IN Architecture as in all o­ther Operatiue Arts, the end must direct the Ope­ration.

The end is to build well.

Well building hath three Conditions. Commoditie, Firmenes, and Delight. A common diuision among the De­liuerers of this Art, though I know not [Page 2] how, some what misplaced by Vitru­uius himselfe lib. 1. cap. 3. whom I shal­be willinger to follow, as a Master of Proportion, then of Methode.

Now, For the attayning of these In­tentions, wee may consider the whole Subiect, vnder two generall Heads.

The Seate, and the Worke.

Therefore first touching Scituation.

The Precepts thereunto belonging, doe either concerne the Totall Posture, (as I may tearm it) or the Placing of the Parts: wherof the first sort, howsoeuer vsually set downe by Architects as a piece of their Profession: yet are in truth borrowed, from other Learnings: there being betweene Arts and Sciences, as well as betweene Men, a kinde of good fellowship, and communication of their Principles.

For you shall finde some of them, to bemeerely Physicall, touching the qua­litie [Page 3] and temper of the Aire: which being a perpetuall ambient, and ingre­dient, 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 grosse, nor too pene­tratiue; Not subiect to any foggy noy­somnesse, from Fenns or Marshes neere adioyning; nor too Mineral exhala­tions, from the Soile it selfe. Not vn­digested, for want of Sunne, Not vn­exercised, for want of Winde: which were to liue (as it were) in a Lake, or standing Poole of Aire, as Alberti the Florentin Architect, doth ingeniously compare it.

Some doe rather seeme a little Astro­logical, as when they warne vs from Places of malign Influence: where Earth­quakes, Contagions, Prodigious Births, or the like, are frequent without any eui­dent cause: whereof the Considerati­on is peraduenture not altogether [Page 4] vaine: Some are plainely Oeconomical; As that the Seate be well watered, and well fewelled, That it bee not of too steepie and incommodious Accesse to the trouble both of friends and familie. That it lie not too farre, from some nauigable Riuer or Arme of the Sea, for more ease of prouision and such other Domestique notes.

Some againe may bee said to bee Optical? Such I meane as concerne the Properties of a well chosen Prospect: which I will call the Royaltie of Sight. For as there is a Lordship (as it were) of the Feete, wherein the Master doth much ioy when he walketh about the Line of his owne Possessions: So there is a Lordship likewise of the Eye which being a raunging, and Imperious, and (I might say) an vsurping Sence, can indure no narrow circumscription; but must be fedde, both with extent and varietie. Yet on the other side, I finde vaste and indefinite viewes which [Page 5] drowne all apprehension of the vt­termost Obiects, condemned, by good Authors, as if thereby some part of the pleasure (whereof we speake) did pe­rish. Lastly, I remember a priuate Caution, which I know not well how to sort, vnlesse I should call it Political. By no meanes, to build too neere a great Neighbour; which were in truth to bee as vnfortunately seated on the earth, as Mercurie is in the Heauens, for the most part, euer in combustion, or ob­scuritie, vnder brighter beames then his owne.

From these seuerall Knowledges as I haue said, Ioannes Heurnius Instit: Me­dicin: lib. 7. cap. 2. and perhaps from some o­ther doe Architects deriue their Do­ctrine about election of Seats: wherin I haue not beene so seuere, as a great Scholer of our time, who precisely re­strayneth a perfect Scituation, at least for the maine point of health, Ad locum contra quem Solradios suos fundit cum sub Ariete oritur, That is, in a word hee [Page 6] would haue the first salutation of the Spring. But such Notes as these, where­soeuer we finde them in graue or slight Authors, are to my conceite rather wishes then Precepts; and in that quali­tie, I will passe them ouer. Yet I must withall say that in the seating of our selues (which as a kinde of Marriage to a Place) Builders should bee as cir­cumspect as Wooers; lest when all is done that Doome befall vs, Opidum quidem aedificatum eleganter sed impru­denter positum. which our Master doth lay vpon Mitylene: A Towne in truth (saith hee) finely built, but foolishly planted. And so much touching that, which I termed the To­tall Posture.

The next in Order is the placing of the Parts; About which (to leaue as little as I may in my present labour, vnto Fancie, which is wilde and irregu­lar) I will propound a Rule of mine owne Collection, vpon which I fell in this maner. I had noted, that all Arte was then in truest perfection, when it [Page 7] might bee reduced to some naturall Principle. For what are the most iudi­cious Artisans but the Mimiques of Na­ture? This led me to contemplate the Fabrique of our owne Bodies, where­in the High Architect of the world, had displaied such skill, as did stupifie, all humane reason. There I found the Hart as the fountaine of Life placed about the Middle, for the more equall communication of the vitall spirits. The Eyes seated aloft, that they might describe the greater Circle within their view. The Armes proiected on each side, for ease of reaching. Briefly (not to loose our selues in this sweet specu­lation) it plainely appeareth, as a Maxime drawne from the Diuine light; That the Place of euery part, is to be determined by the Vse.

So then, from naturall structure, to proceed to Artificiall; and in the ru­dest things, to preserue some Image of the excellentest. Let all the principall [Page 8] chambers of Delight, All Studies and Libraries, be towards the East: For the Morning is a friend to the Muses. All Offices that require heat, as Kitchins, Stillatories, Stoues, roomes for Baking, Brewing, Washing, or the like, would be Meridionall. All that need a coole and fresh temper, as Cellers, Pantries, But­teries, Granaries, to the North. To the same side likewise, all that are appoin­ted for gentle Motion, as Galleries, espe­cially in warme Climes, or that other­wise require a steadie and vnuariable light, as Pinacothecia (saith Vitruuius) by which he intendeth, (if I may guesse at his Greeke, as wee must doe often euen at his Latine) certaine Reposito­ries for workes of rarity in Picture or other Arts, by the Italians called Stu­dioli, which at any other Quarter, where the course of the Sunne doth diuersifie the Shadowes, would loose much of their grace. And by this Rule hauing alwayes regarde to the [Page 9] Vse, any other Part may bee fitly ac­commodated.

I must here not omit to note that the Ancient Grecians, and the Romanes by their example in their buildings a­broad, where the Seat was free, did al­most Religiously scituate the Front of their houses, towards the South; per­haps that the Masters Eye, when hee came home▪ might not be dazeled, or that being illustrated, by the Sunne, it might yeeld the more gracefull Aspect; or some such reason. But from this, the Moderne Italians doe varie▪ wher­of I shall speake more in another place. Let thus much suffice at the present for the Position of the seuerall Members, wherein must bee had as our Author doth often insinuate, and especially lib. 6. cap. 10. a singular regard, to the nature of the Region: Euery Nation, being tyed aboue al Rules whatsoeuer, to a discretion, of prouiding against their owne Inconueniences: And there­fore [Page 10] a good Parler in Aegypt would perchance make a good Celler in Eng­land.

There now followeth the second Branch of the generall Section touch­ing the Worke.

In the Worke, I will first consider the principall parts, and afterwards the Accessorie, or Ornaments; And in the Principall, first the Preparation of the Materials, and then the Disposition, which is the Forme.

Now, concerning the Materiall part; Although surely, it cannot disgrace an Architect, which doth so well become a Philosopher, to looke into the pro­perties of Stone and Wood: as that Firre Trees, Cypresses, Cedars, and such o­ther Aereall aspiring Plants, being by a kinde of naturall rigour (which in a Man I would call pride) inflexible downewards are thereby fittest for Posts or Pillars or such vpright vse; that [Page 11] on the other side, Oake, and the like true hartie Timber being strong in all positions, may bee better trusted in crosse and trauerse worke, for Sum­mers, or guirding and binding beames, as they tearme them. And so likewise to obserue of Stone, that some, are bet­ter within, and other to beare Weather: Nay, to descend lower euen to examine Sand and Lyme, and Clay (of all which things Vitruuius hath discoursed, with­out any daintines, & the most of new Writers) I say though the Speculatiue part of such knowledge be liberall: yet to redeeme this Profession, and my present paynes, from indignitie; I must heere remember that to choose and sort the materials, for euery part of the Fabrique, is a Dutie more proper to a second Superintendent, ouer all the Vn­der Artisans called (as I take it) by our Author, Officinator lib. 6. cap. 11. and in that Place expressely distinguished, from the Architect, whose glory doth [Page 21] more consist, in the Designement and Idea of the whole Worke, and his truest ambition should be to make the Forme, which is the nobler Part (as it were) triumph ouer the Matter: whereof I cannot but mention by the way, a for­reigne Paterne, namely the Church of Santa Giustina in Padoua: In truth a sound piece of good Art, where the Materials being but ordinarie stone, without any garnishment of sculpture, doe yet rauish the Beholder, (and hee knowes not how) by a secret Harmony in the Proportions. And this indeede is that end, at which in some degree, we should ayme euen in the priuatest workes: whereunto though I make haste, yet let me first collect, a few of the least triuiall cautions, belonging to the Materiall Prouision.

