Reliquiae Wottonianae, or, A collection of lives, letters, poems with characters of sundry personages : and other incomparable pieces of language and art : also additional letters to several persons, not before printed / by the curious pencil of the ever memorable Sir Henry Wottan ...

OF THE ELEMENTS OF ARCHITECTURE. The First Part. (Book 1)

IN Architecture, as in all other Operative Arts. the End must direct the Opera∣tion.

The End is to build well.

Well-building hath three Conditions, Commodity, Firmness, and Delight.

A common Division among the Deliverers of this Art, though I know not how, somewhat misplaced by Vitruvius himself, lib. 1. cap. 3. whom I shall be willinger to follow as a Master of Proportion, then of Method.

Now, For the attaining of these Intentions, we may consider the whole Subject under two general Heads:

The Seat, and the Work.

Therefore first touching Situation.

The Precepts thereunto belonging, do either con∣cern the Total Posture (as I may term it) or the Placing of the Parts; whereof the first sort, how∣soever usually set down by Architects as a piece of their Profession, yet are in truth borrowed from o∣ther Learnings: there being between Arts and Sci∣ences, as well as between Men, a kind of good fel∣lowship, and communication of their Principles.

For you shall finde some of them to be meerly Physical, touching the quality and temper of the Aire: which being a perpetual ambient and ingre∣dient, and the defects thereof incorrigible in single Habitations (which I most intend) doth in those respects require the more exquisite caution: That it be not too gross, nor too penetrative; Not sub∣ject to any foggy noisomness, from Pens or Marshes neer adjoyning; nor to Mineral Exhalations from the Soil it self. Not indigested, for want of Sun: Not unexercised, for want of Wind: which were to live, as it were, in a Lake, or standing Pool of Aire, as Alberti the Florentine Architect doth inge∣niously compare it.

Some do rather seem a little Astrological, as when they warn us from places of malign Influence, where Earth-quakes, Contagions, Prodigious births, or the like, are frequent without any evident cause, where∣of the Consideration is peredventure not altogether vain: Some are plainly Oeconomical, as that the Seat be well watered, and well fuelled; that it be not of too steep and incommodious Access, to the trouble both of Friends and Family; that it lye not too far from some Navigable River, or Arm of the Sea, for more ease of provision, and such other Domestic notes.

Some again may be said to be Optical: Such I mean as concern the Properties of a well chosen Pro∣spect, which I will call the Royalty of Sight. For as there is a Lordship, as it were, of the Fee, wherein the Master doth much joy when he walketh about the Line of his own Possessions: So there is a Lordship likewise of the Eye, which being a Ranging, and Imperious, and (I might say) an Usurping Sense, can indure no narrow Circumscription; but must be fed both with extent and variety. Yet on the other side, I find vast and indifinite views which drown all apprehension of the uttermost Objects, condemned by good Authors, as if thereby some part of the pleasure, whereof we speak, did perish. Lastly, I remember a private Caution; which I know not well how to sort, unless I should call it Political: By no means, to build too neer a great Neighbour; which were, in truth, to be as unfortunately seated on the Earth, as Mercury is in the Heavens, for the most part, ever in combustion or obscurity under brigh∣ter beams then his own.

From these several Knowledges, as I have said, and perhaps from some other, do Architects derive their Doctrine about Election of Seats: wherein I have not been so severe as a * 1.1 great Scholer of our time, who precise∣ly restraineth a perfect Situation, at least for the maine point of health, Ad locum contra quem Sol radios suos fundit cum sub Ariete oritur: That is, in a word, he would have the first Salutation of the Spring. But such Notes as these, wheresoever we find them in grave or slight Authours, are to my conceit rather Wishes then Pre∣cepts, and in that quality I will pass them over. Yet I must withal say, That in the seating of our selves

(which is a kind of Marriage to a Place.) Builders should be as circumspect as Wooers, lest when all is done, that Doom befall us, which our Master doth lay upon Mytelene: A Town, in truth (saith he) finely built, but * 1.2 foolishly planted. And so much touching that which I termed the Total Posture.

The next in Order is the placing of the Parts; About which (to leave as little as I may in my pre∣sent labour, unto Fancie, which is wild and irregu∣lar) I will propound a Rule of mine own Colle∣ction, upon which I fell in this manner. I had no∣ted, that all Art was then in truest perfection, when it might be reduced to some natural Principle. For what are the most judicious Artisans, but the Mi∣miques of Nature? This led me to contemplate the Fabrick of our own bodies, wherein the High Ar∣chitect of the World had displayed such skill, as did stupifie all humane Reason. There I found the Heart, as the Fountain of Life, placed about the Middle, for the more equal communication of the vital spirits. The Eyes seated aloft, that they might describe the greater Circle within their view. The Arms projected on each side, for ease of reaching. Briefly (not to lose our selves in this speculation) it plainly appeareth, as a Maxime drawn from the Divine Light, That the Place of every part is to be determined by the Use.

So then from Natural Structure, to proceed to Artificial; and in the rudest things, to preserve some Image of the excellentest, Let all the principal Chambers of Delight, all Studies and Libraries, be toward the East: For the Morning is a Friend to the Muses. All Offices that require heat, as Kitchins,

Stillatories, Stoves, rooms for baking, brewing, wash∣ing, or the like; would be Meridional. All that need a cool and fresh temper, as Cellers, Pantries, But∣teries, Granaries, to the North. To the same side likewise all that are appointed for gentle Motion, as Galleries, especially in warme Climes; or that o∣therwise require a steady and unvariable light, as Pinacothecia (saith Vitruvius) by which he intend∣eth (if I might guess at his Greek, as we must do often even at his Latin) certain Repositories for works of Rarity in Picture or other Arts, by the Italians called Studioli; which at any other Quarter where the course of the Sun doth diversifie the Sha∣dows, would lose much of their grace. And by this Rule, having alwayes regard to the Use, any other Part may be fitly accommodated.

I must here not omit to note, That the Ancient Grecians, and the Romans by their example; in their Buildings abroad, where the Seat was free, did al∣most Religiously situate the Front of their Houses towards the South: perhaps that the Masters Eye, when he came home, might not be dazled, or that being illustrated by the Sun, it might yield the more graceful Aspect, or some such reason. But from this the Modern Italians do vary. whereof I shall speak more in another place. Let thus much suf∣fice at the present for the Position of the several Members, wherein must be had, as our Authour doth often insinuate, and especially lib. 6. cap. 10. a singular regard to the nature of the Region: Every Nation being tyed above all Rules whatsoever, to a discretion of providing against their own Inconveni∣ences: And therefore a good Parlour in Aegypt, would perchance make a good Cellar in England.

There now followeth the second Branch of the general Section touching the Work.

In the Work, I will first consider the principal parts, and afterwards the Accessory, or Ornaments; And in the Principal, first the Preparation of the Materials; and then the Disposition, which is the Form.

Now, concerning the Material Part; Although surely it cannot disgrace an Architect, which doth so well become a Philosopher, to look into the Pro∣perties of Stone and Wood: as that Firtrees, Cypresses, Cedars, and such other Aereal aspiring Plants, be∣ing by a kind of natural rigour (which in a Man I would call Pride) inflexible downwards, are thereby fittest for Posts or Pillars, or such upright use: that on the other side, Oak, and the like true hearty Timber, being strong in all Positions, may be better trusted in cross and traverse Work; for Summers, or girding or binding Beams, as they term them. And so likewise to observe of Stone, that some are better within, and other to bear Wea∣ther: Nay, to descend lower, even to examine Sand, and Lyme and Clay (of all which things Vi∣truvius hath discoursed, without any daintiness; and the most of new Writers) I say, though the Speculative Part of such knowledge be liberal: yet to redeem this Profession, and my present pains from indignity; I must here remember, That to choose and sort the Materials for every part of the Fabrick, is a Duty more proper to a second Super∣intendent over all the Under-Artisans, called (as I take it) by our Authour, Officinator lib. 6. cap. 11. and in that place expresly distinguished from the Architect, whose glory doth more consist in the De∣signment, and Idea of the whole Work; and his

truest ambition should be to make the Form, which is the nobler Part, as it were, triumph over the Matter: whereof I cannot but mention by the way, a forrein Patron; namely, the Church of Santa Giustana in Padoua: In truth, a sound piece of good Art, where the Materials being but ordinary Stone, without any garnishment of Sculpture. do yet ravish the beholder (and be knows not how) by a secret Harmony in the Proportions. And this in∣deed is that end, at which in some degree we should aim even in the privatest works: whereunto though I make hast, yet let me first collect a few of the least trivial Cautions belonging to the Material Provi∣sions.

