+----------------------------------------------------------+ | Transcriber's note: | | | | The combination "vv" which occurs at some places for | | "w" and the word "Jonick" used sometimes for "Ionick" | | has been kept to conserve the original appearance of the | | book. No changes have been made in the text except the | | correction of obvious typos. | +----------------------------------------------------------+

 [Illustration: ARCHITECTVRE 1692]

 AN ABRIDGMENT OF THE ARCHITECTURE OF VITRUVIUS. 

 CONTAINING

 A System of the whole WORKS of that Author. 

 Illustrated with divers Copper Plates, curiously engraved; with a Table of Explanation, To which is added in this Edition

 The Etymology and Derivation of the Terms used in _Architecture_. 

 First done in _French_ by Monsr _Perrault_, of the Academy of _Paris_, and now _Englished_, with Additions. 

 _LONDON_: Printed for _Abel Small_ and _T. Child_, at the _Unicorn_ in St. _Paul_'s Church-yard. 1692. 

A

TABLE

OF THE

CHAPTERS. 

The Introduction. 

Article 1. _Of the great merits of_ Vitruvius, _and theExcellencies of his Works_. Page 1. 

 Art. 2. _Of the method of the Works of_ Vitruvius, _with short Arguments of every Book_. 9. 

_A division of his whole Works into three parts, whereof 1. Treats of Building, 2. Gnomonical, 3. Mechanical. A seconddivision into three parts, 1. Of Solidity, 2. OfConvenience, and 3. Of Beauty. The Arguments of the TenBooks. _ 11, 12, &c. 

THE FIRST PART. 

Of the Architecture that is common to uswith the Ancients. 

 _Chap. I. _ Of Architecture in general. 

 Art. 1. _Of the Original of Architecture_, 17. 

_The first occasion of Architecture; the Models of thefirst_ _Architects_, 19. _The Inventers of the four Ordersof Architecture_, 20. 

 Art. 2. _What Architecture is_, 23. 

_Definition of it; an Architect ought to have the knowledgeof eleven things_, viz. _Writing_, _Designing_, _Geometry_, _Arithmetick_, _History_, 24. _Philosophy, moral andnatural_, 25. _Physick_, _Law_, _Astronomy_, and _Musick_. 26. 

 Art. 3. _What the parts of Architecture are_, 27. 

_There are eight parts in Architecture_, viz. 1. _Solidity_, 27. 2. _Convenience_, 3. _Beauty_, 4. _Order_, 5. _Disposition_, 28. 6. _Proportion_, 7. _Decorum_, 8. _Oeconomy_, 32. 

_Chap. _ II. Of the Solidity of Buildings. 

 Art. 1. _Of the choice of Materials_, 33. 

Vitruvius _speaks of five sorts of Materials_, 1. _Stone_, 33. 2. _Bricks_, 34. 3. _Wood, whereof divers sorts areused, as Oak, Fir, Poplar, Alder_, 35. _Pine, Cypress, Juniper, Cedar, Larch_, 36. _and Olive_; 4. _Lime_; 5. _Sandand Gravel_, 37. _of which several sorts, Pit, River, andPozzalane_, 38. 

 Art. 2. _Of the use of Materials_, 39. 

_Of the Preparation of Stone_, 39. _Of Wood_, 40. _OfBricks_, 41. _Lime and Sand_, 43. 

 Art. 3. _Of the Foundation_, 45. 

_In Foundations, to take care that the Earth be solid_, 45. _Of the Masonry_, 46. 

 Art. 4. _Of the Walls_, 47. 

_Six sorts of Masonry_, 48, 49. _Precautions to be used inbinding the Walls, to strengthen them with Wood_, 50. _Thatthey be exact perpendicular_, 51. _to ease them of their ownweight, by Timber or Arches over doors and windows, and byButresses in the earth_, 53. 

 Art. 5. _Of Flooring and Ceiling_, 54. 

_Of Flooring upon the Ground_, 54. _between Stories_, 55. _Open to the Air as Terrass, &c. _ 57. _the Roof_, 58. _Cornice_, 59. 

 Art. 6. _Of Plaistering_, 59. 

_For great Walls, For Fresco_, 60. _for Partitions_, 61. _For moist places_, 61. 

 _Chap. III. _ Of the Convenience of Fabricks. 

 Art. 1. _Of convenient Scituation_, 63. 

_That a place be convenient, it ought to be fertile, accessible, in a wholsom Air, not on low Ground or marshy_, 64. _How to know a wholsom Climate_, 65. 

 Art. 2. _Of the Form and Scituation of the Building_, 65. 

_The Streets and Houses of a City to be the mostadvantagiously expos'd in respect to the Heavens and Wind_, 65, 66. _The scituation of each Room to be according to theuse of it; of Dining-rooms, Libraries, Closets, &c. _ 67, 68. 

 Art. 3. _Of the Dispositions of Fabricks_, 68. 

_The Dispositions of Buildings to be according to the use ofthe House, either publick or private; of Merchants Houses;of Country Houses; Of the several Apartments_, 70. _OfLights_, 71. 

 Art. 4. _Of the convenient form of Buildings_, 71. 

_Of the Walls of Cities; Form of publick places_, 72. _whichwere different among the_ Greeks _and_ Romans; _of Stairsand Halls_, 72. 

 _Chap. IV. _ Of the Beauty of Buildings. 

 Art. 1. _In what the beauty of Buildings consists_, 74. 

_Two sorts of beauty in Buildings; 1st, Positive, whichconsists in the Symmetry, Materials, and Performance_, 75. _2d. Arbitrary, which is of two sorts; 1. Prudence, 2. Regularity; which consist in the proper providing againstInconveniences, and observing the Laws of Proportion_, 76. _The beauty is most seen in the proportion of theseprincipal parts_, viz. _Pillars, Piedments, andChambrantes_, 78. _From these things result two other, Gender and Order_, 79. 

 Art. 2. _Of the five Genders, or sorts of Fabricks_, 80. 

_The five sorts are Pycnostyle, Systile_, 80. _Diastyle, Areostyle, Eustyle_, 81. _The Genders to be always agreableto the Orders of Architecture_, 82. 

 Art. 3. _Of the five Orders of Architecture_, 84. 

_The distinction and difference in the several Orders;consists in the Strength and Ornament_; Vitruvius _speaksbut of three Orders_, 85. 

 Art. 4. _Of things that are common to several Orders_, 85. 

_There are seven things common to all Orders_, viz. _Steps_, 85. _Pedastals_, 86. _the diminution of Pillars, theChannelings of Pillars, which is of three sorts_, 89. _thePiedemont_, 90. _Cornices, and Acroteres_, 93. 

 Art. 5. _Of the_ Tuscane _Order_, 93. 

_The_ Tuscane _Order consists in the Proportion of Columns, in which there are three parts, the Base, the Shaft, and theCapital_, 94. _Of Chambrantes; and of the Piedement_, 95. 

 Art. 6. _Of the_ Dorick _Order_, 96. 

_The_ Dorick _Order consists in the proportion; of theColumns, which have been different at diverse times, and indiverse Works_, 96, 97. _The parts of the Column are theShaft; the Base which it anciently wanted, but hath sinceborrowed from the Attic; the proportion of the Base_, 97. _and the Captial_, 98. _the Archiatrave, which hath twoparts, the Platbands and the Gouttes_, 98. _the Frise, in__which are the Triglyphs and the Metops_, 98. _theProportion of them_, 99. _Of the Cornice, its proportion_, 99. 

 Art. 7. _Of the_ Ionick _Order_, 101. 

_The preportion of Pillars of this Order_, 101. _The Pillarsset upon the Bases two ways, perpendicular, and not so_, 101. _Proportion of the Base, divided into its parts thePlinthus, the Thorus, the Scotia upper and lower, with theAstragals_, 102. _Of the Capital, its proportion and parts_, 103. _Of the Architrave, wherein to be considered, theproportion it must have to the Pedestals, and to the heighthof the Column_, 105. _to the breadth at the bottom_, 106. _and to the jetting of the Cymatium_, 106. _Of the Frise andCornice_, 107. 

 Art. 8. _Of the_ Corinthian _Order_, 108. 

_This Order different from the_ Ionick _in nothing but inthe Capitals of Pillars, being otherwise composed of the_Dorick _and_ Ionick; _the proportion of the Capital_, 109. _in which are to be consider'd its heighth, its breadth atthe bottom, the Leafs, Stalks, the Volutes, and the Roses_, 109. _Of the Ornaments_, 110. 

 Art. 9. _Of the Compound Order_, 110. 

_The Compound is not described by_ Vitruvius, _it being ageneral Design, and borrows the parts of the Capital (whichis the only distinction it has) from the_ Corinthian, Ionick, _and_ Dorick _Orders_, 111. 

THE SECOND PART, Containing the Architecture that was particularto the Ancients. 

 _Chap. I. _ Of publick Buildings. 

 Art. 1. _Of Fortresses_, 113. 

_In Fortification four things are consider'd; thedisposition of the Ramparts; the Figure of the whole place_, 114. _the building of the Walls; thickness, materials, andterrass; the figure and disposition of the Towers_, 115, 116. 

 Art. 2. _Of Temples_, 116. 

_Temples divided in the_ Greek _and_ Tuscan _Fashion; ofthe_ Greek _some were round, and some square; in the squareTemples of the Greeks three things are to be considered; 1. The_ Parts, _which are five, the Porch, the Posticum_, 117. _the Middle, the Portico, and the Gates, which were of threesorts_, viz. Dorick, 118. Jonick, 120. _and_ Attick, 120. _2. The_ Proportion, 121. _and 3. The_ Aspect, _in respectto the Heavens_, 122. _and to its own parts, which weredifferent in Temples with Pillars, and those withoutPillars; of Temples with Pillars there are eight sorts_, 122, 123, 124. Round Temples _were of two sorts, Monoptere_, 125. _Periptere_, 126. _Temples of the_ Tuscane Fashion, 126. _The Ancients had fourteen sorts of Temples_, 127. 

 Art. 3. _Of publick Places, Basilica's, Theatres, Gates, Baths, and Academies_, 127. 

_The Fabricks for publick Convenience were of six sorts, I. Market-places of the_ Greeks _of the_ Romans, 128. _theirProportions; II. Basilica's, their Proportions, Columns, __Galleries, and Chalcediques_, 128. _III. Theatres composedof three parts; the Steps or Degrees which enclosed theOrchestra_, 125. _the Scene which had three parts, thePulpit, the Proscenium_, 130. _and the Palascenium_, 131. _And the Walking-places_, 131. _IV. Gates, which were eithernatural or artificial, built three ways_, 132. _V. Baths, consisting of many Chambers, their Description_, 133, 134. _VI. Academies composed of three parts, the Peristyle_, 134. _the Xystile_, 135. _and the Stadium_, 136. 

_Chap. II. _ Of Private Buildings. 

 Art. 1. _Of the Courts of Houses_, 137. 

_The Courts of Houses were of five sorts, four whereof weremade with jettings out, or Pent-houses of four sorts. The_Tuscan, 137. _the_ Corinthian, _the Tetrastyle, theVaulted_, 138. _the fifth sort uncoverted_, 138. 

 Art. 2. _Of the Vestibulum or Entry_, 139. 

_The proportion of the Vestibulum was taken three ways, forthe length, breadth, and heighth_, 139. _Of the Alley in themiddle_, 140. 

 Art. 3. _Of Halls_, 140. 

_Three sorts of Halls, the_ Corinthian, _the_ Ægyptian, _andthe_ Cyzican, 141. 

 Art. 4. _Of the Distribution of the Apartments among the Ancients_, 142. 

_The Distribution of the Apartments different among the_Greeks _and_ Romans; _what the Difference was_, 141. 

 _Chap. III. _ Of things that equally appertain to Publick and Private Buildings. 

 Art. 1. _Of Aqueducts_, 143. 

_The manner the Ancients used to take the Level exactly_, 143 _The Water was brought by Aqueducts, or by Pipes ofLead, or Potters Work_, 144. 

 Art. 2. _Of Wells and Cisterns_, 145. 

_The Precautions the Ancients used in digging their Wells, to discover bad Water, and in making their Cisterns_, 145. 

 Art. 3. _Of Machines for carrying and lifting up great Stones and Burthens_, 146. 

_Machines for drawing Pillars_, 147. _Architraves_, 147. _for raising great Weights, three sorts; first, with aHandmill; second, with a Windlas_, 147. _third, with severalRopes, to be drawn by Mens Hands_, 148. 

 Art. 4. _Of Machines for elevating Waters_, 149. 

_Five sorts; I. The Tympan_, 149. _II. A Wheel with Boxes. III. A Chain with Buckets. IV. The Vice of Archimedes. V. The Pomp of_ Cresibius, 151. 

 Art. 5. _Of Water-mills for grinding Corn_, 152. 

_The Water-mills of the Ancients were like ours. _

 Art. 6. _Of other Hydraulick Machines_, 153. 

_Three sorts of Water-Machines; first, for shewing thehour_, 153. _Second, Organs_, 154. _Third, for measuring theWay by Water_, 154. _by Land_, 155. 

 Art. 7. _Of Machines of War_, 155. 

_Three kinds; I. To dart Arrows, &c. _ 155. _II. To batterdown Walls_, 157. _III. To cover them in their Approaches tothe Walls of the Besieged_, 158. 

 AN ABRIDGMENT OF THE TEN BOOKS OF THE ARCHITECTURE OF VITRUVIUS. 

THEINTRODUCTION. 

ARTICLE I. 

 _Of the great Merits of_ Vitruvius, _and the Excellencies of his Works_. 

There are so many things in the Works of _Vitruvius_ that do notdirectly appertain to Architecture, that one would think they were lessfitted to Instruct those that have a design to learn the Precepts ofthis Art, than to perswade the World that the Author was the mostknowing Architect that ever was, and a Person of the greatest Merit: Hehad the Honour to serve _Julius Cæsar_ and _Augustus_, the two Greatestand most Magnificent Princes of the World, in an Age when all thingswere come to the highest degree of Perfection. 

[Sidenote: _Lib. 6. Preface. _]

For one may see in reading his Works, which are full of a wonderfulvariety of Matters, which he treats of with a singular Erudition, thatthis great Man had acquired that Profound Knowledge which is necessaryfor his Profession by more excellent Methods, and more capable ofproducing something excellent, than the bare exercise and ordinarypractice of a Mechanical Art could possibly do; being compleat in allthe Liberal Arts and Sciences, and his great Wit being accustomed, evenfrom his Cradle, to understand the most difficult Matters: He hadacquired a certain Facility which meer Artizans have not, of penetratingthe deepest Secrets, and all the difficulties of so vast an Art, as thatof Architecture. 

[Sidenote: _Lib. 2. Pref. _]

[Sidenote: _Lib. 6. Pref. _]

Now as it's true that in the Practice and Exercise of Arts, one does notalways easily distinguish the Abilities of those that work in them. Thegreat Capacity of _Vitruvius_ before the publishing of his Book, whichhe Composed when he was in Years, had not all the Esteem it deserved;which he complains of in his Preface, and in the Age he lived; though itwas full of the most refined Wits, yet he had the fortune of others, tofind few to defend him from the Surprizes and Attacks of falseReasoning, and from the injustice that prejudice creates, to those whoapply themselves more to cultivate the Talents they possess, than tomake parade of them. 

[Sidenote: _Lib. 2. Pref. _]

[Sidenote: _Lib. 6. Pref. _]

[Sidenote: _Lib. 3. Pref_. ]

[Sidenote: _Lib. 3. Pref_. ]

[Sidenote: _Lib. 6. Pref_. ]

_Vitruvius_ was a Man, who, as to the exteriour, made a small Figure, and who had not heaped up great Riches by the practice of hisProfession; and having, as it were, buried himself in study, and whollygiven himself over to the Contemplation of Sciences, understood littleof the Arts of the Court, or the Crafty Slights of pushing on hisFortune and making himself considerable; for though he was bestowedupon, and recommended to _Augustus_, by the Princess _Octavia_ hisSister, we cannot find that he was employed in any Works of greatImportance. The Noblest Edifice that we can learn that _Augustus_ causedto be built, was, the Theatre of _Marcellus_; and this was done byanother Architect: And the only Fabrick we can find he was employed inwas not at _Rome_, but at _Fano_, a very little City; insomuch, that thegreatest part of the Architects of that Age, who had gained the generalVogue, being so ignorant, that they did not know even (as himself isforced to declare) the first Principles of their Art: The Quality of amere Architect was become so Contemptible, that if his Books had notcarried all the Marks of an extraordinary Knowledge, and rare abilities, and undeceived the World by taking away the prejudice that his smallemploy created him, the Precepts he has left us would have wanted thatAuthority that was necessary to support them. 

For Architecture being an Art that has scarce any other Rule to walk by, in performing all those Excellencies her Works are capable of, than whatwe call a Good Fancy, which truly distinguishes that which is Beautifuland Good from that which is not so; it's absolutely necessary that onebe perswaded that the Fancy he follows is better than any other; to theend, that this Perswasion insinuating it self into them that study thisArt, it may form in them a Correct and Regular Idea, which without thisPerswasion, would be always floating and uncertain; so that to establishthis Good Fancy, it's necessary to have one to whom we give greatdeference, and who has merited great Credit by the Learning that isfound in his Writings; and is believed to have had sufficient abilitiesof chusing well among all Antiquity, that which is most solid andcapable of founding the Precepts of Architecture. 

The Veneration we have for the first Inventers of Arts, is not onlyNatural, but it's founded upon Reason; which makes us judge, that hethat had the first Thought, and first invented any Thing, must needshave had a fitter Genius, and a better Capacity for it, than all thosethat afterwards laboured to bring it to its utmost Perfection. The_Greeks_, who were the Inventers of Architecture, as well as of otherSciences, having left many Works behind them as well in Building as inBooks, which were looked upon in the time of _Vitruvius_, as the Modelsof what was perfect and accomplished in this Art, _Vitruvius_ chieflyfollowed and imitated them; and in the Composition of his Book, gatheredfrom them all that was to be found Excellent and Rare in all theirWorks; which makes us believe, that he has omitted nothing that wasnecessary, to form the General Idea of Good and Beautiful, since thereis not the least probability that any thing could escape so Rare a Wit, Illuminated with so many different Lights. 

But because at present the Reputation of _Vitruvius_ is so generallyestablished, that all Ages have placed him in the first Rank of greatWits, and that there is nothing necessary to recommend the Precepts ofArchitecture, but to prove they were drawn out of his Works: We havinghere designed to make only an Abridgment of his Works, we thought itwould be necessary to cut off many things that this Famous Author hasdrawn out of an infinity of Writers, whose Works are now lost, and onlygives a short Account of the Contents of every Book, in the beginning ofthis Abridgment; handling only in this Book, those Things that directlybelong to Architecture; disposing the Matter in a different Method fromthat of _Vitruvius_, who often leaves off the Matter he is treating of, and takes it up again in another place. 

The Order we have proposed to our selves in this Abstract, is, Thatafter having given an Account in few words of what is contained in thewhole Book; we Explain more particularly what we judge may beserviceable to those that study Architecture. This Treatise is dividedinto Two Parts; The First contains the Maxims and Precepts that may beaccommodated to _Modern_ Architecture; the Second contains all thatappertains to the _Ancient_ and _Antique_ Architectures; which, thoughoften affected, have little that's now made use of, may yet neverthelessserve to form the Judgment, and regulate the Fancy, and serve forExamples of things that may be useful. 

I make a Distinction between the _Ancient_ Architecture, and the_Antique_ Architecture, and the _Modern_; for we call that Architecture_Ancient_ of which _Vitruvius_ has writ, and of which we may as yet seemany Examples in the Fabricks that remain in _Greece_. The Architecturewhich we call _Antique_, is that which may be found in the FamousEdifices, which, since the Time of _Vitruvius_, were built at _Rome_, _Constantinople_, and many other places. The _Modern_, is that whichbeing more accommodated to the present use, or for other Reasons, haschanged some of the Dispositions and Proportions which were observed bythe _Ancient_ and _Antique_ Architects. 

ART. II. 

 _The Method of the Works of_ Vitruvius, _with short Arguments of every Book. _

[Sidenote: _Lib. 1. Chap. 3. _]

All his Works are divided into Three Parts: The First Treats ofBuilding; The Second is Gnomonical, and treats at large of Astronomicaland Geometrical Affairs. The Third gives Rules and Examples for makingMachines or Engines serviceable, either in War or Building. The FirstPart is treated of in the Eight first Books: The Second in the Ninth:The Third in the Last. 

The First Part which relates to Building is twofold, for they are eitherpublick or private. He speaks of private Buildings in the Sixth Book;and as to that which relates to publick Buildings, it's likewise dividedinto Three Parts, _viz. _ That which has Relation to Security, whichconsists in Fortifications, described in the Third Chapter of the FirstBook; That which appertains to Religion, of which he treats in the Thirdand Fourth Books, and that which relates to publick Conveniencies, as_Town-Houses_, _Theatres_, _Baths_, _Academies_, _Market-places_, _Gates_; of which he treats in the Fifth Book. 

The Gnomonical part is treated of in the Ninth Book. 

The Third Part which treats of Machines, is treated of in the Tenth andLast Book. 

Besides these particular Matters of Architecture, there are Three thingsthat appertain to all sort of Edifices, which are, Solidity, Convenience, and Beauty. He speaks of Solidity in the Eleventh Chapterof the Sixth Book; of Convenience, in the Seventh Chapter of the sameBook; and of Beauty through the whole Chapter of the Seventh Book; whichcontains all the Ornaments that Painting and Sculpture are capable ofgiving to all sorts of Fabricks; and as to Proportion, which ought to beesteemed one of the principal Foundations of Beauty, it's treated ofthroughout all his Works. 

