OfHalls.
THE Ancients had three Sorts ofHalls;Viz.TheCorinthian, theÆgyptian, and theCyzican.
TheCorinthianhad Pillars round about against the Wall, and these Pillars supported the Floor made in form of a Vault.Surbaissee.
TheÆgyptian Hallshad their Pillars distant from the Wall in the manner of thePeristyle, and they supported only anArchitravewithout aFriseand without aCornice; upon thisArchitravethere was another row of Pillars, between which were the Windows. The Floor which reached from the Pillars to the Wall, served for aTerrassewithout.
TheCyzican Hallshad this in particular, that they were turned to the North, and had a Prospect of the Gardens; they were principally madeLib. 6.Chap. 6.use of by theGreeks; the Proportion of theseHallswas as follows, Their length was double their breadth, and as to their height, this Rule was observed to have the height of all Sorts of Apartments that are not so broad as long, they added their length to their breadth, and took half of the sum for their height. The Apartments which were no longer than broad, had in height their breadth, and half their breadth.
Of the Distribution of the Apartments among the Ancients.
Lib. 6.Chap. 10.Lib. 6.Chap. 3, 4.THERomansand theGreeksordered and distributed differently theirApartments; for theRomanshad theirCourtsandEntriesmagnificent: but theGreekshad only a narrow Entrance, through which they passed into aPeristyle; thisEntryhad of one Side a Porter’s Lodge, on the other Side the Stables.
TheApartmentsof these two Nations differed in this, theApartmentsof the Women were separate from theApartmentsof the Men among theGreeks; insomuch that they Dined apart. They had likewise particularRoomsreserved for Strangers apart, where they only gave them Lodging, and never treated them above one Day.
Of things that equally appertain to Publick and Private Buildings.
OfAqueducts.
IN Order to the bringing of Waters to Towns and Cities, the Level must be exactly taken; to the end, it may be known whether the Waters can be brought thither or no. The Ancients to this end madeLib. 8Chap. 6.use of an Instrument calledCorobates, which was directed by a Lead, and by Water, when the Wind hindered them from making use of the Lead.
They brought their Water three several ways;viz.byAqueducts, by Pipes of Lead, and Pipes baked in aPotter’sFurnace. They allowed for theChannelsorSewersof theAqueducts, for every 100 Foot, half a Foot of Declination or Sloping; and if any Hills were in their way, they dug through them, making Vents to give Air at convenient Distances.
The Pipes of Lead were at least 9 Foot long; they made them of bended Sheets or Plates, and of different thicknesses, according to the Proportion of the greatness of the Pipes; these Pipes had likewise their necessary Declination or Sloping, and if any Valley was in the way, they made it equal to the Level with a Wall; they likewise made many Vents, to give the Water Air, and to know where to mend the Pipes.
The Pipes ofPotter’s-Work, were two Inches thick; they were joyned together with Mortar mixed with Oil, and when they hadCondeorJoyntto make, they made use of a red Free Stone which they piercedthrough, to receive the two Ends of the Pipes.
Of Wells and Cisterns.
IT being remarkt oftentimes that the Water which is under the Earth hath many bad Qualities, and exhales vapours, which often stifles those which work in theWells, after that they are dug, & the Water begins to gather together. The Ancients had this Precaution, to let a Lamp gently down into it, and if it extinguished it, they took it for an Infallible sign that the Water was bad.
TheCisternswere made to receive Rain Water in great Conservatories under Ground, whose Walls on all Sides, and at the bottom were built with Mortar of strong Lime, and Sand, and Pebbles, all well beaten together. They made several Conservatories, and the Water passed from one to another, to the end it might leave all the Dirt in the first and second; They likewise put Salt in theirCistern-Waterto make it more subtile.
OfMachinesfor carrying and lifting up great Stones and Burthens.
CTesiphonand his SonMetagenes, Architects of the Temple ofEphesus, inventedMachinesto carrygreat Stones, out of whichPillarsandArchitraveswere to be made. ThatLib. 10.Chap. 6.which was made to draw thePillars, was but a sort of a Frame as long as thePillars, in the end of which were fastned Pins of Iron, which entred into the ends of the Frame, and served instead of an Axle-tree, thePillarit self serving for a Wheel: And this had the desired Effect, because of the disposition of the place through which theseStoneswere to be drawn, which was a flat and level Country.
The otherMachinefor drawing ofArchitraves, was the same Frame which had two Wheels at each end, which supported theArchitrave; which served instead of an Axle-tree.
Lib. 10.Chap. 2.For the raising of great Weights, they had three sorts ofMachines. The first was composed of three pieces of Wood, which were joyned together at top by a Pin which went through them all; so that there were two of these pieces which were on one side, a little distance one from the other, and the third was opposite to them; The two which were together on the one side, had a Hand-Mill which drew a Rope, which passed within a Truckle with three Pullies, of which that part which had the two Pullies was fastned to the top of theMachine, and that which had but one, was fastned to the VVeight to be drawn up.
