A parallel of the antient architecture with the modern in a collection of ten principal authors who have written upon the five orders ... : the three Greek orders, Dorique, Ionique, and Corinthian, comprise the first part of this treatise, and the two Latine, Tuscan and Composita, the latter / written in French by Roland Freart, sieur de Chambray ; made English for the benefit of builders ; to which is added An account of architects and architecture, in an historical and etymological explanation of certain tearms particularly affected by architects ; with Leon Baptista Alberti's treatise Of statues, by John Evelyn, Esq.

AN ACCOUNT OF ARCHITECTS & ARCHITECTURE, TOGETHER WITH An Historical, and Etymological Explanation of certain TEARMS particularly affected by ARCHITECTS.

THE knowledg of this sumptuous, magnificent, and useful Art for having been first deriv'd to us from the Greeks, we should not without infinite ingratitude either slight, or innovate those Tearms which it has pleased them to impose upon the par∣ticular Members and Ornaments belonging to the several Or∣ders; and that as well for the veneration which is due to An∣tiquity, as that by comprehending the signification of them, we may with the more facility and address attain to the intelligence and genuine meaning of what the Masters in this Profession have deliver'd to us in their several Writings and Works; not to insist upon (what is yet not to be despis'd) the decorum of speaking properly in an Art which the greatest Princes and Potentates of the Earth have vouchsafed to honour by so many signal and illustrious Monu∣ments as do to this day consecrate their memories to posterity.

Since the Agent does always precede the Action, and the Person or Workman is by natural Order before his Work, we are by an Architect* 1.1 to understand a person skilful in the Art of Building: The word is 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, a Compound in the original, and signifies Fabrúm praefectus, or if you will, Informator, which the President, superintendent, or Surveyor of the Works does fully express; his 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 being relative to the Fabri that are under him, as the Operae or Labourers are subservient to them.

Budaeus calls him, Structorum Princes, and such a Person as a capable of rendring a rational and satisfactory accompt of what he takes in hand. Ratio∣cinatio autem est, quae res fabricatas solertia ac ratione proportionis demonstrare atque explicare potest. Vitr. l. 1. c. 1. So our Master; and such a one it seems was that Philo the Athenian Architect, of whom the Orator, Neque enim si Philonem illum Architectum, qui Atheniensibus Armamentarium fecit, constat perdiserte populo rati∣onem operis sui reddidisse existimandum est Architecti potius artificio disertum, quam or atoris fuisse, de Orat. 1. Seeing his knowledg and ability in this faculty did

not at all eclipse and diminish has Eloquence and other excellent parts, but rather added to them; and this I urge to shew that it was no mean thing for a man to arrive to the talents of an accomplish'd Architect, as he that shall take his Character out of Vitruvius will easily conclude; Itaque Architecti (says he) qui sine literis contenderunt, ut manibus essent exercitati, non potuerant efficere ut ha∣berent pro laborius Authoritatem, as if hands could do little in this Art for their credit without letters: nay, so universal will this great Dictator have him, that in those duodecim necessaria he sums up no less then twelve rare qualities which he would have him furnish'd withall; Itaque eum & Ingeniosum, &c. I will but only touch them. 1. He must be docil and ingenious. 2. He must be literate. 3. Skilful in designing and drawing. 4. In Geometry. 5. Opticks. 6. Arithmetick. 7. History. 8. Philosophy. 9. Musick. 10. Medicine. 11. Nay, in Law; and 12. Astrologie; and really, when (as in the following Chapter) he there assembles his reasons for all this, you will be both satisfied with them, and justifie his curiosity. Not that an Architect is obliged to be an accurate Aristarchus in Grammer, or an Aristoxenus in Musick, an Apelles, or a Raphael for Designing; in sum, an exact Professor in all these Faculties, sed in his non imperitus; Suffi∣cient it is he be not totally a stranger to them; since without Letters he cannot consult with Authors: Without Geometry and the Graphical Arts, he will never be able to measure out, and cast the Area; draw the Plot and make the Scale: Be∣ing ignorant of the Opticks he can never well understand the due placing of his Lights, distance, magnitude and dimensions of his Ornaments: By the assistance of Arithmetick he calculates the proportions of the several Orders, sums up his Accompts and makes an estimate of the Charge: being read in History he comes to discourse of the reasons, and original of many particular Members and decorations, the height, improvement, and decay of his Art; why the Greeks instituted the Order of the Caryatides, and the Persian Entablatures were supported by Slaves; how the Corinthian Capitels came to be adorn'd with foliage, the Ionique with a Matron-like Voluta, &c. By the study of Philosophy he arrives to the knowledg of natural things, and is able to discern the quality of the Elements, and the materials which he makes use of: From some insight in Medicine he can reason of the temperature and salubrity of the Ayr, and situa∣tion: Musick will assist him in contriving how in Churches, Tribunals and pub∣lick Theatres men may with best advantage hear the Preachers, Magistrates, and Actors voices: Without some Tincture in the Laws he cannot be secure of his Title: and being wholly ignorant of Astrologie, position and influences of the Celestial bodies, the Days, Winds, Weather, Equinoxes and course of the Heavenly Orbs (like Bruits) pass over without observation, benefit, or prevention of their effects. To this purpose (though much more at large) Vitruvius: But by this you may see how necessary it is, that an accomplish'd Master-builder should be furnish'd beyond the Vulgar, and I have been the longer in the repetition, not only that I may advance his reputation, and for encouragement; but to

shew that in the proper notion, and as the great Plato has somewhere defin'd him, Nullus Architectus utitur manuum operâ, sed utentibus praeest. No Architect is to be presum'd for the commonly illiterate Mechanick (which may bring it in∣to contempt) but for the Person who Superintends and Presides over him with so many advantages: Yet neither is this to the dishonour of the meanest of those excellent Workmen who make use of their hands and tooles in the grosser materi∣als, since God himself and Nature the universal Builders, are by translation true∣ly styl'd Architects, both as to what they have excogitated so wisely, and wrought so artificially.

Be this then spoken of the Superintendent in particular, whom for distincti∣on sake and the Character assign'd him we may name Architectus Ingenio: For since to the perfection of an accomplish'd Building there were three tran∣scendencies required: 1. Strength, 2. Vtility, and 3. Beauty, for the apt Distri∣bution, Decor and fitness, Symmetrie and Proportion, there was likewise necessa∣ry as many capacities, and that besides the judicious head there should be a skilful hand, to which let us add Architectus Sumptuarius, a full and overflow∣ing Purse: Since he who bears this may justly be also styled a Builder, and that a master one too, as being the Person at whose Charge, and for whose benefit the Fabrick is erected, and it is indeed the Primum mobile which both begins and consummates all designs of this nature; for if that ingredient come once to fall short, Men build their Monuments, instead of their Houses,* 1.2 and leave marks of dishonour, for Tables of renown, Homo iste caepit aedisicare, & nequivit perficere, This man began to build, and was not able to finish. Yet thus have I known some excellent Persons abus'd, who trusting to the Computation of either dishonest, or unskilful Artists, have been forc'd to desist, sit down by the loss, and submit to the reproach:* 1.3 But so it seemes would not the Greeks suffer themselves to be over-reach'd, when those great Builders the Ephesians (who knew sufficiently what a mischief it was to the Publick, as well as to private men) ordain'd it for a Law, That if a Clerk undertook a Work, and spent more then his Calculation amounted to, he should be obliged to make it good out of his own Estate, whilest, they most liberally and honourably rewarded him if either he came within what was first design'd, or did not much exceed it. And this was esteem'd so reasonable (upon consideration how many no∣ble Persons had been undon, and magnificent Structures left imperfect) that Vitruvius writing to the great Augustus concerning this subject,* 1.4 wishes the same Constitution were in force at Rome also. But thus I have done with our Architectus Sumptuarius, I come to the

Manuarius the third and last, but not the least of our Subsidiaries, for in him I comprehend the several Artizans and Workmen, as Masons, Stone-cutters, Quarry-men, Sculptors, Plasterers, Painters, Carpenters, Ioyners, Smiths, Glaziers, and as many as are necessary for the carrying on of a Building till it be arriv'd to the perfection of its first Idea. But though it is not (as I said) expected

that these should trouble themselves with much Learning, or have any thing to do with the Accomplishments of our Masters Superintendent: Yet, since an exact and irreprochable Piece of Architecture should be 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 totius Mathese••s the Flower and Crown as it were of all the Sciences Mathematical, it were infi∣nitely desirable that even every vulgar Workman whose calling is conversant a∣bout Building, had attained to some degree of competent knowledg in the more easy and useful principles of those lineary Arts, before they were admitted to their freedom, or employed in designes of moment. And truely, if a through insight of all these (as undoubtedly they are) be necessary to a good Artist; I know no reason but such a Person (however it hath pleased our Schools in Vniversities to employ and decree their Chaires) might with very just reason be also number'd inter liberalium disciplinarum Professores, and not thrust out as purely Mechanical, inter opifices, a conversation hitherto only admitted them; as if talking, and speculation about words, were comparable to useful de∣monstrations: Great pitty I say it is, that amongst the Professors of Humanity (as they call it) there should not be some Lectures and Schools endow'd and furnish'd with Books, Instruments, Plots, Types and Modells of the most excel∣lent Fabricks both in Civil and Military Architecture, where these most noble and necessary Arts might be taught in the English and Vulgar Tongue, re••riv'd to their proper, and genuine significations; and it is to be hoped, that when his Mojesty shall perfect his Royal Palace of White-Hall according to the de∣sign, he will in emulation of those Heroes, Francis the First, Henry the Fourth, Cosimo de Medices, the Dukes of Vrbin, Richlieu and other munificent Spirits, destine some Apartiments for the ease and encouragement of the ablest Workmen in this, as in all other useful, Princely and Sumptuous Arts: I mean for Printers, Painters, Sculptors, Architects, &c. by such liberal honoraries as may draw them from all parts of the World to celebrate his Majesty by their works to posterity, and to improve the Nation: For from such a bounty and provision as this it appears to have been, which made Vitruvius* 1.5 to leave us those his incompara∣ble Books, that we have now enjoy'd for so many ages; for so he acknowledges it to the great Augustus, Cum ergo eo beneficio essem obligatus, ut and exitum vitae non haberem iopiae timorem, &c.

