THE LIVES OF THE MOST
FAMOUS ARCHITECTS
Of every nation and
Of all time
PRECEDED BY VN...

Francesco Milizia



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LIFE

OF ' PIV CELEBRI

ARCHITECT

Of every nation and every time
PRECEDED BY VN SAGGIO

ABOVE

L ARCHITETTVRA




IN ROME

in the print, by Paola Giunchi KonmreK.
a Sfcsf by Venanzio Monaldini Lil / raro
with permission of Superiors 1768 •



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APPROVAL

By comifljone Del Reverendi (fimo P. Ricchini M.ie-
S. P. A. We read the book carefully
intitolato = 5 Le Vite de più Celebri Architetti fogni na-
and sewers time preceded by an essay / opra / ' Ar-
chitetura = 2 and as I do not love them met in co Ti al-
cuna 9 that opposes them to the dogmas of the Catholic Faith " co-
yes we found it full of erudition* and all rivol-
to purge from the preteif defects an art so incefltaria, on-
de reduce it to that state of perfection, from which he believes
the author pofla efTere still far away. Who, however, judges-
it brings prints to the public . In fe-
De & C Rottu 4. March 17^8.

Simone Ballerini
appelano Secreto di S. Dottore di
law and Librarian of the Barberina .

Giulèppe Reggis
Librarian of the Conti Library.



a A IDEA



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IMPRIMATUR,

Si videbitur Rcvereadiflìmo P. Magiftro Sacri Palata
Apoft olici .

Mr. T'jori. Arche F. Nìeomed.
Viccfg.

IMPRIMATUR,
F. Thomas Augustinus Ricchinus Ordinis Praedic. Sacred Palaces
Apophtholic Magifter.



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IDEA OF THE WORK

Book I.



Wise d * bows you aim.


I.


* * *
*• • • • 0

Ap T C#.-.\. A0ip Arrhi *******
m * / li. /. olona Adi Sii c i } lt " iiUfU m


*•


Gtf>. II. Of the Ejjfenxa of * Architecture .


7«


Cap. HI. Rules inferred from Cap. Antecedent .


16.


Chapter IV. Requifitt necejfarj to an architect .


6*8.


Cap. V. The Utility of architecture, i


78.


.BOOK THE




r

Ancient Architects. .




Cap. I. Architects before hricle, tea 450. before the E. V.


80.


Cap. U. of the architects from the time of Pende until Alejf I will go Magno ,


that is, from 450 to 300. before the E. V.•<*.,-




Cap. HI. Architects from Alejfandro Maglio to Augurio, that is


from 300. fin ali * E. V.


ioa.


Cap. IV. he architects from Augnilo until the decadence of Archilei tu .




ra, that is, from the beginning of the E. V. to the IV. fecah •


114.


Book Ili,,,,:.„,


«»

. To


Beautiful architects from the decadence of the Architettar " fifl al Aio


rift-


bility: i.e. from IV. starch up to starch XV.


iap.


Cap. I. architects from CoHantino to Charlemagne .


iap.


Cap. 11. Of the architects d * Carla Magno, IE 4 * 1 starch ix. fi)


t


the xiv.




Cap. III. Of the architects of the xiy starch»


150".




L I-



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BOOK IV.




Of Architects since the refurbishment of Architecture happened in


starch XV. end of the eighteenth.




Gip. I. of the architects of the starch xv.




Cap. II. Of the architects of the starch ivi.
Cap. III. Of the architects of the starch " vii. «


\ 19 .

3*4»


Cap. IV. Of the architects of the xvliu starch

?


386.


APPENDIX ABOVE THE MECHANISM OF THE VAULTS.


"'P A R T B L




Of the coftrdation of various times .


438.


Cap. I. Of Flat Vaults . "

/. Of the highest alaudis.

The flat Times .
Cap. II. Sometimes Raven femplki .


428.
428.
• 43°«
43*


/. Barrel sails.


43 1.


II. Catenary .

III. Caffinoid.

IV. Of The Cycloid.

Cap IH. Sometimes < Jurve Competes**
To Gothic Times .

The parable . 1 -1
III. Of The Shape Of The Domes .

'—e * ' - '' 1*'


43^
438.

440.
• ? *44»-
44*
443-
444-



Part I I.

The thrust of times . 44^

Chip. I. Of The Spy of The Simple Times . 44 6 *

/. From the Holy dolile Times Gralari . * A?*

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right there. Said thrust of the uniform Grtblari Times . 44 8 -

///. Of the EJitticb * Times thrust.

IV. Of the thrust of the rampant Arches. 43°*

V. Dtlla plugs to of the platforms . 45 *•

THERE. Offers. 45 a *

Gip. The thrust of the Volts * Compofie. • •

I. Of The thrust of the vaults to cruise. 4^4 -
The Dell * thrust of the vaults to cruise in the cafo that two quarters of

Once until I was the headmaster . ____ 455-

HI. Of the thrust of the vaults to cruise in the cafo that three quarters of

Volta fonofullo Jìejfo pilafiro at right angle, 45°*-

IV. Of the thrust tell them Cruise vaults, presses four or more quarters

once fon around a Pilajiro . 457*

V. The Push of The Times sucks . 4$ © .

THERE. Of the thrust of spherical and spheroid V * lte . 4^3 .

VII. Of the thrust of the annular vaults . 4^3 »
Vile. Of the thrust of the rotating vaults * rampant. . 4 6 5 -

- /X of the thrust of the conical vaults. 4 6 7-

PART IH.

