ; Such trees as grew in the moft upright tenor and comely di¬ 
 minution, being chofen for this employment, 
 
 Thefe 
 
and Architectures. 
 
 Thefe being refembl’d in Stone (that is of one entire one) by Solid# were 
 diftinguifh’d from the Struftiles , or were fuch Pillars as were compoun¬ 
 ded of many: 
 
 But it is not here only that thefe rings have place, but next the above de- 
 fcrib’d Afiragal likewife,and where-ever encounter’d by the names of Annuity 
 Cinfta. , Cimbia, Liftello, Fillets, Regula, &c-. broader or more narrow as belt 
 fuits with the confecutive member; like thofe very fmall Liftellos or Annulets 
 under the Echinus of the Doric Capitel, by the Italians call’d Gradetti , Degrees, 
 and by the interpreters of P. Lomazgo, Rulers ; and fo in like manner the 
 Cimbia beneath the Afiragal immediately above the Contraction. But Regal# 
 and Fillets are lomewhat larger in places where they edg and fhut in the Cy- 
 matium of a Cornice, Abacus, or Vo hit a: Moreover I note, that Liftello and Qnlia 
 are broader than Annulets which I take to be the very leaft of all the Mould¬ 
 ings in an Order. 
 
 Now, before we enter upon our Capitel, which feems to be the next colle¬ 
 ctive Member ; we may do well to obferve,that the feveral Parts, Members and 
 Projettures we have hitherto delcrib’d, and fuch likewife as remain, receive 
 all their dimenfions, and proportions from one univerfal Scale , call’d by our 
 Artifts the Module , which though diffidently delcrib’d in the beginning of the 
 Parallel, I think fit to interpret once for all, to imploy the Semidiameter of a 
 Column of any Order at the rife of its Shaft upon the fuperior member of the 
 Bafe , and divided into thirty equal parts which we call Minutes. The Team in Vi- Minute! - 
 truioiws feems to be Ordinatio, which he explaines modica Commodity, and 1 take 
 for a Module , part or quantity by which to calculate, ad juft® and compofe the Moduhu 
 reft of the Members of an Order: For inftance,In the Ionic Column the Diameter of 
 the thickeft part is that proportion, as if it have 14. fuch Modules, the 
 Bafe fhall challenge One , and fo the reft of the parts according to their feveral 
 proportions. Note, that to diftinguifh it from Model (by which I would figni- 
 fie the folid Type or reprefentation of a Building') I read it Module with the 
 fifth Vowel as the former is with the fecond. 
 
 Towards the upper part or diminution of a Column (which is always the 
 lefs abated if very tall (as is alfo to be obferved in the Chanelling of thofe Or¬ 
 ders where 3 tis proper) becaufe the diftance efteds that in them, which Art 
 produces in the lower) is the 
 
 Hypotr ache Hum, which from the Greek. \3svTga.y*)Xiov colli pars infra cervicem ny^ 
 denotes the neck ol the Column, being that part of Scaprn below the Afiragal : ckw 
 It is as ’twere the Freeze of the Capitel, and fo by fome tearm’d, as alfo the Colder 
 and Gorgerin, where the Pillar feems as if it were ftrangled, and may well be 
 taken for a part of the Capitel it felf,having both in the 7 ufcan and Doric another 
 Annulus or Cin&a about it next to the 
 
 Echinus, a Bottle cut with an edg, as in our Bloome tis rudely explain’d: It 
 is indeed-a quarter round,and fomedrnes more,dwelling above the CmEtures,m6 
 
 commonly 
 
Account of Architects 
 
 commonly next to the Abacus, Carv’d with Ovals and Darts (by our Workmen 
 call’d Eggs and Ankers as little politely) which is frequently (hut up with a 
 fmaller Ovolo of Beads and Chaplets, or like ornament; but fo adorn’d, it com¬ 
 monly runs under the Ionic Voluta and that of the Compofita, and next the Doric 
 Abacus; as in that lingular example of the Trajan Column it creeps under the 
 Flinth of the Capitel. Such as pretend to Etymologies for every thing they 
 hear, will have it 7mpft to or oiwb^iv iccvwv becaufe of a kind 
 
 of felf contraction; others more rationally from the refemblance and rough- 
 nefs in the Carving lytvhs T^^r^g^-as briftling with its darts like a Hedg-hog : 
 Under this,as we faid, is a.fmaller Bracelet again which incircles the Capitel un¬ 
 der the Voluta in the Compofita ,taken for the Fuferole; and fo likewife in the other 
 Orders where the Ovolo or Echinus properly enter, having a fmall moulding be¬ 
 neath it by Palladio nam’d Gradetto, but of this already: In the Corinthian an 
 Echinus frequently comes in ’twixt the Corona and Dentelli . 
 
 The Voluta, or as we tearm it properly enough, the Scroul, is not the deri¬ 
 vative of any Greek. Word, but the Latine, Voluta, ft Volvendo, for that it in¬ 
 deed feems to be roll’d upon an Axis or Staff: It is the principal, and only 
 appropriate member of the Ionic Capitel in imitation of a femal Ornament, as 
 both our Mafter Vitruvius, and the Author of the Parallel have learnedly illu- 
 ftrated. The Face of it is call’d Frons the fore-head a little hollow’d be¬ 
 tween the Edg or Lift, and the Return or Pillow betwixt the Abacus and Echi¬ 
 nus refembles the fide-plaited treffes of Womens haire, to defend as it were the 
 Ovolo from the weight of the Abacus (over which the Voluta hangs) and fupe- 
 rior Members, by the lame reafon as was intimated in the Torus of the Bafe . 
 
 There are alfo Voluta s in the Corinthian and Compounded Capitels, but they 
 confift rather of certain large Stalkes after a more Grotefco defigne, as may be 
 gathered from thofe Rams horns in the Capitel of the Columns taken out of the 
 Bathes of Diocleftan: and in truth they are only the pretty flexures and fcrowl- 
 ings of Vitici like the tendrells of Vines, whereof the four larger ones bend under 
 the Horns or corners of the Abacus, the other four cflefier fize, juft under the 
 middle of the Arch thereof, beneath the flower: then the bottom or foot of 
 the Calathus or Panier (for that’s divided into three equal parts as will here¬ 
 after appear) fhews in front two entire Leaves, and as many half ones, vi%. at 
 the angles, and ’twixt thofe again two Stalkes , which,with a tall one in the mid¬ 
 dle (that touches the midft of the Arch where (as we faid) it puts forth z flower 
 upon the brimm of the Abacus) make in all fixteen in number. To be yet as 
 accurate as may be in fo nice and florid an Ornament, thefe Leaves did of old 
 refemble either the Acanthusfthon^n a little more indented and difguifed)from 
 the inventor Callimachus,or (as fome) the Olive zndPalmes, for fo it is warranted 
 by Villalpandus from that Capitel of his defcription (landing in the Temple of 
 Solomon . At the extreams of thefe leaves do ifliie the Caules, and Codds break¬ 
 ing with the Helices, the reft of the Stalkes adorn’d and furnifh’d with budds 
 
and ArchlteBum. 1 25 ) 
 
 and tender foliage by the diferetion and invention of the ingenious Carver■„ 
 
 But the domineering Tendrells and Flexures confift of greater, or fmaller Va¬ 
 lutas, emerging from between the Abacus and Echinus in fmaller Leaves and 
 Stalkes, middling, and inferior foliage,as they are diftinguifh’d by Workmen in 
 the three above nam’d divifionsof the Calatkus ; but inftead of thofe Helices, 
 arour Corinthian homes, the Compofita has her Voluta much more refembling 
 the Ionica, and in lieu of thofe, divers Capricious fantfies, as Horfes-heads , Ea¬ 
 gles, and the like; fedeadoftis non probantur , they are rejected by all good Ar* 
 chiteffs, fays Philander . 
 
 Now the Center or Eye of the Ionic Voluta is made by Artifts with a Ca¬ 
 thetus, which (not over nicely to diftinguifh from Perpendicular becaufe evhetua 
 the operation of them proceeds from diftinft tearms) is meant by a Line let 
 down from above, interfering the Line of the Collar ( as ’tis demonftrated in 
 Chap. 24. of the Parallel, with the Hijlory of its inveftigation) and that fmall 
 circle at this point of interfefiion is Metaphorically 0 cuius, the Eye, from whence 
 the perfeft turning of the Voluta has been after an exquifite manner (though 
 by few obferv’d and pra&is’d) found out; it being here indeed that our Work¬ 
 man will be put to the exercife of his Arithmetick, as appears by that accurate 
 Calculation in Nicholas Goldmanuss reft i cut ion of this becomming ornament* 
 
 Laftly 
 
 The Abacus (from ct/3a| or afidmov which fignifies a fquare Trencher, or Mim ‘ 
 Table ) is that quadrangular piece commonly accompanied with a Cymatium, and 
 ferving in (lead of a Corona or drip to the Capitel, whereof it is the Plinth and 
 Superior, as has already been noted. This it is which fupports the neather 
 Face of the Architrave, and whole Trabeation: In the Corinthian and Compofita 
 the Corners of it are nam’d the Hornes, the intermedial Sweep and Curvature 
 the Arch, which has commonly a Rofe or fome pretty Flower Carv’d in the 
 middle of it. 
 
 Thus we have finiflrd chat Head of our Column, which being taken in ge¬ 
 neral for all thefe Members together, is commonly diftinguifh’d by the name of 
 Capitel, taken, I fay, for the intire Ornament from the Ajlragal and firft Cinfture 
 of it,to the Plinth which bears up the Architrave: But it is not to be omitted* 
 that the main body of the Corinthian Chapter (of which we have given a large 
 defeription under the Title of Voluta') confifts of a Bell, or Basket rather* 
 which is that plain and folid part under the Cauliculi, Stalks and Flowers alrea¬ 
 dy mention’d, and which in order to their triple Series of Foliage (which feems 
 to include and fhadow the body of it as ’tis reprefented in that curious defigne 
 of Callimachus s invention) is divided into three equal parts : But of this a- 
 boundantly. There is likewife another Capitel, or rather a Diminutive of it,by 
 the Greeks call’d MtpccXiiiov, which does not only fignifie (as foraetimes) the 
 former Calathus and Basket, but more properly that Braid or Lift above 
 the Triglyph in the Freeze. 
 
 T Moreover* 
 
I'jO 
 
 Striges. 
 
 Str it. 
 
 
 *Antx. 
 lm ami*. 
 
 Account of Architects 
 
 Moreover, to the bodies or Shafts of fome Columns appertain 
 Striges, which (not to infift upon what the Learned Vojfius and other Cri¬ 
 tics have contended) are thofe excavated ChannelIs, by our Wor kmen call’d 
 Flutings and Groeves: Thefe are particularly affected to the Ionic Order (rarely 
 the Doric') uti jlolarum rugae fm imitation of the Plaits of Womens Robes, as our 
 Matter refembles them; and fome of thefe Channells we find to go winding a- 
 bout Pillars, &c. but it is not approved. Between thefe are the Striae, we may 
 properly Englijh them Raies or Beames; which being twenty (or as fome 24.) in 
 number,are thofe plain fpaces between the Flutings in the Ionic,Doric,Corinthian 
 and Compofed Orders ; which three laffc have (with fome fmall difference) bor¬ 
 row’d this Ornament from the Ionic. And in fome of thofe (as in that Diocle - 
 fian Doric Example)they are fo made,as to reduce the Rays to a fharp edg only, 
 by their contiguity without any fpaces at all. But fometimes we find the 
 Striges to be fill’d up with a fwelling,a third part from th eBafe, and thefe we 
 may call Stavd.\ or Cabld-Columns; for fo 1 think fit to interpret the French 
 Embaftone , and Albertis Rudens. Thus we find fome Corinthian Pillars often 
 treated ; the Stria being commonly a third or fourth pait of the widnefs of 
 the Flutings, and diminilhing with the Contraption of the Scapus, unlefs the Shaft 
 be very high, in which cafe the diftance does it without the ayd of the Work¬ 
 man ; fometimes alfo we have feen them totally filled. We fhould now come 
 to the Entablature, but a word of 
 
 P illaflers, call’d in Greek. Par aflatje, and by the Italians Membretti, for Modul 
 and Ornament obferve their entire Columns if they (land alone; but fo they 
 do not lor their prominencie, which being to gain room, reduces them fome¬ 
 times to the fquare, whereof the narrower fide is frequently applied to Walls , 
 by which alone fome will only have them to differ from Pillars themfelves; 
 but that ought to be underftood of fuch as have no Impofts and Arches, upon 
 which occafions the Lights they let in do much govern their proportions, as 
 Palladio has judicioufly fhew’d in /. 1. c. 13. &c. Likewife, where they hap¬ 
 pen to be at Angles, and according to the furcharg’d weight; and therefore a 
 Rufiic fuperficies (as Sir H. Wotton has difcreetly obferv’d) does beft become 
 them, as well as a greater latitude, for fo they have fometimes been enlarg’d to 
 almoft a whole vacuity ; unlefs where for their better fortifying, we find half 
 and fometimes whole Columns applied to them. Where they fupport large 
 Cornices and Freezes in Wainfcoted Rooms they do properly and handfomly, 
 provided their due proportions be obforved,without thofo ridiculous difguife- 
 ments of Pediflals and idle fancies which we find frequently wrought about 
 them. Alfo in Cbimny-pieces, Fronts of Buildings , Galleries, and Door-cafes 
 from whence they were nam’d Antae : The 
 
 Impofts (by Vitruvius call’d Incumbat) which I mention’d, are nothing but 
 their Capitels or more protuberant heads, upon which reft the ends of the 
 Arches; but where they exceed the Square and regular thicknels, they were 
 nam'd T Pilar- 
 
 "T 
 
and Architectures . 1 
 
 PiU, and their Quadras or Tables (as we yet lee them in antient Altars and pu*. 
 Monuments ) were employ’d for Infcriptions ; but if fhorter, and more maflie, 
 they ferv’d for the Arches of Bridges , for Buttrefes and the fuftentation of more 
 -folid works. 
 
