There, 
plus 



the more she loves all the beautiful and good arts, she favors them, favors them, favors them. 
he gives them the hand, and the crowds? Manifest proof- 
flijj“ma of this is quefta fua Regia, and famous University , in 
Who has no stink, no noble discipline, who has no noble discipline. 
I fuck the shadow of the valid (fimo Patrocinio , and generofa muni- 
M. V. ficence not fi nanciful, and not floriferous. This 
firmly led us to believe, that M. V. fojfe for 
to please this last effort of the Father, who has been 
fo(Je in vita, no v has no doubt, that at M. V. non V ofi 
ferifse . From those who have the Opera collection, and view is breath 
considered to be of great use, and benefit to all those who 
So did they delight . Certainly from other works of art from- 
the light of the author can judge for himself... 
fia , we perfuse ourselves , that with approval , and applause 
The common shall and shall be received, as the others were received, 
that well mofirano quaV excellent Geometra fojfe the P. Gua- 
and the verfate, and deep into all parts of the 
Mathematics, and in particular Architecture Ci- 
whose expertise they undoubtedly believe, and the 
Royal Chapel of the SantiJ“ma Sindone , and the nofira f amo- 
ago Ask of S. Lorenzo in Turin , and that of S. Anna iti 
Paris, and St. Vincenzio's in Modena, home of the ingenuity - 
fiffimo Author , and many more in many other Cities 
in Italy and outside of Italy. It turns out that having the P. 
Guarini made the office of noble Architect in fervour of this- 
fla Seal Court , a quefia Real Corte , that is V. M. the Art 
fua d' Architecture dedicar convenivafi . In fomma a' Piedi 
of the M. V. Ponghiamo que fi' Opera , f apende que non foli- 
The mind of the Military proper to the great Monarchs, but of the 
Medeftma Civil Architecture still She takes great- 
my pleasure; and I hope that the M. V. fia to welcome you with 
happy in front of the Book , and the ojfequio nofiro profondijfimo , im- 
We pledge at last from God to the Royal fue fue exalted Virtue yes 
Conofeiute , and commended by all, it is in Peace, it is in Peace, it is in 
I war the due remuneration, and at the end the M, V. umi- 
lijfimamente bow. 

By V.S.R.M. 



Umilifs. Divotifs. Ofl�quiofifs. Servidori , c Subjects 
the Regular Chetical Fathers of S. Lorenzo di Torino . 

START- 




A' READER'S NOTICE- 




Ra the Liberal Arts, in which you are busy with 
so much Audio the learned Men , Architecture raflem- 
Well, the one who's boasting over all the others, yes. 
For the great copy of the Volumes, of which it is ar- 
Rich, yes, by the quantity of the Edifizj fontuoli, such as 
raised up in the Recycled Cities , and in the 
Open campaigns, and the most famous Ar- 
chitetti in outlining its defenses, and the most expert Artefici neh" efeguir- 
nor ideas . However, nothing has happened to the Architecture, which is what ac- 
falls to most of the noblest, and most fublime feiences, namely 
that those who have preached to make her appear with all your might... 
perfection, they do not stop to refine what they are, that they have - 
he keeps the most useful, and to declare what is most difficult: Alla 
what does it feel like to want the Father D. Guarino Guarini, ha 
involves the blurred architecture here, in which he does not trustfully do 
appear the beauty of such Art, but more minutely than- 
the way to put in execution what is vague about the Art 
and, as such, with the intention of forming an Architect, the 
is gradually rising from the easiest, and flatest to the most 
Difficult, and fublims, and so do what he must do, what he must do, he is deluded... 
undermining in all that, which must operate: The which Work prevented 
since he could not bring himself to be born, he has lafted 
to us the toil to clean it up, and to gather it in a volume; in which it does not 
We had little to be excited about Mr. Bernardo Vittone Architect Happened- 
of the Infigne Accademia di S. Luca in Rome, which after the 
reported the first Architecture Award in the Concorfo of the year 
1731. With your gentle propenfion he prepossessed your hand: Behold for- 
We are so proud of the praiseworthy term that we are presenting it to the public... 
to meet the genius of all, and in prin- 
in the manner of scholars, which will find in effect a method fa- 
Chile, and tidy, and what bitterness is not seen preffo Antichi, 
give which has the author collected the good, and inferred to your place [ 
by adding new bonnets to it, which makes it easier 
harborer . Which everyone will be able to see by reading The Opera , which 
we prefer to the universal profit, so that the author can be the main one. 
The intent is fulfilled, to which, as far as it was possible to us, it was possible for us to have- 
and attention, and audio, and diligence. 



I 



FACUL- 



FACULTAS REVENDISSIMI PATRIS 



D. ANTINORI NICOLAI 

Prtepoj“ti Gemralis Clericorum Regularium . 

HOc Opus infcriptum Architettura Civile ˆ q. P. D. Guarino Gua- 
rino compofitum , & jujcta affertionem Parrum , quibus id com- 
niii“mus approbatum , ut Typis mandetur , quo ad nos fpe—tat , fa- 
culratem conceuimus. In quorum fidem praefenres Litteras manu pro- 
pria fubicriplimus , & foliro noftro seal f“rmavimus . 
Rome die u. Odobris "735. 

D, NICOLAUS ANTINORI Prtpojitus 

Generalis Clericorum Regularium , 



D. Jo: Francifcus Cagnola C. R. Segr. 




INDEX 



INDEX 

OF TREATIES, AND OF CHAPTERS, 

Which fi contain in that Architecture 
Civil . 

TREATY ONE. Delt Architecture in general . pag. i. 

CHAPTER Ti Parts of Architecture . i 

i. Of the Arts , which fervent to Architecture . 2 

3. Rules of Architecture in general . 2 

4. Infrauding Architecture. , 8 

5. De principles of Geometry . . . 14 

6. About starting the lines , and angles . . 18 

7. Ejfential properties of corners , and lines 22 

8. Of proportions . . . , 2s 

9. The proportions of the lines . . 28 
1 o. Of the proportions of the angles , and of the lines . 3 3 

TREATY TWO. Ichno K raffia. .38 

CHAPTER 1. About the way to level , , - 38 
1 . Some mifure . . . .43 

3 . The way to detect J“t“ ,... , 4? 