From the sound of the timber frames to the

Coftmzioae sometimes. 4^8.

7. Of the mifura of the pefo of times . 4^8.

77. Of the pefo that have to cut armor. 4° 9'

III. Of the Dijpofxione and Compoftazione of the timber frame . 40 J.

IV. of % pieces of wood. 47 '»

V. given the pefo of one time, find the lump of chfcone piece of
timber that make up a " fruitful armor a given difpofe-
xione . 473*



That



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Vile

What can't really and really fufteftere * can't
ne anco efler approved, although rat in appearance: why all
the cost of living derived from the real properties and co-responsibilities of the na-
Ture, then trafficked to beautify and perfect the works . No of-
vonfi therefore approve not those cofe which poffon in dilputa
eflèr foftenute with reasons out of the truth.
Vitr. Lib. in. Chip. Il, Trad. the Gal.

I



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FIRST BOOK

ARCHITECTURE ESSAY.

CHAPTER ONE

HISTORY OF ARCHITECTURE"

'Architecture fi can say twin of Agricol-
I for to hunger, wherefore men
ion agriculture, it must be coupled with technology.-
ù. of the shelter, where architecture is built,
if men were content to admit
within the fpelonche and forto the trees, not eb-
bero bifogno of architecture, like niun bifò-
they had no Agriculture until acorns, and the fruits of Jerusalem, and_»
whatever other cofa of course stood in front of them, fervi-
ro of food. But by creating the number of men, and forming the pic-
cole focietl, here's architecture. But what architecture ? Ta-
boxes and huts made from logs and tree branches, covered with
mud, straw or straw used for the first production of the Ar-
with you . From the beginning of the vulgar Era fi eonfered to Athens, mother
3 The Areopago with the ancient flop roof-
Pius j and in time fteflò in fuperba Rome Fi still aimed fulla la-
between Rocca del Campidoglio the Real Palagio of S. Macftà Romolo, with-
fitente in a shed covered with vile / plots. About quefto gotto phono
p " r the opra two-thirds of the land the dwellings of those of us with so much

To inggiù-




I swear I'm called savages . And in the pili calte contrade
Enropee qual E L'architettura de'tugurj De'villani " people how much be-
nemerita, also viUpelà and ftrapazzata L from the anthers therefore and
from the caves is ufcita architecture , and from the huts gradually fi
and elevated" and came to the Temple of Diana in Ephephus, at St. Peter. For
but how Abominable is the futility , she does not owe it to her.-
never forget; and the sometimes trafficked by proud whim
he craved it in oblivion, like a commoner who for his riches wanted to
paflar for Noble " fi has taken the mocks of those around the fua
baflà origin.

II. • "From Egypt, as from the horse diTroja, fi make ofcire tut-
the sciences and the arts, like the peoples of the Chaldeans, -
diani, iCinefi have not boasted an antiquity, in the bosom of which
that of the Egizj (as far as ftnpenda ) was a trifle . If the-
gitto had lied, Thebes, pyramids " and labyrinths the Aphia had
first Nineveh, Babylon with many great monuments. If the Greeks
they went to Egypt to iftruirfi , and journeyed to Aphia , and came to Egypt.-
they go all the way to india . Whatever you want, it is certain, that you wanted to-
mourning great time, so that the inventor Ipirito combining the delight
with the bifogno running along the prodigious interval, which meets-
The Hut and a Palace of Corinthian order .. And pia time still there
he wanted, so that a reasoning giufto purafle yes beautiful inven-
Lyons of 'misorders' and irregularities, of an imaginative licentiofa*
Theegiztians have sketched the architecture pefantemeute, han fbr-
prefect for the greatness of the mafias , and their forms phono wind fen-
za Grace . The Greeks Hau distinguished with elegance, have shone for the.
purity of contours, and they invented the most beautiful forms . 11 genius
he had come very close to perfection in the time of Pericles, that is, quat-
three and a half starches before the vulgar age, fi kept vegeto lot-
in some parts of the Kingdom of Macedonia , <_>
A a foto



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Charlemagne there was no pious fcelra of forms, nor the electivity of

proportions, nor purity of ornaments . Everything was felvaggio and imba-
flardito .

VJ. Three starches later, i.e. in starches x.and xi. , fi made a sfor-
L 20 general for the sake of ignorance and awkwardness, but

with bad faeceflò. Until then fair practiced a gross architecture
and greve : fi pafsò tomo in a stroke to the opposite end . The Fab-
they appeared light, full, of the greatest speed and
of a daring the most intrepid . Everything was articularly perforated to gior-
no, the walls with lace and filograma : everything fembrava ecceflìvamen-
you were weak, and everything was of an incomprehensible folidity, as Fi sees
to the cathedrals of Paris, Reims, Chartres, and other edifices-
tramontani . That fpecie of architecture comes called Gothic Mo-
derna . Overtake in the time Hay GIR Arabi, or hay " Saracens ,
and the Moors mistreat Italy, France, and especially Spain,
that new Gothic architecture was spoiled with so much profusion of gold-
born Rabefchi and Morefchi, who how much do the admiration of the hymn*
many, just as many of the intenders . The Sheriff's palaces of
. Morocco, and some of Granada, SevxgHa , Toledo in Spain Co-
no quefta tempera . Quefta fingolar architecture inpponeva A to-
such oblivion of Greek orders. It was a fiftema all diverfo, a carat-
tere everything oppofto . The fola fàntafia of the architect determined the
shapes, proportions, and ornaments. To do better than others,
he was going to let them out in boldness, and he was going to let them out a little more. In addition to-
the moflri of architecture, there was another Greek name Moder-
na, that of the last Greeks, who made NN Myrtle of the owl an-
tico and Arabefco, as fi can see in the Chiefdom of & Marco di
Venice, and other buildings in Italy, such as the columns and
^ hri fi welcome pia to the good old proportions.

