|
|
Of the great Merits of Vitruvius, and the Excellencies of his Works.
here are so many things in the Works of Vitruvius that do not directly appertain to Architecture, that one would think they were less fitted to Instruct those that have a design to learn the Precepts of this Art, than to perswade the World that the Author was the most knowing Architect that ever was, and a Person of the greatest Merit: He had the Honour to serve Julius Cæsar and Augustus, the two Greatest and most Magnificent Princes of the World, in an Age when all things were come to the highest degree of Perfection.
For one may see in reading his Works, which are full of a wonderful variety of Matters, which he treats of with a singular Erudition, that this great Man had acquired that Profound Knowledge which is necessary for his Profession by more excellent Methods, and more capable of producing something excellent, than the bare exercise and ordinary practice Lib. 6.
Preface. of a Mechanical Art could possibly do; being compleat in all the Liberal Arts and Sciences, and his great Wit being accustomed, even from his Cradle, to understand the most difficult Matters: He had acquired a certain Facility which meer Artizans have not, of penetrating the deepest Secrets, and all the difficulties of so vast an Art, as that of Architecture.
Now as it’s true that in the Practice and Exercise of Arts, one does not Lib. 2.
Pref. always easily distinguish the Abilities of those that work in them. The great Capacity of Vitruvius before the publishing of his Book, which he Composed when he was in Years, had not all the Esteem it deserved; which Lib. 6.
Preface. he complains of in his Preface, and in the Age he lived; though it was full of the most refined Wits, yet he had the fortune of others, to find few to defend him from the Surprizes and Attacks of false Reasoning, and from the injustice that prejudice creates, to those who apply themselves more to cultivate the Talents they possess, than to make parade of them.
Vitruvius was a Man, who, as to the exteriour, made a small Figure, and who had not heaped up great Riches by the practice of his Profession; and having, as it were, buried himself in study, and wholly given himself over to the Contemplation of Sciences, understood little of the Arts of the Court, or the Crafty Slights of pushing on his Fortune and making himself considerable; for though he was bestowed upon, and recommended to Augustus, by the Princess Octavia his Sister, we cannot find that he was employed in any Works of great Importance. The Noblest Edifice that we can learn that Augustus caused to be built, was, the Theatre of Marcellus; and this was done by another Architect: And the only Fabrick we can find he was employed in was not at Rome, but at Fano, a very little City; insomuch, that the greatest part of the Architects of that Age, who had gained the general Vogue, being so ignorant, that they did not know even (as himself is forced to declare) the first Principles of their Art: The Quality of a mere Architect was become so Contemptible, that if his Books had not carried all the Marks of an extraordinary Knowledge, and rare abilities, and undeceived the World by taking away the prejudice that his small employ created him, the Precepts he has left us would have wanted that Authority that was necessary to support them.
For Architecture being an Art that has scarce any other Rule to walk by, in performing all those Excellencies her Works are capable of, than what we call a Good Fancy, which truly distinguishes that which is Beautiful and Good from that which is not so; it’s absolutely necessary that one be perswaded that the Fancy he follows is better than any other; to the end, that this Perswasion insinuating it self into them that study this Art, it may form in them a Correct and Regular Idea, which without this Perswasion, would be always floating and uncertain; so that to establish this Good Fancy, it’s necessary to have one to whom we give great deference, and who has merited great Credit by the Learning that is found in his Writings; and is believed to have had sufficient abilities of chusing well among all Antiquity, that which is most solid and capable of founding the Precepts of Architecture.
The Veneration we have for the first Inventers of Arts, is not only Natural, but it’s founded upon Reason; which makes us judge, that he that had the first Thought, and first invented any Thing, must needs have had a fitter Genius, and a better Capacity for it, than all those that afterwards laboured to bring it to its utmost Perfection. The Greeks, who were the Inventers of Architecture, as well as of other Sciences, having left many Works behind them as well in Building as in Books, which were looked upon in the time of Vitruvius, as the Models of what was perfect and accomplished in this Art, Vitruvius chiefly followed and imitated them; and in the Composition of his Book, gathered from them all that was to be found Excellent and Rare in all their Works; which makes us believe, that he has omitted nothing that was necessary, to form the General Idea of Good and Beautiful, since there is not the least probability that any thing could escape so Rare a Wit, Illuminated with so many different Lights.