Leon Batista Alberti is so curious, as to wish all the Timber cut out of the same Forrest, and all the Stone out of the same Quarry.

Philibert de 'l Orme the French Architect goes yet somewhat further, and would have the Lyme made of the very same Stone, which we intend to imploy in the Work; as, belike, imagining, that they will sympathize and joyn the better by a king of Original kindred. But such conceits as these, seem somewhat too fine among this Rubbage, though I do not pro∣duce them in sport. For surely, the like agreements of nature may have oftentimes a discreet applica∣tion to Art. Alwayes it must be confessed, that to make Lyme without any great choice, of refuse stuffe, as we commonly do, is an English errour of no small moment in our Buildings. Whereas the Italians at this day, and much more the Ancients, did burn their firmest Stone, and even fragments of Marble, where it was copious, which in time be∣came almost Marble again, or at least of indissolu∣ble durity, as appeareth in the standing Theaters.

I must here not omit, while I am speaking of this part, a certain form of Brick described by D. Barbaro, Patriarch of Aquileia, in the largest Edition of his Commentary upon Vitruvius. The Figure triangular, every side a foot long, and some inch and a ½ thick, which he doth commend unto us for many good conditions: As that they are more commodious in the management, of less expence, of fairer show, adding much beauty and strength to the Mural An∣gles, where they fall gracefully into an indented Work: so as I should wonder that we have not taken them into use, being prpounded by a man of good authority in this knowledge; but that all Nations do start at Novelties, and are indeed marryed to their own Moulds. Into this place might aptly fall a doubt, which some have well moved; whether the ancient Italians did burn their Brick or no; which a passage or two in Vitruvius hath left Am∣biguous. Surely, where the Natural heat is strong enough to supply the Artificial, it were but a cu∣rious folly to multiply both Labour and Expence. And it is besides, very probable, that those Mate∣rials with a kindly and temperate heat wauld prove fairer, smoother, and less distorted, then with a violent: Onely they suffer two exceptions. First, that by such a gentle drying much time will be lost, which might otherwise be employed in compiling. Next, That they will want a certain sucking and soaking Thirstiness, or a fiery appetite to drink in the Lime, which must knit the Fabrick. But this question may be confined to the South, where there is more Sun and patience. I will therefore not hin∣der my course, with this incident scruple, but close that part which I have now in hand, about the Materials, with a principal caution: That sufficient

Stuff and Money be ever ready before we begin: For when we build now a piece, and then another by fits, the Work dries and sinks unequally, whereby the Walls grow full of Chinks and Crevices; there∣fore such pawsings are well reproved by Palladio, lib. 1. cap. 1. and by all other. And so having gleaned these few remembrances touching the pre∣paration of the Matter, I may now proceed to the Disposition thereof, which must form the Work. In the Form, as I did in the Seat, I will first consider the general Figuration, and then the several Mem∣bers.

Figures are either simple or mixed. The simple be either Circular or Angular. And of circular either Compleat or Deficient, as Ovals; with which kinds I will be contented, though the Distribution might be more curious.

Now the exact Circle is in truth a Figure, which for our purpose hath many fit and eminent proper∣ties; as fitness for Commodity and Receipt, being the most capable, fitness for strength and duration, being the most united in his parts; fitness for beau∣ty and delight, as imitating the Celestial Orbs, and the universal Form. And it seems besides, to have the approbation of nature, when she worketh by Instinct, which is her secret School: For Birds do build their Nests Spherically: But notwithstanding these Attributes, it is in truth a very unprofitable Figure in private Fabricks, as being of all other the most chargable, and much room lost in the bending of the Walls, when it comes to be divided, besides an ill distribution of light, except from the Center of the Roof. So as anciently it was not usual, save in their Temples and Amphi-Theaters, which needed no Compartitions. The Ovals and other imperfect

secular Forms, have the same exceptions, and less benefit of capacity: So as there remains to be con∣sidered in this general survey of Figures, the An∣gular and the Mixed of both, Touching the Angu∣lar, it may perchance sound somewhat strangely, but it is a true observation, that this Art doth nei∣ther love many Angles, nor few. For first, the Triangle, which hath the fewest sides and corners, is of all other the most condemned, as being indeed both incapable and infirme (whereof the reason shall be afterwards rendred) and likewise unre∣solvable into any other regular Form then it self in the inward Partitions.

As for Figures of five, six, seven, or more An∣gles: They are surely fitter for Militar Architecture (where the Bulworks may be layd out at the Cor∣ners, and the sides serve for Curtains) then for civil use; though I am not ignorant of that famous Piece at Capralora, belonging to the House of Far∣nese, cast by Baroccio into the form of a Pentagone, with a Circle inscribed, where the Architect did in∣geniously wrestle with divers inconveniences in di∣sposing of the Lights, and in saving the vacuities. But as designs of such nature do more aym at Ra∣rity then Commodity; so, for my part, I had ra∣ther admire them then commend them.

These things considered, we are both by the Precepts, and by the Practice of the best Builders; to resolve upon Rectangular Squares, as a mean be∣tween too few and too many Angles; and through the equal inclination of the sides (which make the right Angle) stronger then the Rhombe, or Losenge, or any other irregular Square. But whether the exact Quadrat, or the long Square be the better, I find not well determined, though in mine owne

conceit, I must prefer the latter; provided that the Length do not exceed the Latitude above one third part, which would diminish the beauty of the Aspect, as shall appear when I come to speak of Symmetry and Proportion.

Of mixed Figures, partly Circular, and partly Angular, I shall need to say nothing; because ha∣ving handled the simple already, the mixed accord∣ing to their composition, do participate of the same respects. Onely against these, there is a proper Objection, that they offend Uniformity: Whereof I am therefore oppertunely induced to say somewhat, as far as shall concern the outward Aspect, which is now in Discourse.

In Architecture, there may seem to be two oppo∣site affectations, Uniformity and Variety, which yet will very well suffer a good reconcilement, as we may see in the great Pattern of Nature, to which I must often resort: For surely, there can be no Structure more uniform then our Bodies in the whole Figuration: Each side agreeing with the other, both in the number, in the quality, and in the measure of the Parts: And yet some are round, as the Arms; some flat, as the Hands; some prominent, and some more retired: So as upon the matter we see that Diversity doth not destroy Uniformity, and that the Limbs of a noble Fabrick may be corre∣spondent enough, though they be various; Provi∣ded always, that we do not run into certain extra∣vagant Inventions, whereof I shall speak more largely when I come to the parting and casting of the whole Work. We ought likewise to avoyd E∣normous heights of six or seven Stories, as well as irregular Forms; and the contrary fault of low distended Fronts, is as unseemly: Or again, when

the Face of the Building is narrow, and the Flank deep: To all which extreames some particular Nations or Towns are subject, whose Names may be civilly spared: And so much for the general Figuration, or Aspect of the Work.

Now concerning the Parts in Severalty. All the parts of every Fabrick may be comprised under five Heads, which Division I receive from Batista Alberti, to do him right. And they be these:

• The Foundation.
• The Walls.
• The Appertions, or Overtures.
• The Compartition.
• And the Cover.

