OF THE ELEMENTS OF ARCHITECTURE. The Second Part.

EVery Mans proper Mansion House and Home, being the Theater of his Hos∣pitality, the Seat of Self-fruition, the Comfortablest part of his own Life, the noblest of his Sons Inheritance, a kind of private Princedome; Nay, to the Possessors thereof, an Epitomie of the whole World; may well deserve by these Attributes, according to the degree of the Master, to be decently and delight∣fully adorned. For which end, there are two Arts attending on Architecture, like two of her principal Gentlewomen, to dress and trim their Mistress; PICTURE and SCULPTURE: Between whom, before I proceed any further, I Page  50 will venture to determine an ancient quarrel about their Precedency, with this Distinction; that in the garnishing of Fabricks, Sculpture no doubt must have the preheminence, as being indeed of nearer af∣finity to Architecture it self, and consequently the more natural, and more sutable Ornament. But on the other side, (to consider these two Arts as I shall do Philosophically, and not Mechanically) An excellent Piece of Painting, is, to my judgement, the more admirable Object, because it comes near an Artificial Miracle, to make divers distinct Emi∣neces appear upon a Flat by force of Shadows, & yet the Shadows themselves not to appear: which I con∣ceive to be the uttermost value and vertue of a Pain∣ter; and to which very few have arrived in all Ages.

In these two Arts (as they are appliable to the Subject which I handle) it shall be fit first to con∣sider how to choose them; and next how to disp•… them. To guide us in the choyce, we have a R•… somewhere (I well remember) in Pliny, and it i•… a pretty observation; That they do mutually help to censure one another. For Picture is best when 〈◊〉 standeth off, as if it were carved; and Sculpture is 〈◊〉 when it appeareth so tender, as if it were painted: 〈◊〉 mean when there is such a seeming softness in the Limbs, as if not a Chisel had hewed them out of Sto•… or other Material, ut a Pensil had drawn and stroak•… them in Oyl; which the judicious Poet took well 〈◊〉 his Fancy.

But this generality is not sufficient to make 〈◊〉 good chooser, without a more particular contracti∣on of his Judgement. Therefore when a Piece 〈◊〉 Art is set before us, let the first Caution be, not 〈◊〉 ask who made it, lest the Fame of the Author d•… Page  51 Captivate the Fancy of the Buyer. For, that ex∣cellent men do alwayes excellently, is a false Con∣clusion; whereupon I observe among Italian Arti∣zans, three notable Phrases, which well decipher the degrees of their Works.

They will tell you, that a thing was done Con di∣ligenza, Con studio, and Con Amore; The first is but a bare and ordinary diligence, The second is a learned diligence; The third is much more, even a loving di∣ligence: They mean not with love to the Bespeaker of the Work, but with a love and delight in the Work it self, upon some special Fancy to this, or that Story; And when all these concurre (particu∣larly the last) in an eminent Authour, Then per∣chance Tatianus fecit, or 〈 in non-Latin alphabet 〉 will serve the turn, without farther Inquisition; Otherwise Ar∣tizans have not only their Growths and Perfections, but likewise their Vains and Times.

The next Caution must be (to proceed Logically) that in judging of the Work it self, we be not di∣stracted with too many things at once; Therefore (first to begin with Picture:) we are to observe whether it be well drawn, (or as more elegant Artizans term it) well Design'd; Then, whether it be well Coloured, which be the two general Heads; And each of them hath two principal Re∣quisites; For in well Designing, there must be Truth and Grace; In well Colouring. Force and Affection; All other Praises are but Consequences of these.

Truth (as we Metaphorically take it in this Art) is a Just and Natural Proportion in every Part of the determined Figure: Grace is a certain free Dispositi∣on in the whole Draught, answerable to that unaf∣fected Frankness of Fashion in a living Body, Man Page  52 or Woman, which doth animate Beauty where it is, and supply it, where it is not.

