CHAP. I.
Of the Orders in General.

IT is sufficiently difficult to determine precisely, what the name of Order may signifie amongst our Architects, though it be indeed very necessary to understand it well. Of all the Moderns who have written upon the five Orders, there is none save Scamozzi, who has once remember'd to give us the definition, and it is in the 1. cap. of his second part, line 42. where he saith, That it is a kind of excellency, which infinitely adds to the shape, and beauty of Buildings, Sacred, or Profane. But in my opinion, he had even as good have held his peace, as the rest have done, as to have spoken in such wandring terms, and with so little solidity. The Father Vitruvius in c. 2. l. 1. calls it Ordinance, and the term is at present in huge vogue amongst our Painters: When they would ex­press the elegant composition of a Piece, or the distribution of Figures in an History, they say, that the Ordinance is good: Notwithstanding this is not yet exactly the inten­tion of Architects; and Vitruvius (in pain to express it to us) adds, That it is An apt, and regular disposition of the members of a Work separately; and a comparison of the uni­versal proportion to the symmetrie. Another peradventure more subtile and penetrant than I am, might find out the mystery of these words, which I confess I comprehend not; and therefore it is, that I have thus translated them purely from the Latine text word for word, that I may the more naturally propose them to those who shall desire profit by them: Daniel Barbaro (who hath given us two excellent Com­mentaries upon this Author) has been very industrious to clear this passage, which yet is not without some difficulty; Philander, on the same chapter, found out a shorter way to say nothing at all, and amuses himself upon other matters far more unneces­sary: so that to get out of this Labyrinth we must even take it in pieces, and con­sider the things apart, that so it may, as it were, touch our imagination, and distinctly form its Idea's in us, which is the business we are to enquire after: For the Art of Ar­chitecture does not consist in Words; the Demonstration ought to be sensible, and ocu­lar. It is very perspicuous to all those of this Mystery, that the principal Piece of [Page 8] an Order is the Columne, and that its Entablature being once placed on the Capital pro­duces the entire Composition. If therefore we will define it exactly, and give the most express meaning of it, we must, as it were, make a very Anatomy of the parts, and say, that the Column, with its Base, and Chapiter, crown'd with an Architrave, Frieze, and Cornice, formes that kind of Building which Men call an Order; seeing all these indivi­dual parts do generally encounter, and are found through all the Orders; the difference amongst them consisting in no other particular, then in the proportion of those parts, and the figure of their Capitals. They have yet indeed some peculiar ornaments, as Triglyphs, the Dorique; Dentelli, or Teeth, the Ionique; and the Corinthian her Modilions; but they are none of them of so general and indispensible obligation, but that even the most regular of the Antients themselves, have upon some considerations frequently dispensed with them. For Ornaments are but accessories in the Orders, and may be diversly introduced as occasion requires; principally in that of the Corinthian, where Artists being to represent an effeminate and virginal beauty (as we may easily de­duce from what Vitruvius has recounted to us of Callimacus. 1. cap. 4. book) ought to omit nothing which may contribute to the perfection and embellishment of the Work: and the Antients have prescrib'd us so many Examples of this Order, in which they have been so profuse and luxurious in Ornaments, that one would swear, they had drawn their imagination quite dry to crown this Master-piece of Architecture. But it is not with the other Orders after this sort, where there is a more masculine beauty requir'd; especially in the Dorique, the solidity whereof is totally repugnant to the delicateness of these Ornaments; since it succeeds so much better in the the plain and simple regularity of its proportions. Garlands and Posies suit not with Her­cules; He is best adorn'd with a rough-hewn and massie Club: For there are Beau­ties of several kinds, and those oftentimes so unlike, as what is agreeable to the one, is quite contrary to the other. As for the Ionique Order, 'tis as it were in the middle of the two extreams, holding in a manner the Balance 'twixt the Dorique solidity, and gen­tileness of the Corinthian; for which reason we find it diversly employ'd in ancient Buildings, simple and plain according to the genius of the Architect, or quality of the Structure. So as these three Orders may very well furnish all the Manners of build­ing, without being at all oblig'd to have recourse to the Tuscan Order, or that which is Compos'd, both which I have therefore expresly reserv'd for the conclusion of this Treatise, and separated from the rest, as in truth but Supernumeraries, and almost inu­tile. For the excellency and perfection of an Art, consists not in the multiplicity of her principles; but contrarily, the more simple they are, and few in number, the more worthy are they of our admiration: This we see manifested in those of Geo­metry, which is in truth the very foundation, and universal magazine of all those Arts, from whence This has been extracted, and without whose aid it were impossible it should subsist. Well therefore may we conclude, That the Orders being no other then the very Elements of Architecture, and these Three first which we have deduc'd from the Greeks, comprehending all the Species of Building; it were but a superflu­ous thing we should pretend to augment their number.

CHAP. II.
Of the Dorique Order.

IT is no small advantage for the Dorique Order, to demonstrate that it has been the very first regular Idea of Architecture; and that, as the first-born and heir of this Queen of Arts, it has had the honour also to have been the first builder both of Temples and Palaces.

The Antiquity of its Original (according to all those who have written thereof) is, in a manner, immemorial; notwithstanding Vitruvius referrs him (and that with sufficient appearance) to a Prince of Achaia, named Dorus; who being Sovereign of Peloponesus, built in the famous City of Argos a magnificent Temple to the Goddess Iuno, which was the very first model of this Order: In imitation whereof, the neighbou­ring people erected divers others; amongst which, the most renown'd was that which the Inhabitants of the City Olympia dedicated to Iupiter, whom they furnam'd Olym­picus. The Iland of Delos built another very famous one to the God Apollo, in me­mory of his Birth in that place, and of which there is to this day some Vestigia's re­maining. And in this it was that the first Triglyphs were made in the form which we now behold them, representing the Figure of an antique Lyre, of which Instrument this God had been the Inventor. In Elis a City of the same Countrey there were divers memorable Fabricks consisting all of this Order, whereof the principal were a large Peristyle or Porch, serving for a publick place, having about it a triple range of Portico's built on Col [...]mns, and three magnificent Temples, as Pausanias in his fifth Book makes mention; the one consecrated to the Goddess Iuno, environ'd with huge Marble Pillars; the other to Dyndima, the mother of the Gods; and a third to Mi­nerva, which bore the name of their City: And this last was without doubt a most incomparable Master-piece, having been built by the famous Scopas competitor with Praxiteles in the Structure of that stupendious Mausoleum which the Queen Ar­temisia erected in memory of her Husband. In his Preface to the seventh Book, Vitru­vius makes mention of others, amongst which he celebrates those of Ceres, and Pro­serpine in the City of Elusina, as a work of prodigious Grandure. But it would be but unprofitable for us to make any further disquisition concerning these Edifices, since those who have treated of them, have left us no particular remarks touching their form, from whence we might derive any thing of advantage for our Imitation. They talk much also of the names of many great Architects of this age, who them­selves writ the Rules of their professions, amongst whom, one named Silenus had ge­nerally treated of the Dorique proportion; and a certain Theodorus made the descripti­on of a Temple of the same Order, erected to the Goddess Iuno by the Inhabitants of [Page 10] the Ile of Samos, with sundry other mention'd in the same place, whose Books and Works are not now to be found; so that after the loss of so many incomparable Au­thors, who were the very source and fountain of the Art whence we might at present extract the purity of its Original, we must of necessity content our selves with the Observations and Conjectures which the Moderns have made upon certain tracks and footsteps of Antiquity, which in this conjuncture serve us instead of Books, and wherein all those Masters which I have here assembled, as to an Oecumenical and general Coun­cil of Architecture have finish'd and perform'd their Studies.

But for as much as naturally every man abounds in his own sense, and dresses up a beauty after his particular mode, I conceiv'd it expedient from the Designs which they have left us for Rules, to have continual recourse to the Antients, as to the best and most invariable Compass which we can possibly steer by; amongst whom we shall find sufficient variety, reasonably to satisfie the Gust of such as are desirous of choice. And for this purpose, I shall upon every Order exhibit two or three Examples drawn from the Originals themselves, and very accurately measur'd by the account of the Modole of the Column, with the very Division which I have observ'd in the Designs of o­ther Masters; that so all concurring in one Uniformity, and under the same Scale, the Comparison and Examen may become the more easie and intelligible: For the multiplying of Operations is ever disadvantageous by reason of the Confusion which it ordinarily produces in the minds of those who work, and that it also wastes more time; both which inconveniencies are of very great importance. And when all the fruit of my Travel in this Assembly of Authors should be of no further profit to the Studious in this Art, then to have thus adjusted them together, I conceive they ought to be very well satisfied.

But let us return to the Dorique Order, and consider its form, proprieties, and differ­ence from the others in gross, before we enter into the Parcels of its Proportions, since general rules are ever to precede particular. Having then propos'd for a foun­dation, that this Order represents Solidity to us, as its Specifique and principal quality, we ought not to employ it but in great massie Buildings and Edifices of the like na­ture; as for Ports of Citadels, and Fortresses of Towns, the outside of Churches or Pub­lique places, and the like, where the delicateness of the Ornament is neither conveni­ent, nor profitable; for as much as the heroick and gigantine manner of this Order does excellently well in those places, discovering a certain masculine and natural beau­ty, which is properly that the French call la grand Maniere.

Upon this subject I am observing a thing which in my opinion is very curious touching the beginning of the difference of Manners; whence it proceeds, that in the same quantity of Superficies, the one seems great, and magnificent, and the o­ther appears poor and but trifling. The reason of which is very prety, and not ordinary. I say then, that to introduce into Architecture this grandure of Manner of which we speak, we ought so to proceed, that the division of the principal Mem­bers of the Orders consist but of few parts, that they be all great and of a bold and ample Relievo and Swelling; that the Eye beholding nothing which is little and [Page 11] mean, the Imagination may be the more vigorously touch'd and concern'd with it. For Example: In a Cornice, if the Gola, or Cy [...]atium of the Corona; the Coping, the Modi­lions, or Dentelli make a noble shew by their graceful projectures; and that we see none of that ordinary Confusion which is the result of those little cavities, quarter­rounds of the Astragal, and I know not how many other intermingl'd particulars which produce no effect in great and massie Works, and which very unprofitably take up place to the prejudice of the principal Members; it is most certain, that this manner will appear solemn and great, and that, on the contrary, become pitiful and mean by reason of the multitude of these smaller ornaments which divide and scatter the angles of the sight into so many beams, and so press'd together, that the whole appears but a Confusion. And though one would judge upon the sudden, that the multiplicity of the parts should contribute something to the appearance of the grandure and state; yet notwithstanding it happens quite otherwise, as we may easily perceive in examining it by Examples, and in the Designs of the Masters which I have here collected together, where in the same instant a man may discern both the quality of their Genius's, and the variety of their judgments: For some of them esteem that to be delicate and rich, which others term mean, and confused; and that which seems to us of the Grand maniere, in their eyes appears to be but gross and heavy; and indeed it would so prove if one should exceed the terms of proportion, and did incline too much to either extreme: But be this only spoken in Passage; We proceed now to our Orders in general.

The Colomnes of the Dorique Order have this of remarkable amongst the rest, that in the fairest Works of Antiquity in which they have been employ'd, we find them without Bases; as in the Theater of Marcellus at Rome; in that at Vicenza, and in a very magnificent Triumphal Arch at Verona; and Vitruvius having treated of this ve­ry Order more exactly then of any other, speaks not so much as a word of its Basis, albeit he hath sufficiently describ'd the measures of the Ionique, and of the Attique for the Corinthian, without having so much as omitted that of the Tuscane; though there is not one of our modern Architects but make some cavil at it, forming one to them­selves after their own invention.

For my part, I should make a great scruple to condemn these old Masters who did all with so much circumspection. One had much better endeavour to disco­ver their Intention, who did certainly proceed with great judgment; then to add any thing preposterously to this Order, and which may prove repugnant to its Prin­ciples.

Let us take therefore the thing from its original, and consider upon what account they added Bases to the foot of Colomns, and what there they represent, that thence we may infer whether they are likewise as proper to these we speak of here, as they be to the other.

Vitruvius tells it us in the first Chapter of his fourth Book, and had not it seems so much as once spoken of it, but upon occasion of the Ionique, which he affirms to have been compos'd after the module of a feminine beauty, to which he suits all [Page 12] the rest of the parts; as the Voluta's of the Capital to the mode of the head-tire and tresses of Womens hair. The Vivo, or shaft of the Colomn, to their airy and delicate shape: the flutings and Channelling to the plaits of their Robes: and the Base to the buskin'd Ornament of their legs and feet.

In the same place he compare our Dorique to a robust and strong Man, such as an Hercules might be, whom we never represent but on his bare feet: so as from hence we may reasonably judge, that to the Dorique Order also Bases are no wayes proper.

But the custom which has licentiously been introduc'd amongst so many Exam­ples as we find among the Antiques, has so strangely debauch'd and prevented the Ima­gination, by I know not what false appearance of Beauty; that it now transports it quite besides Reason. Nevertheless such as are clear-fighted, being advertis'd of this abuse, will soon rectifie, and undeceive themselves: and, as what seems most likely is then detected to be erroneous when 'tis diligently examin'd; so also the appearances of Beauty, when they are against Reason, become in fine but the more extravagant.

This Observatio being establish'd upon those great Examples which I have cited, and Reason serving for its guide, let it pass for demonstration.

But we will now consider the rest of the Order.

His Entablature is more massie, and tall, then any of the following Orders; be­cause the strength of the Colomn for being greater, prepares him also for the greater burthen. It has ordinarily one fourth part of the Colomn, whereas in the other he has very often but a fifth, and sometimes less. The Cornice would not be deck'd with and Foliage, or like trimming; but in case you allow him Modilions, they should be square, and very plain. The Freeze has a regular Ornament, which are the Triglyphs, the Compartiment whereof obliges one to a very great inconvenience, and which was heretofore so cumbersome, that even the skilfullest Masters had much ado to disengage themselves. But Vitruvius has found a very sufficient Expedient, as may be seen in his fourth book Cap. 3. In the interim let it suffice, to affirm here, that all the incon­veniency consists in so contriving the matter, that the Triglyphs be precisely plac'd over the middle of the Colomn which it encounters; and that the Metops (that is to say) the spaces twixt the Triglyphs, be perfectly square; for that is so effential in this Order, that one should never dispence with it. That which renders the execution difficult proceeds from the distribution of the Intercolumniations, which have also their distances regular, and determin'd, which does not justly quadrate and suit with those of the Triglyphs. See the second Chapter of the third Book of Vitruvius, Commented by the Reverend Daniel Barbaro, where all this is rarely well explain'd, both by dis­course and figure.

The Architrave hath also its Ornament particular, which consists in certain pen­dent drops under the Triglyphs that seem after a sort, to be fastned to it, as if they were all of a piece; for that one never sees the one, without the other.

The entire body of the Architrave ought to appear solid and very substantial; for which effect I would not have it exceed one full face, lest parting it in two, it [Page 13] appear feeble and weak, according to the principle which we have newly establish'd upon the diversity of Manners; Nevertheless this is but of small consequence here, provided one be careful not to break it in three faces as in the other Orders they do; in which case, the fault would be remarkable.

Behold then in gross as 'twere a rough draught of the Dorique Order, upon which one may with ease find out all the several parts of its members in particular, with their respective measures, which is by this expedient found alwayes within the regu­lar terms of its extent.

