EXTRAORDINARY BOOK OF ARCHITECTURE BY SEBASTIAN SERLIO, ARCHITECTURE OF THE KING CHRISTIANISSIMO. in which thirty doors of rustic mixed opera with different orders are shown: Et twenty of dilicate opera of different species with the writing in front, which tells the whole story. In Lyon, for Giovan di Tournes. 1551. With Privileges of the Pope, Emperor, King Christianiss. & Venetian Senate. f. A2 AL CHRISTIANISSIMO RE HENRIGOSEBASTIAN SERLIO. Most High & Most Powerful Sire, being the vigilantia, & the great care of the laziness, & the great enmity of the ocio, & the laziness; & holding the part of the first two, I cannot do that I do not operate in those things, to which my Planet inclines me, which are the studies of Architecture. The reason why, finding myself continually in this solitude of Fontanableo, where I am more proud than men, & having led to the sine a long effort of mine, I fell into the soul of wanting to form in apparent dissent some ports to the rustic, mixed however with different orders, that is Tuscan, Doric, Ionic, Corinthian, & composite. And this was not without reason. Empire that seeing, & hearing often aim, & praising the door of the Reverendiss. & illustriss. Cardinal of Ferrara, where I keep myself continuously; & many people want a copy to use it: it was born here (as I said above) that I began this effort: & I went so far ahead, that I made it until the issue of XXX. almost transported by an architectural fury. I was glad of this, feeling myself abounding in nine fantasies in the intellect; that I decided to make of it until the number of XX. of work diluted also of different orders to satisfy more appetites of men: & to common benefit not only of the beautiful Kingdom of France so inclined to Architecture, but to the benefit of all the people inhabited by men, & all the labours I did under the name & protection of your Majesty. Take this little effort of mine with that beauty of soul, with which your humble servant offers you: live happily. [f. A2 v¡] SEBASTIAN SERLIO TO THE READERS. The reason why I was so licentious in so many things, I will tell you now, very discreet readers, that I started this little work of mine, you may have understood it in the letter before you: but I will tell you now why I was so licentious in so many things. I say that knowing, that most of the men most of the time appetite for new things, & most of all that there are some, that in every little operetta, which they make do, they would like very much places to put letters, weapons, enterprises, & similar things: other little instincts of mezo I notice, ˜ of basso : no breath an ancient head, ˜ a modern portrait, & others things like that. For this reason I spent myself in cotai licentie, breaking thickly a lintel, the frieze, & also part of the frame: using the authority of some Roman antiquities. Sometimes I broke a frontispiece to locate a table there, it was a weapon. I have wrapped many columns, pilasters, & superciliars, breaking at times friezes, & triglyphes, & foliage. The quai all things removed, & added frames, where they are broken, & finished those columns that are imperfect, the works will remain intact & in its first form. And because as for writing the measurements I was very brief; the diligent Architect will find them all minutely, doing so. He will imagine how many feet the door had to be wide, making one of those feet twelve parts, which will be ounces, & one ounce to make six parts called minutes; then he will begin to measure a column, which will find (example gratia) one foot, and seven ounces, and three minutes, & half; and the pillar will be half of it column; & so the column will be eight large in height, & the sixth part will be diminished in the summita. With this rule you will find all the measurements apart. And wanting then to reduce the work in a large form, it will make of the right foot so many ounces, & of one ounce so many minutes. Et so havendo lo compasso picolo for the small work, & lo compasso grande for the large, will transport the small thing in large form that will not falira point. But O you architects founded on the doctrine of Vitruvius (which I praise in summons, & from which I do not intend to go very far) habbiatemi for iscusato of so many ornaments, so many tables, so many cards, scrolls, & so many superfluous, & habbiate about the country, where I am, begging you where I had missed; & be healthy. f. A3 DESCRIPTION OF THE TRENTA PORTE RVSTICHE. I Primieramente the door here in front, as I said, is at the house of the Reverendiss. & Illustriss. Cardinal of Ferrara Don Hippolito da Este ; who is of Tuscan work dressed in rustic, the columns of which vorebbon to be of seven diameters, i.e. large, taking such measure from below, according to the precepts of Vitruvius ; but to be 'they columns embedded in the wall, & also surrounded by rustic beams, & not being above them great weight, they will be made of noe large high with the base, & the capital. Its thickness shall be imagined to be one foot, and half a foot. Its pilasters from the sides will be half the size of the column. The height of the foot will be three feet. The opening of the door in width will be eight feet. The height under the arch will be sixteen feet. The columns in the upper part will be reduced by the