 Arches confift commonly of Ample halfe-Circles , and now and then of fome For * ices - 
 leflTer point, according to the occafion: At Venice, Pifa and other Cities In Italy 
 they are form d to an incredible and admirable fiatnefs- by the wonderful ad- 
 drefs of the Workman, for the eafe of fuch as pafs over the Bridges, and without 
 interruption of the Streams. The Mafonry at the front of thefe being cut by 
 
 a peculiary^e of the Stone is calld Pennanted, till it come to joyn with the 
 
 Menfula, which ( quafi jjIcu) feemes to be locked to the Pennants in guize Ue "f“ la - 
 of a Wedg, and therefore by our Artifts nam’d the Key-ftone: But if Vaults are 
 made, two Arches interfed, which is the ftrongeft manner of Cameration. And 
 here I think not amifs to note, that the Antients very feldom made ufe of Arch¬ 
 ed Doors or Windows, unlefs at theenterance of Cities, and Triumphal inter column- 
 ations for the more commodious ingrefs of Horfe-men arm>d with Spears, and 
 Enfignes, &c. This Barbarity therefore we may look upon as purely Gotique, 
 who confidering nothing with reafon, have introduc’d it into private houfes, 
 and been imitated but by too many of our late Architects alfo, to the nofmall 
 diminution of the reft which is better conduced. By Intercolumnations I do 
 likewife comprehend all Terraced and Cloifier d-Bmldings, Porticos, Galleries, 
 
 Atria's, &c. contiguous to, or ftanding out from the body of Edifices in which 
 cafes they are becommingly proper : And this does naturally lead me to our 
 Pillars again, and to confider the [paces between them. 
 
 Intercolumnation fignifies the diftance or voyd between Pillar and Pillar, 
 but this not fufficiently explaining the various diftance of the feveral orders lunmtll0 ‘ 
 in work, renders it, even in divers of our Engliftj Authors where they treat of 
 this Art, of fundry denominations: For thus it was ufually call’d 
 
 Infulata Columna, where a Pillar ftood alone like an IJland or Rock in the 
 Sea, the one inviron’d with Ayr as the other with Water: 
 
 Arcofiylos belonging chiefly to the Tufcan Order , was where the Intercolumn - 
 ation is very wide, as at the entrance of great Cities, Forts, &c. upon which 
 occafions attheleaft four or five Modules may be allow’d. 
 
 Diaflylos, though fometimes improperly taken for any Inter columnation, is DUfoM. 
 moft natural to the Doric and may have three or four Diameters, nay fometimes 
 fix in the Ionic, as fitted for Gates, Galleries, and Porches of Pallaces or lefler 
 Buildings, and thence were called Tetraftylos and Hexaftylos. 
 
 The Syfiylos nam’d alfo Pycnojiylos (as much as to fay thick.o[Pillars becaufe .. 
 
 feldom alow’d above a Module and an halfe,, though fome diftinguifh the firft 
 by a Module more) belongs chiefly to the Compofita, and it was us’d before 
 Temples, and other publick and magnificent Works of that nature; But where in 
 fuch ftru&ures the Inter columnation did not exceed two, or two and a quarterns 
 
 T 2 in 1 
 
 / 
 
Account of Archudis 
 
 in the Corinthian and efpecially the Ionic? the proportion of diftance was fo 
 efteem’d for its beauty and other perfections, that it was by a particular emi- 
 Erfyios. nence tearmed Eujlylos? as being of all other the moft graceful. Where the 
 fides had ranges of Columns? as in thole large Xyflas? Porticos? Atria* and VefiE 
 hula of the Greeks and Romans? which were certain Arched or plainely Archi « 
 travel buildings in form of Cloyfters and Galleries ? commonly handing out 
 from the reft of the Edifice? and now and then alone, the Antients named it 
 Antyproftylos? P eriftylos? &c. Thefe (for being already explain’d by Paula* 
 
 Lomatim? and long fince made vulgar) I have only touch’d for the benefit of 
 our Country Workmen? who do frequently, even amongft our Engliflj Tranfla- 
 tors of Arcbiteftonical Treatifes, meet with thofe hard names without their 
 interpretation, when they difeourfe of thefe open and Airy Ornaments „ 
 whether adjoyning to, and fupporting more Contignations and Stories ; or in- 
 vironing them, and prominent from them; and becaufe it is for this, that our 
 Mafter Vitruvius fo paflionately wifhes that his Ar chit ell fhould be (as of 
 old they ftyl’d Callimachus ) Philotechnos? an induftrious fearcher of the Sciences? 
 which is the fame that a good Philologer is amongft our Literati. 
 
 Moreover inftead of Columns the Antients (as now the Modern but too often) 
 ufed to place the whole Figures of Men and Women to fupport and bear up 
 intire Cornices , and even huge mafles of Buildings; but of this at large in Cap* 
 22. 23. of the Parallel. Part 1. Thefe they alfo nam’d Telamones or Atlas's? 
 lArebi- the French Confoles where they ufually fet them to fuftain the Architrave? which 
 for being the next Member in order to the Capitel we come next to explain. 
 Epipyihn, The Greeks nam’d that Epifiylium? which we from a mungril Compound of 
 two Languages d%yy\—Trabs (as much as to fay the principal Beam and Sum- 
 mer)or rather from Arcus and Trabs?cdl\ Architraveflh velint trabem hanc Arcus 
 vices fuftinere quia Columna ad Columnam finuarifilet? as Baldusmth reafon from 
 its pofition upon the Column , or rather indeed the Abacus of the Capitel. It is 
 the very firft Member of that which we call Entablature in our tranflation of 
 the Parallel ; and formerly in the Tufcan Order framed for the moft part of 
 Timber in regard of the diftant Intercolumnation : It is alfo frequently broken 
 into two or three divifions, call’d by Artifts 
 Fa f ci *- Fafiias? or rather, plain Faces? a little Prominent, the loweft being ever the 
 narrowed:: Thefe Breaks arriving fometimes to 17. fometimes to 18. Minutes 
 in breadth, fome rather choofe to call Faces then Fafiias? Swathes? Fillets or 
 Bands? by which they are ufually diftinguifh’d into firft? fecond? and third? efpe¬ 
 cially in the three latter Orders? for in the Tufcan and Boric they do not fo pro¬ 
 perly enter, though our Parallel yield us two approv’d examples: Thefe are 
 frequently, and indeed for the moft part, feparated with a fmall Aflragal cut 
 into beads or fum fuch flight Carving ; the Fafiias of the Architrave likewife 
 curioufly wrought, as in that wonderful Inftance of a Corinthian Entablature 
 taken out of Bioclefians Bathes. Fafiia? in the notion I would rather take it, 
 
 fhould 
 
> and Architecture. 133 
 
 fhould be for that narrower band about the Tufcan and other Bafis as lome 
 call it; or rather the fquare lift under the fuperior Toms in home Pediftals 
 nam'd Supercilium , and not properly the Torus it felf, as in divers Englifh Pro¬ 
 files they erronioufly make it; for Supercilium leans to be a kind of Corona dr sumdu- 
 drip to the fubjacent Members. In Chimneys the Architrave is the Mantle ; 
 and over the Antepagrnenta or Jambs of Doors and Lintells of Windows the Hy- tilt* 1 ' 
 pertbyron which the Italians call Soppra frontale, and our Carpenters the King-piece 
 immediately under the Corona to fupply the Freeze, efpeeially in the Dork 
 Order. 
 
 The uppermoft fafcia of the Architrave for the moftpartis, and indeed al- 
 waies fhould be (the Tufcan only excepted) adorn’d with a Lyfis, or Lypu 
 
 Cymatium inverted, which is no more than a wrought or plaine 0 -gee as our cymmua. 
 Workmen barbaroufly name it; The tearm is K unduly and %nifies 
 a routing Wave to the refemblance whereof it is moulded. By fome it is call’d 
 the Throat , as from the Italian and French , Gola, Geule or Doucine , and of thefe 
 there are two kinds, the firft and principal hath alwaies its Cavity above y and 
 doth conftantly jett over the Corona or drip like a Wave ready to fall,and then is 
 properly call'd Sima ; the other has its hollow below, and is nam’d inverfa : sim. 
 The Letters thus placed do reafonably well exprefs thefe kind of mouldings , 
 which not only enter into the Member of the Architrave where tisever inverted\ 
 but (as was faid) perpetually above the Corona , where they do frequently en¬ 
 counter and meet together with a fmall Regula between them, but then the nea- 
 ther is ever the reverfed, and very narrow; though ofttimes both of them 
 Carv’d and adorn’d with Foliage, &c. 
 
 Cymatium is alfo about the heads of Modilms and conftitutes a part of them, 
 as likewife it enters into Abacus,znd on Pediftals as in Stylobate Corona, and the 
 Bafe thereof, where we find them both inverted; though I remember to have 
 feentheupmoft with the red a alfo in the Cornice above mention’d. Butin 
 ftead of Cymatium feparating the Architrave and Freeze, Tmia oftentimes fup- 
 plies the room. 
 
 Taenia is properly Diadema, a bandlei or fmall Fillet with which they ufed to 
 bind the head ; or rather thofe Lentnifci and rubans which we fee carv’d and 
 dangling at the ends of Gyrlands. The Interpreter of Ham Bloome names it the 
 top of a Pillar , but very infolently ; it being indeed the fmall Fafcia part of 
 the Doric Architrave fometimes (but feldom)with a narrow Cymatium , or Regula 
 under it, as that runs under the Triglyphs: Some call it the neather Taenia (as 
 Philander frequently) to diftinguifh it from the bandage which compofes the 
 Capitelli of the Triglyphs and continues between them over the Metops and not 
 feldom under a Cavetto or fmall Cymatium with which Suidas and other learned 
 Critics many times confound it. In a word, ’tis that which feparates the Epifty- 
 Hum or Architrave front the 
 
 Freeze, the Word in Greek is Zttocpog^y, and does genuinely import the 
 
 imaginary 
 
Account of ArchitcUs 
 
 imaginary Circle of the Zodiac depifted with the twelve Signer but by our Ar¬ 
 chitects ’tis taken for the fecond divifion of the Entablature above the Columns , 
 being like a fairc and ample Table between the former Teni^ and which though 
 oftentimes plain fbould be Pulvinatus pillow’d,or fwelling in the Ionic Order; 
 but in the Doric enrich’d with the Triglyph and Metops , and with a thouland 
 Hiftoricaly Grotefque and other flored inventions in the reft of the Orders (Tus¬ 
 can fexcepted ) efpecially the Corinthian and Compofita. Our tearm is deriv’d 
 from the Italian Freggio which denotes any Fring or Embroider’d Belt : Phi¬ 
 lander faies a Phrygionibus , not from the Phryges a people of the Minor Afia as 
 fome erroneoufly, but Phrygiones , a certain Broidery or flour d Needle-work. , as 
 one fhould fay Troy-flitch (whence haply our True-fiitch ) in imitation whereof 
 they wrought Flowers and compartments upon the Freeze . 
 
 Belides this of the Entablature , the Capitels of both Tufcan and Doric have the 
 Freeze likewife commonly adorn’d with four Rofes and as many fmaller Flower s, 
 for which caufe tis call’d the Freeze of the Capitel alfo as we noted, to diftin- 
 guifh it from the other; likewife Hypotrachelium from its pofture between the 
 Aftragal and the Regula or Annulus of the Echinus : This Tufcan Freeze is plain 
 and very Ample ; but in the reft of the Orders it is employ’d with the Echinus , 
 as in the Ionic a, , and the Capitel Cauliculi or ftalkes in the other two, thefe Rofes 
 are alfo fometimes Infculped under the prominent Horns or angles of the Doric 
 Abacus . 
 
 The Triglyphs which I affirm’d to be charged on the Doric Freeze is a moft 
 infeparable Ornament of it. The Word in Greek, imports a 
 
 three-Sculptur’d piece , quafi tres habens glyphas : By their tringular Furrows , 
 or Gutters rather, they feem to me as if they were meant to convey the Gutt<z 
 or Drops which hang a little under them ; though there are who fanfy 
 them to have been made in imitation of Apollo s Lyre , becaufe firft put in 
 Work (as they affirme) at the Delphic Temple : You are to note that the two 
 angular hollows are but half Chanel!d^ whence they are call’d SemicanalicuU , 
 to diftinguifh them from the Canaliculi whofe flutings are perfect,and make up 
 the three with their interfiles or fpaces, being as many flat and flender Shanks 
 for fo we may interpret the Latine Femora : The Italians name them Pianetti 
 fmall Plaines , and fo do we ; and they conftantly reach the whole Diameter of 
 the Freeze being crown’d with the formerly mention’d Capitel , part of the upper 
 Tdtnia , and determining with the neather , where it intercepts them from the 
 prominent 
 
 Gutte or Drops . It is certainly the moft confpicuous part of the Doric 
 Freeze , fuppofed to have been at firft fo Carved upon boards only that had 
 been clap’d on the extremities of the Cantherii or Rafters ends which bore up¬ 
 on the upper Fafcia of the Architrave to take off from the deformity. How 
 indifpenfably neceflary they are to be placed in a juft and due fquare from 
 each other, and perpendicularly over their Columns , the Author of the Parallel 
 
 has 
 
V ; * / 
 
 and Architecture. 
 
 has fihew’d: Chap. 2. Part. 1. as in that of the Temple of Solomon according to 
 Villalpanduss defign, how they have been admitted into the Corinthian Freeze , 
 but without die Guttz ; and fo in the Perfique. Thefe Guttje are as I faid 
 thofe fix appendant Drops or Tears adeded only to the Doric Order, feeming 
 as it were to trickle down and flow from the Channels and Shanks of the Triglyphs 
 through the neather Txnia, and fmall Reglet or Moulding under it. 
 
