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                  [Illustration: ARCHITECTVRE 1692]


                                 AN
                             ABRIDGMENT
                               OF THE
                            ARCHITECTURE
                                 OF
                              VITRUVIUS.

                              CONTAINING

                     A System of the whole WORKS
                            of that Author.

            Illustrated with divers Copper Plates, curiously
                 engraved; with a Table of Explanation,
                   To which is added in this Edition

                  The Etymology and Derivation of the
                      Terms used in _Architecture_.

           First done in _French_ by Monsr _Perrault_, of the
         Academy of _Paris_, and now _Englished_, with Additions.

           _LONDON_: Printed for _Abel Small_ and _T. Child_,
           at the _Unicorn_ in St. _Paul_'s Church-yard. 1692.



A

TABLE

OF THE

CHAPTERS.


The Introduction.

Article 1. _Of the great merits of_ Vitruvius, _and the
Excellencies of his Works_.                                 Page 1.

  Art. 2. _Of the method of the Works of_ Vitruvius, _with
    short Arguments of every Book_.                              9.

_A division of his whole Works into three parts, whereof 1.
treats of Building, 2. Gnomonical, 3. Mechanical. A second
division into three parts, 1. of Solidity, 2. of
Convenience, and 3. of Beauty. The Arguments of the Ten
Books._ 11, 12, &c.


THE FIRST PART.

Of the Architecture that is common to us
with the Ancients.

  _Chap. I._ Of Architecture in general.

  Art. 1. _Of the Original of Architecture_,                    17.

_The first occasion of Architecture; the Models of the
first_ _Architects_, 19. _The Inventers of the four Orders
of Architecture_, 20.

  Art. 2. _What Architecture is_,                               23.

_Definition of it; an Architect ought to have the knowledge
of eleven things_, viz. _Writing_, _Designing_, _Geometry_,
_Arithmetick_, _History_, 24. _Philosophy, moral and
natural_, 25. _Physick_, _Law_, _Astronomy_, and _Musick_.
26.

  Art. 3. _What the parts of Architecture are_,                 27.

_There are eight parts in Architecture_, viz. 1. _Solidity_,
27. 2. _Convenience_, 3. _Beauty_, 4. _Order_, 5.
_Disposition_, 28. 6. _Proportion_, 7. _Decorum_, 8.
_Oeconomy_, 32.


_Chap._ II. Of the Solidity of Buildings.

  Art. 1. _Of the choice of Materials_,                         33.

Vitruvius _speaks of five sorts of Materials_, 1. _Stone_,
33. 2. _Bricks_, 34. 3. _Wood, whereof divers sorts are
used, as Oak, Fir, Poplar, Alder_, 35. _Pine, Cypress,
Juniper, Cedar, Larch_, 36. _and Olive_; 4. _Lime_; 5. _Sand
and Gravel_, 37. _of which several sorts, Pit, River, and
Pozzalane_, 38.

  Art. 2. _Of the use of Materials_,                            39.

_Of the Preparation of Stone_, 39. _Of Wood_, 40. _Of
Bricks_, 41. _Lime and Sand_, 43.

  Art. 3. _Of the Foundation_,                                  45.

_In Foundations, to take care that the Earth be solid_, 45.
_Of the Masonry_, 46.

  Art. 4. _Of the Walls_,                                       47.

_Six sorts of Masonry_, 48, 49. _Precautions to be used in
binding the Walls, to strengthen them with Wood_, 50. _That
they be exact perpendicular_, 51. _to ease them of their own
weight, by Timber or Arches over doors and windows, and by
Butresses in the earth_, 53.

  Art. 5. _Of Flooring and Ceiling_,                            54.

_Of Flooring upon the Ground_, 54. _between Stories_, 55.
_Open to the Air as Terrass, &c._ 57. _the Roof_, 58.
_Cornice_, 59.

  Art. 6. _Of Plaistering_,                                     59.

_For great Walls, For Fresco_, 60. _for Partitions_, 61.
_For moist places_, 61.


  _Chap. III._ Of the Convenience of Fabricks.

  Art. 1. _Of convenient Scituation_,                           63.

