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<?xml version="1.0"?>
<!DOCTYPE archimedes SYSTEM "../dtd/archimedes.dtd" >
<archimedes xmlns:xlink="http://www.w3.org/1999/xlink"> <info>
<author>Vitruvius Pollio</author>
<title>I dieci libri dell'architettura</title>
<date>1567</date>
<place>Venice</place>
<translator>Daniele Barbaro</translator>
<lang>it</lang>
<cvs_file>vitru_archi_02_it_1567</cvs_file>
<cvs_version/>
<locator>0000000045.xml</locator>
</info> <text> <front> </front> <body> <chap> <pb id="p.0003"/><figure/><pb/><p type="head">
<s>ALLO ILLVSTRISSIMO,<!-- REMOVE S-->ET REVERENDISSIMO <lb/>CARDINAL DI FERRAR A <lb/>D. HIPPOLITO DA ESTE,<!-- REMOVE S--></s></p><figure/><p type="head">
<s>DANIEL BARBARO ELETTO <lb/>D'AQVILEGGIA S.<!-- KEEP S--></s></p><p type="main">
<s><emph type="italics"/>TVTTE le belle opere, Illustri<02>imo, & Re­<lb/>uerendi<02>imo Signore, piu che &longs;ono guar da­<lb/>te, et contemplate da gli huomini, piu &longs;cuo­<lb/>preno la belleZzaloro, et l'artificio del mae­<lb/>stro; & bene &longs;pe&longs;&longs;o dal primo a&longs;petto non &longs;i <lb/>proua quel gu&longs;to di e&longs;&longs;e, che ben mirate, & <lb/>con&longs;iderate &longs;i &longs;ente dapoi: Ilche come &longs;iauero, non mi affatiche­<lb/>rò di prouare, perche, & le pitture, & le &longs;colture, & le fabri­<lb/>che de i grand' huomini, & altre co&longs;e che &longs;i uedeno ogni giorno, <lb/>chiar amente lo dimostrano, perche piu che &longs;i guardano, mag­<lb/>giormente di &longs;e inamorano i riguar danti. </s>
<s>ilche è &longs;egno manife­<lb/>&longs;to, che in quelle &longs;empre &longs;i &longs;cuopra maggior belleZZa. </s>
<s>Que&longs;to, <lb/>o&longs;imigliante effetto fanno le uere, & precio&longs;e pietre di natura, <lb/>comparate alle fal&longs;e, et uili fatte da gli huomini. </s>
<s>imperoche lefal <lb/>&longs;e al primo guardo fanno di&longs;e mo&longs;tra allegri<02>ima, & &longs;plendidi&longs;­<lb/>&longs;ima, et qua&longs;i adulatrici allettano la ui&longs;ta con un fal&longs;o &longs;plendo­<lb/>re; et poi uanno mancando. </s>
<s>Male uere naturali, & fine, perche <lb/>&longs;ono fatte dalla uerità della natura, non per ingannare alcuno, <lb/>ma per driZzare gli animi a piu alto uiaggio, piu pre&longs;tano di <lb/>quello, che prometteno. </s>
<s>la doue i po&longs;&longs;editori di quelle, &longs;coprendoci<emph.end type="italics"/><pb/><emph type="italics"/>ogni giorno piu uagheZza, & piu uerità, piu le appreZza­<lb/>no, &' piu le ammirano. </s>
<s>Il &longs;imile adiuiene a i lettori delle <lb/>co&longs;e de gli huomini eccellenti, i quali beendo con di&longs;iderio i <lb/>precetti delle arti, et continuando con lo studio, & e&longs;&longs;erci­<lb/>tio nella intelligenza di quelli, ritrouano nel progre&longs;&longs;o, che <lb/>fanno, la uirtù dell' autore piu chiara, & piu ammiranda. </s>
<s><lb/>Come è auuenuto a me nella fatica fatta &longs;opra Uitru­<lb/>uio gia dedicata a Uo&longs;tra Signoria Illu&longs;tri<02>ima, & Reueren­<lb/>di<02>ima: imperoche, per quello amore, che ha ognuno di fare le <lb/>&longs;ue fatture ogni giorno migliori, riuedendo, & rileggendo il <lb/>detto autore, & &longs;entendoui piu gu&longs;to della eccellenZa &longs;ua, <lb/>& uedendo ancho, che &longs;otto la protettione della gratia uo­<lb/>&longs;tra egli era &longs;tato abbracciato dal mondo: &longs;pinto dalla &longs;olleci­<lb/>tudine de i librari, ho uoluto rimandarlo in luce tenendo tut­<lb/>tauia raccolto lo &longs;tudio, & l'o&longs;&longs;eruanZa mia nella dignità, & <lb/>chiareZza della per&longs;ona uostra, con quel de&longs;iderio, che &longs;em­<lb/>pre ho hauuto di giouare, quanto porta&longs;&longs;ero le forZe mie ad <lb/>ognuno. </s>
<s>& per dare uno illu&longs;tre te&longs;timonio delle magnifiche, <lb/>& eccellenti fabriche, che ella ha fatto, & fa tuttauia in <lb/>diuer&longs;e parti del mondo con merauiglia de gli huomini: del­<lb/>lequali opere io ne haueua uedute alcune prima, che io le de­<lb/>dica&longs;&longs;e il Vitruuio, alcune ho ueduto dapoi, & &longs;ono quelle, che <lb/>con tanta &longs;plendideZZa ella ha fatto in Roma, & a Tioli, nel­<lb/>lequali la natura conuiene confe&longs;&longs;are di e&longs;&longs;ere &longs;tata &longs;uperata <lb/>dall' arte, & dalla &longs;plendideZza dell' animo &longs;uo. </s>
<s>come che in <lb/>uno in&longs;tante &longs;iano nati i giardini, & cre&longs;ciute le &longs;elue, & gli <lb/>alberi pieni di &longs;oaui<02>imi frutti, in u na notte ritrouati, anzi <lb/>delle ualli u&longs;citi i monti, & ne i monti di duri<02>ime rocche <lb/>fatto iletti a i fiumi, & aperta la pietra per dar luogo alle ac­<lb/>que, & allagato il&longs;ecco terreno, & irrigato di fonti, et diri-<pb/>ui correnti, et di pe&longs;chiere rari&longs;sime; dellequali co&longs;e hanno <lb/>fatto honor ato giudicio huomini piu intelligenti di me. </s>
<s>però <lb/>non anderò piu oltre, la&longs;ciando in ognuno un de&longs;iderio arden­<lb/>ti&longs;simo di uederle. </s>
<s>et contentandomi della &longs;ua buona gratia, <lb/>allaquale humilmente mi riccomando. </s>
<s>Di Uinetia del <lb/>M D LXVII.<emph.end type="italics"/><!-- KEEP S--></s></p><pb/><p type="head">
<s>FRANCESCO DE FRANCESCHI SANESE</s></p><p type="head">
<s>AILETTORI.<!-- KEEP S--></s></p><p type="main">
<s>VOLENDO io ri&longs;tampare il Vitruuio con il <lb/>commento del Reuerendi&longs;simo Mon&longs;ignor <lb/>Daniel Barbaro Eletto d'Aquileggia, &longs;pe&longs;&longs;e <lb/>fiate&longs;ono &longs;tato in pen&longs;iero di non offendere <lb/>l'animo &longs;uo &longs;apendo, che&longs;ua Signoria Reue­<lb/>rendi&longs;sima era occupata in altri &longs;tudi, conue­<lb/>nienti al grado, che tiene; però io &longs;ono &longs;tato <lb/>molto tempo a dar principio a quello, che io di&longs;ideraua grande­<lb/>mente. </s>
<s>Hora che fidandomi nella humanità &longs;ua, & imaginandomi, <lb/>che gli huomini &longs;tudio&longs;i &longs;empre riuedeno le co&longs;e loro, & cercano <lb/>di ampliarle, & ornarle, ho pre&longs;o ardire di &longs;cuoprirle il mio di&longs;ide­<lb/>rio: nè mi&longs;ono ingannato della bontà &longs;ua, perche hauendo&longs;i corte­<lb/>&longs;emente contentato che io lo ri&longs;tampa&longs;si, mi di&longs;&longs;e, che haueua anco <lb/>apparecchiato il latino, che egli fece gia in&longs;ieme col uolgare: & che <lb/>gli haueua aggiunto molte co&longs;e, & molte figure che non &longs;ono nel <lb/>primo: & che mi donarebbe anche il Latino: la doue hauendo io <lb/>hauuto piu di quello, che hauerei &longs;aputo dimandare, ho uoluto Be­<lb/>nigni Lettori ad utilità commune, mandar in luce l'uno & l'altro <lb/>Vitruuio, & u&longs;are ogni diligenza, per rifarli in forma commoda, & <lb/>& con figure accuratamente & diligentemente intagliate dal mio <lb/>honorato compare & compagno in que&longs;ta impre&longs;a, M. </s>
<s>Giouanni <lb/>Chrieger Alemano, & accommodate a que&longs;ta nuoua forma, accio­<lb/>che ognuno po&longs;&longs;a godere il frutto delle dotte fatiche del &longs;opradet­<lb/>to mio Signore. <!-- KEEP S--></s>
<s>Ilquale uolto col pen&longs;iero a tutte le belle arti, uà <lb/>&longs;empre ritrouando modi di giouare al mondo, & &longs;i affatica di inten­<lb/>dere da ognuno le belle co&longs;e, che &longs;ono nelle arti piu nobili, facendo <lb/>ingenua profe&longs;sione di e&longs;&longs;ere obligato a chi gli &longs;cuopre qualche <lb/>bella inuentione. </s>
<s>& però hauendo ueduto, che nello Analemma di <lb/>Vitruuio lo eccellente me&longs;&longs;er Federico Commandino &longs;i ha porta­<lb/>to egregiamente interpretando lo Analemma di Tolomeo, che è <lb/>lo i&longs;te&longs;&longs;o con lo Analemma di Vitruuio, & che il punto è po&longs;to in <pb/>quello, & che gli altri, che hanno &longs;critto de gli horologi, non hanno <lb/>dato nel fondamento loro, giudicando quella e&longs;&longs;er uera, &longs;ola, & i&longs;pe­<lb/>dita uia, che in&longs;egna, dimo&longs;tra, & pratica una delle parti principali <lb/>dell' Architettura, ha uoluto leuare dal nono libro i di&longs;cor&longs;i gia fatti <lb/>&longs;opra gli horologi, & in loro uece riponere que&longs;ti di Tolomeo, & <lb/>del Commandino, aggiugnendoui la facilità, che è propria &longs;ua. </s>
<s>però <lb/>i lettori del rinouato Vitruuio gli haueranno que&longs;to obligo di piu, <lb/>come anco deono hauerlo per molte figure aggiunte; & &longs;pecial­<lb/>mente quelle de i Cauedi, che &longs;ono difficili, & quelle de i bagni, & <lb/>della pale&longs;tra belli&longs;sime, che portano gran lume alle co&longs;e di Vitru. <!-- KEEP S--></s>
<s><lb/>Ha &longs;imilmente aggiunti molti di&longs;cor&longs;i, & molte belle pratiche, ecci­<lb/>tando gli &longs;tudio&longs;i della uerità a fare qualche bella co&longs;a, & a ponere <lb/>le &longs;palle &longs;otto a que&longs;ta honorata impre&longs;a, nellaquale molti &longs;i &longs;ono <lb/>inutilmente affaticati, per e&longs;&longs;ere impre&longs;a di per&longs;one letterate, & pra­<lb/>tiche, lequali due conditioni di raro &longs;i ritrouano in un &longs;ogetto, & <lb/>&longs;ono piu che nece&longs;&longs;arie, &longs;e l'huomo uuole hauere, & la co&longs;a, & il no­<lb/>me di Architetto. <!-- KEEP S--></s>
<s>& io ho ueduto gli &longs;critti di molti, che fanno pro­<lb/>fe&longs;sione di Architetti, & non &longs;anno fare di&longs;tintione tra la Theorica, <lb/>& la pratica: & in&longs;egnando a tirare le linee &longs;emplicemente, &longs;enza le <lb/>dimo&longs;trationi mathematiche, pen&longs;ano, che quella &longs;ia la Theorica, <lb/>& a que&longs;to modo non hanno nè Theorica, nè pratica; perche la <lb/>Theorica &longs;i riferi&longs;ce alla pratica, & la pratica dipende dalla Theori­<lb/>ca: & in &longs;omma chi non ha le mathematiche, non ha la Theorica. <!-- KEEP S--></s>
<s><lb/>però io de&longs;idererei per utilità di que&longs;ti tali, che &longs;i gloriano d'hauere <lb/>l'Architettura, che &longs;i re&longs;trigne&longs;&longs;ero in &longs;e &longs;te&longs;si, & che &longs;i e&longs;&longs;amina&longs;&longs;e­<lb/>ro bene, & face&longs;&longs;ero a &longs;e &longs;te&longs;si le interrogationi &longs;econdo Vitruuio, <lb/>& dice&longs;&longs;ero. </s>
<s>Vitruuio dice, che lo Architetto deue e&longs;&longs;er ornato del­<lb/>la cognitione di molte arti, & di molte &longs;cienze. </s>
<s>ben ho io tali orna­<lb/>menti? </s>
<s>Vitruuio dice, che lo Architetto deue hauere &longs;econdo il bi­<lb/>&longs;ogno, & con una certa &longs;obrietà, Lettere, Di&longs;egno, Arihmetica, <lb/>Geometria, ragion naturale, & ciuile, A&longs;trologia, Mu&longs;ica, Pro&longs;pet­<lb/>tiua, & altre arti. </s>
<s>bene. </s>
<s>le cono&longs;co io o tutte, o molte, o niuna di <lb/>quelle? </s>
<s>Vitruuio dice, che lo Architetto, è Architetto, perl' Ordi­<lb/>ne, per la Di&longs;po&longs;itione, per la Simmetria, per lo Decoro, per la Di-<pb/>&longs;tributione, per la gratio &longs;a maniera. </s>
<s>bene. </s>
<s>ho io l'habito di que&longs;te <lb/>co&longs;e nella mente? </s>
<s>& co&longs;i facendo a &longs;e &longs;te&longs;si que&longs;te interrogationi, &longs;e <lb/>non &longs;i uorranno ingannare, &longs;aperanno fare giudicio di &longs;e mede&longs;imi, <lb/>& trouando di hauere quelli ornamenti, che dice Vitruuio, ringra­<lb/>tieranno Iddio, che gli ha donati in&longs;ieme con lo ingegno, & altribe­<lb/>ni, nè per que&longs;to &longs;i anderanno gloriando di e&longs;&longs;ere Architetti, ma&longs;i <lb/>sforzeranno ogni giorno con le opere auanzare &longs;e &longs;te&longs;si: & &longs;e non <lb/>troueranno in&longs;e le co&longs;e, che &longs;i richiedeno all' Architetto, ouero s'af­<lb/>faticheranno per hauerle, ouero &longs;taranno queti, & non &longs;i attribui­<lb/>ranno quello, che ueramente non hanno. </s>
<s>però benigni lettori, & uoi <lb/>&longs;tudio&longs;i del nome, & della gloria affaticateui di gettare il fondamen <lb/>to &longs;odo di quella con l'acqui&longs;to delle uirtu, & delle arti, & u&longs;ando <lb/>quella mode&longs;tia, che &longs;i conuiene, non ui attribuite le co&longs;e d'altri, <lb/>non ui arrogate quello, che non hauete, &longs;iate obligati a chi ui in&longs;e­<lb/>gna, u&longs;ate diligenza per imparare, o&longs;&longs;eruate i buoni & pigliate in <lb/>bene, quello che per lo mio poco &longs;apere & buon uolere mi pare di <lb/>ricordarui, e&longs;&longs;endo io &longs;empre apparecchiato a uo&longs;tri commodi &longs;en­<lb/>za alcuno ri&longs;parmio di &longs;pe&longs;a, & di fatica. </s></p><pb/><p type="head">
<s>IL PRIMO LIBRO <lb/>DELL' ARCHITETTVRA<!-- REMOVE S-->DI M. VITRVVIO.<!-- KEEP S--></s></p><p type="main">
<s>AL NOME DI DIO GLORIOSO, io Da­<lb/>niel Barbaro nobile Vinitiano mi &longs;ono po&longs;to <lb/>ad e&longs;ponere, & interpretare i dieci Libri del­<lb/>l'architettura di M. Vitruuio. <!-- KEEP S--></s>
<s>Mia intentione <lb/>è &longs;tata con qualche hone&longs;ta fatica di giouare <lb/>a gli &longs;tudio&longs;i delle artificio&longs;e inuentioni, & di <lb/>dare occa&longs;ione ad altri di&longs;criuere piu chiara­<lb/>mente di quelle co&longs;e (come che molte humanamente auuengono) <lb/>mi&longs;aranno dalle mani fuggite. </s>
<s>Ecco benigno Lettore, che io non <lb/>di&longs;idero premio &longs;enza fatica, nè con ripo&longs;o cerco arricchirmi de be <lb/>ni altrui: giu&longs;tamente richiedo la tua gratitudine: Huomini nati <lb/>&longs;iamo, & ciò che procede dalla humanità è atto di noi proprio, & <lb/>naturale, che uer&longs;o altrui &longs;i e&longs;&longs;ercita: imperoche ad altri uiuemo, <lb/>& l'un l'altro aiutamo. </s>
<s>Solo Iddio nella &longs;ua e&longs;&longs;enza raccolto, bi&longs;o­<lb/>gno non ha di co&longs;a, che non &longs;ia e&longs;&longs;o: mail tutto è di &longs;ua gratia bi&longs;o­<lb/>gneuole. </s>
<s>Godiamci adunque di quella, & &longs;enza inuidia porgen­<lb/>doci mano di pari pa&longs;&longs;o tentiamo di peruenire a quella bella uerità, <lb/>che nelle degne Arti &longs;i troua: accioche con lo &longs;plendore della uirtù, <lb/>& della gloria, &longs;cacciamo le tenebre dello errore, & della morte. </s></p><p type="head">
<s>VITA DI M. VITRVVIO.<!-- KEEP S--></s></p><p type="main">
<s><emph type="italics"/>MARCO<emph.end type="italics"/> VITRVVIO <emph type="italics"/>fu al tempo di Giulio Ce&longs;are, ui&longs;&longs;e anche &longs;otto il <lb/>buono Augu&longs;to ne gli anni di Roma &longs;ettecento & uenti &longs;ette. </s>
<s>Fu di &longs;tatura me <lb/>diocre, & de beni di fortuna non molto accommodato. </s>
<s>Hebbe felice &longs;orte, ri <lb/>&longs;petto al padre, & alla madre: imperoche con diligentia da quelli nodrito, & <lb/>bene ammae&longs;trato &longs;i diede alla cognitione di molte Arti, per lequali peruen­<lb/>ne all' acqui&longs;to dell' Architettura: ui&longs;&longs;e molti anni, operò, & &longs;cri&longs;&longs;e, & uir­<lb/>tuo&longs;amente &longs;i condu&longs;&longs;e a i termini della uita: nè altramemoria di lui &longs;i truoua, che le proprie <lb/>compo&longs;itioni: dalle quali &longs;i ha, quanto fin' hora s'è detto. </s>
<s>& prima nella dedicatione dell' opera <lb/>dice.<emph.end type="italics"/></s><s> Ma hauendo il concilio de i Dei, qucllo con&longs;ecrato a i troni della immortalità, & <lb/>transferito nel poter tuo lo imperio del padre: lo i&longs;te&longs;&longs;o mio &longs;tudio nella memoria di lui <pb pagenum="2"/>re&longs;tando fermo, in te ogni fauore tenne raccolto. </s>
<s>Adunque con M.Aurelio, P.Mini­<lb/>dio, & Gn.Cornelio fui &longs;opra l'apparecchio delle Bali&longs;te, & de gli Scorpioni, & alla pro­<lb/>ui&longs;ione de gli altri tormenti. </s>
<s>i quali, &longs;ubito che mi concede&longs;ti, molto bene per la rac­<lb/>commandatione di tua &longs;orella ne &longs;erua&longs;ti lo ricono&longs;cimento. </s>
<s>Et però e&longs;&longs;endo io per <lb/>quel bene&longs;icio tenuto, & obligato, di modo, che io non haueua a temere ne gli ultimi an <lb/>ni della uita mia la poucrtà, io ho cominciato a &longs;criuere que&longs;te co&longs;e. <emph type="italics"/>Nel proemio del &longs;e&longs;to <lb/>libro co&longs;i dice.<emph.end type="italics"/></s></p><p type="main">
<s>Et però io grandi&longs;sime, & in&longs;inite gratic rendo a i miei progenitori, i quali approuan <lb/>do la legge de gli A thenie&longs;i, mi hanno nelle Arti ammac&longs;trato, & in quelle &longs;pecialmen­<lb/>te, che&longs;enza lettere, & &longs;enza quella raccommunanza di tutte le dottrine, che in giro &longs;i uol <lb/>ge, non puo per alcun modo e&longs;&longs;ere commendata.} <emph type="italics"/>Nel proemio del &longs;econdo libro an­<lb/>chora dice.<emph.end type="italics"/></s></p><p type="main">
<s>Ma a me, o Imperatore, la natura non ha dato la grandezza del corpo: & la ctà mi <lb/>ha deformata la faccia, & la infirmita leuate le forze: la doue e&longs;&longs;endo io da co&longs;i fatti <lb/>pre&longs;idij abbandonato, io &longs;pero per mezzo della &longs;cientia, & de gli &longs;critti in qualche gra­<lb/>do &longs;alire. </s></p><p type="main">
<s><emph type="italics"/>Et altroue dimo&longs;tra non e&longs;&longs;ere &longs;tato ambitio&longs;o, nè arrogante, nè auaro, & di &longs;e mode&longs;tamen­<lb/>te parlando, difende i letterati, riprende i temerarij, ammae&longs;tra gli imperiti, & ammoni&longs;ce con <lb/>amore, & con fede quelli, che uogliono fabricare: &longs;egni certi<02>imi della bontà dell' animo, & <lb/>dell' innocenza della uita. </s>
<s>Scri&longs;&longs;e diecilibri d'Architettura (come egli afferma nella fine del­<lb/>l'opera,) & &longs;otto uno a&longs;petto, & in un corpo la ridu&longs;&longs;e, raunando le parti di e&longs;&longs;a a beneficio di tut <lb/>te le genti, come egli dice nel proemio del quarto libro. </s>
<s>Il modo, che u&longs;a Vitruuio nello &longs;criuere <lb/>è (come &longs;i conuiene) prima ordinato, dapoi con &longs;implicità di uocaboli, & proprietà di parole. </s>
<s><lb/>del che egline rende la ragione nel proemio del quinto libro: ilquale io di&longs;idero, che letto &longs;ia, <lb/>prima che ad altro &longs;i uegna. </s>
<s>Ma noi hauemo altre difficultà: lequali ouero &longs;pauentano i Letto­<lb/>ri di Vitruuio, ouero ritardano gli &longs;tudio&longs;i dell' Architettura: & quelle grandi &longs;ono & potenti. </s>
<s><lb/>Et la prima è il poco &longs;apere di molti, i quali &longs;i uogliono dare a Vitruuio &longs;enza cognitione di let­<lb/>tere. </s>
<s>Altri non cono&longs;cono il bi&longs;ogno di&longs;apere, & &longs;ono come Sofi&longs;ti, e V antatori: i difetti de i <lb/>quali dallo Auttore &longs;ono in piu luoghi &longs;coperti. </s>
<s>L'altra difficultà è po&longs;ta nel mancamento de gli <lb/>e&longs;&longs;empi, sì delle opere antiche citate da Vitruuio, sì delle figure, che egli ci promette nel fine <lb/>di cia&longs;cuno de i &longs;uoi dieci Libri. </s>
<s>Quelle ci in&longs;egnarebbeno molto, & non ci la&longs;ciarebbeno il ca­<lb/>rico dipiu pre&longs;to indouinare, che approuare la uerità delle co&longs;e. </s>
<s>Ma io non uorrei, che per que&longs;te <lb/>cagioni alcuno sbigottito &longs;i rimoue&longs;&longs;e da &longs;i bella, & lodata impre&longs;a, nella quale molti di genero&longs;o <lb/>animo affaticati &longs;i &longs;ono, & tutt' hora s'affaticano, & s'affaticheranno, &longs;perando, che la fati­<lb/>ca, & la diligentia dell' huomo &longs;in per &longs;uperare ogni humana difficultà. </s>
<s>Io per que&longs;ta ragione <lb/>aiutato dal diletto, & dallo &longs;tudio, che riuiue in molti, po&longs;to mi &longs;ono a que&longs;ta impre&longs;a, alla <lb/>quale èhomai tempo di entrare. </s>
<s>Per di&longs;ponere adunque gli intelletti, accioche meglio &longs;ia loro <lb/>dimo&longs;trato il &longs;entiero, & il fine, al quale deono peruenire, dirò, che co&longs;a è Arte: onde na&longs;ce: <lb/>come ore&longs;oe: a che peruenga. </s>
<s>Di&longs;tinguerò le Arti; Ritrouerò l'Architettura, & le parti di e&longs;&longs;a: <lb/>dichiarando l'ufficio, & il fine dello Architetto.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="head">
<s><emph type="italics"/>PROEMIO.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s><emph type="italics"/>Diuer&longs;e &longs;ono le qualità delle co&longs;e, tra lequali una è, che Habito &longs;i dimanda &longs;econdo che <lb/>&longs;i dice. </s>
<s>Far buon' habito: e&longs;&longs;er ben habituato: & &longs;imiglianti modi, che dinotano o <lb/>prendere, o po&longs;&longs;edere una qualità, che di là, doue è, di&longs;&longs;icilmente &longs;i po&longs;&longs;a leuare. </s>
<s>Sot­<lb/>to il predetto nome, ogni &longs;cientia, ogni arte, ogni uirtu, & ogni uitio &longs;i comprende. </s>
<s>Da que­<lb/>&longs;ta cognitione lo intelletto trahe due co&longs;e. </s>
<s>L'una è, che egli cono&longs;ce la importanza di apprende-<emph.end type="italics"/><pb pagenum="3"/><emph type="italics"/>re piu uno habito, che un' altro. </s>
<s>L'altra è, che non co&longs;i agcuolmente s'acqui&longs;tano i belli habiti, <lb/>nè di leggieri alcuno merita e&longs;&longs;er con i chiari nomi di quelli chiamato. </s>
<s>Il che co&longs;i e&longs;&longs;endo, l'huomo <lb/>auueduto s'affatica, & pratica con le per&longs;one eccellenti, & non &longs;educe &longs;e mede&longs;mo, credendo ue <lb/>ramente di&longs;apere, quello che egli ueramente non &longs;a. </s>
<s>Diuidon&longs;i gli habiti in que&longs;to modo, che al­<lb/>tri&longs;ono dello intelletto, altri della uolontà no&longs;tra. </s>
<s>Gli habiti dello intelletto &longs;ono ditre manie­<lb/>re. </s>
<s>Alcuni non la&longs;ciano lo intelletto piu al uero, che al fal&longs;o piegare, come è la opinione, il &longs;o­<lb/>&longs;petto, la credulità: Altri uolgeno la mente humana dal uero, & di fermo al fal&longs;o la torcono. </s>
<s>co <lb/>me &longs;e alcuno da fal&longs;i principij di&longs;po&longs;to, al uero per modo alcuno con&longs;entire non pote&longs;&longs;e: & que­<lb/>&longs;to mal habito &longs;i chiama Ignoranza praua. </s>
<s>La terza maniera di habiti è quella, che auuezza <lb/>lo intelletto al uero, di modo, che egli non &longs;i può alla fal&longs;ità, & all' errore per alcuna uia riuol­<lb/>gere; Degna ucramente & precio&longs;a qualità, & conditione di habito, come quella, che lieui la <lb/>in&longs;tabilità dell' oppinione, chiari&longs;ca il &longs;o&longs;petto, & induca la certezza, & la fermezza della ue­<lb/>rità. </s>
<s>Ma perche il uero nelle co&longs;e diuer&longs;amente &longs;i truora: però d'intorno al uero nelle co&longs;e mol­<lb/>ti&longs;ono gli habiti dello intelletto. </s>
<s>Dico adunque nello intelletto humano e&longs;&longs;er un' habito del ue­<lb/>ro, che di nece&longs;&longs;ità adiuiene, & un' altro habito di quel uero, che non è nece&longs;&longs;ario, detto da <lb/>Filo&longs;ofi Vero contingente. </s>
<s>Il Vero nece&longs;&longs;ario è quello, che per uera, & certa ragione &longs;i con <lb/>chiude. </s>
<s>& oltra di que&longs;to uero nece&longs;&longs;ario è quello, che per proua de alcuna co&longs;a &longs;i piglia. </s>
<s>& fi­<lb/>nalmente uero nece&longs;&longs;ario è quello, che della proua, & della co&longs;a prouata è compo&longs;to. </s>
<s>La onde <lb/>dalla predetta diui&longs;ione tre maniere di habiti d'intorno al uero nece&longs;&longs;ario ci &longs;ono manife&longs;te. </s>
<s>La <lb/>prima è nominata Scienza, che habito è di conclu&longs;ione per uera & nece&longs;&longs;aria proua acqui&longs;tato. </s>
<s><lb/>La &longs;econda è detta Intelletto, che è habito de i principij, & delleproue, & ritiene il nome della <lb/>potenza dell' anima, nella quale egli &longs;i truoua: la onde è nominato, Intelletto. </s>
<s>imperoche allo <lb/>acqui&longs;to di quello non ui concorre altro habito precedente: ma cono&longs;ciuti i termini, cioè &longs;apen­<lb/>do&longs;i la &longs;ignificatione de i nomi: di &longs;ubito lo intelletto &longs;enza altra proua, &longs;olo da diuini raggi il­<lb/>lu&longs;trato del lume naturale cono&longs;ce, & con&longs;ente e&longs;&longs;er uero quello, che gli è propo&longs;to. </s>
<s>Però Dan <lb/>te chiama il cono&longs;cimento di que&longs;to uero, prima notitia. </s>
<s>& quel uero, primo uero. </s>
<s>i Filo&longs;ofi, <lb/>primi concetti, o Dignità, o Ma&longs;&longs;ime &longs;ogliono chiamare. </s>
<s>Da que&longs;to habito detto intelletto, han­<lb/>no hauuto uigore, & forza &longs;pecialmente le Mathematice. <!-- KEEP S--></s>
<s>perche in quelle &longs;ono que&longs;te notitie <lb/>manife&longs;ti&longs;&longs;ime, & benche picciole &longs;iano di quantità, &longs;ono però di ualore ine&longs;timabile. </s>
<s>Per &longs;ape <lb/>re adunque conchiudere molte co&longs;e da i proprij principij, (che altro non è, che hauere &longs;cienza) <lb/>bi&longs;ogna prima acqui&longs;tar&longs;i lo Intelletto: cioè l'habito, che cono&longs;ce i principij. </s>
<s>che io in que&longs;to luo <lb/>go chiamerei, Intendimento, per non confondere i uocaboli delle co&longs;e: perche intelletto è nome <lb/>di potenza & di uirtu dell' anima, che intende: & intendimento è operatione, ouero habito di <lb/>quella potenza. </s>
<s>La terza maniera è detta Sapienza, che è pronta & i&longs;pedita cognitione delle <lb/>proue alle conchiu&longs;ioni applicate. </s>
<s>Et come lo acume della diuina intelligenza penetra per entro <lb/>al mezo di ogni co&longs;a, co&longs;i ad uno ri&longs;uegliamento dello intelletto habituato in molte &longs;cienze, & <lb/>nella cognitione di molti principij &longs;i ritroua il uero: & que&longs;ti &longs;ono gli habiti dello intelletto d'in­<lb/>torno al uero nece&longs;&longs;ario: cioè d'intorno al uero, che non puo e&longs;&longs;ere, che non &longs;ia, ne i quali non <lb/>&longs;i è ritrouato quello habito, che noi Arte chiamamo: propriamente dico, perche hora &longs;iragio <lb/>na con i proprij, & ueri uocaboli delle co&longs;e. </s>
<s>Hora uediamo &longs;e tra gli habiti, che &longs;ono d'intorno <lb/>al uero Contingente &longs;i troua l'Arte. </s>
<s>Dico che nelle co&longs;e fatte da gli huomini, perche dipende­<lb/>no dalla loro uolontà, che non piu a que&longs;to, che a quello è terminata, non &longs;itroua quella nece&longs;­<lb/>&longs;ità, di che &longs;opra dicemmo. </s>
<s>& altre di quelle &longs;ono pertinenti alla unione, & conuer&longs;atione, al­<lb/>tre conuengono all utilità, & commodo uniuer&longs;ale. </s>
<s>La regola di quelle è nominata Pruden­<lb/>za, che è habito moderatore delle attioni humane, & ciuili. </s>
<s>La regola delle &longs;econde è detta Ar <lb/>te, che è habito regolatore delle opere, che ricercano alcuna materia e&longs;teriore. </s>
<s>& &longs;i come dallo <lb/>habito della prima regola gli huomini &longs;ono chiamati Prudenti, Giudici, Legislatori, e Rettori: <lb/>Co&longs;i dal &longs;econdo &longs;ono detti Architetti, Soldati, Agricoltori, Fabri, & Artefici. <!-- KEEP S--></s>
<s>Dalle gia<emph.end type="italics"/><pb pagenum="4"/><emph type="italics"/>dette co&longs;e ritrouato hauemo, che Arte è habito nella mente, come in uero &longs;oggetto ripo&longs;to, che <lb/>la di&longs;pone a fare, & operare con regola, & ragione fuori di &longs;e co&longs;e utili alla uita: Come Pru <lb/>denza è habito, che di&longs;pone lo intelletto a regolare la uolontà in quelle co&longs;e, che alla unione, & <lb/>bene della republica, & della famiglia, & di &longs;e &longs;te&longs;&longs;o, conuengono. </s>
<s>La onde giu&longs;ti, mode&longs;ti, <lb/>forti, liberali, amici, ueraci, & in &longs;omma buoni, & uirtuo&longs;i diuentiamo: & di piu qua&longs;i &longs;emi­<lb/>dei per la uirtu heroica &longs;iamo giudicati. </s>
<s>Ma la&longs;ciamo a dictro le co&longs;e, che non fanno per no, & <lb/>ritrouiamo il na&longs;cimento delle Arti, &longs;econdo, che prome&longs;&longs;o hauemo di &longs;opra. </s>
<s>Na&longs;ce ogni arte <lb/>da i&longs;perienza. </s>
<s>Il che come &longs;ia, dirò breuemente, dimo&longs;trando che co&longs;a è I&longs;perienza: Da che na­<lb/>&longs;ce: Come &longs;ia fonte delle Arti. <!-- KEEP S--></s>
<s>I&longs;perienza non è altro che una cognitione nata da molte ricor­<lb/>danze di co&longs;e &longs;imiglianti a i &longs;en&longs;i humani &longs;ottopo&longs;te, per lequali ricordanze l'huomo giudica di <lb/>tutte ad uno i&longs;te&longs;&longs;o modo. </s>
<s>Eccoti l'e&longs;&longs;empio. </s>
<s>Nel cono&longs;cere una co&longs;a, ui concorre prima il &longs;en <lb/>&longs;o, dapoi la memoria: oltra di que&longs;to la comparatione delle co&longs;e ricordate. </s>
<s>Hauendo l'huo­<lb/>mo per uia de i &longs;en&longs;i compre&longs;o, che lo A&longs;&longs;enzo, per e&longs;&longs;empio, ha con&longs;erito a que&longs;to, & a quel­<lb/>lo nella debolezza dello &longs;tomaco, ricordando&longs;i di tale effetto, ne caua una &longs;omma uniuer&longs;a­<lb/>le, & dice: Adunque doue è debolezza di &longs;tomaco lo a&longs;&longs;enzo è gioueuole, & buono. </s>
<s>Il &longs;imile <lb/>puo fare delle altre piante, & da molte particolari, et di&longs;tinte i&longs;perienze col mezo della memo­<lb/>ria puo trarre le propo&longs;itioni uniuer&longs;ali, lequali &longs;ono principij dell' arti. </s>
<s>La i&longs;perienza adunque <lb/>è &longs;imile all' orma, che ci dimo&longs;tra le fiere. </s>
<s>perche &longs;i come l'orma è principio di ritrouare il Cer­<lb/>uo, nè però è parte del Ceruo, (percioche il Ceruo non è compo&longs;to di orme,) co&longs;i la i&longs;perienza è <lb/>principio di ritrouar le arti, & non è parte di alcuna arte; perche le co&longs;e a i &longs;en&longs;i &longs;ottopo&longs;te non <lb/>&longs;ono principij dell' Arti; ma occa&longs;ione, come chiaramente &longs;i uede, per che il principio dell' Arte <lb/>è uniuer&longs;ale, & non &longs;ottopo&longs;to a i &longs;en&longs;i humani, benche per uia de' &longs;en&longs;i &longs;tato &longs;ia ritrouato. </s>
<s><lb/>ma che differenza &longs;ia tra la i&longs;perienza, & l'Arte, &longs;i uede in que&longs;to modo. </s>
<s>Certo è, che quan <lb/>to all' operare non è dall' Arte la i&longs;perienza differente: percioche tanto in que&longs;la, quanto in quel­<lb/>la uenendo&longs;i all' e&longs;fetto, &longs;i di&longs;cende allo indiuiduo; perche le attioni &longs;ono cerca le co&longs;e particola­<lb/>ri: Ma quanto alla forza, & alla efficacia dell' operare, gli e&longs;perti fanno effetto maggiore, che <lb/>quelli, i quali hanno &longs;olamente la ragione uniuer&longs;ale delle co&longs;e: & però &longs;pe&longs;&longs;o adiuiene che lo Ar <lb/>tefice ine&longs;perto, auuenga Dio, che egli habbia nella mente la ragione de gli Artificij, erra però, <lb/>& pecca bene &longs;pe&longs;&longs;o, non per non &longs;apere, nè perche la ragione &longs;ia men uera: ma perche non è <lb/>e&longs;&longs;ercitato, nè cono&longs;ce i difelti della materia, laquale molte fiate non ri&longs;ponde alla intentione <lb/>dell' Arte. <!-- KEEP S--></s>
<s>Con tutto que&longs;to l'Arte è piu eccellente, & piu degna della i&longs;perienza, perche è piu <lb/>uicina al &longs;apere, intendendo le cau&longs;e, & le ragioni delle co&longs;e, là doue la i&longs;perienza opera &longs;enza <lb/>ragione. </s>
<s>Appre&longs;&longs;o lo intelligente Artefice è piu pronto a ri&longs;oluere, & dar conto delle co&longs;e, che <lb/>il&longs;emplice, et puro e&longs;perto. </s>
<s>La onde l'Arte è alla &longs;apienza, che è habito nobili&longs;&longs;imo, piu uici­<lb/>na. </s>
<s>Segno manife&longs;to del &longs;apere è il potere in&longs;egnare, & ammae&longs;trare altrui, percioche la <lb/>perfettione con&longs;i&longs;te in potere far altri a &longs;e mede&longs;imi &longs;imiglianti. </s>
<s>Et però l'Artifice, che è quello <lb/>che intende la ragione, può in&longs;egnare & fare un' altro &longs;e &longs;te&longs;&longs;o, quanto all' Arte &longs;ua: Ma lo <lb/>E&longs;perto non co&longs;i. </s>
<s>& &longs;e bene lo E&longs;perto mo&longs;tra ad altri come egli fa, non però è atto a darne con <lb/>to, non hauendo l'Arte: & la &longs;ua dimo&longs;tratione oltra il &longs;en&longs;o non &longs;i e&longs;tende, & è &longs;olamente in <lb/>modo di uedere congiunto con alcuna oppinione, o credenza di colui, che uede: ilquale in &longs;imi­<lb/>le atto fa ufficio &longs;eruile imperfetto, & lontano dall' ufficio dell' Arte: & però Vitrunio uuole, <lb/>che la i&longs;perienza &longs;ia con la cognitione accompagnata. </s>
<s>Come adunque na&longs;ce la i&longs;perienza; che <lb/>co&longs;a è; & in che modo l'Arte da quella procede, chiaramente s'è dimo&longs;trato. </s>
<s>Dal che &longs;i com­<lb/>prende e&longs;&longs;er due maniere di i&longs;perienza. </s>
<s>l'una, che all' Arte è prepo&longs;ta, cioè che &longs;i fa prima, che <lb/>s'acqui&longs;ti l'Arte: come quando &longs;i dice. </s>
<s>Io faccio i&longs;perienza, & uoglio prouare, &longs;e mirie&longs;ce al­<lb/>cuna co&longs;a: & que&longs;to ècome fonte a fiume quanto all' Arte. <!-- KEEP S--></s>
<s>L'altra maniera è quella, che è ec <lb/>citata, & de&longs;ta dall' Arte, che &longs;i truoua in noi, & &longs;econdo le ragioni dell' Arte la e&longs;&longs;ercitiamo. </s>
<s><lb/>Egli &longs;i puo anche dalle predette co&longs;e uedere, che la i&longs;perienza molto piu &longs;erue alle Arti, che<emph.end type="italics"/><pb pagenum="5"/><emph type="italics"/>s'acqui&longs;tano per inuentione, che a quelle, che s'imparano per ammae&longs;tramento. </s>
<s>Il na&longs;cimento <lb/>delle arti da principio è debole, ma col tempo acqui&longs;ta for za et uigore: imperochei primi inuen <lb/>tori hanno poco lume delle co&longs;e, & non po&longs;&longs;ono ageuolmente raccogliere molte uniuer&longs;ali pro­<lb/>po&longs;itioni, per lequali l'Arte s'ingagliardi&longs;ca, perche per la breuità della uita non hanno tem­<lb/>po difarne la ifperienza: ma la&longs;ciando a po&longs;teri le co&longs;e trouate da loro &longs;cemano la fatica di quel <lb/>li, &aggiugneno loro occa&longs;ione di aumentare le Arti, per la molta uirtù, che ne i pochi prin <lb/>cipij &longs;i truoua. </s>
<s>perche &longs;i come nella mente &longs;i concepe la moltitudine de &longs;udditi &longs;otto un Principe, <lb/>co&longs;i molti concetti dell' arte al &longs;uo principio &longs;i riferi&longs;ceno. </s>
<s>& per que&longs;to di gran laude &longs;ono de­<lb/>gni gli inuentori delle co&longs;e, iquali banno trouato i principij &longs;enza ri&longs;parmio di fatica, da i quali <lb/>deriua il compimento, & la perfettione dell' Arti: doue egli &longs;i può dire che la metà del fatto, è <lb/>il cominciar bene. </s>
<s>Et qui&longs;ia detto a ba&longs;tanza d'intorno alla origine, diffinitione, accre&longs;cimen­<lb/>to, et perfettione dell' Arte. <!-- KEEP S--></s>
<s>Re&longs;ta che io di&longs;tingua l'Arti &longs;econdo, che di &longs;opra promi&longs;i di fa­<lb/>re. </s>
<s>Certo io non uoglio in que&longs;to luogo fare una &longs;cielta di tutte l'Arti partitamente, perche <lb/>troppo ritardarei lo intendimento di chi legge, & poco giouerei. </s>
<s>La&longs;cierò a dietro quella &longs;i­<lb/>gnificatione uniuer&longs;ale di que&longs;to uocabolo, che abbraccia l'Arti liberali, delle qualitre &longs;o­<lb/>no d'intorno al parlare, & quattro cerca la quantità, d'intorno al parlare è la Grammatica, <lb/>la Rhetorica, la Logica: Cerca la quantità è la Geometria, l'A&longs;trologia, l'Arithmetica, la <lb/>Mu&longs;ica. <!-- KEEP S--></s>
<s>La&longs;cierò l'Arti uili, & ba&longs;&longs;e, che degne non &longs;ono della pre&longs;ente con&longs;ideratione, nè <lb/>del nome dell' Arte. <!-- KEEP S--></s>
<s>Non ragionerò di quelle Arti, et dottrine, che ci &longs;ono in&longs;pirate da Dio, <lb/>come è la no&longs;tra chri&longs;tiana Theologia; perche hora non &longs;itende a que&longs;to fine, che ritruouia­<lb/>mo tutto quello, che &longs;otto nome di Arte &longs;i contiene: imperoche non è al propo&longs;ito no&longs;tro: &longs;i <lb/>che io la&longs;cierò le diuinationi, che me&longs;colate &longs;ono di diuina in&longs;piratione, & humana inuentio­<lb/>ne. </s>
<s>Sono adunque al pre&longs;ente bi&longs;ogno quelle Arti nece&longs;&longs;arie, che &longs;erueno con dignità, & gran <lb/>dezza alla commodità, & u&longs;o de' mortali: come è l'Arte di andar per mare detta Nauigatio­<lb/>ne, l'Arte Militare, l'Arte del fabricare, la Medicina, l'Agricoltura, la Venaggione, la <lb/>Pittura, & Scoltura, il Lanificio, & altre &longs;imiglianti, lequali in due modi &longs;i po&longs;&longs;ono con­<lb/>&longs;iderare. </s>
<s>prima come di&longs;correno, & con uie ragioneuoli trouando uanno le ragioni, & le <lb/>regole dell' operare. </s>
<s>dapoi come con prontezza di mano s'affaticano di ponere in alcuna materia <lb/>e&longs;teriore, quello che eraripo&longs;to nella mente. </s>
<s>Donde na&longs;ce che alcune Arti hano piu della &longs;cien­<lb/>za, & altre meno. </s>
<s>& a cono&longs;cere l'Arti piu degne, que&longs;ta è la uia. </s>
<s>Quelle, nelle quali fa bi&longs;ogno <lb/>l'Arte del numerare, la Geometria, & l'altre Mathematice, tutte hanno del grande: il rimanen <lb/>te &longs;enza le dette Arti (come dice Platone) è uile, & abietto, come co&longs;a nata da &longs;emplice ima <lb/>ginatione, fallace coniettura, & dal uero abbandonat a i&longs;perienza. </s>
<s>Et quiui apparirà la di­<lb/>gnità dell' Architettura, laquale approua è giudica le opere, che dalle altre Arti &longs;i fanno. </s>
<s>Ma <lb/>perche prima non &longs;i deue lodare alcuna co&longs;a, &longs;e prima non &longs;i &longs;a, che co&longs;a ella &longs;ia: giu&longs;to, & ra <lb/>gioneuole è, che dimo&longs;triamo l'origine, & la forza, & le parti dell' Architettura, & qual <lb/>&longs;ia l'ufficio, & il fine dello Architetto. <!-- KEEP S--></s>
<s>& perche il mede&longs;imo &longs;i fa dallo Auttore, come <lb/>da erudito, & ammae&longs;trato ne i precetti dell' Arte, darò principio alla dichiaratione de i &longs;uoi <lb/>detti, sbrigandomi prima dalla dedicatione dell' opera. </s>
<s>Dedicando adunque ad Ottauio Au­<lb/>&longs;to dice in que&longs;to modo.<emph.end type="italics"/></s></p><p type="main">
<s>MENTRE, che la tua diuina mente, & Deità, ò Ce&longs;are Imperatore, acqui&longs;taua <lb/>l'Imperio del mondo, & i cittadini &longs;i gloriauano del trionfo & della uittoria <lb/>tua, e&longs;&longs;endo tutti i nimici dalla tua inuitta uirtu à terra battuti: & mentre, che <lb/>tutte le nationi domite, & &longs;oggiogate il tuo cenno attendeuano, & il popolo Romano in­<lb/>fieme col &longs;enato fuori d'ogni timore, da i tuoi altifsimi prouedimenti & con&longs;igli era go­<lb/>uernato; io non ardiua mandare in luce le co&longs;e dell' Architettura da me &longs;critte, tra tante <lb/>occupationi, & con grandi pen&longs;ieri e&longs;plicate: dubitando non fuor di tempo tramettendo-<pb pagenum="6"/>mi, incorrefsi nell' offe&longs;a dell' animo tuo. </s>
<s>Ma poi, che io m'accor&longs;i, che egual cura tene­<lb/>ui & della &longs;alute d'ognuno con il publico maneggio, & della opportunità de i publici edi­<lb/>ficij; accioche non &longs;olamente fu&longs;&longs;e col fauor tuo la Città di &longs;tato fatta maggiore, ma an­<lb/>chora la mae&longs;tà dello imperio grandezza haue&longs;&longs;e, & riputatione delle publiche fabricatio­<lb/>ni: io hò pen&longs;ato non e&longs;&longs;er piu tempo di tardare; & non ho uoluto pretermettere, che di <lb/>&longs;ubito à nome tuo non manda&longs;si in luce le già dette co&longs;e. </s>
<s>Imperoche per que&longs;ta ragione <lb/>io era da tuo padre cono&longs;ciuto, & della &longs;ua uirtu molto &longs;tudio&longs;o. </s>
<s>Ma hauendo il conci­<lb/>lio de i cele&longs;ti Dei quello con&longs;ecrato ne i &longs;eggi della immortalità, & trasferito nel poter <lb/>tuo lo imperio del padre: lo i&longs;te&longs;&longs;o mio &longs;tudio nella memoria di quello re&longs;tando fermo, in <lb/>te ripo&longs;e il fauore. </s>
<s>Adunque con M. Aurelio, Pub. <!-- REMOVE S-->Minidio, & Gn. Cornelio fui &longs;opra <lb/>l'apparecchio delle Bali&longs;te, & de gli Scorpioni. <!-- KEEP S--></s>
<s>& alla rifattione de gli altri tormenti; & <lb/>in&longs;ieme con e&longs;&longs;o loro ne riportai delle commodità, lequali &longs;ubito che tu mi concede&longs;ti, <lb/>molto bene per la raccommandatione di tua &longs;orella il ricono&longs;cimento &longs;erua&longs;ti; & però e&longs;­<lb/>&longs;endo io per quel beneficio tenuto & obbligato, di modo che in&longs;ino allo e&longs;tremo della ui­<lb/>ta non haue&longs;si a temere alcun di&longs;agio: Io diedi principio à &longs;criuere que&longs;te co&longs;e: perche io <lb/>haueua auuertito, che tu haueui fabricato molte co&longs;e, & tutta uia ne uai edificando; & <lb/>anche per lo auuenire &longs;ei per hauer cura, & pen&longs;iero delle publiche, & priuate opere &longs;econ­<lb/>do la grandezza delle co&longs;e fatte, accioche &longs;iano alla memoria de' po&longs;teri commendate. </s>
<s>Io <lb/>ho &longs;critto con diligenza determinati precetti in modo, che da te &longs;te&longs;&longs;o ponendoui pen&longs;ie­<lb/>ro pote&longs;ti cono&longs;cere quali fu&longs;&longs;ero le co&longs;e già fabricate, & come haue&longs;&longs;ero a riu&longs;cir quelle, <lb/>che &longs;i doue&longs;&longs;ero fabricare: percioche in que&longs;ti uolumi, io ho aperto tutte le ragioni di que <lb/>&longs;to ammae&longs;tramento. </s></p><p type="main">
<s><emph type="italics"/>Il &longs;auio & prudente lettore potrà per le parole di Vitr.
con&longs;iderare la prudenza, & bontà &longs;ua, <lb/>come di per&longs;ona, che e&longs;&longs;endo per beneficij riceuuti obligato & tenuto, dimo&longs;tra gratitudine, & <lb/>nella gratitudine giudicio, offerendo quelle co&longs;e, che po&longs;&longs;ono e&longs;&longs;er grate à chi le riceue. </s>
<s>& in ue­<lb/>ro e&longs;&longs;endo tutto il mondo &longs;otto un principe, l'armi erano ce&longs;&longs;ate, & le porte di Giano rinchiu&longs;e. </s>
<s><lb/>Il principe raccolto nella gloria delle belle impre&longs;e da lui &longs;atte, godeua del &longs;uo &longs;plendore, & &longs;om­<lb/>mamente &longs;i dilettaua di &longs;abricare gloriando&longs;i di la&longs;ciar la città (che prima era di pietre cotte) la­<lb/>&longs;tricata di Marmo. </s>
<s>Fu adottiuo figliuolo di Giulio Ce&longs;are: nacque di Accia, & di Ottauio. </s>
<s>Al <lb/>co&longs;tui tempo nacque no&longs;tro Signore. <!-- KEEP S--></s>
<s>Fu ueramente buono, & grande appoggio de' uirtuo&longs;i, per <lb/>ilche non tanto per hauere accre&longs;ciuto lo Imperio e&longs;&longs;er deue nominato Augu&longs;to, quanto per haue­<lb/>re fauorito gli huomini da bene, & aumentato con lode, & premio ogni uirtù, & dottrina. </s>
<s>A lui <lb/>dunque meriteuolmente con&longs;acra Vitruuio le fatiche &longs;ue, & con ingegno di quelle co&longs;e, & con <lb/>quelle parole lo e&longs;&longs;alta, che ueramente, & &longs;enza adulatione &longs;e gli conueniuano. </s>
<s>Et tanto &longs;ia det­<lb/>to, d'intorno la dedicatione dell' opera. </s>
<s>Egli &longs;i legge in alcuni te&longs;ti non Minidio, ma Numidio, & <lb/>in alcuni Numidico. </s>
<s>Io non truouo altra fede, che piu ad uno, che altro modo &longs;i debbia legge­<lb/>re. </s>
<s>Benche in alcune Medaglie &longs;i legga e&longs;&longs;ere &longs;tato &longs;opra la Cecca un L. Mu&longs;idio. </s>
<s>ma que&longs;to po­<lb/>co c'importa. </s>
<s>Nè io &longs;ono curio &longs;o di dichiarare che co&longs;a è Bali&longs;ta, & Scorpione, percioche &longs;e ne <lb/>dirà nel decimo libro al proprio luogo. </s>
<s>nè &longs;i deue (per quanto &longs;timo io) confondere l'ordine delle <lb/>co&longs;e. </s>
<s>Venirò adunque a Vitr.
ilquale &longs;econdo il precetto' dell' Arte diffini&longs;ce, e determina, che <lb/>co&longs;a è Architettura, dicendo.<emph.end type="italics"/></s><s> Architettura è &longs;eienza, di molte di&longs;cipline, & di diuer&longs;i am­<lb/>mae&longs;tramenti ornata, dal cui giudicio s'approuano tutte le opere, che dalle altre Arti com <lb/>piutamente &longs;i fanno. </s></p><p type="main">
<s><emph type="italics"/>Prima, che &longs;i e&longs;ponga, & dimo&longs;tri che co&longs;a è Architettura, dirò la forza di que&longs;to nome, per­<lb/>cioche molto gioua allo intendimento delle co&longs;e, che &longs;i diranno. </s>
<s>Architettura è nome, che dal <lb/>greco derriua; & è di due uoci compo&longs;to. </s>
<s>La prima &longs;ignifica principale, & capo; La &longs;econda <lb/>fabbro, ò artefice. </s>
<s>Et chi uole&longs;&longs;e bene e&longs;primere uolgarmente la forza del detto nome, direbbe <lb/>capo mae&longs;tra. </s>
<s>Et però dice Platone, che lo Arch tetto non &longs;a me&longs;tieri alcuno, ma è &longs;opra&longs;tan-<emph.end type="italics"/><pb pagenum="7"/><emph type="italics"/>te à quelli, che gli fanno. </s>
<s>La doue potremo dire l'Architetto non e&longs;&longs;er Fabro, non mae&longs;tro di <lb/>legname, non mnratore, non &longs;eparatamente certo, & determinato artefice, ma capo, &longs;opra&longs;tante, <lb/>& regolatore di tutt i gli arteficij: come quello, che non &longs;ia prima, a tanto grado &longs;alito, che egli <lb/>non &longs;i habbia prima in molte, & diuer&longs;e dottrine, & opere e&longs;&longs;ercitato. </s>
<s>Sopra&longs;tando adunque di­<lb/>mo&longs;tra, di&longs;egna, di&longs;tribui&longs;ce, ordina, & comanda. </s>
<s>& in que&longs;ti uffici appare la dignità dell'Ar­<lb/>chitettura e&longs;&longs;er alla &longs;apienza uicina, & come uirtù heroica nel mezo di tutte le arti dimorare. </s>
<s><lb/>perche &longs;ola intende le cagiom; &longs;ola abbraccia le belle, & alte co&longs;e: &longs;ola, dico, tra tutte l'Arti <lb/>partecipa delle piu certe &longs;cienze, come è l'Arithmetica, & la Geometria, & le altre, &longs;enza le­<lb/>quali (come s'è detto) ogni arte è uile, & &longs;enza riputatione. </s>
<s>Vedendo adunque Vitr.
l'Archi­<lb/>tettura e&longs;&longs;er tale, dice prima ella e&longs;&longs;er<emph.end type="italics"/> {<emph type="italics"/>Scienza.<emph.end type="italics"/>} <emph type="italics"/>& per Scienza intende cognitione, & rau­<lb/>nanza di molti precetti, & ammae&longs;tramenti, che unitamente riguardano alla cono&longs;cenza d'un fi­<lb/>ne propo&longs;to. </s>
<s>poi perche in que&longs;to la Architettura conuiene conmolte altre &longs;cienze, delle quali par <lb/>titamente &longs;i puo dire, che cia&longs;cuna &longs;ia cognitione: però Vitr.
le attribui&longs;ce alcune differenze, <lb/>che ri&longs;tringono quello intendimento uniuer&longs;ale, & commune del predetto nome. </s>
<s>& que&longs;to è ufficio <lb/>della uera diffinitione, cioè dichiarire la natura, & la forza della co&longs;a diffinita, inmodo che ella <lb/>da tutte altre co&longs;e di&longs;tinta, & &longs;eparata &longs;i cono&longs;ca. </s>
<s>& però foggiugne Vitr.<emph.end type="italics"/> {<emph type="italics"/>Di molte di&longs;cipline, & <lb/>di diuer&longs;i ammae&longs;tr amenti ornata.<emph.end type="italics"/>} <emph type="italics"/>Et di&longs;tingue per le dette parole l'Architettura, da molte par <lb/>ticolari notitie, che uengono da i &longs;en&longs;i, &longs;tanno nella i&longs;perienza, & &longs;i e&longs;&longs;ercitano per pratica. </s>
<s>Nè <lb/>per que&longs;to anchora è bene diffinita l'Architettura: percioche &longs;e quiui re&longs;ta&longs;&longs;e la diffinitione, ella <lb/>&longs;arebbe commune, & piu ampia di quello, che &longs;i conuiene. </s>
<s>Imperoche l'Arte del dire, la Me­<lb/>dicina, & molte altre Arti, & &longs;cienze ornate &longs;ono dimolte dottrine, & di diuer&longs;i ammae&longs;tra­<lb/>menti, come chiaramente per gli &longs;critti di Cicerone, di Galeno, & d'altri autori &longs;i uede. </s>
<s>Ri&longs;tri­<lb/>gnendo adunque Vitr.
con maggiori proprietà la &longs;ua diffinitione, dice<emph.end type="italics"/> {<emph type="italics"/>Dal cui giudicio s'appro­<lb/>uano tutte le opere, che dalle altre arti &longs;i fanno.<emph.end type="italics"/>} <emph type="italics"/>Ecco l'ultima differenza, che ne i ueri, & giu­<lb/>&longs;ti termini, & qua&longs;i confini rinchiude l'Architettura. <!-- KEEP S--></s>
<s>percioche il giudicare le opere compiute dal <lb/>le Arti, è proprio di lei, & non d'altre. </s>
<s>L'oratore s'adorna di molte Arti, & di&longs;cipline, & <lb/>quelle grandi&longs;&longs;ime, &longs;ono, & belli&longs;&longs;ime. </s>
<s>Il &longs;imigliante fa il Medico; ma l'uno, & l'altro hanno <lb/>diuer&longs;i intendimenti. </s>
<s>l'Oratore s'adorna per potere per&longs;uadere, cioè indurre opinione in ogni ma­<lb/>teria propo&longs;ta. </s>
<s>Il Medico per indurre, ò con&longs;eruare la &longs;anità. </s>
<s>Malo Architetto &longs;olo per giu­<lb/>dicare, & approuare le opere perfette dalle altre Arti: perfette, dico, ouer compiute, come di­<lb/>ce Vitr.
però che non &longs;i può giudicare &longs;e non le cofe finite, accio niuna &longs;cu&longs;a &longs;ia dello Artefice. <!-- KEEP S--></s>
<s><lb/>Vero è anche que&longs;to, che lo Architetto &longs;opra&longs;tando mentre che &longs;i fanno le opere, giudica &longs;e el­<lb/>le &longs;i fanno bene, ò male, & approua que&longs;ta, et bia&longs;ma quella, &longs;econdo il giudicio, & la cognitio­<lb/>ne, che eglì ha; & for&longs;e que&longs;ta è migliore e&longs;po&longs;itione che la di &longs;opra. </s>
<s>Dalla diffinitione dell'Ar­<lb/>chitettura, &longs;i comprende che co&longs;a è Architetto, & &longs;i cono&longs;ce, Architetto e&longs;ser colui, che <lb/>per certa, & merauiglio&longs;a ragione, & uia sì con la mente, & con l'animo &longs;a determinare, co­<lb/>me con lo in&longs;egnare, & con l'opera condurre à fine quelle co&longs;e, che dal mouimento de i pe&longs;idal <lb/>compartimento de i corpi, & dalla compo&longs;itione delle opere à beneficio de gli huomini &longs;aranno <lb/>commendate.<emph.end type="italics"/> {<emph type="italics"/>Architettura è &longs;cienza ornata di molte di&longs;cipline, & di diuer&longs;i ammae&longs;tramen­<lb/>ti.<emph.end type="italics"/>} <emph type="italics"/>Et per di&longs;ciplina intende quello, che i di&longs;cepoli imparano. </s>
<s>Et per ammaeftramenti, quello <lb/>che i mae&longs;tri in&longs;egnano. </s>
<s>il parlare è in&longs;trumento dello in&longs;egnare, & l'udire dello imparare. </s>
<s>La dot­<lb/>trina comincia nel concetto di colui, che in&longs;egna, & &longs;i e&longs;tende &longs;ino alle parole. </s>
<s>la di&longs;ciplina co­<lb/>mincia nell'udito di colui, che impara, & termina nel concetto. </s>
<s>Ma bella co&longs;a èil &longs;upponere' <lb/>per ragione, & dimo&longs;trare per pratica; in quello è la Dottrina, in que&longs;to è la Eruditione, cioè lo <lb/>&longs;gro&longs;&longs;amento.<emph.end type="italics"/> {<emph type="italics"/>Per lo cui giuditio s'approuano.<emph.end type="italics"/>} <emph type="italics"/>Il giudicare è co&longs;a eccellenti<02>ima, & non <lb/>ad altri conce&longs;&longs;a, che à i &longs;aui, & prudenti: percioche il giuditio &longs;i fa &longs;opra le co&longs;e cono&longs;ciute, <lb/>& per quello<emph.end type="italics"/>, {<emph type="italics"/>S'approua<emph.end type="italics"/>,} <emph type="italics"/>cioè &longs;i dà la &longs;entenza, & &longs;i dimo&longs;tra, che con ragione &longs;iè ope­<lb/>rato. </s>
<s>Approua adunque l'Architettura, l'opere fatte dalle altre arti. </s>
<s>Opera è quello artificio<emph.end type="italics"/>, <pb pagenum="8"/><emph type="italics"/>o lauoro, che re&longs;ta ce&longs;&longs;ando l'operatione dello Artefice, o finita, o non finita, che ella &longs;ia: come <lb/>Operatione è quel mouimento che egli fa mentre lauora. </s>
<s>Ma Attione s'intende negotio, o ma­<lb/>reggio ciuile, & uirtuo&longs;o, ce&longs;&longs;ato che egli &longs;ia, niente re&longs;ta di fuori<emph.end type="italics"/>, {<emph type="italics"/>Arti.<emph.end type="italics"/>} <emph type="italics"/>Qui s'intende <lb/>l'arti in quanto &longs;i opera, le ragioni delle quali ad e&longs;&longs;a patrona &longs;i riferi&longs;cono. </s>
<s>Et qui &longs;ia fine alla <lb/>diffinitione dell'Architettura. <!-- KEEP S--></s>
<s>nella quale uirtualmente compre&longs;e &longs;ono le belle ucrità dell'Ar­<lb/>chitettura, & de i precetti &longs;uoi; co&longs;a degna di molta con&longs;ideratione. </s>
<s>& perche egli s'intenda <lb/>que&longs;to mirabile &longs;ecreto: Dico, che in cia&longs;cuna &longs;cienza la diffinitione del &longs;oggetto, del qual &longs;i trat­<lb/>ta, che è quello à cui &longs;i riferi&longs;ce tutto quello che nella &longs;cienza è trattato, contiene uirtualnunte <lb/>le &longs;olutioni de i dubij, le inuentioni de i &longs;ecreti, & la uerità delle co&longs;e in quella &longs;cienza contenu­<lb/>te. </s>
<s>Virtualmente contenere intendo poter produrre una co&longs;a, come il &longs;eme contiene in uirtu il <lb/>frutto. </s>
<s>La diffinitione adunque del &longs;oggetto quando è fatta con le ragioni dichiarate di &longs;opra, <lb/>cioè quando dimo&longs;tra la natura della co&longs;a diffinita, la raccommunanzà, che ha con molte altre <lb/>co&longs;e, & la differenza & propietà che tiene, ha uirtu di far manife&longs;te le o&longs;cure dimande, che &longs;o­<lb/>no fatte in quella &longs;cienza. </s>
<s>& la ragione è, perche la diffinitione del &longs;oggetto è principio della di­<lb/>mo&longs;tratione. </s>
<s>ilquale come precetto dell'Arte e&longs;&longs;er deue uero, utile, & conforme; (come dice <lb/>Galeno) Vero, perche niente &longs;i comprende, che uero non &longs;ia, come &longs;e egli &longs;i dice&longs;&longs;e, il Fele della <lb/>chimera e&longs;&longs;er utile à gli infermi. </s>
<s>que&longs;to non &longs;i potrebbe comprendere, perche uero non è, che la <lb/>chimera tra le co&longs;e che &longs;ono &longs;i troui. </s>
<s>Vtile, perche è nece&longs;&longs;ario, che egli tenda à qualche fine; <lb/>& Vtilità non è altro che riferire le co&longs;e al debito fine, & inuero degna non è del nome di Arte <lb/>quella cognitione, la cui operatione non è utile alla humana uita. </s>
<s>La conformità è po&longs;ta nella <lb/>uirtu predetta di produrre. </s>
<s>perche molte co&longs;e hanno in &longs;e la forza della uerità, che non hanno la <lb/>forza della conformità, & la uirtu con&longs;i&longs;te nell'applicatione, & quelle non hanno ualore d'influi­<lb/>re il lume loro nelle co&longs;e. </s>
<s>Ilche &longs;i cono&longs;ce, che uolendo noi applicare i principij alle co&longs;e, non &longs;i <lb/>raccoglie alcuna ragione, percioche non &longs;ono conformi, nè concludenti. </s>
<s>Quando adunque il <lb/>&longs;oggetto, & le propriet à na&longs;ceno da i principij, & cau&longs;e, allhora ui è la conformità. </s>
<s>Vero è <lb/>da tutti giudicato (cono&longs;ciuti i termini, come io diceua) che &longs;e dalle co&longs;e eguali &longs;i leueranno l'e­<lb/>guali, ò dalle pari le pari, il rimanente &longs;arà pari ò eguale. </s>
<s>nè &longs;olamente è uero que&longs;to principio, <lb/>ma di ualore grandi&longs;&longs;imo. </s>
<s>percioche egli &longs;i applica dal Filo&longs;ofo naturale a i mouimenti, al tem­<lb/>po, a gli &longs;patij: dal Geometra alle mi&longs;ure, & grandezze; dallo Arithmetico a i Numeri; dal Mu <lb/>&longs;ico a i &longs;uoni; dal Medico alle uirtu & qualità delle co&longs;e. </s>
<s>Stando adunque cio, che s'è detto, ne <lb/>&longs;eguita quello, che dirà Vitr.
dell'Architettura. <!-- KEEP S--></s>
<s>& prima del &longs;uo na&longs;cimento, & poi delle &longs;ue <lb/>conditioni. </s>
<s>dice adunque.<emph.end type="italics"/> {<emph type="italics"/>E&longs;&longs;a na&longs;ce da fabrica, & da di&longs;cor&longs;o.<emph.end type="italics"/>} <emph type="italics"/>Que&longs;ta con&longs;equenzanon <lb/>&longs;i può cono&longs;cere, &longs;e prima non &longs;i fa manife&longs;to, che co&longs;a è Fabrica, & che co&longs;a è Di&longs;cor&longs;o, però <lb/>dice Vitr.<emph.end type="italics"/> {<emph type="italics"/>Fabrica è continuo, & e&longs;&longs;ercitato pen&longs;iero dell'u&longs;o, che di qualunque matcria, che <lb/>per dar forma all'opera propo&longs;ta &longs;i richiede, con le mani &longs;i compie. </s>
<s>Di&longs;cor&longs;o è quello, che le co&longs;e <lb/>fabricate prontamente, & con ragioneuole proportione puo dimo&longs;trando manife&longs;tare.<emph.end type="italics"/>} <emph type="italics"/>Diuino <lb/>è ueramente il de&longs;iderio di quelli, che leuando la mente alla con&longs;ideratione delle co&longs;e belle, cerca­<lb/>no le cagioni di quelle, & riguardando come dal di &longs;opra s'accendeno alle fatiche per lo contra­<lb/>rio molti &longs;ono, che con grandi&longs;&longs;ime lodi inalzando al cielo i dotti, & letterati huomini, & con <lb/>merauiglia riguardando le &longs;cienze fanno ogni altra co&longs;a piu pre&longs;to che affaticar&longs;i per acqui&longs;tarle. </s>
<s><lb/>Sono anche molti, i quali auenga, che &longs;appiano e&longs;&longs;er bi&longs;ogno per l'acqui&longs;to d'una &longs;cienza partici­<lb/>pare di molte altre, poco però di quelle &longs;i curano, anzi danno à bia&longs;imo &longs;e alcuno &longs;i dà allo &longs;tudio <lb/>di quelle. </s>
<s>Que&longs;ti come gente trauiata & folle, &longs;i denno la&longs;ciare da parte. </s>
<s>Bella co&longs;a è il potere <lb/>giudicare, & approuare le opere de' mortali, come atto di uirtu &longs;uperiore, uer&longs;o l'inferiore: <lb/>niente di meno pochi &longs;i danno alla fatica, pochi uogliono adoperar&longs;i, & u&longs;cire delle pelli dell'otio: <lb/>& percio non fanno giudicio, & per con&longs;eguente non peruengono al fine dell'Architettura; Ma <lb/>&longs;olo &longs;i uanno gloriando di e&longs;&longs;er chiamati Architetti di que&longs;to principe & di quello. </s>
<s>& allegano <lb/>non le ragioni, ma le opere loro, dicendo co&longs;ifeci io, co&longs;i ordinai nel tal pallazzo, & nella tal<emph.end type="italics"/><pb pagenum="9"/><emph type="italics"/>chie&longs;a. </s>
<s>& non uogliono con&longs;iderare, che non hanno, Geometria, nè Arithmetica, nè intende <lb/>no la for za delle proportioni, & la natura delle co&longs;e. </s>
<s>Egli bi&longs;ogna adunque hauere e&longs;&longs;ercitio, & <lb/>fabrica; bi&longs;ogna di&longs;cor&longs;o. </s>
<s>Il di&longs;cor&longs;o come padre; la Fabrica è come madre dell'Architettu­<lb/>ra.<emph.end type="italics"/> {<emph type="italics"/>La fabrica è continuato pen&longs;iero dell'u&longs;o.<emph.end type="italics"/>} <emph type="italics"/>Ogni artificio&longs;o componimento ha lo e&longs;&longs;er <lb/>&longs;uo dalla notitia del fine come dice Galeno. <!-- KEEP S--></s>
<s>Volendo adunque fabricare, fa di me&longs;tieri hauerc co <lb/>no&longs;cimento del fine. </s>
<s>Fine intendo io quello, a cui s'indrizza la operatione: Et in que&longs;to lo intel­<lb/>letto con&longs;idera, che co&longs;a è principio, & che co&longs;a è mezo. </s>
<s>& truoua che il principio &longs;i con&longs;idc­<lb/>ra in modo di pre&longs;idenza, & nel principiare il fine è prima dello agente, perche il fine è quello, <lb/>che muoue all'opera: lo agente è prima che la forma, perche lo agente induce la forma; & la <lb/>forma è prima, che la materia: imperoche la materia non è mo&longs;&longs;a, &longs;e la forma non è prima nel­<lb/>la mente di colui che opera. </s>
<s>Il mezo ueramente è il &longs;oggetto nel quale il fine manda la &longs;ua &longs;imi­<lb/>glianza al principio, & il principio la rimanda al fine: però non è concordanza maggiore di <lb/>quella, che è tra'l principio, e'l fine. </s>
<s>oltra di que&longs;to egli &longs;i comprende che chiunque impedi&longs;ce il <lb/>mezo, leua il principio dal fine: & che il mezo per cagione del principio s'affatica, & ri&longs;petto <lb/>al fine &longs;iripo&longs;a. </s>
<s>Volendo adunque fabricare, bi&longs;ogna cono&longs;cere il fine, come quello, ch'al me­<lb/>zo impone forza, & nece&longs;&longs;ità. </s>
<s>Ma per la cognitione del fine è nece&longs;&longs;ario lo &longs;tudio, & il pen&longs;a­<lb/>mento: Et &longs;i come il &longs;aettatore non indrizzarebbe la &longs;aetta alla brocca, &longs;e egli non tene&longs;&longs;e fer­<lb/>ma la mira, co&longs;i l'Artefice non toccarebbe il fine, &longs;e con la mente altroue egli &longs;i riuolge&longs;&longs;e. </s>
<s><lb/>L'u&longs;o adunque è (come s' è detto) drizzare le co&longs;e al debito fine: come abu&longs;o è torcerle da quel­<lb/>lo. </s>
<s>Ma per hauere que&longs;to indrizzamento delle co&longs;e al fine, fa bi&longs;ogno d'hauere un'altro u&longs;o, ilqua <lb/>le uuol dire A&longs;&longs;uefattione, laquale non è altro, che &longs;pe&longs;&longs;a, & frequentata operatione d'alcuna <lb/>uirtù, & potenza dell'anima, o del corpo. <!-- KEEP S--></s>
<s>onde egli &longs;i dice e&longs;&longs;er u&longs;ato alle fatiche, e&longs;&longs;er u&longs;ato, po­<lb/>&longs;to in u&longs;o, u&longs;anza, & con&longs;uetudine. </s>
<s>Bi&longs;ogna adunque e&longs;&longs;er u&longs;o di continuamente pen&longs;are al fi­<lb/>ne. </s>
<s>Et però dice Vitr.<emph.end type="italics"/><!-- KEEP S--></s><s> Fabrica e&longs;&longs;er continuo, & e&longs;&longs;ercitato, & come uia trita, & battu­<lb/>ta da pa&longs;&longs;aggieri frequentato pen&longs;iero d'indrizzare le co&longs;e a fine conueniente. </s></p><p type="main">
<s><emph type="italics"/>Et da que&longs;te parole &longs;i dimo&longs;tra la utilità che era conditione dell'Arte. <!-- KEEP S--></s>
<s>Ma perche con tanta <lb/>&longs;ollecitudine di pen&longs;iero affaticar&longs;i, a che &longs;enza intermi&longs;&longs;ione pen&longs;are? </s>
<s>certo non per altro, che <lb/>per manife&longs;tare in qualche materia e&longs;teriore la forma, che prima era nel pen&longs;iero, & nella men­<lb/>te; & però dice Vitr.
dando fine alla diffinitione della Fabrica, quella e&longs;&longs;ere operatione manife­<lb/>&longs;ta in qualche materia fuori di noi, &longs;econdo il pen&longs;iero, che era in noi. </s>
<s>Vero è, che Fabrica è <lb/>nome commune a tutte le parti dell'Architettura, & molto piu abbraccia, di quèllo che commu <lb/>nemente &longs;i &longs;tima, come &longs;i dirà poi.<emph.end type="italics"/></s><s> Di&longs;cor&longs;o è quello che le co&longs;e fabricate prontamente, <lb/>& con ragione di proportione puo dimo&longs;trando manife&longs;tare. </s></p><p type="main">
<s><emph type="italics"/>Il di&longs;cor&longs;o è proprio dell'huomo, & la uirtu, che di&longs;corre, è quella che con&longs;idera quanto &longs;i puo <lb/>fare con tutte le ragioni all'opere pertinenti; & però erra il di&longs;cor&longs;o, quando lo intelletto non <lb/>concorda le proprietà delle co&longs;e atte a fare, con quelle che &longs;ono atte a riceuere. </s>
<s>Di&longs;corre adun­<lb/>que l'huomo, cioè applica il principio al fine per uia del mezo: ilche, come s'è detto, è proprio <lb/>della humana &longs;pecie. </s>
<s>Auenga che gli antichi habbiano à gli altri animali conce&longs;&longs;o una parte di <lb/>ragione, & chiamati gli habbiano mae&longs;tri dell'huomo, dicendo, che l'Arte del te&longs;&longs;ere è &longs;tata <lb/>pre&longs;a dalla Ragna, la di&longs;po&longs;itione della ca&longs;a, dalla Formica, il gouerno ciuile dalle Api; ma noi <lb/>trouamo, che quelli &longs;ono in&longs;tinti di natura, & non di&longs;cor&longs;i dell'Arte: & &longs;e Arte &longs;i deue chia­<lb/>mare la loro naturale, & non auueduta prudenza, perche non &longs;i potrebbe &longs;imilmente Arte chia­<lb/>mare la uirtù che nelle piante, & nelle pietre &longs;i truoua? </s>
<s>Come l'Arte dello Elleboro purgar il fu­<lb/>rore, l'Arte della pietra ne i nidi dell'Aquile, detta Aetite, rila&longs;ciare i parti? </s>
<s>Perche anche <lb/>non &longs;i potrebbe dire e&longs;&longs;ere un'Arte diuina che regge, & con&longs;erua il mondo? </s>
<s>una Cele&longs;te che re­<lb/>gola i mouimenti de i cieli? </s>
<s>una Mondana, che tramuta gli elementi? </s>
<s>Ma la&longs;ciamo la tralatione <lb/>de i nomi, fatta per la &longs;imiglianza, & pigliamo la uerità, & la proprietà delle co&longs;e. </s>
<s>Di&longs;cor&longs;o <lb/>adunque è come padre, &longs;econdo che detto hauemo di &longs;opra, dell'Architettura: nel quale ui bi&longs;o-<emph.end type="italics"/><pb pagenum="10"/><emph type="italics"/>gna&longs;olertia. </s>
<s>Solertia non è altro, che &longs;ubita, & pront a inuentione del mezo. </s>
<s>Et quello è me­<lb/>zo, che hauendo conuenienza con gli e&longs;tremi, lega quelli ad uno effetto, & però, nella &longs;olertia <lb/>&longs;i puo dire, che &longs;ia la uirtu del &longs;eme. </s>
<s>La onde Vitr.
u&longs;a quella parola.<emph.end type="italics"/> {<emph type="italics"/>Prontamente.<emph.end type="italics"/>} <emph type="italics"/>Che <lb/>nel latino dice &longs;olertia. </s>
<s>Ma non è a ba&longs;tanza lo e&longs;&longs;er pronto a ritrouare il ucro, però che potreb <lb/>be e&longs;&longs;er quel uero poco atto à concludere, per que&longs;to &longs;oggiugne.<emph.end type="italics"/> {<emph type="italics"/>Con ragione di proportione.<emph.end type="italics"/>} <lb/><emph type="italics"/>Che co&longs;a &longs;ia Proportione, egli &longs;i dirà nel &longs;eguente capo. </s>
<s>Vitr.
ha parlato in modo, che quelle <lb/>parole che dicono.<emph.end type="italics"/> {<emph type="italics"/>Prontamente, & con ragione di proportione<emph.end type="italics"/>,} <emph type="italics"/>&longs;i po&longs;&longs;ono riferire a quella <lb/>parola<emph.end type="italics"/> {<emph type="italics"/>Fabricate.<emph.end type="italics"/>} <emph type="italics"/>Et il &longs;entimento &longs;arebbe che il Di&longs;cor&longs;o pote&longs;&longs;e dimo&longs;trare, cioè rendere <lb/>la ragione delle co&longs;e fabricate con &longs;olertia, & proportione, e&longs;&longs;endo l'afficio dello Architetto <lb/>approuare le co&longs;e ragioneuoli. </s>
<s>Ma &longs;ia quale &longs;i uoglia il &longs;en&longs;o, tutto è conforme al uero. </s>
<s>piu &longs;e­<lb/>creta intellig enza &longs;i tragge anchora dalle co&longs;e dichiarate: & prima che lo Artefice ri&longs;petto al­<lb/>l'opera tiene doppia con&longs;ideratione: poi tiene doppia affettione a quelle con&longs;iderationi ri&longs;ponden­<lb/>te. </s>
<s>La prima con&longs;ideratione è una &longs;emplice notitia uniuer&longs;ale, per la quale &longs;i dice, che l'huomo <lb/>&longs;a, quanto &longs;i richiede affine che l'opera rie&longs;ca, & niente piu ui aggiugne. </s>
<s>L'altra è una notitia <lb/>particolare, & pro&longs;&longs;ima all'operare che con&longs;idera il tempo, il modo, il luogo, la materia. </s>
<s>Da <lb/>que&longs;ta particolare cognitione na&longs;ce una affettione, che muoue l'huomo a comandare, & ad ope­<lb/>rare, come &longs;econdo la prima con&longs;ideratione l'huomo &longs;i compiaceua, & in uniuer&longs;ale abbraccia­<lb/>ua non l'opera, ma la cognitione, & però non è &longs;ufficiente que&longs;ta &longs;ola con&longs;ideratione: &longs;ola del di­<lb/>&longs;cor&longs;o, &longs;ola dell'uniuer&longs;ale: ma &longs;i richiede, quella &longs;econda notitia, & quella &longs;econda affettione <lb/>laquale è ripo&longs;ta nella fabrica. </s>
<s>Dichiarita la diffinitione dell'Architettura, & dichiarito il na <lb/>&longs;cimento di quella, hora uiene Vitr.
a formare lo Architetto, co&longs;a molto ragioneuole, & con <lb/>ueniente, come &longs;i uedrà dal &longs;eguente. </s>
<s>dice adunque.<emph.end type="italics"/></s><s> Dalle dette co&longs;e ne &longs;egue, che quelli Ar­<lb/>chitettori i quali &longs;enza lettere tentato hanno di affaticar&longs;i, & e&longs;&longs;ercitar&longs;i con le mani, non han <lb/>no potuto fare, che s'habbiano per le fatiche loro acqui&longs;tato riputatione, & quelli, che ne <lb/>i di&longs;cor&longs;i, & nella cognitione delle lettere &longs;olamente fidati &longs;i &longs;ono, l'ombra, non la co&longs;a, <lb/>pare che habbiano &longs;eguitato. </s>
<s>Ma chi l'una, & l'altra di que&longs;te co&longs;e hanno bene appre&longs;o, co­<lb/>me huomini di tutte armi coperti, & ornati, con credito, & riputatione, hanno illoro inten <lb/>to facilmente con&longs;eguito. </s></p><p type="main">
<s><emph type="italics"/>Si come alla natural generatione &longs;i richiede l'uno & l'altro &longs;e&longs;&longs;o, & &longs;enza uno di loro niente <lb/>&longs;i concepe: co&longs;i allo e&longs;&longs;er Architetto che è una artificiale generatione unitamente il di&longs;cor&longs;o, <lb/>& la Fabrica &longs;i richiede. </s>
<s>Et &longs;e alcuno &longs;i per&longs;uade&longs;&longs;e e&longs;&longs;er Architetto con la fabrica &longs;ola, oue­<lb/>ro col di&longs;cor&longs;o &longs;olo, egli s'ingannerebbe, & &longs;arebbe &longs;timato co&longs;a imperfetta. </s>
<s>Et di gratia &longs;e uno <lb/>haue&longs;&longs;e il &longs;apere &longs;olamente, & u&longs;urpare &longs;i uole&longs;&longs;e il nome di Architetto, non &longs;arebbe egli &longs;otto­<lb/>po&longs;to alle offe&longs;e de gli e&longs;perti? </s>
<s>non potrebbe ogni manoale (dirò co&longs;i) rimprouerargli, & dirgli <lb/>che fai tu? </s>
<s>dall'altra parte &longs;e per hauere un lieue e&longs;&longs;ercitio, & alquanto di pratica, di &longs;i gran no <lb/>me degno e&longs;&longs;er &longs;i crede&longs;&longs;e, non potrebbe uno intelligente, & letterato chiudergli la bocca, di­<lb/>mandandogli conto, & ragione delle co&longs;e &longs;atte? </s>
<s>& però bi&longs;ogna e&longs;&longs;er ornati, & armati di tut­<lb/>te arme per acqui&longs;tare la uittoria, & il uanto d'Architetto. </s>
<s>Bi&longs;ogna e&longs;&longs;er coperto per dife&longs;a, <lb/>armato per offe&longs;a, ornato per gloria, maneggiando la i&longs;perienza con l'Artificio. </s>
<s>perche adun­<lb/>que i puri pratichi non hanno acqui&longs;tato credito? </s>
<s>perche l'Architettura na&longs;ce da di&longs;cor&longs;o. </s>
<s>per­<lb/>che &longs;olo i letterati? </s>
<s>percioche l'Architettura na&longs;ce da Fabrica. </s>
<s>Et però dice Vitr.<emph.end type="italics"/> {<emph type="italics"/>Dalle det­<lb/>te co&longs;e.<emph.end type="italics"/>} <emph type="italics"/>Cioè dal na&longs;cimento dell'Architettura, che uiene da Fabrica, & da di&longs;cor&longs;o, cioè ope­<lb/>ra, & ragione ne &longs;egue quello, che egli dice. </s>
<s>Ma in que&longs;to luogo potrebbe alcuno dubitare, & <lb/>dire, &longs;eu ramente l'Arte è nello intelletto, & nella mente, perche cagione ha detto Vitr.
che <lb/>quelli, i quali nel &longs;apere &longs;i &longs;ono fidati, l'ombra non la co&longs;a, pare, che habbiano &longs;eguitato? </s>
<s>Ri­<lb/>&longs;pondo, che le co&longs;e dello intelletto alla piu parte ombre paiono, & il uolgo &longs;tima le co&longs;e, in quan­<lb/>to, che a i &longs;en&longs;i, & a gli occhi&longs;ottopo&longs;te &longs;ono. </s>
<s>& non in quanto non appareno. </s>
<s>& que&longs;to auuie­<lb/>ne per la con&longs;uetudine, perche le genti non &longs;ono auezze a di&longs;correre. </s>
<s>& però l'accorto Vitr.
non<emph.end type="italics"/><pb pagenum="11"/><emph type="italics"/>afferma, che i lettetati habbiano &longs;eguitato le ombre: ma dice<emph.end type="italics"/> {<emph type="italics"/>Pare<emph.end type="italics"/>} <emph type="italics"/>dinotando che il g'udi­<lb/>cio de gli imperiti è fatto &longs;opra le co&longs;e apparenti. </s>
<s>Et però mi pare, che molti uaneggiano nel de­<lb/>cidere qual &longs;ia piu nobile, o la Scultura, o la Pittura; improche uanno alla materia, al tem­<lb/>po, & a molti altri accidenti, che non &longs;ono dell'. Arte. <!-- KEEP S--></s>
<s>perche l'Arte è nello intelletto, la doue <lb/>tanto è pittore, & &longs;cultore il diuino Michiel Angelo, dormendo, & mangiando, quanto ope­<lb/>rando il pennello, o lo &longs;carpello: però egli &longs;i doueria con&longs;iderare, quale è piu degno habito nello in <lb/>telletto, la Pittura, o la Scultura. </s>
<s>& co&longs;i la&longs;ciati i marmi, gli azurri, i rilieui, & le <lb/>pro&longs;pettiue, la facilità, ò la difficultà delle dette Arti; & allhora egli &longs;i potrebbe dire qualche <lb/>co&longs;a, che haue&longs;&longs;e del buono ma hora non è tempo di decidere que&longs;ta qui&longs;tione. </s>
<s>Dice adunque <lb/>Vitr.
che l'Arte non deue e&longs;&longs;er ocio&longs;a, ma con e&longs;&longs;a lei e&longs;&longs;er nece&longs;&longs;arie le mani; & que&longs;to approua <lb/>con altre parole dicendo.<emph.end type="italics"/></s><s> Perche &longs;e in ogni altra co&longs;a, come &longs;pecialmente nell'Architettu <lb/>ra, que&longs;te due parti &longs;i truouano cioè la co&longs;a &longs;ignificata, & quella, che &longs;igni&longs;ica, la co&longs;a &longs;i­<lb/>gnificata, è l'opera propo&longs;ta, dellaquale &longs;i parla. </s>
<s>Quella, che &longs;igni&longs;ica è la proua, & il <lb/>perche di quella, con mac&longs;treuole ragione di dottrina e&longs;pre&longs;&longs;o, & dichiatito. </s></p><p type="main">
<s><emph type="italics"/>Trale Artine &longs;ono alcune, il fine delle quali non pa&longs;&longs;a oltra la con&longs;ideratione delle co&longs;e a quel <lb/>le &longs;oggette, come &longs;ono le Mathematiche. </s>
<s>Alcune &longs;ono che oltre la con&longs;ideratione uengono alla <lb/>operatione, ma ce&longs;&longs;ando l'operatione niente re&longs;ta di fatto. </s>
<s>Come è l'arte del &longs;uonare, & del &longs;al­<lb/>tare, & altre &longs;imiglianti. </s>
<s>Sonoui alcune che dietro a &longs;e la&longs;ciano alcuna opera, o lauoro, come è <lb/>l'Arte Fabrile, & l'Arte del fabricare. </s>
<s>Appre&longs;&longs;o ue n'ha che a prendere, & acqui&longs;tare &longs;i dà, <lb/>come la caccia delle fiere, l'uccellare, & la pe&longs;cagione, in fine altre non a con&longs;iderare, non a fi­<lb/>nire, non a pigliare intente &longs;ono. </s>
<s>Ma correggono, & emendano gli errori, & i danni delle co&longs;e <lb/>fatte, & quelle racconciano; come for&longs;e è la medicina, &longs;econdo Galeno. <!-- KEEP S--></s>
<s>Con tutte le predette <lb/>Artianzi &longs;opra tutte è l'Architettura, come giudice, ch'ella è di cia&longs;cuna. </s>
<s>La onde è nece&longs;&longs;a­<lb/>rio, che in e&longs;&longs;a &longs;i con&longs;ideri alcuna co&longs;a fatta, o da e&longs;&longs;er fatta, & la ragione: Et però due co&longs;e &longs;o­<lb/>no, l'una è la &longs;ignificata, & propo&longs;ta opera, l'altra è la &longs;ignificante cioè dimo&longs;tratiua ragione. </s>
<s><lb/>Tutti gli effetti adunque, tutte le opere, o lauori delle Arti, tutte le conclu&longs;ioni di tutte le &longs;cien <lb/>ze &longs;ono le co&longs;e &longs;ignificate; ma le ragioni, le proue, le cau&longs;e di quelle &longs;ono le co&longs;e &longs;ignificanti. </s>
<s>Et <lb/>que&longs;to è, perche il &longs;egno &longs;i riferi&longs;ce alla co&longs;a &longs;ignificata: lo effetto alla cau&longs;a: La conclu&longs;ione alla <lb/>proua. </s>
<s>Ma per dichiaratione dico, che &longs;ignificare è per &longs;egni dimo&longs;trare, & &longs;egnare è imprime <lb/>re il &longs;egno. </s>
<s>La doue in ogni opera da ragione drizzata, & con di&longs;egno finita, è impre&longs;&longs;o il &longs;e­<lb/>gno dello Artefice, cioè la qualità, & la forma, che era nella mente di quello. </s>
<s>percioche lo <lb/>Artefice opera prima nello intelletto, & concepe nella mente, & &longs;egna poi la materia e&longs;teriore, <lb/>dello habito interiore<emph.end type="italics"/> {<emph type="italics"/>Specialmente nell'Architettura.<emph.end type="italics"/>} <emph type="italics"/>Percioche ella &longs;opra ogni arte &longs;igni­<lb/>fica cioè rappre&longs;enta le co&longs;e alla uirtu, che cono&longs;ce, & concorre principalmente a formare il con <lb/>cetto &longs;econdo la &longs;ua intentione: & que&longs;to è proprio &longs;ignificare. </s>
<s>Ma l'e&longs;&longs;er &longs;ignificato è proprio <lb/>e&longs;&longs;er rappre&longs;entato al &longs;opra detto modo. </s>
<s>De i &longs;egni alcuni &longs;ono co&longs;i adentro, che ueramente &longs;ono <lb/>come cagioni delle co&longs;e. </s>
<s>Altrifanno una &longs;oper&longs;iciale, & debile i&longs;timatione di quelle. </s>
<s>Lo Ar­<lb/>chitetto la&longs;cia que&longs;ti ultimi &longs;egni all'oratore, & al poeta, & in&longs;ieme con la Dialettica, che è <lb/>modo dello artificio&longs;o di&longs;cor&longs;o abbraccia quelli, perche &longs;ono nece&longs;&longs;arij, intimi, & concludenti.<emph.end type="italics"/></s></p><p type="main">
<s>Donde adiuiene, che chi fa profe&longs;sione di Architetto pare, che nell'una, & ne l'altra <lb/>parte e&longs;&longs;er debbia e&longs;&longs;ercitato. </s></p><p type="main">
<s><emph type="italics"/>Ogni agente nel grado, che egli tiene deue e&longs;&longs;er perfetto, accioche l'opera compita, & per­<lb/>fetta &longs;ia. </s>
<s>Tre &longs;ono gli agenti, Diuino, Naturale, Artificiale: cioè Iddio, la natura, l'huo­<lb/>mo. </s>
<s>Noi parleremo dell'huomo. </s>
<s>Se adunque l'Architettura è co&longs;i eccellente, che ella giudica <lb/>l'opere delle Arti, bi&longs;ogno fa, che lo Architetto &longs;ia in talmodo formato, che egli po&longs;&longs;a far <lb/>l'ufficio del giudicare: Et però direi, che le infra&longs;critte co&longs;e gli &longs;ono nece&longs;&longs;arie. </s>
<s>Prima, che egli <lb/>&longs;ia di natura docile, & per&longs;picace, cioè, che dimo&longs;tratagli una co&longs;a molto ageuolmente & pre­<lb/>&longs;to l'apprenda. </s>
<s>Et benche di natura diuina è colui, che da &longs;e troua, & impara, non è però di<emph.end type="italics"/><pb pagenum="12"/><emph type="italics"/>pocalode, chi pre&longs;to s'ammae&longs;tra: come è d' infima conditione, chi nè da &longs;e &longs;te&longs;&longs;o nè per opera <lb/>de'mae&longs;tri apprende. </s>
<s>Que&longs;te buone conditioni &longs;ono da Vitr.
nelle dette parole compre&longs;e.<emph.end type="italics"/></s></p><p type="main">
<s>Donde adiuiene, che chi fa profe&longs;sione d'Architetto pare che nell'una & l'altra parte e&longs;­<lb/>&longs;er dcbbia c&longs;&longs;crcitato cioè nella co&longs;a &longs;igni&longs;icata, & nella &longs;igni&longs;icante. <emph type="italics"/>Poi &longs;egue.<emph.end type="italics"/></s></p><p type="main">
<s>Doue & ingenio&longs;o, & docile bi&longs;ogna che egli &longs;ia, percioche nè lo ingegno &longs;enza lo am <lb/>mae&longs;tramento, nè lo ammae&longs;tramento &longs;enza lo ingegno puo fare l'huomo eccellente. </s></p><p type="main">
<s><emph type="italics"/>Lo ingegno &longs;erue & alla inuentione, che fa l'huomo da &longs;e &longs;te&longs;&longs;o, & alla dottrina, che egli <lb/>impara da altri. </s>
<s>Rare fiate adiuiene, che uno &longs;ia inuentore, & compito fattore d'un'arte, cioè, che <lb/>ritroiti, & riduca a perfettione tutto un corpo d'un'arte. </s>
<s>però ben dice Vitr.
che &longs;enza lo ingegno lo <lb/>ammae&longs;tramento, & &longs;enza lo ammae&longs;tramento lo ingegno non fa l'huomo eccellente. </s>
<s>La &longs;econda <lb/>conditione dello Architetto, èla educatione, & lo e&longs;&longs;ercitio da primi anni fatto, nelle prime <lb/>&longs;cienze. </s>
<s>prime chiamo l'Arithmetica, la Geometria, & l'altre di&longs;cipline. </s>
<s>Que&longs;te hebbe Vitr. <lb/>per opera de i &longs;uoi progenitori, come egli confe&longs;&longs;a nel proemio del &longs;e&longs;to libro. </s>
<s>La terza condi­<lb/>tione è l'hauere udito, & letto i piu eccellenti, & rari huomini, & &longs;crittori, come fece <lb/>Vitr.
il quale atte&longs;ta nel proemio del &longs;econdo libro, quello, che io dico, dicendo.<emph.end type="italics"/></s></p><p type="main">
<s>Io e&longs;ponerò &longs;eguitando gli ingre&longs;si della prima natura, & di quelli, che i principij del <lb/>con&longs;ortio humano, & le belle, & fondate inuentioni, con gli &longs;critti, & regole dedicaro­<lb/>no, & però come io &longs;ono da quelli ammae&longs;trato, dimo&longs;trerò. </s></p><p type="main">
<s><emph type="italics"/>Et que&longs;to è quanto appartiene a gli &longs;crittori, & alla lettione de i buoni; ma quanto al­<lb/>la pre&longs;enza, & all'udita dice nel proemio del &longs;e&longs;to libro hauere hauuto ottimi precettori. </s>
<s><lb/>La quarta conditione è la toleranza delle fatiche, & il continuo pen&longs;iero, & ragiona­<lb/>mento delle co&longs;e pertinenti all'arte. </s>
<s>Difficilmente &longs;i truoua ingegno eleuato, & man&longs;ue­<lb/>to. </s>
<s>Vitruuio hebbe acuto ingegno, & &longs;offerente: però dice.<emph.end type="italics"/></s><s> Et dilettandomi delle co­<lb/>fe pertinenti al parlare, & alle arti, & delle &longs;critture de'commentarij. </s>
<s>Io ho acqui&longs;tato <lb/>con l'animo quelle po&longs;&longs;e&longs;sioni, dalle quali ne uiene que&longs;ta &longs;omma di tutti i frutti, che <lb/>io non ho piu alcuna nece&longs;sità, & che io &longs;timo, quella e&longs;&longs;er la proprietà delle ricchezze <lb/>di di&longs;iderare niente piu. </s></p><p type="main">
<s><emph type="italics"/>La quinta conditione è di non de&longs;iderare altro, che la uerità, nè altro hauere dinanzi a gii <lb/>occhi, & per meglio con&longs;eguirla, euui la &longs;e&longs;ta conditione, che con&longs;i&longs;te nello hauere una uia ragio <lb/>neuole di ritrouare il uero, & quella uia poco ci giouerebbe &longs;enza la &longs;ettima conditione, che è <lb/>po&longs;ta nell'u&longs;o della detta uia, & nell'applicatione di e&longs;&longs;a. </s>
<s>Che Vitr.
fu&longs;&longs;e &longs;tudio&longs;o del uero; che <lb/>egli haue&longs;&longs;e la regola di trouarlo; & che finalmente &longs;ape&longs;&longs;e u&longs;are la detta regola, molto bene ap­<lb/>pare nel &longs;uo procedere ordinatamente, nel &longs;ignificar le co&longs;e, nel dar forma, & perfettione a tut­<lb/>to il corpo dell'Architettura. <!-- KEEP S--></s>
<s>Le dette conditioni &longs;i deduceno da i principij detti di &longs;opra, cioè dalla <lb/>diffinitione dell'Architettura, & dal &longs;uo na&longs;cimento, come &longs;i puo con&longs;iderando uedere. </s>
<s>Ma noi a <lb/>Vitr.
il quale narra quante co&longs;e fanno bi&longs;ogno all'Architetto, & quali, & perche cagione, & in <lb/>che modo.<emph.end type="italics"/></s><s> Appre&longs;&longs;o bi&longs;ogna che egli habbia lettere, perito &longs;ia nel di&longs;egno, erudito nella <lb/>Geometria, non ignorante della pro&longs;pettiua, &longs;appia l'Arithmetica, cono&longs;ca molte hi&longs;torie, <lb/>udito habbia con diligenza i filo&longs;ofi, di Mu&longs;ica, di Medicina, delle leggi, delle ri&longs;po&longs;te de <lb/>Iure con&longs;ulti &longs;ta intelligente, & finalmente rozo non &longs;ia nel cono&longs;cere la ragione del cie­<lb/>lo, & deile &longs;telle. </s></p><p type="main">
<s><emph type="italics"/>Poi che Vitruuio ha detto quante, & quali co&longs;e &longs;ono nece<02>arie per formare un'eccellente Ar­<lb/>chitetto dice perche ragione co&longs;i bi&longs;ogno &longs;ia & partitamente di cia&longs;cuna ne rende conto dicendo.<emph.end type="italics"/></s></p><p type="main">
<s>Ma perche co&longs;i bi&longs;ogno &longs;ia, que&longs;ta è la ragione. </s>
<s>E nece&longs;&longs;ario che lo Architetto hab­<lb/>bia lettere, accioche leggendo gli &longs;critti libri, commentari nominati, la memoria &longs;i fac­<lb/>cia piu ferma. </s></p><p type="main">
<s><emph type="italics"/>Il giudicare è co&longs;a da prudente; la prudenza compara le co&longs;e &longs;eguite con le in&longs;tanti, & fa &longs;ti­<lb/>ma delle &longs;eguenti. </s>
<s>Le co&longs;e &longs;eguite per memoria &longs;i hanno, però è nece<02>ario a quell' ufficio di giudi-<emph.end type="italics"/><pb pagenum="13"/><emph type="italics"/>care che apartiene allo Architetto hauere memoria ferma delle co&longs;e, & la memoria ferma &longs;i fa <lb/>per la lettione, perche le co&longs;e &longs;tanno fermamente ne gli &longs;critti: però bi&longs;ogna, che lo Architetto <lb/>babbia la prima arte, detta cognitione di lettere, cioè del parlare, & dello &longs;criuere drittamente. </s>
<s><lb/>Egli &longs;i ferma adunque la memoria con la lettione de'commentarij. </s>
<s>il nom<gap/> i&longs;te<02>o lo dimo&longs;tra, per­<lb/>cioche Commentario è detto, come quello, che alla mente commetta le co&longs;e, & è brcue, & &longs;uc­<lb/>cinta narratione di co&longs;e; la doue con la breuita &longs;ouuiene alla memoria. </s>
<s>Bi&longs;ogna adunque leggere, <lb/>& le co&longs;e lette, per la mente riuolgere; altrimenti male ne auuerrebbe dalla inuentione delle let­<lb/>tere (come dice<emph.end type="italics"/> P<emph type="italics"/>latone) percioche fidando&longs;i gli huomini ne gli &longs;critti, &longs;i fanno pigri, & negli­<lb/>genti. </s>
<s>Vitr.
hebbe cognitione di lettere Greche, & latine; usò i uocaboli Greci, & confe&longs;&longs;a <lb/>hauere da Greci molte belle co&longs;e ne i &longs;uoi commentarij traportate. </s>
<s>In que&longs;to modo io dichiaro ha <lb/>uere cognitione di lettere: perche piu &longs;otto pare, che Vitr.
co&longs;i uoglia: e&longs;ponendo cognitione di <lb/>lettere e&longs;&longs;er la Grammatica. </s>
<s>Altri intendono l'arti &longs;critte: ma io uedo, che l'arti &longs;critle &longs;enza <lb/>Grammatica, & letteratura non &longs;i hanno. </s>
<s>Et for&longs;e dal non intendere le lettere è nata la difficul­<lb/>tà di intendere Vitr.