About all which I purpose to gather the principal Cautions, and as I pass along, I will touch also the natural Reasons of Art, that my Discourse may be the less Mechanical.

First then concerning the Foundation, which re∣quireth the exactest care; For if that happen to dance, it will mar all the mirth in the House: Therefore that we may found our Habitation firm∣ly, we must first examine the Bed of Earth (as I may term it,) upon which we will Build; and then the underfillings, or substruction, as the Ancients did call it: For the former, we have a general Precept in Vitruvius, twice precisely repeated by him, as a Point indeed of main consequence; first, l. 1. c. 5. And again more fitly, l. 3. c. 3. in these words, as Philander doth well correct the vulgar Copies: Substructionis Fundationes fodiantur (saith he) si que∣•…•…nt inveniri ad solidum, & in solido. By which words 〈◊〉〈◊〉 conceive him to commend unto us, not only a diligent, but even a jealous examination what the Soil will bear: advising us, not to rest upon any

appearing solidity, unless the whole Mould through which we cut, hath likewise been solid; but how deep we should go in this search, he hath no where to my remembrance determined, as perhaps depen∣ding more upon Discretion, then Regularity, accor∣ding to the weight of the Work; yet Andrea Palla∣dio hath fairly adventured to reduce it into Rule: Allowing for that Cavazione (as he calleth it): sixth part of the height of the whole Fa∣bricke, unless the Cellers be under * 1.3 ground, in which case he would have us (as it should seem) to sound some∣what lower.

Some Italians do prescribe, that when they have chosen the Floor, or Plot, and laid out the Limits of the Work, we should first of all Dig Wells and Cisterns, and other Under-conducts and Convey∣ances, for the Suillage of the House, whence may arise a double benefit: for both the nature of the Mould or Soil; would thereby be safely searched, and moreover those open vents will serve to dis∣charge such Vapours, as having otherwise no issue, might peradventure shake the Building. This is enough for the natural Grounding; which though it be not a Part of the solid Fabrick, yet here was the fittest place to handle it.

There followeth the Substruction, or Ground∣work of the whole Edifice, which must sustain the Walls; and this is a kind of Artificial Foundation as the other was Natural. About which these ar•• the chief Remembrances: First, that the bottom be precisely level, where the Italians therefore com∣monly lay a platform of good Board; Then th•…•… the lowest Ledge or Row be meerly of Stone, ••••d the broader the better, closely laid, without Mort•…•…

which is a general Caution for all parts in build∣ing, that are contiguous to Board or Timber, be∣cause Lime and Wood are insociable; and if any where unfit Confiners, then most especially in the Foundation. Thirdly, that the breadth of the Sub∣struction be at least double to the insistent Wall, and more or less, as the weight of the Fabrick shall re∣quire; for as I must again repeat, Discretion may be freer then Art. Lastly, I find in some a curious precept, that the Materials below, be laid as they grew in the Quarry, supposing them belike to have most strength in their Natural and Habitual Posture. For as Philippe de l'Orme observeth, the breaking or yielding of a stone in this part, but the breadth of the back of a knife, will make a Cleft of more then half a foot in the Fabrick aloft: So important are fundamental Errors. Among which notes I have said nothing of Pallification, or Pyling of the Ground-plot, commanded by Vitruvius, when we build upon a moist or marshy Soil, because that were an errour in the first choice. And therefore all Seats that must use such provision below (as Venice for an eminent example) would perhaps upon good en∣quiry, be found to have been at first chosen by the Counsel of Necessity.

Now the Foundation being searched, and the Sub∣struction laid, we must next speak of the Walls.

Walls are either entire and continual, or inter∣mitted; and the Intermissions be either Pillars or Pylasters; for here I had rather handle them, then, as some others do, among Ornaments.

The entire Muring, is by Writers diversly distin∣guished: By some, according to the quality of the Materials, as either Stone or Brick, &c. Where, by the way, let me note, that to build Walls and

greater works of Flint, whereof we want not ex∣ample in our Island, and particularly in the Pro∣vince of Kent, was (as I conceive) meerly un∣known to the Ancients, who observing in that Ma∣terial, a kind of Metalical Nature, or at least a Fu∣sibility, seem to have resolved it into nobler use; an Art now utterly lost, or perchance kept up by a few Chymicks. Some again do not so much consi∣der the quality, as the Position of the said Materials: As when Brick or squared Stones are laid in their lengths with sides and heads together, or their Points conjoyned like a Net-work (for so Vitruvius doth call it reticulatum opus) of familiar use (as it should seem) in his Age, though afterwards grown out of request, even perhaps for that subtil specula∣tion which he himself toucheth; because so laid, they are more apt in swagging down, to pierce with their points, then in the jacent Posture, and so to crevice the Wall: But to leave such cares to the meaner Artificers, the more essential are these.

That the Walls be most exactly perpendicular to the Ground-work, for the right Angle (thereon de∣pending) is the true cause of all stability, both it Artificial and Natural Positions: A man likewise standing firmest, when he stands uprightest. That the Massiest and heaviest Materials be the lowest, as fitter to bear, then to be born. That the Work, a•…•… it riseth, diminish in thickness proportionally, fo•…•… ease both of weight, and of expence. That certai•…•… Courses or Ledges of more strength then the rest, b•…•… interlayed like Bones, to sustain the Fabrick from total ruine, if the under parts should decay. Last∣ly, that the Angles be firmly bound, which are the Nerves of the whole Edifice, and therefore are com∣monly

fortified by the Italians, even in their Brick buildings, on each side of the corners, with well squared Stone, yielding both strength and grace. And so much touching the entire or solid Wall.

The Intermissions (as hath been said) are either by Pillars, or Pyliasters.

Pillars, which we may likewise call Columnes (for the word among Artificers is almost naturalized) I could distinguish into Simple and Compounded. But (to tread the beaten and plainest way) there are five Orders of Pillars, according to their dignity and perfection, thus marshalled.

• The Tuscan.
• The Dorique.
• The Ionique.
• The Corinthian.

And the Compound Order, or as some call it, the Roman, others more generally the Italian.

In which five Orders; I will first consider their Communities, and then their Proprieties.

Their Communities (as far as I observe) are Principally three. First, they are all Round; for though some conceive Columna Atticurges, mentio∣ned by Vitruvius, lib. 3. cap. 3. to have been a squa∣red Pillar, yet we must pass it over at irregular, never received among these Orders, no more then certain other licentious inventions; of Wreathed, and Vined, and Figured Columnes, which our Au∣thor himself condemneth, being in his whole Book a professed enemy to Fancies.

Secondly, they are all Diminished or Contracted insensibly, more or less, according to the propor∣tion of their heights, from one third part of the whose Shaft upwards, which Philander doth pre∣scribe by his own precise measuring of the Ancient

remainders, as the most gracefull Diminution. And here I must take leave to blame a practice grown (I know not how) in certain places too familiar, of making Pillars swell in the middle, as if they were sick of some Tympany, or Dropsie, without any Au∣thentique Pattern or Rule, to my knowledge, and unseemely to the very judgement of sight. True it is, that in Vitruvius, lib. 3. cap. 2. we find these words, De adjectione, quae adjicitur in mediis Columnis, quae apud Grecos 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 appellatur, in extremo libro erit formatio ejus; which passage seemeth to have given some countenance to this errour. But of the pro∣mise there made, as of divers other elsewhere, our Master hath failed us, either by slip of memory, or injury of time, and so we are left in the dark. Al∣wayes sure I am, that besides the authority of ex∣ample which it wanteth; it is likewise contrary to the Original and Natural Type, in Trees, which at first was imitated in Pillars, as Vitruvius himself observeth, lib. 5. cap. 1. For who ever saw any Cy∣press, or Pine (which are there alledged) small be∣low and above, and tumerous in the middle; un∣less it were some diseased Plant, as Nature (though otherwise the comeliest Mistress) hath now and then her deformities and Irregulari∣ties?