fourth part. The lintel will be halfway up the column, so will the frieze, & also the frame. The frontispiece will be from the ruler of the cornice to its acuity, three feet. The wedges of the arch will be so divided that the middle part is the fourth part wider than the others. As for the timber work, it will open from the band downwards; but from the band upwards, it will be stopped in the stone work. For what the height of the opening will be eleven feet, and a quarter. And whoever wants this door, is greater, is lesser, is greater, is greater, is lesser, is lesser. II This door is of Tuscan work, but of low relief of a dilicate rustic; the width of which is six feet, & half imagined. Its height will be thirteen feet. The forehead of a column will be one foot. The pilaster half a foot. Between the two columns is one foot, half foot. The height of the foot is three feet. The height of the columns is ten feet, and half, so they are viciose, to be low, & open to each other. The architrave, the frieze, & the frame will be the fifth part of the column height. The leverage of the mezo will be as high with the remenade as the door is wide. Its width with the columns is as wide as the pillars of the door. And in it, if the door is to be a private house, & that its entrance needs light, it will serve as a window. And even if there is no light, you can put anything you want in it.
III This door is all Tuscan work of art decorated with rustic. The columns of it are ten large in height; that is how Vitruvius describes them in the round temple of the Tuscan work. Its thickness will be one foot and half. And there will be two thirds of it outside the wall. Between one and the other will be the space of half a column. The height of a foot will be three feet, and two thirds of it. The latitude of the door will be seven and a quarter feet. His height will be fourteen feet and three-quarters. The architrave, frieze, & frame will be the fourth part of the column height. And made entirely of ten parts: three will be for the architrave, four will be for the frieze, and four will be for the frame. From the square of the frame to the summite of the pediment, there will be four feet. The wedges of the arch shall be so divided, that the middle is the fourth part more than the others. The table, which breaks the frieze, & the architrave, is ancient licentia to put a great number of letters in it. And if you don't want it, raise it, & the work will remain intact. IV This door is all Doric mixed with the rustic, & with tender on a whim. Tender is that cushion over the capitals made for a Byzantine. And to those who will not like it, let us run the sash, & put a cymatium on it. And so the table, which breaks the frieze, those who don't want it, take it away, & let the frame run. And the same will be done of those rustic pieces between the frames of the frontispice, which were placed there for famine of frame. Now let us speak of the measurements. The width of the door is eight feet, & is the height of his thirteen feet, and half. The thickness of a column is one foot, and half, & is in height twelve feet, which are eight large. The pedestals are two feet high, & half feet high. The pilasters from the sides each is three-quarters of a foot. The lintel, the frieze, & the frame, are the fourth part of the column height. From the fascia in place of the architrave to the top of the pediment there are four feet, & a quarter. The wedges will be ten-nine, making that of half major the fourth part. [f. A3 v¡] V It may seem to some people that the present door is, like the past, to be the rusticated columns, like the other; but those who consider all the parts will find it very different. This Adonca's door is all Doric and rustic. The width of it is eight feet, and three quarters. Its height is fourteen feet, and a third. The thickness of a column will be one foot and a half. The height of the column shall be twelve and a half feet. The height of the pedestal shall be three and a fifth feet. The pillars will be half a column. The lintel, frieze, & frame, will be for the fourth part of the column. But if I warn the reader here, to make to the perpendicularity of the columns two models; the front of which will be for half a column, & its height will be three quarters of it column, & among the two models will be five trigliphi, & six methope. You will find the measurements, if you use diligence in comparing and measuring. And conducted for the purpose of this work, you will find it to the satisfaction of the Jews. The frontispiece shall be high from beneath the shield to its top three feet, it is half. The wedges of the middle circle will be decided; but that of the middle will be the fourth major part of the others. It is a great thing for them to want to vary in so many ways those things which have very few terms in them; that when you have made a window, it is a door above it, its frame, pure, it is the pediment, it is the remenade, there will be no other way to vary it. And I, who have given myself to make fifty doors, all different, & different from one another, will not be able to satisfy everyone; I will go as far as I know. The present door is all Doric, but extravagantly dressed, & made mascara, how are the unfinished columns, but there are his measurements. 
