ARCHITECTURA,
or
Building, taken from Vitruvius and ancient writers,
Dealing with the five orders of columns, of which we can order and appropriate all kinds and
building practices,
profitable for all factory masters, master masons, carpenters, carpenters, tailors
of images and all other lovers of the art of architecture,
with the declaration of the figures, again highlighted and invented by Jean Vredeman,
Frisian. An �. 1577.

In Antwerp, at Gerard Smits.

Antwerpie.
Apud Gerardus de Jode in platea vulgariter dicta catl vestene jacket sub signo floreni aurei. 1577.

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To the very learned, wise, prudent and virtuous Lord, Denys van der Neesen,
Bachelor of Laws and Secretary of the good and very famous city of Antwerp.

Very virtuous and honorable lord, my cousin, as much as it is almost my only
responsibility and profession to educate children, and to plead as their cause, however for what
also finding, long ago, in the printing business, this came to my hand for
be translated from Low German to French. I didn't want to miss dedicating it to you and devoting it, in
as long as I know that V.S. is having a lot of fun in the liberal arts, and that singularly she delights in
the art of architecture, haunting and frequenting good spirits and great zealots of it; that I
conceive this hope and assurance that you will accept this mine as much work as it will you
is presented, attached that it will serve me as a public testimony of the good affection, which I
door. Recommend me to the rest at your good graces, by praying to the sovereign you increase the
hers. From Antwerp, 1577. Nov.

Your beloved cousin, friend and faithful servant,
Theodorus Kemp.

TUSCANA.
The first order tuscana, put in five columns: dealing with what itself proceeds and can be built.
On the I <er> sheet.

Because in all buildings and works of architecture, we cannot, if as we do
must always use the same form or way of the columns (either tuscana or other) how much it
the tuscana in its distance and in its order must remain tuscana in its parts, proportions and
ornaments, because of its preordained rustic thickness, strength and loyalty [assembly], so
to put at the bottom or at low places of factories, if like at the bottom of the walls, or arches
of an arch, bridges, cellars, gutters, doors, barns, shops, bastions, boulevards, fortresses,
tusks and gabions, etc., and everything that is massive, robust and powerful and necessary for
fortresses and defenses. To which we can proportion tuscana, columns, pillars, pilasters in their link
rustic, with pedium, bases, capitals [capitals], trabes and cornices, such buildings and buildings put,
according to the situation of each of them; or even more thickly and robustly, as we
will be able to better accommodate the thing that we find to be more necessary,
in this figure, having five kinds of the corpus columns of the order of tuscana, with its members
pedestals, bases, columns, pilasters, pillars, architraves, friezes and cornices, each in the middle being a
not very thick in front, and after a bit small, for image cutters, carpenters, painters
or glassmakers, to whom the great thickness is not beneficial for disaggregation, also for
serve, depending on whether it comes just in time and they find it necessary in their works.

The first column or pillar denoted A square, i.e., half its width, or
the third party, as it is found necessary for its carrying and loading, at the discretion of
the architect, the same six of its high or long thickness, with bases and capitals [capitals]. The link of
the Rustic, and its spaces, with the height of the pedestals [corns] and coronamentes [crowns],
with its members and divisions you will find in measure and division this first pillar A.
Icelui even divides below the base to the top, is divided into thirty-two pieces, are two
spaces and three up to the rustic joint, in this retains capitals, base each three, and the
pedestal on pedium of the same measure 12 1/2. At crowning three, and in this division will find

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on all the other four, and proportion in all according to good judgment and good will
of a good worker hearing that well. Column B is like pillar A top six of their
thickness without the law, the twelfth thicker part projecting than the corpus, either round or
square. Divide the same link into three parts, the bottom link to the third part of column B
two-quarters wider. Pedestal, base, marquee, architrave, frieze and cornice will show you the
division and measure on the first marked column, always holding the tuscana form. The column
mean B of the same proportion, in its corpus are six of its thicknesses down long, at the
third from below a quarter of the same measure, there thicker by the small cross marked. Podium,
base, marquee, architrave, frieze and cornice, you will also show by the division in addition the proportion
and measures, as before, the members of the same endorsement. Column D is long
thickness down six and a half. The law of the same do I put everything at the discretion of those who
hear it, to want to use it and give it a good judgment. The link in the same column
marked according to the contentment of each, always following the same predicted and measured division
marked. Lately pillar E with its pilaster or inter-column and link, is also the same
thickness ; the height or length how before in half the thickness of this pillar, is
the height or width of the front link, as the base and the marquee will always be pre-eminence or
the doubling of the link, outside the corpus, that is to say a twelfth part of the pillar. The thickness of the pillar
divided into three, part either the width or thickness of the inter-column or pilasters after next
in the same measure and proportion. In the under marked division, you will also find the
pedestal measurement and crowning in the predicted division. What the wise expert architect
in this will find serve and expedite to the work, as for the decrease or increase, that I
recommend to everyone's discretion and good judgment.

So that the project or the projection of a cornice cannot have its perfect projection, to
duly show, because of the small spaces, as it is marked on the two extreme pillars, and
put behind, with its line, to show the portrait and the projection of the same ledge; But
the intention is always that the extreme corner or edge of the architrave, low fascia, and the cut or
margin in the line from above will always be corresponding and compliant, either in round columns
or square, as the notes show by A and C.

The second tuscana sheet, showing some fortresses, what we can use and invent of this order.

