[1] Delphicus Apollo Socratem omnium sapientissimum Pythiae responsis est professus. Is autem memoratur prudenter doctissimeque dixisse, oportuisse hominum pectora fenestrata et aperta esse, uti non occultos haberent sensus sed patentes ad considerandum. Utinam vero rerum natura sententiam eius secuta explicata et apparentia ea constituisset!
[1] The Delphic Apollo professed by the Pythia’s responses that Socrates was the wisest of all. He, moreover, is remembered to have said prudently and most learnedly that the breasts (hearts) of men ought to be windowed and open, so that they would not have hidden senses but patent for consideration. Would that indeed the nature of things, having followed his opinion, had constituted these matters unfolded and apparent!
If indeed it had been so, not only would the praises or vices of souls be seen at hand, but also the sciences of disciplines, subjected under the consideration of the eyes, would be approved by not uncertain judgments, and for the learned and the knowing an outstanding and stable authority would be added. Therefore, since these things are not thus, but as the nature of things willed, established, it does not come about that men, with their talents obscured beneath their breasts, can judge how the knowledges of crafts, lying deep hidden, are. And the craftsmen themselves would promise their prudence, if they were not wealthy in money but had gained acquaintance by the long-standing of workshops; or even, when they have been furnished with forensic favor and eloquence, they can have authorities on account of the industry of their studies, so that what they profess to know would be believed to them.
[2] Maxime autem id animadvertere possumus ab antiquis statuariis et pictoribus, quod ex his, qui dignitates notas et commendationis gratiam habuerunt, aeterna memoria ad posteritatem sunt permanentes, uti Myron, Polycletus, Phidias, Lysippus ceterique, qui nobilitatem ex arte sunt consecuti. Namque ut civitatibus magnis aut regibus aut civibus nobilibus opera fecerunt, ita id sunt adepti. At qui non minori studio et ingenio sollertiaque fuerunt nobilibus et humili fortuna civibus non minus egregie perfecta fecerunt opera, nullam memoriam sunt adsecuti, quod hi non ab industria neque artis sollertia sed a Felicitate fuerunt decepti, ut Hegias Atheniensis, Chion Corinthius, Myagrus Phocaeus, Pharax Ephesius, Boedas Byzantius etiamque alii plures.
[2] Most especially we can observe this from the ancient statuaries and painters: that of those who had noted dignities and the grace of commendation, there remain to posterity in eternal memory such men as Myron, Polyclitus, Phidias, Lysippus, and the rest who attained nobility from their art. For as they made works for great cities or for kings or for noble citizens, so they achieved that. But those who with no less zeal, talent, and cleverness made works, no less excellently perfected, for citizens of humble fortune, have obtained no remembrance, because these were deceived not by industry nor by the skill of their art, but by Felicity (Good Fortune): such as Hegias the Athenian, Chion the Corinthian, Myagrus the Phocaean, Pharax the Ephesian, Boedas the Byzantine, and many others besides.
Likewise no less, the painters, such as Aristomenes the Thasian, Polycles, and Androcydes of Cyzicus, Theo the Magnesian, and the others, whom neither industry nor the study of the art nor skill failed, but either the narrowness of their private resources or the weakness of fortune, or, in the ambition of rivalry, their opponents having prevailed, stood in the way of their dignity.
[3] Nec tamen est admirandum, si propter ignotitiam artis virtutes obscurantur, sed maxime indignandum, cum etiam saepe blandiatur gratia conviviorum a veris iudiciis ad falsam probationem. Ergo, uti Socrati placuit, si ita sensus et sententiae scientiaeque disciplinis auctae perspicuae et perlucidae fuissent, non gratia neque ambitio valeret, sed si qui veris certisque laboribus doctrinarum pervenissent ad scientiam summam, eis ultro opera traderentur. Quoniam autem ea non sunt inlustria necque apparentia in aspectu, ut putamus oportuisse, et animadverto potius indoctos quam doctos gratia superare, non esse certandum iudicans cum indoctis ambitione, potius hic praeceptis editis ostendam nostrae scientiae virtutem.
[3] Nor, however, is it to be admired at, if on account of ignorance of the art the virtues are obscured; but it is most of all to be indignated at, since even often the favor of banquets flatters away from true judgments to false approbation. Therefore, as it pleased Socrates, if perceptions and opinions and knowledge, augmented by disciplines, had been so perspicuous and pellucid, neither favor nor ambition would prevail, but if any by true and certain labors of doctrines had attained to the highest science, works would be handed over to them unbidden. Since, however, these things are not illustrious nor apparent to the aspect, as we think they ought to have been, and I observe that the unlearned rather than the learned surpass by favor, judging that one must not contend with the unlearned in ambition, rather here, by precepts published, I will show the virtue of our science.
[4] Itaque, imperator, in primo volumine tibi de arte et quas habeat ea virtutes quibusque disciplinis oporteat esse auctum architectum, exposui et subieci causas, quid ita earum oporteat eum esse peritum, rationesque summae architecturae partitione distribui finitionibusque terminavi. Deinde, quod erat primum et necessarium, de moenibus, quemadmodum eligantur loci salubres, ratiocinationibus explicui, ventique qui sint et e quibus
[4] Therefore, emperor, in the first volume I set forth to you about the art, and what virtues it has, and by what disciplines it is proper that the architect be augmented; and I subjoined the causes why it is proper that he be expert in them, and I distributed the principles of the sum of architecture by partition and terminated them with definitions. Then, what was first and necessary, about city-walls, how healthful sites are to be chosen, I explicated by ratiocinations; and what the winds are and from which
[1] Aedium compositio constat ex symmetria, cuius rationem diligentissime architecti tenere debent. Ea autem paritur a proportione, quae graeceanalogia dicitur. Proportio est ratae partis membrorum in omni opere totiusque commodulatio, ex qua ratio efficitur symmetriarum.
[1] The composition of buildings consists in symmetry, the rationale of which architects ought most diligently to maintain. This, moreover, is brought forth from proportion, which in Greek is calledanalogia. Proportion is the fixed part‑relation of the members in every work and the commodulation of the whole, from which the rationale of symmetries is effected.