Thirdly, they have all their Under-settings, or Pedistals, in height a third part of the whole Co∣lumne, comprehending the Base and Capital; and their upper Adjuncts, as Architrave, Frize, and Cornice, a fourth part of the said Pillar; which rule, of singular use and facility, I find setled by Jacobo Baroccio; and hold him a more credible Au∣thor, as a man that most intended this piece, then any that vary from him in those Dimensions.

These are their most considerable Communities and agreements.

Their Proprieties or Distinctions will best appear by some reasonable description of them altogether, with their Architraves, Frizes, and Cornices, as they are usually handled.

First therefore, the Tuscan is a plain, massie, rural Pillar, resembling some sturdy well-limb'd Labourer, homely clad, in which kind of compa∣risons Vitruvius himself seemeth to take pleasure, lib. 4. cap. 1. The length thereof shall be six Dia∣meters, of the grossest of the Pillar below. Of all proportions, in truth, the most natural; For our Author tells us, lib. 3. cap. 1. that the foot of a man is the sixth part of his body in ordinary measure, and Man himself according to the saying of Prota∣goras (which Aristotle doth somewhere vouchsafe to celebrate) is 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, as it were, the Prototype of all exact Symmetrie, which we have had other occasions to touch before: This Columne I have by good warrant called Rural, Vitruv. cap. 2. lib. 3. And therefore we need not consider his rank among the rest. The distance or Interco∣lumniation (which word Artificers do usually bor∣row) may be near four of his own Diameters, be∣cause the Materials commonly layd over this Pillar, were rather of wood then stone; through the light∣ness whereof the Architrave could not suffer, though thinly supported, nor the Columne it self, being so substantial. The Contraction alost shall be (accor∣ding to the most received practice) one fourth part of his thickness below. To conclude, for I intend only as much as shall serve for a due Distinguish∣ment, and not to delineate every petty member) the Tuscan is of all the rudest Pillar, and his Prin∣cipal Character Simplicity.

The Dorique Order is the gravest that hath been received into civil use, preserving, in comparison of those that follow, a more Masculine Aspect, and little trimmer then the Tuscan that went before, save a sober garnishment now and then of Lions heads in the Cornice, and of Tryglyphs and Metopes alwayes in the Frize. Sometimes likewise, but rarely, channeled, and a little slight Sculpture about the Hypotrachelion or Neck, under the Capital. The length, seven Diameters. His rank or degree, is the lowest by all Congruity, as being more massie then the other three, and consequently abler to support. The Intercolumniation, thrice as much as his thickness below. The Contraction aloft, one fifth of the same measure. To discern him, will be a piece rather of good Heraldry, then of Archi∣tecture: For he is best known by his place when he is in company, and by the peculiar ornament of his Frize (before mentioned) when he is alone.

The Ionique Order doth represent a kind of Femi∣nine slenderness, yet saith Vitruvius, not like a light House-wife, but in a decent dressing, hath much of the Matron. The length eight Diameters. In degree as in substantialness, next above the Do∣rique, sustaining the third, and adorning the se∣cond Story. The Intercolumniation two of his own Diameters. The Contraction one sixth part. B•…•… known by his trimmings, for the body of this Co∣lumne is perpetually channelled, like a thick pleigh∣ted Gown. The Capital dressed on each side, not much unlike Womens Wires, in a spiral wreath∣ing, which they call the Ionian Voluta. The Cornice indented. The Frize swelling like a pillow: And therefore by Vitruvius, not unelegantly termed Pulvinata. These are his best Characters.

The Corinthian, is a Columne lasciviously decked like a Curtezan, and therein much participating (as all Inventions do) of the place where they were first born: Corinth having been (without controversie) one of the wantonest Towns in the world. This Order is of nine Diameters. His de∣gree, one Stage above the Ionique, and alwayes the highest of the simple Orders. The Intercolumnia∣tion two of his Dia•…•…eters, and a fourth part more, which is of all other the comeliest distance. The Contraction one seventh part. In the Cornice both Dentelli and Modiglioni. The Frize, adorned with all kinds of Figures * 1.4 and various Compartments at Plea∣sure. The Capitals, cut into the beautifullest leaf, that Nature doth yield; which surely, next the Aconitum Pardalianches (rejected perchance as an ominous Plant) is the Acanthus, or Brancha U•…•…sina; though Vitruvius doth impute the choice thereof unto Chance, and we must be con∣tented to believe him: In short, As Plainness did Charactarize the Tuscan, so must Delicacy and Va∣riety the Corinthian Pillar; besides the height of his Rank.

The last is the Compounded Order: His name being a brief of his nature. For this Pillar is no∣thing in effect, but a medly, or an amasse of all the precedent Ornaments, making a new kind, by stealth; and though the most richly tricked, yet the poorest in this, that he is a borrower of all his Beauty. His length, (that he may have somewhat of his own) shall be of ten Diameters. His degree should, no doubt, be the highest, by reasons be∣fore yielded. But few Palaces, Ancient or Mo∣dern, exceed the third of the Civil Orders. The

Intercolumniation but a Diameter and an half, or al∣wayes somewhat less then two. The Contraction of this Pillar must be one eighth Part less above then below. To know him will be easie by the ve∣ry mixture of his Ornaments, and Clothing.

And so much touching the five Orders of Co∣lumnes, which I will conclude with two or three not impertinent Cautions:

First, that where more of these Orders then one, shall be set in several Stories or Contignations, there must be an exquisite care to place the Columnes pre∣cisely one over another, that so the solid may an∣swer to the solid, and the vacuities to the vacuities, as well for Beauty, as strength of the Fabrick: And by this Caution the Consequence is plain, that when we speak of the Intercolumniation or Distance which is due to each Order, we mean in a Dorique, Ionical, Corinthian Porch, or Cloister, or the like of one Contignation, and not in Storied buildings.

Secondly, Let the Columnes above be a fourth part less then those below, saith Vitruvius, lib. 5. cap. 1. A strange Precept in my opinion; and to strange, that peradventure it were more sutable, even to his own Principles, to make them rather a fourth part greater. For lib. 3. cap. 2. where our Master handleth the Contractions of Pillars, we have an Optique Rule, that the higher they are, the less should be alwayes their diminution aloft, because the Eye it self doth naturally contract all Objects more or less, according to the Distance; which Consideration may, at first sight, seem to have been forgotten in the Caution we have now given; but Vitruvius (the best Interpreter of himself) hath in the same place of his fifth Book well acquitted his Memory by these words: Columna superiores quarta

parte minores, quàm inferiores, sunt constituendae; proptereà quòd, operi ferendo quae sunt inferiora, firmi∣•…•…ra esse debent; preferring like a wise Mechanick, the natural Reason before the Mathematical, and sensible conceits before abstracted. And yet lib. 4. cap. 4. he seemeth again to affect Subtilty, allowing Pillars the more they are chaneled, to be the more slender; because while our Eye (saith he) doth as it were distinctly measure the eniment and the hollowed parts, the Total Object appeareth the bigger, and so as much as those excavations do sub∣tract, is supplied by a Fallacy of the Sight: But here me thinks, our Master should likewise have rather considered the natural inconvenience; for though Pillars by cha•…•…neling, be seemingly in∣grossed to our Sight, yet they are truly weakened in themselves; and therefore ought perchance in sound reason not to be the more slender, but the more corpulent, unless apparences preponder truths; but Contra Magistrum non est disputan∣dum.