VII. Since the sixteenth century. human reason refuted immersed in a
deep hibernation. It was already time, that after a good dozen fe-
it is a terrible phenomenon of human ingenuity.-
fero. An inafpettara revolution made Italy reborn infìerne colle
Sciences and hills Fine Arts The Good ancient architecture. The ruins of
9 Rom * they had happily conferred the tracks . They ran away.,
here in the reports, fi found that fiftema preferable to ogai

other.



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other . Quefta (blanket coincides with the project of rifabbricar La Bafllica
of St. Peter in the Vatican . The Bramanti , the Peruzzi, the Sangalli , the Mi-
chelangeli, Vignola employed the force of their genius to
equal in the coftrozione of quefto edificio the wonders of The an-
tichity. Their ephemeral excited emulation, and their facceflb fe._
he reads it. The starch of Cofimo de ' Medici and Leo X. was brilliant
like qnenY d'aleflàndro and D'angufto , Italy gave a Co-
it says Architecture to other nations of Europe . The revolution was
well ready despite the prejudices and the oculos to formontare . Tan-
true beauty has an empire for our fenfi brothers ! The good Ar-
then in France to make you shine the star of him-
gi XIV.; erected some piers in the Spaniai fi is avenged of the Ger-
mania, it is fcorfa as far as Petersburg, converting the maraffi and the bofcaglie
in fontuofi edifizj, and in delizie J has adorned Sweden, The Dani-
brand, Flanders, and has fivtato the foot in England in company
of reason, of opulence, of glory I and a guide of the sea that
fe loses on the one hand, acquifed on the other, she acquifed at the
Nor what has been lost in Africa, in Egypt, in Greece, where
from many fecoli the sciences and the arts fon perite Fen appearance, nem-
men remote, of reforfa . Here's how the arts and Sciences do gi-
ro of the world.

Vile. But riftanrandofi so the beautiful architecture, there han flies-
I would like to ask the commission whether it will be able to take the necessary measures to ensure that the European Parliament is able to take the necessary measures.
that point, where she was in the starch of Augustus. It remains now from ago-
what ferft then had to do after Vitruvius , that is, to purify it of fnoi
flaws, make it perfect . But are we in quefto felice cafo ? MES-
bra over there . In the half of quefto noftro starch fi is made a change-
I am very remarkable in our other ideas, and between us it is incontraftabi-
the progreflò of Philolófia, which does not confite that fieli ' applies-
of reason to the different objects which it can effectuate .
Onde is that quefto starch comes par excellence called the starch of the
Filofolia . The Philophophical spirit ends up in everything (fe n' except the no-
ftra real Sanctiflima religion) also embraces the cells Arts, traile
which T Architecture has portrayed some advantage for the philolophical
way, with which she is breath treated by Frezier in that beautiful ina
Diflértation, dall ' Algarotti nel Luo fenfato Essaggio d'architettura ,

from'



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6

from Abbot Laugier in those fue favie oflervazioni, from Cordomoy , and from
diverfi others. And greater in the future will make the fire progreflò, fe fi conti-
he shall not judge the good works of our art, not ab-
bonar them any defect, to effigge that render reason of the forms,
of the proportions, of the ornaments, to fpianar the difficulty of the Teo.
ria, and to join the air rifle experience . So the trirtt will disappear
laments of the decadence of Architecture. Nor is there any
plenty of bad Architects, is quefto a clue that art ten.
it goes to ruin . Ninn starch is flated more flourishing than that of Augu-
FTO, and also Vitruvius fi is furiously Icatenated against the fires contem-
poranei f and declaimed fulla decadence of the architecture of the fuo
time with no less melancholy than we do noftros . The
fteflì lamentations have made the Greeks, and Plato has made it icripto, that a
good architect was a rarity in Greece . And when ever, and in which
Teachers, of any kind, phono flati
excellent in their rifpective prophecies? the number of best for
the pia is never the greatest . And the Italy now can not boast
Michelangeli, Palladj, Bernini, L ' illazione che FIA fenza valenti Ar-
chitetti is not happy. Nemmen England now has a Newton, a
Pope > a Jones; and even ella is adeflò florida more than ever on top
men of all kinds . Since not every ftagion is equally
uberrofá in natural productions , so not every Holm is fimilmente
fruitful in the ordinary mind ; or fe is, not always
combinations such as to develop them, and to make them-
you . Indeed, that no valiant man should appear in a nation
other very eminent, may sometimes effstio effstio of a univer-
as in a well-formed bofeo, there is no-
I think we should go too far with the others, because they are all here equally at the same time.-
you . Is it true that a starch of light was fed by a starch of light?
darkness, like day from night. But we steal so to speak still
at the dawn of that starch of Philolbfia } nor is the period of that strong of
fecoh is of a calculable duration . The Golden starch deirArchuettma^
and of all the Arts and Sciences he gilded in Greece for a mez-
za dozen starches. That is what the ferreo eie uro starch of the-
the duration so far of 1300. years, and God does as long as he wants to last.
In many regions of foot-and-mouth, Africa, and America, and in the alca-

ni



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ni cantoni still of Earopa has never dense day . Barbarism
dora starches, and fembra the other element . In Europe, three fe-
the development of Fine Arts and Sciences
contiguously greater, feguita however to efTer fempre PIA gran-
de, and thanks the press, the academies, and the Philopho Figo fembra spirit
May the continuation desire to be profpera, and come to perfection-
ne: at least there is no appearance to fear a rovelcio . Rhyme
folo that Italy deponga that refto d ' albagia coming from me-
moria d ' efterre ftata a time the legislator of other peoples in every
cofa . Remember, eh ' she is also FATA barbara, and that from Greece
he received the first rudiments . Learn now, don't care where*
The nations fon each other Macftrc, and Difcepole.