4. Of the nature of the Jites, and their proportion. 48 

5. Way to put in defense the phyto already stolen from me s 3 

6. Of the figures, which do the plants of thed“fizj “S 

7. Of the general way of defending plants . 6 2 

8. Of the way of defending a colonnade in the round . r / 
TREATY THREE. High Spelling . 73 

CHAPTER 1. De Principles of High Spelling . . 73 

z . How to bend various curved lines . 7 7 

3. The number of orders, and their definitions . 83 

4. Main parts of the orders and their proportions 8 7 

5. Of the proportions of the Doric orders . . 90 

6. Orders j onici . . , $9 

7. Of the way to form the onyx capitals . . 107 

8 . Of the order Corinth . , . j 1 1 

9 . About the corinthian capitals . . . 120 
1 o. I have orders. , . 124 
1 1 . Missing Frames . . . 129 
there. Of the square columns, pentogole , fej] agone , and Jtmiti 130 
1 } . Over orders , 0 missing . . 133 
1 4. De Frontefpizj . . . , j 3 7 
1 j. There are various ways of raising the facades. . 149 
t6. V arias manners £ adorn the facades . . . 142. 
>7- Winged columns on the facades 14;. 
18. Manner of taming facades with blurred columns 149 
1 9. Of the mefcolance of orders . , 1 < 3 
XO. Of the related orders, and f delts , , is& 

& I. 



z 



ARCHITECTURAL 



now Economic call them , or private , and efercitail in the Civil Factories 
Yes, but for particular citizens. The Ruftica quatra , which is very important for the Cam- 
The building is in Cale di Villa , ofiporre Giardini , and others to those fo- 
improving coffers . The Fifth Aquatic, which travails in the Waters or to con- 
durle , or prevent them , or cross them . The fella Eccl“al“tica , which raises 
Tempj deltinati al Culto Divino . And all those parts of Phonic Architecture 
accompanied by the Machinery, which which which lempre le ferve. 

So ferocious to the military in making machines for voting fools, for tra- 
to open land, to make bridges, to cross rivers, and other many other limestone 
bombs; also in the building industry, and architecture, as indivisible as the building's 
He pays in each of his spheres; he gives them manners, and strengths to lay down 
at work in the Ideas valley, as you will see there in the prolongation of the Book. 

Any of these parts, therea, or Mecanica, or Architecture, 
holds two functions, and occupies them in two ways: one in forming the Ideas, 
or therein defencelessness, which is for me; the other is execution, which is for me- 
of the Arts , of which he is Maeftra , and whose works he directs , and inllruifce; 
because the Architect doesn't make Walls , not Roofs , not Machines , not Sta- 
your own, no Doors, no Locks, no Blocks, no Bricks, but you command all those Ar- 
tefici , which uses the occafione fruitfully; and the work of them addresses fruitfully 
the idea, or defencelessness, that has formed you - 
Arti debb'elTer perito , how much he dances , as Vitruvio Lib. I. Cap. I. says. 
citar. 

The Defense, or Vitruvius Fruitful Idea, has three parts, the first of which is the 
but tell him Ichnograt“a , which is the defectation, and efprelfione in paper of that- 
I, who occupies the Factory, who defends there in the Plan: Spelling, 
o Raised call them the fecund, which is the defrost, and elprell“one in car- 
of the elevation of your face; the Scenography is the third, which is the epithet. 
prellioon of a fruitful Factory that appears to the eye, and fi ha to see 
from a certain point; and all those deformities seek an average - 
creating a sense of defencelessness, requiring that they not folly outlined 
fertile the necessary rules , and proportions , but more propitiously , and of- 
ligneously overshadowed . 

Four prerogatives and qualities perfect the Defense, that is, the lining. 
The Eurythmia, that is to say, the ornament, the Simme- 
the proportions of parts, and the Ditlribution, that is to say, that is to say, that it is not 
not all the parts in your own fig tree, which makes the building comfortable again, 
and aggrandizement to those who enjoy it. 

CHAPTER TWO. 

The Arts, which fervent to Architecture. 

Ono many, and yes various arts, that handmaidens of this- 
The faculty, which Vitruvius Lim˜, as we have seen, that 
Shall be your only prophet, and I command you, and I will command you... 
tell them all. The truth, however, is, that she is madly imp- 
to those who must fervent her, and put her into effect. 
defend, like I. the Lapidaria , which is wounded in stone cutters, and horn- 
ciarle . II. The Statuary, or use it in Figures, or in ifcolpire foliage. 

III. 




T R A C T E C H A P T O E C A P II. 



III. The Figulina , which makes , and bakes bricks . IV. The Art Calcarla for the 
Calcina . V. La Platica , or to make Putties . VI. The Factory Art , a lot 
tiny, how grotesque. VII. Metallica . Vile. La Ferrarla . IX. La 
Painting . X. LArte Piombarla . XI. The Dealbatory Art . Xll. Pailina- 
tory , or quarrywoman , or stones . 

Other fervent, and phono necesary to Architecture accordingly for 
faper to affix the price, and fancy the works done, and those fei, that is: 
I. Practical Arithmetic . II. Altimetry . III. Planimetry . IV. Geo- 
Delia. V. Stereometry . VI. The Law of fervitutibus . 

Of which the first deals with the Rules of Numbers, but less with the 
first , and most important . The fruitful mifurcates the lines; the third mifurcates the surface. 
the fourth divides the Plans; the fifth divides the Bodies, and the fifth divides them; the fourth divides the 
fella decides the quarrels born for occafione of Fabbriche . We will deal with 
first of all of the Architecture, and then of the Arts, which he directs in 
how thickly you are in your direction with regard to the Factories. 

And why does Architecture, as it will, that in any operation of yours. 
uses the mifures, depends on the Geometry, and wants to at least take the first steps. 
You are my elements; therefore it is that in the following chapters we shall put this prince... 
pj of Geometry , which are more necessary, 

CHAPTER THREE. 

cT Rules Architecture in general . 

Architecture , well it depends on Mathematics , no less 
she is a flattering art, which doesn't want to get a point for the reason- 
to defgulate the phenfo : many rules have been laid down in the fever waves. 
your own dictates to me, when you treat them, that you will tell them 
You offered fiano to offend the villa , the cangia , the lafcia , and finally 
contradicts the medelimes; so that it will not be unsuccessful to do that, 
that the Architect has to ofles to the Architect, to see the thick of Architecture, and to see the 
way forward . 

OR S E R V A Z IO N BEFORE, 

Architecture is about comfort before any other, 

This state them, and finally because the Art of Fabrication was born out of the- 
the necelity, and the need was the first, that found it again; so that also 
the most barbaric peoples of America had some Cafe forts where 
To shield them from the insults of the times; therefore the first Icopo of the men in the 
to manufacture , was to come to their bifogno , and to find in the Edifizj them the 
just convenient . Onde Vitruvio Lib. I. Chap. 111. states, that there must have 
from the prudent Architect to the utility; saying , Utilitatis efi ratio, 
amended, & line impeditione ufu locorum difpq/“tio , & ad regiones fui cujufque ge- 
neris afta , & commoda dijlributio . And then fi deduce the following olferva- 
zioni. 