I shall touch some of the Principal only, that I may facilitate the way; referring you for the rest, to the Designs, where every thing is so clear, and punctual, that ha­ving once conceiv'd the Model (which I make use of throughout) to be the Semidia­meter of the Colomn, divided into thirty Minutes; and, that I continually begin to measure the projectures of every Profile from the Central line of the Colomn, to have (in the mean time) with the proportion of the Members, the right position, and just level of the Pillar, all the rest admits not of the least imaginable difficulty: for presently you'l find, that thirty minutes making the semidiameter, sixty must compose the whole diameter, and forty five the three quarter; forty, two thirds; twenty, one third; fif­teen a quarter, and so of the rest, as I have expresly observ'd it, that I may by the same means make you comprehend, how I have reduc'd all the Measures of my designs by minutes, without making use of the terms of Module, Diameter, Thirds, Quarters, or the like proportions, to avoid perplexity, and cumbring the designs with so much wri­ting; and indeed, for that they are not precise enough, and would have often ob­lig'd me to superadd the minutes, and to repeat one Module and three Minutes, two thirds of a module and four minutes, a quarter of a minute, half a module and two minutes, with a number of such like fractions, which would have created much unprofitable la­bour, and bred infinite confusion.

This establish'd, let us proceed to the application, and take our Dorique Order a­gain in pieces. But lest the Variety which we frequently encounter amongst the designs of the modern Authors that I have here collected, should hinder us from re­solving upon something fix'd, and determin'd, I will only pursue that Antient Exam­ple taken out of the Theater of Marcellus, as being the most regular of all the rest, by the universal suffrage of those of the Profession; and so conformable to what Vitruvius has written concerning the general proportions of this Order, that some are of opi­nion he was himself the Architect of this magnificent work. But I must confess, I am not of their faith, because of the Dentelli which are cut in the Cornice; for Vitru­vius in the second Chapter of his first Book, plainly interdicts them the Dorique Order, as being naturally affected to the Ionique: but this Question concerns not our present dis­course. I find then that the whole shaft of the Colomn has in length seven times its diameter; which on the foot of the division of the half diameter in thirty minutes (for in all this Treatise I ever take the semidiameter of the Colomn for the module of the Orders) make four hundred and twenty minutes, which amounts to fourteen modules. The height of the Chapter contains thirty minutes, which make one module; as does likewise the Archi­trave; [Page 14] The Freeze with its Fillet (which is that flat, and thin band or list which separates it from the Cornice) has one module and a quarter, which are thirty seven mi­nutes and an half; so that all these modules computed together, and the number of their minutes reduc'd to a total sum, the altitude of the entire Order amounts to eigh­teen modules and three quarters, which make up five hundred sixty two minutes and an half; and the Entablature (which is the Architrave, Freeze, and Cornice) being to con­tain one quarter part of the Colomn (which is its regular proportion) comprehends just an hundred twelve minutes and an half, which are three modules and three quarters; and which I expresly repeat, that I may yet add, that though all the Examples of this Order (which may be as well found amongst the Antients, as the Modern) have not always the Entablature comprehended within the same Termes of Modules that this has here, they may yet notwithstanding be according to rule in the general proportion; pro­vided that the Entablature contain a quarter of the Colomn; which is neither limited to fourteen Modules, nor yet to fifteen, but may sometimes advance even to sixteen and more as occasion presents it self: So that a Colomn of seven Modules shall have a higher Entablature then one of fourteen. But then it is necessary, that all this diffe­rence of one Entablature to the other happen only in the Cornice, in regard that the Freeze, and the Architrave have alwayes their precise and determinate measures: The one has a Module; the other a Module and an half, without any respect to the dif­ferent height of the Colomns. Now the Cornice being to supply what is deficient to arrive to the fourth part of the Colomn, 'tis evident that its particular proportion must depend on that of the Colomn; and that the Cornice of one Profile, can never serve for another, though it be of the same Order, unless the height of the Colomns be likewise equal in them both, which thing ought very diligently to be consider'd: that from this observation a man may arrive to a good, and judicious examen of all those Profiles which the Modern have given us of this Order; and understand such as are worthy the being follow'd; For the general proportion being once defectuous, 'tis in vain to search for it in the retail, or minuter parts; because that is necessa­rily relative, and that the one, cannot possibly subsist without the other.

But to the end we may render what we have discuss'd easie to the Reader, who happly, for want of practise may find himself at a loss, I am going to deliver him a Method extraordinarily short and expedite, by means whereof, he may instantly make it without the least disorder or confusion,

He must take the whole height of the Entablature of the Design which he would examine, and thereof make a multiplication conformable to the proportion which it ought to bear with its Colomn, having still a regard to the Order which it represents. Put case, for example, one quarter, as in this of the Dorique; he must multiply the En­tablature by four; if it be a fifth (as we shall see in some of the following Examples of the Corinthian) he must multiply it by five; and so of the rest: For the total of this multiplication ought to give us precisely the height of the Colomn; and wherever this does not quadrat, certain it is, the Profile is irregular.

[Page 15]I should be too prolix if I pretended to decifer thus by smaller scruples, and mi­nutes all that belongs to these Principles, and whiles I think to render my self intel­ligible, by a tedious discourse and Calculations, become in fine both confus'd and troublesome to my Reader, who doubtless will sooner comprehend it all by seeing my Designs, since Words are never so express as Figures.

CHAP. III.
A Particular remarkable in the Profile, drawn from the Theater of Marcellus.

I Admire that of all our modern Architects, the greatest part whereof have seen, and spoken of this Examples, as of the most excellent Dorique model which has been left us by the Antients; there is not so much as one of them who has followed, or perhaps well observed in the Original the just compartiment of the members of the Capital, nor the height of the Freeze, the which I find here visibly less then that which they allow to their Designes; though some of them (particularly Vignola) have proposed the very same Profile for the Rule of the Order; but with so much alteration in its mem­bers, that there is not one of them remains entire: A man shall easily find it by con­ferring them together; all the designs of this Assembly being therefore fitted to the same Scale. As for the Capital, they do all without exception affect the dividing of it in three parts, as Vitruvius will have it in his fourth Book, Chap. III. giving one to the Hypotra­chelion, or neck of the Pillar; the other to the Echinus bracelets, or small mouldings; and the third to the Abacus or plinth of the Capital; whereas they ought to have con­sidered, that the Text of this Authour, besides that it is oftentimes suspicious, and espe­cially then when he is not conformable to the practice of the Antient Masters his Con­temporaries, it is by no means just, he that should presume thus to carry it a­gainst such Examples as this here, which is without all reproach and exception. It had been more reasonable that they who propose it for their model, had at least been so discreet as to have added nothing, but left him in his original proportion. As for those others who have formed designs after their own fancies, they are no more to be blamed for having followed the opinion of Vitruvius, and obliged themselves to the terms which he has prescribed, though they might haply have well dispensed with it, and with more reason have imitated the Antients where this irregularity is not to be found. The Crown of the Cornice is also sufficiently observable for its extraordinary projecture, and which is after a sort augmented by the sloops which the Architect has given to the drops which compose the ornament of the nether face, and which fall on the Triglyphs. Now albeit this piece of Opticks be admirable in this huge Coloss of Building, yet is it by no means to be indifferently used every where, and upon all occasions, for in places much inclosed, where there is not ample space and freedom for the Eye, as the inside of Churches, &c. it would produce but an ill effect. Wherefore I have thought it ne­cessary to propose here divers antient Examples upon each Order, that I may thereby give opportunity to those of the Profession to make use of them judiciously; regard being duly had to the Place, and the Occasion.

CHAP. IV.
Another Profile taken from the fragments of the Dio­clesian Bathes at Rome.

THIS Profile was one of the most excellent pieces of Architecture in the Baths of Dioclesian as far at least as I am able to conjecture from a good number of draughts which lye yet by me, all of them design'd by the same hand very neatly, and measur'd with extraordinary study; although some of them methinks appear to be sufficiently licentious: But this Profile is of so noble a composition, and so regular, that it's no­thing inferiour to that which went before: And though the specifique proprieties of this Order are to be single and solid; yet are the Ornaments here so very judiciously applyed upon every of the Members, that they conserve the one without the least violation to the other.

It may serve upon some occasions where that of the Theater of Marcellus would not be so proper, in as much as the projecture of its Cornice is a great deal less; add to this, the curiosity of its mouldings which allure the eye to consider them at a nearer distance.

The general Proportion of it is not absolutely conformable to that of our first Ex­ample; and the difference makes me judge, that the Column belonging to it contained eight diameters, that is to say, sixteen Modules; for so the Entablature (which is of four Modules high) comes to make up a fourth part of the Pillar.

That which is considerable in this Profile, as universally observed through all the Moderns for the height of the Freeze, is, that in this partition of the three members of the Entablature, the flat Fillet which forms the Capital of the Triglyphs composes a part of the Cornice, and is not compriz'd within the limits of the Freeze, though in that of Marcellus's Theater I have made it to be a part, to the end we may religiously preserve our selves within the termes of the general rules of the Order, which precisely requires that the height of the Freeze should be of one Module and an half, that so the square in­tervals of the Metops with the Triglyphs (which is indeed an inconvenience very great, but withall most necessary) may be handsomely adjusted. To the rest, I will not af­firm positively that the Column of this Profile was without a Basis, for my design gives me onely the Entablature and Capital; though I might well be inclin'd to think so for the reasons before deduc'd, and amply demonstrated in the second Chapter.

CHAP. V.
Another very antient Profile after the Grand Maniere elevated in Perspective, and now extant at Albano near Rome.

I Conceiv'd it very advantageous, and indeed in some sort necessary the better to represent the beauty and goodly effect of this Profile, to give you one elevated in Perspective; because I would gratifie the eye with as much as Art is capable to add to the real and natural Relievo, and shew how it ought to succeed in the execution.

This incomparable Dorique Master-piece was discovered at Albano, joyning to the Church of St. Mary, amongst divers other old fragments of Architecture very curious, and of which I have a good number design'd, and with great diligence examin'd as to their measures, though drawn something in haste and as it were in passing, by the hand of the famous Pyrrho Ligorio.

That which I particularly esteem in this is a certain grandure of Manner majestical and surprising which is altogether extraordinary; all which results from its having but few members, and from the largeness of those which it has; an account whereof I have already given, speaking of the difference of Manners in the second Chapter. For the rest, the shaft of the Column stands simply on a step which serves it instead of a Plinth, as I have here represented him.

Now to the end this design may not only prove agreeable to the eye, but likewise profitable to those who shall desire to put it in practice, I have also accompanied it with its Profile, and particular Measures.

I advertise moreover, that the Pillar has fifteen Modules in height, and the Entablature three, with two thirds, which amount just to the quarter which is the regular proportion of the Dorique Entablature with the height of its Column: I have omitted the Profile of the Capital for want of space, as likewise for that it is so little differing from the ordinary in its mouldings, and so perfectly resembles it in pro­portion.

That which is most worthy remark, and indeed to be admir'd in this Composi­tion, is, the richness, and extraordinary form of his Modilions, which lying plumb over the Triglyphs, and being as it were a king of Capitals to them, produce a mar­vellous effect, which is yet much augmented by those great Roses of the Sofitto or Eves of the Corona, which having an extraordinary projecture, render the Order altogether Gigantique; and this is properly that which they term the Grand Maniere.

CHAP. VI.
A Judgment in general upon all the Authors summon'd together in this Collection.

THAT the Reader may now come with some kind of preparation to the par­ticular Examen of the Designes which follow, I shall here endeavour to give him a general hint of the severall talents and abilities which I have remark'd in every one of those Masters we are taking a survey of in paragon one with the other.

The first of all is without any contest the famous Andrea Palladio, to whom we are oblig'd for a very rare Collection of antique Plans and Profiles of all sorts of Buildings, design'd after a most excellent manner, and measur'd with a diligence so exact, that there is nothing more in that particular left us to desire: Besides the very advantageous opportunities which he has had at Venice, and in all the Vincentine his native Country do leave us such markes as clearly shew'd him not onely to have been a Sectator of these great Masters of Antiquity; but even a Competitor with them, and emulous of their glory.

The Man who nearest approaches to him is also another Vincentine, Vincent Sca­mozzi by name, a far greater talker (as well appears in his Books) but a much in­feriour workman, and less delicate in point of design: A man may easily perceive it by the Profiles which he has left us of the five Orders, the manner whereof is a little dry; besides that, he is very poor and trite in his Ornaments, and but of an ill gusto: He is notwithstanding this the nearest that approaches him as to the regula­rity of his proportions, and the most worthy to be parallel'd with Palladio.

Sebastiano Serlio and Iacomo Barozzio surnam'd Vignola hold of the second Class; and albeit they have both follow'd contrary wayes, and very different manners, yet I forbear not to place them in the same range, and am indeed in some difficulty to determine which of the two has deserv'd more of the Publique; were it not that one might say, the first had the good fortune to work for Masters who needed onely to be shew'd the Idea of the things in gross, without having any thing to do with the retail of their Proportions; and that the other onely propos'd to himself the instru­ction of young beginners, and to deliver to them the rules of Art and good design: But it were of excellent advantage for us all that Serlio's Book had been design'd like that of Vignola; or that Vignola's study and diligence in searching, had been e­qual to that of Serlio.

[Page 23]The famous Commentator of Vitruvius, Daniel Barbaro Patriarch of Aquilea, whom with very great justice we may fitly style the Vitruvius of our Times, shall in this place be seated in the middle of all the Masters to be their President; as being indeed the Interpreter and Oracle of the very Father of Architects: and his Companion Pietro Cataneo (whom I assign onely to preserve an equal conformity in my designs of compa­ring Modern Authors) shall serve only as a petty Chaplain in the retinue of this great Prelat, though he might well claim Peerage even with the most part of the rest.

Among the other latter four, I have a particular esteem for one above the rest, and that is Leon Baptista Alberti, the most Antient of all the Modern, and happly too, the most knowing in the Art of Building, as may be easily collected by a large and ex­cellent Volume which he has published, wherein he fundamentally shews whatever is necessary for an Architect to know. But as to the Profiles of the Orders themselves and his regulation of them, I cannot but strangely admire at his negligence in drawing them no more correctly, and with so little art himself being a Painter; since it had so notably contributed to its recommendation, and to the merit of his works. But this I have reform'd in our following Collection, and believe in so doing to have per­form'd him no little service, as happly in danger to have otherwise never been follow'd; there being hardly any appearance, that whilst the designs of his Book were so pitifully drawn, being made use of in work, they should ever produce so good effect.

To the most Antient I would assign for Corrival, the most Modern, that by confron­ting them to each other, we might the better come to discover whether the Art it self improve and proceed to any further perfection, or do not already begin to im­pair and decline. This last Author, namely Viola, is of the Categorie of those which the Italians call Cicaloni, eternal Talkers to no purpose. He, whilst he proposes to himself to write of the Orders and Proportions of Architecture, of the Rules of Perspective, of some Elements of Geometry and other the like dependencies on his principal Sub­ject, amuses himself, poor man, in telling stories; so that in stead of a Book of Ar­chitecture, he has made (ere he was aware) a Book of Metamorphoses. Besides he has this in common with Leon Baptist Alberti, that his designs are both very ill-contriv'd, and executed; notwithstanding he follows a more elegant manner, and conforma­ble enough to that of Palladio; but the Method which he uses in his partitions is so gross, and mechanique, that he reckons all upon his fingers, and seems to have never so much as heard speak either of Arithmetique or Cyphers.

Concerning the two which remain, a man cannot well affirm them to have been in­feriour to those who preceded them, nor yet to have been of the same force with the first, though I conceive they may well compare with three or four of them at least. And

These are two French Masters sufficiently renown'd both by their Works and Wri­tings; Philibert de Lorme, and Iean Bullant, whom yet I do not here place in the last range as being at all their inferiours; but onely that I may separate them from the Italians who are in far greater numbers.