CHAPTER II.
of the essence of architecture.

The Greek I, T had only three orders of Architecture, the Doric, the Jo-
* nico, And The Corinthian. Rightfully fi poffon quefti calls you-
King the flower and perfection of orders, for not folly with-
they hold all the beautiful, but still all the neceflari of Architecture-
of making but three; the folida, • the de-
and a way of half trila folidita and delicacy . Tour.
you and three of those perfect manners were perfect in the three Or-
Dini .

II. But in what confits the beauty of Qnefta architecture ? Here-
I call them the rules and the principles which I shall deem necessary , so that uru»
building like, FIA agreeable to vi li A, in a word fia beautiful ?
To go to entanglein aofpineto of Meditations
B 2 fopra



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Above the Capitals is diphthephus L * Epiphthiius, or fa V Architrave, which is
also a piece of tree or a beam lust horrizzon so fullc you-
it is of those who are standing . On the lintel polka dots the roof
of the building, which shall be free from
.rain the parts to eflb lottopotte, and form the frame, which crowns
or drips I even call fi . From those beams resting on traver-
FO Foll'arcbitravc for foftener the foffitto, nafce the Frieze. Soao Le te-
tte of these beams represented by the Triglifi cations of the Dori-
the fpazio between the Metope beams. I Mutali " I Modiglio-
no, the cornice leaves represent the carniers or hay I point-
I " that foftengon immediately the roof, and those go tilted
and pendants for easier fcolo of the waters. The tefte De'paaconcellr fi-
finally, it was the tiles that produced the denticles. What
I am in the cornice of nemenióle, nor muauli, nor triglifi sometimes not ap-
parifeono, this derives, because the teftes of the FT beams pretend like VOC
it is from a lining of boards that you were outside the opra commeffa.
If it opposes that the ceilings of the beams forming the ceiling, I-
the lintel, and may they come to encann there within, na-
they'll have the Architraved frames .

From the roof or chimney of the cafà fatco here and La penden-
you, because there was no rain, provengon I Faftigj, or Frotv-
tifpizj or Gables that we say. The Greeks born lot Happy Sky li
they did little pendenti, PIA pendenti fi did in Italy, where the climate
not so benign, steeper AEL North where the snows so much
they abound, and not even for shade in Egypt, where quafi never rains.

Behold, the oil of The Hut is coftructed , and behold, the intercolonians are born.
with all their relevance. Those vertical tree trunks fi poiero
from principle to the other, it is as good as baftafle, which
the Architrave foftenente the pefo of the roof does not come for foverchia*-»
length to weaken them and to break. But bifognando then more fpa-
ziofo intercolonnio to lead in the covered cole of grolla mole, for
conferring that intent upon the peril of the lintel , they raged
in the rafters standing upright two pieces of wood hanging one verfo
of the other, that quafi arms went to put back in the lintel me-
de fimo, ed a foftener part of the pefo . Here are the loggias with arches .
Those woods so pofti also in the interior of the building to foftentamento

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decals also produced The Times. And fruitful the various direction more ,
or less oblique with that they went to shore the stage, fruitful lava-
the combination they had with each other, the various ways were born of it
of times > more or less flat, barrel, cruise, bezel & c. ,
ilclike from the various direction with which they went to shore the Architra-
there were born the whole arches " the feemi, the comporli or hay of fello
acute.

In order to protect Fi from the insults of the air, fi then thought to close
with tables that remained between the beams candied in the ground ,
lafcianJovi however for the comfort and bifeach them of the fineftre and the
door. Thus was born that architecture said by some of baflò rilie-
vo, in which the columns efeon from the wall half or two-thirds of their
diameter. But who makes say where they are right the nic columns-
are you a fan of the Florentine school? And fe instead of table-
I'll knock you out with pieces of beam cut horizontally to one another.
in the middle of those of fopra corrifpondefle the
commettiture of those of forto, here are the drafts or hay the bugne to the
the walls of the building are decorated with a*
the edifizj. Those could still have come from the rough stones.

Still wanting them to defend their homes
from the moisture of the Earth, fi planted 1 building at the top was foprapofle beams
to each other, and embankment inside . Quelta * the origin of * zocco-
they are, of course, of the ftereobates or hay bafamenti . Reasoning in
that guifa fi can defend to the most particular and minute colè. For
more protect them from the rains mifero fullc doors and fiucire two pieces
and I Rain them, that the waters may fall from a par-
you and the other one . Here is the model of pediments . And for the indoor ilyar
before the gate of caphah , fi made the lodges , and made the porches in
Tempj . These panels on the facades of palaces and chieftains, which in-
taccan a little the wall, fignifican certainly a cladding of boards
go to the building, to fulfill the prices, and the fiflfures . Dai tron-
who of the trees pofti gradually in an inclined plane had princes-
pio Le fcale . And the railings do not phono that fcale to piroli " or raftrelli po-
fti ne ' early times to traverfo of some opening in the cafe, for im-
peddle the domeftic animals, or the children of ufeir out into the countryside .