OBSER- 



4 



ARCHITECTURAL 



SECOND OBSERVATION. 

V Architecture not goddesses of / put in such guifa le fue Factories, which fian oppofle 
...and the Perfone. 

This is not the same as before, because it will do against Tufo del Paefe, or Tufo del Paefe, or Tufo del Paefe. 
the Perfone, it won't be comfortable. It would inconvenience the poor. 
Peasants make large Rooms, or in colder Paefi raise them too much 
high, and limy coffin; but Vitruvius says , Et ad regiones fui cujufque generis 
apta , & commoda diflributio . 

OSSER FACTION THREE. 

The Architect must proceed diferetamente . Why fi dee aim at the 
comfort of the manufacturer , fe puts it in such a fpefa , that , or not pof 
makes the defencelessness end, or ending it makes it necessary to impoverish them, and to become 
I beg your pardon, this will certainly not be inconvenient, indeed, it will be a great inconvenience... 
to that, which goddesses enjoy it; waves cryptic medephimus. Lue. Chap. 14. f. i 8. 
says , Quis volens turrim (edificare non ne pri�s fedens computai fumptus , qui necef- 
rii funt fi habeat ad perficiendum , ne pofiquam pofucrit fundamentum , & non potue- 
rit perficere , omnes incipiant illudere ei, dicentes , hic homo cepit edificare, & non 
potuit confumare . 

So it's that, according to Vitruvius in the Prologue of Lih X. in Ephephus. 
there was a Law, which obliged the Architect to finish the public buildings... 
Than of the fire, which more than the fourth part of that, which had det- 
to forward that the Factory will begin; whereupon Vitruvius will defer < that such 
Luffe law also offered in Rome . Vtinam Gods immortal! feciffent , quod 
ea Lex etiam Populo Romano non modo publicis , fed etiam privatis cedifici“s effet con- 
fluite : because in truth I make you some, who with pernicious deception indu- 
I know the people to exceptional fpefeT“ve fuck little fpefa, and ruin the 
families . And yet the Serlio took Palladio back, because he had induced the Si- 
gnori Vicentini to manufacture yes fontuofamente , that not refusing the fpe- 
It makes, which of burps the Edifizj see them folamentedly the principles. But the Archi- 
roof must not so much defy public magnificence as have re- 
I look to the private forces, nor so much in honor in the good deeds, 
as not to damage your partner by putting him in a taxing position... 
gni . Softengo adunque [ do not oil the saying of Urbano Vili, that the say 
As long as it takes to collar a factory, it's more like a good cri- 
Ftiano, who as a good Architect ] who tells the truth about her short ac- 
that the ruin of the excellent fpefa may not fall upon the Architect, who does not 
can water down another concept,1 of the Understood, or of Deception :hours , am- 
bititle for a preliminary ruling on your rejection . 

OBSERVATION FOUR. 

Architecture must also have as its object, and feopo , the purity of the Factories. 

He says ""that the one from the beginning; for he would not return to co 
the way of the Dweller to begin with, let alone that 

not 



T R A C T I T E D. POSTAL CODE. III. 



5 



could not abjure confidently in Cafa , or that after a few years , and gravif 
lime Ipefe , ruining the Cafa , having to build it again . But Vitru- 
vio says , Firm“tatis habha erit ratio , cum fuerit funˆamentorum ad folidum depref- 
fio , & ex quoque materia copiarum fine avarice ˆ“ligens elect. 

In which words 11 has to warn, that the lining of the Building Vi- 
Truvius does not place it in the groves of the walls, because they are not efficient; 
But in the depth of the fundamentals, and in the goodness and election of the but- 
Thereafter, that of the refaction he who perpetuity places folly in the grophletyness of 
walls , vote the borfe , increasing the fpefa , and with the load aggravates piuttofto , 
and weaken, of what the building is rafl˜dizio. 

OBSERVATION FIVE. 

Architecture has as its main purpose beauty and proportions. 

of the parties . 

NAfce that, end from the llefla root of the usefulness of housing, because 
any object or debilitated, or of little grace never reefs dearly, or 
comfortable for those who enjoy it; so that the comfort for the perfect bishop, must ell�re 
aggrieved , and alluring , and yet says Vitruvius Lib. I. Cap. IH parlan- 
do of building . Hec autem fieri debent ut habeatur ratio firm“tatis , utilitatis-, 
yenufiatis , and abballo declares in which confiscates that beauty , saying , cum 
fuerit operis fpecies grata , & elegans &c. and to Lib. VI. Ch. II. null Architect- 
the major care effe debet , nifi uti proportionibus . 

OBSERVATION SIX. 

Architecture can correct old rules, and new ones can invent. 

The beauty of the Factories confiscated in a proportionate and convenient way. 
the Ancients with Vitruvius gave the parts for which the 
certain, and certain rules, of which some are so tenacious, that the toilet 
latum unguem, they start from those, but I judge them deferentially, 
And by what is needed in every other profeifione ftimo , that fi fi nally, and 
correct a few ancient rules, and add a few more; and primiera- 
The experience is bending the difference, because the Roman Antiquities do not 
Vitruvius' rules and the proportions of the Ba- 
rock, or modern anthems, which make up the documents in every symmetry. 
the ancient ones; but as fi can see, and many new proportions, and many 
New ways of doing things, which have been found in the past, and which did not cheer 
the Friends; onde Allledio afl�rifee: Architects . qui veram Arch“tetturam callent 
not omn“n˜ ˆ Vitruvio , fed ex ratione j & attenta obfervationc , optimoque veterum modo 
pendent; and the Chales in your architecture Tom. I. p. 709. afferifee: li- 
cet Antiqui s haud du“ni- multum debeamus , ehm ab i“s , utpot� Magi (iris feientiarum 
principia accepcrimus \ non tamen iis tanquam mancipia ita additti Jumus , ut aliquid 
exeogitandi facultas omnis adimatur . And the more abballo conchiude : Exiflimo tgitun 
ut mediani quamdam viam ineamus , ut aliquid antiquis Architects* concedamus ordinis 
cujufque Symetriam accurate obfervandam , difpofitionem tamen reliquam Architects do- 
of ingenuity reltnquendam . ....