Leon Batista Alberti, is so curious, as to wish all the Timber, cut out of the same Forrest, and al the Stone, out of the same Quarrie. [Page 13] Philibert del'Orme the French Architect goes yet somewhat further, and would haue the Lyme made of the very same Stone, which wee intend to imploy in the Worke; as belike imagining that they will sympathize and ioyne the better, by a kinde of Originall kindred. But such conceits as these seeme some­what too fine among this Rubbage, though I doe not produce them in sport. For surely the like agreements of nature, may haue oftentimes a dis­creet application to Art. Alwayes it must be confessed, that to make Lyme without any great choyce of refuse stuffe, as we commonly do, is an Eng­lish error, of no small moment in our Buildings. Whereas the Italians at this day, and much more the Ancients did burne their firmest stone, and euen frag­ments of Marble where it was copious, which in time became almost Marble againe, or at least of indissoluble duri­tie, as appeareth in the standing Thea­ters. [Page 14] I must here not omit, while I am speaking of this part, a certain forme of Bricke described by Daniele Barbaro Pa­triarch of Aquileia, in the largest Editi­on of his Commentary vpon Vitruuius. The Figure triangular, euery side a foot long, and some inch and a halfe thicke, which he doth commend vnto vs for many good conditions: As that they are more commodious in the ma­nagement, of lesse expence, of fayrer show, adding much beautie & strength to the Murall Angles, where they fall gracefully into an indented Worke: so as I should wonder that wee haue not taken them into vse, being propoun­ded by a man of good authoritie in this knowledge; but that all Nations doe start at Nouelties, and are indeede maried to their owne Moulds. Into this place might aptly fall a doubt, which some haue wel moued; whether the an­cient Italians did burne their Bricke or no; which a passage or two in Vitruuius [Page 15] hath left ambiguous. Surely where the Naturall heat is strong enough, to supply the Artificiall, it were but a cu­rious folly to multiply both Labour and Expence. And it is besides very probable, that those Materials with a kindely and temperate heate would proue fairer, smoother, and lesse distor­ted, then with a violent: Onely, they suffer two exceptions. First, that by such a gentle drying much time will bee lost which might otherwise bee employed in compiling. Next, That they will want a certaine sucking and soaking Thirstinesse, or a fiery appe­tite to drinke in the Lime, which must knit the Fabrique. But this question may be confined to the South, where there is more Sunne and patience. I will therefore not hinder my course, with this incident scruple, but close that part which I haue now in hand, about the Materialls, with a principall [Page 16] caution: That sufficient Stuffe and Mo­ney bee euer ready before we beginne: For when wee build now a piece, and then another by Fits, the Worke dries and sinkes vnequally, whereby the Walles growe full of Chinques, and Cre­uices; Therefore such pawsings are well reprooued by Palladio, lib. 1. cap. 1. and by all other. And so hauing glea­ned these few remembrances, touching the preparation of the Matter, I may now proceede to the Disposition there­of, which must forme the Worke. In the Forme, as I did in the Seate, I will first consider the generall Figuration, and then the seuerall Members.

Figures are either simple or Mixed. The simple be either Circular or Angu­lar. And of Circular, either Com­pleate, or Deficient, as Ouals, with which kindes I will bee contented, though the Distribution might bee more curious.

[Page 17] Now the exact Circle is in truth a Figure, which for our purpose hath many fit and eminent properties; as fitnesse, for Commodity and Receit, being the most capable; fitnesse for strength and duration, being the most vnited in his parts; Fitnesse for beau­tie and delight, as imitating the cele­stiall Orbes, and the vniuersall Forme. And it seemes, besides, to haue the ap­probation of Nature, when shee wor­keth by Instinct, which is her secret Schoole: For birds doe build their nests Spherically: But notwithstanding these Attributes, it is in truth a very vnprofitable Figure in priuate Fa­briques, as being of allother the most chargeable, and much roome lost in the bending of the Walles, when it comes to bee diuided: besides an ill distribution of light, except from the Center of the Roofe. So as anciently it was not vsual, saue in their Temples and Amphi-Theaters, which needed no [Page 18] Compartitions. The Ouals and other imperfect circular Formes, haue the same exceptions, and lesse benefite of capacity: So as there remaynes to bee considered in this generall suruey of Figures, the Angular, and the Mixed of both. Touching the Angular, it may perchance sound somewhat strange­ly, but it is a true obseruation, that this Art doth neither loue 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 (wherof the reason shall be afterwards rendred) and likewise vnresoluable into any other regular Forme then it selfe, in the inward Partitions.

As for Figures of fiue, six, seuen, or more Angles; They are surely fitter for Militar Architecture, where the Bul­works may be layed out at the Corners, and the sides serue for Curtaines, then for ciuill vse; though I am not igno­rant [Page 19] of that famous Piece at Caprarola, belonging to the house of Farnese, cast by Baroccio into the forme of a Pentagone, with a Circle inscribed, where the Architect did ingeniously wrestle with diuers inconueniences in disposing of the Lights, and in sauing the vacuities. But as designes of such nature doe more ayme at Rarity, then Commoditie: so for my part I had rather admire them, then commend them.

These things considered, we are both by the Precepts and by the Pra­ctise of the best Builders, to resolue vp­on Rectangular Squares, as a meane be­tweene too few, and too many Angles; and through the equall 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 finde not well determined, though in mine [Page 20] owne conceit I must preferre the lat­ter, prouided that the Length doe not exceede the Latitude aboue one third part, which would diminish the beau­ty of the Aspect, as shall appeare when I come to speake of Symmetry and Pro­portion.

Of mixed Figures, partly Circular, and partly Angular, I shall neede to say nothing; because hauing handled the simple already, the mixed according to their composition, doe participate of the same respects. Onely against these, there is a proper Obiection, that they offend Vniformity: Whereof I am therefore opportunely induced to say somewhat, as farre as shal concerne the outward Aspect, which is now in Discourse.

In Architecture, there may seem to be two opposite affectations, Vniformitie and Varietie, which yet will very well suffer a good recōcilement, as we may see in the great Paterne of Nature, to [Page 21] which I must often resort: For sure­ly there can be no Structure, more vni­forme, then our Bodies in the whole Fi­guration: Each side, agreeing with the other, both in the number, in the qua­litie, and in the measure of the Parts: And yet some are round, as the Armes, some flat, as the Hands, some promi­nent, and some more retired: So as vp­on the Mater, wee see that Diuersitie doth not destroy Vniformitie, and that the Limmes of a noble Fabrique, may bee correspondent enough, though they be various; Prouided alwayes, that we doe not runne into certaine extra­uagant Inuentions, whereof I shall speake more largely, when I come to the parting and casting of the whole Worke. We ought likewise to auoyde Enormous heights of sixe or seuen Stories, as well as irregular Formes; and the contrary fault of low-distended Fronts, is as vnseemely: Or againe, when the Face of the Building, is nar­row [Page 22] and the Flank deepe; To all which extreames, some particular Nations, or Townes, are subiect, whose Names may be ciuilly spared: And so much for the generall Figuration, or Aspect of the Worke.

Now concerning the Parts in Seue­raltie. All the parts of euery Fabrique, may be comprised vnder fiue Heads, which Diuision I receiue from Batista Alberti, to doe him right. And they be these.

• The Foundation.
• The Walles.
• The Appertions or Ouertures.
• The Comparti [...]ion.
• And the Couer.