I might upon this occasion speak something here concerning the Matter and Form of Buildings, which after the Persons who undertake them, are their most solid and internal Principles; but I purposely pass them over at present, because they do not properly belong to this Discourse, but to some more intire Treatise of the whole Art than is yet extant amongst us, and to be de∣livered by some industrious Person who shall oblige the Nation with a through examination of what has already been written by Vitruvius l. 2. c. 3. ad 9. Palladio 1. c. 2. Leon Albert•• l. 2. c. 45. 46. Dan. Barbato l. 11. Sir H. Wotton in his concise and useful Theorems, &c. and in what shall be found most beneficial for our Climat; it were I say, becoming our great needs that some ingenious Person

did take this in hand, and advance upon the Principles already establish'd, and not so acquiesce in them as if there were a Non Vltra Engraven upon our Columns like those of Hercules, after which there remained no more to be discovered; at least in the apprehension of our vulgar Workmen, who for want of some more solid directions, faithfull and easy rules in this nature, fill as well whole Cities as private dwellings with rubbage and a thousand infirmities, as by their want of skill in the profession, with the most shameful incongruities and inconveniencies in all they take in hand; and all this for want of Canons to proceed by, and humility to learn, there being hardly a Nation under hea∣ven more conceited of their understanding and abilities, and more impatient of direction than our ordinary Mechanicks: For let one find never so just a fault with a Workman, be the same of what Mystery soever, immediately he shall reply, Sir, I do not come hither to be taught my Trade, I have serv'd an Ap∣prenticeship, and have wrought ere now with Gentlemen that have been satisfied with my work, and sometimes not without language of reproach, or casting down his Tools, and going away in wroth; for such I have frequently met withal. I do not speak this to diminish in the least from the capacitie and apprehension of our Nation who addict themselves to any of the most polite and ingenious Professions, but to court them to more civility, and to humble the ignorant: For we daily find that when once they arrive to a through-in∣spection and address in their Trades, they paragon, if not exceed even the most exquisite of other Countries; as we may see in that late reformation and im∣provement of our Lock-Smiths, work, Ioyners, Cabbinet-makers and the like, who from very vulgar and pittiful Artists, are now come to produce works as curi∣ous for their filing, and admirable for their dexterity in contriving, as any we meet with abroad, and in particular for our Ioyners, they excell all other Na∣tions whatsoever.

But as little supportable are another sort of Workmen, who from a good con∣ceit of their abilities, and some lucky jobb (as they call it) do generally ingrosse all the work they can hear of, while in the mean time they disdain almost to put their own hands to the Toole, but for the most part employ their Apprentices, of some other ignorant Iourney-men; as if the same of their Masters abilities did any thing contribute to the well performance of Work undertaken, whilest in the interim he hardly appears himself till all the faults be slubber'd over, the remedy either impossible or expensive, and our Master ready to re∣ceive his Money, which such Gentlemen-Mechanicks commonly consume on ease and bravery, being puffed up with an empty conceit of their own abili∣ties, which (God knows) is very indifferent, and the less for want of exercise and humility: a practcie so contrary to the usage of all other Nations, that even such as by their knowledg in this kind, have meritoriously attained to the Titles of Military Dignity, have notwithstanding pursued their Employ∣ments and Callings in personal cares and assiduous labours, to their eternal

same so long as one Stone shall lie upon another in this World; as I could abundantly exemplifie in the works of Cavalieri Fontane, Bramanti, Sanso∣vino, Baglione, Bernini, Fiamingo, &c. whose egregious labours, both before, and since the accumulation of their honours, do sufficiently justify what I re∣port concerning them. And that all such may know I reproach no man out of spleen or the least animosity to their Persons (for such as are not guilty will never be offended at my plainness, or take this for a Satyre) I cannot but ex∣ceedingly redargue the want of more acquaintance in these so necessary and becoming Arts even in most of our Nobility and Gentry, who either imagine the Study of Architecture an absolute non-necessary, or forsooth a diminution to the rest of their Education, from whence proceeds that miserable of loss of so many irrecoverable advantages during their Travels in other Countries, as ap∣pears at their return; whereas if it were truly consider'd, there is nothing which does more properly concern them, as it contributes to their external honour, then the effects of this illustrious Art: Besides, these being Persons of better parts, are most likely to be furnish'd with the best abilities to learn, and so consequently enabl'd to examine, and direct such as they shall set on Work, without reproch either to their conveniency or expence when they at any time Build, not forgetting the Ornament and Lustre which by this means rich and opulent Structures do add to the Commonwealth; their remaining at this day no one particular, for which Egypt, Syria, Greece, nay Rome her self (beheld in all there State, Wisdom, and Splendor) have been more admir'd and celebrated, then for the Glory, Strength, and Magnificence of their incomparable Buildings; and even at present, the most noble Youth of Italy are generally so well furnish'd with instructions touching this laudable Art, that the knowledg of Architecture (and to speak properly in its tearms &c.) is universal, and so cherish'd, even in men of obscure extraction, that (as is already instanc'd) Architects (I mean the Manuary as well as Ingeniary) have been, and are yet often rewarded with Knighthood, and the Art profess'd as a most becomming and necessary accomplishment in divers of their Academies: Add to this the Examples of so many great and illustrious Persons as (without the numeration of those our Master has recorded in the Preface to his seventh Book) I might here bring upon this Theater famous for their skill and encouragement of this sump∣tuous Art: Emperours, Kings, Popes, Cardinals and Princes innumerable, who have all of them left us the permanent Monuments of it in the several places of their Dominions, besides the infinite advantage of well managing of great and pub∣lick expences, as well as the most private and Oeconomical, an handsome and well contriv'd house being built at a far less charge, than commonly those irregular congestions, rude and brutish inventions, which generally so deform and incommode the several habitations of our Gentry both in City and Country.

But I have done, and I hope all that love and cherish these Arts, and par∣ticularly

that of Architecture, will not be offended at this Zeal of mine in be∣speaking their esteem of it, since if I have said any thing in reproof of the errours either of the Persons who pretend to it, or of the Works which they do to its disgrace; I have only spoken it that both may be reformed and made the better. But least whilest I thus discourse of the Accomplishments of our Artists, and defects of the Pretenders, I my self be found Logodaedalus, and as they say, Architectus Verborum only, I proceed from the Person to the Thing.

Architectura,* 1.6 deriv'd from the Greek Substantive 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, and which is by some taken for the Art it self, by others for the Work, aedificio ipso & opera, by us for both, is thus defin'd; Scientia pluribus disciplinis, & va∣riis eruditionibus ornata, cujus judicio probantur omnia quae à caeteris artibus perficiun∣tur, opera. Architecture (says our Master Vitruvius) is a Science qualified with sundry other Arts, and adorn'd with variety of Learning, to whose judgment and approbation all other Works of Art submit themselves. Or rather in short and as effectual, cujus praeceptis diriguntur, & judicio probantur, &c. for so it seems to be more explicite, since in a Geometrical Problem there are both the Construction, or Direction Operis faciendi, which these Praecepta define; and also, the Demonstration or Probation Operis jam facti, which is specified by the Iudicium in the Vitruvian definition. I conceive therefore the first part to be the more Essential and inseparable; the latter to be but the result of the former, and no more ingredient into the Art then the image of a Mans face in a Glass is constitutive of him.

But to forbear any farther gloss, you see what a large dominion it has, and I might go on: Ea nascitur ex fabrica & ratiocinatione, to shew that she is the Daugh∣ter of Building, and Demon∣stration:* 1.7 Then, (for so I affect to render it) that Building is the result of an assiduous and manual practice upon apt materials according to the Mo∣del propounded; and lastly, that our Ratiocination is an ability of explicating what we have done by an account of the just proportions; In a word, it is the Art of Building well, that is, handsomly, solidly, and usefully; for so (to omit many other Elogies and Defi∣nitions) I find it established; and therefore the learning of our Architect without the diligence of our Workman, umbram, non rem consecuta videtur, may serve to rear a Tabernacle, not build a Temple, there being as much difference between speculation and practice in this Art, as there is between a Shadow and a Substance; but with what advantages those persons proceed who both know, and can ap∣ply, I have already demonstrated; and when we consider that the whole Art consists in the most exact and elegant order imaginable, it is not to be won∣dered there have been so few able men of the Profession: Sir H. Wotton, who rec∣kons those two parts for one, that is, the fixing of the Model to a full expression of the first Idea, passes (with our Master) to the species or kinds of this disposi∣tion; whose learned names since our politer Workmen do commonly retain, I think meet to interpret for the benefit of the less knowing. The first is,

Ichnography,* 1.8 by which we are to understand the very first Design and Ordi∣nance of a Work or Edifice, together with every partition and opening, drawn by Rule and Compass upon the Area or Floor, by Artists often call'd the Plan or Plat-forme as in our reddition of the Parallel: The Greeks would name it 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 Vestigii descriptio, or rather Vestigium operis, the superficial effor∣mation of the future Work, which our Ground-plot does fully interpret. This is properly the Talent and Work of the chief Architect or Surveyor himself (and indeed the most abstruse and difficult) by which he expresses his con∣ception and Idea for the judicious collocation, idoneous and apt disposition, right casting and contrivement of the several parts and Rooms according to their distinct offices, and uses; for as Ordination imports the quantity, so does this the quality of the Building. To this succeeds

Orthography,* 1.9 or the erect elevation of the same in face or front describ'd in measure upon the former Idea: Some do by this comprehend the sides like∣wise (but so will not I) to be seen as well within as without the Model. It is in truth but the simple representation of that part opposite to the eye of the beholder, and thence by Italians l' Alzato or l' impiedi, facciata and Frontis∣piece, without shadows or other deceptions, and the second species of disposition. The last is,