VII. What-



«4

VII. Qiiefta is the natural architecture sons of Neceflita and
Deil'iftinto, who from the huts drilling to the Palagi came to rice-
true from the hands of mourning the fuua perfection . ( D'alembert Di / c.? T " lim.
d * f & cyc / op. ì,, this art is born of necefT.te, 8c perfatted by lu-
"xe , V Architedure, which is being raised * by degrez of the stubble
N at the palaces, n'etft anx eyes of the Philofophe, Fi Ton can speak ain-
", fi, that the mafque embellished with one of our greatest befoins". What-
FTA analifi of the origin of Architecture is the great norm that must of-
to rule the architects in their works, and to rule the judgments in the
that. So there are four fundamental principles.

Since Architecture is an art of imitation, the perfect-
district fla in that ftefio where FTA the perfection of all other
Art . There 0 is that in the fne Productions Flavi Variety and Unita; affin-
that 1 Soul of those who see nor FIA always returned to the medefime_>
thus, waves Fi generates fazietk, ne diftratto in diverfe, waves Confu-
sone J ma rephrases that beloved, who has needlessly to be born in the-
the origin in the objects, which are preferring him, Variety and order .
Perfection that enlivens the Philophophists in the works of Nature Mother pri-
miera and maeftra of every strong of Arts . Bifogna que una cofa FIA abba-
feplice ftance, for it to be seen , and varied ftance for it to be
view with pleasure . There are cofe, which are varied and not
I do not phono, other than uniform comparifeon, and well varied phono .
The Gothic architecture seems varied, but the confusion of the-
nament toil because of their smallness; there is no diltingue
one from the other, and their number makes you trust none , I was
as the eye shall cry, so that she may be pleased in those parts
ftefTe that Fi fono fcelte to make it more agreeable . A Go building-
tico is a kind of enigma for the eye that sees him . L'architectu-
Greek ra at the meeting uniform fever ; but as she has feeble
divifioni, the soul sees everything preciamente line to strain you, and that goes-
riety is fufkcient for pleasure .

a. the good way of making confetti in forming, decorating,
and to mock; that is, nothing to see in a factory, but ab-
bia its own office, and not a member of the fteffa factory ,
that from the ncceffario has to refultar returned, in a word, that quan-
to is in representation must effer in operation. On this is founded

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the Great Maflima Vitra viaria, which would deserve eflère fcritta to Ietterò
cubitals fulle doors of every Academy , and of every school or studio of Ar-
chitettura . YOU DON'T HAVE TO DO SOMETHING YOU CAN'T DO.-
SAN MAKE GOOD REASONS . Must concern them tempre
Tuff and the end of the odds as an invariable and univerfal rule-
it is the simple principle of true beauty. Qyefta rule is, - that there
he must take part in all our other actions , even in those where he is not
it is about imitating nature for the foccorfo of art, as in the di-
fpofition and composition of architectural orders.

3. The rules of the proportions given to buildings and
their parts , depend on the optics, that is, the way in which fi makes the vi-
fione . A building will do well proportioned, the vifta ne'com-
will take penalty fence all parts, the inaccuracies iu quefto organ
iaran not diffused, and they will form so to speak an agreement of unpredictability-
us. If for example a building is too wide relative to the fi»
height, it is certain that the width will make an impression fulla vifta pih
large than that which will come from the height. Then you won't mind that
to the width, ne fi will include to anus ftefio glance the infie-
me from the building . The affected vifta differently will prove NN certain
embarrassment, a certain dictonance of unpredictability, effect of an object
unpleasant . But what Hay the co-constituent numbers the proportions
Architectural, quefta C still a feoperta from fcrfi . Who has priest-
fo find them in Harmonic proportion, who in Geo proportion-
metrics and arithmetic, who in fact Commenfurability: ideas all
vague, general, and utterly arbitrary.

4. Must oflèrvarfi the decor, which makes ufo convenient of the,*
Symmetry and Eurythm , and that jury report, which must be-
King between a building and those who must inhabit it, between ornaments and-
of the factory, adapting the proprj and the most convenient to your
magnificence, mediocrity, or iemplicity .

Vile. Quefti fon all political principles, cortami, unalterable
from fashion, independent of authority, inflexible to efempj, uni-
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instead of which the Frieze lifcio is aflàt more hello. On gold-
we believe that reasoning is preferring mortal sin.
When fi will adorn with judgment, the bow of Titus gives a beautiful»
lesson. It is taxable to give a certain General Grace to NN Grand no-
I am worthy of small ornaments, which Raticate too much the vifta, which vnol
so are the fires . Between two injured members, they want you here.
to fervir them of limit, otherwise not Fi ft where fiflar the fguardi.
If noftra vifta is weaker and confnfa, it would take more unifor-
of Architecture; fe the most diftinra noftra vifta ruffe, to be able to
see at once more cofe, architecture would have had bilbgno of
more ornaments; but since she is such as she is , it is fitting to adorn-
do, that the ornament bears efler tact, and in the fue feoperto parts, or
don't embarrass your eyes . I don't know if you don't care .
For convenience of Torci or pafferotti why not.
FRAME XVI. The frame is the crown of the building , and fervently for allon-

tanar from the factory the rain burning from the roof. Se quefta definition-
it is glad, what terrible confequences fcappan out . frame
it must be at the end of the line , and not at the middle, fourth, third of the line.-
Tice of the wall. a. does not accept replicas. 3. Suitable for external use ,
and never inside the building . And who fe ne fta within cafa with the om-
brella folded to guard them from the rain ? 4. Ella is not a fempli-
there is an ornament, but a part of it is essential and necessary for the confer-
of the factory.