Yes 



6 



ARCHITECTURAL 



You can also try the fl:eflb ; because by mutating men, you confe- 
It is therefore only fair to say, that TArchirettura ordered to their use... 
The idiosyncrasies must be to accomodate the dwelling, that foolishly fecund the 
their new coftumi . 

And unfortunately, that many Arts fi go back to finding, and co 
tells me Cornelius Tacitus 1. 3. Annal. Neque enim omnia apud omnia priore's meitotˆ ; 
nofira quoque cetas multa laudis , & Art“s “m“tanˆa pofler“s tulit . Waves is not from 
ftupirfi , that an art somewhere fi cangj. 

And fi confirms, because Military Architecture and the Arre di guerreggia- 
in the new fire machines, fi is totally changed by the ancient, on- 
de will not only have to give its opinion, but also to the Civil Architecture in which the 
which part will change. 

0 SSERV ION SEVENTH. 

Ver ferbare the due proportions in appearance , t Architecture must leave 
the rules, and the true proportions. 

This proves it: because as the Architecture has as its purpose to please the fenfb; 
And the Phoenician deceives himself, as many times he does, judging an og- 
Straight cast for loft, and other straight cast for pendant, and one large for 
Small, it will make neceflary in that cafo foddisfarlo , and please , so that 
what seems to him to be missing, though not Ila , with more than the 
Duty, the sworn members; onde Vitruvio lib. 6. Ch. 2. 
Symetriarum ratio fuerit , tunc etiam acuminis efl proprium prol�dere ad natu- 
ram loci , ufum , aut. fpeciem uti cum de Symetria J“t detraclum , aut adjettum , id 
videatur effe recl� formatum , J“c ut in afpeilu nihil dej“ˆeretur ; alia cn“m ad manum 
fpecies videtur , alia in excelfo , non eadem in conclufo dt/Jtmilis in aperto , in qui- 
bus magnificent judicii efl opera , quid tandem faciendum J“t . It contributes to that propo- 
Vitruvius Vitruvius varj efempj of the deceptions of the eye, as profective, 
That the females are prominent, when they are flat, oars in the water, which 
...that in order to please the eyes... 
who , fi dee remove , or adjourn to the Symmetries , eflendo what else an og- 
jet appears phono the eye , other appears at the top , other in a chiuib place, 
more in the open . Waves we still see , that the Painters , and the Sculptors do 
the images, and the rough statues from afar, and folly which ones are hewn, 
looking better so imperfect, than totally finished. 

EIGHTH OBSERVATION. 

The architecture must obey the nature of the place, and the mede/ima 
ingeniously arranged. 

QUefta is one of the main intentions, that to have 1' Architect 
to accommodate them at the place; for example: the place is a square, irre- 
and does not understand a square , fe not with great loss of breath ; and me- 
I'd sit him down with an oval, bilogue that the Architect of the 
sign an ovate , that a painting ; so that the phyto will be surrounded by Cale , can be 
to receive the light not from the sulfur, but from the architect, who is a genre, 

e 



TREATED THE CAP. III. 



and difpof“tion of Fabbrica, which receives the light from above, and fifn“li cofe. 
Onde Vitruvio lib. 6. Cap. t. afferifce: Non puto oportere effe dubium , quin 
ad locorum naturai , aut necejjttatei detraSiiones , aut adjcf“ionei proud debeant , hec 
autem etiam ingeniorum acuminibut , not fol�m doctrini! efficiuntur . Will dun- 
that to the fentimenro of Vitruvius to accommodate/! the necessity of the place 
To change the Symmetries with an aggiugnere, or to deduct some part from the giufte 
mifure : so that the Architect dee faper first of all the jufte proportions , steel 
so that it becomes clear how much poffe to take off to sit at the phytocon- 
Certainly 5 and yet fiegue, and conchiude : Igitur fiatuenda efi prim�m ratio Simetria- 
rum, ˆ qua fumatur J“ne dubitatione switch. 

POINT NINTH. 

Le Simmetrie ˆelt Architettura poffbno fenza /concert tra loro effere varie. 

You try it; because there is no science, no obvious fever, that does not have 
not folly various, but more contrary opinions, and also in but- 
serious therapies of Faith, of coftumi, and of intereffe; so that as much as he can 
Architecture, which is not happy, not to be liked, but not to be liked at all. 
nor any other reason governs it, nor the aggrandizement of a reasonable 
judgment, and a judgment eye? This is what we are proposing. 
ingenuity, and famous modern architects, as we see - 
mo in the Roman Antiquities, which vary - from 'fentimenti di Vitruvius . Yes 
can also be used in the Gothic architecture, which was supposed to be 
{y:i}And yet it's not a point {y:i}in this day and age {y:i}today, on the contrary. 
derifa , though those truly ingenious men have in effacient erect 
Factories so artificial, that he who with his eye will confide in it, fever will not 
so that the symmetry of the symmetry does not make us wonder, and de- 
gne of much praise . 

0 SSERV ACTION TENTH. 

Architecture should not be so much a fire, as a profspective. 

The profective, as long as it deceives the eye, and makes the surface appear 
of the body, he obtains your end, and he confiscates what he intends; so that 
even in a fregolara Architecture can confiscate with all praise your end. 
Architecture, however, cannot confiscate your end of pleasure to the eye, 
not with real symmetries, making this the last of your Purpose, not with real symmetries. 
gnaw at the eye . The Profpettiva dapoi has nothing to do with folidity, 
and firmness of the opra, but folly to delight the eye. Architecture 
but dangles at the lining of the work, so that it cannot freely do as much as 
the Profpective invent them. 

I'D LIKE YOU TO SERVE UNCLE ECIMA. 

It should not t Architecture look for defpendiofi, and remote materials . 

Since you have to do everything with lesser glue, you don't have to do it for- 
so much to use these materials, that I don't make any effect in the Paefe, I don't pon- 
ilo 



OF ARCHITECTURE. 



no confeguirfi , fe non con graviffima fpefa; onde Vitruvio lib. i. cap. i. 
Prim�m Architettus ea non quceret , qute non po erunt inventions , aut parari , nifi ma- 
gno prgtio ; namque non in omnibus locis arena fojf“c“e , nec cimentorum , nec Abiet“s , 
nec fapinorum , me marmoris copia efl , utendum autem efl arena fluviatica , aut ma- 
rina , Iota , ubi non efl arena foj]ia , inopia quoque Abietis , aut fapinorum vitabun- 
tur, "tendo Cupreffo , Popu lo , U/w" Pinu. You must then 1 Architect contain- 
The materials, which are found in the paefe, maifimamente , that the mate- 
The factory is not so beautiful as the beautiful difpofition. 