A third Caution shall be, that all the projected or jutting parts (as they are termed) be very mo∣derate, especially, the Cornices of the lower Or∣ders; for whilest some think to give them a beau∣tifull and royal Aspect by their largeness, they sometimes hinder both the Light within, (where∣of I shall speak more in due place) and likewise detract much from the view of the Front without, as well appeareth in one of the principal Fabricks at Venice, namely, the Palace of the Duke Grimani on the Canal Grande, which by this magnificent er∣rour, is somewhat disgraced: I need now say no more concerning Columnes and their Adjuncts, about which Architects make such a noise in their Books,

as if the very terms of Architraves, and Frizes, and Cornices, and the like, were enough to gradu∣ate a Master of this Art: yet let me before I pass to other matter, prevent a familiar Objection; It will perchance be said, that all this Doctrine touch∣ing the five Orders, were fitter for the Quarries of Asia, which yielded 127 Columnes of 60 Foot high to the Ephesian Temple; or for Numidia, where Marbles abound; then for the Spirits of England, who must be contented with more ignoble Materi∣als: To which I answer, That this need not dis∣courage us: For I have often at Venice viewed with much pleasure, an Atrium Graecum (we may tran∣slate it an Anti porch, after the Greek manner) raised by Andraea Palladio, upon eight Columnes of the compounded Order: The Bases of Stone, without Pedistals: The Shafts or Bodies of meer Brick, three Foot and an half thick in the Diameter below, and consequently thirty five Foot high, as himself hath described them in his second Book: Then which, mine Eye hath never yet beheld any Co∣lumnes more stately of Stone or Marble; For the Bricks having first been formed in a circular Moula, and then cut before their burning into four Quar∣ters or more, the sides afterwards joyn so closely, and the points concenter so exactly, that the Pillars appear one entire Peece; which short description•…•… could not omit, that thereby may appear, how in truth we want rather Art then Stuff, to satisfie our greatest Fancies.

After Pillars, the next in my distribution are Pilasters, mentioned by Vitruvius, lib. 5. cap. 1. and scant any where else under the name of Parastates, as Philander conceiveth, which Grammatical point (though perchance not very clear) I am content∣ed

to examine no further. Alwayes, what we mean by the thing it self is plain enough in our own vulgar; Touching which, I will briefly collect the most considerable Notes.

Pylasters must not be too tall and slender, lest they resemble Pillars; nor too Dwarfish and gross, lest they imitate the Piles or Peers of Bridges; Smoothness doth not so naturally become them, as a Rustick Superficies; for they aim more at State and Strength, then Elegancy. In private Build∣ings they ought not to be narrower then one Third, nor broader then two parts of the whole Vacuity between Pylaster and Pylaster; but to those that stand at the Corners, may be allowed a little more Latitude by discretion, for strength of the Angles: In Theaters and Amphi theaters, and such weighty Works, Palladio observeth them, to have been as broad as the half, and now and then as the whole Vacuity: He noteth likewise (and others consent with him) that their true Proportion should be an exact Square; But for lestening of expence, and in∣larging of room, they are commonly narrower in Flank, then in Front: Their principal Grace doth consist in half or whole Pillars' applied unto them; in which case it is well noted by Authors, that the Columnes may be allowed somewhat above their ordinary length, because they lean unto so good Supporters. And thus much shall suffice touching Pylasters, which is a cheap, and a strong, and a noble kind of Structure.

Now because they are oftner, both for Beauty, and Majesty, found arched, then otherwise; I am here orderly led to speak of Arches, and under the same head of Vaults: for an Arch is nothing indeed but a contracted Vault, and a Vault is but a dilated

Arch: Therefore to handle this Piece both com∣pendiously, and fundamentally, I will resolve the whole business into a few Theorems.

Theorem 1.

All solid Materials free from impediment, do descend perpendicularly downwards, because Ponde∣rosity is a natural inclination to the Center of the World, and Nature performeth her Motions by the shortest lines.

Theorem 2.

Bricks moulded in their ordinary Rectangular form, if they shall be laid one by another in a level row, between any Supporters sustaining the two ends, then all the pieces between will necessarily sink, even by their own natural Gravity; and much more, if they suffer any depression by other weight above them, because their sides being paral∣lel, they have room to descend perpendicularly, without impeachment, according to the former Theorem; Therefore to make them stand, we must either change their Posture, or their Figure, or both.

Theorem 3.

If Bricks moulded, or Stones squared Cuneatim, (that is, Wedge-wise, broader above then below) shall be laid in a Row-level, with their ends support∣ed, as in the precedent Theorem, pointing all to one Center; then none of the pieces between can sink till the Supporters give way, because they want

room in that Figuration, to descend perpendicularly. But this is yet a weak piece of Structure, because the Supporters are subject to much impulsion, espe∣cially if the Line be long; for which reason this Form is seldome used, but over Windowes, or nar∣row Doors. Therefore to fortifie the Work, as in this third Theorem, we have supposed the Figure of all the Materials different from those in the second: So likewise we must now change the Posture, as will appear in the Theorem following.

Theorem 4.

If the Materials figured as before Wedge-wise, shall not be disposed levelly, but in form of some Arch, or portion of a Circle, pointing all to the same Center, In this case neither the pieces of the said Arch can sink downwards, through want of room to descend * 1.5 perpendicularly; Nor the Supporters or Butments (as they are termed) of the said Arch can suffer so much vi∣olence, as in the precedent flat posture; for the roundness will alwayes make the incumbent weight rather to rest upon the Supporters, then to shove them; whence may be drawn an evident Corolary: that the safest of all Arches is the Semi-circular, and of all Vaults the Hemisphere, though not absolutely exempted from some natural weak∣ness, † as Bernardino Baldi Abbot of * 1.6 Guastalla, in his Commentary upon Aristotles Mechanicks, doth very well prove: where let me note by the way, that when any thing is Mathe∣matically demonstrated weak, it is much more Me∣chanically weak: Errours ever occurring more

easily in the management of Gross Materials, then Lineal Designes.

Theorem 5.

As Semi-circular Arches, or Hemispherical Vaults, being raised upon the total Diameter, be of all other the roundest, and consequently the secu∣rest, by the precedent Theoreme: So those are the gracefullest, which keeping precisely the same height, shall yet be distended one fourteenth part longer then the said entire Diameter; which addi∣tion of distent will confer much to their Beauty, and detract but little from their Strength.

This Observation I find in Leon-Batista Alberti; But the practice how to preserve the same height, and yet distend the Arms or Ends of the Arch, is in Albert Durers Geometry, who taught the Italians many an excellent Line, of great use in this Art.

Upon these five Theoremes, all the skill of Arch∣ing and Vaulting is grounded: As for those Arches, which our Artizans call of the third and fourth point, And the Tuscan Writers di terzo, and d•…•… quarto accuto, because they alwayes concurre in an acute Angle, and do spring from division of the Diameter into three, four, or more parts, at plea∣sure; I say, such as these, both for the natural imbecillity of the sharp Angle it self, and likewise for their very Uncomeliness, ought to be exiled from judicious eyes, and left to their first Inven∣tors, the Gothes or Lumbards; amongst other Re∣liques of that barbarous Age.

Thus of my first Partition of the parts of every Fa∣brick, into five Heads, having gone through the

two former, and been incidently carried into this •…•…ast Doctrine touching Arches and Vaults. The next now in order are the Apertions; under which •…•…erm I do comprehend Doors, Windows, Stair-cases, Chimnies, or other Conducts: In short, all In-lets, •…•…r Out-lets; To which belong two general Cau∣tions.

First, That they be as few in number, and as moderate in Dimension, as may possibly consist with other due respects: for in a word, all Open∣ings are Weaknings.

Secondly, That they do not approach too near the Angles of the Wals; for it were indeed a most •…•…ssential Solecisme, to weaken that part which must strengthen all the rest: A precept well recorded, •…•…ut ill practised by the Italians themselves, particu∣•…•…arly at Venice, where I have observed divers Per∣•…•…oli, or Meniana (as Vitruvius seemeth to call •…•…hem, which are certain ballised out-standings to •…•…tisfie curiosity of sight) very dangerously set •…•…rth, upon the very point it self of the Mural •…•…ngle.