Scenography,* 1.10 or (as some) Sciagraphy, which is the same object elevated upon the same draught and center in all its optical flexures, diminutions and shadows, together with a fore-shortning of a third side, so as the whole Solid of the Edi∣fice become visible in Perspective (as they say) because composed of the three principal lines used in that Art, viz. that of the Plan or Plot, belonging to the first Idea; that of the Horizon or eye-line, which denotes the second; and the line of distance which makes the third with all its adumbrations and shadowings, which distinguishes it from what they call the Profile* 1.11 signified by the edging stroaks and contours only, without any of this solid finishing. From these three Ideas it is, that same Eurythmia,* 1.12 and Venusta species Aedificii does result which creates that agreeble harmony between the several dimensions, so as nothing seems disproportionate, too long for this, or too broad for that, but corresponds in a just and regular Symmetry* 1.13 and concent of the Parts with the whole, as the due make of each member in the body denominates the com∣pleatness of the figure, by it in Statue, or the Life. Lastly,

Decor,* 1.14 which is not only where the Inhabitant, and habitation, suite, seeing that is many times accidental; but where a Building, and particularly the Or∣naments thereof, become the station, and occasion, as Vitruvius expresly shews in appropriating the several Orders to their natural affections; so as he would not have set a Corinthian Column at the Entrance of a Prison, nor a Tuscan before the Portico of a Church, as some have done among us with no great regard to the decorum: Here therefore it is, that the Iudgment of an Architect ought to be consulted, since even in the disposition of the Offices of our most private

houses, we find no where greater absurdities committed, whilest we many times, find the Kitchin where the Parlour should have been, and that in the first and best story, which should have been damned to the lowermost and the worst.

Philander seems to be in some doubt whither the Architect did after all this make a Model* 1.15 of his future Work, but resolves it in the affirmative for many rea∣sons, ita enim futura deprehenduntur errata, & minimo impendio, nulloque incommodo, &c. for so (saies he) future errors may be timely prevented, with little cost, and without any trouble before the remedy prove incorrigible. There is nothing certainly spar'd to less purpose, and more to the detriment of Builders then the small expence of making this Prototype, which I would have fram'd with all its Orders, and Dimensions, by the assistance of some skillful Ioyner, or other ingenious Artist in some slight material, which may be to remove, uncover and take in pieces, for the intuition of every Contignation, Partition, Passage, and Aperture without other adulteration by Painting or Gaudy artifice, but in the most simple manner as Sir H. Wotton prudently advises, for reasons most material and unanswerable; but from all which we may deduce how abso∣lutely necessary it is, that an Architect have more than a vulgar dexterity in the Art of Designing and Drawing, Quae autem conferant, imo, quae sint Architecto penitus necessaria ex artibus, haec sunt, Pictura & Mathematica; in ceateris doctusne sit, non laboro: So the Patriarch, lib. 9. upon that of our Master, lib. 1. c. 1. Peritus Graphidos, &c. and then concludes, Necessaria igitur est Architecto Gra∣phidis (i. e.) designationis ut Itali dicunt peritia, as being a thing altogether indi∣spensable; but of this already, for by the Method of this Institution I should now proceed to the more particular distributions of this Art, whither in re∣spect to private or publick Buildings, but I leave it for the next Edition of what remains of the incomparable Palladio, when either by the same it is be∣gun, or by some other charitable hand, it shall be taught to speak English; and the title of this Discourse, which minds me of a through explanation of the more dificult tearms of this Art, for being principally, if not only conversant about the five Orders and their Ornaments (the subject of our learned Parallel) calls me back to a distinct Survey of them, and I will begin at the Foundation.

Properly Foundation* 1.16 is the very Cofer or ground-bed search'd ad solidum, & in solido, as our Master advises, and upon which a wise man would only Build and raise the Proto-substruction, or first beginning of his Wall. This the Greeks call'd,

Stereobata* 1.17 for its artificial firmeness, as immediately succeeding the under∣filling of the former (for so we name those dry Materials upon the Surface) to be the Bases of the whole Edifice: I am not ignorant that some contend a∣bout this Office, confounding it with the Stylobata and Pedistals of Columns, assigning them a regular thickness of halfe as much more as the Orders they support; and then the Italians call it the Zoccolo, Pillow or Die (because of its Cubique and solid figure:) But I rather take it for the Basamento of the whole

which I would therefore rather augment than contract to that stinted dimen∣sion: The Reverend Daniel Barbaro, c. 8. l. 2. describes us all the kinds of them, and calls this in particular (and which confirmes this division) the conceiled part, or fondatio in imo: And then by this elegant distinction defines Structura to be that of Fronts; Instruction,* 1.18 that of the middle parts; and Sub∣struction, of the lower; though this last notion does likewise many times im∣port some vast and magnificent Building, for so Baldus has cited that passage in Liu. l. 6. where he names the stately Capital a Substruction only, and other Authors Substructiones insanas, for such vast and enormous Fabricks: But that we may not omit the Pedistal (though of rarer use amongst the Antients) I come next to the

Stylobata;* 1.19 For our Pedistal is vax Hybrida (a very mungrill) not à Stylo, as some imagine, but à Stando, and is taken for that solid Cube, or square which we already mentioned to be that to the Column imposed, which the Superstru∣cture is to this. It is likewise call'd Truncus the Trunk (though more proper∣ly taken for the shaft or body of an Order) contained between the Cornice and Base (for Pedistals have likewise those Ornaments inseparably) also Abacus, Dado, Zocco, &c. which is sometimes Carv'd with bass-relievo in Historical Em∣blems, as that of Trajans at Rome: Poggio, from its office of supporting, and then 'tis constantly adorn'd with a Cornice consisting of a Cymatium on a Corona with Lifts, and sometimes Scotia or shallow cavities and an addition of an upper Zocco or Plinth of a smaler hollow and part of the Cymatium, upon which the Scamilli impares Vitruviani were set, if design'd for Statues: Or, if without, for Columns. The Base has likewise an Ornament of a Cynatium inverted upon a Plinth, as may be seen in the Corinthian Stylobata. But, as we affirm'd, the Antients did seldom use Pedistals unless where Railes and Balusters were requi∣site, and Parapet walls for Meniana, Pergolas and Balconies, and where they serv'd for Podia or posaries of a leaning-height for which they had a slight Cornice assign'd them; and this minds me of the 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 among the Greeks, as indeed seeming to have been deriv'd from the Eastern 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 used, and to the Iews (we read) enjoyn'd upon their flat-roofed houses, these balusters being in truth but a kind of petty Columns under the Railes or Architrave be∣tween Pedistal and Pedistal for that moral reason, the security of the Walkers, especially at what time they used to spread Tents upon them, as frequently they did: But if (as we said) for the better eminence of Figures, then with the imposition of

Scamilli impares,* 1.20 of which there is so much contention amongst our hyper∣critical Architects, though in fine they prove to be but certain Zoecos or Blocks elevating the rest of the members of an Order, Column, Signum or Statue from being drowned or lost to the Eye, which may chance to be plac'd below their Horizon; that is, beneath the Projectures of the Stylobata Cornices and other Saillies, by an agreeable reconciliation of Geometry with the Opticks: In a word,

the Pedistals of Statues do well express them, and those halfe-round elevations, or other unequal eminencies upon the Stylobata, be they one or more Plinths like so many steps succeeding one another for the advantage of what stands upon them. But to proceed to the Orders and their several Members as they naturaly rise in Work.

The Base* 1.21 deriv'd from the Greek Verb 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 imports the sustent, prop or foot of a thing, and is in Architecture taken not for the lowermost member of an Order, but for all the several ornaments and mouldings from the Apophyges or rising of the Columns shaft, to the Plinth: Sometimes also for the Spire,* 1.22 which lying on the Plinth like the Coile of a Cable derives thence its name, though something improperly methinks, considering these members do not run Spiral but obliquely rather and in orben: In sum, the Basis is to the Column and its Intablature, what the Stylobata is to the Basis, and the Stereobata to the Pedi∣stal. But to come to each particular,

The Plinth* 1.23 is the first, and very lowest member of the Base. The Word denotes a Brick or square Tyle of which happly they were usually made, but ra∣ther for the resemblance, because of the weight it was to bear, and therefore more probably of something more solid to preserve the foot of the Column from rotting, when first Pillars were made but of the tapering bodies of Trees, as we shall shew hereafter: Plinth is likewise taken for a like member about the Capital, but then always with its adjunct, the Plinth of the Capital, &c. be∣cause placed just above the Echinus as in the Doric, Ovolo, or quarter round in the other Orders. The Italians familiarly name it Orlo, which importing a round Welt, Hem or Brim, methinks is not so properly applied ot it. The next is,

Torus,* 1.24 the third member of the Base (of which there is superior and inferior in the Bases of all the Orders, the Tuscan excepted) comes from 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 denoting the round∣ness and smoothness of it; Torus enim quicquid rotundum, or rather as Scaliger, quod artificialiter elaboratur & tornetur, because artificially made so; but why not from its swelling and brawniness: It much resembles the shape of a round Cushion, torques or Wreath, thence 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, and the imposed weight makes it seem to swell out as if indeed it were stuffed, and that with reason say the Critics for the more easy and safe position of the

Trochile,* 1.25 from 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 or 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 a rundle or Pully-wheele which it much re∣sembles, and is that Cavity appearing next to the Torus: The Italians name it Ba∣stone, or more properly Cavetto, and Cortice, tanquam baculi cortex, the hollow rind of a Tree, as Barbaro. Our Workmen retain the antient Scotia,* 1.26 from 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, its obscurity proceeding from the shade of the hollowness, but more vulgarly they call it the Casement, and it is ever the Cavity between the for∣mer Torus's, and also beneath the Doric Cornice separated from the plain Margen or regula cal'd Mentum and Corona by a small Cymatium, or sometimes a List only: The Capital letter C. is a perfect resemblance of this Moulding, and

it is indeed frequently bordured or rather shut in with lists. Lastly,

The Astragal,* 1.27 which besides divers other things (as the Stem spinae Ver∣tebrae neer the neck) has here its analogy from that done a little above the Heel, whence the French name it the Talon or Heel it selfe (as our Author of the Parallel) nor improperly; but by the Italians il Tondino being a kind of halfe Torus, sometimes wrought in the richer Orders like an over-cast hem or edg to the larger Tore, which frequently is plac'd between, as in the Ionick Base with two Scotias, and sometimes (though rarely) just about the Plinth of the Base, as some marshal it: Otherwhiles again it is taken for the Cincture or Coller next the Hypotrachelium and diminution of a Column listed on both edges; and it runs also under the Echinus of the Ionick. Our Englisher of Hans Bloome names it a Boltell, of Fillet in any part of a Pillar, but I take a Fillet to be more flat, this more swelling and (as I say) Torus-like. Moreover we sometimes find it dividing the Fascia of the Corinthian Architrave where it is wrought in Chapletts and Bends or Berries: and finally in two places, both a∣bove and beneath the Lists joyning immediately to the Square or Die of a Pe∣distal where Stylobata is introduced; and so we have done with the ornaments and mouldings of the Base.