About all which I purpose to gather the principall Cautions, and as I passe along, I will touch also the naturall Reasons of Art, that my discourse may be the lesse Mechanicall.

First then concerning the Foundation, which requireth the exactest care; For [Page 23] if that happen to dance, it will marre all the mirth in the House: Therefore, that wee may found our Habitation firmely, we must first examine the Bed of Earth (as I may tearme it,) vpon which we will Build; and then the vn­derfillings, or Substruction, as the Aun­cients did call it: For the former, we haue a generall precept in Vitruuius twice precisely repeated by him, as a point indeed of mayne consequence, first lib. 1. cap. 5. And againe more fitly lib. 3. cap. 3. in these words as Philander doth well correct the vulgar Copies.

Substructionis Fundationes fodiantur (saith he) si queant inueniri adsolidum, & insolido. By which words I conceiue him to commend vnto vs, not onely, a diligent, but euen a iealous examinati­on what the Soile will beare: aduising vs, not to rest vpon any appearing So­liditie, vnlesse the whole Mould through which wee cut, haue likewise beene solid; But how deepe wee should goe [Page 24] in this search, hee hath no where to my remembrance determined, as per­haps depending more vpon Discretion▪ then Regularitie, according to the weight of the Worke; yet Andrea Palla [...]dio hath fairely aduentured to reduce it into Rule: Allowing for that Ca [...]uazione (as he calleth it) a sixt part of the height of the whole Fabrique, Vnderdig­ing, or Hol­lowing of the Earth. vnles [...] the Cellers be vnder ground, in which case hee would haue vs, (as it shoul [...] seeme) to sound somewhat lower.

Some Italians doe prescribe, that when they haue chosen the Floore, or Plot, and laid out the Limits of the Worke, wee should first of all Digge Wels and Cesternes, and other vnder­conducts and conueiances, for the Suillage of the House, whence may arise a double benefit, for both the Nature of the Mould or Soile, would thereby be safely searched, and moreouer those open vents, will serue to discharge such Vapours, as hauing otherwise no issu [...] [Page 25] might peraduenture shake the Buil­ding. This is enough for the naturall Grounding, which though it bee not a part of the solid Fabrique, yet here was the fittest place to handle it.

There followeth the Substruction, or Ground-worke of the whole Edifice, which must sustaine the Walles; and this is a kinde of Artificiall foundation, as the other was Natural. About which these are the chiefe Remembrances. First, that the bottome be precisely le­uell, where the Italians therefore com­monly lay a platforme of good Bord; Then that the lowest Ledge or Row be meerely of Stone, and the broader the better, closely layd without Morter, which is a generall caution for all parts in Building, that are contiguous to Bord or Timber, because Lime amd Wood are insociable, and if any where vnfit confiners, then most especially in the Foundation. Thirdly, that the bredth of the Substruction bee at least [Page 26] double to the insistent Wall, and more or lesse, as the weight of the Fabrique shall require; for as I must againe re­peate, Discretion may be freer then Art. Lastly, I finde in some a curious pre­cept, that the Materials below, be layd as they grew in the Quarrie, supposing them belike to haue most strength in their Naturall and Habituall Posture. For as Philippe de l'Orme obserueth, the breaking or yeelding of a stone in this part, but the bredth of the backe of a knife, will make a Cleft of more then half a foot in the Fabrique aloft, So im­portant are Fundamentall errors. Among which notes I haue sayd nothing of Pallification, or Pyling of the Ground­plot, commanded by Vitruuius, when we build vpon a moist or marshy soile, because that were an error in the first choyce. And therefore all Seats that must vse such prouision below (as Ve­nice for an eminent example) would perhaps vpon good enquiry, be found [Page 27] to haue beene at first chosen by the counsell of Necessity.

Now the Foundation being sear­ched, and the Substruction layd, wee must next speake of the Wals.

Wals are either entire and continuall, or intermitted; and the Intermissions be either Pillars or Pylasters; for here I had rather handle them, then as some o­thers doe, among Ornaments.

The entire Muring is by Writers di­uersly distinguished: 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 Wals and greater Workes of Flint, whereof wee want not example in our Iland, & par­ticularly in the Prouince of Kent, was (as I conceiue) meerly vnknown to the Ancients, who obseruing in that Mate­riall, a kinde of Metalicall Nature, or at least a Fusibility, seeme to haue resolued it into nobler vse; an Art now vtterly lost, or perchance kept vp by a few Chy­micks. [Page 28] Some againe doe not so much consider the quality, as the Position of the sayd Materials: As when Bricke or squared stones are laid in their lengths with sides and heads together, or their points conjoyned like a Networke (for so Vitruuius doth call it reticulatum opus) of familiar vse (as it should seeme) in his Age, though afterwards growne out of request, euen perhaps for that subtill speculation which hee himselfe toucheth; because so layd, they are more apt in swagging down, to pierce with their points, then in the jacent Posture, and so to creuice the Wall: But to leaue such cares to the meaner Artificers, the more essentiall are these.

That the Walles bee most exactly perpendicular to the Ground-worke: for the right Angle (thereon depen­ding) is the true cause of all Stability; both in Artificiall and Naturall posi­tions; A man likewise standing fir­mest, [Page 29] when he stands vprightest. That the massiest and heauiest Materials bee the lowest, as fitter to beare, then to be borne. That the Worke as it riseth, diminish in thicknesse proportionally, for ease both of weight, and of ex­pence. That certaine courses or Led­ges of more strength then the rest, be interlayed like Bones, to sustaine the Fabrique from totall ruine, if the vnder parts should decay. Lastly, that the Angles bee firmely bound, which are the Nerues of the whole Edifice, and therefore are commonly fortified by the Italians, euen in their Bricke buil­dings, on each side of the corners, with well squared stone, yeelding both strength and grace And so much tou­ching the entire or solid Wall.

The intermissions (as hath beene sayd) are either by Pillars, or Pylasters.

Pillers which we may likewise call Columnes (for the word among Artifi­cers is almost naturallized) I could [Page 30] distinguish into Simple & Compounded. But (to tread the beaten and plainest way) there are fiue Orders of Pillers, 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 fiue Orders I will first consider their Communities, and then their Proprieties.

Their Communities (as farre as I ob­serue) are principally three. First, they are all Round; for though some con­ceiue Columna Atticurges mentioned by Vitruuius, lib. 3. cap. 3. to haue beene a squared Pillar, yet wee must passe it o­uer as irregular, neuer receiued among these Orders, no more then certaine o­ther licentious inuentions, of Wrea­thed, [Page 31] and Vined, and Figured Columnes, which our Author himselfe condem­neth, being in his whole Booke a pro­fessed enemy to Fancies.

Secondly, they are all Diminished, or Contracted insensibly, more or lesse, according to the proportion of their heights, from one third part of the whole Shaft vpwards, which Philander doth prescribe by his owne precise measuring of the Ancient remainders, as the most gracefull Diminution. And here I must take leaue to blame a pra­ctice growne (I know not how) in certaine places too familiar, of making Pillars swell in the middle, as if they were sicke of some Tympany, or Drop­sie, without any Authentique Paterne or Rule, to my knowledge, and vn­seemely to the very iudgement of sight. True it is that in Vitruuius, lib. 3. cap. 2. wee finde these words, De ad­iectione, quae adijcitur in medijs Columnis, quaa apud Grecos [...] appellatur, in ex­tremo [Page 32] erit formatio eius; which pas­sage, seemeth to haue giuen some cou­tenance to this error. But of the pro­mise there made, as of diuerse other elsewhere, our Master hath fayled vs, either by slip of memory, or iniury of time, and so wee are left in the darke. Alwayes sure I am, that besides the au­thority of example which it wanteth, It is likewise contrary to the Originall and Naturall Type, in Trees, which at first was imitated in Pillars, as Vitruui­us himselfe obserueth, lib. 5. cap. 1. For who euer saw any Cypresse, or Pine, (which are there alledged) small be­low and aboue, and tumerous in the middle, vnlesse it were some diseased Plant, as Nature (though otherwise the comliest Mistresse) hath now and then her deformities and Irregularities.