Now, Albeit I make haste to the casting and •…•…omparting of the whole Work, (being indeed the •…•…ery Definitive Summe of this Art, to distribute sefully and gracefully a well chosen Plot) yet I •…•…ill first under their several Heads, collect briefly •…•…me of the choicest notes belonging to these parti∣•…•…lar Overtures.

Of Doors and Windows.

THese In-lets of Men and of Light, I couple to∣gether, because I find their Dimensions •…•…ought under one Rule by Leon Alberti (a learn∣ed

Searcher) who from the School of Pythagor•…•… (where it was a fundamental Maxime, that th•…•… Images of all things are latent in Numbers) dot•…•… determine the comeliest Proportion betwee•…•… breadths and heigths; Reducing Symmetry to Sym•…•…∣phony, and the Harmony of Sound, to a kind of Har∣mony in Sight, after this manner: The two princi∣pal Consonances, that most ravish the Ear, are by consent of all Nature, the fifth, and the octa•…•… whereof the first riseth radically from the propor∣tion between two and three; The other from th•…•… double Interval, between one and two, or betwee•…•… two and four, &c. Now if we shall transport the•…•… proportions from Audible to Visible Objects; a•…•… apply them as they shall fall fittest (the nature 〈◊〉〈◊〉 the Place considered) namely, in some Windo•…•… and Doors, the Symmetry of two to three in thei•…•… Breadth and Length; In others, the double as a foresaid; There will indubitably result from ei∣ther a gracefull and harmonious contentment to th•…•… Eye: Which speculation, though it may appe•…•… unto vulgar Artizans, perhaps too subtil, and t•…•… sublime, yet we must remember, that Vitruvi•…•… himself doth determine many things in his profess•…•…∣on, by Musical Grounds, and much commende•…•… in an Architect a Philosophical Spirit; that is, 〈◊〉〈◊〉 would have him (as I conceive it) to be no s•…•…∣perficial, and floating Artificer; but a Diver i•…•… Causes, and into the Mysteries of Proportion. 〈◊〉〈◊〉 the Ornaments belonging both to Doors and Wi•…•…∣dows, I shall speak in other place; But let me he•…•… adde one Observation; That our Master (as •…•…∣peareth by divers passages, and particularly lib. 〈◊〉〈◊〉 cap. 9.) seems to have been an extream Lover 〈◊〉〈◊〉 Luminous Roomes; And indeed, I must confes•…•…

that a Frank Light can mis-become no Aedifice whatsoever, Temples only excepted; which were anciently dark, as they are likewise at this day in some Proportion. Devotion more requiring collected ••hen diffused Spirits. Yet on the other side, we must take heed to make a House * 1.7 though but for civil use) all Eyes, •• Argus, which in Northern Climes would be too cold, In Southern too hot: And therefore the mat∣ter indeed importeth more then a merry compari∣son. Besides, There is no part of Structure either more expencefull then Windows, or more ruinous; not only for that vulgar reason, as being exposed ••o all violence of weather; but because consisting of so different and unsociable pieces, as Wood, Iron, Lead, and Glass, and those small and weak, they ••re easily shaken; I must likewise remember one ••hing, (though it be but a Grammatical Note) ••ouching Doors. Some were Fores and some were ••alvae. Those (as the very word may seem to im∣••ort) did open outwards, These inwards, and were ••ommonly of two Leaves or Panes, (as we call ••hem) thereby requiring indeed a lesser Circuit in ••heir unfoldings; And therefore much in use among ••talians at this day: But I must charge them with ••n Imperfection, for though they let in as well as ••he former, yet they keep out worse.

Of Stair-cases.

To make a Complete Stair-case, is a curious piece of Architecture: The vulgar Cautions ••re these:

That it have a very liberal Light against all Ca∣••uality of Slips, and Falls.

That the space above the Head, be large and Aiery, which the Italians use to call Un bels-fogol•…•…, as it were good Ventilation, because a man doth spend much breath in mounting.

That the Half-paces be well distributed at com∣petent distances, for reposing on the way.

That to avoid Encounters, and besides to gratifi•…•… the beholder, the whole Stair-case have no nigar•…•… Latitude, that is, for the principal Ascent, at lea•…•…∣ten foot in Royal Buildings.

That the breadth of every single Step or Stair b•…•… never less then one foot, nor more then eighteen inches.

That they exceed by no means half a foot in thei•…•… height or thickness, for our Leggs do labour mo•…•… in Elevation, then in Distention: These I say are fa∣miliar remembrances; to which let me adde,

That the steps be laid where they joyn Co•…•… •…•…∣tantino di scarpa; we may translate it somewha•…•… sloaping, that so the foot may in a sort both asce•…•… and descend together, which though observed b•…•… few, is a secret and delicate deception of the pai•…•… in mounting.

Lastly, to reduce this Doctrine to some Natur•…•… or at least Mathematical ground, (our Master, 〈◊〉〈◊〉 we see, lib. 9. cap. 2.) borroweth those proport•…•…∣ons that make the sides of a Rectangular Triang•…•… which the Ancient School did express in low•…•… terms, by the numbers of Three, Four, and F•…•… That is Three for the Perpendicular, from the St•…•… head to the ground; Four for the Ground-line it se•…•… or Recession from the wall; And Five for the wh•…•… Inclination or sloapness in the ascent; which pr•…•…∣portion, saith he, will make Temperatas gradu•…•… brationes. Hitherto of Stair-cases which are dire•…•…

There are likewise Spiral, or Cockle Stairs, either Circular, or Oval, and sometimes running about a Pillar, sometimes vacant, wherein Palladio, (A man in this point of singular felicity) was wont •…•…o divide the Diameter of the first sort into three parts, yielding one to the Pillar, and two to the Steps; Of the second into four, whereof he gave two to the Stairs, and two to the Vacuity, which had all their light from above. And this in exact Ovals is a Master-piece.

Of Chimnies.

IN the present business, Italians (who make very frugal fires, are perchance not the best Coun∣sellers.) Therefore from them we may better •…•…earn, both how to raise fair Mantels within the rooms, and how to disguise gracefully the shafts of Chimnies abroad (as they use) in sundry forms, (which I shall handle in the latter part of my Labour) and the rest I will extract from Phi∣lippe de l'Orme; in this part of his Work more dili∣gent, then in any other; or, to do him right, then any man else.

First, he observeth very soberly, that who in the disposition of any Building will consider the nature of the Region, and the Winds that ordinarily blow from this, or that Quarter; might so cast the rooms which shall most need fire, that he should little fear the incommodity of Smoke: and there∣fore he thinks that inconvenience, for the most part, to proceed from some inconsiderate begin∣ning. Or if the errour lay not in the Disposition, but in the Structure it self; then he makes a Logical enquiry, That either the Wind is too much let in

above, at the mouth of the Shaft, or the Smoke sti∣fled below: If none of these, Then there is a re∣pulsion of the Fume, by some higher Hill or Fa∣brick, that shall overtop the Chimney, and wor•…•… the former effect: If likewise not this, Then 〈◊〉〈◊〉 concludes, that the Room which is infested, mu•…•… be necessarily both little and close, so as the smo•…•… cannot issue by a natural Principle, wanting a su•…•…∣cession and supply of new Air.