But to make it better understood, in what Method every Book explainsthose things, we must tell you, That in the First Book, after havingtreated of those things that belong to Architecture in General, by theEnumeration of the Parts that compose it, and of those that are requiredin an Architect, the Author explains in particular what choice ought tobe made of the Seat where we ought to Build, as to Health andConvenience; after he speaks of the Foundations and of the Building ofFortifications, and the Form of Towers and Walls of Cities, he dilateshimself upon the Air and Healthiness of the Situation. 

In the Second Book, he speaks of the Original of Architecture, and whatwere the first Habitations of Mankind; after he treats of the Materials, _viz. _ of Brick, Sand, Lime, Stones, and Timber: After which he treatsof the different Methods of laying, binding, and Masonry of Stones. HePhilosophizes upon their Principles, and upon the Nature of Lime, uponthe choice of Sand, and the time of cutting of Wood. 

The Third Book treats of the Proportion of the Temples, and of sevensorts of them which are those called _Antes_, _Prostyle_, _Amphiprostyle_, _Periptere_, _Pseudiptere_, _Diptere_ and _Hypæthre_. After he speaks of the Different spaces that ought to be betwxit everyPillar, to which he gives the Five Names following, (which in the latterPart of this Book shall be more fully explained, as well as divers Termsof Art) _viz. _ _Pycnostyle_, _Systyle_, _Diastyle_, _Aræostyle_ and_Eustyle_. After that, he gives in particular the Proportions of the_Ionick_ Order, and demonstrates that it has a Proportion with HumaneBodies. 

The Fourth gives the Proportion of the _Corinthian_ and _Dorick_ Ordersfor Temples, with the Proportions of all the Parts that compose them. 

The Fifth treats of Publick Fabricks, _viz. _ of _Market-places_, _Theatres_, _Palaces_, _Baths_, _Schools_ for Sciences, and _Academies_for Exercises, and in Conclusion, of _Sea-Ports_; and after occasionallydiscourses at large upon Musick, because, speaking of Theatres, he givesan account how the Ancient Architects, were in some places of theTheatre wont to place Vessels of Brass to serve for several sorts oftunable Echo's, and augmenting the Voice of the Comedians. 

In the Sixth he teaches what were the Proportions and Forms of privateHouses among the Greeks and Romans, as well in the City as Country; anddescribes all the parts of the House, _viz. _ the Courts, Porches, Halls, Dining Rooms, Chambers, Cabinets and Libraries. 

In the Seventh he treats of the manner of making use of Mortar forPlaster and Floors; how Lime and the Powder of Marble ought to beprepared to make Stuck. He speaks likewise of the Ornaments that arecommon to all sorts of Buildings, as Painting; and all sorts of Colours, as well Natural as Artificial, that the Ancients made use of. 

In the Eighth he speaks of Waters, and Rivers, and Fountains; _viz. _ oftheir Springs, of their Nature, and Properties; how they are to besought; and of the Conduits that are to bring them to Cities andVillages. 

The Ninth is wholly Gnomonical, and teaches the manner of makingSun-Dials, and gives an account of the Rules of Geometry, how to measuresolid Bodies. He discourses at large of the Course of the Stars, and theparticular Description of those that are called Fixed Stars. 

The Last is taken up wholly in the Description of making Machines tolift up great Weights, and others for several uses; _viz. _ for theElevation of Water for Corn-Mills, Water-Organs and Measuring the Way aswell by Sea as by Land; but it chiefly treats of Machines fit for theuse of Building and War. 

 AN ABRIDGMENT OF THE TEN BOOKS OF ARCHITECTURE Written by VITRUVIUS. 

PART I. 

 _Of Architecture that is common to us with the Ancients. _

CHAP. I. 

 _Of Architecture in General. _

ARTICLE I. 

 _Of the Original of Architecture. _

[Sidenote: _Lib. 2. Chap. 1. _]

It's related by Historians, That Men, who in former times inhabitedWoods and Caverns like wild Beasts, first assembled themselves to makeHouses and Cities, which was occasioned by a Forest that was set onfire, which drew all the Inhabitants together by its novelty andsurprizing effects; so that many Men meeting together in the same place, they found out means, by helping one another, to harbour themselves moreconveniently, than in Caves and under Trees; so that it is pretended, that Architecture was the Beginning and Original of all other Arts. ForMen seeing that they had success in Building, which necessity made theminvent, they had the Thoughts and Courage of seeking out other Arts, andapplying themselves to them. 

[Sidenote: _Lib. 4. Chap. 2. _]

Now even as they took Trees, Rocks and other Things that Nature her selffurnished Beasts to harbour themselves under, which were made use of asModels for the first Houses, which at first were only made of green Turfand broken Branches of Trees, they made use of them afterwards, in thesame manner, to arrive at something more perfect. For passing from theImitation of the Natural to that of Artificial, they invented all theOrnaments of Edifices that were most curiously wrought, in giving themthe Form and Shape of those things that are simply necessary to the mostnatural Buildings: And the Pieces of Timber of which the Roofs andFloors of Houses are made, were the Original of _Pillars_, _Architraves_, _Frises_, _Triglyphs_, _Mutils_, _Brackets_, _Corniches_, _Frontons_ or _Piediments_, which are made of Stone or Marble. 

The Pillars which are to be smaller at top than at bottom, were made inImitation of the Boles or Trunks of Trees, and their use was taken fromthe Carpenters' Posts that are made to support the Building. The_Architraves_ which are laid across many _Pillars_, represent _Summers_that join many _Posts_ together. The _Frises_ imitate the _Muring_ thatis raised upon the _Summers_ betwixt the ends of the Beams that are laiddirectly upon the _Pillars_. The _Triglyphs_ represent the Ceiling orJoyner's work which was made upon the ends of the Beams to conservethem. The _Corniches_ are as it were the extream parts of the _Joists_. The _Modillions_ represent the ends of the Sheers, and the _Dentels_represent the ends of the principal _Rafter_. The _Frontons_ are made inimitation of the _Firms_ or _Girders_, upon which is laid the Roof ofthe House. 

[Sidenote: _Lib. 4. Chap. 2. _]

There is likewise another Original of Architecture, which is taken fromthe Inventers of the several Orders, and those that added the Ornamentsto embellish them. For it's the common Opinion, that the first Fabrickthat was made, according to any of the Orders, was the Temple that King_Dorus_ built in Honour of _Juno_ in the City _Argos_. And it obtainedthe name of the _Dorick_ Order, when _Ion_ the Conducter of a Colony, which he established in _Asia_, made many Temples be built according tothe Model of the Temple built by _Dorus_ in _Greece_. 

But the _Ionians_ having changed some of the Proportions and Ornamentsof the _Dorick_ Order, were the Authors of another Order, which wascalled the _Ionick_, according to which, they built a Temple in Honourof _Diana_. The reason of this change was, that this Temple beingdedicated to a Divinity, which they represented under the Shape of aYoung Lady, they thought it was proper to make their Pillars moretapering, the better to represent the airy Stature of this Goddess, andfor this reason they adorned it more delicately, adding Bases whichrepresent the Buskin'd Ornaments of the Legs and Feet, according to theMode of that time; and Made the _Channellings_ deeper to represent theFoldings and Plaits of a fine light Garment. They put likewise _Volutes_or _Scrowls_ upon the _Capital_, pretending that they imitated theHead-Dress of a Young Lady, whose Hair Beautifully descending from thetop of her Head, was folded up under each Ear. 

Afterwards _Calimachus_ an _Athenian_, embellished the Capitals of thePillars, adding to them more Beautiful _Volutes_ or _Scrowls_, and morein number, enriching them with the Leaves of _Brank Ursine_ and Roses. It's said, That this Capital, which, according to _Vitruvius_, makes allthe Distinction betwixt the _Corinthian_ and _Ionick_ Order, wasinvented by this ingenious Artisan upon this occasion. Having seen theLeaves of the above-mentioned Plant grow round about a Basket which wasset upon the Tomb of a Young _Corinthian_ Lady, and which, as ithappened, was set upon the middle of the Plant. He represented theBasket by the _Tambour_ or _Vase_ of the Capital, to which he made an_Abacus_ to imitate the Tile with which the Basket was covered, and thathe represented the Stalks of the Herb by the _Volutes_ or _Scrowls_, which were ever after placed upon the _Corinthian_ Capital. See Tablethe IXth. 

This great Artist likewise invented other Ornaments, as those we call_Eggs_, because of the _Ovals_ in the _Relief_ which are in theMouldings of the _Corniches_ and are like _Eggs_. The Ancients calledthis Ornament _Echinus_, which signifies the sharp prickly shell ofChestnuts, because they found these Ovals represented a Chestnut halfopen, as it is when it's ripe. 

[Sidenote: _Lib. 3. Chap. 2. _]

He likewise makes mention of another Famous Author, who found out theproportion of all the Parts of a Fabrick, which was _Hermogenes_; towhom he attributes the Invention of the _Eustyle_, _Pseudodiptere_, andof all that is beautiful and excellent in Architecture. 

ART. II. 

_What Architecture is. _

[Sidenote: _Lib. 1. Chap. 1. _]

Architecture is a Science which ought to be accompanied with theKnowledge of a great many other Arts and Sciences, by which means itforms a correct Judgment of all the Works of other Arts that appertainto it. This Science is acquired by _Theory_ and _Practice_. The _Theory_of _Architecture_ is that Knowledge of this Art which is acquired bystudy, travelling and discourse. The Practick is that knowledge that isacquired by the Actual Building of great Fabricks. These Two Parts areso necessary, that never any came to any great Perfection without themboth. The one being lame and imperfect without the other, so they mustwalk hand in hand. 

Besides, the Knowledge of things that particularly belong toArchitecture, there are infinite other things that are necessary to beknown by an Architect. 

For, First, it's necessary that he be able to couch in writing hisintended Building, and to design the Plan, and make an excellent Modelof it. 

Geometry likewise is very necessary for him in many occasions. 

He must also know Arithmetick to make a true Calculation. 

He must be knowing in History, and be able to give a reason for thegreatest part of the Ornaments of Architecture which are founded uponHistory. For Example, if instead of Pillars he support the Floors of theHouse with the figures of Women, which are called _Cariatides_, he oughtto know that the _Greeks_ invented these Figures to let Posterity knowthe Victories they obtained over the _Cariens_, whose Wives they madeCaptives, and put their Images in their Buildings. 

It's necessary likewise, that he be instructed in the Precepts of MoralPhilosophy; for he ought to have a great Soul, and be bold withoutArrogance, just, faithful, and totally exempt from Avarice. 

[Sidenote: _Lib. 1. Chap. 11. _]

The Architect also ought to have a great Docility which may hinder himfrom neglecting the advice that is given him, not only by the meanestArtist, but also by those that understand nothing of Architecture; fornot only Architects, but all the World must judge of his Works. 

[Sidenote: _Lib. 1. Chap. 2. _]

Natural Philosophy is likewise necessary for him for to discover whatare the Causes of many things which he must put a remedy to. 

He ought also to know something of _Physick_, to know the qualities ofthe Air, which makes Places Healthful and Habitable, or the quitecontrary. 

He should not be ignorant of the Laws and the Customs of Places for theBuilding of Partition Walls, for prospect and for the conveying ofWaters and Sewers. 

He ought to know _Astronomy_, that he may be able to make all sorts ofDials. 

It was necessary among the Ancients, that an Architect should have skillin _Musick_ to make and order _Catapults_ and other Machines of War, which were strung with strings made of Guts, whose sound they were toobserve, that they might judge of the strength and stiffness of theBeams which were bended with those Strings. _Musick_ was also necessaryin those days for the placing musically Vessels of Brass in theTheatres, as we have said before. 

ART. III. 

 _What are the Parts of Architecture. _

There are Three Things which ought to meet in every Fabrick, _viz. __Solidity_, _Convenience_ and _Beauty_, which Architecture gives them;by the due ordering and disposition of all the Parts that compose theEdifice, and which she rules by a just Proportion, having regard to atrue _Decorum_, and well regulated _Oeconomy_; from whence it follows, that Architecture has Eight Parts, _viz. _ _Solidity_, _Convenience_, _Beauty_, _Order_, _Disposition_, _Decorum_, _Oeconomy_. 

_Solidity_ depends upon the goodness of the Foundation, choice ofMaterials, and the right use of them; which ought to be with a dueorder, disposition and convenient Proportion of all Parts together, andof one in respect of another. 

_Convenience_ likewise consists in the ordering and disposition, whichis so good that nothing hinders the use of any part of the Edifice. 

_Beauty_ consists in the excellent and agreeable form, and the justproportion of all its parts. 

_Order_ is that which makes, that all the parts of an Edifice have aconvenient bigness, whether we consider them apart or with Relation tothe whole. 

_Disposition_ is the orderly Ranging and agreeable Union of all theparts that compose the Work; so that as Order respects the Greatness, Disposition respects Form and Situation, which are Two Things compriz'dunder the word _Quality_, which _Vitruvius_ attributes to Disposition, and opposes to Quantity, which appertains to Order. There are three waysby which the Architect may take a view beforehand of the Fabrick he isto build, _viz. _ First, _Ichnography_, which is the _Geometrical_ Plan;_Orthography_, which is the _Geometrical Elevation_, and _Scenography_, which is _Perspective Elevation_. 

_Proportion_, which is also call'd _Eurythmy_, is that which makes theUnion of all parts of the Work, and which renders the Prospectagreeable, when the Height answers the Breadth, and the Breadth theLength; every one having its just measure. It is defin'd, the Relationthat all the Work has with its Parts, and which every one of them hasseparately to the Idea of the whole, according to the measure of anyPart. For as in Humane Bodies there is a Relation between the Foot, Hand, Finger and other Parts; so amongst Works that are Perfect, fromany particular Part, we may make a certain Judgment of the Greatness ofthe whole Work: For Example, the Diameter of a Pillar, or the Length ofa _Triglyph_, creates in us a right Judgment of the Greatness of thewhole Temple. 

And here we must remark, that to express the Relation that many thingshave one to another, as to their Greatness or different Number of Parts, _Vitruvius_ indifferently makes use of three words, which are_Proportion_, _Eurythmy_ and _Symmetry_. But we have thought it properonly to make use of the word Proportion, because _Eurythmy_ is a Greekword, which signifies nothing else but Proportion; and Symmetry, although a word commonly used, does not signifie in the Vulgar Languageswhat _Vitruvius_ understands by Proportion; for he understands byProportion, a Relation according to Reason; and Symmetry, in the vulgarLanguages, signifies only, a Relation of Parity and Equality. For theword _Simmetria_ signifies in Latin and Greek _Relation_ only. As forExample, as the Relation that Windows of Eight Foot high, have withother Windows of Six Foot, when the one are Four Foot broad, and theother Three: and Symmetry, in the Vulgar Languages, signifies theRelation, for Example, That Windows have one to another, when they areall of an equal height and equal breadth; and that their Number andDistances are equal to the Right and the Left; so that if the distancesbe unequal of one side, the like inequality is to be found in the other. 

Decorum or Decency, is that which makes the Aspect of the Fabrick socorrect, that there is nothing that is not approv'd of, and founded uponsome Authority. It teaches us to have regard to three things, which are, _Design_, _Custom_ and _Nature_. 

The Regard to Design makes us chuse for Example, other Dispositions andPropertions for a Palace than for a Church. 

The Respect we have to Custom, is the Reason, for Example, That thePorches and Entries of Houses are adorned, when the Inner Parts are Richand Magnificent. 

The Regard we have to the Nature of Places, makes us chuse differentProspects for different Parts of the Fabrick, to make them the wholsomerand the more convenient: For Example, the Bed-Chambers and the Librariesare exposed to the Morning Sun; the Winter Apartments, to the West; theClosets or Pictures and other Curiosities, which should always haveequal Light, to the North. 

Oeconomy teaches the Architect to have regard to the Expences that areto be made, and to the Quality of the Materials, near the Places wherehe Builds, and to take his Measures rightly for the Order andDisposition; _viz. _ to give the Fabrick a convenient Form and Magnitude. 

These Eight Parts, as we have said, have a Relation to the Three first, _viz. _ _Solidity_, _Convenience_, _Beauty_, which suppose, _Order, Disposition_, _Proportion_, _Decorum_ and _Oeconomy_. This is the reasonthat we divide this first Part only into Three Chapters; the first is ofthe Solidity; the second of the Convenience; the third of the Beauty ofthe Fabrick. 

CHAP. II. 

 _Of the Solidity of Buildings. _

ARTICLE I. 

 _Of the Choice of Materials. _

The Materials of which _Vitruvius_ speaks are, Stone, Brick, Wood, Lime, and Sand. 

All the Stones are not of one sort, for some are soft, some harder, andsome extreamly hard. 

Those that are not hard are easily cut, and are good for the Inner Partsof the Buildings, where they are cover'd from Rain and Frost whichbrings them to Powder, and if they be made use of in Buildings near theSea, the Salt Particles of the Air and Heat destroys them. 

Those that are indifferently hard, are fit to bear Weight; but there aresome sorts of them, that easily crack with the heat of the Fire. 

There is likewise another sort of Stone, which is a kind of Free-Stone;some are Red, some Black, and some White, which are as easily cut with aSaw as Wood. 

The best Bricks are those which are only dry'd and not baked in theFire; but there are many Years required to dry them well: and for thisReason, at _Utica_, a City of _Africa_, they made a Law, That noneshould make use of Bricks which had not been made five Years: For thesesort of Bricks, so dry'd, had their Pores so close in their Superficies, that they would swim upon Water like a Pumice-Stone; and they had aparticular Lightness, which made them very fit for all sorts ofBuildings. 

The Earth of which these Bricks were usually made was very Fat, and asort of White Chalky Clay without Gravel or Sand, which made themLighter and more Durable; they mixed Straw with them to make them betterbound and firmer. 

The Woods which were made use of in all Buildings, are Oak, Poplar, Beech, Elm, Cypress, Firr; but some of them are not so proper forBuilding as others. 

The Firr, because it has great plenty of Air, and Fire, and but littleEarth and Water, is light, and does not easily bend; but is very subjectto Worms and Fire. 

The Oak which is more Earthy lasts for ever under Ground; but aboveGround is apt to cleave. 

The Beech which has little of Earthiness, Humidity and Fire, but greatplenty of Air, is not very solid and easily breaks. 

The Poplar and the Linden Trees are only good for light Work, they areeasily cut and so finest for Carving. 

The Alder is good to make Piles of in Marshy Places. 

The Elm and the Ash have this property, that they do not easily cleave, and that they are pliable. 

The Yoke-Elm is likewise pliable, and yet very strong; this is theReason that they made Yokes for their Oxen of them in Old Time. 

The Pine and the Cypress have this defect, that they easily bend underany Weight, because of their great Humidity; but they have thisAdvantage, that their Humidity does not engender Worms, because of theirBitterness which kills them. 

The Juniper and the Cedar have the same Vertue of hindering Corruption:the Juniper by its Gum, which is call'd _Sandarax_, and the Cedar by itsOil call'd _Cedrium_. 

The Larch-Tree has likewise the same Vertue, but its particular propertyis, that it will not burn. There is a remarkable Story of this Wood, which is, That when _Julius Cæsar_ besieg'd a Castle at the Foot of the_Alpes_, there was a Tower built of this Wood, which prov'd thePrincipal Defence of the Place. He thought to take it easily by makinga great Fire at the Foot of the Tower, but for all this great Fire, theTower did not suffer the least Damage. 

The Olive-Tree is likewise very serviceable, if it be put in theFoundations, and Walls of Cities; for after it has been singed a little, and interlaced among the Stones, it lasts for ever, and is out of alldanger of Corruption. 

Lime is made of White Stones or Flinty Pebbles, the harder the Stonesare which 'tis made of, the better it is for Building. That which ismade of soft Spongy Stones, is proper for Plastring. 

There are five sorts of Sand; _viz. _ Sand that is dug out of the Ground, River Sand, Gravel, Sea-Sand, and Pozzolana, which is a Sand peculiar tosome Parts of _Italy_. 

The best Sand is that which being rubb'd between the Hands makes alittle Noise, which that Sand does not, which is Earthy, because it isnot rough. Another Mark of good Sand is, that when 'tis put upon anyThing that is White and shak'd off, it leaves no Mark behind. 

The Sand which is dug out of the Earth has all these Qualities, and isesteem'd the best. _Vitruvius_ makes four sorts of it; _viz. _ White, Black, Red, and Bright like a Carbuncle. 

If it happen that there be no good Place to dig Sand in, we may make useof Sea-Sand, or River-Sand, which is likewise better for Plastering thanthe Sand which is digged, which is excellent for Building, because itdrys quickly. Gravel likewise is very good, provided the grosser Partsbe taken away. Sea-Sand is worst of all, because 'tis long adrying; andfor this Reason, where 'tis made use of in Building, they are forc'd todesist sometimes till it dry. 

The Sand which is found near _Naples_ call'd _Pozzolana_ is so proper tomake good Mortar, if it be mixed with Lime, that not only in theordinary Fabricks, but even in the very bottom of the Sea it grows intoa wonderful hard Body. In Old Times they made use of it for Moles orPorts of the Sea, for after having made with Piles and Boards aPartition, they fill'd up the whole Compass of the Partition with thisMortar, which dry'd of it self in the middle of the Water and became asolid Body. 

ART. II. 

 _Of the Use of the Materials. _

The first thing we should have a Care of before we begin to build, is, to have the Stones dug out of the Quarry before they be used, and toexpose them in some open Place, to the end that those which areendamaged by the Air, during this Time, may be put in the Foundation, and those that prove Durable and Good may be kept for the Walls aboveGround. 

We must likewise have a great care of the Wood which we make use of;That it be cut in a seasonable Time, which is in Autumn and Winter; forthen it is not full of that superfluous Humidity which weakened it indilating its Fibers, but it is firm and well closed by the Cold. This isso true, that the Wood of Trees which grow and become very great in alittle Time, by reason of their great Humidity, is tender and apt tobreak, and very unfit for Building. Which Experience shows usparticularly in those Firrs call'd _Supernates_, which grow in _Italy_, on that side the _Apennine_, towards the _Adriatick_-Sea, for they aregreat and beautiful, but their Wood is not good for Building; whereasthose on the other side of the Mountain, which are exposed to Heat andDryness, call'd _Infernates_, are very good for Building. 