_That a place be convenient, it ought to be fertile,
accessible, in a wholsom Air, not on low Ground or marshy_,
64. _How to know a wholsom Climate_, 65.

  Art. 2. _Of the Form and Scituation of the Building_,         65.

_The Streets and Houses of a City to be the most
advantagiously expos'd in respect to the Heavens and Wind_,
65, 66. _The scituation of each Room to be according to the
use of it; of Dining-rooms, Libraries, Closets, &c._ 67, 68.

  Art. 3. _Of the Dispositions of Fabricks_,                    68.

_The Dispositions of Buildings to be according to the use of
the House, either publick or private; of Merchants Houses;
of Country Houses; Of the several Apartments_, 70. _Of
Lights_, 71.

  Art. 4. _Of the convenient form of Buildings_,                71.

_Of the Walls of Cities; Form of publick places_, 72. _which
were different among the_ Greeks _and_ Romans; _of Stairs
and Halls_, 72.


  _Chap. IV._ Of the Beauty of Buildings.

  Art. 1. _In what the beauty of Buildings consists_,           74.

_Two sorts of beauty in Buildings; 1st, Positive, which
consists in the Symmetry, Materials, and Performance_, 75.
_2d. Arbitrary, which is of two sorts; 1. Prudence, 2.
Regularity; which consist in the proper providing against
Inconveniences, and observing the Laws of Proportion_, 76.
_The beauty is most seen in the proportion of these
principal parts_, viz. _Pillars, Piedments, and
Chambrantes_, 78. _From these things result two other,
Gender and Order_, 79.

  Art. 2. _Of the five Genders, or sorts of Fabricks_,          80.

_The five sorts are Pycnostyle, Systile_, 80. _Diastyle,
Areostyle, Eustyle_, 81. _The Genders to be always agreable
to the Orders of Architecture_, 82.

  Art. 3. _Of the five Orders of Architecture_,                 84.

_The distinction and difference in the several Orders;
consists in the Strength and Ornament_; Vitruvius _speaks
but of three Orders_, 85.

  Art. 4. _Of things that are common to several Orders_,        85.

_There are seven things common to all Orders_, viz. _Steps_,
85. _Pedastals_, 86. _the diminution of Pillars, the
Channelings of Pillars, which is of three sorts_, 89. _the
Piedemont_, 90. _Cornices, and Acroteres_, 93.

  Art. 5. _Of the_ Tuscane _Order_,                             93.

_The_ Tuscane _Order consists in the Proportion of Columns,
in which there are three parts, the Base, the Shaft, and the
Capital_, 94. _Of Chambrantes; and of the Piedement_, 95.

  Art. 6. _Of the_ Dorick _Order_,                              96.

_The_ Dorick _Order consists in the proportion; of the
Columns, which have been different at diverse times, and in
diverse Works_, 96, 97. _The parts of the Column are the
Shaft; the Base which it anciently wanted, but hath since
borrowed from the Attic; the proportion of the Base_, 97.
_and the Captial_, 98. _the Archiatrave, which hath two
parts, the Platbands and the Gouttes_, 98. _the Frise, in_
_which are the Triglyphs and the Metops_, 98. _the
Proportion of them_, 99. _Of the Cornice, its proportion_,
99.

  Art. 7. _Of the_ Ionick _Order_,                             101.

_The preportion of Pillars of this Order_, 101. _The Pillars
set upon the Bases two ways, perpendicular, and not so_,
101. _Proportion of the Base, divided into its parts the
Plinthus, the Thorus, the Scotia upper and lower, with the
Astragals_, 102. _Of the Capital, its proportion and parts_,
103. _Of the Architrave, wherein to be considered, the
proportion it must have to the Pedestals, and to the heighth
of the Column_, 105. _to the breadth at the bottom_, 106.
_and to the jetting of the Cymatium_, 106. _Of the Frise and
Cornice_, 107.

  Art. 8. _Of the_ Corinthian _Order_,                         108.