CHAP. VII.
Palladio and Scamozzi upon the Dorique Order.

LET us now then pass to the Ocular Demonstration of the precedent Chapter by the Parallel of the Architects which I have there assembled together, and whose designs I am hastning to examine by comparing them with our three Antique Designs, that according to their more or less conformity with these Original Models, we may pronounce concerning their merit, and see what esteem they indeed deserve. From this consideration it is, that of all the choice of the other Masters, I have extracted Palladio and Scamozzi, who having propos'd to themselves the imitation of the antient Architects by studying those admirable Monuments yet remaining in the City of Rome, have follow'd a manner infinitely more noble, and proportions more elegant then those of the School of Vitruvius.

The first Profile of Palladio hath a great affinity with our second example, Antique, taken out of Dioclesian's Bathes; for excepting onely the Dentelli which he may have with reason omitted, all the rest of the Entablature is upon the matter the same.

He has likewise been so discreet (being peradventure oblig'd to follow the vulgar errour, which will have the Base of a Column of this Order to be all one with the others) to advertise before hand by an example which has none at all, that the Antients did never use it after this manner.

He allows but fifteen Modules to the Column, without Base, and with its Base he makes it of sixteen, and sometimes proceeds even to seventeen and a third. The rest of the measures are so distinctly mark'd upon the Profile, that it were superfluous to explain them.

Scamozzi gives ever precisely seventeen Modules to his Columnes, accommodating it with the same Base that Palladio does; but to a great deal less purpose, in as much as he thinks fit to deck the Tore's with I know not what delicate foliages, which does not at all become the Order; no more then does the Ionique fluting which is abusively employ'd in this place in stead of the natural Dorique. His Entablature (as well as that of Palladio) sufficiently resembles our second Model, to which he has onely added a small cavity betwixt the Corona and the greater round, a thing not at all considerable.

The Composition of his Profile taken in gross, and altogether simple appears of a great Idea, but the Ornaments are to be rejected.

CHAP. VIII.
Serlio and Vignola upon the Dorique Order.

THESE two Masters are infinitely oblig'd to their Interpreters who produced them first amongst the Tramontani and strangers, and particularly to our work­men in France who hold them in very great estimation: And though they are in truth highly worthy of it, nevertheless being compar'd to the preceding two, they lose much of their lustre, and come exceedingly short of them.

This the Reader may easily find by comparing the one to the other with the Antient Originals which I have prefix'd as the Lantern and Compass of all true Architecture. But it were not just we should treat Serlio in this Examen with the same rigour we have done his Companion; for that intending to follow Vitruvius (who is the most renown'd and venerable Author of the Antients) he has worthily acquitted himself: Whereas Vignola who has pursu'd another course, really a more noble, and the very same which I also observe here, knew not how to proceed without deviation. The Dorique Profile which he here presents us, is taken out of the first Order of the Theater of Marcellus, and the most worthy example of this kind which is to be met with amongst all the Roman Antiquities, and of which also I have made choice for the first model of this Collection, with this only difference, that I have precisely observ'd all the measures and allowances of the Original, which you will perceive in this Au­thor to be exceedingly changed, particularly in the Cornice and Capital: The com­paring of the two designs will in one instant afford more light to the Reader, then I can do by the discourse of an entire Page.

Serlio gives here fourteen Modules onely to his Column, comprehending the Base and Chapter; and the height of the Entablature amounts to three Modules and a little more then two thirds, insomuch as (contrary to his ordinary custom) he extremely exceeds the quarter of his Column, which is the largest proportion that the Antients did ever practise; so as this great excess puts me in doubt whether the Text of Vitru­vius upon which he relies be not corrupted in that place; or else, when he spake of that Column, he did not mean the Shaft without its Capital: for so by adding one Module more (which is the precise height of the Chapter) the entire Column would be fifteen Modules, and consequently the Entablature hold proportion conformable to the Antients.

Vignola forms his Column of sixteen Modules, and the Entablature of four, which is exactly the fourth part of the Column, and which makes it appear very regular: As touching the Base introduc'd by the Moderns into this Order, I have already declar'd my Opinion concerning it.

CHAP. IX.
Daniel Barbaro, and Pietro Cataneo upon the Dorique Order.

THIS is here the perfect School of Father Vitruvius, whose very name and authority does extremely recommend it to us. Not that we are oblig'd in­differently, and without choice to follow all those who pretend to have understood this grave and abstruse Authour; seeing every man strives to make him of his own party, and to accommodate him to his particular Genius.

The very best of them all was without exception Daniel Barbaro, as well for his excellent Commentaries, as for the exactitude, and cleanness of his designs. A man may perceive by the Parallel of his Profile with that of Cataneo his adjunct; of Ser­lio in the page before, and some others following this Class, that he presides here as a Master among his Disciples.

It were an amusement to no purpose, and very impertinent should I quote every minute and small difference of one design from the other; since the Reader may better see it by one cast of his eye, then I can describe it to him in all the rest of this Page.

I will add onely this general advertisement, that the proportion of the Colomn, with its Entablature, is the same here which Serlio gave us before, without being ne­cessitated to repeat my own opinion thereof; since my Observation is upon Vitruvius, and not against those who have explained him.

Daniel Barbaro has judiciously introduc'd a Boucler in the angular Metop of the Freeze, thereby signifying, that all Ornaments should be accommodated to the Or­ders which they are applied to; and that this being of a robust, and martial kind, one may as occasion requires, enrich it with Trophies of Armes, Clubbs, Quivers of Ar­rows, and such like instruments of Warr.

To the prejudice of Cataneo's design, I find that the Gula of the superiour part of the Entablature is somewhat too great, that the Projection of the Plinth of the Capital is a little too small and renders the whole Chapter mean, and short, which extremely disfigures his Profile; besides, that the Base below has that in excess, which is defe­ctive in the Chapter above.

CHAP. X.
Leon Baptista Alberti, and Josepho Viola on the Dorique Order.

AT sight of this first design of Leon Baptista Alberti whose Capital is entirely Gotique, one might with reason wonder why I should speak so advantageously of him in the general Examen which I have made of the modern Architects, amongst whom I assign him one of the principal places; and in earnest I cannot excuse him here of that ill relish, and of this so ill-favour'd a Composition, however he pretends to have seen it, and to have taken it from some antient fragments: But suppose it true (for a man may meet with bad ones enough) he might also have found others a great deal more tolerable: That which falls out the most unluckily for him in this his first production of skill, is, that it is of very great importance for a man to begin well; since the first impression continues long, and introduces a consequence for those who follow after. Nevertheless, be it what it will, every man is obliged to accord with the truth, and to judge of things honestly, and without preoccupation. And therefore to do him justice, having first condemned this defective part in his Profile, we are not to reject all the rest for that reason; seeing it is in truth very good, of a great and noble manner. It has also much conformity with our third antique Example in the Modilions, whose projectures put into work would produce a noble effect, as may be judg'd by the Perspective which I have made of it. His Architrave and Freeze are both regular, and the Entablature entire to its exact proportion with the Column; for it consists of four Modules in height, and the Column of six. The proportions of the Base are likewise very handsome, so as in the whole design there is nothing scandalous besides the Capital, which may easily be supplied by borrowing from his Collegue Vi [...]la, whose Profile is sufficiently correct, and upon the matter the very same with that of Palladio whom I perceive he has imitated in all the following Orders as well as in this here. But since he endevours to disguise his theft as much as possible in alter­ing some of the mouldings, or mutilating some member, he has here made a quarter round in stead of the direct Cymatium or Ogee of the Cornice, which is but a thing in­different, or tolerable at least in the Dorique Order, that of Marcellus's Theater being the very same.

CHAP. XI.
John Bulliant, and Philibert de Lorme on the Dorique Order.

'TIS not without some difficulty that I have been able to reduce the second Profile of this Page to the termes you here behold it, Philibert de Lorme having design'd it so slightly, and in so small a Volume (though that in his book be large enough) that it had been impossible to give any of the members its due proportion without the assistance of the Text, upon which he has made three large Chapters; whereas by the aid of some better draught, he might easily have spar'd many words and letters of direction extremely confus'd throughout his whole discourse, which he uses to ex­press the particulars of the proportions of each part of his Profile; and this makes me judge that the good man was no great Designer, which is a very ordinary defect amongst those of his Profession: But this does not much concern our Subject in hand, where we have onely to examine, whether the Dorique Order which he proposes, has any conformity to the Antique, or at least to the Precepts of Vitruvius; as one may perceive by the Parallel of his Companion Iohn Bulliant, who has followed this old Author in his Profile very punctually, though he also produce others from Antiquity, in which I find him not so just and exact as I took him to be in the mean­ing of Vitruvius.

I will not here stand to particularise the difference which there is betwixt these two Architects, lest I my self fall into the same inconvenience which I but now re­prehended in Philibert de Lorme; and for that the exactness of my designs have neither need of illustration or discourse: However, this I may add in favour of Iohn Bulliant, that he is the sole Sectator of Vitruvius who has contain'd himself within the regular termes of his Master as to the height of the Entablature, to which he al­lowes three Modules and a half that precisely make the fourth part of the Column, which ought to have but seven Diameters in height, according to Vitruius Lib. IV. Cap. I. which amounts to fourteen Modules.

CHAP. XII.
A very antient Sepulchre to be seen near Terracina, at the side of the high way leading towards Naples.

AT Terracina upon the confines of the State Ecclesiastic there is yet extant the Vestigia and footsteps of this small Mausoleum sufficiently entire joyning to the Appian way, where that diligent observer of all these antient Monuments Pirro Ligorio having discovered and (as one may say) disinterr'd it (for 'twas almost bu­ried amongst the brambles of a wild and uncultivated place as himself reports, at the foot of the design which he has made of it) took the plan most exactly, and the elevation of the Profile, upon which I have taken my directions to reduce it to that Ichnographical from which I here present you. I was extremely glad to encounter an example so express and convincing against the abuse of the Moderns, who have very inconsiderably introduc'd Bases to the Columns of this Order, of which I have formerly discours'd sufficiently.

The four faces of the Edifice appear to have been all alike, and on that which re­spects the West, there has been some kind of Inscription upon the Architrave, but there now remains nothing legible.

The Massonry is of huge square Brick, and the Columns with their Entablature are made of Tiburtine stone, the Pyramid being also of the same material.

The Diameter of the Columns is near upon two Palmes, the Entablature makes a fifth of the entire Order; that is to say, a fourth part of the Column, which was but seven Diameters in height.

This Sepulchre seems to be fully as antient as the very Appian way it self.

CHAP. XIII.
Of the Ionique Order.

THE first productions of Arts have alwayes been exceedingly rare, because it is so difficult to invent; but it is not the same of Imitation: For after men had once seen Regular Structures, and those famous Temples of the Dorique Order men­tioned by Vitruvius and some others, Architecture did not long remain in its In­fancy; the concurrence and emulation of the neighbouring people advanc'd its growth, and made it soon arrive to its perfection. The Ionians were the first Compe­titors with the Dorics in this divine Art, which seem'd to be descended from the Gods themselves to gratifie Mankind with more opportunity of honouring them; and though these had neither the advantage nor the glory to be Inventors of it, they ende­voured yet to improve and raise it even above the very Authors. Considering there­fore that the figure of a Mans body, on which the Dorique Order had been form'd, was of a shape too robust and massy to fit holy Places and become the representation of Celestial things, they would needs compose an Order after their own Mode, and chose a Model of a more elegant Proportion, wherein they had more regard to the Beauty then to the Solidity of the Work, which gave the first occasion of calling it the Fe­minine Order, as indeed degenerating towards an effeminate softness. And the truth is, the Order of the Caryatides quickly sprung up after it, which was an extraordinary affront to this poor Sex, and a very shame to Architecture it self, for having so irratio­nally employ'd a feeble and delicate thing to perform an office where strength and solidity were the onely necessaries. Vitruvius, and divers of the Modern since him, mention the Original of this Order, and tell us, that the Inhabitants of a certain City of Peloponnesus named Carya, having made a league with the Persians against their own Nation the Greeks, after the rout of the Persians, were afterwards besieged by the Conquerours, and so barbarously saccag'd, that putting every man to the sword, consuming the City to ashes, and carrying the Women away Captive, their venge­ance being not yet extinct, they resolv'd to eternise their resentment by causing pub­lique Edifices to be erected, wherein for a mark of the servitude of these Captives they ingraved their Images in stead of Columns, that so they might overwhelm them likewise under the weight of the punishment which they had merited by the guilt of their Husbands, and leave an everlasting memory thereof to future Ages: This is the Example which Vitruvius has made use of to prove how necessary it is that an Ar­chitect should be knowing in History, to the end he introduce nothing impertinently in his works, and without good reason. The Gotique Order, which is the folly and very Ape of Architecture, in imitation of the Caryatides has compos'd certain lame figur'd Mutils or Corbells in stead of Cartouzes sustained by I know not what Chimera's and ri­diculous Monkeys, to be met with in every corner of our old Churches; but some of the Modern having (with very good reason) found fault that such extravagances should be seen in holy Places where reverence and modesty are so essential, and con­sidering how much more decent it were to fit those places with some devout Repre­sentations, without any respect at all to their Profession, or for want rather of under­standing [Page 37] the propriety of the Orders of Architecture, have amused themselves to place the figure of Angels and other Saints in stead of the Caryatides; making them like so many Slaves to carry huge Cornices, and even entire Altars upon their shoulders, te­stifying thereby how preposterously and without judgment they consulted Vitruvius upon the occasion of the Original of the Caryatides: For they would otherwise have understood that this Order cannot be employed or indifferently enter into all sorts of Buildings, and that it requires no small discretion to be aptly and discreetly placed: Above all, that it should never be used in Churches, which are the Houses of God, and Asylum's of Mercy, where servitude and revenge ought never to appear. They had proceeded much better to have onely used the plain Regular Order which we are now going to describe according to an excellent Antique Example taken from the Temple of Fortuna Virilis at present the Church of St. Mary the Egyptian in Rome, the Profile whereof has been fortunately met with amongst some Papers of mine of that great Antiquary Pyrro Ligorio; whose Manuscripts and Designs are conserved as a very rare Treasure in the Bibliotheque of the Duke of Savoy, which has furnished me with a means to examine and verifie divers Measures that at present a man would hardly know where to take; and to repair the Cornice with its proper Ornaments, which are now so impaired through age, that it is extremely difficult to discern them. This is then the Model I shall follow, and which shall here serve for the Rule of this Order, having with mature consideration, and for divers reasons preferr'd it before that which is in the Theater of Marcellus, from whence I have taken the Dorique; which nevertheless I shall propose in what follows, remitting others who concurr not with my opinion to their own affection and fancy.