So that of the five orders no one is more suitable than the tuscana order for others
be highlighted all kinds and forms of citadels, fortresses, bastions, boulevards, tuitions,
even to build castles, for their rustic heavy strength, and recreation, including several various
kinds and forms in the factory can be invented; but for what of that is made up a
separate book of citadels, boulevards, castles, and such similar fortresses, made by Mr. Jean
van Schille engineer and geographer of the King and of the States, no longer needs to write them. However
to satisfy this tuscana order, we put here yet another room for the first one,
that it would be necessary to show the different; one fort on the other, depending on whether the
convenience and necessity requires it to be used. Here we put a boulevard, or tuition
of water, used for a sea embankment, or for a large river, also at some harbor, port, or low
dry place, to guarantee such situation and fortify all that by water and earth of such
impetuosity can be damaged and weakened. The shape and foundation is such as you
see here: proportion and division is this. The dike, or the ditch of any height,
mainly at sea, will always be the middle lyst, and the round edge from below, and like the
the top edge of the dike of similar height. And the whole lyst must be a quarter of the height
bottom bottom, on which bottom bottom or space we will do from corner to corner and in the middle to each

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a trunk or noggin with their closed tuitions, instead of casemates, well vaulted and closed
from inside, or to resist artillery, or

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low water. Also if we would like, we could keep the bottom closed and closed, so that the water does not enter
icelle being high, always making and having ready channels and water conduits open on the bottom
hose, to repel water. The stay [forestay] over the big lyst near the dike or ditch
will have its plant or pavement higher than the dike, very thick with walls, and turtle, or arched,
with rising pointed arches closed from above, to make some tusks or chevallos
(sic), to shoot at sea and prevent the arrival of ships, which would do wrong, or
be enemies. What ingenious architects, and masters of fortresses indeed, with all that
that it belongs, and is useful and necessary to be done, will be well shown to models or made patterns
in their backgrounds and forms, to accommodate bridges, degrees and artillery places. I will show here
my simple order and admonition, as you see it here with the little foot near it.
Besides this I have put here two kinds of fortress doors in rustic style and vaults
with several closed arches, to put on it some gabions and chevallos (sic), for from there
make a great effort, as well as here before we used to shoot tall towers with
quarters, or half serpentines, double falcons or couleuvrines against assaults or
trenches in front of a city or castle on the part of enemies. At the second door B did I put two
gabions to keep the same door, so that if there was a door, which would be located at a city in
which we could not easily future to shoot or assault it (at
because of the waters or swamps) so that only to a quarter of a door, then we give to a
such door instead of a front door or counter; which we also found good for defense
of such a door, for an ammunition and bastion two casemates or ramparts, at the entrance of each
side of the receptacle doors in two washers or boulevards. From where we will also use artillery
on both sides to meet some assault, down in trenches with three bastions, the height of
each five feet to equip it with artillery, and between the two receptacles one foot higher
and a half, the very top of the bottom six and a half feet. The feet measure of its size you find there
close marked, how much nobody cares about it, so much to make it bigger, thicker, or
less, depending on the convenience of the place. On the door you still have a platform, for you
serve it back to back, both at the side and at the front, to defend and have frank passage of
doors, as necessary may require. What will best accommodate those who
have had some experience of it, and hear it for having practiced it several times. And in us
however, submitting to a better opinion, we do not want to go any further.

The third tuscana leaf, showing various kinds of stone bridges.

Here I have put three or four forms and sorts, containing some arches or bridges,
made of rustic stone, outside the tuscana order, in the shape you see here noted the
supreme and first A with its trench, bitter to derive the ice and the force of the tide, also
with its seats, and in the middle a small house or small chapel on its project or chargure (sic),
put on large rustic, modillions or couttorsse. To wear the general measure, or small foot to the
height and proportion of the height, width, and thickness of the heads or trenches, you find there
closely marked, how much that to make them bigger or smaller, one is not required to be subject to it. Because
each architect is free to make them according to his opinion, and as he finds them convenient for the purpose of
his work.

The two lower parts of the bridges, noted in the middle, one with a seat and the lower
point (how my intention is to show it as a bridge, to make some bridges)
with strong conjunction, and in extent, which in the middle of its turtle or arch would be open,

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to pass with the mast of a ship, without swallowing or raising the deck, which we do (as we
sees in no wooden bridges) without much annoyance. How the same will be hanged by him
pivot with half open arches: and also how we should found the freyts (sic) or bridge heads
in the water, you will be more ample in what follows, shown.

The 4th <e> tuscana leaf.

As found in all rivers and arches, tortoise or vaulted arches, founded with
freyts (sic) and heads off the bottom. What however cannot be found or demonstrated, the same
rivers to have been derived out of their ordinary course, to have the bottom of such rivers dry,
in order to found or work there. What it will be necessary, and impossible to lay any foundation for it
try the bottom, without having the total bottom dry and naked, to pilot it and plan for the flow
of waters, and against a moist, moist bottom, leaving the river its course
to use it. So is between the ancient and ancient architects, that they made a hutch of
wood, four or five feet wider from the inside, only the freyte or head in sound
order either, to have around it frank and free the space of two, or two and a half feet.
And the hutch must be made double and closed with curves and stripes, and it must go down between
two ferries or flat vessels, well loaded at the <place where we will found> the freyts or bridge heads. If the
bottom is crusty, weak, or <full of mud, you have to leave the Breakage from below with long
sharp curves.> If it is sandy and firm, only short curves and
pointed at the end with iron, to enter more firmly. If it�s a stony bottom or
stony, or that we do not know how to bring the ends or fasteners, we will put a lot of sharp irons
wide and flat curves or fasteners, about two and a half feet long below the
posts. This hutch being ready, extended between two ships at the place where we want to hurtle down, we
will fill the space on two sides, both inside and out with oily earth, as
of clay, mud, mud, or quagmire, well filled and closed to repel water. And so this
crib being immersed, and standing tightly closed at the bottom, closed and covered with such earth, and
below at the bottom where it cannot yet be so tightly sealed and sealed, it will be closed from outside with
gravel and stuffed with clay, and while the hutch is full of water, we will put in the way
before noted one or two lossecs [pumps], and we will draw the water, until it is everything
dry, to melt and work on. And when we�ve pulled it so high up to the river,
work dry and freely, we will empty the hutch of soil, and we will remove it and put it further
if one wants. Or if according to the requirement of the fact it is necessary to make the crib with double jaws or
obstacles, only you have to line it (sic) with pitch, and also load, as I have
well seen in no ships. To keep well, let her suffer no danger and peril from
stream of the river, so that it does not go to float: we put in front a counterguard, or
ammunition and wicker racks for defense, so that the flow or violence of water makes no effort to
meet the crib.