This superfluous Humidity endamages Trees so much, that we are sometimesconstrain'd to make a hole at the foot of the Tree and let it run out, which is the occasion of the Practice which is observ'd in cutting ofWood for Building, to Tap that Tree at the Foot, cutting not only theBark, but even some part of the Wood it self, and so leave it for sometime before it be Fell'd. 

[Sidenote: _Lib. 1. Chap. 5. _]

It is likewise easie to judge of what great Importance the draining ofthis superfluous Humidity is for strengthning the Timber, and hindringCorruption, from this, That those Piles which are interlaced among theStones in the Walls and Fortifications of Towns endure for ever withoutCorrupting, when they have been burnt a little on the outside. 

[Sidenote: _Lib. 1. Chap. 11. _]

[Sidenote: _Lib. 2. Chap. 8. _]

Bricks ought not to be made use of but in very thick Walls; for thisreason they did not build with Brick in _Rome_, for to save Ground; theywere not permitted to make the Walls of their Houses above a Foot and aHalf thick, which Makes about 16 Inches and a half of our Foot. 

They likewise never made the top of their Walls with Brick; for theBrick of the Ancients not being baked, this part of the Wall would havebeen easily endamaged; for this reason they built it with Tiles, a footand a half high, comprizing the Cornish or Entablature which was madelikewise of Tiles to cast off the Water and defend the rest of the Wall. They likewise chose for these Cornishes the best Tiles, _viz. _ thosethat had been long on the top of the Houses, and given sufficient Proofthat they were well baked and made of good Matter. 

The Walling with Brick was so much esteem'd among the Ancients, that alltheir Fabricks, as well publick as private, and their most beautifulPalaces were built with them. But that which principally made this sortof Building be esteem'd, was its great Duration; for when expertArchitects were called to make an Estimate of Buildings, they alwaysdeducted an 80th. Part of what they judged the Building cost for everyYear that the Wall had been standing, for they supposed that the Wallscould not ordinarily endure more than Fourscore Years; but when theyvalued Buildings of Brick, they always valued them at what they cost atfirst, supposing them to be of an Eternal Duration. 

To make the right use of Lime and Sand, and to make good Mortar of them, it is necessary that the Lime be first well Quench'd, and that it bekept a long time, to the end that if there be any Piece of it that isnot well burnt in the Kiln, it may, being extinguished at leasure, soften as well as the rest. This is of Great Importance particularly inPlastering and Works of _Stuck_, which is a Composition of Marble finelybeaten with Lime. For if any little Pieces remain that are not wellbaked, when they come to be made use of, they crack and break the Work. 

[Sidenote: _Lib. 7. Chap. 3. _]

The way to know whether the Lime be well Quench'd, is thus: You maythrust a Chip of Wood into it or a Knife, and if the Chip of Wood meetwith any Stones, or that the Knife comes out clean without any stickingto it, it signifies the Lime was not will burnt; for when 'tis wellQuench'd, it is Fat and will stick to the Knife; but the quite contraryhappens to Mortar, for it is neither well prepar'd, nor well mix'd, ifit stick to the Trowel. 

[Sidenote: _Lib. 2. Chap. 4. _]

For to make the right use of Sand, you must first consider what it is tobe employ'd in; for if it be Mortar for Plastring, you must not make useof Sand that was lately dug out, for it drys the Mortar too fast, whichcracks the Plastring; but quite contrary if it be to be employ'd inMasonry, it must not have been a long time expos'd to the Air, for theSun and the Moon do so alter it, that the Rain dissolves it, and turnsit almost all into Earth. 

[Sidenote: _Lib. 2. Chap. 5. _]

The Proportion that Sand and Lime ought to have to make good Mortar, should be three parts of Sand that is dug, or two parts of River-Sand orSea-Sand against one of Lime, and 'twill be yet much better, if you addto the Sand of the Sea and the River a third part of Tiles well beaten. 

[Sidenote: _Lib. 7. Chap. 3. _]

One of the Principal Things that is to be observ'd in making Mortar, is, to mix it well. The Grecian Workmen were so careful of this, that theyTewed it a great while, putting Ten Men to every Vessel wherein theywrought it, which gave so great a hardness to the Mortar, that when anybig pieces of Plaster fell off the Old Walls, they made Tables of it. 

ART. III. 

 _Of the Foundation. _

[Sidenote: _Lib. 6. Chap. 11. _]

The Foundation is the most important part of the Fabrick; for the Faultscommitted in it cannot be so easily remedied as in other parts. 

[Sidenote: _Lib. 1. Chap. 5. _]

To lay the Foundation well, you must dig till you come to solid Ground, and even into the solid as much as is necessary to support the Weight ofthe Walls; it must be larger below than above the Superficies of theEarth. 

[Sidenote: _Lib. 3. Chap. 3. _]

When you have found firm Earth to make it more solid, you must beat itwith a Rammer; but if you cannot arrive at solid Earth, but find itstill soft and spungy, you must dig as far as you can, and drive inPiles of Alder, Olive, or Oak, a little singed, near together, and fillup the void Places between the Piles with Coal. 

[Sidenote: _Lib. 1. Chap. 5. _]

In short, you must make all Masonry with the most solid Stone that canbe found for this use. 

To make the Binding of the Stones the stronger in the Foundation ofgreat Fabricks, you must put Piles of Olive a little singed and placedvery thick from one Parement or Course to another, which serves, as itwere, for Keys and Braces; for this Wood so prepar'd, is not subject toWorms, and will endure for ever, either in the Earth or in the Water, without the least Damage. 

[Sidenote: _Lib. 6. Chap. 11. _]

When you would make Cellars, the Foundations must be much larger; forthe Wall that is to support the Earth requires a greater thickness toresist the strong Efforts that the Earth makes against it in Winter, atwhich time it swells and becomes more heavy by reason of the Water ithas drunk up. 

ART. IV. 

 _Of the Walls. _

[Sidenote: _Lib. 4. Chap. 2. _]

The right ordering of Stones joined with Mortar, which is call'dMasonry, is sevenfold; there are three of them which are of hewed Stone;_viz. _ that which is in Form of a _Net_, that which is in _Binding_, that which is call'd the _Greek Masonry_. There are likewise three sortsof Masonry of unhewed Stones; _viz. _ that which is of an _equal Course_;and that which is of an unequal, and that which is fill'd up in themiddle; the seventh is compounded of all the rest. 

The _Net-Masonry_ is that which is made of Stones perfectly squar'd intheir Courses, and are laid so, that the Joints go obliquely, and theDiagonals are the one Perpendicular, and the other Level. This is themost pleasing Masonry to the Sight, but it is apt to crack. See theFigure A. Table I. 

The Masonry call'd the _Bound-Masonry_, is that, as _Vitruvius_ explainsit, in which the Stones are plac'd one upon another like Tiles; that isto say, where the Joints of the Beds are Level, and the Mounters arePerpendicular; so that the Joint that mounts and separates two Stonesfalls directly upon the middle of the Stone which is below. 

Some Authors call this sort of Masonry _Incertain_, but they aremistaken; for they read _Incerta_ instead of_Inserta_; it is not soBeautiful as the Net-work, but it is more solid and durable. See theFigure BB. Table I. 

The Masonry which _Vitruvius_ says is particular to the _Greeks_, isthat, where after we have laid two Stones, each of which make a Parementor _Course_, another is laid at the end, which makes two Parements or_Courses_, and all the Building through observe this Order. This may becall'd _Double-Binding_; for the Binding is not only of Stones of thesame _Course_ one with another, but likewise of one _Course_ withanother _Course_. See Figure CC. Table I. 

The manner of Walling by unequal Courses call'd _Isodomum_ by theAncients, differs in nothing from the Masonry call'd _Bound-Masonry_, but only in this, that the Stones are not hewed. See Figure D. Table I. 

The other manner by unequal Courses call'd _Pseudisodomum_ is also madeof unhewed Stone, and laid in _Bound-Work_, but they are not of the samethickness, and there is no equality observ'd, but only in the severalCourses, the Courses themselves being unequal one to another. See FigureA. Table I. 

The Masonry which is fill'd up in the middle, call'd by the Ancients_Emplecton_, is likewise made of unhewed Stone and by Courses, but theStones are only set in order as to the _Parements_ or _Courses_, but themiddle is fill'd up with Stones thrown in carelesly among the Mortar. See Fig. FF, GG, H. Table I. 

Among all these sorts of Masonry, that will always be best which is madeof Stones of an indifferent size, rather lesser than greater; to the endthat the Mortar penetrating them in more parts may bind them faster, andthe strength of the Mortar does not so soon decay. For we see that theMortar which is laid in the Joints or Seams of the greater Stones withtime decays and turns to Dust, which never happens to the most AncientFabricks which have been built of little Stones. From thence we mayconclude, that it is ill Husbandry to be sparing of Mortar. 

For this reason _Vitruvius_ proposes another sort of Masonry, which maybe call'd the _Compound Masonry_, for it is all the former together, ofStones hewed and unhewed, and fastned together with Cramp-Irons. TheStructure is as follows: The _Courses_ being made of hew'd Stone, themiddle place which was left void is fill'd up with Mortar and Pebblesthrown in together; after this they bind the Stones of one _Parement_or _Course_ to those of another with Cramp-Irons fasten'd with meltedLead. This is done to the end, that the abundance of Mortar which is inthe middle may furnish and communicate a sufficient Humidity to theJoints of the great Stones which make the _Parements_. See the Figure K. Table I. 

There are many Precautions to be given to make the Masonry more firm anddurable, and these Precautions are common to all the different sorts ofMasonry. 

[Sidenote: _Lib. 1. Chap. 5. _]

When you would have the Walls very thick, for great and heavy Buildings, you must strengthen the inner part of the Wall with long Piles of singedOlive, which serves for Keys and Braces, for this Wood being so prepar'dnever corrupts. 

[Sidenote: _Lib. 6. Chap. 11. _]

[Sidenote: _Vide Index. _]

It is likewise of great Importance for the strength of Walls, that allbe directly Perpendicular, and that the _Chains_, the _Pillars_ and_Pieds-droits_ or _Piers_ be so situated, that _solid_ always answer'dto the _solid_; for if there be any part of the Wall or any Pillar thatcarrys false, it is impossible the Work should continue long. 

There are also two ways of strengthning the Walls, which are either toease them of their own weight, or of that of the Earth which they are tosupport. 

The first way of easing is in those Places where there are void spaces, as above Doors or Windows. These easements may be made two differentways; the first is to put over the Lintel which supports the Wall, whichis over the void space of the Gates and Windows, two Beams, which lyingor resting below directly upon _Pieds-droits_ or _Piers_ meet togetherabove. 

The other way is, to make directly over the void spaces Vaulted Archeswith Stones cut corner-ways and tending to one Center. For the Walls beso strengthned by the means of these easements, that part of the Wallwhich is below will not sink at all being easied of the load of the partthat is above, and if some defect should happen by tract of time, itmay be mended without propping that which is above. 

The second way of easing, is, for Walls that are made to support theEarth; for, besides the extraordinary thickness which they ought tohave, they should have likewise Buttresses on that side next the Earth, so far distant one from another as is the breadth of the Wall; theyought likewise to have an _Emparement_ or large Foundation which must beequal to the height of the Wall, so that they go diminishing by degreesfrom the bottom to the top, where they come to equal the height of theWall. 

[Sidenote: _Lib. 1. Chap. 5. _]

The effect of these _Buttresses_ is not only to support the Earth bytheir Resistance, but likewise to lessen its Efforts when it swells, individing it into many parts. 

[Sidenote: _Lib. 6. Chap. 11. _]

And if it be judg'd that these _Buttresses_ be not sufficient, the Wallalso which supports the Earth must be strengthned with other_Buttresses_ within. 

ART. V. 

 _Of Flooring and Ceiling. _

There are four sorts of Flooring, some are upon the _Superficies_ of theGround, others between two Stories, others make the Roof of the House inPlat-form, and the last is _Plat-Fond_. 

To make those Floors that are upon the Ground, you must first make theEarth smooth and plain, if it be firm and solid, if not, it must bebeaten with a Rammer with which they ram down their Piles; and afterhaving cover'd the Earth with the first _Lay_ or _Bed_, call'd_Statumen_ by the Ancients, which was of Flinty Stones about the bignessof ones Fist, among which was mixed Mortar made of Lime and Sand. Thenthey laid the second _Bed_, which they call'd _Rudus_, which was made oflesser Stones, of which there were three Parts for one of Stone if theywere new, for if they were taken out of old Buildings, five parts ofStones or Pibbles would be required for two of Lime. 

[Sidenote: _Lib. 7. Cap. 4. _]

The _Greeks_ had a way of making their Floors in those low places wherecold and humidity ordinarily reign, which freed them from theseInconveniences. They digged the Earth two Foot deep, and after havingbeaten it well, they laid a Bed of Mortar or Cement a little slopingfrom either side to the Channel, which convey'd the Water under Ground;they laid a Bed of Coal upon the first Mortar, and having beaten themwell, they cover'd them with another Cement or Mortar made of Lime, Sandand Ashes, which they made smooth when it was dry with aPolishing-Stone. These Floors presently drank up the Water that fellupon them, that one might walk barefoot without being incommoded by theCold. 

For the Floors which are between two Stories, there must be a particularcare taken, that if there be any Partition below it, that it may nottouch the Flooring for fear lest if the Flooring came to sink a little, it might be broke upon the Partition which remains firm. 

[Sidenote: _Vide Index. _]

To make these Floorings, the Boards must be nailed at each end uponevery Joist, to the end they may not warp; these Boards or Planks beingcover'd with Straw, to hinder the Lime from wasting the Timber, thefirst Bed must be laid, made of a mixture of Mortar and little Stones ahand breadth, which must be beaten a long time with Iron-Levers, and soit must make a solid Crust which must be nine Inches thick; upon itshall be laid the _Noyau_ or _Ame_, which must be at least six inchesthick: It must be made of Cement, with which must be mix'd one part Limefor two parts of Cement. Upon the _Ame_ or _Noyau_ is placed the_Parement_ made with the Rule, afterwards it must be scrap'd and all theEminences and Inequality taken away: After that must be laid aComposition of Lime, Sand and beaten Marble, to fill equally all theSeams or Joints. 

If a Flooring be to be made in the open Air, as upon _Terrasses_, thatmay endure Rain or Frost without any Damage; you must nail upon theJoists two Ranks of Boards across, one above the other; and having laidthe first Bed, as is said before, it must be Paved with great SquareBricks two Foot Square, which must be hollow'd in the Ends in the Formof a half-Channel, the breadth of an Inch, which must be fill'd withLime mixed with Oil. These Square Bricks must be higher in the middle, sloping two Inches for every six Foot; that is to say, a Forty-eighthPart. Upon these Square Bricks must be laid the _Ame_; upon which, afterit has been well beaten, as well as the rest, must be put great SquareStones; and to hinder the Moisture from hurting the Boards, it is goodto pour as much of the Lees of Oil as they will soak up. 

[Sidenote: _Lib. 5. Chap. 10. _]

The under part of the Flooring, and the _Plat-Fonds_, must be made alsowith great Care. To make the _Plat-Fonds_ or _Flat-roofs_, in the Formof a Vault, you must nail to the Joists of the Boards, or to the Raftersof the Roof, from two Foot to two Foot pieces of crooked Timber, andChoice must be made of Timber that is not apt to rot; such as, _viz. __Cypress_, _Box_, _Juniper_, and _Olive_; no _Oke_ must be made use of, because it will warp and crack the Work. The Joists being fastened tothe _Summers_, you must fix to them _Spanish-Broom_ with _Greek-Reeds_well beaten. These Reeds are in stead of Laths, which at present aremade use of to make the Eaves of Houses; over these Reeds must be laid aPlaster of Mortar, made of Sand, to hinder the Drops of Water which mayfall from above from endamaging these _Plat-Fonds_. After which, theunder part must be Plaster'd pretty thick, making all Places equal withMortar made of Lime and Sand, that it may be afterwards Polished withMortar made with Lime and Marble. 

[Sidenote: _Lib. 5. Chap. 10. _]

The Ancients sometimes made double Vaults, when they were afraid thatthe Humidity which is engender'd, by the Vapours which mount up mightrot the Wood which is upon the Vaults. This Method they principally madeuse of in their Baths. 

The _Corniches_ which are made use of under the _Plat-Fonds_, ought tobe little, lest their great Jetting out, or Projecture should make themheavy, and apt to fall. For this Reason they ought to be made of pureStuck of Marble, without any Plaster, that all the Work drying at thesame time, may be less apt to break. 

ART. VI. 

 _Of Plastering_. 

To make Plaster that it may continue a long time, and not crack; youmust take Care to lay it on Walls that are very Dry; for if the Walls beMoist, the Plastering being expos'd to the Air, and drying faster thanthe Walls, will crack. 

To do this Methodically, it must be laid, Bed after Bed, or Lay afterLay, having a great Care not to lay one Bed till the other be almostdry. The Ancients put six Lays, three of Mortar made of Lime and Sand, and three of Stuck. The first Lays or Beds were always thicker than thelast, and they were very careful to make use of no Mortar made either ofSand or Stuck in their Plastring, that had not been a long time beatenand mix'd together; especially the Stuck, which must be beaten and mix'dtill it will not stick to the Trowel. 

They took likewise a great deal of Pains to run several times over andbeat the Plaster, which gave it a Hardness, a Whiteness, and Polish'd itso well, that it shin'd like a Mirror. 

These Plasterings so made, serve to Paint in _Fresco_ upon; for theColours being laid upon the Mortar before it was dry, pierced it, andEmbodied with it; so that the Painting could not be defaced though itwere wash'd; which would easily be wash'd off if the Mortar were dry. 

They likewise laid these Plasterings upon Partitions of Wood filled withfat Earth, nailing Reeds to them, as we do Laths, and daubing it overwith Clay, and then putting on another row of Reeds across upon theformer, and another Bed of fat Earth or Clay, upon which they laid Bedsof Mortar and Stuck, as we have said before. 

[Sidenote: _Lib. 7. Chap. 4. _]

For the Plastering of low and moist places, they had a great many otherPrecautions, especially within the House; for as what belonged to theOut-part of the House, they contented themselves to Plaster from theBottom of the Wall to the height of three Feet, with Cement. 

But as to the Inward-parts of the House, when the Ground without washigher than the lowermost Flooring; they run up a little narrow Wallagainst the great one, leaving betwixt the two Walls only the distanceof a Channel or Sewer, which they made lower than the Flooring, toreceive the Water which might be gather'd against the Walls, and let itrun out; and to the End they might hinder the gathering of much Water, by the Vapours which might be enclosed between these two Walls, theymade towards the top of the little Wall Vents to let it out, and thislittle Wall was Plastered on the Out-side with Mortar and Stuck, as wehave said before. 

When the Place was too narrow to permit those Counter-Walls to be madewithin, they put hollow Tiles one upon another against the Wall, andplaced and plaster'd them over with Mortar and Stuck. These Tiles whichwere Pitch'd over within, and were Demi-Channels, let the Water falldown into the Sewer, which sweat from the great Wall, and so let all theVapours, which were engendred by Humidity, go out at the Vents. 

CHAP. III. 

_Of the Convenience of Fabricks_. 

ARTICLE I. 

[Sidenote: _Lib. 2. Præs. _]

One of the Principal Things the Architect ought to consider, is theConvenience of the place where he would Build the Fabrick. This is thereason that _Dinocrates_ was blamed by _Alexander_, for having propos'dhim an Excellent Design for Building a City in a Barren place, andincapable of Nourishing those who were to Inhabit it. 

We must then choose a place that is fertile, and hath abundance of everything; and which hath likewise Rivers and Ports capable of furnishingit with all the Product and Commodities of the adjacent Countries. 

The Third thing to be considered is, whether the Air be wholesome; andfor this End, we must choose a high situated place, that it may be lessSubject to Fogs and Mists; it must be likewise far from all Morasses, because the Corruption that may be caused by the infectious Breath ofVenomous Beasts which commonly are ingendred there, makes the place veryunwholsom, unless these Morasses be near the Sea, and situated high, that the Water may fall easily from them into the Sea, and that the Seamay likewise sometimes overflow them, and by its Saltness kill all theVenomous Beasts. 

It is likewise to be remark'd, That a City situated upon the Sea, mustneeds have an unwholsom Air, if it be towards the South or the West; forgenerally the Heat weakens Bodies, and the Cold strengthens them; and sowe see by Experience, that those who go out of a Cold Country into anHot, have great difficulty to keep themselves in Health; whereas on thecontrary, the Inhabitants of Hot Countries who go into Colder, havegenerally good Health. 

The Ancients were accustomed to judge of the Quality of the Air, Waterand Fruits, which might render a place wholsome by the Constitution ofthe Bodies of those Beasts which were nourished there, and to this Endthey consulted their Entrails; for if the Liver was Corrupted, theyconjectured that the same thing must happen to Men that should Inhabitin that place. 

ART. II. 

 _Of the Form and Situation of the Building. _

[Sidenote: _Lib. 1. Chap. 6. _]

After having chosen a wholsome place, the Streets must be laid outaccording to the most Advantageous Aspect of the Heavens, and the bestway will be to lay the Streets out so, that the Wind may not comedirectly into them, especially where the Winds are great and cold. 

The Prospect of Private Mens Houses is made more or less Commodious, bythe Openings which are differently made, to receive the Air and theLight according to the Quality of the Parts that are in the Fabrick. 

[Sidenote: _Lib. 6. Chap. 9. _]

For the Cellars, Granaries, and generally all places that we wou'd Lockup, or keep any thing in, should be exposed to the North, and receivevery few Rays of the Sun. 