Now, in these cases he suggesteth divers Artifi∣cial Remedies, of which I will allow one a litt•…•… Description, because it savoureth of Phylosophy, and was touched by Vitruvius himself, lib. 1. cap. 6. b•…•… by this man ingeniously applyed to the present use. He will have us provide two hollow brass Balls o•…•… reasonable capacity, with little holes open i•…•… both, for reception of Water, when the Air sha•…•… be first sucked out; One of these we must pla•…•… with the hole upwards, upon an iron Wire, th•…•… shall traverse the Chimney, a little above the M•…•…∣tel, at the ordinary height of the sharpest heat 〈◊〉〈◊〉 flames, whereof the Water within being rarified and by rarifaction resolved into Wind, will bre•…•… out, and so force up the smoke, which otherwi•…•… might linger in the Tunnel, by the way, and often∣times revert; With the other, (saith he) 〈◊〉〈◊〉 may supply the place of the former, when it is ex∣hausted; or for a need blow the Fire in the me•…•… while: Which Invention I have interposed fo•…•… some little entertainment of the Reader; I wi•…•… conclude with a note from Palladio, who observe•…•… that the Ancients did warm their Rooms with cer∣tain secret Pipes that came through the Walls transporting heat (as I conceive it) to sundry parts of the House from one common Furnace; I

am ready to baptize them Cali ducts, as well as they are termed Venti-ducts, and Aquae-ducts, that convey Wind and Water; which whether it were a custome or a delicacy, was surely both for thrift, and for use, far beyond the German Stoves; And I should prefer it likewise before our own fashion, if the very sight of a fire did not adde to the Room a kind of Reputation, * 1.8 as old Homer doth teach us in a verse, sufficient to prove that himself was not blind, as some would lay to his charge.

Touching Conducts for the Suillage, and other necessities of the House, (which how base soever in use, yet for health of the inhabitants, are as considerable, and perhaps more then the rest) I find in our Authors, this Counsel; That Art should imitate Nature, in those ignoble convey∣ances; and separate them from Sight, (where there wants a running Water) into the most re∣mote, and lowest, and thickest part of the Foun∣dation; with secret vents passing up through the Walls like a Tunnel, to the wilde Air aloft: which all Italian Artizans commend for the discharge of noysome vapours, though else-where, to my knowledge, little practised.

Thus having considered the precedent Apertions, or Overtures in severalty, according to their parti∣cular Requisites, I am now come to the casting and Contexture of the whole Work, comprehended un∣der the term of Compartition: Into which (being the mainest piece) I cannot enter without a few general Precautions, as I have done in other Parts.

First therefore, Let no man that intendeth to

build, settle his Fancy upon a draught of the Work in paper, how exactly soever measured, or neatly set off in perspective; And much less upon a bare Plant thereof, as they call the Sciographia or Ground lines; without a Model or Type of the whole Stru∣cture, and of every parcel and Partition in Past∣board or Wood.

Next, that the said Model be as plain as may be, without colours, or other beautifying, lest the pleasure of the Eye preoccupate the Judgement; which advice, omitted by the Italian Architécts, I find in Philippe de l'Orme; and therefore (though France be not the Theater of best buildings) it did merit some mention of his name.

Lastly, the bigger that this Type be, it is still the better, not that I will perswade a man to such an enormity, as that Model made by Antonio Labaco, of St. Peters Church in Rome, containing 22 foot in length, 16 in breadth, and 13 in heighth, and costing 4184 Crowns: The price, in truth, of a reasonable Chappel: Yet in a Fabrick of some 40 or 50 thousand pounds charge, I wish 30 pounds at least laid out before hand in an exact Model; for a little misery in the Premises, may easily breed some absurdity of greater charge, in the Con∣clusion.

Now, after these premonishments I will come to the Compartition it self, By which, the Authors of this Art (as hath been touched before) do under∣stand, a gracefull, and usefull distribution, of the whole Ground-plot, both for rooms of Office, and of Reception or Entertainment, as far as the Capacity thereof, and the nature of the Countrey will com∣port. Which circumstances in the present subject, are all of main consideration, and might yield more

discourse then an Elemental Rapsodie will permit. Therefore (to anatomize briefly this Definition) the Gracefulness (whereof we speak) will consist in double Analogy, or correspondency. First be∣tween the Parts and the whole, whereby a great Fa∣brick should have great Partitions, great Lights, great Entrances, great Pillars or Pylasters: In summe, all the Members great. The next between the Parts themselves, not only, considering their breadths, and lengths, as before when we spake of Doors and Windows; but here likewise enters a third respect of Height, a point (I must confess) hardly reducea∣ble to any general precept.

True it is, that the Ancients did determine the Longitude of all Rooms, which were longer then broad, by the double of their Latitude, Vitruvius lib. 6. cap. 5. And the Heighth by the half of the breadth and length summed together. But when the Room was precisely square, they made the Height half as much more as the Latitude; which Dimensions the Modern Architects have taken leave to vary, upon discretion: Sometimes squaring the Latitude, and then making the Diagonial or over∣thwart Line, from Angle to Angle, of the said Square; the measure of the Heighth sometimes more, but seldome lower then the full breadth it self; which boldness of quitting the old Proporti∣ons, some attribute first to Michael Angele da Buona∣roti, perchance upon the credit he had before got∣ten in two other Arts.

The second Point is Usefulness, which will consist in a sufficient Number of Rooms, of all sorts, and in their apt Coherence, without distraction, without confusion; so as the beholder may not only call it Una Fabrica ben raccolta, as Italians use to speak of

well united Works; but likewise, that it may ap∣pear airy and spiritous, and fit for the welcome of chearfull Guests; about which the principal Diffi∣culty will be in contriving the Lights, and Stair-cases, whereof I will touch a note or two: For the first, I observe that the ancient Architects were at much ease. For both the Greeks and Romans (of whose private dwellings Vitruvius hath left us some description) had commonly two cloistered open Courts, one serving for the Womens side, and the other for the Men; who yet perchance now adays would take so much separation unkindly. How∣soever by this means, the reception of Light into the Body of the building, was very prompt, both from without and from within: which we must now supply either by some open Form of the Fa∣brick, or among gracefull refuges, by Tarrasing any Story which is in danger of darkness; or last∣ly, by perpendicular Lights from the Roof, of all other the most natural, as shall be shewed anon. For the second Difficulty, which is casting of the Stair-cases; That being in it self no hard point, but only as they are incumbrances of room for other use, (which lights were not) I am therefore aptly moved here to speak of them. And first of Offices.

I have marked a willingness in the Italian Arti∣zans, to distribute the Kitchin, Pantry, Bakehouse, washing Rooms: and even the Buttery likewise, un∣der ground, next above the Foundation, and some∣times level with the plain, or Floor of the Cellar: raising the first Ascent into the house Fifteen Foot, or more, for that End; which besides the benefit of removing such annoies out of sight, and the gaining of so much more room above, doth also

by elevation of the Front adde Majesty to the whole Aspect. And with such a disposition of the princi∣pal Stair-case, which commonly doth deliver us in∣to the Plain of the second Story, there may be won∣ders done with a little room, whereof I could alledge brave Examples abroad; and none more Artificial and Delicious, then a House built by Daniele Barbaro Patriarch of Aquileia, before men∣tioned among the memorable Commenters upon Vi∣truvius. But the Definition (above determined) doth call us to some consideration of our own Countrey; where though all the other petty Offi∣ces (before rehearsed) may well enough be so re∣mote, yet by the natural Hospitality of England, the Buttery must be more visible, and we need per∣chance for our Raunges, a more spacious and lumi∣nous Kitchin then the foresaid Compartition will bear; with a more competent nearness likewise to the Dining-Room, or else besides other Inconveni∣ences, perhaps some of the Dishes may straggle by the way. Here let me note a common defect, that we have of a very usefull Room, called by the Itali∣ans, Il Tinello; and familiar, nay almost essential, in all their great Families. It is a place properly appointed to conserve the meat that is taken from the Table, till the Waiters eat, which with us by an old fashion, is more unseemly set by in the mean while.