& la &longs;correttione de i te&longs;ti.<emph.end type="italics"/></s><s> Appre&longs;&longs;o habbia di&longs;egno, accioche con di­<lb/>pinti e&longs;&longs;empi, ogni maniera d'opera, che egli faccia formi, & dipinga. </s></p><p type="main">
<s><emph type="italics"/>Tutte le Matematiche hanno &longs;ottopo&longs;te alcune arti, le quali, nate da quelle, &longs;i danno alla pra <lb/>tica, & all'operare. </s>
<s>Solto l'A&longs;tronomia è la nauigatione. </s>
<s>Sotto la Mu&longs;ica è quella pratica di <lb/>cantare, & di &longs;uonare diuer&longs;i in&longs;trumenti, &longs;otto l'Arithmetica, è l'abaco, & l'algebra. </s>
<s>Sotto <lb/>la Geometria è la perticatione, & l'arte di mi&longs;urarei terreni. </s>
<s>Sono anche altre arti nate da piu <lb/>di una delle predette, come è la pratica della pro&longs;pettiua. </s>
<s>Vitr.
uuole che non &longs;olamente habbia­<lb/>mo quelle prime, & communi, che rendeno le ragioni delle co&longs;e; ma anche le pratiche, & gli e&longs;­<lb/>&longs;ercitij na&longs;ciuti da quelle. </s>
<s>& però quanto al di&longs;egno uuole che habbiamo facilità, & pratica, & <lb/>la mano pronta a tirar dritte linee. </s>
<s>& uuole, che habbiamo la ragione di quelle: che altro non è <lb/>che certa, & ferma determinatione concetta nella mente e&longs;pre&longs;&longs;a con linee, & anguli, approua­<lb/>ta dal uero. </s>
<s>il cui ufficio è di pre&longs;criuere a gli edificij luogo atto, numero certo, modo degno, & or <lb/>dine grato. </s>
<s>Que&longs;ta ragione non ua dietro alla materia, ma è la i&longs;te&longs;&longs;a in ogni materia. </s>
<s>perche <lb/>la ragione del circolo, è la mede&longs;ima nel ferro, nel piombo, in cielo, m terra, & nell'Abi&longs;&longs;o. <!-- KEEP S--></s>
<s>Fa <lb/>dunque bi&longs;ogno hauere la peritia de i lineamenti, che Vitr.
chiama<emph.end type="italics"/> {<emph type="italics"/>Peritiam graphidos<emph.end type="italics"/>} <emph type="italics"/>che <lb/>è peritia de i lineamenti, che &longs;erue a pittori, &longs;cultori, intagliatori, & &longs;imiglianti. </s>
<s>La quale in <lb/>quel modo &longs;erue alle arti predette, che le Mathematiche &longs;erueno alla Filo&longs;ofia. <!-- KEEP S--></s>
<s>Que&longs;ta peritia <lb/>contiene la dimen&longs;ione, & la terminatione delle co&longs;e, cioè la grandezza, & i contorni. </s>
<s>la gran­<lb/>dezza s'ha per le &longs;quadre, & per le regole, che in piedi, & once di&longs;tinte &longs;ono. </s>
<s>Il contorno &longs;i pi­<lb/>glia con uno in&longs;trumento del Raggio, & del finitore compo&longs;to, del quale ne tratta Leon Batti&longs;ta: <lb/>& da quello &longs;i piglia de comparationi di tutte le membra alla grandezzadi tutto il corpo; le diffe­<lb/>renze, & le conuenienze di tutte le parti tra &longs;e &longs;te&longs;&longs;e, alle quali la pittura aggiugne i colori, & <lb/>le ombre. </s>
<s>Bi&longs;ogna adunque, che lo Architetto habbia di&longs;egno. </s>
<s>Ilche &longs;i uede per le co&longs;e dette <lb/>nel quinto libro al &longs;e&longs;to capo, della conformatione del Theatro. <!-- KEEP S--></s>
<s>Similmente all'ottauo del detto li­<lb/>bro, doue &longs;itratta della di&longs;crittione delle &longs;cene. </s>
<s>Et al quarto del &longs;e&longs;to, & in molti luoghi, doue <lb/>&longs;i puo uedere quanto nece&longs;&longs;aria &longs;ia la pratica del di&longs;egno, la qual pratica è pre&longs;a dalla Geometria, <lb/>come quando bi&longs;ogno è di pigliare una linea a piombo &longs;opra un'altra, formare gli angoli dritti, <lb/>partirgli, & mi&longs;urargli, & fare le figure di piu lati, trouar il centro di tre punti, parti­<lb/>re un piano, & &longs;imili altre co&longs;e, che giouano à far le piante, & i rilieui, & mi&longs;urare i <lb/>corpiregolari, & irregolari, le quali tutte co&longs;e alla data apritura della &longs;e&longs;ta con ragione, & <lb/>con opera &longs;i po&longs;&longs;ono dimo&longs;trare, & fare. </s>
<s>Et però dice Vitruuio che<emph.end type="italics"/>, La Geometria gioua <lb/>molto allo Architetto, perche ella in&longs;egna l'u&longs;o della linea dritta & circolare, dal che poi <lb/>ageuolmente ne i piani &longs;i fanno i di&longs;egni de gli edificij, & le dritture delle &longs;quadre, dei <lb/>liuelli, & de i lineamenti. </s></p><p type="main">
<s><emph type="italics"/>L'Arte del mi&longs;urare è detta Geometria; & benche il &longs;oggetto delle Mathematiche &longs;ia la<emph.end type="italics"/><pb pagenum="14"/><emph type="italics"/>quantità intelligibite, il che &longs;e non fu&longs;&longs;e, bi&longs;ognarebbe per ogni quantità naturale fare una &longs;cien <lb/>tia di nuouo; non dimeno la Geometria gioua al di&longs;egno, & alla pratica per la &longs;ua uirtu & for <lb/>za. </s>
<s>come &longs;i uede nella uoluta del capitello Ionico, nel compartimento delle Metrope, & Tri­<lb/>gliphi nell' opera Dorica, & in molte proportionate mi&longs;ure. </s>
<s>Oltra di que&longs;to perche egli adiuie­<lb/>ne, che è nece&longs;&longs;ario liuellare i piani, quadrare, & drizzare i terreni, però bi&longs;ogna hanere la <lb/>Geometria; come &longs;i uede nel liuellar delle acque nell' ottauo, nella diui&longs;ione delle opere nel <lb/>primo; nel mi&longs;urar i terreni nel nono; & finalmente in ogni parte: doue egli &longs;i puo dire, che la <lb/>Geometria è madre del di&longs;egno, & è la ragione di quello, laquale è po&longs;ta in &longs;apere la cagio­<lb/>ne de gli effetti fatti con la regola, & col compa&longs;&longs;o, che &longs;ono le linee dritte, le piegate, gli <lb/>archi, i uolti, le corde, & le dritture, per u&longs;are i nomi della prattica. </s>
<s>la Geometria adun <lb/>que dal punto procede, le linee di&longs;te&longs;e, le torte, le pendenti, le trauer&longs;e, l'equid &longs;tanti, gli <lb/>inguli giu&longs;ti, larghi, & &longs;tretti, le punte, i circoli inticri, imperfetti, & compo&longs;ti. </s>
<s>le figure <lb/>di piu lati, le &longs;operficie, i corpiregolari, & irregolari, le piramidi, le sfere, l'aguglie, li ta­<lb/>gli, & altre co&longs;e che alle colonne, a gli architraui, alle cube, tribune, lanterne, & a mol­<lb/>te altre parti appartengono. </s>
<s>& a quefto modo la Geometria è nece&longs;&longs;aria allo Architetto. <!-- KEEP S--></s>
<s>& <lb/>que&longs;ta hebbe Vittr. <!-- REMOVE S-->come appare in molti luoghi, & &longs;pecialmente nel vi. </s>
<s>& viij. </s>
<s>libro.<emph.end type="italics"/></s><s> Per la <lb/>Pro&longs;pettiua anche nelle fabriche &longs;i pigliano i lumi da certe & determinate parti del Cielo. <!-- KEEP S--></s></p><p type="main">
<s><emph type="italics"/>Pro&longs;pettiua è nome del tutto, & nome della parte. </s>
<s>Pro&longs;pettiua in generale è quella che di­<lb/>mo&longs;tra tre ragioni del uedere, la dritta, la rifle&longs;&longs;a, la rifranta. </s>
<s>nella dritta &longs;i comprende la ca­<lb/>gione de gli effetti che fanno le co&longs;e ui&longs;ibili medianti i lumi po&longs;ti per dritto. </s>
<s>la rifle&longs;&longs;a è la ra <lb/>gione del ri&longs;alimento, & rinuerbero de i raggi, che &longs;i fa come da gli fpecchi piani, caui, ri­<lb/>torti, riuer&longs;ci, & altre figure. </s>
<s>La rifranta è la ragione delle co&longs;e che appareno per mezo di <lb/>alcuna co&longs;a lucida & trapparente, come &longs;otto l'acqua, per lo uetro: oltra le nubi, & que&longs;ta <lb/>pro&longs;pettiua &longs;i chiama pro&longs;pettiua de i lumi naturali, &longs;peculatina, & di grande conditione tra <lb/>le parti della Filo&longs;ofia: perche il &longs;uo &longs;oggetto è la luce giocondi&longs;&longs;ima alle ui&longs;te & a gli animi <lb/>de mortali. </s>
<s>La doue e&longs;&longs;endo noi nelle &longs;tanze rinchiu&longs;i per dife&longs;a del freddo, & del caldo, ne­<lb/>ce&longs;&longs;ario è, che habbiamo la diletteuoli&longs;&longs;ima pre&longs;enza della luce, & del lume, &longs;ia egli o dritto, <lb/>o rifle&longs;&longs;o: & però è nece&longs;&longs;ario, che lo Architetto habbia la pro&longs;pettiua. </s>
<s>Ma quando que&longs;to <lb/>nome è nome di parte, egli riguarda alla pratica, & &longs;uol fare co&longs;e merauiglio&longs;e, dimo&longs;tran­<lb/>do ne i piani politi i rilieui, le di&longs;tanze, il fuggire, & lo &longs;corcio delle co&longs;e corporali: però <lb/>nel terzo libro al &longs;econdo capo uuole Vitruuio, che le colonne de i portici, che &longs;tanno &longs;u le can <lb/>tonate &longs;ieno piu gro&longs;&longs;e, che quelle, che nel mezo trapo&longs;te &longs;ono: percioche lo aere circon&longs;tante <lb/>diminui&longs;ce, & leua della ui&longs;ta, & mangia dirò co&longs;i della gro&longs;&longs;ezza delle colonne angolari. </s>
<s>& <lb/>nel fine del detto libro comanda, che tutte le membra &longs;opra i capitelli, come &longs;ono Architraui, <lb/>Fregi, Gocciolatoi, Fronti&longs;picij &longs;iano inclinati per la duodecima parte cia&longs;cuno della fronte <lb/>&longs;ua: & que&longs;to &longs;olo per la ueduta, come &longs;i dirà. </s>
<s>Vuole altroue che le colonne canellate appa­<lb/>rino piu gro&longs;&longs;e, che le &longs;chiette. </s>
<s>& in &longs;omma la pittura delle Scene tutta è po&longs;ta in que&longs;ta parte <lb/>di pro&longs;pettiua, dal che ella ne prende il nome, & &longs;i chiama Scenografia, come &longs;i dirà nel quinto <lb/>libro. </s>
<s>Per que&longs;te co&longs;e &longs;i comprende, & che la pro&longs;pettiua è nece&longs;&longs;aria allo Architetto, & che <lb/>Vitruuio di quella non è &longs;tato imperito.<emph.end type="italics"/></s><s> Col mezo della Arithmetica &longs;i fa la &longs;omma delle <lb/>&longs;pe&longs;e, &longs;i dimo&longs;tra la ragione delle mi&longs;ure, & con modi, & uie ragioneuoli &longs;i trouano le <lb/>difficili que&longs;tioni delle proportionate mi&longs;ure. </s></p><p type="main">
<s><emph type="italics"/>Il uulgo &longs;tima quelle pratiche na&longs;ciute dalle Mathematiche che noi &longs;opra dicemmo, e&longs;&longs;er ue­<lb/>re Arti, & eccellenti&longs;&longs;ime uirtuti; ilche non è: percioche non rendeno le ragioni delle co&longs;e, ben­<lb/>che dimo&longs;trino effetti diletteuoli, & belli. </s>
<s>Vitru. (come ho detto) abbraccia, & la principa­<lb/>le, & la meno principale, come &longs;i uede nella Arithmetica, & nella predetta ragione della <lb/>Geometria, & del di&longs;egno. </s>
<s>l'Abaco prima è uennto dalla uera Arithmetica, & que&longs;to è ne­<lb/>ce&longs;&longs;ario per far conto delle &longs;pe&longs;e, imperoche uano &longs;arebbe il di&longs;egno, uana la fatica del princi-<emph.end type="italics"/><pb pagenum="15"/><emph type="italics"/>piare, &longs;e l'opera per alcuno impedimento non pote&longs;&longs;e andar inanzi, & tra gli impedimenti la &longs;pe <lb/>&longs;a è il maggiore: però nel proemio del decimo libro loda Vitr.
la legge de gli Efe&longs;ii, della pena de <lb/>gli Architetti, che faceuano &longs;pendere a i conduttori molto piu di quello che haueuano affer­<lb/>mato, & prome&longs;&longs;o. </s>
<s>Ma benche ageuolmente &longs;i faccia il conto, non però ageuolmente &longs;i cono­<lb/>&longs;ce, &longs;opra che egli &longs;i debbia fare: & però Vittr. <!-- REMOVE S-->nel predetto proemio dice che &longs;olamente quel­<lb/>li farebbono profe&longs;&longs;ione di Architetto, i quali con &longs;ottigliezza di dottrine fu&longs;&longs;ero prudenti. </s>
<s><lb/>Ma piu adentro penetrando, oltra la pratica del numerare, che con&longs;i&longs;te nella rappre&longs;entatione <lb/>de i numeri, nel raccogliere, nell'abbattere, nel moltiplicare, nel partire, nello raddoppiare, <lb/>nello &longs;mezare, nel cauare le radici &longs;i de gli intieri, come de i rotti, & anche in una certa, <lb/>& ordinata &longs;alita di raccogliere, che &longs;i chiama Progre&longs;&longs;ione. </s>
<s>utile è l'Arithmetica a dimo­<lb/>ftrare le ragioni delle mi&longs;ure, & a &longs;ciorre le dubitationi, che per Geometria &longs;ono in&longs;olubili, co­<lb/>me nel nono libro ci dimo&longs;tra hauere & Platone, & Pithagora, & Archimede ritrouato <lb/>molte co&longs;e mirabili. </s>
<s>Et in uero uero è quello, che dice Platone, che gli huomini di natura <lb/>Arithmetici &longs;ono atti ad ogni di&longs;ciplina, come quelli, che in &longs;e habbiano prontezza, & al­<lb/>tezza di &longs;pirito. </s>
<s>Ma perche cagione Vitr.
tocca di que&longs;te cognitioni & le &longs;peculatine, & le <lb/>pratiche? </s>
<s>certo non per altro, che per dimo&longs;trare e&longs;&longs;er uero, quanto egli ha detto di &longs;opra, <lb/>cioè che &longs;i ricerca di&longs;cor&longs;o, et fabrica. </s>
<s>et che in ogni arte è la co&longs;a &longs;ignificata, et la &longs;ignificante.<emph.end type="italics"/></s></p><p type="main">
<s>La cognitione della i&longs;toria fa, che &longs;i &longs;a la ragione di molti ornamenti che &longs;ogliono fa <lb/>re gli Architetti nelle opere loro. <emph type="italics"/>Vitr.
è chiaro per gli e&longs;&longs;empi, che egli dà, dicendo.<emph.end type="italics"/></s></p><p type="main">
<s>Come &longs;e alcuno po&longs;to haue&longs;&longs;e in luogo di colonne le &longs;tatue feminili di marmo, quel­<lb/>le che Cariati &longs;ono chiamate, ue&longs;tite di habito lungo, & matronale. </s>
<s>& &longs;opra quelle po&longs;to <lb/>haue&longs;&longs;e i modiglioni, & i goccialatoi, co&longs;i di tal'opra, a chi ne dimanda&longs;&longs;e, ne ren­<lb/>derebbe ragione. </s>
<s>Caria Città della Morea &longs;i congiun&longs;e con Per&longs;iani contra la Grecia. <!-- KEEP S--></s>
<s><lb/>i Greci con la uittoria glorio&longs;amente dalla guerra liberati di commune con&longs;iglio &longs;i mo&longs;­<lb/>&longs;ero contra i Cariati, & pre&longs;a la loro fortezza, ucci&longs;i gli huomini, & &longs;pianata la terra, <lb/>per i&longs;chiaue leuorno le matrone loro, non &longs;opportando, che quelle depone&longs;&longs;ero gli ha­<lb/>biti, & gli ornamenti di matrone, accioche non in uno &longs;olo trionfo condotte fu&longs;&longs;ero, <lb/>ma con eterno e&longs;&longs;empio di &longs;eruitu da grande &longs;corno oppre&longs;&longs;e, per tutte le Città loro pa­<lb/>re&longs;&longs;ero portare la pena, gli Architetti de que tempi ne i publici edificij po&longs;ero le imagini <lb/>di quelle matrone per &longs;o&longs;tenimento de i pe&longs;i, accioche alla memoria de i po&longs;teri la cono­<lb/>&longs;ciuta pena de gli errori de' Cariati commendata fu&longs;&longs;e. </s></p><p type="main">
<s><emph type="italics"/>Noi adunque dalle parole di Vitr.
prenderemo argomento di ornare gli edificij con la memo <lb/>ria di que fatti, che grati &longs;aranno a que Principi ouero a quelle republiche, le quali noi uorre­<lb/>mo honorare, & honorandole a noi grate rendere, & fauoreuoli. </s>
<s>come &longs;te&longs;&longs;ero &longs;otto i pe&longs;i quel <lb/>le matrone Vitr.
non dichiara. </s>
<s>prende&longs;i argomento da Atheneo dotto, & diletteuole &longs;crittore, <lb/>che &longs;te&longs;&longs;ero col capo &longs;ottopo&longs;to, & con la &longs;ini&longs;tra mano leuata al &longs;o&longs;tenimento de i pe&longs;i. </s>
<s>Ma <lb/>non ci douemo obligare a credere che &longs;olamente le Cariati &longs;te&longs;&longs;ero in quella maniera. </s>
<s>ben loda­<lb/>remo lo ingegno di Vitr.
che dimo&longs;trando la i&longs;toria e&longs;&longs;er nece&longs;&longs;aria allo Architetto, eglihabbia uo <lb/>luto narrare con forma, et idea i&longs;torica, que&longs;to fatto de Greci et il &longs;eguente de' prigioni Per&longs;iani.<emph.end type="italics"/></s></p><p type="main">
<s>Similmente i Lacedemonij &longs;otto Pau&longs;ania figliuolo di Ege&longs;ipolide dopo il fatto d'arme <lb/>di Platea, hauendo con poca gente &longs;uperato il numero&longs;o e&longs;&longs;ercito de' Per&longs;iani, & con gran <lb/>gloria trionfato: de i dinari tratti delle &longs;poglie, & della preda, fabricorono in luogo di <lb/>trofeo della uittoria il portico Per&longs;iano dimo&longs;tratore della lode, & della uirtu de i cit­<lb/>tadini. </s>
<s>& in quel portico po&longs;ero i Simulachri de i prigioni con l'ornamento barbaro del <lb/>ue&longs;tire, che &longs;o&longs;teneuano il tetto, hauendo con meritato di&longs;pregio la loro &longs;uperbia ca­<lb/>&longs;tigato: af&longs;ine che i nimici cagione haue&longs;&longs;ero di temere impauriti della fortezza loro, & <lb/>i cittadini guardando in quello e&longs;&longs;empio di uirtu, dalla gloria &longs;olleuati alla dife&longs;a della li <lb/>bertà pronti fu&longs;&longs;ero, & preparati: la doue ne gli anni &longs;eguenti molti cominciorno a por-<pb pagenum="16"/>re le &longs;tatue Per&longs;iane, che &longs;o&longs;teneuano gli Architraui, & i loro ornamenti: & d'indi tra&longs;&longs;ero <lb/>argomento di accre&longs;cere nelle opere marauiglio&longs;a uarietà di maniere. </s>
<s>Di &longs;imiglianti altre <lb/>ne &longs;ono, delle quali bi&longs;ogna che lo Architetto ne &longs;ia bene informato. </s></p><p type="main">
<s><emph type="italics"/>Come &longs;i legge della inuentione del capitello Corinthio nel quarto, & d'altri effetti, che &longs;i ue <lb/>dranno leggendo. </s>
<s>egli &longs;i ha nel primo libro di Tucidide Pau&longs;ania Spartano figliuolo di Cleom-<emph.end type="italics"/><lb/><figure id="fig1"/><lb/><emph type="italics"/>broto capitano de Greci. <!-- KEEP S--></s>
<s>Plutarco citando Chi&longs;iferno nelle comparationi de Romani, & de i <lb/>Greci, narra, che di&longs;correndo i Greci per la Per&longs;ia, & facendo di molte prede Pau&longs;ania duce de <lb/>Lacedemonij riceuè quaranta talenti d'oro da Xer&longs;e, accioche gli tradi&longs;&longs;e la Grecia. <!-- KEEP S--></s>
<s>la qual co <lb/>&longs;a poi, che &longs;i ri&longs;eppe, hauendo Age&longs;ilao padre per&longs;eguitato il figliuolo fin' al tempio di Pallade <lb/>& edicalcha otturò con mattoni le porte del tempio, & iui per fame lo fece con&longs;umare: & la<emph.end type="italics"/><pb pagenum="17"/><emph type="italics"/>madre lo la&longs;ciò in&longs;epolto. </s>
<s>Que&longs;to dice Plutarco diuer&longs;amente da Tucidide. </s>
<s>Soleuano i Greci <lb/>nel luogo oue haueuano po&longs;to in fuga, & &longs;uperati i nemici tagliare i rami de gli alberi, & orna­<lb/>re i tronchi di &longs;poglie ho&longs;tili, per &longs;egno, & raccordanza della uittoria; quel tronco co&longs;i adorno <lb/>&longs;i chiamaua trofeo, come in Tucidide &longs;i legge in molti luoghi. </s>
<s>I Lacedemonij hauendo uinto i Per­<lb/>&longs;iani, in uece di trofeo, fecero co&longs;a piu illu&longs;tre, & memorabile, percioche de i dinari tratti del­<lb/>le uendute &longs;poglie, che &longs;i chiamano Manubie, & della preda, che è tutto il corpo del butino, <lb/>fecero il portico detto Per&longs;iano, del quale Pau&longs;ania ne i Laconici ne fa mentione. </s>
<s>Ragiona <lb/>anche nell'Attica della &longs;tirpe di Pau&longs;ania, & nell'Arcadia dice, che Pau&longs;ania figliuolo di <lb/>Cleombroto duce de Plate&longs;i, hebbe impedimento di e&longs;&longs;er chiamato benemerito della Grecia per <lb/>le ribalderie, che egli fece dapoi. </s>
<s>Dalle i&longs;torie adunque lo Architetto prende occa&longs;ione, di ador <lb/>nare le opere &longs;ue, come anche Vitr.
in molti luoghi adorna i uolumi &longs;uoi, come nel &longs;e&longs;to capo del <lb/>primo, nel nono del &longs;econdo, nel primo del &longs;e&longs;to, & ne i proemi de i &longs;uoi libri, & altroue è pie­<lb/>no di belli&longs;&longs;imi ammae&longs;tr amenti tratti dall'i&longs;torie.<emph.end type="italics"/></s></p><figure/><p type="main">
<s>La Filo&longs;ofia fa lo Architetto d'animo grande, &longs;enza arroganza, piaceuole, giu&longs;to, & <lb/>fedele, non auaro; il che è co&longs;a grandi&longs;sima: la doue &longs;enza fede, & ca&longs;tità niuna co&longs;a <pb pagenum="18"/>ueramente &longs;i può fare. </s>
<s>La Filo&longs;ofia oltra di que&longs;to non la&longs;cia entrare la cupidita, ne per­<lb/>mette che l'animo &longs;ia occupato in riceuer doni, ma fa che con grauità &longs;i difenda la pro­<lb/>pria dignità, & &longs;e ne riporti buon nome. </s></p><p type="main">
<s><emph type="italics"/>La Filo&longs;ofia dimo&longs;tra allo Architetto il modo di uiuere acco&longs;tumatamente; perche nella Filo&longs;o <lb/>fia, che è amore & &longs;tudio di &longs;apienza, cioè del bene, & del uero, & la &longs;peculatione delle co&longs;e, <lb/>& la Regola delle attioni: l'una & l'altra è nece&longs;&longs;aria allo Architetto. <!-- KEEP S--></s>
<s>Quanto alla regola <lb/>delle attioni dice Vitr.
che la Filo&longs;ofia è nece&longs;&longs;aria allo Architetto, perche la Filo&longs;ofia ua facen­<lb/>do l'Architetto d'animo grande, sì per abbracciare le grandi impre&longs;e, come per non temere le <lb/>graui offe&longs;e. </s>
<s>Ma perche pare che la grandezza dello ammo apporti il di&longs;prezzo altrui, & una <lb/>certa &longs;euerità, & arroganza: però &longs;ia lo Architetto di grande animo &longs;enza arroganza, che è <lb/>uitio oppo&longs;to alla uerità, che oltra il debito attribui&longs;ce a &longs;e. </s>
<s>&longs;ia piaceuole sì nell'udire, & &longs;atisfa­<lb/>re alle dimande de gli imperiti, sì nel &longs;opportare i loro difetti. </s>
<s>Ma perche la facilità di natura, <lb/>& la piaceuolezza puo piegare alla ingiu&longs;titia: però come mae&longs;tro di proportione &longs;ia egli giu­<lb/>&longs;to, & eguale ad ognuno, & nella egualità &longs;ia fedele nel con&longs;igliare, non &longs;ia auaro nel pigliar <lb/>doni, nè cupido nel de&longs;iderargli. </s>
<s>Con que&longs;te conditioni lo Architetto, con&longs;eruerà il grado, <lb/>re&longs;terà honorato, & con &longs;ua fatica uiuendo accomodato, dopo &longs;e la&longs;cierà fama immortale. </s>
<s>Et però <lb/>Vitr.
hauendo cono&longs;ciuto in &longs;e &longs;te&longs;&longs;o quanto &longs;ia l'ornamento delle predette uirtù, & brutta la <lb/>macchia de gli oppo&longs;ti errori, dimo&longs;tra in molti luoghi dell'opera &longs;ua &longs;timare piu la uerità che <lb/>le ricchezze, piu la gloria che l'utile, & bia&longs;ima gli adulatori, arroganti, & auari Ar­<lb/>chitetti, come da i proemi de i libri &longs;uoi &longs;i puo uedere, i quali ueramente &longs;e fu&longs;&longs;ero uno <lb/>proemio &longs;olo a tutti i uolumi &longs;i deono leggere inanti, & molto bene con&longs;iderare. </s>
<s>La Filo­<lb/>&longs;ofia adunque ci gioua alla uirtu de i co&longs;tumi, &longs;imilmente ci gioua quanto alla parte po&longs;ta <lb/>nella cognitione del uero, come dice Vitruuio.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s>Appre&longs;&longs;o la Filo&longs;ofia ci e&longs;plica la &longs;cienza delle co&longs;e naturali, che da Greci è detta phy­<lb/>&longs;iologia, laquale è nece&longs;&longs;ario che lo Architetto con &longs;tudio maggiore habbia cono&longs;ciuto; <lb/>come quella che in &longs;e contenga molte & diuer&longs;e dimande naturali; come anche &longs;i uede nel <lb/>condurre le acque. </s>
<s>percioche ne i cor&longs;i, nelle uolte, & nelle sboccature, & u&longs;cite nei <lb/>piani liuellati, gli &longs;piriti naturali a molti modi &longs;i fanno, a i danni, & difetti delle quali <lb/>co&longs;e niuno potrà rimediare &longs;e non chi dalla Filo&longs;ofia haurà pre&longs;o i principij dalla natura <lb/>delle co&longs;e. </s>
<s>Oltra di que&longs;to chi leggerà i uolumi di Cte&longs;ibio, o di Archimede, & de gli <lb/>altri, che hanno la&longs;ciato ne gli &longs;critti precetti di que&longs;ta maniera, non anderà nella loro <lb/>opnione, &longs;e prima di co&longs;e tali non &longs;arà da Filo&longs;ofi ammae&longs;trato. </s></p><p type="main">
<s><emph type="italics"/>Vna parte della Filo&longs;ofia natur ale è chiamata i&longs;toria naturale, & l'altra &longs;cienza natura­<lb/>le. </s>
<s>l'i&longs;toria è &longs;implice narratione de gli effetti di natura. </s>
<s>Lo e&longs;&longs;empio &longs;i puo da gli &longs;critti di <lb/>Plmio commodatamente pigliare, percioche egli narra &longs;emplicemente tutto quello che &longs;i tro­<lb/>ua delle co&longs;e fatte dalla natura, cominciando dal mondo, & dalle &longs;ue parti principali, come <lb/>&longs;ono i cieli, & gli elementi. </s>
<s>uiene poi al particolare delle parti della terra, delle pietre, de <lb/>i metalli, delle piante, de gli Animali, & del huomo, che è fine di tutte le co&longs;e. </s>
<s>La &longs;cien <lb/>za naturale è cognitione delle cau&longs;e; & de i principij di tutte le predette co&longs;e, della quale <lb/>con ordine, & con dottrina mirabile il buon, Ari&longs;totile ne tratta. </s>
<s>tanto l'i&longs;toria, quanto la &longs;cienza <lb/>naturale, è utile allo Architetto. <!-- KEEP S--></s>
<s>Vitr.
hebbe l'una, & l'altra quanto faceua al bi&longs;ogno, come <lb/>&longs;i uede nel quarto capo del primo libro, doue &longs;i tratta de i principij delle co&longs;e; & nell'ottauo <lb/>libro, & nel &longs;econdo prima, & finalmente per tutta l'opera, doue egli parla de gli alberi, <lb/>delle pietre, delle minere, de gli animali, della uoce, dell'udito, & del uedere, & di mol <lb/>te opere di natura, le cagioni delle quali &longs;ono a molti propo&longs;iti ricercate, & &longs;pecialmente nella <lb/>materia delle acque, come &longs;i uederà nell'ottauo libro.<emph.end type="italics"/></s><s> Della Mu&longs;ica e&longs;&longs;er deue intelligente lo <lb/>Architetto, accioche egli cono&longs;ca la regolata ragione, & la Mathematica, & accioche <lb/>dirittamente caricare & temprare &longs;appia gli in&longs;trumenti da pietre o &longs;aette dette bali&longs;te, <lb/>catapulte, & &longs;corpioni. </s></p><pb pagenum="19"/><p type="main">
<s><emph type="italics"/>Dimo&longs;tra Vitr.
che & quanto alla pratica, & quanto alla ragione la Mu&longs;ica è utile allo <lb/>Architetto, per quelle parole<emph.end type="italics"/> {<emph type="italics"/>Regolata<emph.end type="italics"/>} <emph type="italics"/>che nel latino &longs;i dice<emph.end type="italics"/> {<emph type="italics"/>Canonica<emph.end type="italics"/>,} <emph type="italics"/>& Mathema­<lb/>tica. </s>
<s>La Canonica appartiene alle orecchie, come la pro&longs;pettiua a gli occhi. </s>
<s>& è pre&longs;a da Mu <lb/>&longs;ici pratichi, come fondamento della loro arte u&longs;itata. </s>
<s>& è quclla, che mi&longs;ura le altezze, & <lb/>le lunghezze delle uoci. </s>
<s>L'altezza delle uoci da' Greci è detta Melos, cioè canto, & la mi <lb/>&longs;ura del durare, & del tenere la uoce, è chiamata rithmus, cioè numero, che è mi&longs;ura del <lb/>tempo. </s>
<s>Tiene la canonica un'altra parte, che è detta Metrica, che è Arte del mi&longs;urato com­<lb/>ponimento, & legato alla quantità delle &longs;illahe; onde a differenza del parlar &longs;ciolto è detta Ar <lb/>te di far ucr&longs;i. </s>
<s>Canonica uuol dire regolata, o regolatrice, come afferma Boetio; percioche egli <lb/>non &longs;i deue dare tutto il giudicio a i &longs;en&longs;i humani, fallaci, & alterabili per ogni minima offe­<lb/>&longs;a, benche &longs;iano principij, cioè occa&longs;ioni delle Arti, & ci facciano auuertiti di molte co&longs;e: pe­<lb/>rò la perfettione, & la forza del cono&longs;cere è po&longs;ta nella ragione, la quale con certe regole re­<lb/>gi&longs;tra dirò co&longs;i, gli in&longs;trumenti Mu&longs;icali. </s>
<s>La Mathematica ueramente la&longs;cia affatto il &longs;en&longs;o, & <lb/>s'inalza alla &longs;peculatione de i numeri &longs;onori, & de i modi, & delle idee & maniere delle can­<lb/>zoni, & de i me&longs;colamenti po&longs;&longs;ibili de i tempi delle &longs;illabe, & for&longs;e piu alto &longs;alendo la hu­<lb/>mana, & mondana conuenienza de i cieli, & l'harmonia delle anime, & de i corpi ua con&longs;i <lb/>derando. </s>
<s>Nel quinto libro ne ragionaremo alquanto, dichiarando quanto &longs;i dirà de i ua&longs;i detti <lb/>Echei, & delle machine, che egli chiama hydrauliche dicendo poco di &longs;otto.<emph.end type="italics"/></s><s> Que ua&longs;i di rame <lb/>che ne i Theatri &longs;otto i gradi nelle celle con mathematica ragione &longs;i fanno, & il re&longs;to. <emph type="italics"/>Ma <lb/>proua prima quanto egli intende delle tempre & carcature de gli in&longs;trumenti predetti & dice.<emph.end type="italics"/></s></p><p type="main">
<s>Imperoche ne i capitelli dalla de&longs;tra, & dalla &longs;ini&longs;tra &longs;ono i buchi de gli homotoni, per <lb/>liquali con na&longs;pi, o molinelli, &longs;ono tratte le torte fune di neruo, i quali non &longs;i &longs;errano, o <lb/>legano &longs;e prima non mandano fuori certi, & eguali &longs;uoni alle orecchie de gli artefici. </s>
<s><lb/>percioche le braccia, lequali nel tirare, & in quelle carcature &longs;i &longs;errano, quando poi &longs;i ri­<lb/>la&longs;ciano & &longs;i &longs;tendeno, egualmente deono, & parimente mandar fuori la perco&longs;&longs;a. </s>
<s>La do­<lb/>ue &longs;e non &longs;aranno di pari tuoni impediranno il tirare drittamente. </s></p><p type="main">
<s><emph type="italics"/>Certo è nella Mu&longs;ica, che la egualità del &longs;uono mo&longs;tra egualità di &longs;patio, & quella propor­<lb/>tione che è tra &longs;patio, & &longs;patio, &longs;i truoua anche tra &longs;uono & &longs;uono, & però e&longs;&longs;endo il &longs;uono <lb/>eguale dall'uno & l'altro braccio, &longs;eguita, che'l neruo, il quale tirato rende il &longs;uono, dentro <lb/>le braccia &longs;ia eguale. </s>
<s>dal che na&longs;ce la bontà dello in&longs;trumento, la giu&longs;tezza della carcatura, & <lb/>il drittto & certo tiro di quello, come prouano gli arcieri, & i bale&longs;trieri tutto il giorno, & a <lb/>noi &longs;arà manife&longs;to nel decimo libro, a i diciotto capi.<emph.end type="italics"/></s><s> Que ua&longs;i anche di rame che ne i Thea­<lb/>tri &longs;otto i gradi nelle celle con ragione mathematica, & le differenze de i tuoni, che da <lb/>Greci, Echea, dette &longs;ono, &longs;i compongono a i dolci, & &longs;oaui ri&longs;uegliamenti Mu&longs;icali, a <lb/>cella per cella in que giri con quelle con&longs;onanze, che da mu&longs;ici Diate&longs;&longs;eron, Diapente, & <lb/>Diapa&longs;on nominate &longs;ono: accioche la uoce de i &longs;uoni &longs;cenici nelle di&longs;po&longs;itioni conuenien <lb/>ti, quando toccherà l'udito, piuchiara, & piu &longs;oaue peruenga all'orecchie de i &longs;pettatori. </s></p><p type="main">
<s><emph type="italics"/>O&longs;curo è Vitr.
per la breuità &longs;ua, perche in poche parole uuole e&longs;primere la forza delle co­<lb/>&longs;e. </s>
<s>ma noi nel quinto libro faremo, quanto per noi &longs;i potrà, chiara ogni parola di Vitruuio.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s>Le machine hydrauliche, & altre che &longs;imili a que&longs;ti organi &longs;i fanno, &longs;enza ragione di <lb/>mu&longs;ica non &longs;i potranno fare giamai. <emph type="italics"/>Hydraulica è una machina, che con acqua moue <lb/>gli &longs;piriti a far &longs;onare un'organo. </s>
<s>della quale ingenio&longs;amente ne tratta Vitr.
nel decimo libro.<emph.end type="italics"/></s></p><p type="main">
<s>Deue anche lo Architetto hauere notitia della di&longs;ciplina del Medico, per cono&longs;cere <lb/>le inclinationi del Cielo, climata, da Greci nominate. </s>
<s>& gli aeri de i luoghi &longs;alubri, o <lb/>mal &longs;ani, & per l'u&longs;o delle acque: peroche &longs;enza tali ragioni non &longs;i puo fare habitatione <lb/>che &longs;ia &longs;alubre. </s></p><p type="main">
<s><emph type="italics"/>Le inclinationi, & climi del Cielo &longs;ono fpacij pofti tra due circoli egualmente di&longs;tanti detti <lb/>paralleli, come &longs;i dirà poi parlando de gli horologij nel nono libro. </s>
<s>Vitruuio ueramente hebbe<emph.end type="italics"/><pb pagenum="20"/><emph type="italics"/>qualche notitia della Medicina, come &longs;i uede nel primo libro, doue egli dimo&longs;tra quali infer­<lb/>mità da quali uenti &longs;iano generate: & in altri luoghi dello i&longs;te&longs;&longs;o libro, & de gli altri dichia­<lb/>ra le qualità de i pae&longs;i quanto all'acqne, alle herbe, a gli animali cele&longs;ti, terre&longs;tri, & acquati­<lb/>ci, co&longs;e tutte alla cognitione del Medico &longs;ottopo&longs;te.<emph.end type="italics"/></s><s> Dapoi bi&longs;ogna, che cgli habbia <lb/>notitia della ragion ciuile, inquanto è nece&longs;&longs;ario a i communi pareti ne gli edificij, al­<lb/>lo &longs;patio delle grondi, & de i tetti, & delle chiauiche, & de i lumi, & &longs;imilmente <lb/>delle condotte delle acque, & d'altre co&longs;e &longs;imiglianti bi&longs;ogna che lo Architetto habbia <lb/>cono&longs;cimento: accioche prima, che &longs;i mettino a fabricare &longs;ieno cauti, & accioche non <lb/>&longs;i la&longs;cino finite l'opere litigi & controuer&longs;ic a i padri di famiglia, & che nel fare gli &longs;crit­<lb/>ti, & gli accordi, con prudentia prouedino, & a chi dà, & a chi conduce l'opere. </s>
<s>per­<lb/>che &longs;e il patto &longs;erà ben fatto, & con auertimento, auerrà, che quello da que&longs;to, & que­<lb/>&longs;to da quello &longs;enza fraude, & inganno &longs;i potrà liberare. </s></p><p type="main">
<s><emph type="italics"/>Qui Vitr.
dichiara quello, che egli ha detto di &longs;opra appartenere alla fedeltà & giu&longs;titia dello <lb/>Architetto. <!-- KEEP S--></s>
<s>Dico adunque, che quella parte di Filo&longs;ofia, che ci dà la regola del ben uiuere, <lb/>tratta di diuer&longs;e maniere di beni, tra quali è la uirtu de co&longs;tumi po&longs;ta nella parte ragioneuole, <lb/>ouero in quella, che ubidi&longs;ce alla ragione. </s>
<s>In que&longs;ta parte di Filo&longs;ofia &longs;i tratta de gli affetti bu <lb/>mani, delle potenze dell'anima, nelle quali &longs;ono gli affetti, de gli habiti di quelle potenze, &longs;ia­<lb/>no quegli o ecce&longs;&longs;i, o mancamenti, o mediocrità. </s>
<s>tratta&longs;&longs;i anche dello arbitrio, della elet­<lb/>tione, del con&longs;iglio, dello appetito, in cui è la cupidigia, l'ira, & la uoglia. </s>
<s>tratta&longs;i delle <lb/>co&longs;e, che uogliono &longs;imigliar&longs;i alla uirtù, ouero che di quella &longs;ono principij. </s>
<s>Per le quali tutte co <lb/>&longs;e l'huomo è ba&longs;teuole a &longs;e &longs;te&longs;&longs;o. </s>
<s>dapoi riguarda il pro&longs;&longs;imo &longs;uo congiunto di &longs;augue, o parte di &longs;ua <lb/>famiglia, o come parte di uniuer&longs;al gouerno. </s>
<s>& nella famiglia ritruoua l'ufficio del patrone, & <lb/>del &longs;eruo, della moglie, & del marito, del padre, & del figliuolo, acqui&longs;ta, di&longs;pen&longs;a, u&longs;a, gouer­<lb/>na, & adorna il tutto. </s>
<s>Ma nella ciuile, & publica ammini&longs;tratione contenuta da un &longs;olo, o <lb/>da grandi, o da molti con legittimo reggimento, uede i &longs;aui e&longs;&longs;er in uece di ragione, i &longs;oldati <lb/>in luogo della iracondia, & gli artefici per la concupi&longs;centia, che &longs;i troua in noi. </s>
<s>De i &longs;aui &longs;i <lb/>fanno i capi, imagi&longs;trati, i facerdoti, i &longs;enatori, i giudici, ne i quali ha fondamento la ragion ci­<lb/>uile, che è quella, che è fatta da cia&longs;cuna città &longs;econdo il fine del proprio gouerno. </s>
<s>La &longs;omma <lb/>di que&longs;ta ragione è raccolta ne i libri delle pandette; che co&longs;i chiamate &longs;ono, perche raccoglieno <lb/>tutte le parti della ragion ciuile. </s>
<s>La doue &longs;otto il primo titolo &longs;i ragunano i Principi, &longs;otto il &longs;e­<lb/>condo i Giudici, &longs;otto il terzo le co&longs;e, &longs;otto il quarto le hypothecationi, &longs;otto'l quintoi te&longs;tamenti <lb/>con le co&longs;e a quelli pertinenti. </s>
<s>&longs;otto'l &longs;e&longs;to uarij titoli delle po&longs;&longs;e&longs;&longs;ioni, de i beni cogniti, i danni, <lb/>le fabriche rouinate, le in&longs;idie di quelle, la legge delle gronde, & dell'acqua piouana parte <lb/>allo Architetto nece&longs;&longs;aria. </s>
<s>& finalmente &longs;otto altri capi, che lungo &longs;arebbe a nominarli. </s>
<s>Nel­<lb/>l'ultimo titolo &longs;ono le &longs;tipulationi, i contratti, i maleuadori, le opere publiche, i mercati, i cen&longs;i <lb/>& altre co&longs;e, ne i gran uolumi de legi&longs;ti compre&longs;e. </s>
<s>delle quali &longs;econdo il bi&longs;ogno ne deue lo <lb/>Architetto e&longs;&longs;er informato, come di co&longs;e al uiuer pacifico, & &longs;enza litigij pertinenti. </s>
<s>Ma pin <lb/>alto &longs;alire bi&longs;ogna per bene&longs;icio de gli huomini, & però dice Vitruuio.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s>Dall'A &longs;trologia ueramente &longs;i cono&longs;ce il Leuante, il Ponente, il Meriggie, & il Setten­<lb/>trione, & la ragione del cielo lo Equinottio, il Sol&longs;titio, i cor&longs;i delle Stelle, la notitia del­<lb/>le quali co&longs;e, chi non po&longs;siedc, non puo &longs;apere la ragione de gli Horologi. </s></p><p type="main">
<s><emph type="italics"/>Vna delle parti principali dell'Architettura è (come &longs;i ucde al terzo capo del primo libro') <lb/>cerca l'ombre cau&longs;ate dal &longs;ole, & da gli &longs;tili nece<02>arie a fare gli horologij da &longs;ole, & quefta par­<lb/>te è detta Gnomonica, benche puo importare maggiore intelligenza, & piu ampia, che la de&longs;crit <lb/>tione de gli horologi come da Euclide &longs;i puo hauere, della cognitione de quali è ripieno con mer aui­<lb/>glio&longs;a dottrina il nono libro di Vitruuio, nel quale anche &longs;i uede l'altra parte dell'aftrologia, che <lb/>con&longs;idera le eleuationi, & le di&longs;tanze de i pianeti, & delle &longs;telle, alle quali a&longs;petta la inuentio­<lb/>ne dello A&longs;trolabio. <!-- KEEP S--></s>
<s>Quanto ueramente appartiene à quella parte, che da gli a&longs;cendenti nel na-<emph.end type="italics"/><pb pagenum="21"/><emph type="italics"/>&longs;cer no&longs;tro comprende i &longs;ucce&longs;&longs;i delle future co&longs;e; niuno u&longs;o &longs;i troua nell'Architettura, &longs;e for&longs;e noi <lb/>non uogliamo cercare alcune qualità &longs;ecrete de luoghi, le cognitioni delle quali non &longs;i po&longs;&longs;ono <lb/>riferire ad altro che à gli ordini, & influ&longs;&longs;i de i pianeti, dal che molti &longs;i mettono a fare le natiuità, <lb/>& le riuolutioni delli principij della edificatione delle città. </s>
<s>ma non è lecito per l'amore, che &longs;i por <lb/>ta all' Architettura e&longs;&longs;er curio&longs;i di tante cognitioni, che non meno dubie, che inutili, &longs;alua la pace <lb/>di chi altrimenti crede, e<02>er ueggiamo. </s>
<s>però quiui &longs;ia fine alla indottione fatta da Vitr.
per di­<lb/>mo&longs;trare che tanta diuer&longs;ità di cognitioni &longs;ia nece&longs;saria allo Architetto. <!-- KEEP S--></s>
<s>& però conchiude in que <lb/>&longs;to modo, dicendo.<emph.end type="italics"/></s></p><p type="main">
<s>E&longs;&longs;endo adunque co&longs;i degna di&longs;ciplina ornata, & copio&longs;a di tante, & co&longs;i uarie dottri­<lb/>ne, io non pen&longs;o, che alcuno di &longs;ubito po&longs;&longs;a ragioneuolmente far profe&longs;sione, & chia­<lb/>mar&longs;i Architetto, &longs;e con que&longs;ti gradi di &longs;cienze a poco a poco &longs;alendo &longs;in da i teneri anni no <lb/>drito della cognitione di uarie &longs;orti di lettere non peruenirà al colmo dell'Architettura. <!-- KEEP S--></s></p><p type="main">
<s><emph type="italics"/>Quanto uero &longs;ia, che lodar non &longs;i deue co&longs;a alcuna prima, che egli non &longs;i ha dimo&longs;trato quello <lb/>che è, chiaramente &longs;i uede per le co&longs;e dichiarate fin hora: percioche niuno haurebbe potuto de­<lb/>gnamente lodare l'Architettura &longs;enza la cognitione della forza, & natura &longs;ua, & delle proprie­<lb/>tà che le conuengono; & &longs;e &longs;cioccamente egli po&longs;to s'haue<02>e à lodarla; prima non l'haurebbe &longs;a­<lb/>puto fare, poi non gli &longs;arebbe &longs;tato creduto; & finalmente con&longs;tretto a renderne ragione, fuggito <lb/>&longs;arebbe, ouero a &longs;e &longs;te<02>o haueria contradetto; & in que&longs;to ca&longs;o di pari con gli ignoranti re&longs;tato <lb/>&longs;arebbe. </s>
<s>Ma prouamo noi &longs;e con ragione potemo lodare l'Architettura: Si ueramente, & prima <lb/>quanto alla cognitione, poi quanto alle operationi; perche nel cono&longs;cimento, & nel giudicio ella <lb/>puo e<02>ere con la &longs;apienza, & con la prudenza paragonata, & per le operationi tra le arti come <lb/>Heroica uirtu & regina chiaramente riluce. </s>
<s>Mirabil co&longs;a è il potere a commun beneficio rau­<lb/>nare gli huomini rozi, & quelli ridurre al culto, & alla di&longs;ciplina &longs;icuri, & tranquilli nelle cit­<lb/>tà, & nelle fortezze; & poi con maggior uiolenza fatta alla natura, tagliar le rupi, for are i monti, <lb/>empir le ualli, a&longs;ciugar le paludi, fabricar le naui, drizzare i fiumi, munire i porti, gettar i ponti, & <lb/>&longs;uperar la natura in quelle co&longs;e, nelle quali noi &longs;iamo dalla natura &longs;uperati: leuando pe&longs;i im­<lb/>men&longs;i, & &longs;atisfacendo in parte al di&longs;iderio della eternità, dilettando chi non fabrica, & molto <lb/>piu chi fabrica; ornando i Regni, le prouincie, e'l mondo. </s>
<s>Ma perche alcuno piu oltre non &longs;a­<lb/>pendo puo l'infinito, & lo impo&longs;&longs;ibile propor&longs;i dinanzi, argomentando che non cape in animo <lb/>humano tanta cognitione, & uarietà di &longs;cienze: però Vitruuio ci dimo&longs;tra in che modo, & <lb/>in &longs;ino à qual termine, hauer bi&longs;ogna le predette &longs;cienze, & dice.<emph.end type="italics"/></s></p><p type="main">
<s>Ma for&longs;e a gli imperiti puo impo&longs;sibil co&longs;a parere, che la natura apprenda, & tenga a <lb/>memoria tanto numero di dottrine. </s></p><p type="main">
<s><emph type="italics"/>Que&longs;ta è la dubitatione fondata nel potere della natura humana, come impotente a riceuere, <lb/>& ritenere tanta uarietà di dottrine. </s>
<s>Scioglie Vitr.
la predetta dubitatione in que&longs;to modo.<emph.end type="italics"/></s></p><p type="main">
<s>Ma quando auuertiranno, che tutte le di&longs;cipline tra &longs;e tengono una certa raccommu<gap/><lb/>nanza, & congiuntione, crederanno quello, che io dico, facilmente poter auuenire, per­<lb/>che quello, che s'impara a gui&longs;a di corpo di tai membri compo&longs;to in &longs;e &longs;te&longs;&longs;o &longs;i raggira, & pe <lb/>rò chi da primi anni &longs;i e&longs;&longs;ercita in uarie &longs;orti di ammae&longs;tramenti ricono&longs;ce in tutte manie­<lb/>re di lettere i &longs;egni mede&longs;imi, & uede la raccommunanza delle di&longs;cipline, & per quella fa­<lb/>cilmente hanno cognitione di tutte le co&longs;e. </s></p><p type="main">
<s><emph type="italics"/>Il dubbio &longs;i puo formare in que&longs;to modo. </s>
<s>Quello effetto è impo&longs;&longs;ibile, la cau&longs;a del quale non <lb/>puo e&longs;&longs;ere, però l'huomo non puo apprendere tante arti, & di&longs;cipline, peroche la cagione di ap­<lb/>prenderle, e&longs;&longs;er non puo. </s>
<s>la uirtù dell'anima in&longs;ufficiente & incapace è la cagione, la quale impe­<lb/>dita non puo e&longs;&longs;er cagione dello apprendere tante arti. </s>
<s>Ri&longs;ponde Vitruuio, & dice argomentan­<lb/>do; che po&longs;&longs;ibile è quello effetto, il modo del quale è po&longs;&longs;ibile, però puo e&longs;&longs;ere che l'huomo &longs;ia ador <lb/>nato di molte, & diuer&longs;e di&longs;cipline: percioche il modo è po&longs;&longs;ibile. </s>
<s>Il modo ueramente è, che ha­<lb/>uendo le &longs;cienze una certa raccommunanza tra &longs;e, & qua&longs;i in giro l'una nell'altra mouendo&longs;i, per<emph.end type="italics"/><pb pagenum="22"/><emph type="italics"/>alcune &longs;imiglianze di co&longs;e, non è impo&longs;&longs;ibile, a chi per tempo comincia, & s' affatica ricono&longs;cere <lb/>la detta communanza, & fare di piu co&longs;e &longs;imiglianti lo i&longs;te&longs;&longs;o giudicio. </s>
<s>& però puo e&longs;&longs;er'un ter­<lb/>mine, & una &longs;obrietà (dirò co&longs;i) di &longs;apere, che hauendo noi tanto po&longs;&longs;iamo commodamente &longs;er <lb/>uirci. </s>
<s>Vedremo di &longs;otto per e&longs;empio quello, che hora s'è detto. </s>
<s>Fin tanto Vitr.
riprende Pythio <lb/>Architetto, ilquale haueua opinione, che lo Architetto pote&longs;&longs;e meglio in opinione partitamente, che <lb/>i proprij profe&longs;&longs;ori cia&longs;cuno nella &longs;ua. </s>
<s>dice adunque.<emph.end type="italics"/></s></p><p type="main">
<s>Et però Pythio uno de gli antichi Architetti, quello che in Priene fece co&longs;i nobilmente <lb/>il tempio di Minerua, dice ne i &longs;uoi commentari, che lo Architetto piu deue operare in <lb/>tutte l'Arti, & dottrine, che quelli, i quali cia&longs;cuna co&longs;a con la loro indu&longs;tria, & e&longs;&longs;erci­<lb/>tio hanno a &longs;omma chiarezza condotto. </s>
<s>Ma que&longs;to con effetto non &longs;i uede chiaro, percio <lb/>che non deue nè puo l'Architetto e&longs;&longs;er Grammatico come Ari&longs;tarcho, ma bcne non &longs;enza <lb/>letteratura. </s>
<s>Nè come Ari&longs;toxeno Mu&longs;ico, ma non lontano dalla Mu&longs;ica. <!-- KEEP S--></s>
<s>nè pittore co= <lb/>me Apelle, pure habbia di&longs;egno. </s>
<s>nè qual Mirone &longs;tatuario, o Policleto lauoratore di &longs;tuc <lb/>chi, ma non ignorante di tale Arte. <!-- KEEP S--></s>
<s>nè di nuouo Medico come Hippocrate, ma non &longs;enza <lb/>ragione di Medicina. <!-- KEEP S--></s>
<s>nè nelle altre dottrine &longs;ingularmente eccellente, ma in que&longs;te non <lb/>&longs;ia nuouo, & imperito. </s>
<s>percioche non puo alcuno in tanta uarietà di co&longs;e con&longs;eguire &longs;in­<lb/>gular &longs;cieltezza, perche apena cade nel potere no&longs;tro il cono&longs;cere, & perfettamente capi­<lb/>re le lor ragioni. </s>
<s>Nè però non tanto gli Architetti non po&longs;&longs;ono hauere in tutte le co&longs;e gli <lb/>ultimi effetti, ma anche quelli, che ad una &longs;ola &longs;cientia &longs;i danno, & priuatamente tengono <lb/>le proprietà delle Arti, non po&longs;&longs;ono fare, che tutti riportino il &longs;ommo principato della <lb/>lode. </s>
<s>Se adunque non tutti in cia&longs;cuna dottrina, ma pochi in molti anni apena ottenuto <lb/>hanno la nobiltà, come l'Architetto, che e&longs;&longs;er deue in tante arti perito, non farà co&longs;a <lb/>grande, & merauiglio&longs;a accioche egli non habbia bi&longs;ogno di alcuna delle predette co&longs;e? <lb/></s>
<s>& di piu &longs;e egli anderà inanzi à tutti gli Artefici, i quali con &longs;omma indu&longs;tria hanno pre&longs;ta <lb/>to grande &longs;ollicitudine in cia&longs;cuna dottrina. </s></p><p type="main">
<s><emph type="italics"/>Le parole &longs;econdo la interpretatione &longs;ono chiare. </s>
<s>proua con argomenti, non e&longs;&longs;er uero il detto <lb/>di Pythio. <!-- KEEP S--></s>
<s>Molto piu ragioneuole pare, ch'un'huomo con&longs;egui&longs;ca la perfettione d'una &longs;ola &longs;cien­<lb/>za, che di molte; & pure di raro &longs;i truoua, che que&longs;to auegna, cioè, che uno &longs;ia in un'arte &longs;ola <lb/>perfetto: però &longs;e non è quello che pare piu ragioneuole, che &longs;ia meno &longs;arà quello, che manco ci pa­<lb/>re, cioè, che un'huomo &longs;olo ottenga il &longs;ommo grado in molte, & diuer&longs;e cognitioni. </s>
<s>La onde &longs;i <lb/>conchiude da Vitruuio.<emph.end type="italics"/> {<emph type="italics"/>Per il che pare, che in que&longs;to Pythio errato habbia<emph.end type="italics"/>} <emph type="italics"/>cioè &longs;e Pythio <lb/>è &longs;tato eccellente Architetto, &longs;e ha detto molte belle co&longs;e, in que&longs;to però pare, che errato hab­<lb/>bia, in que&longs;to non gli do fede, e&longs;&longs;endoci il &longs;en&longs;o, & la ragione contraria. </s>
<s>Et per piu &longs;tabilire i <lb/>detti &longs;uoinon &longs;i &longs;corda Vitr.
delle co&longs;e &longs;opra po&longs;te da lui, quando, ci di<02>e, che nell'Architettura, <lb/>come in ogni altra peritia erano due co&longs;e da e<02>er con&longs;iderate, cioè la co&longs;a &longs;ignificante, & la &longs;i­<lb/>gnificata, però dice il mede&longs;imo con altre parole.<emph.end type="italics"/></s></p><p type="main">
<s>Pare adunque, che in que&longs;to Pythio habbia errato, non hauendo auuertito, che ogni <lb/>arte partitamente è di due co&longs;e compo&longs;ta, cioè dell'opera, & della ragione di quella. </s>
<s>& <lb/>di que&longs;te due una è propria di coloro, che in cia&longs;cuna co&longs;a particolare &longs;i &longs;ono e&longs;&longs;ercitati: <lb/>& que&longs;to è lo effetto dell'opera. </s>
<s>l'altra è commune con tutti i dotti, cioè la ragione. </s></p><p type="main">
<s><emph type="italics"/>Non è alcuno, che ricordando&longs;i delle co&longs;e dette di &longs;opra non intenda quello, che dice Vitru.
in <lb/>que&longs;to luogo, & &longs;e egli non haue&longs;&longs;e anchora appre&longs;o bene che co&longs;a è Fabrica, & di&longs;cor&longs;o, la <lb/>co&longs;a &longs;ignificante, & la &longs;ignificata, l'opera, & la ragione dell'opera: legga et con&longs;ideri lo infra&longs;crit­<lb/>to e&longs;&longs;empio dell'autore, che intenderà il tutto, & cono&longs;cerà il giro, & la raccommunanza delle <lb/>&longs;cienze. </s>
<s>dice adunque.<emph.end type="italics"/></s><s> Come adiuiene a i Medici, & a i Mu&longs;ici, & &longs;opra il numero&longs;o bat­<lb/>tere de pol&longs;i, & del mouimento de i piedi. </s>
<s>Ma &longs;e egli accaderà medicare una ferita, ò bi­<lb/>&longs;ognerà trarre di pericolo un'ammalato, non uerrà il Mu&longs;ico, ma &longs;arà opera del Medico <lb/>propria, così nell'organo non il Medico, ma il Mu&longs;ico canterà, accioche dal &longs;uono le orec-<pb pagenum="23"/>chie prendino la dolcezza, & dilettation &longs;ua. </s></p><p type="main">
<s><emph type="italics"/>Molti e&longs;&longs;empi ci adduce Vitr.
per li quali &longs;i comprendc, come &longs;i &longs;tia la communanza delle &longs;cien­<lb/>ze; & prima dimo&longs;tra quella tra due &longs;cienze, & poi tra molte. </s>
<s>La Mu&longs;ica, & La Medicina &longs;o­<lb/>no &longs;cienze, o Arti che uogliamo. </s>
<s>l'officio del Medico in quanto Medico, è di indurre, & di con­<lb/>&longs;eruare la &longs;anità; l'opera del Mu&longs;ico in quanto Mu&longs;ico è dilettare col &longs;uono, & col canto le orec­<lb/>chie de gli a&longs;coltanti. </s>
<s>in que&longs;ti ufficij, & effetti &longs;ono differenti, ma nelle ragioni po&longs;&longs;ono e&longs;&longs;er <lb/>conformi. </s>
<s>la conformità na&longs;ce da una regola commune, che all'uno, & all'altro puo facilmente <lb/>&longs;eruire, perche con&longs;iderando il Medico la eleuatione, & la depre&longs;&longs;ione de i pol&longs;i, la uelocità, & <lb/>tardezza, la egualità ouero la di&longs;aguaglianza, conuiene col Mu&longs;ico, ilquale nelle uoci con&longs;i­<lb/>dera le i&longs;te&longs;&longs;e co&longs;e riguardando a i piedi delle parole che &longs;ono ne i uer&longs;i, o al mouimento de i piedi, <lb/>che &longs;i fa al &longs;uono di qualche in&longs;trumento. </s>
<s>percioche lo e&longs;&longs;er tardo o ueloce, che ri&longs;ponde al tem­<lb/>po, alto o ba&longs;&longs;o, che ri&longs;ponde al tenore, & a i gradi della noce eguale o di&longs;eguale, che ri&longs;ponde <lb/>all'uno, & all'altro &longs;ono termini communi, che a molte co&longs;e di natura diuer&longs;e, &longs;i po&longs;&longs;ono appli­<lb/>care: però non è incommodo alcuno che nella ragione conuenghino molti artefici, i quali &longs;iano <lb/>nelle opere differenti; & que&longs;to na&longs;ce dal ualore de i principij, i quali e&longs;&longs;endo uniuer&longs;ali, & in­<lb/>differenti abbracciano piu co&longs;e, & non dipendeno da &longs;oggetto alcuno. </s>
<s>Eguale adunque &longs;i puo di­<lb/>re, de i tempi, de gli &longs;patij, de i mouimenti, de i corpi, de i numeri, delle uirtù, & di molte altre <lb/>co&longs;e che a diuer&longs;i Artefici con ragione diuer&longs;amente conferme a&longs;pettano. </s>
<s>dico diuer&longs;amente con­<lb/>forme; percioche il principio è uno; come &longs;e io dice<02>i. </s>
<s>Lo eguale giunto allo eguale fa il tutto <lb/>eguale, ma l'applicatione &longs;i fa in materie, & &longs;oggetti diuer&longs;i: perche il Medico applicherà il det­<lb/>to principio alle qualità, & uirtù dell'herbe, il Mu&longs;ico a i tempi delle &longs;illabe, il filo&longs;ofo naturale <lb/>a i moti, il Geometra alle grandezze, & altri ad altre co&longs;e; come anche il Medico pigliando dal <lb/>Geometra, che gli angoli facilmente &longs;i uni&longs;ceno, & la circonferenza non co&longs;i. </s>
<s>dice per que&longs;to le <lb/>ferite circolari e&longs;&longs;er difficili da &longs;aldare, & unire, & i tagli migliori; & in que&longs;to il Medico s'ac­<lb/>compagnerà col Geometra, nè però il Geometra o&longs;era metter le mani addo&longs;&longs;o d'un ferito, nè il <lb/>Medico come Medico ardirà oppor&longs;i al Geometra.<emph.end type="italics"/><!-- KEEP S--></s><s> Simigliantemente tra Mu&longs;ici, & A&longs;tro­<lb/>logi è commune il di&longs;putare del con&longs;en&longs;o delle &longs;telle, de i concenti & con&longs;onanze Dia­<lb/>te&longs;&longs;aron, & Diapente nominate, che &longs;ono ne gli a&longs;petti quadrati, o triangolari. </s></p><p type="main">
<s><emph type="italics"/>Io de&longs;idero la&longs;ciarmi intendere, percioche il Philandro benche fidelmente e&longs;ponga le parole <lb/>dello interprete di Tolomeo; ci la&longs;cia però di &longs;iderio dimaggior intelligenza. </s>
<s>Dico adunque, che <lb/>uolendo gli A&longs;trologi dimo&longs;trare come i corpi cele&longs;ti concordano a mandar qua giu nel centro i <lb/>diuini loro influ<02>i, hanno pigliato alcune figure di Geometria tra &longs;e proportionate, & ri&longs;ponden­<lb/>ti. </s>
<s>La prima è quella, che ha tre anguli, & tre lati eguali, la &longs;econda che ne ha quattro, la ter­<lb/>za, che ne ha &longs;gi. </s>
<s>hanno poi mi&longs;urato gli ang oli di quelle figure, & ritrouato tra quelli e&longs;&longs;ere pro­<lb/>portione, & corri&longs;pondenza mirabile; & per quelle hanno giudi cato la conformità, & con&longs;o­<lb/>nanza, che hanno le &longs;telle nel mandar qua giu le loro diuine uirt uti, & per maggior chiarezza, <lb/>io dico, che gli angoli &longs;i mi&longs;urano dalla circonferenza compre&longs;a, che tengono le linee, che gli <lb/>fanno. </s>
<s>Dico dapoi, che gli antichi chiamauano A<02>e ogni co&longs;a intiera atta ad e<02>er mi&longs;urata, o <lb/>partita, & la diuideuano in dodici parti. </s>
<s>L'una era detta onza; le due, &longs;e&longs;tante: perche entra­<lb/>uano &longs;ei fiate nel tutto, che era dodici. </s>
<s>Le tre, quadrante, perche entrauano quattro fiate nel­<lb/>l'A<02>e. <!-- KEEP S--></s>
<s>Le quattro triente, perche u'intrauano tre fiate. </s>
<s>& non denominauano altrimenti le cin­<lb/>que, che Quincunce, perche non entrauano egualmente a far il tutto come le due, le tre, & le <lb/>quattro. </s>
<s>Ma le &longs;ei erano dette &longs;emi<02>es, qua&longs;i la metà dell'A<02>e. <!-- REMOVE S-->le &longs;ette, &longs;ettunce, per lai&longs;te<02>a <lb/>ragione delle cinque. </s>
<s>le otto, be<02>em, perche alli &longs;ei ne aggiugneno duc. </s>
<s>Le noue dodrante, le dieci <lb/>De&longs;tante, & le undeci deunce, perche in quelle non era moltiplicatione, nè aggiunta, che egual­<lb/>mente entra<02>e a finire le dodici. </s>
<s>Stando le co&longs;e nel &longs;opradetto modo, io dico che lo angolo dritto <lb/>del quadrato giu&longs;to, & intiero occuperà dodici parti, l'angolo del triangulo, che èmaggiore, & <lb/>piu largo ne abbraccera &longs;edici, l'angolo della figura di &longs;ei, come piu &longs;tretto, ne tenirà otto. </s>
<s>lo an-<emph.end type="italics"/><pb pagenum="24"/><emph type="italics"/>gulo del quadrato per e&longs;&longs;er giu&longs;to, & intiero &longs;arà detto A&longs;&longs;e. <!-- KEEP S--></s>
<s>quello del triangulo per e&longs;&longs;er mag­<lb/>giore un terzo, contenerà il dritto intiero, & &longs;arà di piu uno quadrante, che è un terzo, & qui <lb/>&longs;arà la proportione detta &longs;e&longs;quiterza. </s>
<s>L'angulo della figura e&longs;&longs;angulare è minor la metà dell'an­<lb/>gulo della triangulare, & occupa otto parti della circonferenza, che è di mi&longs;ura be&longs;&longs;ule, cioè <lb/>d'otto parti; & però tra que&longs;ti anguli è la proportione Doppia nominata. </s>
<s>come tra lo angulo del <lb/>quadrato, & l'angulo dell'e&longs;&longs;angulo è proportione &longs;e&longs;quialtera, cioè che nel continente è una<emph.end type="italics"/><lb/><figure id="fig2"/><lb/><emph type="italics"/>uolta è meza il contenuto, come otto, cioè il be&longs;­<lb/>&longs;ale è nel dodici, cioè nell'A&longs;&longs;e una fiata, & uno <lb/>triente, che è la metà di otto. </s>
<s>& que&longs;to &longs;ia detto <lb/>per quello, che apartiene all'A&longs;trologia. </s>
<s>Quello <lb/>ueramente, che è della Mu&longs;ica, è che il Mu&longs;ico <lb/>&longs;imilmente con&longs;idera la con&longs;onanza, & quella <lb/>non ne gli a&longs;petti, ma nelle uoci, & ne i &longs;uoni, & <lb/>non hanno uoluto u&longs;are i nomi de gli Arithmeti­<lb/>ci, ma in uece di &longs;e&longs;quiterza hanno detto quarta, <lb/>in uece di &longs;e&longs;quialtera hanno detto quinta, & per <lb/>doppia hanno pigliato ottaua, che dette con no­<lb/>mi Greci &longs;uonano Diate&longs;&longs;aron, Diapente, Diapa­<lb/>&longs;on; come &longs;i farà manife&longs;to nel quinto libro. </s>
<s>Egli <lb/>bi&longs;ogna adunque &longs;e le uoci deono e&longs;&longs;er con&longs;onan­<lb/>ti, cioè uenire alle orecchie in modo diletteuole <lb/>unite & me&longs;colate; bi&longs;ogna dico, che egli ci &longs;ia <lb/>tra le uoci graui, & acute proportionata di&longs;tan­<lb/>za. </s>
<s>Il mede&longs;imo è bi&longs;ogno, che &longs;ia nel con&longs;en­<lb/>timento delle &longs;telle (che Vitr.
chiama Sympathia) <lb/>accioche mandino qua giù, unitamente con for­<lb/>za, & uirtu gl'influ&longs;&longs;i loro. </s>
<s>le regole adunque <lb/>dell'Arithmetica &longs;ono quelle, che fanno la Mu­<lb/>&longs;ica unita con l'A&longs;trologia. </s>
<s>perche la proportio­<lb/>ne è commune, & uniuer&longs;ale in tutte le co&longs;e atte <lb/>ad e&longs;&longs;er mi&longs;urate, pe&longs;ate, & numerate.<emph.end type="italics"/></s></p><p type="main">
<s>Et con il Geometra della pro&longs;pettiua, & <lb/>del uedere, & co&longs;i in tutte le altre dottrine <lb/>molte co&longs;e, ò tutte &longs;ono communi da e&longs;&longs;er <lb/>di&longs;putate &longs;olamente. </s>
<s>Ma gli incominciamen­<lb/>ti delle opere, che con le mani, & col trat­<lb/>tamento & e&longs;&longs;ercitio alla &longs;cieltezza, & bellez­<lb/>za &longs;i conduceno, à quelli &longs;olamente a&longs;petta­<lb/>no, i quali in una Arte propriamente all'ope­<lb/>rare &longs;ono ordinati. </s></p><p type="main">
<s><emph type="italics"/>Oltra il commertio (dirò co&longs;i) che tiene l'A­<lb/>&longs;trologia con la Mu&longs;ica per le &longs;opradette ragioni, <lb/>&longs;i uede anche la raccommunanza che ella ha con la Geometria per la pro&longs;pettiua, che da Greci <lb/>opticos logos, cioè ragione del uedere, è nominata. </s>
<s>& qui Vitru.
dimo&longs;tra la communanza tra <lb/>piu di due &longs;cienze, & uuole dire, che oltra quello che ha da fare l'A&longs;trologia con la Mu&longs;ica, el­<lb/>la anche tiene compagnia con la Geometria, perche dal Geometra ella piglia le ragioni della <lb/>pro&longs;pettiua ri&longs;petto a gli a&longs;petti, & alle di&longs;tanze, d'onde na&longs;ce il ritorno, lo &longs;tato, & il pro­<lb/>gre&longs;&longs;o de pianeti ne i loro mouimenti. </s>
<s>prende il &longs;uo &longs;oggetto la pro&longs;pettiua da due &longs;cienze, dalla<emph.end type="italics"/><pb pagenum="25"/><emph type="italics"/>Geometria la linea: dalla naturale la ueduta: & ne fa una &longs;ola, che io chiamerei Raggio. </s>
<s>ma <lb/>que&longs;te co&longs;e altroue ci &longs;aranno manife&longs;te. </s>
<s>Stando adunque quanto &longs;i è detto, & la raccommu­<lb/>nanza delle &longs;cienze, Vitr.
conchiudendo ci pre&longs;criue il modo, & il termine del &longs;apere, & dice.<emph.end type="italics"/></s></p><p type="main">
<s>Et però a&longs;&longs;ai parerà hauer fatto colui, che di cia&longs;cuna dottrina hauerà mediocremente <lb/>cono&longs;ciute le parti, & le ragioni di quelle, & quelle che nece&longs;&longs;arie &longs;ono all'Architettura: <lb/>accioche egli non &longs;ia la&longs;ciato, & &longs;i perda & manchi, quando di co&longs;e tali, & di tal'Arti bi­<lb/>&longs;ognerà far giudicio, & proua. </s></p><p type="main">
<s><emph type="italics"/>Perche non deue, ne puo lo Architetto e&longs;&longs;ere perito nella Grammatica come Ari&longs;tarcho, & <lb/>il re&longs;to, che Vitr.
&longs;i ricorda d'hauer detto di &longs;opra, doue di&longs;&longs;e<emph.end type="italics"/> {<emph type="italics"/>non deue.<emph.end type="italics"/>} <emph type="italics"/>perc oche &longs;e bene <lb/>lo Architetto pote&longs;&longs;e e&longs;&longs;er perfetto in tante arti, non però per quella perfettione &longs;i douerrebbe <lb/>propriamente chiamare Architetto, perche u&longs;cirebbe &longs;uori de i termini dell'Architettura; & <lb/>per que&longs;to molto piu forte &longs;i fa l'argomento di Vitr.
contra Pythio, perche prima s'è dimo&longs;trato, <lb/>che la &longs;ua oppinione per la i&longs;perienza non è uera, poi per ragione non è po&longs;&longs;ibile, & in fine &longs;e be­<lb/>ne fu<02>e po&longs;&longs;ibile non è conueniente. </s>
<s>Simili argomenti u&longs;a Platone, Ari&longs;totele & Galeno, ragio­<lb/>nando quelli dell'Oratore, & que&longs;to del Medico, &longs;econdo il propo&longs;ito loro: & però quiui dirò <lb/>co&longs;a, che a me pare degna di con&longs;ideratione, per fare auuertiti quelli, che &longs;i danno ad alcuna &longs;cien <lb/>za; che chi &longs;ape&longs;&longs;e bene quali fu&longs;&longs;ero i termini di cia&longs;cuna &longs;cienza, & cono&longs;cer pote&longs;&longs;e quando <lb/>altri ne u&longs;ci&longs;&longs;ero, &longs;enza dubbio egli cono&longs;cerebbe, & ritrouerebbe tante, & co&longs;i belle co&longs;e in <lb/>cia&longs;cuna, che egli ci darebbe da merauigliare; percioche chi ha bene le proprietà, & le di&longs;tin­<lb/>tioni delle co&longs;e, puote anche & le raccommunanze, & le &longs;imiglianze cono&longs;cere.<emph.end type="italics"/></s></p><p type="main">
<s>Ma quelli, a i quali la natura benigna tanta di &longs;olertia, & uiuezza d'ingegno, & di me­<lb/>moria hauerà conceduto, che po&longs;sino in&longs;ieme, & la Geometria, & l'A&longs;trologia, & la Mu= <lb/>&longs;ica, & le altre di&longs;cipline perfettamente cono&longs;cere, certamente pa&longs;&longs;ano i termini, & gli of­<lb/>&longs;icij dello Architetto, & &longs;i fanno Mathematici, doue facilmente po&longs;&longs;ono di&longs;putare contra <lb/>quelle di&longs;cipline, perche di piu arme di &longs;cienze armati &longs;ono. </s></p><p type="main">
<s><emph type="italics"/>Egli &longs;i &longs;uole di&longs;putare de i principij d'una &longs;cienza, & &longs;i &longs;uole anche di&longs;putare delle co&longs;e con­<lb/>tenute &longs;otto que' principij contra chiunque le nega&longs;&longs;e. </s>
<s>&longs;e egli &longs;i di&longs;puta de i principij, bi&longs;ogna u&longs;ci­<lb/>re de i termini di quella &longs;cienza, & u&longs;are una &longs;cienza commune, & uniuer&longs;ale: perche &longs;e le <lb/>proue na&longs;ceno da i principij, come &longs;i puo contra chi gli niega di&longs;putare &longs;tando ne i termini di quel­<lb/>la &longs;cienza, non e&longs;&longs;endo co&longs;a inanzi i principij? </s>
<s>& però dice Vitr.
che chi è armato di piu armi di <lb/>&longs;cienze puo di&longs;putare contra le &longs;cienze, cioè contra coloro che di quelle ne face&longs;&longs;ero profe&longs;&longs;ione. <lb/></s>
<s>& per que&longs;to Ari&longs;totele non come Filo&longs;ofo naturale di&longs;puta contra Parmenide, & Meli<02>o, i <lb/>quali negauano i principij della Filo&longs;ofia naturale: ma come Dialettico, & &longs;opra naturale. </s>
<s>Ma <lb/>&longs;e egli &longs;i di&longs;puta delle co&longs;e contenute &longs;otto i principij di alcuna &longs;cienza, puo bene alcuno non u&longs;cen­<lb/>do de i termini di quella &longs;cienza di&longs;putare contra chi ragiona<02>e male delle co&longs;e à quella pertinen­<lb/>ti, perche egli &longs;i &longs;eruirebbe de i principij di quella &longs;cienza; & però quelli che &longs;ono in molte &longs;cien­<lb/>ze periti, &longs;empre armati &longs;ono, & all'offe&longs;a, & alla dife&longs;a, percioche u&longs;cendo o &longs;tando nella <lb/>propo&longs;ta qui&longs;tione, &longs;i po<02>ono &longs;aluare con auantagio.<emph.end type="italics"/></s></p><p type="main">
<s>Ma rare uolte &longs;i truouano &longs;imili huomini, come fu Ari&longs;tarcho Samio, Philolao, & Ar­<lb/>chita Tarentini, Apollonio Pergeo, Erato&longs;thene Cireneo, Archimede, & Scopinas Sira­<lb/>cu&longs;ani, i quali per uia di numeri, & di ragioni naturali molte co&longs;e ritrouate circa gli in­<lb/>&longs;trumenti, & le regole & gli &longs;tili, a i po&longs;teri degnamente la&longs;ciorno. </s>
<s>Quando adunque <lb/>&longs;ia, che dalla &longs;olertia naturale non a tutte le genti per tutto, ma a pochi huomini conce­<lb/>duto &longs;ia l'hauere co&longs;i buoni ingegni, & l'ufficio dello Architetto &longs;ia e&longs;&longs;ere in tutti gli am­<lb/>mae&longs;tramenti e&longs;&longs;ercitato, & la ragione della co&longs;a permetta, che non &longs;econdo la nece&longs;sità <lb/>le &longs;omme, ma le mediocri cognitioni delle di&longs;cipline egli habbia: io ò Ce&longs;are, & a te, & a <lb/>quelli, che leggeranno i miei uolumi, dimando, che &longs;e alcuna co&longs;a poco &longs;econdo le re­<lb/>gole di Grammatica &longs;arà da me e&longs;plicata, egli mi &longs;ia perdonato. </s>
<s>perche non come &longs;om­<pb pagenum="26"/>mo Filo&longs;ofo, nè cloquente Oratore, nè Grammatico nelle piu eccellenti ragioni del­<lb/>l'Arte e&longs;&longs;ercitato, ma come Architetto di que&longs;ta maniera di lettere ammae&longs;trato mi &longs;ono <lb/>sforzato di &longs;criuere que&longs;te co&longs;e. </s></p><p type="main">
<s><emph type="italics"/>Conchiude Vitr.
con mirabile circondottione, & abbracciamento le dette co&longs;e, tenendo lun­<lb/>gamente &longs;o&longs;pe&longs;o lo intendimento prima, che uenghi al fine, ilche èidea, & forma della grandez­<lb/>za del parlare, che &longs;i &longs;ostenta con alcune particelle la &longs;ententia, come &longs;ono, benche, non &longs;ola­<lb/>mente, quantunqae, auegna Dio, & altre &longs;imiglianti, che richiedeno altre ri&longs;pondenze. </s>
<s>Ecco <lb/>quanto è ripieno que&longs;to parlare di &longs;entimenti, & d'Argomenti, & prima dalla natura delle co­<lb/>fe, quando dice<emph.end type="italics"/> {<emph type="italics"/>ma a pochi huomini conceduto &longs;ia.<emph.end type="italics"/>} <emph type="italics"/>Da poi dall'Arte, quando dice<emph.end type="italics"/> {<emph type="italics"/>& <lb/>l'ufficio dello Architetto.<emph.end type="italics"/>} <emph type="italics"/>Indi dalle co&longs;e i&longs;te<02>e quando dice.<emph.end type="italics"/> {<emph type="italics"/>Et la ragione della co&longs;a per­<lb/>metta.<emph.end type="italics"/>} <emph type="italics"/>& finalmente chiude il &longs;entimento.<emph.end type="italics"/> {<emph type="italics"/>10 che o Ce&longs;are.<emph.end type="italics"/>} <emph type="italics"/>Propone poi di che egli <lb/>habbia a trattare dicendo.<emph.end type="italics"/></s><s> Quanto ueramente ricerca il potere di que&longs;t'Arte, & le ra­<lb/>gioni, che in quello po&longs;te &longs;ono, prometto (come io &longs;pero) in que&longs;ti libri non &longs;olo à <lb/>gli edificatori, ma à tutti i &longs;aui &longs;enza dubio con grandi&longs;sima autorità poter pre&longs;tare. </s></p><p type="main">
<s><emph type="italics"/>Pareua la prome<02>a di Vitr.
grande, & gonfia, però con prudenza egli ui po&longs;e quelle paro­<lb/>le<emph.end type="italics"/> {<emph type="italics"/>come io &longs;pero<emph.end type="italics"/>} <emph type="italics"/>per dimo&longs;trare mode&longs;tia. </s>
<s>dice adunque che egli promette pre&longs;tare quanto por <lb/>ta la facoltà dell'Architettura, non &longs;olamente a gli edificanti; ricordando&longs;i di hauer detto, che <lb/>l'Architettura na&longs;ce da Fabrica, ma a tutti i periti le ragioni dell'Arte promette, lequali nel <lb/>di&longs;cor&longs;o, nella co&longs;a &longs;ignificante, & nella proua della Fabrica &longs;ono ripo&longs;te. </s>
<s>& però &longs;enza dub­<lb/>bio con grandi&longs;&longs;ima autorità o<02>erua le prome<02>e, percioche come &longs;auio Architetto fonderà l'Ar­<lb/>te &longs;ua &longs;opra ueri, efficaci, utili, & conformi precetti. </s>
<s>Et tanto detto &longs;ia &longs;opra il primo capo.<emph.end type="italics"/></s></p><p type="head">
<s><emph type="italics"/>Di quali co&longs;e è composta l'Architettura. <!-- KEEP S--></s>
<s><lb/>Cap.
II.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s>L'ARCHITETTVRA con&longs;i&longs;te in Ordine, in Di&longs;po&longs;itione, in bel Numero, in <lb/>Compartimento, in Decoro, & in Di&longs;tributione. </s></p><p type="main">
<s><emph type="italics"/>Chiunque inten derà bene il pre&longs;ente capo, con uerità potrà dire &longs;apere, & in­<lb/>tendere in che con&longs;i&longs;ta la forza dell'Architettura. <!-- KEEP S--></s>
<s>percioche le &longs;ei co&longs;e, nelle quali <lb/>afferma Vitr.
che con&longs;i&longs;te l'Architettura, &longs;ono quelle, che appartengono alla forza, & natura di <lb/>e<02>a; quelle delle quali è l'habito nella mente dello Architetto; & quelle finalmente, &longs;enza le <lb/>quali niuna opera puo hauer forma, o perfettione. </s>
<s>Difficil co&longs;a è dimo&longs;trare la diuer&longs;ità che è <lb/>tra le predette co&longs;e: & bella co&longs;a è la&longs;ciar&longs;i intendere, & non fuggire. </s>
<s>Percioche a molti può pa­<lb/>rere, che Vitru.
nel diffinire le dette &longs;ei co&longs;e, dica il mede&longs;imo in piu modi: Il che non è, com'io <lb/>mi sforzerò di dimo&longs;trare chiaramente. </s>
<s>Dico adunque per intelligentia di quello, che &longs;i deue <lb/>e&longs;ponere, che alcune co&longs;e inquanto all'e&longs;&longs;er loro non &longs;i riferi&longs;cono ad altre, ma libere, & a&longs;&longs;olute <lb/>&longs;ono. </s>
<s>Altre hanno rilatione, & ri&longs;petto, & &longs;enza non &longs;tarebbeno. </s>
<s>l'huomo, la pietra, la pianta, <lb/>& finalmente ogni &longs;o&longs;tanza non hanno riguardo, & comparatione ad altra co&longs;a, perche da &longs;e <lb/>&longs;tanno: ma l'e&longs;&longs;er padre, patrone, mae&longs;tro, amico, fratello, non puo &longs;tare da &longs;e, ma di nece&longs;&longs;ità ad <lb/>altro &longs;i riferi&longs;ce. </s>
<s>perche'l padre ha rilatione al figliuolo, il patrone al&longs;eruo, il mae&longs;tro al di&longs;ci­<lb/>pulo, l'amico all'amico, il fratello, al fratello. </s>
<s>&longs;imilmente il doppio, il maggiore, il minore & <lb/>l'eguale &longs;ono co&longs;e, che &longs;ole non po&longs;&longs;ono nè e&longs;&longs;er inte&longs;e. </s>
<s>Oltra la predetta di&longs;tintione egli <lb/>è degno di auuertimento, che delle co&longs;e, le quali di loro natura &longs;i riferi&longs;cono ad altre, &longs;ono alcu­<lb/>ni termini: & que&longs;ti &longs;ono il fondamento & principio dal quale s'incomincia la relatione, & il fine <lb/>nel quale ella termina: come la ragione di e<02>er padre comincia da chi genera, & termina in chi <lb/>è generato. </s>
<s>Lo e&longs;&longs;er mae&longs;tro &longs;i fonda in colui, che in&longs;egna, & ha il &longs;uo termine in colui, che <lb/>impara. </s>
<s>lo e&longs;&longs;er maggiore comincia in quella co&longs;a, che eccede, & fini&longs;ce nella co&longs;a ecce&longs;&longs;a. </s>
<s>In<emph.end type="italics"/><pb pagenum="27"/><emph type="italics"/>que&longs;te comparationi di co&longs;e &longs;pe<02>o adiuiene egualità, & parità, cioè che tanto nel fondamento, <lb/>quanto nel termine &longs;i troua ragione eguale, come dicendo, amico, o fratello: percioche l'ami­<lb/>co è pari all'amico, il fratello al fratello, nè &longs;i troua ragione maggiore nell'uno che nell'al­<lb/>tro termine. </s>
<s>&longs;pe&longs;&longs;o anche &longs;i uede nelle co&longs;e riferite di&longs;parità, & di&longs;aguaglianza, come dire pa­<lb/>trone & &longs;eruo, padre & figliuolo, mae&longs;tro & di&longs;cipulo, perche egli importa che &longs;i cominci <lb/>piu da uno, che dall'altro; & altra ragione è nell'uno termine, & altra nell'altro. </s>
<s>Que&longs;te di­<lb/>&longs;tintioni hanno gran forza a fare, che bene s'intendino le &longs;ei predette co&longs;e. </s>
<s>percioche tutte &longs;ono <lb/>comparationi, & relationi, come &longs;i uederà qui &longs;otto. </s>
<s>Hauendo adunque Vitru.
formato lo Ar­<lb/>chitetto, cioè fattolo degno agente di tanti artificij; tratta della forma; percioche e&longs;&longs;endo la ma­<lb/>teria imperfetta niuna co&longs;a da e&longs;&longs;a &longs;i trarrebbe &longs;enza la perfettione, & la forma; la quale con­<lb/>&longs;i&longs;te nelle &longs;ei predette co&longs;e. </s>
<s>Due fini &longs;i truouano delle opere, uno è il compimento, & finimento <lb/>del lauoro, come, quando &longs;i dice, l'opera è finita, & compita: l'altro è il fine della intentione; <lb/>che è, quando fornita l'opera &longs;i dice, io ho l'intento mio; come fornita la ca&longs;a io &longs;ono dife&longs;o da i <lb/>uenti, & dal &longs;ole, & &longs;icuro de i contrarij. </s>
<s>Per uenire adunque al fine dell'opera, egli è nece&longs;­<lb/>&longs;ario (&longs;e con arte ci uogliamo gouernare) procedere ordinatamente; & que&longs;to in due modi; pri­<lb/>ma quanto alla quantità, & grandezza delle parti, poi quanto alla &longs;o&longs;tanza con qualità di e&longs;&longs;e <lb/>parti. </s>
<s>nel primo è l'ordine, nel &longs;econdo è la di&longs;po&longs;itione. </s>
<s>& perche la qualità &longs;i può con&longs;iderare <lb/>in &longs;e &longs;te&longs;&longs;a, & comparandola alla forma, che all'a&longs;petto, & à gli occhi &longs;i riferi&longs;ce; però bi&longs;ogna <lb/>che nell'opera &longs;ia una certa qualità, che contenti, & diletti gli occhi de' riguardanti; & que­<lb/>&longs;ta è detta da Vitr. <!-- KEEP S--></s>
<s>Eurithmia, della quale &longs;i dirà poi. </s>
<s>Et perche non &longs;i propone l'opera infinita, <lb/>ma terminata in grandezza sì del tutto, come delle parti; però bi&longs;ogna, che oltra l'ordine ci &longs;ia <lb/>una corri&longs;pondenza delle mi&longs;ure tra &longs;e, & al tutto comparate. </s>
<s>che propo&longs;to che ci &longs;ia la mi&longs;ura <lb/>d'una &longs;ola parte, &longs;appiamo le mi&longs;ure delle altre; & propo&longs;taci la grandezza del tutto &longs;appiamo <lb/>la grandezza di cia&longs;cuna parte. </s>
<s>& que&longs;ta corri&longs;pondenza è nominata Simmetria, qua&longs;i concor­<lb/>&longs;o, & corri&longs;pondenza di mi&longs;ure. </s>
<s>Noi la chiamamo compartimento, i latini &longs;i &longs;erueno del nome <lb/>Greco. <!-- KEEP S--></s>
<s>Ma perche l'opere che &longs;i fanno hauer deono autorità, & riputatione, & e&longs;&longs;er anche <lb/>all'u&longs;o de' mortali accommodate, & con prudenza di&longs;pen&longs;ate; però uolendo noi ottennere le <lb/>predette co&longs;e, fa bi&longs;ogno &longs;eruar quello, che &longs;i conuiene, che Decoro &longs;i chiama, & di&longs;pen&longs;are il <lb/>tutto, il che è po&longs;to nella di&longs;tributione, dellequali co&longs;e &longs;i dirà poi partitamente, ponendo prima <lb/>&longs;otto un'a&longs;petto la &longs;opra detta &longs;ufficienza delle &longs;ei co&longs;e.<emph.end type="italics"/></s></p><figure/><p type="main">
<s><emph type="italics"/>Noi di&longs;tintamente ragioneremo di cia&longs;cuna parte, & prima dell'ordine.<emph.end type="italics"/></s></p><p type="main">
<s>Ordine è moderata attitudine de i membri dell'opera, partitamente, & ri&longs;petto a tut <lb/>ta la proportione al compartimento, ilquale &longs;i compone di quantità, </s></p><p type="main">
<s><emph type="italics"/>Perche in molte co&longs;e ritrouamo ordine, di&longs;po&longs;itione, decoro, di&longs;tributione, & le altre par <lb/>ti &longs;opradette, però diremo che que&longs;ti termini &longs;ono generali & communi: & come generali, & <lb/>communi hanno le loro diffinitioni nella &longs;cienza generale, & commune, che è la prima detta <lb/>Metaphy&longs;ica. </s>
<s>Ma quando alcuno artefice uuole applicare alcuna di quelle parti alla propria co <lb/>gnitione, re&longs;trigne quella uniuer&longs;alità al particolare, & proprio dell'arte &longs;ua. </s>
<s>come &longs;i uede al<emph.end type="italics"/><pb pagenum="28"/><emph type="italics"/>pre&longs;ente, nelle dette diffinitioni, & prima nella diffinitione dell'ordine. </s>
<s>Certo è che l'ordine in <lb/>&longs;e, & &longs;econdo la natura &longs;ua nel generale, è quando una co&longs;a di &longs;ua ragione pone un'e&longs;&longs;er dopo <lb/>l'altro: & però ne &longs;egue, che doue è ordine &longs;ia prima, & poi, & que&longs;ti &longs;ono termini communi, <lb/>& che abbracciano molto. </s>
<s>Ma lo Architetto gli ri&longs;trigne a &longs;e, benche con piu larghezza, che <lb/>ogni altro Arte&longs;ice: percioche la &longs;cientia & cognitione dello Architetto è piu ampia che quella <lb/>d'un altro. </s>
<s>Dice adunque che l'ordine è quando in una opera di &longs;ua ragione l'e&longs;&longs;er d'una quantità <lb/>è po&longs;to prima, & l'altro poi: & in que&longs;to modo la diffinitione dell'ordine è fatta propria per <lb/>l'applicatione de i termini communi & uniuer&longs;ali, ne i quali &longs;i può dire, che po&longs;ta &longs;ia la racco­<lb/>munanza delle &longs;cienze. </s>
<s>Perche adunque &longs;i &longs;tia ne i no&longs;tri primi fondamenti, io dico che l'ordi­<lb/>ne è tra quelle co&longs;e, che &longs;i riferi&longs;cono ad altre, & che po&longs;te &longs;ono in comparatione, & ri&longs;petto. </s>
<s><lb/>Dico di piu che la comparatione è di quelle, che &longs;ono nella di&longs;aguaglianza. </s>
<s>chiaro è che nell'or <lb/>dine &longs;ia ri&longs;petto, perche nell'ordine s'mtende, che alcuna co&longs;a preceda, & altra &longs;ucceda. </s>
<s>euui <lb/>anche di&longs;aguaglianza perche &longs;e tutte le co&longs;e fu&longs;&longs;ero eguali, già non &longs;arebbeno tutte, come dice <lb/>&longs;anto Ago&longs;tino, perche non ui &longs;arebbono quelli che haue&longs;&longs;ero a precedere; & però l'ordine è <lb/>di&longs;pen&longs;atione delle co&longs;e pari, & di&longs;pari, eguali, & di&longs;eguali. </s>
<s>L'ordine dello Architetto è d'in­<lb/>torno la quantità, & nella quantità &longs;i troua l'ordine, che riguarda al tutto, & l'ordine, che <lb/>riguar da alle parti, non che l'un ordine in effetto &longs;i ritruoui &longs;enza l'altro: ma in modo, che lo <lb/>intelletto puo fare la di&longs;tintione, & intendere cia&longs;cuno &longs;eparatamente: & però dice Vitruuio <lb/>quanto all'ordine, che è tra le parti, che l'ordine è moderata attitudine de i membri dell'ope <lb/>ra partitamente, & que&longs;ta attitudine, che egli chiama commodità, con&longs;i&longs;te nel regolare, & <lb/>temprare una parte cerca la &longs;ua grandezza in modo, che &longs;ia mi&longs;ura delle altre, & con <lb/>quelle conuegna, & ri&longs;ponda; & in que&longs;ta regolatione la parte, che come mi&longs;ura &longs;i piglia, <lb/>deue precedere alle altre. </s>
<s>nell'ordine adunque applicato all'Architettura, &longs;i truoua il prima, <lb/>& il poi. </s>
<s>& que&longs;te &longs;ono differenze oppo&longs;te, & di&longs;eguali, & però &longs;i deono ridurre &longs;otto un <lb/>termine commune; & que&longs;ta è la regola. </s>
<s>ma piu chiaramente per lo e&longs;&longs;empio; & que&longs;to <lb/>quando io hauerò dichiarito l'ordine delle parti comparate al tutto. </s>
<s>Dice inquanto a que&longs;to <lb/>ordine. </s>
<s>Vitr.<emph.end type="italics"/> {<emph type="italics"/>Et un ri&longs;petto di tutta la Proportione al compartimento.<emph.end type="italics"/>} <emph type="italics"/>Proportione è <lb/>comparatione di co&longs;e tra &longs;e, che &longs;ono d'una i&longs;te&longs;&longs;a natura. </s>
<s>Que&longs;ta &longs;i fa nell'Architettura, <lb/>pigliando una certa, & determinata quantità, la quale &longs;ia regolatrice di tutte le altre gran <lb/>dezze, & mi&longs;ure delle parti, & membri dell'opere. </s>
<s>Lo e&longs;&longs;empio è que&longs;to. </s>
<s>Vitr.
nel terzo <lb/>libro al &longs;econdo Capo uolendo render conto della bella maniera de i tempij, nella quale è lo <lb/>&longs;patio conueniente, & bello tra una colonna, & l'altra, dice che egli bi&longs;ogna, che lo &longs;patio <lb/>& il uano o lume &longs;ia della gro&longs;&longs;ezza di due colonne, & un quarto piu. </s>
<s>& con que&longs;to dice. <lb/></s>
<s>&longs;e la facciata del luogo, doue &longs;i ha da fabricare &longs;arà di quattro colonne, bi&longs;ognerà compartirla <lb/>in undici parti & meza, la&longs;ciando le &longs;pire: & di quelle undici, una deue e&longs;&longs;er il modulo; che co&longs;i <lb/>egli chiama quella mi&longs;ura, che regola tutte le grandezze dell'opere. </s>
<s>Dona alle gro&longs;&longs;ezze delle co <lb/>lonne un modulo, a i uani due moduli, & un quarto, al uano di mezo tre moduli. </s>
<s>& in que&longs;to modo <lb/>ordina tutta la facciata; come chiaramente &longs;i uede che quattro moduli &longs;i danno a quattro colon­<lb/>ne, tre allo &longs;patio di mezo, che &longs;ono &longs;ette, quattro et mezo a gli &longs;patij, & uani da i lati, che &longs;ono <lb/>undici & mezo. </s>
<s>Et la ragione i&longs;te&longs;&longs;a è lodata &longs;e la fronte &longs;arà di &longs;ei colonne, perche quella &longs;arà <lb/>partita in parti diciotto, una di quelle &longs;arà il modulo, la gro&longs;&longs;ezza delle colonne &longs;arà d'un modulo, <lb/>e&longs;&longs;endo adunque &longs;ei colonne, anderanno &longs;eimoduli nelle loro gro&longs;&longs;ezze, nel uano di mezo tre mo <lb/>duli, che con i predetti &longs;ei fanno noue. </s>
<s>ma ne i uani dall'una & l'altra parte, che &longs;ono in tut­<lb/>to quattro, andandoui due moduli, & un quarto per uano, u'ander anno altri noue moduli, i qua <lb/>li raccolti con i noue di prima faranno la &longs;omma di diciotto. </s>
<s>& co&longs;i ua nella facciata di <lb/>otto colonne che in uentiquattro parti, & meza partita, fa il modulo d'una di quelle, col <lb/>quale &longs;i mi&longs;iura come di &longs;opra. </s>
<s>Nelle machine anchora, & nelle altre opere &longs;i uede o&longs;&longs;eruato <lb/>quanto s'è detto. </s>
<s>Ordine adunque è comparatione di di&longs;aguaglianza, che comincia in una pri-<emph.end type="italics"/><pb pagenum="29"/><emph type="italics"/>ma pre&longs;a quantità, come regola di tutte le parti, & a quelle, & al tutto riferita: &longs;acendo <lb/>una conuenicnza di mi&longs;ure nominata &longs;immetria.<emph.end type="italics"/></s><s> Que&longs;ta &longs;i compone di quantità, laquale è <lb/>conueniente effetto de i moduli dalla pre&longs;a dell'opera, & di tutte le parti de i membri. </s></p><p type="main">
<s><emph type="italics"/>La &longs;immetria, & compartimento &longs;i compone di molte quantità ad uno i&longs;te&longs;&longs;o e&longs;fetto: la qual <lb/>quantità è diffinita da Vitr.