[Sidenote: _Lib. 6. Chap. 7. _]

The different Use of the Parts which Compose the Buildings, do likewiserequire different Situations; for the Dining-Rooms in Winter, and theBaths among the Ancients, were always turned to the West, for thatSituation made them warmer, because the Sun then shone upon them, aboutthe time they were wont to make use of those Apartments. 

The Libraries ought to be turned to the rising Sun, because they aregenerally made use of in the Morning; besides, the Books are not somuch damnified in Libraries so situated, as in those which are turned tothe South and West, which are subject to Worms and a certain Humiditywhich engenders Moldiness, and consequently destroys the Books. 

The Dining-Rooms for the Spring and Autumn, should be turned towards theEast, to the end, that being covered from the great force the Sun hathwhen it is near Setting, they may be cooler about the time they are tobe made use of. 

The Summer Apartments must be turned to the North, that they may befresher and cooler. 

This Situation is likewise very proper for Closets, which are adorn'dwith Pictures for the Light which is always equal, represents theColours always alike. 

There must likewise great respect be had to the difference of Climates, for the Excess of Heat and Cold, require different Situations andStructures; for the Houses in the Northern parts of the World, ought tobe Vaulted, and have few Openings, and turn'd to the South; On thecontrary in Hot Countries there must be great Openings and turn to theNorth; to the End that Art and Industry may remedy the Defects of theplace. 

ART. III. 

 _Of the Disposition of Fabricks_. 

[Sidenote: _Lib. 6. Chap. 6. _]

The Disposition or Distribution of Fabricks contributes much to theirConvenience, when each thing is so plac'd, that it is in a Proper placefor the Use for which the Fabrick is Design'd; and for this reason theTown-House and the Market-Place ought to be in the Middle of the City, unless it happen that there be a Port or a River; for the Market oughtnot to be far distant from those places where the Merchandize is. 

The Houses of Private Men, ought to be differently disposed, accordingto the divers Conditions of those that Dwell in them: For in the Housesof Great Men, the Apartments of the Lord, must not be at the Entry, where ought to be nothing but _Portico's_, _Courts_, _Peristyles_, _Halls_, and _Gardens_ to receive the great Number of those who haveBusiness with them, and make their Court to them. 

The Houses of Merchants ought to have at the Entry their _Shops_ and_Magazines_, and all other places where Strangers are to come abouttheir Business. 

[Sidenote: _Lib. 6. Chap. 9. _]

The Country Houses ought to have a different Order and Disposition fromthose of the City. 

For the Kitchen ought to be near the Ox-house, so that from theirCratches they may see the Chimney and the rising Sun; for this makes theOxen more Beautiful, and makes their Hair lie better. 

The Baths ought likewise to be near the Kitchen, that the Water may bemore conveniently heated. 

The Press ought not to be far from the Kitchen, for that will muchfacilitate the Service that is necessary for the Preparation of Olives. If the Press be made of Wooden Beams, it ought to have at least for 16Foot Breadth, 40 Foot of Length, if there be but one; or 24, if there be2. 

Not far from the Press, must the Cellar be plac'd, whose Windows must beturned to the North, because the heat spoils the Wine. 

On the contrary, the Place where the Oil is kept, ought to be turned tothe South; to the End, the gentle heat of the Sun may keep the Oil fromfreezing. 

The Houses for Sheep and Goats ought to be so large, that each of themmay at least have 4 Foot for his place. 

The Stables must likewise be Built near the House in a warm place, butnot turned towards the Chimney; for Horses that often see the Fire, aregenerally ill Coated. 

The Barns and Granaries, as likewise the Mills, ought to be at a prettydistance from the House, because of the Danger of Fire. 

In all sorts of Fabricks, a particular Care must be taken that they bewell lighted; but the Light is principally necessary in the_Stair-Cases_, _Passages_, and _Dining-Rooms_. 

ART. IV. 

 _Of the Convenient Form of Buildings. _

When we are assur'd of the Convenience of the place where the City is tobe Built, by the Knowledge we have of the goodness of the Air, of itsFertility, Rivers and Ports, care must be taken to make Fortifications, which do not only consist in the Solidity of the Walls and Ramparts, butprincipally in their Form. 

The Figure or Form of a place ought neither to be Square, nor Composedof Angles too far advanc'd, but it must have a great number of Corners, to the end the Enemy may be seen from all Parts; for the Angles thatare so far advanc'd, are ill to be defended, and more favourable to theBesiegers than the Besieged. The Approach to the Walls must be made asdifficult as possible. 

The most Convenient Form of Publick Places, is to have in their Breadth2 Thirds of their Length; The _Greeks_ made about their Publick places_Double Portico's_, with Pillars near together, which Supported theGalleries above. 

But the _Romans_ finding this great number of Pillars to beinconvenient, placed them at a greater distance one from another, thatthey might have Shops well lighted. 

[Sidenote: _Lib. 5. Chap. 3. _]

The Stair-Cases of all Publick Buildings, ought to be large andstreight, and to have many Entrances, to the End the People may come inand out conveniently; but we shall speak of this more largely in anotherplace. 

[Sidenote: _Lib. 5. Chap. 2. _]

[Sidenote: _Lib. 6. Chap. 6. _]

The Halls where great Assemblies are to meet, ought to have their_Ceiling_ very high, and to give them their true Proportion, we mustunite the Length and Breadth, and give the half of the whole for theheight of the _Ceiling_. The Halls where the _Ceiling_ is not so high, must have only their breadth, and half of their length for their height. 

[Sidenote: _Lib. 5. Chap. 2. _]

In vast and high places, to remedy the Inconvenience of the noisy Echo, about the middle of the height of the Wall, must be made a _Cornish_round about to break the course of the Voice; which without that, beating against the Walls, would beat a Second time against the_Ceiling_, and cause a troublesom double Echo. 

CHAP. IV. 

 _Of the Beauty of Buildings. _

ARTICLE I. 

 _In what the Beauty of Building Consists. _

_Buildings_ may have two sorts of Beauty, the one _Positive_, and theother _Arbitrary_. _Positive Beauty_, is that which necessarily pleasethof her self; _Arbitrary_, is that which doth not necessarily please ofher self, but her agreeableness depends upon the Circumstances thataccompany her. 

_Positive Beauty_, consists in Three principal Things; _viz. _ In theEquality of the Relation that the Parts have one to another, which iscalled _Symmetry_, in the Richness of the Materials, in the Properness, Neatness, and Exactness of the Performance. 

[Sidenote: _Lib. 2. Chap. 8. _]

[Sidenote: _Lib. 1. Chap. 2. _]

[Sidenote: _Lib. 6. Chap. 11. _]

As to what regards the Relation of the Parts of the Fabrick one toanother, _Vitruvius_ hath not spoke of it, but only where he prefers the_Netway_ of Walling before all other sorts of _Masonry_, because of theUniformity that is in that Figure, and the laying of the Stones; As tothe Richness of the Materials, he leaves the Disposition to him that isat the Expences of the Building; and he acknowledges that the Beauty ofthe Performance depends wholly upon the Dexterousness and Industry ofthe Workmen. 

The second sort of _Beauty_, which only pleases by the Circumstancesthat accompany it, is of two sorts; The one is called _Wisdom_, and theother _Regularity_. _Wisdom_ consists in the reasonable use of _PositiveBeauties_, which result from the use and convenient ranking of theParts; for the Perfection of which, to a rich and precious Material, isgiven an Equal and Uniform Figure, with all the Property and Correctnesspossible. 

_Vitruvius_ gives us two Examples of this sort of _Beauty_; The firstis, When _Bosses_ or _Relievo's_ are made to hide the Joynts, puttingthem directly under the _Bosses_ which hide them by their jetting orprojecture, for this gives them great Beauty and an agreeable Aspect. 

The second is, When we consider the Winter-Appartments, that we have acare, that upon the Ceiling there be little or no Carving, and that theOrnaments be not made of Stuck, because it hath a shining whiteness, which will not endure the least nastiness; for it is impossible tohinder the smoak of the Fire and Candles which are lighted in theWinter, from tarnishing the beautiful Colour of the Work to which theFilth will stick, and enter into the Crevises of the Carving, whichcannot be wiped out. 

The _Regularity_ depends upon the Observation of the Laws which areEstablished for the Proportions of all the Parts of _Architecture_, theObservation of these Laws extreamly pleases those that understand_Architecture_, who love these Proportions for two Reasons. 

The First is, That they are for the most part founded upon Reason; whichrequires, for example, that the parts that support and are under, bestronger than those above; as we see in _Pedestalls_, which are broaderthan the Pillars they support, and they are broader at the bottom thanthe top. 

The other Motive is _Prevention_, which is one of the most usualFoundations of the _Beauty_ of all things, for even as we love theFashion of the Cloaths which the Courtiers wear, although this mode haveno _Positive Beauty_, but only for the Positive Merit of the Personsthat wear them; so we are accustomed to love the Proportions of theMembers of _Architecture_, rather because of the great Opinion that wehave of them that Invented them, than for any _Positive Beauty_ whichis found in the Works of the Ancients, where these Proportions areobserv'd; for often these Proportions are against Reason; as we may seein the _Thorus_ of the _Ionick Base_, in the _Faces_ of _Architraves_and _Chambranles_, or _Door-Cases_, with their _Mouldings_, where theStrong is supported by the Weak, and many other things, which Customonly hath made supportable. 

These Proportions appertain to Three principal Members, which are_Pillars_, _Piedements_, _Chambranles_; the _Pillars_ taken Generically, and as opposite to _Piedements_, and _Chambranles_ or _Door-Cases_, haveThree parts, _viz. _ The _Pedestal_, the _Pillar_, and the _Ornaments_. Every one of these Parts is likewise divided into Three other Parts, forthe _Pedestal_ is composed of the _Basis_, its _Die_ and its _Cornish_;the _Pillar_ Comprehends its _Base_, _Shaft_ and _Capital_. The_Ornaments_ consist in the _Architrave_, _Frise_, and _Corniche_. 

The _Piedement_ or _Fronton_, has likewise Three Parts, _viz. _ The_Tympan_, the _Corniches_, and the _Acroteres_. The _Chambranle_ or_Door-Case_ is composed of two _Pieds-droits_, or _Piers_, and the_Lintel_ which also supports a _Frise_, which has likewise its_Cornich_. 

The Disposition, Form, and different Proportions of all the Parts maketwo things, to which all that is Beautiful in Building hath a Relation, which is _Gender_ and _Order_. 

_Gender_ depends of the Proportion, which is between the thickness ofthe _Pillars_ and the space betwixt them. 

_Order_, doth likewise depend in part upon the Proportion which isbetween the thickness of the _Pillars_, and their height; but we mustlikewise joyn to this Proportion many other things that appertain to theprincipal Parts of the _Pillars_, and other Parts which accompany it, such as are the _Gates_, the _Chambranles_, or _Door-Cases_; and otherthings which are different in different _Orders_. 

ART. II. 

_Of the Five sorts of Fabricks_. 

There are Five sorts of Fabricks; The First is called _Pycnostyle_, viz. Where the Pillars are very close one to another, in such a Proportionthat there is but from one Pillar to another, the space of a Diameterand half of the Pillar. See the _Fig. _ AA. _Tab. _ 2. 

The Second is called _Systile_, viz. Where the Pillars seem to be joynedtogether, are notwithstanding a little more distant one from anotherthan in the _Pycnostile_; for the intercolumniation is two Diameters ofthe Pillars. 

[Sidenote: _Lib. 2. Chap. 3. _]

The Defect that is observ'd in the _Systile_ as well as in the_Pycnostile_ is, that the Entrance of the Fabricks which are placed inthat distance are very narrow: So that _Vitruvius_ remarks that theLadies as they walk to the Temple hand in hand, were forced when theycame thither to quit one another, because they could not go two a Breastbetween the Pillars. See the Figure BB. Tab. II. 

The Third is called _Diastyle_; _viz. _ where the Pillars are furtherdistant, the space of the Intercolumniation being three Diameters, andthe Inconvenience is, that the space is so great, that the _Architraves_which lie upon the two Pillars are in danger of breaking; because theAncients made them of one Stone. See Figure CC. Tab. II. 

[Sidenote: _Lib. 3. Chap. 8. _]

The Fourth is called _Areostyle_; _viz. _ where the Pillars are set verythin, there is no certain Proportion, but the distance of one Pillarfrom another, is much greater than that of _Diastyle_; and for thisreason it can have no _Architrave_ but of Wood. See the Figure DD. Tab. II. 

The Fifth is called _Eustyle_; _viz. _ where the Pillars are distant fromone another by a more convenient Proportion than in any of the otherkind. The distance consists of two Diameters of the Pillars, and oneFourth part of the Diameter: It has also this in particular, That theIntercolumniation in the middle is larger than the rest, having threeDiameters of the Pillars; for this reason it surpasseth all others inBeauty, Solidity, and Convenience. See Tab. III. 

Although the Essentials of these five Kinds, consist in the Proportionthat is between the Diameter of the Pillar, and its Intercolumniation, they are also different by the Proportion which is between the Diameterof the Pillar and its height for the _Genders_ or sorts, in which thePillars are close one to another, ought to have the lesser Pillars; andin that kind, where the Pillars are in a greater distance one fromanother, they ought to be greater. 

[Sidenote: _Lib. _ 4. _Cap. _ 7. ]

But it's true, notwithstanding that these Proportions are not alwaysobserv'd, and that very often, to the _Ionick_ and _Corinthian_ Pillars, which are the smallest of all, Intercolumniations are given, which areproper to those of the _Thuscan Order_, where the Pillars are thegreatest. 

[Sidenote: _Lib. 3. Chap. 2. _]

But the Ordinary Practice is, to give to the Pillars of the _Areostyle_kind, the Magnitude of the 8th part of their height. 

As to the _Diastyle_ and _Eustyle_, the height is divided into Eightparts and an half, to give one to the breadth. 

In the _Systyle_ Kind, the Height is divided into Nine parts and anhalf, and one is given to the thickness. 

In the _Picnostyle_, the thickness of the Pillar is the 10th part of theheight, the reason of these different Proportions is founded upon this, that these Pillars do seem to lose of their thickness according as theyare in Proportion great or long; and it's likewise for this Reason, thatit is thought convenient to have the Pillars in the Corners thicker by a50th part. See Tab. II. And Tab. III. 

ART. III. 

 _Of the Five Orders of Architecture_. 

The Five Orders of Architecture are, the _Thuscan_, the _Dorick_, the_Ionick_, the _Corinthian_, and the _Compound_. 

These Orders were Invented to satisfie the Design that might be had ofmaking Fabricks more or less Massy, and more or less adorn'd, for theDistinction of these Orders consists in two things, that as the_Thuscan_ and _Dorick_ Order are more massy and less adorn'd, so the_Corinthian_ and _Compound_ are Slenderer and Richer, the _Ionick_ holdsthe Middle, as well in its Proportions, as its Ornaments, being lessmassy and more adorn'd than the _Thuscan_ and the _Dorick_, and moremassy and less adorn'd than the _Compound_ and the _Corinthian_. 

[Sidenote: _Lib. 4. Chap. 1. Præf. 4. ]

[Sidenote: Lib. 4. Chap. 7. _]

Though _Vitruvius_ hath only divided Architecture into Three Orders;_viz. _ The _Dorick_, the _Ionick_ and the _Corinthian_; he doth not forall that forget to give the Proportions of the _Thuscan_, and speak ofthe _Compound_. 

ART. IV. 

 _Of Things that are Common to several Orders. _

Before we treat of the Differences of these Five Orders, it would beproper to speak of those Things that are common to several Orders; asare the _Steps_, _Pedestals_, the _Diminution of Pillars_, their_Channelling_, _Piedements_, _Cornices_, and _Acroteres_. 

[Sidenote: _Lib. 3. Chap. 3. _]

The _Steps_ which are before the Temple, ought always to be of anunequal Number, to the end, that having put the right Foot in mountingthe first _Step_, it may likewise be upon the last. 

They ought not to be more than 6 Inches 10 Lines high, nor less than 6Inches. 

[Sidenote: _Lib. 9. Chap. 2. _]

Their breadth ought to be proportion'd to their height, and thisProportion ought to be of 3 to 4; so that if the _Steps_ be 6 partshigh, which is 3 times 2, they must be 8 broad, which is 4 times 2;following the Proportion of a Triangular Rectangle invented by_Pythagoras_. 

[Sidenote: _Lib. 3. Chap. 3. _]

The Landing-places ought not to be narrower than 16 Inches and an half, nor broader than 22 Inches, and all the _Steps_ that are round about aFabrick should be all of the same breadth. 

The _Pedestals_ which support many Pillars of the same Rank, will bemuch handsomer if one make them jet out before every Pillar like aJoynt-Stool; for otherwise, if the _Bases_ were all of one size, theywould resemble a Channel. 

If Leaning-places, or Elbow-places are to be betwixt the _Pedestals_, it's necessary that they be as high as the _Pedestals_, and that the_Cornices_ of the _Pedestals_, and of the Leaning or Elbow-places beequal, and have a true Proportion one to another. 

[Sidenote: _Lib. _ 5. _Chap. _ 1. ]

[Sidenote: _Lib. _ 3. _Chap. _ 2. ]

All the Pillars ought to go diminishing towards the top, to augmenttheir Strength, and render them more Beautiful, imitating the Bodies ofTrees, which are greater at the Bottom than at the Top. But this_Diminution_ must be lesser in the great Pillars which have theirhighest part further from the Sight, and which by Consequence makes themat the top seem lesser, according to the ordinary Effect of Perspective;which always diminisheth Objects according to the measure that they aredistant from the Eye. 

The Rule of this different _Diminution_ is, that a Pillar that is 15Foot high, ought to have in the upper part 5 parts of 6 in the which theDiameter of the _Base_ of the Pillar is divided; that which is from 15to 20 Foot, ought to have 5 and an half of the 6 and an half of theDiameter; that which is from 20 to 30, ought to have 6 of the 7 parts ofthe Diameter; that which is from 30 to 40, must have 6 and an half of 7and an half of the Diameter; that which is from 40 to 50, must have 7of 8 of the Diameter. These _Diminutions_ do not belong to the _ThuscanOrder_, whose Pillars are much more diminished; as we shall showhereafter. 

[Sidenote: _Lib. 3. Chap. 3. _]

Besides this _Diminution_ which is made towards the top of the Pillar, there is another below, which makes the Pillar about the middle swelllike a Belly; the measure of this swelling is taken from the magnitudewhich makes up the Distance between the _Channels_. 

[Sidenote: _Lib. 3. Chap. 2. _]

There is another sort of _Diminution of Pillars_, which is made of onePillar in respect of another; It is of 2 sorts, _viz. _ when a secondrank is placed upon the first, for then the second Pillar must be lessera fourth part than those below, or when _Portico's_ are made that havePillars in the Corners, for those in the middle must be less than thosein the Corners, a 50th part. 

[Sidenote: _Lib. 4. Chap. 1. _]

The _Channellings_ are so called, because they are as it were_Demi-Channels_, which descend from the top of the Pillar to the bottom;they represented the Plaites of the Garments of Women, which the Pillarsresembled. 

[Sidenote: _Lib. 4. Chap. 3. _]

There are three sorts of _Channellings_, the two first are particularand proper to the _Dorick Order_; the third is common to the _Ionick_, _Corinthian_ and _Compound_: The two first are more plain and simple, and fewer in number than the others. 

The most Simple is that which is not hollowed at all, and which hathonly _Pans_ and flat Fronts or Faces. 

[Sidenote: _Lib. 3. Chap. 3. _]

The other is a little hollowed; to make this hollowness, a Square mustbe made, whose Side must be equal to the _Pan_, in which the_Channelling_ is to be made, and having put one foot of the Compass inthe middle of the Square, make a crooked Line from one Angle of the_Channelling_ to the other, both these _Channellings_ are made up to thenumber of Twenty. 

[Sidenote: _Lib. 4. Chap. 1. _]

[Sidenote: _Lib. 4. Chap. 4. _]

The other Orders have 24, and sometimes 32, when it is design'd to makethe Pillars seem greater than they are; for the Eye judgeth that allthings are greater when they have more and different Marks, which leadas it were the Sight to more Objects at once. 

These _Channellings_ are deeper than those of the _Dorick Order_, andthe depth ought to be just so much, that a Carpenter's Rule being putinto the Cavity, touch with its Angle the bottom, and with its sides thetwo Corners of the _Channelling_. _Vitruvius_ hath not taught us whatthe Proportions of the _Channelling_ should be, in respect of the_Fillet_ which makes up the space between the _Channellings_, nor whatthe breadth of the _Fillet_ should be, which he hath establish'd for therule of the swelling Belly of the Pillar. 

The _Piedement_ is composed of a _Tympan_ and _Cornices_; to have thetrue height of the _Tympan_, we must divide the breadth which is betweenthe two ends of the _Cymatium_ of the _Larmier_, or _Drip_ whichsupports the _Piedement_, into 9 parts, and give one to the _Tympan_. 

The thickness of the _Cornice_ being added to this 9th part, makes upthe height of the whole _Piedement_ or _Fronton_. 

The _Tympan_ ought to be Perpendicular upon the _Gorge_ of the Pillar, the things that are common to all _Cornices_ are, that the _Cornice_ ofthe _Piedement_ must be equal to that below, excepting the last great_Cymatium_, which ought not to be upon the _Cornice_ below the_Piedement_, but it ought to go over the _Cornices_ which are slopingupon the _Piedement_ or _Fronton_. 

This great _Cymatium_ ought to have of height an 8th part more than the_Crown_, or _Drip_, or _Larmier_. 

In places where there are no _Piedements_, in the great _Cymatiums_ ofthe _Cornices_, must be cut the Heads of Lions, at such a distance, thatthere must be one directly upon every Pillar, and that the other answerdirectly upon the great _Dalles_, that cover the House. These Heads ofLions are pierced through to convey the Water which falls from the Roofupon the _Cornice_: The Heads of the Lions which are not directly uponthe Pillars, ought not to be pierced, to the end the Water may flow withthe greater impetuosity through those which are directly upon thePillars, and that it may not fall between the Pillars upon those who areto go into the _Portico's_. 