Force consisteth in the Roundings and Raisings of the VVork, according as the Limbs do more or less require it; So as the Beholder shall spie no sharpness in the bordering Lines; As when Taylors cut out a Sute, which Italians do aptly term according to that comparison, Contorni taglienti; Not any flat∣ness within the Body of the Figure, which how it is done, we must fetch from a higher Discipline; For the Opticks teach us, That a plain will appear promi∣nent, and (as it were) embossed, if the Parts far∣thest from the Axel-tree, or middle Beam of the Eye, shall be the most shadowed; because in all Darkness, there is a kind of Deepness. But as in the Art of perswasion, one of the most Fundamental Precepts is the Concealement of Art; So here like∣wise, the Sight must be sweetly deceived by an in∣sensible passage, from brighter colours to dimmer, which Italian Artizans call the middle Tinctures; That is, Not as the whites and yolkes of Eggs lye in the Shell, with visible distinction; But as when they are beaten, and blended in a Dish, which is the nearest comparison that I can suddenly con∣ceive.

Lastly, Affection is the Lively Representment of any passion whatsoever, as if the Figures stood not upo•… a Cloth or Board, but as if they were acting upon 〈◊〉 Stage; And here I must remember, in truth wi•… much marvel, a note which I have received fro•… excellent Artizans, that though Gladness a•… Grief be opposites in Nature; yet they are su•… Neighbours and Confiners in Art, that the least touch of a Pensil will translate a crying into a laughing Face as it is represented by Homer in the person Page  53 of Hectors wife; as Painters and Poets have al∣wayes had a kind of congeniality,

Which Instance, besides divers other, doth of∣ten reduce unto my memory that ingenuous Specu∣lation of the Cardinal Cusanus, extant in his Works, touching the coincidence of Extremes. And thus much of the four Requisites, and Perfections in Picture.

In Sculpture likewise, the two first are absolutely necessary; The third impertinent; For Solid Fi∣gures need no elevation, by force of Lights, or shadows; Therefore in the Room of this we may put (as hath been before touched) a kind of Ten∣derness, by the Italians termed Morbidezza, where∣in the Chizel, I must confess, hath more glory then the Pensil; that being so hard an Instrument, and working upon so unpliant stuff, can yet leave Strokes of so gentle appearance.

The Fourth, which is the expressing of Affecti∣on (as far as it doth depend upon the Activity and Gesture of the Figure) is as proper to the Carver, as to the Painter; though Colours, no doubt, have therein the greatest power; whereupon, per∣chance, did first grow with us the Fashion of colour∣ing, even Regal Statues, which I must take leave to call an English Barbarisme.

Page  54 Now in these four Requisites already rehearsed, it is strange to note, that no Artizan, having ever been blamed for excess in any of the three last; only Truth (which should seem the most In∣nocent) hath suffered some Objection; and all Ages have yielded, some one or two Artificers so prodigiously exquisite, that they have been reputed too Natural in their Draughts; which will well ap∣pear by a famous passage in Quintillian, touching the Characters of the ancient Artizans, falling now so aptly into my memory, that I must needs tran∣slate it, as in truth it may well deserve.

The place which I intend, is extant in the last Chapter▪ save one of his whole VVork, beginning thus in Latine;

Primi, quorum quidem opera non vetustatis modo gra∣tiâ visenda sunt clari Pictores, fuisse dicuntur Polyg∣notus atque Aglaophon, &c.

The whole Passage in English standeth thus.