The Columns* 1.28 are next, which being of five denominations or Orders are to Architects what the Modes be in Musick, and the Corminum genera among Poets, all Buildings whatsoever being under the regiment of some one of them, or at least ought to be. It is here properly that round and long Cylinder diversly named by Authors, Scapus, Vivo, Tige, Shaft, Fust, Trunke, &c. containing ••he bo∣dy thereof from the Spire of the Base, or lately mention'd Astragal, to the Capitel: Sometimes for the substance and thickness of the bottom of the Pillar, and in Authors for the Checks of a Door Secundum Cardines & Antepagmenta, of which consult the learned Baldus in the World Replo de Sig. Voc. Vitr. also the perpen∣dicular Post of a Winding-staires; but for the most part for that solid of a Column which being divided into three parts, has (as some delight to forme them, but without any reason or good authority) an Entasis* 1.29 or Swelling, and under the Collerine or Cimbia of the Capital, a Contracture and comely diminu∣tion, by workmen call'd the breaking of the Pillar. But the primary issue or rise of the Shaft next the Astragal and neather Cincture is Call'd the Apophyges* 1.30 from the Greek word 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, because in part the Column taking as it were a rise, seems to emerge and fly from the Bases like the processus of a bone in a mans leg; and so it is now and then applyed to the Square of Pedistals likewise. In short, 'tis no more then the rings or feruls heretofore used at the extremities of Woden Pillars, when formerly they were made of that ma∣terial, to preserve them from splitting, afterward imitated an Stone-work as an inseparable part thereof; and thence doubtless it is they took their origi∣nal contraction: Such trees as grew in the most upright tenor and comely di∣minution, being chosen for this employment.

These being resembl'd in Stone (that is of one entire one) by Solidae were distinguish'd from the Structiles, or were such Pillars as were compoun∣ded of many:

But it is not only that these rings have place, but next the above de∣scrib'd Astragal likewise, and where-ever encounter'd by the names of Amulus, Cincta, Climbia, Listello, Fillets, Regula, &c. broader or more narrow as best suits with the consecutive member; like those very small Listellos or Anulers under the Echinus of the Doric Capital, by the Italians call'd Gradetti, Degrees, and by the interpreters of P. Lonazzo, Rulers; and so in like manner the Cimbia beneath the Astragal immediately above the Contraction. But Regulae and Fillets are somewhat larger in places where they edg and shut in the Cy∣matium of a Cornice, Abacus, or Voluta: Moreover I note, that Listello and Cincta are broader than Annulets which I take to be the very least of all the Mould∣ings in an Order.

Now, before we enter upon our Capitel, which seems to be the next colle∣ctive Member; we may do well to observe, that the several Parts, Members and Projectures we have hitherto describ'd, and such likewise as remain, receive all their dimensions, and proportions from one universal Scale, call'd by our Artists the Module, which though sufficiently describ'd in the beginning of the Parallel, I think fit to interpret once for all, to imploy the Senidiameter of a Column of any Order at the rise to its Shaft upon the superior member of the Base, and divided into thirty equal parts which we call Minutes.* 1.31 The Tearm in Vi∣truvius seems to be Ordinatio, which he explaines modic•• Commoditas, and I take for a Module,* 1.32 part or quantity by which to calculate, adjust and compose the rest of the Members of an Order: For instance, In the Ionic Column the Diameter of the thickest part is that proportion, as if it have 14. such Modules, the Base shall challenge One, and so the rest of the parts according to their several proportions. Note, that to distinguish it from Model (by which I would signi∣fie the solid Type of representation of a Building) I read it Module with the fifth Vowel as the former is with the second.

Towards the upper part or diminution of a Column (which is always the less abated if very tall (as is also to be observed in the Chanelling of those Or∣ders where 'tis proper) because the distance effects that in them, which Art produces in the lower) is the

Hypotrachelium,* 1.33 which from the Greek 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 colli parts infra cervicem denotes the neck of the Column, being that part of Scapus below the Astragal: It is as 'twere the Freeze of the Capitel, and so by some term'd, as also the Coller and Gorgerin, where the Pillar seems as if it is were strangled, and my well be taken for a part of the Capitel it self, having both in the Tuscan and Doric another Annulus or Cincta about it next to the

Echinus,* 1.34 a Bottle cut with an edg, as in our Bloome tis rudely explain'd: It is indeed a quarter round, and sometimes more, swelling above the Cinctures, and

commonly next to the Abacus, Carv'd with Ovals and Darts (by our Workmen call'd Eggs and Ankers as little politely) which is frequently shut up with a smaller Ovolo of Beads and Chaplets, or like ornament; but so adorn'd, it com∣monly runs under the Ionic Voluta and that of the Composita, and next the Doric Abacus; as in that singular example of the Trajan Column it creeps under the Plinth of the Capitel. Such as pretend to Etymologies for every thing they hear, will have it 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 or 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 because of a kind of self contraction; others more rationally from the resemblance and rough∣ness in the Carving 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 as bristling with its darts like a Hedg-hog: Under this, as we said, is a smaller Bracelet again which incircles the Capitel un∣der the Voluta in the Composita, taken for the Fuserole; and so likewise in the other Orders where the Ovolo or Echinus properly enter, having a small moulding be∣neath it by Palladio nam'd Gradetto, but of this already: In the Corinthian an Echinus frequently comes in 'twixt the Corona and Dentelli.

The Voluta,* 1.35 or as we tearm it properly enough, the Scroul, is not the deri∣vative of any Greek Word, but the Latine, Voluta, à Volvendo, for that it in∣deed seems to be roll'd upon an Axis or Staff: It is the principal, and only appropriate member of the Ionic Capitel in imitation of a femal Ornament, as both our Master Vitruvius, and the Author of the Parallel have learnedly illu∣strated. The Face of it is call'd Frons the fore-head a little hollow'd be∣tween the Edg or List, and the Return or Pillow betwixt the Abacus and Echi∣nus resembles the side-plaited tresses of Womens haire, to defend as it were the Ovolo from the weight of the Abacus (over which the Voluta hangs) and supe∣rior Members, by the same reason as was intimated in the Torus of the Base.

There are also Voluta's in the Corinthian and Compounded Capitels, but they consist rather of certain large Stalkes after a more Grotesco designe, as may be gathered from those Rams horns in the Capitel of the Columns taken out of the Bathes of Dioclesian: and in truth they are only the pretty flexures and scrowl∣ings of Vitici like the tendrells of Vines, whereof the four larger ones bend under the Horns or corners of the Abacus, the other four of lesser size, just under the middle of the Arch thereof, beneath the flower: then the bottom or foot of the Calathus or Panier (for that's divided into three equal parts as will here∣after appear) shews in front two entire Leaves, and as many half ones, viz. at the angles, and 'twixt those again two Stalkes, which, with a tall one in the mid∣dle (that touches the midst of the Arch where (as we said) it puts forth a flower upon the brimm of the Abacus) make in all sixteen in number. To be yet as accurate as may be in so nice and florid an Ornament, these Leaves did of old resemble either the Acanthus (though a little more indented and disguised) from the inventor Callimachus, or (as some) the Olive and Palmes, for so it is warranted by Villalpandus from that Capitel of his description standing in the Temple of Solomon. At the extreams of these leaves do issue the Caules, and Codds break∣ing with the Helices, the rest of the Stalkes adorn'd and furnish'd with budds

and tender foliage by the discretion and invention of the ingenious Carver. But the domineering Tendrells and Flexures consist of greater, or smaller Vo∣lutas, emerging from between the Abacus and Echinus in smaller Leaves and Stalkes, middling, and inferior foliage, as they are distinguish'd by Workmen in the three above nam'd divisions of the Calathus; but instead of those Helices, at our Corinthian hornes, the Composita has her Voluta much more resembling the Ionica, and in lieu of those, divers Capricious fantsies, as Horses-heads, Ea∣gles, and the like; sed ea doctis non probantur, they are rejected by all good Ar∣chitects, says Philander.

Now the Center or Eye of the Ionic Voluta is made by Artists with a Ca∣thetus,* 1.36 which (not over nicely to distinguish from Perpendicular because the operation of them proceeds from distinct tearms) is meant by a Line let down from above, intersecting the Line of the Collar (as 'tis demonstrated in Chap. 24. of the Parallel, with the History of its investigation) and that small circle at this point of intersection is Metaphorically Oculus, the Eye, from whence the perfect turning of the Voluta has been after an exquisite manner (though by few observ'd and practis'd) found out; it being here indeed that our Work∣man will be put to the exercise of his Arithmetick, as appears by that accurate Calculation in Nicholas Goldmanus's restitution of this becomming ornament. Lastly

The Abacus* 1.37 (from 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 or 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 which signifies a square Trencher, or Table) is that quadrangular piece commonly accompanied with a Cymatium, and serving in stead of a Corona or drip to the Capitel, whereof it is the Plinth and Superior, as has already been noted. This it is which supports the neather Face of the Architrave, and whole Trabeation: In the Corinthian and Composita the Corners of it are nam'd the Hornes, the intermedial Sweep and Curvature the Arch, which has commonly a Rose or some pretty Flower Carv'd in the middle of it.