The _Greeks_ in their great Buildings never put any _Dentels_ under the_Modillons_, because the _Rafters_ could not be under the _Forces_, or_Sheers_, and it is a great fault that That, which according to the trueRules of Building ought to be placed above, should be placed under inthe Representation. 

For this Reason, the Ancients never approved of _Modillons_ in the_Piedements_, nor of _Dentels_, but only simple _Cornices_; for neitherthe _Forces_, _Sheers_, nor the _Rafters_ can be represented in the_Piedements_, out of which they cannot jet but only directly out of theEaves of the House upon which they lie sloping. 

The _Acroteres_ are three _Pedestals_, which are upon the Corners andMiddle of the _Piedement_ to support Statues; those of the Corner oughtto be as high as the Middle of the _Tympan_; but the _Acrotere_ in themiddle ought to be higher by an 8th part than the other. 

All the Members or Parts which shall be placed upon the Capitals ofPillars, _viz. Architraves_, _Frises_, _Cornices_, _Tympans_, and_Acroteres_, should encline forward the 12th part of their height. 

There is likewise another General Rule; which is, that all the partsthat jet out, should have their Projecture equal to their Height. 

ART. V. 

 _Of the_ Thuscan _Order. _

It hath been said that all Buildings have three Parts, which may bedifferent according to the divers Order, _viz. _ The _Pillars_, the_Piedements_, and the _Chambranles_, or _Door-Cases_; and that the_Pillars_ had three Parts, which are the _Pedestal_, the _Shaft_, andits Ornaments, _viz. _ The _Architrave_, the _Frise_ and the _Cornice_. 

Neither the Proportion of the _Pedestals_, nor of the _Gates_ and_Chambranles_ of the _Thuscan Order_ are to be found in _Vitruvius_. 

[Sidenote: _Lib. 4. Chap. 7. _]

The Proportion of the Pillar is this, that its thickness below is the7th part of its height, it's Diminution is the 4th part of the Diameterof the Pillar, its _Base_ has half of the Diameter of the Pillar for itsheight, the _Plinthus_ being round, makes one half of the _Base_; theother half is for the _Thorus_, and for the _Conge_ or _Apophygis_, Vid. _Conge_ explained. 

The height of the Capital is half the Diameter of the Pillar, thebreadth of the _Abacus_ is equal to the whole Diameter of the Pillar atthe bottom, the height of the Capital is divided into three Parts; oneof them is allowed the _Plinthus_, which serves instead of an _Abacus_;the _Echine_ hath another; and a third Part is for the _Gorge_ of theCapital comprehending the _Astragal_, the _Conge_, or _Apophygis_, whichare immediately under the _Echine_. 

Upon the Pillars must be laid the _Sabliers_, or _Wooden Architrave_, joyned together by _Tenons_, in the form of a Swallows Tail. 

These _Sabliers_ ought to be distant one from another about an Inch; forif they should touch one another, the Timber would heat and corrupt. 

Upon these _Sabliers_ which serve for an _Architrave_, must be built alittle Wall, which will serve instead of a _Frise_. 

The _Cornice_ which is laid upon this little Wall or _Frise_, has_Mutal's_ which jet out. 

All the Crowning should have the 4th part of the height of the Pillar. The little Walls that are built between the ends of the Beams which restupon the Pillars, must be garnished and covered with Boards, which mustbe nailed upon the ends of the Beams. 

The _Piedement_, which may be either of Stone or Wood, and which mustsupport the _Faistag_ or _Top_, the _Forces_, and the _Pans_, has aparticular Proportion; for it must be much raised to give it asufficient sloping for the running of the Water. See Tab. V. 

ART. VI. 

 _Of the_ Dorick _Order. _

[Sidenote: _Lib. _ 4. _Chap. _ 1. ]

The _Dorick_ Pillar has had in divers times, and in different Buildings, different Proportions; for at first it had only for its height 6 timesits Diameter; this Proportion imitating that of Humane Bodies, in whichthe length of the Foot is the 6th part of all the Body, afterwards theyallowed 7 times its Diameter. 

[Sidenote: _Lib. _ 5. _Chap. _ 9. ]

But this Proportion that the Pillars of the Temples had at theBeginning, was afterwards changed in that of the Theaters, where theywere higher by half a Diameter; for they made them 15 Modules high, forin the _Dorick Order_ the Semi-Diameter of the Pillar at the bottom isthe Module, which in other Orders is a whole Diameter. 

[Sidenote: _Lib. 4. Chap. 1. _]

The _Dorick_ Pillar is composed as well as the rest of a _Shaft_, _Base_and _Capital_, though _Vitruvius_ makes no mention of the _Base_; andit's easie to conclude, that in the Ancient Buildings this _Order_ hadnone; for it is said, That when they would make the _Ionick Order_ moreBeautiful than the _Dorick_, they added a _Base_ to it; and there is yetto be seen in Ancient Buildings of this Order, Pillars without a _Base_;but when a _Base_ is added to it, it must be _Attick Base_, whoseProportion is as follows. 

The whole _Base_ ought to have a _Module_ for its height; that is tosay, half the Diameter of the Pillar; this _Module_ being divided intothree parts; one is for the _Plinthus_; the other two parts are dividedinto four, of which one is allowed for the upper _Torus_, the threewhich remain, are divided into two: The half below is for the lower_Torus_, the other is for the _Scotiæ_, comprising the two littleSquares or Filets. The breadth of the _Basis_ in General is a 4th of theDiameter of the Pillar at the bottom, added on every side; but thisjetting is excessive, and without any Example, and _Vitruvius_ himselfmakes it lesser in the _Ionick Base_. 

[Sidenote: _Lib. 4. Chap. 3. _]

The height of the _Capital_ as well as the _Base_ is one _Module_, thebreadth is two _Modules_ and an half, the height of the _Capital_ beingdivided into three parts, one must be allowed for the _Plinthus_ or_Abacus_, with its _Cymatium_; the other is for the _Echine_, with its_Anulets_; the third appertains to the _Gorge_ of the _Capital_. 

_The Architrave_ which comprehends its _Platte-Band_ with the _Gouttes_or _Pendant Drops_, which are under the _Triglyphs_, is as well as the_Capital_ of one only _Module_; the _Gouttes_ or _Drops_ with theirlittle _Tringle_, ought to have the 6th part of a _Module_, the breadthunder the _Architrave_ ought to be equal to that above the Pillar. 

Upon the _Architrave_ in the _Friese_ ought to be the _Triglyphs_ andthe _Metops_. The _Triglyphs_ have a _Module_ and a half for theirheight, and a _Module_ for their breadth; the _Metops_ are as high asbroad; One _Triglyph_ must be placed directly upon every Pillar, andthe Intercolumniation ought to have three; towards the Corners must beplaced the _Demi-Metops_. 

The breadth of the _Triglyph_ being divided into six parts, five of themmust be left in the middle, and the two halfs which remain on the rightand the left, must be for _Demi-Graveurs_; The part in the middle, andthe two last of the five, must be for the three Feet, and the two whichare betwixt the three Feet, must be for the _Graveurs_ or _Channels_, which must be hollowed, following the Corner of the _Mason_'s Rule. The_Capital_ of the _Triglyph_ ought to have the 6th. Part of a _Module_. 

Upon the _Capital_ of the _Triglyph_ is placed the great _Cornice_, itsJetting or Projecture, is half a _Module_ and the 6th. Part of a_Module_, its height is half a _Module_, comprising the _DorickCymatium_, which is under it. 

On the _Plat Fonds_ of the _Cornice_, must be hollowed little straitways, which must answer perpendicularly to the sides of the_Triglyphs_, and the middle of the _Metops_. 

Streight upon the _Triglyphs_ must be cut 9 _Goutes_ or _Drops_, whichmust be so distributed, that there may be six length-wise, and threebroad-wise; in the Spaces which are betwixt the _Metops_, because theyare greater than those between the _Triglyphs_: nothing must be cutunless it be _Foudres_. Moreover towards the border of the Crown must beCarved a _Scotia_. 

Some advance perpendicularly above the _Triglyphs_, the Ends of the_Forces_ or _Principals_ to frame the _Mutils_ which support the_Cornices_; so that as the Disposition of _Beams_ hath caused theInvention of _Triglyphs_, so the jetting of the _Forces_ hath caused theDisposition of the _Mutils_, which support the _Cornices_. See Tab. VI. 

ART. VII. 

 _Of the_ Ionick _Order_. 

[Sidenote: _Lib. 4. Chap. 1. _]

The Proportion of the Pillars of the _Ionick Order_ in the beginning hadEight _Modules_ or Diameters for their height, but the Ancients quicklyadded half a Diameter, when to make this Pillar more Beautiful than the_Dorick_, not only for its height, but also for its Ornaments, theyadded a _Base_ to it, which was not used in the _Dorick Order_. 

The Pillars must be set upon their _Bases_ two ways; for sometimes theywere perpendicularly set, and sometimes not, _viz. _ The outward rows ofPillars; when there were more Ranks than one; for that part of thePillar which is towards the Wall of the Fabrick must necessarily beperpendicular, and the outward part must have all the Diminution, andmust lean towards the Wall. 

[Sidenote: _Lib. 3. Chap. 3. _]

The Pillars that are within the porch, and are betwixt the Wall and theoutward Pillar must stand perpendicularly. 

The breadth of the _Ionick Base_ is the Diameter of the Pillar, to whichis added a 4th. And an 8th. Part; its height is half the Diameter; itsheight being divided into three parts, one is allowed for the_Plinthus_, the rest being divided into seven parts, three are allowedto the _Torus_ above, after equally dividing the four which remain, thetwo above are for the upper _Scotia_, with its _Astragal_: The two beloware for the lower _Scotia_, which will appear greater than the upper, because it extends to the edge of the _Plinthus_, the _Astragals_ musthave the 8th. Part of the _Scotia_, whose Jetting or Projecture must bethe 8th. Part of the whole _Base_ joyned to the 6th. Part of theDiameter of the Pillar. See Tab. VII. 

As to the _Capital_, the _Abacus_ must have in its Square the Diameterof the bottom of the Pillar, adding to it an 18th. Part; half of the_Abacus_ ought to be the height of the _Capital_, comprizing the Roundof the _Volute_ or _Scroll_, but there must be substracted from thecorner of the _Abacus_ a 12th. Part and an half of the height of the_Capital_, and after the whole thickness of the _Capital_ must bedivided into nine parts and an half, and one and an half must be leftfor the thickness of the _Abacus_, that the _Volutes_ or _Scrolls_ maybe made of the eight which remain; then having left under the _Abacus_four parts and an half of these eight, a Line must be drawn in the placewhich cuts the two a-cross and the Points of the Section shall be_Eyes_, which shall have eight parts for their Diameter; in half thespace of the _Eye_ shall be placed the Centers through which shall bedrawn with a Compass the Spiral-Line of the _Volute_, beginning theheight under the _Abacus_, and going into the four Quarters of theDivision, diminishing till we come directly to the first Quarter, andgiving to every Quarter a particular Center. 

Then the thickness of the whole _Capital_ must be so divided that ofnine parts which it contains, the _Volute_ has the breadth of threeunder the _Astragal_, on the top of the Pillar, which must be directlyupon the _Eye_ of the _Volute_, that which remains above the _Astragal_, must be allowed for the _Abacus_, _Channel_, and the _Echine_ or _Egge_, whose jetting beyond the Square of the _Abacus_ must be of the samebigness of the _Echine_ or _Egge_. 

The _Channel_ must be hollowed the 12th. Part of its breadth. 

The _Girdle_ or _Cincture_, or the lateral part of the _Capital_, oughtto advance out of the _Tailhoir Abacus_, as much as it is from theCenter of the _Eye_ to the height of the _Echine_. 

The thickness of the _Axis_ of the _Volutes_, which is the thickness ofthe _Volute_, seen sideway, and which makes up the extreme parts of thatwhich is called commonly _Balisters_, ought not to exceed the magnitudeof the _Eye_. See Tab. VIII. 

These Proportions of the _Ionick Capital_, are only for Pillars of 15Foot, those that are greater require other, and generally the greaterProportions are required for the Pillars that are greater; and for thisreason we have said, that the higher the Pillars are, the lessDiminution they must have; so when the Pillars are above 15 Foot, wemust add a 9th. Part to the Diameter of the Pillar for to give thebreadth to the _Abacus_; to which is never added more than an 18th. Partto Pillars of 15 Foot. 

The _Architraves_ shall be laid upon the Pillars with Jettings equal tothe _Pedestals_, in case they be not all of one size, but in form ofJoint-Stools, to the end Symmetry may be observ'd. 

The height ought to be different, according to the proportion of theheight of the Pillar; for if the Pillar be from 12 to 15 Foot, we mustallow the _Architrave_ the height of half a Diameter of the bottom ofthe Pillar, if it be from 15 to 20, we must divide the height of thePillar into 15 parts, to the end we may allow one to the _Architrave_;so if it be from 20 to 25, the height must be divided into 12 parts andan half, that the _Architrave_ may have one; and so proportionably. 

The _Architrave_ ought to have at the bottom which lies upon the_Capital_, the same breadth that the top of the Pillar hath under the_Capital_. 

The Jetting of the _Cymatium_ of the _Architrave_ ought to answer thebottom of the Pillar, the height of the _Cymatium_ ought to be the 7th. Part of the whole _Architrave_. 

The rest being divided into 12 parts; three must be allowed to the first_Face_, four to the second, and five to that above, upon which is the_Cymatium_. 

The _Frise_ ought not to be so high as the _Architrave_ by a 4th. Part, unless something be carved there, for then that the Carving may be moregraceful, the _Frise_ ought to be bigger than the _Architrave_ by a 4th. Part. 

Upon the _Frise_ must be made a _Cymatium_ of height the 7th. Part ofthe _Frise_, with a Jetting equal to its height. 

The _Dentil_ which is upon the _Cymatium_, shall have the height of the_Face_ of the middle of the _Architrave_, with a Jetting or Projectureequal to its height; the cutting of the _Dentils_ ought to be so made, that the breadth of every _Dentil_ may be the half of its height, andthe Cavity of the cut which is between every _Dentil_ may have two partsof three, which maketh the breadth of the _Dentil_. 

The _Cymatium_ which is upon the _Dentil_, must have the 3d. Part of theheight of the _Dentil_. 

The Crown with its little _Cymatium_ must have the same height with the_Face_ of the middle of the _Architrave_. 

The great _Cymatium_ ought to have the height of an 8th. Part more thanthe _Crown_ or _Drip_. 

The Jetting or Projecture of the whole _Cornice_ comprehending the_Dentil_ ought to be equal to the space that there is from the _Frise_, just to the top of the great _Cymatium_, and generally speaking all theJettings or Projectures shall have the better grace when they are equalto the height of the Jetting Members. See Table VII. 

ART. VIII. 

_Of the_ Corinthian _Order_. 

[Sidenote: _Lib. 4. Chap. 2. _]

The Pillars of the _Corinthian Order_ have no other Proportions than the_Ionick_, except in the _Capital_, whose height make them appearslenderer and higher. The other parts or Members, as the _Architrave_, _Frise_, and _Cornice_, borrow their Proportions from the _Dorick_ and_Ionick Order_, having nothing particular, for the _CorinthianModillons_ are imitated by the _Mutils_ of the _Dorick Order_, and the_Dentils_ are the same with the _Ionick_; this being so, we have nothingto do but to give the Proportions of the _Capital_, which are these; The_Capital_ comprizing the _Abacus_, hath for its height, the breadth ofthe bottom of the Pillar. 

To have the true breadth of the _Abacus_, we must have a care that its_Diagonal_ be double the height of the _Capital_, the bending that thesides of the _Abacus_ have inward, is a 9th. Part of a side, the bottomof the _Capital_ is equal to the Neck of the Pillar. The thickness ofthe _Abacus_ is a 7th. Part of the whole _Capital_. 

Two of these seven parts must be taken for the height of every Leaf, ofwhich there are two Ranks, each of which has four Leaves. 

The Stalks or little Branches are likewise composed of other Leaves, andwhich grow between the Leaves of the Rank above, ought to have two ofthese seven parts comprising the _Volutes_. 

These _Volutes_ begin within the Stalks, of which, those that are thegreatest extend to the Extreme parts of the _Angles_ of the _Abacus_;the other are below the _Roses_. 

These _Roses_ which are in the middle of every _Face_ of the _Abacus_, ought to be as great as the _Abacus_ is thick. 

The _Ornaments_ of the _Corinthian Order_, viz. The _Architrave_, the_Frise_, and the _Cornice_, do not in the least differ from those of the_Ionick Order_. See Tab. IX. 

ART. IX. 

_Of the_ Compound _Order. _

[Sidenote: _Lib. _ 4. _Chap. _ 1. ]

_Vitruvius_ hath not spoke of the _Compound Order_, as of an _Order_distinct from the _Corinthian_, the _Ionick_ and the _Dorick_; He onlytells us, that sometimes upon the _Corinthian Pillar_ was placed a_Capital_ composed of several parts, which were taken from the_Corinthian_, the _Ionick_ and _Dorick Orders_. 

But a Consequence may be drawn from thence, that the _Order_ at presentcalled the _Compound_, might have been in use in the time of_Vitruvius_, although they then did not make a distinct _Order_ of it;Since that, our _Compound Order_ is not essentially different from the_Corinthian_, but by its _Capital_; and so one may say, that this soledifference of the _Capital_ ought to make it a distinct _Order_ from the_Corinthian_, since according to _Vitruvius_, the _Corinthian Capital_alone, made the _Corinthian Order_. 

The parts that our _Compound Order_ borrow from the _Corinthian Order_, are the _Abacus_, and the two Ranks of the Leaves of _Branch-Ursin_, which it has retained, although the _Corinthian_ have quitted them forthe Leaves of the _Olive_. 

The other part that it takes from the _Ionick_, are the _Volutes_; whichit forms in some manner according to the Model of the _Volutes_ of the_Corinthian Order_, in bending them even as the _Abacus_; for they aredirect upon the _Ionick Capital_, as well as the _Abacus_. 

The _Echine_, or Quarter Round, which it has under the _Abacus_, itborrows rather from the _Dorick Order_, than from the _Ionick_; becausethis _Echine_ is immediately under the _Abacus_, as it is in the _DorickOrder_, which is not in the _Ionick_, which between the _Echine_ andthe _Abacus_, places the _Channel_ which makes the _Volute_; it maynotwithstanding be said, that it imitates the _Echine_ of the _IonickOrder_, in that it is cut with _Oves_ or _Eggs_, which is rarely foundin the _Dorick Capital_, but are always in the _Ionick_. 

 AN

 ABRIDGMENT

 OF THE

 TEN BOOKS

 OF

 ARCHITECTURE. 

PART II. 

 _Containing the Architecture peculiar to the Ancients. _

CHAP. I. 

 _Of Publick Buildings. _

ARTICLE I. 

 _Of Fortresses. _

[Sidenote: _Lib. _ 1. _Cap. _ 3. ]

Buildings are either _Publick_, or _Private_; Those that are Publick, appertain either to Security, or Religion, or Publick Convenience. TheFortifications of Cities are for _Security_, the Temples for _Religion_, the Market-places, Town-Houses, Theatres, Academies are for the _PublickConvenience_. 

The Disposition and Figures of the Ramparts were so ordered, that theTowers advanced out of the Walls to the end, that when the Enemyapproached them, the Besieged which were in the Towers, might fall upontheir Flank, both on the Right and the Left. 

They took likewise great Care to make the Approaches to the Wallsdifficult, ordering their Ways so, that they came not directly, but tothe Left of the Gate. For by this means, the Besiegers were constrainedto present to them that were upon the Walls the Right side, which wasnot covered with a Buckler. 

The Figure of a _strong_ place ought neither to be Square, nor composedof Angles that advance too far. But the Ancients made them with manySinuosities or Corners, for Angles that are too far advanc'd, are moreadvantageous for the Besiegers, than the Besieged. 

The thickness of the Wall was so ordered, that two Armed Men might walkby one another upon the Wall without justling. 

They made their Walls strong and durable, with sindged Beams of Olive, which bound them and kept them up. 

Although there be nothing that makes the Ramparts so strong as Earth, they had not for all that the Custom of making Terrasses, unless it werein some place where some Eminency was so near the Wall, that theBesiegers might easily enter. 

To make the Terrasses strong, and to hinder the Earth from pushing downthe two Walls that supported it, they made Buttresses or Counter-fortswhich went from one Wall to another, to the end, that the Earth beingdivided into many parts, might not have that weight to push the Walls. 

Their Towers were round, for those that are square are easily ruin'd bytheir War-like Engines, and their Battering easily broke down theCorners. 

Directly against the Tower, the Wall was cut off within the breadth ofthe Tower, and the Walls so interrupted were only joyned with Joyces, which were not nailed down; to the end, that if the Enemy madethemselves Masters of some part of the Wall, the Besieged might take upthis Bridge made of Joists, and hinder their further advance. 

ART. II. 

 _Of Temples. _

[Sidenote: _Lib. _ 4. _Chap. _ 4. ]

The second Sort of Publick Fabricks, which are those that belong toReligion are the _Temples_, which among the Ancients were of two Sorts;some were after the _Greek_, and some after the _Tuscan_ Fashion. 

The _Temples_ after the _Tuscan_ Fashion were Square, the _Greeks_ madethem sometimes Round, sometimes Square; in the Square _Temples_ of the_Greeks_, there are three Things to be considered, _viz. _ The Partsthat compose it, the Proportion of the _Temple_, and its _Aspect_. 