Those two notebooks above them columns, which break the lintel, the frieze, & part of the frame: those three rustic pieces, which cross the frieze, and the lintel, and the super-edge; when all things are taken away, the door will remain pure, & all measurements will be found there, & the distribution of trigliphi, & methope. But when a man, who wishes to vary from others, will be content with this inventiveness. As for the measures, it will be imagined that a column is big a foot, and half, & of the foot made twelve parts, from that one will derive all the measures. VII I am also on this fantasy of imperfect columns, to vary from the others, & of which I know I will make a triumphal arch. The width of which will be eleven feet, and the height will be twenty-two. The height of the pedestals will be seven feet, & the small arcades will be six feet high, & three wide. The thickness of the columns will be two feet; its height will be ten feet, & a third. The pillar of the arch will be one foot: between the columns there will be five feet, a fourth. The height of the architrave, frieze, & frame will be the fourth part of the height of the column. And for that in an arch there are many writings, enterprises, & weapons, it was necessary to make the three tables beyond the oval shape in the upper part. The height of which with the whole frontespice will be thirteen feet, & half feet. The wedges will be ten seven; but the half-seven will be a quarter higher than the others. VIII The door in front of it is all Doric, of low relief, mixed with rustic dilicate. The opening of it is six feet wide and twelve feet high, the columns are flat; the two together make a pillar. But in order to make the most gratifying work, as many columns as half of one are hollowed out between them. The height of the pedestal is nine feet. The architrave, frieze, & frame are four feet high. And above the columns there are modiglioni in place of trigliphi, between which there is a table to put letters. And if you don't want it, remove it, & the compartisse them trigliphi. And similarly if those two tables attached to the columns, & those rustic bands, which surround the columns, & the pilaster, will not like, take them away: & the door will remain all clear. The height of the frontispiece will be three feet from the cymatium of the frame to below the masks. IX In the early days, when no marble or other stone had been used, buildings were made of wood; therefore the present door is made of wood, so imperfect of particle members, but, as for the universal, the measurements are observed. If the intervals between the two triples above the two columns are greater than the others, this is not an error; on the contrary, this variety is gratifying to those who do not wish to be more than rigorous in the terms given by Vitruvius, who in his writings cannot see all the accidents. X This door participates of the Doric, & of the Ionic mixed with the rustic, & also of lateritian work. The columns are Doric, although there are not all the members of the bases, & of capitals. There is therefore the matter to make them, observing the [f. A4] measurements. The quai columns, being this work firm, are seven parts, & half in height. The wedge above the arch is ionic, so that there are no carvings. The wedges of the arch are interlaced, parts are rustic, parts of baked stone, in order to vary the work; & so the pilasters themselves are varied, what which returns well in opera, as some vestigij the porch of Pompey, where you see opera lateritia, & pietra viva together. XI This represents being of timber, observed perh˜ the Doric costume. The height of the columns is eight parts, and half, to be dua propinque one to the other. There are bases and capitals, but for more fortress they are surrounded by iron, so high and low.