[2] Corpus enim hominis ita natura composuit, uti os capitis a mento ad frontem summam et radices imas capilli esset decimae partis, item manus palma ab articulo ad extremum medium digitum tantundem, caput a mento ad summum verticem octavae, cum cervicibus imis ab summo pectore ad imas radices capillorum sextae, ad summum vertices quartae. Ipsius autem oris altitudinis tertia est pars ab imo mento ad imas nares, nasum ab imis naribus ad finem medium superciliorum tantundem, ab ea fine ad imas radices capilli frons efficitur item tertiae partis. Pes vero altitudinis corporis sextae, cubitum quartae, pectus item quartae.
[2] For nature has composed the human body in such a way that the face of the head, from the chin to the top of the forehead and to the lowest roots of the hair, is a tenth part; likewise the palm of the hand from the joint to the tip of the middle finger is just as much; the head from the chin to the highest crown is an eighth; with the lowest parts of the neck from the top of the chest to the lowest roots of the hair a sixth;
[3] Similiter vero sacrarum aedium membra ad universam totius magnitudinis summam ex partibus singulis convenientissimum debent habere commensus responsum. Item corporis centrum medium naturaliter est umbilicus. Namque si homo conlocatus fuerit supinus manibus et pedibus pansis circinique conlocantum centrum in umbilico eius, circumagendo rotundationem utrarumque manuum et pedum digiti linea tangentur.
[3] Similarly indeed the members of sacred edifices, with reference to the universal sum total of the whole magnitude, ought to have from the several parts a most fitting proportional correspondence. Likewise, the body’s central midpoint is naturally the navel. For if a man be placed supine with hands and feet spread, and the center of a compass be set in his navel, by turning a circle the line of the digits of both the hands and the feet will be touched.
No less, just as the schema of rotundation is effected in the body, likewise a quadrate designation will be found in it. For if from the lowest feet to the topmost head it shall have been measured, and that measure shall have been referred to the outspread hands, the same breadth as height will be found, just as in areas which are squared to the rule.
[4] Ergo si ita natura conposuit corpus hominis, uti proportionibus membra ad summam figurationem eius respondeant, cum causa constituisse videntur antiqui, ut etiam in operum perfectionibus singulorum membrorum ad universam figurae speciem habeant commensus exactionem. Igitur cum in omnibus operibus ordines traderent, maxime in aedibus deorum, operum et laudes et culpae aeternae solent permanere.
[4] Therefore, if nature has thus composed the body of man, so that the members correspond by proportions to the total configuration of it, the ancients seem to have with reason established that, also in the perfections of works, the individual members should have a commensurate exactness with respect to the universal aspect of the figure. Accordingly, since in all works they handed down orders, most especially in the temples of the gods, both the praises and the faults of the works are wont to remain eternal.
[5] Nec minus mensurarum rationes, quae in omnibus operibus videntur necessariae esse, ex corporis membris collegerunt, uti digitum, palmum, pedem, cubitum, et eas distribuerunt in perfectum numerum, quem Graeciteleon dicunt. Perfectum autem antiqui instituerunt numerum qui decem dicitur; namque ex manibus digitorum numerum; ab palmo pes est inventus. Si autem in utrisque palmis ex articulis ab natura decem sunt perfecti, etiam Platoni placuit esse eum numerum ea re perfectum, quod ex singularibus rebus, quae monades apud Graecos dicuntur, perficitur decusis.
[5] Nor did they less gather the rationales of measures, which seem to be necessary in all works, from the members of the body—such as the finger, the palm, the foot, the cubit—and they distributed them into the perfect number, which the Greeks callteleon. Moreover, the ancients established as perfect the number that is called ten; for from the hands comes the number of fingers; from the palm the foot was discovered. And since in both palms, from the joints, ten are perfected by nature, it also pleased Plato that that number is for this reason perfect, because it is brought to completion from single things, which among the Greeks are called monades, up to ten.
[6] Mathematici vero contra disputantes ea re perfectum dixerunt esse numerum qui sex dicitur, quod is numerus habet partitiones eorum rationibus sex numero convenientes sic: sextantem unum, trientes duo, semissem tria, besem quemdimoeron dicunt quattuor, quintarium quem pentemoeron dicunt quattuor, quintarium quem pentemoeron dicunt quinque, perfectum sex. Cum ad supplicationem crescat, supra sex adiecto asse ephectum; cum facta sunt octo, quod est tertia adiecta, tertiarium alterum, qui epitritos dicitur; dimidia adiecta cum facta sunt novem, sesquialterum, qui hemiolius appellatur; duabus partibus additis et decusis facto bes alterum, quem epidimoerum vocitant; in undecim numero quod adiecti sunt quinque, quintarium, quem epipempton dicunt; duodecim autem, quod ex duobus numeris simplicibus est effectus, diplasiona.
[6] The mathematicians, however, arguing contrariwise, said that number to be perfect which is called six, because that number has partitions with ratios agreeing to the number six thus: one sextant, two trientes, three a half, four a bes, which they calldimoeron, a quintary, which they call pentemoeron, four, a quintary, which they call pentemoeron, five, perfect, six. When it grows by superaddition, with an as added above six, ephectum; when they have become eight, because a third is added, a second tertiary, which is called epitritos; with a half added, when they have become nine, a sesquialter, which is called hemiolius; with two parts added and six made, a second bes, which they term epidimoeron; in the number eleven, because five are added, a quintary, which they call epipempton; but twelve, because it is produced from two simple numbers, diplasiona.
[7] Non minus etiam, quod pes hominis altitudinis sextam habet partem, (ita etiam, ex eo quod perficitur pedum numero, corporis sexies altitudinis terminavit) eum perfectum constituerunt, cubitumque animadverterunt ex sex palmis constare digitisque XXIIII. Ex eo etiam videntur civitates Graecorum fecisse, quemadmodum cubitus est sex palmorum, in drachma qua nummo uterentur, aereos signatos uti asses ex aequo sex, quos obolos appellant, quadrantesque obolorum, quae alii dichalca, nonnulli trichalca dicunt, pro digitis viginti quattuor in drachma constituisse.
