Of things that equally appertain to Publick and Private Buildings.
ARTICLE I.
Of Aqueducts.
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 made Lib. 8
Chap.6. use of an Instrument called Corobates, 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. by Aqueducts, by Pipes of Lead, and Pipes baked in a Potter’s Furnace. They allowed for the Channels or Sewers of the Aqueducts, 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 of Potter’s-Work, were two Inches thick; they were joyned together with Mortar mixed with Oil, and when they had Conde or Joynt to make, they made use of a red Free Stone which they pierced through, to receive the two Ends of the Pipes.
ART. II.
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 the Wells, 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.
The Cisterns were 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 their Cistern-Water to make it more subtile.
ART. III.
Of Machines for carrying and lifting up great Stones and Burthens.
CTesiphon and his Son Metagenes, Architects of the Temple of Ephesus, invented Machines to carry great Stones, out of which Pillars and Architraves were to be made. That Lib. 10.
Chap.6. which was made to draw the Pillars, was but a sort of a Frame as long as the Pillars, 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, the Pillar it self serving for a Wheel: And this had the desired Effect, because of the disposition of the place through which these Stones were to be drawn, which was a flat and level Country.The other Machine for drawing of Architraves, was the same Frame which had two Wheels at each end, which supported the Architrave; which served instead of an Axle-tree.
Lib. 10.
Chap.2. For the raising of great Weights, they had three sorts of Machines. 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 the Machine, and that which had but one, was fastned to the VVeight to be drawn up.
Lib. 10.
Chap.2. The second Machine was stronger than the first, because the Moulin had more Pullies, and instead of a Moulin or Hand-Mill, it had a great Wheel, whose Axle-tree drew a Rope which passed through these Pullies, and upon the 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. The Moufl’s Crane 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 the Moufle which was at the top of the Machine; they descended down below, each upon one Pully, which vvas but the height of the Men: this Machine quickly povverfully lifted up the greatest VVeights.
ART. IV.
Of Machines for Elevating of Waters.
THESE Machines were of four sorts.
Lib. 10. The first was the Tympan, 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 the Tympan, 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 which were hollowed in each Separation.
The Second Machine, 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 Third Machine was a Chain with Buckets, as the one mounted, the other descended, being drawn by the Axle-tree.
The Fourth Machine was the Vice or Skrew, which is attributed to Archimedes, though Vitruvius makes 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 were pitched 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 the Machine capable of Motion. This Vice or Skrew was placed according to the bent or sloping of the Triangle Rectangle of Pythagoras. This Machine elevated easily a great quantity of Water, but it could not carry it high.
The Fifth Machine, was the Pump Lib. 10.
Chap.2. of Ctesibius; 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 a Tambour, which had likewise its Suckets, which hindred the VVater from descending into the Bodies of the Pumps, after it had been pressed into the Tambour, or Vase, 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 these Machines were either moved by Strength of Men, or by VVater-Mills, according to the convenience of the place.
ART. V.
Of Water-Mills for Grinding of Corn.
Lib. 10.
Chap.10. WAter-Mills were 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 the Lanterne or Trundle-head go, 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.
ART. VI.
Of other Hydraulick Machines.
THERE were many other Machines which moved by the help of the VVater, as Hour-Glasses, Organs, Machines for Measuring the VVays, and knowing the swiftness or slowness of Sailing.
The Hour-Glasses marked 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. The Organs played 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 same Machine on the Land, fixing to the Nave of the VVheel of a Coach, a Tooth which made many VVheels be turned as in the above-mentioned Machine, at the last of which, was fastned a Pin or Handle, which marked the number of Perches and Leagues. This Machine had 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.
ART. VII.
Of Machines of War.
Lib. 10.
Chap.15. THE Machines of VVar of the Ancients were of three Sorts, for they were made either to Lance, Arrows, such as were the Scorpions or Javelins, such as were the Catapulta’s, or Stones, such as were Ballista’s or fiery Darts, such as were the Pyroboli, or they were made to beat down the VValls, such as were the battering Rams, and the Terebra, or to come covered to the VValls, and so safely Mount the Ramparts, such as were the Tortoises or Testudo’s, and the Towers of VVood.
Lib. 10.
Chap.18. The Scorpions were 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.
The Catapulta, 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 Beams were bent, and when the End above was drawn even to the Capital of the Machine, 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 the Machine judged 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. See Table XI.
The Ballista’s were bended and strung as the Catapulta’s, but instead of Javelins, they cast great Stones.
Lib. 10.
Chap. 22. The Pyroboli were Machines, which lanced or cast Darts, to vvhich vvas fixed combustible Matter, vvhich was kindled vvhen they darted it against Machines of 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 Soldiery vvith great violence against the Walls.
The Terebra vvas 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. The Testudo or Tortoise, 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 the Tortoises with raw Hides; they had each of them a Hundred Men, which were employed as well to move them, as to annoy the Besieged.
FINIS.
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.
Plate I.
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.
Plate. II.
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.
Plate III.
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.
Plate IV.
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.
Plate V.
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.
Plate VI.
THE
EXPLICATION
Of 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.
Plate VII.
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.
Plate XIII.
THE
EXPLICATION
Of 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.
Plate IX.
THE
EXPLICATION
Of 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.
Plate X.
THE
EXPLICATION
Of 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.
Plate XI.
Explication of the Hardest Terms in Architecture.
A
A Bacus, from ?a?; 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 ?????, 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 af?, Circa, and st????; 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, a??? 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 ?p??, super and ???a, Janua or Ostium.
Astragal, from the Greek word ast???a??? 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 ?as??e?? 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 ap?f??? 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 ???t??, 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 d?? and st????: Columna is a sort of Edifice where the Pillars are distanced one from another the breadth of 3 Diameters of the Pillar.
Diptere, from d?? and pt????: 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 ?p? t?? ??????, 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 e? bene, and a????? 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 e? bene, and st???? 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 ?????, 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 ?d??; which signifies Water, is an Engine that plays by the help of Water, especially where there are Pipes and Flutes.
Hypethre, from ?p?s??, and a???? 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 ?pe? super, and ???a 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 ????? vestigium, and ???fa 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 et? and ?p?, 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 ???? solus, and pt???? 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 ?t????, 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 ?????a? 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 pa?? and s?e?? tentonum, is the back part of the Theatre or Scene.
Periptere, from pe?? circum, and pt???? 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 pe?? circum, and st???? 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 p?? and s?e???? 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 p?? and st????, signifies that which has Pillars before only. This was one sort of the Temples of the Ancients.
Pseudodiptere, ?e?d?? mendax, d?? bis, and pt???? 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 ?e?d?? mendax, and pe??, and pte??? 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 p????? dentus, and st???? 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 s?e??. 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 s??t?? 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 s?? con, and st???? 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 t??? ter, and ???f?? 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 ??t??, 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.