Thirdly, they haue all their Vnder­settings, or Pedistals, in height a third part of the whole Columne, compre­hending the Base and Capitall; and their [Page 33] vpper Adiuncts, as Architraue, Frize, and Cornice, a fourth part of the sayd Pillar; which rule of singular vse and facility I find setled by Iacobo Baroccio, and hold him a more credible Author, as a man that most intended this piece, then any that vary from him in those Dimentions.

These are their most considerable Communities and agreements.

Their Proprieties or Distinctions will best appeare by some reasonable de­scription of them all, together with their Architraues, Frizes, and Corni­ces, as they are vsually handled.

First therefore the Tuscan is a plain, massie, rurall Pillar, resembling some sturdy well-limmed Labourer, homely clad, in which kinde of comparisons Vitruuius himselfe seemeth to take plea­sure, lib. 4. cap. 1. The length thereof shall be six Diameters, of the grossest of the Pillar below. Of all proportions, in truth, the most naturall; For our [Page 34] Author tells vs, lib. 3. cap. 1. that the foote of a man is the sixt part of his bodie in ordinary measure, and Man himselfe, according to the saying of Protagoras (which Aristotle doth some­where vouchsafe to celebrate) is [...]: as it were the Proto­type of all exact Symmetrie, which we haue had other occasion to touch be­fore: This Columne I haue by good warrant called Rurall, Vitru. cap. 2. lib. 3. And therefore we need not consider his rank among the rest. The distance or Intercolumniation (which word Ar­tificers doe vsually borrow) may bee neere foure of his owne Diameters, because the Materials commonly layd ouer this Pillar, were rather of wood then stone; through the lightnesse whereof the Architraue could not suf­fer, though thinnely supported, nor the Columne it selfe being so substan­tiall. The Contraction aloft shall be (according to the most receiued prac­tice) [Page 35] one fourth part of his thicknesse below. To conclude, (for I intend on­ly as much as shall serue for a due Di­stinguishment, and not to delineate every petty member) the Tuscan is of all the rudest Pillar, and his principall Character Simplicity.

The Dorique Order is the grauest that hath beene receiued into ciuill vse, preseruing, in comparison of those that follow, a more Masculine Aspect, and litle trimmer then the Tuscan that went before, saue a sober garnishment now and then of Lions heads in the Cornice, and of Triglyphs and Metopes alwayes in the Frize. Sometimes like­wise, but rarely, chaneled, and a little slight sculpture about the Hypotrache­lion, or Necke vnder the Capitall. The length, seuen Diameters. His ranke 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 [Page 36] much as his thicknesse below. The Contraction aloft, one fift of the same measure. To discerne him, will bee a peece rather of good Heraldry, then of Architecture: For he is best knowne 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 kinde of Feminine slendernesse, yet saith Vitruuius, not like a light House­wife, but in a decent dressing, hath much of the Matrone. The length eight Diameters. In degree as in sub­stantialnesse, next aboue the Dorique, sustayning the third, and adorning the second Story. The Intercolumniation two of his owne Diameters. The Con­traction one sixt part. Best knowne by his trimmings, for the bodie of this Columne is perpetually chaneled, like a thicke plighted Gowne. The Capi­tall dressed on each side, not much vn­like womens Wires, in a spirall wrea­thing, [Page 37] which they call the Ionian Voluta. The Cornice indented. The Frize swel­ling like a pillow; And therefore by Vitruuius, not vnelegantly tearmed Puluinata. These are his best Cha­racters.

The Corinthian, is a Columne, laciui­ously decked like a Curtezane, and therein much participating (as all In­uentions doe) of the place where they were first borne: Corinthe hauing been without controuersie one of the wan­tonest Townes in the world. This Order is of nine Diameters. His degree, one Stage aboue the Ionique, and al­waies the highest of the simple Orders. The Intercolumniation two of his Dia­meters, and a fourth part more, which is of all other the comeliest distance. The Contraction one seuenth Part. In the Cornice both Dentelli and Modigli­oni. The Frize, Our Arti­zans call them Teeth and Car­tonzes. adorned with all kinds of Figures and various Compartments at Pleasure. The Capitall, cut into the [Page 38] beautifullest leafe, that Nature doth yeeld, which surely next the Aconitum Pardalianches (reiected perchance as an ominous Plant) is the Acanthus or Branca Vrsina though Vitruuius doe impute the choice thereof vn­to Chance, and wee must be con­tented to beleeue him: In short, As Plainenesse did Charactarize the Tuscan, so must Delicacie and Varietie the Co­rinthian Pillar, besides the height of his Ranke.

The last is the Compounded Order: His name being a briefe of his Nature. For this Pillar is nothing in effect, but a Medlie, or an Amasse of all the prece­dent Ornaments, making a new kinde, by stealth, and though the most rich­ly tricked, yet the poorest in this, that he is a borrower of all his Beautie. His length, (that he may haue somewhat of his owne) shalbe of ten Diameters. His degree should, no doubt, bee the highest by reasons before yeelded. [Page 39] But few Palaces Auncient or Moderne exceede the third of the Ciuill Orders. The Intercolumniation, but a Diameter and an halfe, or alwayes somewhat lesse then two. The Contraction of this Pillar must be one eight Part lesse a­boue then belowe. To know him will be easie by the verie mixture of his Ornaments, and Cloathing.

And so much touching the fiue Or­ders of Columnes, which I will conclude with two or three, not impertinent Cautions:

First, that where more of these Or­ders then one, shalbe set in seuerall Stories or Contignations, there must bee an exquisite care, to place the Columnes precisely, one ouer another, that so, the solid may answere to the solid, and the vacuities to the vacuities, as well for Beautie, as strength of the Fabrique: And by this Caution the Consequence is plaine, that when wee speake of the Intercolumniation or distance, which is [Page 40] due to each Order, we meane in a Do­rique, Ionicall, Corinthian Porch, or Cloi­ster, or the like of one Contignation, and not in Storied buildings.

Secondly, let the Columnes aboue be a forth part lesse then those below, saith Vitruuius, lib. 5. cap. 1. A strange Precept, in my opinion, and so strange, that peraduenture it were more su­table, euen to his owne Principles, to make them rather a fourth Part grea­ter, For lib. 3. cap. 2. where our Ma­ster handleth the Contractions of Pil­lars, wee haue an Optique Rule, that the higher they are, the lesse should be al­wayes their diminution aloft, because the Eye it selfe, doth naturally contract all Obiects more or lesse, according to the Distance; which consideration, may, at first sight, seeme to haue beene forgotten in the Caution wee haue now giuen; but Vitruuius (the best In­terpreter of himselfe) hath in the same place of his fift Booke, well acquitted [Page 41] his memorie by these words: Columnae superiores quarta parte minores, quàm infe­riores, sunt constituendae; proptereà quòd, operi ferendo quaesunt inferiora, firmiora esse debent; preferring like a wise Me­chanick, the naturall Reason, before the Mathematicall, and sensible conceits before abstracted. And yet lib. 4. cap. 4. he seemeth againe, to affect Subtiltie, allowing pillars the more they are cha­neled, to bee the more slender; because while our Eye (saith hee) doth as it were distinctly measure, the eminent and the hollowed Parts, the Totall Ob­iect appeareth the bigger, and so as much as those excauations, doe sub­tract, is supplied by a Fallacie of the Sight: But here mee thinks, our Ma­ster should likewise haue rather con­sidered, the naturall Inconuenience; for though Pillars by chaneling, bee seemingly ingrossed to our Sight, yet they are truely weakened in them­selues; and therefore ought perchance [Page 42] in sound reason not to bee the more slender, but the more Corpulent, vn­lesse apparances preponder truths, but Contra Magistrum, non est disputandum.