After, if before a few in a suitable place, either on a few harbors, or in rivers
would like to arch some bridge, where ships could pass, without swallowing their mast, and also without
have some trouble raising bridges, here we have put a form or a way for such
arch-shaped bridge, without leaving a wide foot or more open the clamping stones at the
middle for the mast. And having extended the same ones in half, hang it in such a law in
iron hinges and corner stones, and attached and supported, and extended with beams, and enclosures with
wooden work, as seen here marked on one side B and on the other A extended. What he
it must be crossed, from arc to arc, to the end, to be assured of a strong connection, not
that in a bridge over a wide river we would like to have more than one open arch, where we will do the
only wood, like a crane. The front head of the two woods

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down, or sideways when opening and passing the masts. Also give closed beams
in their hinges, and so bricked with dry stones, how we put to one side
marked C, seeing the beams suitable for transporting and moving any gravity, like a skull
must be worn, depending on whether it is found to be used by good experienced workers. And must cover the
same work of wood, with stones well united and closed, and the cross below its kepers
[crossed] arched and closed half open without clamping stones, can be opened and tightened
all the stones of the vault, as well inside as outside, that one carries and apprehends
the other, as we noted in D mainly the half arch below marked C,
which law cannot be separated. Everything an ingenious architect needs to do here,
I advance my simple invention and labor to him, in order to help himself better, in his good opinion, and that he
will find the most expedient. The best that another will find and demonstrate will be given to him
in all reverence, what will be due to him.

The 5th <e> leaflet, dealing with several buildings, rustic buildings of heavy traffic or laborers
which are in use.

If you are a lover of the art of architecture, here are four more types of buildings or
buildings, with their height and granaries of the rustic tuscana order, useful and practical for all
robust buildings, such as arsenals, pack-huyses, warehouses, prisons, and such
similar heavy rustic buildings, with rough, coarse and heavy manufactures and ammunition,
each with their foot and measure attached.

The first marked A we put and accommodated for an arsenal, with all that it
depends on it, to put in it, if as carts, carriages, wheels and artillery, to keep
all of this.

And the second marked B is clean and suitable in a market town, a pac-huys
[warehouse], where you can pack and keep all kinds of burdens, vessels, and large chests:
and also to put merchant shops, as we want. Upstairs on the second floor think
we accommodate all dry and light goods, either woolen or silk sheets, or
spices, which should be kept and kept dry.
The third room marked C did we also order to accommodate pac-huysen
[warehouses], or dependent houses, suitable for heavy things, either barrels, vessels or
granaries, butchers, wine houses, or that there is stage and similar large traffics. And on the
first floor or attic height and all kinds of grain, which we need for supply.

The fourth piece marked D we put for a prison or ammunition house,
to put down correctional or chastoy prisoners, giving them alms if you want. Or
powder, saltpetre, or the like, can be placed in the same caverns and holes
keep them there as elsewhere, and other things you want. And on top of that what will
each, and will be most necessary what we can find clean at the bottom of the model. What
will affect the members and particular and common parts serving at such distance in their places
attached, we will find in their convenience with the order and measure, according to the requirement of the work, and the
good discretion of the prudent architect. Because we do not want to compel the opinion for this reason
no one, in order to obey and follow, as being compelled that it would be the best advice, for
subject them with my opinion in these four simple pieces, or that the opportunity can advance a hundred
ordinances and various forms, and to all tuscana leads you, and are all alike in kindness,
and in good order. I put mine forward for the benefit of everyone, for the better, so that another
also do his duty in this, and let him also exercise his lively spirit in this according to whether his spirit
will find it good. On that we will finish the treaty of the tuscana.

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DORICA.
The second dorica order, put in five columns: dealing with what can be done with this in architecture.
On the 6th <e> sheet.

Just as we have here before put the tuscana in five columns, for the
stonemasons, carpenters and painters, to accommodate them, to each according to his work and to
tenderness, beauty, and strength of it: so we also put for the same ingenious
lovers of ancient architecture, this Dorica order (which is for their fact of work, more
suitable and suitable, as the tuscana) in five columns, in the form you see here, with a
general measure attached to it, in proportion and instruction from Vitruvius, according to the particular
measurements and divisions of their members and dependencies, such as pedestals, bases, columns, capitals,
architraves, friezes and cornices, with their ornaments and outbuildings and leisure: but the column of
middle is the commune, old dorica column, long on one side of its thickness, in all pedium
and crowning glory, as Vitruvius teaches.

The first flat or square pillar, marked A with its lawn, is six times its thickness
or width, to put it in a low rustic or portico stage, or gallery: and how much that
the extreme edge or corner of friezes and architraves of pillar A is placed somewhat within its line or
its essence, the intention is always, as above said of tuscana, equal in its line and in its
bottom, when the edge or the corner of the pillar and architrave, must be the same in measure, and when the
projection or protrusion of the cornices of the first pillar has too little protrusion. The measurement of
which the cornice always divides into three and a half parts thick of the same parts, the projection or
projection, or more, depending on whether one wants to make some planier, Loisange, or without Loisange, is at
everyone's pleasure to do, or leave it the proportion of it in the measure and annotated division.

The second dorica column, marked B is also like the average, long seven of its
thickness, but its law, or pointed connections, make it a little coarser, in its thickness.
The measure and proportion of all its parts and law you find in the division there with
marked, both on the stylobate podium or pedestal and crowning, with all that
thus belongs to the entire corpus from the stylobate or pedestal background up to the scyma [sime] or
superior egyse [spine] altogether divided into 36 parts and a quarter, or into septa two and a half
divided, will show you the proportion, measure and division in all, of the five columns, except that the
last marked C D are a little more tiny or loose, if you want one of seven divide at the
half, and the other eight times or its thickness, as convenience gives, either of stone,
wood, painted or not, where it can be used. And in the commune of Vitruve, you find the
particular measures annotated there, where you beloved amateur will not find anything to meet, in
everything I show is dependent on the column, but it's the oldest, best, and
excellent in measurements and proportion, to which all masters of architecture refer.

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How much that the very famous Vitruvius, Sebastiaen (sic) Serlio, and the expert Jacobus Androuetus
Hoop put forward many other various kinds of pediments, frontispieces, buildings,
fronts or do, in the ancient, Italian way, and the practice of their architecture and building, according to
that it is found in their books and patterns of other masters, in fashion, custom and so
country there, without cross windows, and singularly without requiring a lot of light, n <i> high
deep, but wide, and not very high. But in this Netherlands, we have another condition,
particularly in the cities of major negotiations, where places are small and very expensive, where
you have to practice and look for the places at the top, for the greatest convenience, to have clarity,
each according to its place and its convenience, whether large or small, where it is necessary to use, and seek the most
great convenience and means of buildings or houses of architecture, in a clean place. What well have
practiced and observed the following and several other valiant and industrious, and very expert masters
architects in honor of this Netherlands: as master N. Floris, father of Cornelis Floris, master
Jacques de Berges, master Jan Gilgo, m. Anthoine Mockaert, m. Jan de Heere, superalii Cornille
Floris in Li�ge, master Thomas Voor, Guiliame (sic) Paludani, and many others, which
are unknown; but their works show their spirit in the demonstration of architecture, to
knowing how to adapt art to the situation and need of the country, more than some were needed by
old, according to which one will find in each of the parts and parts, and inquire of mine to
have a better one.