Lib. 10.Chap. 2.The secondMachinewas stronger than the first, because theMoulinhad more Pullies, and instead of aMoulinor Hand-Mill, it had a great Wheel, whose Axle-tree drew a Rope which passed through these Pullies, and uponthe Wheel there was another Rope twisted, which was drawn by a Wind-glass; sometimes the great Wheel was hollow, so that Men could walk within it, and so turn it.
The third had but one long and strong piece of Wood, which was kept up and stayed by Shrowds, as the Mast of a Ship is. By the help of these Shrowds, they bended and turned this piece of Wood where they pleased, drawing the Shrowds fast on the one side, and loosening them on the other. TheMoufl’sCrane as well those which were fastned to this piece of Wood, as those which were fastned to the Weight which was to be drawn up, had each of them three ranks of Pullies, which had three in every rank, that three Ropes might go through them, which were not drawn by Hand-Mills, nor by VVheels, but by Men who pulled several at one time at the same Rope: And that this might be done with the more ease, the three Ropes or Cables after having passed the last Pullies of that part of theMouflewhich was atthe top of theMachine; they descended down below, each upon one Pully, which vvas but the height of the Men: thisMachinequickly povverfully lifted up the greatest VVeights.
OfMachinesfor Elevating of Waters.
THESEMachineswere of four sorts.
Lib. 10.The first was theTympan, of which there were two sorts; The first elevated a great deal of Water, but not very high, for it only mounted to the Axle-tree of theTympan, which was a great Wheel made of Planks which made two bottoms divided into eight from the Center to the Circumference, each Separation, having an opening half a Foot wide near the Circumference to draw the Water, which being elevated upon the Axle-tree, ran through the Cavities whichwere hollowed in each Separation.
The SecondMachine, was a Wheel which elevated the Water as high as its Circumference, by the help of several Boxes which were fastned round about, and which poured out the Water into a Reeve as the Wheel, having mounted, began to descend.
Lib. 10.Chap. 2.The ThirdMachinewas a Chain with Buckets, as the one mounted, the other descended, being drawn by the Axle-tree.
The FourthMachinewas the Vice orSkrew, which is attributed toArchimedes, thoughVitruviusmakes no mention of the Inventor. This Vice was made of a piece of VVood, long sixteen times its Diameter: about this piece of Wood was put Obliquely a Hoop of Willow Hoop of Willow VVood besmeared with Pitch, and it was Conducted by turning from one end of the piece of the Wood to the other: Upon this Hoop others were put so that they were like the Vaulting of a Stair-Case whose ascent goes turning. This being done, this Vice was fastned and strengthned with Planks, which werepitched within, and covered with Iron Rings and Plates without: At the two ends of the piece of Wood, were Pins, which entring into the Suckets, made theMachinecapable of Motion. This Vice or Skrew was placed according to the bent or sloping of the Triangle Rectangle ofPythagoras. ThisMachineelevated easily a great quantity of Water, but it could not carry it high.
The FifthMachine, was the PumpLib. 10.Chap. 2.ofCtesibius; it was composed of two Bodies of Pumps, in which the Suckets having drawn the VVater when they were pulled up, they both pressed it violently into a Pipe which was fastned at the bottom of the Body of the Pump when they went down. For the VVater by the Impulsion of the Sucket, was forced to enter into these Pipes, because it could not go out by the Openings by which it entred, because of the Suckets which stopped them, these two Pipes were joyned together in aTambour, which had likewise its Suckets, which hindred the VVater from descending into the Bodies of the Pumps, after it had been pressed into theTambour, orVase, which had another Pipe, through which the VVater was forced as high as they pleased, by Impulsion of the Suckets.
Lib. 10.Chap. 10.All theseMachineswere eithermovedby Strength of Men, or by VVater-Mills, according to the convenience of the place.
Of Water-Mills for Grinding of Corn.
Lib. 10.Chap. 10.WAter-Millswere moved by the help of a great VVheel which had many VVings, which were forced by the Current. The Axle-tree of this great VVheel, traversed another VVheel which had Cogs, which made theLanterneorTrundle-headgo, which was placed Horizontally, which was traversed by a Beam of Iron, which entred through above, into an Iron in form of a VVedge, which helped to fasten the Beam in the Mill-stone,above which was the Mill-Hopper, in form of a Funnel.
Of other Hydraulick Machines.
THERE were many otherMachineswhich moved by the help of the VVater, asHour-Glasses,Organs,Machinesfor Measuring the VVays, and knowing the swiftness or slowness of Sailing.
TheHour-Glassesmarked the Hours by the help of VVater, which passing slowly, a little hole made at the bottom of a Vessel, and falling into another, in elevating it self insensibly in the Vessel which it filled, raised a piece of Cork, which hanging at one of the ends of a Chain wrapped about an Axle-tree, and which had at the other end a little Bag full of Sand, and a little lighter than the Cork: for this Chain turning, the Axle-tree likewise turned a Pin or Hand, which marked the Hours upon a Dial.