Thus we have finish'd that Head of our Column, which being taken in ge∣neral for all these Members together, is commonly distinguish'd by the name of Capitel, taken, I say,* 1.38 for the intire Ornament from the Astragal and first Cincture of it, to the Plinth which bears up the Architrave: But it is not to be omitted, that the main body of the Corinthian Chapter (of which we have given a large description under the Title of Voluta) consists of a Bell, or Basket rather, which is that plain and solid part under the Cauliculi, Stalks and Flowers alrea∣dy mention'd, and which in order to their triple Series of Foliage (which seems to include and shadow the body of it as 'tis represented in that curious designe of Callimachus's invention) is divided into three equal parts: But of this a∣boundantly. There is likewise another Capitel, or rather a Diminutive of it, by the Greeks call'd 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, which does not only signifie (as sometimes) the former Calathus and Basket, but more properly that Braid or List above the Triglyph in the Freeze.

Moreover, to the bodies or Shafts of some Columns appertain

Striges,* 1.39 which (not to insist upon what the Learned Voss••us and other Cri∣tics have contended) are those excavated Channells, by our Workmen call'd Flutings and Groeves: These are particularly affected to the Ionic Order (rarely the Doric) uti stolarum rugae, in imitation of the Plaits of Womens Robes, as our Master resembles them; and some of these Channells we find to go winding a∣bout Pillars, &c. but it is not approved. Between these are the Striae,* 1.40 we may properly English them Raies or Beames; which being twenty (or as some 24.) in number, are those plain spaces between the Flutings in the Ionic, Doric, Corinthian and Composed Orders; which three last have (with some small difference) bor∣row'd this Ornament from the Ionic. And in some of those (as in that Diocle∣sian Doric Example) they are so made, as to reduce the Rays to a sharp edg only, by their contiguity without any spaces at all. But sometimes we find the Striges to be fill'd up with a swelling, a third part from the Base, and these we may call Stav'd, or Cabl'd-Columns; for so I think fit to interpret the French Embastone, and Alberti's Rudens. Thus we find some Corinthian Pillars often treated; the Stria being commonly a third or fourth part of the widness of the Flutings, and diminishing with the Contraction of the Scapus, unless the Shaft be very high, in which case the distance does it without the ayd of the Work∣man; sometimes also we have seen them totally filled. We should now come to the Entablature, but a word of.

Pillasters,* 1.41 call'd in Greek Parastatae, and by the Italians Membretti, for Modul and Ornament observe their entire Columns if they stand alone; but so they do not for their prominencie, which being to gain room, reduces them some∣times to the square, whereof the narrower side is frequently applied to Walls, by which alone some will only have them to differ from Pillars themselves; but that ought to be understood of such as have no Imposts and Arches, upon which occasions the Lights they let in do much govern their proportions, as Palladio has judiciously shew'd in l. I. c. 13. &c. Likewise, where they hap∣pen to be at Angles, and according to the surcharg'd weight; and therefore a Rustic superficies (as Sir H. Wotton has discreetly observ'd) does best become them, as well as a greater latitude, for so they have sometimes been enlarg'd to almost a whole vacuity; unless where for their better fortifying, we find half, and sometimes whole Columns applied to them. Where they support large Cornices and Freezes in Wainscoted Rooms they do properly and handsomly, provided their due proportions be observed, without those ridiculous disguise∣ments of Pedistals and idle fancies which we find frequently wrought about them. Also in Chimny-pieces, Fronts of Buildings, Galleries, and Door-cases from whence they were nam'd Antae:* 1.42 The.

Imposts (by Vitruvius call'd Incumbae)* 1.43 which I mention'd,. are nothing but their Capitels or more protuberant heads, upon which rest the ends of the Arches; but where they exceed the Square and regular thickness, they were nam'd

Pilae,* 1.44 and their Quadra's or Tables (as we yet see them in antient Altars and Monuments) were employ'd for Inscriptions; but if shorter, and more massie, they serv'd for the Arches of Bridges, for Buttresses and the sustentation of more solid works.

Arches consist commonly of simple halfe-Circles,* 1.45 and now and then of some lesser point, according to the occasion: At Venice, Pisa and other Cities in Italy they are formd to an incredible and admirable fiatness by the wonderful ad∣dress of the Workman, for the ease of such as pass over the Bridges, and without interruption of the Streams. The Masonry at the front of these being cut by a peculiar slope of the Stone is calld Pennanted, till it come to joyn with the

Mensula,* 1.46 which (quast 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉) seemes to be locked to the Pennants in guize of a Wedg, and therefore by our Artists nam'd the Key-stone: But if Vaults are made, two Arches intersect, which is the strongest manner of Cameration. And here I think not amiss to note, that the Antients very seldom made use of Arch∣ed Doors or Windows, unless at the enterance of Cities, and Triumphal intercolumn∣ations for the more commodious ingress of Horse-men arm••d with Spears, and Ensignes, &c. This Barbarity therefore we may look upon as purely Gotique, who considering nothing with reason, have introduc'd it into private houses, and been imitated but by too many of our late Architects also, to the no small diminution of the rest which is better conducted. By Intercolumnations I do likewise comprehend all Terraced and Cloister'd- Buildings, Porticos, Galleries, Atria's, &c. contiguous to, or standing out from the body of Edifices in which cases they are becommingly proper: And this does naturally lead me to our Pillars again, and to consider the spaces between them.

Intercolumnation* 1.47 signifies the distance or voyd between Pillar and Pillar, but this not sufficiently explaining the various distance of the several orders in work, renders it, even in divers of our English Authors where they treat of this Art, of sundry denominations: For thus it was usually call'd

Insulata Columna,* 1.48 where a Pillar stood alone like an Island or Rock in the Sea,. the one inviron'd with Ayr as the other with Water:

Arcostylos* 1.49 belonging chiefly to the Tuscan Order, was where the Intercolumn∣ation is very wide, as at the entrance of great Cities, Forts, &c. upon which occasions at the least four or five Modules may be allow'd.

Diaslylos,* 1.50 though sometimes improperly taken for any Intercolumnation, is most natural to the Doric and may have three or four Diameters, nay sometimes six in the Ionic, as fittest for Gates, Galleries, and Porches of Pallacex or lesser Buildings, and thence were call'd Tetrastylos and Hexastylos.

The Systylos nam'd also Pycnostylos* 1.51 (as much as to say thick of Pillars because seldom alow'd above a Module and an halfe, though some distinguish the first by a Module more) belongs chiefly to the Composita, and it was us'd before Temples, and other publick and magnificent Works of that nature: But where in such structures the Intercolumnation did not exceed two, or two and a quarter (as

in the Corinthian and especially the Ionic, the proportion of distance was so esteem'd for its beauty and other perfections, that it was by a particular emi∣nence tearmed Eustylos,* 1.52 as being of all other the most graceful. Where the sides had ranges of Columns, as in those large Xystas, Porticos, Atrias and Vesti∣bula of the Greeks and Romans, which were certain Arched or plainely Archi∣trav'd building in form of Cloysters and Galleries, commonly standing out from the rest of the Edifice, and now and then alone, the Antients named it Antyprostylos, Peristylos, &c. These (for being already explain'd by Paulus Lomatius, and long since made vulgar) I have only touch'd for the benefit of our Country Workmen, who do frequently, even amongst our English Transla∣tors of Architectonical Treatises, meet with those hard names without their interpretation; when they discourse of these open and Airy Ornaments, whether adjoyning to, and supporting more Contignations and Stories; or in∣vironing them, and prominent from them; and because it is for this, that our Master Vitruvius so passionately wishes that his Architect should be (as of old they styl'd Callimachus) Philotechnos, an industrious searcher of the Sciences, which is the same that a good Philologer is amongst our Literati.

Moreover instead of Columns the Antients (as now the Modern but too often) used to place the whole Figures of Men and Women to support and bear up intire Cornices, and even huge masses of Buildings; but of this at large in Cap. 22. 23. of the Parallel. Part I. These they also nam'd Telamones or Atlas's, the French Consoles where they usually set them to sustain the Architrave,* 1.53 which for being the next Member in order to the Capitel we come next to explain.

The Greeks nam'd that Epistylium,* 1.54. which we from a mungril Compound of two Languages 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉—Trabs (as much as to say the principal Beam and Sum∣mer) or rather from Arcus and Trabs, call Architrave; Vt velint trabem hanc Arcus vices sustinere qui à Columna ad Columnam sinuari solet, as Baldus with reason from its position upon the Column, or rather indeed the Abacus of the Capitel. It is the very first Member of that which we call Entablature in our translation of the Parallel; and formerly in the Tuscan Order framed for the most part of Timber in regard of the distant Intercolumnation: It is also frequently broken into two or three divisions, call'd by Artists

Fascia••,* 1.55 or rather, plain Faces, a little Prominent, the lowest being ever the narrowest: These Breaks arriving sometimes to 17. sometimes to 18. Minutes in breadth, some rather choose to call Faces then Fascias, Swathes, Fillets, or Bands, by which they are usually distinguish'd into first, second, and third, espe∣cially in the three latter Orders, for in the Tuscan and Doric they do not so pro∣perly enter, though our Parallel yield us two approv'd examples: These are frequently, and indeed for the most part, separated with a small Astragal cut into beads or sum such slight Carving; the Fascias of the Architrave likewise curiously wrought, as in that wonderful Instance of a Corinthian Entablature taken out of Dioclesians Bathes. Fascia, in the notion I would rather take it,

should be for that narrower band about the Tuscan and other Basis as some call it; or rather the square list under the superior Torus in some Pedistals nam'd Supercilium, and not properly the Torus it self, as in divers English Pro∣files they erroniously make it;* 1.56 for Supercilium seems to be a kind of Corona or drip to the subjacent Members. In Chimneys the Architrave is the Mantle; and over the Antepagmenta* 1.57 or Iambs of Doors and Lintells of Windows the Hy∣perthyron which the Italians call Soppra frontale,* 1.58 and our Carpenters the King-piece immediately under the Corona to supply the Freeze, especially in the Doric Order.

