Article 1. F the great merits of Vitruvius, and the Excellencies 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 second division into three parts, 1. of Solidity, 2. of Convenience, and 3. of Beauty. The Arguments of the Ten Books.         11, 12, &c.

Art. 1. Of the Original of Architecture,      17.

The first occasion of Architecture; the Models of the first Architects, 19. The Inventers of the four Orders of Architecture, 20.

Art. 2. What Architecture is,      23.

Definition of it; an Architect ought to have the knowledge of eleven things, viz. Writing, Designing, Geometry, Arithmetick, History, 24. Philosophy, moral and natural, 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.

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 are used, as Oak, Fir, Poplar, Alder, 35. Pine, Cypress, Juniper, Cedar, Larch, 36. and Olive; 4. Lime; 5. Sand and Gravel, 37. of which several sorts, Pit, River, and Pozzalane, 38.

Art. 2. Of the use of Materials,      39.

Of the Preparation of Stone, 39. Of Wood, 40. Of Bricks, 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 in binding the Walls, to strengthen them with Wood, 50. That they be exact perpendicular, 51. to ease them of their own weight, by Timber or Arches over doors and windows, and by Butresses 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.

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 most advantagiously expos'd in respect to the Heavens and Wind, 65, 66. The scituation of each Room to be according to the use 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 of the House, either publick or private; of Merchants Houses; of Country Houses; Of the several Apartments, 70. Of Lights, 71.

Art. 4. Of the convenient form of Buildings,      71.

Of the Walls of Cities; Form of publick places, 72. which were different among the Greeks and Romans; of Stairs and Halls, 72.

Art. 1. In what the beauty of Buildings consists,      74.

Two sorts of beauty in Buildings; 1st, Positive, which consists in the Symmetry, Materials, and Performance, 75. 2d. Arbitrary, which is of two sorts; 1. Prudence, 2. Regularity; which consist in the proper providing against Inconveniences, and observing the Laws of Proportion, 76. The beauty is most seen in the proportion of these principal parts, viz. Pillars, Piedments, and Chambrantes, 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 agreable to 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 speaks but 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, the Channelings of Pillars, which is of three sorts, 89. the Piedemont, 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 the Capital, 94. Of Chambrantes; and of the Piedement, 95.

Art. 6. Of the Dorick Order,       96.

The Dorick Order consists in the proportion; of the Columns, which have been different at diverse times, and in diverse Works, 96, 97. The parts of the Column are the Shaft; the Base which it anciently wanted, but hath since borrowed from the Attic; the proportion of the Base, 97. and the Captial, 98. the Archiatrave, which hath two parts, the Platbands and the Gouttes, 98. the Frise, in which are the Triglyphs and the Metops, 98. the Proportion 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 Pillars set upon the Bases two ways, perpendicular, and not so, 101. Proportion of the Base, divided into its parts the Plinthus, the Thorus, the Scotia upper and lower, with the Astragals, 102. Of the Capital, its proportion and parts, 103. Of the Architrave, wherein to be considered, the proportion it must have to the Pedestals, and to the heighth of the Column, 105. to the breadth at the bottom, 106. and to the jetting of the Cymatium, 106. Of the Frise and Cornice, 107.

Art. 8. Of the Corinthian Order,      108.

This Order different from the Ionick in nothing but in the 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 at the 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 a general Design, and borrows the parts of the Capital (which is the only distinction it has) from the Corinthian, Ionick, and Dorick Orders, 111.

Art. 1. Of Fortresses,       113.

In Fortification four things are consider'd; the disposition of the Ramparts; the Figure of the whole place, 114. the building of the Walls; thickness, materials, and terrass; the figure and disposition of the Towers, 115, 116.

Art. 2. Of Temples,       116.

Temples divided in the Greek and Tuscan Fashion; of the Greek some were round, and some square; in the square Temples 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 three sorts, viz. Dorick, 118. Jonick, 120. and Attick, 120. 2. The Proportion, 121. and 3. The Aspect, in respect to the Heavens, 122. and to its own parts, which were different in Temples with Pillars, and those without Pillars; 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. their Proportions; II. Basilica’s, their Proportions, Columns, Galleries, and Chalcediques, 128. III. Theatres composed of three parts; the Steps or Degrees which enclosed the Orchestra, 129. the Scene which had three parts, the Pulpit, the Proscenium, 130. and the Palascenium, 131. And the Walking-places, 131. IV. Gates, which were either natural 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.

Art. 1. Of the Courts of Houses,      137.

The Courts of Houses were of five sorts, four whereof were made with jettings out, or Pent-houses of four sorts. the Tuscan, 137. the Corinthian, the Tetrastyle, the Vaulted, 138. the fifth sort uncoverted, 138.