 Guttee are fometimes made in fhape of flat Triangles, fometimes lwelling 
 like the Section of a Cone or Bell, and therefore fo call’d by the French Architects. 
 
 They are alfo under the flat Modilions which lupport the Corona eighteen in num¬ 
 ber, as in that mod confpicuous elevation of the Profile after the ftately relique 
 at Albanoxizw Rome, than which nothing can be imagin’d more noble and mag¬ 
 nificent. Alberti calls thefe Gutt£,Clavos , as conceiving them to be in refem-* 
 blance of Nailes, but without any reafon lor his conjedure. 
 
 Metopdi, are the next in order, and are nothing elfe fave thofe empty fpaces uctop*. 
 inth e Freeze ’twixt the Triglyphs in the Doric Order, either pur£ and plaine,or 
 figur'd\ for that is not neceflary alwaies. The Word is deriv d Of and oth), 
 which is foramen, intervallum inter Sculpture cava,or if you will,the hiertignium, 
 as importing here radier the forenamed fpaces, than what, thole pretend who 
 will fetch it from the Mstottov or forehead of the Beads whofe Sculles (re¬ 
 maining after the Sacrifices') were ufually Carved in thefe intervals; becaufe in 
 thefe vacuities were the paffages for the ends of the fioyfis, Timbers and Rafters 
 which reded upon the Architrave, and where to fill up that deformity, they 
 ufually made it up with fomefuch ornaments,fuppole of Skulls, Difhes, and o- 
 dierVeflels, nay fometimes with Jupiters Squib or Thunder boll, Targets, Battle- 
 axes, Rofes, and fuch other Trophies, as was found mod appofite to the occafion, 
 and not prepoderoufly filled them as our Workmen too often do, without any 
 relation to the fubjed ; fo as 1 have frequently feen Oxes heads Carv’d on the 
 Freeze of an Houfe of Pleafure in a Garden, where Rofes and Flowers would have 
 been more proper. There are fundry other ornaments likewife belonging to 
 the Freezg ; fuch as Encarpa, Feftoons, and Frutages tyed to the Hornes of the 
 Skulls with T&riidt and Ribbans tenderly flowing about this member, and 
 fometimes Carried by little Puti, Boys, Cupids and a thoufand other rich inven¬ 
 tions to be found in good examples. But we are now arriv’d to the third and 
 lad member of the Entablature feparated from the Freeze by the fuperior 
 Tamia, the Cornice. 
 
 The Cornice, Coronhi as it is. colledively taken for its feveral and didind con$>r 
 Mouldings and Ornaments y comprehends a fmall 1 . Regula, 2. Cymatium, 3. 
 Dentelli, 4. Ovolo or Eehirm, 5. Modilions or Bedding-mouldings which fup- 
 port the Corona, 6 . Sima red a and inverfsfndtdy a Cavetto)y. andladly another 
 Regula which concludes the whole Order . We will begin with the firft, being 
 
 fometimes a fmall Scotia confiding of an half or quarter round, that now 
 and then alfo both in the Tufcan and Dorica divides the Freeze from the Cornice 
 
 in 
 
 
136 
 
 9 vile. 
 
 Dent tUi. 
 
 fSoiiUcni 
 
 Account of Architects 
 
 in place of/the Taenia? as does the Cymatium in the reft of the Orders. The 
 
 Ovolo is next in the plainer Orders ,, but it is inrich’d in the Corinthian like 
 the Echinus*, whichfif you pleafe) you may take for the fame thing in an Itali¬ 
 an drefs: In the Tufcan and Doric ’tis turn’d like a Scima or Cymatium , and is 
 fubftituted for fupport of the Corona , but in the laft ’tis ufually accompanied 
 with a (lender Regula above it, and in the Corinthian both above and beneath, 
 where it is likewife frequently Carv’d and adorn’d with a broad Welt like a 
 Plinth . 
 
 Dentelli?are the Teeth immediately above the Cymatium of the Freeze ,by foitie 
 named alfo AJferi from their fquare form; I fay in the Corinthian and Ionic? dec, 
 for in the Doric Order they were not antiently admitted, or rather not properly , 
 according to the opinion of our Mafler? though we muft needs acknowledg 
 to have found them in themoft authentical pieces extant: As for their Dimen¬ 
 sions they kept to no certain rule, but made them fometimes thicker, fometimes 
 thinner, fquare, or long, and more in number, but commonly the /paces lefs 
 by an half, fometimes by a third part then the Teeth? which were themfelves 
 twice as high as their breadth? and frequently (efpecially in the more polite Or¬ 
 ders') beginning with the Cone of a Pine? pendent at the very point over the an¬ 
 gular Column: Lomatim is yet more precife in this particular, and gives them 
 as much height as the middle Fafcia of the Architrave , Projeffure equal, Front 
 twice the bredth of their height, and a third part lefs than their bredth for va¬ 
 cuity . The Dentelli have oftentimes a fmall Regula , and now and then more 
 then one, as ufually in the lonica , where it has likewife an Ovolo or Echinus for 
 the bedding of the Corona ; but if inriched, and that two of them encounter, one 
 fhould be Ample and plain,as where it happens to be inferted beneath it: Next 
 to this fuperior Echinus are the Modi lions? but inftead of them Dentelli are 
 thought ro have been firft inftituted, and for that reafon fuperfluoufly joyn’d 
 where Mutules are; and therefore where we find Taenia under Modilions it is not 
 properly divided into Teeth , nor is it rafhly to be imitated, though we have 
 fome great examples to countenance it. That of the Pantheon may fafely guide 
 us herein, where it is left plain for this very caufe, and that the reafon of the 
 thing does not in truth allow it: However, it muft be acknowledged, nothing 
 has been more grofely abufed even amongft our moft renown’d Mafters. 
 
 Modilions , being certain fupports in form of Corbells , Cortouzes and Mutules 
 are a kind of Bragets to the Corona? and in thofe Orders where they enter,fupply 
 the part of the Bedding-moulding as our Workmen ftyle the Ovolo in this place, 
 for fo they frequently do in the Doric and Ionic? but then without any other or¬ 
 nament than a flight Cymatium to edg them, and to be alwaies placed over the 
 Triglyphs: In the Corinthian and Compofeta they are enrich’d with all the deli- 
 catenefs and curiofity imaginable, capp’d, as I faid, with a curioufly Carv’d 
 fmall Cymatium where they are contiguous to the Planceere or Roof of the Co¬ 
 rona, Our ordinary Workmen make fome diftin&ion between Modilions and 
 
4 
 
 and 
 
 m 
 
 thofe other forts of Braget ^ which they call Cartells and Mutates? ufu- 
 ally Carv’d like the handles of Veffels Scroufd , Flower’d and fomctinres 
 Sculptur’d with the Triglyph ; and fuch were the Ancones amongft the Greeks ? 
 
 That there fliould be no Guttx under Mutules is the opinion of divers learn’d 
 Architects? though (as was faid) we frequently find them Chanel! d like the Tri- 
 glyph , and that in authentick Examples: Philander is for it, and pronounces 
 rhem more proper than even under the pureft Triglyph? for fignifying (faies lie) 
 Canteriorum Capita? unde fiillicidium fieri certum efi? drops and lficles commonly 
 hanging at the ends of our Rafters upon every weeping fihower, whereas Tri- 
 glyphi import only the ProjeEures of the Beams and Timbers nothing fo much 
 expofed: But this I leave to the more judicious. 
 
 Mutules quafi fjAnkQy have their name from their defe£f, as being made Mmir 
 thinner and more abated below than above, and therefore naturally and di- 
 fcreetly deftin’d to places where they are but little burthen’d with weight, as 
 here under that little remainder of the Cornice ; and fo where they are fet un¬ 
 der the Pedarnents and Lintels of Doors and Windows: Moft prepoftrous there¬ 
 fore and improper is our frequent aligning fuch weak fupporters to fuch 
 monftrous jetties and exceffive Super fir uUxures as we many times find under 
 Balconies? Bay-Windows and long Galleries? where iriftead of Mutules the Anti- 
 ents would have plac’d fome ftout Order of Columns: But by thefe unreaso¬ 
 nable ProjeEures it comes topafsy that in time our ftrongeft Houfes are de- 
 ftroyed, and drawn to their irrecoverable mine, i For the proportion o fMu- 
 tules? I commonly find them a fourth part higher than their breadth, their In¬ 
 tervals being as wide as two ; b!ut neither do I find thefe fo conftantly regu¬ 
 lar, only that there be ever one plac’d at the corner 's and returnes of the Coro¬ 
 na? and then if they iriterchangablyjdiffcr as to the fpaces and'is the RafteYs di- 
 reft, there are examples aboundant for their junification. ; i y 
 . I fhall not need to define what is meant by PtojeEures when I have faid it projefa*. 
 is the fame our Englijh Authors calLthe Sailings over and out Jettings of any 
 Moulding : The Italians name them Sporti? the Greeks Ecphorat? and for the 
 fame reafon all Margents whatfoever which hang over beyond the Scapws of a 
 Column are ProjeEures. 
 
 Corona? is thelaft confiderable Member remai ning of the intire Entablature , Coma - 
 and feems indeed to fetthe Crown upon the whole Work: I fay Confiderable? 
 becaufe being regularly plac’d on the uppermoft Ovolo? or Mutules? it fefves 
 to defend all the reft of the Edifice from the Rain and injuries of the Weather? 
 and therefore has its PtojeEures accordingly. Itffe fornctimeg taken for the 
 intire Coronix or Cornice with all its ornaments, but ft riEly?for this fuperior part 
 of it’twixt two Cymatiums ;for even the Ovolo or Echinus forms an Ogie by a 
 turn under the Planceere. We find the Corona omitted and quite left Out of 
 that (lately Arco di Leoni? but it is worthily reproved by our Author 6 f the 
 Parallel? as being a member of indifpenfable ufe, Corona is by fome cafd 
 
 V Super- 
 
138 
 
 Sieperciti 
 
 flanctert. 
 
 r tfcn. 
 
 Account of Architects 
 
 Supercilium, but rather I conceive Stillicidium the Drip, and with more reafon, 
 fo the French Larmier, Gocciolatoio and Vent ale by the Italians to denote its 
 double office of protecting both from Water and Wind: For this realbn like- 
 wife have our Lathe Authors nam’d this broad Plinth Mentum a Chin, becaufe 
 it carries off the Wet from falling on the reft of the Entablature , as the promi¬ 
 nency of that part in mens Faces keeps the fweat of the brows, and other li¬ 
 quid diftillations, from trickling into the Neck; and in imitation hereof the 
 Antient Potters invented the brimming of their Veffells, by turning over fome of 
 the duftile Matter whem the Work was on the Wheel. Sometimes there 
 have been two Coronas in a Cornice, as in that Corinthian Inftance of the Rotunda , 
 and fo it is frequently ufed in Stylobate under Gula inverfa ; and truly it may 
 be juftly repeated, as the expofure and occafion requires ( fo it be not too 
 near one another) all ProjeLiures being but a kind of Corona to the fubjacent 
 members. 
 