& di noi con l'e&longs;&longs;empio dichiarata. </s>
<s>nel qual e&longs;&longs;empio prima &longs;i pi­<lb/>glia il piano intiero della fronte, & quello in parte &longs;i diuide, & d'una di quelle parti &longs;e ne &longs;a <lb/>la regoletta, & il modulo, ilquale tempera, & modera i membri, & le parti dell'opera fa­<lb/>cendo nel tutto un conueniente effetto.<emph.end type="italics"/></s><s> La di&longs;po&longs;itione è atta collocatione delle co&longs;e, & <lb/>nel componimento &longs;cielto effetto con qualità. <emph type="italics"/>La di&longs;po&longs;itione compara le parti dell'ope­<lb/>re non come grandezze, & quantità, ma come parti da e&longs;&longs;er collocate nel proprio luogo. </s>
<s><lb/>percioche non è a ba&longs;tanza ritrouare una commune mi&longs;ura, che &longs;ia regola della grandezza <lb/>delle parti, ma bi&longs;ogna anche ritrouare un'ordine di quella co&longs;a, che ha parti, non compa­<lb/>rando le parti come grandezze, & quantità, ma comparandole come co&longs;e da e&longs;&longs;er po&longs;te al &longs;uo <lb/>luogo. </s>
<s>Due maniere ci fa la di&longs;po&longs;itione, l'una dal ca&longs;o procede, o dalla nece<02>ità, & l'altra <lb/>dall'artificio, o dal &longs;apere. </s>
<s>Vitr.
ragiona di pre&longs;ente di que&longs;ta ultima, ma nel &longs;e&longs;to libro ra­<lb/>giona della prima, & molto bene &longs;i la&longs;cia intendere al &longs;econdo Capo del detto libro, cerca le <lb/>predette co&longs;e dicendo in quel luogo.<emph.end type="italics"/></s><s> Niuna cura maggiore hauer deue lo Architetto, che <lb/>fare, che gli edificij habbiano per le proportioni della rata parte i componimenti delle lo <lb/>ro ragioni. </s>
<s>quando adunque &longs;arà fornita la ragione delle mi&longs;ure, & con di&longs;cor&longs;o e&longs;pli­<lb/>cate le proportioni. <emph type="italics"/>(Come ricerca l'ordine, & la &longs;immetria,)<emph.end type="italics"/> all'hora è proprio an­<lb/>che dell'acutezza dello ingegno prouedere alla natura del luogo, all'u&longs;o, alla bellezza, <lb/>& aggiugnendo, o &longs;cemando far conueneuoli temperamenti, accioche quando &longs;arà leua <lb/>to, o aggiunto alcuna co&longs;a alla mi&longs;ura, cio paia e&longs;&longs;er &longs;tato drittamente formato. </s></p><p type="main">
<s><emph type="italics"/>Come fa Vitruuio nella di&longs;po&longs;itione delle Ba&longs;iliche, nel quinto libro.<emph.end type="italics"/></s></p><p type="main">
<s>In modo che niente piu &longs;i di&longs;ideri nell'a&longs;petto <emph type="italics"/>(Ecco la Eurithmia,)<emph.end type="italics"/> perche altra <lb/>forma pare, che &longs;ia d'appre&longs;&longs;o, & al ba&longs;&longs;o; altra di lontano, & in altezza, nè quella <lb/>pare in luogo rinchiu&longs;o, che pare in luogo aperto. </s>
<s>nelle quali co&longs;e è opera di grande inge <lb/>gno &longs;apere prendere partito. </s></p><p type="main">
<s><emph type="italics"/>Et in fine del detto capo dice piu chiarmente, toccando la di&longs;po&longs;itione, che dal ca&longs;o, o dalla ne <lb/>ce&longs;&longs;ità procede.<emph.end type="italics"/></s><s> Io non pen&longs;o, che bi&longs;ogni dubitare, che alle nature, & nece&longs;sità de i <lb/>luoghi, non &longs;i debbiano fare gli accre&longs;cimenti, & le diminutioni, ma in modo, che in &longs;i­<lb/>mil opera niente &longs;ia di&longs;iderato. </s>
<s>& que&longs;to non &longs;olo per dottrina, ma per acutezza d'inge­<lb/>gno &longs;i puo fare; & però prima egli &longs;i deue ordinare la ragione delle mi&longs;ure, dalla quale &longs;i <lb/>po&longs;&longs;a pigliare &longs;enza dubitatione, il mutamento delle co&longs;e. </s>
<s>Da poi &longs;ia e&longs;plicato lo &longs;patio <lb/>dal ba&longs;&longs;o dell'opera, che &longs;i deue fare, di largezza, & di lungezza. </s>
<s>della qual opera, quan­<lb/>do una fiata &longs;arà determinata la grandezza, ne &longs;egua l'apparat o della proportione alla <lb/>bellezza, accioche dubbio non &longs;ia lo a&longs;petto della con&longs;onanza, a chi ui uorrà &longs;opra con­<lb/>&longs;iderare. </s></p><p type="main">
<s><emph type="italics"/>Dalle parole &longs;opra dette chiaramente &longs;i cono&longs;ce il numero, l'ordine, & la natura delle &longs;ei co­<lb/>&longs;e predette. </s>
<s>io ho uoluto allegare i luoghi di Vitr.
per e&longs;&longs;ere lo intento mio di e&longs;ponere Vitr.
con <lb/>Vitr.
i&longs;te&longs;&longs;o. </s>
<s>dice adunque, &longs;eguitando la &longs;ua diffinitione, che la di&longs;po&longs;itione è atta collocatione del <lb/>le co&longs;e. </s>
<s>Et per co&longs;e intende le &longs;tanze, & le parti di e&longs;&longs;e nella fabrica, ouero le parti dell'opere fat <lb/>te dall'Architetto, &longs;ieno quali &longs;i uoglia. </s>
<s>da que&longs;ta ben di&longs;po&longs;ta collocatione delle parti, na&longs;ce il ue­<lb/>dere in tutta la compo&longs;itione una bella qualità, che è &longs;ito conueniente di cia&longs;cuna co&longs;a. </s>
<s>& però <lb/>dice, &longs;cielto effetto, cioè sbrigato, netto, di&longs;tinto. </s>
<s>Alla di&longs;po&longs;itione s'oppone il &longs;uperfluo come <lb/>all'ordine s'oppone la confu&longs;ione. </s>
<s>Et &longs;i puo dire, che l'ordine è di&longs;po&longs;itione delle mi&longs;ure alla &longs;im­<lb/>metria, & la di&longs;po&longs;itione è ordine delle parti al luogo, come &longs;i uederà al &longs;e&longs;to capo del primo, & <lb/>in molti altri luoghi.<emph.end type="italics"/></s><s> Leidee della di&longs;po&longs;itione &longs;ono que&longs;te la pianta, lo in piè, il profilo. <pb pagenum="30"/>La pianta è un moderato u&longs;o della &longs;e&longs;ta, & della regola, dal quale &longs;i piglia il di&longs;egno delle <lb/>forme nel piano. </s>
<s>Lo in piè, è la imagine dritta della fronte, & figura con modo dipinta, <lb/>con le ragioni dell'opera, che &longs;i deue fare. </s>
<s>il pro&longs;ilo è adombratione della fronte, & dei <lb/>lati che &longs;i &longs;co&longs;tano, & una ri&longs;pondenza di tutte le linee al centro della &longs;e&longs;ta. </s></p><p type="main">
<s><emph type="italics"/>Nel di&longs;ponere, & collocare le parti lo Architetto forma nel &longs;uo pen&longs;iero, & poi di&longs;egna tre <lb/>maniere, ouero idee delle opere: Vna è detta da Greci, ichnografia, cioè de&longs;crittione, & di&longs;egno <lb/>della pianta, per dare ad intendere la collocatione delle parti, & la largbezza, & lungezza <lb/>dell'opera. </s>
<s>alche fare ci uuole un moderato u&longs;o della &longs;e&longs;ta, & della regola. </s>
<s>L'altra è detta, ortho <lb/>graphia, cioè de&longs;crittione, & di&longs;egno del leuato, & dritto, sì per dimo&longs;trare l'altezza delle ope­<lb/>re, come la maniera. </s>
<s>deue e&longs;&longs;er lo in piè conforme alla pianta, altrimenti non &longs;arebbe un'i&longs;te&longs;&longs;a <lb/>co&longs;a quella, che na&longs;ce, & quella, che cre&longs;ce: ilche è grande errore, & contra la natuna delle co <lb/>&longs;e, percioche nelle piante, & ne gli animali &longs;i uede quello, che na&longs;ce, & quello, che cre&longs;ce e&longs;­<lb/>&longs;er lo i&longs;te&longs;&longs;o, & niuna parte aggiugner&longs;i da poi. </s>
<s>La terza idea è il profilo, detto &longs;ciografia, dal <lb/>quale grande utilità &longs;i prende, perche per la de&longs;crittione del profilo &longs;i rende conto delle gro&longs;&longs;ezze <lb/>de i muri, de gli &longs;porti, delle ritrattioni d'ogni membro, & in que&longs;to l'Architetto come Medico <lb/>dimo&longs;tra tutte le parti interiori, & e&longs;teriori delle opere, & però in que&longs;to ufficio ha bi&longs;ogno di <lb/>grandi&longs;&longs;imo pen&longs;amento, & giudicio, & pratica, come à chi, con&longs;idera gli effetti del profilo <lb/>è manife&longs;to: perche la eleuatione della fronte, & la mae&longs;tà non dimo&longs;tra gli &longs;porti, le ritrationi, <lb/>le gro&longs;&longs;ezze delle cornici, de i capitelli, de i ba&longs;amenti, delle &longs;cale, & d'altre co&longs;e, però è nece&longs;­<lb/>&longs;ario il profilo; & con que&longs;te tre maniere di di&longs;po&longs;itione l'Architetto s'a&longs;&longs;icura della riu&longs;cita del­<lb/>l'opera, & fa piu certa la &longs;ua intentione, & l'altrui di&longs;iderio di far opera lodata, & degna. </s>
<s>Et <lb/>appre&longs;&longs;o puo fare il conto della &longs;pe&longs;a, & di molte co&longs;e all'opere pertinenti. </s>
<s>Dalle dette idee, che <lb/>&longs;ono forme concette nella mente, & e&longs;pre&longs;&longs;e nelle tauole, o carte, ne uiene quello effetto &longs;cielto, & <lb/>elegante, che egli ha detto. </s>
<s>Si deue anche auuertire, che Vitr.
e&longs;ponendo le nature delle &longs;ei pre­<lb/>dette co&longs;e, uiene a confermare quelle, che &longs;ono nece&longs;&longs;arie allo Architetto, percioche &longs;i uede nella <lb/>di&longs;po&longs;itione, & nelle &longs;ue &longs;pecie, quanto utile &longs;ia il di&longs;egno, & la Geometria. <!-- KEEP S--></s>
<s>&longs;i uede nell'ordine, <lb/>quanto commoda &longs;ia l'Arithmetica. </s>
<s>& uedera&longs;&longs;i nelle altre parti quanto ci &longs;arà a propo&longs;ito la <lb/>Pro&longs;pettiua, la Mu&longs;ica, & quelle co&longs;e, che all'i&longs;toria, & alle altre qualità dello Architetto &longs;o­<lb/>no conuenienti. </s>
<s>L'in piè è imagine della fronte. </s>
<s>Là doue rappre&longs;enta &longs;opra il piano d'una carta, <lb/>tela, o tauola quello, che na&longs;ce dalla pianta riferendo il tutto alle ragioni dell'opera, che &longs;i deue <lb/>&longs;are &longs;ia ella Dorica, Ionica, o qual &longs;i uoglia. </s>
<s>Vitruuio ha chiamato fronte ogni co&longs;a, che dritta <lb/>&longs;i uede. </s>
<s>Molti &longs;ono, da i quali &longs;i potrà hauere una pianta, & anche non u&longs;cendo fuori de i termi <lb/>ni di quella, faranno lo in piè &longs;econdo la ragione dell'opera futura, ma non &longs;apranno in ogni ordi­<lb/>ne della fabrica dimo&longs;trare in di&longs;egno la gro&longs;&longs;ezza de i pareti, quello, che po&longs;a &longs;ul uiuo, quello, <lb/>che e&longs;ce, & quello, che entra; & però mancheranno di que&longs;ta terza &longs;pecie, & Idea della di&longs;po&longs;i­<lb/>tione, per la &longs;ua difficultà. </s>
<s>Que&longs;ta utilità del profilo mi muoue ad interpretare &longs;ciografia, & <lb/>non &longs;cenografia. </s>
<s>perche &longs;e bene la &longs;cenografia che è de&longs;crittione delle &longs;cene, & pro&longs;pettiua, è <lb/>nece&longs;&longs;aria nelle co&longs;e de i Theatri, come &longs;i uederà nel quinto libro; non però pare, che &longs;ia &longs;econdo <lb/>le idee della di&longs;po&longs;itione, delle quali &longs;i parla. </s>
<s>Altri uogliono, che s'intenda il modello. </s>
<s>ma que­<lb/>&longs;to non corre con il propo&longs;ito no&longs;tro, &longs;e bene egli fa piu chiara, & certa la intentione dello Archi­<lb/>tetto: oltra che non conuiene la diffinitione data da Vitr.
al modello. </s>
<s>Potrebbe dire alcuno <lb/>che la detta diffinitione non quadra al profilo; io ri&longs;pondo, che e&longs;&longs;endo tanto nece&longs;&longs;ario il profilo, <lb/>& molto piu, che la pro&longs;pettiua, bi&longs;ogna con&longs;iderar bene la detta diffinitione. </s>
<s>Io per me, quan­<lb/>do haue&longs;&longs;i ad intendere in que&longs;to luogo la pro&longs;pettiua, uorrei che fu&longs;&longs;ero quattro le idee della di­<lb/>&longs;po&longs;itione, per ponerui il profilo; tanto egli mi pare nece&longs;&longs;ario. </s>
<s>Ma pare anche di nuouo, che <lb/>conuenendo la diffinitione della di&longs;po&longs;itione a due delle &longs;ue idee, cioè alla pianta, & allo in piè, per­<lb/>che di cia&longs;cuna &longs;i può dire, che è atta collocatione delle co&longs;e, & nel componimento &longs;cielto effetto <lb/>con qualità: mi pare dico, dinuouo, che ella non conuenghi alla &longs;ciografia, &longs;e per &longs;ciografia s'in-<emph.end type="italics"/><pb pagenum="31"/><emph type="italics"/>tende pro&longs;pettiua, perche nella pro&longs;pettiua non &longs;i puo uedere atta collocatione delle co&longs;e, nè meno <lb/>nel componimento &longs;cielto effetto con qualità. </s>
<s>La cagione è, che è nece&longs;&longs;ario, che il genere &longs;i di­<lb/>ca delle &longs;ue &longs;pecie, & che la diffinitione del genere conuegna alle &longs;petie &longs;otto quel genere compre&longs;e. </s>
<s><lb/>Molto bene adunque al profilo conuiene la diffinitione della di&longs;po&longs;itione, perche &longs;i uede nel profi-<emph.end type="italics"/><lb/><figure id="fig3"/><lb/><emph type="italics"/>lo &longs;cielto è sbrigato effetto nel componimento, & &longs;i uede una atta collocatione delle co&longs;e. </s>
<s>come <lb/>a chi ben con&longs;idera, è manife&longs;to, perche tutte le linee uengono all'occhio &longs;enza impedimento, <lb/>& &longs;i cono&longs;cono gli &longs;porti, & le ritrattioni, & le gro&longs;&longs;ezze come &longs;ono, & non come appareno <lb/>con linee, & anguli proportionati, come &longs;i fa nella pro&longs;pettiua: &longs;e bene pare, che la diffinitio-<emph.end type="italics"/><pb pagenum="32"/><emph type="italics"/>ne della &longs;ciografia addotta da Vitr.
accenni la diffinitione della pro&longs;pettiua. </s>
<s>Et quando pure egli, <lb/>& altri intender uogliono, che &longs;i ragioni della pro&longs;pettiua, & io con loro m'accorderò, & dirò <lb/>di piu, che egli è nece&longs;&longs;ario conceder qualche luogo al profilo nella di&longs;po&longs;itione, per le ragioni, <lb/>che io ho detto, rimettendomi &longs;empre à miglior giudicio. </s>
<s>Ma &longs;arebbe gran co&longs;a, che trattando <lb/>Vitr.
in que&longs;to luogo di co&longs;e uniuer&longs;ali a tutta l'arte egli uole&longs;&longs;e intendere delle particolari, & la­<lb/>&longs;cia&longs;&longs;e le co&longs;e importanti mancando al &longs;uo ordine.<emph.end type="italics"/></s></p><figure/><p type="main">
<s>Que&longs;te na&longs;ceno da pen&longs;amento, & da Inuentione. </s>
<s>Pen&longs;amento è cura piena di &longs;tudie <lb/>& effetto d'indu&longs;tria, & uigilanza d'intorno all'opera propo&longs;ta con dilettatione. </s></p><p type="main">
<s><emph type="italics"/>Vitruuio in que&longs;to luogo dimo&longs;tra da che na&longs;ceno le predette maniere, & idee della di&longs;po&longs;itie­<lb/>ne: & come huomo, che bene habbia prouato, & &longs;entito in &longs;e &longs;te&longs;&longs;o quello, che egli dice, u&longs;a a <lb/>cuni termini efficaci per i&longs;primere la &longs;ua intentione. </s>
<s>Se adunque la natura ci apporta&longs;&longs;e le prede<gap/><lb/>te forme & idee, &longs;enza dubio poco ci bi&longs;ognerebbe u&longs;are dello artificio. </s>
<s>Ma perche la natura <lb/>non ci mo&longs;tra le dette co&longs;e: nece&longs;&longs;ario è ricorrere all'Arte. </s>
<s>& perche con l'arte &longs;i cerca di <lb/>rappre&longs;entare gli effetti alla natura &longs;imiglianti, però ci uuole pen&longs;amento: & per e&longs;&longs;er difficile, <lb/>con arte con&longs;eguire lo intento no&longs;tro, però grande &longs;tudio, & indu&longs;tria &longs;i richiede: ma poi che <lb/>dalla diligenza & indu&longs;tria na&longs;ceno belle & leggiadre co&longs;e, di &longs;ubito s'accompagna il diletto <lb/>& il piacere, il quale non è altro, che riceuere impre&longs;&longs;ione di qualità che &longs;ia conforme allo appeti­<lb/>to, & de&longs;iderio, & però il piacere dello intelletto è di apprendere il uero, perche niuna co&longs;a è piu <lb/>conueniente allo intelletto, che la uerità, onde &longs;i dice: Altro diletto ch'imparar non trouo. </s>
<s>Il dilet <lb/>to del &longs;en&longs;o èriceuere qualità di qualche oggetto, che conuenga, & corri&longs;ponda al &longs;en&longs;o: co­<lb/>me &longs;i pruoua nelle delicate uiuande, nella &longs;uauità de gli odori, nella dolcezza de &longs;uoni, nella ua-<emph.end type="italics"/><pb pagenum="33"/><emph type="italics"/>ghezza delle pitture, & ne i giocondi oggctti de i no&longs;tri &longs;entimenti. </s>
<s>& però dice Vitr.
& bene, <lb/>che pen&longs;amento è cura piena di &longs;tudio: percioche è cerca le co&longs;e difficili, & non dimo&longs;trate <lb/>dalla natura, & per meglio i&longs;primere il &longs;uo concetto dice.<emph.end type="italics"/> {<emph type="italics"/>E&longs;fetto d'indu&longs;tria & uigilanza <lb/>cerca l'opera propo&longs;ta con dilettatione<emph.end type="italics"/>} <emph type="italics"/>Percioche non pen&longs;a bene chi non è indu&longs;trio&longs;o, & <lb/>uigilante, come era Archimede, il quale comparando gli effetti naturali, & cercandone le <lb/>cagioni, hebbe cau&longs;a di trouare il uero della propo&longs;ta dimanda, come dice Vitr.
nel nono libro <lb/>al terzo Capo. <!-- REMOVE S-->& hauendolo trouato da mirabile letitia &longs;oprapre&longs;o, u&longs;cito del bagno ignudo <lb/>correndo gridaua, io l'ho trouato, io l'ho trouato. </s>
<s>nel che apparue la pronta, & nobile uiua­<lb/>cità dell'ingegno &longs;uo, hauendo in poco &longs;patio applicato il mezo al debito fine, re&longs;tandone &longs;om­<lb/>mamente &longs;atisfatto per la inuentione la quale &longs;econdo Vitr.<emph.end type="italics"/> E dimo&longs;tramento delle o&longs;cure <lb/>dimande, & ragione della co&longs;a ritrouata di nuouo con pre&longs;ta, & mobile uiuacità. <lb/><emph type="italics"/>& que&longs;ti &longs;ono i termini della di&longs;po&longs;itione; Dimanda è propo&longs;ta dubbio&longs;a, dubbio è po&longs;to tra <lb/>mezo l'affirmare, & il negare. </s>
<s>quando adunque lo intelletto è tra'l &longs;i, & il nò, egli forma <lb/>una dubbio&longs;a propo&longs;ta, che &longs;i chiama dimanda, ouero qui&longs;tione. </s>
<s>& u&longs;a alcune particelle, che <lb/>dimo&longs;trano il modo dello interrogare, & di richiederne la ri&longs;po&longs;ta. </s>
<s>come è. </s>
<s>&longs;ei tu buono o no? </s>
<s><lb/>che co&longs;a è bontà? </s>
<s>d'onde uiene? </s>
<s>a chi peruiene? </s>
<s>& altre co&longs;e & modi &longs;imiglianti, i quali non <lb/>piegando piu all'affirmatione, che alla negatione, richieggono certa, & indubitata ri&longs;po&longs;ta, <lb/>la quale non puo e&longs;&longs;er ben fatta, &longs;e non da quelli, che haueranno la inuentione per lo pen­<lb/>&longs;amento, & per la indu&longs;tria, & uiuacità dello ingegno, & que&longs;ti &longs;ono i termini della di&longs;po­<lb/>&longs;itione: cioè la di&longs;po&longs;itione è rinchiu&longs;a nelle tre &longs;opradette maniere, che &longs;ono la pianta, lo <lb/>in piè, il profilo.<emph.end type="italics"/></s><s> Il bel numero detto Eurithmia, è a&longs;petto gratio&longs;o, & commoda <lb/>forma nelle compo&longs;itioni de i membri. </s>
<s>que&longs;ta &longs;i fa quando i membri dell'opera &longs;ono <lb/>conuenienti, come dell'altezza alla larghezza, della larghezza alla lunghezza, & in fine <lb/>ogni co&longs;a ri&longs;ponda al &longs;uo compartimento proprio. </s></p><p type="main">
<s><emph type="italics"/>Suo proprio dico, peroche &longs;e ri&longs;ponde&longs;&longs;e a i compartimenti, & alle &longs;immetrie conuenienti ad <lb/>altre parti, non &longs;arebbe cono&longs;ciuta la gratio&longs;a maniera. </s>
<s>& qui &longs;i deue riferire la Eurithmia <lb/>allo a&longs;petto, come Vitruuio dichiara in molti luoghi, nel terzo libro al &longs;econdo Cap.
& all'ul <lb/>timo, & nel &longs;e&longs;to al &longs;econdo. </s>
<s>Et perche ogni proportione è nata da i numeri, però egli &longs;i <lb/>ha &longs;eruato il nome predetto in ogni co&longs;a, doue &longs;ia proportione. </s>
<s>& perche la larghezza, al­<lb/>tezza, & lunghezza delle opere, deue e&longs;&longs;er grata allo a&longs;petto, & que&longs;to non &longs;i fa &longs;enza <lb/>proportione, & doue è proportione, è nece&longs;&longs;ario che &longs;i truoui numero; però il nome di Eu­<lb/>rithmia è &longs;tato pigliato. </s>
<s>Deue e&longs;&longs;er adunque ogni artificio&longs;o lauoro a gui&longs;a d'un belli&longs;&longs;imo <lb/>uer&longs;o, il quale &longs;e ne corra &longs;econdo le ottime con&longs;onanze &longs;uccedendo le parti l'una all'altra, <lb/>&longs;in che peruenghino all'ordinato fine. </s>
<s>Et benche alcuna co&longs;a ottima non &longs;ia, niente di me­<lb/>no puo e&longs;&longs;ere ottimamente ordinata, come egli è manife&longs;to nelle parti, & membra del corpo <lb/>humano, & nelle co&longs;e artificiali, doue è la con&longs;onanza, & l'armonia. </s>
<s>Imperoche &longs;e bene l'oc <lb/>chio è piu nobil co&longs;a del piede, pure &longs;e riguardamo l'ufficio di cia&longs;cuno, tanto l'occhio, quan <lb/>to il piede, &longs;aranno nel corpo ottimamente &longs;ituati: in modo che nè l'occhio &longs;arà miglior del pie­<lb/>de, nè il piede miglior dell'occhio. </s>
<s>Similmente è nella citara: percioche tutte le corde po&longs;­<lb/>&longs;ono e&longs;&longs;er proportionate in modo, che &longs;e alcuna &longs;arà tirata, accioche &longs;e le dia &longs;uono migliore, <lb/>non re&longs;terà però la con&longs;onanza. </s>
<s>Il &longs;imile &longs;i richiede nelle opere, nelle quali è nece&longs;&longs;ario, che <lb/>ci &longs;ia que&longs;to ri&longs;petto di formare con perfetta ragione tutte le parti, che &longs;ono di lor natura <lb/>di&longs;tinte, di modo che tutte concorrino alla bellezza, & dilettino la ui&longs;ta de riguardanti. </s>
<s>Co <lb/>me nel cantare &longs;i richiede il con&longs;erto delle uoci, nel quale oltra che le uoci &longs;ono giu&longs;te: oltre <lb/>che conuengono nelle con&longs;onanze, bi&longs;ogna anche un certo temperamento, che faccia dolce, <lb/>& &longs;oaue tutta la armonia, come adiuiene a que mu&longs;ici, che cantano con la &longs;olita compa­<lb/>gnia, perche &longs;i &longs;ono accommodati l'uno all'altro con di&longs;cretione. </s>
<s>Que&longs;ta bella maniera sì <lb/>nella Mu&longs;ica, come nell'Architettura è detta Eurithmia, madre della gratia, & del dilet-<emph.end type="italics"/><pb pagenum="34"/><emph type="italics"/>to, &longs;i nelle co&longs;e immobili, come in quelle, che &longs;i moueno.<emph.end type="italics"/></s></p><p type="main">
<s>Il compartimento, & ri&longs;pondenza delle mi&longs;ure detto &longs;immetria, è conueneuole con <lb/>&longs;entimento da i membri dell'opera, & dalle parti &longs;eparate alla forma di tutta la figura, &longs;e <lb/>condo la rata portione come &longs;i uede nel corpo humano, il quale con il cubito, co'l pie­<lb/>de, col palmo, col dito, & con le altre parti è commi&longs;urato, co&longs;i adiuiene nelle per­<lb/>fettioni dell'opere. </s>
<s>Et prima ne i &longs;acri tempij dalle gro&longs;&longs;ezze delle colonne, ouero <lb/>dal Triglifo. <!-- REMOVE S-->poi nel forame della bali&longs;ta quella co&longs;a, che ui entra, detta Peritriton. <!-- KEEP S--></s>
<s><lb/>Simigliantemente nelle naui dallo &longs;pacio, che è tra un &longs;chelmo all'altro, che per e&longs;&longs;er di <lb/>mi&longs;ura di due cubiti, &longs;i chiama, dipichaichi, & co&longs;i nelle altre opere da i membri lo <lb/>ro &longs;i troua la ragione delle &longs;immetrie, & de i compartimenti. </s></p><p type="main">
<s><emph type="italics"/>La &longs;immetria è la bellezza dell'ordine, come è la Eurithmia la bellezza della di&longs;po&longs;i­<lb/>tione. </s>
<s>Non è a ba&longs;tanza ordinare le mi&longs;ure una dopo l'altra, ma nece&longs;&longs;ario è, che quelle mi&longs;u­<lb/>re habbiano conuenienza tra &longs;e, cioè &longs;iano in qualche proportione; & però doue &longs;arà propor<lb/>tione, iui non puo e&longs;&longs;ere co&longs;a &longs;uperflua. </s>
<s>& &longs;i come il mae&longs;tro della natural proportione, è lo in&longs;tin <lb/>to della natura, co&longs;i il mae&longs;tro dell'Artificiale è l'habito dell'Arte: d'onde ne na&longs;ce, che la pro­<lb/>portione è propria della forma, & non della materia: & doue non &longs;ono parti, non può e&longs;&longs;ere pro­<lb/>portione: perche e&longs;&longs;a na&longs;ce dalle parti compo&longs;te, & dalla relatione di e&longs;&longs;e, & in ogni rela­<lb/>tione è nece<02>ario almeno, che &longs;iano due termini, come s'è detto: ne &longs;i può lodare a ba­<lb/>&longs;tanza lo effetto della proportione, nella quale è po&longs;ta la gloria dello Architetto, la bellez­<lb/>za dell'opera, la merauiglia dello artificio. </s>
<s>come &longs;i uederà chiaramente quando noi ragio­<lb/>naremo delle proportioni, & apriremo i &longs;ecreti di que&longs;t'Arte, dimo&longs;trando qual ri&longs;petto è <lb/>nella proportione, quali termini, qual u&longs;o, & quanti effetti, & di che forza ella faccia parere <lb/>le co&longs;e: però mi riporto al &longs;uo luogo. </s>
<s>Vitruuio fin tanto dà lo e&longs;&longs;empio di quello, che egli ha det­<lb/>to<emph.end type="italics"/> {<emph type="italics"/>Secondo la rata portione,<emph.end type="italics"/>} <emph type="italics"/>dicendo.<emph.end type="italics"/> {<emph type="italics"/>Come &longs;i uede nel corpo humano.<emph.end type="italics"/>} <emph type="italics"/>Hauendo <lb/>Hercole mi&longs;urato il cor&longs;o, & lo &longs;pacio di Pi&longs;a, & trouatolo di piedi &longs;eicento de i &longs;uoi, & e&longs;&longs;en­<lb/>do&longs;i poi nelle altre parti della Grecia fatti quegli &longs;pacij da correre di piedi &longs;eicento, ma piu breui. </s>
<s><lb/>il buon Pithagora comparando quelli cor&longs;i l'uno con l'altro, ritrouò il piede di Hercole e&longs;&longs;ere <lb/>&longs;tato maggiore de i piedi, con i quali i Greci haueuano mi&longs;urato gli altri &longs;pacij. </s>
<s>& &longs;apendo qua­<lb/>le doueua e&longs;&longs;er la proportione del piede alla giu&longs;ta grandezza dell'huomo, compre&longs;e la &longs;tatura di <lb/>Hercole e&longs;&longs;ere &longs;tata tanto maggiore della &longs;tatura de gli altri huomini, quanto il cor&longs;o mi&longs;urato da <lb/>Hercole eccedeua gli altri cor&longs;i della Grecia. <!-- KEEP S--></s>
<s>Quando adunque le mi&longs;ure &longs;eranno accommoda­<lb/>te alle maniere, non ha dubbio, che dalla grandezza d'una parte non &longs;i cono&longs;ca la mi&longs;ura del­<lb/>l'altra, & con&longs;eguentemente la grandezza del tutto.<emph.end type="italics"/> {<emph type="italics"/>Et prima ne i &longs;acri tempij.<emph.end type="italics"/>} <emph type="italics"/>Que&longs;to <lb/>ho dichiarito di &longs;opra, che dalla gro&longs;&longs;ezza delle colonne, che ci daua il modulo, &longs;i pigliauano gli <lb/>&longs;pacij tra le colonne, & le altezze di quelle.<emph.end type="italics"/> {<emph type="italics"/>Ouero dal Triglipho.<emph.end type="italics"/>} <emph type="italics"/>que&longs;to è un membrello, <lb/>che ha tre canellature come canali, donde prende il nome, & &longs;i mette &longs;opra l'Architraue nelle <lb/>opere Doriche, dal quale &longs;i mi&longs;ura l'opera Dorica, &longs;i come al terzo capo del quarto libro ci &longs;a­<lb/>rà dichiarito.<emph.end type="italics"/> {<emph type="italics"/>Poi nel foro della Bali&longs;ta.<emph.end type="italics"/>} <emph type="italics"/>Nella Bali&longs;ta, che è in&longs;trumento da trarre, egli <lb/>&longs;i fa i fori dalle te&longs;te, ne i quali entra il capo della corda. </s>
<s>i fori &longs;i cauano dal pe&longs;o della pietra: & <lb/>da i fori &longs;i caua la mi&longs;ura di quello, che Vitr.
chiama &longs;cutula. </s>
<s>nel decimo al cap. XVII. & qui <lb/>Peritriton. <!-- KEEP S--></s>
<s>come dalla palla &longs;i piglia la mi&longs;ura del pezzo dell'artigliaria,<emph.end type="italics"/> {<emph type="italics"/>&longs;imigliantemente <lb/>nelle naui, da gli &longs;chelmi, cioè dallo &longs;pacio, che è tra il ligamento d'un remo & l'altro, &longs;i piglia <lb/>quella mi&longs;ura, che regola tutto il corpo della galera,<emph.end type="italics"/>} <emph type="italics"/>co&longs;i trouo che &longs;i o&longs;&longs;erua nel fabricar le <lb/>galere, & per que&longs;to io ho e&longs;po&longs;to Vitruuio in que&longs;to modo. </s>
<s>ma &longs;eguitiamo.<emph.end type="italics"/></s></p><p type="main">
<s>Decoro è a&longs;petto &longs;enza menda dell'opera prouato per le co&longs;e compo&longs;te con autorità. </s></p><p type="main">
<s><emph type="italics"/>Io e&longs;ponerò decoro per le co&longs;e che &longs;egueno, ma in uero Vitr.
lo abbraccia &longs;otto nome di orna­<lb/>mento, quando egli dice,<emph.end type="italics"/> {<emph type="italics"/>a&longs;petto &longs;enza menda,<emph.end type="italics"/>} <emph type="italics"/>benche nella &longs;econda parte &longs;i tegna al <lb/>decoro, quando dice,<emph.end type="italics"/> {<emph type="italics"/>prouato per le co&longs;e compo&longs;te con autorità.<emph.end type="italics"/>} <emph type="italics"/>& lo e&longs;&longs;empio di Vitru.<emph.end type="italics"/><pb pagenum="35"/><emph type="italics"/>molto bene ce lo dimo&longs;tra.<emph.end type="italics"/></s><s> Que&longs;to è con&longs;umato o per &longs;tanza, o per con&longs;uetudine, o per <lb/>natura: per &longs;tanza, quando a Gioue folgoratore, al Cielo, al Sole, & alla Luna &longs;i fanno <lb/>gli edifici &longs;coperti, & all'aere. </s>
<s>Percioche noi uedemo le forme, & gli effetti pre&longs;enti <lb/>nello aperto, & lucente mondo. </s>
<s>A Minerua, & a Marte, & ad Hercole &longs;i fanno i tem­<lb/>pij di maniera Dorica: percioche a que&longs;ti Dei per la uirtu loro &longs;i conuiene fare le fabri­<lb/>che &longs;enza delicatezze, & tenerezze. </s>
<s>Ma a Venere a Flora, & alle Ninfe delle fonti &longs;e &longs;a­<lb/>ranno fatte l'opere Corinthic, pareranno hauere conueniente proprietà; perche a que­<lb/>&longs;ti Dei per la loro tenerezza l'opere &longs;ottili, & floride, ornate di foglie, & di uolute pa­<lb/>reranno accre&longs;cere il debito ornamento. </s>
<s>Ma a Giunone, a Diana, al Padre Baccho, & <lb/>a gli altri Dei che &longs;ono di quella &longs;imiglianza facendo&longs;i i lauori Ionichi, egli &longs;i hauerà ri <lb/>guardo alla uia di mezo: percioche & dalla &longs;euerità della maniera Dorica, & dalla delica­<lb/>tezza della Ionica &longs;arà la loro proprietà moderata. </s></p><p type="main">
<s><emph type="italics"/>Dalle parole di Vitr.
il prudente Architetto puo trarre molti belli documenti cerca il Decoro, <lb/>& gli adornamenti, che conuengono alle fabriche de i no&longs;tri tempi. </s>
<s>Imperoche &longs;e bene noi non <lb/>hauemo i Dei fal&longs;i, & buggiardi, non manca però l'occa&longs;ione di &longs;eruare il Decoro nelle chie&longs;e <lb/>con&longs;ecrate a i ueri amici del uero Dio, & anche alla Maie&longs;tà di quello; & come che molti &longs;ono, <lb/>& differenti nello &longs;plendore di diuer&longs;e uirtuti, come le &longs;telle del cielo differenti &longs;ono in chiarez <lb/>za; egli &longs;i può bene u&longs;are ogni maniera conueniente, & propria a gli effetti di cia&longs;cuno. </s>
<s>L'Au <lb/>&longs;terità de i &longs;anti, che nella uita &longs;olitaria &longs;i &longs;ono macerati in digiuni, uigilie, & orationi ricer <lb/>ca &longs;odi, & inculti lauori. </s>
<s>La &longs;emplicità, & purità Virginale i piu gentili, & delicati: & &longs;imil­<lb/>mente la moderata uita ricerca la temperatura dell'una, & dell'altra parte. </s>
<s>Ma non &longs;i deue cre­<lb/>dere, che &longs;olamente habbiano ad e&longs;&longs;ere tre maniere di opere, perche Vitru.
ne habbia tre &longs;ole <lb/>numerate. </s>
<s>percioche egli&longs;te&longs;&longs;o nel quarto libro al &longs;ettimo cap.
ui aggiugne la To&longs;cana, & dice <lb/>anche che ui &longs;ono altre maniere, & i moderni ne fanno, & la ragione lo richiede, per fare differen­<lb/>za da i nostri &longs;anti alli Dei fal&longs;i de gli antichi, & è in potere d'uno circon&longs;petto & prudente Ar­<lb/>chitetto di componere con ragione di mi&longs;ure molte altre maniere, &longs;eruando il Decoro, & non &longs;er­<lb/>uendo a &longs;uoi capricci. </s>
<s>Ma le tre &longs;opradette maniere &longs;ono le piu nominate.<emph.end type="italics"/></s></p><p type="main">
<s>Ma alla con&longs;uetudine in que&longs;to modo &longs;i exprime il decoro. </s>
<s>quando alle parti di dentro <lb/>de gli edificij magnifiche &longs;i daranno l'entrate, & i ne&longs;tibuli conuenienti, & belli, percio­<lb/>che non &longs;arà di decoro, & ornamento, &longs;e le parte interiori &longs;aranno fatte con eleganza, & <lb/>le intrate ba&longs;&longs;e, & uergogno&longs;e. </s>
<s>Simigliantemente &longs;e ne gli Architraui Dorici &longs;i &longs;colpi= <lb/>ranno nelle cornici i dentelli, ouero &longs;e ne i capitelli puluinati, o ne gli architraui Ionichi <lb/>&longs;aranno cauati gli Triglifi. <!-- REMOVE S-->traportando&longs;i da un'altra ragione le proprietà in altro lauoro, &longs;i <lb/>offenderà il uedere, per e&longs;&longs;er prima la u&longs;anza altrimenti. </s>
</p><p type="main">
<s><emph type="italics"/>Proprio è nel gocciolatoio Ionico &longs;colpire i dentelli; que&longs;ti &longs;e nella opera Dorica &longs;aranno trapor­<lb/>tati, come fece colui il quale fabricò il Theatro, che Augu&longs;to fece fare in nome di Marcello &longs;uo ni <lb/>pote, offenderà gli occhi a&longs;&longs;uefatti ad altra ueduta: &longs;imilmente farà colui, il quale ne gli architra <lb/>ui Ionichi farà i membretti canelati, che &longs;i chiamano Triglifi. <!-- REMOVE S-->percioche que&longs;ti &longs;ono proprij della <lb/>maniera Dorica, come Vitr.
ci dimo&longs;tra nel quarto libro. </s>
<s>Io la&longs;cio al luogo &longs;uo la dichiar atio­<lb/>ne di molti uocabuli, per non ritardare la intentione di chi de&longs;idera &longs;apere ordinatamente.<emph.end type="italics"/></s></p><p type="main">
<s>Il decoro naturale &longs;arà, &longs;e prima per fabricare tutti i Tempij &longs;i farà elettione di luo­<lb/>ghi &longs;ommamente &longs;ani, & delle fonti delle acque idonee, in quelle parti, doue &longs;i hanno a <lb/>fare le &longs;acre ca&longs;e &longs;aranno eletti; Et &longs;pecialmente dopo ad E&longs;culapio, alla Salute, & a que­<lb/>gli dei, per le medicine de i quali molti infermi pare, che &longs;iano ri&longs;anati; perche quando i <lb/>corpi ammalati &longs;aranno traportati di pe&longs;tilente in luogo &longs;ano, & dalle fonti &longs;alubri &longs;aran= <lb/>no loro le buone acque recate, molto piu pre&longs;to ricouereranno la &longs;anità, & co&longs;i auenirà che <lb/>dalla natura del luogo, l'opinione della diuinità con grandezza, & credito &longs;i faccia maggio <lb/>re. </s>
<s>Appre&longs;&longs;o le dette co&longs;e, il decoro naturale &longs;arà, &longs;e per le &longs;tanze, oue &longs;i dorme, & per <pb pagenum="36"/>le librarie &longs;i piglierà i lumi dal leuante; per li bagni, & per li luoghi del uerno <lb/>dalla parte, doue il &longs;ol tramonta la inuernata: per le cancellarie, o &longs;crittoi, & per quel­<lb/>li, che richiedeno certa egualità di lumi, dal &longs;ettentrione: perche quella parte del cielo, <lb/>non &longs;i fa piu chiara, nè piu o&longs;cura per lo cor&longs;o del &longs;ole, ma è certa, & non &longs;i muta in tut­<lb/>to'l giorno. </s></p><p type="main">
<s><emph type="italics"/>Perche Vitr.
nel quinto libro al decimo, & nel &longs;e&longs;to al &longs;ettimo capo ragiona delle dette co&longs;e, <lb/>& &longs;imilmente nel quinto al duodecimo, & in altri luoghi ragiona del decoro, & della bellezza, <lb/>io non uoglio preuertire con dichiaratione di parole la intelligenza ri&longs;eruata al luogo &longs;uo. </s>
<s>Ba&longs;ti­<lb/>mi dire che la bellezza, & decoro è relatione di tutta l'opera allo a&longs;petto, & à quello, che &longs;ta be <lb/>ne, a che è l'opera indrizzata, &longs;eruan do l'u&longs;anza, & la commodità della natura.<emph.end type="italics"/></s></p><p type="main">
<s>La di&longs;tributione è commoda, & utile di&longs;pen&longs;atione delle co&longs;e, che bi&longs;ognano, & del <lb/>luogo, et moderato temperamento della &longs;pe&longs;a fatta con ragione. </s>
<s>Que&longs;ta &longs;i o&longs;&longs;eruerà <lb/>&longs;e prima lo Architetto non cercherà quelle co&longs;e, che non &longs;i po&longs;&longs;ono trouare, o preparare <lb/>&longs;enza grandi&longs;sima &longs;pe&longs;a. </s>
<s>percioche non in ogni luogo &longs;i caua la rena, nè per tutto è copia <lb/>di cementi, di abeti, di &longs;appine, di marmi. </s>
<s>Ma una co&longs;a in un luogo, & altra in altra <lb/>parte &longs;i truoua, & le condotte di tali co&longs;e &longs;ono difficili, & di molta &longs;pe&longs;a, & però doue non <lb/>&longs;i puo cauare &longs;abbione di fo&longs;&longs;e, u&longs;i&longs;i quello di fiume, ouero l'arena del mare ben lauata. </s>
<s><lb/>Fuggiranno&longs;i i bi&longs;ogni de gli abeti, & delle &longs;appine, u&longs;ando&longs;i il cipre&longs;&longs;o, il poppio l'ol­<lb/>mo, ouero il pino. </s>
<s>Etin tal maniera &longs;i e&longs;pedirà le altre co&longs;e. </s>
<s>Euui un'altro grado di di­<lb/>&longs;tributione; quando &longs;i fabrica all'u&longs;o de i padri di famiglia, ouero &longs;econdo la commodità <lb/>del dinaro, ouero &longs;econdo la dignità della bellezza. </s>
<s>percioche egli pare che altrimenti s'hab <lb/>biano a fare le ca&longs;e nella città, da quelle, nelle quali s'hanno à riponere i frutti delle uille; <lb/>& non &longs;arà quello i&longs;te&longs;&longs;o il fabricare per li mercanti gabellieri, & per li dilicati & quieti. </s>
<s><lb/>Ma le habitationi de i grandi, che con i loro graui pen&longs;ieri gouernano la republica &longs;i deono <lb/>fabricare all'u&longs;o loro, & in &longs;omma le di&longs;tributioni de gli edificij conuiene e&longs;&longs;er fatte &longs;econ­<lb/>do le per&longs;one. </s></p><p type="main">
<s><emph type="italics"/>Come le maniere del parlare, che &longs;i chiamano idee, &longs;ono qualità dell'oratione conueniente alle <lb/>co&longs;e, & alle per&longs;one, co&longs;i le maniere de gli edificij &longs;ono qualità dell'arte conueniente alle co&longs;e, & <lb/>alle per&longs;one. </s>
<s>& &longs;i come à formare una idea dell'or atione otto co&longs;e &longs;ono nece&longs;&longs;arie, cioè la &longs;enten­<lb/>za, che è lo intendimento dell'huomo; lo artificio, col quale come con certo in&longs;trumento &longs;i leua il <lb/>concetto; le parole che e&longs;primono i concetti; la compo&longs;itione di quelle, con i colori, & figure; il <lb/>mouimento delle parti, che numero &longs;i chiama; & la chiu&longs;a & il fine della compo&longs;itione: co&longs;i per <lb/>i&longs;pedire una maniera delle arti, &longs;ei co&longs;e &longs;ono nece&longs;&longs;arie, & que&longs;te già qua&longs;i tutti hauemo e&longs;pcdite. </s>
<s><lb/>Re&longs;ta &longs;olamente la di&longs;tributione, la quale & nell'arte del dire, & nella cura publica, & priua­<lb/>ta è &longs;ommamente nece&longs;&longs;aria, & molto &longs;i apprezza. </s>
<s>Que&longs;ta pare, che con il decoro conuegna ri­<lb/>ferendo&longs;i alle co&longs;e, & alle per&longs;one. </s>
<s>ma è differente. </s>
<s>perche il decoro &longs;i riferi&longs;ce alle co&longs;e, & alle <lb/>per&longs;one in quella parte che è conueneuole, & d'ornamento, & hone&longs;tà, ma la di&longs;tributione in <lb/>quella parte che è utile, & commoda, come &longs;i uederà nel &longs;e&longs;to libro all'ottauo cap.
nel quale Vitr. <lb/>pare che habbia uoluto dichiarare la pre&longs;ente parte. </s>
<s>Hora egli è da auuertire che &longs;e bene Vitr. <!-- REMOVE S--><lb/>ha applicato le predette &longs;ei co&longs;e alla fabrica de i tempij, & delle ca&longs;e, per e&longs;&longs;er co&longs;e principali, pe­<lb/>rò egli &longs;i deue applicarle a tutte le altre co&longs;e, & opere, che &longs;i fanno come machine, in&longs;trumenti, <lb/>horologi, & altre co&longs;e &longs;ottopo&longs;te alla Architettura, & tanto &longs;ia detto dell'habito, & della for­<lb/>ma che deue e&longs;&longs;ere nell'animo, & nel pen&longs;iero dello Architetto, accioche egli meriti, co&longs;i de­<lb/>gno, & celebrato nome.<emph.end type="italics"/></s>
</p><pb pagenum="37"/><p type="head">
<s><emph type="italics"/>Delle parti dell' Architettura. <!-- KEEP S--></s>
<s>Cap. III.<emph.end type="italics"/><!-- KEEP S--></s>
</p><p type="main">
<s>LE parti dell' Architettura &longs;ono tre Edificatione, Gnomonica, Machinatione. <lb/><emph type="italics"/>Tempo è che io &longs;atisfaccia hormai alla prome&longs;&longs;a di e&longs;ponere le parti della Architet­<lb/>tura: però con quella breuità, che mi &longs;arà conce&longs;&longs;a i&longs;primere intendo tutta la forma <lb/>intiera, & unita dell' Architettura, & dimo&longs;trare ordinatamente le parti&longs;ue, ac­<lb/>cioche &longs;i rinchiuda ne i termini &longs;uoi tutto il corpo di quella. </s>
<s>Il &longs;apere non è altro che cono&longs;cere <lb/>gli effetti per le proprie cau&longs;e. </s>
<s>ogni effetto è fatto da alcuna co&longs;a, di qualche co&longs;a, ad alcun fine, <lb/>con alcun modo, & forma. </s>
<s>Quello, che fa è detto agente; la co&longs;a di che &longs;i fa, è chiamata Mate­<lb/>ria: quella à cui s'indrizza, è detta Fine; quella, che compie, & rende perfetta in e&longs;&longs;ere è nomi­<lb/>nata forma. </s>
<s>Le cau&longs;e principali adunque &longs;ono quattro. </s>
<s>Noi dello agente artificio&longs;o, quale egli <lb/>&longs;i &longs;ia, & di che conditione e&longs;&longs;er debbia gia detto hauemo quando & l'ufficio, & le uirtù dello <lb/>Architetto narrammo. </s>
<s>La forma &longs;imilmente in uniuar&longs;ale è &longs;tata e&longs;po&longs;ta. </s>
<s>Re&longs;taci a dire della <lb/>materia, & del fine. </s>
<s>Et per piu chiara intelligenza in &longs;omma dicemo, che ad imitatione delle co­<lb/>&longs;e naturali, con&longs;ideramo nelle artificiali due co&longs;e. </s>
<s>L'una è lo e&longs;&longs;ere, l'altra il bene e&longs;&longs;ere. </s>
<s>cerca <lb/>lo e&longs;&longs;ere con&longs;ideramo la mat eria, la forma, & il compo&longs;to dell' una & dell' altra. </s>
<s>circa il bene e&longs;­<lb/>&longs;ere con&longs;ideramo gli adornamenti, & gli acconciamenti delle co&longs;e. </s>
<s>Et perche molti &longs;trumenti ci <lb/>bi&longs;ognano per componere la materia con la forma, però è nece&longs;&longs;ario trattare de gli in&longs;trumenti, & <lb/>delle machine. </s>
<s>& la ragione delle &longs;opradette co&longs;e in tal modo &longs;i e&longs;pone. </s>
<s>L'arte quanto puo imita <lb/>la natura: Et que&longs;to adiuiene per che il principio dell' arte, che è lo intelletto humano, ha gran &longs;i­<lb/>miglianza col principio, che muoue la natura, che è una intelligenza. </s>
<s>dalla &longs;imiglianza delle <lb/>uirtù, & de i principij na&longs;ce la &longs;imiglianza dell' operare, che per hora chiameremo imitatione. </s>
<s><lb/>Que&longs;ta imitatione &longs;i uede in tutte le Arti, ma molto maggiormente in quella che è giudice di tutte. </s>
<s><lb/>imitaremo adunque la natura nel <expan abbr="trattamēto">trattamento</expan> dell' Arte. <!-- KEEP S--></s>
<s>La doue l'Architettura cioè la &longs;cienza di <lb/>chiara la materia, la forma, & la compo&longs;itione delle opere, & imitando la natura per l'occulta <lb/>uirtù del &longs;uo principio, procede dalle co&longs;e meno perfette alle piu perfette: & prima pone le co&longs;e in <lb/>e&longs;&longs;ere, & poile adorna; percioche non &longs;i puo adornare quello, che non è. </s>
<s>Ma perche il princi­<lb/>pio, che regge la natura, è d'infinita &longs;apienza, ottimo, & potenti&longs;&longs;imo, però fa le co&longs;e &longs;ue belle, <lb/>utili, & durabili: conueneuolmente lo Architetto imitando il fattor della natura deue riguar da­<lb/>re alta bellezza, utilità, & fermezza delle opere. </s>
<s>Trattando adunque della forma bi&longs;ogna, <lb/>che egli &longs;appia ordinare, di&longs;ponere, mi&longs;urare, di&longs;tribuire, ornare, & &longs;atisfare al diletto de gli <lb/>occhi con bella, & gratio&longs;a maniera. </s>
<s>& per cio fare &longs;ia egli in&longs;tituito con quelle conditioni, che <lb/>&longs;ono contenute nel primo capo, & con quelle, che nel &longs;econdo &longs;i leggeno. </s>
<s>Sotto nome di forma <lb/>compre&longs;i &longs;ono i lineamenti, & i &longs;iti delle co&longs;e, la doue &longs;i con&longs;idera la ragione con tutte le &longs;ue quali­<lb/>tà, occulte, & manife&longs;te, buone, & ree; il piano, il compartimento di quello, la eleuatione del <lb/>la fronte, & de i lati, le apriture, i coperti, con ogni lor conditione, ammae&longs;tramento, & re­<lb/>gola, come &longs;i dirà poi. </s>
<s>Seguita quella con&longs;ideratione, che appartiene alla materia. </s>
<s>ma prima, che <lb/>la materia &longs;ia di&longs;po&longs;ta, & apparecchiata, bi&longs;ogna con&longs;iderare, che lo ingegno dell' huomo è im­<lb/>perfetto, & di gran lung a inferiore allo intelletto diuino. </s>
<s>& la materia (come &longs;i dice) è &longs;orda, <lb/>& non ri&longs;ponde alla intentione dell' arte; Et però prima, che lo Architetto &longs;i dia à cominciar le <lb/>opere deue imitare lo agente naturale, il quale non opera &longs;e non &longs;econdo il &longs;uo potere; co&longs;i farà <lb/>lo Architetto con&longs;iderando l'opera, & la &longs;pe&longs;a. </s>
<s>Et perche la natura nelle co&longs;e piu perfette, & <lb/>piu tempo, & piu diligenza ui mette però lo Architetto ha da pen&longs;ar molto bene; & per fare piu <lb/>certa la riu&longs;cita delle opere, col di&longs;egno, & col modello &longs;i mouerà, prima udendo anche i meno e&longs;per <lb/>ti, & la&longs;ciando raffreddare lo affetto, per dar luogo al giuditio, imiterà la natura, che contra il <lb/>&longs;uo fattore non opera co&longs;a alcuna; però egli non cercherà co&longs;e impo&longs;&longs;ibili, & quanto alla mate-<emph.end type="italics"/><pb pagenum="38"/><emph type="italics"/>ria, & quanto alla forma, che nè egli, nè altri le po&longs;&longs;a finire, con&longs;iderando, che il fattor del mon <lb/>do uolendo quello formare, fece di niente la materia delle co&longs;e. </s>
<s>& la natura come primo &longs;uo par­<lb/>to, mancando di tanto potere, & pur uolendo a&longs;&longs;imigliar&longs;i al &longs;uo fattore, nella generatione delle <lb/>co&longs;e piglia quella materia, che ha uno e&longs;&longs;er, ma &longs;enza forma con potenza, & habilità a riceuere <lb/>ogni forma. </s>
<s>Et di quella fa cio, che &longs;i troua di &longs;en&longs;ibile, & corporale. </s>
<s>Onde l'arte o&longs;&longs;eruatrice <lb/>della natura, come nipote (dirò co&longs;i) del primo fattore, uolendo anche ella fare alcuna co&longs;a pren <lb/>de la materia, che le dà la natura in e&longs;&longs;er di forma &longs;en&longs;ibile, & naturale; come è il legno, il <lb/>ferro, & la pietra; & forma quella materia di quella idea, & di quel &longs;egno, che nella mente del­<lb/>lo artefice è ripo&longs;to. </s>
<s>Apparecchiato adunque il dinaro, accio niente &longs;ia, che lo impedi&longs;ca, pro­<lb/>uedera&longs;&longs;i della materia, della quale &longs;i tralta nel &longs;econdo libro. </s>
<s>La principal materia, che u&longs;a lo <lb/>Architetto è la pietra, il legno, & quelle co&longs;e, che componeno, & metteno in&longs;ieme il legno, & <lb/>la pietra, però nel predetto libro con&longs;idera le pietre, & gli alberi, l'arena, & la calce, & par­<lb/>titamente la natura, la qualità, l'u&longs;o, & il modo di tutte le co&longs;e, ragionando di quella materia, <lb/>che la natura, & l'u&longs;o ne apporta. </s>
<s>perche di quella a che la nece&longs;&longs;ità ci a&longs;trigne, non accade ra­<lb/>gionarne: e<02>endo in diuer&longs;i luoghi diuer&longs;a, come bitume, cocciole, & altre co&longs;e, che in luogo <lb/>di pietre, o d'arena &longs;i u&longs;ano, doue non &longs;i troua nè arena, nè pietre. </s>
<s>in alcuni luoghi &longs;i cuopreno <lb/>le ca&longs;e con te&longs;tugini; alcuni con cannuccie, & palme, altri u&longs;ano il cuoio: del ferro, & de gli <lb/>altri metalli non &longs;i ragiona, perche le loro nature, & qualità &longs;ono piu conformi, & hanno <lb/>meno differenze, che le co&longs;e dette di &longs;opra. </s>
<s>preparata dunque la materia, & con&longs;iderata la for­<lb/>ma in uniuer&longs;ale, ci re&longs;ta a dire della compo&longs;itione. </s>
<s>Ma prima egli &longs;i deue auuertire, che lo agen <lb/>te, che regge la natura, è d'infinite idee ripieno, & ordinatamente procedendo muoue le cau&longs;e ad <lb/>un'ad una, infondendo le uirtù &longs;econdo la libertà del &longs;uo uolere: quelle cau&longs;e co&longs;i mo&longs;&longs;e, portano <lb/>qua giu quel diuino influ&longs;&longs;o con ordine merauiglio&longs;o. </s>
<s>La doue dal primo e&longs;&longs;ere, dalla prima uita, <lb/>& dal primo intelletto, ogni e&longs;&longs;ere, ogni uita, ogni intelletto dipende. </s>
<s>Il che e&longs;&longs;endo in que&longs;to <lb/>modo: bi&longs;ogna che lo Architetto &longs;ia &longs;aggio, & buono: &longs;aggio in cono&longs;cere per le regole della non <lb/>fucata a&longs;trologia, itempi atti a dar principio alle opere, trala&longs;ciando gli ardenti&longs;&longs;imi, &longs;oli, & gli <lb/>acuti&longs;&longs;imi giacci. </s>
<s>buono, sì in fatti non e&longs;&longs;endo auaro, nè dato a uitij, sì in parole, pregando il da <lb/>tore di tutte le forme, che lo &longs;pogli d'ignoranza, & lo &longs;uegli a partorire le belle muentioni con pro­<lb/>&longs;pero, & felice &longs;ucce&longs;&longs;o dell' arte &longs;ua, a beneficio delle genti. </s>
<s>Hora per ritornare a propo&longs;ito, <lb/>io dico, che non &longs;olamente imitar &longs;i deue la natura, nel modo piu uniuer&longs;ale, & commune, ma <lb/>&longs;empre al meno, & piu ri&longs;tretto di&longs;cendere. </s>
<s>per il che gli Architettti &longs;i deono sforzare, di fare <lb/>l'opere loro, a qualche effetto di natura &longs;imiglianti. </s>
<s>Et non e&longs;&longs;endo qua giu co&longs;a, che in perfet­<lb/>tione all' huomo s'aguaglie; belli&longs;&longs;imo e&longs;&longs;empio ci darà in ogni artificio il con&longs;iderare la proportio­<lb/>ne del corpo humano. </s>
<s>Certo è, che la natura nella generatione dell' huomo dimo&longs;tra ueramente <lb/>a quello douer&longs;i riferire tutte le co&longs;e, la doue lo rende perfetto; & perciò di molte parti, come di <lb/>molti in&longs;trumenti dotato in &longs;eruigio dell' anima, & della uita &longs;i uede. </s>
<s>Delle dette parti alcune <lb/>&longs;ono di nome, & di natura &longs;imiglianti, come il &longs;angue, l'o&longs;&longs;a, inerui; imperoche ogni parte di <lb/>&longs;angue, è &longs;angue, ogni parte di o&longs;&longs;o è o&longs;&longs;o, & ogni parte di neruo è neruo, & co&longs;i uien chiama­<lb/>to. </s>
<s>Altre &longs;ono di nature, & uocaboli diuer&longs;i, come è la mano, il piede, il capo: imperoche <lb/>non ogni parte della mano è mano, o uien detta mano; & co&longs;i del piede, & del capo &longs;i dirà. </s>
<s><lb/>Delle prime parti &longs;imiglianti &longs;i fanno le &longs;econde, & que&longs;te nel corpo hanno ufficij, & fini diuer&longs;i. </s>
<s><lb/>Volendo adunque lo Architetto far l'opera &longs;ua in modo, che ella &longs;ia una intiera, & unita, bi&longs;o­<lb/>gna, che egli con&longs;ideri le parti principali, accioche &longs;i dia loro materia che conuenga, & buona <lb/>&longs;ia per le opere ad imitatione di natura, che dà luogo conueniente, & ben preparato, nel quale <lb/>per tanto &longs;pacio di tempo s'habbiano à formare compiutamente le membra humane, gettando pri <lb/>ma per fondamento della uita, del &longs;en&longs;o, & del mouimento, i &longs;egni del cuore, del fegato, & <lb/>del ceruello. </s>
<s>Lo Architetto hauerà la con&longs;ideratione, del luogo, del modo, delle parti, & u&longs;o <lb/>di e&longs;&longs;e: & però &longs;egue che la materia &longs;ia e&longs;pedita &longs;econdo l'u&longs;o delle parti. </s>
<s>Quanto adunque al<emph.end type="italics"/><pb pagenum="39"/><emph type="italics"/>luogo &longs;i uede per certi &longs;egni, & inditij le qualità del terreno, o&longs;&longs;eruan&longs;i alcune regole, & &longs;i dan­<lb/>no alcuni ammae&longs;tramenti. </s>
<s>D'indi alla dichiaratione delle altre co&longs;e &longs;i ragiona delle pietre &longs;econ <lb/>do la quantità, è figura loro, affine che ci &longs;eruiamo &longs;econdo l'u&longs;o. </s>
<s>il &longs;imigliante &longs;i dirà della calce, <lb/>con quelle o&longs;&longs;eruationi, che &longs;eruiranno al bi&longs;ogno. </s>
<s>& pa&longs;&longs;ando piu oltre &longs;i dirà il modo di ponere <lb/>in&longs;ieme le pietre con la calce. </s>
<s>& con belli auuertimenti pre&longs;i dalla natura delle co&longs;e, &longs;i farà con­<lb/>&longs;ideratione delle fondamenta, & poi delle parti della fabrica, che &longs;ono &longs;opra il fondamento. </s>
<s>le <lb/>quali &longs;ono i panimenti, i pareti, imuri, & i tetti con tutte le maniere di murature abbracciate <lb/>da Vitr.
nel &longs;econdo libro. </s>
<s>& co&longs;i l'o&longs;&longs;a, i &longs;o&longs;tegni, l'apriture, i legamenti, i cor&longs;i, i riempimen­<lb/>ti chiaramente &longs;i daranno ad intendere & que&longs;ta è particolare, & di&longs;tinta ragione della Archi­<lb/>tettura, ma ancora non i&longs;pedita. </s>
<s>imperoche fin hora non &longs;i ha hauuto alcuna con&longs;ideratione del <lb/>fine, che è quello che pone forza, & nece&longs;&longs;ità a i mezi, & con&longs;titui&longs;ce ogni arte, (come dice Ga­<lb/>leno) operando adunque lo Architetto affine, che gli huomini &longs;otto l'unione, alla quale per natu­<lb/>ra &longs;ono inclinati, commodi & &longs;icuri uiuino, & &longs;iano l'un l'altro di giouamento: nece&longs;&longs;erio è con <lb/>&longs;iderare la diuer&longs;ità de gli huomini, accioche &longs;i proueda al bi&longs;ogno. </s>
<s>Vedendo adunque noi un gran <lb/>numero d'huomini ad un fine in&longs;ieme raunati, potemo con&longs;ider are tutto quel numero in &longs;e &longs;te<02>o, <lb/>potemo anche di&longs;correre tra quella moltitudine, & trouarui per entro qualche differenza delle <lb/>per&longs;one. </s>
<s>Se noi con&longs;ideramo tutta la raunanza in&longs;ieme nece<02>ario diremo, che &longs;e le faccia <lb/>una città con tutte quelle parti, che per tutta quella raunanza utili, & &longs;icure &longs;aranno. </s>
<s><lb/>Et però prima &longs;i hauerà ri&longs;petto all' ampiezza, & giro, nel quale &longs;i hauerà a rinchiudere <lb/>quella moltitudine, & però &longs;i tratterà della &longs;ua capacità, & grandezza, & poi delle mura, nel­<lb/>le quali &longs;i farà con&longs;ider atione della dife&longs;a, onde egli &longs;i ordinerà la fabrica delle torri, & di quel­<lb/>le parti, che. </s>
<s>&longs;i chiamano baloardi, caualieri piatcforme, porte, riuellini, & &longs;aracine&longs;­<lb/>che, poi &longs;i compartirà il piano rinchiu&longs;o dalle mura per commodo d'ognuno, percioche tutto <lb/>non deue e<02>er fabricato nè tutto uoto. </s>
<s>però &longs;i tratterà delle piazze & uie publiche, delle <lb/>&longs;trade, & androne, & calli, hauendo &longs;empre ri&longs;petto, che non &longs;iano battute da i uenti. </s>
<s><lb/>come &longs;i dirà poi. </s>
<s>Oltra di que&longs;to, perche ne i luoghi delle città &longs;ogliono pa&longs;&longs;are fiumi, ouero <lb/>altre acque condotte, per lequali &longs;i conduceno le merci, & le uettouaglie, però è nece&longs;&longs;aria <lb/>la fabrica de i ponti, & de i porti per la commodità d'ognuno. </s>
<s>Ma uolgendoci noi alle di&longs;tin­<lb/>tion delle per&longs;one troueremo altri e&longs;&longs;er piu degni, altri meno, & tra i degni, ouero uno ca­<lb/>po &longs;olo, ouero molti. </s>
<s>& quel capo o per elettione di molti, & permi&longs;&longs;ione di leggi, o per uio­<lb/>lenza, & for za. </s>
<s>nel primo ca&longs;o ci apparirà il Principe, nel &longs;econdo il Tiranno. <!-- KEEP S--></s>
<s>dal fine di <lb/>cia&longs;cuno prenderà lo Architetto la di&longs;po&longs;itione delle fabriche, & delle habitationi facendo <lb/>al Principe il pallazzo, & al Tiranno la rocca. </s>
<s>Tra i molti degni ritrouerà, che alcuni&longs;ono <lb/>dedicati alla religione, altri fuori dell' o&longs;&longs;eruanze della religione. </s>
<s>di que&longs;ti altri &longs;aranno at­<lb/>ti ad u&longs;cir fuori per la republica, altri per regger quella di dentro la citta. </s>
<s>di quelli, che &longs;ono <lb/>atti ad u&longs;cire, altri al mare, altri alla terra &longs;i daranno, & chi prenderà il mare hauerà bi­<lb/>&longs;ogno di nauali, cioè Arzane di naui, di munitione & porti; & però l'Architetto deue an­<lb/>che hauere con&longs;ideratione di quelle fabriche, che conuengono al mare. </s>
<s>Ma chi prenderà la <lb/>terra come capitano, & condottore di e&longs;&longs;erciti hauerà bi&longs;ogno di alloggiamenti, &longs;teccati, for­<lb/>li, d'artigliarie, machine, & in&longs;trumenti diuer&longs;i per dife&longs;a, & offe&longs;a. </s>
<s>alle quai tutte co&longs;e l'Ar <lb/>chitetto deue dare ordine. </s>
<s>Ma perche quelli, che &longs;tanno dentro al gouerno, ouero &longs;ono pre&longs;i­<lb/>denti alle controuer&longs;ie ciuili, & criminali, ouero &longs;ono con&longs;ultori delle co&longs;e di &longs;tato: però è <lb/>nece&longs;&longs;ario per li giudici il foro, & per li &longs;enatori il &longs;enato & la curia, & co&longs;i le per&longs;one <lb/>degne, che non &longs;ono dedicate al culto diuino della religione haueranno conuenienti habita­<lb/>tioni. </s>
<s>Ma a gli o&longs;&longs;eruatori della religione &longs;i faranno i mona&longs;teri, i chio&longs;tri, gli ho&longs;pitali, <lb/>per gli huomini, & per le donne, come ricerca l'u&longs;o, & il decoro d'ogni per&longs;ona, et &longs;pecial­<lb/>mente &longs;i metterà ogni ind<gap/>&longs;tria nella fabrica delle chie&longs;e, & de i &longs;acri tempij. </s>
<s>Ma perche <lb/>&longs;ono alcune opere, che nè in tutto publiche, nè in tutto prinate &longs;i deono chiamare: però di<emph.end type="italics"/><pb pagenum="40"/><emph type="italics"/>quelle anche &longs;i deue hauer cura, alcune delle quali &longs;ono per con&longs;erua delle co&longs;e da uiuere, o <lb/>da mercantare, alcune per difen&longs;ione, & aiuto, come &longs;ono i fondachi, le dogane, i magaze­<lb/>ni, la Cecca, gli armamenti, i luoghi delle munitioni. </s>
<s>alcune all' u&longs;o come bagni, acquedotti, <lb/>& &longs;imil co&longs;e. </s>
<s>Altre al diletto &longs;eruono, & alle fe&longs;te, come &longs;ono i theatri, gli amphiteatri, le <lb/>loggie, i luoghi diputati al cor&longs;o, & a giuochi diuer&longs;i. </s>
<s>altre all' honore, & alla memoria, co <lb/>me gli archi, i trofei, le &longs;epolture, le mete, gli obeli&longs;chi, & le piramidi. </s>
<s>Altre in fine a i <lb/>rei huomini &longs;i fanno, come il carcere, che è con&longs;eruatore della giu&longs;titia. </s>
<s>& tutte le predet <lb/>te fabriche hanno del publico, & del priuato in un certo modo, come &longs;i puo ben con&longs;ider an­<lb/>do uedere. </s>
<s>Ma le per&longs;one &longs;enza grado &longs;ono gli huomini cittadine&longs;chi, gli artefici, gli agri­<lb/>coltori. </s>
<s>& però con&longs;iderando lo Archit etto la commodità, & la conditione d'ognuno, non la­<lb/>&longs;cierà a dietro maniera alcuna di priuato edificio sì nella città, come nella uilla. </s>
<s>& con que <lb/>&longs;to &longs;i darà fine a quella parte, che tratta dello e&longs;&longs;er delle co&longs;e: riuolgendo&longs;i poi al ben e&longs;&longs;er trat <lb/>terà de gli ornamenti, adornando la città, le fortezze, i tempij, i palazzi, le ca&longs;e, le &longs;trade, <lb/>i ponti, gli archi, le &longs;epolture, & in &longs;omma ogni opera publica, & priuata. </s>
<s>Di que&longs;ta &longs;i trat <lb/>ta nel &longs;ettimo libro. </s>
<s>Finalmente perche a fare &longs;i grandi, & belle opere ci bi&longs;ognano molti in­<lb/>&longs;trumenti, ne i quali oltra la natura delle co&longs;e, l'arte dimo&longs;tra la forza &longs;ua, & la materia <lb/>& &longs;oggetto d'ogni opera, & la potenza dello agente la fa e&longs;&longs;ere quello, che ella non era; & <lb/>que&longs;to con diuer&longs;i in&longs;trumenti, per e&longs;&longs;ere lo in&longs;trumento mezano tra lo operante, & la co&longs;a ope <lb/>rata: però il &longs;aggio Architetto tratta de gli in&longs;trumenti, & delle machine, da leuare, tirare, <lb/>& mouere i pe&longs;i, & di tutte altre &longs;orti d'artigliarie: & perche il tempo è mi&longs;ura delle opera­<lb/>tioni de gli huomini, & della natura, & il mouimento de i corpi cele&longs;ti, & &longs;pecialmente del pri <lb/>mo ua in&longs;ieme col tempo, & ci apporta il Sole, & la Luna, come quelli che di&longs;tingueno i giorni <lb/>& le notti: però, accioche gli huomini comparti&longs;chino le hore, & i tempi delle loro operatio­<lb/>ni, lo Architetto &longs;i uolgerà con gli occhi al cielo, & &longs;eruendo&longs;i di que bei lumi, con arti­<lb/>ficio&longs;i lineamenti de&longs;criuerà gli horologi da Sole qua&longs;i mettendoci il cielo nelle mani: & que&longs;ta <lb/>è la &longs;omma dell' Architettura, laquale (&longs;e ben &longs;i con&longs;idera) abbraccia ogni commodo, & dilet <lb/>to dell' humana generatione. </s>
<s>& con lo &longs;opradetto di&longs;cor&longs;o potemo andare &longs;icuramente alla di­<lb/>chiaratione del pre&longs;ente Capo. <!-- KEEP S--></s>
<s>dice adunqne Vitruuio diuidendo l'Architettura.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s>Le parti dell' Architettura &longs;ono tre, Edificatione, Gnomonica, & Machinatione. <!-- KEEP S--></s>
<s>La <lb/>edificatione è diui&longs;a in due parti. </s>
<s>una è la collocatione delle mura, & delle opere com­<lb/>muni, ne i luoghi publici, l'altra è la e&longs;plicatione de i priuati edificij. </s></p><p type="main">
<s><emph type="italics"/>Dapoi che Vitruuio ci ha dimo&longs;trato che co&longs;a e&longs;&longs;er deue nella mente dello Architetto prima, <lb/>che egli uenghi all' opera, hora egli ci mo&longs;tra in quante co&longs;e egli ha da porre le &longs;ei predette <lb/>forme: & dice, che l'ordine, la &longs;immetria, la di&longs;po&longs;itione, la di&longs;tributione, il decoro, & la <lb/>eurithmia &longs;i hanno ad e&longs;&longs;ercitare in tre co&longs;e principalmente, che egli chiama parti dell' Ar­<lb/>chitettura, & &longs;ono parti materiali: & la prima è la Edificatione, & fabrica; la &longs;econda Gno <lb/>monica, la terza Machinatione. <!-- KEEP S--></s>
<s>Fabrica è nome generale, & particolare; in generale fa­<lb/>brica è arte, & componimento d'alcuna co&longs;a, come latinamente Fabbro è detto ogni ope­<lb/>rario. </s>
<s>Similmente machinatione è quello i&longs;te&longs;&longs;o, che è fabrica in generale; ma quando l'uno, <lb/>& l'altro nome è pre&longs;o in particolare', fabrica s'intende edificatione, & machinatione s'inten­<lb/>de arte di fare le machine: della quale &longs;i tratta nel decimo libro. </s>
<s>la edificatione ha due parti, <lb/>l'una è la collocatione delle mura, & delle opere communi ne i publici luoghi. </s>
<s>di que&longs;ta &longs;i trat­<lb/>ta ne i primi cinque uolumi. </s>
<s>L'altra è la e&longs;plicatione de i priuati edificij, delli quali &longs;i trat­<lb/>ta nel &longs;e&longs;to.<emph.end type="italics"/></s><s> Le Di&longs;tributioni delle opere publiche &longs;ono tre, delle quali una &longs;i dà alla di <lb/>fe&longs;a, l'altra alla religione, l'altra al commodo. </s>
<s>Alla dife&longs;a appartiene la ragione di fare <lb/>le mura della città, & delle torri, & delle porte, lequali co&longs;e &longs;ono &longs;tate ritrouate per &longs;cac <lb/>ciare gl'impeti de i nimici continuamente. <emph type="italics"/>Et que&longs;ta &longs;i ha ne i &longs;eguenti capi del pre&longs;ente libro.<emph.end type="italics"/></s></p><p type="main">
<s>Della religione è la collocatione de i tempij, & delle &longs;acre ca&longs;e, de gli immortal Dei. <pb pagenum="41"/><emph type="italics"/>come &longs;i tratta nel terzo, & nel quarto libro.<emph.end type="italics"/></s><s> Della opportunità è la di&longs;po&longs;itione de i luo <lb/>ghi communi all' u&longs;o publico, come &longs;ono i porti, i fori, i portichi, i bagni, i Theatri, i <lb/>luoghi da pa&longs;&longs;eggiare, & le altre co&longs;e, le quali con le i&longs;te&longs;&longs;e ragioni, &longs;ono ne i publici luo­<lb/>ghi di&longs;egnate. </s></p><p type="main">
<s><emph type="italics"/>Di quefte co&longs;e &longs;i tratta nel quinto libro di&longs;tintamente.<emph.end type="italics"/></s><s> Quc&longs;te co&longs;e di tal maniera dcono e&longs; <lb/>&longs;er di&longs;po&longs;te, che egli &longs;i habbia riguardo alla fermezza, all' utilità, alla uenu&longs;tà. </s>
<s>Alla fermez­<lb/>za &longs;i riguarderà, quando le fabriche &longs;aranno ben fondate &longs;in &longs;ul &longs;odo. </s>
<s>& &longs;e &longs;enza auaritia &longs;i <lb/>farà elettione, & &longs;cielta della materia d'ogni &longs;orte. </s>
<s>All' utilità &longs;i prouederà, quando &longs;enza <lb/>impedimento al commodo, & u&longs;o de i luoghi, & &longs;enza menda &longs;aranno le co&longs;e di&longs;po&longs;te, <lb/>& bene accompagnate, & partite ad ogni maniera. </s>
<s>Alla bellezza &longs;i &longs;atisferà, quando con <lb/>bella, & gioconda maniera dello a&longs;petto, la compartita de i membri, &longs;arà giu&longs;ta, eguale, <lb/>& proportianata. </s></p><p type="head">
<s><emph type="italics"/>Delle elettione de i luoghi &longs;ani, & quali co&longs;e nuocono alla <lb/>&longs;anità. </s>
<s>Cap. IIII.<emph.end type="italics"/><!-- KEEP S--></s>
</p><p type="main">
<s>NEL fabricare le mura della città que&longs;ti &longs;ono i principij. </s>
<s>Primamente è la elettio <lb/>ne di luogo &longs;ani&longs;simo: Quello &longs;ia lo eleuato, non coperto di nebbie, nè cari­<lb/>co di freddi uapori: Ma che riguardi quelle parti del cielo, che nè troppo cal <lb/>de &longs;ono, nè troppo fredde, ma temperate. </s>
<s>Dapoi &longs;e egli &longs;i &longs;chiferà la uici­<lb/>nanza delle paludi; perche uenendo alla città col na&longs;cente &longs;ole l'aure mattutine, &longs;e con <lb/>quelle &longs;e congiugneranno le na&longs;ciute nebbie, & i fiati delle be&longs;tie palu&longs;tri &longs;pargeranno <lb/>nei corpi de gli habitanti i ueneno&longs;i uapori me&longs;chiati con le nebbie, & faranno il luogo <lb/>mal &longs;ano. </s>
<s>Anchora &longs;e le mura &longs;aranno a canto'l mare, & riguarderanno al meriggie, o al <lb/>ponente, non &longs;aranno i luoghi &longs;alubri. </s></p><p type="main">
<s><emph type="italics"/>Hauendo Vitr.
fondata la trattatione dell' Architettur a &longs;opra i principij dichiarati, comincia <lb/>hora a fabricarui &longs;opra; & &longs;econdo la &longs;ua diui&longs;ione comincia dalle opere publiche, & delle &longs;ei co­<lb/>&longs;e, che apartengono alla forma, tocca prima la di&longs;tributione, & il decoro naturale: & delle tre, <lb/>che deue hauer ogni fabrica ragiona prima della utilità, & dirà poi della fermezza, & uenu&longs;tà <lb/>delle opere. </s>
<s>Quanto alle opere publiche ci uiene inanzi la città, che per dife&longs;a della uita, della <lb/>religione, & delle publiche commodità, &longs;i &longs;uol fare. </s>
<s>Sei co&longs;e &longs;ono (come dice il dotto Leon Bat­<lb/>ti&longs;ta) da e&longs;&longs;er con&longs;ider ate da chi uuol fabricare una città. </s>
<s>La prima è l'ampiezza di tutta la ter <lb/>ra po&longs;ta d'intorno, & la faccia, doue &longs;i debbe fabricare, detta regione. </s>
<s>La &longs;econda è il campo, <lb/>& la piazza, o &longs;patio determinato della regione da e&longs;&longs;er cinto, & rinchiu&longs;o di mura. </s>
<s>La terza, <lb/>è il compartimento del detto &longs;pacio. </s>
<s>La quarta è tutto quello, che &longs;i lieua dal piano, parete, o <lb/>muro nominato. </s>
<s>La quinta è tutto quello, che ci &longs;tà &longs;opra il capo, o ci cuopre in qualunque mo­<lb/>do. </s>
<s>La &longs;e&longs;ta è l'apritura, doue & le per&longs;one, & le co&longs;e entrano, & e&longs;ceno. </s>
<s>Vitr.
comincia <lb/>a dire della regione, cioè della elettione de i luoghi &longs;ani, percioche gran forza, & uirtù è po&longs;ta <lb/>nella natura de i luoghi, & dello aere, come quello, che da noi non &longs;i puote &longs;eparare; & il luogo <lb/>è come padre della generatione, in quanto egli è affetto dalle qualità cele&longs;ti. </s>
<s>& però le co&longs;e na­<lb/>turalmente &longs;i con&longs;eruano piu doue na&longs;ceno che altroue. </s>
<s>Egli &longs;i ragiona adunque della elettione <lb/>de i luoghi &longs;ani per fabricare la città: & que&longs;ta è la prima con&longs;ideratione, che &longs;i deue hauere. </s>
<s><lb/>La regione adunque contiene alcune qualità, delle quali altre &longs;ono pale&longs;i, altre a&longs;co&longs;e. </s>
<s>& di que <lb/>&longs;te, & di quelle alcune &longs;ono ree, alcune buone. </s>
<s>Le ree &longs;i cono&longs;ceno dalle buone per lo contrario. </s>
<s><lb/>Delle buone altre ci &longs;erueno al commodo, come il pae&longs;e abondante di acque, di frutti, di pa&longs;coli, <lb/>che ha buoni uicini, porti, entrate, per commodità del contrattare, & condurre le merci. </s>
<s>Al­<lb/>tre &longs;ono buone all a &longs;anità. </s>
<s>sì perche hanno l'acque mobili, lucide, non ui&longs;co&longs;e, non metalliche,<emph.end type="italics"/><pb pagenum="42"/><emph type="italics"/>&longs;enza qualit à di odore, colore, & &longs;apore, sì anche, perche i uenti non uengorio troppo freddi a <lb/>troppo caldi, o da luoghi infetti. </s>
<s>Similmente &longs;e la temper atur a &longs;arà alquanto humida, & dolce, <lb/>croè temperata. </s>
<s>dopo la quale è piu &longs;ana la fredda: & &longs;e lo aere &longs;arà puro, purgato, peruio alla ui <lb/>&longs;ta, mobile, & uniforme; & il &longs;ole non cuocerà molto, o non &longs;arà troppo lontano, ma potrà col <lb/>&longs;uo calore con&longs;irmare le fredde aure mattutine. </s>
<s>Le a&longs;co&longs;e qualità, che ree &longs;ono, come ho detto, <lb/>&longs;i cono&longs;ceno dalle buone. </s>
<s>Et le buone &longs;i attendeno da gli animali grandi, gagliardi, &longs;aporiti di <lb/>carne, & fegato buono, & da gli huomini, quando &longs;ono copio&longs;i dell'uno, & l'altro &longs;e&longs;&longs;o, & <lb/>quando &longs;ono belli, &longs;ani, & di lung a uita: & che &longs;ono coloriti, gagliardi, & di temperata com­<lb/>ple&longs;&longs;ione. </s>
<s>Et dalle piante, quando &longs;ono belle, ben nodrite, non offe&longs;e da i uenti, & non &longs;ono <lb/>di quelle &longs;pecie, che na&longs;ceno in luoghi paludo&longs;i, o &longs;trani. </s>
<s>Et dalle co&longs;e diuine, come dal Genio, & <lb/>buona fortuna del luogo: & dalle naturali, quando le co&longs;e &longs;i con&longs;eruano, come &longs;ono le merci, i <lb/>frutti: & dalle artificio&longs;e, quando gli edificij non &longs;ono corro&longs;i da i uenti, o dalla &longs;al&longs;ugine. </s>
<s>Que­<lb/>&longs;te co&longs;e di&longs;corre Vitr.
accioche faccia l'huomo cauto et auuertito: & conferma con e&longs;&longs;empi, quan <lb/>to dice, & con ragioni naturali, & dimo&longs;tra non e&longs;&longs;ere ine&longs;perto della Filo&longs;ofia. <!-- KEEP S--></s>
<s><lb/>Leggi Leon Eatti&longs;ta a i capi, terzo, quarto, quinto, & &longs;e&longs;to del primo libro, & hauerai la <lb/>pre&longs;ente materia, copio&longs;a, ornata, & dotta: nel re&longs;tante Vitr.