Lib. 10.Chap. 12.TheOrgansplayed by help of two Suckets, which were pulled up or let down in the Bodies of the Pump. The Suckets pushed the Air with violence into a Funnel reversed in a Copper Coffer half full of VVater, and pressed the Water, and constrained it to ascend round about within the Coffer, which made that its weight in making it re-enter into the Funnel, pushed the Air into the Pipes, and made them Play, producing the same Effects that the Bellows did.
Lib. 10.Chap. 14.They measured the way that the Ships make by the help of a little Mill, which was fastned to the Ship, and which turned by the resistance that its VVings found in the VVater when the Ship went forward and the Axle-tree of this Mill had a little Rong or Tooth, which every round pushed forwards one of the Teeth of the great VVheel, which turned another, and that another which turned a Pin or Handle, which marked the number of turnings, that the Mill made, by which means it was easie to take an account of the Perches, and Leagues that the Ship sailed.
They made use of the sameMachineon the Land, fixing to the Nave of the VVheel of a Coach, a Tooth which made many VVheels be turned as in the above-mentionedMachine, at the last of which, was fastned a Pin or Handle, which marked the number of Perches and Leagues. ThisMachinehad likewise a sort of a Counting VVheel, which at every Mile that the Coach went, let a Pibble fall into a Vessel of Brass, to give notice that they had gone a Mile.
Of Machines of War.
Lib. 10.Chap. 15.THEMachinesof VVar of the Ancients were of three Sorts, for they were made either to Lance, Arrows, such as were theScorpionsorJavelins, such as were theCatapulta’s, or Stones, such as wereBallista’sor fiery Darts, such as were thePyroboli, or they were made to beat down theVValls, such as were the battering Rams, and theTerebra, or to come covered to the VValls, and so safely Mount the Ramparts, such as were theTortoisesorTestudo’s, and the Towers of VVood.
Lib. 10.Chap. 18.TheScorpionswere a sort of great Crossbows, which were made use of to defend the VValls, and which likewise the Assailants made use of in the wooden Towers, to annoy those that defended the VValls.
TheCatapulta, lanced Javelins or Javelots, from 12 to 15 Foot in length, they were made of two Trees, set one against another, like the Masts of a Ship, which were bended in drawing them with a Hand-Mill. These Trees being on a suddain unbent, furiously struck together, and forced violently the Javelin. They were bent the one after the other by the same Cord, which was made of Guts, to the end, that the Master who managed the Engine, might be assured, that the two Trees or Beams were equally bent. He knew it by sounding the Cord when both the Beamswere bent, and when the End above was drawn even to the Capital of theMachine, where they were stayed by a Pin of Iron, which was driven out by a quick stroke of a Hammer when they unbent it. There was a Cylinder which traversed an excentrical piece, by the help of which they heightned, or let down the End of one of the Beams below, according as the Master of theMachinejudged it necessary, for the augmenting or diminishing their bent, which was known by the sound of the Cord, which was alike in both, when they were equally bent. SeeTable XI.
TheBallista’swere bended and strung as theCatapulta’s, but instead of Javelins, they cast great Stones.
Lib.10.Chap.22.ThePyroboliwereMachines, which lanced or cast Darts, to vvhich vvas fixed combustible Matter, vvhich was kindled vvhen they darted it againstMachinesof VVar or Shipping.
The Ram vvas to beat dovvn Walls and make breaches. It vvas a great Beam headed with Iron; it vvas hung by the middle, and pushed by the Soldieryvvith great violence against the Walls.
TheTerebravvas something like the Ram, being a strong Beam pointed vvith Iron, but it vvas sharp pointed, and it made vvay for the Ram, splitting the Stones.
Lib. 10.Chap. 20.TheTestudoorTortoise, vvere great large and low Towers of Wood, which were rowled upon six or eight Wheels, they were covered with raw Hides to defend them from fire. Their use was to cover them that approached the Walls to undermine them, or beat them with the battering Ram.
The Towers of Wood were made to raise the Assailants as high as the Walls, to chace the Besieged away with Arrows and Scorpions, and to lay Bridges from the Towers to the Wall; they were sometimes Thirty Fathoms high, having Twenty Stages. They were covered, as theTortoiseswith raw Hides; they had each of them a Hundred Men, which were employed as well to move them, as to annoy the Besieged.
The Figures inserted here are those only which are chiefly necessary to the understanding ofVitruvius,that is to say, those which serve for the comprehending the Rules that Architecture gives for Buildings, now in use. The Figures of other things, of whichVitruviustreats, are omitted, it being enough to give One only, to serve as an Example of each kind, viz.one for all Temples, one for all Theatres, and one for all Machines.