_This Order different from the_ Ionick _in nothing but in
the Capitals of Pillars, being otherwise composed of the_
Dorick _and_ Ionick; _the proportion of the Capital_, 109.
_in which are to be consider'd its heighth, its breadth at
the bottom, the Leafs, Stalks, the Volutes, and the Roses_,
109. _Of the Ornaments_, 110.

  Art. 9. _Of the Compound Order_,                             110.

_The Compound is not described by_ Vitruvius, _it being a
general Design, and borrows the parts of the Capital (which
is the only distinction it has) from the_ Corinthian,
Ionick, _and_ Dorick _Orders_, 111.


THE SECOND PART,

Containing the Architecture that was particular
to the Ancients.

  _Chap. I._ Of publick Buildings.

  Art. 1. _Of Fortresses_,                                     113.

_In Fortification four things are consider'd; the
disposition of the Ramparts; the Figure of the whole place_,
114. _the building of the Walls; thickness, materials, and
terrass; the figure and disposition of the Towers_, 115,
116.

  Art. 2. _Of Temples_,                                        116.

_Temples divided in the_ Greek _and_ Tuscan _Fashion; of
the_ Greek _some were round, and some square; in the square
Temples of the Greeks three things are to be considered; 1.
the_ Parts, _which are five, the Porch, the Posticum_, 117.
_the Middle, the Portico, and the Gates, which were of three
sorts_, viz. Dorick, 118. Jonick, 120. _and_ Attick, 120.
_2. The_ Proportion, 121. _and 3. The_ Aspect, _in respect
to the Heavens_, 122. _and to its own parts, which were
different in Temples with Pillars, and those without
Pillars; of Temples with Pillars there are eight sorts_,
122, 123, 124. Round Temples _were of two sorts, Monoptere_,
125. _Periptere_, 126. _Temples of the_ Tuscane Fashion,
126. _The Ancients had fourteen sorts of Temples_, 127.

  Art. 3. _Of publick Places, Basilica's, Theatres,
    Gates, Baths, and Academies_,                              127.

_The Fabricks for publick Convenience were of six sorts, I.
Market-places of the_ Greeks _of the_ Romans, 128. _their
Proportions; II. Basilica's, their Proportions, Columns,_
_Galleries, and Chalcediques_, 128. _III. Theatres composed
of three parts; the Steps or Degrees which enclosed the
Orchestra_, 125. _the Scene which had three parts, the
Pulpit, the Proscenium_, 130. _and the Palascenium_, 131.
_And the Walking-places_, 131. _IV. Gates, which were either
natural or artificial, built three ways_, 132. _V. Baths,
consisting of many Chambers, their Description_, 133, 134.
_VI. Academies composed of three parts, the Peristyle_, 134.
_the Xystile_, 135. _and the Stadium_, 136.


_Chap. II._ Of Private Buildings.

  Art. 1. _Of the Courts of Houses_,                           137.

_The Courts of Houses were of five sorts, four whereof were
made with jettings out, or Pent-houses of four sorts. the_
Tuscan, 137. _the_ Corinthian, _the Tetrastyle, the
Vaulted_, 138. _the fifth sort uncoverted_, 138.

  Art. 2. _Of the Vestibulum or Entry_,                        139.

_The proportion of the Vestibulum was taken three ways, for
the length, breadth, and heighth_, 139. _Of the Alley in the
middle_, 140.

  Art. 3. _Of Halls_,                                          140.

_Three sorts of Halls, the_ Corinthian, _the_ AEgyptian, _and
the_ Cyzican, 141.

  Art. 4. _Of the Distribution of the Apartments among
    the Ancients_,                                             142.

_The Distribution of the Apartments different among the_
Greeks _and_ Romans; _what the Difference was_, 141.


  _Chap. III._ Of things that equally appertain to Publick
     and Private Buildings.

  Art. 1. _Of Aqueducts_,                                      143.

_The manner the Ancients used to take the Level exactly_,
143 _The Water was brought by Aqueducts, or by Pipes of
Lead, or Potters Work_, 144.

  Art. 2. _Of Wells and Cisterns_,                             145.

_The Precautions the Ancients used in digging their Wells,
to discover bad Water, and in making their Cisterns_, 145.

