Buskin'd Ornaments of the Legs and Feet, according to the Mode of that time; and Made the Channellings deeper to represent the Foldings and Plaits of a fine light Garment. They put likewise Volutes or Scrowls upon the Capital, pretending that they imitated the Head-Dress of a Young Lady, whose Hair Beautifully descending from the top of her Head, was folded up under each Ear.
Afterwards Calimachus an Athenian, embellished the Capitals of the Pillars, adding to them more Beautiful Volutes or Scrowls, and more in number, enriching them with the Leaves of Brank Ursine and Roses. It’s said, That this Capital, which, according to Vitruvius, makes all the Distinction betwixt the Corinthian and Ionick Order, was invented by this ingenious Artisan upon this occasion. Having seen the Leaves of the above-mentioned Plant grow round about a Basket which was set upon the Tomb of a Young Corinthian Lady, and which, as it happened, was set upon the middle of the Plant. He represented the Basket by the Tambour or Vase of the Capital, to which he made an Abacus to imitate the Tile with which the Basket was covered, and that he represented the Stalks of the Herb by the Volutes or Scrowls, which were ever after placed upon the Corinthian Capital. See Table the IXth.
This great Artist likewise invented other Ornaments, as those we call Eggs, because of the Ovals in the Relief which are in the Mouldings of the Corniches and are like Eggs. The Ancients called this Ornament Echinus, which signifies the sharp prickly shell of Chestnuts, because they found these Ovals represented a Chestnut half open, as it is when it’s ripe.
Lib. 3.
Chap. 2.He likewise makes mention of another Famous Author, who found out the proportion of all the Parts of a Fabrick, which was Hermogenes; to whom he attributes the Invention of the Eustyle, Pseudodiptere, and of all that is beautiful and excellent in Architecture.
ARchitecture is a Science which ought to be accompanied with the Knowledge of a great many other Arts and Sciences, by which means Lib. 1.
Chap. 1. it forms a correct Judgment of all the Works of other Arts that appertain to it. This Science is acquired by Theory and Practice. The Theory of Architecture is that Knowledge of this Art which is acquired by study, travelling and discourse. The Practick is that knowledge that is acquired by the Actual Building of great Fabricks. These Two Parts are so necessary, that never any came to any great Perfection without them both. The one being lame and imperfect without the other, so they must walk hand in hand.
Besides, the Knowledge of things that particularly belong to Architecture, there are infinite other things that are necessary to be known by an Architect.
For, First, it’s necessary that he be able to couch in writing his intended Building, and to design the Plan, and make an excellent Model of it.
Geometry likewise is very necessary for him in many occasions.
He must also know Arithmetick to make a true Calculation.
He must be knowing in History, and be able to give a reason for the greatest part of the Ornaments of Architecture which are founded upon History. For Example, if instead of Pillars he support the Floors of the House with the figures of Women, which are called Cariatides, he ought to know that the Greeks invented these Figures to let Posterity know the Victories they obtained over the Cariens, whose Wives they made Captives, and put their Images in their Buildings.
It’s necessary likewise, that he be instructed in the Precepts of Moral Philosophy; for he ought to have a great Soul, and be bold without Arrogance, just, faithful, and totally exempt from Avarice.
The Architect also ought to have Lib. 1.
Chap. 11. a great Docility which may hinder him from neglecting the advice that is given him, not only by the meanest Artist, but also by those that understand nothing of Architecture; for not only Architects, but all the World must judge of his Works.
Lib. 1.
Chap. 2. Natural Philosophy is likewise necessary for him for to discover what are the Causes of many things which he must put a remedy to.
He ought also to know something of Physick, to know the qualities of the Air, which makes Places Healthful and Habitable, or the quite contrary.
He should not be ignorant of the Laws and the Customs of Places for the Building of Partition Walls, for prospect and for the conveying of Waters and Sewers.
He ought to know Astronomy, that he may be able to make all sorts of Dials.
It was necessary among the Ancients, that an Architect should have skill in Musick to make and order Catapults and other Machines of War, which were strung with strings made of Guts, whose sound they were to observe, that they might judge of the strength and stiffness of the Beams which were bended with those Strings. Musick was also necessary in those days for the placing musically Vessels of Brass in the Theatres, as we have said before.
THere are Three Things which ought to meet in every Fabrick, viz. Solidity, Convenience and Beauty, which Architecture gives them; by the due ordering and disposition of all the Parts that compose the Edifice, and which she rules by a just Proportion, having regard to a true Decorum, and well regulated Oeconomy; from whence it follows, that Architecture has Eight Parts, viz. Solidity, Convenience, Beauty, Order, Disposition, Decorum, Oeconomy.
Solidity depends upon the goodness of the Foundation, choice of Materials, and the right use of them; which ought to be with a due order, disposition and convenient Proportion of all Parts together, and of one in respect of another.
Convenience likewise consists in the ordering and disposition, which is so good that nothing hinders the use of any part of the Edifice.
Beauty consists in the excellent and agreeable form, and the just proportion of all its parts.
Order is that which makes, that all the parts of an Edifice have a convenient bigness, whether we consider them apart or with Relation to the whole.
Disposition is the orderly Ranging and agreeable Union of all the parts that compose the Work; so that as Order respects the Greatness, Disposition respects Form and Situation, which are Two Things compriz'd under the word Quality, which Vitruvius attributes to Disposition, and opposes to Quantity, which appertains to Order. There are three ways by which the Architect may take a view beforehand of the Fabrick he is to build, viz. First, Ichnography, which is the Geometrical Plan; Orthography, which is the Geometrical Elevation, and Scenography, which is Perspective Elevation.
Proportion, which is also call'd Eurythmy, is that which makes the Union of all parts of the Work, and which renders the Prospect agreeable, when the Height answers the Breadth, and the Breadth the Length; every one having its just measure. It is defin'd, the Relation that all the Work has with its Parts, and which every one of them has separately to the Idea of the whole, according to the measure of any Part. For as in Humane Bodies there is a Relation between the Foot, Hand, Finger and other Parts; so amongst Works that are Perfect, from any particular Part, we may make a certain Judgment of the Greatness of the whole Work: For Example, the Diameter of a Pillar, or the Length of a Triglyph, creates in us a right Judgment of the Greatness of the whole Temple.
And here we must remark, that to express the Relation that many things have one to another, as to their Greatness or different Number of Parts, Vitruvius indifferently makes use of three words, which are Proportion, Eurythmy and Symmetry. But we have thought it proper only to make use of the word Proportion, because Eurythmy is a Greek word, which signifies nothing else but Proportion; and Symmetry, although a word commonly used, does not signifie in the Vulgar Languages what Vitruvius understands by Proportion; for he understands by Proportion, a Relation according to Reason; and Symmetry, in the vulgar Languages, signifies only, a Relation of Parity and Equality. For the word