&longs;i la&longs;cia intendere in conformità <lb/>di molti antichi &longs;crittori, & proua quanto nociui &longs;iano i luoghi &longs;ottopo&longs;ti al calore del &longs;ole, <lb/>dicendo.<emph.end type="italics"/></s></p><p type="main">
<s>Perche nella &longs;tate l'aere, che è uer&longs;o il meriggie na&longs;cendo il &longs;ole &longs;i ri&longs;calda, nel merig­<lb/>gie arde: & quello, che è uer&longs;o il ponente, na&longs;cendo il &longs;ole intepidi&longs;ce, &longs;alendo al mezo <lb/>dì ri&longs;calda, cadendo abbrucia: la doue per le mutationi del caldo, & del freddo i corpi <lb/>che &longs;ono in que luoghi s'infermano. </s>
<s>& que&longs;to &longs;i puo cono&longs;cere dalle co&longs;e inanimate, im­<lb/>peroche nelle cantine coperte niuno prende il lume dal meriggie, nè dal ponente, ma dal <lb/>&longs;ettentrione: perche quella parte non &longs;i uede in alcun tempo mutata, ma è ferma &longs;empre, <lb/>& immutabile; & però i Granai, che riguardano al cor&longs;o del &longs;ole pre&longs;to mutano la bontà <lb/>loro; & le co&longs;e del mangiare, & i frutti, che non &longs;ono alla parte oppo&longs;ta al cor&longs;o del &longs;o­<lb/>le, non &longs;i con&longs;eruano lungamente, perche &longs;empre il calore cocendo leua la fermezza delle <lb/>co&longs;e, & con i &longs;uoi caldi uapori &longs;uggendo le uirtù naturali le di&longs;cioglie, & quelle per lo <lb/>caldo ammollite, rende debili, & inferme. </s>
<s>come &longs;i uede nel ferro, il quale benche &longs;ia du­<lb/>ro di natura, nondimeno dal fuoco ri&longs;caldato nelle fornacì, s'ammolli&longs;ce in modo, che in <lb/>ogni forma &longs;i puo ageuolmente piegare, & fabricare: & lo i&longs;te&longs;&longs;o e&longs;&longs;endo molle, & rouen <lb/>te po&longs;to nell' acqua fredda &longs;i rindura, & ritorna nella proprietà di prima. </s>
<s>Egli &longs;i può an­<lb/>chora con&longs;iderare, che co&longs;i &longs;ia, da che nel tempo della &longs;tate tutti i corpi per lo caldo s'inde­<lb/>boli&longs;ceno, non tanto ne i luoghi pe&longs;tilenti, quanto ne i &longs;ani: & per lo contrario nel uer­<lb/>no, quantunque le regioni &longs;ieno molto mal &longs;ane, diuentano però &longs;ane, percioche i fred­<lb/>di le fortificano grandemente. </s>
<s>Similmente &longs;i uede, che i corpi da luoghi freddi in parti <lb/>calde traportati poco durano, & &longs;i di&longs;cioglieno, ma quelli, che &longs;ono di pae&longs;i caldi, &longs;e &longs;ta­<lb/>ranno nelle fredde regioni del &longs;ettentrione, non &longs;olamente per la mutatione del luogo <lb/>non &longs;aranno &longs;ottopo&longs;ti a malatie, ma &longs;i confermeranno. </s>
<s>Et però nel fare le mura delle <lb/>città bi&longs;ogna guardar&longs;i da quelle regioni, i quali con i calori loro po&longs;&longs;ono &longs;pargere i cal­<lb/>di uapori ne i corpi humani. </s>
<s>perche di que principij, che chiamano elementi, tutti i corpi <lb/>&longs;ono compo&longs;ti, cioè di calore, di humore, di terra, & di aere, & dalla me&longs;colanza di que <lb/>&longs;ti con naturale me&longs;colamento in &longs;omma formate &longs;ono le qualità di tutti gli animali nel <lb/>mondo. </s>
<s>in que corpi adunque, ne i quali di que principij abonda il calore, &longs;i uede, che il <lb/>caldo gli uccide, & di&longs;cioglie tutte le altre co&longs;e, & que&longs;ti difetti &longs;uol fare il feruore del cie <lb/>lo, che uiene d'alcune parti, quando egli entrato &longs;iede nelle aperte uene, piu di quello, <lb/>che puo portare il corpo per le me&longs;colanze della &longs;ua natural temperatura. </s>
<s>parimente <lb/>&longs;e l'humore hauerà occupato le uene de i corpi, & quelle hauerà fatto di&longs;eguali, <pb pagenum="43"/>e gonfie, tutti gli altri principij, come gua&longs;ti, & corrotti dal liquore &longs;i liquefaranno. <lb/></s>
<s>& le uirtù della compo&longs;itione &longs;i di&longs;ciglieranno. </s>
<s>Similmente dai raffreddamenti dell hu­<lb/>more de i uenti, & dell' aure, s'infondeno i difetti ne i corpi. </s>
<s>Nè meno la natural compo <lb/>&longs;itione dello aere, & del terreno cre&longs;cendo, o &longs;cemando fa debili gli altri principij, ijter <lb/>re&longs;tri con la pienezza del cibo, gli aeri con la grauczza dello aere. </s>
<s>Ma &longs;e alcuno uorrà <lb/>con piu diligenza uedere &longs;en&longs;ibilmente, auuerti&longs;ca, & attenda alle nature de gli uccelli, <lb/>de i pe&longs;ci, & de i terre&longs;tri animali. </s>
<s>& a que&longs;to modo potrà con&longs;iderare le differenze delle <lb/>tempre de i corpi. </s>
<s>imperoche altra me&longs;colanza hanno gli uccelli, altra i pe&longs;ci, & molto <lb/>anche piu è diuer&longs;a la natura de i terre&longs;tri animali. </s>
<s>gli uccelli hanno manco del terreno, <lb/>& meno dell' humore, &longs;ono di temperato calore, abondano di aere, da che na&longs;ce, che e&longs;­<lb/>&longs;endo di piu lieui elementi compo&longs;ti, ageuolmente &longs;i leuano contra lo impeto dello ae­<lb/>re. </s>
<s>Ma le nature aquatili de i pe&longs;ci, perche &longs;ono dal calor temperate, & piu d'aere & di <lb/>terreno, & poco dell' humore ritengono, quanto meno hanno di que principij dell' humo <lb/>re, tanto piu facilmente nell' humore &longs;i con&longs;eruano. </s>
<s>& però tratti a terra ad un i&longs;te&longs;&longs;o tem <lb/>po, & la uita, & l'acqua mandano fuori: co&longs;i i terre&longs;tri animali, perche tra i principij lo <lb/>ro &longs;ono dallo aere, & dal calore temperati, & meno ritengono del terreno, & piu del­<lb/>l'humore, abondando in quelli le parti humide, non po&longs;&longs;ono &longs;tando nell' acqua lunga­<lb/>mente con&longs;eruare la uita. </s>
<s>Se adunque co&longs;i pare, come propo&longs;to hauemo, & &longs;e col &longs;en&longs;o <lb/>uedemo i corpi de gli animali e&longs;&longs;er di tali principij compo&longs;ti, & dimo&longs;trato hauemo per <lb/>lo mancamento, & per lo &longs;operchio di tal co&longs;e, il tutto ce&longs;&longs;are, o patire, non dubitamo, <lb/>che nece&longs;&longs;ario non &longs;ia con ogni diligenza sforzar&longs;i di eleggere le parti del Cielo tempe­<lb/>perati&longs;sime, quando nel fare le mura &longs;i richiede la &longs;anità; & però io giudico fermamen­<lb/>te douer&longs;i a que&longs;to propo&longs;ito riuocare la ragione de gli antichi: imperoche i maggiori <lb/>diligentemente riguardauano i fegati delle pecore &longs;acrificate, che pa&longs;ceuano in que luo <lb/>ghi, doue &longs;i faceuano le ca&longs;tella, ouero le guarnigioni: & &longs;e le prime erano liuide, & <lb/>uitio&longs;e ne &longs;acrificauano delle altre, dubitando &longs;e per infirmità, o per li pa&longs;coli fu&longs;&longs;ero <lb/>uitiate: ma poi hauendo fatto la i&longs;perienza in molte di e&longs;&longs;e, & prouata la intiera, & &longs;o­<lb/>da natura de i fegati, dalle acque, & da gli pa&longs;coli, s'accampauano in que luoghi: ma &longs;e <lb/>trouauano difetto in quelli, per certo indicio argomentando, il mede&longs;imo ne i corpi hu <lb/>mani traportando, che in que luoghi e&longs;&longs;er doue&longs;&longs;e pe&longs;tilente la copia dell' acqua, & del ci <lb/>bo: & co&longs;i per altre parti &longs;i moueuano, & mutauano pae&longs;e, in ogni luogo cercando la <lb/>&longs;anità: ma che per li pa&longs;coli, & per li cibi &longs;i apparino e&longs;&longs;er &longs;alubri le proprietà della terra, <lb/>argomento manife&longs;to ci danno i campi di Candia, i quali &longs;ono d'intorno il &longs;iume Po­<lb/>thereo, tra Gno&longs;o & Cortina, perche dalla de&longs;tra, & dalla &longs;ini&longs;tra di quel fiume pa&longs;ce­<lb/>no le pecore, ma quelle, che &longs;i uanno pa&longs;colando cerca Gno&longs;o, hanno la milza grande, <lb/>& quelle che &longs;ono appre&longs;&longs;o Cortina non l'hanno apparente. </s>
<s>perche dimandandone i medi­<lb/>ci la cagione, ritrouarono in que luoghi un'herba, che pigliata dalle pecore, &longs;cemaua loro <lb/>la milza. </s>
<s>& co&longs;i cogliendone, ne dauano a quelli, che patiuano di milza. </s>
<s>& per que&longs;to i Cre <lb/>ten&longs;i, chiamano quell' herba A&longs;plenon. <!-- KEEP S--></s>
<s>Da que&longs;to egli &longs;i puo &longs;apere, che dal cibo, & dal <lb/>le acque i luoghi &longs;ono o pe&longs;tilenti, o &longs;alubri. </s>
<s>Oltra di que&longs;to &longs;e nelle paludi &longs;arà fabricata la <lb/>città, & che le paludi uicine al mare riguarderanno al &longs;ettentrione, ouero tra'l &longs;ettentrio­<lb/>ne & leuante, pure che &longs;iano piu alte che il lito del mare, con ragione parerà e&longs;&longs;er fabricata. </s>
<s><lb/>perche tratte le fo&longs;&longs;e, le ac que &longs;e ne correno al lito, & dal mare gonfio per le fortune ri­<lb/>battute nelle paludi per uarij mouimenti &longs;ono commo&longs;&longs;e, doue per le amare me&longs;colanze <lb/>nei luoghi palu&longs;tri non na&longs;ceranno animali ueneno&longs;i. </s>
<s>& quelli, che da piu alti luoghi nuo <lb/>tando uer&longs;o i liti &longs;e ne anderanno, per la non con&longs;ueta &longs;al&longs;ugine &longs;e ne moriranno. </s>
<s>Lo e&longs;­<lb/>&longs;empio di que&longs;te co&longs;e, &longs;i puo hauere dalle paludi Galliche, che &longs;ono d'intorno Altino, Ra­<lb/>uenna, & Aquilegia, & altre terre uicine alle palludi, le quali per que&longs;te ragioni hanno <pb pagenum="44"/>una incredibile &longs;alubrità. </s>
<s>Ma quelli luoghi, che hanno le paludi ba&longs;&longs;e, & non hanno u&longs;ci­<lb/>te correnti nè per fiumi, nè per fo&longs;&longs;e, come &longs;ono le paludi Pontine, &longs;tando ferme &longs;i putre <lb/>fanno, & mandano fuori in que' luoghi humori graui, & pe&longs;tilenti. </s>
<s>Nella Puglia l'antica <lb/>Salapia, che da Diomede nel ritorno da Troia fu fabricata, ouero (come altri dice) da <lb/>Elfia Rodiotto, era &longs;ituata in luoghi tali, doue gli habitatori infermando&longs;i ogni anno, <lb/>andorono finalmente da M. Ho&longs;tilio, & da quello per publico nome chiedendo impetro­<lb/>rono, che egli troua&longs;&longs;e loro luogo idoneo, & elegge&longs;&longs;e per fabricar la città. </s>
<s>Non ritardò <lb/>M. Ho&longs;tilio, ma &longs;ubito inue&longs;tigate le ragioni dotti&longs;simamente comprò una po&longs;&longs;e&longs;sione ap <lb/>pre&longs;&longs;o il mare in luogo &longs;ano, & chie&longs;e dal &longs;enato, & populo Romano, che lecito fo&longs;&longs;e tra­<lb/>portare la terra, & co&longs;i la cin&longs;e di mura, compartì le piazze, & fatte le parti uendette a cia&longs; <lb/>cuno habitante la &longs;ua per due libre & meza d'Argento. <!-- KEEP S--></s>
<s>& fatte que&longs;te co&longs;e, egli aper&longs;e il la <lb/>go nel mare, & dallago fece il porto con i doni conce&longs;si, la doue hora i Salapini per quat <lb/>tro miglia lontani dalla loro antica città habitano in luogo &longs;ano. </s></p><p type="main">
<s><emph type="italics"/>Vna gran parte del &longs;ettimo della Republica d'Ari&longs;totele tratta di quello, che &longs;i contiene in <lb/>que&longs;to Capo, & ne gli altri &longs;eguenti del pre&longs;ente libro. </s>
<s>Ma noi non uolemo a pompa empire i <lb/>fogli, nè di&longs;putare &longs;ottilmente delle co&longs;e dette da Vitruuio: nelle quali egli ha uoluto & Medi <lb/>co, & Filo&longs;ofo dimo&longs;trar&longs;i. </s>
<s>Io de&longs;criuerei l'herba A&longs;plenon, i luogi di Candia, Rhetimo, & <lb/>Cortina, doue ella na&longs;ce, & dimo&longs;trarei in pittura il &longs;ito, & la regione, nella quale deue e&longs;&longs;er <lb/>collo cata una Città, (&longs;e però la pittura puo far que&longs;to) ma perche io intendo, che altri &longs;i <lb/>pigliano que&longs;to carico, uolentieri lo la&longs;ciarò a loro. </s>
<s>Cerca l'i&longs;torie uoglio credere a Vitruuio: <lb/>perche non pare conueniente confermare i detti di Vitr.
con autorità di Tlinio, o d'altro, che <lb/>for&longs;e ha pigliato da Vitr.
quello che egli ha &longs;critto. </s>
<s>E a&longs;&longs;ai, che Leon Batti&longs;ta con ogni dili­<lb/>genza raccolto habbia molte, & diuer&longs;e co&longs;e ad un propo&longs;ito, che po&longs;&longs;ono &longs;atisfare i curio&longs;i <lb/>di &longs;aper piu oltra. </s>
<s>leggi al &longs;econdo Capo del quarto libro del &longs;opra detto. </s>
<s>Quella parola che <lb/>dice Vitr. <!-- KEEP S--></s>
<s>Municipium, gli Spagnuoli dicono Villa con giuriditione, & Ca&longs;trum, Villa cercada.<emph.end type="italics"/></s></p><p type="head">
<s><emph type="italics"/>Delle fondamenta delle muraglie, et delle <lb/>torri. </s>
<s>Cap. V.<emph.end type="italics"/><!-- KEEP S--></s>
</p><p type="main">
<s>QVANDO adunque con que&longs;te ragioni e&longs;po&longs;ta &longs;arà la &longs;alubrità de i luoghi, <lb/>ne i quali &longs;i hanno a fare le cinte delle mura della Città, & che per &longs;ouue­<lb/>gno, & nutrimento di quella elette &longs;aranno le regioni copio&longs;e di frutti, <lb/>& per gli acconciamenti delle &longs;trade, de i fiumi, ouero de i porti del ma <lb/>re &longs;i potrà con le condotte delle co&longs;e commodamente uenire, Allhora in <lb/>que&longs;to modo &longs;i hanno a fare le fondamenta. </s></p><p type="main">
<s><emph type="italics"/>Hauendo Vitruuio trattato della regione, & delle &longs;ue qualit à, & buone & ree; accioche la <lb/>&longs;ciando que&longs;te abbracciamo quelle, hora uuole trattare di quella parte, che noi dicemmo di &longs;o <lb/>pra e&longs;&longs;er certa, & terminata, nè co&longs;i ampia, come è la Regione. </s>
<s>comincia adunque a rinchiu­<lb/>derla con le muraglie, & tratta delle fondamenta di quelle, & delle torri, riguardando al­<lb/>l'utile, alla fermezza, & alla bellezza dell' opera, & con&longs;ider a il fine, come far &longs;i deue in ogni <lb/>operatione. </s>
<s>Nella diui&longs;ione dell' Architettura detto hauemo la nece&longs;&longs;ità di far le muraglie, hora <lb/>&longs;i tratta del modo di fondarle, delle parti della forma, della gro&longs;&longs;ezza, delle Torri, & figure <lb/>loro. </s>
<s>Maper applicare i principij alle co&longs;e, che &longs;i hanno da fare: dico che egli bi&longs;ogna haue­<lb/>re le idee della di&longs;po&longs;itione, & i termini loro, accioche il tutto &longs;ia preui&longs;to, & con&longs;idera­<lb/>to. </s>
<s>Veniremo adunque alla pianta, che ichnografia &longs;i chiama. </s>
<s>I termini, & contorni della <lb/>quale &longs;i fanno con linee, & anguli. </s>
<s>Angulo è quella parte del piano &longs;ottopo&longs;to, che &longs;i con­<lb/>tiene tra due linee, che &longs;i toccano. </s>
<s>& però quattro anguli &longs;i fanno da due linee, che &longs;i tagliano<emph.end type="italics"/><pb pagenum="45"/><emph type="italics"/>in&longs;ieme, de i quali &longs;e uno &longs;arà a cia&longs;cuno de i tre eguale, giu&longs;to, & dritto &longs;arà detto. </s>
<s>& quel <lb/>li, che del dritto &longs;aranno minori, &longs;tretti, & acuti &longs;aranno chiamati, & i maggiori larghi, ot­<lb/>lu&longs;i, & rintuzzati. </s>
<s>Delle linee alcune &longs;on dritte, & &longs;ono quelle il mezo delle quali non adona <lb/>bra gli e&longs;tremi, & che tra due punti nel piu breue &longs;pacio &longs;i contengono: altre &longs;ono piegate, <lb/>& torte, & &longs;ono quelle, che col mezo loro e&longs;cono de gli e&longs;tremi. </s>
<s>Delle piegate alcune &longs;ono <lb/>parti del circolo. </s>
<s>Circolo è figura piana, & &longs;operficiale rinchiu&longs;a da una linea, dal cui centro <lb/>che & punto immobile nel mozo, tutte le linee tirate alla circonferenza &longs;ono eg uali. </s>
<s>La linea <lb/>piegata da gli Architetti è cbiamata Arco, intendo della &longs;implice. </s>
<s>Corda poi &longs;i dice quel­<lb/>la linea, che pa&longs;&longs;a da un capo dell' Arco all' altro. </s>
<s>Saetta &longs;i chiama quella, che dal mezo del <lb/>la corda con anguli eguali a&longs;cende alla circonferenza dell' arco. </s>
<s>Raggio è quella, che dall' immo <lb/>bil punto peruiene alla circonferenza. </s>
<s>Diametro quella, che pa&longs;&longs;a per lo centro, & diuide il <lb/>circolo in due parti eguali. </s>
<s>Intiero arco è il &longs;emicircolo. </s>
<s>Diminuito, & &longs;cemo quello, che è <lb/>minore, cioè che ha la corda &longs;ua minore del diametro. </s>
<s>Il compo&longs;to è di due archi diminuti: & <lb/>però fa nella &longs;ommità uno angulo di due archi. </s>
<s>gli e&longs;&longs;empi delle predette co&longs;e &longs;ono qui &longs;otto<emph.end type="italics"/></s></p><figure/><p type="main">
<s><emph type="italics"/>Hora la natura de i luogi porta &longs;anità è fortezza: hora l'Arte: hara l'una, & l'altra. </s>
<s>Nel <lb/>primo ca&longs;o egli &longs;i deue cono&longs;cere quello, che di natura &longs;uo è buono. </s>
<s>come &longs;i ha dal prece­<lb/>dente Capo. <!-- KEEP S--></s>
<s>nel &longs;econdo bi&longs;ogna por mano al Di&longs;cor&longs;o, come &longs;i dirà nel &longs;eguente. </s>
<s>Nè uoglio <lb/>hora commendare la con&longs;uetudine delle genti &longs;traniere, che hora nelle ampli<02>ime &longs;olitudini, & <lb/>di&longs;erti habitando, hora ne gli a&longs;pri<02>imi monti, & tra le o&longs;curi<02>ime &longs;elue riducendo&longs;i, & alcu <lb/>na fiata in mezo di larghi&longs;&longs;ime paludi, qua&longs;i attuffando&longs;i, & habitando luoghi &longs;terili&longs;&longs;imi &longs;icu­<lb/>ri &longs;i chiamauano da ogni uiolenza. </s>
<s>comè &longs;i legge ne i commentarij de' Germani: & altroue <lb/>de gli Irlandi, & Scoce&longs;i: non lodo io que&longs;ti auantaggi: percioche non mi pare, che egli &longs;i deb <lb/>bia eleggere la pouertà, perche niuno ci porti inuidia: nè anche &longs;ognarei un poetico mondo, o <lb/>terre&longs;tre par adi&longs;o: doue i fiumi di latte correno, mele &longs;udano le quercie, manna e nettare pioue­<lb/>no i cieli: peroche all' humana nece&longs;&longs;ità &longs;i puo con mediocre & conueneuole habitatione proue­<lb/>dere, & quelle copie piu pre&longs;to de&longs;iderare, che hauere &longs;i po&longs;&longs;ono. </s>
<s>Quanto adunque richiede la <lb/>uita de gli huomini, elegga&longs;i la Città in tal &longs;ito, che ella &longs;i notri&longs;ca del &longs;uo tenitorio, che non <lb/>po&longs;&longs;a di leggieri e&longs;&longs;ere a&longs;&longs;alita, che &longs;ia libera alle &longs;ortite, & che habbia le &longs;opradette conditio­<lb/>ni: dapoi habbia&longs;i cura di fondare la muraglia. </s>
<s>Gli inditij di buono, & &longs;odo terreno &longs;ono; <lb/>che ne i luoghi, ne i quali s'ha da fondare, non ui &longs;iano herbe &longs;olite di na&longs;cere in luoghi humi <lb/>di, che nel pae&longs;e d'intorno &longs;iano &longs;a&longs;&longs;i acuti & &longs;odi, & alberi &longs;olo na&longs;centi in luoghi a&longs;ciutti: <lb/>che non ui &longs;iano acque &longs;ortiue &longs;otto: &longs;e il terreno per li pe&longs;i in terra gettati, non ri&longs;uonerà <lb/>nè l'acqua ripo&longs;ta ne' ua&longs;i per li cadimenti &longs;i muouerà. </s>
<s>Le cauationi de i pozzi oltra l'utilità <lb/>dell' acqua, & della materia, ne daranno &longs;egno della &longs;odezza del terreno. </s>
<s>Il fondamento non <lb/>è parte della fabrica: imperoche la natura &longs;enza l'aiuto dell' Arte, &longs;uol darci il luogo fon <lb/>dato, facendo&longs;i il piano &longs;odi&longs;&longs;imo con alti, & duri &longs;a&longs;&longs;i: doue non fa bi&longs;ogno d'alcuna bu-<emph.end type="italics"/><pb pagenum="46"/><emph type="italics"/>mana fatica: ma cerca il fondamento, che &longs;i fa da gli huomini, &longs;i deue con&longs;iderare la forma <lb/>del terreno, la qualità, il compartimento, & le regole. </s>
<s>La forma del terreno, è fatta &longs;econdo <lb/>la quantilà de i luogbi, i quali &longs;ono o alti, o ba&longs;&longs;i, o pendenti: la qualità è perche la terra ba <lb/>di molte &longs;corze, onde altre &longs;ono coperte di gro&longs;&longs;a, altre di minuta &longs;abbia, & altre di creta. </s>
<s><lb/>altre di to&longs;o, molte di giara me&longs;colata: & in fine altre &longs;ono &longs;ecche, & areno&longs;e, altre bu­<lb/>mide, & molli. </s>
<s>Il compartiment o richiede, che i piani &longs;iano di&longs;egnati con linec, & con la <lb/>&longs;quadra, ri&longs;petto al drizzare le co&longs;e, & a formare gli anguli. </s>
<s>Fa una croce di funi, &longs;econ­<lb/>do che dice Leon Batti&longs;ta, & nel mezo &longs;ia fitto un chiodo, col quale ti reggerai, & co&longs;i fa­<lb/>rai le tue &longs;acome. </s>
<s>tirando il filo per ogni uer&longs;o, le Regole ueramente per le fondamenta di <lb/>ogni fabrica &longs;ono trouare il uiuo, & il &longs;odo, ne i luoghi pendenti cominciar dal ba&longs;&longs;o, ne i <lb/>molli, ouer areno&longs;i battere le palificate &longs;pe&longs;&longs;e & &longs;ode: & quelle ra&longs;&longs;odare piu pre&longs;to col con­<lb/>tinuo battere, che col pe&longs;o, o gran perco&longs;&longs;a di quelli &longs;trumenti, che noi chiamamo becchi, <lb/>latini fi&longs;tucas. </s>
<s>Con&longs;igliar&longs;i con i periti del luogo cerca la natura del terreno. </s>
<s>Non &longs;i &longs;i­<lb/>dare di fondar &longs;opra ruine, cauar egualmente, & i&longs;pianare il fondo delle fo&longs;&longs;e, accioche il <lb/>pe&longs;o prema egualmente. </s>
<s>Sia la parte di &longs;otto piu ampia, & pia gro&longs;&longs;a della &longs;uperiore imit an <lb/>do la natura delle co&longs;e, & &longs;pecialmente gli alberi, che &longs;ono da piedi piu gro&longs;&longs;i, che da cima. </s>
<s>&longs;ia <lb/>la palificata piu gro&longs;&longs;a del muro il doppio: i pali &longs;pe<02>i&longs;&longs;imi, & gro&longs;&longs;i per la lunghezza loro la <lb/>duodecima parte, ne corti meno dell' ottaua. </s>
<s>ne luoghi d'acqua &longs;ortiua per piu &longs;icurtà &longs;i fonda <lb/>a uolti &longs;opra pali. </s>
<s>Ne i grandi edificij &longs;i la&longs;ciano alcuni &longs;piragli nel mezo delle fondamenta <lb/>per l'opera fino alla cima: accioche i uenti po&longs;&longs;ino u&longs;cire ri&longs;petto a i terremoti, l'ampiezza <lb/>della Città, & giro quanto alla dignità, &longs;i richiede ampia & grande per la moltitudine, et fre <lb/>quenza delle genti: quanto alla fortezza, la grande ben guardata, da poche genti non puo <lb/>e&longs;&longs;er offe&longs;a, la picciola da manco genti è dife&longs;a: piu facilmente può e&longs;&longs;er rubbata, & piu &longs;i­<lb/>cura al tempo di guerra. </s>
<s>Deue la Città e&longs;&longs;er capace di moltitudine, ma non hauere molto di <lb/>uoto. </s>
<s>Egli bi&longs;ogna però &longs;econdo i tempi far le Città forti, perche dalle offe&longs;e, che &longs;econdo le <lb/>inuuentioni de gli huomini, tutto' lgiorno &longs;i fanno, &longs;i piglia forma alle dife&longs;e. </s>
<s>Ma tempo e di ue­<lb/>nire a Vitruuio.<emph.end type="italics"/><!-- KEEP S--></s><s> All' hora in que&longs;to modo &longs;i hanno a fare le fondamenta, cioè, che &longs;i ca <lb/>ui tanto, che &longs;i truoui il &longs;odo, s'egli &longs;i puo ritrouare, & nel &longs;odo quanto ragioneuolmen <lb/>te parerà per la grandezza dell' opera, con que&longs;ta conditione però, che la parte &longs;otterra <lb/>tenga &longs;pacio maggiore, & piu gro&longs;&longs;a &longs;ia, che i pareti &longs;opra terra, & quelle fondamenta <lb/>&longs;iano riempite di &longs;odi&longs;sime pietre me&longs;colate con calce & arena. </s></p><p type="main">
<s><emph type="italics"/>Que&longs;to riempimento di &longs;odi&longs;&longs;ima &longs;truttura (come dice Vitru.) da noi è detto lauorar a ca&longs;­<lb/>&longs;a. </s>
<s>& rincerca l'incami&longs;ciata, come &longs;i uederà.<emph.end type="italics"/></s></p><p type="main">
<s>Le Torri deono &longs;portar fuori dell' ordine, & drittura della muraglia nella parte e&longs;terio <lb/>re, accioche uolendo il nimico dare l'a&longs;&longs;alto, &longs;ia da ogni parte da gli aperti fianchi dalla <lb/>de&longs;tra, & dalla &longs;ini&longs;tra dalle torri con pietre, & altre co&longs;e da trarre, ferito. </s></p><p type="main">
<s><emph type="italics"/>Dalle offe&longs;e, &longs;i cauano le dife&longs;e, & dal fine &longs;i tragge ogni co&longs;a. </s>
<s>& perche alcune offe&longs;e &longs;ono <lb/>manife&longs;te, alcune a&longs;co&longs;e, altre lontane, altre d'appre&longs;&longs;o: però Vitru.
cerca di prouedere quanto &longs;i <lb/>può (come deue far ognuno che fortifica) a tutte &longs;orte di offe&longs;e. </s>
<s>& perche l'ultima, & piu uici­<lb/>na & gagliarda, è lo a&longs;&longs;alto, & l'impeto che fa il nimico per entrare nella città, però a questa <lb/>prima prouede Vitr.
per far stare lontano il nimico. </s>
<s>Le Torri adunque de gli antichi, (in luogo <lb/>delle quali per altri ri&longs;petti &longs;ono a dì nostri, i baloardi, le piatte forme, i caualieri, le forfici) <lb/>erano fatte per que&longs;to effetto, che difende<02>ero la cortina, però è nece&longs;&longs;ario, che le e&longs;chino nella par­<lb/>te esteriore uer&longs;o il nimico. </s>
<s>La &longs;omma del fortificare da alcuni è ridotta a que&longs;to, che i defen&longs;ori <lb/>&longs;ieno &longs;icuri, che &longs;ia il nimico uietato, & anche &longs;cacciato. </s>
<s>Il nimico &longs;i uieta con l'acqua, col fo&longs;­<lb/>&longs;o, & col muro. </s>
<s>la fo&longs;&longs;a uieta, & per la di&longs;ce&longs;a, & molto piu per l'a&longs;ce&longs;a, quando ella è profon­<lb/>da, & precipite, & piu d'una. </s>
<s>L'acqua &longs;ortiua m alcuni luoghi non &longs;i può leuare; &longs;e è alta, an­<lb/>niega, &longs;e è ba&longs;&longs;a fa &longs;drucciolare. </s>
<s>impedi&longs;ce i fuochi, & fa difficultà nell' adoperar&longs;i. </s>
<s>La muraglia<emph.end type="italics"/><pb pagenum="47"/><emph type="italics"/>deue e&longs;&longs;er gro&longs;ia, & fatta con le ragioni che ci &longs;ono in&longs;egnate da Vltru. <!-- REMOVE S-->che molto bene &longs;erueno a <lb/>no&longs;tri giorni. </s>
<s>il nimico &longs;i &longs;caccia molto meglio dalle Torri, baloardi, argini, & altre co&longs;e &longs;imili <lb/>rileuate, & che e&longs;ceno in fuori, & &longs;pecialmente quelle che hanno maggior piazza; perche la &longs;i­<lb/>curtà de i defen&longs;ori è posta nella piazza de i baloardi, oltra, che la muraglia uuole e&longs;&longs;er ben &longs;at­<lb/>ta, & ordinata in modo che i fuochi, i colpi dell' artigliarie, quanto piu &longs;i puo, &longs;i rendino uani: & <lb/>&longs;e bene la batteria è gagliarda, & l'artigliaria è uiolenta, però l'indu&longs;tria de gli huomini puo ri­<lb/>parare con molte inuentioni alla for za terribile di quelle machine trouate da Lucifero. </s>
<s>Stando <lb/>adunque le fortificationi come dice il Signor Conte Gian Giacopo Leonardi, nella Cortina, nel <lb/>fianco, nel fo&longs;&longs;o, nella strada, nella piazza, oue &longs;i po&longs;&longs;ono adoper are le dife&longs;e, & le machine: Vi­<lb/>tru. <!-- REMOVE S-->molto bene con&longs;idera il tutto. </s>
<s>& perche le porte &longs;ono nece&longs;&longs;arie per l'u&longs;o della città, bi&longs;ogna <lb/>a&longs;&longs;icurarle, ma non in modo, che pre&longs;e da alcuno di dentro a&longs;&longs;icurino il traditore, & offendino i <lb/>Cittadini. <!-- KEEP S--></s>
<s>Deue adunque e&longs;&longs;er &longs;icura la porta dal nimico, & batter di fuori, & e&longs;&longs;ere a&longs;co&longs;a, & <lb/>che ad e<02>a non mettino capo le &longs;trade, accioche alla di&longs;te&longs;a correndo non po&longs;&longs;ino entrarui i ni­<lb/>mici. </s>
<s>& però dice Vitru.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s>Egli pare anche che prouedere &longs;i debbia grandemente, che il nimico non habbia facile <lb/>l'entrata ad oppugnare il muro, ma co&longs;i di fo&longs;si precipito&longs;i circondato &longs;ia, & proui&longs;to, <lb/>che le uie non &longs;iano alle porte drizzate, ma per torto camino uadino alla &longs;ini&longs;tra, perche <lb/>quando que&longs;to fatto &longs;ia, la de&longs;tra parte di coloro che anderanno alla città, che non è dallo <lb/>&longs;cudo coperta, &longs;arà uer&longs;o la muraglia. </s></p><p type="main">
<s><emph type="italics"/>Cercail &longs;ito delle porte, (come in molte altre co&longs;e) conuengono le u&longs;anze moderne, con le <lb/>antiche, nel re&longs;tante pare, che &longs;ia qualche differenza, perche Vitru.
loda il Torrione tondo, co­<lb/>me piu atto a re&longs;i&longs;tere alle machine oppugnatorie, che erano gli Arieti, & le Testuggini. </s>
<s>bia&longs;­<lb/>ma gli anguli, perche &longs;ono piu di&longs;&longs;ipabili, & copreno gli inimici, che non po&longs;&longs;ono e&longs;&longs;er battuti <lb/>da due lati, come nel tondo. </s>
<s>Ma&longs;e auuertimo bene la i&longs;te&longs;&longs;a dottrina &longs;erue a ino&longs;tri tempi, per­<lb/>cioche &longs;iamo tenuti a fuggire gli anguli &longs;iano piani, di linee dritte, curui, &longs;trelti ò larghi: &longs;iamo <lb/>obligati tirar le faccie de i fianchi de i no&longs;tri baloardi con fuggir, piu che &longs;i puo gli anguli; per­<lb/>che &longs;i faccia legatura migliore, che non fa l'angulo, il quale puo e&longs;&longs;er tagliato dall' artigliaria, <lb/>che farebbe il luogo &longs;enza dife&longs;a. </s>
<s>Fa lo angulo il mede&longs;imo danno, che dice Vitru.
percioche il <lb/>nimico re&longs;ta coperto, ci mo&longs;tra il fianco, il che con la regola de gli antichi potemo e<02>equire con <lb/>le no&longs;tre artigliarie, perche Vitr.
uuole che le Torri &longs;iano di&longs;tanti uno tiro di &longs;aetta, che il nimi­<lb/>co po<02>a e<02>er offe&longs;o dalla de&longs;tra, & dalla &longs;ini&longs;tra: noi applicando que&longs;ta dottrina alla no&longs;tra for­<lb/>tificatione facemo la distanza di modo, che la no&longs;tra artigliaria offenda da due lati, & che po&longs;­<lb/>&longs;a ca&longs;tigare chi ardi<02>e fabricar di terreno tra l'uno fianco, & l'altro. </s>
<s>le Torri, che egli ci mo­<lb/>&longs;tra, è ragioneuole, che fu<02>ero &longs;icure, poi che uuole, che i defen&longs;ori po&longs;&longs;ino &longs;tarui &longs;opra alle di­<lb/>fe&longs;e. </s>
<s>Nè i &longs;oldati, nè le machine &longs;ariano &longs;tate con &longs;icurezza, &longs;e non haue<02>ero hauuto le loro <lb/>&longs;palle gagliarde &longs;econdo l'offe&longs;a delle machine de&longs;critte nel decimo libro. </s>
<s>Noi (&longs;e haueremo <lb/>que&longs;ta con&longs;ideratione) &longs;econdo la mente dello autore uedremo, che egli ci mo&longs;tra, che le &longs;palle de <lb/>no&longs;tri fianchi e<02>er deono &longs;icure, le piazze di quelle &longs;pacio&longs;e. </s>
<s>Hauemo anche di qual modo &longs;i <lb/>deono fare le &longs;trade, ouero le porte. </s>
<s>Noi &longs;eguendo que&longs;ta auuertenza faremo &longs;empre le no&longs;tre &longs;or­<lb/>tite, che fuggiremo lo ri&longs;chio, che il nimico non po<02>a entrare in&longs;ieme con i no&longs;tri nelle ritirate, co <lb/>me è molte uolte auuenuto a quelli, che non hanno hauuto que&longs;ta con&longs;ideratione. </s>
<s>ma &longs;eguitiamo.<emph.end type="italics"/></s></p><p type="main">
<s>Le ca&longs;tella deon&longs;i fare non quadrate, nè di anguli, che e&longs;chino fuori, ma deono piu <lb/>pre&longs;to girare; accioche da piu parti &longs;ia ueduto il nimico. </s>
<s>percioche doue gli anguli uengo­<lb/>no in fuori, quel luogo difficilmente &longs;i difende, e&longs;&longs;endo lo angulo piu in dife&longs;a del nimi­<lb/>co, che del Cittadino. <!-- KEEP S--></s>
<s>Ma la gro&longs;&longs;ezza del muro &longs;i deue fare in modo, che gli huomini <lb/>armati, incontrando&longs;i l'uno con l'altro po&longs;sino pa&longs;&longs;are &longs;enza impedimento, pure che nel­<lb/>la gro&longs;&longs;ezza del muro le taglie di oliua&longs;tro bru&longs;tolate, & inca&longs;trate &longs;iano po&longs;te &longs;pe&longs;si&longs;sime, <lb/>accioche amendue le fronti del muro tra &longs;e come Fibbie, & chiaui, con quelli pezzi ta-<pb pagenum="48"/>gliati, in&longs;ieme legati durino eternamente; imperoche a &longs;imil materia, nè pioggic impe <lb/>tuo&longs;e, nè tarli, nè uecchiezza po&longs;&longs;ono fare nocumento alcuno, ma & in terra &longs;epolta, & <lb/>po&longs;ta in acqua dura &longs;enza danno in &longs;empiterno; & però non &longs;olamente nel muro, ma nel­<lb/>le fondamenta, & in que pareti, che haueranno gro&longs;&longs;ezza come di muro, &longs;e con que&longs;ta <lb/>ragione &longs;aranno ben legati, non &longs;i potranno di leggieri intaccare ne uitiare. </s>
<s>Gli &longs;pacij da <lb/>Torre a Torre non &longs;iano piu lontani, che un tiro di arco. </s>
<s>percioche &longs;e la Torre &longs;arà hat­<lb/>tuta da una parte, &longs;aranno i nimici &longs;cacciati con bale&longs;tre, & altri &longs;aettamenti dalle Tor­<lb/>ri che &longs;aranno dall'una, & l'altra parte. </s>
<s>& anchora per lo contrario il muro uer&longs;o la parte <lb/>interlore delle Totri deue e&longs;&longs;ere diui&longs;o con i&longs;pacij tanto grandi, quanto &longs;aranno le Tor­<lb/>ri, & &longs;iano le uie nelle parti di dentro delle Torri con traui congiunte, nè &longs;iano fitte con <lb/>ferro. </s>
<s>Perche &longs;e'l nimico per &longs;orte hauerà occupato alcuna parte del muro, quelli, che <lb/>&longs;aranno alle dife&longs;e, potranno tagliare le dette uie, & &longs;e &longs;aranno pre&longs;ti non la&longs;ciaranno, <lb/>cheil nimico pa&longs;si all'altra parte delle Torri o del muro, &longs;e egli non uole&longs;&longs;e andare in pre­<lb/>cipitio. </s>
<s>Bi&longs;ogna adunque fare le torri, ouero di forma ritonda, ouero di molti angu­<lb/>li, perche le quadrate di leggieri &longs;i gettano a terra dalle machine, perche gli Arieti urtan­<lb/>do rompeno le cantonate, ma nelle ritonde, &longs;pignendole uer&longs;o il centro come cunci non <lb/>le po&longs;&longs;ono offendere. </s></p><p type="main">
<s><emph type="italics"/>Que&longs;ta parte s'è aba&longs;tanza dichiarita di &longs;opra, &longs;olo a<02>ai ci &longs;arà lo e<02>empio, della Torre <lb/>aperta di dentro, benche ad altri modi &longs;i po&longs;&longs;ino acconciar le traui, che &longs;i po<02>a con pre&longs;tezza <lb/>gettarle a terra.<emph.end type="italics"/></s></p><pb pagenum="49"/><p type="main">
<s><emph type="italics"/>G. <!-- KEEP S--></s>
<s>Sono alcuni peducci o gatelli, che &longs;pigneuano fuori del muro per due terzid un piede, <lb/>quattro piedi lont ani uno dall' altro, &longs;opra i quali poneua tanti capi di traui, che tutti concorre&longs;­<lb/>&longs;ero al centro della torre: & que&longs;ti con una ferma catena raccomandata all'ultimo palco della <lb/>torre, con uno molinello, o argano doue è la. </s>
<s>A. fermaua tuttii palchi con tauole &longs;enza chio­<lb/>di, che leuate le tauole, & rauolgendo là catena, tutte le traui rimarriano appe&longs;e alla catena, <lb/>che con grandi&longs;&longs;ima pre&longs;tezza li potria leuare. </s>
<s>& que&longs;ti po&longs;&longs;ono portare ogni gran carico, per­<lb/>che cia&longs;cuno di loro affronta nel centro, nè po<02>ono calare, &longs;e la torre non con&longs;ente. </s>
<s>B. è il <lb/>centro. </s>
<s>Vuole poi che l'ultimo palco &longs;ia forti&longs;&longs;imo non &longs;olo per &longs;o&longs;tentamento di que&longs;ti, ma anche <lb/>occorrendo fabricarui &longs;opra per alzarla, &longs;tia forte. </s>
<s>C. tauolato. </s>
<s>E. <!-- KEEP S--></s>
<s>La muraglia. </s>
<s>H. &longs;ca <lb/>la per a&longs;cender alla muraglia. </s>
<s>F. piano della muraglia. </s>
<s>D. muro di dentro, che &longs;erraua la <lb/>torre. </s>
<s>K. I. Gro<02>ezze.<emph.end type="italics"/></s></p><figure/><p type="main">
<s>Appre&longs;&longs;o di que&longs;to le dife&longs;e delle muraglie, & delle Torri congiunte à gli argini, e terra <pb pagenum="50"/>pieni &longs;ono piu &longs;icure. </s>
<s>imperoche nè gli arieti, nè le mine, nè altre machine li po&longs;&longs;ono fare <lb/>offe&longs;a. </s>
<s>Ma non in ogni luogo &longs;i ricerca lo argine, ma &longs;olamente la doue dal di fuori da luo <lb/>go alto a piè piano, &longs;i puo uenire ad oppugnare la città. </s>
<s>Et però in tali luoghi bi&longs;ogna <lb/>prima cauare le fo&longs;&longs;e di larghezza, & di altezza grandi&longs;sima. </s>
<s>Dapoi dcue il fondamento <lb/>della muraglia e&longs;&longs;er depre&longs;&longs;o, & calcato tra lo aluco della fo&longs;&longs;a, & fatto di quella gro&longs;&longs;ez­<lb/>za, che egli po&longs;&longs;a &longs;o&longs;tenere il carico dell' opera terrena. </s>
<s>& ancora dalla parte della &longs;abrica <lb/>di dentro uer&longs;o la terra, egli &longs;i deue fare il fondamento per ampio &longs;patio di&longs;tante da quel <lb/>di fuori di modo, che le compagnie po&longs;sino come in ordinanza, nelle dife&longs;e formar&longs;i &longs;o­<lb/>pra la larghezza dello argine. </s>
<s>Quando adunque &longs;aranno fatte le fondamenta co&longs;i di&longs;tanti <lb/>l'uno dall' altro, allhora &longs;arà bi&longs;ogno di farne dell' altre per lo trauer&longs;o, che congiunte &longs;ia­<lb/>no col fondamento di fuori, & col fondamento di dentro di&longs;po&longs;te come pettini a gui&longs;a de <lb/>i denti di &longs;iega. </s>
<s>perche quando in que&longs;ta maniera &longs;arà fabricato, & fondato il muro, &longs;e <lb/>ne hauerà que&longs;to commodo, che la grandezza del pe&longs;o in picciole parti compartita, non <lb/>calcando con tutto il carico &longs;uo, non potrà per modo alcuno &longs;cacciare, o &longs;pignere le fonda <lb/>menta. </s>
<s>Ma della muraglia, di che materia fare &longs;i conuenga, non &longs;i deue in que&longs;to luogo al <lb/>trimenti determinare: perche non &longs;i puo per tutto hauere quella copia di co&longs;e, che &longs;i di&longs;i­<lb/>dera: ma doue &longs;aranno i &longs;a&longs;si di lati, & anguli eguali, & di piana &longs;uperficie, che quadrati <lb/>&longs;i chiamano, ouero il &longs;elice, ouero il cemento, ouero il mattone cotto, o crudo, que&longs;te <lb/>co&longs;e &longs;i deono u&longs;are: perche non &longs;i puo in tutte le parti del mondo, & in tutte le nature de i <lb/>luoghi, accioche i muri durino eternamente &longs;enza difetto adoperar quello, che copio&longs;a­<lb/>mente uiene in Babilonia, doue in luogo di calce, & di arena, &longs;i u&longs;a il bitume liquido, & <lb/>di quello, & di cotto mattone è fatto il muro della città. </s></p><p type="main">
<s><emph type="italics"/>La città è ouero in terra, ouero in acqua. </s>
<s>&longs;e in terra, o in piano, o in monte, o parte in piano <lb/>& parte in monte. </s>
<s>Del fabricare nell' acqua Vitr.
ne parlerà nel quinto libro, doue ragiona de i <lb/>porti. </s>
<s>Bi&longs;ogna auuertire nel fabricare delle città nell' acque, che il cre&longs;cere delle acque non le fac <lb/>cia danno; che &longs;i facciano belli pallazzi &longs;opra l'acque, & ponti, che habbiano del grande. </s>
<s>& &longs;e <lb/>non &longs;ono dife&longs;e dal &longs;ito, & dalla difficultà de i uadi, bi&longs;ogna farui le fortezze, & le mura, & a&longs;­<lb/>&longs;icurare anche il porto, con catene, come &longs;i dirà al &longs;uo luogo. </s>
<s>&longs;e la città &longs;arà in terra, & in altez <lb/>za, & in luoghi di precipitij, come pare, che Vitr.
uoglia, nel primo modo di fortificare &longs;enza ar <lb/>gini, ella &longs;arà piu &longs;icura, perche difficilmente il nimico la potrà a&longs;&longs;altare, per la &longs;alita difficile, <lb/>& hauerà le &longs;coperte commode, & chi la difenderà, &longs;arà &longs;opra l'auantaggio: & quelle città, che <lb/>haueranno del piano, & del monte, haueranno de i commodi, che hanno le città del mon­<lb/>te, & doueranno hauere delle proui&longs;ioni, che hanno le città in piano. </s>
<s>Deue in <lb/>quelle e&longs;&longs;er un luogo forte nella piu alta parte, per &longs;tare i caualieri della città, quan­<lb/>do ci fu&longs;&longs;ero cittadini di mala uolontà, o che i nimici haue&longs;&longs;ero occupato la terra. </s>
<s>per­<lb/>che que&longs;ti luogi &longs;pe&longs;&longs;o a&longs;pettando il &longs;occor&longs;o &longs;icuramente intertengono il nimico, & &longs;o­<lb/>no occa &longs;ione della ricuperatione delle città. </s>
<s>Se adunque la città &longs;arà in piano, & <lb/>come dice Vitruuio, &longs;e egli &longs;i potrà andare a piede piano, bi&longs;ognerà fargli gli ar­<lb/>gini, le fo&longs;&longs;e, le contra&longs;carpe &longs;econdo le regole di &longs;opra, & quelli ri&longs;petti, che ha po&longs;ti <lb/>Vitruuio nel fondar le torri, & farle alte, & che &longs;portino in fuori, & che &longs;iano aperte <lb/>di dentro, & che habbiano precipitij, & che tenghino i defen&longs;ori, & che &longs;i po&longs;&longs;ino &longs;eparare le <lb/>entrate, & impedire la pre&longs;a loro, applicarle al modo no&longs;tro di fare i baloardi, & i caualieri, <lb/>& le altre dife&longs;e, pigliando quello, che farà per noi. </s>
<s>Et però Vitru.
nel dare i precetti della <lb/>fortificatione ha cominciato dalle Torri, come quelle, che principalmente ci difendino, & &longs;ia­<lb/>no à noi come &longs;cuto, & a nimici come offe&longs;a, & propugnaculo, dal quale, & il nimico &longs;ia tenu­<lb/>to lontano, & la muraglia &longs;ia guardata, & anche la parte di dentro &longs;ia &longs;icura. </s>
<s>Ma in que&longs;ta <lb/>materia na&longs;ceno de i dubbij. </s>
<s>L'uno è che &longs;e le torri &longs;ono tanto larghe, & gro&longs;&longs;e di muraglia, che <lb/>po&longs;&longs;ino tenere corpo di gente alle dife&longs;e, &longs;e bene quelle traui, che dice Vitr.
&longs;aranno pre&longs;to getta-<emph.end type="italics"/><pb pagenum="51"/><emph type="italics"/>te a terra, potranno però i nimici per lo circoito delle torri andare da uno muro, all altro. </s>
<s>A que <lb/>&longs;to &longs;i ri&longs;ponde, che le torri erano alte, & che i nimici non poteuano &longs;alire a quelle altezze, &longs;e <lb/>bene haueuano occupato il muro. </s>
<s>Erano dico alte, & per di&longs;e&longs;a, & per contr a&longs;tare à quelle ma <lb/>chine grandi fatte de legnami, che conduceuano i nimici nelle e&longs;pugnationi delle città. </s>
<s>l'altro dubio <lb/>è che Vitr.
uuole, che le Torri dalla parte di dentro &longs;iano aperte, accioche leuate quelle traui, <lb/>& que ponti, lo inimico uedendo il grande precipitio non &longs;i metta a uoler pa&longs;&longs;are da una mura­<lb/>glia all' altra. </s>
<s>per que&longs;to &longs;i uede, che meglio &longs;aria &longs;tato per lo inimico battere una torre, che la mu <lb/>raglia. </s>
<s>perche tagliata o rotta la torre, baueuano il re&longs;tante libero, & aperto per entrar den­<lb/>tro. </s>
<s>A que&longs;to &longs;i ri&longs;ponde dallo eccellente M. Ale<02>andro Piccheroni huomo de pochi pari nelle for <lb/>tificationi, & in altre belle arti, che le torri che erano, o doueuano e&longs;&longs;ere &longs;errate da piedi di mu <lb/>ro alto almeno per la metà dell' altezza della cortina, haueuano quel muro che le &longs;erraua gro&longs;&longs;o <lb/>da piedi a ba&longs;tanza per impedimento delle zappe, ma poi uenendo uer&longs;o la cima &longs;i faceua piu &longs;tret <lb/>to. </s>
<s>la torre poi douena nel mezo e&longs;&longs;ere profonda molto, & eguale al meno al fondo de i precipi­<lb/>tij, & &longs;e per ca&longs;o lo inimico fu<02>e, rompendo la torre, per entrarui dentro, egli era &longs;ottopo&longs;to <lb/>ad una infinità di offe&longs;e, sì da quelli, che &longs;tauano di &longs;opra nelle torri, come da quelli, che da ogni <lb/>lato &longs;tauano &longs;opra le mura, come &longs;te&longs;&longs;ero quelli palchi, o contignatione, che dice Vitr.
per &longs;icur <lb/>tà di quelle, che difendeuano le torri, & che facilmente &longs;i pote<02>ero leuare, altri uno, altri al­<lb/>tro modo hanno trouato, nè &longs;opra que&longs;to c'è da di&longs;putare qual &longs;ia piu uicino alla mente di Vitr.
e&longs; <lb/>&longs;endo libero ad ognuno di affermare qual modo gli piace. </s>
<s>però il &longs;opradetto ha ritrouato unmodo <lb/>ingenio&longs;o, il quale noi nella &longs;oprapo&longs;ta de&longs;crittione hauemo pigliato.<emph.end type="italics"/></s></p><p type="table">
<s>TABELLE WAR HIER<!-- KEEP S--></s></p><p type="main">
<s><emph type="italics"/>A. <!-- KEEP S--></s>
<s>Denti a gui&longs;a di &longs;ega.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>B. </s>
<s>Contra forti a gui&longs;a di pettine.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>C. <!-- KEEP S--></s>
<s>La muraglia uer&longs;o la città.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>D. <!-- KEEP S--></s>
<s>Lamuraglia e&longs;teriore.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Bargine, o Terrapieno.<emph.end type="italics"/><pb pagenum="52"/><figure id="fig4"/></s></p><pb pagenum="53"/><figure/><pb pagenum="54"/><p type="main">
<s><emph type="italics"/>a. <!-- REMOVE S-->f. <!-- REMOVE S-->correnti per lo lungo de i contra&longs;orti, ouero catena. </s>
<s>b. <!-- REMOVE S-->paloni per lo dritto <lb/>del parete. </s>
<s>c. <!-- REMOVE S-->incrocciamenti e&longs;teriori. </s>
<s>e. <!-- REMOVE S-->ripre&longs;e & immor&longs;ature. </s>
<s><lb/>A pareti e&longs;teriori. </s>
<s>I Il piano doue fini&longs;ce i paloni.<emph.end type="italics"/></s></p><p type="main">
<s>Ordine nelle di&longs;po&longs;itioni delle mura nelle forti&longs;icationi de gli antichi. </s></p><p type="main">
<s><emph type="italics"/>A il luogo del terrapieno. </s>
<s>d. <!-- REMOVE S-->nerue per le fibule che &longs;e incrocciano. </s>
<s>p. <!-- REMOVE S-->o. <!-- REMOVE S-->lun­<lb/>ghezza da un contraforte all'altro. </s>
<s>o. <!-- REMOVE S-->r. <!-- REMOVE S-->& p <expan abbr="q.">que</expan> lunghezza de i contraforti che è <lb/>piedi uenti due. </s>
<s>b & f. <!-- REMOVE S-->incrocciamenti delle nerue. </s>
<s>q angoli a modo di &longs;eghe. </s>
<s><lb/>e b &longs; catena per il lungo de i contraforti lunga piedi trenta&longs;ei, & gro&longs;&longs;a per larghez <lb/>zo uno piede, & per altezza tre quarti. </s>
<s>G H nerua ocorrente di legno che riceue <lb/>in &longs;e i capi delle catene. </s>
<s>K l parte interiore, cioè pomerio. </s>
<s>i u gro&longs;&longs;ezza delle <lb/>mura. </s>
<s>i r ri&longs;alto de gli angoli a modo di &longs;eghe piedi quattro. </s>
<s>M N parte e&longs;te <lb/>riore delle mura.<emph.end type="italics"/></s></p><p type="head">
<s><emph type="italics"/>Della diui&longs;ione delle opere, che &longs;ono dentro le mura, & <lb/>della di&longs;po&longs;itione di quelle per i&longs;chifare i fiati no­<lb/>ciui de i uenti. </s>
<s>Cap. VI.<emph.end type="italics"/><!-- KEEP S--></s>
</p><p type="main">
<s>CIRCONDATA la Città di mura, &longs;eguita il compartimento di dentro del­<lb/>le piazze, & de gli &longs;pacij, & il drizzamento delle contrade, & de i capi del­<lb/>le uie alle parti del Cielo. <!-- KEEP S--></s>
<s>Drizzeranno&longs;i bene, &longs;e prudentemente &longs;aranno <lb/>e&longs;clu&longs;i i uenti da i capi delle uie: perche i uenti, &longs;e &longs;ono freddi, offendeno, &longs;e <lb/>caldi, gua&longs;tano, &longs;e humidi, nuoceno. </s>
<s>per il che pare, che egli &longs;i debbia &longs;chifare que&longs;to <lb/>difetto, & auertire, che non auuenga quello, che in molte Città &longs;uole auenire. </s>
<s>Come <lb/>nell'I&longs;ola di Lesbo il ca&longs;tello di Metelino, è fatto magnificamente, & con molti orna­<lb/>menti, ma po&longs;to &longs;enza con&longs;ideratione. </s>
<s>in quella Città &longs;offiando l'O&longs;tro gli huomini &longs;i am­<lb/>malano, &longs;offiando Cauro to&longs;si&longs;cono, &longs;offiando Tramontana &longs;i ri&longs;anano, ma non po&longs;&longs;ono <lb/>per la forza del freddo fermar&longs;i nelle piazze, o ne i capi delle &longs;trade. </s></p><p type="main">
<s><emph type="italics"/>Dapoi che Vitruuio ha trattato della regione, & delle &longs;ue qualità; che era la prima <lb/>con&longs;ideratione, che &longs;i doueua hauere per &longs;ituare la Città, & dapoi che ci ha dimo&longs;trato come <lb/>egli &longs;i ha da pigliare una parte della regione, & circondarla di dife&longs;e, & munitione di mu­<lb/>raglia, con ragione egli uuole in&longs;egnare a compartire il piano rinchiu&longs;o da tutto il circoito <lb/>delle mura. </s>
<s>& prima con&longs;idera il compartimento quanto appartiene a &longs;chifare le co&longs;e no­<lb/>ciue, & que&longs;to fa nel pre&longs;ente Capo. <!-- KEEP S--></s>
<s>Dapoi quanto appartiene alla di&longs;tributione, & di&longs;pen <lb/>&longs;atione de i luoghi, & que&longs;to fa nel &longs;ettimo, & ultimo capo del pre&longs;ente libro. </s>
<s>Quanto al­<lb/>la prima parte Vitruuio con e&longs;&longs;empi prima ci fa auuertiti, che per li noio&longs;i fiati de uenti al­<lb/>cun danno non &longs;i &longs;enta. </s>
<s>Dapoi di&longs;correndo &longs;opra la natura, forza, nomi, numero, & &longs;ito <lb/>de i uenti per formarne poi certa, & terminata figura, ci mo&longs;tra come habbiamo con quel­<lb/>la a reggerci nelle dritture delle &longs;trade. </s>
<s>Lesbo è I&longs;ola nel mar Egeo detto Arcipelago, uolge <lb/>cento et &longs;e&longs;&longs;anta miglia, & ha la &longs;ua metropoli detta Metilino, dalla quale hoggi tutta l'I&longs;o <lb/>la è nominata. </s>
<s>ben è uero, che hora è priua de gli antichi ornamenti, & è andata in ruina. </s>
<s><lb/>Giace Metelino uer&longs;o Tramontana, è uolto s. <!-- REMOVE S-->Theodoro a Ponente. <!-- KEEP S--></s>
<s>il colfo Caloni a Garbino, <lb/>il colfo Ieremidia tra Sirocco, & Leuante. <!-- KEEP S--></s>
<s>Metelino adunque è mal &longs;ituato, & compartito: <lb/>percioche è &longs;ottopo&longs;ta a i uenti, de i quali la maggior parte &longs;ono mal &longs;ani: però nel com­<lb/>partimento delle piazze, & delle sho<gap/>cature delle &longs;trade, bi&longs;ogna hauere con&longs;ideratione al-<emph.end type="italics"/><pb pagenum="55"/><emph type="italics"/>le qualità de i uenti. </s>
<s>Da que&longs;to precetto, Vitruuio &longs;i piglia una bella occa&longs;ione di filo&longs;o&longs;a­<lb/>re d'intorno la natura, & qualità de i uenti, & però dicendo prima, che co&longs;a è uento, co <lb/>mincia a que&longs;to modo.<emph.end type="italics"/></s></p><p type="main">
<s>Il uento è onda del mare, che &longs;corre con incerta abbondanza di mouimento: egli na <lb/>&longs;ce quando il caldo ritroua il &longs;reddo, & lo impeto del feruore e&longs;prime la forza dello &longs;pi <lb/>rito che &longs;offia: & que&longs;to &longs;i dimo&longs;tra e&longs;&longs;er uero dalle palle dette Eolopile: & con gli ar­<lb/>ti&longs;icio&longs;i ritrouamenti delle co&longs;e &longs;i tragge dalle &longs;ecrete ragioni del cielo quanto è uero <lb/>della diuinità. </s>
<s>Fanno&longs;i le dette palle cauate di rame con un punto &longs;tretti&longs;simo per lo­<lb/>quale &longs;i ui mette dentro l'acqua, & &longs;i poneno al fuoco. </s>
<s>& prima che &longs;iano calde non <lb/>mandano fuori alcun &longs;iato, ma poi che cominciano a bollire, fanno al fuoco una gran <lb/>forza di &longs;pignere, & di &longs;offiare. </s></p><p type="main">
<s><emph type="italics"/>Diffini&longs;ce Vitruuio il uento, & mo&longs;ira da che na&longs;ce, & proua il na&longs;cimento con co&longs;e &longs;en­<lb/>&longs;ibili. </s>
<s>Dice adunque il uento e&longs;&longs;er onda del mare: &longs;i come l'onda non è altro, che una parte <lb/>d'acqua unita, & raccolta, che uer&longs;o alcuna parte cacciata in&longs;ieme &longs;i muoue: co&longs;i uuole <lb/>Vitruuio, che il uento &longs;ia parte dello aere in &longs;e ri&longs;tretta, che in alcuna parte pieghi, & però ha <lb/>detto, che'l uento è onda del aere, che con incerto & sforzeuole mouimento &longs;i commoue. </s>
<s>Na&longs;ce <lb/>il uento (come dice Vitr.) quando il calore s'incontra con l'humore, & per lo feruore &longs;i man­<lb/>da fuori la forza dello &longs;pirito, che &longs;offia. </s>
<s>&longs;e bene Vitruuio ci da lo e&longs;&longs;empio per prouare, che <lb/>il uento na&longs;ce dal calore, che opera nella humidità: non però e&longs;pone chiaramente lo effetto. </s>
<s><lb/>Diremo adunque noi quello, che da no&longs;tri precettori hauemo imparato. </s>
<s>Il uento, è uapore del <lb/>la terra, che a&longs;cende all'altezza dello aere, & &longs;cacciato dal freddo, che in quella parte &longs;i <lb/>truoua, percuote lo aere con uiolenza. </s>
<s>il calore delSole, & d'altri corpi celesti ha uirtù di <lb/>trarre dalla terra alcuni fumi o uapori, & leuarli in alto, perche la proprietà del calore, <lb/>è tirare a &longs;e: il che &longs;i fa &longs;caldando, & facendo i corpi piu rari. </s>
<s>Que&longs;ti uapori &longs;ono alcune <lb/>parti &longs;ottili dell'humore terre&longs;ire, che non hanno nè calore, nè figura determinata, hanno al <lb/>cuni calore, & humidità: alcuni calore, & &longs;iccità. </s>
<s>de i primi &longs;i genera ogni humida impre&longs;sio­<lb/>&longs;ione, come le nubi, la pioua, la rugiada, la neue, la grandine, la brina, le fonti, il mare. </s>
<s>de <lb/>i &longs;econdi &longs;i fa ogni infiammato, & acce&longs;o ardore, & tutto quello, che è di calda, & &longs;eccá <lb/>natura, & però i fuochi, i lampi, i tizzoni, le comete, le ca&longs;e ardenti, le &longs;telle cadenti, le <lb/>corone lumino&longs;e, i fulmini, le uoragini, & apriture dello aere e&longs;tiuo, i uenti, i turbini, & al <lb/>tre apparenze d'imperfette mi&longs;ture da quelli hanno origine, come da materie loro proportio­<lb/>nate. </s>
<s>Noi diremo de i uenti. </s>
<s>Il Sole adunque ha uirtu di tirar al modo che detto hauemo quel <lb/>uapore che è caldo, & &longs;ecco, & &longs;i chiama e&longs;altatione, come il primo caldo, & humido, &longs;i <lb/>dice uapore; Que&longs;ti adunque u&longs;cito dalla terra, per e&longs;&longs;er di natura di fuoco s'inalza, & &longs;i <lb/>lieua dritto all'in &longs;u, & a&longs;cende fin che egli ritruoua la parte di mezo dello aere, & che è fred <lb/>da per e&longs;&longs;er di&longs;tante, & dal ri&longs;alimento de i raggi del Sole, che dalla terra &longs;i fa, & dal fer­<lb/>uore dello elemento del fuoco. </s>
<s>ritrouando adunque il freddo, come nimico lo fugge, & hauen­<lb/>do pure natura di fuoco cerca di a&longs;cendere: ma e&longs;&longs;endo ribattuto dal freddo, è forza, che di­<lb/>&longs;cenda, & per que&longs;to contra&longs;to è &longs;cacciato da i lati, & in giro &longs;i muoue per la uiolenza fat­<lb/>tagli dal freddo, che lo ribatte in giu, & per la naturale inclinatione, che lo porta in &longs;u, pre <lb/>dominando il fuoco in e&longs;&longs;o. </s>
<s>& però il uento non è altro che calda, & &longs;ecca e&longs;alatione mo&longs;&longs;a <lb/>da i lati, d'intorno la terra, per la ribattuta del freddo, che è nella mezana parte dello ae­<lb/>re. </s>
<s>& &longs;e bene alcuna fiata chiamamo uento lo aere mo&longs;&longs;o, come &longs;i uede dal &longs;offiar de i folli, o <lb/>dal far&longs;i uento la &longs;tate, o dalle palle &longs;opradette, che Elopile &longs;i chiamano, qua&longs;i palle uento&longs;e, <lb/>non è però, che il uento &longs;ia mouimento dello aere, perche bene puo &longs;tare, che lo aere &longs;i muo­<lb/>ua con il uento, & il uento però non &longs;ia onda dello aere. </s>
<s>Laragione del &longs;offiar delle Eolopile, <lb/>è perche il fuoco opera nell'acqua col &longs;uo calore, & cerca di conuertirla in aere, & perche le di <lb/>men&longs;ioni dello aere &longs;ono maggiori delle dimen&longs;ioni dell'acqua, per e&longs;&longs;ere lo aere piu raro, però<emph.end type="italics"/><pb pagenum="56"/><emph type="italics"/>l'acqua conuertit a in acre cerca d'u&longs;cire, & ritrouar luogo capace, & pa&longs;&longs;ando per uno &longs;ireti&longs;­<lb/>&longs;imo punto, &longs;a quello impeto, che &longs;i uede. </s>
<s>& &longs;e con piu forza il calore, pote&longs;&longs;e pre&longs;to conuer­<lb/>tire l'acqua in fuoco, come &longs;a la poluere dell artigliaria; &longs;i uedercbbe gagliardi&longs;&longs;imo e&longs;&longs;etto, & <lb/>le palle non durerebbono, ma &longs;pezzate fariano del male, come hanno fatto ad alcuni. </s>
<s>Maper­<lb/>che l'e&longs;alatione, che è uapore caldo, & &longs;ecco, &longs;ia principio de i uenti, egli &longs;i proua per tre &longs;egni. </s>
<s><lb/>Il primo è, che per li molti uenti, che regnano, le regioni &longs;i fanno calde, & &longs;ecche. </s>
<s>il &longs;econdo è, che <lb/>i gran uenti fanno ce&longs;&longs;ar le pioggie. </s>
<s>Il terzo è, che uengono piu uenti, cioè dal Settentrione, <lb/>meriggie, & da Ponente, che da Leuante, perche in quelle parti &longs;i troua maggior copia di e&longs;ala­<lb/>tioni. </s>
<s>Que&longs;ti &longs;egni pareno contrarij di primo a&longs;petto alla i&longs;perienza. </s>
<s>& prima, perche quando <lb/>&longs;ono gran uenti, pare che regni maggior freddo. </s>
<s>dapoi non &longs;i uede, che gli huomini ri&longs;caldati cer­<lb/>cano di far&longs;i uento, per raffreddar&longs;i? </s>
<s>Ri&longs;pondo, che il freddo, che &longs;i &longs;ente al tempo, che &longs;o&longs;&longs;ia­<lb/>no i uenti, na&longs;ce per la me&longs;colanza che &longs;anno le e&longs;alationi, con i uapori &longs;reddi, & humidi, <lb/>quando s'incontrano, & anche dalla freddura dello aere, con il quale &longs;ono me&longs;colati i uapori, <lb/>perche puo anche e&longs;&longs;ere, che la e&longs;alatione &longs;ia mutata per lo freddo, che ella troua nel mezo <lb/>dello aere, ma ce&longs;&longs;ando il uento il pae&longs;e re&longs;ta a&longs;ciutto, & caldo. </s>
<s>Al &longs;econdo io dico, che per lo <lb/>far&longs;i uento egli &longs;i muoue lo aere, & &longs;i ri&longs;trigne, il quale aere è piu freddo che il corpo humano <lb/>ri&longs;caldato, & però è di&longs;iderato. </s>
<s>il uento adunque è e&longs;alatione leuata da terra alla mezana par­<lb/>te dello aere, & dal freddo &longs;cacciata. </s>
<s>& &longs;i come il fiume da principio pre&longs;&longs;o la fonte è poco, & <lb/>allontanando&longs;i dalla &longs;ua origine per lo ingre&longs;&longs;o d'altre acque &longs;i fa maggiore, co&longs;i il uento uicino al <lb/>luogo, doue egli &longs;i lieua è poco, & partendo&longs;i è molto, ritrouando &longs;empre altri uapori, con i quali <lb/>egli s'accompagna, nè prima la e&longs;alatione &longs;ifa uento, che ella &longs;ia &longs;cacciata dal freddo dello aere. </s>
<s><lb/>Muoue&longs;i in giro per la &longs;opra detta cagione, & for&longs;e anche &longs;eguendo il mouimento delle stelle, <lb/>& de i pianeti, che lo muoueno.<emph.end type="italics"/></s></p><p type="main">
<s>Et in que&longs;to modo da picciola, & breui&longs;sima ueduta, &longs;i puo &longs;apere, & far giudicio del­<lb/>le grandi, & immen&longs;e ragioni del Cielo, & della natura de i uenti; perche &longs;e i uenti &longs;aran­<lb/>no i&longs;clu&longs;i, non &longs;olo a i corpi &longs;ani faranno il luogo &longs;alubre, ma anchora &longs;e per altri difetti <lb/>ci &longs;aranno delle infirmità, le quali in altri luoghi &longs;ani &longs;i curano con medicine contrarie, <lb/>qui per la temperata e&longs;clu&longs;ione de i uenti piu facilmente &longs;aranno curate. </s></p><p type="main">
<s><emph type="italics"/>Conchiude Vitru.
quanto ha &longs;opra detto. </s>
<s>poi comincia a narrare le infermità, che na&longs;ce­<lb/>no da i uenti, dicendo.<emph.end type="italics"/></s></p><p type="main">
<s>I mali, che difficilmente &longs;i curano ne i detti luoghi &longs;ono, la grauezza, i dolori artetici, <lb/>la puntura, il Ti&longs;ico, l'u&longs;cire il &longs;angue, & le altre infermità, che con lo aggiugnere, & non <lb/>con lo &longs;cemare &longs;i curano. </s>
<s>Que&longs;te difficilmente &longs;i leuano, prima perche uengono da i fred­<lb/>di, dapoi perche indebolite le forze per l'infermità, lo aere commo&longs;&longs;o da i uenti &longs;i a&longs;&longs;otti­<lb/>glia, & unitamente leua il &longs;ucco da i corpi offe&longs;i, & gli rende piu uoti, & e&longs;tenuati. </s>
<s>Ma per <lb/>lo contratio l'aere dolce, quieto, & ripo&longs;ato, & non agitato da i uenti, è piu den&longs;o, perche <lb/>non &longs;offia, nè ha &longs;pe&longs;&longs;e commotioni per la &longs;ua &longs;tabilità, aggiugnendo alle membra de i <lb/>corpi, notri&longs;ce, & ri&longs;tora coloro, che &longs;ono da &longs;imili infermità oppre&longs;si. </s></p><p type="main">
<s><emph type="italics"/>Ogni infermità na&longs;ce ouero da ecce&longs;&longs;o, ouero da mancamento, cura&longs;i dal contrario riem­<lb/>piendo oue manca, & leuando doue abonda. </s>
<s>Vuole Vitru.
che le &longs;opradette infermità, uenghino <lb/>da difetto, & mancamento, dicendone la ragione, che lo aere a&longs;&longs;ottigliato per l'agitatione de i <lb/>uenti, a&longs;ciuga l'humore de i corpi, & gli indeboli&longs;ce, & il freddo gli o&longs;fende: per que&longs;to riuol­<lb/>gendo&longs;i al contrario, uuole che lo aere dolce, & tranquillo gli riempia, & notri&longs;ca, & &longs;ia ot­<lb/>timo rimedio alle &longs;opradette infirmità. </s>
<s>Grauezza è humore, che di&longs;cende dal capo, &longs;erra le na­<lb/>rici, ingro&longs;&longs;a la uoce, & muoue la &longs;ecca to&longs;&longs;e. </s>
<s>Hippocrate chiama tutte le grauezze, & di­<lb/>&longs;tillationi crizas. </s>
<s>I dolori artetici &longs;ono pa&longs;&longs;ioni di quelle parti, che &longs;ono appre<02>o le giunture, <lb/>& legamenti, & &longs;ono nerui, o<02>a, & uene. </s>
<s>Dubita Galeno &longs;opra il &longs;estodecimo aphori&longs;mo <lb/><05> Hippocrate nel terzo libro, che co&longs;a ueramente s'intenda, per que&longs;to nome Arthritis, & dice.<emph.end type="italics"/><pb pagenum="57"/><emph type="italics"/>Degni co&longs;a è adunque cercare quali pa&longs;&longs;ioni de nerui, & di ligature detto habbia Hippocrate, <lb/>che &longs;i fanno nelle &longs;iccità: percioche &longs;e li &longs;ecchi immoderati haueranno con&longs;umata la humidità de <lb/>ilegamenti, faranno un certo mouimento difficile per la &longs;iccità, & for&longs;e apporteranno dolore, <lb/>ma non faranno però quella infermità, che è detta Arthritis, &longs;e per &longs;orte alcuno non uuole nomi­<lb/>nare con que&longs;to nome ogni dolore de nerui. </s>
<s>Ma il medc&longs;imo Hipp. <!-- REMOVE S-->nel &longs;econdo libro delle Epidi­<lb/>mie dice in que&longs;to modo. </s>
<s>Quelli, che per fame nell'I&longs;ola Aeno, che è nel golfo Arabico, man­<lb/>giauano de legumi haueuano debolezza di gambe, & quelli, che u&longs;auano per cibo la ueccia, pa­<lb/>tiuano dolori nelle ginocchia. </s>
<s>questi Hippocrate non chiama arthretici, ma doglio&longs;i delle ginoc­<lb/>chia. </s>
<s>Ma for&longs;e alcuno dirà, che Arthritis &longs;i chiama il dolore non di una giuntura, o d un neruo <lb/>&longs;olo, ma di molti in&longs;ieme, & in latino è detto morbus articularis. </s>
<s>& nell'ultima parte è posta la <lb/>&longs;olutione della dimanda. </s>
<s>La pleuritide è apo&longs;tema dentro le co&longs;te, chiama&longs;i la puntura. </s>
<s>Pthi&longs;is <lb/>&longs;ono le piaghe in&longs;anabili del polmone, dalle quali con lenta febre uiene la estenuatione di tutto il <lb/>corpo, & finalmente la morte, ce&longs;&longs;ando lo &longs;puto. </s>
<s>l'u&longs;cire il &longs;angue, cioe &longs;putare il &longs;angue, è det­<lb/>to in Greco Aemopthi&longs;is, & &longs;i cau&longs;a da &longs;iccità, & le &longs;opradette infirmità &longs;i curano difficilmente <lb/>ri&longs;petto alli uenti, & però Hipp. <!-- REMOVE S-->al quinto Aphori&longs;mo del terzo libro dice in que&longs;to modo. </s>
<s>i uenti <lb/>Au&longs;trali a&longs;&longs;ordano, ingro&longs;&longs;ano la ui&longs;ta, fanno pe&longs;are il capo, rendeno gli huomini lenti, & pi­<lb/>gri, & gli di&longs;cioglieno, & quando anderanno que&longs;ti tempi, nelle malattie &longs;i deono a&longs;pettare &longs;i­<lb/>mili effetti. </s>
<s>da gli aquilonari, & &longs;ettentrionali nengono le to&longs;&longs;i, la raucedine, durezza di uentre, <lb/>difficultà d'urina, gli horrori, & i dolori delle co&longs;te, & del uentre. </s>
<s>La ragione delle predette <lb/>co&longs;a, è (come dice Gal.) percioche i uenti Au&longs;trali riempieno, & otturano, perche &longs;eco appor­<lb/>tano grande humidità, la quale riempie gli in&longs;trumenti de i &longs;en&longs;i humani, donde pigri, &longs;onnac­<lb/>chio&longs;i, & aggrauati re&longs;tano. </s>
<s>Ma per li uenti &longs;ettentrionali per i&longs;temperatura de gli instrumenti <lb/>che &longs;erueno alla re&longs;piratione, & per l'a&longs;prezza delle canne nata dal &longs;ecco, & dal freddo, uengono <lb/>le predette infirmità: & que&longs;to per hora ci può ba&longs;tare, il <expan abbr="re&longs;tãte">re&longs;tante</expan> <expan abbr="copio&longs;amēte">copio&longs;amente</expan> da medici è traltato.<emph.end type="italics"/></s></p><p type="main">
<s>Piacque ad alcuno, che i uenti fu&longs;&longs;ero quattro. </s>
<s>Dall Oriente Equinottiale il Solano: <lb/>dal Meriggie l'O&longs;tro: dal Ponente Equinottiale il Fauonio: dal Settentrionale il Setten­<lb/>trione. </s>
<s>Ma chi con maggiore diligenza hanno inue&longs;tigato, otto ne po&longs;ero. </s>
<s>& &longs;pecialmen­<lb/>te Andronico Cirre&longs;te, ilquale ne fece lo e&longs;&longs;empio, fabricando in Athene una Torre di <lb/>marmo fatta in otto faccie, & in cia&longs;cuna &longs;colpì la imagine d'un uento, che riguardaua <lb/>contra il &longs;offio cia&longs;cuno del &longs;uo. </s>
<s>& &longs;opra la Torre ui po&longs;e una Meta di marmo, nella cui <lb/>&longs;ommità ui fi&longs;&longs;e un Tritone di rame, che con la de&longs;tra porgeua una uerghetta, & lo fece <lb/>in modo, che mo&longs;&longs;o dal uento facilmente &longs;i giraua, & &longs;i fermaua incontra'l uento. </s>
<s>tenendo <lb/>&longs;opra la imagine del uento &longs;colpito la uerghetta dimo&longs;tratrice del uento, & co&longs;i tra'l So­<lb/>lano, & l'O&longs;tro dal uerno Oriente, Euro è collocato. </s>
<s>Tra l'O&longs;tro & Fauonio dal uerno <lb/>Occidente, Affrico. <!-- KEEP S--></s>
<s>Tra'l Fauonio, & il Settentrione Cauro, detto Coro da molti. </s>
<s><lb/>Tra il Settentrione e'l Solano, Aquilone. <!-- REMOVE S-->& co&longs;i pare, che dichiarito &longs;ia & e&longs;pre&longs;&longs;o di che <lb/>maniera egli prenda il numero, i nomi, & le parti de i uenti, d'onde &longs;pirino determinata­<lb/>mente. </s>
<s>la qual co&longs;a e&longs;&longs;endo&longs;i in que&longs;to modo inue&longs;tigata, accioche egli &longs;i &longs;appia pigliare <lb/>le regioni, & i na&longs;cimenti loro, co&longs;i bi&longs;ogna ragionare. </s></p><p type="main">
<s><emph type="italics"/>Il numero de i uenti ci darebbe confu&longs;ione, &longs;e egli non &longs;i auuerti&longs;ce, che &longs;econdo diuer&longs;e in­<lb/>tentioni, & ri&longs;petti &longs;i ua uariando. </s>
<s>però &longs;aper douemo, che in quattro modi &longs;i distingueno i uen­<lb/>ti. </s>
<s>primieramente &longs;econdo tutti i punti, che &longs;ono nella circonferenza dell'Orizonte. <!-- KEEP S--></s>
<s>Orizonte <lb/>è circolo che parte la metà del mondo, che &longs;i uede da quella, che non &longs;i uede. </s>
<s>& &longs;i puo chiama­<lb/>re terminatore de gli hemi&longs;peri. </s>
<s>&longs;econdo que&longs;to modo, &longs;i darebbeno infiniti uenti, perche da tut­<lb/>ti i punti dell'Orizonte &longs;pirano i uenti: & perche non cadeno &longs;otto regola, non facendo di&longs;tintio­<lb/>ne alcuna, però &longs;i la&longs;ciano. </s>
<s>I Filo&longs;ofi fanno quattro uenti ri&longs;petto alle me&longs;colanze delle quattro <lb/>prime qualità, che &longs;ono caldo, freddo, humido, & &longs;ecco; gli Astrologi &longs;imilmente, hauendo ri­<lb/>guardo a quattro parti principali del mondo, che anguli &longs;i chiamano, o regioni, conuengono con<emph.end type="italics"/><pb pagenum="58"/><emph type="italics"/>i Filo&longs;ofi, & con i &longs;acri &longs;crittori, & fanno gli i&longs;te&longs;&longs;i quattro uenti. </s>
<s>Leuante detto Solanus, <lb/>Ostro dal mezo dì, Fauonio dal Ponente, & Tramontana dal Settentrione: & intendeno Lc­<lb/>uante & Ponente doue il Solna&longs;ce, o &longs;i pone al tempo dello Equinottio. </s>
<s>I mede&longs;imi A&longs;trologi <lb/>per altri ri&longs;petti ne &longs;anno otto traponendoui quattro altri tra gli primi: & co&longs;i gli collocorno, <lb/>come dice Vitr.
hauer &longs;atto Andronico Cirre&longs;te in una Torre in Athene. <!-- KEEP S--></s>
<s>& i piu diligen i inqui­<lb/>&longs;itori di&longs;tingueno i uent i dalle dodici parti del Zodiaco, che &longs;ono i dodici &longs;egni cele&longs;ti, &longs;ot o i qua­<lb/>li il Sole ha uirtù di leuarela natura de i uenti. </s>
<s>Et que&longs;ta con&longs;ideratione è propria de gli A&longs;tro­<lb/>logi. <!-- KEEP S--></s>
<s>Il quarto modo è de i Co&longs;mografi, & nauiganti; però alcuni ne hanno fatto uentiquat­<lb/>tro, alcuni trentadue. </s>
<s>I praticati uenti della nauigatione a i giorni no&longs;tri &longs;ono trentadue, per <lb/>commodità di marinari, i quali cono&longs;ceno &longs;en&longs;ibile mutatione da trentadue punti dell'Orizonte <lb/>nel nauigare per un dritto. </s>
<s>i co&longs;mogra&longs;i ne hanno fatto uentiquattro, non e&longs;&longs;endo for&longs;e co&longs;i au­<lb/>nertiti del bi&longs;ogno de marinari. </s>
<s>come dirà Vitr.
ilquale &longs;e bene &longs;apeua, che da ogni parte dell'O­<lb/>rizonte &longs;offiano i uenti, però ha posto quelli, che regnano per la maggior parte, & ha hauuto <lb/>ri&longs;petto piu presto alle qualità de i uenti, che a gli uenti, la comple&longs;&longs;ione de i quali &longs;i ua mutan­<lb/>do & nell'uniuer&longs;ale, & nel particolare. </s>
<s>per que&longs;ta cagione &longs;i potrà prendere il modo di rom­<lb/>pere quelli uenti, che &longs;aranno di maggior nocumento a gli habitanti della città, habbin&longs;i qual <lb/>nome &longs;i uoglia, & uenghino da che parte po&longs;&longs;ono uenire. </s>
<s>per altri ri&longs;petti &longs;i po&longs;&longs;ono accre&longs;ce­<lb/>re i nomi, & il numero de i uenti, il che non ci deue perturbare. </s>
<s>ma uediamo, come Vitru. <!-- REMOVE S--><lb/>comparti&longs;ca i uenti. </s>
<s>perche de i loro temperar enti ne trattano i medici diffu&longs;amente.<emph.end type="italics"/></s></p><p type="main">
<s>Po&longs;to &longs;ia nel mezo della città un piano quadro a huello, ouero &longs;ia i&longs;pianato il luogo, <lb/>& pareggiato in modo, che'l detto quadro non &longs;i di&longs;ideri. </s>
<s>ponga&longs;i poi nel mezo centro <lb/>di e&longs;&longs;o lo &longs;tile di rame, che indice, & dimo&longs;tratore dell'ombra &longs;i chiama. </s>
<s>& &longs;opra il detto <lb/>quadro, o piano &longs;egni&longs;i l'ombra e&longs;trema fatta dallo &longs;tile qua&longs;i l'hora quinta auanti il me­<lb/>riggie: & faccia&longs;i il &longs;egno con un punto, dapoi rallargata la &longs;e&longs;ta al punto, che è &longs;egno <lb/>della lunghezza dell'ombra, & fermata nel centro faccia&longs;i il giro finito. </s>
<s>dapoi &longs;ia o&longs;&longs;er­<lb/>uato dopo'l mezo dì l'ombra cre&longs;cente cagionata dallo &longs;tile: & quando quella hauerà toc­<lb/>cito il giro gia fatto, & hauerà pareggiato all'ombra fatta dinanzi al mezo dì, l'ombra <lb/>fatta dapoi, in quel toccamento bi&longs;ogna fare un punto. </s>
<s>da que&longs;ti due punti con la &longs;e&longs;ta <lb/>farai lo incrocciamento, & per tale incrocciamento, & per lo centro di mezo &longs;i deue ti­<lb/>rare una linea, che tocchi le e&longs;tremità del giro, accioche &longs;i habbia la regione meridiana, <lb/>& la Settentrionale. <!-- KEEP S--></s>
<s>Fatto que&longs;to bi&longs;ogna pigliare la &longs;e&longs;tadecima parte di tutto il giro, <lb/>& poner il centro nella linea meridiana, la doue tocca la circonferenza, & &longs;i deue &longs;egna­<lb/>re dalla de&longs;tra, & dalla &longs;ini&longs;tra nella detta circonferenza, & dalla parte del mezo dì, & <lb/>dalla parte di Tramontana: dapoi da que&longs;ti quattro &longs;egni per mezo del centro &longs;i deue­<lb/>no tirare in croce le linee, che con le loro e&longs;tremità tocchino la circonferenza, & con <lb/>que&longs;to modo egli &longs;i hauerà il di&longs;egno dell'ottaua parte dell'O&longs;tro, & del Settentrione. <!-- KEEP S--></s>
<s><lb/>Le altre parti ueramente, che &longs;ono tre dalla de&longs;tra, & tre dalla &longs;ini&longs;tra &longs;i deono in tutta la <lb/>circonferenza tirare eguali a que&longs;te: in modo che le eguali diui&longs;ioni de gli otto uenti &longs;ia­<lb/>no nella de&longs;crittione, & compartimento di&longs;egnate. </s>
<s>Allhora per gli anguli tra due regio­<lb/>ni de i uenti pare che drizzar &longs;i debbiano le dritture delle piazze, & i capi delle uie, per­<lb/>che con tali ragioni, & compartimenti dalle habitationi, da i borghi, & dalle contrade <lb/>&longs;arà e&longs;clu&longs;a la mole&longs;ta, & danno&longs;a &longs;orza de i uenti. </s>
<s>Altrimenti quando le piazze &longs;aranno <lb/>a dritto de i uenti di&longs;egnate, uenendo lo impeto & il &longs;offiare frequente dallo ampio, & <lb/>libero &longs;pacio del Cielo, rin chiu&longs;o nelle bocche, & nelle entrate delle uie, & delle &longs;tra­<lb/>de, andrà con piu forzeuole mouimento uagando: perilche le dritture de i borghi, & del­<lb/>le ui cinanze deono e&longs;&longs;er riuo'te dalle regioni de i uenti, accioche peruenendo quelli a gli <lb/>anguli delle I&longs;ole, & alle cantonate de i capi delle uie, &longs;iano rotti, & ribattuti &longs;iano <lb/>di&longs;sipati. </s></p><pb pagenum="56"/><p type="main">
<s><emph type="italics"/>Le co&longs;e dette da Vitr.
con lo e&longs;&longs;empio di alcune figure &longs;ono dimo&longs;trate. </s>
<s>nel&longs; una &longs;egnata III. <lb/>è il modo di ritrouare la meridiana. </s>
<s>A, è lo centro doue &longs;i pone lo &longs;tile, B, & C. &longs;ono i punti <lb/>delle ombre dello stile, C. la ombra della quinta hora inanzi, & b. <!-- REMOVE S-->della quinta dapoi il mezo <lb/>dì. </s>
<s>D. è lo incrocciamento della &longs;esta fermata &longs;opra i punti, B. & c. <!-- REMOVE S-->dell'ombra. </s>
<s>E F è la li­<lb/>nea meridiana. </s>
<s>La mede&longs;ima è nella figura IIII. douef K. è la &longs;e&longs;ta decima parte di tutto il <lb/>circolo, & K i. <!-- REMOVE S-->la ottaua, come &longs;ono la h g. <!-- KEEP S--></s>
<s>& la g m, & la L i. <!-- REMOVE S-->& la h n. <!-- REMOVE S-->& la no. <!-- REMOVE S-->& la <lb/>o K. nel mezo delle quali &longs;ono i uenti, come &longs;i uede nella piant a &longs;opra po&longs;ta della città, doue la <lb/>Croce &longs;egna il leuante, P. Ponente, O O&longs;tro, T. Tramontana, S. Sirocco, M. Mae&longs;tro, l'un <lb/>G. Garbino, & l'altro Greco. <!-- KEEP S--></s>
<s>& &longs;i uede come i uenti &longs;i rompeno ne gli anguli delli capi del­<lb/>le uie. </s>
<s>Euui la figura &longs;egnata. </s>
<s>1. con li trenta due uenti de nauiganti &longs;egnati a que&longs;to modo.<emph.end type="italics"/></s></p><p type="main">
<s><19>. <emph type="italics"/>Leuante, Solanus.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>P. Ponente, Fauonius, uel Zephirus.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>T. Tramontana. <!-- KEEP S--></s>
<s>Septentrio. </s>
<s>Aparectias.<emph.end type="italics"/><!-- REMOVE S--><emph type="italics"/>O. O&longs;tro, Au&longs;ter.<emph.end type="italics"/><!-- REMOVE S--></s></p><p type="main">
<s><emph type="italics"/>M. Mae&longs;tro. <!-- REMOVE S-->Caurus.<emph.end type="italics"/><!-- REMOVE S--></s>
</p><p type="main">
<s><emph type="italics"/>L. Libecchio, o Garbino, Caurus, o Corus.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s><emph type="italics"/>S. Sirocco, Eurus.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>G. Grego, Aquilo,<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s>1. <emph type="italics"/>Sirocco Leuante.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s>2. <emph type="italics"/>O&longs;tro Sirocco. </s>
<s>Euro Au&longs;ter.<emph.end type="italics"/><!-- REMOVE S-->3. <emph type="italics"/>O&longs;tro Garbino, Libanotus, uel Au&longs;tro affricus.<emph.end type="italics"/></s></p><p type="main">
<s>4. <emph type="italics"/>Ponente Garbino.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s>5. <emph type="italics"/>Ponente Mae&longs;tro.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s>6. <emph type="italics"/>Mae&longs;tro Tramontana.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s>7. <emph type="italics"/>Greco Tramontana.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s>8. <emph type="italics"/>Greco Leuante.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s>9. <emph type="italics"/>Tra Sirocco, & Sirocco Leuante. <!-- KEEP S--></s>
<s>& co&longs;i ua &longs;eguendo come dimo&longs;tra la figura.<emph.end type="italics"/></s></p><pb pagenum="60"/><figure/><pb pagenum="61"/><p type="main">
<s>Ma &longs;or&longs;e quelli, che hanno piu nomi di uenti cono&longs;ciuto, prenderanno merauiglia, <lb/>che io habbia detto, che &longs;olo otto uenti &longs;i ritruouano. </s>
<s>Ma &longs;e auuertiranno tutto il cir­<lb/>cuito della terra e&longs;&longs;ere &longs;tato da Erato&longs;tene Cireneo con Mathematiche ragioni, & uie ri­<lb/>trouato per lo cor&longs;o del &longs;ole, & per le ombre dello &longs;tile equinottiali, dalla inclinatione del <lb/>cielo e&longs;&longs;ere di &longs;tadi ducento & cinquanta due mila, che &longs;ono pa&longs;&longs;a 31500000. trentauna <lb/>fiata mille migliaia & cinque cento &longs;iate mille, & di que&longs;te l'ottaua parte e&longs;&longs;er da un ucnto <lb/>occupata, che è di pa&longs;si 3937500. non &longs;i doueriano merauigliare, &longs;e in tanto grande i&longs;pa­<lb/>cio un uento uagando col ce&longs;&longs;are, & col ritorno farà uarie mutationi di &longs;o&longs;&longs;iare. </s>
<s>Et però <lb/>cerca l'O&longs;tro dalla de&longs;tra, & dalla &longs;ini&longs;tra è il uento detto Leuconotus, & il uento nomina <lb/>to Altanus. <!-- REMOVE S-->d'intorno allo Affrico &longs;o&longs;&longs;ia il Libonoto, & quello, che &longs;i chiama Subue&longs;pe­<lb/>rus; D'intorno à Fauonio &longs;pira l'Argc&longs;te, & a certi tempi le Ete&longs;ie. </s>
<s>Da i lati del Cauro, <lb/>&longs;ta il Circio, & il Coro. <!-- REMOVE S-->cerca il Settentrione, Thra&longs;ias, & Gallico. </s>
<s>Dalla de&longs;tra, & dal­<lb/>la &longs;ini&longs;tra dello Aquilone &longs;of&longs;ia Borea, & Supernate. </s>
<s>D'intorno al Solano è Carbas, & a <lb/>certi tempi le Ornithie, Ma dallo Euro, che tiene le parti di mezo da i lati &longs;tanno Cecias, <lb/>& Vulturno. </s></p><p type="main">
<s><emph type="italics"/>In que&longs;to luogo Vitr.
ri&longs;ponde a quello, che &longs;e gli potrebbe opponere cerca il numero de i uen­<lb/>ti. </s>
<s>potrebbe dire alcuno, o Vitr.
tu hai numerati &longs;olamente otto uenti, ma dei &longs;apere, che ne &longs;ono <lb/>molti altri cono&longs;ciuti, però non doueui affermare quanto hai detto. </s>
<s>Ri&longs;ponde Vitr.
che motto be <lb/>ne può &longs;tar quello, che egli ha detto del numero de i uenti, & che anche &longs;iano cono&longs;ciuti altri uen <lb/>ti: Et la ragione è que&longs;ta. </s>
<s>Perche non è da marauigliar&longs;i, &longs;e uno uento i&longs;te&longs;&longs;o uagando grandi&longs;&longs;i­<lb/>mo &longs;pacio, col ce&longs;&longs;are, & col ritorno faccia diuer&longs;amente &longs;offiando molte uarietà, dalle quali &longs;i <lb/>prendino diuer&longs;i nomi di uenti. </s>
<s>Ma direbbe alcuno, & che &longs;pacio è co&longs;i grande, per lo quale il uen <lb/>to ha da uagare? </s>
<s>Ri&longs;ponde, quello e&longs;&longs;er l'ottaua parte di tutto il giro della terra, la quale è di mi­<lb/>glia 3937. Prendendo adunque per lo grande &longs;patio qualche mutatione, ouero per la oppo&longs;itio­<lb/>ne de i monti, ouero per l'altezza della terra, ouero per qualche altra cagione, non ci douemo <lb/>marauigliare &longs;e da i lati de gli otto uenti altri ne &longs;ono &longs;tati collocati, come narra Vitr.
fin'al nume <lb/>ro di uentiquattro. </s>
<s>Et come appare per la figura &longs;egnata. </s>
<s>I. doue.<emph.end type="italics"/></s></p><figure/><p type="main">
<s><emph type="italics"/>Dice Vitr.
che Erato&longs;tene Cireneo che fu gran­<lb/>di&longs;&longs;imo Mathematico, rilrouò con uie, & modi <lb/>ragioneuoli tutto il giro, & circuito della terra, <lb/>e&longs;&longs;ere &longs;tadi ducento cinquanta due mila, che &longs;o­<lb/>no miglia trentaun mila, & cinquecento, perche <lb/>otto &longs;tadi fanno un miglio, et &longs;ono pa&longs;&longs;a 31500000. <lb/>perche mille pa&longs;&longs;i fanno un miglio, & il pa&longs;&longs;o è di cinque piedi. </s>
<s>L'ottaua par <lb/>te di tutto il circuito è di miglia 3937. che &longs;ono pa&longs;&longs;a 3937500. Et que&longs;to <lb/>è lo &longs;patio grande, che Vitr.
dice, nel quale per diuer&longs;e cagioni &longs;i puo far ma <lb/>tatione de i uenti. </s>
<s>Ma in che modo per lo cor&longs;o del &longs;ole, & per l'ombre dello <lb/>&longs;tile equinottiale Erato&longs;tene ritroua&longs;&longs;e con ragioni mathematiche dalla inclina<lb/>tione del cielo il circuito della terra, &longs;i dichiara dal Maurolico nella &longs;ua co&longs;­<lb/>mografia, in que&longs;to modo. </s>
<s>Erato&longs;tene. </s>
<s>pre&longs;e due luoghi in Egitto Ale&longs;&longs;an­<lb/>dria, & Siene, i quali due luoghi &longs;ono qua&longs;i &longs;otto un'i&longs;te&longs;&longs;o meridiano, & dallo <lb/>&longs;patio, che è tra un luogo & l'altro, egli tra&longs;&longs;e tutta la circonferenza della ter­<lb/>ra. </s>
<s>Drizzò adunque lo &longs;tile, che Gnomone &longs;i chiama, in Ale&longs;&longs;andria, & nel me <lb/>zo dì appunto quando il &longs;ole è nel principio di Cancro con&longs;ideraua due raggi&longs;o <lb/>lari uno, che cadeua &longs;opra Siene à piombo, perche Stene è &longs;otto il tropico del Can <lb/>cro; l'altro, che cadeua &longs;opra la punta dello &longs;tile drizzato in Ale&longs;&longs;andria, & gettaua l'ombra uer&longs;o <lb/>Settentrione, percioche Ale&longs;&longs;andria è di qua dal Tropico detto: & per ragione dello &longs;tile all'om­<lb/>bra trouò per uia Geometrica, che lo angulo compre&longs;o &longs;otto lo &longs;tile, & &longs;otto'l raggio &longs;olare, era<emph.end type="italics"/><pb pagenum="62"/><emph type="italics"/>la cinquante&longs;ima parte di quattro anguli dritti; & però e&longs;&longs;endo que&longs;to angulo eguale à quello, <lb/>che nel centro della terra fa il raggio, che di&longs;cende per Siene, in&longs;ieme col gnomone, o &longs;tile d'Ale&longs; <lb/>&longs;andria imaginato continuare fin'al centro della terra, imperoche e&longs;&longs;endo i raggi qua&longs;i paralleli, <lb/>gli anguli erano corri&longs;pondenti & &longs;imili, era nece&longs;&longs;ario, che quello &longs;patio di circonferenza, che <lb/>era da Siene ad Ale&longs;&longs;andria fu&longs;&longs;e la cinquante&longs;ima parte del tutto: & però mi&longs;urando quella par <lb/>te con gran diligenza, & ritrouandola e&longs;&longs;ere di cinquemila &longs;tad, &longs;eguita, che tutta la circonferen <lb/>za &longs;ia di 250000 &longs;tadi, che &longs;ono miglia trentaun mila ducento & cinquanta. </s>
<s>& co&longs;i egli &longs;i po­<lb/>trebbe acconciare & Vitruuio & Plinio. <!-- KEEP S--></s>
<s>& &longs;e è diuer&longs;ità tra gli autori, pen&longs;o, che que­<lb/>&longs;to uegna dalla diuer&longs;ità delle mi&longs;ure. </s>
<s>La figura della dimo&longs;tratione di Erato&longs;tene è &longs;egnata. </s>
<s><19><emph.end type="italics"/></s></p><figure/><p type="main">
<s>Sono ancora piu nomi, & fiati di uenti pre&longs;i <lb/>da i luoghi di doue &longs;pirano, ouero da i &longs;iumi, o <lb/>dalle procelle, che fanno, uenendo da i monti. </s>
<s><lb/>oltra di que&longs;to &longs;ono le aure mattutine, che &longs;pira­<lb/>no quando il &longs;ole &longs;i lieua da terra: perche il &longs;ole <lb/>girando percuote l'humore dello aere, & nello <lb/>alzar&longs;i con impeto &longs;cacciando tragge i fiati dello aere con lo &longs;pirito, che uiene auanti la lu­<lb/>ce. </s>
<s>i quali fiati &longs;e leuato il &longs;ole re&longs;tano, &longs;i raunano con le parti del uento Euro; & percio Eu <lb/>ro dalle aure, delle quali egli &longs;i genera, da Greci è nominato, & il Dimane &longs;imilmente per <lb/>le aure mattutine Aurion da i mede&longs;imi, è detto. </s></p><p type="main">
<s><emph type="italics"/>Aura è piu pre&longs;to &longs;pirito, che uento, & è detta dallo aere, perche lieue, & dolce è il moui­<lb/>mento dello aere, la onde i poeti dicono, che le aure con lieui piume tracorreno lo aere.<emph.end type="italics"/></s></p><p type="main">
<s>Sono chi niegano Erato&longs;tene hauere potuto drittamente mi&longs;urare lo &longs;patio del mondo: <lb/>ma &longs;ia la mi&longs;ura &longs;ua uera, o non uera, non puo la no&longs;tra &longs;crittura, non hauere la uera <lb/>determinatione delle parti, dalle quali na&longs;ceno i uenti. </s>
<s>ilche &longs;e co&longs;i è, poco mancherà, <lb/>che cia&longs;cun uento non habbia la certa ragione della &longs;ua mi&longs;ura: ma poco piu, o poco me­<lb/>no impeto. </s></p><p type="main">
<s><emph type="italics"/>Non uuole contendere Vitr.
&longs;e Erato&longs;tene s'habbia portato bene, nel mi&longs;urare il mondo, per­<lb/>cioche que&longs;to gli importa poco, nè egli uuole u&longs;cire de i termini dello Architetto. <!-- KEEP S--></s>
<s>nè puo uariare <lb/>la ragione di trouare i uenti la dubietà delle mi&longs;ure della terra: percioche &longs;e bene la mi&longs;ura è in­<lb/>certa, &longs;ono però certi i uenti, & uengono da certe & determinate parti del cielo: però &longs;e altri <lb/>hanno &longs;cemato, ouero accre&longs;ciuto il numero de gli &longs;tadi di Erato&longs;tene, que&longs;to fa poco al pre&longs;ente <lb/>negotio. </s>
<s>nè meno deue curare Vitr.