[7] No less also, because a man’s foot holds a sixth part of his altitude (thus also, from the fact that the body’s height is perfected by the number of feet, they determined the body’s altitude as six times), they constituted it perfect; and they observed that the cubit consists of six palms and 24 digits. From this too the cities of the Greeks seem to have done as follows: just as the cubit is of six palms, in the drachma which they used as a coin, they used six bronze stamped pieces equally as asses, which they call obols, and quarters of obols, which some call dichalca, some trichalca, established for the 24 digits in a drachma.
[8] Nostri autem primo fecerunt antiquum numerum et in denario denos aeris constituerunt, et ea re conpositio nominis ad hodiernum diem denarium retinet. Etiamque quarta pars quod efficiebatur ex duobus assibus et tertio semisse, sestertium vocitaverunt. Postea quam animadverterunt utrosque numeros esse perfectos, et sex et decem, utrosque in unum coiecerunt et fecerunt perfectissimum decusis sexis.
[8] Our people, however, at first made the ancient number and in the denarius established ten asses of bronze, and for that reason the composition of the name retains “denarius” to the present day. And the fourth part, which was made from two asses and a half of a third, they used to call a “sestertius.” Afterwards, when they observed that both numbers, six and ten, are perfect, they cast both into one and made the most perfect, sixty.
[9] Ergo si convenit ex articulis hominis numerum inventum esse et ex membris separatis ad universam corporis speciem ratae partis commensus fieri responsum, relinquitur, ut suscipiamus eos, qui etiam aedes deorum inmortalium constituentes ita membra operum ordinaverunt, ut proportionibus et symmetriis separatae atque universae convenientesque efficerentur eorum distributiones.
[9] Therefore, if it is agreed that from the articulations of the human being the number was discovered, and that from the separate members, with reference to the universal aspect of the body, the commensuration of a proportional part has been stated to be made, it remains that we should accept those who, even while constructing the temples of the immortal gods, so ordered the members of their works that by proportions and symmetries their distributions, both taken separately and as a whole, might be rendered consonant.
[1] Aedium autem principia sunt, e quibus constat figurarum aspectus; et primum in antis, quod graecenaos en parastasin dicitur, deinde prostylos, amphiprostylos, peripteros, pseudodipteros, hypaethros. Horum exprimuntur formationes his rationibus.
[1] Moreover, the principles of temples are those from which the aspect of the figures is constituted; and first, the in antis, which in Greek is callednaos en parastasin, then the prostylos, amphiprostylos, peripteros, pseudodipteros, hypaethros. The formations of these are set forth by these methods.
[2] In antis erit aedes, cum habebit in fronte antas parietum qui cellam circumcludunt, et inter antas in medio columnas duas supraque fastigium symmetria ea conlocatum, quae in hoc libro fuerit perscripta. Huius autem exemplar erit ad tres Fortunas ex tribus quod est proxime portam Collinam.
[2] There will be an in-antis temple, when it has on the front the antae of the walls which enclose the cella, and between the antae in the middle two columns, and above a pediment set in that symmetry which has been written out in this book. An exemplar of this will be the one to the Three Fortunes, “from the three,” which is nearest the Colline Gate.
[3] Prostylos omnia habet quemadmodum in antis, columnas autem contra antas angulares duas supraque epistylia, quemadmodum et in antis, et dextra ac sinistra in versuris singula. Huius exemplar est in insula Tiberina in aede Iovis et Fauni.
[3] A prostyle has everything just as in antis, but columns set opposite the antae, two at the corners, and above, epistyles, just as also in antis; and on the right and left, at the returns, one apiece. An exemplar of this is on the Tiber Island, in the temple of Jupiter and Faunus.
[4] Amphiprostylos omnia habet ea. quae prostylos, praetereaque habet in postico ad eundem modum columnas et fastigium.
[4] The amphiprostyle has all the things that the prostyle has, and besides it has at the rear, in the same manner, columns and a pediment.
[5] Peripteros autem erit, quae habebit in fronte et postico senas columnas, in lateribus cum angularibus undenas. Ita autem sint hae columnae conlocatae, ut intercolumnii latitudinis intervallum sit a parietibus circum ad extremos ordines columnarum, habeatque ambulationem circa cellam aedis, quemadmodum est in porticu Metelli Iovis Statoris Hermodori et ad Mariana Honoris et Virtutis sine postico a Mucio facta.
[5] Peripteros, however, will be that which has in the front and the back six columns apiece, and on the sides, including the corner ones, eleven each. And let these columns be so placed that the interval of the width of an intercolumniation is from the surrounding walls to the outermost rows of the columns, and let it have an ambulatory around the cella of the temple, as is the case in the Portico of Metellus of Jupiter Stator by Hermodorus and at the Marian temple of Honor and Virtue without a back-portico, made by Mucius.
[6] Pseuodipteros autem sic conlocatur, ut in fronte et postico sint columnae octonae, in lateribus cum angularibus quinae denae. Sint autem parietes cellae contra quaternas columnas medianas in fronte et postico. Ita duorum intercolumniorum et unae crassitudinis columnae spatium erit ab parietibus circa ad extremos ordines columnarum.
[6] The pseudodipteros, however, is arranged thus: at the front and at the rear there are eight columns each, on the sides, including the corner ones, fifteen each. Moreover, let the walls of the cella be set opposite the four middle columns at the front and at the rear. Thus there will be, from the walls all around to the outermost rows of columns, a space of two intercolumniations and one column’s thickness.
[7] Dipteros autem octastylos et pronao et postico, sed circa aedem duplices habet ordines columnarum, uti est aedis Quirini dorica et Ephesi Dianae ionica a Chersiphrone constituta.
[7] A dipteral temple, however, is octastyle both at the pronaos and at the posticum, but around the shrine it has double orders of columns, as is the Doric temple of Quirinus and, at Ephesus, the Ionic temple of Diana, established by Chersiphron.
[8] Hypaethros vero decastylos est in pronao et postico. Reliqua omnia eadem habet quae dipteros, sed interiore parte columnas in altitudine duplices, remotas a parietibus ad circumitionem ut porticus peristyliorum. Medium autem sub divo est sine tecto.