But before I enter upon the retail of its proportions (for recommendation of this Order, and the curiosity of the Reader) I will here recount to you the names of some famous Temples built by the People of Ionia, whose antiquity is at the least of two thousand years. The most memorable, though not most antient, is that renowned Temple of Diana, erected (as some think) by the Amazons in Ephesus. This was a work of so stupendious a grandure, that there was spent above two hundred years in finish­ing it, all Asia contributing to this inestimable expense. Vitruvius in his third Book, Chap. I. sayes, it was of the dipteryque figure; that is, inviron'd with a two-fold range of Columns in form of a double Portico: It was in length four hundred and twenty five foot upon two hundred and twenty. All these Columns were of Marble seventy foot in height. The Architect of this proud Edifice, according to the same Vitru­vius, was one named Ctesiphon, whom he mentions in his tenth Book, where he speaks of an excellent Machine that he invented to transport the Columns of this Temple; which for being of so prodigious a length, that no ordinary force was able to move and bring from their quarries, had been all to no purpose, had not this extraordi­nary Genius discovered some artificial forces to supply the defect of others. This Structure is esteemed for one of the Worlds seven Wonders: There were yet in the same City of Ephesus many other Temples of this Order; whereof two (one dedicated to A­pollo, the other to Bacchus) are principally remarkable, as having been in some sort comparable to this first, had they received their ultimate perfection; but they were left off unfinished, by reason of the warrs against the Persians, who were in conclu­sion [Page 38] the utter ruine and subversion of this People: For Cyrus having subjugated Asia plunder'd all this Country, faccag'd their Cities, demolish'd the Temple, and made so universal and barbarous a devastation, that there hardly remain'd any thing of such an infinity of stupendious Monuments which this noble Nation had erected throughout all Greece: Notwithstanding this, he spared that of Diana of Ephesus whose astonishing beauty serv'd as a Bulwark to the fury and rage of this mighty Conquerour. In Athens one of the most flourishing Cities of the World, there was also of the same Ionique Order a very great number of Temples, amongst which, that of the Delphic Apollo and his Son Esculapius were highly celebrated. There is yet to be seen in the same place certain Vestigia's reduc'd to the form of a Citadel, which they report to have been heretofore the Temple of the Goddess Iuno Attica. I could enumerate di­vers others like these, of which the Antiquaries we have cited report marvels; but in general termes, and without any benefit to the studious of the Art, who stand in need of some more essential remarks and instructions. I will therefore manage the rest of this discourse in describing the Composition, and the parts of this Order, confor­mable to the Profile which I have chosen for our Model, and which is precisely taken from the Antique.

CHAP. XIV.
The Ionique Profile taken from the Temple of Fortuna Virilis at Rome, which is at present the Church of St. Mary the Egyptian.

ACcording to the opinion of that threefold grand Antiquary, Painter, and Archi­tect Pirro Ligorio, of whom I have heretofore spoken, and from whom I have borrowed this Profile, I may safely propose it for one of the most regular Examples of the whole Ionique Order which is now extant of antient Architecture: Add to this the instance which Palladio makes of it in his fourth Book and thirteenth Chapter, being the onely one of this Order which he has inserted amongst the whole collection of his Studies; so as these two great Masters approving the election and judgment I have made thereof, it is not to be doubted for a Master-piece of supreme perfection. I will therefore make the general description thereof, deducing the principal Mem­bers and proportions in gross, without amusing my self with the smaller retail of the measures of each particular part, which the Design ought to supply.

The entire Order from the Superficies of the Area to the Cornice, contains eleven Diameters of the whole Column, which amounts to twenty two Models.

The Column with the Base and Chapter has eighteen Modules.

The Entablature (that is to say, Architrave, Freeze, and Cornice) contain four Mo­dels lacking four Minutes, which are not considerable upon the total; and this height making two nineths of the Column produces a proportionate mediocrity 'twixt that of the Dorique Order before describ'd (whereof the Entablature composes one quarter) and that of the Corinthian (as we shall see hereafter) to which the Moderns do ordi­narily attribute a fifth part.

The Voluta of the Capital is after an oval form, producing a very noble effect, not­withstanding that none of our Architects have put it in practice; but the reason in my opinion, is, the difficulty of tourning it with a grace, and for that they are generally accustom'd to do all with the Rule and Compass, which are here in a manner useless.

CHAP. XV.
Another Ionique Profile taken from the Theater of Marcellus at Rome.

SOME may imagine that I ought to have establish'd mine Ionique Order upon this Example, being as 'twere the twin-Brother of the first Dorique with which I have commenced this Collection of Architecture, being both of them extracted out of the same Edifice, which is the Theater of Marcellus. And to speak truth, it was my first de­sign: But second cogitations being ordinarily the more judicious; I have since con­sidered that the ampleness of the Entablature with its extraordinary plainness, was a particular effect of the Architects discretion, who resolving to place this Order in an exceeding large Building, and also upon an elevated place, where the fight could hardly enjoy those Ornaments wherewithall it is usually enriched, had regard onely to the reformation of that by a rule of the Opticks, which the Eye might possibly find fault with in the grace of its general proportions from the distance of its Elevation; so that we may affirm of this Profile, that it does excellently well in Work as 'tis placed in the Original; but would not succeed so well in another of more mediocrity; and above all in a work of one onely Order, unless it were of a Colossean magnitude; which is yet in truth neither proper nor natural to its feminine kind: However I will here present you with its Proportions as well as with the others.

The height of the entire Order is twenty two Models, and two thirds.

The Column with her Base and Chapter hath but eighteen, and those precise enough; so as the whole Entablature consisting of four and two thirds, it happens to be of an extraordinary grandure, in as much as it exceeds a quarter of the Order, which is the largest Proportion can justly be given even to the Dorique it self.

The Projecture or Iette of the Cornice is also a little extravagant; but the Architect has for all that shewed himself very judicious, having respect in that to the entire mass of the Building, and to the eminence of the fire of this second Order: For the same reason he afforded but very little diminution to the Column above.

The Voluta's of the Capital are Oval, as in the precedent Order, and this shape of the Voluta's was much practis'd by the Antients; but the method of tourning them with the Compass is somewhat difficult, and has never as yet been demonstrated.

CHAP. XVI.
The Perspective Elevation of a Profile drawn from the Baths of Dioclesian at Rome.

I Would needs make an Elevation in Perspective of this Profile, that so I might add some variety to my designs, and for that likewise it is an advantageous means to represent the Idea of an Order, and the effect which it produces being put in Work, for their sakes who are not much practis'd in the Mystery. This piece stood in the Baths of Dioclesian at the angle or coinage of a return of a Wall, as I have found out by a Design of mine very antient and of a good hand, where the Proportions as well of the Plan as of the Profile are exactly noted, even to the least particulars. I have re­duced and accommodated them to the division of my ordinary Model, as you may perceive them on the Profile which is under the Perspective Entablature.

The height of the whole Order, from the Base to the top of the Cornice, amounts to ten Diameters and a fourth; which, according to our manner of measuring con­tains twenty Models and an half; which being divided 'twixt the Column and the En­tablature takes up seventeen, and the three Models and half remaining make up the height of the Entablature: Now though there be a considerable difference in the al­titude of our first Ionique Example, and this here, it rather yet consists in the total quantity of the Order, then in the proportion of their parts; for I find here that the Entablature compared to its Column has also the same relation of two ninths; which is to say, that the height of the Column divided into nine parts, that of the Entablature comprehends two of them; which is a Symmetrie particularly affected to this Order, as I have elsewhere shewed.

The Voluta's of the Capital were turn'd with the Compass, after the manner I shall hereafter describe in a Page by its self, and with which I shall conclude this Order.

CHAP. XVII.
Palladio, and Scamozzi upon the Ionique Order.

THERE is so great a resemblance 'twixt the mouldings and the measures of these two Profiles, that the difference is hardly considerable, unless it be in the fi­gure of the Capitals, which in truth is very different in shape, though sufficiently re­sembling in proportion.

The Voluta of Scamozzi is particular, and by consequence hath less of the Antique then that of Palladio: But Scamozzi has excogitated this expedient, that his Capital might front on all sides, not liking (it may be) this variety of aspect which we find in the ordinary Volutas.

The altitude of the Column according to Palladio contains nine Diameters, which make after our measure eighteen Models; of which he gives to the Entablature but one fifth part, being the same proportion which hereafter he assigns to his Corinthian: He had yet peradventure done better to have contriv'd for this here a more propor­tionable Medium 'twixt the Dorique and the Corinthian, proceeding by a certain grada­tion from the solid kind to the more delicate. Moreover, I could have wish'd that the Cornice had rather been tooth'd then Modilion'd, for the reason already rendred in the general Chapter of the Ionique Order; which I mention onely to advertise (by the way as 'twere) what does in my judgment seem worthy to be observ'd in this Profile, which in the rest of the parts is exceedingly rare, and in this very particular not ab­solutely to be condemned; seeing things which may be improv'd, are not therefore to be esteemed for ill.

As for Scamozzi, besides that the same observations which I have made on the Profile of Palladius are repugnant to him, there is this yet worse, that the Capital being a great deal more massy, in stead of giving a greater height to his Cornice, and com­posing it of more ample members, he has contrarily made it less, and cut off three or four small Reglets which renders it very dry and trifling.

CHAP. XVIII.
Serlio, and Vignola upon the Ionique Order.

THE inequality of these two Profiles is so wide, that 'tis almost impossible to ap­prove of them both, and yet nevertheless there is in a manner as little reason to condemn either the one or the other; for having each of them their principles sufficiently regular, together with their Authorities and Examples.

The first, which is Serlio, having made a handsome Collection of all the most consi­derable Antiquities of Italy, from whence he should have taken a noble Idea of the Or­ders, is returned back to the School of Vitruvius, whither the slenderness of his Genius has recalled him.

On the contrary, Vignola is fall'n with excess into the other manner that we name the Grand, which though indeed more noble and advantageous, has yet for all that its just limits, which being once exceeded becomes vitious and extravagant.

Now the great difference of these two Masters proceeds from Serlio's making his Column but of seven Diameters and an half, allowing onely a fifth part to the Entabla­ture; and Vignola's composing his of nine Diameters, and his Entablature of a full quarter.

That which I chiefly reprove in this last, is, that he makes use of the Base which Vitruvius composed for his Ionique; a thing not to be excused but in those who follow him likewise in all the rest: For others who have endeavoured to imitate the Antique, have no reason to employ it, there being no president for it. And in truth also it ne­ver has had the approbation of the ablest modern Masters, who upon examination have greatly wondred that Vitruvius should impose so vast a Torus upon so small Cin­ctures, charging the strong upon the weaker, which being totally repugnant to the order of Nature, is very offensive to the eyes of the Curious.

CHAP. XIX.
D. Barbaro, and P. Cataneo upon the Ionique Order.

YOU have here very same style that Serlio has observed in the precedent Chapter; And though there be much resemblance in the Profiles of all the three Masters, nevertheless we must reckon that as to the meaning of Vitruvius (to whose Doctrine they have universally endeavour'd to conform themselves) Daniel Barbaro is the Captain and chief Conductor, as may easily be discern'd from the pattern of the Contours onely belonging to the Voluta of the Capital, which is a most essential piece in this Order, and whose true draught was never so much as known to our modern Archi­tects before Daniel Barbaro, to whom we are obliged for the recovery of this excellent Master-piece of Antient Architecture, though he has had the goodness to divide the glory of it with his Contemporary and intimate friend Palladio, by whose conference and help he acknowledges to have been assisted in the delineation of all his designs.

I reserve it for the conclusion of the Ionique Order to make a Page apart of this manner of Voluta, where I shall shew a way to trace it regularly according to our Author's intention. And since it is more compendious to paint then describe it, I shall better give you the demonstration by Rule and Compass, then by employing a tedious discourse about it.

I find nothing observable in these two Profiles besides a certain over-simplicity and plainness: For the rest, the difference of the Entablature, as well in relation to the height, as shape, is so small, that it is nothing at all considerable: What is more worthy of remark in the design of Daniel Barbaro, is this; that he gives to every face of the Architrave a certain slope or kind of downward and inclining stroke, as tis expresly ordained in Vitruvius's third Book, towards the period of the last Chap­ter: But I find that the Rule of Perspective upon which he grounds it, is more re­fin'd and subtile for its discourse, then any way solid in the execution, and besides, I never saw an example of it in any work whatsoever.

CHAP. XX.
L. B. Albert, and Viola upon the Ionique Order.

THE conformity of these two Designs to those of Anderea Palladio and Scamozzi is so conspicuous, that one may easily judge of their mutual assistance of each other: viz. That Viola made bold with that of Palladio, as he did before in the Dorique: and that Scamozzi has imitated L. B. Alberti who is his Senior above an hundred years. For the rest, it were a difficult thing to decide which of these two Profiles is to be preferred, in regard the Ionique Order has been so diversly treated of by the Antients, as may appear in the Examples I have produc'd, of which there are some enrich'd with Mouldings and Ornaments, others more naked and simple. That which I should have wish'd for here as conducing to a greater and more exact regularity, should have been to have cut the Dentelli upon the flat Band of L. B. Al­berti's design; since he has omitted Modilions there, which his Companion Viola for observing may the better be excused of: Though for my part, I should have rather employed Dentelli there, as an Ornament more particularly affected to the Ionique Or­der, and have reserved the Modilions for the Order which follows next.

The Reader may remember, or else, looking back on some Pages, reflect upon what I have there observed on the Profiles of Palladio and Scamozzi; because it so much agrees with that of Viola here; To which I may yet superadd as a new charge, that he has done ill to imploy another Base different from that of the Attique; since he saw how his Master Palladio had preferr'd it before that of Vitruvius's Composition: He had also done much better to have followed precisely the Proportions of the Cornice in the same design of Palladio; for in attempting to disguise his imitation, by adding of some Members and changing of others, he has in fine rendred it but the more mean and trifling.

CHAP. XXI.
Bullant, and de Lorme upon the Ionique Order.

THIS first Profile is exactly after Vitruvius, as well as that of Serlio Cataneo, and Daniel Barbaro which you have already seen: But there is in the other nothing at all worthy of our imitation, as being neither conformable to any of the Antiques, nor to Vitruvius, nor in the least regular in its parts: For first, the Cornice is ca­muse and blunt, the principal Members, viz. the Cymatium and Cooping small and poor; The Freeze is larger then the Cornice, and the Base of the Column changed both in shape, and the proportion of its parts, as appears by the excessive dimensions of the Tore, compared with the two Scotia's underneath; besides that extravagant repeti­tion of the two Astragals upon the Plinth. The Voluta of the Capital is also too gross, and so is the Collar of the Pillar together with its List: In a word, the entire Com­position is deservedly ranged in this last place: But after all this, I cannot but admire that a Person of this Authors Condition, who was so extremely industrious (as may be easily deduced from what himself has publish'd in his Book of Observations made at Rome upon the Antiquities there) who had so great a natural propensity to Ar­chitecture, and so many opportunities of studying at his ease, and of instructing him­self; Who proceeded by so direct a Method of the Art, and in fine, was Master of so many handsome occasions of putting his studies into practice; That I say a man fur­nish'd with so many advantages, should nevertheless emerge so ordinary an Artist: But this shews us, that we are many times deceived by our own Genius, and impor­ted to Things for which we have no manner of Talent.

CHAP. XXII.
The Order of the Caryatides.

I Intend not here to repeat the History from whence this Order has deriv'd its Origi­nal, having already so amply deduced it in the general Chapter of the Ionique Order, whereof this is here but a Species; all the difference consisting in the sole alteration of the Column metamorphos'd into the Figure of a Woman, which for appearing sometimes incommodious to Architects from the extreme over-largeness of the Vests and Garments cumbring and disordering the Passage and Symmetry of the Intercolumni­ation, caused them to reduce it onely to the carving of Heads in place of the Capitals, where they adjusted and composed the Dressing and Tyre to the resemblance of Voluta's, without any alteration in the rest of the Column, unless where they cut Channels or Flu­tings on it, to represent after a sort the plaitings and folds of these Matrons Garments; since this Ornament is found to change neither the Diameter nor height of the Shaft, which are the Bases, and as it were foundations of Architectonical Proportions.

That which I asserted before concerning the Caryatides in the general Chapter of the Ionique Order, sufficiently discovers how few the occasions are where they can be employed judiciously; notwithstanding so many of our modern Architects take so great a liberty of introducing them indifferently into all sorts of works: For not one­ly the Palaces of great Princes without, and within; but even the Houses of private Persons, Churches, and Sepulchres themselves are filled with them, without any regard either to the reason of the History, or to just decorum: Nay oftentimes, out of an insup­portable extravagance, in lieu of these poor and miserable Captives, they set the vene­rable figures of the Vertues, Muses, Graces, and Angels themselves; whereas they should in truth rather chain and confine the Vices there.