And, as I have said of the other, if this one is made of Greek marble, worshipped for the Longobard, it will return well; or of some yellowish stone, as I have seen in some mineral places, then using the artifice of the shoe to make its veins, it may satisfy some of them; & also for the entrance of a garden, it will be made of wood in the apothecary way, which is shown here, of larch, pine, chestnut, or oak, or of other wood resistant to the rain, & to the sun. XII This door is mixed dilicate Doric, and bound by rustic work, with its distribution of trigliphi, and methope, although some of them are covered with the table above them, in order to cover a large number of letters. The columns of this one are of eight grosezze, and half. And, as I have said of the others, they are behallable for three reasons. First, for being the third part of the wall, they are very strong. Second, to be surrounded by those rustic bands, they have taken off that frailty. Third, for being cannellate, they show greater thickness, because of the visual virtue, which is dilated by the concavity, where the thing seems larger, which is not in effect. XIII This door is ionic mixed, & bound with rustic. The columns of which, if they were all round, & in the island, are eight parts, or more than eight, & half; but because they are one part in the wall, & also surrounded by those beams, they are eleven large in altitude. For which the eye is satisfied. And that it will want them bigger, that they are not, that it will be able to make them bigger than new ones, observing all the other measures and of the pedestals & frames; but doing the pilasters for the half of the thickness of the column. XIV This door, in order not to have columns, which are the true knowledge of the spetie of the building, it cannot be said that it is rustic, Nevertheless, the lintel has some Ionic elements. And so the frieze, to be pulverized, and the frame is also Ionic. The part of mezo above it by reason of the modiglioni, which are in the frieze, comes to be a composite work. XV This door is accompanied by the Ionian, and linked with the rustic opera. The columns of which there are ten parts in height. And, as has been said of the others, to be so open to each other, & the walls of the rustic in so many places are not a viciose point. The capitals of them deviate from Vitruvius' precepts. Nevertheless I have seen a great deal of ancients of similar form, which succeed well, indeed the eye is happier, for the richness of the ornaments, than that described by Vitruvius. XVI
This is all corinthia mixed & bound by rustic opera. The columns of it are ten parts high, & half, with its bases, & capitals. And even though she was not bound by those bands, they would not be vicious, wanting to make use of the authority of the ancient Romans. For what in some triomphal arches in Rome there are eleven diameters in height. XVII The present door is of dilicate rustic opera, & flat, dressed in three orders, that is Doric, Ionic, & composite. The columns on the sides are Doric. And although they are so frail in height, they are not divided, on the contrary they come to be two pillars at the top of the door, as the bases, & capitals. But it is made that separating them for more vagueness, & to take over them the two shelves for each side, which are Ionic, so that they are not carved. The lintel, frieze, & frame above them shelves shows composite work, to be modelled in the frieze. XVIII A Byzantine architect found among the antiquities a Corinthian door, i.e. the pilasters, & the super-edge, all of a pezo; & the fourth tenth part was contracted, as described by Vitruvius the Doric, & the Ionicha.
This architect [f. A4 v¡] decided to use it. And being among many fragments of antiquity, he found two flat columns of Doric work. But in order not to be of that height, which it was agreed, he placed them under sixteen; and above, he found two Doric models, which made up for the height of the supercil. And so, in order to complete the remainder of the door, he took some rustic pieces of stone, & some pieces of cornice, composing a frontispiece, with its acroterae above it. XIX. It is without wonder to the intendant architect that the opening of this door is so small, and the ornament so large. For what, having made him a drawbridge, it was necessary that the two plagues above it of such a height, that the arrows, which lift the bridge, had space to enter the wall; and the said bridge was wedged into that member, who is around the opening of the door. For what they are around it are of great importance. And because the judge could damn such an order to a fortress, and he was right, that the fortresses are suitable for Tuscan, or Doric, & not delicate work, like this one; but I answer him, that I ordered it for the entrance of a beautiful garden surrounded by aque vive. XX This door is more rustic, but the frontespice is Doric. And in place of columns are Terms dressed in woven gionchi, & surrounded by those rustic beams. The frame of this door is so broken, to put that table, in which you will put whatever writing you want. To find the measure of the whole, you will imagine how many feet the door is wide, starting with one foot in twelve parts, & with that you will find the measure of the whole. XXI This door for the columns, & also for those pieces of frames, you can call it mixed Doric, & surrounded by stronger rustic, which is made of fragments, as you can see. And not to be the