 The under part of the Roofs of thefe Coronas (which are commonly wrought 
 hollow, by fometimes (as we fay’d) making part of the Cymatium ) are by our 
 Artifis call’d Planceeres , and thole the Cofers wherein are cut the Rofes , Pomgra - 
 nadesy Flowers or Fretts , which adorne tfe [paces ’twixt the heads of the Modi- 
 Uons and Mutules. This Ceiling the Italians name Soffito, and it lignifies not 
 only that part of Corona which (allies over, but the Lacunar , Lacm or Plain 
 of all other Roofs made of Tabulations and Boards appearing between the Joyfls, 
 and which (as now,efpecially in .other Countries) werealfo formerly Gilded, 
 Carvd andmoft magnificently Embofs’d with Fretts of wonderful relievo ; 
 nay fometimes to the excels of Inlayings with Ivory, Mofaique and other rich 
 and chargeable Works. Pliny I.35. cap. 11. tells us of one Pamphilim the Ma~ 
 fter of Apelles to have been the firft which’brought this Roof painting into 
 vogue : But I refer the Reader; who thirds after more of this, to the learned' 
 Salmafius on Solinm p. I2i<£. Nor is yet the Corona perpetually plain as 
 we commonly fecit; fometimes (though rarely indeed) I find ft '-Carv'd' alfo, 
 as in that incomparable Compofiia of Titus s Arclr, and that of Dioclefians Bathes 
 in thcCorinthian Order,and as is indeed every individual member of that iritire 
 Entablature to the utmoft excefs of Art ; but how far this may be imitable,' 
 confult the Judicious Parallel, while ’tis yet conliderable that it is there but 
 with a kind of Sulcus or Channel, in imitation of Triglyph , or a fhort Fluting 
 rather, being indeed more proper for the carrying off the Water , than any 
 other Work could have been devifed. Corona has over it a fmall Regula, 6 r 
 an inrichment of fome Height Chaplet in the Corinthian, See. after which’ Cymath 
 1/77?, as in that of Thuds Arch before rehearfed ; fometimes likewife with an 
 Ovoh or Echinus cut with Ovals, and Dartsgs in that example ofAWs Frontifi 
 piece , and upon this again the double Cymatium, whereof the ftrft is inverted, 1 
 and ever the neathermoft and molt narrow, the other ReMa, very large and pro¬ 
 minent, being now and then adorn’d with Lyons heads plac’d juft oppolite to 
 
 the 
 
and Architecture. i%p 
 
 the Modilions ( of which fee that curious refearch of the learned Dr* 
 
 Brown in his Vulgar Errors') though fometimes they are adorn'd with Foliage 
 only. Laftly, for a final Shhrm or Super-impofition (if I may be indulg’d fo 
 to name it) we are now clim’d to the moft fupream Projediure, and ultimate 
 part of the whole cornice, namely the 
 
 Regula, which l'ome make a part of the Sima or Gula redid, by Palladeot he r^uU. 
 Intavolato, and which I think to be the foie Member which I never remember to 
 have feen any where Carv'd, but alwaies Plain, though in fome of the Orders of 
 neer eight Minutes in breadth. It is very true, that Scotia (which I nowand 
 then call Cavetto or a fmall hollow) does in fome laudable examples fupport 
 this Member in ftead of Cymatium, but not fo frequently ; and that the Tufcan 
 Cornice terminates in a Cymatium without this Regula, or rather in an Ovolo as 
 in thofe examples after Sebaftian Serlio, &c. but it is not after a true gufto, and 
 the fancy is particular .Regula,cdlYd alfo Liftello,Cindia, &c.(of which fomething 
 already hath been fpoken) is alwaies that Supercilium or fuperior member of 
 the Cornice, though it be likewife taken for that which is by fome call’d Quadra , 
 being thofe two Lift? commonly including Scotia, as we finde it in the Ionic 
 Spira both above and beneath: Sometimes alfo it fignifies the Rings or fmali 
 Feruls begirting the Scaput of a Column near the Apcphyges, or the Plinth of a 
 Pedijlal: Therefore I diftinguifh them, though yet they may be accounted 
 the fame, feeing they ufually import any fmall plain Fillet dividing greater 
 Members ; for fo Philander calls almoft all Ample parts broader or narrower, 
 which like Fillets encompafs the reft; as in the Doric-Trabeation, Regula, Sima, 
 Cymatium, &c. In the Capitel, Regula, Cymatium, Plihthut; In the Cornice 
 of the Sty lob at a alfo Regula, Cymatium, Ajiragalus: But where it is no lefs con- 
 fpicuous, is in that part of the Triglyph, which jets out under the Taenia, and 
 from which th tGuttde depend, where it feems to be a part of the very Archi¬ 
 trave it felf. 
 
 And may thus much fuffice to have been fpoken of the Cornice or upper 
 Member of the Trabeation, which we mean by the Entablature, for both thefe rulwi0 , 
 tearms fignifie but one - and the fame thing, vig. The Architrave, Freeze and 
 Cornice ; which I therefore the more precifely note, becaufe fome Writers ap- 
 ply it only to the very cover and upmoft top of the Orders ; but fo does not 
 our Country-man John Shute, whofe Book being Printed Anno i s84.(and one of 
 the firft that was publifhed of Architecture in the Engliflj tongue) keeps rather 
 to the Antient Tearmes than by mixing them with luch barbarous ones as were 
 afterwards introduc’d, indanger the confufion of Young Students and fuch as 
 applied themfelves to the Art. Finally, to reform another miftake, I think 
 good to note that where we finde Coronix in our Authors, it is rather meant for 
 all that Moulding projecting over the Dye or fquare of the Pedijlal^ by fome cal'd 
 alfo Cima) than this conclufive fuperior member of the Entablature which we 
 name the Cornice: But I have done, nor needs there more be added for the perfect cim> 
 
 V 2 intelligence 
 
140 Account of Architects 
 
 tympi- 
 
 mm. 
 
 
 Suppolat* 
 
 rhoim. 
 
 intelligence of the mod minute Member and Ornament mentioned in this Par at- 
 lei, or I conceive in any other Author whatfoever treating concerning this 
 Art, and naturally applicable to the Orders: Notwithdanding,inafmuch as there 
 doe yet happen fome Superftruftures which both in Works and Books of this 
 magnificent Science havelikewife names of doubtful fignification, and to fadsfie 
 all that may be farrher defied for the rendering of this undertaking more ufeful 
 and infinitive, I will in brief proceed to what is ufed to appear further in 
 Buildings , where they did not flatten the Reefs and Cover of Edifices, and which 
 is certainly of all other the mod graceful. 
 
 Thofe Roofs which exalted themfelves above the Cornices had ufualiy in face 
 a Triangular plaine or Gabel (that when our Workmen make not fo acute and 
 pointed they call a Pedament') which the Antients nam’d 
 
 Tympanum, but this is to be taken now and then for the whole Frontifpiece 
 from the Cornice to the upmofl part of the Fafiigium or fuperior Angle of it, 
 and is commonly circumfcrib’d with the fame Cornice that the fubjacent Order 
 is of. At the Cima or very point, and alfo at each Amgle of this, flood fmaller 
 Pediftals , for the placing of Statues, Bufls, Times, Lamps of Fire, Pine Cones , 
 Bowles, or the like Ornaments , and thefe Sty lob at a were call'd 
 
 Acroteria, from axgov fumma pars, we may properly name them Pinacles, for 
 fo Pinnje and Batlements were made fometimes more fharp, Towring or Spiry, 
 as pleafed the Workman; but where they flood in ranges (as not unfrequently) 
 with Rail and Balaufters upon flat Buildings, they dill retain’d their name, 
 with this only difference, that fuch as were plac’d between the Angular points 
 were (like ranges of Pillars') dyl’d the Median or middle Acroteria . 
 
 They did likewife fometimes cover(efpecially Temples, and fuch magnificent 
 and facred Buildings)with a Cuppola, which is that Borne or Hemifpheerical Con¬ 
 cave made in refemblance of the Heavens , and admitting the light at the cop 
 Center or Navil only, without any Lantern, as is to be feen in that incomparable 
 piece of the Panthean yet extant: This is much in vogue yet in Italy, efpecially 
 at Rome and Florence, but it is commonly with the Lantern and other Appertures 
 to let in day without expofure to the Weather, as appears by that on the fummit 
 of Saint Peters ; but it takes away, in my poor judgment, fomething from the 
 folemnefs, and natural refemblance of the other, which yet are happly better to 
 be endur’d in the more Eafiern Countries where the Weather is condant; as 
 we fee it praffisd in what the Pious Helena ereffed in the Holy •Land, 
 and her Son Conftantine the Great, on that his magnificent Strufture of Santa 
 Sophia yet remaining at Confiantinople, and to this day imitated by the Turks for 
 the Covering of their Mofques ; and that it was an Oriental Covering and inven¬ 
 tion, the ©oA(gp of the Greeks was doubtlefs deriv d from the Hebrew wn 
 Thala fignifying to Sufpend or hang as it were in the Ayr ; but the Italian 
 name feems to come from Cuppa a Cvue or great waffling Boul, to which it 
 much refembles. They do form fome of thofe Coverings in other fihapes and 
 
 make 
 
and Architectures. 141 
 
 make them mult-angular, but they are nothing lo graceful. 
 
 Other Acceffories and Ornaments are alfo ufed in Buildings which I will 
 only touch. 
 
 Niches,quafi Nidi, Neafts, of old Concha, are a kind of Pluteus or lmaller Tri- 
 hunals (as they are yet called in Italy') wherein Statues are placed to protect ctncU 
 them from the down right injuries of the Weather , as well as for ornament to 
 plain and Ample Wales: Thefe have their regular Sections, and were ufually 
 Efcalofd above, either cut into the folid Stone, or wrought in Plafter : When 
 they were made very much larger and higher,beginning from the Pavement, they 
 were call'd 
 
 Tribunals ,as of old it feems applied to all high and eminent places: We Trn*ui; 
 have a noble refemblance of this in that magnificent Throne defcrib’d 1 Reg . 
 
 10. 19. built by Solomon, which feems to me to have been fuch an ample Nick 
 in which a Principal perfon might fit, as it were half Canopied over within 
 the thicknefs of the Wall. 
 
 In Walls likewife did they infert many noble and moft exquifite Sculptures 
 and Hiftorical Fables, half wrotight up, Embofid and fwelling, and fometimes 
 more then half, which eminencies they now call in Italy by the name of Baffe, Re,iev9t 
 and Mezgo relievo : Thefe were fometimes wrought in Marble, as in that famous 
 Abacus and Stylobata, yet extant,of Trajan s Pillar . Their ordinary placing 
 
 was in the Fronts of Edifices, as is yet tobefeen in divers Palaces at Rome, and 
 efpecially in their Villas and Retirements of pleafure, which are frequently in- 
 crufted with them, but vilely imitated in our expofed Fretworks about London, 
 to the reproach of Sculpture, efpecially where it pretends to Figures on the out 
 lides of our Citizens Houfes. But not only the Roofs of Houfes and their 
 
 Fronts had their adornments, but the Floores alfo were inlay’d with Pavements 
 of the moft precious materials, as of feveral Coloured Stones and Woods, and 
 this they call’d 
 
 Emblema, continued to this day by the Italians in their Pietra M * 
 Comeffa ; of which the moft magnificent and ftupendious Chappel of Saint 
 Laurence at Florence, Paul the Firft's at Sand a Maria Maggiore in Rome, are par¬ 
 ticular and amazing inftances, where not only the Pavement, but likewife all 
 the Walls are moft richly incrufted with all forts of precious Marbles, Serpen¬ 
 tine, Porphirie, Ophitis, Achat, Rants, Coral, Cornelian, Lazuli, &c. of which 
 I can number near thirty forts cut and lay’d into a finds or ground 
 of black-Marble (as our Cabinet-makers do their variegated Woods ) in the 
 fhape of Birds, Flowers, Landskips, Grotesks and other Compartments moft ad¬ 
 mirably Polifhed, a glorious and everlafting magnificence: But where it is 
 made of leffer Stones, or rather morfelsof them, aflifted with fmall Squares of 
 thick Glafs, of which fome are Gilded, it is call’d Mofaic-work, and it does na- 
 rurally reprefent the moft curious and accurate fort of Painting, even to the 
 life, nor lefs durable than the former, as is moft confpicuous in that front of 
 
 Saint 
 
142 Account of Architects 
 
 Saint Marks Church at Venice, the Cappula of Saint Peters at Rome, and the Altar- 
 piece of Saint Michael near it: Thefe are the Tefellata and Vermiculata or 
 Pavimenta afarota of the Antients, but of which I do not remember to have 
 feen any publick Work in our Country . It is yet not to be forgotten the very 
 Floorings of Wood which her Majefiy the Queen Mother has fir ft brought into 
 ufe in England at her Palace of Sommerfet Houfe , which has fome refemblance 
 to thefe magnificencies ; becaufe it is exceeding beautiful and very lafting: 
 And this puts me in mind of thatmoft ufeful Appendix joyn’d to Mr. Richards 
 late Translation of the firft Book of Palladio , and thofe other pieces of la Muet 
 the French Architect, wherein, befides what he has publifh’d concerning thefe 
 kinds of Timber-floors , &c. you have at the conclufion of that Treatife a moft 
 accurate account of their Contignations and Timberings of all forts of Stories, 
 Roofings, and other Erefiions, with their ufe. Scantlings and proper names, 
 which, for being fo perfpicuoufly defcrib’d, defcrvcs our commendation and 
 encouragement. 
 
 Eum ArchiteRum oportet ufii ejfe peritum & folertem , quidemere, aut adjicere 
 pr<gfcripti$ velit 
 
 J. E. 
 
 FINIS 
 
 c 
 
To the READEll. 
 
 f-~W~^HETZj5 is no man pretending to this Art, or indeed 
 8 to any other whatfoever , who does not greedily em- 
 J| ^// *&** bears the name of Leon Baptifta Al¬ 
 
 berti, who was a Florentine (gentleman of illustrious 
 Birth, great Learning, and extraordinary abilities in all the 
 Toliter Sciences , as he Jlands celebrated by Paulus Jovius, and 
 for which he became fodear to that great Mecenas Lorenzo di 
 Medici, who choje him, with MarfiliusFicinus, Chriftopherus 
 Landinus^w^/ other the most refind iVits of that Age , to entertain his 
 Academic retirements and Solitude of Gamaldoli: %u have an 
 ample Catalogue of his learned Worlds , Latine and Italian, puHifh ’d 
 at the end of his Life by Rafael du Frefne that great French V irtu- 
 ofo, together with the Hiflory of thofe many incomparable Structures 
 deftgnd and conducted by this rare Genius, extant at this day in Flo¬ 
 rence, Mantoa, Rimini and other Cities of I taly • as being indeed 
 one of the very firfl that polifh'd the now almofi utterly lofi and extin- 
 guifh’d nArt of Architecture • in which how fuccefsfully he joynd 
 Practice to Speculation, there are aboundance of examples ffome 
 whereof are wrought by his own hands. He composed three Hooks, 
 De PiCtura, full of incomparable refearches appertaining to that no¬ 
 ble Art: T his of Statues was firfl written in Latine, but it having 
 never beenmy hap to find it (and I thin kjt was never Printed) / made 
 ufe of this Verfion out of the Italian, as it was longfince publifhed by 
 that ingenim T erf on Cofimo Bartoli, and have fubjoynd it to this 
 Dijcourfeof Architecture, not only becaufe they cannot well be Jepd- 
 rated , but for that the Author, being one of our Parallel, the Argu¬ 
 ment appear'd fo appofite and full of profitable inflruUion to our 
 Worfmen, who for want of thefe or the like Rules, can neither fe- 
 curelywor Rafter the life, or their own inventions, totheimmenfe dif_ 
 grace of that divine Art. This brief Account I thought fit to pre - 
 
 font thee, Reader, concerning this Piece of Alberti's,/* being the very 
 firfl: of the kind whichever fpakpinour Language. 
 