Having the frame reprefentar in the factory, what is in the-
game, it will divide into three parts diftintente preflb to little equal to the-
tezza, although varied for their profiles . The first part and the fuck-
GNO of drips, consisting of one or two forming members 1 one
to which I have yet to add those menpholes or mo-
diglons to give him more leverage . The A. is the drips, which must be-
fer a vertical fnperface and lUcia to give easier Folo to ac-
that . Sometimes ft is also made fcaneltaró vertically, for moti ra-
re the ftrifee of the drops.. At 3. it is the cimafa, which ends the drip-
to^, and in an agreeable way connects the groodajt of the roof with
feel the refto. Ciafcuna of qnefte parts can efler diftinta, Ed degan-
fearfully tied aqoella that approaches it for mezxo d'on filetto that ne
fcuopra the division,. *

XVIL I



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XVII. The Frcmtifpiz j, - or hay pediments, represent the slope frontispizi
detect . Who does that cofa fon roofs, does still, that on the sides hanging
de Frontiipizj, neither The Struts nor the buckles shall be bound ,
therefore neither menpholes , nor modiglioni, nor dentelli should appear-
there. And fe fi means, that the Modiglions represent the Paradofli, not
they would have to be so close , but they would have to be plumb , but they would have to be perpendicular to the pen.-
God. And then as fi can claim, that what lignifies a coU
in a horizontal frame , lignify another fence change
any in the slanted frames? Nor does the FUFA benefit, that the frame of the
Frontifpice would make bad sight, fe not fuck Amile to the one who
turn around the sides of the building . Since the facade can well EFF Itti mo
diverge from the sides, as it is in so many edificj . But the nature of the Fron-
tiipizio does not allow, that has at the pendj fires a real cbn frame_,
drip it, because the water fe goes away by the sides and not pel davan-
you. For the fteflà reason not suitable Normen horizontal frame
I am the Frontifpice, as it is utterly useless there . So it seems,
imitating the natural architecture, that the Frontifpice in the heart of the-
nice merits happier treatment . The rooftops fi nietton ordi-
the width of the building , i.e. the Frontifpiaj de-
von eflere to width and never to length: waves there is no
place where the façades of The Chieftains best agree ,
which represent their width . The Frontifpice of the pantheon of
Koma is not feconjo the width of the porch , but fruitful the lun-
ghezza, and fta for more in maraviglia, because the porch is part of the
Temple, and in which fenphus makes the fua width.

If the Frontifpizj go to the factory, where the*
djde'tetti, and how many and how many places will not go astray? Not
fi makes them little grace > fe fi make renare fu some door, and fu
some fine / Ire, in those fineflre however that from the cornice fien very
far away, where they can repair a little pih from the rain . The triango-
lari, or crows that hay do not make the PIH beautiful vifta of the world, fpe-
"ially look at you from your side, and where you drink a great stretch of fineflre
between them not very dictators . Therefore more confacenii phono fulle fineflre
frame. Hide to have on frontifpizio in the facade of fua cafa ,
he had a special privilege of the Komano people . Then-»
the Frontifpizj were only for the Tempj. .

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The Fmania De ' Frontifpizj between such a breath, eh * Fons fictiti
the uri inside the other. I have a facade of three, and four.-
three, and five, one between the other, where neither one was suitable.;
fi fon stuck I mean the edificj " fi Con rotti, fi Con melfi den-
and to the houses , and to the habitations: it is felt in iomma an abufo, but-
ledetti / thyme . If Rome " the mother and the maeftra of a re hi Te mira, ne ab-
bonda in the fue richest Pius, and fc fono productions of ' famous Pius
Architects, therefore, will never give in to a fblenne abufo, when-
they must be judged not by the court of First Instance and the court of first instance, but by the court of First Instance and the court of First Instance._»
that of reason. The reputation of Michelangeli , and Bernini,
it is not derived from the licenses and eapricci , which you prefer in the Archi,
roof . Those architects, who are also painters , or Senltori, intro-
they easily carry ornaments and varieties to every coitus :
the architecture feplice them difpliace, fi ridooo of those who do not use it
the rule, and the compafib, as of a fterilit* of genius -, nor fan
conceiving, that orders of Architecture do not sound pure decorations
of fantafia, but a favia and faithful imitation of ' Natu architecture-
rale . The sculpture and ornaments take place in the intervals of the
and they departed from them, and increased their grace endlessly: but quephthus departed
but they are not fulcettibles of alteration.

What cofa is the attic ? It ' a small order rough port to fopra of a
large, adorned with small pilafts, and finished by a small cornice •
What does that mean? Nothing. So niun ufo f " do it by those who want to act-
King with reason. If Qoefto attic fi will trust as a terrace shelter
then they become a balauftrata . But it is appropriate to diphthinguere that attic fanta-
flico, that fi raetre on top agliedificj, from the attic phallus, that as a
fpecitì Di piedeftallo Fi puts between two orders of columns, so that the
of the frame of the lower order does not bake the bafi of the fupe columns-
riori . It is also fervent of quefio Falfo attic to iftaccare the nafeira of the
Times from fopra the cornice, so that the contraption does not contain the origin of the-
time.As regards, therefore, how a dij > iedertal fpecie can tolerate-
fi . But fe fi remove those useless frames, useless become also the UFO fuuo.