But because at present the Reputation of Vitruvius is so generally established, that all Ages have placed him in the first Rank of great Wits, and that there is nothing necessary to recommend the Precepts of Architecture, but to prove they were drawn out of his Works: We having here designed to make only an Abridgment of his Works, we thought it would be necessary to cut off many things that this Famous Author has drawn out of an infinity of Writers, whose Works are now lost, and only gives a short Account of the Contents of every Book, in the beginning of this Abridgment; handling only in this Book, those Things that directly belong to Architecture; disposing the Matter in a different Method from that of Vitruvius, who often leaves off the Matter he is treating of, and takes it up again in another place.
The Order we have proposed to our selves in this Abstract, is, That after having given an Account in few words of what is contained in the whole Book; we Explain more particularly what we judge may be serviceable to those that study Architecture. This Treatise is divided into Two Parts; The First contains the Maxims and Precepts that may be accommodated to Modern Architecture; the Second contains all that appertains to the Ancient and Antique Architectures; which, though often affected, have little that’s now made use of, may yet nevertheless serve to form the Judgment, and regulate the Fancy, and serve for Examples of things that may be useful.
I make a Distinction between the Ancient Architecture, and the Antique Architecture, and the Modern; for we call that Architecture Ancient of which Vitruvius has writ, and of which we may as yet see many Examples in the Fabricks that remain in Greece. The Architecture which we call Antique, is that which may be found in the Famous Edifices, which, since the Time of Vitruvius, were built at Rome, Constantinople, and many other places. The Modern, is that which being more accommodated to the present use, or for other Reasons, has changed some of the Dispositions and Proportions which were observed by the Ancient and Antique Architects.
The Method of the Works of Vitruvius, with short Arguments of every Book.
ll his Works are divided into Three Parts: The First Lib. 1.
Chap. 3. Treats of Building; The Second is Gnomonical, and treats at large of Astronomical and Geometrical Affairs. The Third gives Rules and Examples for making Machines or Engines serviceable, either in War or Building. The First Part is treated of in the Eight first Books: The Second in the Ninth: The Third in the Last.
The First Part which relates to Building is twofold, for they are either publick or private. He speaks of private Buildings in the Sixth Book; and as to that which relates to publick Buildings, it’s likewise divided into Three Parts, viz. That which has Relation to Security, which consists in Fortifications, described in the Third Chapter of the First Book; That which appertains to Religion, of which he treats in the Third and Fourth Books, and that which relates to publick Conveniencies, as Town-Houses, Theatres, Baths, Academies, Market-places, Gates; of which he treats in the Fifth Book.
The Gnomonical part is treated of in the Ninth Book.
The Third Part which treats of Machines, is treated of in the Tenth and Last Book.
Besides these particular Matters of Architecture, there are Three things that appertain to all sort of Edifices, which are, Solidity, Convenience, and Beauty. He speaks of Solidity in the Eleventh Chapter of the Sixth Book; of Convenience, in the Seventh Chapter of the same Book; and of Beauty through the whole Chapter of the Seventh Book; which contains all the Ornaments that Painting and Sculpture are capable of giving to all sorts of Fabricks; and as to Proportion, which ought to be esteemed one of the principal Foundations of Beauty, it’s treated of throughout all his Works.
But to make it better understood, in what Method every Book explains those things, we must tell you, That in the First Book, after having treated of those things that belong to Architecture in General, by the Enumeration of the Parts that compose it, and of those that are required in an Architect, the Author explains in particular what choice ought to be made of the Seat where we ought to Build, as to Health and Convenience; after he speaks of the Foundations and of the Building of Fortifications, and the Form of Towers and Walls of Cities, he dilates himself upon the Air and Healthiness of the Situation.
In the Second Book, he speaks of the Original of Architecture, and what were the first Habitations of Mankind; after he treats of the Materials, viz. of Brick, Sand, Lime, Stones, and Timber: After which he treats of the different Methods of laying, binding, and Masonry of Stones. He Philosophizes upon their Principles, and upon the Nature of Lime, upon the choice of Sand, and the time of cutting of Wood.
The Third Book treats of the Proportion of the Temples, and of seven sorts of them which are those called Antes, Prostyle, Amphiprostyle, Periptere, Pseudiptere, Diptere and Hypæthre. After he speaks of the Different spaces that ought to be betwxit every Pillar, to which he gives the Five Names following, (which in the latter Part of this Book shall be more fully explained, as well as divers Terms of Art) viz. Pycnostyle, Systyle, Diastyle, Aræostyle and Eustyle. After that, he gives in particular the Proportions of the Ionick Order, and demonstrates that it has a Proportion with Humane Bodies.
The Fourth gives the Proportion of the Corinthian and Dorick Orders for Temples, with the Proportions of all the Parts that compose them.