THE first Painters of Name, whose VVorks be considerable for any thing more then only Antiquity, are said to have been Polygnotus and Ag∣laophon; whose bare Colouring, he means I think in white and black, hath even yet so many followers, that those rude and first Elements, as it were of that, which within a while, became an Art, are preferred before the greatest Painters that have been extant after them, out of a certain Competition, as I conceive it, in point of Iudgement. After these, Zeuxes and Parasius, not far distant in age, both about the time of the Peloponnesian VVar, for in Xe∣nophon we have a Dialogue between Parasius and So∣crates, did adde much to this Art. Of which the Page  55 first is said to have invented the due disposition of Lights and Shadows; The second, to have more subtilly examined the Truth of Lines in the Draught; for Zeuxes did make Limbs bigger then the life; deeming his Figures, thereby the more stately and Majestical; and therein, as some think, imitating Homer, whom the stoutest Form doth please, even in VVomen. On the other side, Parasius did exactly limit all the Proportions so, as they call him the Lawgiver, because in the Images of the Gods, and of Heroical Personages, others have followed his Patterns like a Decree; But Picture did most flou∣rish about the dayes of Philip, and even to the Suc∣cessors of Alexander; yet by sundry Habilities: for Protogenes did excel in Diligence; Pamphilus and Melanthius in due Proportion; Antiphilus in a frank Facility; Theon of Samos, in strength of Fantasie and conceiving of Passions; Apelles, in Invention and Grace, whereof he doth himself most vaunt; Euphranor deserves admiration, that being in other excellent Studies a principal Man, he was likewise a wondrous Artizan, both in Painting and Sculp∣ture. The like difference we may observe among the Statuaries; for the works of Calon and Egesias were somewhat stiff, like the Tuscan Manner; Those of Calamis not done with so cold strokes; And Myron more tender then the former; a diligent Decency in Polycletus above others; to whom though the highest praise be attributed by the most, yet lest he should go free from exception, some think he wanted solemness; for as he may perchance he said to have added a comely Dimension to humane shape, somewhat above the truth; so on the other side, he seemed not to have fully expressed the Ma∣jesty of the Gods; Moreover, he is said not to have Page  56 medled willingly with the graver age, as not adven∣turing beyond smooth cheeks: But these vertues that were wanting in Polycletus, were supplyed by Phi∣dias and Alcmenes; yet Phidias was a better Arti∣zan in the representing of Gods, then of Men; and in his works of Ivory, beyond all emulation, even though he had left nothing behind him but his Mi∣nerva at Athens, or the Olympian Jupiter in Elis, whose Beauty seems to have added somewhat, even to the received Religion; the Majesty of the VVork; as it were, equalling the Deity. To Truth, they affirm Lysippus and Praxiteles, to have made the nearest approach: for Demetrius is therein repre∣hended, as rather exceeding then deficient; ha∣ving been a greater aimer at Likeness, then at Loveliness.

This is that witty Censure of the ancient Arti∣zans which Quintillian hath left us, where the la•… Character of Demetrius doth require a little Philoso∣phical Examination; How an Artificer, whose end is the Imitation of Nature, can be too natural; which likewise in our dayes was either the fault, or (to speak more gently) the too much perfecti∣on of Albert Durer, and perhaps also of Micha•… Angelo da Buonaroti, between whom I have heard noted by an ingenuous Artizan a pretty nice diffe∣rence, that the German did too much express th•… which was; and the Italian, that which should be: Which severe Observation of Nature, by the one in her commonest, and by the other in her absolute•… Forms, must needs produce in both a kind of Rigi∣dity, and consequently more Naturalness then Gracefulness: This is the clearest reason, why some exact Symmetrists have been blamed for being too true, as near as I can deliver my conceit. And so Page  57 much touching the choice of Picture, and Sculp∣ture: The next is, the application of both to the beau∣tifying of Fabricks.

First therefore, touching Picture, there doth occurre a very pertinent doubt, which hath been passed over too slightly, not only by some Men, but by some Nations; namely, whether this Orna∣ment can well become the Outside of houses, wherein the Germans have made so little scruple, that their best Towns are the most painted, as Augusta and Norembergh. To determine this question in a word: It is true, that a Story well set out with a good Hand, will every where take a Judicious eye: But yet withal it is as true, that various colours on the Out-walls of Buildings have alwayes in them more Delight then Dignity: Therefore I would there admit no Paintings but in Black and VVhite, nor even in that kind any Figures (if the Room be capable) under Nine or Ten foot high, which will require no ordinary Artizan; because the faults are more visible then in small Designs. In unfigured paintings the noblest is the imitation of Marbles, and of Architecture it self, as Arches, Treezes, Columns, and the like.