The second part, Dorica, deals with rising frontis, or frontispieces of a frontispiece, in two kinds.
On the 7th <e> sheet.

Touching that it is the order of the dorici columns with their suitable ornaments, is quite
to all good amateurs of it declared in good discipline of Vitruvius, and of the other similar books.
But to put it in order, to make it and accommodate some building, or building
according to its quality, and according to the way and custom of this country, we put here two forms,
each half low (sic) story, with their height from above, in the shape you see here,
either to build entirely sandstone stones, or white or blue stones, or bricks
with their white work, mixed among or not, as everyone likes and agrees to do large or
small expense. Window and door measurements, either cross windows or half windows,
depending on whether it comes in time, where we draw or ask for the light, we have in this country a commune
usance of height or width, if as wide doors eight or seven feet high, twelve or
fourteen feet, also ten or eleven feet high, and six feet wide. The Windows
commonly, either crossed or otherwise, about two and a half feet, down five feet wide, and
over three feet high, depending on the height required. Near this rise or orders do
serve to be noted other prone measures, except that of them have doors and windows. Because
the parts and ornaments of the work will find from within the rest to the division and situation of the
square. Which cornices, lysts, bases, capitals, nitses and arches could be accommodated from within,
we find the particular measures in the fourth book of Vitruvius, printed at Pierre d'Aost, or
Jean Bloen [= Blum], or in our last book of five columns. We still put two here
kinds of fireplaces of the Dorica order, and orderly them to make stones,
and put them down in some room or big room. We also have a common fashion and
use of proportion, what will be the height and width, according to its place and convenience, high
commonly six feet, up to the architrave eight, nine, and as well ten feet, depending on the
size of the place, either bedroom, kitchen, room or other.

The 3 <e> part dorica, still dealing with two kinds of rise or frontispieces, in two vaults without frontis.
On the 8th sheet.

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Here you have two various frontispieces, each only half of the middle, out of order
dorica, and each with a door, pilaster, and column below the door, and above adorned with
arches, and filled with bricks, with its modillions or courtoysses above the roof, another
with its triglyph and metope. General and own measures, we will find them divided into each
space of one each vault, depending on whether they will be high or low. Because this

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is marked as a background: we only need to note the manner and fashion of the heads, on
which everything is built and founded. The measurement and division of (sic) the whole work, you annotated in
the small foot measurement (sic), and with the previous part also marked on the same
measured. So we put (to satisfy and fulfill the same Dorica order) two parts of
walkways with separate columns against their fashionable pillars, quivered,
because of the alteration with its respondents, marked from inside to the space of the fireplace, which
is not to make stones, but only with the gect (sic) of the wall, to paint it with color
gray, white and black. The crowning will be stone, or the wood chimney, I mean on
the dagyf, getting lost at the neck or cracks it. Measuring the chimneys of this country you have
commonly the width depending on the place, but the height generally indifferent.
The fourth dorica part.
 On the 9th sheet.

As well as all buildings, either mansions, frolicking houses, or pleasure craft inside or outside the cities, depending on whether the wealthy people are comfortable and comfortable, and whether
houses are located, and they have big or small places, on which we want to do something thing, according to the wealth and the reputation of each one, as one has strong in this accustomed country, all
their bottoms hang in one way, with galleries, either to their gardens, or to the places where they will please and be more pleasant. So here we have set a way or order, to be able to
build some pleasure house on a garden, with two fronts or frontispieces behind and in front, between the two frontispieces on the projecting garden, with four arches, on four rounds
columns, being in front of a gallery, as you see here, that everyone can make so long <u> es.
Which galleries and the bottom also two feet high are three degrees, each degree
fourteen inches wide, forty four inches, just four feet, all the more
deep will become the gallery in the frontispieces or monteyns. Its convenience or ease
you see it declared at the bottom at the bottom, I see that we could well accommodate other funds,
so that only the beginning remains here. What it belongs to the measurement, in height,
length, width and distance, to that you will use the small foot measurement marked between two,
as well for the knowledge of the bottom, as of the fronts or the work from above. The learned architect
will arrange it and accommodate, to the situation of the place and the place, according to which it will find better
suit.

The fifth dorica part, and what it deals with.
On the 10th <e> sheet.

To show how many of the Germanic nations there is a way of receiving the
light, and that we build upstairs by floors, how diverse in building, both stones and
wood, if however we can accommodate the same custom of heights, on the way of
each country their light, like the doors and windows in all to the situation of the place of one
each one at their ease and convenience in the ancient way, like the Moderns. As we have you here

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posed in two different ways, one side half with two floors, and a high denoted room
Below a large roof window, or cover extended above with two round arches.
The second side with three floors, or rooms also marked with its B-roof windows below its
separate door, and free passage, and the dwelling with the entrance all attached, particularly with a
hanging room or counter, as will be better accommodated according to this order, at the
convenience of the place, at the bottom noted B A is counted down, is always A until A and B until

B. The second background marked A belongs to Montey A. Where the degree is noted in the middle, at the bottom
we will put the degrees, or other necessities, such as private, wardrobes, hanging rooms, or
layers. Still we know in this country to do or ask subjects, but everyone must know
architect and builder knows how to accommodate and order this to the situation of the place and the place. I'm getting
that we put something in the background here, this is only to show the heads between
windows and passageways. Do you still have four kinds of Dorica fireplaces here?
accommodate where it looks good to you, and where the ordinance can suit you, to build under
with stones, and above with wood, or any stone, at the discretion of the builder and
the worker. Each person for something better withdraws frankly from me.
On <le> 11 <e> sheet.