This Table contains the seven several sorts of Masonry; A is the first, which was calledReticulatum, because it was like the Mashes of Nets; BB is the second, it’s calledInsertum, that is to say,bound Masonry, because the Stones are one bound within another, every one being bound with four, two below, and two above: CC is the third sort, which was particular to theGreeks; it may be called double binding, for it’s not only of Stones of the same course, but of two courses III. D is the fourth, calledIsodomum, because the Beds or Lays are equal in height. E is the fifth, calledPseudisodomum, because they are of an equal heighth. FF, GG, H is the sixth, calledEmplecton, because it was filled up any way in the middle. FF are the Stones which make the Courses. K is the seventh, which may be calledCompound, because its Courses are of hewn Stone, and the middle filled up with Rubbish; and these Courses are fasten'd together with Cramp-irons.
This Table refers topag.47.
Plate I.
This Table contains the five sorts of Edifices: AA is thePycnostyle; that is to say, where the Pillars are very close, the Intercolumniation being but of one Diameter, and a half of the Column: BB is theSystyle,viz.where the Pillars have two Diameters of Intercolumniation: CC is theDiastyle,viz.where the Pillars are at that distance, that they have for the Intercolumniation three Diameters: DD is theAreostyle, where the Pillars are far asunder. There is no certain Proportion; we have given in this Figure four Diameters of Intercolumniation, it may have more: The fifth sort calledEustyle, is in the third Table.
This Table refers topag.80.
Plate. II.
This Table contains the Plan and Elevation of the fifth sort of Edifices, calledEustyle,viz.where the Pillars are distant one from another by more convenient Proportion: Its Intercolumniations have all two Diameters and a quarter, except the Intercolumniations in the middle of theFacebefore and behind, which have three Diameters.
This plan shews the different parts of the ancient Temples: AA, AA, are the Isles or Wings which arePortico’s, having a rang of Pillars on the one side, and the Wall of the Temple on the other. B is the part called thePronaosor Porch. C is the part calledPosticum,viz.the hinder part of the Temple. D is that Part calledCella, or the Nave or Body of the Temple.
This Table relates top.81,&117.
Plate III.
This Table contains the Plan and perspective Elevation of a Temple, calledHexastyleandPseudodyptere,viz.Which has six Columns in theFaces, before and behind, and which has simplePortico’s, but which are as large as the twoPortico’sof the Temples which have them double. This Plan and this Elevation may serve for other Temples, which as to what concerns the essential parts explained in the precedent Table, are like to this here, as are thePeriptere, theDiptere, and theHypethre, which only differ in the number of Columns, or such-like circumstances.
Plate IV.
This contains the Proportions of theTuscanOrder. AA is the Base of the Column, which has for its height the first Semidiameter of the Column: It’s divided into two equal parts; that below is for the Plinth, marked I; that above, marked K, is for theThorus, and for theCongèorApophygis. BB is the Capital, which height is equal to its Base: It’s divided into three; the first marked L, is for the Gorge, with the Congè and the Astragal; the second, marked M, is for theEchinusorquarter-round; the third, marked N, is for thePlinthusorAbacus, called by the FrenchTallor. C is one of theFacesof theSablierswhich serve instead of an Architrave. EE is the under part of theSabliers, which answers to the Diameter on the top of the Column, marked D. F is a Tenon shaped like a Swallows Tayl, which joyns the twoSablierstogether. G is the little Wall which serves for a Frize. H is the Cornice.
This Table relates topag.93.
Plate V.
This contains the Proportion of theDorickOrder; AB is the top of the Shaft of the Column; this top shews the Plan of the two sorts of Channelling or Fluting, which are particular to theDorickOrder. The one half has Channelling or Fluting that is not hollowed, and make onlyFlat FacesorPans. B is the other half, which has Channelings a little hollowed,viz.one quarter of the Circle: They are formed by the help of a Square C, whose sides are equal to every one of the Pans. D E F is the Capital divided into three equal parts. D is for the Gorge; E is for the Echinus, and for the Anulets or Rings; F is for the Abacus; G is the Architrave; H is the Triglyph; I is the Metop; K is the Demi-metop; L is the Cornice; M are the six pendant Drops which are under the Triglyph; N, O are the Pendant Drops which are in the Platfond of the Cornice.
This relates topag.96.
Plate VI.
This contains the Proportions of theJonickOrder and theAttickBase: A is the Plinth of theAttickBase, which is the third part of the whole Base, of which the upper part is the fourth part of what remains after the Plinth is taken; the inferiour part is half of what remains, and the other half is theScotia. C D is the Plinth of the Jonick Base, which is the third part of the height of the whole Base. E is the Thorus which contains three parts of seven, into which is divided what remains, the other four being for the twoScotia’s, and the two Astragals, which are betwixt the Thorns and the Plinth. F is the Capital, whose Proportion is explained in the eighth Table. G, H, I, K is the Architrave, which has four parts,viz.the Face marked G; the second marked H; the third marked I, and theCymatiumorSimaise, marked K; L is the Frise. M, N, O, P, Q is the Cornice. M is the firstCymatium; N is the Dentil; O is the secondCymatium; P is the Crown with its littleCymatiumorSimaise.