XVIII. The orders of the fono Ftati architecture mainly

invented to decorate the facades of buildings . Origin t-»

the ufo of the cornice dimoftran it to the evidenia . What's more, their most beautifulfc

fetto is when a façade is adorned with a bunch of quefti orders ,

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Putting ani on others produces many inconveniences . B (I " orni.

* * * * * * * * * * * -,
fommùà of the building. % The diameter of the Copra columns due to
efier smaller than the diameter of the columns of fupe, the cornice fupe-
riore lari pm small of those of foto J and in confegaenza the horns-
it will not make the real function of moving away from the seas
the fall of the waters . 3. The cornices in the middle of the tao building.*»
overturning the rests to the detriment of the factory. 4. Impcdiicon to whom
go to the ends of fopra to see those of gib, the gate, and go
of the ftrada. 5. They finally break the Union and the harmony of the inficine ,
moftrando, that that building aunt compose it more buildings pofti tone in
telta of the other. ,

At all qoefti inconveniences Fi repairs with ease, oppressing
the whole frame of * lower floors . and loft joining you a beautiful sickle*
Quetia scythe, or was tall or cornice " dark bays the officer to plant-
you will be given another order .

In order that in a building of several orders the cornice put it to the-,
foni tàtàccia the was true office, convien that the agetto of the fua
Frame fall to lead a good foot forward the lower plinth .
The facade so fi will find all covered . Or to do that with-
it will sometimes come against the ordinary rules andagging members and the ag-
casting of the cornice . Let them also be of good cheer, provided that they
go to the fopo of art. The rules laid down are not binding, which in the-
the making of an order, but they will become there as long as they want juo pia
orders Firn > do the other . As well as objects decreasing them to noftra_»
vifta to mifara that s * inhale, the nettle makes you see regular what
he's really vicious . How many abortions of cornices less Fi vedreb-
but instead of blindly following the common rules,-
OF AB-



tf 4

place, for small that fia, has by re / ter lost. The viewers of-
von be part also efsi of the fpettacolo, and Ivy in villa as the
books in a library .

The ephtern of the Tatro is enriched with beautiful stone porticoes,
Noble loggias, of fpaziofe and comfortable loyal, of Chambers, of phalons, and
than fontuolb C has magnificent architecture. Your idea
it is a defegno of Mr. Tommafo Temanza, a rare valentuomo who
it rests all the requifites that Veturvio defides in an architect J ne
far from that idea is the theater that decorates Berlin.

XXXIV. Not bafta, that lecafe de ' particular, and the public
I " ellimVn-edificj hay well manufactured, bifogna that the city FIA well dilpofta.
Most of the cities in the-
ClTTA. genza, in the confuftone, and in the diorder, in which the Pollas has ringworm-
ranza and the rudeness of the ancients . Three cofe compete principal-
the beauty and magnificence of a city, the luoi ingtcfsi, the
fu: ftrade, I fuoi edificj .

1. The ingress of a city of devon is free, multiplied by
proportion of the size of the enclosure, and fufficienamente ornate.
Compare the two beautiful ingrafsi of Rome, that of Porta del Po-
polo, and that of Porta Pia with the others of eflà Citta, and Fi conofeera.
clearly the importance of that requifito . Or quefto comparison ri-
it would be more lacking, fe the two prementovati ingreflì sheath com-
piti. Piazza del Popolo none regular, and is surrounded by catapecchias
and villani fenili .

a. the ftrade devon and many to render communication
seal and chest of drawers, wide brim to prevent all embarrassment-
zi, and straight for short. The defenselessness of a city, it will not be
I'm diverting from a Villa . It takes eurythm and order, it's vcrif-
firaoi but we also want variety, fcelta, abundance, contrailo , and-
fordine again. So the beauties will become more spicy and more deli-
ziophe, and fi will take away that treacherous elattezza, and that frtdda unifor-
in some cities which are said to be-
goalies. Who has seen a city of Holland, has all villas. Every
Fi rada C corded with channels in the middle, and with trees at the rear-
PE . From all over fi sees the nojola repetition of fteffi objects .
Regularity and eurythmia should be avoided .

Who



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Whosoever maketh not our pleasures vary, he shall never be in charge of
like. 11 the plan of a city will be given so that the»
magnificence of the total FIA luddivifa in an infinity of beauties parties-
they are all different, which will never meet the fteflì og-
you throw the ones that you find in every qoartie by traversing it from one end to the other-
a few COFAs again, to swallow, to forevermore; that there shall be*
of the order , and a kind of confusion; that all things should be-
but monotony I and that from a multitude of regular parts
in the whole, you re-read a certain idea of irregularity and chaos, which beru,
it suits the big city,. Each large capital in less than a half fe-
colo can be reduced fecundo that beautiful plan. If half a dozen
of Papi avellerò feguitate the traces of Giulj II. , De'ilii V., De'alii .
fandri VII. , Rome would by all beautiful ftrade , and fpecially
where has Infogno major, to Maddalena, to Minerva, to Fonta-
na of Trevi, in S. Andrea della Valle, that is to say in the center, where the concorph
it is f ever larger, and the ftrade fono pia ftrette and tortuofe . Rome»
the Queen of cities, still lacks a noble and magnificent ftrada»
that leads from the Quirinal to the Vatican, and is devoid of a vague edict-
fo paleggio per Teliate, which could have easily, fe fi abbat-
teffèro all those cafes, that phono make you Tiber from repeat to bridge
S. Angelo. Who amena fponda would become the one adorned on the one hand
ài belle cafe, with double ftrada of tree avenues frammifla of fountains
and D'obelifchi ! By demolishing, Rome would become belliflim , and ninna Cit-
it could do this more easily, since it has two-thirds of the fuo cir-
uninhabited cuito.