Now for the Inside, here grows another doubt, wherein Grotesca (as the Italians) or Antique work (as we call it) should be received; against the express authority of Vitruvius himself, lib. 7. cap. 5. where Pictura (saith he) fit ejus, quod est, seu po∣test esse; excluding by this severe definition, all Figures composed of different Natures or Sexes; so as a Syrene or a Centaure had been intolerable in his eye: But in this we must take leave to depart from our Master; and the rather, because he spake out of his own Profession, allowing Painters (who Page  58 have ever been as little limited as Poets) a less scope in their imaginations, even then the gravest Philosophers, who sometimes do serve themselves of Instances that have no Existence in Nature; as we see in Plato's Amphisboena, and Aristotle's Hirco-Cervus. And (to settle this point) what was in∣deed more common and familiar among the Romans themselves, then the Picture and Statue of Termi∣nus, even one of their Deities? which yet if we well consider, is but a piece of Grotesca; I am for these reasons unwilling to impoverish that Art, though I could wish such medly and motly Designs confined only to the Ornament of Freezes, and Bor∣ders, their properest place. As for other Storied VVorks upon VValls, I doubt our Clime be too yield∣ing and moist for such Garnishment; therefore leav∣ing it to the Dwellers discretion according to the quality of his Seat, I will only adde a Caution or two about the disposing of Pictures within.

First, That no Room be furnished with too ma∣ny; which, in truth, were a Surfet of Ornament, unless they be Galleries, or some peculiar Reposito∣ry for Rarities of Art.

Next, that the best Pieces be placed not where there are the least, but where there are the fewest lights: therefore not only Rooms windowed on both ends, which we call through-lighted; but with two or moe windows on the same side, are enemies to this Art: and sure it is, that no Paint∣ing can be seen in full perfection, but (as all Na∣ture is illuminated) by a single Light.

Thirdly, That in the placing there be some care also taken how the Painter did stand in the working, which an intelligent Eye will easily discover; and that posture is the most natural: so as Italian Pieces Page  59 will appear best in a Room where the Windows are high, because they are commonly made to a de∣scending Light, which of all other doth set off mens Faces in their truest spirit.

Lastly, that they be as properly bestowed for their quality, as fitly for their grace: that is, chear∣full Paintings in Feasting and Banqueting Rooms; Graver Stories in Galleries; Land-skips and Boscage, and such wilde works, in open Tarraces, or in Summer-houses (as wee call them) and the like.

And thus much of Picture; which let me close with this Note; that though my former Discourse may serve perchance for some reasonable leading in the choice of such delights; yet let no man hope by such a speculative erudition, to discern the Ma∣sterly and mysterious touches of Art, but an Artizan himself; to whom therefore we must leave the pre∣rogative to censure the manner and handling, as he himself must likewise leave some points, perchance of no less value to others; as for example, whe∣ther the Story be rightly represented, the Figures in true action, the persons suted to their several quali∣ties, the affections proper and strong, and such like Observations.

Now for Sculpture, I must likewise begin with a Controversie, as before (falling into this Place;) or let me rather call it a very meer Fancy, strangely taken by Palladio, who having noted in an old Arch or two at Verona, some part of the Materials already cut in fine Forms, and some unpolished, doth conclude (according to his Logick) upon this particular, that the Ancients did leave the outward Face of their Marbles or Free-stone without any Sculpture, till they were laid and cemented in the Page  60 Body of the Building; For which likewise he findeth a reason, as many do now and then very wittily, even before the thing it self be true, that the Materials being left rough, were more manage∣able in the Masons hand, then if they had been smooth; And that so the sides might be laid together the more exactly; Which Conceit, once taken, he seems to have further imprinted, by marking in certain Storied Sculptures of old time, how pre∣cisely the Parts and Lines of the Figures that pass from one Stone to another, do meet; which he thinks could hardly fall out so right, forgetting while he speaks of ancient things, the ancient Dili∣gence, unless they had been cut after the joyning of the Materials. But all these Inducements cannot countervail the sole Inconvenience of shaking and Dis∣joynting the Commissures with so many Strokes of the Chizel, besides an Incommodious Working on Scaf∣folds; especially having no testimony to confirm it, that I have yet seen, among the records of Art: Nay, it is indeed rather true, that they did square, and carve, and polish their Stone and Marble Works, even in the very Cave of the Quarry be∣fore it was hardened by open Air: But, to leave disputation, I will set down a few Positive notes for the placing of Sculpture; because the choosing hath been handled before.