The Fifth treats of Publick Fabricks, viz. of Market-places, Theatres, Palaces, Baths, Schools for Sciences, and Academies for Exercises, and in Conclusion, of Sea-Ports; and after occasionally discourses at large upon Musick, because, speaking of Theatres, he gives an account how the Ancient Architects, were in some places of the Theatre wont to place Vessels of Brass to serve for several sorts of tunable Echo’s, and augmenting the Voice of the Comedians.
In the Sixth he teaches what were the Proportions and Forms of private Houses among the Greeks and Romans, as well in the City as Country; and describes all the parts of the House, viz. the Courts, Porches, Halls, Dining Rooms, Chambers, Cabinets and Libraries.
In the Seventh he treats of the manner of making use of Mortar for Plaster and Floors; how Lime and the Powder of Marble ought to be prepared to make Stuck. He speaks likewise of the Ornaments that are common to all sorts of Buildings, as Painting; and all sorts of Colours, as well Natural as Artificial, that the Ancients made use of.
In the Eighth he speaks of Waters, and Rivers, and Fountains; viz. of their Springs, of their Nature, and Properties; how they are to be sought; and of the Conduits that are to bring them to Cities and Villages.
The Ninth is wholly Gnomonical, and teaches the manner of making Sun-Dials, and gives an account of the Rules of Geometry, how to measure solid Bodies. He discourses at large of the Course of the Stars, and the particular Description of those that are called Fixed Stars.
The Last is taken up wholly in the Description of making Machines to lift up great Weights, and others for several uses; viz. for the Elevation of Water for Corn-Mills, Water-Organs and Measuring the Way as well by Sea as by Land; but it chiefly treats of Machines fit for the use of Building and War.
Of Architecture that is common to us with the Ancients.
Of Architecture in General.
Of the Original of Architecture.
Lib. 2.
Chap. 1. 
T’s related by Historians, That Men, who in former times inhabited Woods and Caverns like wild Beasts, first assembled themselves to make Houses and Cities, which was occasioned by a Forest that was set on fire, which drew all the Inhabitants together by its novelty and surprizing effects; so that many Men meeting together in the same place, they found out means, by helping one another, to harbour themselves more conveniently, than in Caves and under Trees; so that it is pretended, that Architecture was the Beginning and Original of all other Arts. For Men seeing that they had success in Building, which necessity made them invent, they had the Thoughts and Courage of seeking out other Arts, and applying themselves to them.
Now even as they took Trees, Rocks and other Things that Nature her self furnished Beasts to harbour themselves under, which were made use of as Models for the first Houses, which at first were only made of green Turf and broken Branches of Trees, they made use of them afterwards, in the same manner, to arrive at something more perfect. For passing from the Imitation of the Natural to Lib. 4.
Chap. 2. that of Artificial, they invented all the Ornaments of Edifices that were most curiously wrought, in giving them the Form and Shape of those things that are simply necessary to the most natural Buildings: And the Pieces of Timber of which the Roofs and Floors of Houses are made, were the Original of Pillars, Architraves, Frises, Triglyphs, Mutils, Brackets, Corniches, Frontons or Piediments, which are made of Stone or Marble.
The Pillars which are to be smaller at top than at bottom, were made in Imitation of the Boles or Trunks of Trees, and their use was taken from the Carpenters' Posts that are made to support the Building. The Architraves which are laid across many Pillars, represent Summers that join many Posts together. The Frises imitate the Muring that is raised upon the Summers betwixt the ends of the Beams that are laid directly upon the Pillars. The Triglyphs represent the Ceiling or Joyner’s work which was made upon the ends of the Beams to conserve them. The Corniches are as it were the extream parts of the Joists. The Modillions represent the ends of the Sheers, and the Dentels represent the ends of the principal Rafter. The Frontons are made in imitation of the Firms or Girders, upon which is laid the Roof of the House.
There is likewise another Original of Architecture, which is taken from the Inventers of the several Orders, and those that added the Ornaments to embellish them. For it’s the common Lib. 4.
Chap. 2. Opinion, that the first Fabrick that was made, according to any of the Orders, was the Temple that King Dorus built in Honour of Juno in the City Argos. And it obtained the name of the Dorick Order, when Ion the Conducter of a Colony, which he established in Asia, made many Temples be built according to the Model of the Temple built by Dorus in Greece.
But the Ionians having changed some of the Proportions and Ornaments of the Dorick Order, were the Authors of another Order, which was called the Ionick, according to which, they built a Temple in Honour of DianaChannellingsVolutesScrowlsCapital