[8] But the hypaethral is decastyle in the pronaos and in the posticum. All the remaining features it has the same as the dipteral, but on the interior part the columns are double in height, set back from the walls for a circumambulation, as the porticoes of peristyles. The middle, however, is under the open sky, without a roof.
[1] Species autem aedium sunt quinque, quarum ea sunt vocabula: pycnostylos, id est crebris columnis; systylos paulo remissioribus; diastylos amplius patentibus; rare quam oportet inter se diductis araeostylos; eustylos intervallorum iusta distributione.
[1] The species of temples are five, of which the names are: pycnostylos, that is with frequent, closely set columns; systylos, with somewhat more relaxed spacing; diastylos, with more widely open spacing; araeostylos, with the columns drawn apart from one another more sparsely than is fitting; eustylos, with a just distribution of the intervals.
[2] Ergo pycnostylos est, cuius intercolumnio unius et dimidiatae columnae crassitudo interponi potest, quemadmodum est divi Iulii et in Caesaris foro Veneris et si quae aliae sic sunt compositae. Item systylos est, in quo duarum columnarum crassitudo in intercolumnio poterit conlocari, et spirarum plinthides aeque magnae sint et spatio, quod fuerit inter duas plinthides, quemadmodum est Fortunae Equestris ad theatrum lapideum reliquaeque, quae eisdem rationibus sunt conpositae. Haec utraque genera vitiosum habent usum.
[2] Therefore a pycnostyle is that in which, in the intercolumniation, the thickness of one and a half columns can be interposed, as is the [temple] of the deified Julius and, in Caesar’s Forum, of Venus, and any others that are composed thus. Likewise a systyle is that in which the thickness of two columns can be set in the intercolumniation, and the plinths of the bases are equally as large as the space that will be between two plinths, as is the [Temple] of Equestrian Fortune by the stone theater, and the rest which are composed according to the same ratios. Both these kinds have a faulty use.
[3] Matres enim familiarum cum ad supplicationem gradibus ascendunt, non possunt per intercolumnia amplexae adire, nisi ordines fecerint; item valvarum adspectus abstruditur columnarum crebritate ipsaque signa obscurantur; item circa aedem propter angustias inpediuntur ambulationes.
[3] For the matrons of households, when they ascend the steps for supplication, cannot, going arm-in-arm, approach through the intercolumniations unless they form ranks; likewise the view of the doors is obstructed by the crowding of the columns, and the very statues are obscured; likewise around the temple, on account of the narrowness, the ambulations are impeded.
[4] Diastyli autem haec erit conpositio, cum trium columnarum crassitudiinem intercolumnio interponere possumus. Tamquam est Apollinis et Dianae aedis. Haec dispositio hanc habet difficultatem, quod epistylia propter intervallorum magnitudinem franguntur.
[4] But the diastyle will have this composition, when we can interpose in the intercolumniation the thickness of three columns. Such as is the temple of Apollo and Diana. This disposition has this difficulty, that the epistyles are broken on account of the magnitude of the intervals.
[5] In araeostylis autem nec lapideis nec marmoreis epistyliis uti datur, sec inponendae de materia trabes perpetuae. Et ipsarum aedium species sunt varicae, barycephalae, humiles, latae, ornaturque signis fictilibus aut aereis inauratis earum fastigia tuscanico more, uti est ad Circum Maximum Cereris et Herculis Pompeiani, item Capitoli.
[5] But in araeostyles it is not permitted to use stone or marble epistylia, but continuous beams of timber must be laid. And the appearances of these buildings themselves are splay‑legged, barycephalous (heavy‑headed), low, broad; and their pediments are adorned with terracotta figures or gilded bronze, in the Tuscan manner, as is the case by the Circus Maximus at the temples of Ceres and of Pompeian Hercules, likewise on the Capitol.
[6] Reddenda nunc est eustyli ratio, quae maxime probabilis et ad usum et ad speciem et ad firmitatem rationes habet explicatas. Namque facienda sunt in intervallis spatia duarum columnarum et quartae partis columnae crassitudinis, mediumque intercolumnium unum, quod erit in fronte, alterum, quod in postico, trium columnarum crassitudine. Sic enim habebit et figurationis aspectum venustum et aditus usum sine inpeditionibus et circa cellam ambulatio auctoritatem.
[6] The rationale of the eustyle must now be rendered, which is most commendable and has its reasons set forth for use, for appearance, and for firmness. For the spaces in the intervals must be made of two column-thicknesses and a fourth part of a column’s thickness; and the middle intercolumniation—one which will be at the front, the other which at the back—of three columns’ thickness. Thus it will have both a winsome aspect of figuration and an unimpeded use of the entrances, and, around the cella, a promenade of dignity.
[7] Huius autem rei ratio explicabitur sic. Frons loci quae in aede constituta fuerit, si tetrastylos facienda fuerit dividatur in partes XI s
[7] The rationale of this matter will be explained thus. The front of the site which shall have been fixed for the temple, if it is to be made tetrastyle, should be divided into 11 and a half parts, excluding the crepidines and the projections of the spirae; if it is to have six columns, into 18 parts; if it is to be constituted octastyle, let it be divided into 24 and a half. Likewise, from these parts, whether of a tetrastyle, hexastyle, or octastyle, one part should be taken, and that will be the modulus.
Of which the single modulus will be the thickness of the columns. Each intercolumniation, except the middle ones, will be two modules and a quarter of a module; the middle ones at the front and at the rear, each, three modules. The heights of the columns themselves will have a just ratio in modules.
[8] Huius exemplar Romae nullum habemus, sed in Asia Teo hexastylon Liberi Patris.
[8] Of this we have no example at Rome, but in Asia, at Teos, a hexastyle of Father Liber.
Eas autem symmetrias constituit Hermogenes, qui etiam primus exostylon pseudodipterive rationem. Ex dipteri enim aedis symmetriae distulit interiores ordines columnarum XXXIV eaque ratione sumptus operasque compendii fecit. Is in medio ambulationi laxamentum egregie circa cellam fecit de aspectuque nihil inminuit, sed sine desiderio supervacuorum conservavit auctoritatem totius operis distributione.