That first of all, it be not too general and abun∣dant, which would make a House look like a Cabi∣net: and in this point, moral Philosophy, which tempereth Fancies, is the Superintendent of Art.

That especially, there be a due moderation of this Ornament in the first approach; where our Au∣thors do more commend, I mean about the Prin∣cipal Page  61 Entrance, a Dorique, then a Corinthian gar∣nishment; So as if the great Door be Arched with some brave Head, cut in fine Stone or Marble for the Key of the Arch, and two Incumbent Figures gracefully leaning upon it towards one another, as if they meant to confer, I should think this a suffi∣cient Entertainment for the first Reception of any judicious Sight, which I could wish seconded with two great standing Statues on each side of a paved way that shall lead up into the Fabrick, so as the Beholder at the first entrance may pass his eye be∣tween them.

That the Nices, if they contain Figures of white Stone or Marble, be not coloured in their Concavi∣ty too black, For though Contraria juxta so posita ma∣gis illucescunt (by an old Rule;) yet it hath been subtilly, and indeed truly noted, that our Sight is not well contented with those sudden departments from one extream to another: Therefore let them have rather a Duskish Tincture, then an absolute black.

That fine and delicate Sculptures be helped with Nearness, and Gross with distance; which was well seen in the old controversie between Phidias and Alcmenes about the Statue of Venus: wherein the first did shew discretion, and save labour, because the Work was to be viewed at good Height, which did drown the sweet and diligent strokes of his Adversary: A famous emulation of two prin∣cipal Artizans, celebrated even by the Greek Poets.

That in the placing of standing Figures aloft, we must set them in a Posture somewhat bowing forward; because (saith our Master, lib. 3. cap. 3. out of a better Art then his own) the visual beam Page  62 of our Eye, extended to the Head of the said Fi∣gures, being longer then to the Foot, must necessa∣rily make that part appear farther; so as to reduce it to an erect or upright position, there must be al∣lowed a due advantage of stooping towards us; which Albert Durer hath exactly taught in his fore∣mentioned Geometry. Our Vitruvius calleth this affection in the Eye, a resupination of the Figure: For which word (being in truth his own, for ought I know) we are almost as much beholding to him, as for the Observation it self: And let thus much summarily suffice touching the choice and use of these adorning Arts. For to speak of garnishing the Fabrick with a Row of erected Sta∣tues about the Cornice of every Contignation or Story, were discourse more proper for Athens or Rome, in the time of their true greatness, when (as Pliny recordeth of his own Age) there were near as ma∣ny carved Images, as living Men; like a noble contention, even in point of Fertility, between Art and Nature; which passage doth not only ar∣gue an infinite abundance, both of Artizans and Materials; but likewise of Magnificent and Majesti∣cal Desires in every common person of those times, more or less, according to their Fortunes. And true it is indeed, that the Marble Monuments and Memories of well-deserving Men, wherewith the very High-wayes were strewed on each side, was not a bare and transitory Entertainment of the Eye, or only a gentle deception of Time to the Traveller: But had also a secret and strong Influence, even into the advancement of the Monarchy, by continual representation of vertuous Examples; so as in that points, ART became a piece of State.

Now, as I have before subordinated Picture and Page  63 Sculpture to Architecture, as their Mistress; so there are certain inferiour ARTS likewise subor∣dinate to them; As under Picture, Mosaique; under Sculpture, Plastique: which two I only no∣minate, as the fittest to garnish Fabricks.

