ADVERTISEMENT
The Figures inserted here are those only which are chiefly necessary to the understanding of Vitruvius, 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 which Vitruvius treats, 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.
THE EXPLICATION Of the First Table
This Table contains the seven several sorts of Masonry; A is the first, which was called Reticulatum, because it was like the Mashes of Nets; BB is the second, it’s called Insertum, 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 the Greeks; 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, called Isodomum, because the Beds or Lays are equal in height. E is the fifth, called Pseudisodomum, because they are of an equal heighth. FF, GG, H is the sixth, called Emplecton, 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 called Compound, 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 to pag. 47.
THE EXPLICATION Of the second Table
This Table contains the five sorts of Edifices: AA is the Pycnostyle; 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 the Systyle, viz. where the Pillars have two Diameters of Intercolumniation: CC is the Diastyle, viz. where the Pillars are at that distance, that they have for the Intercolumniation three Diameters: DD is the Areostyle, 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 called Eustyle, is in the third Table.
This Table refers to pag. 80.
THE EXPLICATION Of the Third Table
This Table contains the Plan and Elevation of the fifth sort of Edifices, called Eustyle, 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 the Face before and behind, which have three Diameters.
This plan shews the different parts of the ancient Temples: AA, AA, are the Isles or Wings which are Portico’s, having a rang of Pillars on the one side, and the Wall of the Temple on the other. B is the part called the Pronaos or Porch. C is the part called Posticum, viz. the hinder part of the Temple. D is that Part called Cella, or the Nave or Body of the Temple.
This Table relates to p. 81, & 117.
THE EXPLICATION Of the Fourth Table
This Table contains the Plan and perspective Elevation of a Temple, called Hexastyle and Pseudodyptere, viz. Which has six Columns in the Faces, before and behind, and which has simple Portico’s, but which are as large as the two Portico’s of 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 the Periptere, the Diptere, and the Hypethre, which only differ in the number of Columns, or such-like circumstances.
THE EXPLICATION Of the Fifth Table
This contains the Proportions of the Tuscan Order. 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 the Thorus, and for the Congè or Apophygis. 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 the Echinus or quarter-round; the third, marked N, is for the Plinthus or Abacus, called by the French Tallor. C is one of the Faces of the Sabliers which serve instead of an Architrave. EE is the under part of the Sabliers, 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 two Sabliers together. G is the little Wall which serves for a Frize. H is the Cornice.
This Table relates to pag. 93.
THE EXPLICATION Of the Sixth Table
This contains the Proportion of the Dorick Order; 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 the Dorick Order. The one half has Channelling or Fluting that is not hollowed, and make only Flat Faces or Pans. 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 to pag. 96.
THE EXPLICATIONOf the Seventh Table
This contains the Proportions of the Jonick Order and the Attick Base: A is the Plinth of the Attick Base, 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 the Scotia. 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 two Scotia’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 the Cymatium or Simaise, marked K; L is the Frise. M, N, O, P, Q is the Cornice. M is the first Cymatium; N is the Dentil; O is the second Cymatium; P is the Crown with its little Cymatium or Simaise.
This Table relates to pag. 101.
THE EXPLICATION Of the Eighth Table
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 the Retreat which must be made of the Corner A, of the Abacus inwardly, to draw the Line C D, which must regulate the Eye of the Volute over which it must cross as it passes. To make this Retreat we 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 the Abacus, and four and a half from the Abacus to the middle of the Eye, 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 the Eye of the Volute. K K is the Egg or Echinus; L is the Axis of the Volutes; M M is the ceinture of the lateral part of the Volutes. This relates to pag. 103.
THE EXPLICATIONOf the Ninth Table
This contains the Proportions of the Corinthian Capital, which makes all the distinction betwixt Jonick and the Corinthian Order, all other Members, according to Vitruvius, being the same. A is the Corinthian Capital, 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 Herb Branbursine, which grows round about the Basket, which is covered with a Tile, from which Vitruvius says the Sculptor Callimachus took the first Model of the Corinthian Capital.
This Table relates to p. 108.
THE EXPLICATIONOf the Tenth Table
This contains the Plan and Elevation of the Theatre of the Romans. AA is the Portico which went round the Theatre below. BB are the Entries through which they parted from the Portico’s into the Orchestra C. 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 to p. 125.
THE EXPLICATIONOf the Eleventh Table
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 to pag. 155.
Explication of the Hardest Terms in Architecture
A
ABacus, from ἄβαξ; which signifies a square Trencher: In French it’s called Talloir; it’s that quadrangular Piece commonly accompanied with a Cymatium, and serves instead of a Drip or Corona to the Capital. It supports the nether Face of the Architrave and whole Trabeation. In the Corinthian and the Compound Orders, its Corners are called the Horns, the intermediate Sweep and Curvature; the Arch, which has commonly a Rose carved in the middle.