But it is sufficient to have advertised you of this Abuse without any further de­claiming against it.

CHAP. XXIII.
Of the Persian Order.

THOUGH the name of this Order be less known then that of the Caryatides, un­der which it seems they would generally express all those Orders where Figures are introduc'd to supply the places of Columns; yet ought we not to follow the vul­gar abuse, seeing Vitruvius has put a difference betwixt 'em in the same Chapter where he speaks of the Caryatides: And in regard this here should be somewhat more solid in reference to the Sex they ordinarily give him a Dorique Entablature, in con­sideration whereof I had once intended to have rang'd it at the end of the Dorique Order, or plac'd him the first here; But considering since, that Vitruvius does not treat of it till after the Caryatides, I thought it became me not to innovate any thing in a matter of so small importance. I shall therefore satisfie my self in advertising that the Romans very rarely made use of the Caryatides; and truly we do not meet with so much as any Vestigia's of them, though Pliny in his thirty fifth Book and fifth Chapter has mention'd those of the Rotunda to the amusing of so many of our modern Antiquaries, who, though all that Temple (and which to this day remains so entire) can by no diligence find any commodious place nor appearance where they should have been well design'd: On the contrary, for these Captives after the Persian there are ex­tant sundry Examples, some whereof are yet to be seen in the very places where they were set in work, as particularly in the Arch of Constantine, and some others which have been transported into Gardens and private Palaces, which were taken no body knows from whence. What is here design'd is from an excellent Original extant yet at Rome in the Palace of Farnezi.

CHAP. XXIV.
Of the Contour or Turning of the Ionique Voluta.

THE body of this Capital without its Voluta or Scroul bears a great conformity to that of the Dorique, as may be easily discerned by conferring their Profiles the one with the other: For the diversity of their form which at first blush appears so large to the eyes of such as have never examined the particulars of the Members that compose it, consists altogether in the application of the Voluta upon the Abacus, which gives a most advantageous variety to the Ionique; in as much as the draught of its Contour does consist of the most industrious operation of the Compass which is practised in the whole Art of Architecture; So as who ever of our modern Masters he were that retriv'd it (for 'twas a long time lost, and totally unknown to those of the Profession) he has render'd doubtless a very considerable piece of service to the Art.

That famous Painter Salviati, contemporary with the R. Daniel Barbaro, and by consequent also with Palladio, printed a small loose sheet which he dedicated to D. Barbaro as to the most famous Arbiter of Architecture in his time, who also under­stood it, and had communicated it with Palladio who accidentally and as it were by chance had been the first Investigator of the practice of it whiles he met amongst some antient Fragments a Capital of this Order, on whose imperfect and rough-hewn Voluta he observed the thirteen Centers of this spiral line which gives it so noble and so ingenious a Turn.

I will not here engage my self on a tedious discourse about its description, it being so much a shorter and more demonstrative way to advance to the direct Method of its delineation: Thus then in general you are to proceed.

The height of the Chapter, and partition of each Member being design'd, one must regulate the extent and proportion of the Abacus conformable to the measure deci­pher'd upon the Profile at the point 32, and at the point 28 [...] a little beneath. Where the Cymatium encounters the List of the Scroul make a perpendicular line so as it may pass through the very Center of the Eye of this Voluta marked A, till falling upon a right angle by the co-incidence of another line proceeding from the middle of the Collerine or Chaplet, the point of intersection give you the just Center of the Eye: Then about this Center describing a Circle of the wideness of the Collerine (which Circle (as was said) points the precise dimensions of the Eye, and its true place of position) you shall from therein a small Square, through whose Angles having drawn two diagonals (which cut it into four triangles) divide each moity of the diagonals into three equal parts, and each of these points shall serve for consequutive Centers one after another by which to form those several quarters of Circles which compose the spiral line of the Voluta. They are distinguished by numbers on the design, according to the order by which you are to proceed.

CHAP. XXV.
A Portico of the Temple of Fortuna Virilis at Rome, which is now the Church of St. Mary the Egyp­tian.

HAving throughly examined every part of the Ionique Order, and observed in particular the shape and proportion of all its Members; It seems now in a manner necessary, the better to conceive a perfect Idea of them, to place them together in one entire body, that so we may contemplate the Symmetry and conformity which they hold mutually to each other: I have to this effect made choice of a Frontis­piece the most noble and magnificent composition an Edifice can possibly be adorn'd with: And to the end we may contain our selves within the just limits which I have established, I shall here make use of the same Antiquity from whence I extracted my first Model whereon I do principally found the regularity of the Dorique Order.

Those who shall have the curiosity to examine the Plan of this Temple, with its Measures, and Profile of the Doore which is exceeding noble, may find it in the fourth Book of Palladio Chap. XIII. and at the same time see one of the most curious pieces of Architecture of that whole Book, which is the Plan of a Capital he calls Angular, that being plac'd upon the Column of an Angle renders a face of two sides, by which it preserves the same aspect with the rest of the Capitals which are on the Wings and Front of the Structure.

CHAP. XXVI.
Of the Corinthian Order.

THE highest degree of perfection to which Architecture did ever aspire, was erected for it at Corinth, that most famous and formerly most opulent and flou­rishing City of Greece, although at present there hardly remains any footsteps of the grandure which rendered it even formidable to the people of Rome it self, but which was also the cause of her ruine: For this Nation impatient of Competitors, on pretence that the Corinthians had done some displeasure to the Ambassadors which she had sent, took occasion of denouncing War against her; so as the Consul Lucius Mummius going thither with a great Army reduced their City to Ashes, and in one day destroyed the Work of more then nine Ages from the period of its firth foundation.

It was from thence that our Corinthian Order assumed its Original; and although the Antiquity of it be not precisely known, nor under whose Reign that Callimachus lived, to whom Vitruvius attributes the glory of this excellent Production; it is yet easie to judge by the nobleness of its Ornament, that it was invented during the magnificence and splendor of Corinth, and not long after the Ionique Order to which it hath much resemblance, the Capital onely excepted; for there's no mention that Callimachus added any thing of his own besides that stately Member.

Vitruvius in the first Chapter of his fourth Book reports at large upon what occa­sion this ingenious Architect form'd the Idea of this great Master-piece which hath born away the Palm of all Architecture, and rendred the name of Corinth immortal: And though the History which he there mentions may appear somewhat fabulous in the opinion of Villalpandus, who treats also of this Capital in his second Tome Lib. V. Chap. XXIII. nevertheless it were very unjust that the particular conceit of a modern Writer should prevail above the Authority of so grave an Author. Let us see then what Vitruvius sayes of it.

A Virgin of Corinth being now grown up, fell sick and dyed: The day after her Funeralls her Nurse having put into a Basket certain small vessels and trifles with which she was wont to divertise her self whilst she lived, went out and set them up­on her Tomb, and least the air and weather should do them any injury, she covered them with a Tyle: Now the Basket being accidentally placed upon the root of an A­canthus, or great Dock, the herb beginning to sprout at the spring of the year and put forth leaves, the stalks thereof creeping up along the sides of the Basket and meet­ing with the edge of the Tyle (which jetted out beyond the margine of the Basket) were found (being a little more ponderous at the extremes) to bend their tops downwards, and form a prety kind of natural Voluta. At this very time it was that the Sculptor Callimachus (who for the delicateness of his work upon Marble, and [Page 63] gentileness of his invention was by the Athenians surnamed Catatechnos, (that is to say, Industrious) passing near this Monument, began to cast an eye upon this Basket, and to consider the pretty tenderness of that ornamental foliage which grew about it, the manner and form whereof so much pleased him for the novelty, that he shortly after made Columns at Corinth resembling this Model, and ordained its Symmetries distribu­ting afterwards in his Works proportions agreeable to each of its other Members in conformity to this Corinthian Mode.

You see what Vitruvius reports: But Villalpandus who will needs give this Capital a more illustrious and antient Original, pretends that the Corinthians took it first from the Temple of Solomon, of which God himself had been the Architect; and the better to elude what Vitruvious but now taught us, would make us believe, that the Capitals of the Acanthus were rarely used by the Antients, who were wont ordinarily to carve them with Olive-leaves; and proves in that which follows by Text out of the Bible, and some other Historians who have given us the description of this divine Archi­tecture, that the true Originals of the Temple were of Palm-branches bearing Fruit, to which the leaves of the Olive have a nearer Correspondence. The Design which we shall hereafter describe with the whole Entablature of the Order, drawn precisely ac­cording to the measures which Villalpandus has collected, and which I have expresly followed, without regarding the Profile which he has caused to be engraven, will bet­ter discover that I know not how to decry the beauty of this composition: In the mean time, to be constant and preserve my self within the terms of the Corinthian Ar­chitecture which has been practised by those great Masters of Antiquity as well Greeks as Romans, and of whom there yet remain such wonderful foot-steps and even entire Temples which may serve as so many express and demonstrable Lectures of the Pro­portions of this Order; I have made choice of one of the most famous amongst them, to which I totally conform my self without any respect to the opinion of the modern Authors; seeing they ought to have pursud the same Paths, and regulated themselves with me upon these Original Examples.

The Rotunda (heretofore called the Pantheon) having ever obtained the universal approbation of knowing persons, as being the most regular Corinthian Work, and in­deed the most famous among all the remainders of Antient Rome, appears to me to be the very best Model which I could possibly make choice of, though there are in­deed others to be found which are much richer in ornaments, and of a beauty more elegant: But as our Gusts do generally differ, I have preferred mine own, which ra­ther affects things solid and a little plain, for that indeed to me they appear fullest of Majesty. Nevertheless, for as much as 'tis sometimes necessary that an Architect ac­commode himself to the Persons humor which employs him; and for that one meets with occasions where magnificence is proper, as in Triumphal Arches, Kings Palaces, Temles, and publique Bathes which were much in use among the Antients, and in di­vers the like ample Structures, where splendour and profusion are chiefly consider'd, I will produce some examples of the most renown'd of Antiquity, the first whereof shall be that great Relique of the Frontispiece of the Torre di Nerone so call'd, which has [Page 64] been demolished within these late thirty years, to the great reproach of this Age, by the avarice of some particular Persons.

This was one of the rarest pieces of Antiquity, as well for the beauty and richness of its ornaments, as for the composures of the members of the Order, which even in Pa­per it self appears bold and terrible; the judicious Architect of this work very well understanding how to introduce a Grandure of manner into his design, which should equal that mass of stones he heap'd up and contriv'd into the structure of this Gigan­tique Edifice, whereof the Columns contained six foot diameter.

It is not precisely known who it was that caused it to be built, nor yet to what purpose it served: Some imagine it was a Temple erected by the Emperor Aurelianus and dedicated to the Sun: Others that 'twas onely a particular Palace. The vulgar have a Tradition that Nero rais'd it of that height to behold the Conflagration of Rome, which is very improbable, as being too great a work to have been accomplished in so short a time: But whatever it were, certain it is, that it has been the most magni­ficent and goodliest Order of Corinthian Work which all Rome could boast of, as one may well perceive by the design which I shall present you of it after that of the Pro­file of the Portico belonging to the Rotunda, being the Model on which I regulate the Proportions of the Corinthian.

The ensuing Design is a simple representation of the History of Callimachus which I but now reported, and is placed here onely for Ornament-sake.

CHAP. XXVII.
A Corinthian Profile taken from the Portico of the Ro­tunda at Rome.

THE whole height of the Order from the Base to the Cornice amounts to three and twenty Models and two thirds, whereof the Column with its Base and Chap­ter contains nineteen, and the Entablature four and two thirds; so as the whole En­tablature (which is the Architrave, Freeze, and Cornice) makes a quarter of the Co­lumn: And albeit it may seem reasonable to follow the opinion of some Authors, who allow him but a fifth; yet we find, that the most famous of the Antique, for example, this frontispiece of Nero, and the three Pillars of Campo Vaccino at Rome, which in the judgment of Architects pass for the noblest reliques of Antiquity, chal­lenge an entire fourth part for their Entablature: Upon this account, I conceive it safest to preserve our selves within the limits of our Example from the Rotunda, lest endeavouring to render this Order more spruce and finical, it become in fine but the more contemptible.

Behold here its composition in general, and the proportions of the principal Members, of which the Model is ever the Semidiameter of the Column, divided into thirty Minutes.

The entire height of the Order contains twenty three Models and two thirds, which amount in Minutes to—710

The Base has one Module precisely—30

The Shaft of the Column fifteen Modules and two thirds, wanting two Minutes—468

The Chapter contains two Modules and a third onely—70

The Entablature, viz. Architrave, Freeze, and Cornice four Modules, and two thirds, two Minutes over;—142

Concerning the small divisions of each part, it would be too tedious and indeed superfluous to specify them here, since the Design demonstrates them more intelligibly.

I have towards the end of the second Chapter of this Book taught how one should make the Calculation of an Order for the examining the Proportion which the Entabla­ture bears with its Column, and thereby to see if it hold regular: It would be no loss of time to the Reader did he make proof of his skill upon every Profile: But I ad­vise him before hand that there are three different Proportions all of them beautiful, and which may very well agree with this Corinthian Order: That is to say the Fourth, as in this and the following Profile; The two Ninths, which are the mean Proportions of the fourth to the fifth, as in the third Profile taken from the Baths of Dioclesian: and lastly the fifth, as in the Profiles of Palladio and Scamozzi not so frequently encoun­ter'd amongst the Antients.

CHAP. XXVIII.
The Elevation in Perspective of an excellent Corinthian Profile, which was in the Frontispiece of the Torre di Nerone at Rome.

ALthough this piece of Architecture were one of the most magnificent of all Anti­quity, as well for the excellency and the richness of its Ornaments, as for the stu­pendiousness of the Work; yet could I never certainly learn what kind of Structure this should have been, nor indeed under whose Reign it was built; Some reporting it to have been a Temple dedicated to the Sun by the Emperor Aurelian; Others, that it was onely a private Pallace built by Nero, in which he plac'd that extravagant Coloss of Brass which fixt a non ultra to the folly of the Sculptors of that Age, who out of a sa­crilegious profanation of their Art would deifie the Emperors, by erecting Statues to them of a prodigious grandure, as they did heretofore to the Gods to whom this honour was of right to be reserv'd. Andrea Palladio conceiv'd it to have been a Temple of Iupiter; some others conjectur'd that it might be a Palace of the Cornelia's, thus every one had his particular conceit: But since the truth of this question is very indifferent to our Subject in hand which considers onely what relates to Architecture, I shall resign the debate thereof to our Antiquaries.

The Columns were ten diameters in height, every diameter of six foot, which being of so excessive a bigness as transcended whatsoever had been built at Rome either before or since it, inclines me to believe it might indeed be some work of Nero's. The Composition of the Profile in general is of an excellent Idea, and each member sufficiently regular: For the rest, I thought fit to present it in Perspective, to shew the stupendious effect of this manner of design, which even upon paper it self, and without at all exceeding the limits and proportions which the Art has prescrib'd, presents to the Eye a kind of astonish­ing grandure, proceeding partly from the extraordinary projecture of the Entablature, whose Corona carries its jette a great way beyond the Modilions, and which indeed makes the Columns to appear a little weak and surcharg'd: But the Architects had provided judiciously for it, by making use of that manner of Columniation which the Greeks have termed Pycnostylos, where the Pillars are set very near to one another.