CHAPTER FOUR, 

DegV Architecture failures . 

The instruments, of which fi ferve f Architecture for fe only; 
as he directs the Arts in a few shapes, I'm a few, why not 
I am, but not those who are fervent to defend, and represent 
^jOKm msm fret your ideas fulla paper; quefti make the Calamajo , and in- 
chioftro , the pen well tempered , the fiile , or i“a pulls lines , the pencilcilatojo, 
or what you might call the pencil, the penknife, the penknife, the runner... 
the Riga, the Riga, the Squad, and various colors with Arabic Rubber, 
around which fi ponno give varj warnings to have them perfect . 

OBSERVATION FIRST. 

To make (Perfect nail, and confirm it. 

PRendanfi three ounces of Galla , which fia and petite , and serious , and cref- 
Pa, and fi pefti groffamente , of then fi pefti will infufione in three , or 
four pounds of wine, or clear rainwater for four days in the sun; 
After that, they'll infuse him with two ounces of Virriuolo Romano's well-collected... 
rite , and clear , and pefto well fioralmente , returning all the maffa with a 
fig whiskers, and belnuovo fi lafcierˆ in the sun for one, or two days. 
Finally fe will give him an ounce of gum arabic, which is clear, and 
luftra , and well pefta with some apple grenades to make it more lu- 
and beautiful, and lafciato even one day, the whole fi will fi cul for a rag 
of linen affai riffa, and will confer them in a glass vafo. 

The Calamajo must be made of glass, or baked earth, or lead, or ma- 
...of which the nail-biter is not the one. The Bambagia will make, or flock of fera floffe 
or feta of old black socks, which is much better; fe will make too much 
fluid , fe will add Arabic Eraser , fe will make him too tenacious , infon- 
will give water ftilled with fava bean corks, or decoction well cast with fava bean corks, or decoction well cast with fava bean corks. 
apple grenades , warning the infuser not to collect the vafo , so that 
pure fairy tale, and scum. 

SECOND OBSERVATION. 

Of the way to temper the Pen . 

The pens must be either Old Crow or Goose or Aqui- 
the , and hard , and luftre , and fe di Oca piuttofto petioles , that groffe 

fi 




T R A C T I T E D. C A P. IV. 



9 



fi have to choose , they must not always spring Ilare , because I become- 
not too tender, not too much to the scum, because the scum's traits are rotten, 
And fmorti, and the cut must be phonile, and petiole, so that the features of the lines 
kind; whereupon the sharpener will fervent with a good sharpener, and sharp at the tip. 

OBSERVATION THREE. 

Of the Style , or Thyrine , and of the Pencil House , or pencil pen . 

You have to use the soft iron lines, and with the bowline cut off, and well bru- 
for you to pull the fuckin' lines. The pencils must be plumbed, 
to be able to erase them with the bread frefeo ; said in Latin Galena Molybdena , hei is 
fertile Pliny lib. 34. ch. 18. and fecund the Cei“s lib. j. chap. 5. fec. j. 
page 158. an imperfect mine of lead and silver. The final one. 
It will be hard, but it is not full of groups, and too much aphrodisiac, so it is not possible to 
cordials, which easily fi fi sharpen chickens, and that you do not take off them. The la- 
black pis is a certain black stone fort, which is nafee in France; and it's trop- 
And he uses fulle stones; like also the crucible, that is to say, the pieces 
of gold, which use the goldsmiths to melt gold, and fervently over the pious 
three , and woods , as well as Noccivola coal , or limile to qneito , 
as long as it's sweet, but but in the absence of the pencil plummet. The Pen do- 
vrˆ effere brass , but read , concave , and open , in cut from two sides 
The chickens put in the pencil with two rings, which fetch it; since it intrude 
for the pencils effenium fella somewhat dilated, so that the rings there conducted there are 
jftringe . 

OBSERVATION FOUR. 

About the goodness of the Riga , the Compajfo , and the Teams . 

The Clavio at the defin. 4. lib. 1 . of the Elements infers the manner of pro- 
You have to go with the Rows, you have to go straight, you have to go straight, you have to go straight, you have to go with the Ri- 
A line, and then you fi nish it, and the part, which touches the paper, is turned around, and 
And the other, which was higher, and the other, which was lower, became lower, and put it back 
I appreciate to the medef“ma line as before, and to the oppofta part fi will throw a 
Another line; and the lecherous feather walks over the first one, it will make a good line. 
niilima ; it will have to be made of wood , brass or bronze , im- 
{papering that paper, and {popra efla,}and hardly holding them 
firm; fia therefore of some hardwoods , such as Pero , Ebony , Verzino , 
or Braille wood , Rowan , Funny , or some other to those limile , that fia 
hard, and have the veins dilate, and kind to pull them at a per- 
slice straight . 

The Compaffo will have the tips of slate , and that open , with equal strength, 
and equally equal movement, neither too hard nor too soft, 
but with equal refilement easily yields to the hand. Does not dance one 
Of course, but forvi neceffarj others, and petioles, and large, and of those which 
have a tip with a flickering glue, which ends in a tip-like appearance 
of pen, or as the crena-tip glue, and this must be ephemeral to ifcribe, 
as the Tyrgyztan, and others, who have the pen to give you the pencil to 
a fommity , so that they can pull the dead circles, or fail them, for po- 
there terii 



ARCHITECTURAL 



then erase them; the tips must be sharp, yes, but strong and equal, 
and that they don't cut the card. 

About the Teams will make wooden etiandio , and well hard , and the way 
to make you fi fi will declare abhorrence , where we will discuss how to put a line 
in ifquadro with another , 

WATCH 2 OR 5. 

Of the black, which ferves to shade the defenses. 

It's Necephyarius to give some relief to the defense moftrare its parts, 
which must be either prominent or concave to shade it. 
Waves to that will be able to lighte 1 tempered smoke black in the water with a p o 
of Gomma Arabica . Some add a little Indico, or Tor- 
and I think it's even better than China's nail-biter. 
fia altered . The Brushes will make fucking Armenian Sorghum hair, or 
of Vajo, as others say, who also sell from Speziali, or Droghieri. 

OBSERVATION SIX. 

How should Colors, such as fon proprj for paper, be made. 

When it is necessary to defend some work of colored marble, 
or as such , in which it is appropriate to apply the colours, or for the sake of greater dif- 
and efprelllone of the Orthographies, it is necessary to conofcere the colours pro 
prj for the Charter, who generally want transparent bishops. Therefore those 
...they'll be there at the propofito . 