&longs;e uno uento &longs;ia piu impetuo&longs;o dell'altro. </s>
<s>I no&longs;tri per la eleua­<lb/>tione del polo caminando per uno meridiano, col quadr ante hanno trouato, che ad uno grado di <lb/>360. che diuideno il detto meridiano, ri&longs;pondeno in terra miglia &longs;e&longs;&longs;anta Italiani, dal che &longs;i puo far <lb/>conto quanto la terra uadi girando. </s>
<s>Vitr piu chiaramente e&longs;pone la figura detta di &longs;opra, & dice.<emph.end type="italics"/></s></p><p type="main">
<s>Ma perche que&longs;te co&longs;e da noi breuemente e&longs;po&longs;te &longs;ono, mi è par&longs;o nell'ultimo del libro <lb/>porre due figure dette da Greci &longs;chemata, una, che dimo&longs;tri d'onde uengono certi gli im­<lb/>peti de i uenti; l'altra con che maniera le loro forze con diuer&longs;e dritture di borghi, & di <lb/>piazze &longs;i po&longs;&longs;a &longs;chifare i noio&longs;i fiati de i uenti. </s>
<s>Sia adunque in piano eguale il, centro doue <lb/>è la lettera A. la e&longs;tremità dell'ombra fatta dallo &longs;tile inanzi al mezo dì doue è la lettera b. <!-- REMOVE S--><lb/>dal centro A. all'ombra b. <!-- REMOVE S--></s>
<s>allargata la &longs;e&longs;ta &longs;i faccia la linea circolare, & ripo&longs;to lo &longs;tile do <lb/>ue era prima, a&longs;petti&longs;i tanto, che l'ombra &longs;i &longs;minui&longs;ca, & faccia di nuouo cre&longs;cendo l'om­<lb/>bre dopo il mezo dì eguale all'ombra fatta inanzi, & tocchi la linea circolare doue &longs;i &longs;egne <lb/>rà con la lettera. </s>
<s>c. <!-- REMOVE S-->allhora dal &longs;egno B. al &longs;egno c. <!-- REMOVE S--></s>
<s>con la &longs;e&longs;ta &longs;i de&longs;criuerà in croce, doue <lb/>è la lettera. </s>
<s>d. <!-- REMOVE S-->dapoi per quello incrocciamento, doue è la lettera d. <!-- REMOVE S--></s>
<s>& per lo centro. </s>
<s>A. &longs;ia <lb/>tirata una linea alla e&longs;trema circonferenza, a i capi della quale &longs;aranno le lettere e. <!-- REMOVE S-->F. <!-- KEEP S--></s>
<s>Que­<lb/>&longs;ta linea &longs;arà dimo&longs;tratrice della parte meridiana, & della parte Settentrionale. <!-- KEEP S--></s>
<s>dapoi egli <lb/>&longs;i deue pigliare la &longs;e&longs;tadecima parte della linea circolare, & porre il centro della &longs;e&longs;ta nella <pb pagenum="63"/>linea metidiana, che tocca la circon&longs;erenza doue è la lettera. </s>
<s>e. <!-- KEEP S--></s>
<s>Et &longs;egnare dalla de&longs;tra, & <lb/>dalla &longs;ini&longs;tra, doue &longs;ono le lettere. </s>
<s>g. <!-- REMOVE S-->h. <!-- REMOVE S--></s>
<s>& poi nella parte Settentrionale, &longs;i deue ponere il <lb/>centro doue è la lettera F. & &longs;egnare dalla de&longs;tra, & dalla &longs;ini&longs;tra, doue &longs;ono le lettere I. K. <lb/>& dal g. <!-- REMOVE S-->al K. & dal h. <!-- REMOVE S--></s>
<s>allo L. &longs;i deono tirare le linee per lo centro, & co&longs;i quello &longs;pacio, <lb/>che &longs;arà nel g. <!-- REMOVE S-->& K. &longs;arà lo &longs;patio del uento O&longs;tro, & della parte meridiana: & quello &longs;pa<lb/>tio, che &longs;arà tra'l I. & K. &longs;arà lo &longs;patio del Settentrione. <!-- KEEP S--></s>
<s>Le altre parti, che &longs;ono tre dalla <lb/>de&longs;tra, & tre dalla &longs;ini&longs;tra, e&longs;&longs;er deono egualmente partite. </s>
<s>quelle dell'oriente &longs;aranno, <lb/>doue &longs;ono le lettere l. <!-- REMOVE S-->& m. <!-- REMOVE S--></s>
<s>& quelle del Ponente, doue &longs;ono le lettere n. <!-- REMOVE S-->& o. <!-- REMOVE S--></s>
<s>dapoi dallo <lb/>m. <!-- REMOVE S-->all'o. </s>
<s>& da l. <!-- REMOVE S-->al n. <!-- REMOVE S--></s>
<s>in croce &longs;i tireranno le linee: & in que&longs;to modo partiti &longs;aranno gli <lb/>&longs;patij, de gli otto uenti, in tutto il giro di&longs;egnato. </s>
<s>le quali co&longs;e, quando &longs;aranno in que­<lb/>&longs;ta manicra de&longs;critte in cia&longs;cuno de gli anguli della figura d'otto faccie, &longs;e cominciaremo <lb/>dal mezo dì: Tra lo Euro, & l'O&longs;tro, &longs;arà la lettera. </s>
<s>g. <!-- KEEP S--></s>
<s>tra l'O&longs;tro, & l'Affrico la h. <!-- REMOVE S--><lb/>trall'Affrico, & Fauonio. </s>
<s>n. <!-- REMOVE S-->tra Fauonio, & Cauro. <!-- REMOVE S--></s>
<s>o. <!-- REMOVE S-->tra Cauro, & Settentrione K. tra <lb/>Settentrione, & Aquilone I. tra A quilone, & Solano. </s>
<s>L. tra Solano, & Euro. </s>
<s>m. <!-- KEEP S--></s>
<s>Et di&longs;po&longs;te <lb/>in tal modo le predette co&longs;e, ponga&longs;i lo &longs;tile, o gnomone tra gli anguli della figura d'ot­<lb/>to faccie, & in que&longs;ta maniera drizzate &longs;iano le piazze, & le otto diui&longs;ioni de i capi delle uie. </s></p><p type="main">
<s><emph type="italics"/>Le figure III. & IIII. di &longs;opra, dimo&longs;irano, quanto ha detto Vitruuio, benche le lettere &longs;iano <lb/>trappo&longs;te. </s>
<s>il re&longs;tante è facile. </s>
<s>Parerà for&longs;e ad alcuno, che il trattare delle fortificationi &longs;ia co&longs;a <lb/>da e&longs;&longs;er tenuta &longs;ecreta, come che a principi, & a Republiche &longs;olamente debbia e&longs;&longs;er manife&longs;ta: <lb/>Oltra che io ho udito, che alcuni &longs;i dolgono che pale&longs;ando&longs;i il modo del fortificare, egli &longs;i uie­<lb/>ne a giouare a molte genti fuori d'Italia, alle quali par loro, che &longs;i debbiano tenere le <lb/>mani &longs;trette nello in&longs;egnare. </s>
<s>A que&longs;ti io non ri&longs;pondo, perche da &longs;e &longs;te&longs;&longs;i uanno a <lb/>ba&longs;&longs;o, come quelli, che e&longs;&longs;endo huomini, uogliono mancare dell'ufficio della humani­<lb/>tà, & poi &longs;ono ingrati, perche hauendo imparato molte co&longs;e belle, dalle genti di di­<lb/>uer&longs;i pae&longs;i, non uogliono u&longs;are que&longs;ta gratitudine di ricompen&longs;arle ne i bi&longs;ogni della &longs;alu­<lb/>te loro: Oltra che non &longs;anno gli inuidio&longs;i, che gli e&longs;&longs;empi delle fortezze d'Italia po&longs;­<lb/>&longs;ono ammae&longs;trare ogni buono intelletto &longs;enza altra &longs;crittura. </s>
<s>A quelli, che lodano la &longs;e­<lb/>cretezza direi, che quello, che appartiene alla &longs;alute de gli huomini, non &longs;i deue te­<lb/>ner &longs;ecreto, & &longs;e pare a molti co&longs;a grande la inuentione delle machine horribili, che <lb/>a &longs;trage del genere humano, &longs;ono &longs;tate ritrouate, & che il truouarne di nuouo &longs;ia meraui­<lb/>glio&longs;o, & la fatica, & industria di fare quelli tormenti, non &longs;ia fuggita da molti: quanto <lb/>piu ci douemo affaticare per la con&longs;eruatione: & &longs;e le offe&longs;e &longs;ono co&longs;i publiche, come potre­<lb/>mo, o doueremo e&longs;&longs;er pigri a far pale&longs;i, & manife&longs;te le dife&longs;e? </s>
<s>Ma in &longs;omma io dirò a tutti i <lb/>riprenditori delle co&longs;e, que&longs;te poche parole, le quali &longs;iano dette per una fiata; che il giudica­<lb/>re è operatione di una eccellenti&longs;&longs;ima uirtù, & come che difficil co&longs;a, & pericolo&longs;a &longs;ia ad ognu­<lb/>no, a coloro ma&longs;&longs;imamente è dura, & pericolo&longs;a, i quali o non intendeno, o uengono con pro <lb/>ponimento di bia&longs;imare piu pre&longs;to, che di giudicare: & guardando con gli occhi aperti al <lb/>poco di male, &longs;ono ciechi al molto di bene che nelle opere di altri &longs;i truoua. </s>
<s>Questa &longs;orte di <lb/>gente (benche pare tra la moltitudine e&longs;&longs;er qualche co&longs;a) perche il riprendere ha in &longs;e una mo­<lb/>&longs;tra d'eccellenza, & d'auantaggio: mentedimeno la uerità col tempo &longs;cuopre il difetto dello ani <lb/>mo, & le opere loro il mancamento della &longs;cienza, & della buona uolontà. </s>
<s>Alla peruer&longs;ità di <lb/>que&longs;ti è &longs;ottopo&longs;to ognuno, che &longs;uol fare, o dare alcuna co&longs;a in publico, quantunque l'hab­<lb/>biano data, o fatta con buona intentione. </s>
<s>però io &longs;timo che molti prenderanno maggiore <lb/>occa&longs;ione di bia&longs;imare quello, che io con ottimo pen&longs;amento ho propo&longs;to di publicare: impe <lb/>roche il trattamento d'un Arte &longs;ola è &longs;ottopo&longs;ta al peruer&longs;o giudicio di quelli, che in quel­<lb/>l'arte uogliono e&longs;&longs;er tenuti, o &longs;i &longs;timano, ouero &longs;ono periti, & intendenti: ma il trattare di quel <lb/>la cognitione, che abbraccia molte, & diuer&longs;e &longs;cienze, & Arti, non puo fuggire il bia&longs;i­<lb/>mo di molti, & diuer&longs;i periti, & artefici inuidio&longs;i. </s>
<s>de i quali &longs;e in alcun tempo &longs;e n'è trouate<emph.end type="italics"/><pb pagenum="64"/><emph type="italics"/>abondanza a i dì no&longs;tri certamente ne &longs;ono in&longs;initi, & for&longs;e que&longs;to adiuiene, perche quan­<lb/>to manca loro la i&longs;perienza, la indu&longs;tria, la dottrina, & lo e&longs;&longs;empio de i buoni, tanto &longs;o­<lb/>prabonda, l'arroganza, l'auaritia, & li ignoranza loro. </s>
<s>Io di que&longs;ti poco mi curerei, quan <lb/>do io cono&longs;ce&longs;&longs;i, che non gli fu&longs;&longs;e pre&longs;tato orecchia: percioche nè di danno, nè di uergogna <lb/>&longs;arebbono a chi s'affatica. </s>
<s>Ma perche la co&longs;a procede altrimenti, & uolentieri &longs;i a&longs;colta, <lb/>chi dice male, & i gu&longs;ti de gli huomini per lo piu &longs;ono gua&longs;ti, io e&longs;orto ognuno, che &longs;i piglia <lb/>qualche bella impre&longs;a per giouar altrui, che non perdonino a fatica, per farė tali opere, che <lb/>da &longs;e &longs;i difendino: & che prendendo &longs;eco la dife&longs;a dalla uerità con l'aiuto del tempo po&longs;&longs;ino <lb/>conuincere di maluagità, & perfidia chi &longs;i oppone&longs;&longs;e al uero. </s>
<s>Que&longs;to con&longs;iglio io mi &longs;ono sfor <lb/>zato di prendere nello interpretare, & e&longs;ponere i pre&longs;enti uolumi dell'Architettura. <!-- KEEP S--></s>
<s>& &longs;e be­<lb/>ne le mie debili for ze non hanno potuto tanto, che l'opera &longs;ia riu&longs;cita a quella perfettione, <lb/>che ella po&longs;&longs;i mantener&longs;i da &longs;c: nientedimeno io po&longs;&longs;o affermare con uerità, che nè maggior di­<lb/>ligenza, nè piu indu&longs;tria, nè miglior uolontà ho potuto porui di quello, che ho po&longs;to. </s>
<s>Io ho cer <lb/>cato d'imparare da ognuno, ad ognuno, che mi ha giouato re&longs;to debitore d'infinite gratie: & <lb/>come di&longs;pen&longs;atore de i beni riceuuti da altri mi rendo. </s>
<s>Io ho giudicato maggior uergogna il non <lb/>uoler imparare, che danno il non &longs;apere: ho fuggito la pompa di citare a nome gli auttori, <lb/>de i quali mi &longs;ono &longs;eruito in questa fatico&longs;a impre&longs;a, & ho cercato non l'ampiezza della lingua, <lb/>o la copia delle parole, ma la elettione, & la chiarezza delle co&longs;e. </s>
<s>piu uolte io ho di­<lb/>&longs;iderato & cercato di communicare le fatiche mie con alcuni, prima che ueni&longs;&longs;ero in lu­<lb/>ce, & in commune inue&longs;tigare la uerità. </s>
<s>accioche quello, che non puo fare un &longs;olo, fatto fu&longs;&longs;e <lb/>da molti. </s>
<s>ma que&longs;to, per alcuna cagione, che io bene non intendo, non mi è uenuto fatto. </s>
<s><lb/>ne i di&longs;egni delle figure importanti io ho u&longs;ato l'opere di M. </s>
<s>Andrea Palladio Vicentino <lb/>Architetto, ilquale ha con incredibile profitto tra quanti io ho cono&longs;ciuto di ui&longs;ta, & per fama, <lb/>per giudicio d'huomini eccellenti, acqui&longs;tato gran nome sì ne i &longs;ottili&longs;&longs;imi, & uaghi di&longs;egni <lb/>delle piante, de gli alzati, & de i profili, come nello e&longs;eguire, & fare molti & &longs;uperbi edifi­<lb/>cij, sì nella patria &longs;ua, come altroue & publici, & priuati, che contendono con gli antichi, <lb/>danno lume a moderni, & daranno merauiglia a quelli che uerranno. </s>
<s>Et quanto appartiene <lb/>a Vitr.
l'artificio de i Theatri, de i Tempij, delle Ba&longs;iliche, & di quelle co&longs;e, che hanno piu bel­<lb/>le, & piu &longs;ecrete ragioni di compartimenti, tutte &longs;ono state da quello, con prontezza d'ani <lb/>mo, & di mano e&longs;plicate, & &longs;eco con&longs;igliate, come quello che di tutta Italia ha &longs;cielto le <lb/>piu belle maniere de gli antichi, & mi&longs;urate tutte l'opere, che &longs;i trouano. </s>
<s>Nel re&longs;tante del <lb/>la fatica mia il buon uolere puo coprire, o &longs;cu&longs;are qualche difetto, & inuitare amoreuolmen­<lb/>te alla correttione ciuile chiunque fu&longs;&longs;e di&longs;idero&longs;o di giouare, come &longs;on io: il che attendo con <lb/>quel di&longs;iderio, che io ho hauuto &longs;empre di far bene. </s>
<s>Ma a&longs;&longs;ai habbiamo uagato: però è tem­<lb/>po di ritornare a Vitruuio, & di credere che lo in&longs;egnare il modo del fortifioare è co&longs;a difficil­<lb/>lima ri&longs;petto alla nuoua inuentione delle offe&longs;e, dalle quali come &longs;pe&longs;&longs;o detto hauemo, dipende la <lb/>dife&longs;a: & però è degna co&longs;a trarne i precetti uniuer&longs;ali, in uirtu de i quali l'huomo può &longs;empre <lb/>ritrouare nuoua forma di dife&longs;a.<emph.end type="italics"/></s></p><p type="head">
<s><emph type="italics"/>Della elettione de i luoghi all'u&longs;o commune della Cit­<lb/>tà. <!-- KEEP S--></s>
<s>Cap. VII.<emph.end type="italics"/><!-- KEEP S--></s>
</p><p type="main">
<s>DIVISI i capi delle uie, & de&longs;critte le piazze, egli &longs;i deue far manife&longs;ta la <lb/>elettione de i piani al commodo, & all'u&longs;o commune della Città per li &longs;acri <lb/>Tempi, per lo Foro, & per gli altri luoghi communi. </s>
<s>Se le mura &longs;aranno <lb/>pre&longs;&longs;o il mare: elegger &longs;i deue il piano, doue &longs;i deue fare il Foro uicino al <lb/>porto. </s>
<s>&longs;e la Città &longs;arà fra terra, nel mezo. </s>
<s>Ma per li &longs;acri Tempij di q uelli Dei, <pb pagenum="65"/>nella tutela de i quali &longs;pecialmente è po&longs;ta la terra, & a Gioue, & a Giunone, & <lb/>a Minerua &longs;i danno i piani in luoghi alti&longs;simi, di doue &longs;i po&longs;&longs;a unitamente uedere gran <lb/>di&longs;sima parte della città. </s>
<s>Ma a Mercurio nel Foro, ouero, come anche ad I&longs;ide, & a <lb/>Serapi, nel &longs;ondaco, o mercato. </s>
<s>Ad Apolline & al padre Bacco, pre&longs;&longs;o al Theatro. <!-- KEEP S--></s>
<s><lb/>Ad Hercole uicino al Circo. <!-- KEEP S--></s>
<s>in que luoghi doue non &longs;aranno Gimna&longs;i, o Anfitheatri. <!-- REMOVE S-->A <lb/>Marte fuori della Cíttà, & al campo. </s>
<s>& <gap/> Venere al porto. </s>
<s>& que&longs;to è &longs;tato ordinato da <lb/>gli auri&longs;pici Etru&longs;chi, cioè, che a Venere, a Vulcano, & a Marte &longs;iano fatti i tempij <lb/>fuori delle mura: accioche i piaceri di Venere non prendino piede nella città appre&longs;&longs;o la <lb/>giouentù, & le madri di famiglia, & che dalla forza di Vulcano tratta fuori della città <lb/>con religione, & &longs;acri&longs;icij, gli edi&longs;ici parino e&longs;&longs;er dal timore de gli incendij liberati. </s>
<s>Ma <lb/>la'diuinità di Marte e&longs;&longs;endo fuori della terra con&longs;ecrata, non &longs;arà la di&longs;&longs;en&longs;ione, che <lb/>uiene all'arme tra li cittadini, ma con quella dife&longs;a da i nimici con&longs;eruerà quella da i <lb/>pericoli delle battaglie. </s>
<s>Similmente a Cerere &longs;i faranno i tempij fuori della città, in <lb/>luoghi, doue non &longs;i uada, &longs;e non per nece&longs;sità, douendo&longs;i con religione, & con &longs;anti <lb/>co&longs;tumi que&longs;to luogo con&longs;tantemente guardare. </s>
<s>Al re&longs;tante de gli altri dei, bi&longs;ogna <lb/>ritrouar i luoghi da fabricare, che &longs;iano conuenienti guardando &longs;empre alle maniere <lb/>de i &longs;acrificij. </s></p><p type="main">
<s><emph type="italics"/>Tratta Vitruuio in que&longs;to capo, quanto appartiene alla uniuer&longs;al di&longs;po&longs;itione, di&longs;tributione, <lb/>& decoro de i luoghi, con&longs;iderando il compartimento de i piani all'u&longs;o commune. </s>
<s>Compar­<lb/>timento in que&longs;to luogo io chiamo una ragioneuole diui&longs;ione del piano accompagnata dal deco­<lb/>ro, dalla &longs;ufficienza delle parti, & dalla ri&longs;pondenza delle co&longs;e: &longs;i che a grandi &longs;oggetti, <lb/>grandi edificij &longs;i facciano, & de i grandi edificij grandi &longs;iano i membri; perche la Citta è <lb/>come una grandi&longs;&longs;ima ca&longs;a, come &longs;i puo dire, che la ca&longs;a &longs;ia una picciola città. </s>
<s>Il &longs;auio Ar <lb/>chitetto deue donare alcuna co&longs;a alla u&longs;anza de i pae&longs;i, non però deue egli errare, nè ab­<lb/>bandonare la ragione: ma non la&longs;ciare la u&longs;anza, & tener&longs;i alla &longs;cienza; altrimem i la cat <lb/>tiua u&longs;anza non è altro, che la uecchiezza del uitio: dal quale animo&longs;amente l'huomo &longs;i <lb/>deue di&longs;co&longs;tare, & dar buono e&longs;<gap/>empio a i &longs;ucce&longs;&longs;ori. </s>
<s>La ragione adunque del Foro è che &longs;ia <lb/>po&longs;to pre&longs;&longs;o al porto, &longs;e la città è uicina al mare: ouero nel mezo della città, &longs;e ella è fra <lb/>terra: il Foro è luogo, doue &longs;i uendeno le co&longs;e, & doue &longs;i tiene ragione, è commodo a fore&longs;tie <lb/>ri, & mercanti, che uengono di parti lontane e&longs;&longs;endo uicino al porto, quando la città è pro&longs;­<lb/>&longs;ima al mare: ma nel mezo della città è commodo, perche il mezo è propinquo a tutte le par <lb/>ti, & pre&longs;to prouede a i bi&longs;ogni, & però Vitruuio ha detto. </s>
<s>In medio oppido. </s>
<s>perche oppi­<lb/>dum è detto dal dare aiuto, che in latino &longs;i dice dare opem; ouero perche iui &longs;i portano le <lb/>ricchezze, che, opes, &longs;i chiamano. </s>
<s>Il re&longs;to è facile.<emph.end type="italics"/></s></p><p type="main">
<s>Ma del modo del fabricare i tempij, & delle mi&longs;ure, & &longs;immetrie di quelle, nel ter <lb/>zo, & nel quarto libro ne renderò le ragioni: percioche mi è piacciuto determinare <lb/>prima della copia della materia, che &longs;i deue nelle fabriche preparare: & e&longs;ponere la <lb/>forza & u&longs;o di quella, & poi trattare delle mi&longs;ure de gli edi&longs;icij, & gli ordini, & le manie­<lb/>re partitamente di tutte le &longs;immetrie, & in cia&longs;cuno de i &longs;eguenti libri e&longs;plicare. </s></p><p type="main">
<s><emph type="italics"/>Et ragioneuolmente prima tratta della materia, & poi della forma: perche prima poco è <lb/>da dire della materia, come co&longs;a che la natura ci porta, & molto della forma: & è giu&longs;to <lb/>sbrigar&longs;ene pre&longs;to. </s>
<s>Dapoi perche un'i&longs;te&longs;&longs;a materia &longs;erue a diue&longs;e forme, & maniere. </s>
<s>& &longs;i­<lb/>mile u&longs;anza tiene Ari&longs;totile, per commodità della dotrina, ne i libri de i principij naturali.<emph.end type="italics"/></s></p><p type="head">
<s><emph type="italics"/>Fine del Primo Libro.<emph.end type="italics"/><!-- KEEP S--></s></p><pb pagenum="66"/><p type="head">
<s>IL SECONDO LIBRO<!-- REMOVE S-->DELL'AR CHIT ETTVRA <lb/>DIM. VITRVVIO.<!-- KEEP S--></s></p><p type="head">
<s><emph type="italics"/>Proemio.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s>DINOCRATE Architetto con&longs;idato&longs;i ne i &longs;uoi pen&longs;ieri, & nella &longs;ua &longs;o<gap/><lb/>lertia, e&longs;lendo Ale&longs;&longs;andro &longs;ignore del mondo, &longs;i parti di Macedonia per <lb/>andare allo e&longs;&longs;ercito, di&longs;idero&longs;o d'e&longs;&longs;ere dalla mae&longs;ta regia commendato. </s>
<s><lb/>Co&longs;tui partendo&longs;i dalla patria, da i parenti, & da gli amici, ottenne lettere <lb/>di fauore drizzate a i principali, & potenti della corte, accioche per me <lb/>zo loro fu&longs;&longs;e piu facilmente introdotto. </s>
<s>E&longs;&longs;endo adunque benigna­<lb/>mente da quelli raccolto, chie&longs;e loro, che quanto prima lo conduce&longs;&longs;ero ad Ale&longs;&longs;andro. <!-- KEEP S--></s>
<s><lb/>Quegli hauendoli prome&longs;&longs;o, erano alquanto tardi, a&longs;pettando il tempo commodo. </s>
<s>Di­<lb/>nocrate pen&longs;ando e&longs;&longs;ere sbeffato da quelli, a &longs;e &longs;te&longs;&longs;o per aiuto ricor&longs;e. </s>
<s>Era egli di gran­<lb/>de &longs;tatura, di gratio&longs;o a&longs;petto, & di &longs;omma dignità, & bellezza. </s>
<s>fidato&longs;i adunque di <lb/>que&longs;te doti di natura, nell'albergo &longs;uo depo&longs;e le ue&longs;ti, & di oglio tutto'l corpo &longs;i un&longs;e, & <lb/>&longs;i coprì la &longs;ini&longs;tra &longs;palla di pelle di Leone, coronato di fronde di poppio, & tenendo <lb/>nella de&longs;tra la claua, &longs;e ne andò uer&longs;o il tribunale del Re, che teneua ragione. </s>
<s>Hauen <lb/>do la nouità del fatto riuolto a dietro già tutto il popolo; Ale&longs;&longs;andro lo uidde, & mera <lb/>uigliando&longs;i commandò, che gli fu&longs;&longs;e dato luogo, accioche egli &longs;i face&longs;&longs;e innanzi, & di <lb/>mandollo, chi fu&longs;&longs;e. </s>
<s>Egli di&longs;&longs;e. </s>
<s>Io &longs;on Dinocrate Architetto di Macedonia, che a te <lb/>porto pen&longs;ieri, & forme degne della tua chiarezza: percioche io ho formato il monte <lb/>Atho in figura d'una &longs;tatua uirile, nella cui &longs;ini&longs;tra io ho di&longs;egnato le mura d'una gran­<lb/>di&longs;sima città, & nella de&longs;tra un ua&longs;o, che habbia a raccogliere l'acqua di tutti i fiumi, <lb/>che &longs;ono in quel monte; accioche da quel ua&longs;o &longs;i &longs;pande&longs;&longs;ero nel mare. </s>
<s>Dilettato&longs;i <lb/>Ale&longs;&longs;andro della ragione della forma, &longs;ubito dimandò &longs;e d'intorno ui fu&longs;&longs;ero campi, che <lb/>pote&longs;&longs;ero prouedere di grano al bi&longs;ogno di quella città. </s>
<s>Hauendo ritrouato, che non <lb/>u'era altra uia, che quella d'oltra mare; Di&longs;&longs;e. <!-- KEEP S--></s>
<s>Io con attentione guardo al componi­<lb/>mento di co&longs;i bella forma, & di e&longs;&longs;a mi diletto: ma io con&longs;idero, che &longs;e alcuno uorrà an <lb/>dare in quel luogo ad habitare, non &longs;ia bia&longs;imato per poco giudicio. </s>
<s>perche &longs;i come <lb/>il fanciullo già na&longs;ciuto, non &longs;i puo &longs;enza il latte della nutrice alleuare, nè cre&longs;cere; co <lb/>fi la città &longs;enza po&longs;&longs;e&longs;sioni, o frutti, che ui &longs;iano portati non puo &longs;o&longs;tentar&longs;i, nè mante­<lb/>ner&longs;i cre&longs;cendo &longs;enza copia di uettouaglia, nè e&longs;&longs;er frequentata, nè &longs;i puo il populo &longs;en<gap/><lb/>za abondanza di uiuere con&longs;eruare. </s>
<s>per il che (&longs;i come io &longs;timo) che &longs;i bel di&longs;egno me <lb/>rita lode, co&longs;i giudico douere e&longs;&longs;ere bia&longs;imato il luogo. </s>
<s>Ma ben uoglio, che tu &longs;tia me <lb/>co: percioche io intendo di u&longs;ar l'opera tua. </s>
<s>Dall hora in poi Dinocrate non &longs;i &longs;co&longs;tò <lb/>mai dal Re: & in Egitto lo &longs;eguitò. </s>
<s>Hauendo iui ueduto Ale&longs;&longs;andro il porto per natura <lb/>&longs;icuro: lo egregio mercato, i campi d'intorno all'Egitto abondanti di grano, & le mol <lb/>te commodità del gran fiume del Nilo; commandò, che iui dal &longs;uo nome Ale&longs;&longs;andria &longs;i <lb/>fabrica&longs;&longs;e. </s>
<s>Et per que&longs;to Dinocrate dalla bellezza, & gratia del &longs;uo a&longs;petto, & gran <lb/>dezza del corpo, a quella nobiltà, & chiarezza peruenne. </s>
<s>Ma a me o Imperatore la na <lb/>tura non ha dato la grandezza della per&longs;ona, & la età mi ha deformata la faccia, la infer­<lb/>mità leuato le forze; la doue e&longs;&longs;endo io di tali pre&longs;idij abbandonato, &longs;pero per mezo del <lb/>la &longs;cienza, & de gli &longs;critti a qualche grado di commendatione, & gloria peruenire. </s>
<s>Ha-<pb pagenum="67"/>uendo adunque io nel primo libro &longs;critto dell'ufficio dello Architetto, & de i termini <lb/>della Architettura, & appre&longs;&longs;o dellc mura, & delle diui&longs;ioni de i piani, che &longs;ono dentio <lb/>le mura, & &longs;eguitando l'ordine de i &longs;acri Tempij, & de i publici edificij, & anche de i <lb/>priuati, con quai mi&longs;ure, & proportioni &longs;i deono fare: io non ho pen&longs;ato di porre que&longs;te <lb/>co&longs;e prima, che io ragiona&longs;si della copia della materia, della quale &longs;i fanno le fabriche, & <lb/>con c he ragione, & che forza ella habbia nell'u&longs;o, & con che principij la natura delle co&longs;e <lb/>&longs;ia compo&longs;ta. </s>
<s>Ma prima che io dia principio ad c&longs;plicare le co&longs;e naturali, io ragionerò <lb/>delle ragioni del fabricare doue hanno hauuto origine, & come per inuenti one cre&longs;ciu­<lb/>te &longs;ono partitamente dirò, & &longs;eguitando e&longs;ponerò gli ingre&longs;si dell'antica natura, & di <lb/>quelli, che con gli &longs;critti, & regole dedicorono il principio del con&longs;ortio humano, & <lb/>le belle, & fondate inuentioni, & però, come da quelli io &longs;on ammae&longs;trato, dimo&longs;trerò. </s></p><p type="main">
<s><emph type="italics"/>Tratta Vitr.
nel &longs;econdo libro della materia nece&longs;&longs;aria al fabricare, come &longs;i &longs;cielga, & co­<lb/>no&longs;ca, & ci dimo&longs;tra il modo di metterla in&longs;ieme. </s>
<s>propone artificio&longs;amente il proemio. </s>
<s>percio­<lb/>che hauendo nel primo libro ragionato ne i quattro ultimi capi di molte co&longs;e pertinenti alla elet­<lb/>tione de i luoghi per fabricar la città; & hauendo trattato delle muraglie, & dife&longs;e, del com­<lb/>partimento de i piani, sì per i&longs;chifare i uenti danno&longs;i, come per di&longs;tribuire ogni luogo con gra­<lb/>tia, & decoro: & uolendoci dare un &longs;egnalato precetto, o con&longs;eruarlo nella no&longs;tra memoria, <lb/>( benche pare, che lo dica ad altro fine ) ci dimo&longs;tra con notabile e&longs;&longs;empio, che &longs;opra tutte le <lb/>co&longs;e douemo con&longs;iderarc di fabricar in luogo, che ci dia da uiuere, & &longs;oppli&longs;ca alle nece&longs;&longs;ità de <lb/>i Cittadini. <!-- KEEP S--></s>
<s>perche niuno &longs;i mouerebbe per habitare in luogo, doue &longs;i mori&longs;&longs;e di fame. </s>
<s>come &longs;i <lb/>uede per lo contrario, che per l'abondanza delle co&longs;e i luoghi&longs;ono frequentati. </s>
<s>Legge&longs;i nel li­<lb/>bro delle co&longs;e merauiglio&longs;e del mondo a&longs;critto ad Ari&longs;totele, che imercanti Cartagine&longs;i, naui­<lb/>gando fuori dello &longs;tretto per molte giornate ritrouorono un'I&longs;ola non piu per lo adietro &longs;coperta, <lb/>che era &longs;olo da fiere habitata, ma piena di alberi di merauiglio&longs;a grandezza, & di grandi&longs;&longs;imi <lb/>fiumi, fertile, & abondante di cio che puo na&longs;cere, lontana molto dalla terra dell' Africa. <!-- KEEP S--></s>
<s><lb/>Quiui trouando&longs;i aere temperati&longs;&longs;imo, & per i&longs;perienza copia di tutti i frutti della terra, comin­<lb/>ciauano le gente di abbandonare la propria città, & andare ad habitar quei luoghi. </s>
<s>per laqual <lb/>co&longs;a i Cartagine&longs;i furono con&longs;tretti a fare uno editto, che &longs;otto pena capitale niuno piu naui­<lb/>ga&longs;&longs;e per quelle parti, che for&longs;e erano quelle, che a giorni no&longs;tri &longs;ono &longs;tate &longs;coperte uer&longs;o Po­<lb/>nente. </s>
<s>Et però uedendo Vitr.
la importanza del uiuere, ha uoluto di nuouo &longs;arci auuertiti, nel <lb/>proemio, come in luogo notabile, & che prima uegni nella con&longs;ideratione de i lettori.<emph.end type="italics"/> { <emph type="italics"/>Dino­<lb/>crate Architetto.<emph.end type="italics"/> } <emph type="italics"/>Legge&longs;i, Chirocrate, co&longs;i appre&longs;&longs;o Strabone, come appre&longs;&longs;o Eliano. </s>
<s>Ma <lb/>i te&longs;ti di Vitr.
hanno, Dinocrate, del quale ne fa mentione Xenofonte, s'io non m'inganno.<emph.end type="italics"/><lb/>{ <emph type="italics"/>Pen&longs;amenti, & nella &longs;ua &longs;olertia,<emph.end type="italics"/> } <emph type="italics"/>Ha detto Vitru.
nel &longs;econdo Capo del primo libro. </s>
<s>che <lb/>le idee della di&longs;po&longs;itione, na&longs;ceno da pen&longs;amento, & da inuentione: però qui dimo&longs;tra Dinocra­<lb/>te hauere hauuto Di&longs;po&longs;itione, come anche di &longs;otto mo&longs;tra lo i&longs;te&longs;&longs;o, quando dice ad Ale&longs;&longs;andro.<emph.end type="italics"/><lb/>Io &longs;ono Dinocrate Architetto di Macedonia, ilquale a te porto pen&longs;ieri, & forme degne <lb/>della tua chiarezza. <emph type="italics"/>perche dicendo,<emph.end type="italics"/> { <emph type="italics"/>Pen&longs;ieri, & forme<emph.end type="italics"/> } <emph type="italics"/>uuol dire Fabrica, & di&longs;cor&longs;o, <lb/>la co&longs;a &longs;ignificata, & quella che &longs;ignifica; l'opera, & la ragione: dalle quali co&longs;e na&longs;ce la Ar­<lb/>chitettura.<emph.end type="italics"/> { <emph type="italics"/>Io ho formato il Monte Atho in forma di&longs;tatua uirile,<emph.end type="italics"/> } <emph type="italics"/>uoleua Dinocrate rap­<lb/>pre&longs;entare la figura di Ale&longs;&longs;andro ( come &longs;i legge ) & dalla de&longs;tra cauare uno capaci&longs;&longs;imo alueo <lb/>da riceuer tutte le acque del monte Atho alti&longs;&longs;imo tra la Macedonia, & la Thracia: & nella <lb/>&longs;ini&longs;tra uoleua fabricare una città capace di dieci mila huomini. </s>
<s>Bella, & &longs;ottile inuentione, <lb/>&longs;e co&longs;i egli haue&longs;&longs;e con&longs;iderato di dar da uiuere alla &longs;ua città, come egli le haueua proui&longs;to del <lb/>bere delle acque.<emph.end type="italics"/> P<emph type="italics"/>erò di nuouo dico, che bi&longs;ogna fare le città in luoghi commodi, & oppor­<lb/>tuni. </s>
<s>& di que&longs;ta lode meritamente deue e&longs;&longs;er commendata la città di Vinetia, alla quale ri&longs;pon­<lb/>deno tanti fiumi, tante entrate, & tante commodità, che pare che tutto il mondo &longs;ia obligato <lb/>a notrirla, & adornarla: & &longs;i puo dire, che &longs;i come la notrice del fanciullo prende il cibo al-<emph.end type="italics"/><pb pagenum="68"/><emph type="italics"/>troue, della &longs;o&longs;tanza del quale ella ne fa poi il latte da nodrirlo, co&longs;i Vinetia riceua da ogni parte <lb/>il &longs;uo nutrimento per &longs;o&longs;tentare il re&longs;to dello &longs;tato &longs;uo. </s>
<s>& in uero pare, che la natura s'habbia <lb/>ri&longs;eruati alcuni luoghi, che per rari&longs;&longs;imi accidenti po&longs;&longs;ono re&longs;tare dishabitati; & que&longs;to per la <lb/>conimodit à del &longs;ito. </s>
<s>come Roma, Con&longs;tantinopoli, Pariggi, & molti altri luoghi, che &longs;empre &longs;ono <lb/>stati celebrati, & frequentati per le &longs;opra det te ragioni.<emph.end type="italics"/></s></p><p type="head">
<s><emph type="italics"/>Della uita de gli antichihuomini, & de i principij <lb/>del uiuer humano, & delle ca&longs;e, et accre­<lb/>&longs;cimenti di quelle. </s>
<s>Cap. I.<emph.end type="italics"/><!-- KEEP S--></s>
</p><p type="main">
<s>GLI huomini per antica u&longs;anza come &longs;iere nelle &longs;elue, & nelle &longs;pilonche, & tra <lb/>li bo&longs;chi na&longs;ceuano, & di agre&longs;te cibo pa&longs;cendo&longs;i menauano la lor uita. </s>
<s>in <lb/>quel tanto da i uenti, & dalle fortune furono gli &longs;pe&longs;si alberi agitati, & com­<lb/>mo&longs;si, & &longs;tropicciando&longs;i in&longs;ieme i rami, mandorono fuori il fuoco, perche <lb/>i uicini dalla gran fiamma sbigottiti, &longs;i mi&longs;ero in fuga. </s>
<s>ce&longs;&longs;ata la fiamma, & hor que&longs;to <lb/>hor quello auuicinando&longs;i al fuoco, è ritrouandolo e&longs;&longs;er di molta commodità a i corpi, ag­<lb/>giugnendoli legna mentre che mancaua, & con&longs;eruandolo, gli conduceuano de gli altri, <lb/>& accennando&longs;i fra loro dimo&longs;trauano la utilità, che di ciò ne ueniua. </s>
<s>in quel concor&longs;o <lb/>d'huomini e&longs;&longs;endo le uoci diuer&longs;amente dallo &longs;pirito fuori mandate, per la quottidiana <lb/>conuer&longs;atione fecero, come lor fatto ueniua, i uocaboli delle co&longs;e. </s>
<s>Dapoi &longs;ignificando­<lb/>le piu &longs;pe&longs;&longs;o, & in u&longs;o ponendole, per quello auuenimento cominciorono a parlare, & a <lb/>quel modo tra loro fabricorono i ragionamenti. </s>
<s>E&longs;&longs;endo adunque per la inuentione del <lb/>fuoco da prima uenuto il conuer&longs;are, & il uiuere in&longs;ieme, & conuenendo molti in uno <lb/>i&longs;te&longs;&longs;o luogo, hauendo anche dalla natura, che non chinati, come gli altri animali, ma <lb/>dritti camina&longs;&longs;ero, & la magnificenza del mondo, & delle &longs;telle riguarda&longs;&longs;ero: & trattan­<lb/>do ( come piaceua loro ) con le dita facilmente ogni co&longs;a, alcuni di quella moltitudine <lb/>cominciorono a fare i coperti di fronde, altri a cauar le &longs;pilonche di &longs;otto a monti: & altri <lb/>imitando i nidi delle rondini edificauano di loto, & di uirgulti per fare luoghi da ridur&longs;i <lb/>al coperto. </s>
<s>Allhora molti o&longs;&longs;eruando i coperti fatti da gli altri, & aggiugnendo a loro <lb/>pen&longs;ieri co&longs;e nuoue, faceuano di giorno in giorno piu bella maniera di ca&longs;e. </s>
<s>Et e&longs;&longs;endo <lb/>gli huomini di natura docile, & che facilmente imitar poteua, gloriando&longs;i ogni giorno <lb/>piu delle proprie inuentioni, altri ad altri dimo&longs;trauano gli effetti de gli edificij, & co&longs;i <lb/>per le concorrenze e&longs;&longs;ercitando gli ingegni, alla giornata &longs;i faceuano piu giudicio&longs;i. </s>
<s>& <lb/>& prima alzate le forcelle, & trapo&longs;ti i uirgulti con loto te&longs;&longs;euano i pareti, altri i ce&longs;pu­<lb/>gli poi, & le zoppe di loto a&longs;ciugando faceuano i pareti commettendogli con legnami, & <lb/>per i&longs;chifare le pioggie, le g randini, & i caldi le copriuano di canne, & di frondi. </s>
<s>Dapoi <lb/>perche i tetti per le tempe&longs;te del uerno non potcuano reggere alle pioggie, facendo i <lb/>colmi, & &longs;opraponendoui il loto col fare i tetti pendenti conduceuano le grondi, & i <lb/>cadimenti dell'acque. </s></p><p type="main">
<s><emph type="italics"/>Fin qui Vitr.
ha narrato artificio&longs;amente a poco a poco per ordine il principio del fabricare, <lb/>il mezo, & il fine, quanto poteua ba&longs;tare alla humana nece&longs;&longs;ità; dico artificio&longs;amente, & per <lb/>ordine, perche prima ha detto la cagione, che con&longs;trin&longs;e gli huomini a &longs;tare in&longs;ieme, che fu il co­<lb/>no&longs;cere l'utilità, che dal fuoco procedeua, il ca&longs;o dimo&longs;trò l'utilità. </s>
<s>Que&longs;ta con&longs;trin&longs;e gli huo­<lb/>mini ad unir&longs;i. </s>
<s>dalla unione nacque la fauella, nacque la cognitione del poter&longs;i operare con le ma­<lb/>ni, & l'operare, dal che nacque la concorrenza di auanzar l'un l'altro nella inuentione de gli <lb/>edificij. </s>
<s>Onde a poco a poco uenne lo artificio, nato ( come dicemmo nel primo libro nel proe-<emph.end type="italics"/><pb pagenum="69"/><emph type="italics"/>mio ) dalla i&longs;perienza, fondata nella natura delle co&longs;e. </s>
<s>Ma perche alcuno potrebbe negare; che <lb/>tale &longs;ia &longs;tato lo ingre&longs;&longs;o dell' antica natura; Ri&longs;ponde Vitr.
& dice.<emph.end type="italics"/></s></p><p type="main">
<s>Ma che que&longs;te co&longs;e da que principij, che detto hauemo, &longs;iano &longs;tate ordinate, in que­<lb/>&longs;to modo &longs;i puo cono&longs;cere. </s>
<s>percioche fin al di d'hoggi dalle nationi e&longs;terne &longs;i fanno gli <lb/>edificij, come in Francia, in Hi&longs;pagna, in Lu&longs;itania, in Aquitania, di que&longs;te co&longs;e, come di <lb/>tauole di rouere, ouero con paglic, & &longs;trame. </s>
<s>Appre&longs;&longs;o la natione de Colchi nel Ponto <lb/>per l'abondanza delle &longs;elue &longs;i fanno gli edificij con alberi perpetui i&longs;pianati dalla de&longs;tra, & <lb/>dalla &longs;ini&longs;tra po&longs;ti in terra la&longs;ciatoui tra quelli tanto &longs;pacio, quanto ricerca la lunghezza de <lb/>gli alberi, ma di &longs;opra nelle e&longs;treme parti di quelli pongono altri trauer&longs;i, i quali d'intor­<lb/>no chiudeno lo &longs;pacio dell'habitatione, & allhora dapoi le &longs;oprapo&longs;te traui dalle quat <lb/>tro parti legando, & &longs;trignendo gli anguli, & in que&longs;ta manicra facendo i pareti d'alberi, <lb/>a piomho di quelle di &longs;otto, inalzano le Torri, & quelli &longs;pacij, che per la gro&longs;&longs;ezza della <lb/>materia &longs;ono trala&longs;ciati, otturano con loto, & &longs;cheggie, & anche ritagliando i tetti dalle <lb/>cantonate tramezano con legni trauer&longs;ati di grado in grado, ra&longs;tremandogli; & in que&longs;to <lb/>modo, al mezo delle quattro parti leuano le piramidi, lequali, & di frondi, & di loto co­<lb/>prendo all'u&longs;anza de barbari fanno i colmi te&longs;tuginati. </s></p><p type="main">
<s><emph type="italics"/>Pare a Vitr.
grande argomento a prouare l'origine delle fabriche la u&longs;anza delle genti efter­<lb/>ne. </s>
<s>& in uero è ragioneuole, che doue non è peruenuta la bellezza, & la grandezza dell'arte, &longs;i <lb/>ueda il modo naturale, & &longs;iritegna quello, che è &longs;tato dalla natura, a i primi huomini dimo­<lb/>strato, perche egli &longs;i puo dire, che ogni arte habbia la &longs;ua pueritia, la &longs;ua adole&longs;centia, il fior <lb/>della età, & la maturità; come l'Architettura, che ne i primi &longs;ecoli hebbe i &longs;uoi &longs;gro&longs;&longs;amenti, <lb/>crebbe in A&longs;ia, ottenne in Grecia il &longs;uo uigore, & finalmente in Italia con&longs;egui perfetta, & ma­<lb/>tura dignità. </s>
<s>Da principio adunque è ragioneuole di credere, che ella haue&longs;&longs;e quella origine, <lb/>che la nece&longs;&longs;ità dimc&longs;trò primier amente all'humana generatione, come &longs;i ha a di no&longs;tri e&longs;&longs;ere nel­<lb/>l'I&longs;ola Spagnola, & nelle parti del mondo &longs;coperte da i moderni, che le &longs;tanze, & le habita­<lb/>tioni &longs;ono fatte di alberi, te&longs;&longs;uti di canne, coperti di paglie, ma di modo, che egli &longs;i ha in con&longs;ide­<lb/>ratione la dignità de gli habitanti, dando&longs;i piu grandi & piu belle, & piu commode habitationi­<lb/>a quelli, che fra quelle genti ottengono grado maggiore. </s>
<s>Que&longs;to &longs;i dice, che i no&longs;tri banno ri­<lb/>trouato nel &longs;opra detto modo. </s>
<s>Ma poi che piu perite genti, & piu ingenio&longs;e banno cominciato <lb/>a praticare in que luoghi, piu bella, & piu artificio&longs;a maniera di fabricare è stata introdotta. </s>
<s><lb/>Lauorando i legnami, & facendogli molti ornamenti, che non haueuano prima, & co&longs;i di gior­<lb/>no in giorno aumenteranno gli artificij, & le inuentioni delle co&longs;e, dome&longs;ticando il pae&longs;e per l'hu­<lb/>mana conuer&longs;atione. </s>
<s>Buono adunque è l'argomento di Vitruuio, &longs;e bene eglinon dice&longs;&longs;e a pun­<lb/>to il uero di quel fuoco acce&longs;o da gli alberi agitati da i uenti, non &longs;apendo egli la i&longs;toria della crea­<lb/>tione, & della origine del mondo. </s>
<s>Ma chi pon mente alle parole di Vitru.
ritruouerà nel pre&longs;en­<lb/>te di&longs;cor&longs;o un'ordine merauiglio&longs;o: perche prima ha ritruouato quanto puo la nece<02>ità, & la <lb/>natura, dicendo la cagione, che costrin&longs;e gli huomini ad habitar in&longs;ieme, da poi ba dimostra­<lb/>to quanto puo la i&longs;perienza, & la con&longs;uetudine, dicendo quello, che molte genti acco&longs;tumano <lb/>di fare, per accommodar&longs;i, & di&longs;ender&longs;i da i contrarij, con diuer&longs;e maniere di habitationi &longs;econ­<lb/>do l'u&longs;o de i luoghi, & delle co&longs;e. </s>
<s>& finalmeute dirà, quanto ha potuto l'Arte cerca le regola­<lb/>te inuentioni, & gli ornamenti, & pompa del fabricare. </s>
<s>come anche al primo Capo del decimo <lb/>libro, Vitru.
conferma dicendo, che quelle co&longs;e, che gli huomini auuertirono e&longs;&longs;er buone all'u&longs;o, <lb/>tentarono anche con i&longs;tudio di arte, & di ordinationi per uia di dottrina. </s>
<s>Et qui &longs;i uederà co­<lb/>me la natura humana tutta uia auanzando &longs;e &longs;te&longs;&longs;a, digiorno in giorno dal nece&longs;&longs;ario al commo­<lb/>do, & dal commodo all'honoreuole peruiene. </s>
<s>Bella, & degna co&longs;a è di con&longs;iderare, come l'Ar­<lb/>te &longs;i fonda &longs;opra la natura, non mutando quello, che è per natura, ma facendolo piu perfetto, & <lb/>adorno. </s>
<s>come nel pre&longs;ente capo Vitruuio chiaramente ci mo&longs;tra per diuer&longs;i e&longs;&longs;empi non &longs;olamen­<lb/>te la origine del fabricare, ma i modi, & le maniere naturali, che poi&longs;ono &longs;tate pigliate dal-<emph.end type="italics"/><pb pagenum="70"/><emph type="italics"/>l'Arte a perfetcione delle co&longs;e, come &longs;ono i tetti pendenti, i colmi, le uolte, le colonne, & ilo­<lb/>ro ornamenti & altre co&longs;e, che &longs;ono &longs;tate dalla natural nece<02>ità alla certezza dell'Arte, per <lb/>humana &longs;olertia traportate. </s>
<s>Seguita adunque.<emph.end type="italics"/></s></p><p type="main">
<s>Ma i Frigij, i quali habitano le campagne per la inopia de bo&longs;chi hauendo bi&longs;ogno di <lb/>&longs;egna, eleggeno alcune parti piu eleuate del terreno, & cauandole nel mezo, & uotando­<lb/>le, & facendo i &longs;entieri allargano gli &longs;pacij, quanto cape la quantità, & grandezza del <lb/>luogo: ma poi di&longs;opra legando in&longs;ieme molti fu&longs;ti fanno i colmi de i tetti piramidali, & <lb/>coprendo quelli con canne & paglie inalzano &longs;opra le &longs;tanze grandi&longs;simi grumi di terra: <lb/>& a que&longs;to modo fæono con la ragione de i tetti l'inuernate caldi&longs;sime, & l'c&longs;tati fre&longs;chi&longs;­<lb/>&longs;ime. </s>
<s>Altri di palu&longs;tre alica ricuopreno i loro tuguri. </s>
<s>Et anche appre&longs;&longs;o altre nationi, & <lb/>in alcuni luoghi &longs;imilmente in que&longs;ta maniera &longs;i fanno le ca&longs;e. </s>
<s>Ne meno in Mar&longs;iglia &longs;i <lb/>puo uedere, che i tetti &longs;ono fatti &longs;enza tegole, ma &longs;olamente ui è &longs;oprapo&longs;ta la terra con le <lb/>paglie. </s>
<s>In Athene anche per e&longs;&longs;empio di antichità nell' Arcopago fin'a no&longs;tri giorni &longs;i <lb/>uede il tetto di lottole. </s>
<s>& nel Campidoglio nella &longs;acra rocca la ca&longs;a di Romulo ci puo fa­<lb/>re auuertiti de gli antichi co&longs;tumi, per e&longs;&longs;er coperta di paglie, & di fieno. </s>
<s>& co&longs;i per <lb/>tali &longs;egni potemo di&longs;correre &longs;opra la inuentione de gli antichi edificij, che tali fu&longs;&longs;ero <lb/>come detto hauemo. </s></p><p type="main">
<s><emph type="italics"/>Vitru.
ha finito la proposta argomentatione, & con molti e&longs;&longs;empi ci ha confermati nella cre­<lb/>denza dell'antico, & nece&longs;&longs;ario modo del fabricare, & qua&longs;i ci ha indotto a credere, che la in­<lb/>uentione del con&longs;ortio humano &longs;iastata, &longs;econdo che egli ha detto. </s>
<s>hora ci uuole fare accorti di <lb/>quanto l'u&longs;o, & la i&longs;perienza, dapoi l'Arte ci ha dimo&longs;trato, & dice.<emph.end type="italics"/></s></p><p type="main">
<s>Ma hauendo gli huomini con l'operare ogni giorno fatto le mani piu pronte, & piu de­<lb/>&longs;tre al fabricare, & per la continua e&longs;&longs;ercitatione de gli ingegni loro e&longs;&longs;endo con &longs;olertia <lb/>peruenuti all'Arti, ne &longs;eguì, che aggiunta a gli animi loro la indu&longs;tria fece, che chi tra quel­<lb/>&longs;i fu&longs;&longs;ero piu &longs;tudio&longs;i, & diligenti, faceuano profe&longs;sione di e&longs;&longs;er fabbri. </s></p><p type="main">
<s><emph type="italics"/>Fabbro latinamente è nominato ogni artefice. </s>
<s>dice&longs;i in Greco Tecton, d'onde è deriuato il no­<lb/>me di Architetto, come s'è detto nel primo libro. </s>
<s>Et qui &longs;i puo uedere come non &longs;olamente le <lb/>co&longs;e alla Architettura pertinenti habbiano hauuto principio, ma anche i uocaboli delle co&longs;e. </s>
<s>pe­<lb/>rò non la&longs;ciando Vitru.
alcuna co&longs;a, prudentemente rende perfetto l'auditore. </s>
<s>Fabbri adunque <lb/>&longs;i chiamauano i piu &longs;tudio&longs;i, & diligenti operatori, perche alla natura, allo e&longs;&longs;ercitio, alla &longs;o­<lb/>lertia aggiugneuano la indu&longs;tria, la quale non è altro, che un di&longs;iderio di affaticar&longs;i ridotto al­<lb/>l'opera con diligenza, & e&longs;&longs;ercitio dello ingegno, & auantaggio dell'Arte per con&longs;eguire la <lb/>perfettione. </s>
<s>conchiude Vitru. <!-- REMOVE S-->& dice.<emph.end type="italics"/></s>
</p><p type="main">
<s>Quando adunque da principio que&longs;te co&longs;e &longs;tate &longs;iano in que&longs;to modo ordinate, & la <lb/>natura non pure di &longs;entimenti habbia gli huomini, come gli altri animali adornati, ma <lb/>ancora di con&longs;ideratione, & di con&longs;iglio armato lo intelletto, &longs;ottomettendo al poter lo­<lb/>ro gli altri animali, quelli di grado in grado alle altre Arti & di&longs;cipline peruenendo, u&longs;ci­<lb/>ti dal fabricare, dalla uita ferigna, & &longs;ilue&longs;tre, alla man&longs;ueta, & humana &longs;i condu&longs;&longs;ero: <lb/>d'indi animo&longs;amente ammae&longs;trando&longs;i, & piu oltre guardando con maggiori pen&longs;amenti <lb/>na&longs;ciuti dalla uarietà delle Arti, non piu ca&longs;e humili, & ba&longs;&longs;e, ma grandi habitationi fon­<lb/>date, & di pareti fatti di mattoni, & di pietre, & di legnami compo&longs;te, & di tegole co= <lb/>perte cominciorno a fabricare. </s>
<s>Dapoi cre&longs;cendo in uarie o&longs;&longs;eruationi di &longs;tudi con giudi­<lb/>cio&longs;o di&longs;cor&longs;o da mcerte a certe ragioni di mi&longs;ure condu&longs;&longs;ero inanzi la co&longs;a, & d'indi au= <lb/>uertendo che la natura largamente produceua le legna, & porgeua loro abondante copia <lb/>di fabricare cominciorno a nodrirla, & a coltiuarla, & cre&longs;ciuta poi con artificij ornar­<lb/>la all'u&longs;o diletteuole, & eleganza della uita. </s>
<s>& però io &longs;on per dire di quelle, co&longs;e le qua­<lb/>li commode, & buone &longs;ono ne gli edificij, dimo&longs;trando ( come io potrò ) le qualità, & <lb/>uirtù di quelle. </s></p><pb pagenum="71"/><p type="main">
<s><emph type="italics"/>Vitr.
ci ha condotti a poco a poco a ritrouar la materia, & l'abondanza delle co&longs;e, che uanno <lb/>nel fabricare, & qua&longs;i ci ha fatto na&longs;cere dinanzi a gli occhi una co&longs;a dall'altra con uno cui­<lb/>dente &longs;ucce&longs;&longs;o, & accre&longs;cimento dell' Arte. <!-- KEEP S--></s>
<s>& &longs;i ha eletto non tutte le maniere del fabricare, <lb/>perche le fabriche fatte dalle genti roze, o fatte per nece&longs;&longs;ità &longs;ono d'infinite &longs;orti, & lo infinito <lb/>non cape &longs;otto la dottrina de i precetti: ma uuole trattar di quelle, che dalla ciuile u&longs;anza, & per <lb/>commodo, & per bellezza &longs;ono degne di e&longs;&longs;er con&longs;iderate, et inte&longs;e.<emph.end type="italics"/></s></p><p type="main">
<s>Ma &longs;e alcuno uorrà di&longs;putare dell'ordine di que&longs;to libro pen&longs;ando, che egli debbia e&longs;­<lb/>&longs;ere prepo&longs;to a tutti gli altri: accioche egli non pen&longs;i, che io habbia errato, ne dirò la ra­<lb/>gione. </s>
<s>Scriuendo io il corpo dell' Archittetura, io ho pen&longs;ato di e&longs;ponere nel primo libro <lb/>di che ammae&longs;tramenti, & di&longs;cipline debbia e&longs;&longs;er ornata, & con certi termini pre&longs;inire <lb/>le &longs;ue maniere, & dire da che ella fu&longs;&longs;e na&longs;ciuta, & co&longs;i quello, che fu&longs;&longs;e allo Architetto <lb/>nece&longs;&longs;ario iui io dimo&longs;trai. </s>
<s>& però nel primo libro io ho detto dell'officio dell' Arte; nel <lb/>pre&longs;ente io di&longs;puterò delle co&longs;e naturali della materia, che u&longs;o elle habbiano nel fabricare, <lb/>perche il pre&longs;ente libro non dichiara onde na&longs;ce l'Architettura, ma d'onde &longs;ono nate & <lb/>con quali ragioni nodrite, & peruenute di grado in grado a que&longs;ta determinatione, & pe­<lb/>rò in que&longs;to modo al luogo, & ordine &longs;uo po&longs;ta &longs;arà la compo&longs;itione di que&longs;to uolume. </s></p><p type="main">
<s><emph type="italics"/>Come chi fabrica è tenuto rendere la ragione dell' ordine, che egli tiene, co&longs;i chi compone <lb/>un' opera, & in&longs;egna un'arte, è obligato a dire perche prima, & perche poi habbia po&longs;to le co­<lb/>&longs;e in quell' arte contenute, per acquetar glianimi di chi fa fare le fabriche. </s>
<s>però Vitr.
con grande <lb/>humanità rende conto dell' ordine del pre&longs;ente libro. </s>
<s>Et la ragione &longs;ua in uirtù è que&longs;ta. </s>
<s>Non è <lb/>conueniente trattare di alcuna co&longs;a partitamente contenuta in un' Arte, prima, che egli &longs;i tratti <lb/>de i principij di quell' Arte. <!-- KEEP S--></s>
<s>percioche niuno effetto è prima della cau&longs;a &longs;ua. </s>
<s>Se io adunque ( puo <lb/>dir Vitr. ) trattato haue&longs;&longs;i prima della materia, che è trattatione particólare di que&longs;t' arte, & non <lb/>de i principij di tutta l'arte, io non hauerei u&longs;ato l'ordine, che &longs;i conuiene. </s>
<s>Il fine dello Architet <lb/>to non ci &longs;arebbe &longs;tato manife&longs;to, co&longs;a &longs;ommamente nece&longs;&longs;aria, perche la cognitione del fine prece <lb/>de ogni operatione. </s>
<s>Dapoi l'ufficio dello Architetto &longs;arebbe &longs;tato a&longs;co&longs;o; i precetti dell'arte la­<lb/>&longs;ciate; La confu&longs;ione ci hauerebbe impedito il uero intendimento. </s>
<s>Meritamente adunque le co&longs;e <lb/>dette nel primo libro doueuano precedere a tutte le altre. </s>
<s>Ma perche il &longs;econdo libro contener <lb/>debbia il trattamento della materia, &longs;imilmente è manife&longs;to. </s>
<s>perche la materia, è principio non <lb/>dell' Architettura, perche l'Architettura non è fatta di legno, nè di pietra, ma delle co&longs;e, che &longs;o <lb/>no dall' Arti formate, & fabricate. </s>
<s>& è principio, & &longs;oggetto, nel quale &longs;i e&longs;prime quello, che <lb/>è nella mente dello Artefice, cioè l'ordine, la di&longs;po&longs;itione, la di&longs;tributione, la &longs;immetria, la gra <lb/>tia, & il decoro, & in &longs;omma, il perche, la ragione, il di&longs;cor&longs;o, la co&longs;a &longs;igni&longs;icante, come nel primo <lb/>libro &longs;i dimo&longs;tra. </s>
<s>Edunque al luogo &longs;uo il trattamento della materia. </s>
<s>Et &longs;i come nel primo li­<lb/>bro s'è detto dell' origine dell' Arte, co&longs;i nel &longs;econdo &longs;i tratta dell' origine del fabricare.<emph.end type="italics"/></s></p><p type="main">
<s>Hora io tornerò al propo&longs;ito, & dirò delle copie atte ad e&longs;&longs;er po&longs;te in opera in che mo­<lb/>do &longs;iano compo&longs;te dalla natura, <emph type="italics"/>( come &longs;ono i legnami, le pietre & altre co&longs;e )<emph.end type="italics"/> & con <lb/>che me&longs;colanze, & principij &longs;iano i loro componimenti temperati, accio non o&longs;cu­<lb/>re, ma chiare &longs;iano a chi legge e&longs;ponerò con ragione. </s>
<s>perche niuna &longs;orte di materia, nè <lb/>corpo è, nè co&longs;a alcuna, che &longs;enza la unione di que principij, po&longs;&longs;a uenire in luce, nè e&longs;­<lb/>&longs;er allo intendimento &longs;ottopo&longs;ta, nè altramente la natura delle co&longs;e puo hauere le &longs;ode, & <lb/>uere dichiarationi da i precetti de Filo&longs;ofi naturali, &longs;e prima non &longs;ono dimo&longs;trate le cau&longs;e, <lb/>che in quelle &longs;i trouano, & con &longs;ottili&longs;sime ragioni inue&longs;tigate in che modo, & perche co­<lb/>&longs;i &longs;iano. </s></p><p type="main">
<s><emph type="italics"/>Il &longs;apere con&longs;i&longs;te nella cognitione delle cau&longs;e, & de i principij, & perche niuna co&longs;a &longs;i troua <lb/>al &longs;en&longs;o &longs;ottopo&longs;ta, che compo&longs;ta non &longs;ia per la me&longs;colanza de i &longs;uoi principij, & le co&longs;e s'inten­<lb/>deno, come &longs;ono, però è nece&longs;&longs;ario trattare de i principij. </s>
<s>perche que&longs;ta cognitione ci dar à d'in­<lb/>tendere qual materia &longs;ia buona per una co&longs;a, & quale per un'altra. </s>
<s>perche altra natura il Roue-<emph.end type="italics"/><pb pagenum="72"/><emph type="italics"/>re, altra l'abete, altra il larice. </s>
<s>& altro effetto &longs;a il marmo, altro il tofo, altro il &longs;a&longs;&longs;o, altro <lb/>imattoni. </s>
<s>però Vitr.
che di&longs;correua, che da diuer&longs;e cau&longs;e uengono diuer&longs;i effetti, filo&longs;ofando nar <lb/>ra l'opinione de gli antichi cerca i principij materiali, cioè che entrano come parti a far le co&longs;e di <lb/>natura, & nel &longs;ucce&longs;&longs;o applicher à poi le cau&longs;e a gli effetti, come ci &longs;ar à manife&longs;to.<emph.end type="italics"/></s></p><p type="head">
<s><emph type="italics"/>De i principij delle co&longs;e &longs;econdo i Filo&longs;ofi.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="head">
<s><emph type="italics"/>Cap.
II.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s>THALES primieramente pensò, che l'acqua fu&longs;&longs;e principio di tutte le co&longs;e: <lb/>Heraclito Ephe&longs;io ( che per la o&longs;curità de &longs;uoi detti Scotinos era chiamato ) <lb/>po&longs;e il fuoco. </s>
<s>Democrito, & lo Epicuro di Democrito fautore, gli Atomi, <lb/>che da no&longs;tri in&longs;ecabili ouero indiuidui corpi da alcuni chiamati &longs;ono. </s>
<s>Ma <lb/>la di&longs;ciplina de Pithagorici aggiun&longs;e all'acqua, & al fuoco, l'aere, & la terra. </s>
<s>Democri­<lb/>to adunque, auegna, che le co&longs;e di proprio nome non chiama&longs;&longs;e, ma &longs;olamente propone&longs;­<lb/>&longs;e i corpi indiuidui, pure per que&longs;ta ragione pare, che egli pone&longs;&longs;e quelli i&longs;te&longs;si principij, per <lb/>che e&longs;&longs;endo que corpi &longs;eparati, prima che concorrino in&longs;ieme alla generatione delle co&longs;e, <lb/>nè &longs;i raccoglieno, nè mancano, nè &longs;i diuideno, ma &longs;empiternamente ritengono in &longs;e per­<lb/>petua, & infinita &longs;odezza. </s>
<s>Quando adunque &longs;i ueda, che tutte le co&longs;e na&longs;cano da que&longs;ti <lb/>principij conuenientemente compo&longs;ti, & e&longs;&longs;endo quelle in infinite &longs;ortì per natura di&longs;tin­<lb/>te, io ho pen&longs;ato, che nece&longs;&longs;ario &longs;ia di trattare delle uarietà, & differenze dell'u&longs;o loro, & <lb/>dichiarire, che qualità habbiano ne gli edi&longs;icij, accioche e&longs;&longs;endo cono&longs;ciute, quelli, i qua <lb/>li pen&longs;ano di fabricare, non errino, ma apparecchino le co&longs;e buone, & &longs;ufficienti all'u&longs;o <lb/>del fabricare. </s></p><p type="main">
<s><emph type="italics"/>Vitruuio narra in que&longs;ta parte la diuer&longs;ità delle opinioni de gli antichi filo&longs;ofanti cerca i princi­<lb/>pij delle co&longs;e, & intende ( come ho detto ) i principij materiali, cioè quelli, che entrano nella <lb/>compo&longs;itione delle co&longs;e, ne i quali finalmente ogni co&longs;a &longs;i ri&longs;olue. </s>
<s>Dice che Tbales, fece l'acqua <lb/>principio di tutte le co&longs;e; Heraclito il fuoco; Democrito, & lo Epicuro gli Atomi; i Pithagori­<lb/>ci l'acqua, il fuoco, l'aere, & la terra. </s>
<s>Vitr.
non contende in que&longs;to luogo quale &longs;ia &longs;tata mi­<lb/>gliore opinione, ma con&longs;ente a quella de' Pithagorici, che abbraccia tutti quattro gli elementi, co <lb/>me piu chiaramente nel proemio dell'ottauo libro &longs;i uede: & ne dice la ragione copio&longs;amente, & <lb/>con dignità della materia. </s>
<s>Ma perche in quel luogo non &longs;i fa mentione di quello, che Democrito <lb/>intendeua per Atomi: io dichiarerò la opinione di quello con breuità. </s>
<s>Vedendo adunque Demo­<lb/>crito, che tutti i corpi, che hanno parti diuer&longs;e di nome, & di ragione, erano compo&longs;ti di parti, <lb/>che in nome, & in ragione erano &longs;imiglianti, uolle, che anche le parti, che conueniuano in nome <lb/>& in ragione, compo&longs;te fu&longs;&longs;ero di alcuni indiui&longs;ibili, & minuti&longs;&longs;imi corpicelli, che egli Atomi <lb/>nominaua. </s>
<s>Et &longs;e bene egli non &longs;i puo ritrouare &longs;i picciola parte corporea, che non &longs;i po&longs;&longs;a diui­<lb/>dere in altre parti, & quelle &longs;imilmente in altre, & co&longs;i in infinito, niente dimeno il buon De­<lb/>mocrito, tanto da Ari&longs;totile commendato, uoleua che infiniti corpicelli &longs;i troua&longs;&longs;ero, che per mo <lb/>do alcuno non riceue&longs;&longs;ero diui&longs;ione, ma fu&longs;&longs;ero indiui&longs;ibili, & impartibili. </s>
<s>Ma come egli inten­<lb/>de&longs;&longs;e que&longs;to, accioche un tant'huomo non &longs;ia contra ragione bia&longs;imato, io dirò, che la diui&longs;ione <lb/>de i corpi, come corpi, & delle parti, & delle particelle andaua in infinito, nè &longs;i poteuà que&longs;ta <lb/>diui&longs;ione po&longs;&longs;ibile intendere altrimenti: ma dall' altro canto con&longs;iderando egli molto bene, che i <lb/>corpi natarali erano compo&longs;ti di materia, & di forma, & che poteuano e&longs;&longs;er diui&longs;i in co&longs;i minu <lb/>te parti, che niuna di quelle pote&longs;&longs;e piu pre&longs;tare l'ufficio &longs;uo, nè fare la &longs;ua operatione naturale, <lb/>come &longs;e egli &longs;i piglia&longs;&longs;e una minima parte di carne, che non pote&longs;&longs;e fare la operatione di carne: <lb/>però egli uolle, che i corpi naturali fu&longs;&longs;ero compo&longs;ti di que&longs;ti corpicelli indiui&longs;ibili, non in quanto <lb/>corpi, & quantità intelligibile, & mathematica, ma in quanto corpi naturali compo&longs;ti di mate-<emph.end type="italics"/><pb pagenum="73"/><emph type="italics"/>ria, & dì forma naturale. </s>
<s>& uolle, che que&longs;ti fu&longs;&longs;ero in&longs;initi, cioè di numero grandi&longs;&longs;imo, & di <lb/>figure diuer&longs;e. </s>
<s>& però altri ritondi, altri piani, altri dritti, altri adunchi, altri aeuti, altri rin <lb/>tuzzati, altri di quadrata, altri d'altra forma facendo, & nel uacuo del mondo di&longs;pergendogli, <lb/>uoleua, che per la unione, & per la &longs;eparatione di quelli &longs;atta diuer&longs;amente, &longs;i produce&longs;&longs;ero le <lb/>co&longs;e, & manca&longs;&longs;ero, come ci appare. </s>
<s>Et que&longs;ta era l'opinione di Democrito, per la quale &longs;i com <lb/>prende, ch egli uoluto habbia, & creduto, che la natural figura, & apparenza de i corpi &longs;ia la <lb/>forma loro &longs;o&longs;tantiale, & uera; il che in uero non è, perche la figura è accidente, & non &longs;o&longs;tan­<lb/>za delle co&longs;e. </s>
<s>Pare che Vitr.
uoglia, che Democrito habbia hauuto la opinione de i Pithagorici&longs;e <lb/>bene egli non ha nominato aere, acqua, terra, nè fuoco: & for&longs;e per que&longs;ta cagione egli nell'otta <lb/>uo libro non ha fatto mentione di que&longs;to. </s>
<s>Ma dichiamo anchora noi alcuna co&longs;a. </s>
<s>Quattro &longs;ono i <lb/><18>rincipij materiali di tutte le co&longs;e ( come uogliono gli antichi, che gli chiamorono primi corpi ) <lb/>& que&longs;ti &longs;ono terra, acqua, aete, & fuoco. </s>
<s>Et &longs;e piu oltra pa&longs;&longs;are &longs;i uole&longs;&longs;e, egli &longs;i potrcbbe <lb/>dire anche que&longs;ti e&longs;&longs;er compo&longs;ti d'altri principij; ma non &longs;i conuiene piu adentro penetrare in que­<lb/>&longs;to luogo. </s>
<s>perche hora &longs;i tratta di que principij, le qualità de i quali fanno tutte le mutationi, & <lb/>gli effetti, che nelle co&longs;e &longs;i trouano, & quelle qualità deono e&longs;&longs;er manife&longs;te come ne i &longs;eguenti uer­<lb/>&longs;i tratti dalle no&longs;tre Meteore &longs;i dimo&longs;tra.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Poi che da prima il mondo giouanetto <lb/>Mo&longs;trò &longs;ua bella faccia, che confu&longs;a, <lb/>Ogni forma teneua in un' a&longs;petto:<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Et la diuina mano aprio la chiu&longs;a <lb/>A gli elementi, & in gioconda uece <lb/>Fu &longs;ua uirtute nelle co&longs;e infu&longs;a.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Delle piaggie mondane ancora fece <lb/>L'ordine bello, e'l uariato &longs;tile, <lb/>A beneficio dell' humana &longs;pece.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Dalla terra l'humor, l'aura gentile <lb/>Dal foco &longs;ciel&longs;e, & a que corpi diede <lb/>Loco &longs;ublime, a que&longs;ti ba&longs;&longs;o, e humile.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Et &longs;e l'un per di&longs;tanza l'altro eccede, <lb/>Pure han tra lor uirtù conueniente, <lb/>Ond'il tutto qua giu d'indi procede.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Etra lor ben &longs;i cangiano &longs;ouente, <lb/>Et la terra nell' acqua ri&longs;oluta <lb/>Rara diuenta, liquida, & corrente.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>L'Humor la &longs;ua grauezza anche rifiuta, <lb/>E s' a&longs;&longs;otigliain aer, & que&longs;ti ancora <lb/>In &longs;ottili&longs;&longs;imo foco &longs;i tramuta.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>In que&longs;to uariar non &longs;i dimora, <lb/>Ch'il fuoco &longs;cema la &longs;ua leggierezza, <lb/>Et per la nuoua forma &longs;i &longs;colora.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>L'aer lubrico, & graue a piu chiarezza <lb/>Si moue del liquor, che a maggior pondo, <lb/>Giugne la &longs;iccitade, & la &longs;odezza.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Co&longs;i natura uariando il mondo, <lb/>Ripara d'una in l'altra la &longs;emenza', <lb/>Delle co&longs;e, che'l fan bello, & giocondo.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Onde'l morir non è, &longs;e non &longs;tar &longs;enza <lb/>L'e&longs;&longs;er di prima, e'l na&longs;cer cominciare <lb/>Altr'e&longs;&longs;er, altra forma, altra apparenza.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Que&longs;to continuato uariare <lb/>Dello &longs;tato mondano ordine tiene, <lb/>Soggetto alle uirtù cele&longs;ti, & chiare<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Ch'indi lo eterno cor&longs;o lo mantiene, <lb/>Lo tempra, & lo di&longs;cerne, & uariande <lb/>In pro di noi uiuenti lo ritiene. </s>
<s><lb/>Et la mi&longs;ura d'ogni co&longs;a è'l quando.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Quattro adunque &longs;ono le prime qualità, inanzi le quali niun'altra &longs;i troua. </s>
<s>Caldo, &longs;ecco, hu­<lb/>mido, & freddo. </s>
<s>da que&longs;te per le loro me&longs;colanze uengono tutte le altre, duro, molle, a&longs;pro, pia <lb/>no, dolce, amaro, lieue, graue, tenace, raro, den&longs;o, & ogni altra &longs;econda qualità. </s>
<s>la doue è <lb/>nece&longs;&longs;ario, che lo Architetto, il quale ha da con&longs;iderare la bontà, & gli effetti della materia, <lb/>che egli deue adoperare, &longs;appia le forze delle prime qualità, come dice Vitr.
quando nel fine del <lb/>pre&longs;ente Capo dice<emph.end type="italics"/> { <emph type="italics"/>Vedendo&longs;i adunque, che dal cor&longs;o di que principij conuenientemente compo <lb/>&longs;ti<emph.end type="italics"/> } <emph type="italics"/>& il re&longs;tante. </s>
<s>Quattro anche &longs;ono le po&longs;&longs;ibili, & naturali concorrenze delle prime qualità <lb/>ne gli elementi; imperoche &longs;tanno in&longs;ieme l'humore e'l calore, l'humore e'l freddo, il freddo e'l <lb/>&longs;ecco, il &longs;ecco e'l caldo: & cia&longs;cuno de gli elementi ha due di quelle, ma una gli è propria, l'altra <lb/>appropriata. </s>
<s>Il fuoco propriamente è caldo, l'aere humido, l'acqua fredda, la terra &longs;ecca, & <lb/>appropriatamente il fuoco è &longs;ecco, l'aere caldo, l'acqua humida, la terra fredda. </s>
<s>Quelli elemen<emph.end type="italics"/><pb pagenum="74"/><emph type="italics"/>ti, che conuengono in una qualità, piu facilmente &longs;i tramut ano l uno, ncll'altro, come il fuoco, <lb/>& l'aere, l'aere & l'acqui, l'acqua & la terra: perche doue &longs;i troua conuenienza, & &longs;imiglian <lb/>za piu facile è la tramutatione. </s>
<s>Il fuoco è caldo per lo &longs;uo propio calore, & &longs;ecco per la &longs;iccità, <lb/>che egli riceue dalla terra: l'aere per &longs;ua natura è humido, & dal fuoco riceue il calore; l'acqua <lb/>per &longs;e &longs;te&longs;&longs;a è fredda, & dallo aere preade la humidità: la terra per la &longs;ua propria &longs;iccità è &longs;ec­<lb/>ca, ma per lo freddo dell' acqua è fredda. </s>
<s>Et quando &longs;i dice, che i &longs;egni cele&longs;ti &longs;ono ignei, aerei, <lb/>acquei, o terre&longs;tri, egli s'intende, che le loro uirtù &longs;ono atte ad influire qua giu gli effetti delle <lb/>qualità de gli elementi. </s>
<s>& però l'Ariete, al quale è attribuito la natura & la comple&longs;&longs;ione del <lb/>fuoco, moltiplica con i &longs;uoi calori ne i corpi mondani gli ardori, &longs;caccia la frigidit à con&longs;uma le hu <lb/>midità, &longs;ecca, & a&longs;ciuga i corpi. </s>
<s>perche adunque la uirtù di que&longs;to &longs;egno ha maggiore conue­<lb/>nienza col fuoco, che con al cuno altro de gli elementi, però dicemo, che egli è caldo & &longs;ecco. </s>
<s>il <lb/>&longs;imile &longs;i puo dire de gli altri &longs;egni, &longs;econdo le uirtù, & le forze delle influenze loro. </s>
<s>Appre&longs;&longs;o <lb/>le gia dette co&longs;e è degna di con&longs;ideratione la forza delle predette qualità, peroche il fuoco ri&longs;olue, <lb/>tira a&longs;e, dilata, &longs;epara, di&longs;trugge, alleggieri&longs;ce, & fa mobili tutte le co&longs;e. </s>
<s>il freddo conden&longs;a, <lb/>re&longs;trigne, uccide; l'humido riempie, gonfia, oppila, ritarda; Il &longs;ecco rende a&longs;pro, ranco, a&longs;ciut­<lb/>to ogni &longs;oggetto. </s>
<s>però è nece&longs;&longs;ario auuertire a i principij delle co&longs;e, che alla compo&longs;itione di quel­<lb/>le concorreno, per bene intendere gli effetti di cia&longs;cuna. </s>
<s>Vitr.
adunque comincia à trattare de i <lb/>mattoni. </s>
<s>& dice.<emph.end type="italics"/></s></p><p type="head">
<s><emph type="italics"/>Dei Mattoni. </s>
<s>Cap. III.<emph.end type="italics"/><!-- KEEP S--></s>
</p><p type="main">
<s>ADVNQVE io dirò prima de i mattoni, di che terra &longs;i habbiano à formare; <lb/>perche non di areno&longs;a, nè giaro&longs;a, nè &longs;abbionegna lota &longs;i fanno; perche e&longs;­<lb/>fendo di tal &longs;orte di terra compo&longs;ti primamente &longs;ono pe&longs;anti, dapoi e&longs;&longs;endo <lb/>dalle pioggie bagnati, cadeno da i muri, & le paglie, che in quelli &longs;i pongo­<lb/>no, per la loro a&longs;prezza non &longs;i attacano, nè &longs;i compongono in&longs;ieme. </s>
<s>Si deono adunque fa <lb/>re di terra bianchegna, creto&longs;a, o ro&longs;&longs;a, o di &longs;abbione ma&longs;chio, perche que&longs;te &longs;orti di ter­<lb/>ra per la liggierezza loro hanno &longs;olidità, non caricano nell'opera, & fanno buona pre&longs;a. </s></p><p type="main">
<s><emph type="italics"/>Tratta Vitr.
de i mattoni, o quadrelli, che noi dichiamo, & propone que&longs;ta con&longs;ideratione a <lb/>tutte le altre; percioche l'ultima ri&longs;olutione di tutta la fabrica è ridotta ne i mattoni. </s>
<s>prende da <lb/>gli effetti, & u&longs;o loro argomento della terra, di che &longs;i deono fare, dapoi tratta del tempo di farli. </s>
<s><lb/>Delle pietre altre &longs;ono natur ali, altre fatte dall' Arte. <!-- KEEP S--></s>
<s>Si tratta prima delle artificiali nel pre&longs;en­<lb/>te Capo; & poi delle naturali nel &longs;eguente: le artificiali adunque &longs;ono i mattoni. </s>
<s>& quiui &longs;i ha da <lb/>&longs;apere di che terra, & in che modo &longs;i fanno, che qualitati, & che forma deono hauere, & in che <lb/>&longs;tagione &longs;i deono formare. </s>
<s>Quanto adunque alla terra, &longs;i deue pigliare la terra creto&longs;a, bianche <lb/>gna, domabile, & anche la creta ro&longs;&longs;a, & il &longs;abbion ma&longs;chio, il quale è &longs;econdo la opinione <lb/>d'alcuni, un &longs;abbione molto gro&longs;&longs;o, & granito, che per e&longs;&longs;er tale è detto ma&longs;chio, &longs;i come &longs;i dice <lb/>incen&longs;o ma&longs;chio dalla forma. </s>
<s>Io non po&longs;&longs;o affer mare, che co&longs;i &longs;ia, &longs;e per &longs;orte non è un &longs;abbione <lb/>creto&longs;o. </s>
<s>& che faccia pa&longs;ta, o che &longs;i ponga in compagnia di altra &longs;orte di terra. </s>
<s>La&longs;cia&longs;i del <lb/>tutto la terra giaro&longs;a, & &longs;abionegna. </s>
<s>Batte&longs;i bene la terra, cioè &longs;i &longs;padazza con certe &longs;patelle <lb/>di ferro, & &longs;i doma bene cacciatone le ciotole, & le pietruzze, & piu, che è domata, & bat­<lb/>tuta, è migliore. </s>
<s>Nc gli antichi s' è ueduto marmo pe&longs;to, & &longs;abbia ro&longs;&longs;a. </s>
<s>La terra Samia, l'Are <lb/>tina, la Modene&longs;e, la Sagontina di &longs;pagna, & la Pergame&longs;e d'A&longs;ia lodate furono da gli antichi <lb/>nelle opere di terra: ma bi&longs;ogna, che noi ne pigliamo, di doue &longs;e ne puo hauerè. </s>
<s>Si caua l'autun­<lb/>no, &longs;i macera il uerno, & &longs;i forma la primauera, ma'l uerno &longs;i copreno di &longs;ecca arena & la &longs;ta­<lb/>te di paglia bagnata. </s>
<s>&longs;e la nece&longs;&longs;ità ci &longs;trigne&longs;&longs;e a formargli il uerno, ouero la &longs;tate, bi&longs;ogna fatti <lb/>che &longs;ono &longs;eccargli all' ombra per molto tempo, il che non &longs;i fa bene in meno di due anni. </s>
<s>poi &longs;i deono<emph.end type="italics"/><pb pagenum="75"/><emph type="italics"/>cuocere. </s>
<s>Cotti molto per lo gran fuoco diuent ano duri<02>imi. </s>
<s>De i mattoni alcuni &longs;i cuoceuano, <lb/>altri &longs;i la&longs;ciauano crudi, & de i crudi altri uetriati erano, altri nò. </s>
<s>La Forma era tale. </s>
<s>faceuan&longs;t an <lb/>ticamente lunghi un piede & mezo, larghi uno. </s>
<s>Ve ne erano anche di quattro, & di cinque pal <lb/>mi per ogni uer&longs;o per gli edifici maggiori, benche &longs;e ne uedino nelle fabriche antiche di Roma, di <lb/>lunghi &longs;ei dita, gro<02>i uno, larghi tre per &longs;elicare a &longs;pina. </s>
<s>ne gli archi, & ne i legamenti &longs;i uede­<lb/>no quadrelli di due piedi per ogni uer&longs;o. </s>
<s>Lodan&longs;i anche, dice Leon Batti&longs;ta di forma triangolare <lb/>d'un piede per ogni uer&longs;o, gro<02>i un dito & mezo, & &longs;i fanno quattro di e&longs;&longs;i uniti, la&longs;ciandoui un po <lb/>co di taglio lungo i loro diametri, accioche dapoi che <expan abbr="&longs;arãno">&longs;aranno</expan> cotti piu facilmente &longs;i rompino. </s>
<s>que&longs;ta <lb/>forma è commoda al maneggiare, di manco &longs;pe&longs;a, & di piu bel uedere: perche po&longs;ta nelle fronti del <lb/>muro riuolto lo angulo in dentro dimo&longs;tra larghezza di due piedi, l'opera &longs;i &longs;a piu &longs;oda, et piu uaga, <lb/>perche pare, che ogni mattone nel muro &longs;ia intiero. </s>
<s>& le cantonate dentate fanno una fermezza <lb/>mirabile come dimo&longs;trano le figure I. & II. &longs;imilmente i mattoni &longs;ottili politi, et fregati &longs;ono di dura <lb/>ta, & &longs;i deono fregare &longs;ubito tratti dalla fornace. </s>
<s>Deono e&longs;&longs;er di pe&longs;o leggieri, & deono re&longs;i&longs;tere alle <lb/>acque, & non riempir&longs;i d'humore, ma bene far buona pre&longs;a; leggieri per non caricare la fabrica; <lb/>re&longs;i&longs;tere alle acque, accioche per l'humore non &longs;i &longs;tacchino; far buona pre&longs;a per fortificare il ma <lb/>ro. </s>
<s>Nella creta, di che &longs;i faceuano i mattoni &longs;i poneuano le paglie tagliate, co&longs;i dice Palladio <lb/>nel &longs;efto al duodecimo Capo. <!-- KEEP S--></s>
<s>Et &longs;e ne legge la, doue il populo d'I&longs;rael era afflitto da Faraone nel­<lb/>l'opera di far i mattoni.<emph.end type="italics"/> { <emph type="italics"/>Diterra bianchegna<emph.end type="italics"/> } <emph type="italics"/>Vitr.
dice Albida. <!-- REMOVE S-->Plinio albicante.<emph.end type="italics"/></s>
</p><p type="main">
<s>Deon&longs;i fare la primauera, ouero l'autunno, accioche &longs;i &longs;ecchino egualmente con uno <lb/>i&longs;te&longs;&longs;o tenore. </s>
<s>perche quelli, che &longs;i fanno al tempo del &longs;ole&longs;titio &longs;ono difetto&longs;i, perche e&longs; <lb/>&longs;endo cotta dal &longs;ole la lor coperta &longs;operficiale, gli &longs;a parere aridi, & &longs;ecchi, ma di dentro <lb/>non &longs;ono a&longs;ciutti, & poi le parti aride crepano quando &longs;eccando&longs;i &longs;i ri&longs;trigneno; & co&longs;i <lb/>fe&longs;si, &longs;i fanno dcbili; & però &longs;ommamente buoni &longs;aranno quelli, che due anni prima &longs;i for <lb/>meranno, percioche non piu pre&longs;to &longs;i po&longs;&longs;ono &longs;eccare quanto bi&longs;ogna. </s>
<s>Et però quando fre&longs; <lb/>chi, & non &longs;ecchi &longs;ono po&longs;ti in lauoro indottaui la cro&longs;ta, & &longs;tando quella rigidamente &longs;o <lb/>da, dando in &longs;e non po&longs;&longs;ono ritenere la i&longs;te&longs;&longs;a altezza, che tiene la cro&longs;ta, ma &longs;i &longs;taccano: & <lb/>però non potendo la intonicatura della fabrica &longs;eparata &longs;tare da &longs;e, &longs;i rompe per la &longs;ua &longs;ot <lb/>tigliezza, & dando i pareti in &longs;e per &longs;orte, riceueno mancamento. </s>
<s>per que&longs;ta ragione gli <lb/>Vticen&longs;i nel far i pareti u&longs;ano, & metteno il mattone quando è bene a&longs;ciutto, & &longs;ecco, & <lb/>fatto cinque anni prima, & che po&longs;cia que&longs;to &longs;ia dal magi&longs;trato pre&longs;idente approuato. </s></p><p type="main">
<s><emph type="italics"/>Dal pre&longs;ente luogo &longs;i douerebbe moderare la ingoraigia di quelli, che non prima pen&longs;ato han­<lb/>no di fabricare, che in un &longs;ubito uogliono hauere finita l'opera, &longs;enza con&longs;ideratione, o &longs;cielta del <lb/>la materia. </s>
<s>Ma giu&longs;tamente &longs;ono poi ca&longs;tigati, quando per la loro tracuraggine, gli auuiene qual­<lb/>che &longs;ini&longs;tro.<emph.end type="italics"/></s></p><p type="main">
<s>Tre maniere di Mattoni &longs;i fanno, una, che da Greci didoron è detta, quella, che da <lb/>no&longs;tri &longs;i u&longs;a lunga un piede, larga mezo. </s>
<s>L'altre &longs;ono da Greci adoperate ne gli edi&longs;icij lo­<lb/>ro, delle quali una è detta pendadoron, l'altra tetradoron. </s>
<s>Doron chiamano il palmo: <lb/>& in Greco Doron &longs;i chiama il dare di doni, & quello, che &longs;i dà, &longs;i porta nella palma del­<lb/>la mano: quello adunque, che per ogni uer&longs;o è di palmi cinque, pentadoron, & quello di <lb/>quattro, tetradoron &longs;i dimanda; & le opere publiche &longs;i fanno di quelli, che &longs;ono di cin­<lb/>que palmi, & le priuate di quelli, che &longs;ono di quattro. </s></p><p type="main">
<s><emph type="italics"/>Palladio dice, che i mattoni &longs;i deono gettare di Maggio, in una forma lunga due piedi, larga <lb/>uno, alta oncie quattro. </s>
<s>Plinio, che piglia tutto il pre&longs;ente luogo da Vitr.
dice, che'l mattone <lb/>detto diodoro era longo un piede, & mezo, largo un piede, & co&longs;i il Filandro dice, che ritroua <lb/>&longs;critto in un te&longs;to di Vitr.
ma gli piace piu, che Vitr.
habbia hauulo ri&longs;petto alla larghezza, & <lb/>che egli habbia inte&longs;o del palmo minore, doue due palmi fanno mezo piede. </s>
<s>De i maggiori edifi­<lb/>cij, maggiori deono e&longs;&longs;er i membri, & de i membri maggiori le parti maggiori: & però i Greci fa­<lb/>ceuano differenza nel porre in opera i mattoni.<emph.end type="italics"/></s></p><pb pagenum="76"/><p type="main">
<s>Oltra di que&longs;to &longs;i fanno mezi mattoni, i quali quando &longs;i metteno in opera, ne i cor&longs;i di <lb/>una parte &longs;i inetteno gli intieri, dall'altra i mezi: & però quando dall'una, & l'altra parte <lb/>&longs;ono po&longs;ti à drittura i pareti cambieuolmente con gli ordini, & cor&longs;i &longs;ono legati, <lb/>& i mezi mattoni &longs;opra quelle commi&longs;&longs;ure collocati, & fermezza, & a&longs;petto non ingrato <lb/>fanno da l'una, & l'altra parte. </s></p><p type="main">
<s><emph type="italics"/>Vitruuio dimo&longs;tra una bella maniera di mettere i mattoni uno &longs;opra l'altro, & perche la uarie <lb/>tà porge diletto in qualunque opera, però trouando egli una forma di quadrelli differente in gran­<lb/>dezza, c'm&longs;egna di accompagnarli in modo, che habbiano del buono. </s>
<s>perche que&longs;ti mezi mat­<lb/>toni accompagnati con quelli intieri, ne i cor&longs;i, & ne gli ordini, che egli dice, Coria, fanno un <lb/>bel uedere, quando dalle commi&longs;&longs;ure di due quadrelli maggiori, &longs;opra quelle uengono ad incon­<lb/>trare il mezo de i quadrelli minori, come &longs;i uede nella figura &longs;egnata, ani&longs;odomon. </s>
<s>& l'e&longs;&longs;empio <lb/>de i mattoni triangulari nelle figure &longs;egnate. </s>
<s>I. & II. <!-- KEEP S--></s>
<s>Similmente ci &longs;ono le figure de i mattoni <lb/>detti didoron, tetradoron, & pentadoron, con le maniere di murare, delle quali parla Vitru. <!-- REMOVE S--><lb/>nell' ottauo capo del pre&longs;ente libro. </s>
<s>&longs;eguita poi Vitr.
di filo&longs;ofare cerca la ragione, che in alcuni <lb/>luoghi imattoni &longs;ecchi &longs;opra nuotano all'acqua, & dice.<emph.end type="italics"/></s></p><p type="main">
<s>Sono nella Spagna di là Calento, & Malsia, & nell'A&longs;ia Pitane, doue i mattoni, quan <lb/>do &longs;ono &longs;pianati, & &longs;ecchi, po&longs;ti poi nell'acqua &longs;opranuotano. </s>
<s>Ma perche po&longs;sino co&longs;i <lb/>nuotare, que&longs;ta mi pare, che &longs;ia la ragione: perche la terra di che &longs;i fanno, è come po= <lb/>mice, & però e&longs;&longs;endo liggiera, & ra&longs;&longs;odata dallo aere non riceue, nè a&longs;&longs;orbe il liquo <lb/>re, & però e&longs;&longs;endo di lieue, & di rara proprietà, nè la&longs;ciando, che entri l'humor nella <lb/>&longs;ua corporatura, &longs;ia di che pe&longs;o e&longs;&longs;er &longs;i uoglia, è forzata, come la pomice, da e&longs;&longs;a natu <lb/>ra di e&longs;&longs;er dall'acqua &longs;o&longs;tenuta, & di quc&longs;to modo ne hanno grande utilità, perche nè <lb/>troppo pe&longs;o hanno nelle opere, nè quando &longs;i formano &longs;ono disfatti dalle pioggie. </s></p><p type="main">
<s><emph type="italics"/>Strabone nel terzo decimo libro della &longs;ua Co&longs;mografia co&longs;i dice. </s>
<s>Dicono che appre&longs;&longs;o Pita­<lb/>ne i quadrelli nell'acqua &longs;opranuotano, il che adiuiene &longs;imilmente in Etruria in una certa I&longs;ola: <lb/>imperoche e&longs;&longs;endo quella terra piu lieue che l'acqua, accade che e&longs;&longs;a è portata. </s>
<s>Po&longs;&longs;idonio rife­<lb/>ri&longs;ce hauer ueduto, che i quadrelli fatti d'una certa creta, che netta le co&longs;e inargentate, &longs;ta di <lb/>opra l'acqua. </s>
<s>puo e&longs;&longs;er anche la regione del &longs;opranuotare, la ontuo&longs;ità della pietrà, & le <lb/>&longs;cauerno&longs;ità con la ecce&longs;siua &longs;iccità, che non admmetta l'huinore.<emph.end type="italics"/></s></p><pb pagenum="77"/><figure/><pb pagenum="78"/><p type="head">
<s><emph type="italics"/>Dell' Arena. <!-- KEEP S--></s>
<s>Cap. IIII.<emph.end type="italics"/><!-- KEEP S--></s>
</p><p type="main">
<s>MA nelle opere di cementi bi&longs;ogna hauer cura di truouar la arena, accioche <lb/>ella &longs;ia buona a me&longs;colar la materia, nè habbia &longs;eco terra me&longs;colata. </s>
<s>Le &longs;pe­<lb/>cie dell'arena, che &longs;i caua &longs;ono que&longs;te. </s>
<s>La nera, la bianca, la ro&longs;&longs;a, il car­<lb/>boncino. </s>
<s>Di que&longs;te è ottima quella, che &longs;troppicciata con le dita, cigola: <lb/>ma quella che &longs;arà me&longs;chiata con terra, non hauerà a&longs;prezza. </s>
<s>Similmente &longs;e l'Arena get­<lb/>tata &longs;opra una ue&longs;te bianca, & poi crollata non la&longs;cierà macchia, nè iui re&longs;terà terra di <lb/>&longs;otto, quella &longs;arà buona. </s>
<s>Ma &longs;e non &longs;aranno luoghi di caua, allhora &longs;arà nece&longs;&longs;ario cer <lb/>nirla dai fiumi, & dalle giare, & anche dal lito del mare: ma quella nelle murature, & <lb/>ne i lauori ha que&longs;ti difetti, che difficilmente &longs;i a&longs;ciuga, nè doue ella &longs;i truoua il pa­<lb/>rete &longs;opporta di e&longs;&longs;er continuamente di molto pe&longs;o aggrauato, &longs;e con qualche trala&longs;cia­<lb/>mento dell' opera non ripo&longs;a, & oltra di que&longs;to riceue i uolti: & l'arena del mare ha que <lb/>&longs;to male di piu, che quando i muri &longs;aranno coperti, & intonicati &longs;putando la &longs;al&longs;ugine &longs;i <lb/>di&longs;cioglieranno. </s>
<s>Ma le arene, che &longs;i cauano di fo&longs;&longs;e, po&longs;te in opera, pre&longs;to &longs;i a&longs;ciuga­<lb/>no, & nelle coperte de i muri durano, &longs;opportando i uolti: ma bi&longs;ogna cauarle di fre&longs;co, <lb/>perche &longs;tando troppo allo &longs;coperto &longs;i ri&longs;olueno in terreno per lo Sole, per la Luna, & per <lb/>la brina: doue poi po&longs;te in opera non ritengo i cementi, ma &longs;i &longs;taccano, & cadeno, & i <lb/>muri fatti con quelle non &longs;o&longs;tengono i pe&longs;i. </s>
<s>Ma le arene che di fre&longs;co &longs;i cauano, &longs;e bene <lb/>hanno tanta bontà nel murare, non &longs;ono però utili nelle incro&longs;tature, & coperte de i <lb/>muri, perche la calce con la paglia me&longs;colata con la gra&longs;&longs;ezza di quella per la fortezza, <lb/>che tiene, non puo &longs;eccar&longs;i &longs;enza fi&longs;&longs;ure. </s>
<s>Ma quella de i fiumi per la magrezza &longs;ua, come <lb/>l'A&longs;traco, bene battuta, & impa&longs;tata, riceue nelle coperte &longs;olidità, & fermezza. </s></p><p type="main">
<s><emph type="italics"/>Vitruuio narra le &longs;orti dell'arena, i &longs;egni di cono&longs;cerla, quello, che in ca&longs;o di nece&longs;&longs;ità do­<lb/>uemo fare, i difetti, & le utilità di quelle &longs;orti. </s>
<s>Plinio &longs;i &longs;erue di questo luogo al duodecimo <lb/>Capo del trente&longs;imo quinto libro. </s>
<s>La &longs;o&longs;ianza della terra è in tre modi uariata; La gro&longs;&longs;a è det <lb/>ta arena. </s>
<s>La &longs;ottile, argilla. </s>
<s>La mediocre, commune. </s>
<s>La arena è &longs;terile, & non è atta ad e&longs;&longs;er <lb/>formata in modo alcuno. </s>
<s>L'argilla è buona, & per notrire le pia<gap/>te, & per e&longs;&longs;ere adoper ata <lb/>in molte forme. </s>
<s>Di que&longs;ta &longs;orte era quella terra bianca gia detta Ta&longs;conicem, della quale in <lb/>I&longs;pagna &longs;opra gli alti monti &longs;i faceuano i luoghi alti dalle guardie, & a i dì no&longs;tri ( come riferi­<lb/>&longs;ce l'Agricola ) è una torre di questa terra appre&longs;&longs;o Coruerco città di Sa&longs;&longs;onia, piu &longs;icura dal <lb/>fuoco, da i uenti, & dalle pioggie, che &longs;e fu&longs;&longs;e fatta di pietre, perche per la &longs;ua grauità re&longs;i­<lb/>&longs;te all'impeto de i uenti, per lo fuoco s'indura; & non riceuendo l'humore, non &longs;i riempe d'acque; <lb/>& però deue e&longs;&longs;er gra&longs;&longs;a, &longs;ottile & &longs;pe&longs;&longs;a. </s>
<s>Ma torniamo all'arena. </s>
<s>Troua&longs;i arena di caua. </s>
<s><lb/>que&longs;ta tiene il primo grado di bontà. </s>
<s>troua&longs;i anche arena di fiume &longs;otto'l primo &longs;uolo, & di <lb/>torrente &longs;otto la balza, doue l'acque &longs;oendono. </s>
<s>truoua&longs;i anche la marina: que&longs;ta &longs;e deue e&longs; <lb/>&longs;ere buona, bi&longs;ogna, che negreggi, & &longs;ia lucida come uetro. </s>
<s>i colori dell' arena &longs;ono il nero, il <lb/>bianco, & il ro&longs;&longs;o. </s>
<s>La néra è a&longs;&longs;ai buona, la bianca tra quelle di caua è la peggiore: la ro&longs;&longs;a &longs;i <lb/>u&longs;aua a Roma: ma hora &longs;i u&longs;a la nera detta pozzolana, che è molto buona. </s>
<s>Il Carboncino è ter <lb/>ra ar&longs;a dal fuoco rinchiu&longs;o ne i monti piu &longs;oda di terra non cotta, piu molle del tofo, & piu <lb/>commendabile. </s>
<s>L'arena con giara me&longs;colata è utile alle fondamenta, & piu commendata la <lb/>piu minuta, angulo&longs;a, & &longs;enza terra. </s>
<s>Tra le marine la piu gro&longs;&longs;a, & la piu uicina alle riue <lb/>è la migliore. </s>
<s>pre&longs;to &longs;i &longs;ecca, & pre&longs;to &longs;i bagna, & &longs;i disfà per lo &longs;al&longs;o, & non &longs;o&longs;tenta <lb/>il pe&longs;o. </s>
<s>L'arena di fiume è buona per intonicare i mari. </s>
<s>l'arena di caua a i uolti continuati <lb/>&longs;erue; ma è gra&longs;&longs;a, tenace, & fa peli ne i pareti. </s>
<s>Delle &longs;pecie di caua, è migliore quella, che <lb/>e&longs;&longs;endo &longs;tropicciata con le dita &longs;tride, che sdrucciolando giu de i panni bianchi, non la&longs;cia nè ter<emph.end type="italics"/><pb pagenum="79"/><emph type="italics"/>ra, nè macchia. </s>
<s>La pozzolana dà mirabile &longs;odezza alle opere fatte nell acque. </s>
<s>di que&longs;ta ne par­<lb/>lerà Vitruuio piu &longs;otto.<emph.end type="italics"/></s></p><p type="head">
<s><emph type="italics"/>Dellacalce, & del modo d'impastarla. </s>
<s>Cap. V.<emph.end type="italics"/><!-- KEEP S--></s>
</p><p type="main">
<s>Hauendo&longs;i chiaro quello che appartiene alla copia della arena, bi&longs;ogna anche <lb/>u&longs;ar diligenza, che la calce cotta &longs;ia di pietra bianca, ouero di Selice, & quella <lb/>che &longs;arà di piu den&longs;o, & duro Selice, &longs;arà piu utilmente adoperata nelle muta <lb/>ture: ma quella che &longs;i farà di &longs;pugno&longs;a, &longs;arà buona nelle intonicature. </s>
<s>Quan <lb/>do la calce &longs;arà e&longs;tinta, allhora &longs;i deue impa&longs;tare la materia in que&longs;to modo, che piglian­<lb/>do&longs;i arena di caua tre parti di quelle con una di calce &longs;i tempra: &longs;e di &longs;iume, o di mare, due <lb/>parti di arena, & una di calce, & co&longs;i giu&longs;ta uerrà la ragione della malta, & della t em­<lb/>pra &longs;ua. </s>
<s>& anche &longs;e nell'arene o di fiume, o di mare pi&longs;te &longs;eranno le &longs;pezzature di te&longs;tole, & <lb/>criuellate, la terza parte farà la pa&longs;ta migliore. </s>
<s>Ma perche la calce riceuendo l'acqua, & <lb/>l'arena faccia piu &longs;oda la muratura, que&longs;ta pare, che &longs;ia la ragione. </s>
<s>perche i &longs;a&longs;si, come <lb/>gli altri corpi, &longs;ono compo&longs;ti di elementi, & quelli, che nella loro mi&longs;tura hanno piu <lb/>dello aere, &longs;ono teneri, quelli, che abondano d'acqua &longs;ono lenti, per l'humore, quelli, <lb/>che hanno piu della terra &longs;ono duri, & quelli doue predomina il fuoco, &longs;ono fragili. </s>
<s>& <lb/>però di que&longs;ti corpi, &longs;e i &longs;a &longs;si, prima che &longs;iano cotti, pi&longs;tati minutamente, & con l'arena <lb/>impa&longs;tati, &longs;aranno po&longs;ti in opera, nè &longs;i faranno &longs;odi, nè potranno tenere unita la fabric <lb/>ca. </s>
<s>Ma quando gettati nella fornace pre&longs;i dal gran feruore del fuoco, haueranno perduto <lb/>la uirtu della loro &longs;odezza, allhora abbruciate, & con&longs;umate le forze loro, re&longs;tano con <lb/>buchi, & fori aperti, & uoti. </s>
<s>Il liquore adunque, che è nel corpo di quella pietra, & lo <lb/>aere e&longs;&longs;endo con&longs;umato, o leuato, hauendo in &longs;e a&longs;co&longs;o il re&longs;tante del calore, po&longs;to che <lb/>è nell'acqua, prima che'l fuoco e&longs;ca fuori, ricouera la forza, & penetrando l'humore nel <lb/>la rarità de i fori, bolle, & co&longs;i raffreddato manda fuori del corpo della calce quel feruo <lb/>rc: & però i &longs;a&longs;si tratti della fornace non ri&longs;pondeno al loro primo pe&longs;o: & benche hab­<lb/>biano la i&longs;te&longs;&longs;a grandezza, pure po&longs;cia che è a&longs;ciutto il liquore, &longs;i trouano mancare della <lb/>terza parte del pe&longs;o. </s>
<s>E&longs;&longs;endo adunque i buchi loro aperti, & rari pigliano la me&longs;colan­<lb/>za dell'arena, & &longs;i accompagnano, & &longs;eccando&longs;i con le pietre &longs;i raunano, & ferma fan­<lb/>no la muratura. </s></p><p type="main">
<s><emph type="italics"/>Nel pre&longs;ente luogo &longs;i tratta della calce, la natura, la materia, & la comparatione della ma <lb/>teria, di che &longs;i fa la calce. </s>
<s>Ogni pietra purgata da humori, &longs;ecca, frale, & che non habbia co <lb/>&longs;a da e&longs;&longs;er con&longs;umata dal fuoco, è buona per far la calce. </s>
<s>Gli Architetti antichi lodauano la <lb/>calce fatta di pietra duri&longs;&longs;ima, &longs;pe&longs;&longs;a, & candida. </s>
<s>Vitruuio loda la Selice: benche altri dica, <lb/>che ogni pietra da calce cauata &longs;ia migliore della raccolta; & di ombro&longs;a, & humida ca­<lb/>ua piu to&longs;to, che di &longs;ecca; & di bianca, meglio che di bruna. </s>
<s>Quella calce, che è fatta di <lb/>Macigni è di natura gra&longs;&longs;a, &longs;e non ha &longs;ale, & è piu amma<02>ata, & limata getta polue. </s>
<s>La <lb/>calce &longs;i cuoce in hore &longs;e&longs;&longs;anta: & la piu lodata deue re&longs;tare il terzo piu liggiera della &longs;ua pietra. </s>
<s><lb/>Ma è co&longs;a mirabile del boglimento, che ella fa, quando &longs;i le getta l'acqua di &longs;opra. </s>
<s>Egli &longs;i <lb/>legge in &longs;anto. </s>
<s>Ago&longs;tino al quarto Capo del uente&longs;imo primo libro della Città di Dio, que&longs;to <lb/>bello &longs;entimento. </s>
<s>La calce concepe il fuoco dal fuoco. </s>
<s>& e&longs;&longs;endo la zolla fredda immer&longs;a nel <lb/>l'acqua, &longs;erua il fuoco na&longs;co&longs;o, di modo, che egli a niun &longs;en&longs;o è manife&longs;to. </s>
<s>ma però &longs;i ha per <lb/>i&longs;perienza, che &longs;e bene il fuoco non appare, &longs;i &longs;a però, che egli ui è dentro; per il che chia <lb/>mamo quella calce uiua: come, che il fuoco na&longs;co&longs;o &longs;ia l'anima inui&longs;ibile di quel corpo ui&longs;ibi <lb/>le: ma quanto è mirabile, che mentre ella &longs;i e&longs;tingue piu &longs;i accenda? </s>
<s>& per leuarle, il fuo <lb/>co occulto &longs;e le infonda l'acqua? </s>
<s>& e&longs;&longs;endo prima fredda, poi bolle da quella co&longs;a, di doue tut-<emph.end type="italics"/><pb pagenum="80"/><emph type="italics"/>te le co&longs;e boglienti &longs;i raffreddano. </s>
<s>Pare adunque che quella zolla e&longs;piri mentre appare il &longs;ue­<lb/>co, che &longs;i parte. </s>
<s>& finalmente re&longs;ta come morta, in modo che gettat aui di nuouo l'acqua, ella <lb/>piu non arde, & quella calce, che prima era chiamata uiua, poi che è e&longs;tinta, morta &longs;i <lb/>chiama: & dí piu &longs;i ha, che la calce non boglie &longs;e ui &longs;arà infu&longs;o l'oglio. </s>
<s>Dico io che il calore <lb/>che acqui&longs;ta la calce nella fornace, rinchiu&longs;o in e&longs;&longs;a &longs;i re&longs;trigne, fuggendo dal freddo dell'ac­<lb/>qua, come da &longs;uo nimico, & per tale unione &longs;i rinforza, & diuenta &longs;uoco: & però l'acqua <lb/>aceende la calce, che co&longs;i non accende la cenere, perche nella cenere &longs;i con&longs;uma il calore: pe­<lb/>rò la calce tratta di fornace purgata dal fuoco, è liggiera, & &longs;onora, è lodata: & ma&longs;si­<lb/>mamente &longs;e bagnata con grande &longs;trepito euapora: ma con que&longs;ta &longs;i me&longs;chia piu arena, che con <lb/>quella, che tratta dalla fornace hauerà le &longs;caglie in polue ri&longs;olte. </s>
<s>La calce &longs;i fa piu tenera <lb/>criuellando&longs;i la &longs;abbia, piu &longs;pe&longs;&longs;a con la &longs;abbia angulare, piu tenace con la terza parte di te&longs;to­<lb/>le pi&longs;te, & bene incorporate, & ben battute.<emph.end type="italics"/></s></p><p type="head">
<s><emph type="italics"/>Della polue pozzolana. </s>
<s>Cap. VI.<emph.end type="italics"/><!-- KEEP S--></s>
</p><p type="main">
<s>Evui anche una &longs;pecie di polue, che di natura fa co&longs;e merauiglio&longs;e. </s>
<s>Na&longs;ce a <lb/>Baie, & ne i campi di coloro, che &longs;ono appre&longs;&longs;o il monte Ve&longs;uuio. </s>
<s>Que­<lb/>&longs;ta temperata con la calce, & con cementi, non &longs;olo dà fermezza a gli altri edi­<lb/>ficij, ma le grandi opere, che &longs;i fanno nel Mare per lei &longs;ott'acqua &longs;i fanno <lb/>piu forti. </s>
<s>La ragione di que&longs;to è, perche &longs;otto que monti, & &longs;otterra &longs;ono ardenti&longs;sime, <lb/>& &longs;pe&longs;&longs;e fonti, lequali non &longs;arebbeno, &longs;e nel fondo loro non haue&longs;&longs;ero zolfo, ouero allume, <lb/>ouero bitume, che fanno grandi&longs;simi fuochi. </s>
<s>Penetrando adunque il fuoco, & il uapo­<lb/>re della fiamma nel mezo delle uene, & ardendo rende quella terra lieue, & il tofo, che <lb/>na&longs;ce in que luoghi a&longs;&longs;orbe, & è &longs;enza liquore. </s>
<s>E&longs;&longs;endo adunque tre co&longs;e di &longs;imigliante <lb/>natura dalla uehemenza del fuoco formate in una mi&longs;tura concorrenti, &longs;ubito che han­<lb/>no riceuuto il liquore, &longs;i raunano, & pre&longs;o l'humore indurite &longs;i raunano, & ra&longs;&longs;odano <lb/>di modo, che nè'l mare, nè la forza dell'acqua le puo di&longs;ciogliere: Ma che in que luoghi <lb/>&longs;iano ardori, egli &longs;i dimo&longs;tra per que&longs;to; che ne i monti Cumani, & Baiani, &longs;i cauano i <lb/>luoghi per li bagni, ne i quali na&longs;cendo il feruente uapore dal fondo con la forza del fuo= <lb/>co penetra per quella terra, & trapa&longs;&longs;andola in que luoghi ri&longs;orge, & d'indi per li &longs;udato­<lb/>ri &longs;i cauano grandi utilità. </s>
<s>Similmente &longs;i narra anticamente e&longs;&longs;ere cre&longs;ciuti gli ardori, & <lb/>e&longs;&longs;er abondati &longs;otto il Monte Ve&longs;uuio, & d'indi hauere per li campi &longs;par&longs;a la fiamma d'in­<lb/>torno: & però quella pietra, che &longs;pugna, ouero pomice Pompeiana &longs;i chiama, cotta per­<lb/>fettamente, da un'altra &longs;pecie di pietra in que&longs;ta qualità pare, che &longs;ia ridotta. </s>
<s>& quella <lb/>&longs;orte di &longs;pugna, che iui &longs;i caua, non na&longs;ce in ogni luogo, &longs;e non d'intorno il monte Etna, <lb/>& i colli della Mi&longs;ia, detti da i Greci, Catachiecaumeni, & altroue &longs;e iui &longs;ono que&longs;te pro­<lb/>prietà di luoghi. </s>
<s>&longs;e adunque in quelle parti &longs;i trouano le fonti d'acque feruenti; & da gli <lb/>antichi &longs;i narra, che nelle concauità de i monti &longs;i trouano caldi uapori, & le fiamme &longs;ono <lb/>ite per molti luoghi uagando, pare ueramente e&longs;&longs;ere certa co&longs;a, che per la uehemenza del <lb/>fuoco dal tofo, & dalla terra, come nelle fornaci dalla calce, co&longs;i da que&longs;ti &longs;a&longs;si e&longs;&longs;er trat­<lb/>to il liquore. </s>
<s>& però da co&longs;e di&longs;pari, & di&longs;simili in&longs;ieme raunate, & in una uirtù ri&longs;trette, <lb/>& il caldo digiuno d'humore dall'acqua &longs;ubito &longs;atiato raccommunando i corpi, bolle per <lb/>lo calore na&longs;co&longs;o, & fa, che quelli fortemente s'uni&longs;chino, & pre&longs;to riceuino la forza del­<lb/>la &longs;odezza. </s>
<s>Ci re&longs;ta il di&longs;iderio di &longs;apere, perche e&longs;&longs;endo in Etruria molte fonti d'acque <lb/>boglienti, non ui &longs;ia anche la polue, che na&longs;ce ne i detti luoghi, laquale per la i&longs;te&longs;&longs;a ra­<lb/>gione faccia &longs;ode l'opere di &longs;ott'acqua. </s>
<s>& però prima che cio &longs;ia richie&longs;to, mi pare, per­<lb/>che co&longs;i &longs;ia, renderne conto. </s>
<s>In tutte le parti, & in tutti i luoghi non &longs;i truoua la i&longs;te&longs;&longs;a <pb pagenum="81"/>&longs;orte di terra, nè di pietre, ma alcune &longs;ono terregne, alcune fabbionegne, alcune giaro­<lb/>&longs;e, & altre areno&longs;e, & co&longs;i altroue diuer&longs;e, & del tutto di&longs;simili, & di&longs;pari maniere, co­<lb/>me &longs;ono le regioni &longs;i truouano le qualità della terra. </s>
<s>& que&longs;to &longs;i puo molto bene con&longs;ide­<lb/>rare, che la doue l'Apennino cigne le parti d'Italia, & di To&longs;cana qua&longs;i in ogni luogo <lb/>non manca l'arena di caua: ma oltra lo Apennino doue è il Mare Adriatico, niente &longs;i <lb/>troua, nè in Achaia, nè in A&longs;ia, & in breue oltra il mare appena &longs;e ne &longs;ente il nome: <lb/>Adunque non in tutti i luoghi, doue bolleno le fonti dell'acque calde, concorrer po&longs;&longs;ono <lb/>le mede&longs;ime commodità delle co&longs;e, ma tutte ( come è da natura ordinato ) non &longs;econdo <lb/>le uoglie humane, ma per &longs;orte diui&longs;e, & di&longs;tribuite &longs;ono. </s>
<s>In que luoghi adunque, ne i <lb/>quali non &longs;ono i monti terregni, ma che tengono le qualità della materia di&longs;po&longs;ta pa&longs;­<lb/>&longs;ando per quelli la forza del fuoco gli abbrucia. </s>
<s>& quello, che è molle, & tenero a&longs;ciuga, <lb/>& la&longs;cia quello, che è a&longs;pro. </s>
<s>& però &longs;i come in campagna la terra abbruciata diuenta pol­<lb/>ue, co&longs;i la cotta in Etruria &longs;i fa Carboncino, & l'una, & l'altra materia è ottima nel fabri <lb/>care: ma ritengono altra forza ne gli edificij, che &longs;i fanno in terra, altra nelle grandi ope= <lb/>re, che &longs;i fanno in mare, perche la uirtu della materia iui è piu molle del tofo, & piu &longs;o­<lb/>da, che la terra. </s>
<s>del qual tofo del tutto abbru&longs;ciato dal fondo per la forza del calore in al­<lb/>cuni luoghi &longs;i fa quella &longs;orte di arena, che &longs;i chiama carboncolo. </s></p><p type="main">
<s><emph type="italics"/>Plinio piglia que&longs;to luogo nel terzodecimo Capo del trente&longs;imo quinto libro, & non s'in­<lb/>tende, che Vitru.
parli qui di quella pozzolana, che hoggidì &longs;i u&longs;a in Roma. <!-- KEEP S--></s>
<s>il re&longs;to è facile <lb/>per la interpretatione.<emph.end type="italics"/></s></p><p type="head">
<s><emph type="italics"/>De i luoghi, doue &longs;i tagliano le pietre.<emph.end type="italics"/></s></p><p type="head">
<s><emph type="italics"/>Cap.