 ■ . t<aV} - « ■; 
 
 Evelyn* 
 
C O S IMO BARTO L I 
 To the moft excellent Architect and Sculptor 
 Bartolomeo Ammanti. 
 
 A LT HO V G H lam perfectly ajfurd ( my moft ingenious Bartolo¬ 
 meo ) that you, who are fo univerfally accompliftj d, and in particu¬ 
 lar, fo skilful, and well verfed in Architecture and Sculpture, have no 
 need of thofe Rules and Precepts , which the moft judicious Leon 
 Baptift Alberti has publift/d concerning Statues; Tet I eaftly perfwaded 
 my felf that this addrefs of them to You, would not be a thing unacceptable, 
 as being to a Perfon fo well able to judg of that rare fancy, and incom¬ 
 putable worth cf the faid Leon Baptifta, who in a time wherein little or nothing of 
 Sculpture was known (allgood Arts and^>Q\tncto being then in a manner annihil¬ 
 ated and wholly extinffi throughout Italy, by reafon cf the many inundations 0/Barba¬ 
 rians) implofd the utmoft of his abilities to open an eajy and fecure way for our 
 Youth, who though unexperiencd themfelves , delighted in this moft noble Art; and 
 to incite them tojoyn diligent pradice, with theobfervation of fure and unerring Rules. 
 No wonder therefore, if from that time forwardfuch wonderful Progrefs has been made 
 in this Art, as has brought it to that perfection wherein it is feen flourifbing at this 
 day: So as in this Age of ours, we have no need to envy thofe fo much admired Sta¬ 
 tues of the moft celebrated Sculptors of the Antient Romans, when we fball well 
 confider what has been perform'd by our Countryman Donato, andnot many yearsfence, 
 the Divine, Michael Angelo Buonaroti, as after him, by Baccio Bandinelli, 
 Benuenuto Cellini, andlaftly, by Your Seif; whereof that I may produce feme In- 
 ftances (befides thofe many Statues which are extant of dll your handsj proclaiming 
 your ftngular Merits to the admiration of all men, there are to be feen in the Piazza vf 
 their Highneffes royal Palace, the moft beautiful Judith ; the moft fiupendidus Co- 
 loffo of David, the robuft and fierce Hercules ; the moft mafterly handl'd Perfeus, 
 together with ali bis rare and curious adornments ; and which is indeed the greateft of 
 all the reft. Your own Neptune,n?zf£ the other three Statues, accompanying it, cutout 
 of one intire piece cf Marble, and fram'd with fo magifteriai a height of Art,as not only 
 produces wonder in all that attentively behold it ; but does as it were wholly aftomfh 
 them to contemplate the Ingenuity, the Science, the Induftry, the Diligence, the 
 AffeCtion, and in fine the never to be fuffir.iently celebrated Skill of the Artifts. 
 Vouchfafe therefore thatthefe (however impolifh'dj InftruCtions ,fomuch conducing to 
 the information of unexperienc'd Touth, be recommended to the publick view under 
 Tour Name and Protection: And as it has ever been Tour Cuftom heretofore. Love 
 you Friends, amongCl whom I conjure Tou to efteern me none of the kaft. 
 
 Farewell 
 
145 
 
 LEON BAPTISTA ALBERTI 
 
 O F 
 
 S T A T 
 
 Have often thought with my felf that the feveral Arts, whereby men at 
 firft Induftriouflyfetthemfelves toexprefs, andreprefent by Work of 
 hand, the fhapesand iimilitudes of bodies, fpringing from natural pro¬ 
 creation, took their beginning from the accidental obfervation of cer¬ 
 tain Lineaments either in Wood, or Earth, or fome other forts of ma- 
 terials, by Nature fo difpos’d, that by altering or inverting fome thing 
 or other in their form, they appear’d capable of being made to refemble the Figures 
 and Shapes of living Creatures ; and thereupon, having ferioufly confider’d and 
 examin d what courfe was belt to take, they began with utmoft Diligence and In- 
 duftry to try and make experiment, what was neceffary to be added, or taken away 
 or in any other kind perform’d, for the bringing of their Work to fuch per¬ 
 fection as might caufe it exaftly to refemble the intended form, appearing, as it 
 were, the very fame thing ; ever marking as they wrought, to fee if they had fad’d in 
 any thing, and ftill mending as they found occafion, fometimes the Lines, fometimes 
 the Superficies , Polijhmg and Refolding, till at length (not without much pleafure and 
 fatisfaftion) they had accomplilh’d their defire : So that it is not a thing fo much to 
 e admir d, that by frequent praftice in Works of this nature, th e fancies and ingenu¬ 
 ities of men have been from time.ro time improv’d, and advanc’d to that height, that 
 at lalt (without taking notice of any rude Draughts in the Material they wrought up¬ 
 on, to help them in their intended Defignsf) they became able by their fkill to Defig,i 
 and exprefs upon it whatfoever form they pleafed, though in a different manner 
 fome one way, fome another ; for as much as all were not taught, or apply d them - 
 elves to proceed by the fame rule or Method. The courfe that many take to bring 
 their intended Figures to perfedion, is both by adding to, and taking from the Mate- 
 rial; and this is the way of thofe that work in Wax, Plaifler or Clay, who are there- 
 fore tearmd Maeftri defiucco, others proceed by taking away, and carving out of the 
 Material that which is luperfluous, whereby it comes to pafs that they produce out 
 of whatfoever Mals of Marble, the perfed fhape and figure of a Man which was there 
 hiddenly but potentially before; and thofe that work this way, we call Sculptors • 
 
 TT r i t0 W ^° m are ^ lat grave in Seals the proportions of Faces 
 that before lay hid in the Matter out of which they were raifed. The third fort is’ 
 
 of thole that perform their Work by only adding to the Material; as Silver-Smithes 
 who beating the Silver with Mallets, and diftending it into thin Plates of what fafhion 
 or lize they think fit, lay thereupon their Superftn/fture, adding and inlarging till they 
 
 * have 
 
14^ Leon B. Alberti 
 
 have fafhion cl and brought to perfection their intended Defign. And here per¬ 
 haps fome may imagine,that in the number of this laft fort of Artifts Painters are to 
 be reckon'd, as thofe who proceed by way of adding, namely by laying on of Colours ; 
 but to this they anfwer, that they do notftrivefo much to imitate thofe lights and 
 jbadoxvs in Bodies which they difeerne by the Eye, by the adding or taking away of 
 any thing, as by fome other Artifice proper and peculiar to their way of Working .* 
 But of the Painter and his Art we {hall take occafion to fpeak elfewhere. Now, as to 
 thofe feveral kinds of Defigners which we have here before mention’d, though they go 
 feveral ways to work, neverthelefs they all direct their aims to this end, namely, 
 that their labours may appear to him that fhall well obferve them, as Natural, and as 
 like the life as may be ; for the bringing of which to effeft, it is moft evident, that by 
 how much the more exquifitely they follow fome certain determin'd rule or method 
 (which Rule we fhall afterwards deferibe) fo much the fewer defers will they be guil¬ 
 ty of, fo much the fewer errors commit, and in all manner of accounts their 
 Works will fucceedand come off with the greater advantage: What fhall we fay of 
 Carpenters ? What would they perform to any purpofe, if it were not for the Square , 
 the Plummet fine Line fine Perpendicular fend the Compaffes for the making of Circles, and 
 by the means of which Inftruments they Defign their Angles fime Str eight-Lineifinm 
 Levells 7 and other their Proportions, thereby finifhing and compleating all they take 
 in hand with the greater exa&nefs, and without which they would be able to do no¬ 
 thing fubftantially ? Or can we rationally imagine, that the Statuarie could perform 
 fuch excellent and admirable Works by chance, rather then by the help of fome cer¬ 
 tain and Infallible rule or guide , drawn from reafon and experience ? Wherefore this 
 we fhall lay down for a Maxim; That from all Arts and Sciences whatfoever, there 
 are Drawn certain Principles^ Rulessor natural Conclufions^ which if we fhall apply our 
 felves with all care and diligence to examine and make ufe of, we fhall undoubtedly 
 find the benefit of, by the perfeCt accomplifhment of whatfoever we take in hand ; 
 For as we were firft inftru&ed by Nature, that from thofe lineaments which are found 
 in pieces of Wood,Earth, Stone or other Materials, maybe drawn(as wefaid before) 
 the forms of whatfoever Body or Creature the concourfes of thofe Lines refemble ; 
 fo alfo the fame nature hath taught us certain helps and meanes, by which we are 
 guided to proceed fecurely and regularly in what we undertake, and by the con- 
 ftant obferving and ufe whereof, we fhall moft eafily,and with the greateft advantage, 
 arrive at the utmoft perfection of the Art or faculty we ftrive to attain. It now re¬ 
 mains that we declare what thofe helps are which Statuaries are chiefly to make ufe 
 of; and becaufe their principal part is to make one thing to imitate and refemble 
 another, it will be requifite to fpeak firft of Refemblance, a fubjeCt our difeourfe 
 might be abundantly ample in, fince Refemblance is a thing fo natural and obvious, 
 that it offers it felfto our view and obfervation in each vifible objeCI; not only every 
 Animal, but even all things whatfoever that are of the fame Species, being in fome 
 refpeCf or other correfpondent and alike: On the other fide, there are not in the 
 whole race of Mankind any two to be found fo exquifitely refembling each other, as 
 
 • not 
 
of STA 7 VES. r .47 
 
 not to differ fome one tittle in the tone of the Voice, or the fafhion of die No fe, or of 
 fome other part; to which we may add, that thofe Perfons whom, having firft bed 
 held Infants, we come to fee Children of fome growth, and afterwards at the age of 
 Manhood, if at length we meet them when grown Old, we fhall find them fo chang’d 
 and alter’d by time, that we (hall not be able to know them ; for as much as the apti/ 
 tude and pofition of thofe numerous Lines and Features in the Countenance ftili al¬ 
 ters, and vary s from time to time, as Age comes on ; . neverthelefs in the fame Vifage 
 there remains a certain natural and peculiar form, which maintains and keeps up the 
 refemblance inherent;,to the Species : But we fhall wave thefe things, as belonging 
 rather to a particular difcourfe, and return to perfue what we firft took in hand to 
 treat of. fh nol rhf t nt c sTi ed/5 b 
 
 The Defigti. and Intention i of making refemblancSs among Statuaries , I take to be 
 twofold; the firft is, that the Defign or Work intended for the refemblahce of any 
 fort of Creature (for example, fuppofe i t a man) be fo fram’d, that it come as near in 
 fimilitude as may be to the'faid Species, without regarding whether it reprefent the 
 Image of Socrates more then that of Plato, or any other known individual Perfon,fince 
 it is enough that the Worforefembles a man in general. The other Intention proceeds 
 farther, and aims not only.at the reprefenting the liken'efs of Man in general, but of 
 this or that; particular Man; as namely,- of C^far, or Cato, not omitting to defcribe 
 the very Habit he wore, the Pofture he affeded, and the Adion he ufed; whether 
 fitting in his Tribunal, or making Speeches to the People: It being the proper bufi- 
 nefs of thofe whoaddid chemfelvesto this laft way of reprefentation, to imitate and 
 exprefs every Habit, Pofture and Ayr, peculiar'to the Body of that known Perfon 
 whom we intend to reprefent. Anfwerablc to thefe two Intentions, (that we may 
 handle the matter as briefly as is poffible) there are efpecially required two things ; 
 that is to fay, Proportion, and Limitation. In treating therefore of thefe tw r o parti¬ 
 culars,that which we have to do, is to declare. Firft,what they are: Next, to what ufe 
 they ferve for the bringing of our Defign to perfedion: Befides which, I cannot 
 but by the way, take notice of the great benefit that is to be made of them in refped 
 of the wonderful andalmoft incredible effeds which they produce ; infomuch that 
 whofoever {ball be well inftrudcd in them, fhall be able by the help of fome certain 
 infallible marks, exadly to obferve and point out the lineaments, fituation and poll- 
 ture of the parts of any Body, though it were a thoufand years after, fo as not to faile 
 to place it exadly at hispleafure, in the very fame diredion and pofture it fhould 
 have hapned to have flood in before; and in fuch fort,as there fhould not be the leaft 
 part of the faid Body, which fhould not be reduc'd and refituated toward the very 
 fome point of Heaven againft which it was originally direded: As if, for example. 
 You would point out the place with your finger where the Star of Mercury or the new 
 Moon would rife, and it fhould happen to rife in a dired angle over againft the pomt 
 of the Knee, Elbow, Finger, or any other part; moft certain it is, that by thefe means 
 and helps all this may be done, and that fo precifely that there fhould not follow the 
 leaft failing or errour imaginable; nor need there any doubt be made of the certain- 
 