The uppermost fascia of the Architrave for the most part is, and indeed al∣waies should be (the Tuscan only excepted) adorn'd with a Lysis,* 1.59 or

Cymatium* 1.60 inverted, which is no more than a wrought or plaine O-gee as our Workmen barbarously name it; The tearm is 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 undula, and signifies a rouling Wave to the resemblance whereof it is moulded. By some it is call'd the Throat, as from the Italian and French, Gola, Geule or Doucine, and of these there are two kinds, the first and principal that alwaies its Cavity above, and doth constantly jett over the Corona or drip like a Wave ready to fall, and then is properly call'd Sima;* 1.61 the other has its hollow below, and is nam'd inversa: The Letters {thus placed do reasonably well express these kind or mouldings, which not only enter into the Member of the Architrave where 'tis ever inverted, but (as was said) perpetually above the Corona, where they do frequently en∣counter and meet together with a small Regula between them, but then the nea∣ther is ever the reversed, and very narrow; though ofttimes both of them Carv'd and adorn'd with Foliage, &c.

Cymatium is also about the heads of Modilions and constitutes a part of them, as likewise it enters into Abacus, and on Pedistals as in Stylobatae Corona, and the Base thereof, where we find them both inverted; though I remember to have seen the upmost with the recta also in the Cornice above mention'd. But in stead of Cymatium separating the Architrave and Freeze, Taenia oftentimes sup∣plies the room,

Taenia* 1.62 is properly Diadema, a bandlet or small Fillet with which they used to bind the head; or rather those Lemnisci and rubans which we see carv'd and dangling at the ends of Gyrlands. The Interpreter of Hans Bloome names it the top of a Pillar, but very insolently; it being indeed the small Fascia part of the Doric Architrave sometimes (but seldom) with a narrow Cymatium, or Regula under it, as that runs under the Triglyphs: Some call it the neather Taenia (as Philander frequently) to distinguish it from the bandage which composes the Capitelli of the Triglyphs and continues between them over the Metops and not seldom under a Cavetto or small Cymatium with which Suidas and other learned Critics many times confound it. In a word, 'tis that which separates the Episty∣lium or Architrave from the

Freeze, the Word in Greek is 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉,* 1.63 and does genuinely import the

imaginary Circle of the Zodiac depicted with the twelve Signes, but by our Ar∣chitects 'tis taken for the second division of the Entablature above the Columns, being like a faire and ample Table between the former Teniae, and which though oftentimes plain should be Pulvinatus pillow'd, or swelling in the Ionic Order; but in the Doric enrich'd with the Triglyph and Metops, and with a thousand Historical, Grotesque and other stored inventions in the rest of the Orders (Tus∣can excepted) especially the Corinthian and Composita. Our tearm is deriv'd from the Italian Freggio which denotes any Fring or Embroider'd Belt: Phi∣lander saies à Phrygiones, not from the Phryges a people of the Minor Asia as some erroneously, but Phrygionibus, a certain Broidery or flourd Needle-work, as one should say Troy-stitch (whence haply our True-stitch) in imitation whereof they wrough Flowers and compartiments upon the Freeze.

Besides this of the Entablature, the Capitels of both Tuscan and Doric have the Freeze likewise commonly adorn'd with four Roses and as many smaller Flowers, for which cause ••tis call'd the Freeze of the Capitel also as we noted, to distin∣guish it from the other; likewise Hypotrachelium from its posture between the Astragal and the Regula or Annulus of the Echinus: This Tuscan Freeze is plain and very simple; but in the rest of the Orders it is employ'd with the Echinus, as in the Ionica, and the Capitel Cauliculi or stalkes in the other two, these Roses are also sometimes Insculped under the prominent Horns or angles of the Doric Abacus.

The Triglyphs* 1.64 which I affirm'd to be charged on the Doric Freeze is a most inseparable Ornament of it. The Word 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 in Greek imports a three-Sculptur'd piece, quasi tres habens glyphas: By their tringular Furrows, or Gutters rather, they seem to me as if they were meant to convey the Guttae or Drops which hang a little under them; though there are who fansy them to have been made in imitation of Apollo's Lyre, because first put in Work (as they affirme) at the Delphic Temple: You are to note that the two angular hollows are but half Chanell'd, whence they are call'd Semicanaliculae, to distinguish them from the Canaliculi whose flutings are perfect, and make up the three with their interstices or spaces, being as many flat and slender Shanks for so we may interpret the Latine Femora: The Italians name them Pianetti small Plaines, and so do we; and they constantly reach the whole Diameter of the Freeze being crown'd with the formerly mention'd Capitel, part of the upper Taenia, and determining with the neather, where it intercepts them from the prominent

Guttae* 1.65 or Drops. It is certainly the most conspicuous part of the Dori•• Freeze, supposed to have been at first so Carved upon boards only that had been clap'd on the extremities of the Cantherii or Rafters ends which bore up∣on the upper Fascia of the Architrave to take off from the deformity. How indispensably necessary they are to be placed in a just and due square from each other, and perpendicularly over their Columns, the Author of the Parallel

has shew'd; Chap. 2. Part. I. as in that of the Temple of Solomon according to Villalpandus's design, how they have been admitted into the Corinthian Freeze, but without the Guttae; and so in the Persique. These Guttae are as I said those six appendant Drops or Tears affected only to the Doric Order, seeming as it were to trickle down and flow from the Channels and Shanks of the Triglyp••s through the neather Taenia, and small Reglet or Moulding under it.

Guttae are sometimes made in shape of flat Triangles, sometimes swelling like the Section of a Cone or Bell, and therefore so call'd by the French Architects. They are also under the flat Modilions which support the Corona eighteen in num∣ber, as in that most conspicuous elevation of the Profile after the stately relique at Albano near Rome, than which nothing can be imagin'd more noble and mag∣nificent. Alberti calls these Guttae, Clavos, as conceiving them to be in resem∣blance of Nailes, but without any reason for his conjecture.

Metopae,* 1.66 are the next in order, and are nothing else save those empty spaces in the Freeze 'twixt the Triglyphs in the Doric Order, either purae and plaine, or figur'd, for that is not necessary alwaies. The Word is deriv'd of 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 and 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 which is foramen, intervallum inter Sculpturae cava, or if you will, the Intertignium, as importing here rather the forenamed spaces, than what those pretend who will fetch it from the 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 or forehead of the Beasts whose Sculles (re∣maining after the Sacrifices) were usually Carved in these intervals; because in these vacuities were the passages for the ends of the Ioysts, Timbers and Rafters which rested upon the Architrave, and where to fill up that deformity, they usually made it up with some such ornaments, suppose of Skulls, Disbes, and o∣ther Vessels, nay sometimes with Iupiters Squib or Thunderbolt, Targets, Battle∣axes, Roses, and such other Trophies, as was found most apposite to the occasion, and not preposterously filled them as our Workmen too often do, without any relation to the subject; so as I have frequently seen Oxes heads Carv'd on the Freeze of an House of Pleasure in a Garden, where Roses and Flowers would have been more proper. There are sundry other ornaments likewise belonging to the Freeze; such as Encarpa, Festoons, and Frutages typed to the Hornes of the Skulls with Taeniae and Ribbans tenderly flowing about this member, and sometimes Carried by little Puti, Boys, Cupids, and a thousand other rich inven∣tions to be found in good examples. But we are now arriv'd to the third and last member of the Entablature separated from the Freeze by the superior Taenia, the Cornice.

The Cornice, Coronix* 1.67 as it is collectively taken for its several and distinct Mouldings and Ornaments, comprehands a small 1. Regula, 2. Cymatium, 3. Dentelli, 4. Ovolo or Echinus, 5. Modilions or Bedding-mouldings which sup∣port the Corona, 6. Sima recta and inversa (rarely a Cavetto) 7. and lastly another Regula which concludes the whole Order. We will begin with the first, being sometimes a small Scotia consisting of an half or quarter round, that now and then also both in the Tuscan and Dorica divides the Freeze from the Cornice

in place of the Taenia, as does the Cymatium in the rest of the Orders. The Ovolo* 1.68 is next in the plainer Orders, but it is inrich'd in the Corinthian like the Echinus, which (if you please) you may take for the same thing in an Itali∣an dress: In the Tuscan and Doric 'tis turn'd like a Scima or Cymatium, and is substituted for support of the Corona, but in the last 'tis usually accompanied with a slender Regula above it, and in the Corinthian both above and beneath, where it is likewise frequently Carv'd and adorn'd with a broad Welt like a Plinth.

Dentelli,* 1.69 are the Teeth immediately above the Cymatium of the Freeze, by some named also Asseri from their square form; I say in the Corinthian and Ionic, &c. for in the Doric Order they were not antiently admitted, or rather not properly, according to the opinion of our Master, though we must needs acknowledg to have found them in the most authentical pieces extant: As for their Dimen∣sions they kept to no certain rule, but made them sometimes thicker, sometimes thinner, square, or long, and more in number, but commonly the spaces less by an half, sometimes by a third part then the Teeth, which were themselves twice as high as their breadth, and frequently (especially in the more polite Or∣ders) beginning with the Cone of a Pine, pendent at the very point over the an∣gular Column: Lomatius is yet more precise in this particular, and gives them as much height as the middle Fascia of the Architrave, Projecture equal, Front twice the bredth of their height, and a third part less than their bredth for va∣cuity. The Dentelli have oftentimes a small Regula, and now and then more then one, as usually in the Ionica, where it has likewise an Ovolo or Echinus for the bedding of the Corona; but if inriched, and that two of them encounter, one should be simple and plain, as where it happens to be inserted beneath it: Next to this superior Echinus are the Modilions, but instead of them Dentelli are thought to have been first instituted, and for that reason superfluously joyn'd where Mutules are; and therefore where we find Taenia under Modilions it is not properly divided into Teeth, nor is it rashly to be imitated, though we have some great examples to countenance it. That of the Pantheon may safely guide us herein, where it is left plain for this very cause, and that the reason of the thing does not in truth allow it: However, it must be acknowledged, nothing has been more grosely abused even amongst our most renown'd Masters.