Mosaique; is a kind of Painting in small Pebbles, Cockles and Shels of sundry colours; and of late dayes likewise with pieces of Glass figured at plea∣sure; an Ornament, in truth, of much beauty, and long life; but of most use in pavements and floorings.

Plastique; is not only under Sculpture, but in∣deed very Sculpture it self: but with this difference; that the Plasterer doth make his Figures by Additi∣on, and the Carver by Substraction; whereupon Michael Angelo was wont to say somewhat pleasant∣ly, That Sculpture was nothing but a purgation of superfluities. For take away from a piece of wood or stone all that is superfluous, and the remainder is the intended Figure. Of this plastick Art, the chief use with us is in the graceful fretting of Rooss: But the Italians apply it to the mantling of Chimneys with great Figures. A cheap piece of Magnificence, and as durable almost within doors, as harder Forms in the weather. And here, though it be a little excursion, I cannot pass unremembred again, their manner of disguising the shafts of Chimneys in various fashions, whereof the noblest is the Pyra∣midal: being in truth a piece of Polite and Civil discretion, to convert even the conduits of foot and smoak into Ornaments; whereof I have hither∣to spoken as far as may concern the Body of the Building.

Now these are Ornaments also without, as Gar∣dens, Fountains, Groves, Conservatories of rare Page  64 Beasts, Birds, and Fishes. Of vvhich ignoble•… kind of Creatures, We ought not, saith our greatest * Master among the Sons of Nature, childishly to despise the Contemplation; for in all things that are natural, there is ever something that is admirable. Of these external delights a vvord or two.

First, I must note a certain contrariety betvveen building and gardening: For as Fabricks should be regular, so Gardens should be irregular, or at least cast into a very vvilde Regularity. To exemplifie my conceit, I have seen a Garden, for the manner perchance incomparable, into vvhich the first Ac∣cess vvas a high vvalk like a Tarrace, from vvhence might be taken a general view of the vvhole Plot below, but rather in a delightfull confusion, then vvith any plain distinction of the pieces. From this the Beholder descending many steps, vvas after∣wards conveyed again by several mountings and va∣lings, to various entertainments of his sent and sight: vvhich I shall not need to describe, for that vvere poetical, let me only note this, that every one of these diversities, vvas as if he had been ma∣gically transported into a new Garden.

But though other Countreys have more benefit of Sun then vve, and thereby more properly tyed to contemplate this delight; yet have I seen in our own, a delicate and diligent curiosity, surely vvith∣out parallel among forraign Nations: Namely, in the Garden of Sir Henry Fanshaw, at his Seat in Ware-Park; vvhere I vvell remember, he did so precisely examine the tinctures and seasons of his flowers, that in their settings, the inwardest of vvhich Page  65 that were to come up at the same time, should be alwayes a little darker then the outmost, and so serve them for a kind of gentle shadow, like a piece, not of Nature, but of Art: which mention (incident to this place) I have willingly made of his Name, for the dear friendship that was long between us: though I must confess, with much wrong to his other vertues; which deserve a more solid Memo∣rial, then among these vacant Observations. So much of Gardens.

Fountains are figured, or only plain Water'd∣works: Of either of which, I will describe a match∣less pattern.

The first, done by the famous hand of Michael Angelo da Buonaroti, in the figure of a sturdy woman, washing and winding of linnen clothes; in which Act, she wrings out the water that made the Foun∣tain; which was a graceful and natural conceit in the Artificer, implying this rule; That all designs of this kind, should be proper.

The other doth merit some larger expression; There went a long, straight, mossie walk of com∣petent breadth, green, and soft under foot, listed on both sides with an Aquaeduct of white stone, brest-high, which had a hollow Channel on the top, where ran a pretty trickling stream; on the edge whereof, were couched very thick all along, cer∣tain small pipes of lead, in little holes; so neatly, that they could not be well perceived, till by the turning of a cock, they did sprout over interchan∣geably from side to side, above mans height, in forms of Arches, without any interfection or meet∣ing aloft, because the pipes were not exactly oppo∣site; so as the Beholder, besides that which was flu∣ent in the Aquaeducts on both hands in his view, did Page  66 walk, as it were, under a continual Bower and He∣misphere of water, without any drop falling on him. An Invention for refreshment, surely far excelling all the Alexandrian Delicacies, and Pneumaticks of Hero.