The first background noted B until the fifth part after B is with two entries, the
in the middle of a door, and there by a door, to be used for living, and the door that goes over a
space, for cellars or houses, or used for something else, depending on whether there is more
necessary. The way of the bottom of the climbs, standing in the middle, is to make the garden a
small gallery, ten or twelve or fourteen feet wide, so wide that the tower or the body of the
long climb, as you want, or as wide as the bottom, to find a garden with that
provide and separate from the place of the door, so that the builder or land master will find to be
timely and useful, depending on the situation of the place, and to its satisfaction.

The sixth dorica part.
On the 12th <e> sheet.

So therefore that all princes or lords of authority and power can on their funds
or well-placed places to found, plant, build, according to their quality, so large and so rich that they
will find expedient, so it will please ask various masters many bosses and
orders for several ill-founded be well-founded, both for the service of the merits by
inside, like the boss drawn outside. By so therefore good zealots of this art, you have
here added another two slightly better halves out of the dorica order, so if none could
be moved by the inspection only of this order, either one or the other (notice that
one is a little more decked out than the other) each of them downstairs with their gallery, and two floors and
rising frontispieces, and roof windows. The second part of the bottom are double columns to that
corresponding, terms and nitses, between two suitable for palaces, town houses, homes and
mansions of great lords and princes. Either there are only two sides here, one side with three
arches, and stretched outside the frontis, and the other side, if not with three arches and double
columns from outside its frontis, everyone can corner the gallery, or as to the extent
frontispiece build and make it so long as it pleases, at the distance and location of its place and decent
convenience, as well as the builder or owner of the same self will find it suitable for his
service. The measurement will find yourself, what will be the height, the width and size, the measurements and
partitions of ornaments for particular members, such as columns, arches, interfaces, crowns,
pedies, and such similar embellishments, have their own measurements and divisions with Vitruvius, and

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several other updates and watches in particular. So there�s nothing left for this hour at
show, if not that give this our order, and manner to all ingenious architects, and
lovers of it, for this out to their service accommodate and put in good order, which we do
want more of this dorica order in this part, and in such a way put, but make this an end,
see that from there he would still have to demonstrate many other things, so that the order
dorica, both in strength and in adornment, where beauty is most suitable, of the five orders, mainly
for all architects, stonemasons and masons, however we recommend to good grace
of all good zealous architects, hearing at their command. Besides, we want
show some parts of the Ionic order.

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IONICA.
The third Ionic order, put in five columns with its decent decorations and divisions in architecture.
On the 13th <e> sheet.

To satisfy everyone, as we understand it (as for this treaty of architecture, and the
five orders of the same Vitruvii columns) started to go up, so here we put the
third order ionica in this part in five columns, to use each one with its suitables
ornaments and portions in wood or stone, according to the suitable distance from each, always in
just like in front, observing the capital measures, according to the Vitruvii admonition, as well as you
will each find its best convenience, if not that we have the general parts, like
basseringhes and cornices of pedestals, bases, capitals, architraves, friezes and cornices of columns, one
more than the other proposed for decoration, because it requires a tailor, carpenter, and
stonemason or mason take care in this respectively, so that in wood we do not
work not to make heavy and coarse, but beautiful and necessary ornaments, and
should not be so massive and large as those made of stones. Yet did i put here five
various columns, of which the first three can be accommodated to work
stones. The first one is for doors, which is only six and a half of its size at the bottom long,
with bases and capitals marked A. The second after noted B is eight times its thickness. Tea
third is eight and a half long its size, the measure of its particular parts you
find annotated, and the fourth and fifth denoted D, E, are both nine of their
thickness at the bottom long, and its capitals half and a half quarter of their height tall, the
others with their basements are all half their thickness tall, and after the cornices, friezes and
architraves above, and pedestal below, with their parts you will find their measures and divisions
noted in the first line of this piece. Farewell.

The first part ionica, dealing with frontispieces.
On the 14th <e> sheet.

Following our first treaty of Ionic columns, like the other two premise orders,
for what we can of the ionica column, as for Architecture, put buildings or houses, or
to make that without the Dorica order from the foundation we can use, only the Ionic order, and be
however massive in its law. So I put here two half Monteyan obliques, frontes or
frontispieces, and icons both of the Ionic order without columns, pillars or pilasters, in the form
that you can see at your command, in all that it will be necessary and suitable for you. Tea
first part marked A holds its two floors, in its taut arches, with its lawn, until
below the ledge without the architrave, except the heads with its capitals ionici, instead on the corpus
pilasters, and above also except above holding friezes and architraves. In the middle have a
half floor rising or frontis below a square or round door, also if higher or lower,
as your grace sees it marked. Which ordinance gives no subjection, except that one
wants to use the height. Of that have the heads or corpus of the doors beside for the frontis or frontispiece
coarse, we can put wider than it is here on the side shown or marked.

The second part Ionic, still dealing with fronts and floors of architecture.
On the 15th <e> sheet.

The ionica order is also found to be very necessary in architecture, like in other works
well-behaved, either carpentry or engraving and sculpture, adorned ornaments, even better,
and with less trouble, mainly for all factory masters, masons and amateurs of
the ancient architecture, as far as the <z> ophore (sic) or frieze of the ionica order, is free and france
(sic) with some facing if you want, namely like the Dorica order with its triglyphs and
drops or tears. To this end we have put two kinds of fronts or storeys here
understood here in the ionica order, to accommodate the factory, as only to do all
ornaments of white work, that is the low floor marked A we could down to the rampart
perfect with hard stones, either white or blue stones, modillions or courttoisses with their
white stone ionici capitals. The spaces between architraves and windows can be filled without
cut ornaments, with bricks or tiles, if you want we can put a white table, for
write something in it, and if you want we can let the light from other windows come in
higher, and raise the latteyles a little, to have greater clarity, raising the tema of
courttoisses. Besides the architrave, cornice, ionici terms with its architrave, cornice and courttoisses, all
crafted white, also with window columns, sheets, latteyles and hangers all white, also
friezes, bodies or ramparts, heads and spaces in the frieze at the top below the roof filled with beautiful
red bricks or tiles, and higher in the same way. As for the entrance or the door below,
can do at the height and width noted here, with the foundation marked A. to retain the response of
two columns at the top below the bottom, also to keep the width and height, to the situation of the
even we can do it, on the bottom marked B, as each amateur scientist will find him
to be good and useful, to diminish and increase it I leave it in his opinion. Also can do and
manufacture with the second front or stages also in two stages, but the base or its base
from below blue and white stone, when the base is blue stone, so high as the degrees of
the entrance to the house from there up to the window, when the rampart is of stone
white. And antipamants or cassyns, columns, window slats and doors, like architraves
cornices at the bottom, and at the top all with white stones, and after the spaces and friezes filled heads
with beautiful bricks or tiles, what looks beautiful and magnificent, as we saw in