The Parts of the Square _Temples_, were for the most part Five; for theyhad almost every one of them a Porch before the Temple called _Pronaos_, and another Porch behind the _Temple_, called _Posticum_, or_Opisthedomos_, the middle of the _Temple_, called _Cella_, or _Sacos_;the _Portico's_ or _Isles_, and the _Gate_. 

The Porch was a place covered at the Entrance at the greatest part of_Temples_, being as broad as the whole _Temple_. There were three sortsof them. Some were surrounded with Pillars on three Sides; Others hadonly Pillars in the Front, the Sides of the Porch being made up by thecontinuation of the Side-Walls of the _Temple_; Others were made up atthe Sides, partly by Pillars, and partly by the Continuation of theSide-Walls of the _Temple_. 

The _Posticum_ of the _Temple_ was equal to the Porch, having likewise aGate, but all Temples had not _Posticums_, though almost every _Temple_had its _Pronaos_, or Porch. 

The Middle of the _Temple_, called _Cella_, was a place inclosed withfour Walls, having no Light but at the Gate, unless it were uncovered, as we shall shew hereafter. 

The _Portico's_ which make the Isles, were ranks of Pillars, sometimessingle, sometimes double, which stood along the Sides of the _Temple_ onthe out-side: some _Temples_ wanted this part. 

The Gates of the _Temples_ were different according to the difference ofthe Order of the Architecture, according to which the _Temple_ wasbuilt: there was the _Dorick_, the _Ionick_, and the _Attick_. 

The height of the _Dorick_ Gate was taken by dividing into 3 parts andan half, the space which is from below to the bottom of the _Plat-fond_of the _Portico_, which _Platfond_ was called _Lacunar_: they allow'd 2to the height of the Gate under the _Lintel_: this height was dividedinto 12 parts; 5 and an half were taken for the breadth of the Gatebelow, for above it was straiter by a 3d. Part. A 4th. Part, and even an8th. Part of the _Chambranle_ or _Door-Case_, according to the height ofthe Gate, which was to be less straitened above, the higher it was. Thebreadth of the _Chambranle_ or _Door-Case_, was the 12th. Part of theheight of the Opening of the Gate. 

The _Chambranle_ or _Door-Case_ grew straiter and straiter towards thetop, _viz. _ the 4th. Part of its breadth: it was only edged with a_Cymatium_, with an _Astragal_. 

Upon the _Cymatium_ above the _Chambranle_ or _Door-Case_, was a _Frise_called _Hyperthyron_, which had the same breadth with the _Chambranle_or _Door-Case_. Upon this _Frise_ was placed a _Dorick Cymatium_, with a_Lesbian Astragal_; both of them jetting out very little. 

Upon the _Moulures_ the _Flat-Crown_ was placed, with its little_Cymatium_, which jetted out the whole breadth above of the _Chambranle_or _Door-Case_, with its Mould. 

The height of the _Ionick_ Gates was taken as those of the _Dorick_; butto have the right breadth, they divided the height into 2 parts and anhalf: To allow them one and an half below, it was straitned at the top, as the _Dorick_ Gate was; the breadth of the _Chambranle_ was the 14th. Part of the height of the Opening of the Gate; this breadth of the_Chambranle_, or _Door-Case_, being divided into 6, one was allowed forthe _Cymatium_, the rest being divided into 12, 3 were allowed to the1st. Face comprising its _Astragal_, 4 to the 2d. And 5 to the 3d. 

The _Frise_ which is called _Hyperthyron_, was made with the sameProportions that are in the _Dorick Order_. The _Consoles_ or_Shouldering-Pieces_, descended directly to the bottom of the_Chambranle_ or _Door-Case_, without comprizing the _Foliage_ or_Leaf-work_ that they had at the bottom: The breadth above was the 3d. Part of that of the _Chambranle_ or _Door-Case_, and at the bottom theygrew straiter by a 4th. Part. 

The _Attick_ were like the _Dorick_, but their _Chambranles_ or_Door-Cases_ had only a _Plat-band_ under the _Cymatium_, and this_Plat-band_ or _Face_, had only the breadth of 2 parts in 7, into whichwas divided all the rest of the _Chambranle_ or _Door-Case_ with its_Mouldings_. 

[Sidenote: _Lib. 3. Chap. 3. _]

The Proportion of the _Temples_ was so ordered, that they were twice aslong as broad, but it is not to be understood precisely, but only of_Temples_ that were without _Pillars_, whose length was divided into 8, and 4 were allowed for the breadth. 

[Sidenote: _Lib. 4. Chap. 4. _]

[Sidenote: _Lib. 3. Chap. 3. _]

The _Temples_ which had _Pillars_ round about, could not have thisdouble Proportion; for as much as the length had only the double of theintercolumniations, and by consequence a _Pillar_ less than the doubleof the _Pillars_ before and behind. 

The _Aspect_ of the _Temples_ signifies two things in _Vitruvius_, _viz. _ The Disposition of the parts of the _Temple_, in respect of oneanother, and the Disposition in respect of the Heavens. 

As to what regards the Disposition of the _Temple_ in respect of theHeavens, the Ancients always observed to turn them toward theSun-rising, if the place were not ill-disposed for it, and that somegreat Street obliged them to turn it otherwise. 

As to what belongs to the Disposition of the parts, _viz. _ of the_Porch_, _Porticum_, _Isles_ or _Oiles_ within the _Temple_ and the_Gates_, it was different in the _Temples_ which were without _Pillars_, and in those which had _Pillars_. 

[Sidenote: _Lib. 4. Chap. 4. _]

The _Temples_ without _Pillars_, were those that were not 20 Foot broad, the length of these _Temples_ being divided into 8, 4 were allowed forthe breadth, 5 for the length of the _Temple_ within, and 3 for the_Porch_. 

[Sidenote: _Lib. 3. Chap. 1. _]

The _Temples_ which had _Pillars_ were of 8 sorts; The 1st. And the mostSimple, was that which was called _Ad Antes_, because in this sort of_Temples_, there were only 2 _Pillars_ in the Face or Front before, betwixt 2 _Antes_. There was 3 sorts of these _Temples_. 

The First and the most Simple, had 2 _Pillars_ before the Face of the_Temple_, at whose Corners there were 2 _Antes_, and the 2 _Pillars_supported a _Piedement_ or _Fronton_. 

The Second Sort had likewise but 2 _Pillars_, but they were between 2_Antes_ upon the same Line with the _Antes_; and these _Antes_ with the2 _Pillars_, made up the _Face_ of the _Porch_ of the _Temple_. 

The Third Sort was, when betwixt 2 _Pillars_ which were at the _Face_before, which made up the _Porch_, there were likewise 2 others withinthe _Porch_; these _Pillars_ within, were not so thick as those without, although they were of an equal height; but to the end they might seem asthick as those without, they made more _Channellings_, for the most part28 or 32, supposing those without had 24; this was done to get more roomwithin the _Porch_. These _Temples_ had also this particular tothemselves, that the Front of the _Porch_ was closed with Partitions of_Marble_ or _Joyner's-Work_, which ran from the _Ante_ of one of theCorners to its neighbouring _Pillar_, and from this _Ante_ to the other_Pillar_, and from this _Pillar_ to the other _Ante_. 

The second Sort of _Temples_, with _Pillars_, was called _Prostyle_;which differ'd not from the first, but in this, that besides the 2_Pillars_ of the _Temple_, _Ad Antes_, there were two others directly onthe Angular _Antes_. 

The Third Sort was called _Amphiprostyle_; because it had _Pillars_ aswell behind as before. 

The Fourth Sort was the _Periptere_, which in the Front, as well asbehind, had 6 _Pillars_, and 12 on every side, counting those of theCorners: the distance which was between the _Pillars_ and the _Walls_, was equal to that which was between the _Pillars_. 

The Fifth, the _Pseud-diptere_, viz. _False Diptere_, it had 8 _Pillars_in the _Front_, and as many behind, and 15 on every side, counting thoseof the Corners: the _Pillars_ were distant from the Wall, the space of 2Intercolumniations, and the thickness of a _Pillar_. 

The Sixth Sort was the _Diptere_, which had 8 _Pillars_ before andbehind, and 2 rows round about. 

The Seventh Sort was called _Hypethre_, because the inner part of the_Temple_ was uncovered, it had 10 _Pillars_ before and behind; and as tothe rest, it was like the _Diptere_, but in this particular to it self, that all about it had two Orders of _Pillars_, at a little distance fromthe Wall, to make _Portico's_, as in the _Peristyles_. 

The Eighth was called _Pseudo-Periptere_, or _False Periptere_; for theDisposition of the _Pillars_ was equal to that of the _Pillars_ of the_Periptere_: This _Temple_ having 6 _Pillars_ in the _Front_, andbehind, and 11 in the _Isles_ or _Wings_; but the Disposition of theWalls of the _Temple_ was different in this, that they extended even tothe _Pillars_, which made no _Portico_, for they were joyned to theWalls, except those of the _Porch_ which were insulated, or stood alonelike Islands. 

The Round _Temples_ were of 2 sorts; The first were called _Monopteres_, because they had no Walls, having only an _Isle_ or _Wing_; viz. _Pillars_ which supported a _Coupe_. Their Proportion was, thatdividing the whole _Temple_ into three, one part was allowed for the_Steps_ upon which the _Pillars_ were placed, which had their heightequal to the distance that there was from one _Pillar_, to that whichwas Diametrically opposite to it. 

The Second Sort which was called _Periptere_, had _Pillars_ upon their_Basis_ round about the _Temple_, the space that was between the _Basis_and the _Wall_ was the 5th. Part of the whole _Temple_, and the Diameterof the _Temple_ within, was equal to the height of the _Pillar_. 

The _Temples_ after the _Tuscan_ fashion were square, having 5 parts inlength and 4 in breadth; the _Porch_ which was as great as the rest ofthe _Temple_, had 4 _Pillars_ in the _Front_; the Sides were closed halfby the Continuation of the Walls of the _Temple_, half by 2 _AngularPillars_; and there were likewise 2 _Pillars_ in the middle of the_Porch_: The _Temple_ had 2 _Chappels_ within on each Side. 

We find that the Ancients had 14 Sorts of _Temples_, viz. 1. The Templewithout _Pillars_. 2. The Temple _ad antes_ Simply. 3. The Temple _adAntes_, with 2 _Pillars_ upon the same Line with the _Antes_. 4. TheTemple _ad antes_, with _Pillars_ of an unequal Magnitude. 5. The_Prostyle_. 6. The _Amphiprostyle_. 7. The _Periptere_. 8. The_Pseudo-diptere_. 9. The _Diptere_. 10. The _Hypethre_. 11. The_Pseudo-Periptere_. 12. The _Monoptere_. 13. The _Round Periptere_. 14. The _Tuscan_. See the Tab. 2, 3, 4. 

ART. III. 

 _Of Publick Places_, Basilica's, Theatres, Gates, Baths _and_ Academies. 

[Sidenote: _Lib. 5. Chap. 1. _]

The Third Sort of _Publick Fabricks_ are those which are Built for theConvenience and Use of all People; and there are Six Sorts of them, viz. _Market-Places_, _Basilica's_, _Theatres_, _Gates_, _Baths_ and_Academies_. 

The _Market-Places_ among the _Greeks_ were surrounded with Pillarsclose one against another. Among the _Romans_, the Pillars whichenvironed the _Market-Places_, had larger Intercolumniations, for theymade _Peristyles_, under which were Shops. 

The Proportion of the _Market-Places_ was so ordered, that havingdivided the length into three parts, they allowed two for the breadth;the _Basilica's_ had never less breadth than the third part of theirlength, nor more than the half. 

The Pillars were as high as the Isles or Wings were broad, and theseIsles or Wings had a third part of the great Vault in the middle. 

There was likewise a Second rank of Pillars upon the Wings, which madehigh Galleries, and these Second rank of Pillars were placed upon a_Pedestal_ in the form of a Partition, high enough to hinder those thatwere in the high Galleries from being seen by those that were below. 

At the End of every _Basilica_, there was a high and great Hall called_Chalcidiques_, which were joyned one to another by high Galleries:they served the Spectators while Justice was distributed. 

The _Theaters_ were composed of three parts, _viz. _ The Steps orDegrees, which were instead of Seats for the Spectators: they weredisposed in a Semi-circle, and they closed a void space in the middleand at the bottom of the whole _Theater_, which was called the_Orchestra_. 

[Sidenote: _Lib. 5. Chap. 6. _]

The _Orchestra_ was made in the _Græcian Theatre_, to Dance the Ballets. The Senators were placed in that of the _Romans_, because the Balletswere Danced upon the Scene. 

[Sidenote: _Lib. 5. Chap. 6. _]

[Sidenote: _Lib. 5. Chap. 6. _]

Above and quite round the Steps or Degrees was a _Portico_ of Pillars, the Steps being separated by divers _Palliers_ or Landing and Restingplaces which went round, and by streight passages which went ascendingfrom one _Palliere_ or Landing place to another; so that the ways whichled from the second _Palliere_ to the third, parted betwixt those of thefirst, and ended betwixt those of the third. The Steps or Degrees were14 or 15 Inches high, and from 28 to 30 broad. 

Under the Degrees, above every _Palliere_, there were in the great_Theaters_ 13 _Chambers_, in which were Vessels of Brass, set to severalTunes, or Tones; which by their Echo augmented the Voice of the Players. The Scene or Stage, was composed of the _Pulpit_, the _Proscenium_ andthe _Parascenium_. The _Pulpit_ was the place where the Actors played:it was raised not above five Foot at the most above the _Orchestra_, or_Pit_. 

The _Proscenium_ was the Front of the Stage, which was adorned withPillars of several sorts one above another. These Orders were soproportioned, that the second was a fourth part lesser than the first. The third diminishing according to the same Proportion. 

The Front had three Gates, that in the middle which was the greatest wascalled the _Royal Gate_, the two others were called the _Gates ofStrangers_. 

[Sidenote: _Lib. 5. _]

These three Gates were closed with Machines, made in a Triangle, andcomposed of three Fronts or Faces well Painted, to represent Buildingsin Perspective; they served for the changing of the Scenes, when theseMachines were turned. And the Paintings represented three sorts ofBuildings, which made three sorts of Scenes, _viz. _ The _Tragick_ by_Magnificent Pallaces_, the _Comick_ by _Private Houses_, the_Satyrical_ (_i. E. _ the _Pastoral_) by _Fields_ and _Groves_. 

The _Parascenium_ or _Postscenium_ was the hinder part of the _Theater_, and the place whither the Actors retired and dressed themselves, and hadtheir Rehearsals, and where the Machines were kept. Near the _Theaters_, were Publick Walks, in length a _Stadium_, which is about 90 _Perches_. There were Trees planted, and round about it were double _Porticos_, which were every one as broad as the Pillars on the out-side were high;for those within were higher by a fifth part, than those without, andthey were likewise of a different _Order_; for those without were of the_Dorick Order_, and those within of the _Ionick_ or _Corinthian_. 

[Sidenote: _Lib. 5. Chap. 13. _]

The Ancients built their _Ports_ in two manners; at those which were_Natural_, they only made _Portico's_ round about with _Magazines_ and_Towers_ at the Ends, for to shut the _Port_ with a Chain. 

Those which were _Artificial_, were built three several ways: The firstwas to make Partitions of Wood only, without emptying the Water whichwas within the Partitions, and they cast into the Partitions, Stone andMortar made with _Pozzolana_, thrown in hand over head; for they werecertain that this Mortar wou'd grow dry in the bottom of the Water. Thesecond Way was by making Partitions with ordinary Clay, or fat Earth atthe bottom of the Sea, after the Water had been emptied out by Pumps. The third Way was to build a Mole upon the Sea-Coast, and to cast it inwhen the _Mason's_ Work was sufficiently dry, which only required twoMonths time. That they might the better throw these Moles into the Sea, they built them half upon the Sea-Coast, and half upon an heap of Sandwhich they made close to the Sea-Coast; to the end, that this Sand whichwas stopped by nothing but by the Walls, built only to support it duringthe time that the Mole was a drying, might let it fall when the Sea cameto carry away the Sand after that the Walls were beaten down. 

[Sidenote: _Lib. 5. Chap. 10. _]

The _Bathes_ of the Ancients consisted of many Chambers; some for Men, and some for Women. 

Some of the Chambers had a moderate Heat, to warm their Bodiesinsensibly, and prepare them for a stronger Heat to make them Sweat. 

The Chamber they were to Sweat in, was called _Laconicum_, and wasround, and Vaulted like the ends of an Oven, pierced at the top with around Opening, which was opened and shut with a Buckler of Brass, whichhung at a Chain, by which means they augmented or diminished the Heataccording to the Proportion that they pull'd up, or let down theBuckler. 

One and the same Furnace heated both the Air and the Water, according tothe Disposition of the places which were nearer or further from theFurnace, whose heat was communicated to the Chambers from under theFlooring, which was made full of little holes. 

The Water was likewise diversly tempered by the different situation ofthree great Vessels of Brass, whose Water went from one into another, and there were Pipes that conveyed these three sorts of Water into the_Bath_. 

The _Academies_ of the Ancients, which they called _Palæstra_, was aplace where the Youth learned Letters and their Exercises. They werecomposed of three parts, _viz. _ Of a _Peristyle_, a _Xyste_, and a_Stadium_; the _Peristyle_ was a Court surrounded with _Portico's_, which were of two sorts; three of them were Simple, and one Double. 

The Simple stood in a row against three Bodies of Lodgings, composed ofmany great Halls, where the Philosophers had their Disputes andConferences. 

The Bodies of the Lodgings, which was the length of the double_Portico_, and one part of the Bodies of Lodgings which turned in, weredistributed into several parts, for the Studies and Exercises of Youth;for there they had their _Classes_, their _Baths_, their _Stoves_, andtheir _Tenis-Court_. 

The _Xyste_ was a place planted with Trees, and surrounded with_Portico's_ on every side: These _Portico's_ were of two sorts. 

There was one double which was set against the Bodies of the Lodgings, to which the double _Portico_ of the _Peristyle_ was joyned. 

The _Simple Portico's_ had two Wings, under these _Simple Portico's_there were hollow Ways, where they performed their Exercises; the restof the _Portico_ was raised to the right and the left, for those thathad a mind to Walk while the rest performed their Exercises, in thehollow ways. 

The Place which was compassed with these three _Portico's_, was plantedwith Trees, which made Allies, where the Wrestlers exercised in Winter, when it was fair Weather. 

The _Stadium_ was on the Side of the _Peristyle_ and the _Xyste_. It wasan Alley of 90 Perches; on each Side it had many Steps or Degrees, whichmade a sort of a long _Theater_ bending in at both ends; these Steps orDegrees were made for the convenience of seeing them that Run. 

CHAP. II. 

_Of Private Buildings. _

ARTICLE I. 

 _Of the Courts of Houses. _

[Sidenote: _Lib. 6. Chap. 3. _]

The Houses of the Ancients had five sorts of Courts, of which thegreatest part were covered round about by the Jettings which supportedthe Water-Channel or Gutter, in which all the Water that fell from theRoof met together. 

These Courts made with Jettings, were of four sorts; The first wascalled the _Tuscan_, this Court was surrounded with a Jetting _enauvent_, which was laid upon four Beams, supported by other standingBeams placed in the Corners. 

The second Sort was called _Corinthian_; it had likewise Beams, but theywere further from the Walls than in the _Tuscan_ Court, and they werelaid upon Pillars. 

The third Sort was called _Tetrastyle_, because the Beams were supportedwith four Pillars which were in the place of the standing Beams thatwere made use of in the _Tuscan Court_. 

The fourth Sort was called the _Vaulted_; because the Jetting that ithad round about, was supported by Vaults. 

The fifth Sort of _Court_ that had no Jetting, and which was called the_Uncovered_, had the _Water-Gutter_ directly upon the Wall, and was onlycovered with the Entablature. 

ART. II. 

 _Of the_ Vestibulum _or_ Entry. 

The Houses of the Ancients had _Great_ and _Magnificent Entries_, theywere sometimes 15 Perches long and 9 broad, and they were supported upontwo ranks of Pillars, which made a Wing on each Side, the Proportion oftheir breadth and length was taken three Ways. The first was, whenhaving divided the length into 5, 3 were allowed for the breadth. Thesecond was, when having divided it into 3, 2 were allowed for thebreadth. The third was, when having made an Equilateral Square, theDiagonal of this Square was taken for the length, and the Side for thebreadth. 

The height was equal to the length, taken from the Pavement below, tothe bottom of the _Plat-Fonds_ or _Flat-Roof_, which was hollowed onthe other side the Beams, the seventh part of the whole height. 

The Proportion that the _Alley_ which was in the middle between thePillars, had with the Wings, was different according to the Magnitude ofthe _Vestibule_ or _Entry_, for the greater they were or the lesser, theWings had a proportionable breadth with the _Alley_ in the middle; Sothat if the _Vestibule_ or _Entry_ was 100 Foot long, the Wings had onlyfor their breadth the 50th. Part of the length; and when it was but 30Foot long, they had only the 3d. Part. 

ART. III. 

 _Of_ Halls. 

The Ancients had three Sorts of _Halls_; _Viz. _ The _Corinthian_, the_Ægyptian_, and the _Cyzican_. 

The _Corinthian_ had Pillars round about against the Wall, and thesePillars supported the Floor made in form of a Vault. _Surbaissee_. 

The _Ægyptian Halls_ had their Pillars distant from the Wall in themanner of the _Peristyle_, and they supported only an _Architrave_without a _Frise_ and without a _Cornice_; upon this _Architrave_ therewas another row of Pillars, between which were the Windows. The Floorwhich reached from the Pillars to the Wall, served for a _Terrasse_without. 

[Sidenote: _Lib. 6. Chap. 6. _]

The _Cyzican Halls_ had this in particular, that they were turned to theNorth, and had a Prospect of the Gardens; they were principally made useof by the _Greeks_; the Proportion of these _Halls_ was as follows, Their length was double their breadth, and as to their height, this Rulewas observed to have the height of all Sorts of Apartments that are notso broad as long, they added their length to their breadth, and tookhalf of the sum for their height. The Apartments which were no longerthan broad, had in height their breadth, and half their breadth. 