 X 2 ty 
 
148 Leon B. Alberti 
 
 ty hereof. Befides this, fuppofe I fhould take one of the Statues of Phidiat, and fo 
 cover it over with Wax or Earth , that none of the Work could be difcern’d, and that 
 it fhould appear to be only a meer fhapelefs trunck. You might bythefe rules and 
 helps certainly know how to find out in one place, by boaring with a Wimble, the pu- 
 pil of the Eye, without doing it any harm by touching it; and in another place the 
 Navel , and finaly in another the great 7oe, and fo other parts in like manner; by 
 which means you will gain a perfect knowledg of all the Angles and Lines, whether 
 far diftant one from another, or nearly concurring together: You may alfo, begin- 
 rung which way you will, and whether following the Original, or the Copy, not on- 
 ly Draw or Paint, but alfo put down in Writing, the various courfe of the Lines, the 
 circumferences of the Circles, the pofitions of the parts, in fuch fort that by the 
 aforefaid helps and means you need not doubt the being able to produce with cafe 
 fuch another figure perfectly refembling, and of what fize you pleafe, either lefs, or 
 juft of the fame magnitude, or of an hundred Fathomes in length ; nay,l dare be bold 
 to fay, that were there but Inftruments to be had anfwerable to fo great a Defign, it 
 were not only not impoffible, but even no hard matter, to make one as big as the 
 Mountain Caucafu6 ; and that which perhaps you may moft wonder at, is, that ac¬ 
 cording as the matter might be order’d, one half of this Statue may be made in the 
 Ifland of Pharos , and the other half wrought and finifh’d in the Mountains of 
 Carrara ; and that with fuch exari correfpondence, that the joynturesand commit 
 fures of both parts perfe&ly fitting each other, they may be united into one coin- 
 pleat ftatue refembling either the Life, or the Copy after which it fliall have been 
 figur’d: And for the performing of this fo ftupendiousa Work, the manner and 
 method will appear fo eafy, fo perfpicuous and expedite, that for my part I conceive 
 it al moft impoffible for any to err but thofe that fhall Induftrioufly, to maketryalof 
 the proof of this aflertion, work contrary to the rules and method enjoyn’d. We do 
 not hereby undertake to teach the way of making all kind of refemblances in Bodies, 
 or theexpreffing of all thofe various afpe&s which refult from feveral differing and 
 contrary paffions and affe&ions ; fincc it is not the thing which we profefe to fhew* 
 how to reprefent the Countenance of Hercules when he combats with Anteeus, with all 
 the height of Magnanimity and fiercenefs which would be requifite upon fuch an Oc- 
 cafion; orcafting an obliging, chearful and Smiling air, when he Courts his Deia- 
 nira ; fo as that the Countenance of the fame Hercules fhould upon feveral occafions 
 be represented with as various afpe&s: But our purpofe is rather to take notice of 
 all the different figures and poftures that are incident to a Body from the divers fili¬ 
 ations, Geftures or Motions of the feveral members or parts thereof; for as much as 
 the proportions and outward lines are one way terminated in a Body that ftands up¬ 
 right, another way in him that fits, another way in one that is lying down, another 
 way in thofe that turn or incline themfelves toward this or that fide ; and fo, in like 
 manner,in all other geftures and motions of the Body, of which way of reprefentati- 
 on our intention is at this time; that is to fay* in what manner, and by what cer¬ 
 tain and infallible rules, thefe geftures and various difpofitions of the Body may be 
 
 imitated 
 
ofSTATVES. 149 
 
 imitated and reprefented; which rules, as we faid before, are reduc’d to two princi- 
 pal heads, namely. Proportion , and Limitation: And firft we fhall treat of Proportion , 
 which is indeed no other then a conftant and certain Obfervation, by examining the 
 juft number and meafures, what habitude, fymmetrie and correfpondence all the parts 
 of the Body have one towards another, and that in refpeft of every dimenfion of the 
 Body, both as to length , breadth and thickriefs. 
 
 This Obfervation is made by two forts of Inftruments, a large Ruler, and two 
 moveable Squares; with the Ruler we take the lengths of the parts, and with the 
 Squares we take their diameters and all the other proportions of the faid meafures * 
 Upon this Ruler then let there be a line drawn of the length of the Body which you 
 would meafure, that is to fay, from the crown of the Head to the foie of the Foot: 
 Whence note by the way, that to meafure a Man of a fhort ftature,you are to ufe 
 a (barter Ruler, and for one of a longer ftature, a longer' Ruler : Bur whatfoever the 
 length of the Ruler be, it is to be divided into fix equal parts, which parts we 
 will name Feet, from whence we will call it the Foot-meafure ; and each of 
 thefe Feet fhall again be divided into ten equal parts, which we may tearm 
 Inches. 1 
 
 - The whole length therefore of thisModel orFoot-meafure w ill confift of 6 o .Inches; 
 every one of which is again to be fub-divided into 10. equal parts, which lefler 
 parts I call Minutes ; fo that through this divifion of our Meafure into Feet, Inches, 
 and Minutes, the total of the Minutes will amount to the number of 600. there being 
 in each of the 6. Feet 100. Now^for the maafuring of a mails Body by this Inftru- 
 
 ment. We are thus to proceed: Having divided our Ruler according to the forefaid 
 manner,! we are to meafure and obferve by the application thereof the diftances of 
 the parts of the faid Body< as for inftance, hoW high it may be from the foie of the 
 Foot to the crown of the Head,' or how far diftant any one member is from ano* 
 thcr: As, how many Inches and Minutes it may be from the Knee to the Navel, or 
 to the cannel bone of the Throat, and fo in like manner any Other parts ; Nor is this 
 courfe to be at all flighted or derided either by Sculptors or Painters , fince it is a 
 thing moft profitable, and abfolutely necelfary ; for as much as the certain meafure 
 of all the parts being once known, we fhall have gain’d a moft eafy and fpeedy de¬ 
 termination how to proceed in our work with any of the faid parts or members 
 without committing the lead error: Never think it a matter worth regard or notice, 
 if any capricious humorift (hall peradventure find fault that this member is too long, 
 or that too fhort; fince your Model or Foot-meafure (which is die rule that muft 
 always direft and govern your work, and then which you cannot go by a more in¬ 
 fallible guide) will foon determine whether you have proceeded well or ill; and 
 doubtlefs when you fhall have maturely confider’d and examin’d thefe things, you 
 will not be to feek inthofe infinite other advantages wherein this Foot-meafure will 
 prove ferviceable, efpecially in knowing how with abfolute certainty to limit and 
 determine the longitude of the parts in a Statue of a greater magnitude, as well as in 
 one of a leffer. 
 
I^o Leon B. Alberti 
 
 So as if it fhould happen that you were to make a Statue of io. Cubits, or what 
 ever other dimenfton, it would be requifite to have your Ruler, Model, or Foot- 
 meafure likewife of io. Cubits, and divided into fix equal parts, which fhould have 
 the fame correfpondence one with another, as thofe of the lefler Ruler: In like man¬ 
 ner fhould the Inches and Minutes be proportion’d, whence alfo the ufe and man¬ 
 ner of working would be the fame with the other; fince half the numbers of the 
 greater have the fame proportion to the whole intire,as half the numbers of the lefler 
 have to the whole Intire of the lefler. Wherefore according as the fize of your work 
 happens to fall out, your Ruler is to be made proportionably. - L 
 
 We come next to treat of the Squares, which are to be two ; the firft of which 
 {hall be made after this manner: Xet two Rulers, in the nature of ftreighdines, i.c. 
 A. B. and B. C.be joyn’d together fo as to make a right angle ;‘the firft Ruler A. B. 
 falling perpendicular, the other B. C. ferving for the Bafe : The bignels of thefe 
 Squares is to be fo order’d, that their Bafes confift of at leaft 15 * . Inches v according 
 to. the proportion of your main Ruler, which, as we have faid before, is to be made 
 bigger, or lefler anfwerable to the proportion of the Body you would meafure : 
 Thefe Inches therefore with their points and Minutes(however they may fall out)be- 
 ing taken exactly from the Laid Ruler, you muft letdown upon your Bafe, be¬ 
 ginning to reckon from the point of the Angle B. and fo Proceeding on to¬ 
 wards c. >■ of] o'idfif •• x : cm M li-ih 
 
 The Square being thus mark’d and divided, as.is to be feen in the example A. B. 
 C. there is to be adjoyn’d unto it another Square made after the fame manner, accor¬ 
 ding as it is demonftrated by the letters D. F. G. fo as that G. F. may ferve both for* 
 ftfeight Line and Bale to both. Now tp fhew the ufe of thefe inftruments, L under¬ 
 take to meafure the Diameter of the thiekeft part of the Head H.I.K. by bringing the 
 two ftreight Rulers A. B. and D. F. of each Square exa&ly oppofite to eaoh other, to 
 touch the two oppofite points of the thiekeft part of the Head, and by applying inter¬ 
 changeably to one and the fame Level, the Bafe-lines of the laid fquares; by which 
 means from the points H. I. which are touch’d by the ftreight Rulers of <thc faid 
 Squares, we {hall difeover the exaft Diameter of the Head. 
 
of ST AWES 
 
 And after this manner, thethicknefs and bignefsofany part of the Body whatfoever 
 may with great eafe and accuratenefs be found out : Many ufes and advantages we 
 could reckon up, which might be made ofthis Ruler and thefe Squares, were it need¬ 
 ful to mfiftnow upon them ; there being feveral other waies,much after the fame 
 manner, which the meaneft capacity may of himfelf find out, for the meafuringof 
 t e lameter of any part; as for example, fuppofe one would know how much the 
 lameter is from one Ear to the other, and where abouts it interbeds the other Dia- 
 meter which paffes from r he Head totheNuca, or the like.' Laftly our Workman 
 may fafely make life of this Ruler and thefe Squares as moft faithful guides and coun- 
 fellours, not only for the performing of any part of his Work , but alfo at the very 
 nrft, and before he fets upon it, he will receive much light by the help of thefe In- 
 ruments, how to begin and go about it; in fo much that there will not be the leaft 
 part of the Statue he is to make,which he ,vill not before have examin’d and confider’d 
 and render d moft eafy and familiar to him; For Example. Who but a very arro 
 gant perfon would take upon him to be a Mafter-Ship-wright that had not the perfed 
 knowiedgof all the feveral parts of a Ship, and how one kind of Ship differs from an¬ 
 other, and what thofe particular parts are which belong to one Ship more then to ano¬ 
 ther . And yet who is there of our Sculptors, let him be a man never fofubtile and 
 expenenc d in his Art, who if it fhould be demanded of him, upon what ground or 
 confideration he has made this Member after this manner,or what may be the propor¬ 
 tion ofthis or that Member to the whole ftrudure of the Body ? I fay, who is there fo 
 diligent and accurate as to have well confider’d and obferv’d all that is requifite, and 
 
 which 
 
1^2 Leon B. Alberti 
 
 becomes that Perfon to know who would perform as he fhould do the Art whereof 
 he makes profeflion ? whereas doubtlefly all Arts and faculties are mod advantage- 
 oufly learn’d by rule and method, and by the knowledg of fome demonftrable ope¬ 
 ration that is to be perform’d; nor fhall any one attain to the perfe&ion of any Art 
 whatfoever, who hath not firft comprehended every feveral part and branch of the 
 laid Art. But thus having fufficiently treated of Meafure and Proportion , and after 
 what manner it is to be found out by the Ruler and Squares ; it remains that we 
 fpeak next of Limitation or the prefcribing of Bounds: This prefcription of Limits is 
 the determining or fixing of a certain period in the drawing of all our Lines, fo as 
 to direct to what point they are to be continu’d, whether extended out in length, 
 or reverfed ; how Angles are to be fix’d, how parts are to be raifed, or deprefs’d by 
 Alto? or Bajfo Relievo , as Artifts tearm it; each Line , Angle and Reliev having their 
 due and certain places aftign’d them by the condud of a fure and perfect rule : And 
 the bed way to put this rule of Limitation in pra&ice, will be by a Line and Plum¬ 
 met, falling from a certain determinate Center plac’d in the middle, whereby the di- 
 ftances and extremities of’ all the lines may be mark’d out and taken notice of? as far 
 as the utmoft bounds every way of the faid Body extends : But between the meafure 
 defcrib’d above, and this aflignation of Limits , there is this difference, namely, that 
 that Meafure looks farther backward, and fprings from a more native and original 
 confideration, as grounded upon more common and univerfal principles, which are 
 by Nature more firmly and fubftantially inherent in all Bodies ; as the length , large -- 
 nefs and thicknefs of the parts ; whereas the prefcribing of Bounds is grounded upon 
 the prefent and accidental variety of poftures, refulting from the different difpo- 
 fitions and motions of the feveral parts of the Body, fhewing the manner how to 
 limit and fafhionthofe poftures, according to the maxims of Rule and Art. 
 