Modilions,* 1.70 being certain supports in form of Corbells, Cortouzes and Mutules are a king of Bragets to the Corona, and in those Orders where they enter, supply the part of the Bedding-moulding as our Workmen style the Ovolo in this place, for so they frequently do in the Doric and Ionic, but then without any other or∣nament than a slight Cymatium to edg them, and to be alwaies placed over the Triglyphs: In the Corinthian and Composita they are enrich'd with all the deli∣cateness and curiosity imaginable, capp'd, as I said, with a curiously Carv'd small Cymatium where they are contiguous to the Planceere of Roof of the Co∣rona. Our ordinary Workmen make some distinction between Modilions and

those other sorts of Bragets which they call Cartells and Mutules, usu∣ally Carv'd like the handles of Vessels Scroul'd, Flower'd and sometimes Sculptur'd with the Triglyph; and such were the Ancones amongst the Greeks: That there should be no Guttae under Mutules is the opinion of divers learn'd Architects, though (as was said) we frequently find them Chanell'd like the Tri∣glyph, and that in authentick Examples: Philander is for it, and pronounces them more proper than even under the purest Triglyph, for signifying (saies he) Cantiorum Capita, unde stillicidum fieri certum est, drops and I sicles commonly hanging at the ends of our Rafters upon every weeping shower, whereas Tri∣glyphi import only the Projectures of the Beams and Tunbers nothing so much exposed: But this I leave to the more judicious.

Mutules quasi 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 have their name from their defect,* 1.71 as being made thinner and more abated below than above, and therefore naturally and di∣screetly destin'd to places where they are but little burthen'd with weight, as here under that little remainder of the Cornice; and so where they are set un∣der the Pedaments and Lintels of Doors and Windows: Most prepostrous there∣fore and improper is our frequent assigning such weak supporters to such monstrous jetties and excessive Superstructures as we many times find under Balconies, Bay-Windows and long Galleries, where instead of Mutules the Anti∣ents would have plac'd some stout Order of Columns: But by these unreaso∣nable Projectures it comes to pass, that in time our strongest Houses are de∣stroyed, and drawn to their irrecoverable ruine. For the proportion of Mu∣tules, I commonly find them a fourth part higher than their breadth, their In∣tervals being as wide as two; but neither do I find these so constantly regu∣lar, only that there be ever one plac'd at the corners, and returnes of the Coro∣na, and then if they interchangably differ as to the spaces and as the Rafters di∣rect, there are examples aboundant for their justification.

I shall not need to define what is meant by Projectures* 1.72 when I have said it is the same our English Authors call the Sailings over and out Iettings of any Moulding: The Italians name them Sporti, the Greeks Ecphoras, and for the same reason all Margents whatsoever which hand over beyond the Scapus of a Column are Projectures.

Corona,* 1.73 is the last considerable Member remaining of the intire Entablature, and seems indeed to set the Crown upon the whole Work: I say Considerable, because being regularly plac'd on the uppermost Ovolo, or Mutules, it serves to defend all the rest of the Edifice from the Rain and injuries of the Weather, and therefore has its Projectures accordingly. It is sometimes taken for the intire Coronix or Cornice with all its ornaments, but strictly, for this superior part of it 'twixt two Cymatiums; for even the Ovolo or Echinus forms an Ogee by a turn under the Planceere. We find the Corona omitted and quite left out of that stately Arco di Leoni, but it is worthily reproved by our Author of the Parallel, as being a member of indispensable use. Corona is by some cal'd

Supercilium,* 1.74 but rather I conceive Stillicidium the Drip, and with more reason, so the French Larmier, Gocciolatotio and Ventale by the Italians to denote its double office of protecting both from Water and Wind: For this reason like∣wise have our Latine Authors nam'd this broad Plinth Mentum a Chin, because it carries off the Wet from falling on the rest of the Entablature, as the promi∣nency of that part in mens Faces keeps the sweat of the brows, and other li∣quid distillations, from trickling into the Neck; and in imitation hereof the Antient Potters invented the brimming of their Vessells, by turning over some of the ductile Matter whem the Work was on the Wheel. Sometimes there have been two Corona's in a Cornice, as in that Corinthian Instance of the Rotunda, and so it is frequently used in Stylobatae under Gula inversa; and truly it may be justly repeated, as the exposure and occasion requires (so it be not too near one another) all Projectures being but a kind of Corona to the subjacent members.

The under part of the Roofs of these Corona's (which are commonly wrought hollow, by sometimes (as we say'd) making part of the Cymatium) are by our Artists call'd Planceeres,* 1.75 and those the Cofers* 1.76 wherein are cut the Roses, Pomgra∣nades, Flowers or Fretts, which adorne the spaces 'twixt the heads of the Modi∣lions and Mutules. This Ceiling the Italians name Soffito, and it signifies not only that part of Corona which failies over, but the Lacunar, Lacus or Plain of all other Roofs made of Tabulations and Boards appearing between the Ioysts, and which (as now, especially in other Countries) were also formerly Gilded, Carv••d and most magnificently Emboss'd with Fretts of wonderful relievo; nay sometimes to the excess of Inlayings with Ivory, Mosaique and other rich and chargeable Works. Pliny l. 35. cap. 11. tells us of one Pamphilius the Ma∣ster of Apelles to have been the first which brought this, Roof-painting into vogue: But I refer the Reader who thirsts after more of this, to the learned Salmasius on Solinus p. 1215. Nor is yet the Corona perpetually plain as we commonly see it; sometimes (though rarely indeed) I find it Carv'd also, as in that incomparable Composita of Titus's Arch, and that of Dioclesians Bathes in the Corinthian Order, and as is indeed every individual member of that intire Entablature to the utmost excess of Art; but how far this may be imitable, consult the Judicious Parallel, while 'tis yet considerable that it is there but with a kind of Sulcus or Channel, in imitation of Triglyph, or a short Fluting rather, being indeed more proper for the carrying off the Water, than any other Work could have been devised. Corona has over it a small Regula, or an inrichmen•• of some sleight Chaplet in the Corinthian, &c. after which Cymati∣um, as in that of Titus's Arch before rehearsed; sometimes likewise with an Ovolo or Echinus cut with Ovals, and Darts, as in that example of Nero's Frontis∣piece, and upon this again the double Cymatium, whereof the first is inverted, and ever the neathermost and most narrow, the other Recta, very large and pro∣minent, being now and then adorn'd with Lyons heads plac'd just opposite to

the Modilions (of which see that curious research of the learned Dr. Brown in his Vulgar Errors) though sometimes they are adorn'd with Foliage only. Lastly, for a final 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 or Super-imposition (if I may be indulg'd so to name it) we are now clim'd to the most supream Projecture, and ultimate part of the whole cornice, namely the

Regula,* 1.77 which some make a part of the Sima or Gula recta, by Palladeo the Intavolato, and which I think to be the sole Member which I never remember to have seen any where Carv'd, but alwaies Plain, though in some of the Orders of neer eight Minutes in breadth. It is very true, that Scotia (which I now and then call Cavetto or a small hollow) does in some laudable examples support this Member in stead of Cymatium, but not so frequently; and that the Tuscan Cornice terminates in a Cymatium without this Regula, or rather in an Ovolo as in those examples after Sebastian Serlio, &c. but it is not after a true gusto, and the fancy is particular. Regula, call'd also Listello, Cincta, &c. (of which something already hath been spoken) is alwaies that Supercilium or superior member of the Cornice, though it be likewise taken for that which is by some call'd Quadra, being those two Lists commonly including Scotia, as we finde it in the Ionic Spira both above and beneath: Sometimes also it signifies the Rings or small Feruls begirting the Scapus of a Column near the Apophyges, or the Plinth of a Pedistal: Therefore I distinguish them, though yet they may be accounted the same, seeing they usually import any small plain Fillet dividing greater Members; for so Philander calls almost all simple parts broader or narrower, which like Fillets encompass the rest; as in the Doric-Trabeation, Regula, Sima, Cymatium, &c. In the Capitel, Regula, Cymatium, Plinthus: In the Cornice of the Stylobata also Regula, Cymatium, Astragalus: But where it is no less con∣spicuous, is in that part of the Triglyph, which jets out under the Taenia, and from which the Guttae depend, where it seems to be a part of the very Archi∣trave it self.

And may thus much suffice to have been spoken of the Cornice or upper Member of the Trabeation,* 1.78 which we mean by the Entablature, for both these tearms signifie but one and the same thing, viz. The Architrave, Freeze and Cornice; which I therefore the more precisely note, because some Writers ap∣ply it only to the very cover and upmost top of the Orders; but so does not our Country-man Iohn Shute, whose Book being Printed Anno 1584. (and one of the first that was published of Architecture in the English tongue) keeps rather to the Antient Tearmes than by mixing them with such barbarous ones as were afterwards introduc'd, indanger the confusion of Young Students and such as applied themselves to the Art. Finally, to reform another mistake, I think good to note that where we finde Coronix in our Authors, it is rather meant for all that Moulding projecting over the Dye or square of the Pedistal (by some cal'd also Cima)* 1.79 than this conclusive superior member of the Entablature which we name the Cornice: But I have done, nor needs there more be added for the perfect

intelligence of the most minute Member and Ornament mentioned in this Paral∣lel, or I conceive in any other Author whatsoever treating concerning this Art, and naturally applicable to the Orders: Notwithstanding, inasmuch as there doe yet happen some Super structures which both in Works and Books of this magnificent Science have likewise names of doubtful signification, and to satisfie all that may be farther desir'd for the rendering of this undertaking more useful and instructive, I will in brief proceed to what is used to appear further in Buildings, where they did not flatten the Roofs and Cover of Edifices, and which is certainly of all other the most graceful.