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Holland and Flanders, namely in Bruges, curiously a modern factory
masonry by hand, and no frontis or frontispieces according to the old order of factories,
decent and nicely crafted. The door at the bottom, either with a lowering column, and in front
frontis or frontispiece, also above, depending on whether everyone finds it good and useful. The measurement and
the order will find at your command at the bottom annotated there. I don't force any architect, a
builder can do this or leave it, depending on what he finds best and convenient to his place, and to his
better serving place.

Ionica the third part, still dealing with frontis or frontispieces in high floors.
On the 16th <e> sheet.

Again you have here according to two kinds of frontis or frontispieces, high with three floors
or vaults coming out in the Ionic order, to make it entirely of hard stone, or
white, both sides, or the bottom bottom of the blue stone faults, also the terms
ionica with its pedium, architraves, cornices, pillars and to <utes> blue coronys of work, friezes, podies and
cassies of windows all wrought white is very honorable. Or if we want to use the two-part
manufactures, we can fill and build all spaces and flat bottoms, friezes and bodies with
bricks, as is predicted, but what is in the work put blue, we do in this factory all wrought
white the bottom bottom and rampart. I�m not putting you here except the order, measure and division
each discreet ingenious architect will find according to the situation of his background and his place, in his
floor to its convenience, and to its greatest utility. The formula of the door noted on the second part
two, is a small high door if not only nine feet, and there a small counter or alcove
hanging, high up to the first floor, about eight feet, which floor could be in
all seventeen feet to the floor, or so high that he will find his service useful.

There are still no small ordinances from several chimneys of the Ionic order here,
for such or similar kinds of small chimneys put in the architecture of the ionica order,
as townhouses, palaces and rooms and halls of the great lords, as well as
will find good at their command. With this I end the Ionic order.

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CORINTHIA.
The fourth order corinthia, put in five columns.
On the 17th <e> sheet.

As we first started putting the other previous three columns
each in five, and each lessened, increased and adorned apart, with some difference, according to
the distance and location of each, with their artificial building and factories
necessarily driving. So we have to these also put forward the fourth column
corinthia in five columns with its belongings and accessories, each a little reduced and
augmented, in addition to their common order, according to the convenience of the work of each, in the service
of each.

�
The first three Corinthia columns are long in diameter or size,
according to the demonstration of first measurements with noted between the first and second column,
except that between the second and third column are marked the general measures and partitions
total elevation from the bottom to the top, both pedestal with its parts and cornices and base,
column, marquee, architraves, friezes and cornices or crowns with all their parts and
affiliations, how hardly any other, than the discipline Vitruvii, and other former masters
show this, as is widely found in their declared books, namely in the book Vitruvii.

The other two columns, or the last two, are put on nine and a half of their
size at the bottom long, or the tenth part, depending on the distance of the work, that is to say it is
wood or stone, or if this column is to be set very high, from four floors to the
decrease by sears (sic) the sight, one will be able and one will have to prevent their length in its measurement,
to the contentment and discretion of everyone.

The first part, Corinthia, dealing with a rich and magnificent palace, in two different elevations or floors by
above a gallery or portico.
On the 18th <e> sheet.

The <ch> nographia is the flat bottom, and ground floor, in there you see marked this part,
that it is the intention (sic) of the galleries of these two buildings, what one could use in this
way in architecture, and in buildings of houses or gardens of great lords, and also in
pleasant houses and places, where in front some pleasure gardens could come, to
to walk. And either we noted at the bottom these two lofts, that the heads of the ark
stretched come to the front, and are almost inter columns, where the columns are
the meeting in the adjoining space with the nitses, to put figures in them, and their
responding from inside with pilaster dishes, also with their nitses and spaces are noted. This
however, it�s not our opinion that heads tied with arches cannot be omitted,
namely in the first marked A and put the two columns two by two free without
arches, except that we decrease the space of the columns, only that they are wide from column to
measured column, (not pedestal or base) one middle and three quarters, and (if you want) you can
let the pedium cornice pass, up to the sofianten column (s), and put one or
two balusters, always holding from the bottom to the top, corresponding pardesseure (sic)
their nitses, to put figures inside, and between the heads of nitses the cross windows,
enclosing or hanging up at the top on each cross window, with a tympanum and a
wheel and pedian, to put on it some ornament, as we find more suitable and
useful. The climb or attic marked B also with its predicted gallery put one near the other with
its inter columns, heads and arches, against which we can put round columns, or the
third part round or semi-round, with the load of architraves or corona, and turning
architrave and frieze, or to have no obstruction of sight while turning or protruding from a
cornice, can each architect do as he sees fit, if one wants below pedium up to
to pedium on other arches of the pedian cornice let pass, and put below balusters, for a
defense, I also put it at the discretion of whoever extends this thing.

Whatever our opinion and order in the attic of each floor upstairs, each
sees it without mentioning it further; but at the top at the top on the foot of the roof, we
we put a cross window on the arch, in the shape you see, we can do it less depending on
as desired, and tighten with a wheeled, ornamented as it is noted. What's left here, I ask
let it be accomplished by all discreet and ingenious architects and lovers of the old architecture.

The second part, Corinthia, dealing with two different kinds of buildings, as for townhouses, houses of

council, or houses which may inhabit some nation or the like.
On the 19th <e> sheet.