A third Caution shalbe that all the proiected or Iutting Parts (as they are tearmed) be very moderate, especially, the Cornices of the lower Orders, for whilest some thinke to [...]iue them, a beautifull and royall Aspect, by their largenesse, they sometimes hinder both the Light within, (whereof I shall speake more in due place) and like­wise detract much from the viewe of the Front without, as well appeareth in one of the principall Fabriques at Ve­nice, namely the Palace, of the Duke Grimani on the Canal Grande, which by this magnificent errour, is somewhat disgraced: I neede now say no more concerning Columnes & their Adiuncts, about which Architects make such a noyse in their Bookes, as if the very tearmes of Architraues, and Frizes, [Page 43] and Cornices, and the like, were e­nough to graduate a Master of this Art; yet let me before I passe to other matter, preuent a familiar Obiection; It will perchance bee said, that all this Doctrine touching the fiue Orders, were fitter for the Quarries of Asia which yeelded 127 Columnes of 60 Foote high, to the Ephesian Temple, or for Numidia where Marbles abound; then for the Spirits of England, who must be contented with more ignoble Mate­rials: To which I answere, that this neede not discourage vs: For I haue often at Venice viewed with much plea­sure, an Atrium Graecum (we may trans­late it an Anti porch, after the Greeke manner) raised by Andrea Palladio, vp­on eight Columnes of the Compounded Order; The Bases of Stone, without Pedistals, The shafts or Bodies, of meere Brick; three foote and an halfe thicke in the Diameter below, and con­sequently thirty fiue foote high, as [Page 44] himselfe hath described them in his se­cond Booke; Then which, mine Eye, hath neuer yet beheld any Columnes, more stately of Stone or Marble; For the Bricks, hauing first beene formed in a Circular Mould, and then cut before their burning into foure quarters or more, the sides afterwards ioyne so closely, and the points concenter so exactly, that the Pillars appeare one entire Peece; which short description, I could not omit, that thereby may ap­peare, how in truth wee want rather Art then stuffe, to satisfie our greatest Fancies.

After Pillars, the next in my distri­bution, are Pylasters, mentioned by Vitruuius, lib. 5. cap. 1. and scant any where else vnder the name of Parasta­tes, as Philander conceiueth, which Grammaticall point (though perchance not very cleere) I am contented to ex­amine no farther. Alwayes, what we meane by the thing it selfe, is plaine [Page 45] enough in our owne vulgar; Touch­ing which, I will briefly collect the most considerable notes.

Pylasters, must not bee too tall and slender, least they resemble Pillars, nor too Dwarfish and grosse, least they i­mitate the Piles or Peeres of Bridges: Smoothnesse doth not so naturally be­come them, as a Rusticke Superficies, for they ayme more at State & Srength, then Elegancie. In priuate Buildings they ought not to be narrower, then one Third, nor broader then two parts of the whole Vacuity, be­tweene 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 Workes, Palladio obserueth them, to haue beene as broad as the halfe, and now and then as the whole Vacuitie: Hee noteth likewise (and others consent with him) that their [Page 46] true Proportion, should bee an exact Square; But for lessening of expence, and inlarging of roome, they are com­monly narrower in Flanke, then in Front: Their principall Grace doth consist in halfe or whole Pillars, ap­plied vnto them; in which case it is well noted by Authors, that the Co­lumnes may bee allowed somewhat a­boue their ordinary length, because they leane vnto so good Supporters. And thus much shall sufice touching Pilasters, which is a cheape, & a strong, and a noble kinde of Structure.

Now because they are oftner, both for Beauty and Maiesty, found Arched, then otherwise; I am heere orderly led to speake of Arches, and vnder 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 compendiously, and fundamentally, I will resolue the whole businesse into a few Theoremes.

EVERY Mans proper Mansion House and Home, being the Thea­ter of his Hospitality, the Seate of Selfe-frui­tion, the Comfortablest part of his owne Life, the Noblest of his Sonnes Inheritance, a kinde of pri­uate Princedome; Nay, to the Possessors thereof, an Epitomie of the whole World: may well deserue by these At­tributes, according to the degree of the Master, to be decently and delightfully a­dorned. For which ende, there are two Arts attending on Architecture, like [Page 83] two of her principall Gentlewomen, to dresse and trimme their Mistresse; PIC­TVRE & SCVLPTVRE: Between whom, before I proceed any further, I wil ven­ture to determine an ancient quarrell about their Precedency, with this Di­stinction; that in the garnishing of Fa­briques, Sculpture no doubt must haue the preheminence, as being indeede of neerer affinity to Architecture it selfe, and consequently the more naturall, and more sutable Ornament. But on the other side, (to consider these two Arts as I shall doe Philosophically, and not Mechanichally) An excellent Piece of Painting, is to my iudgement the more admirable Obiect, because it comes neere an Artificiall Miracle; to make di­uerse distinct Eminences appeare vp­on a Flat, by force of Shadowes, and yet the Shadowes themselues not to ap­peare: which I conceiue to be the vt­termost value and vertue of a Painter, and to which very few haue arriued in all Ages.

[Page 84] In these two Arts (as they are appli­able to the Subiect which I handle) it shall bee fit first to consider how to choose them; and next, how to dispose them. To guide vs in the choyce, wee haue a Rule somewhere (I well re­member) in Pliny, and it is a prettie obseruation: That they doe mutually helpe to censure one another. For Picture is best when it standeth off, as if it were carued; and Sculpture is best when it appeareth so tender, as if it were painted, I meane, when there is such a seeming softnesse in the Limbes, as if not a Chissell had hewed them out of Stone, or other Materiall, but a Pen­sill had drawne and stroaked them in Oyle, which the iudicious Poet tooke well to his Fancy.

But this generalitie, is not sufficient to make a good chooser, without a more particular contraction of his Iudge­ment. Therefore when a Piece of [Page 85] Art, is set before vs, let the first Caution be, not to aske who made it, least the Fame of the Author doe Captiuate the Fancie of the Buyer. For, that excellent Men doe alwaies excellently, is a false Conclusion; whereupon I obserue a­mong Italian Artizans three notable Phrases, which well decipher the de­grees of their Workes.

They will tell you, that a thing was done Con diligenza, Constudio, and Con Amore; The first, is but a bare and or­dinary diligence, The second, is a learned diligence; The third, is much more, e­uen a louing diligence; They meane not with loue to the Bespeaker of the Worke, but with a loue and delight in the Worke it selfe, vpon some speciall Fancie to this, or that Storie; And when all these concurre (perticularly the last) in an eminent Author, Then perchance Titianus Fecit, or [...] will serue the Turne, without farther In­quisition; Otherwise Artizans haue not [Page 78] onely their growthes and Perfections, but likewise their Vaines and Tymes.

The next Caution must be (to pro­ceede Logically) that in Iudging of the Worke it selfe, wee bee not distracted with too many things at once; There­fore first (to beginne with Picture) we are to obserue whether it bee well drawne, (or as more elegant Artizans tearme it) well Design'd; Then whe­ther it be well Coloured, which bee the two generall Heads; And each of them hath two principall Requisites; For in well Designing, there must bee 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 Iust and Naturall Pro­portion, in euery Part of the determined Figure. Grace is a certaine free dispo­sition, in the whole Draught, answerable to that vnaffected franknes of Fashion, in a liuing Bodie, Man or Woman, [Page 86] which doth animate Beautie where it is, and supplie it, where it is not,

Force consisteth, in the Roundings & Raisings of the Worke, according as the Limbes doe more or lesse require it; So as the Beholder, shall spie no sharpenesse in the bordering Lines; As when Tay­lors cut out a Sute, which Italians doe aptly tearme according to that compa­rison, Contorni taglienti; Nor any flat­nesse within the Bodie of the Figure, which how it is done, we must fetch from a higher Discipline; For the Op­ticques teach vs. That a plaine, will ap­peare prominent, and (as it were) embos­sed, if the Parts farthest from the Axel­tree or middle Beame of the Eye, shal be the most shadowed. Because in all Darknesse, there is a kinde of Deepenesse, But as in the Arte of perswasion, one of the most Fundamentall Precepts is; the concealement of Arte, Soe here likewise, the Sight must be sweetly deceaued, by an insensible passage, from brighter co­lours, [Page 88] to dimmer, which Italian Artizans calle the middle Tinctures; That is, Not as the whites, and yolkes of Egges lie in the Shell, with visible distinction; But as when they are beaten, and blended, in a Dish: which is the neerest compari­son, that I can suddenly conceiue.