This Table relates topag.101.
Plate VII.
This contains the Proportions of the Ionick Capital, of which only half is seen here: A B is the half of the breadth of the Abacus, which is regulated according to the breadth of the bottom of the Column, of which one half is marked B 18; for the bottom of the Column being divided into 18, 19 are allowed to the Abacus: A C is theRetreatwhich must be made of the Corner A, of the Abacus inwardly, to draw the Line C D, which must regulate theEyeof theVoluteover which it must cross as it passes. To make thisRetreatwe must take one part and a half of twelve, into which is divided the height or thickness, E F, of the whole Capital, which height is equal to half the breadth of the Abacus. This height, marked C D, is divided into nine parts and a half, of which one and a half is given to theAbacus, and four and a half from the Abacus to the middle of theEye, which is traversed by the line G H; the Figures 1, 2, 3, 4, mark the four Centers of the first four quarters of the Volute; the four second quarters, and the four third (for the Volutte has twelve) are taken in the Diagonal 1, 3, and 2, 4. H, I, is the Astragal at the top of the Pillar which answers theEyeof the Volute. K K is the Egg orEchinus; L is the Axis of the Volutes; M M is the ceinture of the lateral part of the Volutes. This relates topag.103.
Plate XIII.
This contains the Proportions of theCorinthianCapital, which makes all the distinction betwixtJonickand theCorinthian Order, all other Members, according toVitruvius, being the same. A is theCorinthianCapital, which has for its height only the Diameter of the bottom of the Column; B is the Capital of the Pantheon, which is higher by a seventh part,viz.the thickness of the Abacus; C D is the height of the Capital divided into seven, of which the Abacus has one, the Voluta’s and Foliages and Stalks two, the Foliage in the Range above two, and that in the Range below two. To have the breadth of the Abacus, we must give to its Diagonal E F the double of its height C D. To have the greatness and just Proportion of its bending H, we must divide the breadth of the Abacus E G into nine parts, and give it one.
At the bottom of this Table is represented the HerbBranbursine, which grows round about the Basket, which is covered with a Tile, from whichVitruviussays the SculptorCallimachustook the first Model of theCorinthianCapital.
This Table relates top.108.
Plate IX.
This contains the Plan and Elevation of the Theatre of theRomans. AA is the Portico which went round the Theatre below. BB are the Entries through which they parted from the Portico’s into theOrchestraC. KDEDK the Pulpitum or Stage; MM the landing-place which separated the Degrees above from those below: LM the Stairs which are between the degrees. NN the Portico above in the Theatre. PP the Passage under the degrees. TT the Stairs by which they mount to the Portico’s above. KIHIK the Scene. H the royal Gate. II the Gates of Strangers. KK the Gates in returning. OOO the Machines used in changing the Scenes. GG the part of the Theatre behind.
This Table relates top.125.
Plate X.
This contains the Explication of the Catapulta, which was a Machine of War used by the Ancients to dart Javelins of an extraordinary bigness. A are the two Beams one against the other, and joyn'd, which after having been drawn, pushed the Javelin with great force when they were unbent. There is one of these Beams, which is represented as being joyned to the Capital of the Machine by an Iron Pin, the other ready to be joyned when the Master of the Machine sounds the Cord with his right Hand, shall have it heightned or let down, the end marked C, as much as is necessary, to give it an equal Bent to the other. This is done by the help of an excentrical piece, which is traversed by a Cylinder, which the Master turns with a Laver, which he holds in his left Hand. D, E E is the Capital of the Catapulta. EE are the holes through which the Rope passeth to draw the Beams. F is the end of one of the Beams represented in great. G is one of the Pins which travers'd a round Eye, by the help of which the Beam is joyned to the Capital. H is the Cylinder which traverses the excentrical piece I. This Plate relates topag.155.
Plate XI.
ABacus, from ἄβαξ; which signifies a square Trencher: In French it’s calledTalloir; it’s that quadrangular Piece commonly accompanied with aCymatium, and serves instead of aDriporCoronato the Capital. It supports the netherFaceof theArchitraveand wholeTrabeation. In theCorinthianand theCompoundOrders, its Corners are called theHorns, the intermediateSweepandCurvature; the Arch, which has commonly aRosecarved in the middle.
AcroteriaorAcroter’sfrom ἀκρόν,Summa pars; they may be properly calledPinnacles, forPinsandBattlementswere made sometimes more towring; but when they stood inRangeswithRailsandBalisters: Upon flat Building they still retained their Name, with this only difference, that such as were placed between theAngularPoints, were stiled theMedian, or middleAcroteria.
Annulets, are little square Parts turned round in theCorinthian Capital, under theQuarter-Round, calledEchinus.
Ante, is a square Pillaster, which the Ancients placed at the corners of the Walls of the Temples.
Amphiprostylefrom αμφὶ,Circa, and στύλος;Columnawas a sort of a Temple which had four Columns in the Front of the Temple, and four in the Face behind.