 Now, for the better performance of this laft part of Regular Operation, we (hall 
 recommend this following Inftrument, which is to confift of three parts or 
 branches ; that is to fay, a Horizon , a Style? and a Plumb • The Horizon is a Plane de¬ 
 ft gif d upon a Circle,which Circle is to be divided into equal parts mark’d with their 
 feveral members, and their fubdivifions fet over againft each part: The Style is a 
 ftreight Ruler, one end whereof is fixt in the center of the faid Circle, the other end 
 moves about at pleafure, foas that it may beeaftly transfer’d and directed from enfe 
 divifion of the Circle to another: The Plumb or Plummet is a line or thread which 
 falls parallel from the top of the Style down to the Floor or Plane, upon which the 
 Statue or Figure (lands whofe members and lineatures are to be meafur’d and limi¬ 
 ted ; For the manner of making this Inftrument, let it be thus; Take a Board well 
 plan d and fmooth’d, upon which let a Circle be drawn having three Foot diameter, 
 and let the extremity of the faid Circles circumference be divided into equal parts, 
 according as Aftrologers divide their Aftrolabes , which parts we will call Degrees; and 
 let every of thefe Degrees be fubdivided again into as many other parts as fhall be 
 thought fit; as for example, fuppofe every Degree be fubdivided into fix lefler 
 parts, which we may call Minutes; to all which degrees adjoyn the feveral numbers,, 
 
 viz* 
 
i ; jiof STATVES. , 
 
 vh(. 1. 2. 3a 4. with the reft in order, till the numbers belonging to all the degrees 
 be let down. This Circle, thus made and order’d, we call’d the Horizon , to which 
 we are to fit our moveable Style , being alfo to be made after this manner; Take a 
 thin ftreight Ruler, three Foot in length, and faften one of the ends thereof (with a 
 pegg) to the center of its Horizon or Circle, in fuch a manner, that though the faid 
 end is not to be mov’d from the Center, yet the pegg that faftens it is fo far to be re¬ 
 lax’d, that the whole Ruler may have liberty to move and play about from one part 
 of the Circle to another, whileft the other extream extends it felf a good way beyond 
 the circumference of the faid Circle about which it is to be mov’d : Upon this 
 Ruler or Style, mark out the Inches it is to contain, diftinguifhing them with feveral 
 points between, after the manner of the Module or Foot-meafure above mention'd; 
 and thefe Inches muftalfobe fubdivided into lefter equal parts, as was likewife done 
 in the forefaid Foot-meafure; and then beginning from the Center, adjoyn to the 
 Inches alfo their feveral numbers, viz. 1.2.3* 4* Laftly,to this Style annex a 
 line and Plummet. This whole Inftrument thus deferib’d conliftingof Horizon ., 
 Ruler , and Plummet we fball call our Definitor . 
 
 Th is Definitor is to be made ufe of in this manner ; Suppofe the Original , or 
 Copie , the limits of whole parts we would determine, were a Statue of Phidias , holding 
 with the left hand, on one fide of a Chariot , the Raines of a Horfes Bridle; This 
 Definitor is to be fet upon the head of the Statue in fuch fort, that it may lye exa&ly 
 level upon the plane of the Center, being plac’d juft upon the very midft of the head 
 of the Statue, where it is to be made faft with a pegg: Then note that point where 
 it is faftned upon the head of the Statue, and mark it by fetting up a needle or pin 
 for the Center of the Circle ; Next, by turning the Inftrument about from the de¬ 
 termin’d place in the Horizpn r rmke out the firft defign’d degree, fo as you may know 
 from whence it is movd; which may beft be done after this following manner : 
 Bring about the moveable Ruler, which is the Style, upon which the thread and 
 Plummet hangs, till it arrive at that place of the Horizon where the firft degree of the 
 Horizon is to be fet down; and holding it fall there, turn it about together with the 
 whole Circle thereof, until the line of the Plummet touch fome principal part of the 
 Statue, that is to fay, fome member particularly noted above ail the reft, as the Fin¬ 
 ger of the right Hand or fo. 
 
 , bf;ofl $i\ - • • . .. 
 
 i h ( ' • 
 
 * j * . ' • j '. 
 
 V • Which 
 
 
1^4 Leon B. Alberti 
 
 Which may ferve as the appointed place from whence upon every new occafion 
 the whole Deftnitor may be mov’d, and afterwards brought back again to the fame 
 place where it flood at firft upon the faid Statue; yet fo, that by the turning of the 
 Style about the Pin, which pierceth from the top of the head of the Statue, through 
 the Center of the Definitor , the Plummet which before fell from the firft degree of the 
 Horizon, may return to touch the forefaid Finger of the right Hand. Thefe things 
 thus order’d anddefign’d, fuppofe that we would take the angle of the right Elbow, 
 fo as to keep the knowledg of it in mind, or to write it down; the way is as follow¬ 
 ed : Fix the Vefinitor with its Center which is upon the head of the Statue, in the 
 place and manner aforefaid, in fuch fort, that the Plane whereon the Horizon is de- 
 Sign’d, may ftandfirme and immoveable; then turn about the moveable Style , till 
 the line of the Plummet come to touch the left Elbow of the Statue which we would 
 meafure: But in the performing of this fort of Operation there are three things to be 
 obferv’d, which will much conduce to our purpofe ; The firft is, That we mark how 
 far the Style in the Horizon comes to be diftant from the place where it fhall have 
 been firft mov’d, taking notice upon what degree of the Horizon the Sly le lies, whether 
 on the twentieth, thirtyeth or whatfoever other: Secondly, Obferve by the Inches, 
 and Minutes mark’d in the Style , how far diftant the Elbow fhall be from the Center 
 
^ of-STAlVES. ,$$ 
 
 of the Circle: Laftly, take notice by placing the Module or Foot-meafure perpendi¬ 
 cularly upon the Plane whereon the Statue (lands, how many Inches and Minutes the 
 Paid Elbow is raifed above the faid Plane, and write down thefe meafures in a Book 
 of piece of paper: For example,, thus, the angle of the left Elbow is found in the Ho¬ 
 rizon to be 10. Degrees and 5. Minutes; in the Style or Ruler 7. Degrees and 3. 
 Minutes; that of the Plane jn the Module amounts to 40. Degrees and 4. Minutes ; 
 and thus by the fame rule nsiy be meafur’d and computed all the reft of the princi¬ 
 pal parts of the faid Statue or Copy ; as for inftance; The angles of the Knees, and 
 of the Shoulders and other fuch like parts that are to be reckoned among the Relievi i 
 But if you would meafure Concavities, or thofe parts which recede inward, and are 
 fo remov’d out of the reach of light and eafy accefs, that the Plummd-X\n£ cannot 
 come to touch them (as it happens in the Concavities beneath the Shoulders, in the 
 regions of the reins, isrcP) the bed way to find them is as follows: Add to the Style 
 or Ruler another Plummet- line which may reach as far as the faid Concavitie; how 
 far diftant it be from the firil, it is not material, fince by thefe two Plummet-Ymcs 
 falling perpendicularly, and being interfered by the Gnomon of the plain Superficies 
 above to which they are faftned, and which extends it felf as far as the Center of the 
 Statue, it will appear how much the fecond Plummet-Y\m is nearer then the firft to the 
 Center of the "Dejinitor^ which is therefore call’d the middle perpendicular. 
 
 Thefe things thus demonftrated, being once fufficiently underftood, it will be ari 
 eafy matter to comprehend what we before commended to your Obfervation ; name¬ 
 ly, that if the faid Statue fhould chance to have been cover’d over to a certain thick- 
 nefs with Wax or Earth, you might yet by a Piercer, with great eafe, readynefs, and 
 certainty come to find out whatfoever point or tearm you would defire to find in 
 the faid Statue; for as much as it may be clearly demonftrated, that by the turning 
 about of this Gnomon, the Level makes a circular Line like the Superficies of a Cylin¬ 
 der ^ with which fort of figure the Statue fo fuperinduc d as aforefaid, feems to be in- 
 clofed and incircled : This Pofition eftablifih’d, you may fafely inferr, that as by 
 making way through the Ayr (the Statue not being cover’d with Wax or Earthy you 
 guide your Piercer dire&ly towards the Point T. (which for examples fake we will 
 fuppofe to be the Relievo of the Chin) by the fame reafon, if the Statue were cover'd 
 over with Wax or Earth, might you by boaring through the faid Wax or Earth attain 
 the point aim’d at, the Wax or Earth poffeffing but the fame place which otherwift 
 the Ayr would have done : From what hath been thus difcours’d concerning theft 
 things, it may be concluded, that the effeft we mention’d before concerning the 
 making of one half of the Statue in the Ifle of Pharos , and finifhing the other half in 
 the Mountains of Carrara, is a thing not only not impoflible but very eafy to be per¬ 
 form’d ; For let the faid Statue or Model of Phidias be divided into two fogments, 
 and fuppofe, for example, this Se&ion of a plain Superficies be made in the Waft or 
 Girdling place, doubtlefs by the only affiftance of our Definitor it will be eafy to mark 
 out in the Circle of the Inftrument whatfoever points fhail be thought fit, belonging 
 to the divided Superficies: Thefe things granted to be feafible, you fhail not need to 
 
 Y 2 make 
 
15$ Leon B. Al b v e--r-t i 
 
 make any queftion of being able to find out at pleafure in the Model, any part Wiiat T 
 foever you (ball defire to find ; and that only by drawing a (mail red line in the 
 Model, which ferves in ftead of an interfe&ion of the Horizon , in the place where this 
 fegment fhould terminate, if the Statue were divided; and the points fo mark’d will 
 direct you the way how the work may be finifhed : And in like manner may other 
 things be done, as hath been laid before. Finally, by the whole difcourfe here made 
 concerning all thefe particulars, it is fufficiently evident, that all Meafures, Proporti¬ 
 ons and Limitations are to be taken, whether in the Life, or Copie, by a mod certain 
 and infallible rule for the bringing of any work to perfe&ion in this Art • and we 
 could wifih that this way of proceeding were more ferioufly intended by all our 
 Painters, mdSculptors, {\nce, if it were, they would foon come to find the extraordi¬ 
 nary benefit of it: But becaufe all things are moft illuftrated by example, and that 
 the paines we have already taken in this matter may conduce to the greater advan¬ 
 tage ; we have thought fit to beftow yet a little farther labour in defcribing the mea¬ 
 fures of all the principal parts in mans Body ^ and not only the parts of this or that 
 particular man, but as far as was poffible, even the very perfection of all beautiful 
 and excellent proportions ; the feveral parts whereof having obferv’d in leveral hu¬ 
 mane bodies, fome excelling chiefly in this, fome in that external gift of Nature, we 
 have thought material to fet down in writing ; following the example of him, who 
 being imploy’d by the Crotoniati to make the Statue of their Goddefs , went about col¬ 
 lecting from the moft beautiful Virgins (whom, among many, he with great dili¬ 
 gence fearch’d out) thofe proportions and handfome Features wherein each of them 
 principally excelfd, and apply’d them to his own Statue. Since much after the 
 fame manner we, having taken the Draught from thofe Bodies, that of divers others 
 were judg’d, by the moft fagacious in this inquiry, to be the moft exaCtly built and 
 compos’d, with all their feveral meafures and proportions ; and comparing them 
 exaClly together, to obferve wherein they excell’d, or were excelfd each by the other, 
 have made choice out of this variety of models and examples, of thofe middle pro¬ 
 portions which feem’d to us moft agreeable, and which we have here fet down by 
 the lengths, bigneffes and thickneffes of all the principal and moft noted parts; 
 and in the firft place the lengths are thefe following. 
 
 The heights from the Ground. 
 
 Feet . Degrees . Minutes . 
 
 The greateft height from the ground to the Inftup of the Foot, o 3 
 The height up to the Ankle-bone on the outfide of the Legg. o 2 
 
 The height up to the Ankle-bone on the infide of the Legg. o 3 
 
 The height up to the recefs which is under the Calf of the Legg. o 8 
 
 The height up to the recefs which is under the Relievo of the p 
 
 Knee-bone within. f ^ 
 
 The height up to theMufcle on the outfide of the Knee, 1 7 
 
 The height up to the Buttocks and Tefticles. 2 6 
 
 The height up to the Os Sacrum, 3 & 
 
 o 
 
 2 
 
 1 
 
 S 
 
 3 
 
 9 . 
 
 o 
 
 The 
 
of'STATVES. 
 
 ■1 I 
 
 The heighc up to the joynt of the Hips. 3 
 
 The height up to the Navel. 3 
 
 The height up to the Waft. 3 
 
 The height up to the Teats and Blade-bone of the Stomack. 4 
 The height up to that part of the throat where the Weezle- , 
 pipe beginneth. 0 
 
 The height up to the knot of the Neck where the Head is fet on. 5 
 Th£ height up to the Chin. erlj iognfth fbd^id edi < g 
 
 The height up to the Ear. - 5 
 
 The height up to the roots of the Haires in the Forehead. 5 
 
 The height up to the middle Finger of a Hand that hangs down. 2 
 The height up to the joynt of the Wrift of the faid Hand. 3 
 The height up to the joynt of the Elbow of the faid hand. 3 
 The heightUp to the higheft angle of the Shoulder. $ 
 
 Feet. Degrees.. 
 
 1 
 
 6 
 
 7 
 3 
 
 157 
 
 Minutes . 
 
 1 
 
 o 
 
 9 
 
 5 
 
 1 
 
 2 
 
 5 
 9 
 
 o 
 
 0 
 
 6 
 
 8 
 
 1 
 
 o 
 
 o 
 
 o 
 
 o 
 
 o 
 
 o 
 
 5 
 
 8 
 
 The amplitude or largenejfes of theparts are meafux dfrom the right, hand to the left . 
 
 i i 
 
 1 k o 
 
 o 
 
 o 
 
 4 
 
 2 
 
 o 
 
 o 
 
 o 
 
 o 
 
 o 
 
 o 
 
 o 
 
 o 
 
 The greateft breadth of the Foot. 
 
 The greateft breadth of the Heel. 
 
 The breadth of the fulleft part beneath the jettings out of the' 
 
 Ankle-bones. 
 
 The recefs or falling-in above the Ankles. 
 