In all cities, big or small (where we use a form of justice) we have
commonly a deputy place in the manner of each country, which is called the House of
the City, the House of Gentlemen, the House of Bishops, or House of Council, from which you
did i put a room here in two different shapes or parts, each in four different floors
in height, as each learned man can see at his command. One side has
mark A is the puye corresponding to the first edge of the bottom foot, rustic underside and cellars
arched, at the first entrance from the edge, 6 or 7 feet high, with a rising puye
with steps, located in front on two round corinthia columns, on the first floor, with
a table embellished with paint, or other decoration convenient to it, and amount as you
see. The first stage, pilasters corinthia, over another pilaster with protruding pilaster outside the
third part of its width. The second stage has half-round, or three-quarter, round columns
corinthia. The third floor terms. The fourth with a gallery, under the top with two
terms and a square pillar in between, on each cross window in the middle with a similar one, or
a little bigger projection going up to the puye, up to the top, in the way that you
can see here, or how you see fit where it might be right. The other part
marked B also on the rustic floor, but ten or twelve feet high, with a puye
rising from outside, and a clapboard in the middle of the climb, and with a prominent puye until
on the third floor, with the rustic low floor accommodated <e> to shops, are also four
storeys or heights, each at the end of its nitses near the rising puye, eternated near the frontis
tympanum with an oblique <e> pyramid or needle, above its podium around it filled with
balusters in order, as each one can see, mine for better. The general measure
will give you the reason in the end, not being necessary to be attached or repeated here. Measurement
particular order is near the columns, and with all that it belongs, so many others
experienced masters, that of me there joined and annotated. I <ch> nography or flat bottom is noted in
dorica above the eleventh leaf marked A B if before it touches the first loft or puye
extante with their rise, outside the order and location of the place will each be discreet architect
fine tune. What it will need to be added more, I recommend it to everyone learned and
ingenious at his command.

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Corinthia the third part, deals with and shows two various ordinances of a building or royal palace, at the entrance
of a large square or short, and with its towers.
On the 20th <e> sheet.

Each prince, lord, or man of power must never take the opportunity,
either by necessity or by pleasure, according to the situation of its place, background, or convenient place, (either
inside or outside the city) to build no buildings, houses (was <-ce> to live there for pleasure
or otherwise) esquelles many times also he desires a few laps, as we see it to many
of houses inside or outside the cities, where one accommodates the rise or degree, to have zero
impediment of him in the house.

So here on sheet 20 corinthia you have two kinds of buildings and pleasure houses I A the
low floor with a gallery of round columns of the order you want, more of dorica below than
lesser, and above ionica, and after above corinthia and composita, the first lower floor or height, is
high twenty feet up to the architrave, then from above up 15 feet, in the middle for an entrance

�
magnificent, a portico or front gate, with a lofty frontis and ornate windows, as well as a
everyone can see in the prescription. The tower has from behind or in the middle of the summit, depending on whether it
will come better about; from below the bottom to the edge of the roof, all square, from the edge
from the roof to the top eight times angular; because on the fifth attic or floor comes
the architrave, frieze, cornice, and the chest defense, with a square surround, on each corner of its column
composita, the architrave from below suspended and loaded on a modillion or mut <u> the cortausse,
as you can see in the prescription with the foot measurement attached. The increase and
decrease is at the discretion and opinion of each. You have the background or the plan partly at the
22 <e> sheet marked I A to show only the shape of the gallery, in front of a protruding front
portal and frontis.

On the same twentieth sheet <t> corinthia the third part, marked 2 A have you
another order, attic or frontis with a tower, below also with a portico house,
surrounded by double columns, with a frontis rising in its loft and stage, so that one can
see. Also the floor below is 18 feet high, up to the architrave, entering towards the tower. At the end
have a gallery in the form you can see, at the base or base 22 <e> folio noted 2 A.
Whatever our opinion is that at the bottom between the enclosed columns the balusters are noted,
if not to put the little gallery on the ledge, the intention of trapis which we call
neck breakers, or spiky degrees without turning with squared squares, after you only have one
height, on the first floor below the top, with a prominent nitse column, between the windows
crossed, with lesser or greater embellishment, depending on whether everyone finds it good.

The intention is that the tower will be square from the bottom, depending on what you see on the floor or
crowning, a small gallery, or chest defense. On the side of the house you can put
the steep climb of prickly woods, four feet wide, from story to story above
summit, what some lover of this art can move and delight you. As a key
the order, according to the demonstration of the distance, place and good situation, will dispose each
ingenious architect at best, either by the measures marked there, or according to, that each by his good
knowing and understanding will consider and find it necessary and appropriate. Enough of this.

Corinthia part four.
On the 21st <e> sheet.

We also find in no places of our Netherlands, to modern churches none
gates, or embellished and enriched frontis, either on the sides on the crosswork, or below the
towers, both to modern churches, to ancient portals, as I saw one in Li�ge at the church
St-Jacques in an abbey, made of hard stone, and well enriched, which I liked well, and had
good prescription.

So here we also have two different kinds or ordinances, touching said buildings, facies,
or gates, noted I B. In this is the first height or upper floor straight twenty feet,
up to the architrave from the degrees below to the top. Then you will find the attic
up there the measurements there near noted in the middle on the separation, so that nothing remains here
more to say, or to show. Who hear Vitruvium, will easily hear the prescription and
will suit him well. In the same way can we do well with the same
prescription marked 2 B on the same sheet 21, which prescription is slightly lighter than
stone and labor as ornament. And also the aggravation of the work, each master takes this to
his pleasure and to his liking, whichever he finds it most profitable and convenient. The funds of these
two frontis you have 22 <e> corinthia leaf, marked I B and 2 B, each with its tournaments
and twists, protrusions or cornices, and round extant columns to the top, one with the rise
of three degrees, and the other with two degrees, only so much, depending on whether each discreet architect

�
considering, can see and experiment with the ordinance, each marked halfway. I dont put
not also that for an absolute or model boss, to be so directly made, but only
for a prescription, or manner. If in any case could in any way serve and be
necessary, we could still well invent and mark this work with five or six kinds
of different prescriptions to those of the previous ones, if like to other works, but
the wise and ingenious learned is soon enough declared. I see that we have put the Corinthia column
from below, nobody has to, but he can put her on ionica, and 2 <e> corinthia, and above
instead of terms composita, and then in high terms or squid, as well as each architect, will find
for the best. We will do this at the end, so that another will also do their duty and disclose
some his secret in the service and profit of all good zealots.

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COMPOSITA.
The fifth order composed, in five columns with its podium and crowning.
On the 23rd <e> sheet.