Groves, and artificial Devices under ground, are of great expence, and little dignity; which for my part, I could wish converted here into those Crypteria, whereof mention is made among the curious provisions of Ticho Brahe the Danish Ptolomy, as I may well call him: which were deep concaves in Gardens, where the Stars might be ob∣served even at noon. For (by the way) to think that the brightness of the Suns body above, doth drown our discerning of the lesser lights, is a po∣pular errour; the sole impediment being that lustre, which by reflection, doth spread about us from the face of the Earth; so as the caves before touched, may well conduce, not to a delicious, but to a learned pleasure.

In Aviaries of Wire, to keep Birds of all sorts, the Italians (though no wasteful Nation) do in some places bestow vast expence; including great scope of ground, variety of bushes, trees of good height, running waters, and sometime a Stove an∣nexed, to contemper the Air in Winter. So as those Chanteresses, unless they be such as perhaps delight as much in their wing, as in their voice, may live long among so good provisions, and room, before they know that they are prisoners; reducing often to my memory that conceit of the Roman Stoick, who in comparison of his own free contemplations, did think divers great and splendent fortunes of his time, little more then commodious captivities.

Page  67 Concerning Ponds of pleasure near the habitati∣on; I will refer my self to a grave Author of our own (though more illustrious by his other † work) namely, Sarisburiensis * de Piscinâ.

And here I will end the second part touching Ornaments, both within, and without the Fa∣brick.

Now, as almost all those which have delivered the Elements of Logick, do usually conclude with a Chapter touching Method: so I am here seized with a kind of critical spirit, and desirous to shut up these building Elements with some Methodical direction how to censure Fabricks already raised: for indeed, without some way to contract our Judgement, which among so many particulars, would be lost by diffusion. I should think it al∣most harder to be a good Censurer, then a good Architect: Because the working part may be helped with Deliberation, but the Judging must flow from an extemporal habit. Therefore (not to leave this last Piece without some Light) I could with him that cometh to examine any nobler Work, first of all to examine himself, whether perchance the sight of many brave things before (which remain like impressed forms) have not made him apt to think nothing good but that vvhich is the best; for this humour vvere too sowre. Next, before he come to settle any imaginable opinion, let him by all means seek to inform himself precisely, of the Age of the Work upon vvhich he must pass his Doom, And if he shall find the apparent Decayes to exceed the pro∣portion of Time; then let him conclude vvichout father inquisition, as an absolute Decree, that either the Materials vvere too slight, or the Seat is nought. Now, after these premisses, if the House Page  68 be found to beat his years vvell, (vvhich is alwayes a token of sound constitution) Then let him sudden∣ly run backwards, (for the Method of censuring is contrary to the Method of composing) from the Or∣naments (vvhich first allure the Eye) to the more essential Members, till at last he be able to form this Conclusion, that the Work is Commodious, Firm, and Delightfull; vvhich (as I said in the beginning) are the three capital Conditions required in good Buildings, by all Authors, both Ancient and Mo∣dern. And this is, as I may term it, the most Sci∣entifical vvay of Censuring. There are two other vvhich I must not forget: The first in Georgio Vas∣sari, before his laborious Work of the lives of Ar∣chitects, vvhich is to pass a running examination over the vvhole Edifice, according to the proper∣ties of a well shapen Man. As vvhether the Walls stand upright upon clean footing and Foundation; vvhether the Fabrick be of a beautiful Stature; vvhether for the breadth it appear vvell burnished; vvhether the principal Entrance be on the middle Line of the Front or Face, like our Mouths; vvhe∣ther the Windows, as our Eyes, be set in equal num∣ber and distance on both sides; vvhether the Offi∣ces, like the Veins in our Bodies, be usefully distri∣buted, and so forth. For this Allegorical review may be driven as far as any Wit vvill, that is at leasure.