VII.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s>Fin qui chiaramente io ho ragionato della calce, & dell'arena di che diuer&longs;ità <lb/>&longs;iano, & che forze s'habbiano: &longs;eguita che &longs;i dica per ordine delle petraic, <lb/>delle quali gran copia di quadrati &longs;a&longs;si, & di cementi &longs;i cauano per gli edifi­<lb/>cij. </s>
<s>Que&longs;te &longs;i truouano di uarie, & molto di&longs;simiglianti maniere, perche <lb/>alcune &longs;ono molli, come d'intorno a Roma, le ro&longs;&longs;e, le Paliane, le Fidenate, le Albane; al­<lb/>cune temperate, come le Teuertine, le Amiternine, le Sorattine, & altre di que&longs;ta maniera; <lb/>Alcune poi &longs;ono dure, come &longs;ono le &longs;elici. </s>
<s>Sonui anche altre &longs;pecie, come in Campagna <lb/>il Tofo nero, & il ro&longs;&longs;o. </s>
<s>Nell'Vmbria, nel Piceno, & nella Marca Triui&longs;ana il bianco, <lb/>il quale come legno con dentata &longs;ega &longs;i taglia. </s>
<s>Ma tutte quelle, che &longs;ono molli hanno <lb/>que&longs;ta utilità, che quando i &longs;a&longs;si &longs;ono cauati dalla petraia facilmente &longs;i maneggiano nelle <lb/>opere: & &longs;e &longs;ono al coperto &longs;o&longs;tentano i pe&longs;i. </s>
<s>ma allo aere indurite, & gelate per le brine, <lb/>& per li cadimenti delle acque, &longs;i &longs;pezzano, & &longs;e &longs;ono appre&longs;&longs;o le parti maritime &longs;ono man <lb/>giate dalla &longs;al&longs;ugine, nè reggeno a i gran caldi. </s>
<s>Le Teuertine, & quelle, che &longs;ono della <lb/>i&longs;te&longs;&longs;a maniera &longs;opportano i carichi delle opere, & le ingiurie de i mali tempi, ma non lo­<lb/>no &longs;icure dal fuoco: & &longs;ubito, che da quello &longs;ono toccate &longs;i &longs;pezzano, percioche nella lo­<lb/>ro naturale temperatura hanno poco humore, & non molto del terreno. </s>
<s>ma a&longs;&longs;ai dello <lb/>aere, & del fuoco. </s>
<s>E&longs;&longs;endo adunque in quelle poco della terra, & del humore, & pene­<lb/>trando anche il fuoco per la forza del uapore &longs;cacciatone lo aere da quelle, &longs;eguitandole <lb/>affatto, & occupando gli &longs;pacij uoti delle uene, boglie, & le rende &longs;imili a i &longs;uoi corpi <lb/>ardenti. </s>
<s>&longs;ono anche altre petraie ne i confini de Tarquine&longs;i dette Anitiane, del colore del­<lb/>le Albane. <!-- KEEP S--></s>
<s>le officine delle quali &longs;pecialmente d'intorno il lago di Vol&longs;cena, & nella pre­<lb/>fettura Stratonie&longs;e &longs;i truouano, que&longs;te hanno uirtù infinite, perche nè i grandi giacci, nè <lb/>la forza del fuoco le nuoce, ma ferme &longs;ono, & per que&longs;to durabili alla uecchiezza. </s>
<s>percio­<lb/>che nella loro mi&longs;tura hanno poco dello aere, & del fuoco, ma di temperato humore, <pb pagenum="82"/>& molto del terreno, & co&longs;i con i&longs;pe&longs;&longs;e compo&longs;itioni a&longs;&longs;odate, nè dalle tempe&longs;tate, nè dal­<lb/>le forze del fuoco &longs;enteno nocumento. </s>
<s>& que&longs;to &longs;i puo ma&longs;simamente giudicare da i mo­<lb/>numenti, che &longs;ono d'intorno la terra di Ferento, fatti di que&longs;te pietre. </s>
<s>perche hanno le <lb/>&longs;tatue grandi fatte egregiamente, & le figurine, & i fiori, & gli acanti mirabilmente &longs;col­<lb/>piti, lequali benche &longs;iano uecchie, pareno però co&longs;i nuoue, che &longs;e fu&longs;&longs;ero hor hora fatte. <lb/></s>
<s>&longs;imilmente i fabbri del metallo adoperano per li getti le forme fatte di que&longs;te pietre, & ne <lb/>hanno di quelle per fondere il metallo grandi&longs;simi commodi. </s>
<s>le quali &longs;e fu&longs;&longs;ero pre&longs;&longs;o <lb/>Roma, degna co&longs;a &longs;arebbe, che da que&longs;te officine fu&longs;&longs;ero fatte tutte le co&longs;e, ma forzan­<lb/>doci la nece&longs;sità per la uicinanza che delle ro&longs;&longs;e, & delle Paliane, & di quelle, che &longs;ono ui­<lb/>cine a Roma ci &longs;eruiamo, &longs;e alcuno uorrà porle in opera &longs;enza difetto, bi&longs;ognerà in que­<lb/>&longs;to modo apparecchiarle. </s>
<s>Douendo&longs;i fabricare, due anni prima non nel uerno, ma nel­<lb/>la &longs;tate &longs;i caueranno quelle pietre, & &longs;i la&longs;ciaranno &longs;te&longs;e allo &longs;coperto. </s>
<s>& quelle, che dal­<lb/>le pioggie & mali tempi per lo &longs;pacio di due anni &longs;aranno &longs;tate offe&longs;e, &longs;iano po&longs;te nelle fon <lb/>damenta: le altre non gua&longs;te, come approuate dalla natura, potranno &longs;opra terra nelle <lb/>fabriche mantener&longs;i, nè &longs;olamente &longs;i deono que&longs;te co&longs;e o&longs;&longs;eruare nelle pietre quadrate, ma <lb/>anche nelle opere di cemento. </s></p><p type="main">
<s><emph type="italics"/>Vitruuio tratta in que&longs;to luogo delle pietre fatte dalla natura, & ne dimo&longs;tra la diuer&longs;ità, l'u­<lb/>&longs;o, & il commodo di e&longs;&longs;e molto facilmente. </s>
<s>& tutta que&longs;ta materia &longs;imilmente è stata pigliata, <lb/>& leuata di pe&longs;o dirò co&longs;i, da Plinio nel trente&longs;imo quinto libro al uige&longs;imo &longs;econdo Capo. <!-- KEEP S--></s>
<s><lb/>Hora anche noi in &longs;omma diremo. </s>
<s>Cinque generi di pietre naturali &longs;i trouano, la Gemma, il <lb/>marmo, la cote, il &longs;elice, il &longs;a&longs;&longs;o. </s>
<s>Le Gemme &longs;i cono&longs;ceno dalla &longs;o&longs;tanza, dal uedere, dal toc­<lb/>care, & dalla lima. </s>
<s>&longs;ono piu graui, & piu fredde del uetro, non pati&longs;ceno la lima, hanno lo <lb/>&longs;plendore piu &longs;aldo, piu chiaro, & empieno, & dilettano la uista piu che &longs;i mirano, nè &longs;i &longs;mar­<lb/>ri&longs;cono al lume della lucerna, & &longs;ono di &longs;o&longs;tanza uiuace, & piena. </s>
<s>Di que&longs;te non ragiona l'Ar­<lb/>chitetto, perche non uanno nelle &longs;abriche. </s>
<s>I marmi prouano la lima, &longs;ono grandi, & ri&longs;plen­<lb/>deno: le &longs;elici hanno come &longs;quame; le coti come grani; i &longs;a&longs;&longs;i non hanno &longs;plendore. </s>
<s>Ragionan­<lb/>do delle pietre, con&longs;ideramo il tempo di cauarle, la quantità, la qualità, la comparatione, l'u&longs;o. <lb/></s>
<s>& da gli edificij fatti &longs;i pigliano le lor qualità. </s>
<s>però &longs;i ha, che la pietra blanca ubidi&longs;ce piu, che <lb/>la fo&longs;ca. </s>
<s>La trapparente meglio, che l'opaca. </s>
<s>piu intrattabile quella, che piu s'a&longs;&longs;omiglia al &longs;a­<lb/>le. </s>
<s>il &longs;a&longs;&longs;o a&longs;per&longs;o come di arena, è a&longs;pro, &longs;e gli u&longs;ciranno come punte nere è indomabile. </s>
<s>l'a&longs;per­<lb/>&longs;o di goccie cantonate, è piu &longs;odo, che lo a&longs;per&longs;o di ritonde. </s>
<s>Quanto meno è uenato, tanto piu <lb/>è intiero. </s>
<s>piu dura quello, che è di colore purgato & limpido. </s>
<s>migliore è quello, la cui uena è <lb/>&longs;imile alla pietra. </s>
<s>La uena &longs;ottile mo&longs;tra la pietra &longs;piaceuole. </s>
<s>la piu torta, & che piu gira, è <lb/>piu au&longs;tera. </s>
<s>La nodo&longs;a è piu acerba. </s>
<s>quella pietra piu ageuolmente &longs;i fende, che nel mezo ha <lb/>una linea ro&longs;&longs;a come putrida. </s>
<s>pro&longs;&longs;ima a quella è la bianchegna, quella, che pare un giaccio uer­<lb/>de è piu difficile. </s>
<s>Il numero delle uene dimo&longs;tra la pietra incon&longs;tante, & che crepa. </s>
<s>Le uene <lb/>dritte &longs;ono giudicate piggiori. </s>
<s>Quella pietra è piu &longs;oda, le cui &longs;cheggie &longs;ono piu acute, & ter&longs;e. </s>
<s><lb/>La pietra, che &longs;pezzata rimane piu li&longs;cia di &longs;uperficie, è piu atta allo &longs;calpello. </s>
<s>l'a&longs;pra quanto <lb/>piu biancheggia, tanto meno ubidi&longs;ce al ferro. </s>
<s>La fo&longs;ca quanto piu la Luna &longs;cema, tanto meno <lb/>con&longs;ente al ferro. </s>
<s>ogni pietra ignobile, tanto è piu dura, quanto è piu cauerno&longs;a. </s>
<s>Quella, che <lb/>non a&longs;ciuga l'acqua, che &longs;e le &longs;pruzza &longs;opra, è piu cruda. </s>
<s>ogni pietra graue è piu &longs;oda, & piu &longs;i <lb/>li&longs;cia, che la leggiera. </s>
<s>& la piu leggiera della piu graue è piu fragile. </s>
<s>Quella che perco&longs;&longs;a ri&longs;uo­<lb/>na, è piu den&longs;a della &longs;orda. </s>
<s>La &longs;tropicciata, che &longs;a di &longs;olfo, è piu dura che la &longs;enza odore. </s>
<s>Quel <lb/>la, che piu re&longs;i&longs;te allo &longs;calpello, piu dura alle acque, & mali tempi. </s>
<s>Ogni pietra di nuouo ca­<lb/>uat a, è piu tenera. </s>
<s>& io ne ho uedute in Inghilterra che bi&longs;ogna lauorarle alle caue, perche &longs;e <lb/>&longs;tanno troppo cauate s'indurano di modo, che non &longs;i po&longs;&longs;ono lauorare, &longs;e non &longs;tanno nell'acqua <lb/>un'inuernata. </s>
<s>&longs;offiando l'O&longs;tro piu facilmente &longs;i lauorano le pietre, che &longs;offiando Borea. <!-- KEEP S--></s>
<s>quella pie­<lb/>tra, che nell'acqua &longs;i fa piu graue, &longs;i disfa per l'humore. </s>
<s>quella, che per lo fuoco &longs;i &longs;gretola, non<emph.end type="italics"/><pb pagenum="83"/><emph type="italics"/>dura al Sole. <!-- KEEP S--></s>
<s>& tanto &longs;ia detto della comparatione delle pietre, &longs;i come Leon Batti&longs;ta haraccol­<lb/>to. </s>
<s>Delle altre co&longs;e pertinenti alle pietre &longs;i dirà di &longs;otto.<emph.end type="italics"/></s></p><p type="head">
<s><emph type="italics"/>Delle maniere di murare, qualita, modi, & luoghi <lb/>di quelle. </s>
<s>Cap. VIII.<emph.end type="italics"/><!-- KEEP S--></s>
</p><p type="main">
<s>LE maniere del murare &longs;ono que&longs;te prima quella, che &longs;i fa in modo di rete, <lb/>che hora &longs;i u&longs;a da ogn'uno. </s>
<s>poi l'antica, la quale &longs;i chiama incerta. </s>
<s>Di que­<lb/>&longs;te due è piu gratio&longs;a la reticulata, la quale poi è facile a fare le fi&longs;&longs;ure, per­<lb/>che in ogni parte ha i letti, & le commi&longs;&longs;ure slegate: ma la maniera incerta <lb/>&longs;edendo i cementi l'uno &longs;opra l'altro, in modo di imbrici, non bella, come la reticulata, <lb/>ma &longs;i bene piu ferma rende la muratura: uero è che l'una, & l'altra maniera deue e&longs;&longs;er <lb/>impa&longs;tata di minuti&longs;sime co&longs;e, accioche i pareti &longs;pe&longs;&longs;o &longs;atiati della materia fatta di cal­<lb/>ce, & d'arena piu lungamente &longs;i tenghino in&longs;reme; perche e&longs;&longs;endo di molle, & rara uirtù <lb/>&longs;uggendo il &longs;ucco dalla materia, di&longs;eccano. </s>
<s>ma quando abonderà la copia della calce, & <lb/>dell'arena, il parete, che hauerà pre&longs;o molto dell'humore, non i&longs;uanirà co&longs;i pre&longs;to, ma &longs;i <lb/>tenirà in&longs;ieme. </s>
<s>ma &longs;ubito, che la forza humida per la rarità de i cementi &longs;arà &longs;ucciata dalla <lb/>materia, allhora la calce &longs;taccando&longs;i dall'arena &longs;i di&longs;cioglie, & i cementi non &longs;i po&longs;&longs;ono <lb/>con que&longs;ti attaccare, ma a lungo andare fanno i pareti ruino&longs;i. </s>
<s>& que&longs;to &longs;i puo compren <lb/>dere da alcuni monumenti, che d'intorno a Roma &longs;ono fatti di marmo, ouero di pietre <lb/>quadrate, & di dentro nel mezo calcati, & empiuti la materia &longs;uanita per la uecchiezza, & <lb/>a&longs;ciutta la rarità de i cementi, ruinano, & dalla brina di&longs;ciolte le legature delle commi&longs;­<lb/>&longs;ure &longs;ono di&longs;sipati. </s>
<s>Et &longs;e alcuno non uorrà incorrere in que&longs;to difetto, faccia i pareti di <lb/>due piedi, la&longs;ciando il mezo concauo lungo i pila&longs;trelli di dentro, & &longs;iano o di &longs;a&longs;&longs;o ro&longs;&longs;o <lb/>quadrato, ouero di terra cotta, ouero di &longs;elici ordinarij, & con le chiaui di ferro, & piom <lb/>bo &longs;iano le fronti legate. </s>
<s>& co&longs;i non a grumo, & &longs;otto&longs;opra, ma ordinatamente fatta l'o­<lb/>pera potrà &longs;enza difetto eternamente durare. </s>
<s>perche &longs;edendo tra &longs;e i letti, & le commi&longs;­<lb/>&longs;ure di quelli, & incatenate non &longs;pigneranno la muratura, nè la&longs;ciaranno che i pila&longs;trel­<lb/>li, o &longs;tanti legati in&longs;ieme rouinino. </s>
<s>& però non &longs;i deue &longs;prezzare la muratura de' Greci. <!-- KEEP S--></s></p><p type="main">
<s><emph type="italics"/>Vitru.
c'in&longs;egna il modo, & le maniere di porre in&longs;ieme le pietre, commenda la muratura di <lb/>matt oni, & con belli e&longs;&longs;empi pruoua quanto dice. </s>
<s>Prima che io e&longs;pona Vitru.
io dirò delle par­<lb/>ti della fabrica &longs;opra il fondamento, & quale &longs;ia l'officio di cia&longs;cuna. </s>
<s>In ogni fabrica noi haue­<lb/>mo a con&longs;ider are il ba&longs;&longs;o, la cima, i lati. </s>
<s>il ba&longs;&longs;o è il pauimento, o &longs;uolo. </s>
<s>La cima &longs;ono i coper­<lb/>ti, & i colmi; i lati &longs;ono i pareti, o muri. </s>
<s>Del pauimento &longs;i dirà nel &longs;ettimo libro: de i coperti <lb/>nel quarto. </s>
<s>Hora &longs;i tratta del muro; ilquale è differente dal fondamento in que&longs;to, che il fonda­<lb/>mento da i lati della fo<02>a &longs;olamente per e&longs;&longs;er intiero, con&longs;i&longs;te: mail muro, o parete è compo&longs;to <lb/>di piu parti. </s>
<s>perche ha il poggio, il procinto, la corona, l'o&longs;&longs;a, & i &longs;o&longs;tegni, l'apriture, le labra, <lb/>il compimento, & le &longs;ue o&longs;&longs;eruationi. </s>
<s>noi e&longs;poneremo l'u&longs;o di que&longs;te parti a gui&longs;a de i medici, i qua­<lb/>li nella con&longs;titutione della loro arte trattano dell'u&longs;o delle parti del corpo humano. </s>
<s>Poggio è quel­<lb/>la parte, che è la prima di &longs;otto, che &longs;i leua dal fondamento, che è alquanto piu gro&longs;&longs;a del muro, <lb/>che &longs;i potrebbe &longs;carpa nominare. </s>
<s>Procinto, & corona &longs;ono parti del muro una di &longs;opra, l'altra <lb/>nel mezo. </s>
<s>Procinto è la parte di mezo, & è quella legatura, che cigne il muro d'intorno come <lb/>cornice, che nelle mura delle città &longs;i potrebbe chiamar cordone, & nelle altre mura, &longs;i dicono <lb/>fa&longs;cie, & cinte, & regoloni. </s>
<s>l'o&longs;&longs;a & i &longs;o&longs;tegni &longs;ono le cantonate, le pila&longs;trate, erte, colonne, <lb/>& trauature, & tutto quello, che &longs;o&longs;tiene le apriture, o &longs;iano in arco, o dritte; perche l'arco è <lb/>come traue piegato. </s>
<s>Traue come colonna trauer&longs;a: & colonna come traue dritto. </s>
<s>Le apriture, <lb/>o labra &longs;ono come le fine&longs;tre, le cannoniere, i merli, le porte, i buchi, & i nicchi che dalla forma<emph.end type="italics"/><pb pagenum="84"/><emph type="italics"/>lore &longs;ouo detti latinamente concha. </s>
<s>i compimenti trapo&longs;ti &longs;ono tra l'o&longs;&longs;a, & l'apriture, & al­<lb/>tre parti. </s>
<s>Hora &longs;i dirà quanto &longs;i conuenga a cia&longs;cuna parte. </s>
<s>il che accioche commodamente &longs;i <lb/>faccia, &longs;i dirà della quantità, & qualità delle pietre. </s>
<s>Sono le pietre ouero di &longs;operficie, anguli, <lb/>& linee eguali dette, quadrate, ouero uariate; & &longs;ono dette incerte. </s>
<s>&longs;ono alcune grandi, che <lb/>&longs;enza &longs;tromenti, & machine non &longs;i po&longs;&longs;ono maneggiare; altre minute, che con una mano &longs;i leua­<lb/>no; altre mezane, dette giu&longs;te. </s>
<s>Hanno le pietre qualità diuer&longs;a; perche alcune &longs;ono uiuaci <lb/>forti, &longs;ucco&longs;e, come la &longs;elice, & il marmo, nelle quali è innato il &longs;uono, & la &longs;odezza: altre <lb/>e&longs;au&longs;te, & leggieri, come è il Tofo, & le pietre areno&longs;e. </s>
<s>I marmi &longs;ono pro&longs;&longs;imi all'honor delle <lb/>gemme per la bellezza, & gratia loro, & &longs;pecialmente que marmi nobili, che per la uarietà <lb/>di colori, o per la gran bianchezza o finezza, & &longs;plendore, o tra&longs;parenza danno mer auiglia, <lb/>come il Pario, il Porfido, il Serpentino, l'Alaba&longs;tro, & altri &longs;imiglianti marmi me&longs;chi, o gra­<lb/>niti. </s>
<s>Il &longs;elice ueramente ha molte qualità, duro, tenero, tenace, friabile, graue, leggiero, o <lb/>che in e&longs;&longs;o non puo il fuoco, o &longs;i conuerte in cenere, & è &longs;quamo&longs;o, &longs;opporta il freddo, & l'ac­<lb/>que, non ri&longs;plende, però non è marmo: entra però inelle fabriche, come anche alcuni &longs;a&longs;&longs;i. </s>
<s>Ma <lb/>la cote come la Dama&longs;china, il Tocco, che proua i metalli, alcune pietre, che nelle Indie &longs;i u&longs;ano <lb/>per tagliare, &longs;ono per aguzzare i ferri, &longs;i con&longs;umano a poco a poco con &longs;e &longs;te&longs;&longs;e, ma pre&longs;to con­<lb/>&longs;umano le altre co&longs;e. </s>
<s>& la parte che è riuolta al Sole è migliore di quella di &longs;otto; perche dal So­<lb/>le &longs;i fanno perfette. </s>
<s>I &longs;a&longs;&longs;i &longs;ono diuer&longs;i per la proprietà, come la calamita, per la uirtù, il Calamo­<lb/>co, per lo colore, l'Amochri&longs;o per la pittura, l'Alabandico per la forma, il Trochite per la no­<lb/>biltà di re&longs;i&longs;tere al fuoco, come la Magne&longs;ia all'acqua. </s>
<s>la proprietà della calamita è nota; tira <lb/>& &longs;caccia il ferro, dimo&longs;tra le parti del Cielo, & i uenti a i nauiganti, & fa effetti merauiglio&longs;i <lb/>con incognite cau&longs;e. </s>
<s>La &longs;puma della canna detta Calamoco, è forti&longs;&longs;ima, & calidi&longs;&longs;ima, & con­<lb/>&longs;uma i corpi in quella &longs;epolti. </s>
<s>il Trochite è &longs;triato o canellato nel piano, & nel mezo del piano <lb/>ha un punto, dal quale &longs;i parteno tutti i canali, & il piano è circondato da un lieue timpanuzzo <lb/>& &longs;i muoue da &longs;e &longs;oprapo&longs;toui l'aceto, l'Amochri&longs;o, cioè arena d'oro, ha colore d'oro, è &longs;qua­<lb/>glio&longs;a: & &longs;e ne fa poluere da &longs;eccar le &longs;eritture l'Alabandico dimo&longs;tra in &longs;e uarie figure. </s>
<s>Ma di <lb/>que&longs;ti &longs;a&longs;&longs;i pochi &longs;ono all'u&longs;o delle fabriche, benche per alcuni adornamenti po&longs;&longs;ono e&longs;&longs;er prez­<lb/>zati. </s>
<s>Io ho detto della quantità, & qualità delle pietre; hora io dirò del modo di porle in&longs;ieme, <lb/>& prima di alcune auuertenze. </s>
<s>Ogni pietra deue e&longs;&longs;er intiera, non fango&longs;a, ma bagnata bene, <lb/>& &longs;e e&longs;&longs;er puo, di torrente. </s>
<s>le intiere dal &longs;uono &longs;i cono&longs;ceno. </s>
<s>le cauate di nuouo &longs;ono piuatte, la <lb/>pietra altre fiate adoperata non rie&longs;ce, & non &longs;i attacca bene, perche di gia ha beuuto l'humore, <lb/>altri con minute pietre, & molta calce empieno le fondamenta, altri ui metteno ogni &longs;orte di rot­<lb/>tame. </s>
<s>Egli &longs;i deue imitar la natura, che nel fare i monti tra le piu &longs;ode pietre tramette la piu te­<lb/>nera materia: co&longs;i &longs;opra grandi, quadrate, & intiere pietre &longs;i getta gran copia di calce &longs;tempera <lb/>ta. </s>
<s>le piu gagliarde parti delle pietre &longs;i pongono, oue è bi&longs;cgno di maggior fermezza. </s>
<s>Se la pie­<lb/>tra è atta a romper &longs;i non in lato &longs;i ponga, ma &longs;te&longs;a giacendo. </s>
<s>la faccia della pietra, che è taglia­<lb/>ta per trauer&longs;o, è piu forte, che quella, che è tagliata per lungo, nel fondar le colonne non è ne­<lb/>ce&longs;&longs;ario di continuare il fondamento, ma &longs;i fa &longs;otto la colonna, (accioche col pe&longs;o loro non fori­<lb/>no la terra) fare un muretto, & tirare da colonna a colonna un'arco riuer&longs;cio. </s>
<s>La pietra &longs;ecca <lb/>& &longs;itibonda uuole &longs;abbia di fiume, la hurnida per natura, quella di caua. </s>
<s>non &longs;i adoperi arena <lb/>di mare nelle opere riuolte all'O&longs;tro. </s>
<s>a minute pietre &longs;pe&longs;&longs;a, & &longs;oda calce &longs;i ponga; benche la <lb/>tenace &longs;ia &longs;tata da gli antichi approuata. </s>
<s>Gioua di bagnare &longs;pe&longs;&longs;o la muratura. </s>
<s>non uogliono quel­<lb/>le pietre e&longs;&longs;er bagnate, che dentro non &longs;iano humide, & negreggianti e&longs;&longs;endo rotte, o &longs;pezzate. </s>
<s><lb/>Le gran pietre sdrucciolando per lo liquido meglio &longs;i a&longs;&longs;ettano, & però deono andare &longs;opra tenera <lb/>& liquida calce. </s>
<s>Hora ci re&longs;ta a dire delle maniere del murare. </s>
<s>Tre &longs;ono le maniere del murare l'or <lb/>dinaria, la incerta, la reticulata. </s>
<s>Di que&longs;te tratta Vitr.
nel pre&longs;ente Capo, & per dichiaratio­<lb/>ne maggiore, &longs;i e&longs;porranno alcune uoci. </s>
<s>Et prima cemento, è pietra roza, non tagliata, uul­<lb/>gare &longs;enza determinata forma: ogni giorno per Roma ne uanno i giumenti carichi. </s>
<s>Et in terra<emph.end type="italics"/><pb pagenum="85"/><emph type="italics"/>di lauoro detta Campania, ritiene il nome. </s>
<s>Reticulato, & incerto que&longs;ti &longs;ono due modi di po­<lb/>ner'a &longs;ilo, ouero in&longs;ieme i cor&longs;i delle pietre. </s>
<s>il Reticulato è co&longs;i detto, perche nella muratura di­<lb/>mo&longs;tra la diui&longs;ione da una pietra all'altra in modo di rete, & que&longs;to non &longs;i puo fare, &longs;e almeno una <lb/>facciata della pietra non è quadrata, & polita. </s>
<s>bi&longs;ogna anche, che &longs;tiano in modo, che gli angu <lb/>li &longs;i tocchino, come per la &longs;oprapo&longs;ta figura &longs;i uede. </s>
<s>La incerta è quella, che &longs;i &longs;a di pietre di di­<lb/>uer&longs;e figure a ca&longs;o po&longs;te. </s>
<s>perche quello, che &longs;i dice lauorare a ca&longs;&longs;a, è quello, che di &longs;otto è det­<lb/>to Emplecton. </s>
<s>ma hora &longs;i ragiona di quello, che appare di fuori. </s>
<s>La correttione dello incerto, ac <lb/>cioche &longs;ia &longs;icuro, & forte, &longs;i fa come per figura s'è mostrato di &longs;opra. </s>
<s>imperoche egli è nece&longs;&longs;ario <lb/>legare ambe le fronti una con l'altra co<gap/> attrauer&longs;ata muratura, et empire il u<gap/>no con pietre me&longs;co <lb/>late con molta calce. </s>
<s>Ordinaria muratura è quella, doue le pietre quadrate, le giu&longs;te, o le grandi &longs;i <lb/>pongono in&longs;ieme ordinatamente a &longs;quadra, a liuello, & a piombo. </s>
<s>il che accenna Vitr.
dicendo.<emph.end type="italics"/></s></p><p type="main">
<s>Et però non &longs;i deue &longs;prezzare la muratura de Greei, &longs;e bene non l'u&longs;ano polita di molle <lb/>cemento, pure quando &longs;i parteno dalla p<gap/>etra quadrata, fanno l'ordinaria di &longs;elice ouero <lb/>di pietra dura. <emph type="italics"/>La quale è mezana tra la incerta, & quella, che &longs;i fa di pietra quadrata. </s>
<s><lb/>Ma bi&longs;ogna auuertire, che il poggio, che for&longs;e &longs;tereobata è detto da Vitr.
hauer deue la incro&longs;ta <lb/>tura di pietra quadrata, grande, & dura: perche que&longs;ta parte di muro ha bi&longs;ogno di piu &longs;odezza, <lb/>come parte, che ha della natura del fondamento, che &longs;ostenga tutto il carico, & che piu &longs;ia ui­<lb/>cina all'humidità delle acque, o del terreno. </s>
<s>il che &longs;i deue o&longs;&longs;eruare &longs;pecialmente in Vinetia, & &longs;i <lb/>o&longs;&longs;erua anche nelle ca&longs;e ben fatte. </s>
<s>Catone dice. </s>
<s>Leuerai da terra la fabrica un piede con &longs;oda pie <lb/>tra, & calce, l'altre parti con crudo mattone potrai formare. </s>
<s>Ma in Venetia que&longs;ta parte è piu <lb/>leuata, & ha del grande, & ha del &longs;odo, & arriua fin a cinque, & &longs;ei piedi, & &longs;opra ui è il cor <lb/>done di forma ritonda, ouero in forma di fa&longs;cia, che &longs;porta in fuori. </s>
<s>Fra i procinti s'interpongo­<lb/>no alcune legature di pietremaggiori, le quali &longs;ono come concatenationi dell'o&longs;&longs;a con l'o&longs;&longs;a, & <lb/>delle cro&longs;te, che &longs;ono dalla<gap/>rte di den<gap/>ro, con quelle, che &longs;ono di fuori, & però quiui lunghe, <lb/>langhe, & &longs;ode pietre &longs;i richiedeno. </s>
<s>Si &longs;ogliono fare anche altri procinti per legare le cantonate <lb/>& tenere l'opere in&longs;ieme, ma piu rari. </s>
<s>Quelli primi deono conuenire a piombo, & a &longs;quadra den <lb/>tro, & di fuori col muro, & que&longs;ti, che &longs;ono maggiori come c ornici, o gocciolatoi &longs;portare; & <lb/>con gli ordini, & cor&longs;i e&longs;&longs;ere bene legati in modo, che come &longs;oprapo&longs;to pauimento &longs;i ricuo­<lb/>pra bene la fabrica. </s>
<s>Siano le pietre nelle murature una all'altra &longs;opraposte, come s'è detto, a <lb/>modo d'imbrici, &longs;i che la commi&longs;&longs;ura di due &longs;oprapo&longs;te, &longs;ia nel mezo della pietra di &longs;otto, & que <lb/>&longs;to &longs;pecialmente ne i procinti, & nelle legature. </s>
<s>Gli antichi nelle opere reticulate tirauano il le <lb/>gamento di cinque mattoni, o almeno di tre, che ouero tutti, ouero in un'ordine, almeno era di <lb/>pietre non piu gro&longs;&longs;e, che le altre, ma piu lunghe, & piu larghe. </s>
<s>Ma nelle opere ordinarie, per <lb/>ogni cinque piedi è &longs;tato a ba&longs;tanza un mattone di due piedi per legatura; però fabricando con <lb/>pietre maggiori piu raro legamento bi&longs;ogna, & è qua&longs;i a fufficienza la cornice&longs;ola. </s>
<s>Laqual deue <lb/>e&longs;&longs;er fatta con &longs;omma diligenza, & di ferme, & larghe pietre ordinarie, & giu&longs;te, & ne i pare <lb/>ti di crudi mattoni, la corona deue e&longs;&longs;er di terra cotta, accio &longs;ia dife&longs;a dalla pioggia, & leggie­<lb/>ra di pe&longs;o. </s>
<s>Deue&longs;i auuertire, che il marmo rifiuta la calce, & &longs;i macchia facilmente, la <lb/>doue gli antichi quanto meno poteuano adoprauano i marmi con la calce. </s>
<s>Dell'o&longs;&longs;a, & de &longs;o&longs;te­<lb/>gni, & delle apriture &longs;i dirà poi. </s>
<s>I compimenti trapo&longs;ti &longs;ono tra l'o&longs;&longs;a, l'apriture, & l'altre <lb/>parti, ne i quali &longs;ono da con&longs;iderare l'imboccature, i riempimenti, le intonicature tanto di den­<lb/>tro quanto di fuori, perche &longs;i uede e&longs;&longs;er di&longs;&longs;erenza tra l'o&longs;&longs;a, & i compimenti; perche nell'o&longs;&longs;a &longs;i <lb/>pongono grandi, &longs;ode, & ordinate pietre, & ne i compimenti, minute, rotte, meno ordinarie, <lb/>benche con molta calce, & arena. </s>
<s>Vero è, che perfetta &longs;arebbe la muratura, che tutta fu&longs;&longs;e <lb/>di pietre quadrate, ma e&longs;&longs;endo di troppo &longs;pe&longs;a, bi&longs;ogna tra l'una &longs;corza, & l'altra ponere alcune <lb/>pietre ordinarie attrauer&longs;ate, nel muro, per unire le &longs;corze. </s>
<s>le pietre da riempire non uogliono pa&longs; <lb/>&longs;are una libra di pe&longs;o, perche le pietre minute fanno miglior pre&longs;a. </s>
<s>nelle incro&longs;tature di fuori &longs;i <lb/>deono porre le pietre migliori, & prouate, come ha detto Vitr.
lontane però dai cadimenti delle<emph.end type="italics"/><pb pagenum="86"/><emph type="italics"/>acque, & non deono e&longs;&longs;er pietre di grandezze, & di pe&longs;i di&longs;eguali, ma ri&longs;pondino le de&longs;tre alle <lb/>&longs;ini&longs;tre, le rimote alle uicine &longs;eguitando gli ordini incominciati. </s>
<s>Ma la intonicatura di dentro &longs;ia <lb/>di pietra piu dolce, o &longs;erui&longs;i la regola, che &longs;i dirà nel &longs;ettimo libro. </s>
<s>Il muro fatto di mattoni <lb/>crudi, detto da gli antichi muro lateritto, fa piu &longs;ana la fabrica, ma è &longs;ottopo&longs;ta a terremoti. </s>
<s>de­<lb/>ue però e&longs;&longs;er gro&longs;&longs;o per &longs;o&longs;tenere i palchi. </s>
<s>il loto da fabricare &longs;ia &longs;imile al bitume, che po&longs;to nell'ae <lb/>qua lentamente &longs;i disfaccia, & s'attacchi alle mani, & a&longs;ciutto bene s'amma&longs;&longs;i: ma dell'opera di <lb/>loto &longs;i dirà nel &longs;ettimo libro. </s>
<s>La nuda pietra deue e&longs;&longs;er quadra, &longs;oda, grande, dura &longs;enza &longs;c<gap/>lie tra­<lb/>po&longs;te. </s>
<s>Sia po&longs;ta in opera con arpe&longs;i, & chiodi, gli arpe&longs;i fanno stare le pietre al pari, i chiodi le <lb/>gano il di&longs;opra, con quello di &longs;otto. </s>
<s>Se gli arpe&longs;i, & chiodi. </s>
<s>&longs;ono d'ottone, non irrugini&longs;ceno, <lb/>ferman&longs;i con piombo &longs;colato. </s>
<s>que di legno per la forma loro &longs;ono fatti a coda di rondine, il ferro <lb/>con biacca, o ge&longs;&longs;o &longs;i &longs;erua dalla ruggine, bi&longs;ogna però bene guardare, che le acque non toccbi­<lb/>no gli arpe&longs;i. </s>
<s>Ma tornamo alla muratura, & a que muri, che &longs;ono fatti di rottami, ponerai ta­<lb/>uole, o craticci dalle &longs;ponde per &longs;o&longs;tegno, fin che &longs;i a&longs;ciughino. </s>
<s>Et qui &longs;i è trouato il modo di get <lb/>tar le colonne nelle forme di legno, per &longs;cemare la &longs;pe&longs;a. </s>
<s>Et &longs;i riempie la forma d'ogni &longs;orte di rot­<lb/>tame con molta calce. </s>
<s>Altri ui la&longs;ciano nel mezo l'anima di rouere, o di mattoni per &longs;icurtà, <lb/>altri fanno la pa&longs;ta con minute pietre, & la&longs;ciano a&longs;ciugarla bene, & a&longs;ciutta leuano la forma, <lb/>danno poi la incro&longs;tatura, & la intonicatura alla colonna & la figneno di marmo, o di me&longs;chio, <lb/>o granito come uogliono. </s>
<s>Egli &longs;i deue &longs;chiuare piu, che &longs;i puo la pietra di forma ritonda. </s>
<s>Seguo, <lb/>che la calce è a&longs;ciutta, quando ella manda fuori una lanugine, & uno certo fiorume ben cono­<lb/>&longs;ciuto da muratori. </s>
<s>Ce&longs;&longs;ando dall'opera coprirai il muro con paglia, o altro, accioche non i&longs;ua­<lb/>ni&longs;ca prima, che habbia fatto la pre&longs;a: Et quando poi &longs;i ripiglia il lauoro, non ti rincre&longs;ca &longs;atiarlo <lb/>molto bene di acqua. </s>
<s>il muro, che è molto gro&longs;&longs;o, fa armatura a &longs;e &longs;te&longs;&longs;o. </s>
<s>Egli bi&longs;ogna la&longs;ciare <lb/>luogho commodo per le apriture, facendoui un'arco, ilquale &longs;i otturi fino che uenghi il bi&longs;ogno <lb/>d'aprirle, perche il pe&longs;o non aggraui troppo la parte uota. </s>
<s>Se uuoi ggiugnere al muro dopo <lb/>alcun tempo, bi&longs;ogna, che ui la&longs;ci i denti &longs;porti in fuori. </s>
<s>Gli anguli perche participan di due la­<lb/>ti, & &longs;ono per tener dritto il muro, deono e&longs;&longs;er fermi<02>imi, & con lunghe, & dure pietre, come <lb/>con braccia tenuti. </s>
<s>Et tanto &longs;ia detto d'intorno alla &longs;oprapo&longs;ta diui&longs;ione. </s>
<s>la quale &longs;e &longs;arà bene <lb/>con&longs;iderata, non ha dubbio, che ella non &longs;ia per apportare grangiouamento alle con&longs;iderationi <lb/>de i &longs;aui, & alle operationi de i mae&longs;tri.<emph.end type="italics"/></s></p><p type="main">
<s>Que&longs;te fabriche de Greci in due modi &longs;i murano. </s>
<s>L'uno è detto eguale, l'altro di­<lb/>&longs;eguale. </s>
<s>Il primo è quando tutti i cor&longs;i &longs;ono eguali in grandezza. </s>
<s>L'altro è quando <lb/>gli ordini de i cor&longs;i non &longs;aranno drizzati pari. </s>
<s>l'una, & l'altra maniera per que&longs;to è <lb/>ferma, perche prima i cementi &longs;ono di &longs;oda, & ferma natura, nè po&longs;&longs;ono a&longs;ciugare <lb/>il liquore della materia, ma li con&longs;eruano nel &longs;uo humore per grandi&longs;simo tempo, & i <lb/>letti loro piani, & bene liuellati non la&longs;ciano &longs;grottare la materia, ma con la continuata <lb/>gro&longs;&longs;ezza de i pareti co&longs;i legati durano lunghi&longs;simamente. </s>
<s>Euui un'altra maniera di fa­<lb/>brica, che &longs;i chiama riempita, la quale anche &longs;i u&longs;a da no&longs;tri ru&longs;tici. </s>
<s>della quale &longs;ono le <lb/>fronti &longs;olamente polite, ma le altre parti come nate &longs;ono, po&longs;te in&longs;ieme con la mate­<lb/>ria, con alterne commi&longs;ure &longs;ono legate: ma i no&longs;tri per sbrigar&longs;ene pre&longs;to, facendoui i <lb/>cor&longs;i dritti, &longs;erueno alle fronti, & empieno nel mezo &longs;pezzati i cementi &longs;eparatamen­<lb/>te con la materia, & a que&longs;to modo in quella muratura leuano, & drizzano tre cro&longs;te, <lb/>due delle fronti, & una nel mezo del riempimento. </s>
<s>Ma i Greci non fanno a que&longs;to mo= <lb/>do, ma ponendoli piani, & ordinando le lunghezze de i cor&longs;i in gro&longs;&longs;ezza con alterne <lb/>commi&longs;&longs;ure, non empieno il mezo, ma con i loro mattoni, che chiamamo frontati, fan­<lb/>no continuato il parete, & d'una gro&longs;&longs;ezza ra&longs;&longs;odato, & oltra le altre co&longs;e interpongono <lb/>quelli dall'una parte & l'altra, che hanno le fronti, che chiamano per que&longs;to diatoni, di <lb/>perpetua gro&longs;&longs;ezza, i quali grandemente legando confermano la &longs;odezza de i pareti: & pe <lb/>rò &longs;e alcuno uorrà da que&longs;ti commentarij auertire, & ele ggere la &longs;orte di murare, potrà <pb pagenum="87"/>molto bene hauere riguardo alla perperuità: percioche quelle Fabriche, lequali &longs;on di <lb/>molle cemento, & di &longs;ottile a&longs;petto di bellezza, non po&longs;&longs;ono &longs;e non e&longs;&longs;er col tempo rui­<lb/>no&longs;e: & però quando s'eleggono gli arbitri di communi pareti, non &longs;i &longs;tima, per lo prez <lb/>zo, che &longs;ono &longs;tati fabricati, ma ritrouando per gli in&longs;trumenti i precij delle locationi, le <lb/>uano d'ogni anno, che pa&longs;&longs;ato &longs;ia la ottante&longs;ima parte: & co&longs;i del re&longs;tante della &longs;omma <lb/>comandano che egli &longs;i re&longs;titui&longs;ca una parte per que&longs;ti pareti, che &longs;ententiamo, che piu di <lb/>ottanta anni non po&longs;sino durare. </s>
<s>Ma de i pareti fatti di mattoni, pure che &longs;iano fatti a <lb/>perpendicolo & dritti &longs;tiano, niente &longs;i leua, ma per quanto prezzo &longs;eranno &longs;tati fabrica­<lb/>ti, per tanto &longs;empre &longs;aranno &longs;timati. </s>
<s>& però in alcune città, & le opere publiche, & le <lb/>ca&longs;e priuate, & le reali &longs;i uedeno fabricate di mattoni: & prima in Athene il muro, che <lb/>guarda uer&longs;o il monte Hymeto, & Petelen&longs;e, & i pareti nel tempio di Gioue, & di Her <lb/>cole, le celle &longs;ono di mattoni. </s>
<s>E&longs;&longs;endo d'intorno al tempio le colonne & gli architraui <lb/>di pietra. </s>
<s>In Italia in Arezzo euui un muro beni&longs;simo fatto, & in Tralli la ca&longs;a fatta da <lb/>i Re Attalici, che è data per &longs;tanza a colui, che nella Città tiene il &longs;acerdotio. </s>
<s>Et <lb/>co&longs;i in Lacedemone di alcuni pareti leuate le pitture, che erano in forme, & i telari di le­<lb/>gno ne i pareti tagliati, rinchiu&longs;i & inca&longs;&longs;ati, furon portate nel comitio per adornamento <lb/>della edilità di Varrone, & di Minerua. <!-- KEEP S--></s>
<s>la ca&longs;a di Cre&longs;o, la quale i Sardi con&longs;egnarono a <lb/>i cittadini per ripo&longs;o della uecchiezza al collegio de i uecchi, chiamata Geru&longs;io, era di <lb/>mattoni. </s>
<s>&longs;imilmente la reale in Alicarna&longs;o del potenti&longs;simo Re Mau&longs;olo, in tutto, che <lb/>habbia di procone&longs;io marmo ornate tutte le co&longs;e, niente di meno i pareti &longs;ono fatti di <lb/>mattoni. </s>
<s>& infino a que&longs;ti tempi hanno una mirabile fermezza, co&longs;i con intonicature, & <lb/>cro&longs;te politi, che come uetri riluceno. </s>
<s>nè que&longs;to fu fatto per bi&longs;ogno, che quel Re ha <lb/>ue&longs;&longs;e, perche era ricchi&longs;simo d'entrate, come quello, che a tutta la Caria dominaua. </s>
<s>Ma <lb/>in que&longs;to modo è da con&longs;iderare la &longs;olertia &longs;ua, & acutezza nel fabricare: percioche e&longs;­<lb/>endo egli Mila&longs;io, & hauendo ueduto il luogo di Alicarna&longs;&longs;o munito per natura, & haue­<lb/>re idoneo bazzaro, & il porto commodo, in quel luogo &longs;i fece la &longs;tanza. </s>
<s>Que&longs;to luo­<lb/>go è &longs;imile alla curuatura d'un Theatro, & nella parte da ba&longs;&longs;o, appre&longs;&longs;o il porto è <lb/>il Foro, & per mezo la curuatura, & la cinta dell'altezza, ui è una piazza grandi&longs;sima, nel <lb/>mezo della quale è fabricato il Mau&longs;oleo de &longs;i fatta, & nobil opera, che è numerato tra <lb/>i &longs;ette &longs;pettacoli del mondo. </s>
<s>Nel mezo dell'alta rocca è il tempio di Marte, che tiene la <lb/>&longs;tatua del colo&longs;&longs;o, detta Acrolitho, fatta dalla nobil mano di Tilocare. </s>
<s>benche altri di­<lb/>chino di Timotheo; ma nella &longs;ommità del de&longs;tro corno è il tempio di Venere, & di Mer <lb/>curio appre&longs;&longs;o la fonte Salmacide, che per fal&longs;a opinione uien detto, che tenga di Vene <lb/>rea infirmità oppre&longs;si quelli, che beono di quella. </s>
<s>Ma a me non rincre&longs;cerà di raccontare <lb/>da che &longs;ia andata que&longs;ta opinione con fal&longs;o rumore per lo mondo: perche e&longs;&longs;er non puo <lb/>quello, che &longs;i dice, che gli huomini per quell'acqua diuentino molli, & impudichi, ma la <lb/>uirtù di quella fonte, è molto chiara, & il &longs;apore egregio. </s>
<s>Hauendo adunque Melante, <lb/>& Areciania d'Argo, & da Troezene in que luoghi <expan abbr="cōdotta">condotta</expan> una colonia commune &longs;caccior <lb/>no i Barbari di Caras, & di Lelege: Que&longs;ti &longs;cacciati &longs;i raunorno in&longs;ieme a i monti, & face­<lb/>uano di molte correrie, & rubbando in quel luogo crudelmente gua&longs;tauano gli habitanti. </s>
<s><lb/>Auenne poi, che uno de gli habitatori per guadagnare per la bontà delle acque fece appre&longs; <lb/>&longs;o quella fonte un'ho&longs;teria fornita d'ogni co&longs;a. </s>
<s>& e&longs;&longs;ercitandola allettaua quei barbari, i <lb/>quali hor l'uno, hor l'altr o uenendoui, & poi molti mettendo&longs;i in&longs;ieme concorrendoui, <lb/>di duro & ferigno co&longs;tume, nella u&longs;anza & &longs;oauità de Greci di loro propria uolonta &longs;i ridu <lb/>ceuano. </s>
<s>Quell'acqua adunque non per dishone&longs;ta infirmità, ma per la dolcezza della hu <lb/>manità mitigati i feroci petti de i Barbari, acqui&longs;tò quel nome. </s>
<s>Re&longs;ta hora perche io &longs;on <lb/>uenuto alla dichiaratione delle loro murature, che io le de&longs;criua tutte come &longs;ono: Come <lb/>adunque nella de&longs;tra parte è il tempio di Venere, & la fonte predetta, co&longs;i nel &longs;ini&longs;tro cor <pb pagenum="88"/>no, è il palazzo reale, che Mau&longs;olo per &longs;ua &longs;tanza fece fabricare. </s>
<s>perche dalla de&longs;tra &longs;i uede <lb/>la piazza, & tutta la terminatione del porto, & delle mura, & &longs;otto la &longs;ini&longs;tra è il porto &longs;e <lb/>creto &longs;otto a i monti na&longs;co&longs;o in modo, che niuno puo uedere, o &longs;apere quello, che iui &longs;i <lb/>faccia, accioche il Re dal &longs;uo palazzo a i galeotti, & &longs;oldati, &longs;enza che altri &longs;e ne accorga <lb/>po&longs;&longs;a quanto bi&longs;ogna comandare. </s>
<s>Dapoi la morte di Mau&longs;olo re&longs;tò Artemi&longs;ia moglie <lb/>&longs;ua, & &longs;degnando&longs;i i Rodiotti, che una femina &longs;ignoreggia&longs;&longs;e tutte le città della Caria, &longs;i <lb/>mi&longs;ero all'ordine per occupar quel regno. </s>
<s>delche e&longs;lendone aui&longs;ata la Reina, comandò ella, <lb/>che in quel porto &longs;te&longs;&longs;e l'armata rinchiu&longs;a all'ordine con marinari a&longs;co&longs;i, & &longs;oldati. </s>
<s>Ma il <lb/>re&longs;to de cittadini compare&longs;&longs;e &longs;opra le mura. </s>
<s>Ma hauendo i Rodiotti condotta l'armata <lb/>loro in ordine nel porto maggiore, la Reina comandò, che fu&longs;&longs;ero dalle mura &longs;alutati, & <lb/>prome&longs;&longs;a loro la città. </s>
<s>per ilche quelli abandonate le naui, entrarono dentro: ma la Reina <lb/>&longs;ubito per la fo&longs;&longs;a fatta tra&longs;&longs;e fuori l'armata dal porto minore nel mare, & entrata nel mag <lb/>giore sbarcati i galeotti, & i &longs;oldati, tirò nel mare l'armata uota de i Rodiotti, i quali non <lb/>hauendo doue ricouerar&longs;i e&longs;&longs;endo tolti di mezo, tutti furono nella piazza tagliati a pezzi. </s>
<s><lb/>Artemi&longs;ia entrata nelle naui de Rodiotti pre&longs;e la uia di Rodi. </s>
<s>per il che uedendo i Rodiot <lb/>ti le lor naui tornare ingirlandate di frondi, pen&longs;ando che fu&longs;&longs;ero i cittadini loro, riceue­<lb/>rono i nemici. </s>
<s>Allhora la Reina pre&longs;a la città, ucci&longs;i i principali, dentro ui po&longs;e il Tro­<lb/>feo della &longs;ua uittoria. </s>
<s>& fece fare due &longs;tatue di bronzo, una rappre&longs;entau<gap/>a la città di Ro­<lb/>di. </s>
<s>L'altra la &longs;ua imagine, figurando, che que&longs;ta con affocato ferro &longs;igilla&longs;&longs;e la città di Ro <lb/>di. </s>
<s>Dapoi que&longs;to fatto impediti i Rodiotti dalla religione, perche non era lecito rimuo <lb/>uere i trofei con&longs;ecrati, fecero uno edificio intorno alle &longs;tatue dette, & quelle coprirono <lb/>inalzando un luogo per guardia alla u&longs;anza Greca, accioche niuno ui pote&longs;&longs;e andare: & <lb/>comandorono, che que&longs;to &longs;i chiama&longs;&longs;e Auaton, cioè inacce&longs;sibile. </s>
<s>Non hauendo adun­<lb/>que i Re co&longs;i potenti &longs;prezzato l'opera de mattoni, potendo per le fatte prede, & per le <lb/>co&longs;e, che erano loro portate d'ogni banda, farle non &longs;olamente di cemento, ouero di <lb/>quadrata pietra, ma anche di marmo: Io non pen&longs;o, che &longs;ia da bia&longs;imare gli edificij mura <lb/>ti di mattoni, pure, che &longs;iano fatti, & drizzati bene. </s>
<s>Ma perche non &longs;ia lecito in Roma al <lb/>populo Romano fabricare in que&longs;to modo, io ne dirò la ragione. </s>
<s>Le leggi publiche non <lb/>comportano, che le gro&longs;&longs;ezze de i muri ne i luoghi communi &longs;iano maggiori d'un piede <lb/>& mezo, ma gli altri pareti, accioche gli &longs;patij non &longs;i face&longs;&longs;ero piu &longs;tretti, &longs;i fanno di quel­<lb/>la i&longs;te&longs;&longs;a gro&longs;&longs;ezza. </s>
<s>Ma que mattoni crudi &longs;e non &longs;aranno di due, o di tre cor&longs;i de matto­<lb/>ni, con la gro&longs;&longs;ezza d'un piede & mezo &longs;olamente; non potranno &longs;o&longs;tenere piu che un pal <lb/>co. </s>
<s>Ma nella mae&longs;tà di quella città in tanta frequentia di cittadini bi&longs;ognaua fare innume <lb/>rabili habitationi. </s>
<s>non potendo adunque il piano riceuere ad habitare dentro di Roma tan <lb/>ta moltitudine, la occa&longs;ione po&longs;e nece&longs;sità, di unire all'altezza de gli edificij. </s>
<s>Et però con <lb/>pila&longs;trate di pietra, & con murature di pietra cotta, & con pareti fatti di cemento per com <lb/>modità de i cenaculi, & de i luoghi di doue &longs;i guarda a ba&longs;&longs;o, &longs;ono &longs;tate fatte le altezze, & <lb/>con i&longs;pe&longs;&longs;e trauature, & palchi conchiauate. </s>
<s>Et però il populo Romano &longs;enza impedi= <lb/>mento ha le &longs;tanze belli&longs;sime, moltiplicati i palchi, & i corritori in grande altezza. </s>
<s>Ma <lb/>poi, che è &longs;tato re&longs;o la ragione, perche in Roma per la nece&longs;sità de i luoghi &longs;tretti non &longs;i <lb/>fanno i pareti di mattoni crudi, hora &longs;i dirà in che modo &longs;i deono fare, accioche durino al <lb/>la uecchiezza &longs;enza difetti. </s>
<s>Po&longs;to &longs;ia nella &longs;ommità de i pareti &longs;otto la copritura del tetto <lb/>una muratura di terra cotta, di altezza d'un piede, & mezo, & habbia gli &longs;porti delle co­<lb/>rone, & i gocciolatoi, & co&longs;i potranno &longs;chifare i danni, o i difetti, che &longs;ogliono hauere <lb/>que pareti, perche quando nel tetto &longs;aranno le tegole rotte, o gettate a ba&longs;&longs;o da i uenti, la <lb/>&longs;portatura, & il recinto de mattoni cotti, non la&longs;cierà offendere il crudo, ma lo &longs;porto de i <lb/>cornicioni, porterà le goccie lontane, & in quel modo &longs;erueranno intiere le murature <lb/>de mattoni crudi. </s>
<s>Ma della muratura di pietre cotte &longs;e &longs;arà buona o nò, non &longs;i puo giu-<pb pagenum="89"/>dicare in poco &longs;patio di tempo: perche &longs;e ella à ferma nelle tempe&longs;te, & &longs;trauenti, & nel­<lb/>la State, allhora è prouata: perche quella, che non &longs;arà di buona creta, o che &longs;arà mal cotta, <lb/>&longs;ubito che &longs;arà toccata dal giaccio, o dalle brine, iui &longs;i mo&longs;trerà difetto&longs;a. </s>
<s>Quella adun <lb/>que che ne i tetti non puo &longs;opportar la fatica, meno &longs;arà buona nella muratura a &longs;o&longs;te­<lb/>ner i pe&longs;i: per il che i pareti coperti di uecchie tegole &longs;pecialmente potranno hauere fer <lb/>mezza. </s>
<s>Ma io non uorrei, che mai in tempo alcuno fu&longs;&longs;ero &longs;tati riti ouati i craticci: per <lb/>che quanto giouano alla pre&longs;tezza, & tengono manco luogo, tanto lono di commu­<lb/>ne, & maggior calamità, perche &longs;ono come fa&longs;ci preparati a gli incendij: & però pare <lb/>che &longs;ia migliore la &longs;pe&longs;a delle pietre cotte nella &longs;ontuo&longs;ità, che lo &longs;paragno del tempo de <lb/>i craticci nel pericolo, & quelli anche, che &longs;ono po&longs;ti nelle incro&longs;tature fanno delle fi&longs;&longs;u <lb/>re in quelle, per la di&longs;po&longs;itione de i dritti, & trauer&longs;i. </s>
<s>perche quando &longs;e gli dà la incro­<lb/>&longs;tatura, riceuendo l'humore &longs;i gon&longs;iano, & poi &longs;eccando&longs;i, &longs;i ri&longs;trigneno. </s>
<s>& co&longs;i a&longs;&longs;oti­<lb/>gliati, rompeno la fermezza delle cro&longs;te. </s>
<s>Ma perche alcuni &longs;ono con&longs;tretti di co&longs;i fare, o <lb/>per la pre&longs;tezza, o per bi&longs;ogno, o per &longs;eparare un luogo dall'altro, co&longs;i bi&longs;ognerà fare. </s>
<s><lb/>Fatto ui &longs;ia il &longs;uolo di &longs;otto alto, accioche o dal terrazzo, o dal pauimento non &longs;ia tocca­<lb/>to, perche e&longs;&longs;endo iui &longs;ommer&longs;o col tempo ammarci&longs;ce, dapoi dando in &longs;e, piega, & rom <lb/>pe la bellezza delle incro&longs;tature. </s>
<s>Io fin qui come ho potuto, ho detto de i pareti, & del <lb/>lo apparecchio della materia loro di&longs;tintamente, di che bontà &longs;iano, & che difetti hab­<lb/>biano. </s>
<s>Re&longs;ta, che io e&longs;pona chiaramente quanto appartiene alle trauature, & palchi, & <lb/>con che ragioni &longs;i acconci la materia da farli, & come &longs;iano di buona durata, come ci mo <lb/>&longs;tra la natura delle co&longs;e. </s></p><p type="main">
<s><emph type="italics"/>Io ho uoluto porre tutta la interpretatione del pre&longs;ente Capo, sì perche è facile & di piana <lb/>intelligenza, sì perche mi &longs;on forzato nel &longs;oprapo&longs;to di&longs;cor&longs;o mettere in&longs;ieme tutta la materia pro <lb/>po&longs;ta. </s>
<s>dal che ogni &longs;tudio&longs;o puo da &longs;e &longs;te&longs;&longs;o con&longs;iderare tutto quello, che Vitruuio ha uoluto fare <lb/>in que&longs;ta parte. </s>
<s>Et uederà la &longs;ua intentione e&longs;&longs;ere &longs;tata di ragionare della fabrica de i muri, <lb/>& pareti, come egli dice nel fine del &longs;oprapo&longs;to Capo, hauere diui&longs;o que&longs;to ragionamen­<lb/>to in piu parti: & nella prima hauer detto le maniere del murare, & hauer re&longs;o le ragioni de i <lb/>difetti, & della bontà di quelle, qua&longs;i compar andole in&longs;ieme. </s>
<s>Nella &longs;econda hauere ragio­<lb/>nato della muratura de i Greci, di tre maniere di quella, & hauere comparato il modo Greco, <lb/>col modo Latino di murare. </s>
<s>nella terza hauere lodato il fabricar di mattoni, dimo&longs;trato il <lb/>uero modo, & con bella, & i&longs;torica commendatione hauere commendato le fabriche di Mau­<lb/>&longs;olo Re di Caria, & propo&longs;toci molti e&longs;&longs;empi di quelle, & finita la &longs;ua ornata digre&longs;&longs;ione, <lb/>accompagnata dalle leggi del populo Romano, nel qual ca&longs;o, s'è dimo&longs;trato non ignorante delle <lb/>leggi ciuili, & nell'ultima e&longs;&longs;ere ritornato ad in&longs;egnarci, quanto era nece&longs;&longs;ario a uarie &longs;orti sì <lb/>di pareti, come di craticci, de i quali ne ragiona anche nel terzo Capo del &longs;ettimo libro: con­<lb/>chiudendo finalmente quanto ha uoluto fare, & quanto intende di uoler fare nel &longs;eguente Ca­<lb/>po. <!-- KEEP S--></s>
<s>I uocaboli del te&longs;to per la interpretatione, & altroue per la e&longs;po&longs;ition nostra &longs;ono chiari. </s>
<s><lb/>leggi Plinio per tutto il trente&longs;imo, &longs;e&longs;to libro, che trouerai molte co&longs;e al propo&longs;ito no&longs;tro, & <lb/>le figure delle murature &longs;ono po&longs;te di&longs;opra, & &longs;egnate con i loro nomi. </s>
<s>doue non ui accade altro <lb/>rincontro. </s>
<s>Hora &longs;eguita Vitruuio & parla della ragione de i legnami.<emph.end type="italics"/></s></p><p type="head">
<s><emph type="italics"/>Del tagliare i legnami. </s>
<s>Cap. IX.<emph.end type="italics"/><!-- KEEP S--></s>
</p><p type="main">
<s>LA materia &longs;i deue tagliare il principio dello autunno, che &longs;arà fin a quel tem­<lb/>po auanti, che Fauonio cominci a &longs;pirare: perche da prima uera gli alberi &longs;o­<lb/>no pregni, & tutti mandano la uirtù della loro proprietà nelle frondi, & ne i <lb/>frutti, che fanno ogni anno. </s>
<s>Quando adunque per la nece&longs;sità de i tempi &longs;a­<pb pagenum="90"/>ranno uoti, & humidi, &longs;ogliono diuentar rari, & deboli per la rarità, come &longs;ono i corpi <lb/>feminili, quando hanno concetto, & dalla concettione fino al parto, non &longs;ono &longs;timati &longs;a <lb/>ni. </s>
<s>Ne gli animali da uendere, quando &longs;ono pregni, &longs;i danno per &longs;ani. </s>
<s>percioche cre&longs;cen <lb/>do nel corpo, quello, che prima u'è &longs;tato &longs;eminato, egli tira a &longs;e il nutrimento da tutta la <lb/>uirtù del cibo; & quanto più il parto &longs;i fa fermo al maturir&longs;i, tanto meno la&longs;cia e&longs;&longs;er &longs;oda <lb/>quella co&longs;a, di che &longs;i genera, & però &longs;ubito, che il parto è mandato fuori, quello, che per <lb/>altra maniera di aumento, era detratto; quando è libero per la &longs;eparatione fatta dal na&longs;ci­<lb/>mento della co&longs;a, riceue in &longs;e nelle uote, & aperte uene, & &longs;uggendo il &longs;ucco &longs;i fa piu fer­<lb/>mo, & ritorna nella pri&longs;tina fermezza della natura &longs;ua. </s>
<s>Per la i&longs;te&longs;&longs;a ragione, al tempo <lb/>dell'Autunno, per la maturità de i frutti infiacchite le frondi, tirando le radici de gli albe <lb/>ri a &longs;e il &longs;ucco della<gap/>terra, &longs;i ricourano, & &longs;ono re&longs;tituiti nella prima lor fermezza: Ma la <lb/>forza del uerno comprime, & ra&longs;&longs;oda quelle per quel tempo, che detto hauemo. </s>
<s>Et però <lb/>&longs;e con quella ragione, & a quel tempo, che detto ho di &longs;opra &longs;i taglieranno gli alberi, &longs;arà <lb/>utile, & opportuna co&longs;a. </s>
<s>Ma co&longs;i bi&longs;o gna tagliarli, che &longs;i uadi fin'a mezo la midolla, & <lb/>la&longs;ciato &longs;ia il taglio, fino, che &longs;tillando per e&longs;&longs;o &longs;i &longs;ecchi l'humore. </s>
<s>per il che quello inuti­<lb/>le liquore, che in e&longs;si &longs;i truoua u&longs;cendo per lo &longs;uo tuorlo, non la&longs;cierà in quelli morire la <lb/>putredine, nè gua&longs;tar&longs;i la qualità della materia: ma quando poi l'albero &longs;arà &longs;eccato, nè <lb/>&longs;tillerà piu, bi&longs;ognerà gettarlo a terra. </s>
<s>Et a que&longs;to modo &longs;i truouerà perfetto all'u&longs;o. </s>
<s>Et <lb/>che que&longs;to &longs;ia uero, egli &longs;i puo cono&longs;cer anche da gli arbu&longs;ti. </s>
<s>percioche quando cia&longs;cuno <lb/>al tempo &longs;uo forati fin al fondo &longs;ono ca&longs;trati mandano fuori dalle midolle il uitio&longs;o, & &longs;o­<lb/>prabundante humore, & tri&longs;to liquorè, & co&longs;i di&longs;eccando&longs;i riceueno in &longs;e la lunghezza di <lb/>durare. </s>
<s>Ma quelli humori, che non hanno le u&longs;cite da gli alberi, re&longs;tandoui dentro &longs;i pu <lb/>trefanno, & rendeno quelli uani, & difetto&longs;i. </s>
<s>Se adunque quegli, che &longs;tanno in piedi, <lb/>& uiueno, &longs;eccando&longs;i, non inuecchiano, certamente quando gli i&longs;te&longs;si per farne legname <lb/>a terra &longs;i mandano, quando &longs;aranno a quel modo gouernati potranno ne gli edificij lun­<lb/>gamente, & con utilità durare. </s>
<s>Que&longs;ti alberi hanno tra &longs;e contrarie, & &longs;eparate uirtù. </s>
<s>il <lb/>Rouere, l'olmo, il Poppio, il Cipre&longs;&longs;o, l'Abete, & gli altri idonei a gli edificij. </s>
<s>percio­<lb/>che non puo il Rouere quello, che puo l'Abete, nè il Cipre&longs;&longs;o, quello, che puo l'Olmo. </s>
<s><lb/>nè gli altri alberi hanno quella &longs;imiglianza mede&longs;ima di natura fra loro: Ma cia&longs;cuna &longs;pe­<lb/>cie di quelli con le di&longs;po&longs;itioni, & proprietà de principij comparati con altri, altre &longs;orti di <lb/>effetti pre&longs;tano nelle opere. </s>
<s>Et però l'Abete, hauendo molto dello aere, & del fuoco, <lb/>ma meno dell'humido, & del terreno, come compo&longs;to di piu lieui forze di natura, non è <lb/>pondero&longs;o: Et però contento del &longs;uo rigor naturale, non co&longs;i pre&longs;to per lo pe&longs;o &longs;i piega, <lb/>ma &longs;empre dritto rimane nelle trauature: ma perche ha in &longs;e piu di calore produce, & no­<lb/>tri&longs;ce il tarlo, & da quello è gua&longs;to, & per que&longs;to anche pre&longs;to &longs;i accende, perche la rari­<lb/>tà dello aere, che è in quel corpo aperto riceue il fuoco, & co&longs;i ne manda fuori la fiamma <lb/>grande. </s>
<s>Et quella parte di e&longs;&longs;o, che è uicina alla terra, prima che &longs;ia tagliata riceuendo <lb/>dalla uicinanza l'humore, per le radici &longs;enza nodo, & humida &longs;i rende. </s>
<s>ma quella, che è <lb/>di &longs;opra uer&longs;o la cima, per la uehemenza del calore mandando in aere i rami &longs;uoi tagliata, <lb/>che &longs;ia alta da terra da uinti piedi, & polita, per la durezza de i no di &longs;uoi è chiamata fu&longs;ter­<lb/>na. </s>
<s>ma la parte inferiore quando tagliata è partita per quattro tagli doue &longs;corra l'humore <lb/>trattone il tuorlo &longs;i apparecchia per le opere di legname, & &longs;i chiama Sappinea. </s>
<s>Per lo <lb/>contrario la Rouere abondando di terra, & hauendo poco di aere, di humore, & di fuo­<lb/>co, quando è coperta di terra nelle opere terrene, ritiene un'infinita eternità. </s>
<s>perche quan <lb/>do è toccata dall'humore non hauendo rarità per li fori non puo admetter nel corpo &longs;uo <lb/>l'humore, ma fuggendo da quello, re&longs;i&longs;te & &longs;i torce, & fa le &longs;i&longs;&longs;ure in quelle opere, nel <lb/>le quali &longs;i truoua. </s>
<s>Ma lo E&longs;colo per e&longs;&longs;ere in tutti i &longs;uoi principij temperato è molto uti­<lb/>le nelle fabriche, ma po&longs;to in acqua riceuendo per li fori &longs;uoi l'humore, &longs;cacciato l'aere, & <pb pagenum="91"/>il fuoco per la operatione dell'humida forza &longs;i &longs;uol gua&longs;tare. </s>
<s>Il Cerro, il &longs;ouero, il faggio, <lb/>perche parimente hanno la me&longs;colanza dell humore, del fuoco, & del terreno, & molto <lb/>dello aere, pa&longs;&longs;and oui per entro l'humore per le rarità, che hanno, pre&longs;to marci&longs;cono. </s>
<s>Il <lb/>poppio bianco, & il nero, la Salce, & la Tiglia, & il Vitice, &longs;atiate di aere, & di fuoco, & <lb/>temperate di humore, hauendo poco del terreno, di tempra leggieri compo&longs;te, hanno nel <lb/>l'u&longs;o loro una mirabile rigidezza. </s>
<s>Non e&longs;&longs;endo adunque dure per la me&longs;colanza della ter­<lb/>ra, &longs;ono bianche per la loro rarità, & ci pre&longs;tano nelle intagliature una mirabile trattabilità. </s>
<s><lb/>l'Alno, che na&longs;ce uicino alle riue de i fiumi, & non pare, che ci rechi molta utilità, tiene <lb/>in &longs;e belli&longs;sime ragioni, perche è molto temprato di aere, & di fuoco, nè ha molto del ter <lb/>reno, & poco dell'humore, & però, perche non ha tropo d'humore nel corpo, po&longs;to fra <lb/>luoghi palu&longs;tri fra gli fondamenti de gli edificij con &longs;pe&longs;&longs;e palificate riceuendo in &longs;e quel li <lb/>quore, del quale per &longs;ua natura è bi&longs;ogneuole, dura eternamente, & &longs;o&longs;tenta grandi&longs;si­<lb/>mi pe&longs;i, & &longs;i con&longs;erua &longs;enza difetto, & co&longs;i quello, che non puo per molto &longs;pacio &longs;opra ter <lb/>ra durare, po&longs;to in acqua, eternamente &longs;i con&longs;erua. </s>
<s>Et que&longs;to &longs;i puo con&longs;iderare a Ra­<lb/>uenna, doue tutte l'opere publiche, & priuate &longs;otto le fondamenta hanno le pali&longs;icate di <lb/>que&longs;to legno. </s>
<s>l'Olmo, & il Fra&longs;sino hanno grandi&longs;simi humori, & pochi&longs;sima parte del­<lb/>l'aere, & del fuoco, ma della terra temperatamente, &longs;i piegano po&longs;te in lauoro, & per <lb/>l'abondanza dell'humore &longs;otto il pe&longs;o non hanno durezza, ma pre&longs;to &longs;i torceno, & &longs;ubi­<lb/>to, che per uecchiezza &longs;ono aridi diuenuti, o nel campo inuecchiti, quell'humore, che <lb/>in quelli mentre &longs;tauano abondaua, &longs;e ne manca, & &longs;i fanno piu duri, & nelle commi&longs;&longs;u <lb/>re, & ne gli inca&longs;tri, per la loro lentezza riceueno ferme incatenature. </s>
<s>Similmente il Car <lb/>peno perche è di minima mi&longs;tura di fuoco, & di terreno, ma tiene grandemente dello aere <lb/>& dell'acqua, non è fragile, ma &longs;i puo riuolgere per ogni uer&longs;o con grande utilità. </s>
<s>Et pe <lb/>rò i Greci, che di quella materia fanno i gioghi de i buoi, perche Zygia chiamano i gio­<lb/>ghi, &longs;ogliono chiamare quella materia Zygia. </s>
<s>nè meno è marauiglio&longs;a la natura del Ci­<lb/>pre&longs;&longs;o, & del Pino. </s>
<s>perche hauendo que&longs;t'alberi abondanza di humore, & hauendo egua­<lb/>le mi&longs;tura de gli altri principij per la &longs;atietà dell'humore &longs;i &longs;paccano. </s>
<s>ma alla uecchiezza <lb/>&longs;enza difetto &longs;i con&longs;eruano. </s>
<s>perche il liquore, che è dentro a que corpi, è di amaro gu&longs;to, <lb/>che per l'agrezza non la&longs;cia penetrare il tarlo, ouero altri nociui animaletti. </s>
<s>Et però le <lb/>opere fatte di que&longs;te &longs;orti d'alberi durano &longs;empre, & co&longs;i il Cedro, & il Ginepro hanno <lb/>le i&longs;te&longs;&longs;e uirtù. </s>
<s>& &longs;i come dal Cipre&longs;&longs;o, & dal Pino, uiene la re&longs;ina, che noi Ra&longs;a chiama­<lb/>mo, co&longs;i dal Cedro uiene l'oglio detto Cedrino. <!-- KEEP S--></s>
<s>del quale quando &longs;ono onte le altre co&longs;e <lb/>come anche i libri, non &longs;enteno tarli, nè tarme. </s>
<s>Gli alberi di quelli &longs;ono &longs;imili alla foglia­<lb/>tura del Cipre&longs;&longs;o, & di quella materia la uena, & dritta. </s>
<s>Nel tempio di Efe&longs;o ui è il &longs;imu­<lb/>lacro di Diana, & anche la trauatura di Cedro; nè iui &longs;olamente, ma ne gli altri luoghi &longs;a­<lb/>cri nobili, &longs;ono le opere di quella materia, per la &longs;ua eternità. </s>
<s>Na&longs;ceno que&longs;ti alberi ma&longs; <lb/>&longs;imamente in Candia, in Africa, & in alcune parti della Soria. <!-- KEEP S--></s>
<s>Ma il Larice, che non è co <lb/>no&longs;ciuto, &longs;e non da gli habitanti d'intorno la riua del pò, & i liti del mare Adriano, non <lb/>&longs;olamente per la grande amarezza del &longs;ugo dal tarlo, & dalli caroli non è offe&longs;o, ma ancho <lb/>ra non riceue la &longs;iamma dal fuoco, nè e&longs;&longs;o da &longs;e non puo ardere, &longs;enon come il &longs;a&longs;&longs;o nella <lb/>fornace, a cuocer la calce, con altri legni &longs;arà abbruciato. </s>
<s>nè allhora però riceue fiam­<lb/>ma, o fa carbone, ma per lungo &longs;patio a pena &longs;i con&longs;uma. </s>
<s>perche tra i principij, de i quali, <lb/>è compo&longs;to, ha pochi&longs;sima tempra di fuoco, & di acre, ma la materia &longs;ua di humore, & <lb/>di terra i&longs;pe&longs;sita, & ra&longs;&longs;odata, & non ha<gap/>úendo poro&longs;ità, per la quale il fuoco ui po&longs;&longs;a en­<lb/>trare &longs;caccia la forza di quello, nè &longs;i la&longs;cia co&longs;i pre&longs;to da quello offendere. </s>
<s>Que&longs;ta per lo <lb/>pe&longs;o &longs;uo, non è &longs;o&longs;tenuta nell acqua, ma quando è condotta, &longs;i pone o nelle barche, o &longs;o­<lb/>pra le Zatte di abete. </s>
<s>Ma l'occa&longs;ione porta, che &longs;i &longs;appia come que&longs;ta materia è &longs;tata ritro <lb/>uata, Diuo Ce&longs;are hauendo lo e&longs;&longs;ercito cerca le alpi, & hauendo comandato a gli habitato <pb pagenum="92"/>ri di quelle ca&longs;tella & terre, che gli de&longs;&longs;ero uettouaglie, & e&longs;&longs;endo iui un forte ca&longs;tello det <lb/>to Laregno, quel li che dentro erano confidando&longs;i nella fortezza naturale del luogo, non <lb/>uolleno ubidire; per il che l'Imperatore &longs;i &longs;pin&longs;e auanti con lo e&longs;&longs;ercito. </s>
<s>Era dinanzi la por <lb/>ta una torre fatta di que&longs;ta materia con traui trauer&longs;i alternamente raddoppiati, come una <lb/>pira in alto compo&longs;ta, in modo, che con pali, & pietre poteua &longs;cacciare chi har e&longs;&longs;e uolu­<lb/>to auuicinar&longs;i. </s>
<s>uedendo&longs;i poi, che quelli non haueuano altre armi, che pali, & che per lo <lb/>pe&longs;o di quelli non poteuano tirarli troppo lontani, fu comandato, che ui mette&longs;&longs;ero &longs;ot­<lb/>to le fa&longs;cine, & che &longs;e le de&longs;&longs;e il fuoco, Et co&longs;i pre&longs;to i &longs;oldati ne fecero una gran raunan­<lb/>za. </s>
<s>Dapoi che la fiamma d'intorno a quella materia hebbe appre&longs;e le fa&longs;cine, leuata&longs;i al cie <lb/>lo fece credere, che tutta quella mole fu&longs;&longs;e caduta a terra. </s>
<s>Ma poi, che quella da &longs;e fu <lb/>e&longs;tinta, & ce&longs;&longs;ata, &longs;i uide la torre non e&longs;&longs;er &longs;tata tocca dal fuoco, ammirando&longs;i Ce&longs;are co­<lb/>mandò, che lontani dalli tiri delle &longs;aette circonda&longs;&longs;ero il ca&longs;tello di trincere, per il che i ca <lb/>&longs;tellani con&longs;tretti dalla paura &longs;i diedero all'Imperatore, il quale poi gli dimandò di che fu&longs;­<lb/>&longs;ero quelle legna, che per la fiamma non &longs;i con&longs;umauano. </s>
<s>Allhora quelli gli dimo&longs;traro­<lb/>no quegli alberi, de i quali iui è copia grandi&longs;sima, & per que&longs;to quella fortezza, & que­<lb/>&longs;ta materia fu nominata laregna. </s>
<s>Que&longs;ta per lo Pò &longs;i conduce a Rauenna nella colonia di <lb/>Fano, di Pe&longs;aro, & d'Ancona, & in altri luoghi & terre, che &longs;ono in quella regione. </s>
<s>Del <lb/>la qual materia &longs;e fu&longs;&longs;e commodità di condurne a Roma, &longs;i cauariano grandi&longs;sime utilità <lb/>ne gli edi<gap/>icij, & &longs;e non in tutte le co&longs;e, almeno le tauole &longs;otto le grondi d'intorno l'i&longs;ole <lb/>{<emph type="italics"/>cioè ca&longs;e di priuate per&longs;one<emph.end type="italics"/>} (per e&longs;&longs;er tutte le ca&longs;e &longs;eparate l'una dall'altra) &longs;e fu&longs;&longs;ero po&longs;te <lb/>di quella materia &longs;ariano liberate di pericolo del trapa&longs;are de gli incendij, perche que&longs;ti <lb/>legni non riceueno, nè fiamma, nè carbone, & da &longs;e non ne po&longs;&longs;ono fare. </s>
<s>Sono que&longs;ti albe <lb/>ri di foglie &longs;imiglianti al Pino, la loro materia è di&longs;te&longs;a, & trattabile per lauori di legnami <lb/>non meno della Sappinea detta di &longs;opra, tiene liquida ra&longs;a di colore del mele attico, laqua­<lb/>le è di giouamento a i pti&longs;ici. </s>
<s>Io ho detto di tutte le &longs;orti di materia, di che proprietà &longs;ia­<lb/>no per natura, & ho e&longs;po&longs;to con che ragioni &longs;i generano. </s>
<s>&longs;eguita che egli &longs;i auuerti&longs;ca per <lb/>che cau&longs;a quello Abete, che in Roma &longs;i chiama &longs;opernate, &longs;ia peggiore dello Infernate, <lb/>il quale utilmente dura per lunghi&longs;simo tempo nelle fabriche. </s>
<s>Et di que&longs;te co&longs;e, come <lb/>pare, che habbiano dalla proprietà de i luoghi bontà, o uitio, accioche manife&longs;te &longs;iano, a <lb/>chi ui uorrà pen&longs;are, chiaramente e&longs;ponerò. </s></p><p type="main">
<s><emph type="italics"/>Vitruuio ci ha in&longs;egnato quantto appartiene alla materia (che co&longs;i egli &longs;i chiama il legname) <lb/>il tempo di tagliar gli alberi, la ragione, il modo di tagliarli, la natura, & u&longs;o loro. </s>
<s>ha detto <lb/>dell'Abete, del Larice, & del Cedro co&longs;e degne, di auuertimento, & ha dc&longs;critto alcuni alberi, <lb/>conchiudendo chiaramente, quanto egli fin hora ha e&longs;po&longs;to, Noi &longs;imilmente poneremo tutta la <lb/>pre&longs;ente materia &longs;otto un'a&longs;petto, &longs;econdo che letto hauemo ne buoni auttori. </s>
<s>Nel legname adun <lb/>que &longs;i con&longs;idera il tempo, & il modo di tagliarlo, la natura, l'u&longs;o, & la comparatione delle par­<lb/>ti, & del tutto. </s>
<s>Secondo Theofra&longs;to il Rouere, il Pezzo, il Pino &longs;i deono tagliare quando le <lb/>piante sbroccano. </s>
<s>Ma l'Acero, l'Olmo, la Tiglia, & il Fra&longs;&longs;ino dopo la uindemia. </s>
<s>Vitru.
uuole <lb/>che &longs;i taglino dal principio dall'Autunno fin auanti, che cominci à &longs;pirare il uento zefiro: Colu­<lb/>mella da i uenti fin' a i trenta della Luna, che inuecchia; Vegetio dalla quintadecima fin' alla ui­<lb/>ge&longs;ima &longs;econda. </s>
<s>He&longs;iodo quando cadeno le foglie. </s>
<s>Catone il Rouere al Solestitio, & quella ma­<lb/>teria, che ha del maturo, & del uerde, quando le cade il &longs;eme. </s>
<s>L'olmo quando cadeno le foglie. </s>
<s><lb/>Plinio na&longs;cendo il cane nel far della Luna. <!-- KEEP S--></s>
<s>& è o&longs;&longs;eruatiene A&longs;tronomica, percioche per la for­<lb/>za della Luna egli &longs;i commoue ogni humore. </s>
<s>Tirando adunque la Luna l'humore alle radici il re­<lb/>&longs;tante della materia &longs;arà piu puro, & piu purgato. </s>
<s>Perche Plinio uuole che s'a&longs;petti la notte, <lb/>che &longs;uccede al giorno, che fa la Luna, quando e&longs;&longs;a Luna &longs;arà &longs;otterra. </s>
<s>Tutti questi auttori han­<lb/>no le loro ragioni; benche la maggior parte conuenga. </s>
<s>Non &longs;i deono u&longs;are i legnami &longs;e non pa&longs;­<lb/>&longs;ati i tre me&longs;i, nè tirargli per la rugiada, anzi dopo il mezo giorno, cominciando la Luna a &longs;ce-<emph.end type="italics"/><pb pagenum="93"/><emph type="italics"/>mare, deon&longs;i tagliare alquanto d'intorno per la&longs;ciare u&longs;cire l'humore: & poi tagliati di tu tto <lb/>&longs;corzarli: è &longs;pecialmente quelli, che fanno frutto. </s>
<s>nè &longs;i deono tagliare &longs;e non &longs;atto il frutto. </s>
<s>Ri­<lb/>poni gli alberi tagliati doue nè il gran Sole, nè i uenti gli diano. </s>
<s>alcuni &longs;iano unti di &longs;terco boui­<lb/>no, accioche &longs;i &longs;ecchino egualmente. </s>
<s>La Castagna &longs;i purga nell'acqua del mare, la materia, che <lb/>&longs;i adopera al torno, &longs;i &longs;ommerge nell'acque, & nel fango per trent a giorni; altri ugneno la ma­<lb/>teria di morchia per li tarli, & quella, che per l'acqua &longs;i gua&longs;ta, &longs;i &longs;uole impegolare. </s>
<s>La mate­<lb/>ria inuecchiata d'allume bagnata non arde. </s>
<s>La natura, & u&longs;o de legnami è que&longs;ta. </s>
<s>L'Alno <lb/>è buono grandemente alle palificate, ne i paludi, & luoghi &longs;tuuiali, ma all'aere non dura. </s>
<s>L'E&longs;cu­<lb/>lo, che è una &longs;pecie di Rouere, è impatiente dell'humore. </s>
<s>L'Olmo allo &longs;coperto &longs;i conden&longs;a, ma <lb/>altroue &longs;i &longs;pacca, & la &longs;ua radice è belli&longs;&longs;ima fra tutti i legni per la uarietà de i colori, & per <lb/>un certo lu&longs;tro. </s>
<s>Dapoi la radice dell'Oliuo è belli&longs;&longs;ima. </s>
<s>il Pezzo, & il Pino durano &longs;otterra <lb/>eternamente. </s>
<s>Il Rouere per e&longs;&longs;er &longs;pe&longs;&longs;o, neruo&longs;o, di pochi fori, è ottimo alle opere terrene, per­<lb/>che non riceue l'humore, & &longs;o&longs;tenta i pe&longs;i mirabilmente. </s>
<s>La Quercia non inuecchia. </s>
<s>Il Fag­<lb/>gio, la Iuglande non &longs;i gua&longs;tano per l'acque. </s>
<s>Il Souero, il Pina&longs;tro, il Moro, l'Acero, l'Olmo non <lb/>&longs;ono inutili all'u&longs;o delle colonne. </s>
<s>Ma alli ta&longs;&longs;elli, & u&longs;o delle trauature la Noce Euboica, ma <lb/>&longs;opra'l tutto l'Abete; alquale però di leggieri &longs;i attacca il fuoco, nel re&longs;to è utili&longs;&longs;imo, nè gli ce­<lb/>de il Cipre<02>o. <!-- KEEP S--></s>
<s>que&longs;ti non &longs;ente uecchiezza, nè tarli, nè da &longs;e &longs;i rompe, bene è uero che pe&longs;a mol­<lb/>to, & è buono per far porte. </s>
<s>Na&longs;ce & cre&longs;ce dritti&longs;&longs;imo per natura &longs;opra tutti gli altri alberi. </s>
<s><lb/>Il Pino &longs;i tarla, perche il &longs;uo liquore è piu dolce che quello dell'Abete. </s>
<s>Il Larice è buono per li <lb/>pe&longs;i, & per li trauamenti. </s>
<s>dura, & è neruo&longs;o, & non &longs;i tarla, pare che delle fiamme &longs;i &longs;degni; <lb/>pure uediamo che egli arde. </s>
<s>uero è che un tronco gro&longs;&longs;o di quello con la &longs;corza molto re&longs;i&longs;te al fuo <lb/>co. </s>
<s>L'Oliuo, il Fico, la Tiglia, il Salice non &longs;ono buoni per le trauamenta. </s>
<s>La Palma &longs;i uolge <lb/>contra il pe&longs;o. </s>
<s>il Ginepro è propo&longs;to alle trauature &longs;coperte, a cui &longs;imile (benche piu &longs;odo) è di <lb/>natura il Cedro, del quale Vinitiani hanno fatto belli&longs;&longs;ime porte alle &longs;ale delle arme. </s>
<s>è legno odo­<lb/>rati&longs;&longs;imo. </s>
<s>Il Cerro, & il Faggio non durano a i lauori di legnami, come &longs;ono letti, men&longs;e, tauole. </s>
<s><lb/>L'Abete, il Cipre&longs;&longs;o, il Faggio, & anche il Pezzo, benche &longs;iano fragili, però &longs;ono bnoni per <lb/>ca&longs;&longs;e, letti, & a&longs;&longs;i &longs;ottili. </s>
<s>&longs;imili a que&longs;ti è l'Elice. </s>
<s>inutili &longs;ono la Iuglande, l'Olmo, & il Fra&longs;&longs;i­<lb/>no: percioche la Iuglande fatta in tauole facilmente &longs;i rompe, & gli altri alberi cedeno, & pun­<lb/>teggiano. </s>
<s>Ma lo Fra&longs;&longs;ino è ubidienti<02>imo all'opera, & co&longs;i la Noce. </s>
<s>benche gli antichi nonne <lb/>habbiano fatto molta con&longs;ideratione: è però a giorni nostri molto &longs;timata, & adoperata in mol­<lb/>ti, & &longs;ottili&longs;&longs;imi lauori, & di piu &longs;orti. </s>
<s>Il Moro è lodato perche col tempo &longs;i fa piu nero, & du­<lb/>ra molto. </s>
<s>L'Olmo è buono a i cardini delle porte: perche &longs;erua il rigore, ma la radice deue e<02>er <lb/>posta di &longs;opra. </s>
<s>dello Acquifoglio &longs;i fanno le &longs;tange, & co&longs;i di Lauro, & d'Olmo. </s>
<s>i gradi &longs;i fan­<lb/>no di Orno, & di Lauro: & le chiauette di Corno. <!-- KEEP S--></s>
<s>per cannoni d'acque coperti fanno bene il Pi­<lb/>no, & il Pezzo. </s>
<s>Larice femina di colore &longs;imile al mele, è buona per adornar le ca&longs;e, e&longs;&longs;endo <lb/>&longs;tato auuertito, che nelle tauole de i pittori è immortale. </s>
<s>& però è buona per le &longs;tatue, perche <lb/>non ha i nerui &longs;te&longs;i per lungo, ma interrotti, uarij, & minuti. </s>
<s>V&longs;auano gli antichi il Loto, il <lb/>Bo&longs;&longs;o, il Cedro, il Cipre&longs;&longs;o, & la radice dell'Oliuo piu &longs;oda, & il Per&longs;ico Egittio per farne le <lb/>&longs;tatue. </s>
<s>ma per fare le tauole da dipignere u&longs;auano gli antichi il bianco, & il nero Poppio. </s>
<s>La <lb/>Salce, il Carpene, il Sorbo, il Sambuco, il Fico. </s>
<s>Lodano alcuni la Giuggiola, & per lo torno il <lb/>Faggio, il Moro, il Terebinto, & &longs;pecialmente il Bo&longs;&longs;o, & l'Ebano. </s>
<s>Il Rouero difficilmente <lb/><gap/>accompagna con altri alberi, & rifiuta la colla, come fanno tutti gli alberi lacrimanti, & cre&longs;­<lb/><gap/>, & ogni legno, che &longs;i puo radere. </s>
<s>Non &longs;tanno in&longs;ieme gli alberi, che &longs;ono di natura differen­<lb/><gap/>, come l'Edera, il Lauro, la Tiglia per e&longs;&longs;er calidi, con i nati in luoghi bumidi. </s>
<s>Similmente <lb/>non &longs;tanno lungamente in colla l'E&longs;culo, & la Quercia, nè &longs;i deono accompagnare l'Olmo, il <lb/>Fra&longs;&longs;ino, il Moro, il Cireggio con il Platano, & l'Alno, perche que&longs;ti &longs;ono di natura humida, <lb/>quelli di &longs;ecca. </s>
<s>Gli alberi &longs;i &longs;ogliono comparare, & quanto al tutto, & quanto alle parti: quan­<lb/>to al tutto gli infecondi &longs;ono piu fermi de i fruttuo&longs;i: i &longs;eluatichi nè con mano, nè con ferro colti<emph.end type="italics"/><pb pagenum="94"/><emph type="italics"/>piu duri. </s>
<s>Gli acuti, & tardiui tra i fruttuo&longs;i piu forti. </s>
<s>De i dolci piu cre&longs;ceno gli &longs;terili, chei <lb/>fertili. </s>
<s>Piu nodo&longs;i gli sterili del tutto, o quelli, che a uicenda fruttano, che i feraci. </s>
<s>Tra i no­<lb/>do&longs;i i corti &longs;ono piu difficili. </s>
<s>Sono piu nodo&longs;i quelli, che nodriti &longs;ono in conualli, & piu corti de i <lb/>montani. </s>
<s>Ma i montani piu fer<gap/>mi, & piu gro&longs;&longs;i. </s>
<s>Sono piu molli i na&longs;ciuti in luoghi humidi, & <lb/>ombro&longs;i de gli aprichi. </s>
<s>I legni di color bianco &longs;ono manco den&longs;i, & piu trattabili. </s>
<s>Ogni ma­<lb/>teria pondero&longs;a della liggiera, è piu &longs;pe&longs;&longs;a, & piu dura, & quella è piu fragile. </s>
<s>finalmente quel­<lb/>li, che piu &longs;i con&longs;eruano in uita, durano anche tagliati piu lungamente de gli altri. </s>
<s>Hora quan­<lb/>to alla comparatione delle parti, che quanto meno ui è di midolla tanto piu ui è di fortezza: Le <lb/>parti piu uicine alla midolla &longs;ono piu forti, & le piu uicine alla &longs;corza, &longs;ono piu tenaci, & la <lb/>peggiore è l'Alburno. </s>
<s>Le piu uicine alla terra &longs;ono piu pondero&longs;e, le di mezo &longs;ono piu cre&longs;pe, le <lb/>interiori piu commode, le e&longs;po&longs;te al mezo di piu &longs;ecche, & &longs;ottili, & hanno la midolla piu ui­<lb/>cina al cortice. </s>
<s>In fine molte co&longs;e re&longs;tarebbeno a dire, ma que&longs;te uoglio che &longs;iano a bastanza. </s>
<s>Il <lb/>re&longs;to &longs;i troua raccolto con grandi&longs;&longs;ima diligenza da Leon Batti&longs;ta. <!-- REMOVE S-->nel &longs;econdo libro, & di Pli­<lb/>nio nel &longs;e&longs;to decimo, & in Theofra&longs;to. </s>
<s>Ma quello che è degno in Vitru.