Architrave, from a Mungril Compound of two Languages, αρχηPrincipalis, andTrabs; it’s the first Member of that which we callEntablature; in Chimnies theArchitraveis themantle; over theJambsof the Doors and Lintels of Windows, it’s called theHyperthron, from the Greek ὑπὲρ,superand θὑρα,JanuaorOstium.
Astragal, from the Greek word αστράγαλος which signifies theVertebræ, or little Joints in the Neck or Heel; hence the French call itTalon, or the Heel itself: It’s a Member ofArchitecturejoyned toBases,Cornices,Architraves,&c.it’s round like a Ring, and therefore it’s called by the ItaliansTondino.
Attiq;signifies after the manner of the City ofAthens. InVitruviusit’s the Name of theBasiswhich the Moderns have given to theDorickPillar. We callAttiq;in our Buildings, a little Order placed upon another much greater; for instead of Pillars, this little Order has commonly nothing but Pillasters of a particular Fashion and Order, which we callAttiq;
Apophyges, videCongé.
BAsilica, from the Greek word ΒασιλεῖςRexor King among the Ancients. It was a great Hall which had two Ranges of Pillars, and had two Isles or Wings, upon which were Galleries: These Halls, which at first were made for the Palaces of Kings, were afterwards turned into Courts of Justice, and after that into Churches; which Form has always been observed.
Ballustreis the lateral part of theJonickCapital. Our Workmen have given it that name, because it somewhat resembles aBalluster.
CHanel, in theIonickCapital, is that part which is under theAbacus, and lies uponEchinusor Egg, and which has itsContoursor Turnings on every side to make the Voluta’s.
Cariatidesare Statues of Women, which serve instead of Pillars.
Cinctureis that part which makes the middle of theBallustreof theIonick Voluta.
Congéin French, in LatinApophyges, from the Greek word αποφυγή because that part of the Pillar taking as it were a rise, seems to emerge and fly from theBasislike theProceltusof a Bone in a mans Leg, In short, it’s no more than theRingsorFerilsheretofore used at the Extremities of wooden Pillars, to preserve them from splitting, afterwards imitated in Stone-work.
Coronais properly that part of the Cornice which the French callLarmerorDrip, because it defends the rest of the Work from Wind and Weather: It is often taken byVitruviusfor all the Cornice.
Corona, called thePlatorflat Crown, is a particular Member in theDorickGate; it’s made by so extraordinary enlargement of theFaceof theCoronaorDrip, that it has six times more Breadth than Projecture. This sort ofCoronais no where found among the Ancients, but only in the Writings ofVitruvius.
Cymatium, from κυμάτον, which signifies a roulingWave; is a Member of Architecture, of which the one half isConvexand the otherConcave, the one being hollow above, and the other below. There are two sorts of them, the one called theGolaorThroats, or theDoucine, whose advanced part isConcave; and the other is called by the French theTalonor Heel, whose advanced part is hollow below, as the first is above.
DIEis the middle of the Pedestals,viz.that which is between theirBasisand theirCornice. It’s so called, because it’s for the most part of a Cubit form, asDie’sare that are used in play.
Dentils, or Teeth, is a Member of theJonickCornice, which is square, and cut out at convenient distances, which gives it the form of a Set or Gang of Teeth.
Diastyle, from διὰ and στύλος:Columnais a sort of Edifice where the Pillars are distanced one from another the breadth of 3 Diameters of the Pillar.
Diptere, from δὶς and πτέρον:Alasignifies that which has a double Isle or Wing; the Ancients called so the Temples, which were surrounded with two Ranges of Pillars, for there twoRangesmade twoPortico’s, which they calledWings, weIsles, from the French wordAiles, which signifiesWings, because as Wings are on the sides of Birds, so these of Edifices.
EChinus, from ἀπὸ τοὺ ἐχίνου, aHedg-hog; it is a Member of Architecture, which we call aQuarter-round; it has its name from the roughness of its Carving, resembling the prickly Rhind of the Chesnut, and not unlike the Hedg-hog; it’s commonly next to theAbacus, and carved with Ovals and Darts, sometimes called Eggs and Anchors, because these pretended Chesnuts are cut in an Oval form.
Entablaturesignifies properly the Flooring or Lofting with Boards; it comes from the Latin wordTabulatum. In Architecture it’s that part which is composed of theArchitrave,Frise, andCornice, for in effect this part is the extream part of the Flooring, which is supported by Pillars, or by a Wall if it have no Pillars.
Eyeis the middle of theJonickVolute, which is cut in the form of a little Rose.
Eurythmie, from εὖbene, and αριθμὸςnumera: it signifies Proportion; it’s taken in its general signification inArchitecture; for in its particular signification it signifies the true measure that is observed in Dancing after Musick.
Eustyle, from εὖbene, and στὺλος aPillar; its the Order where Pillars are rightly placed, the Intercolumniations being two Diameters and a quarter.