  Art. 3. _Of Machines for carrying and lifting up great
    Stones and Burthens_,                                      146.

_Machines for drawing Pillars_, 147. _Architraves_, 147.
_for raising great Weights, three sorts; first, with a
Handmill; second, with a Windlas_, 147. _third, with several
Ropes, to be drawn by Mens Hands_, 148.

  Art. 4. _Of Machines for elevating Waters_,                  149.

_Five sorts; I. The Tympan_, 149. _II. A Wheel with Boxes.
III. A Chain with Buckets. IV. The Vice of Archimedes. V.
The Pomp of_ Cresibius, 151.

  Art. 5. _Of Water-mills for grinding Corn_,                  152.

_The Water-mills of the Ancients were like ours._

  Art. 6. _Of other Hydraulick Machines_,                      153.

_Three sorts of Water-Machines; first, for shewing the
hour_, 153. _Second, Organs_, 154. _Third, for measuring the
Way by Water_, 154. _by Land_, 155.

  Art. 7. _Of Machines of War_,                                155.

_Three kinds; I. To dart Arrows, &c._ 155. _II. To batter
down Walls_, 157. _III. To cover them in their Approaches to
the Walls of the Besieged_, 158.


                                 AN
                             ABRIDGMENT
                               OF THE
                              TEN BOOKS
                               OF THE
                            ARCHITECTURE
                                 OF
                             VITRUVIUS.




THE
INTRODUCTION.


ARTICLE I.

  _Of the great Merits of_ Vitruvius, _and the Excellencies
    of his Works_.


There are so many things in the Works of _Vitruvius_ that do not
directly appertain to Architecture, that one would think they were less
fitted to Instruct those that have a design to learn the Precepts of
this Art, than to perswade the World that the Author was the most
knowing Architect that ever was, and a Person of the greatest Merit: He
had the Honour to serve _Julius Caesar_ and _Augustus_, the two Greatest
and most Magnificent Princes of the World, in an Age when all things
were come to the highest degree of Perfection.

[Sidenote: _Lib. 6. Preface._]

For one may see in reading his Works, which are full of a wonderful
variety of Matters, which he treats of with a singular Erudition, that
this great Man had acquired that Profound Knowledge which is necessary
for his Profession by more excellent Methods, and more capable of
producing something excellent, than the bare exercise and ordinary
practice of a Mechanical Art could possibly do; being compleat in all
the Liberal Arts and Sciences, and his great Wit being accustomed, even
from his Cradle, to understand the most difficult Matters: He had
acquired a certain Facility which meer Artizans have not, of penetrating
the deepest Secrets, and all the difficulties of so vast an Art, as that
of Architecture.

[Sidenote: _Lib. 2. Pref._]

[Sidenote: _Lib. 6. Pref._]

Now as it's true that in the Practice and Exercise of Arts, one does not
always easily distinguish the Abilities of those that work in them. The
great Capacity of _Vitruvius_ before the publishing of his Book, which
he Composed when he was in Years, had not all the Esteem it deserved;
which he complains of in his Preface, and in the Age he lived; though it
was full of the most refined Wits, yet he had the fortune of others, to
find few to defend him from the Surprizes and Attacks of false
Reasoning, and from the injustice that prejudice creates, to those who
apply themselves more to cultivate the Talents they possess, than to
make parade of them.

[Sidenote: _Lib. 2. Pref._]

[Sidenote: _Lib. 6. Pref._]

[Sidenote: _Lib. 3. pref_.]

[Sidenote: _Lib. 3. Pref_.]

[Sidenote: _Lib. 6. Pref_.]