Art. 2. Of the Vestibulum or Entry,      139.

The proportion of the Vestibulum was taken three ways, for the length, breadth, and heighth, 139. Of the Alley in the middle, 140.

Art. 3. Of Halls,      140.

Three sorts of Halls, the Corinthian, the Ægyptian, and the 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, 142.

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 of Lead, 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 a Handmill; second, with a Windlas, 147. third, with several Ropes, 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 the hour, 153. Second, Organs, 154. Third, for measuring the Way by Water, 154. by Land, 155.

Art. 7. Of Machines of War,      155.

Three kinds; I. To dart Arrows, &c. 155. II. To batter down Walls, 157. III. To cover them in their Approaches to the Walls of the Besieged, 158.

ARTICLE I.

Of the great Merits of Vitruvius, and the Excellencies of his Works.

here are so many things in the Works of Vitruvius that do not directly appertain to Architecture, that one would think they were less fitted to Instruct those that have a design to learn the Precepts of this Art, than to perswade the World that the Author was the most knowing Architect that ever was, and a Person of the greatest Merit: He had the Honour to serve Julius Cæsar and Augustus, the two Greatest and most Magnificent Princes of the World, in an Age when all things were come to the highest degree of Perfection.

For one may see in reading his Works, which are full of a wonderful variety of Matters, which he treats of with a singular Erudition, that this great Man had acquired that Profound Knowledge which is necessary for his Profession by more excellent Methods, and more capable of producing something excellent, than the bare exercise and ordinary practice Lib. 6.
Preface. of a Mechanical Art could possibly do; being compleat in all the Liberal Arts and Sciences, and his great Wit being accustomed, even from his Cradle, to understand the most difficult Matters: He had acquired a certain Facility which meer Artizans have not, of penetrating the deepest Secrets, and all the difficulties of so vast an Art, as that of Architecture.

Now as it’s true that in the Practice and Exercise of Arts, one does not Lib. 2.
Pref. always easily distinguish the Abilities of those that work in them. The great Capacity of Vitruvius before the publishing of his Book, which he Composed when he was in Years, had not all the Esteem it deserved; which Lib. 6.
Preface. he complains of in his Preface, and in the Age he lived; though it was full of the most refined Wits, yet he had the fortune of others, to find few to defend him from the Surprizes and Attacks of false Reasoning, and from the injustice that prejudice creates, to those who apply themselves more to cultivate the Talents they possess, than to make parade of them.

Lib. 2.
Pref.

Lib. 6.
Pref.

Lib. 3.
Pref.

Lib. 3.
Pref.

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 his Profession; and having, as it were, buried himself in study, and wholly given himself over to the Contemplation of Sciences, understood little of the Arts of the Court, or the Crafty Slights of pushing on his Fortune and making himself considerable; for though he was bestowed upon, and recommended to Augustus, by the Princess Octavia his Sister, we cannot find that he was employed in any Works of great Importance. The Noblest Edifice that we can learn that Augustus caused to be built, was, the Theatre of Marcellus; and this was done by another Architect: And the only Fabrick we can find he was employed in was not at Rome, but at Fano, a very little City; insomuch, that the greatest part of the Architects of that Age, who had gained the general Vogue, being so ignorant, that they did not know even (as himself is forced to declare) the first Principles of their Art: The Quality of a mere Architect was become so Contemptible, that if his Books had not carried all the Marks of an extraordinary Knowledge, and rare abilities, and undeceived the World by taking away the prejudice that his small employ created him, the Precepts he has left us would have wanted that Authority 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 what we call a Good Fancy, which truly distinguishes that which is Beautiful and Good from that which is not so; it’s absolutely necessary that one be perswaded that the Fancy he follows is better than any other; to the end, that this Perswasion insinuating it self into them that study this Art, it may form in them a Correct and Regular Idea, which without this Perswasion, would be always floating and uncertain; so that to establish this Good Fancy, it’s necessary to have one to whom we give great deference, and who has merited great Credit by the Learning that is found in his Writings; and is believed to have had sufficient abilities of chusing well among all Antiquity, that which is most solid and capable of founding the Precepts of Architecture.