FAceis a Member of Architecture, which has a great Breadth and a small Projecture; it’s inArchitraves.
Filetis a little square streight Member.
Fresco, and to paint inFrescoorFreth, is an Italian Phrase, and it signifies the Painting which is made upon the Plaistering before it be dry.
Friseis that part which is between theArchitraveand theCornice.
GNomonickis the Art of making Sun-dials; it’s derived from the Greek γνὼμων, which signifies that which shews a thing, as the Cock or Pin of the Dyal shews what a clock it is.
Gorge, or theGuleorNeck, is the narrowest part of theDorick Capital, which is between theAstragal, above the Shaft of the Pillar and the Annulets.
Gutte, orDrops, are little parts, which to the number of six are put below everyTriglyphin theArchitraveof theDorick Order.
HYdraulick, from the Greek ὕδωρ; which signifies Water, is an Engine that plays by the help of Water, especially where there are Pipes and Flutes.
Hypethre, from ὑπὸσυὸ, and αιθὴρ æther; signifies a Building whose inside is exposed to the Rain and open Air. The Ancients called so all Temples that had no Roof.
Hyperthyron, for ὑπερsuper, and θύραJanua, a Gate or Door: It signifies that which is above the Gate; it’s a large Table, which is upon theDorickGates in the manner of aFrise.
IChnographie, from ἴκνοςvestigium, and γράφαScribo, orInsculpo; which properly signifies the Figure that the Plane of the Foot impresses upon the Earth. By it in Architecture is understood that which is commonly called thePlanof theEdifice.
LAcuner, or Platfond, is theFlooringorPlanchingabove thePortico’s.
Laconicumwas a dry Stove to sweat in: It was so called, because it was much used by theLacedemonians.
LarmierorDrip, videCorona.
MEtope, from μετι and ὁπὴ,foramen,intervallum. Signifies the Front; it’s the Name of the empty spaces inFreezeof theDorick Order, between the Triglyphs.
Modillionsignifies inItaliana little Model, a little Measure: It’s that part which is so often repeated in theCorinthianandCompound Cornice, which supports the Projecture of theLarmierorDrip. This part is called the littleModelin respect of the great Model, which is the Diameter of the Pillar; for as the Proportion of an Edifice depends on theDiameterof thePillar, so the greatness of the Modellians, their number, and their space or distances, must have a just Proportion or true Relation to the whole Fabrick.
ModuleorModelis a measure that is made use of to regulate all the Proportion of theFabrick: In theDorick Orderit’s half theDiameterof the Pillar; in other Orders the Module is the wholeDiameter.
Monoptere, from μόνοςsolus, and πτὲρονala; is that which has but one Wing or Isle; it was a sort of a round Temple, whose Roof was supported by Pillars only.
Mutuli, from μὺτιλος, which signifies defect, as being made thinner, and more abated above than below. It’s a sort of a Modellion in the Cornice of theDorickOrder.
NOyanis the middle part of the Flooring of the Ancients. They made it with Ciment, which they put betwixt a Lay or Bed of Pibbles, cimented with Mortar made of Lime and Sand.
ORchestra, from ὁρχὲομαιsalto; signified the place where they danced; it was the lowest place in the Theatre, which was between thescene,viz.the place where the Players acted, and the Seats where the Spectators sate. It was in this place where the Greek Comedians were wont to dance.
Order, those Fabricks are said to be of different Orders, when the Proportion which is between the thickness of thePillarsand their height, with all other things which are required to this Proportion, are different.
Ornaments,Vitruviusso calls theArchitrave,Frise, andCornice.
Oval, videEchinus.
PArascenium, from παρὰ and σκενὴtentonum, is the back part of the Theatre or Scene.
Periptere, from περὶcircum, and πτὲρονala, which has a Wing round about. This was a sort of a Temple, which had Pillars on all the four Parts, which was different from theProstyle, which had only Pillars before, or In theFront, and from theAmphiprostyle, which had only Pillars before and behind, and none on the sides.
Peristyle, from περὶcircum, and στὺλοςcolumna; signifies that which has Pillars round about: It differs from thePeripterein this, that the Pillars of thePeristyleare within, as it were round about a Court, and those of thePeriptereare without, as in the Temples of the Ancients.
Pedestal, is that part which supports the Pillar.
Pied-droitis a square Pillar, which is in part within the Wall.
Pillasteris the same, with this Difference; that the Pillaster has aBaseand aCapital, as aPillarhath, which thePied-droithas not.
Platt-bandis a square Member, which terminates theArchitraveof theDorick Order, and passes immediately under the Triglyphs.
Plinthussignifies a Brick or square Tile. It’s in Architecture taken for that square Member which makes the Foundation of the Base of the Pillar.
Posticumis the back Gate of a Fabrick.
Porticois a long place covered with a Floor or Flatfond, supported by Pillars.
Proscenium, from πρὸ and σκενινὴtentorium; it signifies the forepart of the Scene; it was an Edifice as high as the last Portico of the Theatre, whose Face or Front was adorned with many Ranges of Pillars.