Those Roofs which exalted themselves above the Cornices had usually in face a Triangular plaine or Gabel (that when our Workmen make not so acute and pointed they call a Pedament) which the Antients nam'd

Tympanum,* 1.80 but this is to be taken now and then for the whole Frontispiece from the Cornice to the upmost part of the Fastigium or superior Angle of it, and is commonly circumscrib'd with the same Cornice that the subjacent Order is of. At the Cima or very point, and also at each Angle of this, stood smaller Pedistals, for the placing of Statues, Busts, Vrnes, Lamps of Fire, Pine Cones, Bowles, or the like Ornaments, and these Stylobata were call'd

Acroteria,* 1.81 from 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 summa pars, we may properly name them Pinacles, for so Pinnae and Batlements were made sometimes more sharp, Towring or Spiry, as pleased the Workman; but where they stood in ranges (as not unfrequently) with Rail and Balausters upon flat Buildings, they still retain'd their name, with this only difference, that such as were plac'd between the Angular points were (like ranges of Pillars) styl'd the Median or middle Acroteria.

They did likewise sometimes cover (especially Temples, and such magnificent and sacred Buildings) with a Cuppola,* 1.82 which is that Dome or Hemisphaerical Con∣cave made in resemblance of the Heavens, and admitting the light at the top Center or Navil only, without any Lantern, as is to be seen in that incomparable piece of the Pantheon yet extant: This is much in vogue yet in Italy, especially at Rome and Florence, but it is commonly with the Lantern and other Appertures. to let in day without exposure to the Weather, as appears by that on the summit of Saint Peters; but it takes away, in my poor judgment, something from the solemness, and natural resemblance of the other, which yet are happly better to be endur'd in the more Eastern Countries where the Weather is constant; as we see it practis'd in what the Pious Helena erected in the Holy-Land, and her Son Constantine the Great, on that his magnificent Structure of Santa Sophia yet remaining at Constantinople, and to this day imitated by the Turks for the Covering of their Mosques; and that it was an Oriental Covering and inven∣tion, the 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 of the Greeks was doubtless deriv'd from the Hebrew 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 Thala* 1.83 signifying to Suspend or hang as it were in the Ayr; but the Italian name seems to come from Cuppa a Cvue or great washing Boul, to which it much resembles. They do form some of those Goverings in other shapes and

make them mult-angular, but they are nothing so graceful.

Other Accessories and Ornaments are also used in Buildings which I will only touch.

Niches,* 1.84 quasi Nidi, Neasts, of old Concha,* 1.85 are a kind of Pluteus or smaller Tri∣bunals (as they are yet called in Italy) wherein Statues are placed to protect them from the down right injuries of the Weather, as well as for ornament to plain and simple Wales: These have their regular Sections, and were usually Escalop'd above, either cut into the solid Stone, or wrought in Plaster: When they were made very much larger and higher, beginning from the Pavement, they were call'd

Tribunals,* 1.86 as of old it seems applied to all high and eminent places: We have a noble resemblance of this in that magnificent Throne describ'd 1 Reg. 10. 19. built by Solomon, which seems to me to have been such an ample Nich in which a Principal person might sit, as it were half Canopied over within the thickness of the Wall.

In Walls likewise did they insert many noble and most exquisite Sculptures and Historical Fables, half wrought up, Emboss'd and swelling, and sometimes more then half, which eminencies they now call in Italy by the name of Basse, and Mezzo relievo:* 1.87 These were sometimes wrought in Marble, as in that famous Abacus and Stylobata, yet extant, of Trajan's Pillar. Their ordinary placing was in the Fronts of Edifices, as is yet to be seen in divers Palaces at Rome, and especially in their Villas and Retirements of pleasure, which are frequently in∣crusted with them, but vilely imitated in our exposed Fretworks about London, to the reproach of Sculpture, especially where it pretends to Figures on the out sides of our Citizens Houses. But not only the Roofs of Houses and their Fronts had their adornments, but the Floores also were inlay'd with Pavements of the most precious materials, as of several Coloured Stones and Woods, and this they call'd

Emblema,* 1.88 continued to this day by the Italians in their Pietra Comessa; of which the most magnificent and stupendious Chappel of Saint Laurence at Florence, Paul the First's at Sancta Maria Maggiore in Rome, are par∣ticular and amazing instances, where not only the Pavement, but likewise all the Walls are most richly incrusted with all sorts of precious Marbles, Serpen∣tine, Porphirie, Ophitis, Achat, Rants, Coral, Cornelian, Lazuli, &c. of which I can number near thirty sorts cut and lay'd into a fonds or ground of black-Marble (as our Cabinet-makers do their variegated Woods) in the shape of Birds, Flowers, Landskips, Grotesks and other Compartiments most ad∣mirably Polished, a glorious and everlasting magnificence: But where it is made of lesser Stones, or rather morsels of them, assisted with small Squares of thick Glass, of which some are Gilded, it is call'd Mosaic-work,* 1.89 and it does na∣turally represent the most curious and accurate sort of Painting, even to the life, nor less durable than the former, as is most conspicuous in that front of

Saint Marks Church at Venice, the Cappula of Saint Peters at Rome, and the Altar∣piece of Saint Michael near it: These are the Tessellata and Vermiculata or Pavimenta asarota of the Antients, but of which I do not remember to have seen any publick Work in our Country. It is yet not to be forgotten the very Floorings of Wood which her Majesty the Queen Mother has first brought into use in England at her Palace of Sommerset House, which has some resemblance to these magnificencies; because it is exceeding beautiful and very lasting: And this puts me in mind of that most useful Appendix joyn'd to Mr. Richards late Translation of the first Book of Palladio, and those other pieces of la Muet the French Architect, wherein, besides what he has publish'd concerning these kinds of Timber-floors, &c. you have at the conclusion of that Treatise a most accurate account of their Contignations and Timberings of all sorts of Stories, Roofings, and other Erections, with their use, Scantlings and proper names, which, for being so perspicuously describ'd, deserves our commendation and encouragement.

Eum Architectum oportet usu esse peritum & solertem, qui demere, aut adjicere praescriptis velit.

J. E.

FINIS

Notes

• * 1.1

  Archi∣tectual.
• * 1.2

  See 21. Eccles. 8.
• * 1.3

  Vi••••. in P••ae••. lib.
• * 1.4

  2. Reg. 22. 7.
• * 1.5

  Vitruv. in pr••s••c. ad lib. 1.
• * 1.6

  Archi∣tectura.
• * 1.7

  Demonstratio.
• * 1.8

  Ichnogra.
• * 1.9

  Orthogra∣phia.
• * 1.10

  Scenogra∣phia.
• * 1.11

  Prophile.
• * 1.12

  Eurythmia.
• * 1.13

  Symmetria.
• * 1.14

  Decor.
• * 1.15

  Mode••lam.
• * 1.16

  Fundamtu∣tum.
• * 1.17

  Stereoba∣ta.
• * 1.18

  Structura. Instructio. Substructio.
• * 1.19

  Stylobatum Pedistal.
• * 1.20

  Scamilli.
• * 1.21

  B••s••s.
• * 1.22

  Spir••.
• * 1.23

  Plinthus.
• * 1.24

  Torus.
• * 1.25

  Trochilos.
• * 1.26

  Scotia.
• * 1.27

  Astrogolus.
• * 1.28

  Column••.
• * 1.29

  Entasis.
• * 1.30

  Apophyges.
• * 1.31

  Minutes.
• * 1.32

  Modulus.
• * 1.33

  Hypotra∣chelium.
• * 1.34

  Echin••••••.
• * 1.35

  V••luta
• * 1.36

  Cathetus
• * 1.37

  〈◊〉〈◊〉
• * 1.38

  〈◊〉〈◊〉
• * 1.39

  Striges.
• * 1.40

  Stri••.
• * 1.41

  Para••••••••.
• * 1.42

  Ant••
• * 1.43

  Incumi••••.
• * 1.44

  Pilae.
• * 1.45

  Fornices.
• * 1.46

  Mensula
• * 1.47

  Interco∣lumna••••d.
• * 1.48

  Insulata.
• * 1.49

  Arcosty∣los.
• * 1.50

  Diaslylos.
• * 1.51

  Systylos. Pycnostylo••.
• * 1.52

  Eustylos.
• * 1.53

  Archi∣trave.
• * 1.54

  Epistylium
• * 1.55

  Fascia••
• * 1.56

  Supercili∣um.
• * 1.57

  Antepay∣ment••
• * 1.58

  Hyper••••y∣ron.
• * 1.59

  Lysis
• * 1.60

  Cymatium.
• * 1.61

  Sim••.
• * 1.62

  Taenia,
• * 1.63

  Freeze ••opho••••••.
• * 1.64

  Trigly∣phus.
• * 1.65

  〈◊〉〈◊〉.
• * 1.66

  Metopae.
• * 1.67

  Cornix.
• * 1.68

  Ovolo.
• * 1.69

  Dentelli.
• * 1.70

  Modilioni.
• * 1.71

  Mutull.
• * 1.72

  Projectur••••.
• * 1.73

  Corond.
• * 1.74

  Supereili¦um.
• * 1.75

  Planceeres
• * 1.76

  Cofers.
• * 1.77

  Regula.
• * 1.78

  Trabeatio.
• * 1.79

  Cima.
• * 1.80

  Tympa∣num••
• * 1.81

  Acroteria.
• * 1.82

  Cuppola.
• * 1.83

  Thalas.
• * 1.84

  Niches.
• * 1.85

  Concha.
• * 1.86

  Tribunal.
• * 1.87

  Relievo.
• * 1.88

  Emblema.
• * 1.89

  Mosaic••••.