3. About the decoration of the buildings of a city not bifogna ab-
banding at the whims of' particular the facades of their cafes .
The public authority must not trust the places where it will brush.
of manufacturing, but also the way of manufacturing-
king. The height of the bays must be proportionate to the width of the-
the ftrade. Avoid building uniforms.
shapes, more or less ornaments, and diveria way of combining them . Co-
me a beautiful picture has gradation of light, a harmony foave ne'co-
lori, e cene fiere oppofizioni I so a ftrada will have edificj ornati,
feminine, magnificent, sloppy, elegant, Noble, ruptured.

.

I XXXV. Le



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XXXV. The rules so far have been negative and-
ftruggitrici, that pofitive and uplifting. Ordinarily so fuol fuc-
give . For nectar to the infalvatichito soil of fpine, it will effcr
iron and fire. The evil of Architecture came from the trop-
bit. So for a perfect holiday, bifogna lava ria Di que ' belletti, frap-
talk about those many doormats, glues such as ftolidezza and ca-
priccio made it . The more feminine, the more beautiful. And
it would be time now, after about twenty starches, that crazy purifies*
and it came to perfection. Who is perfuafò
by queft " principles little delight xncotra in aiming so many celebrated edi-
ficj, the Pure which Democritus will not want to laugh at the ftravaganze al-
trui. And here is a compenphus: ignorance and delight, intelligence and dif-
like ,

CHAPTER IV.

REQJJISITI NECESSARY TO AN ARCHITECT.

J. X " the object of Architecture is the co-construction of factories .

-In order to establish such an object, it must be
the congnition of many arts, therefore fe l ' is given that folenne fpam-
panata denomination of architecture, that ftgnifica Capo Maeftra,
and Queen of all arts . The architect, that is, the one who makes
the art of manufacturing, which gives the plan and the difegni of a building, which
he directs 1 ' work, and commands the Masons, and the other artifacts-
we who work together with them, to do all things
belle cofe, has bifogno of many acquaintances and requifiti: Belle Lette-
Master , Master, Master, Master , Master, Master, Master, Master, Master -

II. Some flurry of beautiful letters is neccfTana^
to the architect, for the varj bifogni that he frequently needs
to write and respond to those who ask for opinions, and in order to
with precifione, clarity, and elegance fpiegar le fue idee. Vitruvio
he did not fathom to fuggerir the architect the gift of the word, cre-
dendo forfè, that the eloquence of the architect must confiftere in the
it was opera. Plutarch in fact tells, that prefentatifi two architects
before the people of Athens, for having led a trustworthy edi-



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clo a dicophthore, as skillful orator as a bad architect, enchanted
the Atheniephi coli ' the elegance of your diphorph; the other never spoke,
cJ at the last uttered quefte bellows words: lo, My Lords, lighthouses
glove coflai said.

Instead of eloquence, history must be dear to the architect ,
with folly for that common profit, which she giveth unto him that causeth her to study,
but also to acquiftar lumens relative to the FUA profeflione, it concerns
the origin, the progreflò, and the events of Art and fue par-
ti, yes for the intelligence of ' varj ornaments, as for the Fab fontuofc-
briche slices in varj places and times, and for the lives of cofpicui Arts-
of . Vitruvius wants more, that V architect fappia a bit of
Jurisprudence, i.e. those laws that regulate the walls andwalls regarding-
I go around the grondaje, the sewers, the liimi, as well as those
to the bottom of the water, so that before the building began
fi take due care, " and fi thus avoid quarrels, which do not
rado fcappano due to the fault of the architects after started or ter-
undermine factories ,

III. But the main and methodical fuo ftudio must efler in some
parts of Mathematics. The arithmetic is of an important eflential.-
yes to the theory of difegni, as to put them into operation . Nè ba-
tta a light practice of trivial rules, vou efler doctrine fo-
by arithmetic, to avoid major mistakes, which are«
they are ashamed of the architects , they are ashamed of the architects, they are ashamed of the architects, they are ashamed of the architects, they are ashamed of the architects.
of the Masters , and to the detriment of the factories, tuna, shining it
fpefe doubles sometimes trills relative to the first calculation, or not
Fi compifcono, or fi accavattano, or fi finifcon in pieces or pieces-
time, waves are defective, why not fi raf-
they slice equally in all parts . Sanctiflima was therefore that an.
tiea law of Lfelo, in force of which the architect before-
traprendir a ' public work had to declare its intiera fpeia , «-*
reftavafl the fuoi beni obligate predated the magiftrato until the completion
of the opera *. After the factory, Fe Ipefa beat the price ,
the architect reftava troubled , and awarded with decrees of Honor. Also
and the fpelah was more than a quarter , and fe did good to him, neither did he Bow.-
roof was being remade. But fe beyond the fourth, the more
he was paid by the df he beni,,. Oh the immortal gods (efclama Vi-

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YT truvio) ficefiero che queft * Legge foflè " enable pure pel Popolo
"Romano, not for public cdificj, but also for private-
"ti ! While they would not deceive the ignorant with impunity ,