Now for that those who have only made their studies of Architecture but from simple Profiles, may wonder to see here some of the Members extraordinarily distant from their accustom'd proportion; I advertise them that it proceeds from an effect of the Optiques, which never presents things precisely to the Eye, but diversifies them according to the various aspects and distances from whence they are beheld; and the parts which thence receive a more sensible alteration, are such of them whose superficies is most fle­xuous and circulary, as the Gula or Ogee which composes the Crown of the Cornice, which being seen from beneath, and more advanc'd upon the Plan, receives a considerable access of height: The same reason also makes the Column to diminish, as being set further within the Plan then any of the rest of the Members.

CHAP. XXIX.
Another Corinthian Profile exceedingly enrich'd and full of Ornament, taken from Dioclesian's Baths at Rome.

AFTER this Corinthian Example we are no more to expect any thing rich in Architecture, but it belongs to the judicious onely to put it in practise, for the abundance of Ornaments is not always to be esteemed, nor of advantage to a build­ing; On the contrary unless the Subject oblige one to it by considerations very pow­erful, one should never be too profuse, since they but disturb the proportions and produce a confusion among the Parts which offends the eye of those who are truly knowing, and carries a certain antipathy to the very name of the Order.

It is not therefore to be employed but in great and publick Works, Houses of Princes, and such Palaces as are built for magnificence onely; as were heretofore at Rome the Bathes of Dioclesian of Antoninus, and Trajan whereof there are yet to be seen such goodly remainders, and from whence this Profile had been taken notice of and design'd by that famous Architect Pyrro Ligorio in the year 1574; since which time these great Theaters of Architecture have been dismantled of sundry of their Columns with their ornaments, and of a number of other incomparable pieces, whose Designs I have from the hand of several Masters who had there made very curious and pro­fitable observations from many noble things which are now no more to be found.

The Diameter of the Columns of this Profile amounted to four Palmes; The Chapter had this in particular, that its stalks and flexures of the leaves were made in the form of Ramms horns, but the rest after the ordinary proportions and foliage. In summ, the whole Ornament in general was so artificially elaborated, and finish'd with that affe­ction and politeness, that Pyrro Ligorio having accomplish'd the design, writ this un­derneath it, That by the delicateness of the work, one would believe, the Sculptors had wrought with their Tools persum'd.

CHAP. XXX.
A Corinthian Profile of the Temple of Solomon out of Villalpandus.

BEhold here a kind of Particular Order, but of an excellent Composition, which though I dare not affirm to have been precisely the same Profile with that of So­lomon's Temple (the Model which I propose to my self) yet as near as one can approach to that divine Idea from its decription in the Bible and some other famous Histories mention'd in that great work of Villalpandus where all the ornaments and principal proportions of each member are exactly specified, I conceive it to be sufficiently con­formable. The composition is perfectly Corinthian, though the foliage of the Capital and its Cauliculi or branches are of Palmes, and the Freeze of the Entablature have bor­row'd the Dorique Ornament which are the Triglyphs whose solidity bears but little con­formity with the tenderness of the Corinthian: But by what ever name you will call this Order (notwithstanding that Iosephus affirms it to have been the Corinthian) certain it is, there was never any more perfect: and although the Corinthian be a very soft and maidenly Order, which does not require the strength and virility of the Dorique, symbo­liz'd by the Triglyphs; yet may one upon certain occasions introduce it with that ad­dress and reason, as will not onely render it excusable, but very judicious: For in­stance, suppose one were to build Churches or Altars in memory of those generous Virgins who from their tender age vanquish'd the cruelty of Tyrants for the defence of Christianity, surmounting all sorts of Torments by their Constancy, What could we imagine more expressive and sutable to their Courage then this divine Order? It may also be proper on some profane occasions, as in Triumphal Arches and the like Structures. In a Word, since it gave Ornament to that famous Temple of Ierusalem, which never yet had equal, we may with reason call it the flower of Architecture, and the Order of Orders.

CHAP. XXXI.
Palladio and Scamozzi upon the Corinthian Order.

OF all the Corinthian Examples which I have formerly produc'd for the Rule of the Order expresly chosen from the most excellent pieces of Antiquity, there is not one of them of the proportion which these two Masters here observe, who make their Entablature but of a fifth part of the Column: However when I consider their great reputation (particularly that of Palladio, whose Works even emulate the best of the Antients) and the reasons which they alledge for discharging the Columns proportio­nably as they are weakned by the altitude and diminution of their Shaft, according to the delicateness of the Orders, I can neither contradict their judgment, nor blame those who would imitate them; though my own Maxim be ever precisely to conform my self to the Gusto of the Antients, and to the Proportions which they have establish'd.

Palladio makes his Column but of nine Diameters and an half, that is to say, of nine­teen Models; so as the difference of the height observ'd betwixt his Entablature and that of Scamozzis proceeds from Scamozzis Columns being of ten Diameters which is likewise an excellent Proportion, and indeed more usual then the other among the Antients.

CHAP. XXXII.
Serlio, and Vignola upon the Corinthian Order.

MEthinks I see here a Giant next a Pigmy, so monstrous is the disproportion 'twixt these two Masters; and the reason of this so extraordinary inequality proceeds from two Causes; Whereof the first is, that Serlio allows to the Entablature of his Profile but a fifth part of the Column, whereas Vignola makes his own of an entire quarter, and exceeds even that by some Minutes: The second is, That Serlio follow­ing Vitruvius, makes the altitude of his Column but of nine Diameters, and Vignola gives his ten, the same which I formerly observ'd in the Ionique Order, where we met the very same inconvenience. But albeit the difference of these two Profiles be in gene­ral very considerable; yet coming to the particulars, what we find in their Capitals is of greater consequence, since we must of necessity condemn that of Vitruvius pre­scrib'd in his fourth Book towards the end of the first Chapter; there being no reason to preferr it alone to a number almost innumerable of most excellent Models which remain of Antiquity, amongst which we meet with none in the same terms to which he has reduc'd the height of his own; unless it be that out of respect to this grave Author, who is indeed worthy the reverence of all those of the Profession, and to avoid the in­vidious name of Critique, we should choose a gentler way, which is to elude the que­stion after their examples, who having already observ'd the same mistake before us (either in effect or out of modesty) believ'd the Text to have been corrupted in this place as well as in divers others where the alteration is manifest; so as assisting the sense a little one may suppose that Vitruvius designing the height of the Corinthian Chapter by the largeness of the Diameter of its Column, he should not have compre­hended the Abacus, which is the sole ambiguity of this Passage, and which indeed deserves correction, or to be otherwise understood then Serlio comprehends it.

CHAP. XXXIII.
Daniel Barbaro, and P. Cataneo upon the Corinthian Order.

OF all the four Orders of Architecture describ'd by Vitruvius (for he speaks not a Word of the Composita which is the fifth) This of the Corinthian appears to me to be the most slightly handled, considering the nobleness and magnificence of its In­ventors, who having spar'd no cost to render it rich and excellent beyond all the rest, were not likely to borrow any thing from those amongst whom they were ranked. I conceive that Vitruvius therefore at the beginning of his fourth Book had no reason to affirm, that they used to employ the Entablature and the Ionique, and sometimes even the Dorique Column also, without any other addition save the Capital of their own invention; since by the antient Examples of this Order we find the contrary: But the R. Daniel Barbaro his Commentator whose design is before us, is by no means to be blamed for it, whose province was onely to express the meaning of the Master whom he explained, and of which he has very worthily acquitted himself.

He has therefore fitted an Ionique Entablature to this Corinthian Profile, forming the Capital of Acanthus-leaves conformable to the description and history of its original mention'd by Vitruvius. I would not for all this advise any Workman to make use of this Composition; without first considering the relative proportion which the Entabla­ture ought to have with the whole of the Order, a thing that I find is here extremly changed and a great deal less then it should be, by reason of the considerable height which the Column has received by that of the Corinthian Chapter, which is two thirds higher then the Ionique; but this is remedied by enlarging the Freeze, and by adding some new Moulding to the Cornice 'twixt the Corona and the Dentelli, as a quarter of a Circle of so, to carve the Eggs and Ankers in.

The Design of Cataneo has nothing in it remarkable, unless it be the extravagant Projecture which he allows to the fillet of his Dentelli, as we also find it in the Design of D. Barbaro: They have both in this followed that Maxim which regulates the Pro­jecture of every member to its height, but this rule is not alwayes to be received.

What I have said in the precedent Page touching the height of the Capital accor­ding to Vitruvius would here be superfluous to repeat: It may therefore serve both for this, and for all the rest that follow being of the same Species.

CHAP. XXXIV.
L. Baptista Alberti, and Joseph Viola upon the Corinthian Order.

I Shall here need onely to examine the design of Alberti, That of his Companion Viola being but an imitation, or rather a perfect Copy after the Profile of Palladio, which we have seen already, and to which I referr the Reader as to its Original.

As touching that of L. B. Alberti, I find two remarkable particulars in his design which seem worthy of reprehension: The first is the low proportion of the Capital, which is onely pardonable in the followers of Vitruvius, for we find no Example of it amongst the Antients since even he himself imitates a Manner both greater and more noble then the Vitruvian: The other observable is in his Cornice, to which he has given no Corona though it be a member so essential and one of the principal in the Entablature: But though this liberty be somewhat bold, and perhaps blame-worthy, yet remains there one considerable Example at Rome, in the Cornice of that famous Temple of Peace built by the Emperour Vespasian, being one of the greatest and most superb Reliques of Antiquity.

The face likewise of the Modilions seems to me of the largest, and besides that the Foliage which domineers in the Freeze holds not sufficient conformity with the Cor­nice, as too simple and plain for so rich an Ornament: But the remedy is at hand by adding a few Leaves or other Carvings on the Cymatium's of the Cornice and Architrave, with Eggs upon the quarter round; unless it be that you would rather save that work by abating somewhat of the Ornament of the Freeze: There will yet remain this Ob­jection still in the design; That the Author resolving rather to fix upon the Capital of Vitruvius then on those of the Antients, he ought not to have carv'd them with Olive­leaves; since Vitruvius does expresly order them of the Acanthus.

CHAP. XXXV.
Bullant, and DeLorme upon the Corinthian Order.

I Should do an injury to one of our prime French Architects Iohn Bullant by name, if by the Examen of this Prefile I should rank him with those of the School of Vi­truvius, since he has after this given us others of a nobler form, which he has co­pied from the Antients; but not finding him so perfectly exact in the measures which he assigns them, I therefore omit 'em: He appears in this design to have imitated Serlio, and indeed the difference between them is very inconsiderable: notwithstand­ing I observe something in this of more refin'd, as the Projecture of the Dentelli (or rather of the plain fillet on which they should have been cut) which is extremely re­gular, whereas Serlio's is excessive, besides the impertinent repetition of a small Ogee, which is thrice within the space of the Cornice onely, but which Iean Bullant has had the discretion to diversifie: He also gives his Capital more grace, the leaves and branches whereof are better shaped.

I could have wish'd for conclusion of our Corinthian Order, that De Lorme had left us a more regular Design, and of a better relish: But the good man, though very stu­dious, and a lover of the Antique Architecture, had yet a modern Genius, which made him look upon those excellent things of Rome as it were with Gothique Eyes; as ap­pears plainly in this Profile, which he pretends to be conformable to those of the Chap­pels of the Rotunda. For the rest, his style is so exceedingly perplex'd, that it is often­times very difficult to comprechend his meaning: The Reader will smile to see how he explains himself on the subject of this Cornice ('tis in the fourth Chapter of his sixth Book) For having cited all the measures of each part, piece by piece, he sayes, that as to the height of the Architrave, he had divided it into three and forty parts and an half, to give every thing its proportion, but that not falling out as it ought, hes re­solv [...]d to speak no more of it; and these are his very termes: As to the Base of this Profile, I have taken it from the end of the second Chapter of the same Book: And al­beit its proportion be very extraordinary, he affirms yet to have design'd and mea­sur'd it from certain Vestigia's very antique (these are again his own expressions:) You may likewise take notice that the stalks or Cauliculi under the roses of the Abacus rise too high in this Capital: In summ, the Talent of this Architect, who has for all this acquir'd a great deal of reputation, consisted chiefly in the contriving and sur­veying of a Building; And intruth his chief perfection lay more in the art of squa­ring stones then in the Composition of Orders; and of this he has indeed written with most advantage and at large: But since him, and that very lately, the Sieur Desargues of Lyens one of the most exquisite and subtile Geometricians of this Age, whose Genius delights to render familiar and useful the most excellent speculations of that Science, has exalted that Art to a much higher perfection.

CHAP. XXXVI.
The Orthography of one of the Altars of the Rotunda.

NOT to leave the mind of our Reader altogether intangled amongst the Mo­derns, and happly also deviating from the right path of Architecture, I am pre­senting him with an Example from the goodliest Temple of Antiquity, which is one of the Tabernacles now standing in the Rotunda; that so he may return and be again re­duc'd to this noble and perfect Idea of the Art which I have still been proposing to him in my fixd discourse before every Order by the like Examples; upon which, as up­on the most permanent and immovable foundations, he ought to fix and establish his Studies: For, compar'd to this, the writings of the Moderns are but loose Earth, and ill­bottom'd, upon which one can erect nothing that is substantial; and solid: But having al­ready sufficiently treated of the Modenatures and Proportions of the Corinthian Orders, and that the Design which I here propose is too little for the precisely measuring of each member, I shall only touch two or three particulars here which more import the gene­ral composition of the Design then the regularity of the Order; The first whereof is, That its now become as it were the mode, I should say rather an universal madness, to esteem nothing fine, but what is fill'd and surcharged with all sorts of Ornaments, without choice, without discretion or the least affinity either to the Work or the Subject: so as the Composition of this Altar would be esteem'd very mean in the opinion of our small al a M [...]de Masters, who to enrich it, would in lieu of the single Column which at each side sustains the Frontispiece, make a pile of four or six and happly of more, with two or three accumulations of Mouldings in the Cornice to break the Order and exact evenness of the Members, whose regularity is anxious to them: One Fronton would be likewise too few for them, they add frequently two and sometimes three, and that one within the other; nor do they think it fine unless it be broken, carv'd and frett with some Escutcheon or Cartouch at least: Nay even the Columns themselves which are the props and foundation of the Orders scape them no more then the rest; for they not onely abuse and counterfeit them in their Capitals and Bases, but in their very Shafts also: 'Tis now esteemed a Master-stroak to make them wreath'd and full of rings, or some other capricious ligatures about them, which make them appear as if they had been glew'd together and repair'd: In fine, one may truly say, that poor Architecture is very ill-treated amongst them: But it were not just to impute this great reproach to our French Work-men onely; The Italians themselves are now become more licentious, and she us plainly that Rome has at present as well her Moderns as her Antiques.

CHAP. I.
Of the Tuscan Order.

It is an abuse so visible in the Architecture of the Moderns, their confounding the Greek Orders amongst the Latine, that I am asto­nished at the general inadvertency of so many Authors, as treat­ing of their Symmetries, and the Particularities of their Proportions, have so dispos'd of them as plainly discovers how ignorant they were of their Proprieties and specifique differences, without which it is so very difficult to make use of them judiciously.

I had already hinted something in the Preface of the First Part of this Treatise, to prepare the Reader for the new Order which I am here observing; but which being con­trary to the vulgar Opinion and current Practice will have much ado to establish it self, and doubtless provoke many Adversaries. But since the foundations of this Art are principally fixt upon such Examples of Antiquity as are yet remaining, I hope, that in time my opinion may prevail, seeing I tread but upon their footsteps, and rather demonstrate the thing then discourse of it.