Acroteria or Acroter’s from ἀκρόν, Summa pars; they may be properly called Pinnacles, for Pins and Battlements were made sometimes more towring; but when they stood in Ranges with Rails and Balisters: Upon flat Building they still retained their Name, with this only difference, that such as were placed between the Angular Points, were stiled the Median, or middle Acroteria.
Annulets, are little square Parts turned round in the Corinthian Capital, under the Quarter-Round, called Echinus.
Ante, is a square Pillaster, which the Ancients placed at the corners of the Walls of the Temples.
Amphiprostyle from αμφὶ, Circa, and στύλος; Columna was 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, αρχη Principalis, and Trabs; it’s the first Member of that which we call Entablature; in Chimnies the Architrave is the mantle; over the Jambs of the Doors and Lintels of Windows, it’s called the Hyperthron, from the Greek ὑπὲρ, super and θὑρα, Janua or Ostium.
Astragal, from the Greek word αστράγαλος which signifies the Vertebræ, or little Joints in the Neck or Heel; hence the French call it Talon, or the Heel itself: It’s a Member of Architecture joyned to Bases, Cornices, Architraves, &c. it’s round like a Ring, and therefore it’s called by the Italians Tondino.
Attiq; signifies after the manner of the City of Athens. In Vitruvius it’s the Name of the Basis which the Moderns have given to the Dorick Pillar. We call Attiq; 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 call Attiq;
Apophyges, vide Congé.
B
BAsilica, from the Greek word Βασιλεῖς Rex or 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.
Ballustre is the lateral part of the Jonick Capital. Our Workmen have given it that name, because it somewhat resembles a Balluster.
C
CHanel, in the Ionick Capital, is that part which is under the Abacus, and lies upon Echinus or Egg, and which has its Contours or Turnings on every side to make the Voluta’s.
Cariatides are Statues of Women, which serve instead of Pillars.
Cincture is that part which makes the middle of the Ballustre of the Ionick Voluta.
Congé in French, in Latin Apophyges, from the Greek word αποφυγή because that part of the Pillar taking as it were a rise, seems to emerge and fly from the Basis like the Proceltus of a Bone in a mans Leg, In short, it’s no more than the Rings or Ferils heretofore used at the Extremities of wooden Pillars, to preserve them from splitting, afterwards imitated in Stone-work.
Corona is properly that part of the Cornice which the French call Larmer or Drip, because it defends the rest of the Work from Wind and Weather: It is often taken by Vitruvius for all the Cornice.
Corona, called the Plat or flat Crown, is a particular Member in the Dorick Gate; it’s made by so extraordinary enlargement of the Face of the Corona or Drip, that it has six times more Breadth than Projecture. This sort of Corona is no where found among the Ancients, but only in the Writings of Vitruvius.
Cymatium, from κυμάτον, which signifies a rouling Wave; is a Member of Architecture, of which the one half is Convex and the other Concave, the one being hollow above, and the other below. There are two sorts of them, the one called the Gola or Throats, or the Doucine, whose advanced part is Concave; and the other is called by the French the Talon or Heel, whose advanced part is hollow below, as the first is above.
D
DIE is the middle of the Pedestals, viz. that which is between their Basis and their Cornice. It’s so called, because it’s for the most part of a Cubit form, as Die’s are that are used in play.
Dentils, or Teeth, is a Member of the Jonick Cornice, 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: Columna is 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: Ala signifies that which has a double Isle or Wing; the Ancients called so the Temples, which were surrounded with two Ranges of Pillars, for there two Ranges made two Portico’s, which they called Wings, we Isles, from the French word Ailes, which signifies Wings, because as Wings are on the sides of Birds, so these of Edifices.
E
EChinus, from ἀπὸ τοὺ ἐχίνου, a Hedg-hog; it is a Member of Architecture, which we call a Quarter-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 the Abacus, and carved with Ovals and Darts, sometimes called Eggs and Anchors, because these pretended Chesnuts are cut in an Oval form.
Entablature signifies properly the Flooring or Lofting with Boards; it comes from the Latin word Tabulatum. In Architecture it’s that part which is composed of the Architrave, Frise, and Cornice, 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.
Eye is the middle of the Jonick Volute, which is cut in the form of a little Rose.
Eurythmie, from εὖ bene, and αριθμὸς numera: it signifies Proportion; it’s taken in its general signification in Architecture; for in its particular signification it signifies the true measure that is observed in Dancing after Musick.
Eustyle, from εὖ bene, and στὺλος a Pillar; its the Order where Pillars are rightly placed, the Intercolumniations being two Diameters and a quarter.
F
FAce is a Member of Architecture, which has a great Breadth and a small Projecture; it’s in Architraves.
Filet is a little square streight Member.
Fresco, and to paint in Fresco or Freth, is an Italian Phrase, and it signifies the Painting which is made upon the Plaistering before it be dry.
Frise is that part which is between the Architrave and the Cornice.
G
GNomonick is 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 the Gule or Neck, is the narrowest part of the Dorick Capital, which is between the Astragal, above the Shaft of the Pillar and the Annulets.