columns of its convenient height, being broken in the lower part, if it is accommodated those pedestals with imperfect subbases. XXII This door is all corinthia mista de dua fate rustic. The columns are not finished yet, but there is enough matter; & you can see its size from below, in the middle, & from above. And so the leaves of the capitals are not finished yet. And to be the frontispiece, & the frame broken in several places, I have placed that octagonal shape, to put a weapon inside it. XXIII This part of the Doric & Corinthian. And Doric for its flat pillars to singing pilasters. There which, to make them more grateful, I have made that division, making three parts of them, & putting in each one a cannellatura in the middle, & give them a hollow of the Doric triglipho; & you can have them encircled by those bundles of dilicate rustic. Above these columns are two corinthian shelves, among which is the Doric methope. And the frieze is Corinthian, but interrupted by those wedges, to follow the order of the pillars. XXIV This door is all ionic mixed rustic, & bound rustic. The columns de laquale are of its convenient height : & so its architrave, frieze, & frame, are the fourth part of the height of these columns. Which is well proposed as a general rule. The supercilio of this door is not flat, nor of a half circle, but it is the fourth part of the round, & it is recommended in our times, & it is anticho. And at the end that above it door you can put a great weapon, if it is accommodated in the tympanum that sesagonal form. XXV. After I have given myself to do licentious things, I will also do one, which will seem very licentious to the stewards, but it will be a woe to those who will see it put in place in the way I understand it, and will be satisfied. The pillars of this one are Ionic, and so the frieze, and the frame; and the fourth part is contracted in the sum of it. The modiglioni from the sides in place of shelves are Doric, and the liquid will have as much projection, that is to say, of projection, as its height is. Above which will be the frame, which will come to cover the door. The ornament of the window above it will be of low relief. The columns on the sides are Doric, & I can see it. And this can be used for a private house, the entrance of which will take light from the window. XXVI This door is of a rustic abognioni filled, as the drawing shows. The columns of which are of Doric work, or rather they are pillars divided into columns, as can be seen at the bases, & capitals. The architrave, frieze, & frame are of opera as [f. A 5] placed. Others say Latina, others Italica. Therefore it was invented by Romans, & was placed in the first part of the amphitheatre of Rome. 
XXVII
This is all Doric, a work of low relief, there is a rustic point of it: but the wedges, & bognoni are flat, but detected dua said outside the wall. The height of the columns, to be flat, & not carrying any weight, are nine parts high. And for having also its pilasters from the sides, they are not mendose, on the contrary, if in such case they were seven parts, the whole work is dwarf. XXVIII If it did not make the bizarre of men, one would not know the modesty of others. And yet I could make such a pure Doric door, as can be seen in effect, without going round it with bundles, & with wedges, & break its beauty. But because it was always, & is, it will be (as far as I believe) bizarre men, looking for novelty, I wanted to break & spoil the beautiful shape of this Doric door. Of which the prudent architect will be able to use, throwing from band the rustic columns from the sides of the columns, & also removing the wedges, which break the architrave, & the supercil. And thus remove those bundles, which encircle the columns, where the door will be pure Doric, & of dilicate work, removing the rustic, & put between them triglyphi the heads of dry newts, & flatten them, that each thing denote the sacrifice. XXIX This door holds the Doric, the Corinthian, the rustic, & even (to tell the truth) the beastly. The columns are Doric. Its capitals are mixed Doric, & corinthian. The pillar around the door is Corinthian, for the carvings; & so and the architrave, the frieze, & the frame. The whole door is surrounded by rustic, as you can see. As for the beastly order, it cannot be denied that, since there are some stones made by nature, which have the shape of beasts, it is not a beastly work. XXX In order to complete the number of the thirty rustic ports, I have made a lot of them, that I am tired, where I am forced to imagine a triumphal arch of Tuscan opera mixed with rustic. Whose arch may serve for the gate of a city, or fortress, using one of the ports for the bridge, and the other is finished. And this door in the true will be very grateful to the men, for the variety of things, that there are. First the wedges of the main door are varied, one of living stone, & the other of baked stone. And likewise those of the small ports, & so even at the closed windows of the latticework of baked stones, have their wedges varied, & likewise that space above the door has its wedges varied. In which every beautiful history of mezo can be made, besides the niches made of milky stones, in which some statues will be placed. And then there will be that elevation of mezo with the frontispiece, and those on the sides, where you can put different things at the will of the patron. And here ends the number of the thirty ports of mixed rustic work with different orders. [f. A5 v¡] DESCRIPTION OF THE DILICATE DOORS. I Hora, that I have vented the Byzantine in mixed, & licentious things, is well reason that I deal with the regulars. And therefore the present door is all Corinthia; and the fourth tenth part is contracted, as Vitruvius describes it in the Doric, & in the Ionian. The frame above it will be as far outstretched as it will support the shelves; it will cover the door. Above the frame there will be a window, to give light to the house; the ornamentation of which will be of low relief, & so the brackets will still be of low relief.