Now touching the distribution of Lodging-Chambers; I must here take leave to reprove a fa∣shion, which I know not how, hath prevailed through Italy, though without ancient examples, as far as I can perceive by Vitruvius. The thing I mean, is, that they so cast their partitions, as when all Doors are open, a man may see through the

vvhole House, vvhich doth necessarily put an into∣lerable servitude upon all the Chambers save the Inmost, vvhere none can arrive but through the rest; or else the Walls must be extream thick for se∣cret passages. And yet this also vvill not serve the turn, vvithout at least Three doors to every Room: A thing most insufferable in cold and vvindy Regi∣ons, and every vvhere no small vveakening to the vvhole Work: Therefore vvith us that vvant no cooling, I cannot commend the direct opposition of such Overtures, being indeed meerly grounded upon the fond ambition of displaying to a Stranger all our Furniture at one Sight, vvhich therefore is most maintained by them that mean to harbour but a few; vvhereby they make only advantage of the vanity, and seldome prove the Inconvenience. There is likevvise another defect (as absurdities are sel∣dome solitary) vvhich vvill necessarily follow up∣on such a servile disposing of inward Chambers; That they must be forced to make as many common great Rooms, as there shall be several Stories; vvhich (besides that they are usually dark, a point hardly avoided, running as they do, through the middle of the vvhole House) do like∣wise devour so much Place, that thereby they vvant other Galleries, and Rooms of Retreat, vvhich I have often considered among them (I must con∣fess) vvith no small vvonder; for I observe no Nation in the World, by nature more private and reserved, then the Italian; and on the other side, in no Habitations less privacy; so there is a kind of Conflict between their Dwelling and their Being: It might here perchance be expected, that I should at least describe (which others have done in draughts and designs) divers Forms of Plants and

Partitions, and varieties of Inventions; But specu∣lative Writers (as I am) are not bound to com∣prise all particular Cases vvithin the Latitude of the Subject vvhich they handle; General Lights, and Directions, and pointings at some faults, is suf∣ficient. The rest must be committed to the sagaci∣ty of the Architect, vvho vvill be often put to divers ingenious shifts, vvhen he is to vvrestle vvith scarcity of Ground. * 1.9 As sometimes * to damm one Room (though of special use) for the be∣nefit and beauty of all the rest; Another vvhile, to make those fairest, vvhich are most in Sight, and to leave the other (like a cunning Painter) in shadow, cum multis aliis, vvhich it vvere infinite to pursue. I vvill therefore close this part touching Compartition, as chearfully as I can, vvith a short description of a Feasting or entertaining Room, after the Aegyptian manner, vvho seem (at least till the time of Vi∣truvius) from the ancient Hebrews and Phoenicians (vvhence all knowledge did flow) to have retain∣ed vvith other Sciences, in a high degree, also the Principles, and practice of this magnificent Art. For as far as I may conjecture by our Masters Text, lib. 6. cap. 5. (vvhere as in many other places he hath tortured his Interpreters) there could no Form for such a Royal use be comparably imagined like that of the foresaid Nation, vvhich I shall adven∣ture to explain.

Let us conceive a Floor or Area of goodly length, (for example, at least of 120 Foot, with the breadth somewhat more then the half of the Longi∣tude, vvhereof the reason shall be afterwards ren∣dred. About the two longest Sides and Head of

the said Room shall run an Order of Pillars, which Palladio doth suppose Corinthian, (as I see by his de∣sign) supplying that point out of Greece, because vve know no Order proper to Aegypt. The Fourth Side I will leave free for the Entrance: On the foresaid Pillars was laid an Architrave, vvhich Vi∣truvius mentioneth alone: Palladio addes thereunto (and vvith reason) both Freez and Cornice, over vvhich vvent up a continued Wall, and therein half or three quarter Pillars answering directly to the Order below, but a fourth Part less; and be∣tween these half Columnes above, the vvhole Room vvas vvindowed round about.

Now, from the lowest Pillars there vvas laid over a Contignation or Floor born upon the out∣ward Wall, and the Head of the Columns vvith Tarrace and Pavement, Sub dio (saith our Master;) and so indeed he might safely determine the matter in Aegypt, vvhere they fear no Clouds: There∣fore Palladio, (vvho leaveth this Tarrace uncover∣ed in the middle, and ballised about) did per∣chance construe him rightly, though therein dis∣cording from others: Alwayes vve must under∣stand a sufficient breadth of Pavement left between the open part and the Windows, for some delight of Spectatours, that might look down into the Room: The Latitude I have supposed, contrary to some former Positions, a little more then the half of the length; because the Pillars standing at a compe∣tent distance from the outmost Wall, vvill, by in∣terception of the Sight, somewhat in appearance diminish the breadth; In vvhich cases, (as I have touched once or twice before) Discretion may be more licentious then Art. This is the description of an Aegyptian Room for Feasts and other Iollities.

About the Walls vvhereof vve must imagine entire Statues placed below, and illuminated by the de∣scending Light from the Tarrace, as likewise from the VVindows between the half Pillars above: So as this Room had abundant and advantageous Light; and besides other garnishing, must needs receive much State by the very height of the Roof, that lay over two Orders of Columns. And so having run through the four parts of my first general Division, namely, Foundations, VValls, Apertions, and Com∣partition, the House may now have leave to put on his Hat; having hitherto been uncovered it self, and consequently unfit to cover others. Which point, though it be the last of this Art in executi∣on, yet it is alwayes in Intention the first: For vvho vvould build but for Shelter? Therefore ob∣taining both the Place, and the dignity of a Final Cause, it hath been diligently handled by divers, but by none more learnedly then Bernardino Baldi Abbot of Guastalla (before cited upon other occa∣sion) vvho doth fundamentally, and Mathemati∣cally demonstrate the firmest Knittings of the upper Timbers, vvhich make the Roof. But it hath been rather my Scope, in these Elements, to fetch the ground of all from Nature her self, vvhich indeed is the simplest mother of Art. Therefore I will now only deliver a few of the properest, and (as I may say) of the naturallest considerations that belong to this remaining Piece.

There are two Extremities to be avoided in the Cover, or Roof: That it be not too heavy, nor too light. The first, vvill suffer a vulgar objection of pressing too much the under work. The other containeth a more secret inconvenience; for the Cover is not only a bare defence, but likewise a

kind of Band or Ligature to the vvhole Fabrick, and therefore vvould require some reasonable vveight. But of the two extreams, a House Top∣heavy is the vvorst. Next, there must be a care of Equality, that the Edifice be not pressed on the one side more then on the other; and here Palladio doth vvish (like a cautelous Artizan) that the inward Walls might bear some good share in the burthen, and the outward be the less charged.

Thirdly, the Italians are very precise in giving the Cover a gracefull pendence of sloapness, dividing the vvhole breadth into nine Parts; vvhereof two shall serve for the elevation of the highest Top or Ridge from the lowest. But in this Point the qua∣lity of the Region is considerable: For (as our Vi∣truvius insinuateth) those Climes that fear the fal∣ling and lying of much Snow, ought to provide more inclining Pentices: and Comeliness must yield to Necessity.

These are the usefullest Cautions vvhich I find in Authors, touching the last Head of our Division, vvherewith I vvill conclude the first Part of my present Travel. The second remaineth, concern∣ing Ornaments vvithin, or vvithout the Fabrick: A Piece not so dry as the meer Contemplation of Proportions. And therefore I hope therein some∣what to refresh both the Reader, and my self.

Notes

• * 1.1

  Ioannes Heurnius Instit. Medicin. lib. 7. cap. 2.
• * 1.2

  Opidum quidem aedi∣ficatum eleganter, sed imprudenter posi∣tum.
• * 1.3

  Under-dig∣ging, or Hol∣lowing of the Earth.
• * 1.4

  Our Artizans call them Teeth and Cartouzes.
• * 1.5

  By the first Theor.
• * 1.6

  * Which is the sole Preroga∣tive of per∣pendicular Lines, and right Angles.
• * 1.7

  Lumen est diffusivum sui & alieni.
• * 1.8

  A〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, Hom. Epig.
• * 1.9

  The Italians call it una stanza dan∣nata, as when a Buttery is cast under a Stair-case, or the like.