Those symmetries were established by Hermogenes, who also first devised the exostylon or the scheme of the pseudodipteral. For from the symmetries of a dipteral temple he removed the inner rows of columns, 34 in number, and by that method he effected an economy of expense and labor. He made in the middle an excellent clearance for ambulation around the cella, and diminished nothing of the view, but, without any longing for superfluities, he preserved the authority of the whole work by its distribution.
[9] Pteromatos enim ratio et columnarum circum aedem dispositio ideo est inventa, ut aspectus propter asperitatem intercolumniorum habeat auctoritatem, praeterea, si ex imbrium aquae vis occupaverit et intercluserit hominum multitudinem, ut habeat in aede circaque cellam cum laxamento liberam moram. Haec autem ut explicantur in pseudodipteris aedium dispositionibus. Quare videtur acuta magnaque sollertia effectus operum Hermogenis fecisse reliquisseque fontes, unde posteri possent haurire disciplinarum rationes.
[9] For the plan of the pteroma and the disposition of the columns around the temple was invented for this reason: that the aspect, on account of the asperity of the intercolumniations, might have authority; besides, if the force of rain-waters should seize and shut in a multitude of people, that it might have within the temple and around the cella, with spaciousness, a free delay. These matters, moreover, are set forth in the dispositions of pseudodipteral temples. Wherefore it seems that by acute and great skill the achievements of Hermogenes’ works have made and left founts whence posterity could draw the principles of the disciplines.
[10] Aedibus araeostylis columnae sic sunt faciendae, uti crassitudines earum sint partis octavae ad altitudines. Item in diastylo dimetienda est altitudo columnae in partes octo et dimidium, et unius partis columnae crassitudo conlocetur. In systylo altitudo dividatur in novem et dimidiam partem, et ex eis una ad crassitudinem columnae detur.
[10] In araeostyle buildings, the columns should be fashioned so that their thicknesses are the eighth part relative to their heights. Likewise, in diastyle the height of the column is to be measured into eight and a half parts, and one part is to be assigned to the column’s thickness. In systyle let the height be divided into nine and a half parts, and from these one is to be given to the thickness of the column.
Likewise, in a pycnostyle the height is to be divided into ten, and one of those parts is to be made the column’s thickness. But in an eustyle temple, as in a systyle, let the height be divided into nine and a half parts, and one part of this be established as the thickness at the bottom of the shaft. Thus the proportion of the intercolumniations will be had in due proportion.
[11] Quemadmodum enim crescunt spatia inter columnas, proportionibus adaugendae sunt crassitudinis scaporum. Namque si in araeostylo nona aut decima pars crassitudinis fuerit, tenuis et exilis apparebit, ideo quod per latitudinem intercolumniorum aer consumit et inminuit aspectu scaporum crassitudinem. Contra vero pycnostylis si octava pars crassitudinis fuerit, propter crebritatem et angustias intercolumniorum tumidam et invenustam efficiet speciem.
[11] For just as the spaces between the columns grow, the thicknesses of the shafts ought to be augmented according to proportions. For if in an araeostyle it be a ninth or tenth part in thickness, it will appear thin and slight, because across the breadth of the intercolumniations the air consumes and diminishes to the sight the thickness of the shafts. Conversely, in pycnostyles, if it be an eighth part in thickness, on account of the crowdedness and narrowness of the intercolumniations it will produce an appearance swollen and uncomely.
Therefore, the symmetries of the genus of the work ought to be pursued. And also the angular columns must be made thicker by a fiftieth part of their diameter, because they are cut off by the air and seem to be more slender to onlookers. Therefore, what the eye deceives must be carried out by ratiocination.
[12] Contracturae autem in summis columnarum hypotracheliis ita faciendae videntur, uti, si columna sit ab minimo ad pedes quinos denos, ima crassitudo dividatur in partes sex et earum partium quinque summa constituatur. Item quae erit ab quindecim pedibus ad pedes viginti, scapus imus in partes sex et semissem dividatur, earumque partium quinque et semisse superior crassitudo columnae fiat. Item quae erunt a pedibus viginti ad pedes triginta, scapus imus dividatur in partes septem, earumque sex summa contractura perficiatur.
[12] But the contractions in the upper hypotrachelia of columns seem to be made thus: if a column is from the minimum up to 15 feet, let the lower thickness be divided into 6 parts, and let 5 of those parts be established as the upper. Likewise, the one that is from 15 feet to 20 feet, let the lower shaft be divided into 6½ parts, and let 5½ of those parts be made the upper thickness of the column. Likewise, those that are from 20 feet to 30 feet, let the lower shaft be divided into 7 parts, and let the top contraction be completed from 6 of those.
But that which will be from 30 feet to 40 in height, let the lower thickness be divided into seven and a half parts; of these, let six and a half have, at the top, the ratio of the taper. Those which will be from 40 feet to 50 likewise are to be divided into eight parts, and of these seven are to be contracted in the upper shaft beneath the capital. Likewise, if any will be higher, let the taperings be established proportionally by the same ratio.
[13] Haec autem propter altitudinis intervallum scandentis oculi species adiciuntur crassitudinibus temperaturae. Venustates enim persequitur visus, cuius si non blandimur voluptati proportione et modulorum adiectionibus, uti quod fallitur temperatione adaugeatur, vastus et invenustus conspicientibus remittetur aspectus. De adiectione, quae adicitur in mediis columnis, quae apud Graecosentasis appellatur, in extremo libro erit formata ratio eius, quemadmodum mollis et conveniens efficiatur, subscripta.
[13] Moreover, these appearances are added to the thicknesses of the tempering on account of the interval of height as the eye ascends. For sight pursues venusties (charms); if we do not soothe its pleasure by proportion and by additions of modules, so that what is deceived may be augmented by an adjustment, the aspect will be relaxed to beholders as vast and ungraceful. Concerning the addition that is applied in the middles of columns, which among the Greeks is calledentasis, its formed rationale—how it may be made gentle and fitting—will be set out in the last book, appended below.