The Veneration we have for the first Inventers of Arts, is not only Natural, but it’s founded upon Reason; which makes us judge, that he that had the first Thought, and first invented any Thing, must needs have had a fitter Genius, and a better Capacity for it, than all those that afterwards laboured to bring it to its utmost Perfection. The Greeks, who were the Inventers of Architecture, as well as of other Sciences, having left many Works behind them as well in Building as in Books, which were looked upon in the time of Vitruvius, as the Models of what was perfect and accomplished in this Art, Vitruvius chiefly followed and imitated them; and in the Composition of his Book, gathered from them all that was to be found Excellent and Rare in all their Works; which makes us believe, that he has omitted nothing that was necessary, to form the General Idea of Good and Beautiful, since there is 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 generally established, that all Ages have placed him in the first Rank of great Wits, and that there is nothing necessary to recommend the Precepts of Architecture, but to prove they were drawn out of his Works: We having here designed to make only an Abridgment of his Works, we thought it would be necessary to cut off many things that this Famous Author has drawn out of an infinity of Writers, whose Works are now lost, and only gives a short Account of the Contents of every Book, in the beginning of this Abridgment; handling only in this Book, those Things that directly belong to Architecture; disposing the Matter in a different Method from that 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, That after having given an Account in few words of what is contained in the whole Book; we Explain more particularly what we judge may be serviceable to those that study Architecture. This Treatise is divided into Two Parts; The First contains the Maxims and Precepts that may be accommodated to Modern Architecture; the Second contains all that appertains to the Ancient and Antique Architectures; which, though often affected, have little that’s now made use of, may yet nevertheless serve to form the Judgment, and regulate the Fancy, and serve for Examples 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 see many Examples in the Fabricks that remain in Greece. The Architecture which we call Antique, is that which may be found in the Famous Edifices, which, since the Time of Vitruvius, were built at Rome, Constantinople, and many other places. The Modern, is that which being more accommodated to the present use, or for other Reasons, has changed some of the Dispositions and Proportions which were observed by the Ancient and Antique Architects.

ART. II.

The Method of the Works of Vitruvius, with short Arguments of every Book.

ll his Works are divided into Three Parts: The First Lib. 1.
Chap. 3. Treats of Building; The Second is Gnomonical, and treats at large of Astronomical and Geometrical Affairs. The Third gives Rules and Examples for making Machines or Engines serviceable, either in War or Building. The First Part 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 either publick or private. He speaks of private Buildings in the Sixth Book; and as to that which relates to publick Buildings, it’s likewise divided into Three Parts, viz. That which has Relation to Security, which consists in Fortifications, described in the Third Chapter of the First Book; That which appertains to Religion, of which he treats in the Third and 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 and Last Book.

Besides these particular Matters of Architecture, there are Three things that appertain to all sort of Edifices, which are, Solidity, Convenience, and Beauty. He speaks of Solidity in the Eleventh Chapter of the Sixth Book; of Convenience, in the Seventh Chapter of the same Book; and of Beauty through the whole Chapter of the Seventh Book; which contains all the Ornaments that Painting and Sculpture are capable of giving to all sorts of Fabricks; and as to Proportion, which ought to be esteemed one of the principal Foundations of Beauty, it’s treated of throughout all his Works.

But to make it better understood, in what Method every Book explains those things, we must tell you, That in the First Book, after having treated of those things that belong to Architecture in General, by the Enumeration of the Parts that compose it, and of those that are required in an Architect, the Author explains in particular what choice ought to be made of the Seat where we ought to Build, as to Health and Convenience; after he speaks of the Foundations and of the Building of Fortifications, and the Form of Towers and Walls of Cities, he dilates himself upon the Air and Healthiness of the Situation.

In the Second Book, he speaks of the Original of Architecture, and what were the first Habitations of Mankind; after he treats of the Materials, viz. of Brick, Sand, Lime, Stones, and Timber: After which he treats of the different Methods of laying, binding, and Masonry of Stones. He Philosophizes upon their Principles, and upon the Nature of Lime, upon the choice of Sand, and the time of cutting of Wood.

The Third Book treats of the Proportion of the Temples, and of seven sorts 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 every Pillar, to which he gives the Five Names following, (which in the latter Part of this Book shall be more fully explained, as well as divers Terms of 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 Humane Bodies.

The Fourth gives the Proportion of the Corinthian and Dorick Orders for 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 occasionally discourses at large upon Musick, because, speaking of Theatres, he gives an account how the Ancient Architects, were in some places of the Theatre wont to place Vessels of Brass to serve for several sorts of tunable Echo’s, and augmenting the Voice of the Comedians.

In the Sixth he teaches what were the Proportions and Forms of private Houses among the Greeks and Romans, as well in the City as Country; and describes 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 for Plaster and Floors; how Lime and the Powder of Marble ought to be prepared to make Stuck. He speaks likewise of the Ornaments that are common 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. of their Springs, of their Nature, and Properties; how they are to be sought; and of the Conduits that are to bring them to Cities and Villages.

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

The Last is taken up wholly in the Description of making Machines to lift up great Weights, and others for several uses; viz. for the Elevation of Water for Corn-Mills, Water-Organs and Measuring the Way as well by Sea as by Land; but it chiefly treats of Machines fit for the use of Building and War.