Gutte, or Drops, are little parts, which to the number of six are put below every Triglyph in the Architrave of the Dorick Order.
H
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 ὑπερ super, and θύρα Janua, a Gate or Door: It signifies that which is above the Gate; it’s a large Table, which is upon the Dorick Gates in the manner of a Frise.
I
IChnographie, from ἴκνος vestigium, and γράφα Scribo, or Insculpo; 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 the Plan of the Edifice.
L
LAcuner, or Platfond, is the Flooring or Planching above the Portico’s.
Laconicum was a dry Stove to sweat in: It was so called, because it was much used by the Lacedemonians.
Larmier or Drip, vide Corona.
M
MEtope, from μετι and ὁπὴ, foramen, intervallum. Signifies the Front; it’s the Name of the empty spaces in Freeze of the Dorick Order, between the Triglyphs.
Modillion signifies in Italian a little Model, a little Measure: It’s that part which is so often repeated in the Corinthian and Compound Cornice, which supports the Projecture of the Larmier or Drip. This part is called the little Model in respect of the great Model, which is the Diameter of the Pillar; for as the Proportion of an Edifice depends on the Diameter of the Pillar, 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.
Module or Model is a measure that is made use of to regulate all the Proportion of the Fabrick: In the Dorick Order it’s half the Diameter of the Pillar; in other Orders the Module is the whole Diameter.
Monoptere, from μόνος solus, and πτὲρον ala; 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 the Dorick Order.
N
NOyan is 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.
O
ORchestra, from ὁρχὲομαι salto; signified the place where they danced; it was the lowest place in the Theatre, which was between the scene, 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 the Pillars and their height, with all other things which are required to this Proportion, are different.
Ornaments, Vitruvius so calls the Architrave, Frise, and Cornice.
Oval, vide Echinus.
P
PArascenium, from παρὰ and σκενὴ tentonum, is the back part of the Theatre or Scene.
Periptere, from περὶ circum, and πτὲρον ala, 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 the Prostyle, which had only Pillars before, or In the Front, and from the Amphiprostyle, which had only Pillars before and behind, and none on the sides.
Peristyle, from περὶ circum, and στὺλος columna; signifies that which has Pillars round about: It differs from the Periptere in this, that the Pillars of the Peristyle are within, as it were round about a Court, and those of the Periptere are without, as in the Temples of the Ancients.
Pedestal, is that part which supports the Pillar.
Pied-droit is a square Pillar, which is in part within the Wall.
Pillaster is the same, with this Difference; that the Pillaster has a Base and a Capital, as a Pillar hath, which the Pied-droit has not.
Platt-band is a square Member, which terminates the Architrave of the Dorick Order, and passes immediately under the Triglyphs.
Plinthus signifies a Brick or square Tile. It’s in Architecture taken for that square Member which makes the Foundation of the Base of the Pillar.
Posticum is the back Gate of a Fabrick.
Portico is a long place covered with a Floor or Flatfond, supported by Pillars.
Proscenium, from πρὸ and σκενινὴ tentorium; 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.
Prostyle from πρὸ and στὺλος, signifies that which has Pillars before only. This was one sort of the Temples of the Ancients.
Pseudodiptere, ψευδής mendax, δὶς bis, and πτὲρον ala; signifies a false Diptere. This was a kind of a Temple among the Ancients, which had Porticoes round about, which were every one as large as the double Portico of the Diptere.
Pseudoperiptere, from ψευδὴς mendax, and περὶ, and πτερὸν ala, 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.
Pulpit was the place upon which the Comedians acted, which we now call the Stage.
Picnostyle, from πὺκνος dentus, and στὺλος columna; signifies a Building where the Pillars were very close one to another; so that the Intercolumniation had but a Diameter and a half of the Pillar.
R
RUdus was 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 second Bed or Lay of the Flooring.
S
SCene signifies a Tabernacle, Tent, or Pavillion, from the Greek σκενὴ. It was in the Theatre of the Ancients a great Face or 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.
Sabliere is a piece of Wood as long as a Beam, but not so thick.
Scotia, from σκὸτος tenebræ, 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 the Drip, in the Cornice of the Dorick Order.
Statumen signifies 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 σὺν con, and στὺλος columna; signifies building where the Pillars seem to be joyned together, for the Intercolumniation is but of two Diameters of the Pillars.
T
TOrus is a Member in the Base which is round, in the form of a great Ring; it comes from the Latin word Torus, which signifies a Bed.
Tringle is a little square Member, which is directly upon every Triglyph, under the Platt-band of the Architrave, from whence hang down the Guttæ, or pendant Drops in the Dorick Order.
Triglyph, from τρὶς ter, and γλὺφος sculptura; 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 the Intercolumniations.
Tympan signifies 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.
V
VOlute signifies wreathed, and turned about from Volvendo; it’s a part of the Capitals of the Ionick, Corinthian, and Compound Orders, which represents the bark of a Tree twisted and turned into a Spiral line.
X
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.