For what we do not find any buildings or some works in architecture, under
the composite order, if not that this order is composed of the other four, has an enriched super-stage, and
its useless preordained in its frieze, under overload, or surpassing the summit, or the roof for
pass and drop the water from the roof through all the cornices, which can come under this
composita, is used or very rarely comes at the right time, except for elevation and confirmation
of the other four orders, but one is required to put the other four orders of columns in its
distances and places in front of this composita, and then we put it on the four, for a composition
and supergradum (sic), depending on the circumstance of the work, either wood or stone.

So you have at this also (sic) the five columns, like five corinthia orders being in
a folio 23 degree each with its pedestal, base, marquee, architrave, frieze, mutules and cornices,
each a little different and with composed parts, and put with ornaments and well embellished,
suitable for stonemasons, image engravers, and the first three columns
marked A, B, C, are all ten of their size at the bottom, with base and marquee, depending on whether there
is marked, and the measures in general, from bottom to top. Of their members
particular and divisions is the 2 <e> line with noted, and below declared, which also gave the
measure from above.

The other two marked D, E, are also composita, but even smaller than the
first three, because the column marked D decorated in its third part, is 11 of its thickness
long being straight against the shortening, to keep its size close to each other, how much we
can freely give some advantage to each, because overcharging is not as good, but it
must consider and respect the height and size of the place. Also as well as the fifth

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column marked E is eleven and a half of its long thickness, this is done in its third part, decorated
with a round podium, necessary and attractive to image engravers, quarrymen and stone cutters, who
have to do in wood or alabaster, or otherwise delicate and pleasant works, can wear and
put in their works corinthia and composita. Again I have put here three kinds of squid terms,
pillars terms, composita, to use stone, as well as wood, and that of works
delicate and light, as each one, having a look at the prescription, will see. What still remains
to say and demonstrate composita, and all the other four orders, each of which is in this
advanced, will take advice from the Vitruvian teaching, and several other masters, who
well declared and put in good order all the general and particular measures, for the good
make ; and nothing can be done for the present, which the same I have not done, so much that it is
need to write or show more. But in my big book of columns made for
Ieronymus Cock, you have the particular parts and divisions of columns, with its
memberships, offshore, each with its own ornament and measure.

With this we will finish this part, and treated of architecture, praying all learned, learned and
ingenious zealots of architecture, in the form of an antique, to take pleasure in my imperfect boldness
doctrine or admonition, and hold me for excuse, showing only mine for a
better. And if this voluntary work and mine scandalizes some of all the ingenious
and subtle masters, or who hold him for imperfect and worthy of reproach and blame, I beg them
for the honor of Christians, that they do not do this by words, but that they actually show it, at the
the way I do, and take me back by demonstration and instruction. Doing this
will become my perfect imperfection, because we say: what do not know, learn to your power, because shame is not
want to know nothing. In doing so, one will become a scholar for the other. The sovereign master of the arts
we want by his mercy to bless and keep an eternal salutary demourance, built of
columns of truth, in Christ our Lord. Amen. Farewell.

In this artificial description of architecture, nothing is contained, which is against the saint
Catholic church and Roman religion, and is very useful and profitable to be printed.

Henri van Dunghen, Doctor and Canon in Antwerp.

IN ANTWERP,
At Gerardt Smits' Printing House.

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Jehan Vredeman de Vries to reader S.

Or that this long and folded piece, placed in perspective, outside of ancient architecture,
has not been attached here in the form of the prescribed documents and orders, however, we have
looked good, that he can do well with the others (if as assistant of the same) to show, here
leading, for various montays, fronts, faces or frontispieces, according to the ancient architecture, except the five
Vitruvii column orders. Not that in this room or in these parts are observed there
no particular and express measures, as long as only ordered forms and delineations,
if like when we want to fit and in the same way accommodate faces or frontispieces, and so in
many kinds of architecture, in its distances and places well located embellishment
accommodate, as we can in this room (under correction) each at his command
usurp, at the discretion of whoever hears this thing.

And as in all buildings is necessary to show their own funds, one cannot
however in this figure give the correct designation, and demonstrate or put the bottoms of the faces,
statements or lines here noted, as far as it is more orderly and put on the perspective than at
such an end.

Nevertheless, insofar as one can designate the bottom in one more than the other, in all
that this watch in perspective, am I also moved outside this portrait to show what we could
this lozenge or architecture to observe, to use, and that it will come at the right time.

As far as the houses are different, each one has its convenience and usability, so as
a palace or house in the city, must have another way and convenience in its floors or height,
than another brothel, either from a merchant, lord, bourgeois, or mechanic.

By so I have outside this room a house, like palace or house of the city, noted A
base to that better leading put after, marked A, with its place in the two degrees
necessary sides: one individual, the other common or general, each in command at the
situation of each place, with fountains, or water wells, depending on whether the nature of the bottom is,
the surroundings with these hedges, suitable for shops, and all in its rustic tuscana, at
in front with its protruding puye, mounting the first dorica loft, above ionica, and thus
up to the top, to the contentment and appropriate discretion of the ingenious architect. Always at
the increase of each floor, either to the Vitruvii doctrine, or according to the discretion of each
learned architect with the background will look good, and it is up to him to do it or leave it, that I
recommend at its discretion and good judgment.

Again I have put here with two fondelettes marked B C on both sides, raised or
frontispieces also noted B C. The face (sic), fronts or frontispieces noted B, is not placed on its
just measure, but only put for the beautiful look and contentment of the eyes, especially as it
pertient to this form. But when we want the same in architecture to lift and build, we will have to
take more care, and accommodate it to the need, how much than outside this prescription
or arrangement, either on this (sic) background, or slightly changed, can be useful and suitable for the work,
depending on the location, because on a form of land, we can designate various kinds of funds,
at the service and convenience of everyone�s opportunity.

And the faces, fronts or frontispieces, marked C, must also in such a way be usurped,
both in the same background noted C how in the other, depending on what we can see and experience, for
use it to the satisfaction of everyone. However, we cannot do things that are
to the general places of the forms of the building, except that to the service and convenience of each
will be helpful; but if we ask to follow and use the ancient architecture, then we have to observe
the peculiarities, measures, divisions of the same antiquity, which taught us, and as at
finger showed his good zealots the predicted ancient master Vitruvius, in command and good
contentment, and service of each learned and ingenious architect, recommending us, and ours
for a better thing, in his good grace. God be with you, Amen.

Vredeman de Vries.