[1] Fundationes eorum operum fodiantur, si queat inveniri, ab solido et in solidum, quantum ex amplitudine operis pro ratione videbitur, extruaturque structura totum solum quam solidissima. Supraque terram parietes extruantur sub columnas dimidio crassiores quam columnae sunt futurae, uti firmiora sint inferiora superioribus; quae stereobates appellantur, nam excipiunt onera. Spirarumque proiecturae non procedant extra solium; item supra parietis ad eundem modum crassitudo servanda est.
[1] Let the foundations of those works be dug, if it can be found, from the solid and into the solid, as much as in proportion to the amplitude of the work will seem reasonable, and let the masonry be built up so that the whole groundbed is as solid as possible. And above the earth let walls be constructed under the columns thicker by a half than the columns are going to be, so that the lower parts may be firmer than the upper; these are called stereobates, for they receive the loads. And let the projections of the spirae not advance beyond the plinth; likewise above, the thickness of the wall is to be preserved in the same manner.
[2] Sin autem solidum non invenietur, sed locus erit congesticius ad imum aut paluster, tunc is locus fodiatur exinaniaturque et palis alneis aut oleagines
[2] But if solid ground is not found, but the place is made ground by heaping at the bottom or marshy, then let that place be dug out and emptied, and let it be fastened with piles of alder or olive-wood
[3] Supra stylobatas columnae disponendae, quemadmodum supra scriptum est, sive in pycnostylo, quemadmodum pycnostyla, sive systylo aut diastylo aut eustylo, quemadmodum supra scripta sunt et constituta. In araeostylis enim libertas est quantum cuique libet constituendi. Sed ita columnae in peripteris conlocentur, uti, quot intercolumnia sunt in fronte, totidem bis intercolumnia fiant in lateribus; ita enim erit duplex longitudo operis ad latitudinem.
[3] Above the stylobates the columns are to be arranged, as written above, whether in pycnostyle, as pycnostyles, or in systyle or diastyle or eustyle, as they have been written and established above. For in araeostyles there is freedom to set things out as much as each one pleases. But let the columns in peripteral buildings be placed in such a way that, as many intercolumniations as there are in the front, so twice as many intercolumniations are made on the sides; thus the length of the work will be double its breadth.
[4] Gradus in fronte constituendi ita sunt, uti sint semper inpares; namque cum dextro pede primus gradus ascendatur, item in summo templo primus erit ponendus. Crassitudines autem eorum graduum ita finiendas censeo, ut neque crassiores dextante nec tenuiores dodrante sint conlocatae; sic enim durus non erit ascensus. Retractiones autem graduum nec minus quam sesquipedales nec plus quam bipedales faciendae videntur.
[4] The steps to be set in front are to be arranged so that they are always odd in number; for since the first step is ascended with the right foot, likewise at the temple on the summit the first will be taken with the right. As for the thicknesses of those steps, I judge they should be limited so that they be set neither thicker than a dextans nor thinner than a dodrans; thus the ascent will not be hard. The retractions (treads) of the steps seem to be made neither less than one-and-a-half feet nor more than two feet.
[5] Sin autem circa aedem ex tribus lateribus podium faciendum erit, ad id constituatur, uti quadrae, spirae, trunci, coronae, lysis ad ipsum stylobatam, qui erit sub columnarum spiris, conveniant. Stylobatam ita oportet exaequari, uti habeat per medium adiectionem per scamillos inpares; si enim ad libellam dirigetur, alveolatum oculo videbitur. Hoc autem, ut scamilli ad id convenientes fiant, item in extremo libro forma et demonstratio erit descripta.
[5] But if, however, around the temple on three sides a podium must be made, let it be arranged so that the quadrae, spirae, trunks (drums), coronae, and lyses fit to the stylobate itself, which will be beneath the tori of the columns. The stylobate ought to be leveled in such a way that it has, through the middle, an addition by means of unequal scamilli; for if it is aligned by the level, it will appear basin-like (hollowed) to the eye. And for this—how scamilli suitable to that may be made—likewise at the end of the book a figure and demonstration will be described.
[1] His perfectis in suis locis spirae conlocentur, eaque ad symmetriam sic perficiantur, uti crassitudo cum plintho sit columnae ex dimidia crassitudine proiecturamque, quam Graeci
vocitant, habeant sextantem; ita tum lata et longa erit columnae crassitudinis unius et dimidiae.
[1] With these completed in their places, let the spirae be set, and let them likewise be finished according to symmetry, so that the thickness together with the plinth be equal to one-half of the column’s thickness, and the projection, which the Greeks call , have a sixth; thus then the width and the length will be one and a half times the column’s thickness.
[2] Altitudo eius, si atticurges erit, ita dividatur, ut superior pars tertia parte sit crassitudinis columnae, reliquum plintho relinquatur. Dempta plintho reliquum dividatur in partes quattuor, fiatque superior torus [quartae; reliquae tres aequaliter dividantur, et una sit inferior torus], altera pars cum suis quadris scotia, quam Graecitrochilon dicunt.
[2] Its height, if it will be Attic-work, should be divided thus: let the upper part be a third part of the column’s thickness, the remainder be left to the plinth. With the plinth removed, let the remainder be divided into four parts, and let the upper torus be of one fourth; let the remaining three be divided equally, and let one be the lower torus; the other part, together with its fillets, [let it be] the scotia, which the Greeks calltrochilon.
[3] Sin autem ionicae erunt faciendae, symmetriae earum sic erunt constituendae, uti latitudo spirae quoqueversus sit columnae crassitudinis adiecta crassitudine quarta et octava. Altitudo ita uti atticurges; ita ut eius plinthos; reliquumque praeter plinthum, quod erit tertia pars crassitudinis columnae, dividatur in partes septem: inde trium partium torus qui est in summo; reliquae quattuor partes dividendae sunt aequaliter, et una pars fiat cum suis astragalis et supercilio superior trochilus, altera pars inferiori trochilo relinquatur; sed inferior maior apparebit, ideo quod habebit ad extremam plinthum proiecturam. Astragali faciendi sunt octavae partis trochili; proiectura erit spirae pars octava et sexta decuma pars crassitudinis columnae.