The second vvay is in Vitruvius himself, lib. 1. cap. 2. vvhere he summarily determineth six Considerations, vvhich accomplish this vvhole Art.

• Ordinatio.
• Dispositio.
• Eurythmia.
• Page  69 Symmetria.
• Decor, and
• Distributio.

Whereof (in my conceit) we may spare him the first two; for as far as I can perceive, either by his Interpreters, or by his own Text (which in that very place, where perchance he should be clearest, is of all other the cloudiest) he meaneth no∣thing by Ordination, but a well setling of the Model or Scale of the whole Work. Nor by Disposition, more then a neat and full expression of the first Idea or Designment thereof; which perchance do more belong to the Artificer, then to the Censurer. The other four are enough to condemn, or absolve any Fabrick whatsoever. Whereof Eurythmia is that agreeable Harmony between the breadth, length, and height of all the Rooms of the Fabrick, which suddenly, where it is, taketh every Beholder by the secret power of Proportion: wherein let me only note this, That though the least error or offence that can be committed against sight, is excess of height; yet that fault is no where of small impor∣tance, because it is the greatest offence against the Purse.

Symmetria is the convenience that runneth between the Parts and the Whole, whereof I have formerly spoken.

Decor is the keeping of a due Respect between the Inhabitant and the Habitation. Whence Palladius did conclude, that the principal Entrance was never to be regulated by any certain Dimensions, but by the dignity of the Master; yet to exceed rather in the more, then in the less, is a mark of Generosity, and may alwayes be excused with some noble Emblem, Page  70 or Inscription, as that of the Conte di Bavillacqua, over his large Gate at Verona, where perchance had Leen committed a little Disproportion.

And here likewise I must remember our ever me∣morable Sir Philip Sidney, (whose Wit was in truth the very rule of Congruity) who well knowing that Basilius (as he had painted the State of his Mind) did rather want some extraordinary Forms to en∣tertain his Fancy, then room for Courtiers; was contented to place him in a Star-like Lodge; which otherwise in severe Iudgement of Art, had been an incommodious Figure.

Distributio is that useful Casting of all Rooms for Office, Entertainment, or Pleasure; which I have h•…ndled before at more length then any other Piece.

These are the Four Heads which every man should run over, before he pass any determinate Censure upon the Works that he shall view, wherewith I will close this last part, touching Ornaments. A∣gainst which (me thinks) I hear an Objection, even from some well-meaning man; That these delightful Crafts, may be divers wayes ill applyed in a Land. I must confess indeed, there may be a Lascivious, and there may be likewise a superstitious use, both of Pi•…ure and Sculpture: To which pos∣sibility of mis-application, not only these Semi-li∣beral Arts are subject but even the highest perfe∣ctions and endowments of Nature. As Beauty in a light woman; Eloquence in a mutinous man; Reso∣lution in an Assassinate; Prudent Observation of hours and humours, in a corrupt Courtier; Sharp∣ness Page  71 of wit and argument in a seducing Scholar, and the like. Nay, finally, let me ask what ART can be more pernicious, then even RELI∣GION it self, if it self be converted into an In∣strument of ART: Therefore, Ab abuti ad non uti, negatur consequentia.

Thus having stitched (in some sort) together these Animadversions touching Architecture, and the Ornaments thereof; I now feel that contemplative spirits are as restless as active, for doubting with my self, (as all weakness is jealous) that I may be thought to have spent my poor observation abroad about nothing but Stone and Timber, and such Rubbage; I am thereby led into an immodesty of proclaiming another Work, which I have long devoted to the service of my Countrey: Namely, A Philosophical Survey of Education, which is indeed a second Building, or repairing of Nature, and as I may term it, a kind of Moral Architecture; where∣of such Notes as I have taken in my forraign trans∣cursions or abodes, I hope to utter without publick offence, though still with the freedom of a plain Kentish-man. In the mean while, I have let these other gleanings fly abroad, like the Bird out of the Ark, to discover what footing may be for that vvhich shall follow.