Lastly, Affection is the Liuely Repre­sentment, of any passion whatsoeuer, as if the Figures stood not vpon a Cloth or Boorde, but as if they were acting vpon a Stage; And heere, I must remember, in truth with much marueile, a note, which I haue receiued, from excellent Artizans, that though Gladnesse, and Griefe, be opposites in Nature; yet they are such Neighbours and Confiners in Arte, that the least touch of a Pensill, will translate a Crying, into a Laughing Face; which Instance, besides diuers other, doth often reduce vnto my me­morie, that Ingenious Speculation, of the Cardinall Cusanus extant in his Workes, touching the Coincidence of ex­extremes. [Page 89] And thus much of the foure Requisites, and Perfections in Picture.

In Sculpture likewise, the Two first are absolutely necessarie; The third im­pertinent; For Solide Figures neede no eleuation, by force of Lights, or sha­dowes; Therefore in the Roome of this, wee may put (as hath beene before touched) a kinde of Tendernesse, by the Italians tearmed Morbidezza, wherein the Chissell, I must confesse▪ hath more glory then the Pensill; that being so hard an Instrument, and working vpon so vnpliant stuffe, can yet leaue Strokes of so gentle appearance.

The Fourth, which is the expressing of Affection (as farre as it doth depend vpon the Actiuity, and Gesture of the Fi­gure) is as proper to the Caruer, as to the Painter; though Colours, no doubt, haue therein the greatest Power; where­upon, perchance, did first grow with vs the Fashion of colouring, euen Regall Statues, which I must take leaue to call [Page 90] an English Barbarisme.

Now in these [...]ower Requisites already rehearsed, it is strange to note, that no Artizan, hauing euer beene blamed for excesse in any of the three last; onely Truth (which should seeme the most Innocent) hath suffered some Obiecti­on, and all Ages, haue yeelded some one or two Artificers, so prodigiously ex­quisite, that they haue beene reputed too Naturall, in their Draughts; which will well appeare, by a famous Passage in Quintilian, touching the Characters of the ancient Artizans, falling now so aptly into my memory, that I must needes translate it, as in truth it may well deserue.

The Place which I intend, is extant in the last Chapter saue one of his whole Worke, beginning thus in Latine.

Primi, quorum quidem opera non vetus­tatis modo gratia visenda sunt clari Picto­res fuisse dicuntur; Polygnotus atque Aglao­phon &c.

[Page 91] The whole Passage, in English standeth thus:

This is that witty Censure of the ancient Artizans, which Quintilian hath left vs, where the last Charactar of Demetrius doth require a little Phi­losophicall examination; How an Arti­ficer, whose end is the imitation of Na­ture, can bee too naturall; which like­wise [Page 95] in our dayes was either the fault, or (to speake more gently) the too much perfection of Albert Durer, and perhaps also of Michael Angelo da Buo­naroti, betweene whom I haue heard noted by an ingenious Artizan, a pre­ty nice difference, that the German did too much expresse that which was; and the Italian, that which should be: Which seuere obseruation of Nature, by the one in her commonest, and by the other in her absolutest Formes, must needs produce in both a kinde of Rigidity, and consequently more naturalnesse then gracefulnesse: This is the clee­rest reason, why some exact Symme­trists haue been blamed, for being too true, as neere as I can deliuer my con­ceit. And so much touching the choyce of Picture and Sculpture: The next is, the application of both, to the beautifying of Fabriques.

First therefore touching Picture, there doth occurre a very pertinent [Page 96] doubt, which hath beene passed ouer too slightly, not onely by some Men, but by some Nations; namely, whether this Ornament can wel become the Out­side of houses, wherin the Germanes haue made so little scruple, that their best Townes 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 euery where take a Iudicious eye: But yet withal it is as true, that various colours on the Out-walles of Buildings, haue alwayes in them more Delight then Dignity: Therfore I would there admit no Paintings but in Blacke and White, nor euen in that kinde any Fi­gures (if the roome be capable) vnder Nine or Ten foot high, which will re­quire no ordinary Artizan; because the faults are more visible then in small Designes. In vnfigured paintings the no­blest is, the imitation of Marbles, & of Architecture it selfe, as Arches, Treezes, [Page 97] Columnes, and the like.

Now for the Inside, heere growes another doubt, whether Grotesca (as the Italians) or Antique worke (as wee call it) should be receiued, against the expresse authoritie of Vitruuius him­selfe, lib. 7. cap. 5. where Pictura (saith hee) Fit eius, quod est, seu potest esse, ex­cluding by this seuere definition, all Figures composed of different Natures or Sexes; so as a Syrene or a Centaure had beene intolerable in his eye: But in this wee must take leaue to depart from our Master, & the rather because he spake out of his owne profession, al­lowing Painters (who haue euer bin as little limited as Poets) a lesse scope in their imaginations, euen then the gra­uest Philosophers, who sometimes doe serue themselues of Instances, that haue no Existence in Nature; as wee see in Platoes Amphisboena, & Aristotles Hirco-Ceruus. And (to settle this point) what was indeede more common and fami­liar [Page 98] among the Romanes themselues, then the Picture and Statue of Terminus, euen one of their Deities? which yet if we well consider, is but a piece of Gro­tesca; I am for these reasons vnwilling to impouerish that Art, though I could wish such medlie and motlie Designes, confined onely to the Ornament of Freezes, and Borders, their properest place. As for other Storied Workes vpon Walles, I doubt our Clime bee too yeelding and moist, for such Garnish­ment; therefore leauing it to the Dwel­lers discretion, according to the quali­tie of his Seat; I will onely adde a cau­tion or two, about the disposing of Pictures within.

First, that no Roome bee furnished with too many, which in truth were a Surfet of Ornament, vnlesse they bee Galleries, or some peculiar Repository for Rarities of Art.

Next, that the best Pieces be placed not where there is the least, but where [Page 99] there are the fewest lights; therefore not onely Roomes windowed on both ends, which we call through-lighted; but with two or moe Windowes on the same side, are enemies to this Art; and sure it is, that no Painting can be seene in full Perfection but (as all Nature 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 discouer, and that Posture is the most naturall; so as Italian pieces will appeare best in a Roome where the Windowes are high; because they are commonly made to a descending Light, which of all other doth set off mens Faces in their truest Spirit.

Lastly, that they bee as properly be­stowed for their quality, as fitly for their grace: that is, chearefull Paintings in Feasting and Banquetting Roomes; Gra­uer Stories in Galleries, Land-schips, and [Page 110] Boscage, and such wilde workes in o­pen Tarraces, or in Summer houses (as we call them) and the like.

And thus much of Picture, which let mee close with this Note; that though my former Discourse may serue perchance for some reasonable leading in the choyce of such delights; yet let no man hope by such a specula­tiue erudition, to discerne the Masterly and Mysterious touches of Art, but an Artizan himselfe; to whom therefore we must leaue the prerogatiue, to cen­sure the manner and handling, as hee himselfe must likewise leaue some points, perchance of no lesse value to others; as for example, whether the Story be rightly represented, the Figures in true action, the Persons suted to their suerall qualities, the affections proper and strong, and such like obseruations.

Now for Sculpture, I must likewise begin with a Controuersie, as before (falling into this Place) or let mee ra­ther [Page 101] call it a very meere Fancie, strange­ly taken by Palladio, who hauing no­ted in an old Arch or two at Verona, some part of the Materials already cut in fine Formes, and some vnpolished, doth conclude (according to his Logicke) vpon this particular, that the Auncients did leaue the outward Face, of their Marbles or Free-stone, without any Sculpture, till they were laid, and Cimented, in the bodie of the Building; For which likewise hee findeth a rea­son (as many doe now and then very wittily, euen before the thing it selfe be true) that the Materialls being left rough were more managable in the Ma­sons hand, then if they had beene smooth; And that so the sides might bee laide together the more exactly; Which Conceit, once taken hee seemes to haue farther imprinted, by marking in certaine Storied Sculptures, of oulde time▪ how precisely the parts and Lines of the Figures that passe from one Stone [Page 102] to another, doe meete; which hee thinkes could hardly fall out so right, (forgetting while he speakes of ancient things, the auncient Diligence) vnlesse they had beene cut, after the ioyning of the Materials, But all these Induce­ments, cannot counteruaile the sole In­conuenience of shaking, and Disioynting the Commissures with so many Strokes of the Chissell, be [...]ides an Incommodious Working on Scaffolds; especially ha­uing no testimonie, to confirme it, that I haue yet seene among the records of Art; Nay, it is indeede rather true, that they did square, and Carue, and Polish, their Stone and Marble Workes, euen in the very Caue of the Quarrie, before it was hardened by open Aire; But (to leaue disputation) I will set downe a few Positiue notes, for the placing of Sculpture; because the chusing hath beene handled before.