II This door is mostly Ionic, but the columns on the sides are Doric, & low relief, so much so, that one can say pillars for the bases, & capitals. In which are nichi, & mixed stone tables. Above the columns are Ionic corbels, which support the frame, above which is a window to give light to the house, which window is decorated on the sides, & above; liquid ornaments are of low relief. III This door is all composite, as can be seen in the columns, & the architrave, frieze, & frame. The columns of this one are of low relief, between which there is a place to put several mixed stones, above which in the tympanum of the frontispice will be opened to give light to the path of the house. IV This real door is all Doric, although the frieze is occupied in part by that table, to put in the writing. But once the table is removed, it will be possible to continue the trigliphi, & the methope. The pillars on the sides are flat, but each of them is so divided, and made of two columns at the bottom, so that the work is more pleasing to the eye. But the form of the pillars is taken away from them, continuing the members of the bases, & of the capitals. Therefore, if the pillars were so wide, without any work inside, there is not so much artifice, nor beauty, nor the ornament of this door. V This door is all Ionian, though the form of the Doric capital is above the columns, which by fortune will be blamed by good architects. Therefore, the good ancients and also the good modern ones would like the columns to go down to the architrave. But it is to be known, that finding himself an architect, four beautiful Ionic columns, the height of which was feet VIII, & ounces IX ; & had many others much smaller than the finest Alabaster, the height of which was feet IIII. & half. And if you want to make a door, the opening of which was feet VII. & half in width, &. xv. feet in height, he turned to use these columns, putting under the first columns a sub-base of feet I. & ounces II. & above it he put the form of the Doric capital, for the impost de l'archo. Its height was as high as the thickness of a column at the top. Then above these columns I place the other minor columns, putting the architrave, the pulvinized frieze, & the cornice over them. The height of the whole was the fourth part of the height of a column. And so of those fragments composed the present door. Which damn well might happen to the architect one day. VI This door is all pure Doric, but it could be enriched with ornaments, carving the capitals in the way, which has been seen in some other more adietro. And so in the intervals of the triglyphs you can put the heads of the bullocks, and the basins, but whatever else you want, following the will of the master. VII This door is all Ionic work: but the columns of it, in order to be duplicated, are more slender than those which Vitruvius described. But in this place, for the reasons I have said more adietro, they are not to blame. I have occupied the frieze in three games. Because they are some people, who enjoy writing a lot, & different things. But whoever wants the frieze straightforwardly, can do it. [f. A6] VIII This is all Corinthia. Its columns to be matched as I have said of the others, are in height ten large, & meza ; but that the canelara will show itself of greater thickness, for the reasons said more adietro, & the door will be richer. And well that these columns appear to be part of it in the wall, it will nevertheless be possible to make them all round, & put behind their flat contra-columns. IX This door is all ionicha. Its columns are eight diameters high. Its cannellature, to be two thirds outside the wall, want to be sixteen, & eight is hidden in the wall, which are twenty-four. The capital is richer than that, which describes Vitruvius. But in order that he may be more grateful to the eye, I've fixed that frieze under the egg. For I have seen a great number of ancients like it. And if the master of the house does not care to put many letters over his door, he will be able to run the frame, & the frieze, where the work will be more perfect. X Ben that the seventh door is similar to this one, as for the columns, which are all Ionic, this one is very different from the others. The columns of this one are nine parts high, & half, & are two thirds out of the wall. And even those who want them in the round with their flat columns, the work has been more present; and the frontispians above them will return better, remaining the part of mezo above the living part of the frieze. XI This one has a triomphal arch; it will not be used for the door of a sacred temple, for there to be six fires to be placed in it, or the part of mezo above it, where a low relief is made; and it is all corinthian. Its columns are in height of ten parts, & meza, & that the cannellara will show greater thickness, for the reasons given above. XII This is all Corinthia; the columns of it are ten diameters in height, & can be two thirds out of the wall, & also all round with its flat columns. If this will be to a house, the path of which needs light, & similarly to a Ghiesia. The window above it will serve, & since it has no need of light, an instance will be placed in the fire itself. XIII This is Corinthia, like the other, but different in form, & work again. The columns of which sleep ten diameters & half, & sleep thirds outside the wall. The two halves of the columns from the sides enrich it very much, nevertheless it can be done without them. And who will not want those tables above, will run the work, & will be more perfect. And well that the good ancients did not use to belt the columns sideways, but they always shot them from low to high, nevertheless I take such a dismissal from the Gierosolomitane columns, which were at the portico of Salamone. 