ART. IV. 

 _Of the Distribution of the Apartments among the Ancients. _

[Sidenote: _Lib. 6. Chap. 10. _]

[Sidenote: _Lib. 6. Chap. 3, 4. _]

The _Romans_ and the _Greeks_ ordered and distributed differently their_Apartments_; for the _Romans_ had their _Courts_ and _Entries_magnificent: but the _Greeks_ had only a narrow Entrance, through whichthey passed into a _Peristyle_; this _Entry_ had of one Side a Porter'sLodge, on the other Side the Stables. 

The _Apartments_ of these two Nations differed in this, the _Apartments_of the Women were separate from the _Apartments_ of the Men among the_Greeks_; insomuch that they Dined apart. They had likewise particular_Rooms_ reserved for Strangers apart, where they only gave them Lodging, and never treated them above one Day. 

CHAP. III. 

_Of things that equally appertain to Publick and Private Buildings. _

ARTICLE I. 

 _Of_ Aqueducts. 

[Sidenote: _Lib. 8. Chap. 6. _]

In Order to the bringing of Waters to Towns and Cities, the Level mustbe exactly taken; to the end, it may be known whether the Waters can bebrought thither or no. The Ancients to this end made use of anInstrument called _Corobates_, which was directed by a Lead, and byWater, when the Wind hindered them from making use of the Lead. 

They brought their Water three several ways; _viz. _ by _Aqueducts_, byPipes of Lead, and Pipes baked in a _Potter's_ Furnace. They allowed forthe _Channels_ or _Sewers_ of the _Aqueducts_, for every 100 Foot, halfa Foot of Declination or Sloping; and if any Hills were in their way, they dug through them, making Vents to give Air at convenient Distances. 

The Pipes of Lead were at least 9 Foot long; they made them of bendedSheets or Plates, and of different thicknesses, according to theProportion of the greatness of the Pipes; these Pipes had likewise theirnecessary Declination or Sloping, and if any Valley was in the way, theymade it equal to the Level with a Wall; they likewise made many Vents, to give the Water Air, and to know where to mend the Pipes. 

The Pipes of _Potter's-Work_, were two Inches thick; they were joynedtogether with Mortar mixed with Oil, and when they had _Conde_ or_Joynt_ to make, they made use of a red Free Stone which they piercedthrough, to receive the two Ends of the Pipes. 

ART. II. 

 _Of Wells and Cisterns. _

It being remarkt oftentimes that the Water which is under the Earth hathmany bad Qualities, and exhales vapours, which often stifles those whichwork in the _Wells_, after that they are dug, & the Water begins togather together. The Ancients had this Precaution, to let a Lamp gentlydown into it, and if it extinguished it, they took it for an Infalliblesign that the Water was bad. 

The _Cisterns_ were made to receive Rain Water in great Conservatoriesunder Ground, whose Walls on all Sides, and at the bottom were builtwith Mortar of strong Lime, and Sand, and Pebbles, all well beatentogether. They made several Conservatories, and the Water passed fromone to another, to the end it might leave all the Dirt in the first andsecond; They likewise put Salt in their _Cistern-Water_ to make it moresubtile. 

ART. III. 

_Of_ Machines _for carrying and liftingup great Stones and Burthens. _

[Sidenote: _Lib. 10. Chap. 6. _]

_Ctesiphon_ and his Son _Metagenes_, Architects of the Temple of_Ephesus_, invented _Machines_ to carry _great Stones_, out of which_Pillars_ and _Architraves_ were to be made. That which was made to drawthe _Pillars_, was but a sort of a Frame as long as the _Pillars_, inthe end of which were fastned Pins of Iron, which entred into the endsof the Frame, and served instead of an Axle-tree, the _Pillar_ it selfserving for a Wheel: And this had the desired Effect, because of thedisposition of the place through which these _Stones_ were to be drawn, which was a flat and level Country. 

The other _Machine_ for drawing of _Architraves_, was the same Framewhich had two Wheels at each end, which supported the _Architrave_;which served instead of an Axle-tree. 

[Sidenote: _Lib. 10. Chap. 2. _]

For the raising of great Weights, they had three sorts of _Machines_. The first was composed of three pieces of Wood, which were joynedtogether at top by a Pin which went through them all; so that there weretwo of these pieces which were on one side, a little distance one fromthe other, and the third was opposite to them; The two which weretogether on the one side, had a Hand-Mill which drew a Rope, whichpassed within a Truckle with three Pullies, of which that part which hadthe two Pullies was fastned to the top of the _Machine_, and that whichhad but one, was fastned to the Weight to be drawn up. 

[Sidenote: _Lib. 10. Chap. 2. _]

The second _Machine_ was stronger than the first, because the _Moulin_had more Pullies, and instead of a _Moulin_ or Hand-Mill, it had a greatWheel, whose Axle-tree drew a Rope which passed through these Pullies, and upon the Wheel there was another Rope twisted, which was drawn by aWind-glass; sometimes the great Wheel was hollow, so that Men could walkwithin it, and so turn it. 

The third had but one long and strong piece of Wood, which was kept upand stayed by Shrowds, as the Mast of a Ship is. By the help of theseShrowds, they bended and turned this piece of Wood where they pleased, drawing the Shrowds fast on the one side, and loosening them on theother. The _Moufl's_ Crane as well those which were fastned to thispiece of Wood, as those which were fastned to the VVeight which was tobe drawn up, had each of them three ranks of Pullies, which had three inevery rank, that three Ropes might go through them, which were not drawnby Hand-Mills, nor by VVheels, but by Men who pulled several at one timeat the same Rope: And that this might be done with the more ease, thethree Ropes or Cables after having passed the last Pullies of that partof the _Moufle_ which was at the top of the _Machine_; they descendeddown below, each upon one Pully, which vvas but the height of the Men:this _Machine_ quickly povverfully lifted up the greatest VVeights. 

ART. IV. 

 _Of_ Machines _for Elevating of Waters. _

These _Machines_ were of four sorts. 

[Sidenote: _Lib. 10. _]

The first was the _Tympan_, of which there were two sorts; The firstelevated a great deal of Water, but not very high, for it only mountedto the Axle-tree of the _Tympan_, which was a great Wheel made of Plankswhich made two bottoms divided into eight from the Center to theCircumference, each Separation, having an opening half a Foot wide nearthe Circumference to draw the Water, which being elevated upon theAxle-tree, ran through the Cavities which were hollowed in eachSeparation. 

The Second _Machine_, was a Wheel which elevated the Water as high asits Circumference, by the help of several Boxes which were fastned roundabout, and which poured out the Water into a Reeve as the Wheel, havingmounted, began to descend. 

[Sidenote: _Lib. 10. Chap. 2. _]

The Third _Machine_ was a Chain with Buckets, as the one mounted, theother descended, being drawn by the Axle-tree. 

The Fourth _Machine_ was the Vice or _Skrew_, which is attributed to_Archimedes_, though _Vitruvius_ makes no mention of the Inventor. ThisVice was made of a piece of VVood, long sixteen times its Diameter: aboutthis piece of Wood was put Obliquely a Hoop of Willow VVood besmearedwith Pitch, and it was Conducted by turning from one end of the piece ofthe Wood to the other: Upon this Hoop others were put so that they werelike the Vaulting of a Stair-Case whose ascent goes turning. This beingdone, this Vice was fastned and strengthned with Planks, which werepitched within, and covered with Iron Rings and Plates without: At thetwo ends of the piece of Wood, were Pins, which entring into theSuckets, made the _Machine_ capable of Motion. This Vice or Skrew wasplaced according to the bent or sloping of the Triangle Rectangle of_Pythagoras_. This _Machine_ elevated easily a great quantity of Water, but it could not carry it high. 

[Sidenote: _Lib. 10. Chap. 2. _]

The Fifth _Machine_, was the Pump of _Ctesibius_; it was composed of twoBodies of Pumps, in which the Suckets having drawn the VVater when theywere pulled up, they both pressed it violently into a Pipe which wasfastned at the bottom of the Body of the Pump when they went down. Forthe VVater by the Impulsion of the Sucket, was forced to enter intothese Pipes, because it could not go out by the Openings by which itentred, because of the Suckets which stopped them, these two Pipes werejoyned together in a _Tambour_, which had likewise its Suckets, whichhindred the VVater from descending into the Bodies of the Pumps, afterit had been pressed into the _Tambour_, or _Vase_, which had anotherPipe, through which the VVater was forced as high as they pleased, byImpulsion of the Suckets. 

[Sidenote: _Lib. 10. Chap. 10. _]

All these _Machines_ were either _moved_ by Strength of Men, or byVVater-Mills, according to the convenience of the place. 

ART. V. 

 _Of Water-Mills for Grinding of Corn. _

[Sidenote: _Lib. 10. Chap. 10. _]

_Water-Mills_ were moved by the help of a great VVheel which had manyVVings, which were forced by the Current. The Axle-tree of this greatVVheel, traversed another VVheel which had Cogs, which made the_Lanterne_ or _Trundle-head_ go, which was placed Horizontally, whichwas traversed by a Beam of Iron, which entred through above, into anIron in form of a VVedge, which helped to fasten the Beam in theMill-stone, above which was the Mill-Hopper, in form of a Funnel. 

ART. VI. 

 _Of other Hydraulick Machines. _

There were many other _Machines_ which moved by the help of the VVater, as _Hour-Glasses_, _Organs_, _Machines_ for Measuring the VVays, andknowing the swiftness or slowness of Sailing. 

The _Hour-Glasses_ marked the Hours by the help of VVater, which passingslowly, a little hole made at the bottom of a Vessel, and falling intoanother, in elevating it self insensibly in the Vessel which it filled, raised a piece of Cork, which hanging at one of the ends of a Chainwrapped about an Axle-tree, and which had at the other end a little Bagfull of Sand, and a little lighter than the Cork: for this Chainturning, the Axle-tree likewise turned a Pin or Hand, which marked theHours upon a Dial. 

[Sidenote: _Lib. 10. Chap. 12. _]

The _Organs_ played by help of two Suckets, which were pulled up or letdown in the Bodies of the Pump. The Suckets pushed the Air with violenceinto a Funnel reversed in a Copper Coffer half full of VVater, andpressed the Water, and constrained it to ascend round about within theCoffer, which made that its weight in making it re-enter into theFunnel, pushed the Air into the Pipes, and made them Play, producing thesame Effects that the Bellows did. 

[Sidenote: _Lib. 10. Chap. 14. _]

They measured the way that the Ships make by the help of a little Mill, which was fastned to the Ship, and which turned by the resistance thatits VVings found in the VVater when the Ship went forward and theAxle-tree of this Mill had a little Rong or Tooth, which every roundpushed forwards one of the Teeth of the great VVheel, which turnedanother, and that another which turned a Pin or Handle, which marked thenumber of turnings, that the Mill made, by which means it was easie totake an account of the Perches, and Leagues that the Ship sailed. 

They made use of the same _Machine_ on the Land, fixing to the Nave ofthe VVheel of a Coach, a Tooth which made many VVheels be turned as inthe above-mentioned _Machine_, at the last of which, was fastned a Pinor Handle, which marked the number of Perches and Leagues. This_Machine_ had likewise a sort of a Counting VVheel, which at every Milethat the Coach went, let a Pibble fall into a Vessel of Brass, to givenotice that they had gone a Mile. 

ART. VII. 

 _Of Machines of War_. 

[Sidenote: _Lib. 10. Chap. 15. _]

The _Machines_ of VVar of the Ancients were of three Sorts, for theywere made either to Lance, Arrows, such as were the _Scorpions_ or_Javelins_, such as were the _Catapulta's_, or Stones, such as were_Ballista's_ or fiery Darts, such as were the _Pyroboli_, or they weremade to beat down the VValls, such as were the battering Rams, and the_Terebra_, or to come covered to the VValls, and so safely Mount theRamparts, such as were the _Tortoises_ or _Testudo's_, and the Towers ofVVood. 

[Sidenote: _Lib. 10. Chap. 18. _]

The _Scorpions_ were a sort of great Crossbows, which were made use ofto defend the VValls, and which likewise the Assailants made use of inthe wooden Towers, to annoy those that defended the VValls. 

The _Catapulta_, lanced Javelins or Javelots, from 12 to 15 Foot inlength, they were made of two Trees, set one against another, like theMasts of a Ship, which were bended in drawing them with a Hand-Mill. These Trees being on a suddain unbent, furiously struck together, andforced violently the Javelin. They were bent the one after the other bythe same Cord, which was made of Guts, to the end, that the Master whomanaged the Engine, might be assured, that the two Trees or Beams wereequally bent. He knew it by sounding the Cord when both the Beams werebent, and when the End above was drawn even to the Capital of the_Machine_, where they were stayed by a Pin of Iron, which was driven outby a quick stroke of a Hammer when they unbent it. There was a Cylinderwhich traversed an excentrical piece, by the help of which theyheightned, or let down the End of one of the Beams below, according asthe Master of the _Machine_ judged it necessary, for the augmenting ordiminishing their bent, which was known by the sound of the Cord, whichwas alike in both, when they were equally bent. See Table XI. 

The _Ballista's_ were bended and strung as the _Catapulta's_, butinstead of Javelins, they cast great Stones. 

[Sidenote: _Lib. _ 10. _Chap. _ 22. ]

The _Pyroboli_ were _Machines_, which lanced or cast Darts, to vvhichvvas fixed combustible Matter, vvhich vvas kindled vvhen they darted itagainst _Machines_ of VVar or Shipping. 

The Ram vvas to beat dovvn Walls and make breaches. It vvas a great Beamheaded with Iron; it vvas hung by the middle, and pushed by theSoldiery vvith great violence against the Walls. 

The _Terebra_ vvas something like the Ram, being a strong Beam pointedvvith Iron, but it vvas sharp pointed, and it made vvay for the Ram, splitting the Stones. 

[Sidenote: _Lib. 10. Chap. 20. _]

The _Testudo_ or _Tortoise_, vvere great large and low Towers of Wood, which were rowled upon six or eight Wheels, they were covered with rawHides to defend them from fire. Their use was to cover them thatapproached the Walls to undermine them, or beat them with the batteringRam. 

The Towers of Wood were made to raise the Assailants as high as theWalls, to chace the Besieged away with Arrows and Scorpions, and to layBridges from the Towers to the Wall; they were sometimes Thirty Fathomshigh, having Twenty Stages. They were covered, as the _Tortoises_ withraw Hides; they had each of them a Hundred Men, which were employed aswell to move them, as to annoy the Besieged. 

_FINIS. _

ADVERTISEMENT. 

_The Figures inserted here are those only which are chiefly necessary tothe understanding of_ Vitruvius, _that is to say, those which serve forthe comprehending the Rules that Architecture gives for Buildings, nowin use. The Figures of other things, of which_ Vitruvius _treats, areomitted, it being enough to give One only, to serve as an Example ofeach kind_, viz. _one for all Temples, one for all Theatres, and one forall Machines. _

THE EXPLICATION Of the FIRST TABLE. 

This Table contains the seven several sorts of Masonry; A is the first, which was called _Reticulatum_, because it was like the Mashes of Nets;BB is the second, it's called _Insertum_, that is to say, _boundMasonry_, because the Stones are one bound within another, every onebeing bound with four, two below, and two above: CC is the third sort, which was particular to the _Greeks_; it may be called double binding, for it's not only of Stones of the same course, but of two courses III. D is the fourth, called _Isodomum_, because the Beds or Lays are equalin height. E is the fifth, called _Pseudisodomum_, because they are ofan equal heighth. FF, GG, H is the sixth, called _Emplecton_, because itwas filled up any way in the middle. FF are the Stones which make theCourses. K is the seventh, which may be called _Compound_, because itsCourses are of hewn Stone, and the middle filled up with Rubbish; andthese Courses are fasten'd together with Cramp-irons. 

This Table refers to _pag. _ 47. 

[Illustration: _Plate I. _]

THE EXPLICATION Of the SECOND TABLE. 

This Table contains the five sorts of Edifices: AA is the _Pycnostyle_;that is to say, where the Pillars are very close, the Intercolumniationbeing but of one Diameter, and a half of the Column: BB is the_Systyle_, _viz. _ where the Pillars have two Diameters ofIntercolumniation: CC is the _Diastyle_, _viz. _ where the Pillars are atthat distance, that they have for the Intercolumniation three Diameters:DD is the _Areostyle_, where the Pillars are far asunder. There is nocertain Proportion; we have given in this Figure four Diameters ofIntercolumniation, it may have more: The fifth sort called _Eustyle_, isin the third Table. 

This Table refers to _pag. _ 80. 

[Illustration: _Plate. II. _]

THE EXPLICATION Of the THIRD TABLE. 

This Table contains the Plan and Elevation of the fifth sort ofEdifices, called _Eustyle_, _viz. _ where the Pillars are distant onefrom another by more convenient Proportion: Its Intercolumniations haveall two Diameters and a quarter, except the Intercolumniations in themiddle of the _Face_ before and behind, which have three Diameters. 

This plan shews the different parts of the ancient Temples: AA, AA, arethe Isles or Wings which are _Portico's_, having a rang of Pillars onthe one side, and the Wall of the Temple on the other. B is the partcalled the _Pronaos_ or Porch. C is the part called _Posticum_, _viz. _the hinder part of the Temple. D is that Part called _Cella_, or theNave or Body of the Temple. 

This Table relates to _p. _ 81, & 117. 

[Illustration: _Plate III_]

THE EXPLICATION Of the FOURTH TABLE. 

This Table contains the Plan and perspective Elevation of a Temple, called _Hexastyle_ and _Pseudodyptere_, _viz. _ Which has six Columns inthe _Faces_, before and behind, and which has simple _Portico's_, butwhich are as large as the two _Portico's_ of the Temples which have themdouble. This Plan and this Elevation may serve for other Temples, whichas to what concerns the essential parts explained in the precedentTable, are like to this here, as are the _Periptere_, the _Diptere_, andthe _Hypethre_, which only differ in the number of Columns, or such-likecircumstances. 

[Illustration: _Plate IV. _]

THE EXPLICATION Of the FIFTH TABLE. 

This contains the Proportions of the _Tuscan_ Order. AA is the Base ofthe Column, which has for its height the first Semidiameter of theColumn: It's divided into two equal parts; that below is for the Plinth, marked I; that above, marked K, is for the _Thorus_, and for the _Congè_or _Apophygis_. BB is the Capital, which height is equal to its Base:It's divided into three; the first marked L, is for the Gorge, with theCongè and the Astragal; the second, marked M, is for the _Echinus_ or_quarter-round_; the third, marked N, is for the _Plinthus_ or _Abacus_, called by the French _Tallor_. C is one of the _Faces_ of the _Sabliers_which serve instead of an Architrave. EE is the under part of the_Sabliers_, which answers to the Diameter on the top of the Column, marked D. F is a Tenon shaped like a Swallows Tayl, which joyns the two_Sabliers_ together. G is the little Wall which serves for a Frize. H isthe Cornice. 

This Table relates to _pag. _ 93. 

[Illustration: _Plate V. _]

THE EXPLICATION Of the SIXTH TABLE. 

This contains the Proportion of the _Dorick_ Order; AB is the top of theShaft of the Column; this top shews the Plan of the two sorts ofChannelling or Fluting, which are particular to the _Dorick_ Order. Theone half has Channelling or Fluting that is not hollowed, and make only_Flat Faces_ or _Pans_. B is the other half, which has Channelings alittle hollowed, _viz. _ one quarter of the Circle: They are formed bythe help of a Square C, whose sides are equal to every one of the Pans. D E F is the Capital divided into three equal parts. D is for the Gorge;E is for the Echinus, and for the Anulets or Rings; F is for the Abacus;G is the Architrave; H is the Triglyph; I is the Metop; K is theDemi-metop; L is the Cornice; M are the six pendant Drops which areunder the Triglyph; N, O are the Pendant Drops which are in thePlatfond of the Cornice. 

This relates to _pag. _ 96. 

[Illustration: _Plate VI. _]

THE EXPLICATION Of the SEVENTH TABLE. 

This contains the Proportions of the _Jonick_ Order and the _Attick_Base: A is the Plinth of the _Attick_ Base, which is the third part ofthe whole Base, of which the upper part is the fourth part of whatremains after the Plinth is taken; the inferiour part is half of whatremains, and the other half is the _Scotia_. C D is the Plinth of theJonick Base, which is the third part of the height of the whole Base. Eis the Thorus which contains three parts of seven, into which is dividedwhat remains, the other four being for the two _Scotia's_, and the twoAstragals, which are betwixt the Thorns and the Plinth. F is theCapital, whose Proportion is explained in the eighth Table. G, H, I, Kis the Architrave, which has four parts, _viz. _ the Face marked G; thesecond marked H; the third marked I, and the _Cymatium_ or _Simaise_, marked K; L is the Frise. M, N, O, P, Q is the Cornice. M is the first_Cymatium_; N is the Dentil; O is the second _Cymatium_; P is the Crownwith its little _Cymatium_ or _Simaise_. 

This Table relates to _pag. _ 101. 

[Illustration: _Plate VII_]

The EXPLICATION Of the EIGHTH TABLE. 