Yellow hair. Saffron , or else Crocus , or Gutta gum , or 
Yellow gualche ellratto da fiori . 

Pel Rollo . Grain lacquer, or lacquer of Verzino, Cinnabro, and Minio . 
Pel Verde . Gigi's sauce] pavonazzi , or Ruta , or Verderame , 
which, so that the chickens to use, you have to llemperare in fortiifimo vinegar. 

There is nothing else but Lapis lazy turkish, that outrageous of Lapis lazy, 
That it may be sweet, and fi llend; they will make it so, that I was a little weak, and I was a little wall, 
not to be an exhiliator, nor defensible, is not propitious for the Charter. 

The Pavonazzo , and Violato , who pulls to the Blue , the Indico , and the al- 
tro , which has more of the Rollo , the Tornafole , and is clearer , and beautiful. 

SEVENTH OBSERVATION. 

Way to get the Colors from Diverft Flowers, and Herbs. 

From these flowers, and that herb fi can extract the dye from them, which dye the 
cards, or the white patches, and make the flowers of Genifta, which are yellow; 
the Rolling Poppies , the Amaranths , or Violas , or Partridge to make the roll˜ ; and 
for the green mauve, and Pimpinella. 

First therefore he makes there a lifeblood of the glass, and calcines alive, like 
fi makes the ordinary lifcium of ashes, and after it will be poured, and clarifies- 
to, put the flowers in elves, and the herbs, from which the colour is to be extracted, 
And let a lentifimo fire pretend, that the lifcium has contracted 
The coJore ; which fi will manifest , f and the flowers , and the herbs efract from the said lifcium 

fi 



TREATY I. CHAPTER I. IV. 



fi will see fcolored, and then take off the flowers, fi make the water boil with 
Rocca's alum as much as it can difciorfi in the water, and when 
will dissolve the lifcium into pure water within a vafo world, and pure, 
And then the colour descending to the bottom of the floor, and then deliriously fi verfi 
the water , not the color , and with other water fi fparga , and lafciato , that the color 
go to the bottom, again, and this many times until the water, which fi ver. 
It makes, it doesn't make, it doesn't make, and then the color will make, it will make Ma- 
iolica , or white boards fi will do in the shade; fi can also do with lifcio 
of lime thickly, as it infects Antonio Peri lib. 7. ch. 10 5. 

In another way to make the leaves green, let them take Gigli Pavonazzi from the leaves 
more colorful , and blue , and hair with a little bit of Calcina viva , fi fprema 
the escape; others put Allume di Rocca there, then fi fi nally, and left to go 
alum , or Calcina , fi shes in vafi , where fi fparge , ac- 
that is to say, you can easily afish chicken, and fertilize it in the shade. 

In order to make blue fi will use the flee of berries of mortella in the drip 
So fi can make any other escape, or flower. 

0 S SER VAZ ION 8TH. 

How do they get the colors out of the Roots , 0 Woods . 

P Make to make rollo roots of Robbia , or grain of Kermes , or wood of 
Brafile called Verzino one ounce, and so many woods, or reduced to powder 
like Kermes , or in phonile pieces ifimi , like Robbia , and Verzino, 
The first cooking of the brandy, in which the breath of the first cooking, is defeated by a lib- 
bra d'Allume in infuf“one for four days, then over slow fire fi cuoca 
at will, and when it will make longer cooking, will make the color 
More load , and more ofcuro , and then fi coli for a cloth, as long as it is 1'. 
water in a clear quafca quafi, and what remains, is very lively roflb, the qua- 
will make them in the shade over white wooden planks, or in plates of but... 
Plica, eh is much better. 

0 S S E R V A T I O N N E NO NA. 

Way to Make Color Incarnate . 

You take the flowers of Carthamo , or Saracen Saffron , which produces - 
there the long, toothed fronds around , afpre, and fpinofe , the roller al- 
to a foot with a capital in the mouth the size of an olive berry, 
And the Saffron blossoms, and the white feme, and the flowers, and the flowers, and the flowers in 
a grolla canvas face, they wash very well, so that the water is clear; 
Then they put in a basin the flowers folamente , mefcolando with effi ash 
of Soda Ounces two for every pound, and fi lf you repo'd it for an hour, then put it away. 
all in the bow you will throw you over lukewarm water, which will be colorful, 
which you'll have mulled over and over and over again, which you'll make a well-painted fia, and al- 
lora lafcierai, that goes to the bottom the color, and verfata the water will have color in- 
meaty, that to make it more lively {tempererai with vinegar trimmed, 



OBSER- 



1 1 



ARCHITECTURAL 



TENTH OBSERVATION. 

Manner of making bright green to undermine . 

YES take Powdered linen verdigris , Litargirio d'oro , Live silver and 
of one, and of the other equal parts, and grind it all up with fan urine - 
Thereupon he covers the Porphyry for twenty days; he digs them out, and dumps them again, which does 
green belliiiimo to undermine . 

It is done more easily with purify, and wash the Verderame. It is pren- 
de aceto fortiifimo , and chiariflimo , and infondefi in the Verderame , and fi efpo- 
Into the Sun, and draweth from the Verderame the colour; and therefore when thou seest well 
Green, fi gathers in another vafo, and fi lafcia afciugare in the shade, and this 
And more, and more times, as long as it refuses the well-coloured vinegar, and so the first one 
not so perfectly riufcifle time; but vinegar is not of pure wine, 
and very strong, not so good. 

OBSERVE UNCLE 11. 

Way to give liveliness to Colors . 

This is done with the clear lemon leakage, and poured, or even 
Of orange trees, or with vinegar diftillate, and with the light lifcium, and fpezial- 
because the colours in the liquors are more colourful than in the spirits. 
and fiery lighthouses, this can do with infusing you with the Pumpkins. 
ro Candito , or Soap . The water still, where the Alum is infused with breath. 
of Rocca makes the Colors brighter and more vivid. 

This is also achieved in those Colors, which are not made of herbs, and flowers; 
but who have peeled them, and go down with wash them, and fi ago to that way. 
Let the Cinnabar, for example, put it in the common water, and melt them, and 
And let it be clouded, and let it fall to the bottom, and let it be totally refounded 1'. 
water , slowly slowly fi nishes , so that it doesn't affect the Cinnabar , and so fi ne. 
Who more times, who will be more vivacious, and more pure; but the Porporine 
fi washes with lifcium . 

The Tornafole makes it more lively, and it makes it light-blue and in-between the 
fufione in the urine for one night, and grind it with her, and with a little of 
Calcina . 

OBSERVATION A UODECIMA. 