[Page 88]Hitherto all our Architects have generally held that the Tuscan Order was a kind of Building which differ'd from the others but in the plainness of its Mouldings, and solidity of its parts; but in the rest, consisting of the same Members, and of like usage: And truly I should be injurious to condemn it, since Vitruvius has in his fourth Book made a particular Chapter of the manner how to build Temples after the Tuscan Order. Notwithstanding, however one might interpret what he there sayes, it will be found very difficult to invent an handsome Idea of Entablature fit to place upon those Columns: And therefore I conceive that the onely piece of this Order which deserves to be put in work, and that can properly recommend it to us, is the simple Column it self without any Architrave at all, as we find it employ'd by the Antients: For whereas by the ordinary usage of it, 'tis ever rang'd in the last place, These great Masters have assign'd it one wholly independent from the others, and treated it so advantageously, that it may for its beauty and nobleness stand in com­petition with all the rest of the Orders: Nor will this I presume be denyed, when they shall well have considered that renowned Example which I am producing of the Column of Trajan, one of the most superb remainders of the Roman magnificence to be now seen standing, and which has more immortaliz'd the Emperiour Trajan then all the Penns of Historians. This Mausoleum, if so we may call it, was erected to him by the Senate and People of Rome in recognition of those great Services he had rendred the Countrey; and to the end the memory of it might remain to all succeeding Ages, and continue as long as the very Empire it self, they order'd them to be engraven on Marble, and that by the richest touch that was ever yet employ'd. It was Archite­cture her self which was here the Historiograph of this new kind of History, and who since it was to celebrate a Roman, chose none of the Greek Orders, (though they were in­comparably the more perfect and in use even in Italy it self then the two other Origi­nals of the Country) lest the glory of this renown'd Monument should seem to be divi­ded; and to instruct us also, that there is nothing so plain and simple but what Art knows how to bring to perfection: She chose therefore a Column of the Tuscan Order which till that time was never admitted but in gross and Rusti (que) works; and of this rude and inform mass made to emerge the richest and most noble Master-piece of the World, which Time, that devours all things, has preserv'd and kept entire to this very Day in the midst of an infinity of Ruines which even fill the City of Rome. And 'tis in­deed a kind of miracle to see that the Colosseum, the Theater of Marcellus, those great Cir­cus's, the Baths of Dioclesian, of Caracalla, and of Antoninus, that proud Moles of Adri­an's Sepulture, the Septizonium of Severus, the Amphitheater of Augustus, and innu­merable other Structures which seemed to have been built for Eternity, should be at present so ruinous and dilapidated, that its hard even to divine what their original forms were; whiles yet this Column of Trajan (whose Structure seemed much less durable) remains extant and entire, by a secret of Providence which has destin'd this stu­pendious Obelisk to the greatest Monarch that ever Rome enjoy'd, the Chief of the Church St. Peter, who possesses now the Seat of that Emperour to whom it had been erected. But to preserve my self within the limits of my subject, which is onely to give you [Page 89] its description according to the design of the Architect who was the Author of it, I shall leave to such as are contemplative the moralizing on this so wonderful Vicissitude; since it would be here from our purpose, and very impertinent to the Art we are illustrating.

Let us then again return to our Column, and its singular use among all the Orders of Architecture, where the rest of the Pillars do in comparison to this appear but as so many Servants and Slaves of the Edifices which they support, whiles ours is a Queen of that Majesty, that reigning as it were alone she is exalted on the Throne of her Piedestal deck'd with all the treasures of glory, and from whence she as freely imparts her mag­nificence to all those whom she vouchsafes to look upon: The first and most illustrious of her Favourites was Trajan, upon whose Monument I am now forming an Idea of the Order which I would call Tuscan, without troubling my self with what all the Mo­derns have written of it, who making no difference 'twixt it and the Rustique do no great honour to the Tuscan while they gratifie him with so poor an Invention: But lest our Criticks take it ill we should name that a Tuscan Order which had its first Original in Rome, let them if they please call it the Roman Order; since they may with much more reason do it then those who so name the Composita of which we shall speak hereafter. For my part I regulate my self upon the Profiles of the Capital and Base, which I here find to be the same Vitruvius attributes to the T [...]scan Column: The most important difficulty in my opinion would be how our Column having no Entablature, could be properly reckon'd in the Catalogue of Orders, that being so principal a Mem­ber, and in some degree the very Head of the Order. But the Architect of this our Model well foresaw that something was to be substituted in its place, and so contriv'd it after a most excellent manner: He propos'd doubtless to himself the imitation of those miraculous Memphitic Pyramides which the Egyptians (those divine Wits to whom we are so much oblig'd for many excellent Arts) had formerly erected to the me­mory and Ashes of their Kings, who from the immense and prodigious greatness of their Tombs one would believe had been Giants, and as it were Gods amongst Men: Their Vrns and Statues crowned the summities of these artificial Mountains, from whence, as from some august and terrible Throne, they seemed to the people reign­ing after their death, and that with more Majesty then when they liv'd: Our pru­dent Architect being to render the same honour to Trajan, the worthiest Prince that till then had born the Title of Emperour, and whom the City of Rome did strive to im­mortalize, reflected seriously upon these stupendious Works, whence he drew this high and sublime imitation which we so admire, and which has since become a Rule, and been follow'd on sundry other occasions: Two most renowned Example of this are yet remaining; The Column of Antoninus at Rome also, and that of Constantinople erected to the Emperor Theodosius after his Victory against the Scythians; which suffici­ently testifie by their resemblance to that of our Trajan, that this kind of Architecture pass'd currently for an Order amongst the Masters of the Art, seeing they always em­ploy'd it ever since upon the same occasions, together with Tuscan Profilures both at the Base and Capital: This established, the rest will easily follow, so as not to subject it henceforward to the opinion and diversity of the Gus [...]o's of those the Profession; [Page 90] since we have the Original for our Model to which we ought of necessity conform lest we transgress the terms and regularity of the Order: Now suppose an Architect be on some occasion obliged to introduce, or change any thing in it, as the time and the quality of his design may require; he is yet to proceed with extraordinary cir­cumspection, and without in the least altering the form of the principal Members; in which one shall perceive the address of his spirit, and the gallantry of his invention: This is a Maxim so universal through all the Orders, that without it one should never pretend to give Rules, nor propose indeed any Example for imitation; so naturally obnoxious are our inclinations to novelty, and so blind in our own Productions: See then from what sourse the confusion of that Order sprung which they name the Com­posita, and which the presumption and ignorance of Workmen has begotten like an ex­travagant Monster blended with so many natures, and sometimes so averse and con­trary that tis impossible to distinguish their Species: I have reserved their full Exa­men for the conclusion of this Treatise, where I shall make choice of what I meet with of most conformity to the rules of Art and of good Architecture, and where I shall produce some of the most famous Examples of Antiquity, that at least men may have faithful Guides through this Labyrinth of Confusion.

Our Trajan Column which we here substitute in stead of the Tuscan Order, by the Prerogative of its excellent composition has this advantage above the other Orders, that there seldom happning occasions worthy of it; that is to say, such as are parti­cular and noble enough to merit the putting it in practice; Our small Masters inca­pable of so high an imployment, have spoken nothing of it, and by this means she has remained in her original purity: But the first which was ever made in imitation of it, and that has exceedingly confirm'd the establishment of this new Order, was the Co­lumn of Antoninus which is yet very entire, and the onely Paragon to ours, though it concede somewhat to it in the execution and magisterial handling; but in recom­pence of this it surpasses it in the greatness of its Mass, a thing very considerable in this Order, whose specifique beauty consists in being vast, and of a manner Colossale: for the rest, the Composition and Ordinance of the whole design are very alike.

I will now shew in general the effect and form of the principal members, and of what one ought to be careful in the application of Ornaments, which are to be dispo­sed with great discretion, as being of the very Essence and body of the Order: The first, and as it were the foundation of the whole Structure is the Piedestal, which is here no less necessary then is the Cornice to the Columns of the other Orders; and its proportion though square and solid requires an enrichment of handsome Modenatures, and of all other sorts of ornaments at the Plinth and Cymatium, but above all in its four faces, which are as it were the Tables of Renown where she paints the Victories of those Heroes to whom she erects such glorious Trophies: It is there that we behold all the Military Spoils of the vanquish'd, their Arms, the Machins they made use of in fight, their En­signs, Shields, Cy [...]neterrs, the harness of their Horses and of their Chariots,; their Habili­ments of Warr, the marks of their Religion, and in a word what ever could contribute to the pomp and magnificence of a Triumph: Upon this glorious Booty our Column [Page 91] as on a Throne is erected and revested with the most rich and splendid Apparel which Art can invent; and indeed provided the Architect be a judicious person it cannot be too glorious: I repeat it again that this ought in no sort to alter or in the least confound the Proportions and Tuscan Profiles of the Base and Capital, as being the very keys of the Consort and harmony of the whole Order. The last but principal thing, because is sets the Crown upon the whole Work, is the Statue of the Person to whom we erect this superb and magnificent Structure; This hath an Vrn under his feet, as intimating a renascency from his own Ashes like the Phoenix, and that the Vertue of great men tri­umphs over Destiny which has power onely over the vulgar.

As to what concerns the regular Proportion of this Figure and Vrn with the alti­tude of the Column, I can here conclude nothing precisely, this part being repair'd in the Original, and that in a manner too modern and wide of the first intention of the Architect to derive any advantage thence for our subject. It may yet be said with likelihood enough, that since 'tis as 'twere the Entablature of the Order one should allow it a fourth part of the Column as to the Trabeation of the Dorique Order to which this bears a very great resemblance: I conceive also that the Figure ought so to be pro­portioned by the rules of the Optiques, that it may appear of a size somewhat exceeding the Natural, and of an elegant Symmetry, that so it may be taken notice of above all the rest; but with this discretion yet, that being of necessity to stand on its feet, it appear of a firm position, and that the mass of the Vrn which serves it for Piedestal have a solidness agreeable to this effect: For 'tis a thing greatly obliging in Architecture, to make every thing not only solid and durable, but that it likewise so appear and thereby avoid that Gotique indecorum which affects it as a beauty, the making of their works seem as 'twere hanging in the air and ready to fall upon ones head, which is an Ex­travagance too visible for us to spend any time in confuting.

By this time I think I have left nothing unsaid which concerns the general Com­position of our Column; As for the lesser retail of the Proportions and Profiles of each Member, the Design shews them so perspicuously that 'twere but a childish and imper­tinent labour to name them over by the piece, as those first Inventors of Painting did, who to supply the weakness of the Art, not yet arriv'd to so natural a repre­sentation of the things they imitated, were forc'd to write under them, This is an Ox, a Tree, a Horse, and a Mountain: There will be no need of this here, the effect of the Design having so far exceeded the expression of all words, that it shews us more things in an instant, and that with infinite more preciseness, then could have been described by discourse in a very long time. I will therefore conclude by this rare kind of Language which has neither need of Ears nor of Tongue, and which is indeed the most divine Invention that was ever yet found out by man.

For the rest, you will in my Profile of the Trajan Column perceive with what diligence and exactitude all these things conform to the Original, even to the very least Ornaments, and thereby judge how exceedingly careful I have been in other things of greater consequence. If the Reader be intelligent, and that he have attentively view'd and with a Masterly Eye this rich and incomparable Piece [Page 92] which I describe, the satisfaction he will derive from the accurate Observations I have made and here present him will be proportioned to his ability: For in these particulars our eyes do see no further then our understanding purges them, nor do their admirable beauties reveal themselves at once, nor to all the World in general; They will be curiously observed and discovered with Industry: There are likewise several kinds which every one considers according to the force of his Wit, and as they conform to his Genius: Some there are who seek onely the grace and neatness of Or­naments; Others consider the nobleness of the Work and novelty of the Invention; The most knowing having regard to the Proportions chiefly, and the regularity of the Whole with its Parts, to the judicious Composition, the greatness and solidity of the Design, and such essential beauties as are onely visible to the eyes of the most intelligent Archi­tects; from whence it often falls out, that the same Work in which all these parts are not equally perfect, is very variously esteemed by those of the Profession (for there are but few like this of ours so qualified as to merit an universal approbation,) and the misery of it is, that the best things have for the most part many fewer Admirers then the indifferent, because there are more Dunces then able Men.

The Modul of the following Design, and the Method of deciphering it is the same with what went before; viz. That passing a Perpendicular through the Center of the Co­lumn the whole height of the Order, I divide the Semidiameter of the Pillar at the foot in thirty Minutes which compose the Modul upon which afterward I regulate all the Members as well for their height as sailings over and projectures of their Profiles, still beginning by this Central line of the Column, that so the position of each individual part be exactly adjusted and precisely in its place. This is so perspicuous, and has been so oft repeated, that there can remain no possible difticulty.

As to what now concerns the whole Mass, the Column contains seventeen Moduls, comprehending the Base and Capital. The Pidestal with its entire Bassament, Cymatium, and that Zocolo or Plinth above wrought with a festoon (which in my judgment makes a part of it, as rendring it a perfect Cube, of all Geometrical proportions the most regular and solid and consequently most agreeable to this Structure) has in height three Moduls, a very little less: The Base of the Column contains precisely one, and the Capital two thirds of a Modul.

CHAP. II.
Palladio, and Scamozzi upon the Tuscan Order.

HAving declar'd my opinion touching the use and form of the Tuscan Order after the manner of the Antients; I will now describe to you after what fashion our Modern Masters have handled it, and in what reputation it is at present amongst all our Workmen, who in regard of the meanness of so poor a Composition surname it the Rustique Order, and that with reason, there being so little probability that the Tuscans would ever own or acknowledge it in so wretched a condition.

Andrew Palladio, of all the Moderns the most judicious, and to whom in this Collection we have assign'd the most eminent place, presents us with two Profiles; One whereof is so plain, that it has onely a Summer of Timber covered with another piece in stead of a Coping and Corona for the Entablature of the Column; and I conceive he imagined it should have no other from what Vitruvius has written of it. But finding this Com­position too meanly handled to merit the honour of an Order, this industrious Architect went and search'd amongst the old reliques of Amphitheaters, which are those enor­mous masses of Architecture where the solidity of the building was more requisite then the spruceness and curiosity of the Orders; till in fine he discover'd in the Arena's of Verona, that of Polo, and other places, a certain Order which he conceived one might call the Tuscan, in imitation whereof he composed this: For he did not tye himself precisely to follow one rather then another; but from many he form'd and ordain'd this, which I have rather chosen then any of the other Masters. That of his Companion Scamozzi might pass tolerably well had he not assign'd him a too great conformity with the Dorique, and so much as once mention'd where he had seen any like it; so as being altogether Modern, and neer as rich in Mouldings as the Dorique it self, it were much better to make use of the Antique; this being in nothing conside­rable for a building but for its cheapness and the saving of time.

The height of the Column with its Base and Capital is of seven Diameters only accor­ding to Palladio: Scamozzi allows to his seven and an half.

The Entablature contains alwayes a fourth part of the Column.

CHAP. III.
Serlio, and Vignola upon the Tuscan Order.

WE have seen in the precedent Chapter the Tuscan Order of our Modern Archi­tects in its most advantageous lustre; but methinks it is extremely decay'd here, especially in the Profile of Serlio, where the whole is indeed too plain and parti­cular, being the only Person who has allow'd to every member of the Order in general, Base, Captial, Architrave, Freeze and Cornice a like altitude; this equality being here but a false kind of Proportion, and wholly repugnant to what Architecture has borrow­ed from the Optiques.

Vignola has in this respect proceeded more rationally, adding to each Member what it might diminish of its magnitude by the distance from the Eye; and therefore he has made the Cornice somewhat higher then the Freeze or Architrave.

Serlio allows his Column but six Diameters; though Vitruvius (whom he alwayes strives to follow) gives it seven in his Chapter where he treats of building Temples after the Tuscan manner, which is the seventh of his fourth Book.