[3] But if Ionic ones are to be made, their symmetries shall be established thus, that the breadth of the spira on every side be the thickness of the column with an added fourth and an eighth of the thickness. The height as in the Attic-work; likewise its plinths; and the remainder apart from the plinth, which will be a third of the thickness of the column, shall be divided into seven parts: then three parts, the torus which is at the top; the remaining four parts are to be divided equally, and one part shall be made, with its astragals and supercilium, the upper trochilus, the other part shall be left to the lower trochilus; but the lower will appear larger, for the reason that it will have projection to the outermost plinth. The astragals are to be made of an eighth part of the trochilus; the projection of the spira will be an eighth and a sixteenth part of the thickness of the column.
[4] Spiris perfectis et conlocatis columnae sunt medianae in pronao et postico ad perpendiculum medii centri conlocandae, angulares autem quaeque e regione earum futura sunt in lateribus aedis dextra ac sinistra, uti partes interiores, quae ad parietes cellae spectant, ad perpendiculum latus habeant conlocatum, exteriores autem partes uti dicant se earum contracturam. Sic enim erunt figurae conpositionis aedium contractura eius tali ratione exactae.
[4] With the spirae (bases) perfected and set in place, the middle columns in the pronaos and the posticum are to be placed plumb to the central midpoint; but the corner ones, and those which will be opposite them on the right and left sides of the aedes (temple), should be so arranged that the inner parts, which face toward the walls of the cella, have their side set on the plumb, while the outer parts declare their contraction. For thus the forms of the composition of the aedes will have their contraction exactly effected by such a method.
[5] Scapis columnarum statutis capitulorum ratio si pulvinata erunt, his symmetriis conformabuntur, uti, quam crassus imus scapus fuerit addita octava decuma parte scapi, abacus habeat longitudinem et latitudinem; crassitudinem cum volutis eius dimidiam. Recedendum autem est ab extremo abaco in interiorem partem frontibus volutarum parte duodevicensima et eius dimidia. Tunc crassitudo dividenda est in partes novem et dimidiam, et secundum abacum in quattuor partibus volutarum secundum extremi abaci quadram lineae dimittendae, quae cathetoe dicuntur.
[5] With the shafts of the columns set up, the scheme of the capitals, if they are pulvinated, will be conformed to these symmetries: namely, whatever the lowest shaft’s thickness shall be, with the eighteenth part of the shaft added, the abacus shall have its length and breadth; its thickness together with its volutes, one half thereof. Moreover, one must retreat from the edge of the abacus into the inner part, on the faces of the volutes, by the eighteenth part and its half (i.e., one twelfth). Then the thickness is to be divided into nine and a half parts, and, along the abacus, at the four parts of the volutes, along the square of the outer edge of the abacus, lines are to be let down, which are called cathetoe.
[6] Tunc ab linea quae secundum abaci extremam partem demissa erit, in interiorem partem
[6] Then from the line which will be let down along the outermost edge of the abacus, into the inner part let
[7] Capituli autem crassitudo sic est facienda, ut ex novem partibus et dimidia tres partes praependeant infra astragalum summi scapi; cymatio, adempto abaco et canali, reliqua sit pars. Proiectura autem cymatii habet extra abaci quadram oculi magnitudine. Pulvinorum baltei abaco hanc habeant proiecturam, uti circini centrum unum cum sit positum in capituli tetrante et alterum deducatur ad extremum cymatium, circumactum balteorum extremas partes tangat.
[7] But the thickness of the capital is to be made thus: out of nine and a half parts let three parts hang down beneath the astragal of the top of the shaft; for the cymatium, with the abacus and the channel taken away, let the remaining part be. But the projection of the cymatium has, beyond the square of the abacus, the magnitude of an eye. Let the belts of the pulvini have from the abacus this projection, so that, when one center of the compass is placed in the tetrant of the capital and the other is drawn to the extremity of the cymatium, the rotation may touch the extreme parts of the belts.
Let the axes of the volutes be no thicker than the magnitude of the eye, and let the volutes themselves be cut to one-twelfth of their height. These will be the symmetries of the capitals that are to be for columns from the least up to 25 feet. Those which will be above will have the remaining symmetries in the same manner; but the abacus shall be as long and as broad as the lower thickness of the column, with a ninth part added, so that, the less contraction the taller column shall have, by so much the capital may not have less projection of its proper symmetry and may have an addition in the height of its part.
[8] De volutarum descriptionibus, uti ad circinum sint recte involutae, quemadmodum describantur, in extremo libro forma et ratio earum erit subscripta.
[8] On the descriptions of the volutes, so that by the compass they may be rightly wound, and in what manner they are to be described, in the last book their form and rationale will be set down.
Capitulis perfectis deinde columnarum non ad libellam sed ad aequalem modulum conlocatis, ut, quae adiectio in stylobatis facta fuerit, in superioribus membris respondeat symmetria epistyliorum. Epistyliorum ratio sic est habenda, uti, si columnae fuerint a minima XII pedum ad quindecim pedes, epistylii sit altitudo dimidia crassitudinis imae columnae; item ab XV pedibus ad XX, columnae altitudo demetiatur in partes tredecim et unius partis altitudo epistylii fiat; item si a XX ad XXV pedes, dividatur altitudo in partes XII et semissem, et eius una pars epistylium in altitudine fiat; item si ab XXV pedibus ad XXX, dividatur in partes XII, et eius una pars altitudo fiat. Item ratam partem ad eundem modum ex altitudine columnarum expediendae sunt altitudines epistyliorum.
With the capitals finished, then, and the columns set not to the level but according to an equal modulus, so that whatever addition has been made on the stylobates may be answered in the upper members by the symmetry of the epistyles. The rule of the epistyles is to be held thus: namely, if the columns shall be from the least 12 feet up to 15 feet, let the epistyle have a height equal to one half of the lowest thickness of the column; likewise from 15 feet to 20, let the column’s height be measured into 13 parts, and let one part be made the height of the epistyle; likewise, if from 20 to 25 feet, let the height be divided into 12 and a half parts, and let one of these parts be made the epistyle in height; likewise, if from 25 feet to 30, let it be divided into 12 parts, and let one of these be the height. Likewise, the heights of the epistyles are to be worked out in the same manner, with the due proportion, from the heights of the columns.