Prostylefrom πρὸ and στὺλος, signifies that which has Pillars before only. This was one sort of the Temples of the Ancients.
Pseudodiptere, ψευδήςmendax, δὶςbis, and πτὲρονala; signifies afalse Diptere. This was a kind of a Temple among the Ancients, which hadPorticoesround about, which were every one as large as the doublePorticoof theDiptere.
Pseudoperiptere, from ψευδὴςmendax, and περὶ, and πτερὸνala, was a sort of a Temple, where the Side-Pillars were part in the Wall of the inner side of the Temple, which was enlarged sufficiently to enclose within the space which was allowed the Porticoes of the Periptere.
Pulpitwas the place upon which the Comedians acted, which we now call the Stage.
Picnostyle, from πὺκνοςdentus, and στὺλοςcolumna; signifies a Building where the Pillars were very close one to another; so that theIntercolumniationhad but aDiameterand a half of the Pillar.
RUduswas a sort of gross Mortar, which was made use of for smoothing, and equally filling and levelling the Superfices of the Walls, before the fine Plaister was laid on: It was likewise made use of for the secondBedorLayof the Flooring.
SCenesignifies a Tabernacle, Tent, or Pavillion, from the Greek σκενὴ. It was in the Theatre of the Ancients a greatFaceor Front of Building, adjoyned with Pillars and Statues, which had three great Openings, in which were Pictures in Perspective, which represented the Lodgings where the Tragedians and Comedians dwelt.
Sabliereis a piece of Wood as long as a Beam, but not so thick.
Scotia, from σκὸτοςtenebræ,Darkness, is a Member of Architecture, hollowed as a Demi-channel: It’s particularly affected in the Bases where it’s placed, between the Torus and the Astragals; it’s sometimes put under theDrip, in the Cornice of theDorickOrder.
Statumensignifies generally whatsoever is made use of to support any thing in Architecture; it is Mortar mixt with Pibbles, which served for the first Lay or Bed in Flooring.
Systyle, from σὺνcon, and στὺλοςcolumna; signifies building where the Pillars seem to be joyned together, for theIntercolumniationis but of two Diameters of the Pillars.
TOrusis a Member in the Base which is round, in the form of a great Ring; it comes from the Latin wordTorus, which signifies a Bed.
Tringleis a little square Member, which is directly upon everyTriglyph, under the Platt-band of theArchitrave, from whence hang down theGuttæ, or pendant Drops in theDorick Order.
Triglyph, from τρὶςter, and γλὺφοςsculptura; because it’s divided into three parts, and engraved, it is a Member in the Freeze of the Dorick Order, directly upon every Pillar, and in certain spaces in theIntercolumniations.
Tympansignifies a Drum; it’s that part of the bottom of the Frontons which answers the naked of the Freeze; it is triangular, and placed upon the Cornice of the Entablature, and covered over again with two other Cornices which slope a little.
VOlutesignifies wreathed, and turned about fromVolvendo; it’s a part of the Capitals of theIonick,Corinthian, andCompound Orders, which represents the bark of a Tree twisted and turned into a Spiral line.
XYste, from the Greek ζυτος, which signifies scraped; it was the place where the Wrestlers exercised; it was so called because they made their skins be scraped and rubbed smooth, to make the Sweat fall, and to make their Bodies more slippery, that their Adversaries might have the less hold of them when they closed.
Abridgments ofVitruviushave been formerly printed, but none of them have followed the design whichPhilebert de l'Ormehas given in his Third Book: He desires that in abridgingVitruviusthe matters which this Author treats of confusedly should be put into order, and that the things belonging to the same Subject, which are found dispersed in divers places, should be collected together into one Chapter. This Method, which the most part of the eminent Writers have neglected, has been carefully observed in this Treatise, it serving very much to the better apprehending and retaining the things treated of. We have been exact to put in nothing that is not taken out ofVitruvius,to which end theBookandChapterof his Worksareall along quoted in the Margin; nothing being added, but some few lines here and there, to continue the Discourse, and render it more clear: Notwithstanding which precautions, some things may possibly still remain obscure, in which case the Reader must have Recourse to the whole Works ofVitruvius,where he will find all necessary Explanation.
This little Treatise is not only necessary for those who begin the study of Architecture, but will be also of great use to even Masters themselves; for it is not to be doubted, thatVitruviusbeing so great a Master in this Art, his Authority, together with that of all the Ancients, which is included in his Works, must be capable of instructing theApprentices,and confirming the Masters, and thereby establish the good Maxims and certain Rules of Architecture.
This Abridgment having been very well received in French, we have ventured to put it in English, and doubt not but it will be as acceptable to our Nation, who are allowed to be as competent Judges of this Art as any. The Translation is very exact; the Cutts altogether as well, if not better, than in the French; and in the Table of the Explication of the Terms used in Architecture, we have added the Etymology and Derivation of them, which is not in the French.