 The recefs of the mid-legg under theMufcle or Calf 
 
 V. la 
 
 The greateft thicknefs of the Calf. v j ; 
 
 The falling-in under thz Relievo of the Knee-bone. * 
 
 The greateft breadth of the Knee-bone. 
 
 The falling-in of the Thigh above the Knee. ■ 
 
 The breadth of the middle or biggeft part of the Thigh 
 The greateft breadth among the Mufcles of the joynt of the Thigh. 1 
 The greateft breadth between the two Flanks above the joynts ) 
 of the Thigh. <J 
 
 The breadth of the largeft part of the Breaft beneath theArmpits. 1 
 The breadth of the largeft part between the Shoulders. 1 
 
 The breadth of the Neck. o 
 
 The breadth between the Cheeks. o 
 
 The breadth of the Palm of the Hand. o 
 
 €■ ; . ‘ . i , . * * . 
 
 The breadth andthicknefs of the Arms , differ according to the feveral motions thereof but 
 the mojl common are thefe following . 
 
 The breadth of the Arm at the Wrift. 
 
 The breadth of the brawny part of the Arm under the Elbow 032 
 The breadth of the brawny part of the Arm above,betv/een the^ 
 
 Elbow and the Shoulder, 
 
 1 
 
 2 
 
 3 
 
 3 
 
 4 
 3 
 
 5 
 
 1 
 
 1 
 
 5 
 
 o 
 
 4 
 
 o 
 
 o 
 
 5 
 
 5 
 
 5 
 
 5 
 
 o 
 
 5 
 
 5 
 
 1 
 
 o 
 
 5 
 
 o 
 
 o 
 
 8 
 
 .0 
 
 2 
 
 3 
 
 4 
 
 o 
 
 The 
 
o 
 
 
 3 
 
 o 
 
 6 
 
 158 Leon B. Al b^etrti 
 
 The thicknefs from the fore-farts to the hinder-farts . Feet. Degrees . Minutes . 
 
 The length from the great Toe to the Heel. 1 o o 
 
 The thicknefs from the Inftup to the Angle or corner of the Heel, o 
 The falling-in of the Inftup. r - o 
 
 From the falling-in under the Calf to the middle of the Shin, o 
 The outfide of the Calf of the Legg. o 
 
 The outfide of the Pan of the Knee. o 
 
 The thicknefs of the biggeft part of the Thigh. o 
 
 From the Genitalis to the higheft rifing of the Buttocks. 
 
 From the Navel to the Reins. 
 
 The thicknefs of the Waft. 
 
 From the Teats to the higheft Rifing of the reins of the Back. 
 
 From the Wcezlepipe to the knot or joynture of the Neck. 
 
 From the Forehead to the hinder part of the Head. 
 
 From the Forehead to the hole of the Ear. 
 
 The thicknefs of the Arm at the Wrift of the Hand. 
 
 The thicknefs of the brawn of the Arm under the Elbow. 
 
 The thicknefs of the brawn of the Arm between the Elbow and) 
 the Shoulder. 
 
 j _ _ 
 
 The greateft thicknefs of the Hand. 
 
 The thicknefs of the Shoulders. 024 
 
 4 
 
 3 
 
 3 
 
 4 
 
 4 
 
 6 
 
 7 
 
 7 
 
 6 
 
 7 
 
 4 
 
 6 
 
 6 
 
 5 
 
 o 
 
 4 
 
 o 
 
 o 
 
 By means of thefe meafures it may eafily be computed what proportions all the 
 parts and members of the Body have one by one to the whole length of the Body; 
 and what agreement and fymmetric they have among themfelves, as alfo how they 
 vary or differ one from another; which things we certainly conclude moft profi¬ 
 table and fit to be known: Nor were it from the purpefe to particularize how the 
 parts vary and alter, according to the feveral geftures incident to humane Bodies, as, 
 whether they be Sitting, or Inclining to this, or that fide; But we (hall leave the 
 more curious difquifition into thefe things, to the diligence and induftry of our Artifl. 
 It would alfo be of very much conducement,to be well inform’d of the number of the 
 Bones, the Mufcles,and rifings of the Nerves ; and efpecially to know how, by certain 
 rules, to take the circumferences of particular divifions of Bodies, feparately confi- 
 der’d from the reft, by an infpedion into thofe parts which are not outwardly ex¬ 
 pos’d to fight: In like manner as if a Cylinder fliould be cut down right through 
 the middle, fo as out of that part of the Cylinder which is vifible throughout, there 
 fhould be feparated, by a circular fed ion through the whole length of the figure, an 
 inward confimilar part which was before unfeen, fo as to make of the fame Cylinder 
 two Bodies, whofe Bafes fhould be alike, and of the fame form, as being indeed 
 wholly compriz’d within the fame lines and circles throughout: By the obforvation 
 of which fort of' Sedion is to be underftood the manner of feparation of the parts 
 and Bodies before intimated ; for as much as the defigne of the line by which the 
 
 Figure 
 
of STATVES. .$9 
 
 Figure is terminated, and by which the vifible Superficies is to be feparated from 
 that which lies hid from the fight, is to be drawn juft in the fame manner; and this 
 defign being delineated on a Wall, would reprefent fuch a Figure as would be much 
 like a Shadow proje&ed thereupon fh>m fome interpofing light, and which fhould 
 Illuminate it from the fame point of the Ayr? where at firft the beholders Eye was 
 plac’d : But this kind of divifion or feparation, and the wayofdefigning things af¬ 
 ter this manner, belongs more properly to the Fainter then the Sculptor , and in that 
 capacity we (hall treat of them more largely elfewhere. Moreover, it is of main 
 concernment to whatfoever perfon would be eminent in this Art, to know how far 
 each Relievo or Recefs of any member whatfoever is diftant from fome determined 
 Pofition of Lines* 
 
 ■ . . wiftO-abuf ha Uarij t m ■ »dT 
 
 S) br» 
 
 The End. 
 
 11 
 
 errata, 
 
 T He exquifitenefs of this graceful CharaSer, and handfom Graving of the Plates, befides the rarenefs of the Suljefi, will merit of 
 the Redder that he pardon fome few flips of the 1‘rtfs. As by miltaking Capital tor Capitel, Colcnut for Column, c. s. a. &c. Model 
 for Modul, c. 17.19- Sec. and in fome of the reft •, the moft material being in Epifl to Sr J Den r. reaffumption. ContuiiJUoners. p. 48 . 
 1. 6. for fixtx. firfl. p. 1 iS. k4o. r. Alberti, p. lot I. j.r. for j vent, p, 111 . L j 6 r. Vraceptis. p. 130 .1. la. r. which for Modul. p. 140 , 
 1. 19 . r. Pantheon. Ike • 
 
V 
 
 Courteous R.ea d er, c r / 
 
 ■ ' ' '. ' * • r * . ^ • * . " • ' - . . . • r ? • . * 
 
 " ^ , r jJ ^ ' ; " ) , ; ' , » • , ( | 
 
 Theje ‘Boolq following are Trinted for John Place, add are to be /old at 
 his Furnivals-lnn fjatein Holborn. , 
 
 ' ; Booths in Folio. 
 
 T He Hiflory of:the world, by Sir Walter Raleigh KnightjAthe laft 
 Edition in the Prefs. 
 
 f Bifhop Halls third Tome, with Partners. } 7] 
 
 things Neyv and Old , or a (lore- houfe of Slmilies, S ententes, Allego¬ 
 ries, Adagesi ^Apolagift, Divine, Moraltand Political,by Johif;Sftncer 
 ot Sion Colledg. 
 
 Obfervations on Cffars Commentaries, by Sir Clement Edmunds 
 Knight. 
 
 The Reports of the learned Judg Popham, fometimes Lord 
 chief Jufticeof England. 
 
 The Reports of the learned Judg Owen , Chief jufticeof the 
 Common Pleas. 
 
 The Reports and Cafes of Law> by William Leonard, Efquire in 
 fihree parts* with a compleat Table, 
 
 Latch his Reports. 
 
 The Reports of Sir John Bridgman Knight, fometime Chief Ju¬ 
 fticeof Chefler. 
 
 The Reports of divers Resolutions in Law, Oolle&ed by the 
 Right Honourable Sir James Ley Knight and Baronet. 
 
 Cowells Interpreter of hard Words in the Law, the laft edition. 
 Maxims of reafon, or the reaion of the Common Law, by Ed - 
 ttlOttd Wingate Efquire; late one or the Benchers of Grays-Inn. 
 
 Londinopolis, or ati H'ftory o. the Cities o. London and Weflmin- 
 fer, by fames Howell. ■> -■ K '• . 
 
 The Hiftory of Swedest Goihes , and Vandalls-, by Olaus Magnus 
 Bifhop of Vpfall. 
 
 The prefident for llftiftrious Princes, or a Hiftory of the Wars 
 between tche Houles of York and Lanca(ler,by n>. H. Efquire. 
 
 TheMinifter of State,in two Volumes,wherein is (hewed the true 
 ufe of Policy, by Monfieurde Sit on Secretary to Cardinal Rich lew, 
 JEnglifhed by Sir Henry Herbert Knight. 
 
 EccleSa Re(hturata,or the Rerormation of the Church of England, 
 by Peter Beylin. 
 
 The Hiftory of Italy in it®$ original Glory, Ruin, and Revival, 
 by Edmund Warcupp Efquire. 
 
 Books i n ^ r ge and JhtalL 
 
 The Grand Abridgment of the Law 'Continued, by William 
 Hughes Efquire, in three Volumes. 
 
 The Compleat Clerk, containing the heft forms of all forts of 
 Prefidents, the feeond Edition with many Additions, throughout' 
 the whole Work, 1664. 
 
 Commentaries on the Original Writts, in Natura Brevium, by 
 William Hughes of Grays- Inn Efquire 
 
 Grigories Moot-Book, with Additions,by William Hugbest 
 Declarations and Pleadings in Englijh, &c. in the Kings Bench, 
 by William Smalt of Furnivals- Inn. 
 
 Regni argument* Confilii , or a CollsSion of Authentick Argu¬ 
 ments, Suaveolent Speeches, and prudent Reafons 5 delivered and 
 ferioufly debated in Parliament. 
 
 The Faithful Councilor, or the Marrow of Law,by William 
 Sheppard Efquire, the fecond Part. 
 
 The Deed fpeakihg, of thp Tivirig man Revived, in a Sermon 
 Preached at the Funeral of Mr. Samuel Oliver, by Mr. J Chitxsini 
 
 The Fldatirig Iflahd, by Dr. Strowd, aftedat OkfPr'i. ’ 
 
 The Tragedy ojf, the fair "Pjenp,, t?y Gilbert Switthoe Efquire. 
 
 ru 
 
 Bodks ii oUwvo. v : i 
 
 fS . aadn = c nc io g / ... ft q j - rl. - 
 
 Book of Entries of all manner of Judgments in the Kings JtancE| 
 and Common Pleas. !. ]0 p.jj. ; ; /-£ 
 
 The Grounds and Maxims of the Law, by M. Hawke of the 
 Middle Temple. 
 
 A perfeft guide for a Studious young Lawyer, by Thomas Fid til 
 of Furnivals - Inn Gent, 
 
 The Arraignment of the ^ inalaptifl i in a Difpute at * 4 lergnvtny 
 io Monmouthfhire, by John Cragg M. A. 
 
 A Cabinet of Jewels, &c. Set forth in eight Sermons, with an 
 Appendix of the nature of Tithes, and expedience of Marriage 
 by a lawful Minifter, by John Cragg M. A. 
 
 The Royal Prerogative vindicated, to which is Annexed the 
 Kings Supremacy in all caufes Ecclefiaftical, and Civil, by John 
 Cragg M. A. 
 
 The Country Court inlarged by william Greenwood of Furnivals* 
 Inn. 
 
 Mathidvels Difcourfes, to which is added his Prince, in 1 x. 
 
 Rofs his Epitome of Sit Walter Raleigh*s Hiftory of the World, 
 In ix. 
 
 The office and duty of an Evecutor, by Tho. Wentworth. 
 
 The Abridgment of the Lord Dyers Reports, by Sir Thomas 
 Ireland . 
 
 Obfervations on the Office of a Lord Chancellor, by the Lord 
 Elefmere , late Lord Chancellor. 
 
 juftice Reftored, ora Guide for his Majefties Juftices of Peace. 
 
 Jufticeof Peace his Vade Mecum t together with an Epitome of 
 Stanfords Pleas of the Crown. 
 
 The Lay-mans Lawyer, by Thomas Fofler Gent. 
 
 Tranfa&ions of Chancery, eolle&ed by W. Tochell. 
 
 Brooks Cafes in Englijh, by J. Mar/h of Grays-Inn Barretter. 
 
 Perkins of the Laws of England in Engllfb. 
 
 An exaft Abridgment ot Doftor and Student. 
 
 Principles of the Law reduced to prafiice, by W. Philips. 
 
 Invifible World, and the Miftery of Godlincfs, by JofepbHall, 
 Bifhop ot Harwich. 
 
 Bifhop HalPs Impofition of hands. 
 
 Dr. Treflons Saints Infirmities. 
 
 A Treatife of Phlebotomy. 
 
 A Sermon Preached at the Funeral of Sir James Penyman, by 
 „Allen Smalwood. 
 
 A Comment on the rimes, or a Charafier of the Enemies of the 
 Church of England, by Thomas Wall, M. A. 
 
 A Catecbifme containing the Principles of Chriflian Religion, 
 written by Mofes Wall. 
 
 Poems by Matthew Stevenfon. 
 
 Clareflella, by R. Heath Efquire. 
 

 
 
 
 
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