That first of all, it bee not too ge­nerall and abundant, which would make [Page 103] a House, looke like a Cabbinet, & in this point, morall Philosophie which tempe­reth Fancies, is the Superintendent of Art.

That especially, There bee a due moderation of this Ornament in the first approach; where our Au­thors doe more commend (I meane about the Principall Entrance) a Do­rique, then a Corinthian garnishment▪ So as if the great Doore, be Arched, with some braue Head, cut in fine Stone or Marble for the Key of the Arch, and two Incumbent Figures gracefully lea­ning vpon it, towards one another, as if they meant to conferre; I should thinke this a sufficient entertainement, for the first Reception, of any Iudicious Sight, which I could wish seconded, with two great standing Statues on each side of a paued way that shall leade vp into the Fabrique, So as the Beholder at the first entrance, may passe his Eye betweene them.

That the Nices, if they containe Fi­gures [Page 104] of white Stone or Marble, bee not coloured in their Concauitie too blacke, For though Contraria iuxta se posita magis illucescunt (by an olde Rule) yet it hath beene subtilly, and indeede true­ly noted that our Sight, is not well con­tented, with those sudden departments, from one extreame, to another; There­fore let them haue, rather a Duskish Tincture, then an absolute blacke.

That fine and delicate Sculptures, be helped with Neerenes, and Grosse with distance; which was well seene in the olde controuersie, betweene Phi­dias and Alcmenes about the Statue of Venus: wherein the First did shew dis­cretion, and saue labour, because the Worke was to bee viewed at good Height, which did drowne the sweete and diligent strokes of his Aduersarie: A famous emulation of two principall Artizans, celebrated euen by the Greeke Poets.

That in the placing of standing Fi­gures [Page 105] aloft, wee must set them in a Po­sture somewhat bowing forward; be­because (saith our Master, lib. 3. cap. 3. out of a better Art then his owne) the vi­suall beame of our eye, extended to the Head of the said Figures, being longer then to the Foote, must necessarily make that part appeare farther; so as to reduce it to an erect or vpright po­sition, there must be allowed a due ad­uantage of stooping towards vs; which Albert Durer hath exactly taught, in his fore mentioned Geometry. Our Vitruuius calleth this affection in the Eye, a resupination of the Figure: For which word (being in truth his owne, for ought I know) wee are almost as much beholding to him, as for the obseruation it selfe: And let thus much summarily suffice, touching the choice and vse of these adorning Arts. For to speake of garnishing the Fa­brique with a Row of erected Statues, a­bout the Cornice of euery Contignation [Page 106] or Story, were discourse more proper for Athens or Rome, in the time of their true greatnesse, when (as Plinie recor­deth of his own Age) there were neere as many carued Images, as liuing Men; like a noble contention, euen in point of Fertility, betweene Art and Nature; which passage doth not onely argue an infinite abundance, both of Arti­zans and Materials; but likewise of Magnificent and Majesticall desires, in euery common person of those times; more or lesse according to their For­tunes. And true it is indeed that the Marble Monuments & Memories of well deseruing Men, wherewith the very high wayes were strewed on each side was not a bare and transitory enter­tainement of the Eye, or onely a gentle deception of Time, to the Trauailer: But had also a secret and strong Influ­ence, euen into the aduancement of the Monarchie, by continuall representa­tion of vertuous examples; so as in [Page 107] that point ART became a piece of State.

Now as I haue before subordinated Picture, and Sculpture to Architecture, as their Mistresse; so there are certaine in­feriour ARTS likewise subordinate to them: As vnder Picture, Mosaique; vn­der Sculpture, Plastique; which two, I onely nominate, as the fittest to gar­nish Fabriques.

Mosaique is a kinde of Painting in small Pebbles, Cockles and Shells of sun­dry colours; and of late dayes likewise with pieces of Glasse, figured at plea­sure; an Ornament in trueth, of much beauty, and long life, but of most vse in pauements and Floorings.

Plastique is not onely vnder Sculp­ture, but in deed very Sculpture it selfe: but with this difference; that the Plasterer doth make his Figures by Ad­dition, and the Caruer by Substraction, whereupon Michael Angelo was wont to say somewhat pleasantly: That Sculp­ture [Page 108] 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 Plastique Art, the chiefe vse with vs is in the gracefull fretting of roofes: but the Italians applie it, to the manteling of Chimneys, with great Figures. A cheape piece of Magnifi­cence, and as durable almost within doores, as harder Forms in the weather. And here though it bee a little excursi­on, I cannot passe vnremembred againe, their manner of disguising the shaftes of Chimneys in various fashions, whereof the noblest is the Pyramidall: beeing in trueth a piece of polite and ciuill discretion, to conuert euen the conduits of soote and smoake, into Or­naments; whereof I haue hitherto spo­ken as farre as may concerne the Bodie of the Building.

Now there are Ornaments also with­out, as Gardens, Fountaines, Groues, Con­seruatories [Page 109] of rare Beasts, Birds, and Fi­shes. Of which ignobler kind of Crea­tures, Wee ought not (saith our greatest Arist. lib. 1 cap. 5. de part. Anim. [...]. Master among the sonnes of Nature) childishly to despise the Contemplation; for in all things that are naturall, there is euer something, that is admirable. Of these externall delights, a word or two.

First, I must note a certaine contra­rietie betweene building and gardening: For as Fabriques should bee regular, so Gardens should bee irregular, or at least cast into a very wilde Regularitie. To exemplifie my conceit; I haue seene a Garden (for the maner perchance in­comparable) into which the first Ac­cesse was a high walke like a Tarrace, from whence might bee taken a gene­rall view of the whole Plott below; but rather in a delightfull confusion, then with any plaine distinction of the pie­ces. From this the Beholder descending many steps, was afterwards conueyed againe, by seuerall mountings and va­lings, [Page 110] to various entertainements of his sent, and sight: which I shall not neede to describe (for that were poeticall) let me onely note this, that euery one of these diuersities, was as if hee had beene Magically transported into a new Garden.

But though other Countreys haue more benefite of Sunne then wee, and thereby more properly tyed to con­template this delight; yet haue I seene in our owne, a delicate and diligent cu­riositie, surely without parallel among foreigne Nations: Namely, in the Gar­den of Sir Henry Fanshaw, at his seat in Ware-Parke, where I wel remember, hee did so precisely examine the tin­ctures, and seasons of his flowres, that in their setting, the inwardest of those which were to come vp at the same time, should be alwayes a little darker then the outmost, and so serue them for a kinde of gentle shadow, like a piece not of Nature, but of Arte: which men­tion [Page 111] (incident to this place) I haue wil­lingly made of his Name, for the deare friendship that was long betweene vs: though I must confesse, with much wrong to his other vertues; which de­serue a more solide memoriall, then a­mong these vacant obseruations. So much of Gardens.

Fountaines are figured, or only plaine Water'd-workes: Of either of which, I will describe a matchlesse patterne.

The first, done by the famous hand of Michael Angelo da Buonaroti, in the figure of a sturdie woman, washing and winding of linnen clothes; in which Acte, shee wrings out the water that made the Fountaine; which was a gracefull and naturall conceit in the Artificer, implying this rule; That all designes of this kind, should be proper.

The other doth merite some larger expressiō; There went a long, straight, mossie walke of competent breadth, greene, and soft vnder foot, listed on [Page 112] both sides with an Aquaeduct of white stone, breast-high, which had a hol­low channell on the top, where ranne a prety trickling streame; on the edge whereof, were couched very thicke all along, certaine small pipes of lead, in little holes; so neatly, that they could not be well perceiued, till by the tur­ning of a cocke, they did sprout ouer interchangeably from side to side, a­boue mans height, in forme of Arches, without any intersection or meeting aloft, because the pipes were not exact­ly opposite, so as the Beholder, besides that, which was fluent in the Aquae­ducts on both hands in his view, did walke as it were, vnder a continuall bowre or Hemisphere of water, without any drop falling on him. An inuention for refreshment, surely farre excelling all the Alexandrian delicacies, and Pneu­matiques of Hero.