_Vitruvius_ was a Man, who, as to the exteriour, made a small Figure,
and who had not heaped up great Riches by the practice of his
Profession; and having, as it were, buried himself in study, and wholly
given himself over to the Contemplation of Sciences, understood little
of the Arts of the Court, or the Crafty Slights of pushing on his
Fortune and making himself considerable; for though he was bestowed
upon, and recommended to _Augustus_, by the Princess _Octavia_ his
Sister, we cannot find that he was employed in any Works of great
Importance. The Noblest Edifice that we can learn that _Augustus_ caused
to be built, was, the Theatre of _Marcellus_; and this was done by
another Architect: And the only Fabrick we can find he was employed in
was not at _Rome_, but at _Fano_, a very little City; insomuch, that the
greatest part of the Architects of that Age, who had gained the general
Vogue, being so ignorant, that they did not know even (as himself is
forced to declare) the first Principles of their Art: The Quality of a
mere Architect was become so Contemptible, that if his Books had not
carried all the Marks of an extraordinary Knowledge, and rare abilities,
and undeceived the World by taking away the prejudice that his small
employ created him, the Precepts he has left us would have wanted that
Authority that was necessary to support them.

For Architecture being an Art that has scarce any other Rule to walk by,
in performing all those Excellencies her Works are capable of, than what
we call a Good Fancy, which truly distinguishes that which is Beautiful
and Good from that which is not so; it's absolutely necessary that one
be perswaded that the Fancy he follows is better than any other; to the
end, that this Perswasion insinuating it self into them that study this
Art, it may form in them a Correct and Regular Idea, which without this
Perswasion, would be always floating and uncertain; so that to establish
this Good Fancy, it's necessary to have one to whom we give great
deference, and who has merited great Credit by the Learning that is
found in his Writings; and is believed to have had sufficient abilities
of chusing well among all Antiquity, that which is most solid and
capable of founding the Precepts of Architecture.

The Veneration we have for the first Inventers of Arts, is not only
Natural, but it's founded upon Reason; which makes us judge, that he
that had the first Thought, and first invented any Thing, must needs
have had a fitter Genius, and a better Capacity for it, than all those
that afterwards laboured to bring it to its utmost Perfection. The
_Greeks_, who were the Inventers of Architecture, as well as of other
Sciences, having left many Works behind them as well in Building as in
Books, which were looked upon in the time of _Vitruvius_, as the Models
of what was perfect and accomplished in this Art, _Vitruvius_ chiefly
followed and imitated them; and in the Composition of his Book, gathered
from them all that was to be found Excellent and Rare in all their
Works; which makes us believe, that he has omitted nothing that was
necessary, to form the General Idea of Good and Beautiful, since there
is not the least probability that any thing could escape so Rare a Wit,
Illuminated with so many different Lights.

But because at present the Reputation of _Vitruvius_ is so generally
established, that all Ages have placed him in the first Rank of great
Wits, and that there is nothing necessary to recommend the Precepts of
Architecture, but to prove they were drawn out of his Works: We having
here designed to make only an Abridgment of his Works, we thought it
would be necessary to cut off many things that this Famous Author has
drawn out of an infinity of Writers, whose Works are now lost, and only
gives a short Account of the Contents of every Book, in the beginning of
this Abridgment; handling only in this Book, those Things that directly
belong to Architecture; disposing the Matter in a different Method from
that of _Vitruvius_, who often leaves off the Matter he is treating of,
and takes it up again in another place.

The Order we have proposed to our selves in this Abstract, is, That
after having given an Account in few words of what is contained in the
whole Book; we Explain more particularly what we judge may be
serviceable to those that study Architecture. This Treatise is divided
into Two Parts; The First contains the Maxims and Precepts that may be
accommodated to _Modern_ Architecture; the Second contains all that
appertains to the _Ancient_ and _Antique_ Architectures; which, though
often affected, have little that's now made use of, may yet nevertheless
serve to form the Judgment, and regulate the Fancy, and serve for
Examples of things that may be useful.

I make a Distinction between the _Ancient_ Architecture, and the
_Antique_ Architecture, and the _Modern_; for we call that Architecture
_Ancient_ of which _Vitruvius_ has writ, and of which we may as yet see
many Examples in the Fabricks that remain in _Greece_. The Architecture
which we call _Antique_, is that which may be found in the Famous
Edifices, which, since the Time of _Vitruvius_, were built at _Rome_,
_Constantinople_, and many other places. The _Modern_, is that which
being more accommodated to the present use, or for other Reasons, has
changed some of the Dispositions and Proportions which were observed by
the _Ancient_ and _Antique_ Architects.


ART. II.

  _The Method of the Works