di auuertimento, è la <lb/>doue egli dice dello Abete, Quadrifluuijs di&longs;paratur: non che Vitr.
non habbia bene interpretato. <lb/></s>
<s>& &longs;imilmente Plinio quando dice, Quæ habeant quadripartitos uenarum cur&longs;us, bifidos autem <lb/>omnino &longs;implices. </s>
<s>ma perche Theofra&longs;to dice dizous, monozous, tetrazous. </s>
<s>Parole tradotte <lb/>da Theodoro Gaza, Quadriuiuas, biniuiuas, & uniuiuas: come dice Hermolao Barbaro. <!-- KEEP S--></s>
<s>lequa­<lb/>li parole, & nel Greco, & nel Latino non danno bene ad'intendere quello, che è in fatto. </s>
<s>dico di <lb/>Theofra&longs;to, & di Theodoro, &longs;e for&longs;e Theofra&longs;to non uuole dire monorous, & dirous, & tetra­<lb/>rous; il che non ardirei di porre; perche egli &longs;i uede alcuni Abeti tagliati a trauer&longs;o hauere un <lb/>cor&longs;o di uene, che uanno per un uer&longs;o, & alcuni hauerne due, che uno caualca l'altro, come &longs;e <lb/>le dita d'una mano attrauer&longs;a&longs;&longs;ero le dita dell'altra; & alcuni hauerne quattro po&longs;ti in modi di <lb/>craticula o di rete; come chi pone&longs;&longs;e le dita d'una mano attrauer&longs;ate &longs;opra le dita dell'altra, & <lb/>&longs;opra quelle anche altre, fin' a quattr'ordini. </s>
<s>Egli &longs;i ha o&longs;&longs;eruato, che lo Abete cre&longs;cendo d'an­<lb/>no in anno, ne i primi anni accre&longs;ce il numero delle uene, & da un &longs;implice ordine di uene, che di­<lb/>mo&longs;tra il primo anno ne fa un'altro attrauer&longs;ato &longs;opra quelle il &longs;eguente anno, & co&longs;i moltiplica <lb/>fino al quarto anno: & que&longs;ta credo &longs;ia l'intelligenza de gli allegati auttori.<emph.end type="italics"/></s></p><p type="head">
<s><emph type="italics"/>Dello abete &longs;opernate, & internate con la de&longs;crittione <lb/>dell'Apennino. </s>
<s>Cap. X.<emph.end type="italics"/><!-- KEEP S--></s>
</p><p type="main">
<s>NASCENO le prime radici del monte Apennino dal mar Tirreno in fino <lb/>all'Alpi, & all'e&longs;treme parti di To&longs;cana; ma il giogo di quel monte giran <lb/>do&longs;i, & con meza uolta appre&longs;&longs;and o&longs;i alle riue del mar Adriano, peruiene <lb/>con i &longs;uoi giri uer&longs;o il mare, la onde la &longs;ua piegatura di qua, che riguarda <lb/>alle parti di To&longs;cana, & di Campagna, è molto aprica, & fiorita, perche del conti­<lb/>nuo prende uigore dal cor&longs;o del Sole. <!-- KEEP S--></s>
<s>ma la parte di là, & che uolta al mar di &longs;opra <lb/>&longs;ottogiace al Settentrione, è perpetuamente & fo&longs;ca, & ombro&longs;a. </s>
<s>doue gli alberi, che <lb/>&longs;ono in quella patte e&longs;&longs;endo nodriti di uirtu humida, non &longs;olo cre&longs;cono in i&longs;mi&longs;urata <lb/>grandezza: ma anche le lor uene pregnanti di grande humidità tumide, & gonfie &longs;i &longs;atiano <lb/>dell'abondanza del liquore: ma poi quando tagliate, & i&longs;pianate hanno perduto il uigo <lb/>re naturale cangiando col &longs;eccar&longs;i il rigore delle uene diuentano per la loro rarità uote <lb/>& i&longs;uanite: & per que&longs;ta ragione non hanno ne gli edificij da durare. </s>
<s>Ma quelli che in <lb/>luoghi e&longs;po&longs;ti al Sole &longs;ono generati, non hauendo al cuna rarità tra le uene loro a&longs;ciut <lb/>te dal &longs;ecco &longs;i fanno piu ferme, perche il Sole non &longs;olamente dalla terra a&longs;ciugando, <lb/>ma anche da gli alberi caua l'humore. </s>
<s>& però quegli, che &longs;ono in parte e&longs;po&longs;ta al Sole <pb pagenum="95"/>a&longs;&longs;odati per la den&longs;ità delle uene, non hauendo rarità alcuna dall'humore, poi che &longs;i met­<lb/>teno in opera, piani, & politi durano con molte utilità alla uecchiezza. </s>
<s>& però quelli, <lb/>che &longs;ono dalla parte inferiore dell'Apennino, perche &longs;ono portati da luoghi aprichi, &longs;o­<lb/>no migliori di quelli, che na&longs;ceno nella parte &longs;uperiore, & uengono da luoghi opachi. </s>
<s><lb/>Io ho e&longs;po&longs;to quanto ho potuto con l'animo con&longs;iderare le copie nece&longs;&longs;arie al fabri­<lb/>care, di che tempre &longs;iano per la me&longs;colanza de i loro principij, & quali perfettioni, & <lb/>difetti habbiano, accioche manife&longs;te &longs;iano a chi intende di fabricare. </s>
<s>& però quelli, i <lb/>quali potranno &longs;eguitare le leggi di que&longs;ti precetti, &longs;arano piu auertiti, & potranno far <lb/>elettione nelle opere dell'u&longs;o di cia&longs;cuna &longs;pecie. </s>
<s>E&longs;&longs;endo&longs;i adunque detto delle prepara­<lb/>tioni della materia. </s>
<s>Re&longs;ta che ne gli altri uolumi io dica de gli edificij, & prima de i &longs;a <lb/>cri Tempij de i Dei immortali, & delle loro mi&longs;ure, & proportioni, come conuiene <lb/>all'ordine propo&longs;to. </s></p><p type="main">
<s><emph type="italics"/>Ha uoluto Vitruuio nel decimo, & ultimo capo di questo &longs;econdo libro porre la differenza <lb/>de gli alberi, che na&longs;ceno dalla parte del Sole, che aprica &longs;i chiama, da quelli che ne i <lb/>luoghi ombro&longs;i riguardano al Settentrione. <!-- KEEP S--></s>
<s>è facil co&longs;a, & confermata da Palladio nell'unde­<lb/>cimo libro al quinto decimo Capo, & da Plinio nel &longs;e&longs;todecimo libro, al trente&longs;imonono Capo. <!-- KEEP S--></s>
<s><lb/>Et qui &longs;ia fine del &longs;econdo libro.<emph.end type="italics"/></s></p><p type="head">
<s>IL TERZO LIBRO<!-- REMOVE S-->DELL'ARCHITETTVRA DI <lb/>M. VITRVVIO.<!-- KEEP S--></s></p><p type="main">
<s>IL Delfico Apollo nelle ripo&longs;te date a Pithia affermò Socrate e&longs;&longs;er di tut­<lb/>ti gli huomini &longs;apienti&longs;simo. </s>
<s>Que&longs;ti (&longs;i dice) che con prudenza & dot­<lb/>ti&longs;simamente dice&longs;&longs;e, che bi&longs;ognaua, che i petti de gli huomini fu&longs;&longs;ero <lb/>come fine&longs;tre, & aperti, affine, che haue&longs;&longs;ero i &longs;en&longs;i non occulti, ma pa <lb/>le&longs;i da e&longs;&longs;er con&longs;iderati. </s>
<s>Vole&longs;&longs;e Iddio, che la natura &longs;eguitando la o­<lb/>pinione di Socrate fatto haue&longs;&longs;e i petti apparenti, & chiari: perche &longs;e co <lb/>&longs;i fu&longs;&longs;e &longs;tato non &longs;olamente le uirtu & i uitij de gli animi &longs;i uederiano: ma anche le &longs;cien­<lb/>ze delle di&longs;cipline a gli occhi &longs;ottopo&longs;te con certo giudicio s'approueriano, & a gli eru­<lb/>diti, & intendenti huomini grande, & &longs;tabile riputatione s'accre&longs;cerebbe, & però, perche <lb/>la natura non a modo d'altri, ma al &longs;uo co&longs;i fare ha uoluto, non puo e&longs;&longs;ere, che gli huomi <lb/>ni con gli ingegni &longs;otto i petti o&longs;curati habbiano potuto giudicare come &longs;ono le &longs;cienze <lb/>de gli artificij del tutto a&longs;co&longs;e, & gli artefici anchora che promettino la loro prudenza, &longs;e <lb/>non &longs;aranno dinaro&longs;i, ouero &longs;e non &longs;aranno &longs;tati cono&longs;ciuti per la uecchiezza delle loro <lb/>officine, o non haueranno hauuto gratia, & eloquenza da piazza, non po&longs;&longs;ono per la in­<lb/>du&longs;tria de gli &longs;tudi loro hauere tanto di credito, che creduto lor &longs;ia quello, di che fanno <lb/>profe&longs;sione. </s>
<s>& que&longs;to &longs;i può &longs;pecialmente cono&longs;cere da gli antichi &longs;tatuari, & pittori, <lb/>che di quelli, coloro che hanno hauuto i &longs;egni di dignità, & la gratia di e&longs;&longs;er commenda <lb/>ti, con eterna memoria &longs;i mantengono alla po&longs;terità. </s>
<s>Come fu Mirone, Policleto, Phi <lb/>dia, Li&longs;ippo, & gli altri, che hanno con l'arte loro con&longs;eguita la nobiltà. </s>
<s>perche come <lb/>alle gran Città, ouero a i Re, ouero a nobili huomini fatti hanno opere, & fabriche, co­<lb/>&longs;i hanno ottenuto quello, che io ho detto. </s>
<s>Ma quei, che nè di manco &longs;tudio, & ingegno, <lb/>& &longs;olertia &longs;tati &longs;ono, nè manco belle opere hanno la&longs;ciato a gli ignobili cittadini, & di mi<lb/>nor fortuna, non hanno la&longs;ciato ricordo di loro alcuno: perche non dalla indu&longs;tria, & <pb pagenum="96"/>&longs;olertia dell'arte, ma dalla felicità &longs;ono &longs;tati abbandonati: come fu Hellas Athenie&longs;e, <lb/>Chione Corinthio, Miagro Phoce&longs;e, Pharace Ephe&longs;io, Bedas Bizantio, & molti altri. </s>
<s><lb/>Similmente i pittori come Ari&longs;tomene Tha&longs;io, Policle, & Atramitino, Nicomaco, & <lb/>gli altri, a i quali, nè indu&longs;tria, nè &longs;tudio dell'arte, nè &longs;olertia mancò, ma ouero la poca <lb/>robba, o la debil fortuna, o l'e&longs;&longs;er &longs;uperati nella ambitione delle concorrenze da gli auer <lb/>&longs;arij, po&longs;e o&longs;taculo alla dignità loro. </s>
<s>Nè però egli è da marauigliar&longs;i, &longs;e per l'ignoranza <lb/>dell'Arte &longs;i o&longs;curano le uirtu: ma bene l'huomo &longs;i deue grandemente sdegnare, quando <lb/>&longs;pe&longs;&longs;o la gratia de i conuiti lu&longs;ingheuolmente, co&longs;i da i ueri giudicij alla fal&longs;a approbatio <lb/>ne conduca. </s>
<s>Et però &longs;e (come piacque a Socrate) i &longs;en&longs;i, & le opinioni, & le &longs;cienze cre­<lb/>&longs;ciute dalle di&longs;cipline, fu&longs;&longs;ero &longs;tate chiare, & manife&longs;te, non ualerebbe la gratia, non <lb/>l'ambitione: ma &longs;e ci fu&longs;&longs;e, chi con uere, & certe fatiche impiegate nello imparare le dot <lb/>trine, giunto fu&longs;&longs;e al colmo della &longs;cienza, a que&longs;to &longs;i darebbe uolentieri i lauori nelle ma <lb/>ni: ma perche quelle non &longs;ono illu&longs;tri, & apparenti, nello a&longs;petto, (come pen&longs;amo che <lb/>bi&longs;ognaua) & io uedo, che piu pre&longs;to gli indotti, che i dotti auanzano di gratia: non i&longs;ti­<lb/>mando io, che buono &longs;ia il cotendere con gli ignoranti di ambitione: piu pre&longs;to con <lb/>que&longs;ti precetti dimo&longs;trerò la uirtu della &longs;cienza no&longs;tra. </s>
<s>Nel primo libro adunque, ò Impe <lb/>ratore, ti ho e&longs;po&longs;to dell'Arte, & che potere ella habbia, & di che di&longs;cipline faccia bi&longs;o­<lb/>gno, che l'Architetto &longs;ia ornato; & &longs;oggiun&longs;i le cagioni, perche co&longs;i bi&longs;ognaua, che <lb/>egli ammae&longs;trato fo&longs;&longs;e, & diui&longs;i in &longs;omma le ragioni della Architettura, & diui&longs;e poi, io <lb/>I'ho diffinite: & oltra que&longs;to di&longs;correndo, ho dimo&longs;trato quello, che era prima, & ne­<lb/>ce&longs;&longs;ario delle mura, come fare &longs;i debbia la elettione de i luoghi &longs;ani: & ho dimo&longs;trato <lb/>con de&longs;crittioni di linee, quanti, & quali, & da che parte &longs;pirino i uenti: & ho in&longs;egnato <lb/>di fare i giu&longs;ti compartimenti delle piazze, & de i borghi dentro le mura, & con que&longs;to <lb/>io ho po&longs;to fine al primo uolume. </s>
<s>Nel &longs;econdo anche io ho fornito di trattare della ma­<lb/>teria, che utilità &longs;i habbia da quella ne gli edificij, & che uirtu le dia la natura. </s>
<s>Hora nel <lb/>terzo io dirò delle &longs;acre ca&longs;e de gli Dei immortali, & e&longs;ponerò in che modo e&longs;&longs;er deo­<lb/>no di&longs;egnate. </s></p><p type="main">
<s><emph type="italics"/>Detto ha Vitruuio nel primo libro al terzo Capo, che tre &longs;ono'le parti dell'Architettura, una <lb/>delle quali era la edificatione: detto ha &longs;imilmente, che la edificatione era in due parti diui&longs;a, <lb/>una delle quali apparteneua alla fabrica delle opere communi, & publiche, l'altra cra po&longs;ta nel <lb/>le fabriche priuate. </s>
<s>Ha uoluto, che le distributioni delle opere publiche fu&longs;&longs;ero di tre maniere, <lb/>l'una pertinente alla dife&longs;a, l'altra alla religione, la terza alla opportunità. </s>
<s>nel mede&longs;imo libro <lb/>ha fornito quanto s'a&longs;pettaua alla dife&longs;a. </s>
<s>Doueua egli poi trattare delle fabriche pertinenti alla re <lb/>ligione, ma parendogli molto nece&longs;&longs;ario e&longs;ponere & la materia, & il modo per ponere in&longs;ieme la <lb/>materia (&longs;econdo che egli ha detto) diede &longs;oggetto al &longs;econdo libro, nel quale chiaramente ha trat <lb/>tato della materia piu nece&longs;&longs;aria alle fabriche: e&longs;pon<gap/>do la natura, l'u&longs;o, & le ragioni di quella; pe <lb/>rò hauendo&longs;i sbrigato da quella, ritorna hora alla di&longs;tributione delle fabriche pertinenti alla Re <lb/>ligione; & tratta de i &longs;acri tempij nel terzo, & nel quarto, abbracciando tutto il corpo della <lb/>pre&longs;ente materia. </s>
<s>per il che &longs;i puo dire, che qui comincia tutto il bello, che di mano, & d'inge­<lb/>gno s'a&longs;petta dallo Architetto. <!-- KEEP S--></s>
<s>Qui l'ordine ha luogo, qui la di&longs;po&longs;itione di&longs;egna, qui la &longs;imme­<lb/>tria, & il decoro, & la gratia fanno proua, qui &longs;i &longs;ente la utilità della di&longs;tributione. </s>
<s>nelle <lb/>quali co&longs;e il ualore dello Architetto, la forza dell'arte, l'acutezza dello ingegno riluce. </s>
<s>Onde <lb/>egli &longs;i puo dire col gran poeta.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>O Mu&longs;e, o alto ingegno hor m'aiutate.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>O mente, che &longs;criuesti ciò, ch'io uidi,<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Qui &longs;i parrà la tua nobilitate.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Et ueramente, è degna con&longs;ideratione quella, che &longs;i farà &longs;opra la pre&longs;ente materia, & molto <lb/>gentilmente è ftato auuertito da Vitru.
imperoche &longs;apendo egli la grande importanza della co-<emph.end type="italics"/><pb pagenum="97"/><emph type="italics"/>&longs;a, & che infinita è la &longs;chiera de gli &longs;ciocchi, &longs;i ha mo&longs;&longs;o a de&longs;iderar quello, che di&longs;ideraua So <lb/>crate, che haue&longs;&longs;e l'huomo, cioè che egli haue<02>e una fine&longs;trella nel petto, accioche dentro &longs;i ue­<lb/>de&longs;&longs;e la &longs;cienza, l' Arte, il bene, & il male, che dentro ui fu&longs;&longs;e. </s>
<s>Perche la Gratia, il fanore, la <lb/>fortuna luogo darebbeno, quando il perito, & intelligente con lo imperito & ignorante di pari <lb/>ueni&longs;&longs;ero al giudicio delle genti. </s>
<s>&longs;arebbe la Virtù di piu &longs;tima, & l' Arroganza cederebbe alla mo­<lb/>de&longs;tia. </s>
<s>Credo io che Vitr.
haue&longs;&longs;e bello, & alto pen&longs;iero, uiuo, & &longs;oaue gu&longs;to delle ragioni del­<lb/>l' Architettura, onde in &longs;e &longs;te&longs;&longs;o godendone, di&longs;ideraua, che tutto'l mondo cono&longs;ce&longs;&longs;e la bellezza <lb/>della uirtù. </s>
<s>& però concorreua nella opinione di Socrate, la dignità del quale fu giudicata dalla <lb/>&longs;acerdote&longs;&longs;a Pithia per nome di Apollo e&longs;&longs;ere di &longs;apientia &longs;opra tutti gli huomini. </s>
<s>Certamente io <lb/>ho o&longs;&longs;eruato, che non &longs;enza grande cagione Vitru.
ha propo&longs;to i proemi a i &longs;uoi uolumi; perche <lb/>e&longs;&longs;endo il proemio, (come detto hauemo nel &longs;econdo libro) quello, che prima ciè propo&longs;to, & <lb/>per que&longs;to riguardando noi con maggiore attentione quello, che prima ci uiene inanzi, bello, & <lb/>conueneuole auuertimento è di proponere ne i proemij quelle co&longs;e, che noi uogliamo, che &longs;iano <lb/>grandemente con&longs;iderate, & atte&longs;e. </s>
<s>Vuole adunque Vitr. (da poi che la natura non ha fatto <lb/>a modo no&longs;tro) che almeno ciforzamo &longs;coprire con la eccellenza dell' Arte quello, che ne ipetti <lb/>no&longs;lri è rinchiu&longs;o. </s>
<s>La eccellenza adunque dell' Arte (come &longs;pe&longs;&longs;e uolte hauemo detto, & cigio­<lb/>ua di replicarlo) è po&longs;ta nella ragione, la quale Vitr.
ha po&longs;to nelle &longs;ei predette co&longs;e. </s>
<s>Que&longs;ta egli <lb/>ha chiamato di&longs;cor&longs;o, co&longs;a &longs;ignificante, & forma. </s>
<s>Però &longs;e alcuno fia, che uoglia uedere piu a <lb/>dentro, & ritrouare la uerità delle co&longs;e, io lo prego, che con benigno animo legga il &longs;otto&longs;critto <lb/>di&longs;cor&longs;o, & ritrouando quello, che egli de&longs;idera, lodi meco la bontà di Dio. <!-- KEEP S--></s>
<s>& &longs;e del tutto egli <lb/>non &longs;arà &longs;atisfatto, aggiunga lo &longs;tudio, & il fauore all' opera da me cominciata; l'uno per ritro­<lb/>uar il uero, l'altro per accettare il buon animo, del quale io mi faccio perpetuo debitore. </s>
<s>Tanta <lb/>è la forza della proportione, tanta è la nece&longs;&longs;ità, tanta è l'utilit à di e&longs;&longs;a nelle co&longs;e, che non puo <lb/>alcuno nè all'orecchie, nè a gli occhi, nè a gli altri &longs;en&longs;i recare alcuna dilettatione &longs;enza la con­<lb/>ueneuolezza, & la ri&longs;pondenza della ragione, la doue tutto quello, che diletta, o piace, non <lb/>per altro diletta & piace, &longs;e non perche tiene proportionata mi&longs;ura, & moderato temper amen­<lb/>to. </s>
<s>Non prima con diletto, & piacere nell' animo per le orecchie di&longs;cendeno le uoci, & i &longs;uoni, <lb/>che tra &longs;e non conuenghino in proportionata ragione di tempo, & di di&longs;tanza. </s>
<s>Le belle inuentio­<lb/>ni de gli huomini tanto hanno del buono, quanto piu ingenio&longs;amente &longs;ono proportionate. </s>
<s>Effi­<lb/>caci&longs;&longs;ima co&longs;a è nel comporre, & me&longs;colare le &longs;emplici medicine, la proportione, come nel fare <lb/>la Tiriaca, & il Mitridato. </s>
<s>Diuina è la forza de inumeri tra &longs;e con ragione comparati. </s>
<s>nè &longs;i puo <lb/>dire, che nella fabrica di que&longs;ta uniuer&longs;ità, che noi mondo chiamamo, & nel picciol mondo an­<lb/>chora, &longs;ia co&longs;a piu ampia, piu degna della conueneuolezza del pe&longs;o, del numero, & della mi&longs;ura, <lb/>con la quale il tempo, lo &longs;pacio, i mouimenti, le uirtù la fauella, lo artificio, la natura, il &longs;a­<lb/>pere, & ogni co&longs;a in &longs;omma diuina, & humana è compo&longs;ta, cre&longs;ciuta, & perfetta. </s>
<s>Ilche come <lb/>è uero, co&longs;inon &longs;timo io, che util &longs;ia il uolere con piu ampie indottioni prouarlo. </s>
<s>Quando adun­<lb/>que &longs;arà da noi con bello, & &longs;ottile auuedimento proui&longs;to, che tutto quello, che &longs;arà fatto da noi <lb/>&longs;ia con leragioni delle proportioni compo&longs;to: non &longs;olamente &longs;aremo giudici degni delle opere de <lb/>gli antichi, ma anchora inuentori, & operatori da noi &longs;te&longs;&longs;i di co&longs;e rare, & eccellenti. </s>
<s>& quan­<lb/>do bene Vitr.
non &longs;i troua&longs;&longs;e al mondo, potrebbe colui che ueramente intende&longs;&longs;e il ualore delle <lb/>proportioni, ritrouare innumerabili precettid' Architettura, nè per temerario &longs;arebbe hauuto, <lb/>perche in dife&longs;a &longs;ua prenderebbe la ragione. </s>
<s>la qual co&longs;a ha dato riputatione a gli artefici, com­<lb/>modo al mondo, & gloria a i Principi. </s>
<s>Volendo adunque noi trattare delle proportioni, diremo <lb/>primieramente, che co&longs;a è proportione, di&longs;tingueremo le &longs;pecie &longs;ue, & in fine comparando l'u&longs;o <lb/>di cia&longs;cuna &longs;pecie, accioche &longs;appiamo quale proportione a qual fabrica conuenga. </s>
<s>Molto am­<lb/>piamente &longs;i &longs;tende que&longs;to nome di proportione nella &longs;ua &longs;ignificatione, perche ogni conuenienza, <lb/>& &longs;imiglianza di co&longs;e uolgarmente è detta proportione, & anche nella uirtù è &longs;o&longs;tanza, nella <lb/>qualità, & altrigenerali&longs;&longs;imi capi&longs;i dice e&longs;&longs;er proportione. </s>
<s>Ma noi parlamo della uera propor-<emph.end type="italics"/><pb pagenum="98"/><emph type="italics"/>tione, che è compre&longs;a &longs;otto la quantità. </s>
<s>non che la proportione &longs;ia quantità, ma perche è propria <lb/>della quantità. </s>
<s>Trouan&longs;i due maniere di quantità, una è detta continua, come linea, &longs;operficie, <lb/>corpo, tempo, & mouimento. </s>
<s>l'altra è detta quantità partita, & di&longs;creta, o &longs;eparata, (come <lb/>uogliamo dire) come è il numero due, tre, & quattro, & lo proferire delle &longs;illabe nel formar le <lb/>parole; & le parole i&longs;te&longs;&longs;e una è &longs;eparata dall'altra. </s>
<s>Dell'una & dell'altra quantità, è proprio, <lb/>che &longs;econdo cia&longs;cuna &longs;i dica, le co&longs;e e&longs;&longs;ere eguali, o di&longs;eguali. </s>
<s>Benche que&longs;ta proprieta &longs;ia &longs;ta­<lb/>ta trasferita in molte altre co&longs;e, che non &longs;ono quantità, perche tutte le co&longs;e, delle quali &longs;i puo far <lb/>tra&longs;e alcuna comparatione, ouero &longs;ono egualitra &longs;e, & pari, ouero di&longs;eguali, & di&longs;pari. </s>
<s>Hora <lb/>io dico, che la proportione è nel num ro di quelle co&longs;e, che &longs;i riferi&longs;ceno ad altre, & lo e&longs;&longs;er &longs;uo <lb/>è tale, che non &longs;ta da &longs;e, ma ha riguardo ad altro: & perche una co&longs;a in comparatione d'un'al­<lb/>tra è o piu, o meno, o tanto: però delle proportioni altre &longs;aranno tra co&longs;e pari, & eguali, altre <lb/>tra di&longs;eguali, o maggiori, o minori, che elle &longs;iano. </s>
<s>Ma perche noi ragionamo di quella propor­<lb/>tione, che &longs;i truoua nella quantità, però dicemo, che proportione altro non è, che una terminata <lb/>habitudine, ri&longs;petto, o comparatione di due quantità compre&longs;e &longs;otto un'i&longs;te&longs;&longs;o genere. </s>
<s>come &longs;a­<lb/>rebbe due numeri, due corpi, due luoghi, due tempi, due linee, due piani. </s>
<s>percioche non &longs;i puo <lb/>dire propriamente, che la linea &longs;ia minore, o maggiore, o pari alla &longs;operficie, come egli &longs;ta be­<lb/>ne a dire; che una linea, è pari all'altra, o maggiore, o minore. </s>
<s>perche la comparatione &longs;i fa di <lb/>co&longs;e compre&longs;e &longs;otto un'i&longs;te&longs;&longs;o genere. </s>
<s>Di&longs;&longs;i, terminata, non inquanto a noi, nè in &longs;e certa, ma <lb/>tale che non puo e&longs;&longs;er altra, come &longs;i dirà dapoi. </s>
<s>I&longs;pedita adunque la diffinitione della proportione, <lb/>manif &longs;ta co&longs;a è, che ritrouando&longs;i ella nella quantità, alcuna appartenerà alle mi&longs;ure, alcuna a i <lb/>numeri, alcuna &longs;arà me&longs;colata di numeri, & di mi&longs;ure. </s>
<s>La pertinente alle mi&longs;ure, che &longs;i chia­<lb/>ma Geometrica &longs;arà nelle quantità continue, le quali tutte cadeno &longs;otto mi&longs;ura. </s>
<s>La pertinente <lb/>a numeri, che è detta Arithmetica, è nelle quantità di&longs;tinte, & &longs;eparate, come quando egli &longs;i <lb/>fa comparatione da numero, a numero. </s>
<s>La me&longs;colata di numeri, & di mi&longs;ure, che Harmoni­<lb/>ca &longs;i chiama, è quella che compara i tempi, & gli interualli delle uoci, & gliecce&longs;&longs;i, & differen­<lb/>ze delle proportioni, come &longs;i dir à nel quinto libro. </s>
<s>Hora diremo della proportione Geometrica, <lb/>la quale è quando &longs;i fa comparatione d'una co&longs;a continua all'altra, & della Arithmetica, che &longs;i <lb/>fa tra numeri. </s>
<s>uolendo adunque noiritrouare le &longs;pecie delle proportioni, bi&longs;ogna &longs;apere come &longs;ti. </s>
<s>­<lb/>no le co&longs;e tra &longs;e comparate l'una con l'altra. </s>
<s>per tanto ritrouando noi, che le co&longs;e &longs;ono tra &longs;e o <lb/>eguali, o di&longs;eguali, facendone la comparatione diremo, che la proportione &longs;arà di due maniere, <lb/>l'una quando &longs;i farà comparatione di due quantità tra loro, cioe che una non eccederà l'altra, ma <lb/>&longs;arà tanto a punto: & que&longs;ta è detta proportione di agguaglianza. </s>
<s>l'altra, quando &longs;i farà com­<lb/>paratione di due quantità di&longs;eguali, cioè che una eccederà l'altra: & &longs;arà detta proportione di <lb/>di&longs;aguaglianza. </s>
<s>& co&longs;i haueremo due &longs;orti di proportione, delle quali la prima non ha &longs;otto di &longs;e <lb/>altra &longs;pecie, perche l'agguaglianza non &longs;i puo diuidere, perche non na&longs;ce &longs;e non ad un'i&longs;te&longs;&longs;o mo­<lb/>do. </s>
<s>Ma la &longs;econda puo e&longs;&longs;ere in due modigenerali, l'uno quando &longs;i compara il piu al meno: l'al­<lb/>tro quando &longs;i compara il meno al piu. </s>
<s>il primo &longs;i dirà proportione di di&longs;agguaglianza dal mag­<lb/>giore. </s>
<s>il &longs;econdo, proportione di di&longs;agguaglianza dal minore. </s>
<s>& perche tante &longs;ono le &longs;pecie di <lb/>comparare il piu al meno, quanto quelle di comparare il meno al piu: però dichiareremo le &longs;pecie <lb/>della proportione dal maggiore, perche poi l'altre ci &longs;aranno manife&longs;te. </s>
<s>In tre modi adunque &longs;i <lb/>fa comparatione dal piu al meno, cioè in tre modi, il piu eccede il meno, dico nella &longs;emplice pro­<lb/>portione. </s>
<s>Il primo è quando il piu contienè il meno piu uolte a punto, & &longs;i chiama proportione <lb/>moltiplice, come il quattro contiene due, due fiate a punto, & non piu. </s>
<s>il noue contiene il tre, <lb/>tre fiate a punto. </s>
<s>l'altro è quando il piu contiene il meno, & di piu alcuna parte di quello, & &longs;i <lb/>chiama proportione &longs;opra particolare: percioche il piu è &longs;opra il meno di qualche parte. </s>
<s>come <lb/>quattro a tre, che quattro contiene tre nna fiata, & la &longs;ua terza parte, che è, uno. </s>
<s>il terzo mo­<lb/>do è quando il piu contiene il meno una fiata, & piu parti di quello, come cinque a tre; che cinque <lb/>contiene tre una fiata, & due parti di e&longs;&longs;o; & que&longs;ta &longs;i chiama proportione &longs;opra partiente; per-<emph.end type="italics"/><pb pagenum="99"/><emph type="italics"/>che il termine maggiore contiene il minore una fiata, & &longs;opra parti&longs;ce quello, cou la aggiunta <lb/>di piu parti. </s>
<s>Deue&longs;i però intendere di quelle parti, che non mi&longs;urano il tutto a punto. </s>
<s>& que&longs;te <lb/>&longs;ono le &longs;emplici, & uniuer&longs;ali &longs;pecie della proportione della maggiore di&longs;agguaglianza. </s>
<s>Hora <lb/>diuideremo breuemente cia&longs;cuna delle predette &longs;pecie in altre piu particolari di&longs;tintioni. </s>
<s>La mol­<lb/>tiplice adunque &longs;i diuide in que&longs;to modo. </s>
<s>&longs;e la maggior quantità contenerà due fiate, & non piu <lb/>la minore, ne na&longs;cerà la proportione che &longs;i chiama doppia, &longs;e tre tripla, &longs;i quattro quadrupla, <lb/>& co&longs;i ua in infinito. </s>
<s>quattro a due è doppia, noue a tre tripla, otto a due quadrupla. </s>
<s>La pro­<lb/>portione &longs;opraparticolare &longs;i troua in que&longs;to modo: che &longs;e il piu contiene il meno una fiata, & <lb/>meza, &longs;arà la proportione &longs;e&longs;quialtera; come &longs;ei a quattro; perche &longs;ei contiene quattro intiera­<lb/>mente, & di piu la metà, che &longs;on due. </s>
<s>&longs;e contenerà il terzo oltra il tutto &longs;arà, la proportione &longs;e&longs;­<lb/>quiterza, come quattro a tre, otto a &longs;ei: &longs;e un quarto &longs;e&longs;quiquarta, come dieci ad otto: &longs;e un quinto <lb/>fe&longs;quiquinta, & co&longs;i ua &longs;eguitando in infinito. </s>
<s>& &longs;e uorremo hauere le &longs;pecie della &longs;oprapartien­<lb/>te, diremo in que&longs;to modo: che il piu contiene il meno una fiata, & due parti d'e&longs;&longs;o, ouero tre, o <lb/>quattro, & co&longs;i in infinito. </s>
<s>&longs;e contenerà due parti di piu del meno, dira&longs;&longs;i &longs;oprabipartiente, co­<lb/>me cinque a tre, che è un tanto & due terzi. </s>
<s>&longs;e tre parti, chiamera&longs;&longs;i &longs;opra tripartiente, come è <lb/>otto a cinque, che è un tanto, & tre quinti. </s>
<s>&longs;e qnattro, &longs;opra quadripartiente, come noue a cin­<lb/>que, che è un tanto, & quattro quinti. </s>
<s>& co&longs;i nel re&longs;tante. </s>
<s>& que&longs;te &longs;ono le &longs;pecie della mag­<lb/>gior di&longs;agguaglianza nella &longs;emplice proportione. </s>
<s>Le compo&longs;te ueramente &longs;ono due; & &longs;i chia­<lb/>mano compo&longs;te, perche &longs;ono fatte di due &longs;emplici. </s>
<s>La prima è detta moltiplice &longs;opraparticolare, <lb/>la &longs;econda moltiplice &longs;oprapartiente, perche ritengono la natura di quelle proportioni, delle qua­<lb/>li &longs;ono compo&longs;te. </s>
<s>inquanto adunque la prima è detta moltiplice, ne &longs;egue, che'l maggiore conten­<lb/>ga il minore piu uolte; & inquanto è detta &longs;opraparticolare, ne &longs;egue, che il maggiore contenga <lb/>il minore, con alcuna parte di quello. </s>
<s>& però la moltiplice &longs;opraparticolare comparando il piu <lb/>al meno, ritroua che il piu contiene il meno piu uolte, & qualche parte di quello, &longs;e due fiate, & la <lb/>metà, &longs;arà proportione doppia &longs;e&longs;quialtera, come cinque a due: &longs;e tre fiate, & la metà, &longs;arà tripla <lb/>&longs;e&longs;quialtera, & co&longs;i in infinito: & &longs;imilmente due, & un terzo come &longs;ette a tre, doppia &longs;e&longs;quiterza, <lb/>&longs;e tre &longs;iate, & un terzo, &longs;arà tripla &longs;e&longs;quiterza. </s>
<s>& co&longs;i ua di&longs;correndo. </s>
<s>Parimente la molti­<lb/>plice &longs;opra partiente proportione in quanto moltiplice, il piu contenerà il meno piu fiate, & in­<lb/>quanto &longs;opra partiente il piu contenerà alquante parti del meno. </s>
<s>&longs;e due fiate, & due parti&longs;arà dop <lb/>pia &longs;oprabipartiente, come dodici a cinque; &longs;e due fiate & tre parti, &longs;arà doppia &longs;opra tripartien­<lb/>te, come tredici a cinque, & co&longs;i in infinito. </s>
<s>come &longs;e il piu contene&longs;&longs;e il meno tre fiate, & due <lb/>parti, &longs;arebbe tripla &longs;oprabipartiente, come dice&longs;&longs;ette a cinque; &longs;e tre fiate, & tre parti, &longs;arebbe tri <lb/>pla &longs;opratripartiente, come diciotto a cinque. </s>
<s>& co&longs;i &longs;eguendo nell'altre. </s>
<s>& perche per uno ri­<lb/>&longs;petto egli &longs;i cono&longs;ce l'altro, però dalle &longs;pecie delle proportioni della di&longs;agguaglianza del mag­<lb/>giore al minore, &longs;i hanno le &longs;pecie della di&longs;agguaglianza del minore al maggiore: nè ui è <lb/>altra differenza, &longs;e non che &longs;i come nella prima &longs;i cominciaua dal piu, & &longs;i termina­<lb/>ua nel meno, co&longs;i in que&longs;ta &longs;i comincia dal meno, & &longs;i termina nel piu, & &longs;i muta quella <lb/>particola &longs;opra, nella particola &longs;otto. </s>
<s>però &longs;i dice &longs;otto moltiplice; &longs;otto doppia, &longs;otto &longs;e&longs;quialte­<lb/>ra, &longs;otto &longs;e&longs;quiterza. </s>
<s>Egli &longs;i deue auuertire, che in due modi una quantità è parte dell'altra, il <lb/>primo è quando la parte d'una quantità pre&longs;a &longs;econdo alquante fiate a punto, entra nel tutto di <lb/>punto; cioè quando il par titore entra a punto nella co&longs;a partita, & niente gli auanza. </s>
<s>Que&longs;ta <lb/>noi chiamaremo parte moltiplicante. </s>
<s>& que&longs;ta è la uera, & propria intelligenza, di questo <lb/>nome, che parte, &longs;i chiama. </s>
<s>In altro modo parte è quella, che pre&longs;a quante fiate uuoi, mai non <lb/>ti rende l'intiero, & &longs;i chiama parte aggiunta, imperoche aggionta con un'altra parte fa il tut­<lb/>to. </s>
<s>L'e&longs;&longs;empio della parte moltiplicata è, come due a &longs;ei, imperoche due mi&longs;ura &longs;ei, & ui entra <lb/>tre fiate a punto: come tre a noue, otto a trenta due. </s>
<s>l'e&longs;&longs;empio della parte aggiunta è come due <lb/>al cinque, perche due pre&longs;o due fiate non fa cinque, pre&longs;o tre fiate pa&longs;&longs;a cinque. </s>
<s>Que&longs;te parti ag­<lb/>giunte &longs;ono però compo&longs;te di parti moltiplicanti, perche il due è compo&longs;to di unità, lequali mi&longs;u-<emph.end type="italics"/><pb pagenum="100"/><emph type="italics"/>rano due, entrandoui due fiate a punto. </s>
<s>& tanto &longs;ia detto cerca la diffinitione, & diui&longs;ione della <lb/>proportione. </s>
<s>Hora &longs;i dirà quello, che ne na&longs;ce. </s>
<s>Dalle proportioni adunque na&longs;ceno le comparatio­<lb/>ni, & i ri&longs;petti, che hanno tra &longs;e, cioè quando una proportione è comparata con l'altra. </s>
<s>& que&longs;te <lb/>&longs;imiglianze di proportioni &longs;i chiamano proportionalità: & &longs;i come la proportione è ri&longs;petto, & <lb/>conuenienza di due quantilà compre&longs;e &longs;otto un'i&longs;te&longs;&longs;o genere, co&longs;i la proportionalità è ri&longs;petto, <lb/>& comparatione non d'una quantità all'altra, ma d'una proportione all'altra. </s>
<s>Come &longs;a­<lb/>rebbe a dire la proportione, che è fra quattro & due, e&longs;&longs;er &longs;imile alla proportione, che è fra <lb/>otto, & quattro. </s>
<s>imperoche & l'una, & l'altra è doppia. </s>
<s>Et però tutte le doppie, tutte le tri­<lb/>ple, tutte le quadruple, o &longs;iano d'uno i&longs;te&longs;&longs;o genere, come tra linea, & linea, tra corpo, & cor­<lb/>po, o &longs;iano di diuer&longs;i generi, come tra linea, & corpo, tra corpo, & &longs;patio, tra &longs;patio, et tempo <lb/>&longs;ono proportionali, & con&longs;eguente &longs;imili: & doue è proportionalità, iui è nece&longs;&longs;ario, che &longs;ia pro <lb/>portione; perche (come s'è detto) la proportionalità non è altro, che camparatione di propor­<lb/>tioni. </s>
<s>ma non per lo contrario, perche fra quattro & dua, è proportione, ma non proportiona­<lb/>lità. </s>
<s>Nelle proportionalità con&longs;i&longs;teno tutti i &longs;ecreti dell' Arte. <!-- KEEP S--></s>
<s>Ma perche egli s'intenda bene <lb/>quanto &longs;coprir uolemo; egli è utile a dire, come &longs;i cono&longs;ceno i denominatori delle proportioni, co­<lb/>me &longs;i leua, come &longs;i aggiugne, come &longs;ono moltiplicate, & partite, & poi &longs;i dir à delle proportiona <lb/>lità, & termini loro. </s>
<s>Per &longs;apere adunque ritrouare i denominatori delle proportioni, il che gio­<lb/>ua a cono&longs;cere qual proportione &longs;ia maggiore, qualminore: perche nelle fabriche quelle hanno <lb/>piu del grande, che &longs;ono di maggiore proportione, perche una stanza di due quadri, ha piu gran­<lb/>dezza, che una di un quadro & mezo e&longs;&longs;endo, che la doppia è maggior proportione che la &longs;e&longs;qui <lb/>altera. </s>
<s>Egli è dunque da con&longs;iderare, che quando la proportione è di agguaglianza, cioè quan­<lb/>do &longs;ono tante unità, o mi&longs;ure in un numero, o grandezza, quante &longs;ono in un'altro, non è nece&longs;&longs;a­<lb/>rio di affaticar&longs;i in ritrouar denominatori, perche di quella &longs;pecie di proportione non &longs;i tro­<lb/>ua diui&longs;ione, non e&longs;&longs;endo tra le co&longs;e pari maggioranza, nè minoranza. </s>
<s>Resta adunque, che <lb/>i denominatori &longs;iano tra le &longs;pecie della proportione di di&longs;agguaglianza. </s>
<s>Breue adunque, & <lb/>i&longs;pedita regola di ritrouare i numeri, dai quali &longs;ono denominate le proportioni, è partire uno e&longs;tre <lb/>mo della proportione per l'altro. </s>
<s>Imperoche quello, che ne uiene per tale partimento, è &longs;empre il <lb/>denominatore della proportione. </s>
<s>Partire altro non è, che uedere quante fiate un numeroentra nel­<lb/>l'altro, & quello, che auanza. </s>
<s>La doue è ragioneuole, che dal partimento, & da quello, che <lb/>re&longs;ta &longs;i cono&longs;ca il nome di cia&longs;cuna proportione: ecco lo e&longs;&longs;empio. </s>
<s>&longs;e uuoi &longs;apere come &longs;i chiama la <lb/>proportione tra quattro, & otto, partirai otto per quattro, cioè uedi quante fiate il quattro en­<lb/>tra nell'otto, & trouerai, che quattro entra due fiate a punto: da due adunque chiamerai la pro <lb/>portione; che è tra otto, & quattro: & dirai, che la proportione è doppia. </s>
<s>Similmente &longs;e uuoi <lb/>&longs;apere come &longs;i chiama la proportione, che è tra cinque, & &longs;edici, partirai &longs;edici per cinque, & <lb/>ritrouerai, che'l cinque entra in &longs;edicitre fiate, & però dirai, che è proportione tripla, e&longs;&longs;endo <lb/>denominata da tre, & perche glire&longs;ta uno, che è la quinta parte di cinque, però dirai, che quel­<lb/>la proportione è tripla &longs;e&longs;quiquinta, & cono&longs;cerai, quella e&longs;&longs;er compo&longs;ta, cioè moltiplice &longs;opra <lb/>particolare, & co&longs;i farai nelle altre. </s>
<s>Dalla &longs;opradetta cognitione (come ho detto) &longs;i caua que <lb/>&longs;ta utilità, che &longs;i puo &longs;apere; quale proportione è po&longs;ta tra le maggiori, & quale tra le minori, <lb/>& quale tra l'eguali, & &longs;imili proportioni. </s>
<s>&longs;imili &longs;ono quelle, che hanno &longs;imili, & le i&longs;te&longs;&longs;e <lb/>denominationi, maggiori &longs;ono quelle, che hanno maggiore denominatione, & minori, mi­<lb/>nore, perche la denominatione è detta e&longs;&longs;er tanto grande, quanto il numero, che la dinota. </s>
<s><lb/>Et però la quadrupla è maggiore della tripla, perche quella dal quattro, que&longs;ta è deno­<lb/>minata dal tre. </s>
<s>& co&longs;i la &longs;e&longs;quialtera è maggiore della &longs;e&longs;quiterza, perche la &longs;e&longs;quialtera è deno <lb/>minata dalla metà, la &longs;e&longs;quiterza da un terzo. </s>
<s>& neirotti quanto è maggiore il denominatore <lb/>del rotto, tanto è minore il rotto, & però un quarto è meno d'un terzo. </s>
<s>perche quattro è mag­<lb/>giore ditre: & però una tripla &longs;e&longs;quialtera è maggiore d'una tripla &longs;e&longs;quiterza: ma una tripla &longs;e&longs;­<lb/>quiterza è maggiore, che una doppia &longs;e&longs;quialtera, & questo non per la denominatione del rotto,<emph.end type="italics"/><pb pagenum="101"/><emph type="italics"/>ma per la denominatione del numero intiero, che è maggiore. </s>
<s>&longs;imilmente nelle proportioni &longs;opra­<lb/>partienti maggiore è quella, che da numero maggiore è denominata. </s>
<s>Et perche meglio s'inten­<lb/>da, io dico, che la proportione &longs;oprapartiente è quando il piu contiene il meno una fiata, & piu <lb/>parti di e&longs;&longs;o, & que&longs;to è tanto dal numero di e&longs;&longs;e parti, quanto dalla denominatione, & quante <lb/>dall'uno, & dall'altro. </s>
<s>Dal numero delle parti quando il piu contiene il meno una fiata, & <lb/>due parti di quello, &longs;i dice &longs;oprabipartiente; &longs;e tre &longs;opratripartiente, & co&longs;inel re&longs;to. </s>
<s>Dalla de <lb/>nominatione delle parti, quando il piu contiene il meno una fiata, & le parti, che &longs;ono terzi del <lb/>meno, &longs;i dice &longs;oprapartiente le terze, Dall'uno, & dall'altra, cioè dal numero, & dalla deno­<lb/>minatione delle parti: come &longs;e dice&longs;&longs;e &longs;oprabipartiente le terze. </s>
<s>Dico adunque, che &longs;econdo la pri <lb/>ma denominatione, che e&longs;prime quante parti del numero minore &longs;ono contenute nel maggiore, s'in­<lb/>tende la proportion maggiore; perche la &longs;econda, che e&longs;prime quali &longs;iano quelle parti del nume­<lb/>ro minore, è quella i&longs;te&longs;&longs;a, come dire: la &longs;opraottopartiente le undecime è maggiore, che <lb/>la &longs;opratripartiente le undecime, perche que&longs;ta dal numero minore, che è tre, quella dal <lb/>maggiore, che è otto, &longs;i denomina, e&longs;&longs;endo la &longs;econda denominatione la i&longs;te<02>a nell'una, <lb/>& nell'altra. </s>
<s>Qui ci bi&longs;ognerebbe la generatione, & la proprietà di cia&longs;cuna propor­<lb/>tione, & quel bello di&longs;cor&longs;o, che fanno gli Arithmetici prouando, che ogni di&longs;aggua­<lb/>glianza na&longs;ce dall'agguaglianza, & che la egualità è principio della di&longs;egualità, & che <lb/>ogni di&longs;egualità &longs;i riduce all'egualità: ma bi&longs;ogna la&longs;ciare co&longs;i alte con&longs;iderationi a quelli, che <lb/>uogliono trouare il principio di tutte le co&longs;e create, la unità trina di quello, & la produttione non <lb/>di que&longs;te fabriche particolari, ma della uniuer&longs;ità del mondo, & delle co&longs;e, che ui &longs;ono dentro. </s>
<s><lb/>parleremo adunque del raccogliere, moltiplicare, &longs;cemare, & partire delle proportioni. </s>
<s>Per­<lb/>che Vitr.
in molti luoghi, lieua, pone, parti&longs;ce le proportioni; come &longs;i uedrà nel primo Capo del <lb/>pre&longs;ente libro, & al &longs;econdo, & all'ultimo. </s>
<s>& nel quarto al terzo Capo. <!-- KEEP S--></s>
<s>& infinite &longs;ono le occo <lb/>renze di &longs;eruir&longs;i piu d'una che d'un'altra proportione, come nella diui&longs;ione de i corpi delle fabri­<lb/>che, ne gli Atrij, Tablini, &longs;ale, loggie, ba&longs;iliche, & altre co&longs;e di gran momento nel raddoppiar <lb/>i corpi, nel trouar le linee proportionali, nel &longs;corzare i piani, nella machinatione, & in &longs;omma <lb/>in ogni co&longs;a all' Arte &longs;ottopo&longs;ta. </s>
<s>Hor al propo&longs;ito. </s>
<s>Per raccogliere due proportioni in&longs;ieme bi­<lb/>&longs;ogna trouare il denominatore della proportione prodotta: dapoiraccogliere i numeri po&longs;ti &longs;otto <lb/>la i&longs;te&longs;&longs;a proportione prodotta. </s>
<s>Il primo &longs;i fa a que&longs;to modo. </s>
<s>moltiplica il denominatore d'una <lb/>proportione, nel denominatore dell'altra, & co&longs;i ne re&longs;ter à il denominatore della raccolta, & <lb/>prodotta denominatione. </s>
<s>Il &longs;econdo &longs;i fa moltiplicando tra &longs;e i numeri antecedenti delle <lb/>propo&longs;te proportioni, & moltiplicando i numeri con&longs;eguenti anche tra &longs;e, auuertendo <lb/>che que&longs;ta regola ci &longs;erue nelle proportioni &longs;imiglianti, cioè quando amendue &longs;ono della di&longs;agua­<lb/>lianza dal maggiore, ouero amendue dal minore. </s>
<s>Hora all'e&longs;&longs;empio. </s>
<s>ecco la proportione che è <lb/>tra noue, & tre, è tripla, & laragione, che è tra quattro è due è doppia: uoglio raccogliere una <lb/>tripla, & una doppia, & uedere che proportione na&longs;ce: moltiplica adunque i denominatori, <lb/>che &longs;ono due, & tre: & dirai che ne uien &longs;ei. </s>
<s>questo adunque &longs;arà denominatore della pro­<lb/>dotta proportione: & però da una tripla, & da una doppia ne na&longs;ce una &longs;e&longs;tupla. </s>
<s>il che ap­<lb/>pare per li numeri moltiplic ati d'amendue le proportioni: perche moltiplicando noue, per <lb/>quattro, ne uiene trenta &longs;ei, & tre per due ne uien &longs;ei: la doue trenta &longs;ei ri&longs;petto a &longs;ei ritiene <lb/>proportione denominata &longs;e&longs;tupla. </s>
<s>Voglio anche nelle &longs;opraparticolari darne lo e&longs;&longs;empio, <lb/>& raccogliere la &longs;e&longs;quialtera, che è tra tre, & due, & la &longs;e&longs;quiterza, che è tra tre & quat <lb/>tro, moltiplico mezo che è denominatore della &longs;e&longs;quialtera in un terzo, che è denominatore <lb/>della &longs;e&longs;quiterza, & ne na&longs;ce due, che è denominatore della prodotta proportione: & però da <lb/>una &longs;e&longs;quialtera, & da una &longs;e&longs;quiterza raccolte in&longs;ieme, ne na&longs;ce una doppia: moltiplica <lb/>adunque i numeri antecedenti, che &longs;ono tre & quattro, ne uien dodici, & i con&longs;eguenti che <lb/>&longs;on due e tre, & ne uien &longs;ei. </s>
<s>adunque dodici a &longs;ei tiene proportione doppia. </s>
<s>Que&longs;to gioua nel <lb/>la mu&longs;ica grandemenle. </s>
<s>Ecco, quando la con&longs;onanza mu&longs;icale detta diapente &longs;ia in proportio-<emph.end type="italics"/><pb pagenum="102"/><emph type="italics"/>ne &longs;e&longs;quialtera, & la diate&longs;&longs;aron in &longs;e&longs;quiterza: &longs;e egli &longs;i ponerà in&longs;ieme l'una, & l'altra, <lb/>&longs;e ne cauerà la diapa&longs;on, che è in proportion doppia. </s>
<s>d'una quinta adunque, & d'una quarta &longs;i <lb/>fa un'ottaua. </s>
<s>Similmente addurremo lo e&longs;&longs;empio nelle &longs;oprapartienti. </s>
<s>uolendo adunque aggiu­<lb/>nere la &longs;oprabipartiente le terze, come cinque a tre; alla &longs;opra tripartiente le quarte, come &longs;et­<lb/>te a cinque, &longs;i piglia il denominatore della &longs;oprabipertiente le terze, che è uno & due terzi, & <lb/>&longs;i moltiplica in&longs;ieme col denominatore della &longs;opratripartiente le quarte, che è uno, & tre <lb/>quarti, & &longs;i raccoglie due, & undici duodecimi, da i quali na&longs;ce la doppia undecipartiente <lb/>le duodecime. </s>
<s>ecco, moltiplica cinque, & &longs;ette che &longs;ono li primi numeri delle predette pro­<lb/>por<gap/>ioni, &longs;i produce trentacinque: moltiplica anche i &longs;econdi, che &longs;on tre, & quattro, ne uie <lb/>ne dodici. </s>
<s>trentacinque adunque contiene il dodici due fiate, & ne auanzano undeci duodeci­<lb/>mi: & co&longs;i &longs;i raccoglieno le proportioni quando amendue &longs;ono &longs;imili. </s>
<s>Ma quando &longs;ono di&longs;&longs;imi­<lb/>li, cioè una della maggiore, & l'altra della minore, allhora quella proportione, che è denomi <lb/>nata dalla maggior quantità, &longs;i deue partire per l'altra. </s>
<s>&longs;ia adunque da comporre una &longs;otto <lb/>doppia, come uno & dui, con una &longs;e&longs;quialtera, come tre a due. </s>
<s>la &longs;otto doppia è denominata <lb/>dal due, come è la doppia. </s>
<s>& la &longs;e&longs;quialtera è denominata dall'un, & mezo, che è meno del­<lb/>La doppia. </s>
<s>parti&longs;ca&longs;i dunque dua per un & mezo, ne re&longs;ta uno, & un terzo: & però dalle &longs;o­<lb/>predette proportionine uiene una &longs;otto&longs;e&longs;quiterza. </s>
<s>ecco una & due &longs;opra, tre & due, mollipli­<lb/>cai primi numeri, che &longs;ono uno, & tre, fanno tre. </s>
<s>il che &longs;i deue notare &longs;otto una linea. </s>
<s>da­<lb/>poi moltiplica due in due, ne ri&longs;ulterà quattro, & tre a quattro, & in proportione &longs;otto &longs;e&longs;­<lb/>quiterza. </s>
<s>Ma quando bi&longs;ogno &longs;ia di componere piu di due proportioni in&longs;ieme, componerai con <lb/>la terza quello, che ri&longs;ulta dalle due prime, & la compo&longs;ta di tre componerai con la quarta, & <lb/>co&longs;i anderai &longs;eguitando. </s>
<s>& di que&longs;to puo ba&longs;tare uno e&longs;&longs;empio. </s>
<s>in que&longs;ti numeri, quattro tre, <lb/>tre & due, tre & uno. </s>
<s>Dalle proportioni adunque di quattro a tre, che è &longs;e&longs;quiterza, & di tre <lb/>a due, che è &longs;e&longs;quialtera, ne na&longs;ce, come s'è detto, una doppia: laqual partita, per la &longs;eguen­<lb/>te &longs;equialtera tre a due, fa la &longs;equiterza, la qual moltiplicata in una tripla, che ha tre ad uno <lb/>&longs;a la quadrupla, che ha quattro ad uno. </s>
<s>Dalle co&longs;e già dette ne na&longs;ce, che di due propor­<lb/>tioni di di&longs;aguaglianza dal maggiore in&longs;ieme compo&longs;te ne na&longs;ce la proportione della di&longs;agua­<lb/>glianza del maggiore: ma l'una & l'altra è maggiore. </s>
<s>con&longs;eguentemente da due proportioni <lb/>della di&longs;aguaglianza dal minore, &longs;i produce la proportione della di&longs;aguaglianza dal minore, ma <lb/>l'una & l'altra è minore proportione. </s>
<s>Ma da una della maggiore, & l'altra della minore &longs;i fa <lb/>tale proportione, quale è quella, che è denominata dal numero maggiore. </s>
<s>Ma la proportione <lb/>dell'aguaglianza, con quella della maggiore di&longs;aguaglianza produce la i&longs;te&longs;&longs;a proportione della <lb/>maggior di&longs;aguaglianza, & &longs;a lo i&longs;te&longs;&longs;o ri&longs;pondente con la proportione della minor di&longs;aguaglian­<lb/>za. </s>
<s>per il che &longs;i uede, che la proportione dell'agguaglianza moltiplicata in &longs;e &longs;te&longs;&longs;a produce la <lb/>ragione dell'agguaglianza. </s>
<s>Et que&longs;to detto &longs;ia del componimento delle proportioni Ma quando uor <lb/>remo &longs;ottrarre una proportione dall'altra, et cono&longs;cer quale proportione re&longs;ta: bi&longs;ogna partire con <lb/>que&longs;to auuertimento, che (&longs;i come ne i numeri s'è detto che &longs;i leua il minore dal maggiore) co&longs;i nel <lb/>le proportioni &longs;i leua la minore dalla maggiore. </s>
<s>Primamente adunque &longs;i parte il denominatore della <lb/>maggiore, per lo denominatore dalla minore, et &longs;i produce il denominatore di quella, che re&longs;ta, dapoi, <lb/>per li numeri po&longs;ti &longs;otto le date proportioni. </s>
<s>ponga&longs;i <expan abbr="adunq;">adunque</expan> &longs;opra una linea tra&longs;uer&longs;a i numeri della <lb/>maggior proportione (che è quella che &longs;i deue partire) & di &longs;otto i numeri della minore, dapoi &longs;ia <lb/>moltiplicato il primo antecedente numero di quella proportione, che &longs;i deue partire, per lo con&longs;e­<lb/>guente del partitore, perche &longs;i farà l'antecedente, & primo di quella proportione, che re&longs;ta, & <lb/>per la moltiplicatione del &longs;<gap/>condo numero della proportione da e&longs;&longs;er diui&longs;a per lo antecedente del­<lb/>la diuidente, ne na&longs;ce il con&longs;eguente della restante. </s>
<s>& que&longs;to modo conuiene col partire de i rot­<lb/>ti uulgari. </s>
<s>poniam ca&longs;o, che uogliamo &longs;ottrarre una doppia da una tripla. </s>
<s>partirai adunque tre, <lb/>che è denominatore della tripla, per due, ch'è denominatore della doppia, & ne uenirà uno & me <lb/>zo, dal quale &longs;i denomina la &longs;e&longs;quialtera. </s>
<s>Siano que&longs;ti numeri noue, & tre in proportione tripla;<emph.end type="italics"/><pb pagenum="103"/><emph type="italics"/>& in doppia quattro & due: moltiplica noue per due, ne uiene diciotto & tre in quattro, ne <lb/>uien dodici. </s>
<s>al qual numero diciotto è in proportione &longs;e&longs;quialtera. </s>
<s>Co&longs;i anche nella proportione <lb/>&longs;opra particolare &longs;i procederà, come &longs;arebbe il leuare una &longs;e&longs;quiterza da una &longs;e&longs;quialtera. </s>
<s>parti <lb/>adunque il denominatore della &longs;e&longs;quialtera, ch'è uno & mezo, per lo denominatore della &longs;e&longs;quiter <lb/>za, ch'è uno, & un terzo, ne &longs;eguira uno, & un'ottauo. </s>
<s>Dalla propo&longs;ta &longs;ottrattione adunque ne re&longs;ta <lb/>una &longs;e&longs;quiottaua. </s>
<s>tre a due è in &longs;e&longs;quialtera, quattro a tre in &longs;e&longs;quilerza, moltiplica tre per tre <lb/>fa noue, due per quattro &longs;a otto, ma noue ad otto è in proportione &longs;e&longs;quiottaua. </s>
<s>Finalmen­<lb/>te nelle &longs;oprapartienti uoglio leuare una &longs;oprabipartiente le terze, da una &longs;opra tripar­<lb/>tiente le quarte. </s>
<s>partendo uno, & tre quarti, per uno & due terzi, ne ri&longs;ulta uno, & un <lb/>uige&longs;imo. </s>
<s>dal che è denominata la proportione &longs;e&longs;quiuige&longs;ima, come ci &longs;arà dato anche da gli <lb/>auuenimenti de i numeri &longs;ette a quattro, cinque a tre. </s>
<s>moltiplica &longs;ette per trè, ne uiene uen­<lb/>tiuno: & quattro per cinque, ne uiene uenti: al qual numero &longs;i troua e&longs;&longs;er in proportione &longs;e&longs;­<lb/>quiuige&longs;ima il uenti. </s>
<s>Dal partire adunque la proportione della maggior di&longs;aguaglianza, per la <lb/>ragione, & proportione della minore, ne na&longs;cerà la proportione della maggiore, minor dell'una, <lb/>& dell'altra. </s>
<s>Il &longs;imile &longs;i deue giudicare delle di&longs;&longs;imiglianti proportioni, che &longs;ono della di&longs;agua­<lb/>glianza dal minore: percioche ne na&longs;cerà proportione della minor di&longs;aguaglianza, parimente mi<lb/>nore dell'una, & dell'altra: ma &longs;e amendue &longs;aranno o della maggiore, o della minore di&longs;agua <lb/>glianza, & tra &longs;e &longs;imiglianti, cioè &longs;e la propo&longs;ta proportione &longs;i partirà per &longs;e &longs;te&longs;&longs;a, ne ri­<lb/>&longs;ulterà la ragione dell'ag guaglianza: & in &longs;omma &longs;e una &longs;arà della maggiore, & l'altra <lb/>della minore di&longs;aguaglianza, &longs;i produrrà una proportione, che hauerà piu in que&longs;ta par­<lb/>te dell i proportione, che &longs;i deue partire, che di quella, che parte, & &longs;arà quella, che <lb/>&longs;i e&longs;prime per lo numero maggiore. </s>
<s>Et tanto uoglio, che detto &longs;ia dello accre&longs;cere, &longs;cemare, <lb/>o partire delle proportioni. </s>
<s>Re&longs;ta che noi portamo inanzi quello, che piu importa, & è co­<lb/>&longs;a mirabile per &longs;apere delle &longs;imiglianze delle proportioni, & ci giouerà nelle co&longs;e ciuili, ne i di <lb/>&longs;cor&longs;i della mu&longs;ica, & in molte co&longs;e, che tutto il dì ci uengono per le mani. </s>
<s>Re&longs;umendo <lb/>quello, che detto hauemo &longs;econdo il di&longs;cor&longs;o di Alchindo antiquo autore, che a me non gra­<lb/>uerà di ponere per maggior intelligenza. </s>
<s>primamente adunque egli pone quattro diffini­<lb/>tioni: & &longs;on que&longs;ti, come principij.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Proportione è &longs;cambieuole habitudine di due quantità &longs;otto un'i&longs;te&longs;&longs;o genere.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Quando di due quantità compre&longs;e &longs;otto un'i&longs;te&longs;&longs;o genere una parte l'altra, quello che re&longs;ta <lb/>è la proportione della partita, alla partitrice. </s>
<s>& que&longs;to s'è dichiarito.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>La prodottione, ouero la compo&longs;itione d'una proportione con l'altra non è altro, che la de­<lb/>nominatione e&longs;&longs;er prodotta dalle denominationi. </s>
<s>que&longs;to con e&longs;&longs;empij mo&longs;tramo.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>L'e&longs;&longs;er diui&longs;a una proportione per un'altra, ouero e&longs;&longs;er &longs;ottratta, non è altro, che quando la <lb/>denominatione della proportione da e&longs;&longs;er partita, è diui&longs;a per la denominatione della diuidente. </s>
<s>Da <lb/>poi egli pone alcune propo&longs;itioni, che &longs;ono le in&longs;ra&longs;critte.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>E la denominatione della proportione di qual ti piace di due e&longs;tremi, &longs;arà moltiplicata nel &longs;e <lb/>condo, &longs;i produrrà il primo. </s>
<s>perche &longs;e per la &longs;econda diffinitione partito il primo per lo &longs;econdo, <lb/>ne na&longs;ce il denominatore: adunque moltiplicata la denominatione nel &longs;econdo, ne na&longs;cerà <lb/>il primo.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>La &longs;econda propo&longs;itione è que&longs;ta. </s>
<s>Quando tra due è interpo&longs;to un mezo, che habbia proportione <lb/>con amendu: a proportione, che hauerà il primo al terzo, &longs;arà compo&longs;ta dalle proportioni, che ha <lb/>il primo al mezo, & il mezo al terzo. </s>
<s>&longs;iano tre termini, due, quattro, dodici, & quello di mezo hab <lb/>bia qualche proportione co gli e&longs;tremi: io dico, che la proportione, che è tra'l primo e'l terzo, è com <lb/>po&longs;ta della proportione, che ha il primo con quel di mezo, & quello di mezo con il terzo. </s>
<s>e&longs;&longs;endo <lb/>adunque tra due, & dodici proportione &longs;e&longs;tupla, dico, che la &longs;e&longs;tupla, è compo&longs;ta dalla proportio­<lb/>ne, che ha due a quattro, & quattro a dodici. </s>
<s>ecco, il denominatore tra due & quattro, è <lb/>due, dal che è denominata la doppia, il denominatore tra quattro, & dodici è tre, dal che è<emph.end type="italics"/><pb pagenum="104"/><emph type="italics"/>denominata la tripla. </s>
<s>&longs;ia dunque due a. <!-- REMOVE S-->quattro b. <!-- REMOVE S--></s>
<s>dodici c. <!-- REMOVE S-->il denominatore tra due & quat <lb/>tro d. <!-- REMOVE S--></s>
<s>tra quattro & dodici e. <!-- REMOVE S-->& il denominatore tra a & c &longs;ia f. <!-- REMOVE S--></s>
<s>perche adunque da <lb/>f. <!-- REMOVE S-->nel c. <!-- REMOVE S--></s>
<s>&longs;i fa a. <!-- REMOVE S-->& da e in c &longs;i fa b. <!-- REMOVE S--></s>
<s>per la prima propo&longs;itione lo f. <!-- REMOVE S-->allo e. <!-- REMOVE S--></s>
<s>è come lo <lb/>a. <!-- REMOVE S-->al b. <!-- REMOVE S--></s>
<s>& però e&longs;&longs;endo il d. <!-- REMOVE S-->il denominatore tra a & b. <!-- REMOVE S--></s>
<s>egli &longs;arà il denominatore tra <lb/>f. <!-- REMOVE S-->& e. <!-- REMOVE S--></s>
<s>adunque per la i&longs;te&longs;&longs;a prima propo&longs;itione dal d in e &longs;i fa f. <!-- REMOVE S-->perche adunque la <lb/>denominatione dello a. <!-- REMOVE S--></s>
<s>al c. <!-- REMOVE S-->è prodotta dalla denominatione del b. <!-- REMOVE S--></s>
<s>al c. <!-- REMOVE S-->ne &longs;egue per la ter <lb/>za diffinitione, che la proportione, che è tra lo a, & il c. <!-- REMOVE S--></s>
<s>come tra due & dodici, che è la <lb/>&longs;e&longs;tupla, &longs;ia compo&longs;ta dalla proportione, che è tra lo a, & b. <!-- REMOVE S-->cioè tra due, & quattro, che <lb/>è doppia, & tra b. <!-- REMOVE S--></s>
<s>& c. <!-- REMOVE S-->cioè quattro & dodici, che è tripla. </s>
<s>adunque da una doppia, & <lb/>da una tripla ne na&longs;ce una &longs;e&longs;tupla. </s>
<s>Seguita la terza propo&longs;itione di Alchindo.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s><emph type="italics"/>Siano quanti mezi &longs;i noglia, dico che la proportione, che è tra gli estremi, è compo&longs;ta di <lb/>tutte le proportioni, che hanno i mezi tra &longs;e. </s>
<s>Sia tra a, & d. <!-- REMOVE S-->due intermedij b, & c. <!-- REMOVE S--></s>
<s>io di­<lb/>co, che la proportione di a, à d. <!-- REMOVE S-->è composta delle proportioni, che &longs;ono tra a, & b. <!-- REMOVE S--></s>
<s>tra <lb/>b, & c. <!-- REMOVE S-->tra c & d. <!-- REMOVE S--></s>
<s>imperoche per la precedente la proportione, che è tra a, & c. <!-- REMOVE S-->è <lb/>compo&longs;ta dalla proportione, che è tra a & b. <!-- REMOVE S--></s>
<s>& tra b & c. <!-- REMOVE S-->ma la proportione che è tra <lb/>b, & d. <!-- REMOVE S--></s>
<s>è composta dalla proportione che è tra b. <!-- REMOVE S-->& c. <!-- REMOVE S--></s>
<s>& c, & d. <!-- REMOVE S-->per la i&longs;te&longs;&longs;a pro­<lb/>po&longs;itione. </s>
<s>adonque la proportione, che è tra a, & d. <!-- REMOVE S-->è compo&longs;ta di tutte proportioni, <lb/>che &longs;ono tra i mezi. </s>
<s>& co&longs;i &longs;i hauerà a prouare, quando fu&longs;&longs;ero piu mezi. </s>
<s>& di &longs;opra <lb/>ne hauemo con gli e&longs;&longs;empi detto a ba&longs;tanza: ma hora &longs;i replica per &longs;eguitar l'ordine di Al­<lb/>chindo, & per e&longs;&longs;ercitio della memoria, in co&longs;a di tantaimportanza.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>La quarta è, che &longs;e alcuna proportione, è compo&longs;ta di due proportioni, la &longs;ua conuer&longs;a <lb/>è compo&longs;ta delle conuer&longs;e. </s>
<s>&longs;ia la proportione di a, à b. <!-- REMOVE S-->compo&longs;ta della proportione di c, à <lb/>d. <!-- REMOVE S--></s>
<s>& di e, à f. <!-- REMOVE S-->io dico che la proportione di b. <!-- REMOVE S--></s>
<s>ad a. <!-- REMOVE S-->&longs;arà compo&longs;ta della proportio­<lb/>ne did, à c. <!-- REMOVE S--></s>
<s>& di f. <!-- REMOVE S-->ad e. <!-- REMOVE S--></s>
<s>perche &longs;iano continuate le proportioni di c, à d. <!-- REMOVE S-->& die, <lb/>ad f. <!-- REMOVE S--></s>
<s>tra g. <!-- REMOVE S-->h. <!-- REMOVE S--></s>
<s>K. di modo che g. <!-- REMOVE S-->&longs;ia ad h. <!-- REMOVE S--></s>
<s>come c, à d. <!-- REMOVE S-->& h, à K. come e. <!-- REMOVE S--></s>
<s>ad <lb/>f. <!-- REMOVE S-->dico, che la proportione tra a, & b. <!-- REMOVE S--></s>
<s>&longs;arà compo&longs;ta della proportione di g. <!-- REMOVE S-->ad h. <!-- REMOVE S--></s>
<s>& di <lb/>h. <!-- REMOVE S-->à K. & però per la &longs;econda propo&longs;itione, la proportione di a, à b.&longs;arà come la propor­<lb/>tione di g, à K. adunque all'incontro la proportione di b ad a. <!-- REMOVE S--></s>
<s>&longs;arà come K. à g. <!-- REMOVE S-->mala pro <lb/>portione di K à g. <!-- REMOVE S--></s>
<s>per la i&longs;te&longs;&longs;a propo&longs;itione è fatta dalla proportione di K. ad h. <!-- REMOVE S-->& di h. <!-- REMOVE S--></s>
<s>à <lb/>g. <!-- REMOVE S-->ma K ad h. <!-- REMOVE S--></s>
<s>è come f. <!-- REMOVE S-->ad e. <!-- REMOVE S--></s>
<s>& h. <!-- REMOVE S-->à g. <!-- REMOVE S--></s>
<s>& come d. <!-- REMOVE S-->à c. <!-- REMOVE S--></s>
<s>adunque b ad a. <!-- REMOVE S-->&longs;arà compo­<lb/>&longs;to dalla proportione, che è tra d & e. <!-- REMOVE S--></s>
<s>& tra f. <!-- REMOVE S-->& e. <!-- REMOVE S--></s>
<s>il che è lo intento no&longs;tro. </s>
<s>Finite le <lb/>diffinitioni, & le propo&longs;itioni, che pone Alchindo, &longs;iuiene alle regole, lequali &longs;ono que&longs;te.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Quando di &longs;ei quantità la proportione, che è tra la prima, & la &longs;econda, è compo&longs;ta <lb/>della proportione, che ha la terza alla quarta, & la quinta alla &longs;e&longs;ta, &longs;i fanno tre­<lb/>cento, & &longs;e&longs;&longs;anta &longs;pecie di compo&longs;ilioni, di trenta&longs;ei, delle quali &longs;olamente ci potemo <lb/>&longs;eruire. </s>
<s>il re&longs;tante è inutile. </s>
<s>& que&longs;to è manife&longs;to. </s>
<s>&longs;e noi ponemo, che la proportio­<lb/>ne, che è tra a, & b. <!-- REMOVE S-->&longs;ia compo&longs;ta delle proportioni, che &longs;ono tra e, & d. <!-- REMOVE S--></s>
<s>tra e, & f. <!-- REMOVE S--><lb/>perche e&longs;&longs;endo &longs;ei i termini, &longs;i puo intendere la proportione di due, qual &longs;i uoglia e&longs;&longs;er composta <lb/>di due proportioni, che &longs;iano tra i quattro termini re&longs;tanti. </s>
<s>Il che &longs;arà dichiarito poter&longs;i fare <lb/>per uia della moltiplicatione. </s>
<s>Da que&longs;ti &longs;ei termini uengono trenta &longs;pacij di&longs;tinti. </s>
<s>dieci da a. <!-- REMOVE S-->ot­<lb/>to da b. <!-- REMOVE S--></s>
<s>&longs;ei da c. <!-- REMOVE S-->quattro da d. <!-- REMOVE S--></s>
<s>due da e. <!-- REMOVE S-->& niuno da f. <!-- REMOVE S--></s>
<s>perche tutti &longs;ono &longs;tati prima compre&longs;i. </s>
<s><lb/>le quali co&longs;e &longs;ono manife&longs;te dalla &longs;ottopo&longs;ta tauola. </s>
<s>doue &longs;ono cinque compartimenti, nel primo <lb/>de i quali è la comparatione di a. <!-- REMOVE S-->agli altri termini, & de gli altri termini ad a. <!-- REMOVE S--></s>
<s>nel &longs;econdo è <lb/>la comparatione di b, agli altri, & de gli altri à b. <!-- REMOVE S-->nel terzo è la comparatione del e. <!-- REMOVE S--></s>
<s>nel quar <lb/>to di b. <!-- REMOVE S-->nel quinto die. </s>
<s>agli altri, & de gli altri a quelli. </s>
<s>perche adunque erano &longs;ei termini ri­<lb/>mo&longs;&longs;idue, che faceuano lo &longs;pacio compo&longs;to, i re&longs;tanti &longs;eranno quattro. </s>
<s>de i quali ne &longs;aranno uin­<lb/>tiquattro ordini, che fanno &longs;olamente dodici &longs;pacij. </s>
<s>& perche questo s'intenda bene &longs;iano ri­<lb/>mo&longs;&longs;i que&longs;ti termini a b. <!-- REMOVE S-->che fanno la proportione dia, à b. <!-- REMOVE S--></s>
<s>& la conuer&longs;a di b. <!-- REMOVE S-->ad a. <!-- REMOVE S--></s>
<s>re&longs;taran-<emph.end type="italics"/><pb pagenum="105"/><emph type="italics"/>no quattro termini. </s>
<s>c.d.e.f. <!-- REMOVE S-->de i quali &longs;aranno uentiquattro ordini. </s>
<s>Il numero posto fuori della <lb/>tauola dimo&longs;tra due ordini, che fanno un &longs;olo interuallo, come il numero quinario, che è po&longs;to<emph.end type="italics"/><lb/><figure id="fig5"/><lb/><emph type="italics"/>dentro la tauola, dinota che quel-<emph.end type="italics"/><lb/><figure id="fig6"/><lb/><emph type="italics"/>l'ordine, a cui è prepo&longs;to il deci­<lb/>mo &longs;ettimo, non compone &longs;pacio <lb/>diuer&longs;o da quello, che compone <lb/>il quinto, perche &longs;i compone la <lb/>i&longs;te&longs;&longs;a proportione che è tra d. <!-- REMOVE S-->& <lb/>e. <!-- REMOVE S--></s>
<s>& trac. <!-- REMOVE S-->& f. <!-- REMOVE S--></s>
<s>dinotata per lo <lb/>decimo &longs;ettimo modo. </s>
<s>& di quel­<lb/>la, che è tra c. <!-- REMOVE S-->& f. <!-- REMOVE S--></s>
<s>& trad. </s>
<s>& <lb/>e. <!-- REMOVE S-->laqual pretende il quinto. </s>
<s><lb/>Adunque per li numeri e&longs;trin&longs;e­<lb/>chi &longs;i dinota, che que&longs;ti ordini, <lb/>quanto alla compo&longs;itione delle <lb/>proportioni &longs;ono geminati, cioè <lb/>il terzodecimo. </s>
<s>il quartodecimo, <lb/>il quintodecimo, & co&longs;i &longs;eguitan <lb/>do fin al uente&longs;imo quarto, il qua <lb/>le anche ui s'include. </s>
<s>la propor­<lb/>tione adunque, che tra a. <!-- REMOVE S-->& b. <lb/><!-- REMOVE S--></s>
<s>& la &longs;ua conuer&longs;a tra b. <!-- REMOVE S-->& a. <!-- REMOVE S--></s>
<s>&longs;i <lb/>puo intendere, che &longs;ia compo&longs;ta <lb/>di dodici proportioni, tra quat­<lb/>tro termini c. <!-- REMOVE S-->d. <!-- REMOVE S--></s>
<s>e. <!-- REMOVE S-->f. <!-- REMOVE S--></s>
<s>& co&longs;i cia­<lb/>&longs;cuna delle predette. </s>
<s>E&longs;&longs;endo adunque trenta quelle che &longs;ipo&longs;&longs;ono componere, tutte le combina­<lb/>tioni &longs;aranno trenta fiate dodici, che &longs;ommano trecento & &longs;e&longs;&longs;anta. </s>
<s>Ma di tutte que&longs;te, posto, <lb/>che laproportione, che è tra a. <!-- REMOVE S-->& b. <!-- REMOVE S--></s>
<s>&longs;ia compo&longs;ta delle proportioni, che&longs;ono: tra c. <!-- REMOVE S-->& d. <!-- REMOVE S--></s>
<s>& e. <lb/><!-- REMOVE S-->& f. <!-- REMOVE S--></s>
<s>&longs;i dimo&longs;tra, che &longs;ole trenta &longs;ei &longs;ono utili. </s>
<s>Ma le altre non tenere: & ci potrà ba&longs;tare di <lb/>e&longs;ponerne quindici nella tauola, e&longs;&longs;endone quindici di quelle conuer-<emph.end type="italics"/><lb/><figure id="fig7"/><lb/><emph type="italics"/>&longs;e, & noi per la quarta propo&longs;itione hauemo dimo&longs;trato, che ogni <lb/>proportione conuer&longs;a, &longs;i fa dalle conuer&longs;e di quelle proportioni, del­<lb/>lequali è compo&longs;ta la principale. </s>
<s>come &longs;e la proportione, che è tra a. <lb/><!-- REMOVE S-->& b. <!-- REMOVE S--></s>
<s>è compo&longs;ta dalle proportioni che &longs;ono tra c. <!-- REMOVE S-->& d. <!-- REMOVE S--></s>
<s>& tra e. <!-- REMOVE S-->& f. <!-- REMOVE S--></s>
<s><lb/>anche la conuer&longs;a, cioè la proportione, che è tra b, & a. <!-- REMOVE S-->è compo&longs;ta <lb/>dalle proportioni, che &longs;ono tra. </s>
<s>c. <!-- REMOVE S-->& d. <!-- REMOVE S--></s>
<s>et tra f. <!-- REMOVE S-->et e. <!-- REMOVE S--></s>
<s>et però e&longs;po&longs;te <lb/>che &longs;aranno quindici di quelle, le altre quindici &longs;aranno manife&longs;te. </s>
<s><lb/>E&longs;poneremo adunque le quindici po&longs;te nella tauola. </s>
<s>dellequali di nece&longs;­<lb/>&longs;ità noue &longs;aranno compo&longs;te di due proportioni tra'l re&longs;tante di quattro <lb/>termini. </s>
<s>ma le altre &longs;ei non hanno que&longs;ta nece&longs;&longs;ità. </s>
<s>et quella, che &longs;i <lb/>compone è manife&longs;ta per la tauola, come anche è manife&longs;ta quella, che <lb/>non &longs;i compone.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Ogni proportione adunque, laquale entra in compo&longs;itione, a due <lb/>modi &longs;i compone &longs;olamente: cioè dalla proportione del terzo al quar­<lb/>to, et del quinto al &longs;e&longs;to, et &longs;imilmente dalla proportione del terzo al <lb/>&longs;e&longs;to, et del quinto al quarto. </s>
<s>per il che e&longs;&longs;endone noue compo&longs;te &longs;i fa­<lb/>ranno diciotto compo&longs;itioni, et altre tante delle loro conuer&longs;e. </s>
<s>Tren­<lb/>ta &longs;ei adunque &longs;aranno i modi utili. </s>
<s>Ma quelle, che non &longs;i compongo-<emph.end type="italics"/><pb pagenum="106"/><figure id="fig8"/><lb/><emph type="italics"/>no &longs;ono &longs;ei, et le loro conuer&longs;e &longs;ei, però dodici &longs;ono inutili. </s>
<s>Adunque <lb/>tutti i modi &longs;i utili, come inutili &longs;ono quaranta otto. </s>
<s>Soppo&longs;to <lb/>adunque il primo modo, cioè che la proportione che è tra a el b. <!-- REMOVE S-->&longs;ia <lb/>composta delle proportioni che &longs;ono tra c, et d. <!-- REMOVE S--></s>
<s>et tra e, et f. <!-- REMOVE S-->io dimo­<lb/>strerò il &longs;econdo, che è compo&longs;to della i&longs;te&longs;&longs;a, che è trac. <!-- KEEP S--></s>
<s>et. </s>
<s>f. <!-- REMOVE S-->et tra, <lb/>e. <!-- REMOVE S--></s>
<s>et d. <!-- REMOVE S-->percheio ponerò tra c, et f. <!-- REMOVE S--></s>
<s>la proportione did, et e. <!-- REMOVE S-->doue la <lb/>proportione tra c, et f. <!-- REMOVE S--></s>
<s>&longs;arà compo&longs;ta delle proportioni, che &longs;ono tra <lb/>c, & d. <!-- REMOVE S-->& tra d, & c. <!-- REMOVE S--></s>
<s>& trae. </s>
<s>& f. <!-- REMOVE S-->perilche ne &longs;eguita, che le pro­<lb/>portioni che &longs;ono tra e, & f. <!-- REMOVE S--></s>
<s>& tra e, & d. <!-- REMOVE S-->&longs;aranno composte delle <lb/>proportioni che &longs;ono trac, & d. <!-- REMOVE S--></s>
<s>tra d, & e. <!-- REMOVE S-->& tra e. <!-- REMOVE S--></s>
<s>& f. <!-- REMOVE S-->& trae. <lb/></s>
<s>& d. <!-- REMOVE S-->Male proportioni che &longs;ono tra c, & d. <!-- REMOVE S--></s>
<s>trad. </s>
<s>& e. <!-- REMOVE S-->et tra e. <!-- REMOVE S--></s>
<s>et <lb/>d. <!-- REMOVE S-->compongono quella, che è tra e. <!-- REMOVE S--></s>
<s>et d. <!-- REMOVE S-->per la terza propo&longs;itio­<lb/>ne. </s>
<s>po&longs;ti d, et c. <!-- REMOVE S-->tra c. <!-- REMOVE S--></s>
<s>et d. <!-- REMOVE S-->adunque e. <!-- REMOVE S--></s>
<s>à d. <!-- REMOVE S-->et c. <!-- REMOVE S--></s>
<s>ad f. <!-- REMOVE S-->&longs;ono &longs;i come c. <lb/><!-- REMOVE S--></s>
<s>à d. <!-- REMOVE S-->et a. <!-- REMOVE S--></s>
<s>ad f. <!-- REMOVE S-->ma la proportione, che è tra a. <!-- REMOVE S--></s>
<s>et b. <!-- REMOVE S-->è compo&longs;ta delle <lb/>proportioni che &longs;ono tra e. <!-- REMOVE S--></s>
<s>et d. <!-- REMOVE S-->et tra e, et f. <!-- REMOVE S--></s>
<s>adunque la proportione <lb/>tra a, et b. <!-- REMOVE S-->&longs;arà composta delle proportioni, che &longs;ono tra c. <!-- REMOVE S--></s>
<s>& f. <!-- REMOVE S-->et <lb/>tra e. <!-- REMOVE S--></s>
<s>et d. <!-- REMOVE S-->che &longs;ono le po&longs;te nella conclu&longs;ione.<emph.end type="italics"/></s>
</p><p type="main">
<s><emph type="italics"/>Il terzo modo è, che anche la proportione tra a, et c. <!-- REMOVE S-->&longs;arà compo&longs;ta della proportione di b, à <lb/>d. <!-- REMOVE S--></s>
<s>et di c. <!-- REMOVE S-->ad f. <!-- REMOVE S--></s>
<s>ilche è manife&longs;to, perche po&longs;to b. <!-- REMOVE S-->tra a. <!-- REMOVE S--></s>
<s>et c. <!-- REMOVE S-->la proportione che è tra a. <!-- REMOVE S--></s>
<s>et c. <!-- REMOVE S-->&longs;arà <lb/>compo&longs;ta da quella, che è tra a. <!-- REMOVE S--></s>
<s>et b. <!-- REMOVE S-->tra b. <!-- REMOVE S--></s>
<s>et c. <!-- REMOVE S-->ma la proportione, che è tra a, et b. <!-- REMOVE S--></s>
<s>&longs;i compo­<lb/>ne di c. <!-- REMOVE S-->et d. <!-- REMOVE S--></s>
<s>et di e. <!-- REMOVE S-->et f. <!-- REMOVE S--></s>
<s>&longs;econdo il &longs;uppo&longs;to da noi. </s>
<s>adunque a, à c. <!-- REMOVE S-->è fa ta di b. <!-- REMOVE S--></s>
<s>et c. <!-- REMOVE S-->et <lb/>et di c. <!-- REMOVE S--></s>
<s>et d. <!-- REMOVE S-->et die, et f. <!-- REMOVE S--></s>
<s>ma b, à c. <!-- REMOVE S-->et c. <!-- REMOVE S--></s>
<s>à d. <!-- REMOVE S-->compongono la b. <!-- REMOVE S--></s>
<s>à d. <!-- REMOVE S-->trapo&longs;to il c. <!-- REMOVE S--></s>
<s>tra b. <!-- REMOVE S-->et e. <!-- KEEP S--></s>
<s><lb/>Adunque la proportione, che è tra a, et c. <!-- REMOVE S-->è compo&longs;ta di b. <!-- REMOVE S--></s>
<s>et d. <!-- REMOVE S-->et di e. <!-- REMOVE S--></s>
<s>et f.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s><emph type="italics"/>Il quarto modo procede dal terzo, &longs;i come il &longs;econdo dal primo. </s>
<s>po&longs;ti tra b, & f. <!-- REMOVE S-->commune­<lb/>mente d. <!-- REMOVE S--></s>
<s>& e. <!-- REMOVE S-->& co&longs;i tutti i modi pari, con i loro di&longs;pari &longs;i collegano, per i&longs;chifare il repetere <lb/>la i&longs;te&longs;&longs;a uia.<emph.end type="italics"/></s>
</p><p type="main">
<s><emph type="italics"/>Il quinto modo è che la proportione di a, ad e. <!-- REMOVE S-->è compo&longs;ta di b, ad f. <!-- REMOVE S--></s>
<s>& di c. <!-- REMOVE S-->à d. <!-- REMOVE S--></s>
<s>perche po­<lb/>&longs;to b. <!-- REMOVE S-->tra a, & e. <!-- REMOVE S--></s>
<s>&longs;i fa l'argomento del terzo. </s>
<s>perche lo a. <!-- REMOVE S-->ad e. <!-- REMOVE S--></s>
<s>è compo&longs;to dello a. <!-- REMOVE S-->al b. <!-- REMOVE S--></s>
<s>& del b. <!-- REMOVE S--><lb/>allo e. <!-- REMOVE S--></s>
<s>ma lo a. <!-- REMOVE S-->al b. <!-- REMOVE S--></s>
<s>è compo&longs;to dell' e. <!-- REMOVE S-->al f. <!-- REMOVE S--></s>
<s>& del c. <!-- REMOVE S-->al d. <!-- REMOVE S--></s>
<s>perche co&longs;i hauemo po&longs;to. </s>
<s>adunque a, <lb/>ad e. <!-- REMOVE S-->&longs;i compone di b. <!-- REMOVE S--></s>
<s>à c. <!-- REMOVE S-->& die. </s>
<s>ad f. <!-- REMOVE S-->& dic. </s>
<s>à d. <!-- REMOVE S-->ma b. <!-- REMOVE S--></s>
<s>ad e. <!-- REMOVE S-->& e. <!-- REMOVE S--></s>
<s>ad f. <!-- REMOVE S-->compongono b. <!-- REMOVE S--></s>
<s>ad f. <!-- REMOVE S-->tra­<lb/>po&longs;to e. <!-- REMOVE S--></s>
<s>tra b, & f. <!-- REMOVE S-->adunque la proportione tra a. <!-- REMOVE S--></s>
<s>& e. <!-- REMOVE S-->è compo&longs;ta delle proportioni, che &longs;ono <lb/>tra b. <!-- REMOVE S--></s>
<s>& f. <!-- REMOVE S-->& tra c, & d.<emph.end type="italics"/><!-- KEEP S--></s>
</p><p type="main">
<s><emph type="italics"/>Il &longs;e&longs;to modo &longs;i caua dal quinto, per lo argomento del &longs;econdo, trapo&longs;to f. <!-- REMOVE S-->& c. <!-- REMOVE S--></s>
<s>tra b. <!-- REMOVE S-->& d.<emph.end type="italics"/><!-- REMOVE S--></s>
</p><p type="main">
<s><emph type="italics"/>Il &longs;ettimo compone la proportione di b, à d. <!-- REMOVE S-->delle proportioni di à. </s>
<s>a c. <!-- REMOVE S-->& di f. <!-- REMOVE S--></s>
<s>ad e. <!-- REMOVE S-->perche <lb/>e&longs;&longs;endo compo&longs;to a. <!-- REMOVE S--></s>
<s>b. <!-- REMOVE S-->di c. <!-- REMOVE S--></s>
<s>à d. <!-- REMOVE S-->& die. </s>
<s>ad f. <!-- REMOVE S-->ne &longs;egue per la quarta proportione, che la proportio­<lb/>ne tra b, & a. <!-- REMOVE S--></s>
<s>&longs;arà compo&longs;ta di d. <!-- REMOVE S-->& c. <!-- REMOVE S--></s>
<s>& di f. <!-- REMOVE S-->& e. <!-- REMOVE S--></s>
<s>po&longs;to adunque a. <!-- REMOVE S-->tra b. <!-- REMOVE S--></s>
<s>& d. <!-- REMOVE S-->la proportio­<lb/>ne, che è tra b, & d. <!-- REMOVE S--></s>
<s>&longs;arà fatta di b. <!-- REMOVE S-->& a. <!-- REMOVE S--></s>
<s>& di a, & d. <!-- REMOVE S-->ma b, & a. <!-- REMOVE S--></s>
<s>è compo&longs;to di d. <!-- REMOVE S-->& c. <!-- REMOVE S--></s>
<s>et di f. <lb/><!-- REMOVE S-->& e. <!-- REMOVE S--></s>
<s>adunque la proportione di b. <!-- REMOVE S-->à d. <!-- REMOVE S--></s>
<s>&longs;arà compo&longs;ta di tre proportioni. </s>
<s>cioè di a, à d. <!-- REMOVE S-->di d, à <lb/>c. <!-- REMOVE S--></s>
<s>& di f. <!-- REMOVE S-->ad e. <!-- KEEP S--></s>
<s>Ma la a, à d. <!-- REMOVE S-->& la d. <!-- REMOVE S--></s>
<s>à c. <!-- REMOVE S-->compongono quella, che è tra a. <!-- REMOVE S--></s>
<s>& c. <!-- REMOVE S-->trappo&longs;to <lb/>d. <!-- REMOVE S--></s>
<s>tra a, & c. <!-- REMOVE S-->adunque la proportione di b. <!-- REMOVE S--></s>
<s>à d. <!-- REMOVE S-->&longs;arà composta delle proportioni di a, à c. <!-- REMOVE S--></s>
<s>& <lb/>di f. <!-- REMOVE S-->ad e. <!-- REMOVE S--></s>
<s>ilche era il propo&longs;ito.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>L'ottauo modo. </s>
<s>&longs;i come pre&longs;upo&longs;to il primo &longs;i caua il &longs;econdo, co&longs;i per lo i&longs;te&longs;&longs;o argomento <lb/>&longs;i caua l'ottauo i &longs;uppo&longs;ti, & prouati ne i precedenti, posto in mezo di a. <!-- REMOVE S-->& e. <!-- REMOVE S--></s>
<s>e. <!-- REMOVE S-->& f.<emph.end type="italics"/><!-- KEEP S--></s>
</p><p type="main">
<s><emph type="italics"/>Il nono. </s>
<s>&longs;imilmente la proportione di b, ad e. <!-- REMOVE S-->&longs;arà compo&longs;ta delle proportioni di a. <!-- REMOVE S--></s>
<s>ad e. <!-- REMOVE S-->& di <lb/>d. <!-- REMOVE S--></s>
<s>à c. <!-- REMOVE S-->perche b ad a, è compo&longs;to di d. <!-- REMOVE S--></s>
<s>à c. <!-- REMOVE S-->& di f. <!-- REMOVE S--></s>
<s>ad e. <!-- REMOVE S-->trapposto a. <!-- REMOVE S--></s>
<s>tra b. <!-- REMOVE S-->& f. <!-- REMOVE S--></s>
<s>&longs;arà la pro­<lb/>portione tra b, & f. <!-- REMOVE S-->compo&longs;ta di b. <!-- REMOVE S--></s>
<s>ad a. <!-- REMOVE S-->& di a. <!-- REMOVE S--></s>
<s>ad f. <!-- REMOVE S-->& però b, ad f. <!-- REMOVE S--></s>
<s>&longs;arà compo&longs;ta di a. <!-- REMOVE S-->ad f. <lb/><!-- REMOVE S--></s>
<s>& di f. <!-- REMOVE S-->ad e. <!-- REMOVE S--></s>
<s>& di d. <!-- REMOVE S-->à c. <!-- REMOVE S--></s>
<s>ma a. <!-- REMOVE S-->ad f. <!-- REMOVE S--></s>
<s>& f. <!-- REMOVE S-->ad e. <!-- REMOVE S--></s>
<s>compongono a. <!-- REMOVE S-->ad e. <!-- REMOVE S--></s>
<s>adunque b. <!-- REMOVE S-->& f. <!-- REMOVE S--></s>
<s>è com­<lb/>po&longs;ta di a. <!-- REMOVE S-->& e. <!-- REMOVE S--></s>
<s>& di d. <!-- REMOVE S-->& c.<emph.end type="italics"/><!-- REMOVE S--></s>
</p><pb pagenum="107"/><p type="main">
<s><emph type="italics"/>Il decimo. </s>
<s>con l'argomento del &longs;econdo procede dalle co&longs;e prouate nel precedente, trappo&longs;to, <lb/>e, & d. <!-- REMOVE S-->tra a. <!-- REMOVE S--></s>
<s>& c.<emph.end type="italics"/><!-- REMOVE S--><emph type="italics"/>L'undecimo. <!-- KEEP S--></s></p><p type="main">
<s>egli &longs;i compone c. <!-- REMOVE S-->à d. <!-- REMOVE S--></s>
<s>di a. <!-- REMOVE S-->& b. <!-- REMOVE S--></s>
<s>& di f. <!-- REMOVE S-->& c. <!-- REMOVE S--></s>
<s>perche per la terza. </s>
<s>a. <!-- REMOVE S-->& c. <!-- REMOVE S--></s>
<s>è <lb/>fatta di b. <!-- REMOVE S-->& d. <!-- REMOVE S--></s>
<s>& di e. <!-- REMOVE S-->& f. <!-- REMOVE S--></s>
<s>&longs;i componerà la c. <!-- REMOVE S-->ad a. <!-- REMOVE S--></s>
<s>di d. <!-- REMOVE S-->à b. <!-- REMOVE S--></s>
<s>& di f. <!-- REMOVE S-->ad e. <!-- REMOVE S--></s>
<s>po&longs;to adunque a tra <lb/>c. <!-- REMOVE S-->& d. <!-- REMOVE S--></s>
<s>&longs;arà la c. <!-- REMOVE S-->al d. <!-- REMOVE S--></s>
<s>compo&longs;ta dalla a. <!-- REMOVE S-->al d. <!-- REMOVE S--></s>
<s>dalla d. <!-- REMOVE S-->al b. <!-- REMOVE S--></s>
<s>& dalla f. <!-- REMOVE S-->al c. <!-- REMOVE S--></s>
<s>ma la a. <!-- REMOVE S-->al d. <!-- REMOVE S--></s>
<s>& la d. <!-- REMOVE S--><lb/>al b. <!-- REMOVE S--></s>
<s>compongono la a. <!-- REMOVE S-->al b. <!-- REMOVE S--></s>
<s>adimque la c. <!-- REMOVE S-->à d. <!-- REMOVE S--></s>
<s>è compo&longs;ta dal a, à b, & da f. <!-- REMOVE S-->ad e.<emph.end type="italics"/><!-- KEEP S--></s>
</p><p type="main">
<s><emph type="italics"/>Il duodecimo modo &longs;i caua dall'argomento di &longs;opra trapo&longs;to b. <!-- REMOVE S-->& f. <!-- REMOVE S--></s>
<s>tra a. <!-- REMOVE S-->& e.<emph.end type="italics"/><!-- KEEP S--></s>
</p><p type="main">
<s><emph type="italics"/>Il terzo decimo è &longs;imilmente, che la proportione tra c. <!-- REMOVE S-->& f. <!-- REMOVE S--></s>
<s>è compo&longs;ta dalle proportioni tra <lb/>a. <!-- REMOVE S-->& b. <!-- REMOVE S--></s>
<s>tra d. <!-- REMOVE S-->& c. <!-- REMOVE S--></s>
<s>posto d. <!-- REMOVE S-->& c. <!-- REMOVE S--></s>
<s>tra e. <!-- REMOVE S-->& f. <!-- REMOVE S--></s>
<s>&longs;arà composta la c. <!-- REMOVE S-->& la. </s>
<s>f. <!-- REMOVE S-->dalla. </s>
<s>c. <!-- REMOVE S-->al d. <!-- REMOVE S--></s>
<s>& <lb/>dalla d, al e. <!-- REMOVE S-->& dall' e. <!-- REMOVE S--></s>
<s>al f. <!-- REMOVE S-->ma. </s>
<s>c. <!-- REMOVE S-->d. <!-- REMOVE S--></s>
<s>& e f. <!-- REMOVE S-->compongono a. <!-- REMOVE S--></s>
<s>b. <!-- REMOVE S-->adunque la c f. <!-- REMOVE S--></s>
<s>è compo&longs;ta da <lb/>a b. <!-- REMOVE S-->& da d e.<emph.end type="italics"/><!-- KEEP S--></s>
</p><p type="main">
<s><emph type="italics"/>Il quartodecimo &longs;i caua dal precedente, come il &longs;econdo dal primo trapo&longs;to b. <!-- REMOVE S-->& d. <!-- REMOVE S--></s>
<s><lb/>tra a. <!-- REMOVE S-->& e.<emph.end type="italics"/><!-- KEEP S--></s>
</p><p type="main">
<s><emph type="italics"/>Il quintodecimo è, che anche d e, è composta da b a, & da c. <!-- REMOVE S-->f. <!-- REMOVE S--></s>
<s>perche po&longs;to c. <!-- REMOVE S-->& f. <!-- REMOVE S--></s>
<s>tra d. <lb/><!-- REMOVE S-->& e. <!-- REMOVE S--></s>
<s>la d. <!-- REMOVE S-->e. <!-- REMOVE S--></s>
<s>&longs;arà composta da d. <!-- REMOVE S-->c. <!-- REMOVE S--></s>
<s>ad c. <!-- REMOVE S-->f. <!-- REMOVE S--></s>
<s>& da f. <!-- REMOVE S-->a. <!-- REMOVE S--></s>
<s>ma la d. <!-- REMOVE S-->al c. <!-- REMOVE S--></s>
<s>& la f. <!-- REMOVE S-->all'e. </s>
<s>compongono <lb/>la b. <!-- REMOVE S-->a. <!-- REMOVE S--></s>
<s>perche le conuer&longs;e compongono la a. <!-- REMOVE S-->b. <!-- REMOVE S--></s>
<s>per la &longs;oppo&longs;itione adunque d. <!-- REMOVE S-->e. <!-- REMOVE S--></s>
<s>è compo&longs;ta di <lb/>b. <!-- REMOVE S-->ad a. <!-- REMOVE S--></s>
<s>& di c. <!-- REMOVE S-->ad f.<emph.end type="italics"/><!-- KEEP S--></s>
</p><p type="main">
<s><emph type="italics"/>Il &longs;e&longs;todecimo con l'argomento del &longs;econdo è dedutto dal precedente. </s>
<s>trapo&longs;to a. <!-- REMOVE S-->& c. <!-- REMOVE S--></s>
<s><lb/>tra b. <!-- REMOVE S-->& f.<emph.end type="italics"/><!-- KEEP S--></s>
</p><p type="main">
<s><emph type="italics"/>Il decimo &longs;ettimo modo è, che e. <!-- REMOVE S-->f. <!-- REMOVE S--></s>
<s>&longs;i compone di a. <!-- REMOVE S-->b. <!-- REMOVE S--></s>
<s>& di d. <!-- REMOVE S-->c. <!-- REMOVE S--></s>
<s>percioche per la conuer&longs;a del <lb/>quinto modo c. <!-- REMOVE S-->a. <!-- REMOVE S--></s>
<s>&longs;i fa di f. <!-- REMOVE S-->b. <!-- REMOVE S--></s>
<s>& di d. <!-- REMOVE S-->c. <!-- REMOVE S--></s>
<s>il re&longs;to &longs;i ordina, come s'è fatto nella prima deduttione <lb/>dell'undecimo modo.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Il decimo ottauo con l'argomento del &longs;econdo &longs;i caua dal precedente b. <!-- REMOVE S-->et d. <!-- REMOVE S--></s>
<s>trapo&longs;ti tra e. <!-- REMOVE S-->et c.<emph.end type="italics"/><!-- KEEP S--></s>
</p><p type="main">
<s><emph type="italics"/>Voglio, che fin qui &longs;ia detto a ba&longs;tanza per dare alquanto di luce alle co&longs;e di Alchindo: & <lb/>qui &longs;otto cauarne una belli&longs;&longs;ima propo&longs;itione, che ne contiene dice&longs;ette utili&longs;&longs;ime da e&longs;&longs;er da ogni <lb/>&longs;orte di per&longs;one studio&longs;e e&longs;&longs;ercitate, & &longs;ono que&longs;te, lequali &longs;i &longs;erueno a ritrouare qualunque nu­<lb/>mero di quelli &longs;ei, ci fu&longs;&longs;e ignoto.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Se la proportione che è tra'l primo e'l &longs;econdo, è compo&longs;ta delle proportioni, che &longs;ono tra'l <lb/>terzo, e'l quarto, & tra'l quinto, e'l&longs;e&longs;to: la i&longs;te&longs;&longs;a &longs;arà compo&longs;ta dalle proportioni, che &longs;ono, <lb/>tra'l terzo, e'l &longs;e&longs;to, & tra'l quinto, e'l quarto. </s>
<s>Ecco ne i numeri lo e&longs;&longs;empio. </s>
<s>1. 2. 3. 4. <lb/>6. 9. dalla &longs;otto &longs;e&longs;quiterza, che è tra tre, & quattro, & dalla &longs;otto &longs;e&longs;quialtera, che è tra <lb/>&longs;ei, & noue, ne na&longs;ce la &longs;ottodoppia che è tra uno, & due. </s>
<s>io dico che la i&longs;te&longs;&longs;a &longs;ottodoppia na­<lb/>&longs;cerà dalle proportioni, che &longs;ono tra il terzo, & il &longs;e&longs;to, cioè tra tre & noue, che &longs;ono in propor­<lb/>tione &longs;otto tripla. </s>
<s>& dalla proportione, che è tra'l quinto e'l quarto, che &longs;ono &longs;ei, & quattro, do­<lb/>ue è la proportion &longs;e&longs;quialtera, perche da una &longs;ottotripla, & da una &longs;e&longs;quialtera, ne na&longs;ce una <lb/>&longs;ottodoppia, come è tra uno, & due.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Similmente &longs;e la proportione del primo al terzo, &longs;arà compo&longs;ta delle proportioni del &longs;econdo <lb/>al quarto, et del quinto al &longs;e&longs;to. </s>
<s>come la proportione dell'uno al tre, che è &longs;ottotr pla, è compo­<lb/>&longs;ta delle proportioni del due al quattro, che è &longs;ottodoppia, et del &longs;ei al noue, che è &longs;otto&longs;e&longs;quial­<lb/>tera, ne na&longs;ce una &longs;otto tripla.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Parimente, &longs;e la proportione del primo al quinto, cioè dall'uno al &longs;ei che è &longs;otto &longs;e&longs;cupla, &longs;arà <lb/>fatta delle proportioni del &longs;econdo al &longs;e&longs;to, che è dal due, al noue, che è proportione &longs;ottoqua­<lb/>drupla &longs;e&longs;quialtera, et dal terzo, al quarto, che &longs;on tre, et quattro, doue cade proportione &longs;ot­<lb/>to&longs;e&longs;quiterza, la i&longs;te&longs;&longs;a uenirà, dal &longs;econdo al quarto, che è tra due, et quattro, doue è propor­<lb/>tione &longs;ottodoppia, et dal terzo al &longs;e&longs;to, come da tre a noue, doue cade proportione &longs;ottotripla; <lb/>perche ne na&longs;cerà una &longs;otto&longs;e&longs;cupla.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Co&longs;i anche, &longs;e la proportione, che è del &longs;econdo al quarto, che è &longs;atto doppia, come è da uno <lb/>a quattro, na&longs;cerà dalla proportion del primo al terzo, che è &longs;otto tripla, come da uno a tre, &<emph.end type="italics"/><pb pagenum="108"/><emph type="italics"/>dalla proportione del &longs;e&longs;to al quinto, come è da noue a &longs;ei, doue cade proportion &longs;e&longs;quialtera, per <lb/>che da una &longs;ottotripla, & da una &longs;e&longs;quialtera ne na&longs;ce una &longs;ottodoppia, la i&longs;te&longs;&longs;a proportione na <lb/>&longs;cerà dal primo al quinto, che è da uno à &longs;ei, doue cade proportione &longs;otto&longs;e&longs;cupla, & dal &longs;e&longs;to al <lb/>terzo come da noue a tre, doue cade la tripla; perche da una &longs;otto&longs;e&longs;cupla, & da una tripla ne <lb/>na&longs;ce una &longs;ottodoppia, come è da due a quattro.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Similmente &longs;e la proportione, che ha il &longs;econdo al &longs;e&longs;to, come tra due, & noue, doue cade <lb/>proportione &longs;ottoquadrupla &longs;e&longs;quialtera, na&longs;ce dalla proportione del primo al qumto, come da <lb/>uno a &longs;ei, doue è proportione &longs;otto&longs;e&longs;cupla, & dal quarto al terzo, come è da quattro a tre, do­<lb/>ue è proportione &longs;e&longs;quiterza, la i&longs;te&longs;&longs;a proportione &longs;ottoquadrupla &longs;e&longs;quialtera na&longs;cerà dalla pro­<lb/>portione del primo al terzo, cioè da uno a tre, doue è proportione &longs;ottotripla, & dal quarto al <lb/>quinto, come da quattro a &longs;ei, doue è proportione &longs;otto&longs;e&longs;quialtera, perche da una &longs;ottotripla, <lb/>& da una &longs;otto&longs;e&longs;quialtera ne uiene una &longs;ottoquadrupla &longs;e&longs;quialtera.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Similmente &longs;e la proportion del terzo al quarto come è da tre a quattro, doue cade proportione <lb/>&longs;otto&longs;e&longs;quiterza na&longs;cerà dalla proportione del primo al &longs;econdo, come da uno a due, doue cade <lb/>proportione &longs;ottodoppia, & dal &longs;e&longs;to al quinto come da noue a &longs;ei, doue cade proportione &longs;e&longs;qui­<lb/>altera, la i&longs;te&longs;&longs;a proportione na&longs;cerà dalla proportione, che è tra'l primo, e'l quinto, che è uno <lb/>& &longs;ei, doue cade proportione &longs;otto&longs;e&longs;cupla, & dal &longs;e&longs;to al &longs;econdo, come è da noue a due, doue ca <lb/>de proportione quadrupla &longs;e&longs;quialtera, perche da una &longs;otto&longs;e&longs;cupla, & da una quadrupla &longs;e&longs;­<lb/>quialtera, ne na&longs;ce una &longs;otto&longs;e&longs;quiterza.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Oltra di que&longs;to &longs;e la proportione, che è tra'l terzo, & il&longs;e&longs;to, che è &longs;ottotripla, come da tre a <lb/>noue, na&longs;ce dalla proportione del primo al &longs;econdo, come da uno a due, che è &longs;ottodoppia, & <lb/>dal quarto al quinto, che è &longs;otto&longs;e&longs;quialtera, come tra quattro & &longs;ei, la i&longs;te&longs;&longs;a na&longs;cerà dal pri­<lb/>mo al quinto, come da uno a &longs;ei, doue cade la &longs;otto&longs;e&longs;cupla, & dal quarto al &longs;econdo, come da <lb/>quattro & due, doue cade la &longs;ottodoppia, perche da una &longs;ottodoppia, & da una &longs;otto&longs;e&longs;quiter­<lb/>zane uiene la &longs;ottotripla.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Di nuouo &longs;e la proportione del quarto al quinto, cioè del quattro al &longs;ei, doue è la &longs;otto&longs;e&longs;qui­<lb/>altera, è compo&longs;ta del &longs;econdo al primo, cio del due all'uno, doue cade la doppia, & del terzo <lb/>al &longs;esto, come del tre al noue, doue cade la &longs;ottotripla, la i&longs;te&longs;&longs;a &longs;otto&longs;e&longs;quialtera na&longs;cerà dalla <lb/>proportione del &longs;econdo al &longs;e&longs;to, & del terzo al primo.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Finalmente &longs;e la proportione, che è del quinto al &longs;e&longs;to, come è tra &longs;ei, & noue, doue cade la <lb/>&longs;otto&longs;e&longs;quialtera, na&longs;cerà dalle proportioni, del primo al &longs;econdo, come da uno a due, doue ca­<lb/>de la &longs;ottodoppia, & dal quarto al terzo, doue cade la &longs;e&longs;quiterza, la i&longs;te&longs;&longs;a na&longs;cerà da quella, <lb/>che è dal primo al terzo, che è &longs;ottotripla, come da uno a tre, & da quella, che è dal quarto al <lb/>&longs;econdo, che è la doppia, come da quattro a due, & tanto &longs;ia detto delle proportioni, & delle lo <lb/>rogenerationi, & ri&longs;petti: le quali co&longs;e diligentemente e&longs;&longs;aminate, e&longs;&longs;ercitate, po&longs;te a memoria <lb/>applicate alle &longs;cienze, & alle pratiche, faranno pareregli huomini miracolo&longs;i. </s>
<s>Ma tempo è, <lb/>che a&longs;coltiamo Vitruuio.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="head">
<s><emph type="italics"/>Delle compo&longs;itioni, & compartimenti de i tempij.<emph.end type="italics"/></s></p><p type="head">
<s><emph type="italics"/>Et della mi&longs;ura del corpo humano.<emph.end type="italics"/></s></p><p type="head">
<s><emph type="italics"/>Cap.
