An Abridgment of the Architecture of Vitruvius

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.