Vignola, as to what imports the Column, conforms himself to Vitruvius; but for the mouldings of the Capital and Cornice is governed wholly by his particular fancy.

The Entablature both in the one, and the other of these two Profiles consists of a quarter of the Column.

CHAP. IV.
Of the Compounded Order.

THE Compounded Order which has hitherto obtain'd the first rank amongst the Moderns, will find it self extremely debas'd in this severe and exact review which I have made upon the five Orders; and where (without at all regarding the opinion of the Vulgar, and the judgment of others that have written before me) I value no­thing unless it be conformable to some famous and antient Example, or to the Pre­cepts of Vitruvius that Father of Architects; that so (if possible) I may at last re­establish the Art on its genuine Principles, and original purity from whence those li­centious Compositions of our late Workmen have so exceedingly perverted it (under the pretext, forsooth, of this fain'd Name of the Compounded Order) that there hardly re­mains so much as the least Idea of regular Architecture in it, so strangely have those Orders which contributed to it degenerated into confusion, becoming even barbarous themselves by this their extravagant mixture. But as 'tis a thing very difficult to sub­due and reduce some spirits to their devoire when once they have taken a bent and are abandon'd to libertinism; so nor do I pretend to gain any Disciples, or be so much as heard by those who have thus presumptuously taken upon them to be Masters, be­cause they are either grown too old in their deprav'd gusto, or ashamed to acknow­ledge their mistake; resolving rather to perish in their opinion by obstinately defen­ding it, then be so ingenuous as to reform it. I address my discourse then to those Per­sons onely, who having not as yet their imaginations preposses'd preserve their judg­ment more entire, and are better dispos'd to discern those charming beauties and originals of the Antient Architecture, acknowledg'd for so many Ages, confirm'd by such a multitude of Examples and so universally admired. Now for as much then as it is a thing of main importance that we season our young spirits with an early tin­cture, and begin betimes to settle in them these Idea's, I do ever at first propose to them the same Models that have been left us by those great Genius's, as so many Pilots and Compasses steering the direct Course to the Art, and saving them from that propension which they naturally have to novelty, the very rock and precipice of the first inclinati­ons of the French, which being once over-pass'd, reason does then begin to take the helm, to conduct and let them see Things such as they ought to be, that is to say, in their Principles, without which it will be altogether impossible to acquire more then a very ordinary and superficial comprehension of them; and those who travel by any other path grope like blind men in the dark, and walk insecurely, without ever find­ing any real satisfaction in their Work: For the vain complacence of ignorant men, be it that they take it from themselves (as commonly they do) or that it be deriv'd to them from such as are like them, 'tis so empty and false a joy as it oftentimes turns [Page 100] to shame and confusion; whiles the true and solid praise which is attributed to the merit of knowing Masters, and the excellency of their Workmanship, is never obnoxi­ous to this self-deception. Now how little soever it be a man possesses of the Idea of this high manner of the Antients and the greatness of their thoughts, he shall soon per­ceive the meanness and impertinency of our Modern Compositions, when in the midst of so many Examples of the incomparable and onely Architecture of the Greeks, which was the ornament and splendour of the Antient Rome (whose very Ruines and Vestigia's render her yet august above all the Cities of the World) these wretched and trifling spirits in­digent in the midst of so great abundance, depart from the right way which these great Masters have opened to them, taking a devious path to pursue an abortive of Archi­tecture, or the evil Genius of the Art rather, which has introduc'd it self amongst the Order under the Title of Composita, the favour of mens ignorance, and the indiscrect presumption of I know not what pittiful new Architects, who have made it their Fools­bauble, and clad it in so many apish and capricious modes, that 'tis now become a ri­diculous Chin [...]era, and like a Proteus not to be fixt to any constant form; so as it would be altogether labour in vain, an idle and folish enterprise for us to search after it here through all its wild and unlimited extent, since it has neither Rules nor Measures, Principles, Species, nor particular Propriety, and so by consequence not to be comprehended under the name of an Order. It would in truth (in my opinion) be necessary for the good of the Art, and the reputation of Architecture, that this Mon­ster were altogether smother'd, and that some more pertinent and specifique name were given to those excellent Profiles which we encounter amongst some Antiquities of the grand Design which (from I know not what Tradition) are called of the Compounded Or­der; a Name altogether novel, not so much as once mentioned by Vitruvius, and which is in earnest too general and uncertain to sute with a regular Order: and that since they referr the glory of its invention to the Romans, it were much more proper to call it the Roman or Latine Order, as Scamozzi has judiciously enough done, and moreover observ'd, that its Capital (by which alone it differs fome the Corinthian) is of a more massy and less elegant Composition, whence he conceives this Order should not be plac'd upon the Corinthian, left the weak be burthened with the stronger: to which he might also add, that they can never consist well in the same work together, as I have elsewhere demonstrated, and this is so perspicuous that it admits of no possible extenuation: however those who would take advantage of this evil practice and abuse of the Moderns to do the contrary, might have a way to escape by this Asinine-bridge: For the importance is very inconsiderable in comparision to that unbridl'd licence which now-a-days reigns amongst our Compositers of the Composita, who not onely change the rank of the Orders, but reverse and overturn even all their Principles, un­dermining the foundations of true Architecture to introduce a new Tramontance more barbarous and unsightly then even the Gothique it self. But to all this let us reply (in confusion of its Inventors) That an Architect should no more employ his industry and study in finding out new Orders, to set a value upon his Works, and render him­self an able man; then should an Orator, to acquire the reputation of being Eloquent, [Page 101] invent and mint new Words that were never yet spoken; or a Poet compose Verse of another cadence and measure then what are prescrib'd and are in use; this affectation being altogether puerile and impertinent: Or, admit one would upon some occasion take any such liberty, it ought to be with that discretion, and so to the purpose, that the reason thereof should to any one appear immediately: Thus it was the Antients made use of it, but with so great caution, as that they have confin'd their entire licence to the sole form of the Capital, of which they have devised an hundred gentile Compositions, and to some subjects peculiar, where they succeeded incomparably, and out of whose limits one cannot (without manifest impertinency) employ it in any work whatsoever. I will therefore choose two or three Examples amongst a good number of Designs which lye by me of that most famous Pyrro Ligorio, found out and observ'd by him in seve­ral places of Italy with a diligence inestimable. But let us first conclude our prime Subject, which is to form the Roman Composita, and make of it here as regular and precise an Order, as any of the former Four. I propose (for this effect) two antique Profiles, both of them excellent in their kinds; one very rich and full of ornament taken from the Arch of Titus at Rome; and the other much plainer indeed, but great and proud, being that of the Arco de Leoni at Verona.

If these two Instances suffice not our Reader, he may make his election of others more to his liking, or fix upon any of those who best pleases him of the Author's fol­lowing, which I have therefore expresly collected together, and amongst which I ac­knowledge my particular esteem for Palladio.

CHAP. V.
A Profile Composita taken from the Arco de Leoni at Verona.

BEfore I propose this Composita for Model, I shall first endeavour to prevent and elude certain Objections which our Critiques may possibly raise, lest they impute it to my inadvertency should I pass them by in silence. The first is, That the Cornice is defective, for want of the Corona: The other is the naked placing of the Dentelli, without any separation on the Freeze: Thirdly, the excessive height of the Freeze: And lastly, that the three Faces of the Architrave are all inverted from the ordinary position: And finally, that the Plinth of the Base is a great deal too high being compared with the rest. To all these Objections I might re­ply in a word, that in a business of Architecture the reason is allowable since I pro­duce an antique Example, universally approv'd and such as this is: Besides I add, that the very name of Compounded seems to inferr a kind of Liberty, and that there­fore an Architect might sometime justly be permitted to take it, as occasion may sug­gest, either by introducing into the Order or retrenching from it what he thinks most conducible and proper to his Design; provided it be discreetly manag'd, as it has been judiciously observ'd in this Profile, where the Author being to make an extraor­dinary large Freeze for the more commodious placing of many Figures which con­cernd his subject, would spare from the Cornice what he had usurped of more then the regular proportion of the Freeze did permit him. To this purpose it was he cut off and abated the Corona, though in truth a considerable Member, but which is yet (as far as I can collect from other Instances) not absolutely necessary; since in the Temple of Peace at Rome (one of the most stupendious works of Antiquity) the Cornice though Corinthian has no Corona at all notwithstanding that the Architect had the field so open before him. And L. Baptista Alberti (whose authority is greatly pre­valent amongst our modern Masters) without other reason for it then that of his own gusto, has given none to his Corinthian Order. Now as concerning the Compartiment of the Swaths and Fascie of the Architrave, whose position here seems somewhat prepo­sterous, 'tis (to speak seriously) a little extraordinary, however I well remember to have seen others which were like it, and Palladio produces us one Example of it towards the end of his fourth Book taken from a Temple of Polo in Dalmatia, of the Corinthian Order, the Architecture whereof is exceedingly rare and antique; and there I also find that the Base of the Column hath a Plinth likewife of an excessive thickness, as indeed ours has, which supplied the place of a Zocolo. Thus you have both reason and example sufficient for the answer of every objection. But from hence one may also judge, that this Profile should not be employ'd in work without extraordinary discre­tion, and indeed some kind of necessity. That which I shall produce in the follow­ing instance is more regular to particulars, and by consequent more agreeable to all forts of Works: But the general Proportion both of the one and other is sufficiently e­qual. The Column it self has ten Diameters, and the altitude of the Entablature amounts to a fourth part of the Column.

CHAP. VI.
A Profile of the Composita taken from the Arch of Titus at Rome.

THE incomparable Idea of this Composita, and the richness of its Ornaments makes me conjecture that the Inventor thereof might possibly accompany Titus at the expedition and siege of Ierusalem; and that it was there he had contemplated the divine Architecture of the Temple of Solomon, in imitation of which (though in a very slender Copy, compar'd to that miraculous Edifice, and especially in a different Order) he would shew how studiously he had consider'd it. This conjecture of mine has for its foundation that the Triumphal Arch from whence I have drawn it is the very same which they erected to the glory of that Emperour at his return from that famous en­terprize: And the Architect who happly contriv'd the Ordinance, and the whole Pre­paration of the Day of Triumph, judiciously introduc'd into his work (which was to make the most noble and lasting part of it) the Figures of the principal Spoils of the Temple, as that of the Golden Candlestick with its seven Branches which stood in the San­ctuary, and the Golden Table upon which was set the bread of Proposition together with some other Utensils to this day extant in the Work.

Moreover the Arch has this considerable amongst others yet remaining of the An­tients, That 'twas the first and very Original of this kind of Structure; and albeit there have been since made some more sumptuous for greatness of bulk and magnificence, this is yet of a better hand, and more exquisite Workmanship then any of them.

I give you the Elevation in Perspective as well to gratifie the Curiosity of those who affect this Art, as that I may also contribute something to the beauty of the Design; and besides that such as never saw the Original, may in some sort judge of the Effect which it produces.

CHAP. VII.
Palladio, and Scamozzi upon the Composita.

ANdrea Palladio proposing this Profile of the Composita, which he also names the Latine Order (to make it specifically differ from some others which bear the same appellation) gives us a general Maxim for its proportion, which is to make it resemble the Corinthian, the form onely of the Capital excepted. And though he add that this Order ought to be somewhat more deck'd and gay then the Corinthian, 'tis to be un­derstood in reference onely to those who allow the Corinthian Column but nine Diame­ters (as himself does) whereas this should ever have ten.

Scamozzi's Profile has not so good a grace as that of Palladio, nor is it indeed so exact in the regularity of its Entablature with the Column, where it wants but three mi­nutes upon the total to make it precisely a fifth; for though this be a very small mat­ter, yet since it had been better to have a little exceeded then come short (the Anti­ents commonly allowing a whole fourth, or at least two ninths) the defect is the more easily perceiv'd. But what is yet worse, is, that in the composition of the Cornice he has accumulated so many small members one upon the other, as renders it trifling and a little confused.

CHAP. VIII.
Serlio, and Vignola upon the Composita.

I Am astonished at this last production of poor Serlio, who having till now reason­ably well conducted the first Orders of Architecture under the direction and govern­ment of Vitruvius fails miserably at the very Port just as his Pilot has deserted him: And what does most of all surprize me, is, that the man's Genius (which was to imi­tate a mean and trifling Manner) should revolt in such an instant and change into so strange an Excess. I was at first resolv'd to have suppress'd this Profile (for the Credit of the person) had it not been to wrong his Competitor Vignola, and so frustrate him of the great advantage which upon this occasion he has over him, since in the precedent Orders I have sometimes conceived him his inferiour. I shall not dwell long upon the particulars which in this Composition to me seem defective; be­cause I shall sooner have finish'd in saying once for all, that there is nothing as it should be, though the Cornice be taken from, and (as the Author pretends) follow'd stroak for stroak after that of the fourth Order of the Colosseum, which is indeed one of the most renowned Vestigia's of Antiquity and an admirable piece of Architecture. But one had need of a very steddy head to be able to climb such an height without shaking ones judgment. He should have considered that this Colossean Structure being a Mass of a prodigious altitude had need of some Sophistications from the Optiques to make it appear regular to the eye; and that therefore there would be an errour and mistake in summing up the dimensions and aequipondium of its members at a more moderate distance with the same measures and proportions. This inadvertency had made him slip into another fault much more gross and unpardonable; for he places upon a small and pittiful Capital (after his own mode) the whole weight of the Colosseum, that is to say, a Gigantine Entablature which composes the Corona of this prodigious Edi­fice. This so monstrous medley appears more here then in the Author; because he has design'd it very slightly, and in so small a Volume (in his fourth Book and ninth Chapter where he explains this last Order) that one can hardly discern the form of the principal Members.

Vignola has proceeded with a great deal more exactness and judgment in his De­signs, which he has also Profil'd very neatly, and in a large Volume that renders it commendable and of use to Workmen: He allows in this Composition the same measures and proportions that he does to the Corinthian.

CHAP. IX.
Of a certain Ornament called the Fret.

ARchitecture is in all this Treatise so extremely jealous of those Libertines that have the rashness of daring to corrupt the forms of her Profiles by their capricious Inventions, that she even refuses entrance to all kind of Novelty whatsoever: This it is which has put me in mind of the promise I made to present you here with some extraordinary Designs of Capitals drawn from the Antiques: But considering that they can serve for no use in any sort of Structure at present, as being onely proper to the Pagan Deities, and that we have now no more Iupiters, Neptunes, or other Gods of that age, for whose Temples these kind of Capitals were singularly appropriated, by repre­sentations specifical to every Subject; I conceiv'd it better to remove those baits which serv'd likewise but to awaken the ill Genius of our Workmen to imitate and copy after them. To supply then their places with some other thing which should be profit­able and without reproach, I have made a very curious and rare Collection of a cer­tain Ornament which they call the Fret, and of which the Antients made great use, ta­king infinite delight in composing variety of sorts, as this Design will shew you. This Ornament consists in a certain interlacing of two Lists of small Fillets, which run always in parallel distances equal to their breadth, with this necessary condition, that at every return and intersection they do always fall into right angles; this is so in­dispensable that they have no grace without it, but become altogether Gotique. There is one (amongst the ten I here present you) that consists but of a single fillet, which ne­vertheless fills its space exceedingly well, and makes a very handsome shew. The An­tients did ordinarily apply them upon even and flat Members, as upon the face of the Corona and Eves of a Cornice, under the Roofs, Planceres and Cielings of Architraves; also about Doors, and on the Plinths of Bases, when their Torus and Scotia's were carv'd; also they do rarely well about Platfonds and upon Ground-works.