This contains the Proportions of the Ionick Capital, of which only halfis seen here: A B is the half of the breadth of the Abacus, which isregulated according to the breadth of the bottom of the Column, of whichone half is marked B 18; for the bottom of the Column being divided into18, 19 are allowed to the Abacus: A C is the _Retreat_ which must bemade of the Corner A, of the Abacus inwardly, to draw the Line C D, which must regulate the _Eye_ of the _Volute_ over which it must crossas it passes. To make this _Retreat_ we must take one part and a half oftwelve, into which is divided the height or thickness, E F, of the wholeCapital, which height is equal to half the breadth of the Abacus. Thisheight, marked C D, is divided into nine parts and a half, of which oneand a half is given to the _Abacus_, and four and a half from the Abacusto the middle of the _Eye_, which is traversed by the line G H; theFigures 1, 2, 3, 4, mark the four Centers of the first four quarters ofthe Volute; the four second quarters, and the four third (for theVolutte has twelve) are taken in the Diagonal 1, 3, and 2, 4. H, I, isthe Astragal at the top of the Pillar which answers the _Eye_ of theVolute. K K is the Egg or _Echinus_; L is the Axis of the Volutes; M Mis the ceinture of the lateral part of the Volutes. This relates to_pag. _ 103. 

[Illustration: _Plate VIII. _]

THE EXPLICATION Of the NINTH TABLE. 

This contains the Proportions of the _Corinthian_ Capital, which makesall the distinction betwixt _Jonick_ and the _Corinthian Order_, allother Members, according to _Vitruvius_, being the same. A is the_Corinthian_ Capital, which has for its height only the Diameter of thebottom of the Column; B is the Capital of the Pantheon, which is higherby a seventh part, _viz. _ the thickness of the Abacus; C D is the heightof the Capital divided into seven, of which the Abacus has one, theVoluta's and Foliages and Stalks two, the Foliage in the Range abovetwo, and that in the Range below two. To have the breadth of the Abacus, we must give to its Diagonal E F the double of its height C D. To havethe greatness and just Proportion of its bending H, we must divide thebreadth of the Abacus E G into nine parts, and give it one. 

At the bottom of this Table is represented the Herb _Branbursine_, whichgrows round about the Basket, which is covered with a Tile, from which_Vitruvius_ says the Sculptor _Callimachus_ took the first Model of the_Corinthian_ Capital. 

This Table relates to _p. _ 108. 

[Illustration: _Plate IX. _]

THE EXPLICATION OF THE TENTH TABLE. 

This contains the Plan and Elevation of the Theatre of the _Romans_. AAis the Portico which went round the Theatre below. BB are the Entriesthrough which they parted from the Portico's into the _Orchestra_ C. KDEDK the Pulpitum or Stage; MM the landing-place which separated theDegrees above from those below: LM the Stairs which are between thedegrees. NN the Portico above in the Theatre. PP the Passage under thedegrees. TT the Stairs by which they mount to the Portico's above. KIHIKthe Scene. H the royal Gate. II the Gates of Strangers. KK the Gates inreturning. OOO the Machines used in changing the Scenes. GG the part ofthe Theatre behind. 

This Table relates to _p. _ 125. 

[Illustration: _Plate X. _]

THE EXPLICATION Of the ELEVENTH TABLE. 

This contains the Explication of the Catapulta, which was a Machine ofWar used by the Ancients to dart Javelins of an extraordinary bigness. Aare the two Beams one against the other, and joyn'd, which after havingbeen drawn, pushed the Javelin with great force when they were unbent. There is one of these Beams, which is represented as being joyned to theCapital of the Machine by an Iron Pin, the other ready to be joyned whenthe Master of the Machine sounds the Cord with his right Hand, shallhave it heightned or let down, the end marked C, as much as isnecessary, to give it an equal Bent to the other. This is done by thehelp of an excentrical piece, which is traversed by a Cylinder, whichthe Master turns with a Laver, which he holds in his left Hand. D, E Eis the Capital of the Catapulta. EE are the holes through which the Ropepasseth to draw the Beams. F is the end of one of the Beams representedin great. G is one of the Pins which travers'd a round Eye, by the helpof which the Beam is joyned to the Capital. H is the Cylinder whichtraverses the excentrical piece I. This Plate relates to _pag. _ 155. 

[Illustration: Plate XI. ]

_Explication of the Hardest Terms in_ Architecture. 

 A

 _Abacus_, from [Greek: abax]; which signifies a square Trencher: In French it's called _Talloir_; it's that quadrangular Piece commonly accompanied with a _Cymatium_, and serves instead of a _Drip_ or _Corona_ to the Capital. It supports the nether _Face_ of the _Architrave_ and whole _Trabeation_. In the _Corinthian_ and the _Compound_ Orders, its Corners are called the _Horns_, the intermediate _Sweep_ and _Curvature_; the Arch, which has commonly a _Rose_ carved in the middle. 

 _Acroteria_ or _Acroter's_ from [Greek: akron], _Summa pars_; they may be properly called _Pinnacles_, for _Pins_ and _Battlements_ were made sometimes more towring; but when they stood in _Ranges_ with _Rails_ and _Balisters_: Upon flat Building they still retained their Name, with this only difference, that such as were placed between the _Angular_ Points, were stiled the _Median_, or middle _Acroteria_. 

 _Annulets_, are little square Parts turned round in the _Corinthian Capital_, under the _Quarter-Round_, called _Echinus_. 

 _Ante_, is a square Pillaster, which the Ancients placed at the corners of the Walls of the Temples. 

 _Amphiprostyle_ from [Greek: amphi], _Circa_, and [Greek: stylos]; _Columna_ was a sort of a Temple which had four Columns in the Front of the Temple, and four in the Face behind. 

 _Architrave_, from a Mungril Compound of two Languages, [Greek: archê] _Principalis_, and _Trabs_; it's the first Member of that which we call _Entablature_; in Chimnies the _Architrave_ is the _mantle_; over the _Jambs_ of the Doors and Lintels of Windows, it's called the _Hyperthron_, from the Greek [Greek: hyper], _super_ and [Greek: thyra], _Janua_ or _Ostium_. 

 _Astragal_, from the Greek word [Greek: astragalos] which signifies the _Vertebræ_, or little Joints in the Neck or Heel; hence the French call it _Talon_, or the Heel itself: It's a Member of _Architecture_ joyned to _Bases_, _Cornices_, _Architraves_, _&c. _ it's round like a Ring, and therefore it's called by the Italians _Tondino_. 

 _Attiq;_ signifies after the manner of the City of _Athens_. In _Vitruvius_ it's the Name of the _Basis_ which the Moderns have given to the _Dorick_ Pillar. We call _Attiq;_ in our Buildings, a little Order placed upon another much greater; for instead of Pillars, this little Order has commonly nothing but Pillasters of a particular Fashion and Order, which we call _Attiq;_

 _Apophyges_, vide _Congé_. 

 B

 _Basilica_, from the Greek word [Greek: Basileus] _Rex_ or King among the Ancients. It was a great Hall which had two Ranges of Pillars, and had two Isles or Wings, upon which were Galleries: These Halls, which at first were made for the Palaces of Kings, were afterwards turned into Courts of Justice, and after that into Churches; which Form has always been observed. 

 _Ballustre_ is the lateral part of the _Jonick_ Capital. Our Workmen have given it that name, because it somewhat resembles a _Balluster_. 

 C

 _Chanel_, in the _Ionick_ Capital, is that part which is under the _Abacus_, and lies upon _Echinus_ or Egg, and which has its _Contours_ or Turnings on every side to make the Voluta's. 

 _Cariatides_ are Statues of Women, which serve instead of Pillars. 

 _Cincture_ is that part which makes the middle of the _Ballustre_ of the _Ionick Voluta_. 

 _Congé_ in French, in Latin _Apophyges_, from the Greek word [Greek: apophygê] because that part of the Pillar taking as it were a rise, seems to emerge and fly from the _Basis_ like the _Proceltus_ of a Bone in a mans Leg, In short, it's no more than the _Rings_ or _Ferils_ heretofore used at the Extremities of wooden Pillars, to preserve them from splitting, afterwards imitated in Stone-work. 

 _Corona_ is properly that part of the Cornice which the French call _Larmer_ or _Drip_, because it defends the rest of the Work from Wind and Weather: It is often taken by _Vitruvius_ for all the Cornice. 

 _Corona_, called the _Plat_ or _flat Crown_, is a particular Member in the _Dorick_ Gate; it's made by so extraordinary enlargement of the _Face_ of the _Corona_ or _Drip_, that it has six times more Breadth than Projecture. This sort of _Corona_ is no where found among the Ancients, but only in the Writings of _Vitruvius_. 

 _Cymatium_, from [Greek: kymaton], which signifies a rouling _Wave_; is a Member of Architecture, of which the one half is _Convex_ and the other _Concave_, the one being hollow above, and the other below. There are two sorts of them, the one called the _Gola_ or _Throats_, or the _Doucine_, whose advanced part is _Concave_; and the other is called by the French the _Talon_ or Heel, whose advanced part is hollow below, as the first is above. 

 D

 _Die_ is the middle of the Pedestals, _viz. _ that which is between their _Basis_ and their _Cornice_. It's so called, because it's for the most part of a Cubit form, as _Die's_ are that are used in play. 

 _Dentils_, or Teeth, is a Member of the _Jonick_ Cornice, which is square, and cut out at convenient distances, which gives it the form of a Set or Gang of Teeth. 

 _Diastyle_, from [Greek: dia] and [Greek: stylos]: _Columna_ is a sort of Edifice where the Pillars are distanced one from another the breadth of 3 Diameters of the Pillar. 

 _Diptere_, from [Greek: dis] and [Greek: pteron]: _Ala_ signifies that which has a double Isle or Wing; the Ancients called so the Temples, which were surrounded with two Ranges of Pillars, for there two _Ranges_ made two _Portico's_, which they called _Wings_, we _Isles_, from the French word _Ailes_, which signifies _Wings_, because as Wings are on the sides of Birds, so these of Edifices. 

 E

 _Echinus_, from [Greek: apo tou echinou] a _Hedg-hog_; it is a Member of Architecture, which we call a _Quarter-round_; it has its name from the roughness of its Carving, resembling the prickly Rhind of the Chesnut, and not unlike the Hedg-hog; it's commonly next to the _Abacus_, and carved with Ovals and Darts, sometimes called Eggs and Anchors, because these pretended Chesnuts are cut in an Oval form. 

 _Entablature_ signifies properly the Flooring or Lofting with Boards; it comes from the Latin word _Tabulatum_. In Architecture it's that part which is composed of the _Architrave_, _Frise_, and _Cornice_, for in effect this part is the extream part of the Flooring, which is supported by Pillars, or by a Wall if it have no Pillars. 

 _Eye_ is the middle of the _Jonick_ Volute, which is cut in the form of a little Rose. 

 _Eurythmie_, from [Greek: eu] _bene_, and [Greek: arithmos] _numera_: it signifies Proportion; it's taken in its general signification in _Architecture_; for in its particular signification it signifies the true measure that is observed in Dancing after Musick. 

 _Eustyle_, from [Greek: _eu_] _bene_, and [Greek: stylos] a _Pillar_; its the Order where Pillars are rightly placed, the Intercolumniations being two Diameters and a quarter. 

 F

 _Face_ is a Member of Architecture, which has a great Breadth and a small Projecture; it's in _Architraves_. 

 _Filet_ is a little square streight Member. 

 _Fresco_, and to paint in _Fresco_ or _Freth_, is an Italian Phrase, and it signifies the Painting which is made upon the Plaistering before it be dry. 

 _Frise_ is that part which is between the _Architrave_ and the _Cornice_. 

 G

 _Gnomonick_ is the Art of making Sun-dials; it's derived from the Greek [Greek: gnômôn], which signifies that which shews a thing, as the Cock or Pin of the Dyal shews what a clock it is. 

 _Gorge_, or the _Gule_ or _Neck_, is the narrowest part of the _Dorick Capital_, which is between the _Astragal_, above the Shaft of the Pillar and the Annulets. 

 _Gutte_, or _Drops_, are little parts, which to the number of six are put below every _Triglyph_ in the _Architrave_ of the _Dorick Order_. 

 H

 _Hydraulick_, from the Greek [Greek: hydôr]; which signifies Water, is an Engine that plays by the help of Water, especially where there are Pipes and Flutes. 

 _Hypethre_, from [Greek: hyposuo], and [Greek: aithêr] æther; signifies a Building whose inside is exposed to the Rain and open Air. The Ancients called so all Temples that had no Roof. 

 _Hyperthyron_, for [Greek: hyper] _super_, and [Greek: thyra] _Janua_, a Gate or Door: It signifies that which is above the Gate; it's a large Table, which is upon the _Dorick_ Gates in the manner of a _Frise_. 

 I

 _Ichnographie_, from [Greek: iknos] _vestigium_, and [Greek: grapha] _Scribo_, or _Insculpo_; which properly signifies the Figure that the Plane of the Foot impresses upon the Earth. By it in Architecture is understood that which is commonly called the _Plan_ of the _Edifice_. 

 L

 _Lacuner_, or Platfond, is the _Flooring_ or _Planching_ above the _Portico's_. 

 _Laconicum_ was a dry Stove to sweat in: It was so called, because it was much used by the _Lacedemonians_. 

 _Larmier_ or _Drip_, vide _Corona_. 

 M

 _Metope_, from [Greek: meti] and [Greek: hopê], _foramen_, _intervallum_. Signifies the Front; it's the Name of the empty spaces in _Freeze_ of the _Dorick Order_, between the Triglyphs. 

 _Modillion_ signifies in _Italian_ a little Model, a little Measure: It's that part which is so often repeated in the _Corinthian_ and _Compound Cornice_, which supports the Projecture of the _Larmier_ or _Drip_. This part is called the little _Model_ in respect of the great Model, which is the Diameter of the Pillar; for as the Proportion of an Edifice depends on the _Diameter_ of the _Pillar_, so the greatness of the Modellians, their number, and their space or distances, must have a just Proportion or true Relation to the whole Fabrick. 

 _Module_ or _Model_ is a measure that is made use of to regulate all the Proportion of the _Fabrick_: In the _Dorick Order_ it's half the _Diameter_ of the Pillar; in other Orders the Module is the whole _Diameter_. 

 _Monoptere_, from [Greek: monos] _solus_, and [Greek: pteron] _ala_; is that which has but one Wing or Isle; it was a sort of a round Temple, whose Roof was supported by Pillars only. 

 _Mutuli_, from [Greek: mytilos], which signifies defect, as being made thinner, and more abated above than below. It's a sort of a Modellion in the Cornice of the _Dorick_ Order. 

 N

 _Noyan_ is the middle part of the Flooring of the Ancients. They made it with Ciment, which they put betwixt a Lay or Bed of Pibbles, cimented with Mortar made of Lime and Sand. 

 O

 _Orchestra_, from [Greek: orcheomai] _salto_; signified the place where they danced; it was the lowest place in the Theatre, which was between the _scene_, _viz. _ the place where the Players acted, and the Seats where the Spectators sate. It was in this place where the Greek Comedians were wont to dance. 

 _Order_, those Fabricks are said to be of different Orders, when the Proportion which is between the thickness of the _Pillars_ and their height, with all other things which are required to this Proportion, are different. 

 _Ornaments_, _Vitruvius_ so calls the _Architrave_, _Frise_, and _Cornice_. 

 _Oval_, vide _Echinus_. 

 P

 _Parascenium_, from [Greek: para] and [Greek: skenê] _tentonum_, is the back part of the Theatre or Scene. 

 _Periptere_, from [Greek: peri] _circum_, and [Greek: pteron] _ala_, which has a Wing round about. This was a sort of a Temple, which had Pillars on all the four Parts, which was different from the _Prostyle_, which had only Pillars before, or In the _Front_, and from the _Amphiprostyle_, which had only Pillars before and behind, and none on the sides. 

 _Peristyle_, from [Greek: peri] _circum_, and [Greek: stylos] _columna_; signifies that which has Pillars round about: It differs from the _Periptere_ in this, that the Pillars of the _Peristyle_ are within, as it were round about a Court, and those of the _Periptere_ are without, as in the Temples of the Ancients. 

 _Pedestal_, is that part which supports the Pillar. 

 _Pied-droit_ is a square Pillar, which is in part within the Wall. 

 _Pillaster_ is the same, with this Difference; that the Pillaster has a _Base_ and a _Capital_, as a _Pillar_ hath, which the _Pied-droit_ has not. 

 _Platt-band_ is a square Member, which terminates the _Architrave_ of the _Dorick Order_, and passes immediately under the Triglyphs. 

 _Plinthus_ signifies a Brick or square Tile. It's in Architecture taken for that square Member which makes the Foundation of the Base of the Pillar. 

 _Posticum_ is the back Gate of a Fabrick. 

 _Portico_ is a long place covered with a Floor or Flatfond, supported by Pillars. 

 _Proscenium_, from [Greek: pro] and [Greek: skeninê] _tentorium_; it signifies the forepart of the Scene; it was an Edifice as high as the last Portico of the Theatre, whose Face or Front was adorned with many Ranges of Pillars. 

 _Prostyle_ from [Greek: pro] and [Greek: stylos], signifies that which has Pillars before only. This was one sort of the Temples of the Ancients. 

 _Pseudodiptere_, [Greek: pseudês] _mendax_, [Greek: dis] _bis_, and [Greek: pteron] _ala_; signifies a _false Diptere_. This was a kind of a Temple among the Ancients, which had _Porticoes_ round about, which were every one as large as the double _Portico_ of the _Diptere_. 

 _Pseudoperiptere_, from [Greek: pseudês] _mendax_, and [Greek: peri], and [Greek: pteron] _ala_, was a sort of a Temple, where the Side-Pillars were part in the Wall of the inner side of the Temple, which was enlarged sufficiently to enclose within the space which was allowed the Porticoes of the Periptere. 

 _Pulpit_ was the place upon which the Comedians acted, which we now call the Stage. 

 _Picnostyle_, from [Greek: pyknos] _dentus_, and [Greek: stylos] _columna_; signifies a Building where the Pillars were very close one to another; so that the _Intercolumniation_ had but a _Diameter_ and a half of the Pillar. 

 R

 _Rudus_ was a sort of gross Mortar, which was made use of for smoothing, and equally filling and levelling the Superfices of the Walls, before the fine Plaister was laid on: It was likewise made use of for the second _Bed_ or _Lay_ of the Flooring. 

 S

 _Scene_ signifies a Tabernacle, Tent, or Pavillion, from the Greek [Greek: skenê]. It was in the Theatre of the Ancients a great _Face_ or Front of Building, adjoyned with Pillars and Statues, which had three great Openings, in which were Pictures in Perspective, which represented the Lodgings where the Tragedians and Comedians dwelt. 

 _Sabliere_ is a piece of Wood as long as a Beam, but not so thick. 

 _Scotia_, from [Greek: skotos] _tenebræ_, _Darkness_, is a Member of Architecture, hollowed as a Demi-channel: It's particularly affected in the Bases where it's placed, between the Torus and the Astragals; it's sometimes put under the _Drip_, in the Cornice of the _Dorick_ Order. 

 _Statumen_ signifies generally whatsoever is made use of to support any thing in Architecture; it is Mortar mixt with Pibbles, which served for the first Lay or Bed in Flooring. 

 _Systyle_, from [Greek: syn] _con_, and [Greek: stylos] _columna_; signifies building where the Pillars seem to be joyned together, for the _Intercolumniation_ is but of two Diameters of the Pillars. 

 T

 _Torus_ is a Member in the Base which is round, in the form of a great Ring; it comes from the Latin word _Torus_, which signifies a Bed. 

 _Tringle_ is a little square Member, which is directly upon every _Triglyph_, under the Platt-band of the _Architrave_, from whence hang down the _Guttæ_, or pendant Drops in the _Dorick Order_. 

 _Triglyph_, from [Greek: tris] _ter_, and [Greek: glyphos] _sculptura_; because it's divided into three parts, and engraved, it is a Member in the Freeze of the Dorick Order, directly upon every Pillar, and in certain spaces in the _Intercolumniations_. 

 _Tympan_ signifies a Drum; it's that part of the bottom of the Frontons which answers the naked of the Freeze; it is triangular, and placed upon the Cornice of the Entablature, and covered over again with two other Cornices which slope a little. 

 V

 _Volute_ signifies wreathed, and turned about from _Volvendo_; it's a part of the Capitals of the _Ionick_, _Corinthian_, and _Compound Orders_, which represents the bark of a Tree twisted and turned into a Spiral line. 

 X

 _Xyste_, from the Greek [Greek: zytos], which signifies scraped; it was the place where the Wrestlers exercised; it was so called because they made their skins be scraped and rubbed smooth, to make the Sweat fall, and to make their Bodies more slippery, that their Adversaries might have the less hold of them when they closed. 

 To the Reader. 

 _Abridgments of_ Vitruvius _have been formerly printed, but none of them have followed the design which_ Philebert de l'Orme _has given in his Third Book: He desires that in abridging_ Vitruvius _the matters which this Author treats of confusedly should be put into order, and that the things belonging to the same Subject, which are found dispersed in divers places, should be collected together into one Chapter. This Method, which the most part of the eminent Writers have neglected, has been carefully observed in this Treatise, it serving very much to the better apprehending and retaining the things treated of. We have been exact to put in nothing that is not taken out of_ Vitruvius, _to which end the_ Book _and_ Chapter _of his Works_ are _all along quoted in the Margin; nothing being added, but some few lines here and there, to continue the Discourse, and render it more clear: Notwithstanding which precautions, some things may possibly still remain obscure, in which case the Reader must have Recourse to the whole Works of_ Vitruvius, _where he will find all necessary Explanation. _

 _This little Treatise is not only necessary for those who begin the study of Architecture, but will be also of great use to even Masters themselves; for it is not to be doubted, that_ Vitruvius _being so great a Master in this Art, his Authority, together with that of all the Ancients, which is included in his Works, must be capable of instructing the_ Apprentices, _and confirming the Masters, and thereby establish the good Maxims and certain Rules of Architecture. _

 _Advertisement concerning this Translation. _

 This Abridgment having been very well received in French, we have ventured to put it in English, and doubt not but it will be as acceptable to our Nation, who are allowed to be as competent Judges of this Art as any. The Translation is very exact; the Cutts altogether as well, if not better, than in the French; and in the Table of the Explication of the Terms used in Architecture, we have added the Etymology and Derivation of them, which is not in the French.