XIV For the door of a temple this can be of use, where there are fires for pictures, & for low reliefs, & for fine stones, & things like that. The work is all Ionian. The columns from below are two thirds out of the wall, & are nine parts high. The ones above are flat, & low relief. And even now this might serve for a triomphale arch, & it will respond well. XV Acadera sometimes to the architect to want to make a door, the width of which is X feet. & the height of feet XX. But he had some columns of lesser height, that he put it in the door; if he wanted to use them columns he could set the arch over the columns of such height, as the fifth part of a column, & be a frame, a pulvinized frieze, & lintel, & under them columns he would put a pedestal, which he would place on the edge of the door. The height of the pedestal will be feet III. onze IX. The height of the column will be feet IX. onze III. The lintel, the frieze, & the frame above the columns will be feet II., which are in all feet XV. half circle, which will be XX. feet. A shelf of one foot will be placed in the middle of the arch & ten onze, & flat columns will be placed above the round columns. Its height will be VI. feet and ten onze, placing above them the lintel, frieze, & frame. The height of the whole will be the fourth lower part of the lower part; it may be used for the door of a temple, like the other one here on the side. XVI This can be said to be Corinthia, for having carved a large part of its members. Its height will be twice as high as it is wide. Its pillar will be the eighth part of its width. The forehead of a shelf will be as large as the [f. A6 v¡] pillar. The gap between the two shelves will be as wide as a shelf. The height of the frieze will be the fourth part more than the pillar, which will be the supercil. The height of the frame will be as high as the supercil, & the eighth part more. The other ornaments are made to man's liking. XVII. This door is Doric, but a little licentious, because of the rissalto, which makes the architrave, frieze, & frame. But this is well necessary because of the two flat half columns, which support the architrave. And this was to enrich the door from the sides, & also above. For what the opening of the door is not very large. Nevertheless, the master will want his door richly ornamented from the sides, & from above again. And if the entrance to this house needs light (as is to be believed) the window above will give light to the entrance, & will make ornament over the door. XVIII Finding itself an architect dua beautiful columns of composite order, the height of each will be feet XII. & its thickness will be the eleventh part of its height, which (in the real) is a little bit licentious. Nevertheless and for its beauty, & also for its necessity, he will not want to use it to decorate a door, the width of which will be feet VIII. at least & he will still want that said door to be rich in ornaments. If this door has to correspond to the columns, it must be of that height, which is granted in common, i.e. of two pictures, where under them columns need to be placed; the height of which will be feet IIII. & mezo, which will be in all the height of the XVI feet. & half, even under the architrave. Half foot will be the arch, & so the height of the door will be feet sixteenth. Above the columns you will put the architrave, the frieze, & the frame. The height of the whole will be the fourth part of the column with the base, & the capital, making the frontespice, as you see, decorated. And so that the door is well adorned (as I said above) we will place its flat contracolumns behind the roundels, duplicating them flat columns, & placing niches between them, as you can see in the plan below. XIX. This door is largely similar to the past, at least inventive in accordance with the plant; but it is different in species, & measures: species, because the columns, & other ornaments are corinthian. Of measures, these columns sleep in height ten big ones, & half, besides that one has the frontespice, & finish them; it keeps above a bastard order, where happening above it brings some history, or great number of letters, there will be place, & it will be different from the other in some parts. XX In order to accomplish the number of the twenty regular doors, and having made of them so many fates, that I was tired of them, I wanted to make one, which can be known different from the others, which is all of composite work. The width of this one will be (example gracia) ten feet, & in height feet won. Each pillar will be one foot. The forehead of a column will be feet I. & half feet. The intercolumn will be for a column & meza. The height of the lintel will be sixth less than the column. The frieze will be the other side, & the frame will be the other side. The capitals of the models sleeping members of the frame, nor which for more ornament there are those carved leaves. The elevation of mezo will be a perfect picture, I say between the columns, whose columns will be in the spirit of the modiglioni, then decorating the rest, as can be seen. And here ends the number of ports all varied. END.