[9] Quo altius enim scandit oculi species, non facile persecat aeris crebritatem, dilapsa itaque altitudinis spatio et viribus, extructam incertam modulorum renuntiat sensibus quantitatem. Quare semper adiciendum est rationi supplementum in symmetriarum membris, ut, cum fuerint aut altioribus locis opera aut etiam ipsa colossicotera, habeant magnitudinum rationem. Epistylii latitudo in imo, quod supra capitulum erit, quanta crassitudo summae columnae sub capitulo erit, tanta fiat; summum, quantum imus scapus.
[9] For the higher the gaze of the eye climbs, it does not easily cut through the density of the air; and so, its force and reach having been dissipated by the expanse of height, it reports to the senses the constructed quantity of the modules as uncertain. Wherefore a supplement must always be added to the ratio in the members of the symmetries, so that, when the works are in higher places, or even themselves quite colossal, they may have a regard to magnitudes. The breadth of the epistyle at the bottom—namely, that which will be above the capital—should be as great as the thickness of the top of the column beneath the capital; the topmost, as much as the lowest shaft.
[10] Cymatium epistylii septima parte suae altitudinis est faciendum, et in proiectura tantundem. Reliqua pars praeter cymatium dividenda est in partes XII, et earum trium ima fascia est faciencda, secunda IIII, summa V. Item zophorus supra epistylium quarta parte minus quam epistylium; sin autem sigilla designari oportuerit, quarta parte altior quam epistlium, uti auctoritatem habeant scalpturae. Cymatium suae altitudinis partis septimae; proiecturae cymatium quantum crassitudo.
[10] The cymatium of the epistyle is to be made one seventh part of its own height, and in projection just as much. The remaining part, apart from the cymatium, is to be divided into 12 parts, and of these the lowest fascia is to be 3, the second 4, the highest 5. Likewise the zophorus above the epistyle is a quarter less than the epistyle; but if sigilla are to be designed, a quarter higher than the epistyle, so that the sculptures may have authority. The cymatium is one seventh part of its height; the projection of the cymatium as much as its thickness.
[11] Supra zophorum denticulus est faciendus tam altus quam epistylii media fascia; proiectura eius quantum altitudo. Intersectio, quae graecemetope dicitur, sic est dividenda, uti denticulus altitudinis suae dimidiam partem habeat in fronte, cavus autem intersectionis huius frontis e tribus duas partes; huius cymatium altitudinis eius sextam partem. Corona cum suo cymatio, praeter simam, quantum media fascia epistylii; proiectura coronae cum denticulo facienda est, quantum erit altitudo a zophoro ad summum coronae cymatium; et omnino omnes ecphorae venustiorem habeant speciem, quae quantum altitudinis tantundem habeant proiecturae.
[11] Above the zophorus a dentil is to be made, as high as the middle band of the epistyle; its projection as much as its height. The intersectio, which in Greek is calledmetope, is to be divided thus, that the dentil have in front one half of its own height, but the hollow of the intersectio of this front two parts out of three; its cymatium one sixth of its height. The corona with its cymatium, except the sima, as much as the middle band of the epistyle; the projection of the corona together with the dentil is to be made as much as the height from the zophorus to the top of the corona’s cymatium; and in general let all ecphorae have a more comely appearance, those which have as much projection as height.
[12] Tympani autem, quod est in fastigio, altitudo sic est facienda, uti frons coronae ab extremis cymatiis tota dimetiatur in partes novem et ex eis una pars in medio cacumine tympani constituatur, dum contra epistylia columnarumque hypotrachelia ad perpendiculum respondeant. Coronaeque supra aequaliter imis praeter simas sunt conlocandae. Insuper coronas simae, quas Graeciepaietidas dicunt, faciendae sunt altiores octava parte coronarum altitudinis.
[12] As for the tympanum, which is in the pediment, its height is to be made thus: let the face of the corona, from the outermost cymatia, be wholly measured into nine parts, and of these one part be set at the middle summit of the tympanum, while opposite the epistylia and the hypotrachelia of the columns they correspond in the plumb. And the coronas above are to be placed equally with the lower, except for the simae. Moreover, above the coronas, the simae, which the Greeks callepaietidas, are to be made higher by one eighth part of the height of the coronas.
[13] Membra omnia, quae supra capitula columnarum sunt futura, id est epistylia, zophora, coronae, tympana, fastigia, acroteria, inclinanda sunt in frontis suae cuiusque altitudinis parte XII, ideo quod, cum steterimus contra frontes, ab oculo lineae duae si extensae fuerint et una tetigerit imam operis partem, altera summam quae summam tetigerit, longior fiet. Ita quo longior visus linea in superiorem partem procedit, resupinatam facit eius speciem. Cum autem, uti supra scriptum est.
[13] All the members which are going to be above the capitals of the columns—that is, the epistylia, zophora, coronae, tympana, fastigia, and acroteria—must be inclined by the 12th part of each one’s own front-height, for this reason: when we stand opposite the fronts, if two lines are extended from the eye and one touches the lowest part of the work, the other the highest, that which has touched the highest will become longer. Thus, the farther the visual line proceeds into the upper part, it makes its appearance thrown back. But since, as has been written above.
[14] Columnarum striae faciendae sunt XXIIII ita excavatae, uti norma in cavo striae cum fuerit coniecta, circumacta anconibus striarum dextra ac sinistra tangat acumenque normae circum rotundationem tangendo pervagari possit. Crassitudines striarum faciendae sunt, quantum adiectio in media columna ex descriptione invenietur.
[14] The striae of the columns are to be made 24 in number, hollowed in such a way that, when a square is inserted into the hollow of a stria and is turned around, it touches the arrises of the striae on the right and on the left, and the point of the square can wander by touching around the rotundation. The thicknesses of the striae are to be made according to how much the addition in the middle of the column will be found from the description.
[15] In simis, quae supra coronam in lateribus sunt aedium, capita leonina sunt scalpenda, disposita
[15] In the simae, which are above the corona on the sides of the buildings, leonine heads are to be carved, disposed