Groues, and artificiall deuices vnder ground, are of great expence, and little [Page 113] dignitie; which for my part I could wish conuerted here into those Crypte­ria, whereof mention is made among the curious prouisions of Ticho Braghe the Danish Ptolemie, as I may well call him: which were deepe concaues in gardens, where the starres might be ob­serued euen at noone. For (by the way) to thinke that the brightnesse of the Sunnes body aboue, doth drowne our discerning of the lesser lights, is a po­pular errour; the sole impediment be­ing that lustre, which by reflection, doth spread about vs, from the face of the Earth; so as the caues before touched, may well conduce, not to a delicious, but to a learned pleasure.

In Auiaries of wire, to keepe Birdes of all sorts, the Italians (though no wastfull Nation) doe in some places bestow vast expence; including great scope of ground, varietie of bushes, trees of good height, running waters, and sometimes a Stoue annexed, to con­temper [Page 114] the Aire in Winter. So as those Chanteresses, vnlesse they be such as per­haps delight as much in their wing, as in their voice, may liue long, among so good prouisions and roome, before they know that they are prisoners; re­ducing often to my memory, that con­ceit of the Romane Stoicke, who in com­parison of his owne free contemplations, did thinke diuers great and splendent fortunes of his time, little more then commodious captiuities.

Concerning Ponds of pleasure neere the habitation, I will referre my selfe to a graue Author of our owne (though more illustrious by his other D [...] Nugis Curial. &c. worke) namely Sarisburiensis de Pis [...]inâ.

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

Now as almost all those, which haue deliuered the Elements of Logicke, doe vsually conclude, with a Chapter tou­ching Methode; so I am heere seized [Page 115] with a kind of critical spirit, & desirous to shut vp these building Elements, with some Methodical directiō how to censure Fabriques alreadie raised: for indeed without some way to contract our Iudgement, which among so many par­ticulars would bee lost by diffusion; I should thinke it almost harder to be a good Censurer, then a good Architect: Because the working part may be helped with Deliberation, but the Iudging must flow from an extemporall habite. Ther­fore, (not to leaue this last Piece with­out some Light) I could wish him that commeth to examine any noble Work, first of all to examine himselfe, whe­ther perchance the sight of many braue things before (which remaine like im­pressed formes) haue not made him apt to thinke nothing good, but that which is the best; for this humour were too sowre. Next, before hee come to settle any imaginable opinion, let him by all meanes seeke to informe him­selfe [Page 116] precisely, of the Age of the Worke vpon which hee must passe his Doome. And if hee shall finde the apparent de­cayes to exceed the proportion of Time; then let him conclude without farther inquisition, as an absolute Decree, that either the Materials were too slight, or the Seate is nought. Now, after these premisses, if the House be found to beare his yeares well, (which is al­wayes a token of sound constitution) Then let him suddenly runne backe­wardes, (for the Methode of censuring is contrary to the Methode of composing) from the Ornaments (which first allure the Eye) to the more essentiall Members, till at last hee be able to forme this Con­clusion, that the Worke is Commodious, Firme, and Delightfull; which (as I said in the beginning) are the three capitall Conditions required in good Buildings, by all Authors both Ancient and Mo­derne. And this is, as I may tearme it the most Scientificall way of Censuring. [Page 117] There are two other which I must not forget. The first in Georgio Vassari, before his laborious Worke of the liues of Architects, which is to passe a run­ning examination ouer the whole E­difice, according to the properties of a well shapen Man. As whether the Wals stand vpright vpon cleane footing and Foundation; whether the Fabrique bee of a beautifull Stature, whether for the breadth it appeare well burnished, whe­ther the principall Entrance be on the middle Line of the Front or Face, like our Mouthes, whether the Windowes, as our Eyes, be set in equall number and distance on both sides, whether the Offices like the Veines in our Bodies, be vsefully distributed, and so forth. For this Allegoricall review may be driuen as farre as any Wit will, that is at leasure.

The second way, is in Vitruuius him­selfe, lib. 1. cap 2. where hee summarily determineth six Considerations, which accomplish this whole Art.

• [Page 118]Ordinatio.
• Dispositio.
• Eurythmia.
• Symmetria.
• Decor, and
• Distributio.

Whereof (in my conceit) wee may spare him the first two; for as farre as I can perceiue, 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 Clowdiest) hee meaneth nothing by Ordination, but a well setling of the Modell or Scale of the whole Worke. Nor by Disposi­tion, more then a neate and full expres­sion of the first Idea or Designement thereof; which perchance doe more belong to the Artificer, then to the Censurer. The other foure are enough to condemne, or absolue any Fabrique whatsoeuer. Whereof Eurythmia is that agreeable Harmony, betweene the breadth, length, and height of all the [Page 119] Roomes of the Fabrique, which sud­denly where it is taketh euery Behol­der, by the secret power of Proportion: wherein let mee onely note this, That though the least error or offence that can be committed against sight, is ex­cesse of height; yet that fault is no where of small importance, because it is the greatest offence against the Purse.

Symmetria is the conueniencie that runneth betweene the Parts and the VVhole, whereof I haue formerly spo­ken.

Decor is the keeping of a due Re­spect betweene the Inhabitant, and the Habitation. Whence Palladius did con­clude, that the principall Entrance was neuer to be regulated by any certaine Dimensions; but by the dignity of the Master; yet to exceede rather, in the more, then in the lesse, is a marke of Generosity, and may al wayes be excused with some noble Embleme, or Inscripti­on, [Page 120] as that of the Conte di Beuilacqua, o­uer his large Gate at Verona, where per­chance had beene committed a little Disproportion.

And heere likewise I must remem­ber our euer memorable Sir Philip Sid­ney, (whose VVit was in truth the very rule of Congruity) who well knowing that Basilius (as hee had painted the State of his Minde) did rather want some extraordinary Formes to enter­taine his Fancie, then roome for Courti­ers; was contented to place him in a Star-like Lodge; which otherwise in seuere Iudgement of Art had beene an incommodious Figure.

Distributio is that vsefull Casting of all Roomes for Office, Entertainement, or Pleasure, which I haue handled be­fore at more length, then any other Piece.

These are the Foure Heads which euery man should runne ouer, before [Page 121] hee passe any determinate Censure, vp­on the Works that he shal view, where­with I will close this last part, touch­ing Ornaments. Against which (mee thinkes) I heare an Obiection, euen from some well-meaning man; That these delightfull Craftes, may be diuers wayes ill applied in a Land. I must confesse indeede, there may bee a Lasciuious, and there may be likewise a superstitious vse, both of Picture and of Sculpture: To which possibility of misapplicati­on, not onely these Semi-liberall Arts are subiect; but euen the highest per­fections, and endowments of Nature. As Beautie in a light woman, Eloquence in a mutinous Man, Resolution in an Assasinate, Prudent obseruation of houres & humours, in a corrupt Cour­tier, Sharpenesse of wit and argument in a seducing Scholler; and the like. Nay, finally let mee aske, what ART can be more pernicious, then euen RELIGION it selfe, if it selfe be con­uerted [Page 122] into an Instrument of ART: Therefore, Ab abuti ad non vti, negatur consequentia.

Thus hauing stitched in some sort together, these Animaduersions, tou­ching Architecture, and the Orna­ments thereof; I now feele that con­templatiue spirits are as restlesse as a­ctiue; for doubting with my selfe, (as all weakenesse is iealous) that I may be thought to haue spent my poore ob­seruation abroad, about nothing but Stone and Timber, and such Rubbage; I am thereby led into an immodestie of proclaiming another Worke, which I haue long deuoted to the seruice of my Countrey: Namely, A Philosophi­call Suruey of Education, which is indeed, a second Building, or repairing of Na­ture, and, as I may tearme it, a kinde of Morall Architecture; whereof such Notes as I haue taken in my foreigne [Page 123] transcursions or abodes, I hope to vt­ter without publike offence, though still with the freedome of a plaine Ken­tish man. In the meane while I haue let these other Gleanings flie a­broad, like the Bird out of the Arke, to discouer what foo­ting may bee, for that which shall follow.