To make Colors from Minerals. 
With Minerals fi makes Cinnabar, Blue, and White. 

PEr Cinnabro fi take equal parts, and live silver, and sulfur ver. 
all in a varnished pi–ata, and well luttered outside, against- 
I tend that it is open to cover the burning coals as long as the Turkish smoke is smoking. 
no , or yellow , and when he's finished , fi dee cover the pi–ata with the lid 
of the earth, and make more fire until it is done. 

To make the blue, fi makes it in the hay way; but they take them two ounces of 
bright silver , of Sai harmony one ounce , and lead another ounce , and fi met- 



TREATED CAP VI. 



you to the fire in the fteflb way, evaporated the smoke will make spelt. 

You may as well to make the blue take an ounce of live silver, 
of Sulphur ounces three , of Sai harmony ounces four , and do as of fopra 
was dimoftrato . 

To make it white, take some well chopped Litargirio, and put it in a little bit. 
painted, and soaked with vinegar, that it makes four fingers, and little d* 
Then you will see the colour of milk; then in a vaio you will see the vinegar, and 
infuse again, and this many times until the vinegar more does not color them; in- 
To vote it in another vafo, and all that vinegar from different infusions collected 
place it in a vafo trustworthy vafo, and let it repound until the white matter 
drop to the bottom, which will benefit the cold water fparfavi fopra , and then get- 
tata all the water, and vinegar, lafcierai lick the white matter in the shade, 
that will make a perfect white, and impalpable. So Antonio Neri de 
Vitrarious Art; but as for the Blue is not reufcito to me, that flabel- 
Me, it's lively. 

I'M GOING TO OBSERVE. 

Herbs , Flowers , and Woods , which produce Colors , 

The yellow color, and gold fi cava from the Ginefta, and your flowers. From the Zaf- 
Feran, that is Crocus, which pofto in the water fubito colors it; from the flower 
of Mauve , and of Nafturtium , which yellow ; from Gutgomma , which comes from the In- 
from the root known as Curcuma, which also comes from the Indies, which in 
fufa makes it yellow, and otherwise it is called Cyperus, as Mattiolo wants. 
Lib. i . Chap. 4. 

The Color roflb fi cava from 'Aramauto , eh' is a flower of vivacity 
rofl˜ , from the Balauftio , or pomegranate flower , from the leaves of the Hypericum , or 
Choruses , or Perforated , from the Andronfeno , Afciro , and Bieta , all of which are 
Herbs, which have rolfe leaves, and give a bloody fugue, and rofato, 
fe fi fi breams from their foliage. 

The seeds also of Kermes , which come from outside ; The wood of 
Verzino , or sandalwood roffo damage. 

The leaves of Peony flowers, the black Cerafe, the fruits of Sambucco, and 
It's berries, the poppies, the poppies, which are neither fuel nor fructiferous, and roil. 
as they mature, they send a fogo rollo , which tends to the Pavonazzo . 

The Seeds of Brionia , 0 White vine , of which Mattiolo Cap; 
183, Lib 4. 

And the Rufco, which refers to Diofcoride Lib. 4. Cap. 148. make co- 
their roiTo . 

But mainly the roots of Robbia , or Eritrodamo , of which we reason- 
3. Chap. 154. communi“ma in Italy, of which j Tin- 
bulls make their colors rolls. 

The blue fi cava gives flowers of Cicorea felvaggia , which make flowers Tur- 
between the wheat of June and July, and other sayings of 
Cyan, which from a button fi fpargono in five chopped turquoise leaves. 
as the Carnation; it is also from the Heliotrope, of which Diophorides speaks 
Lib. 4. Capt. "sz. whose leaves are green, first they turn green, and then ce- 
ruleo , 



14 



ARCHITECTURAL 



ruleo , which brings them to the rofl˜ , like the colour called Tornafole ; it also makes ce- 
ruleo , or turquoise the Verbafco , or Blattaria , which has the turquoise flower, of which 
this is Madman Chapter 106. Lib. 4.; and finally the Ifacid, or Glaphthus do- 
mephtic , and the washing , of which fi makes the Turkish Indico ofcuro ; the lleflb 
makes the lug of Snuggles of mortelle, and the last skin of the black fig. The 
Enamel also {tempered with fig milk fi makes conductive, and can them 
ftendere . 

The green leaves of the peacock lilies, and of Acanthus, and 
of Nigella , and of Melanzio , or Giotone , who was born among the wheat , made them 
Rue them, and what every grass, whose fugue dyes the Cards. 

CHAPTER FIVE. 

Principles of Geometry necejjarj to architecture. 

Boasting of entering to deal with the Architecture is meftiere elporre 
that Geometrical Princes, who are necessary to the fertility of the 
medephyme , and those of three strong phonos; the first fempiic phonos 
prinj , which we will explain in that Chapter ; the fruitful phono 
some conclul“ons, and propol“zioni about the Lines, Angles, and Figures 
neceflarj to its operations -, third parties are equally proportioned, and conclu- 
but about the proportions, or thereabouts, of the Angles- 
or Lines , or Figures . 

BONY FACTION FIRST. 

$ pour out the Mathematical Definitions about the Corners, and the Lynxes. 

1. 1~"VF,first . The point is that, which has no parts -, because it is conceived - 
xtm, 1. I -/ pifi ce from the intellect with inadequate, and imperfect concept, 
as the last term of a Line , and yet it must have no parts , because 
The more he would not do the last, the more he would already include for example two parts, of the- 
which one would do the last, and the other the penultimate, so as not to do any more... 
be the last term . But fe fe there concepifee perfectly, and as a quantity of- 
ve to have parts, effecting this effective property of the quantity. 

Fertile Detinition . The Line is a length, which has no width , ni: 
depth . That definition fi must mean in the lleflo way as, and 
that it has neither width nor depth; because as for that it is 
last end of the surface . 

Third definition . The surface is a width, and length of the surface is deep. 
because in the ilefio way he conceived them as the last term of the Body, 
which has all three dimenfioni , length , width , and depth . 
Yes. Definition fourth . Straight line is the line, which also lies between your ter- 

mini, that is, that it does not curve them, neither to one side, nor to the other, but from a pun- 
To fi brings by the way more brieve verfo the other, neither occupies more Jpazio verfo 
any part of the stitches. 

. IDefinition five. Flat surface is the one, which when tapping from a li- 
nea to the other, who make your own terms, does not occupy more space than the lleiTs. 
lines. That definition means that a flat surface is that one, the one, the 

qua- 




T K A T A T A T O I. ZIP CODE. V. 



which one, if a straight line for example, can be drawn, in any place, which is so pale, 
all the touch, and fovra la medefima ftendai“ . nm. s . 

Definition fella . Straight plane angle is an inclination of two 
straight lines between them, which touch at one point. It's true that they fi nally F *"- 
touch two lines in a straight line, but then they become one line folamente, 
Therefore, to make an angle, that the one inclines towards the other, and for- 
This in the Corner fi ponno trust two reasons; the inclination of the li- 
nee , and the tpazio , who between them closes them. The definition is understood as the 
inclination, and not of the fpazio , which here is not defined, and is like 
Corner A. B. C. of the Fruitful Figure Other before . 

Settima definition . Right Angle is when a line is not indi- rig 
nafi more on one side than the other, and call them that line perpen- 
dictate; as in figure three the C. D. is the line A. B. which 
does not hang verfo A. nor does it hang verfo Bi 

Eighth definition . Acute angle is that, eh is less than the ret- rig ^ 
to , as the octuple angle is that , eh' is greater , so 1' Angle 
B. D. H. of Figure Four is acute for minor eflere as to the 
ipatius , which includes Right Angle A. D. C, and the octuple angle A.D.H. 
eh' is greater than the rectum . 

Definition ninth . Paralell lines are those, which as far as fi 
elongate, will never touch, as in Figure five of the li- ""-i. 
nee A. B. and C. D. The straight phono lines make up the figures ret- 
tilinee , which are the same, make the equilateral figures, and are like- 
take equal angles, equiangole. 

I WATCHED THE SECOND ONE. 

About Surface Definitions , and Straight Figures . 

D Efinition first . Square fi says that, which has equal sides, 
and Right Angles , so Figure fella C. A. D. B. is square , ""? "- 
because he burps right angles A B, C, D. , and the equal sides , like 
C D, to A B , and those to D B. and C A. , and the line drawn from an Angle 
to the other, as from C. to B. there says diagonal. 

Fruitful definition . Paralellogram , or Quadrangle , is a Fi- 
gura , which has equal sides opposing them, and right angles as Figure F ' c ' 7 '. 
Slot A. C. D. B. ...which has right angles, like A. C. D. B. , and the 
equal opposing sides, like the two. A. D. and C. B. each other, and the other two 
A. C. and D. B. between them, they are not all the same, and the line, that 
connects the Corners , fi says Diagonal , like C. D. 

Third definition. Each Figure, which has all sides equal, but the K * *- 
Angles unequal, fi says Rhombus, and fe has the two sides opposing them equally chia- 
rhomboid, both two-faced figures; such is the eighth figure A.B.C.D., 
of which Angles A. and D. are acute, and the two C. B. octuri -, and yet also 
the line, which joins the Corners, Diagonal says them, which always in this- 
The Figures make the Alternate Corners, which make the blacks, or even the whites. 
But the sides oppose them are not equal there, says Trapezia irregular, 
and two-team . 

Definition fourth . The Triangle is the one, which has three sides folamente . r; s- * 

Such 



i 6 



ARCHITECTURAL 



Laftr.i. Tal and Figure ninth A. B. C. and three varieties per shit- 
Trac.i. of the sides, and three others because of the Corners . So if you have all 
three equal sides fi calls equilateral as the first one of Fig. ninth, fe 
Has two folly equal, say Ubicele , as the fruitful one, fe keeps 
All unequal, fi calls Scaleno as the third: so fe has an angle. 
Cool, me. Rugged as C in Triangle A. C.B. fi says Rectangle as the first one. 
of Fig. I.-, so he will have an octuple fi nominates Ambligonio as the fe- 
I know all three acute Oifigonius call them, like the third. 

Definition fifth . The other figures call Moltilatere , and 
Fig ii pig nan0 the name from the multitude of their Corners, like the Penta- 
11. the Five Corners golo, the Seffagono da fei, the Octagon from eight Corners, 
and so do the others. 

O S SERVAZ IO IN THE THIRD. 

About the Definitions of the Circular Figures , and primieramente about 
the Definition of the Circle . 

D Efinition first . The Circle is a flat Figure compressed by a 
line folly called the Suburbs , which includes , and closes a pun- 
to said Centre , to which the lines she conducts are all equal, such as 
Fig. 13. in the figure decimates circle C. I. D. which I compress from the line 
called Suburbs, which has a P point. from which you draw the P.I. and P.D. lines. , 
and P.C. and P. C. , and P. C. , and P. C. , and P. C. , and P. C. , and P. C. , and P. C. , and P. C. , and P. C. , and P. C. , and P. C. , and P. C. , and P. C. , and P. C. , and P. C. , and P. C. , and P. C. , and P. C. , and P. C. , and P. C. , and P. C. , and P. C. , and P. C. , and P. C. , and P. C. , and P. C. , and P. C. , and P. C. , and P. C. , and P. 
which will make you a figure, which will be compressed by a line 
folamente , and have no point in fe , to which they draw the equal lines , 
will do Eli 111, which is ovate, but not circulate. 

Fruitful definition . The line , that ball for the center as C. D. 
Fig. 14. in Figure 13., and fi connects colia circumference, fi says Diam- 
tro , fe then livered , and divify , Semicircle , as in Fig. 1 4., and the li- 
nea P. I. will make Semidiameter . 

Third definition . The lines, which are in the frame with the Diam- 
Fig. ij. tro 'e &fii' cone in the circumference, they say them feni as in Figure 
15. F. A. which is at right angles to the CD Diameter; fi they then say 
applied not so much in the Circle as in Eliu“ and Ovati. The li- 
nea E. A. ff fenefi rectum, the other one of the complement, that is to say the 
oppofto ; fe F. A. will make up the rectum, E. A. will make up the complement. 
Fig. 16. Definition fourth . Line B. A. , which takes , and unifies two pun- 

of the circumference , in the center , says Subtenfa , 0 Rope , or 
fe is in the Elifii , that is Ovato , fi also says Applied , as in the 
Figure 16. The E-line. C. , or F. I. in the frame with the rope, or al- 
zata of half of efla dicefi fenoverfo, or Lightning. 
Fig. 17. Definition fifth . The lines , which lead from the Efcone Center 

outside, and slit the suburbs, like O.G. in Figure 17.fi say Se- 
and from a point outside conducts folamente touch the Circle, 
fi they say bribes, which two lines of lines fi fi congiungouo infieme in the 
point G. , where the liver ends in the tangent . 

Definition feita . The mifura of an Angle , and the circumference of 
an Arch is a piece of the Suburbs , which has the Center in the Corner , or fia 

coni-