I.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s>LA compo&longs;itione delle &longs;acre ca&longs;e è fatta di compartimento, la cui ragione deue <lb/>e&longs;&longs;er con &longs;omma diligenza da gli Architetti cono&longs;ciuta. </s>
<s>il compartimento &longs;i <lb/>piglia dalla proportione, che Grecamente è detta analogia. </s>
<s>La proportio­<lb/>ne è conuenienza di moduli, & di mi&longs;ure in ogni opera sì della rata parte de <pb pagenum="109"/>i membri, come del tutto, dalla quale procede la ragione de i compartimenti. </s></p><p type="main">
<s><emph type="italics"/>La &longs;omma di tutto quello, che dice Vitr.
cerca le fabriche pertinenti alla religione è, che pri­<lb/>ma egli dimo&longs;tra la nece&longs;&longs;ità di cono&longs;cer la forza delle proportioni, & delle commen&longs;urationi, <lb/>che &longs;i chiamano &longs;immetrie da greci. </s>
<s>dapoi dichiara donde è &longs;tata pre&longs;a la ragione delle mi&longs;ure, <lb/>& tratta della compo&longs;itione de i Tempij, & con&longs;idera prima tutto quello, che &longs;i rappre&longs;enta di <lb/>fuori, & da lunge allo a&longs;petto da diuer&longs;e figure, & forme di tempij, & in que&longs;ta parte tocca <lb/>cinque maniere di Tempij, con le ragioni di cia&longs;cuna, & dichiara il modo di fondare, l'ornamen <lb/>to delle colonne, de i capitelli, de gli architraui, de i coperti, & fronti&longs;picij, & altre co&longs;e perti­<lb/>nenti a quello, che &longs;i uede di fuori, come &longs;ono gradi, poggi, piedistali, &longs;porti, ra&longs;tremamenti, <lb/>gonfiature, aggiunte, canalature, & &longs;imili co&longs;e, &longs;econdo i generi delle fabriche. </s>
<s>Viene poi al­<lb/>le parti di dentro, & di&longs;tintamente ragiona delle mi&longs;ure, lunghezze, larghezze, & altezze de <lb/>i Tempij, delle celle, de gli antitempij, de gli altari, delle porte, & di tutti gli ornamenti che <lb/>conuengono alle predette parti: la onde niente la&longs;cia al de&longs;iderio nostro, conchiudendo tutta la <lb/>pre&longs;ente materia, nel terzo, & nel quarto libro. </s>
<s>Dice adunque, che per edificare i Tempij bi­<lb/>&longs;ogna cono&longs;cere la ragione del compartimento, & que&longs;to douer e&longs;&longs;ere con &longs;omma diligenza da gli <lb/>Architetti cono&longs;ciuto. </s>
<s>Di questo la ragione è in pronto: perche, &longs;e bene ogni fabrica deue e&longs;&longs;er <lb/>conragione compartita, & mi&longs;urata, nientedimeno con&longs;iderando noi quanto la diuinità eccede la <lb/>humanità, meritamente douemo, quanto &longs;i puo di bello, & diraro, &longs;empre mai operare, per ho <lb/>nore, & o&longs;&longs;eruanza delle co&longs;e diume. </s>
<s>& perche di diuina qualità participa in terra l'humana <lb/>mente, però douemo con ogni &longs;tudio e&longs;&longs;ercitarla, accioche honoriamo i Dei; che Dei &longs;i chiamano <lb/>i ueri amici di Dio. <!-- KEEP S--></s>
<s>ottima co&longs;a è la ragione nella mente dell'huomo, & que&longs;ta eccellenti&longs;&longs;ima­<lb/>mente &longs;i dimo&longs;tra nelle proportioni. </s>
<s>& però &longs;e Vitr.
ha detto, che la ragione della &longs;immetria, <lb/>che è corri&longs;pondenza di mi&longs;ure, deue e&longs;&longs;er con grandi&longs;&longs;ima diligentia cono&longs;ciuta da gli Architet­<lb/>ti, egli ha detto co&longs;a ragioneuole, hone&longs;ta, & debita alla diuinità. </s>
<s>Et &longs;e co&longs;a mortale puo a ba­<lb/>&longs;tanza honorare la immortalità, direi anch'io, che le piu pretio&longs;e, & care co&longs;e doueriano e&longs;&longs;er <lb/>&longs;oggetto & materia alle ben proportionate fabriche de i luoghi &longs;acri, accioche, & con la forma, <lb/>& con la materia &longs;i honora&longs;&longs;e quanto piu &longs;i puo, la diuinità. </s>
<s>Nece&longs;&longs;aria co&longs;a è dunque la &longs;im­<lb/>metria alla compo&longs;itione de i Tempij. <!-- KEEP S--></s>
<s>la &longs;immetria è diffinita da Vitr.
in que&longs;to luogo &longs;econdo l'ap <lb/>plicatione all' Architettura; ma noi di &longs;opra l'hauemo diffinita &longs;econdo la raccommunanza, & <lb/>uniuer&longs;alità di quel nome. </s>
<s>Dice adunque Vitr.
che la proportione, la quale è detta analogia da <lb/>Greci, è una con&longs;onanza, & ri&longs;pondenza delle mi&longs;ure delle parti tra &longs;e &longs;te&longs;&longs;e, & col tutto <lb/>in ogni opera, che &longs;i fa, & que&longs;ta con&longs;onanza, egli chiama commodulatione, percio­<lb/>che modulo è detta quella mi&longs;ura, che &longs;i piglia prima, con la quale &longs;i mi&longs;urano le par­<lb/>ti, & il tutto; & però proportione nelle fabriche altro non è, che comparatione de' <lb/>moduli, & di mi&longs;ure in quello, in che conuengono, et le parti in&longs;ieme delle fabriche, o il tutto <lb/>unitamente con le parti. </s>
<s>Questo già è &longs;tato da noi copio&longs;amente dimo&longs;trato nel primo libro. </s>
<s>pe­<lb/>rò &longs;eguitando Vitruuio &longs;i dichiara da quale e&longs;&longs;empio di natura è stata pigliata la ragione <lb/>delle mi&longs;ure.<emph.end type="italics"/></s></p><p type="main">
<s>Perche non puo fabrica alcuna &longs;enza mi&longs;ura, & proportione hauer ragione di compo <lb/>nimento, &longs;e prima non hauerà ri&longs;petto, & con&longs;ideratione, &longs;opra la uera, & certa ra­<lb/>gione de i membri dell'huomo ben proportionato, perche la natura in tal modo ha com <lb/>po&longs;to il corpo dell'huomo, che l'o&longs;&longs;o del capo dal mento alla &longs;ommità della fronte, & <lb/>le ba&longs;&longs;e radici de i capelli, fu&longs;&longs;e la decima parte, & tanto anche fu&longs;&longs;e la palma della mano <lb/>dalla giuntura del nodo, alla cima del dito di mezo, il capo dal mento alla &longs;ommità della <lb/>te&longs;ta la ottaua parte, & tanto dal ba&longs;&longs;o del collo. </s>
<s>Dalla &longs;ommità del petto alle radici de <lb/>i capelli la &longs;e&longs;ta parte, alla &longs;ommità della te&longs;ta la quarta. </s>
<s>dal fine del mento al fine delle <lb/>natici è la terza parte dell'altezza di tutta la faccia, & tanto è lungo il na&longs;o tutto in fino <lb/>al mezo del &longs;opraciglio: & tanto anche da quello fino alle radici de i capelli, doue &longs;i fa <pb pagenum="110"/>la fronte. </s>
<s>Ma il piede, è la &longs;e&longs;ta parte dell'altezza del corpo, il cubito la quarta, il petto <lb/>anche la quarta. </s>
<s>& in que&longs;to modo anche gli altri membri hanno le loro conuenienti, & <lb/>proportionate mi&longs;ure: le quali da gli antichi pittori, & Statuarij &longs;ono &longs;tate u&longs;ate, & pe <lb/>rò hanno riportato grandi & infinite lodi. </s></p><p type="main">
<s><emph type="italics"/>La natura mae&longs;tra ci in&longs;egna come hauemo a reggercinel compartimento delle fabriche: impe <lb/>roche non da altro ella uuole, che impariamo le ragioni delle &longs;immetrie, che nelle fabri­<lb/>che de i tempij u&longs;ar douemo, che dal &longs;acro tempio fatto ad imagine, & &longs;imiglianza di Dio, <lb/>che è l'huomo, nella cui compo&longs;itione tutte le altre merauiglie di natura &longs;ono compre&longs;e. </s>
<s>et pe­<lb/>rò con &longs;aggio auuedimento tol&longs;ero gli antichi ogni ragione del mi&longs;urare dalle parti del corpo hu <lb/>mano, doue molto a propo&longs;ito Vitruuio dice, che opera niuna può hauere ragione di componi <lb/>mento, &longs;e prima non hauerà riguardo alla &longs;immetria delle membra humane. </s>
<s>Io proponerò al­<lb/>cune di&longs;tintioni, accioche meglio s'intenda quello, che dice Vitr. <!-- KEEP S--></s>
<s>Di tre maniere s'intende mi­<lb/>&longs;ura. </s>
<s>Primieramente quando una co&longs;a è piu per&longs;etta, chele altre &longs;otto un'i&longs;te&longs;&longs;o genere, quel <lb/>la &longs;i dice mi&longs;ura di perfettione. </s>
<s>in que&longs;to modo l'huomo fra tutti gli animali e&longs;&longs;endo il piu perfet­<lb/>to, &longs;i puo dire, che egli &longs;ia mi&longs;ura di tutti gli animali. </s>
<s>chiama&longs;i poi mi&longs;ura d'agguaglianza, <lb/>quando la mi&longs;ura contiene la co&longs;a mi&longs;urata a punto, come un'orna di uino, &longs;i chiama mi&longs;u­<lb/>ra, perche tiene a punto tanto uino, quanto cape. </s>
<s>In &longs;omma poi chiamamo mi&longs;ura quella quan­<lb/>tità, che pre&longs;a piu fiate mi&longs;ura il tutto, come dicemo la canna mi&longs;urare il panno. </s>
<s>Di que&longs;ta noi <lb/>parlamo, que&longs;ta è quella, che è &longs;tata pre&longs;a dalla mi&longs;ura della perfettione, che è l'huomo, tra gli ani <lb/>mali, da gli antichi. </s>
<s>Onde mi&longs;urare non è altro, che far manife&longs;ta una quantità prima non cono&longs;ciu <lb/>ta, con una <expan abbr="quãtità">quantità</expan> certa, et cono&longs;ciuta: et però <expan abbr="cōragione">corragione</expan> dalle parti dell'huomo &longs;ono &longs;tate piglia­<lb/>te le mi&longs;ure delle co&longs;e, et le ragioni di quelle mi&longs;ure: et è ragionenole, che dalla te&longs;ta &longs;i pigli la mi <lb/>&longs;ura del tutto, e&longs;&longs;endo po&longs;to nella te&longs;ta il ualore di tutti i &longs;entimenti humani, come co&longs;a piu nobi <lb/>le, et principale, et piu mani&longs;e&longs;ta. </s>
<s>Vitruuio uuole, che l'huomo &longs;ia di dieci teste, &longs;e per te&longs;ta <lb/>egli s'intende dal mento al na&longs;cimento de i capelli: et uuole anche, che &longs;ia di otto te&longs;te, &longs;e per <lb/>te&longs;ta egli s'intende lo &longs;pacio, che è dal mento al &longs;ommità del capo. </s>
<s>Gli antichi oltra la propor<lb/>tione attendeuano alla gratia per &longs;atisfare allo a&longs;pelto, et però faceuano i corpi alquanto gran <lb/>di, le te&longs;te picciole, la co&longs;cia lunga: nel che era po&longs;to la &longs;ueltezza: parlo hora de i corpi perfet <lb/>ti: perche altra mi&longs;ura conuiene ad un corpo puerile, altra ad un corpo a&longs;ciutto, o gra&longs;&longs;o, o te­<lb/>nue, che &longs;i uoglia fignere. </s>
<s>Amauano gli antichi &longs;tando nelle mi&longs;ure conuenienti, la lunghezza, <lb/>et la &longs;ottigliezza di alcune parti: parendo loro di dare non &longs;o che piu di leggiadro allc opere. </s>
<s>et <lb/>però &longs;e bene dalla ra&longs;cetta, che è la piegatura della mano, alla &longs;ommità del dito di mezo uole­<lb/>uano, che tanto fu&longs;&longs;e dal mento alla &longs;ommità della fronte, nientedimeno per la detta cagione <lb/>faceuano la mano, et le dita alquanto piu lunghe. </s>
<s>il Filandro auuerti&longs;ce, et bene, che non <lb/>puo &longs;tare quello, che dice Vitruuio, che il petto &longs;ia la quarta parte; et uuole, che quando <lb/>Vitruuio d ce, che il cubito &longs;ia la quarta parte, egliintenda non dalla giuntura del comito alla <lb/>ra&longs;cetta, ma dalla giuntura del comito alla &longs;ommità del dito di mezo. </s>
<s>Vuole Pomponio Gau <lb/>rico, che la giu&longs;ta altezza &longs;ia di noue teste. </s>
<s>altri alquanto piu. </s>
<s>Il Cardano nel libro della <lb/>&longs;ottilità dice. </s>
<s>Que&longs;ta e&longs;&longs;er la forma del corpo humano perfetto. </s>
<s>la faccia è la decima ditutta la <lb/>lunghezza dal na&longs;cimento de i capelli all e&longs;tremo del pollice del piede. </s>
<s>la faccia &longs;i diuide in <lb/>tre parti eguagli, l'una &longs;i fa dalla radice de i capelli alla &longs;ommità del na&longs;o: l'altra è la lun­<lb/>ghezza del na&longs;o: la terza è dal fine del na&longs;o al mento. </s>
<s>la lunghezza della bocca è eguale alla <lb/>lunghezza dell'occhio, et la lunghezza dell'occhio è quanto lo &longs;pacio da un'occhio all'altro: <lb/>di modo, che in tre parti &longs;i diuida lo &longs;pacio, che è dall'uno angulo dell'occhio allo angulo dell'al <lb/>tro, cioè due occhi, et lo &longs;pacio, che ui è di mezo: et tutto que&longs;to è doppio alla lunghezza del <lb/>na&longs;o. </s>
<s>di modo che la lunghenza dell'occhio, et l'apritura della bocca &longs;ia doppia alla nona par <lb/>te della lunghezza della faccia, et per que&longs;to adimene, che la lunghezza del na&longs;o &longs;ia &longs;e&longs;quial­<lb/>tera all'apritura della bocca, et alla lunghezza dell'occhio. </s>
<s>laqual lunghezza del na&longs;o e&longs;&longs;en<emph.end type="italics"/><pb pagenum="111"/><emph type="italics"/>do tripla allo &longs;pacio, che è dal na&longs;o alla bocca, ne &longs;egue che que&longs;to &longs;pacio &longs;arà la mi&longs;ura del­<lb/>l'apritura della bocca, et della lunghezza dell'occhio. </s>
<s>il circuito della bocca è doppio alla <expan abbr="lūghez">lunghez</expan> <lb/>za del na&longs;o, et triplo all'apritura. </s>
<s>Adimque tutta la lunghezza della faccia è &longs;e&longs;quialtera <lb/>al circuito della bocca, et allo &longs;pacio, che è dallo angulo e&longs;teriore d'un occhio, allo angulo <lb/>e&longs;ter icrc dell'altro: percioche que&longs;to &longs;pacio è quanto il circuito della bocca. </s>
<s>il circuito del na <lb/>&longs;o da ba&longs;&longs;o, è pare alla &longs;ua lunghezza. </s>
<s>il circuito della orecchia, è eguale al circuito della <lb/>bocca. </s>
<s>il foro della narice è la quarta parte della lunghezza dell'occhio. </s>
<s>et in tal gui&longs;a è di­<lb/>&longs;po&longs;ta la mi&longs;ura del corpo humano, come qui &longs;otto &longs;i uede. </s>
<s>La faceia parti diciotto: tra <lb/>due anguli e&longs;teriori de gli occhi parti dodici: la lunghezza del na&longs;o parti &longs;ei: il circuito da ba&longs;­<lb/>&longs;o del na&longs;o parti &longs;ei: la lunghezza dell'orecchia parti &longs;ei: dalle radici de' capelli al na&longs;o parti <lb/>&longs;ei: dal mento al &longs;ottona&longs;o parti&longs;ei: la lunghezza della bocca parti quattro: la rotondità del <lb/>la bocca parti dodici: dalla cima della te&longs;ta al fine di dietro parti uentiquattro: dalla &longs;ommi­<lb/>tà del petto alle &longs;omme radici de i capelli parti trenta: dalla forcella &longs;opra il petto alla cima <lb/>della te&longs;ta parti trenta &longs;ei: il circuito dell'orecchia parti dodici: la lunghezza dell'occhio parti <lb/>quattro: la di&longs;tanza tra l'uno occhio, et l'altro parti quattro: dal &longs;ottona&longs;o alla bocca parti due, <lb/>dalla bocca al mento parti quattro: il foro del na&longs;o parte una: l'ambito della fronte di &longs;opra <lb/>parti diciotto, dalla giontura della mano alla &longs;ommità del dito di mezo la palma parti diciotto: <lb/>dal mento alla &longs;ommità della te&longs;ta parti uentiquatro: il piede partiuenti: il cubito parti trenta: <lb/>il petto parti trenta: Tutlo il corpo parti cento et ottanta. </s>
<s>Sono anche i ma&longs;chi delle tempie pro­<lb/>portionali alla lunghezza della faccia, et le orecchie al na&longs;o, come hauemo o&longs;&longs;ernato: &longs;imilmen <lb/>te dal nodo della mano alla &longs;ommità del dito mezano è la decima di tutto il corpo: dal mento al­<lb/>la &longs;ommità della te&longs;ta, o dalla &longs;ommità della te&longs;ta al collo è il doppio di quello &longs;pacio, che è dall'an <lb/>gulo, d'un occhio all'angulo d'un'altro, <expan abbr="intēdo">intendo</expan> de gli e&longs;teriori. </s>
<s>Dalla forcella &longs;uperiore del petto alle <lb/>radici de i capelli, & al fine della fronte, quanto è il cubito, ouer la larghezza del petto, cioè la <lb/>&longs;esta parte della lunghezza ditutto il corpo: la lunghezza del piede è la nona parte della i&longs;te&longs;­<lb/>&longs;a lunghezza: dalla forcella di &longs;opra del petto alla cima della te&longs;ta, è la quinta parte di tutta la lun <lb/>ghezza. </s>
<s>& il doppio della faccia; Et co&longs;i appre&longs;&longs;o Vitr.
non puo &longs;tare la ragione; che la diffe <lb/>renza della ottaua, & della decima parte aggiunta alla &longs;e&longs;ta adempia la quarta del tutto: ma allar: <lb/>gate le mani &longs;i rende a punto l'altezza ditutto il corpo: & allargate le mani, & ipiedi, il bilico &longs;i <lb/>farà nel mezo, di modo, che dalla prima figura il quadrato; & dalla &longs;econda &longs;i farà il circolo: <lb/>amendue figure nel &longs;uo genere perfetti&longs;&longs;ime, una di dritte, & l'altra di linea circolare compo&longs;ta. <lb/></s>
<s>& que&longs;to è, che dice Vitr.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s>Simig liantemente le membra de i facri Tempij deono hauere in cia&longs;cuna parte alla &longs;om <lb/>ma uniuer&longs;ale di tutta la grandezza conuenienti&longs;sime ri&longs;pondenze di mi&longs;ure, Appre&longs;&longs;o di <lb/>que&longs;to naturalmente il mezo centro del corpo è il bilico. </s>
<s>imperoche &longs;e l'huomo &longs;te&longs;o, & <lb/>&longs;upino allargherà le mani, & i piedi, & &longs;arà po&longs;ta una punta della &longs;e&longs;ta nel bilico di quel <lb/>lo, girando a torno le dita delle mani, & de i piedi, &longs;aranno toccate dalla linea, che &longs;i gi­<lb/>ra. </s>
<s>Et &longs;i come la ritonda figura &longs;i forma nel corpo humano, co&longs;i anche &longs;i truoua la qua­<lb/>drata: imperoche &longs;e dalle ba&longs;&longs;e piante alla &longs;ommità del capo &longs;arà mi&longs;urato il corpo del­<lb/>l'huomo, & quella mi&longs;ura &longs;arà trasferita alle mani allargate, egli &longs;i trouerà la i&longs;te&longs;&longs;a lar­<lb/>ghezza, come l'altezza, a gui&longs;a de i piani riquadrati. </s>
<s>Se adunque la natura ha compo&longs;to <lb/>in que&longs;to modo il corpo dell'huomo, che le membra ri&longs;pondino con proportione alla per <lb/>fetta loro figuratione; pare, che gli anti chi con cau&longs;a habbiano con&longs;tituito, che in tutte <lb/>le perfettioni delle opere ui habbia diligente mi&longs;ura, & proportione di ciafcun membro a <lb/>tutta la figura. </s>
<s>Et però in&longs;egnando gli ordini in tutte le opere, que&longs;to ne i facri luoghi, <lb/>doue le lodi, & i bia&longs;mi delle opere &longs;tanno eternamente, &longs;opra tutto o&longs;&longs;eruarono. </s></p><p type="main">
<s><emph type="italics"/>Non &longs;olamente gli antichi tol&longs;ero le proportioni dal corpo humano, ma anche le mi&longs;ure i&longs;te&longs;­<lb/>&longs;e, & i nomi loro: & però hauendo Vitr.
conclu&longs;o, che le &longs;immetrie & compartimenti delle ope<emph.end type="italics"/><pb pagenum="112"/><emph type="italics"/>re &longs;ono &longs;tati da i corpi humani, nelle compo&longs;itioni de i Tempij trans&longs;erite: dice anche le mi&longs;ure <lb/>i&longs;te&longs;&longs;e e&longs;&longs;ere &longs;tate pigliate.<emph.end type="italics"/></s></p><p type="main">
<s>Similmente gli antichi raccol&longs;ero da i membri del corpo le ragioni delle mi&longs;ure, che in <lb/>tutte l'opere pareno e&longs;&longs;er nece&longs;&longs;arie, come il dito, il palmo, il piede, il cubito; & quelle <lb/>di&longs;tribuirono nel numero perfetto, che da i Greci Telion è detto. </s></p><p type="main">
<s><emph type="italics"/>Co&longs;a perfetta è quella, a cui nulla manca, & niente &longs;e le puo aggiugnere, & che di tutte &longs;ue <lb/>parti è compo&longs;ta, nè altro le &longs;opr'auanza: per que&longs;ta ragione il mondo è perfetto a&longs;&longs;olutamente. <lb/></s>
<s>& molte altre co&longs;e nel loro genere &longs;ono perfette. </s>
<s>Ma uedianio noi con che ragione &longs;i chiamino i <lb/>numeri perfetti, & quali &longs;ieno.<emph.end type="italics"/></s></p><p type="main">
<s>Perfetto numero da gli antichi fu po&longs;to il dieci, perche dalle mani &longs;i caua il numero de <lb/>nario delle dita; dalle dita il palmo; & dal palmo il piede, & &longs;i come nell'una, & l'altra <lb/>mano dalle dita naturalmente è proceduto il dieci, co&longs;i piacque a Platone, che quel nume <lb/>ro fu&longs;&longs;e perfetto, perche dalle unità, che monades Grecamente &longs;i chiamano, è fornito il <lb/>dieci, che è la prima croce:il quale poi, che è fatto undici, ouero dodici, non puo e&longs;&longs;er per <lb/>fetto, fin che non peruiene all'altro incrocciamento; perche le unità &longs;ono particelle di <lb/>quel numero. </s></p><p type="main">
<s><emph type="italics"/>Detto hauemo di &longs;opra, che parte uer amente è quella, che pre&longs;a quante fiate &longs;i puo, compone <lb/>il tutto &longs;enza piu. </s>
<s>dal che na&longs;ce la intelligenza di quello, che &longs;i dirà. </s>
<s>Dico adunque, che alcu­<lb/>ni numeri ri&longs;petto alle parti loro, delle quali &longs;ono compo&longs;ti, &longs;i po&longs;&longs;ono chiamare poueri, & dimi­<lb/>nuti, altri &longs;uperflui, & ricchi, altri ueramente &longs;officienti, & perfetti. </s>
<s>La onde poueri &longs;ono quel <lb/>li, le parti de i quali in&longs;ieme raccolte non fanno la &longs;omma del tutto. </s>
<s>per e&longs;&longs;empio &longs;ia otto. </s>
<s>le par <lb/>ti del quale &longs;ono, uno, due, & quattro, che raccolte in&longs;ieme non fanno otto. </s>
<s>Ricchi &longs;ono quel <lb/>li, le parti de i quali &longs;ommate fanno &longs;omma maggiore, come dodici le cui parti &longs;ono, uno, due, <lb/>tre, quattro, & &longs;ei, lequali partiraccolte in uno pa&longs;&longs;ano la &longs;omma del tutto, & fanno &longs;edici. </s>
<s><lb/>Perfetti&longs;ono quelli, le parti intiere de quali con la &longs;omma loro rendeno preci&longs;amente il tutto, co­<lb/>me &longs;ei, & uentiotto. </s>
<s>ecco uno, due, & tre, che &longs;ono parti del &longs;ei raccolte in&longs;ieme rendeno a pun <lb/>to &longs;ei. </s>
<s>co&longs;i uno, due, quattro, &longs;ette, & quattordici &longs;ono parti di uentotto, & &longs;ommate in&longs;ieme <lb/>fanno uent'otto a punto. </s>
<s>La generatione de i numeri perfetti s'intenderà, po&longs;te prima alcune dif <lb/>finitioni. </s>
<s>Sono adunque alcuni numeri, ohe &longs;i chiamano parimenti pari, & &longs;on quelli, che e&longs;&longs;endo <lb/>pare la &longs;omma loro, &longs;i diuideno &longs;empre in numero pare fin'all'unità, come &longs;arebbe &longs;e&longs;&longs;anta quat­<lb/>tro, che è numero pare, & &longs;i diuide in trentadue, &longs;edici, otto, quattro, due, fin' all'unità, in <lb/>numeri pari. </s>
<s>Sono anche altri numeri, che &longs;i chiamano primi, & incompo&longs;ti, i quali &longs;ono quel­<lb/>li, che &longs;olo dalla unità &longs;ono mi&longs;urati, & non hanno altro numero, che gli parti&longs;ca intieramen­<lb/>te, come tre, cinque, &longs;ette, undici, & altri &longs;imili. </s>
<s>La generatione adunque de i numeri perfet­<lb/>ti &longs;i fa ponendo a fila per ordine i parimenti pari, & &longs;ommandogli in&longs;ieme: & quando s'incontra <lb/>in una &longs;omma, che multiplicata per quello, che è ultimo di quella &longs;omma, &longs;i fa il numero perfetto: <lb/>pur che il numero della &longs;omma &longs;ia primo, & incompo&longs;to, altrimenti non riu&longs;cirebbe il numero <lb/>perfetto. </s>
<s>Ecco uno, & due fanno tre. </s>
<s>E&longs;&longs;endo adunque tre numero primo, & incompo&longs;to egli &longs;i <lb/>moltiplica per due, che era l'ultimo nella &longs;omma, & nel raccoglimento, la doue due fiate tre fan <lb/>no &longs;ei, adunque nella decina &longs;ei è numero perfetto. </s>
<s>Seguita la generatione dell'altro perfetto: <lb/>Ecco, uno, due, & quattro, fanno &longs;ette, che è numero primo, & incompo&longs;to, moltiplica &longs;ette <lb/>per quattro, &longs;e ne raccoglie uentotto, che è il &longs;econdo perfetto nel centinaio. </s>
<s>Seguita uno, due, <lb/>quattro, otto, che fanno quindici, ma quindici non è numero primo, & incompo&longs;to, perche è mi&longs;u <lb/>rato oltra la unità, anche da altri numeri, come da tre, & cinque, però &longs;i pa&longs;&longs;a piu inanzi all'altro <lb/>parimente pare, che è &longs;edici, que&longs;ti aggiunto al quindici fa trent'uno, il quale e&longs;&longs;endo numero <lb/>primo, & incompo&longs;to, &longs;e &longs;arà moltiplicato per &longs;edici, che era l'ultimo della &longs;omma, farà quat <lb/>trocento & nonanta &longs;ei, che &longs;ara il numero per&longs;etto nel millenario. </s>
<s>con la i&longs;te&longs;&longs;a ragione &longs;i fan <lb/>no gli altri perfetti, i quali &longs;ono rari, perche rare &longs;ono le co&longs;e perfette. </s>
<s>Hanno i numeri perfetti<emph.end type="italics"/><pb pagenum="113"/><emph type="italics"/>que&longs;ta proprieta, che le loro terminationi, &longs;ono denominate dal &longs;ei, & dall'otto: ma a uicenda. </s>
<s><lb/>come, &longs;ei, uent'otto, quattrocento nouanta &longs;ei, ottomila cento, & uent'otto. </s>
<s>& que&longs;ta regola <lb/>è certa. </s>
<s>Ma perche cagione il numero ternario, & il numero denario &longs;iano &longs;tati chiamati per­<lb/>fetti, io dirò. </s>
<s>& prima il tre è &longs;tato detto perfetto, perche abbraccia prima il numero pare & <lb/>di&longs;pare, che &longs;ono le due principali differenze de i numeri. </s>
<s>Il dieci è stato giudicato perfetto, per <lb/>che fini&longs;ce, & termina come forma tutti gli altrinumeri: & però Vitruuio ha detto che come <lb/>&longs;i pa&longs;&longs;a il dieci, bi&longs;ogna ritornare alla unità, nè &longs;i troua il perfetto, fin' all'altro incrocciamen­<lb/>to, che egli chiama, decu&longs;im, che &longs;i fa in forma della lettera X. <!-- KEEP S--></s>
<s>Ma il &longs;enario è ueramente per­<lb/>fetto per le dette ragioni. </s>
<s>gli altri &longs;ono chiamati perfetti &longs;econdo alcune relationi, & ri&longs;petti.<emph.end type="italics"/></s></p><p type="main">
<s>Ma i mathematici di&longs;putando contra la &longs;opra detta opinione, di&longs;&longs;ero che il &longs;ei era per­<lb/>fetto, per que&longs;ta cagione, percioche quel numero ha &longs;econdo le loro ragioni, le parti con <lb/>uenienti al numero di &longs;ei. <emph type="italics"/>Cioè &longs;econdo le ragioni de gli i&longs;te&longs;&longs;i Mathematici, i quali uoglio­<lb/>no, che quel numero &longs;ia perfetio, che na&longs;ce a punto dalla &longs;omma'delle &longs;ue parti. </s>
<s>La onde Vitr.
di­<lb/>ce; percioche per le loro ragioni quel numero ha le parti conuenienti al numero di &longs;ei, perche rac <lb/>colte in&longs;ieme fanno &longs;ei a punto.<emph.end type="italics"/></s></p><p type="main">
<s>Et per que&longs;to chiamarono l'una parte del &longs;ei &longs;e&longs;tante, le', due triente, le tre' &longs;emi&longs;&longs;e, le <lb/>quattro be&longs;&longs;e, detto dimerone, le cinque quintario, che pendamerone &longs;i chiama, & il <lb/>&longs;ei perfetto. </s></p><p type="main">
<s><emph type="italics"/>Soleuano gli antichi chiamare a<02>e ogni co&longs;a intiera (come s'è detto nel primo libro) & parti­<lb/>re quella nelle &longs;ue parti, & come quegli, che felicemente interpretauano le co&longs;e de Greci, ragio <lb/>nauano molto propriamente. </s>
<s>Volleno adunque gli antichi mo<02>i dalla ragione, che &longs;ei fu&longs;&longs;e nume <lb/>ro perfetto, & lo chiamarono a<02>e. </s>
<s>Que&longs;ti hauendo le &longs;ue parti, ci dimo&longs;traua per lo nome loro, <lb/>quali fu<02>ero: & però uno &longs;i chiamaua Se&longs;tante, perche è la &longs;e&longs;ta parte di &longs;ei: le due triente, per <lb/>che due era la terza parte: le tre &longs;emi<02>e, qua&longs;i uoglia dire, mezo a&longs;&longs;e: il quarto be<02>e, perche <lb/>lieua due parti dal tutto; & in Greco &longs;i dice dimerone: il cinque quintario, che pentimerone &longs;i <lb/>chiama: & il &longs;ei perfetto. </s>
<s>Ma poi che &longs;opra il numero perfetto &longs;i pone la unità, gia &longs;i comincia <lb/>araddoppiare l'altro a&longs;&longs;e, per uenire al dodici; che A<02>e doppio &longs;i puo dire; poi che in greco di­<lb/>pla&longs;iona &longs;i chiama. </s>
<s>le &longs;ette parti &longs;i dicono Ephecton qua&longs;i &longs;opra aggiunta del &longs;ei. </s>
<s>le otto &longs;i chia­<lb/>mano tertiario, perche oltra &longs;ei ne dà due, che è la terza parte di &longs;ei: & però in Greco &longs;ono det­<lb/>te Epitritos, cioè, che &longs;oppraggiugne la terza parte al &longs;ei. </s>
<s>noue è detto &longs;e&longs;quialtero, & homio­<lb/>lio, perche noue contiene &longs;ei una uolta & meza. </s>
<s>ma fatto dieci, egli &longs;i chiama bes alterum, cioe <lb/>l'altro bes, perche il primo (come dicemmo) era quattro, & chiamaua&longs;i dimerone, qua&longs;i di due <lb/>parti; & però que&longs;ti &longs;i chiama Epidimerone come egli aggiugna al &longs;ei due parti. </s>
<s>Similmente Epi <lb/>pentamerone &longs;i chiama l'undici, che è il &longs;opragionto quintario, & in que&longs;to modo &longs;i chiamano <lb/>le parti de i numeri &longs;econdo diuer&longs;i ri&longs;petti. </s>
<s>& que&longs;to ha uoluto Vitr.
doue pare, che egli habbia <lb/>uoluto, che &longs;ei &longs;ia numero perfetto, per la i&longs;te&longs;&longs;a ragione, che dieci è perfetto: cioè perche giun­<lb/>ti a dieci, tornamo da capo all' unità, fin che &longs;i torni all' altra decina: che &longs;i fa con due croci. </s>
<s>co&longs;i <lb/>anche gionti al &longs;ei da i Mathematici &longs;i ritorna a gli i&longs;te&longs;&longs;i nomi, fin all' altro a&longs;&longs;e che è dodici. </s>
<s>Ma <lb/>bene ha accennato Vitr.
la ragione che hauemo detto, per la quale &longs;ei &longs;i chiama perfetto. </s>
<s>quan­<lb/>do di&longs;&longs;e<emph.end type="italics"/> {<emph type="italics"/>per le ragioni loro, quel numero ha le parti conuenienti al numero di &longs;ei<emph.end type="italics"/>} <emph type="italics"/>perche po&longs;te in <lb/>&longs;ieme le parti numer anti, & moltiplicanti il &longs;ei, lo rendeno a punto. </s>
<s>& quando Vitr.
di&longs;&longs;e,<emph.end type="italics"/> {<emph type="italics"/>Et <lb/>per que&longs;to chiamarono l'una parte del &longs;ei &longs;e&longs;tante.<emph.end type="italics"/>} <emph type="italics"/>Non uuole rendere la ragione perche &longs;ei &longs;ia <lb/>perfetto, ma uuole dimo&longs;trare, che e&longs;&longs;endo perfetto; per la antedetta ragione i Mathematici han <lb/>no uoluto dare nome alle parti del &longs;ei, & dimo&longs;trare, che &longs;ei era un tutto, oltra'l quale &longs;e bi&longs;ogna <lb/>ua a&longs;cendere numerando, era nece&longs;&longs;ario tornar da capo all'unità, come &longs;i faceua nel dieci. </s>
<s>Al­<lb/>trimenti era uana la oppo&longs;itione de i Mathematici contra quelli, che uoleuano, che diecifu&longs;&longs;e nu­<lb/>mero perfetto, &longs;e i mede&longs;imi Mathematici haue&longs;&longs;ero uoluto il &longs;ei e&longs;&longs;er perfetto per la i&longs;te&longs;&longs;a ragio <lb/>ne, per la quale s'era detto, che il dieci fu&longs;&longs;e perfetto. </s>
<s>Que&longs;to &longs;timo io, che &longs;ia degno di con-<emph.end type="italics"/><pb pagenum="114"/><emph type="italics"/>&longs;ideratione.<emph.end type="italics"/></s><s> Et quando al conto fatto per l'aggionta d'un'altro a&longs;&longs;e, &longs;i cre&longs;ca al &longs;ei, chia­<lb/>mano Ephecton: & quando &longs;ono fatti otto, perches'è aggiunta la terza parte; &longs;i dice Epi <lb/>triton. </s>
<s>& aggiuntaui la metà, poi che s'è peruenuto al noue, chiama&longs;i &longs;e&longs;quialterum, che <lb/>da Greci è detto, hemiolios. </s>
<s>aggiunteui poi due parti, & fatto lo incrocciamento, &longs;i dice <lb/>be&longs;alterum, il quale chiamano Epidimiron. </s>
<s>& nel numero di undici, perche &longs;e gli è ag­<lb/>giunto cinque, che &longs;i chiama quintario, Epipentamiron &longs;i dice. </s>
<s>Ma dodici, perche è fat <lb/>to di due &longs;implici numeri dipla&longs;iona è nominato. </s></p><p type="main">
<s><emph type="italics"/>Et que&longs;to è &longs;tato a&longs;&longs;ai dichiarito. </s>
<s>Vuole poi Vitruuio, che dal numero &longs;enario &longs;ia &longs;tata piglia <lb/>ta la ragione della mi&longs;ura del corpo humano, in quanto all'altezza &longs;ua.<emph.end type="italics"/></s></p><p type="main">
<s>Similmente perche il piede è la &longs;e&longs;ta parte dell'altezza dell'huomo, però co&longs;i da quel nu<lb/>mero di piedi, dal quale è mi&longs;urato, & perfetto il corpo terminandolo in altezza con que <lb/>&longs;ti &longs;ei lo fecero perfetto. </s>
<s>& auuertirono, che il cubito era di &longs;ei palmi, & di uentiquat­<lb/>tro dita. </s></p><p type="main">
<s><emph type="italics"/>Si come dalle dita è uenuta la ragione del numerare, co&longs;i anche è uenuta la ragione del mi&longs;ura <lb/>re, & co&longs;i la ragione del numero &longs;enario entra nelle mi&longs;ure. </s>
<s>Et qui Vitr.
ragiona &longs;econdo la opi­<lb/>nione de Greci, i quali uoleuano, che &longs;ei fu&longs;&longs;e numero perfetto. </s>
<s>La onde anche alle monete tra&longs;­<lb/>ferirono il numero predetto. </s>
<s>Et però dice Vitr.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s>Et da quello pare, che le città de Greci habbiano fatto, che &longs;i come il cubito è di &longs;ei pal <lb/>mi, co&longs;i &longs;i u&longs;a&longs;&longs;e lo i&longs;te&longs;&longs;o numero nella dramma. </s>
<s>perche quelle città fecero, che nella dram <lb/>ma fu&longs;&longs;e la ualuta di &longs;ei ramini &longs;egnati (come a&longs;&longs;e) che quelli chiamano Oboli, & con­<lb/>&longs;tituirono in uece di uentiquattro dita nella dramma i quadranti de gli oboli, detti da alcu <lb/>ni dichalchi, & da alcuni trichalchi. </s></p><p type="main">
<s><emph type="italics"/>Voleuano i Greci che la loro dramma uale&longs;&longs;e &longs;ei oboli, & que&longs;to ri&longs;pondeua al cubito, che <lb/>contiene &longs;ei palmi; uoleuano, che cia&longs;cun' obolo haue&longs;&longs;e a ŭalere quattro monete, che &longs;i chia­<lb/>mauano dichalchi, la doue uentiquattro dichalchi faceuano una dramma, come uentiquattro <lb/>dita fanno un cubito. </s>
<s>obolo era una moneta di rame di poca ualuta, &longs;egnata però, & coniata, <lb/>& era come un tutto, che a&longs;&longs;e &longs;i chiama, & la quarta parte detta quadrante &longs;i nominaua di­<lb/>chalco, ouerotrichalco &longs;econdo diuer&longs;i ri&longs;petti. </s>
<s>Come adunque il numero de gli oboli nella dram <lb/>ma ri&longs;pondeua al numero de i palmi, che uanno a fare il cubito, che &longs;ono &longs;ei, co&longs;i il numero de i <lb/>dichalchi, o trichalchi nell'obolo ri&longs;pondeuano al numero delle dita, che erano nel cubito uenti­<lb/>quattro. </s>
<s>la onde appare, che anche nelle monete i Greci habbiano pigliato la ragione de i nume­<lb/>ri: & in questo ca&longs;o crediamo a Vitr.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s>Ma i no&longs;tri prima fecero l'antico numero e&longs;&longs;er il dieci, & po&longs;ero nel denario dieci a&longs;si <lb/>di rame, & però fin al dì d'hoggi la compo&longs;itione della moneta ritiene il nome del dena­<lb/>rio, & la quarta parte di e&longs;&longs;o perche ualeua due a&longs;si, & mezo, la chiamarono &longs;e&longs;tertio, ma <lb/>poi hauendo auuertito, che l'uno, & l'altro numero era perfetto, cioe il &longs;ei, & il dieci, <lb/>raccol&longs;ero in&longs;ieme amendue que numeri, & fecero il &longs;ed'ici perfetto. </s>
<s>& di que&longs;to tro­<lb/>uarono il piede autore. </s>
<s>perche leuando dal cubito palmi due, re&longs;ta il piede di quattro <lb/>palmi, ma il palmo ha quattro dita, & co&longs;i il piede uiene hauere &longs;edici dita', & tanti a&longs;si <lb/>il denario di rame. </s></p><p type="main">
<s><emph type="italics"/>I palmi &longs;ono due, maggiore, & minore, il minore è di quattro dita: il maggiore di dodici, <lb/>quello &longs;i chiama palœ&longs;te, que&longs;to &longs;pithame: dito, o digit o è lo &longs;pacio di quattro grani d'orzo po&longs;ti <lb/>in ordine &longs;econdo la larghezza. </s>
<s>Dice adunque Vitr.
che Romani pigliarono da prima il dieci co­<lb/>me numero perfetto, & però chiamarono la moneta dinario, (& que&longs;to pare ragioneuole) co­<lb/>me fin hora &longs;i u&longs;a. </s>
<s>& nel denario po&longs;ero dieci a&longs;&longs;i di rame. </s>
<s>& &longs;e bene dapoi congiun&longs;ero il dieci, et <lb/>il &longs;ei, uedendo, che anche il &longs;ei era perfetto, ritennero però il nome del denaio mettendo in un de­<lb/>naio &longs;edici a&longs;&longs;i, che ri&longs;pondino, a &longs;edici dita, che uanno nel piede. </s>
<s>&longs;tando adunque le predette co­<lb/>&longs;e Vitru.
conchiude, & dice.<emph.end type="italics"/></s></p><pb pagenum="115"/><p type="main">
<s>Se adunque è ragioneuole, & conueniente co&longs;a, che il numero &longs;ia &longs;tato ritrouato dalle <lb/>dita dell'huomo, & che da i membri &longs;eparati &longs;i faccia la corri&longs;pondenza delle mi&longs;ure &longs;econ <lb/>do la rata parte a tutta la forma del corpo; re&longs;ta, che noi admettiamo quelli, i quali anche <lb/>fabricando le ca&longs;e de gli immortali Dei, co&longs;i ordinarono le parti delle opere loro, che le <lb/>di&longs;tributioni, & compartimenti di quelli &longs;eparati, & uniti col tutto conuenienti fu&longs;&longs;ero <lb/>alle proportioni, & &longs;immetric. </s></p><p type="main">
<s><emph type="italics"/>Pone in que&longs;to luogo Vitru.
la uniuer&longs;ale conclu&longs;ione di tutto quello, che egli ha detto: però <lb/>a me pare, che il primo capo di que&longs;to libro quiui habbia a finire, doue &longs;i conchiude chiaramen­<lb/>te quello, che Vitr.
ci ha detto, che non puo fabrica alcuna hauer ragione di componimento, &longs;en­<lb/>za mi&longs;ura & proportione; &longs;e prima non hauerà ri&longs;petto, & con&longs;ideratione &longs;opra la uera, & cer­<lb/>ta ragione de i membri dell'huomo ben formato, & proportionato, come raro e<02>empio di pro­<lb/>portione., & giu&longs;to compartimento. </s>
<s>Ma &longs;eguitiamo pure l'antica diui&longs;ione de i capi attendendo <lb/>alle co&longs;e, ehe ci uengono propo&longs;te da Vitr.
ilquale come erudito nelle di&longs;cipline de' Greci u&longs;a una <lb/>uia, & un modo ragione uole nel trattar le co&longs;e. </s>
<s>& però dice.<emph.end type="italics"/></s></p><p type="main">
<s>I principij de i Tempij &longs;ono quelli, de i quali è formato lo a&longs;petto delle lor figure. </s>
<s>& <lb/>prima è quello, che è detto faccia in pila&longs;tri, dapoi quello che è detto Pro&longs;tilo, & l'Amfi­<lb/>pro&longs;tilo, lo Alato, il Fal&longs;o alato di due ordini, lo Alato di due ordini, & lo &longs;coperto. </s></p><p type="main">
<s><emph type="italics"/>Volendoci Vitr.
in&longs;egnare la compo&longs;itione de i Tempij, con gran ragione comincia da quelle dif­<lb/>ferenze, che prima ci uengono dinanzi a gli occhi. </s>
<s>perche l ordine della cognitione porta, che <lb/>cominciamo dalle co&longs;e uniuer&longs;ali, & confu&longs;e, & indi&longs;tinte, & poi che &longs;i uegna al particolare, <lb/>e&longs;plicato, & di&longs;tinto. </s>
<s>oltra che nell' Architettura egli &longs;i deue auuertire, che l'occhio habbia la <lb/>parte &longs;ua, & con la uarietà de gli a&longs;petti &longs;econdo le figure, & forme diuer&longs;e de i Tempij &longs;i dia di­<lb/>letto, ueneratione, & autorità alle opere. </s>
<s>& &longs;i come la oratione ha forme, & idee diuer&longs;e per &longs;a­<lb/>tisfare alle orecchie, co&longs;i habbia l' Architettura gli'a&longs;petti, & forme &longs;ue per &longs;atisfar a gli occhi, <lb/>& &longs;i come quello, che è nella mente, & nella uoglia no&longs;tra ripo&longs;to, con l'artificio di leuarlo fuo­<lb/>ri di noi, & portarlo altroue, le parole, le figure, la compo&longs;itione delle parole, i numeri, le <expan abbr="mē-bra">men­<lb/>bra</expan>, & le chiu&longs;e fanno le Idee, & le forme del dire, co&longs;i le proportioni, i compartimenti le dif­<lb/>ferenze de gli a&longs;petti, i numeri, & la collocatione delle parti fanno le idee delle fabriche, che &longs;o­<lb/>no qualità conuenienti a quelle co&longs;e, per le quali &longs;i fanno. </s>
<s>Altra ragione di &longs;entenze, di artificij, <lb/>di parole, di figure, di parti, di numeri, di compo&longs;itione, & di termini &longs;i u&longs;a uolendo e&longs;&longs;er chia­<lb/>ro, puro, & elegante nel dire. </s>
<s>altra uolendo e&longs;&longs;er grande, uehemente, a&longs;pro, & &longs;euero: & altro <lb/>richiede la piaceuolezza, altro la bellezza, & ornamento del parlare. </s>
<s>&longs;imilmente nelle Idee del­<lb/>le fabriche altre proportioni, altre di&longs;po&longs;itioni, altri ordini, & compartimenti ci uuole, quando <lb/>nella fabrica &longs;i richiede grandezza, & ueneratione, che quando &longs;i uuole bellezza, o dilicatez­<lb/>za, o &longs;implicità. </s>
<s>& perche la natura delle co&longs;e, che uanno a formare un'idea dell' oratione fa, che <lb/>quelle po&longs;&longs;ono e&longs;&longs;er degnamente in&longs;ieme con quelle, che uanno a formarne un'altra. </s>
<s>la onde nella <lb/>purità &longs;i puo hauer del grande, nella grandezza, del bello, nella bellezza del &longs;emplice, & nella <lb/>&longs;emplicità dello &longs;plendido; anzi que&longs;to è &longs;omma lode dell'oratore, et &longs;i fa me&longs;colando, le condi­<lb/>tioni d'una forma, con le conditioni d'unaltra. </s>
<s>come è manife&longs;to a i ueri Architetti dell'oratione. </s>
<s><lb/>però dico io, che me&longs;colando con ragione nelle fabriche le proportioni d'una maniera, o compo­<lb/>nendole, o leuandole, nè puo ri&longs;ultare una bella forma di mezo. </s>
<s>le co&longs;e da prima &longs;ono &longs;emplici, è <lb/>&longs;chiette, poi &longs;i fanno con diuer&longs;e aggiunte ogni fiata maggiori, et piu ornate come &longs;i uede chia­<lb/>ramente in tutte le opere, et inuentioni de mortali. </s>
<s>Non deue però il &longs;auio, & prudente Ar­<lb/>chitetto pigliare tutto quello, che uien fatto da ognuno, ma &longs;olamente quelle co&longs;e, che comin­<lb/>ciano hauere non &longs;o che di occulta uirt ù, onde dilettino i &longs;en&longs;i no&longs;tri. </s>
<s>come lo eccellente oratore <lb/>non piglia tutto quello, che'l&longs;ciocco uulgo, o la ba&longs;&longs;a plebe apprende, ma tutto quello, che puo <lb/>cadere &longs;otto la capacità di chi a&longs;colta con qualche piu eleuato &longs; entimento, che da &longs;e la ple­<lb/>be non trouaria, ma trouato da altri appiglia, & &longs;ene diletta. </s>
<s>co&longs;i Vitruuio, non pren-<emph.end type="italics"/><pb pagenum="116"/><figure id="fig9"/><pb pagenum="117"/><emph type="italics"/>de tutte quelle forme, & figure di fabriche, & di Tempij, che &longs;ono fatte da que&longs;ti, & da <lb/>quelli, che nel fabricare &longs;ono in luogo di uulgo, & di plebe: perche questo &longs;arebbe in­<lb/>finito, ne caderebbe &longs;otto artificio. </s>
<s>Ma ci propone quelle co&longs;e, che &longs;atisfanno a chi non <lb/>&longs;a piu oltre, poi che &longs;on fatte, ma non po&longs;&longs;ono e&longs;&longs;ere ritrouate da ognuno, & dice, che i <lb/>principij, cioè l'origine della no&longs;tra con&longs;ideratione è la figura, cioè quello, che prima &longs;i <lb/>rappre&longs;enta allo a&longs;petto. </s>
<s>Que&longs;ta figura, & que&longs;to a&longs;petto, o nelle fronti, o nelle &longs;palle, o ne i lati <lb/>& fianchi de i Tempij: o partitamente in piu fabriche, ouero in una i&longs;te&longs;&longs;a: & però Vitr.
ci mette<emph.end type="italics"/><lb/><figure id="fig10"/><lb/><emph type="italics"/>inanzi &longs;etle figure, & a&longs;petti di Tempij: & dice, che il primo &longs;i chiama, In antis. </s>
<s>cioèfaccia in pila­<lb/>&longs;tri, perche Ante &longs;i chiamano le pila&longs;trate, che &longs;ono nelle cantonate della facciata, che in <lb/>Greco &longs;ono dette Para&longs;tade. </s>
<s>Il primo a&longs;petto adunque, è della facciata dinanzi, & della fronte <lb/>del Tempio: nella quale &longs;ono ne gli anguli le pila&longs;trate, & contraforti quadrati, & nel mezo <lb/>le colonne, che &longs;portano in fuori, &longs;opra le quali è il fronti&longs;picio fatto con quelle ragioni, che <lb/>&longs;i dirà poi. </s>
<s>Il primo a&longs;petto adunque dice Vitruuio, che è in que&longs;to modo.<emph.end type="italics"/></s></p><p type="main">
<s>Il Tempio di faccie in pila&longs;tri, &longs;arà quando egli hauerà nella fronte i pila&longs;tri, de i pare­<lb/>ti, che rinchiudeno il Tempio, & tra i pila&longs;tri nel mezo due colonne, & &longs;opra quelle <pb pagenum="118"/><figure id="fig11"/><pb pagenum="119"/>il fronti&longs;picio fatto con quella conuenienza di mi&longs;ure, che &longs;i dirà in que&longs;to libro. </s>
<s>Lo e&longs;­<lb/>&longs;empio di que&longs;to a&longs;petto &longs;i uede alle tre Fortune, & delle tre quello, che è uicino alla por­<lb/>ta collina. <emph type="italics"/>A no&longs;tri giorninon &longs;i ha reliquia di que&longs;to Tempio, però con le ragioni imparate <lb/>da Vitruuio figurando la pianta., & lo in piè, & alcuna fiata il profilo, & i fianchi, la&longs;cia­<lb/>remo le ombre, & lo empir i fogli di figure, & di co&longs;e minute, & facili, non affettando la quan <lb/>tità, & la &longs;ottilità delle figure adombrate in i&longs;corzo, & pro&longs;pettiua, perche lano&longs;tra intentio­<lb/>ne è di mo&longs;trare le co&longs;e, & non in&longs;egnare a dipingere. </s>
<s>La pianta del Tenpio, detto faccia in pi-<emph.end type="italics"/><lb/><figure id="fig12"/><lb/><emph type="italics"/>la&longs;tri, è &longs;egnata A. doue &longs;ono le pila&longs;trate quadre in forma di colonne è &longs;egnato B. & le <lb/>colonne nel mezzo C. lo in piè è &longs;egnato D.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s>La faccia in colonne detta pro&longs;tilos, ha tutte le co&longs;e, che tiene la faccia in pila&longs;tri, má <lb/>ha due colonne &longs;opra le cantonate dirimpetto a i pila&longs;tri, & &longs;opra ha gli architraui, come <lb/>la faccia in pila&longs;tri, & dalla de&longs;tra, & dalla &longs;ini&longs;tra nel uoltare delle cantonate tiene una <lb/>colonna per banda. </s>
<s>lo e&longs;&longs;empio è all'l&longs;ola Tiburtina al Tempio di Gioue, & di Fauno. </s></p><pb pagenum="120"/><p type="main">
<s><emph type="italics"/>Il &longs;econdo a&longs;petto accre&longs;ce al primo due colonne &longs;opra le cantonate all'i<gap/>contro delle pila­<lb/>&longs;trate, & due nel uoltare, cioè una per banda. </s>
<s>Stimo io, che la luce di que&longs;ti Tempij ue­<lb/>ni&longs;&longs;e &longs;olamente dalle porte; perche io non trouo fatta mentione altroue di fine&longs;tre. </s>
<s>l'I&longs;ola Tibc­<lb/>rina fu con&longs;acrata ad E&longs;culapio, fatta prima a ca&longs;o, poi fortificata da Romani, & adornata <lb/>di molti belli, & grandi edificij. </s>
<s>Appre&longs;&longs;o il Tempio di E&longs;culapio hebbe Gioue il &longs;uo edifica­<lb/>to da L. <!-- KEEP S--></s>
<s>Furio Purpurione con&longs;ule; & dedicato da C. Seruilio, come dicono alcuni: & nella pun <lb/>ta dell'I&longs;ola hebbe anche Fauno il &longs;uo Tempio, del quale hoggi a pena &longs;i uedeno pochi ue&longs;tigi, & <lb/>meno &longs;e ne uederà per l'auuenire, perche il Teuere gli ua rodendo d'intorno, & leuando il <lb/>terreno. </s>
<s>T.Liuio uuole, che di alcune condennagioni fu&longs;&longs;e edificato il detto Tempio da Gn.Do <lb/>mitio, & da C. <!-- KEEP S--></s>
<s>Stribonio edili. </s>
<s>La pianta di que&longs;to tempio è &longs;egnata F. & &longs;erue anche al ter <lb/>zo a&longs;petto, detto Amphipro&longs;tilos: perche leuandone le colonne dall'altra te&longs;ta, & continuan­<lb/>do il parete, re&longs;ta que&longs;to a&longs;petto &longs;econdo, detto Pro&longs;tilos. </s>
<s>lo in piè è &longs;egnato E. & &longs;erue an­<lb/>che al terzo a&longs;petto, intendendo&longs;i la i&longs;te&longs;&longs;a fronte dall'altra te&longs;ta.<emph.end type="italics"/></s></p><p type="main">
<s>Lo a&longs;petto detto Amphipro&longs;tilos, tiene quanto è nell'a&longs;petto detto Pro&longs;tilos, ma di <lb/>piu &longs;erua lo i&longs;te&longs;&longs;o modo, di colonne, & di fronti&longs;picio nella parte di dietro. </s></p><p type="main">
<s>Lo a&longs;petto detto Peripteros cioè alato intorno, è quello, che tiene d'amendue le fron <lb/>ti &longs;ei colonne: ma ne i lati undici con le angulari, &longs;i che que&longs;te colonne &longs;iano po&longs;te in mo <lb/>do che lo &longs;pacio, che è tra colonna, & colonna, &longs;ia d'intorno da i pareti a gli ultimi ordi <lb/>ni delle colonne, & &longs;i po&longs;&longs;a pa&longs;&longs;eggiare d'intorno la cella. </s>
<s>come è' nel portico di Metelz <lb/>lo, di Gioue Statore, & alla Mariana dell'Honore, & della uirtu, fatto da Mutio &longs;en­<lb/>za la parte di dietro. </s></p><p type="main">
<s><emph type="italics"/>Silegge, che fuori della porta &longs;alaria era un Tempio con&longs;acrato all'honore, perche in quel luo <lb/>go &longs;i trouò appre&longs;&longs;o l'altare una lama con que&longs;te parole. </s>
<s>DOMIN AE HONORIS. <lb/>M. </s>
<s>Marcello dedicò un Tempio all'Honore, & alla Virtù, che fu poi re&longs;taurato da Ve&longs;pa&longs;iano pro <lb/>pinquo alla porta Capena (come &longs;i truoua nelle medaglie.) Fece Marcello que&longs;to per uno ricor­<lb/>do a quelli, che u&longs;ciuano all'impre&longs;e, che per la uirtu s'entra all'Honore. </s>
<s>Mario &longs;imilmente edificò <lb/>un Tempio all'Honore, & dal Tempio della uirtu s'entraua. </s>
<s>Gn. <!-- REMOVE S-->Domitio pretore drizò &longs;ul Qui­<lb/>rinale un Tempio alla Fortuna primigenia, & iui anche era un Tempio dell'Honore. </s>
<s>Fu edifica­<lb/>to delle &longs;poglie Cimbriche, & Theutoniche, in quella parte del monte E<gap/>quilino, che Merulana in <lb/>luogo di Mariana, è detta. </s>
<s>La pianta, & lo in piè di que&longs;to Tempio è &longs;oprapo&longs;to nel primo libro.<emph.end type="italics"/></s></p><p type="main">
<s>Il fal&longs;o a&longs;petto di due ordini detto P&longs;eudodipteros, co&longs;i è po&longs;to, che nella fronte; & <lb/>di dietro &longs;ono otto colonne, & ne i lati quindici con le angulari: ma &longs;ono i pareti della <lb/>cella dalle te&longs;te dirimpetto a quattro colonne, & co&longs;i lo &longs;patio, che &longs;arà da i pareti d'in­<lb/>torno a gli eftremi ordini delle colonne &longs;arà di due intercolunnij, & d'una gro&longs;&longs;ezza da <lb/>piedi della colonna. </s>
<s>Lo e&longs;&longs;empio di que&longs;ta forma non è in Roma: ben &longs;i troua in Ma­<lb/>gne&longs;ia il Tempio di Diana fatto da Hermogene Alabandeo; Et il Tempio d'Appolline <lb/>fatto da Mne&longs;te. </s></p><p type="main">
<s><emph type="italics"/>Il quinto a&longs;petto è detto P&longs;eudodipteros, che &longs;ignifica, fal&longs;o alato doppio. </s>
<s>P&longs;eudo uuol dire <lb/>fal&longs;o, Dipteros due ale: perche pteros &longs;ignifica ala, & pteromata &longs;ono dette le mura dall'una, <lb/>& l'altra parte dello Antitempio detto Pronao, & uolgarmente &longs;i dice un'ala di muro: & an <lb/>che detti &longs;ono pteromata i colonnati d'intorno al Tempio, perche a modo di ala &longs;tanno d'intor­<lb/>no: onde peripteron, è detto quello a&longs;petto di figur a di Tempio, che ha d'intorno la cella, o na <lb/>ue del Tempio uno ordine &longs;olo di colonne, Dipteros due, P&longs;eudodipteros quello, che' ha leuato <lb/>l'ordine interiore delle colonne d'intorno, & la&longs;cia piu libero lo &longs;pacio da pa&longs;&longs;eggiare d'intor­<lb/>no il corpo del Tempio. <!-- KEEP S--></s>
<s>la pianta è&longs;egnata O. nel primo libro, & quiui &longs;otto.<emph.end type="italics"/></s></p><p type="main">
<s>L'a&longs;petto di due ordini, che Dipteros è detto, ha dinanzi, & di dietro otto colonne <lb/>& d'intorno la cella ha due ordini di colonne; come il Tempio Dorico di Quirino, & lo <lb/>Ionico di Diana Efe&longs;ia fatto da Cte&longs;ifonte. <!-- KEEP S--></s></p><pb pagenum="121"/><p type="main">
<s><emph type="italics"/>Del Dipteros, & del P&longs;eudodipteros ne fa mentione Vitr.
nel proemio del &longs;ettimo libro. </s>
<s>& <lb/>nel &longs;eguente Capo ragiona della inuentione di Hermogene.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Pianta dello a&longs;petto detto Peripteros, cioè, alato d'intorno.<emph.end type="italics"/></s></p><figure/><p type="main">
<s>Il &longs;otto aere, & &longs;coperto <lb/>a&longs;petto, detto hipethros, è di <lb/>dieci colonne per te&longs;ta, & nel <lb/>re&longs;to è &longs;imile al dipteros, & <lb/>nella parte di dentro tiene <lb/>doppio ordine di colonne in <lb/>altezza rimote da i pareti al <lb/>circuito, come il portico de i <lb/>peri&longs;tili, ma la parte di mezo <lb/>è &longs;coperto &longs;enza tetto, & ha <lb/>l'intrate delle porte dinanzi, <lb/>& di dietro. </s>
<s>l'e&longs;&longs;empio non è <lb/>in Roma, ma in Athene è di <lb/>otto colonne, nel tempio di <lb/>Gioue Olimpio. </s></p><p type="main">
<s><emph type="italics"/>Que&longs;to doueua e&longs;&longs;ere un bel­<lb/>li&longs;&longs;imo, & grandi&longs;&longs;imo Tem­<lb/>pio: haueua i portichi doppi d'in <lb/>torno, & di dentro haueua due <lb/>ordini di colonne uno &longs;opra l al­<lb/>tro. </s>
<s>que&longs;te erano minori del­<lb/>le di fuori. </s>
<s>Il coperto ueniua <lb/>dalle interiori alle e&longs;teriori, che <lb/>&longs;taua in piouere. </s>
<s>Tutto lo &longs;patio <lb/>circondato dalle colonne di den­<lb/>tro era &longs;coperto; L'altare era <lb/>nel mezo. </s>
<s>E&longs;&longs;er doueua, per <lb/>ogni intercolunnio, un nichio <expan abbr="cō">com</expan> <lb/>la &longs;ua figura; &longs;i di dentro, co­<lb/>me di fuori; et &longs;i doueua a&longs;cen­<lb/>dere per gradi. </s>
<s>Ma noi hauemo <lb/>da dolerci, & del mancamento <lb/>de gli e&longs;&longs;empi, & della pouer­<lb/>tà della lingua: &longs;e pure non uo <lb/>gliamo <expan abbr="cõ">com</expan> l'u&longs;o ammollire la du <lb/>rezza delle parole fore&longs;tiere, & <lb/>che la lingua no&longs;tra &longs;ia corte&longs;e <lb/>a riceuerle, come ha fatto la Ro <lb/>mana L. e figure no&longs;tre dimo&longs;tra­<lb/>no la no&longs;tra intentione.<emph.end type="italics"/><pb pagenum="122"/><figure id="fig13"/></s></p><pb pagenum="123"/><figure/><p type="head">
<s><emph type="italics"/>Di cinque &longs;pecie di Tempij. <!-- KEEP S--></s>
<s>Cap. II.<emph.end type="italics"/><!-- KEEP S--></s>
</p><p type="main">
<s>Inque &longs;ono le maniere de i Tempij, delle quali &longs;ono i nomi. </s>
<s>Picno&longs;tilos, cioè <lb/>di &longs;pe&longs;&longs;e colonne; Si&longs;tilos, piu larghe; Dia&longs;tilos anchora piu di&longs;tanti; Areo <lb/>&longs;tilos, oltra quello, che &longs;i conuiene lontane; Eu&longs;tilos, che ha ragioneuoli, & <lb/>conuenienti interualli. </s>
<s>Picno&longs;tilos adunque è quando tra l'una, & l'altra <lb/>colonna, ui &longs;i puo porre la gro&longs;&longs;ezza d'una colonna, & meza, come nel Tempio di Diuo <pb pagenum="124"/>Giulio, & nel Foro di Ce&longs;are il Tempio di Venere, & &longs;e altri Tempij &longs;ono di que&longs;ta ma­<lb/>niera compo&longs;ti. </s>
<s>La maniera detta Si&longs;tilos, è quella, doue tra le colonne &longs;i puo ponere due <lb/>gro&longs;&longs;ezze di colonne, & i Zocchi delle &longs;pire a quello &longs;pacio &longs;ono tanto grandi, quanto &longs;a­<lb/>rà tra due zocchi, come è nel Tempio della Fortuna eque&longs;tre al Theatro di pietra, & ne <lb/>gli altri, che &longs;ono con le i&longs;te&longs;&longs;e ragioni fabricati. </s></p><p type="main">
<s><emph type="italics"/>La humana cognitione, &longs;ia di che uirtù dell'anima e&longs;&longs;er &longs;i uoglia o del &longs;en&longs;o, o dello intelletto, <lb/>comincia prima dalle co&longs;e confu&longs;e, & indi&longs;tinte, ma poi appro&longs;&longs;imando&longs;i l'oggetto, &longs;i fa piu par­<lb/>ticolare, & piu certa. </s>
<s>nè uoglio hora filo&longs;ofare &longs;opra que&longs;to; &longs;olamente ne darò un'e&longs;&longs;empio del­<lb/>la cognitione de i &longs;en&longs;i. </s>
<s>Vedendo noi di lontano alcuna co&longs;a, ci formiamo prima una cognitione <lb/>confu&longs;a dello e&longs;&longs;ere, ma uedendo poi, che quella col mouimento &longs;i porta in alcuna parte, giudica­<lb/>mo, che &longs;ia animale; & piu auuicinando&longs;i cono&longs;cemo e&longs;&longs;er un'huomo; poi piu appre&longs;&longs;o cono&longs;ce­<lb/>mo, che è un'amico; & finalmente uedemo ogni parte di quello. </s>
<s>co&longs;i dallo e&longs;&longs;ere, che è co&longs;a uni­<lb/>uer&longs;ali&longs;&longs;ima, uenimo al mouimento, & dal mouimento ci re&longs;trignemo all'animale, & peruenen-<emph.end type="italics"/><lb/><figure id="fig14"/><lb/><emph type="italics"/>do a piu distinto cono&longs;cimento, trouamo l'huomo, ricono&longs;cemo l'amico, & distinguemo ogni <lb/>parte del corpo &longs;uo. </s>
<s>&longs;imilmente adiuiene nella cognitione dello intelletto. </s>
<s>però Vitru.
ci ha pro­<lb/>po&longs;to una indi&longs;tinta, & confu&longs;a cognitione de i Tempij, pre&longs;a dalla figura, & dallo a&longs;petto loro. </s>
<s><lb/>Perche tra le co&longs;e &longs;en&longs;ibili, la figura è oggetto commune, perche è &longs;ottopo&longs;ta alla cognitione di <lb/>piu &longs;en&longs;i. </s>
<s>Di&longs;cende poi alla di&longs;tanza delle parti; & diuenirà finalmente alla particolare, & di­<lb/>&longs;tinta mi&longs;ura d'ogni particella. </s>
<s>Sette adunque &longs;ono i regolati a&longs;petti delle figure de i Tempij. <!-- KEEP S--></s>
<s>co­<lb/>me uniuer&longs;ali principij della cognitione di que&longs;ta materia, & gia &longs;ono &longs;tati e&longs;po&longs;ti quali &longs;iano. </s>
<s><lb/>Appro&longs;&longs;imando&longs;i poi allo edificio, uedemo le apriture, & &longs;pecialmente gli &longs;pacij tra le colonne, <lb/>i quali e&longs;&longs;endo in alcuni Tempij piu ri&longs;tretti, & in alcuni piu larghi, portano all'occhio diuer&longs;e <lb/>apparenze, & fann o diuer&longs;i effetti, o di dolcezza, & bellezza, o di grandez za, & &longs;euerità, &longs;i <lb/>come fanno gli &longs;pacij delle uoci nelle orecchie: però che quello, che è con&longs;onanza alle orecchie, è<emph.end type="italics"/></s></p><pb pagenum="125"/><figure/><pb pagenum="126"/><p type="head">
<s><emph type="italics"/>Lo in piedi dello a&longs;petto Hypethros, cioè&longs;coperto.<emph.end type="italics"/><lb/><figure id="fig15"/><pb pagenum="127"/><figure id="fig16"/><pb pagenum="128"/><emph type="italics"/>bellezza a gli occhi. </s>
<s>però Vitr.
di&longs;tingue le &longs;pecie de i Tempij &longs;econdo gli interualli, che &longs;ono tra <lb/>colonna, & colonna; non inquanto al numero, ma inquanto alla grandezza loro; & dice, che <lb/>la prima &longs;pecie, è detta Picno&longs;tilos, cioè di &longs;pe&longs;&longs;e, & ri&longs;trette colonne, quando una colonna è <lb/>molto appre&longs;&longs;o l'altra. </s>
<s>La &longs;econda Si&longs;tilos, quando i uani &longs;ono piu larghi, perche allhora le co­<lb/>lonne &longs;ono piu di&longs;tanti. </s>
<s>La terza è detta, Dia&longs;tilos, che anchora con piu larghi &longs;pacij &longs;i di&longs;egna. </s>
<s><lb/>La quarta Areo&longs;tilos, che è quando oltra quello, che bi&longs;ogna, di&longs;tanti &longs;i fanno gli inter colunnij, <lb/>cioè gli &longs;pacij, che &longs;ono tra colonna & colonna. </s>
<s>La quinta Eustilos, che ragioneuolmente, & <lb/>con diletto comparte i uani. </s>
<s>& &longs;e licito fu&longs;&longs;e darei a que&longs;te &longs;pecie gli infra &longs;critti nomi, Stretta, <lb/>Larga, Rila&longs;ciata, Spacio&longs;a, & Giu&longs;ta colonnatura. </s>
<s>Diffini&longs;ce poi Vitru.
cia&longs;cuna &longs;pecie, & <lb/>uuole, che laristretta &longs;pecie detta Picno&longs;tilos, &longs;ia quella doue gli &longs;pacij tra le colonne &longs;i po&longs;&longs;ono <lb/>fare della gro&longs;&longs;ezza d'una colonna & meza. </s>
<s>La &longs;pecie, & maniera larga detta Si&longs;tilos, è quando <lb/>&longs;i puo ponere tra due colonne la gro&longs;&longs;ezza, o diametro di due colonne; ma uuole Vitru.
che i zoc­<lb/>chi detti Plinthides, che &longs;ono i zocchi, & le parti inferiori delle ba&longs;e, &longs;iano tanto di&longs;tanti, quan­<lb/>to lo &longs;pacio, & uano, che è po&longs;to tra due zocchi. </s>
<s>Del Theatro di pietra intende il Filandro <lb/>il Theatro di Pompeio, i cui ue&longs;tigij &longs;ono in campo di Fiore. </s>
<s>nè ual&longs;e al buon Pompeio, che egli <lb/>ui pone&longs;&longs;e ogni &longs;tudio per farlo eterno, facendolo di pietra, perche troppo grande è la forza del <lb/>tempo, & la ingiuria che egli fa alle co&longs;e. </s>
<s>ma quali non gli &longs;ono &longs;oggette? </s>
<s>il tempo i&longs;te&longs;&longs;o con il <lb/>tempo &longs;i con&longs;uma, & quello che con il tempo prende uita, & uigore, col tempo s'indeboli&longs;ce, & <lb/>ha fine. </s>
<s>perche lo e&longs;&longs;er del tempo è &longs;empre na&longs;cerc, & &longs;empre morire, & mentre &longs;i uiue, al­<lb/>tro non &longs;i fa, che riceuere le ingiurie del tempo. </s>
<s>alle quali quanto &longs;i puo l'arte cerca di reme­<lb/>diare; ma infine il tempo auanza l'arte. </s>
<s>Lo e<02>empio della &longs;pecie detta Picno&longs;tilos è notato nella <lb/>pianta; & il Si&longs;tilos è nella pianta detta Dipteros, po&longs;ta di &longs;opra.<emph.end type="italics"/></s></p><p type="main">
<s>Le due antedette maniere hanno l'u&longs;o loro difetto&longs;o, perche le matrone a&longs;cendendo <lb/>per gradi alle &longs;upplicationi loro non po&longs;&longs;ono andare al pari tra gli intercolunij; ma bi&longs;o­<lb/>gna che pa&longs;sino a fila. </s>
<s>L'altro difetto è che le porte, & gli ornamenti loro per la &longs;trettez­<lb/>za delle colonne non &longs;i uedeno. </s>
<s>& finalmente per la &longs;trettezza de gli &longs;pacij, il caminar d'in­<lb/>torno al Tempio è impedito. </s></p><p type="main">
<s><emph type="italics"/>Egli &longs;i potrebbe dire, &longs;e l'u&longs;o, l'a&longs;petto, & il pa&longs;&longs;eggiare è impedito dalle due predette ma­<lb/>niere, a che fine Vitr.
ce le ha propo&longs;te? </s>
<s>Dico io, che &longs;i come non &longs;i deue la&longs;ciare a dietro al­<lb/>cuna forma del dire per e&longs;&longs;er men bella, perche è tempo, che la o&longs;curità ci uiene a propo&longs;ito, & <lb/>la confu&longs;ione, che &longs;ono forme oppo&longs;te alla chiarezza, & eleganza del dire. </s>
<s>co&longs;i non doueua <lb/>Vitru.
la&longs;ciare forma alcuna, che &longs;ia men commoda, & meno gioconda all' a&longs;petto. </s>
<s>perche hora <lb/>è che nell'animo de riguardanti per gli occhi &longs;i ha da poner diletto, & piacere, hora meraui­<lb/>glia, & horrore, &longs;econdo il bi&longs;ogno; & que&longs;tonon &longs;i puo fare commodamente da chi non &longs;a lo ef­<lb/>fetto, che fanno diuer&longs;e maniere di fabriche. </s>
<s>& &longs;e egli &longs;i dice&longs;&longs;e, che &longs;i deue porre anche le ma­<lb/>niere difetto&longs;e, per darci ad intendere, come &longs;i deueno &longs;chifare, for&longs;e, che non &longs;arebbe fuori di <lb/>propo&longs;ito. </s>
<s>ma chi uole&longs;&longs;e fare le colonne tanto gro&longs;&longs;e, che quando tra colonna, & colonna ui <lb/>anda&longs;&longs;e bene due gro&longs;&longs;ezze, ci &longs;arebbe &longs;pacio conueniente di poter andare di pari, que&longs;ti non ha­<lb/>ueria con&longs;ideratione, che l'altezza grande pa&longs;&longs;arebbe i termini, & che piu di due matrone doueua <lb/>no andar a pari. </s>
<s>& che i zocchi nella maniera Si&longs;tilos occupariano lo &longs;pacio tra le colonne, & fa­<lb/>riano nè piu nè meno impedimento al caminare. </s>
<s>& &longs;imilmente le porte, che deono ri&longs;pondere a <lb/>proportione, &longs;ariano impedite, come prima.<emph.end type="italics"/></s></p><p type="main">
<s>La compo&longs;itione del Dia&longs;tilos, è quando noi potremo traporre nello intercolun­<lb/>nio la gro&longs;&longs;ezza di tre colonne, come nel Tempio di Apollo, & di Diana. </s>
<s>ma que­<lb/>&longs;t a di&longs;po&longs;itione tiene que&longs;ta difficultà, che gli Architraui per la grandezza de gli &longs;pa­<lb/>cij, &longs;i &longs;pezzano. </s></p><p type="main">
<s><emph type="italics"/>O quanto deue e&longs;&longs;ere auuertito lo Architetto non &longs;olamente ri&longs;petto alla forma, & ragione, <lb/>che nello animo, & mente &longs;ua con modi artificio&longs;i riuolge, ma quanto alla materia, i cu difetti i<emph.end type="italics"/><pb pagenum="129"/><emph type="italics"/>&longs;ono infiniti, i rimedij pochi, & difficili, & alcuna fiata niuno, o di niun ualore, però è bene, <lb/>(come s' è detto) che Vitr.
ci propona le maniere difetto&longs;e, accioche per lo contrario ci potia­<lb/>mo guardare da gli errori. </s>
<s>uero è che al &longs;opradetto difetto, &longs;i &longs;uol prouedere facendo &longs;opra gli <lb/>Architraui molti archi, & la&longs;ciandoli ben fermare, & a&longs;ciugare, la&longs;ciandoui anche di &longs;otto il <lb/>uano, perche quegli archi leuano il pe&longs;o a gli architraui. </s>
<s>Leon Batti&longs;ta nel quinto libro al &longs;et­<lb/>timo capo a&longs;&longs;ai commodamente ha interpretato i nomi delle &longs;opradette &longs;pecie, &longs;e benc non &longs;i puo <lb/>con&longs;eguire la felicità de i Greci nella compo&longs;itione de i nomi. </s>
<s>& le ha chiamate, conferta, &longs;ub­<lb/>conferta, &longs;ubdi&longs;pan&longs;a, di&longs;pan&longs;a, & elegante. </s>
<s>Deue&longs;i bene auuertire, che Vitr.
non ha uoluto <lb/>dar legge ferma de gli &longs;pacij delle &longs;opradette maniere, ma ha u&longs;ato parole indeterminate, dicen­<lb/>do, egli &longs;i puo porre, &longs;i potrebbe collocare, & &longs;imiglianti modi. </s>
<s>que&longs;to auuertimento ci uenirà <lb/>a propo&longs;ito n<gap/>lle opere Doriche, nel quarto libro.<emph.end type="italics"/></s></p><p type="main">
<s>Nelle maniere Areo&longs;tili non ci è dato l'u&longs;o de gli Architrau i di pietra, nè di marmo, <lb/>ma &longs;opra le colonne &longs;i deono ponere le traui di legno continue, & le maniere di que Tem <lb/>pij, &longs;ono ba&longs;&longs;e, larghe, humili, & ornano i loro fronti&longs;picij di figure di terra cotta, o di ra­<lb/>me dorato all'u&longs;anza di To&longs;cana. <!-- KEEP S--></s>
<s>Come &longs;i uede al Circo Ma&longs;simo il Tempio di Cerere, <lb/>& di Hercole, & del Pompeiano campidoglio. </s></p><p type="main">
<s><emph type="italics"/>Nelle maniere Areo&longs;tili u&longs;ano liberi &longs;patij tra colonna, & colonna, & però Vitru.
ha u&longs;ato <lb/>il numero del piu, & non ha detto, la maniera Areo&longs;tilos, ma le maniere; perche e&longs;&longs;endo in li­<lb/>bertà no&longs;tra di fare i uani maggiori, non ci è pre&longs;critta legge, nè regola. </s>
<s>In que&longs;te maniere non <lb/>&longs;i u&longs;ano Architraui di pietra, o di marmo, perche &longs;i &longs;pezzarebbeno. </s>
<s>il qual pericolo &longs;e era nel­<lb/>la &longs;pecie Dia&longs;tilos, doue il uano era di tre colonne, molto maggiormente &longs;arà nella &longs;pecie Areo&longs;ti­<lb/>los, doue &longs;ono &longs;pacij piu liberi. </s>
<s>La doue, per obuiare a que&longs;to difetto, &longs;i faceuano gli Architra­<lb/>ui di legno, & &longs;i adornauano di auorio, & s'inue&longs;tiuano per coprire il legno. </s>
<s>però Vitru.
nel <lb/>quarto libro al &longs;ettimo capo dice il mede&longs;imo, ma con altre parole; & iui è la pianta & lo in piè <lb/>di que&longs;ta maniera To&longs;cana Areo&longs;tilos. <!-- KEEP S--></s>
<s>Ma quelle parole, che Vitru.
dice.<emph.end type="italics"/></s><s> Ma le maniere di <lb/>que Tempij &longs;ono ba&longs;&longs;e, larghe, humili, & nel latino barice, barricephalæ, hanno difficultà: <lb/><emph type="italics"/>benche quel barricephalœ &longs;i puo intendere l'auorio, che copriua le te&longs;te di que legni. </s>
<s>perche gli <lb/>Elefanti &longs;ono detti barri. </s>
<s>ma quel barice ha difficile interpretatione, &longs;e for&longs;e non è tolto dal <lb/>Greco, perche uaris, che &longs;i &longs;criue per uita in Greco, &longs;ignifica le chie&longs;e grandi, come dicono i dot­<lb/>tori Grechi &longs;opra i &longs;almi, & Athana&longs;io &longs;opra quelle parole del &longs;almo<emph.end type="italics"/> 44. <emph type="italics"/>a domibus eburneis, <lb/>che in Greco dicono Apò bareon elephantinon. </s>
<s>dice, che le ca&longs;e ornate, & i Tempij &longs;ontuo&longs;i <lb/>&longs;ono detti Vareis, perche il &longs;almo dice eburneis, come che que Tempij, & quelle ca&longs;e &longs;iano <lb/>fatte congrande artificio, & magnificentia. </s>
<s>Didimo, dice che uaris &longs;ignifica la torre, & che le <lb/>chie&longs;e &longs;ono torrite della potentia et gratia di Chri&longs;to, & che ha po&longs;to eburneis in luogo di &longs;plendide <lb/>& precio&longs;e. </s>
<s>&longs;imil co&longs;a dice Theodoreto &longs;opra le i&longs;te&longs;&longs;e parole, & Ba&longs;ilio dice, che i grandi edifi­<lb/>cij &longs;ono da quel nome chiamati. </s>
<s>Eu&longs;ebio intende lo i&longs;te&longs;&longs;o. </s>
<s>L'arte di formar di creta prima uen­<lb/>ne in Ethruria, che in altro luogo d'Italia. <!-- KEEP S--></s>
<s>In que&longs;ta furono eccellenti&longs;&longs;imi Dimofilo,, & Gor­<lb/>ga&longs;o, & gli i&longs;te&longs;&longs;i erano anche pittori, & con l'una, & l'altra loro arte adornarono il Tempio <lb/>di Cerere, nel Circo Ma&longs;&longs;imo, & conla Greca in&longs;crittione in uer&longs;i iui po&longs;ti dimo&longs;trarono, che le <lb/>opere dalla de&longs;tra erano di Demofilo, & dalla &longs;i ni&longs;tra di Gorga&longs;o. </s>
<s>Auanti que&longs;to Tempio tutte <lb/>le co&longs;e erano To&longs;cane, & i fronti&longs;picij erano di que&longs;te opere. </s>
<s>Il luogo di Vitru.
nel quarto, dou e <lb/>egli accenna, quello, che egli dice in que&longs;to luogo.<emph.end type="italics"/> {<emph type="italics"/>Siano le traui inca&longs;trate in modo con chia­<lb/>ui, & ritegni, che la commi&longs;&longs;ura habbia lo &longs;pacio largo due dita, imperoche toccando&longs;i le traui, <lb/>& non riceuendo &longs;piraculo di uento, &longs;e ri&longs;caldano in&longs;ieme, & pre&longs;to &longs;i gua&longs;tano. </s>
<s>ma &longs;opra le <lb/>traui, & &longs;opra i pareti trapa&longs;&longs;ino le me&longs;ole per la quarta parte dell'altezza della colonna &longs;por­<lb/>tando in fuori, & nelle fronti loro dinanzi fitti &longs;iano gli adornamenti<emph.end type="italics"/>,} <emph type="italics"/>Ecco che Vitr.
chiama <lb/>anl epagmenta quelli ornamenti, che &longs;ono appo&longs;ti, & fitti alle trauature per inue&longs;tirle, & co­<lb/>prirle. </s>
<s>& Vitr.
dice qui &longs;otto. </s>
<s>che quanto gli &longs;patij tra le colonne &longs;ono maggiori, tanto piu gro&longs;-<emph.end type="italics"/><pb pagenum="130"/><emph type="italics"/>&longs;a e&longs;&longs;er deono le colonne, & con&longs;eguentemente minori, & piu ba&longs;&longs;e. </s>
<s>& però i Tempij Areo&longs;tili <lb/>&longs;ono humili, depre&longs;&longs;i, & ba&longs;&longs;i.<emph.end type="italics"/></s></p><p type="main">
<s>Hora egli &longs;i deue rendere la ragione della bella, & elegante maniera Eu&longs;tilos nomina­<lb/>ta, laquale, & all'u&longs;o & alla bellezza, & alla fermezza tiene e&longs;pedite le &longs;ue ragioni, per­<lb/>cioche &longs;i deono fare gli intercolunnii della gro&longs;&longs;ezza di due colonne, & un quarto, ma lo <lb/>&longs;pacio di mezo tanto a fronte, quanto di dietro, &longs;i deue fare di tre gro&longs;&longs;ezze, perche a que <lb/>&longs;to modo haucrà & lo a&longs;petto della figura gratio&longs;o, & l'u&longs;o della entrata &longs;enza impedimen <lb/>to; & il pa&longs;&longs;eggiar d'intorno la cella ampiezza. </s></p><p type="main">
<s><emph type="italics"/>Il ri&longs;tretto intercolunnio impediua il caminare, l'entrare, & l'a&longs;petto: però le due maniere di <lb/>prima erano uitio&longs;e. </s>
<s>Il piu largo, & libero portaua pericolo de gli Architraui. <!-- KEEP S--></s>
<s>Adunque il <lb/>giu&longs;to, & &longs;cielto tra'l piu, & il meno, che &longs;ono e&longs;tremi uitio&longs;i, nel mezo come uirtuo&longs;o &longs;i deue <lb/>ridurre. </s>
<s>Se adunque uno & mezo, & due è poco, & tre è di piu, re&longs;ta, che due & un quarto &longs;ia <lb/>conueniente. </s>
<s>Ma perche non è co&longs;i due & mezo, come due & un quarto? </s>
<s>Ri&longs;pondo, che que­<lb/>&longs;to farà la giu&longs;ta mi&longs;ura del compartimento, quando &longs;i uorrà fare lo &longs;pacio dello intercolunnio <lb/>di mezo, maggiore, che gli intercolunnij e&longs;tremi. </s>
<s>oltra che &longs;e noi cauamo da una proportione <lb/>&longs;otto&longs;e&longs;quialtera una &longs;otto&longs;e&longs;quiquinta, ne na&longs;cerà una &longs;otto&longs;e&longs;quiottaua. </s>
<s>ecco. </s>
<s>uno & mezo <lb/>&longs;ono &longs;ei quarti, due &longs;ono otto quarti, due & mezo dieci quarti, tre dodici quarti. </s>
<s>&longs;ei ad otto &longs;ono <lb/>in proportione &longs;otto&longs;e&longs;quialtera, dieci a dodici in proportione &longs;otto&longs;e&longs;quiquinta. </s>
<s>dirai adunque, &longs;ei <lb/>uia dodici, fanno &longs;ettantadue: otto uia dieci ottanta. </s>
<s>tra &longs;ettanta due, & ottanta cade proportio­<lb/>ne &longs;otto&longs;e&longs;quiottaua. </s>
<s>il noue adunque è piu proportionato al &longs;ei, & al dodici, che al dieci, adun­<lb/>que noue quarti &longs;aranno i uani della bella maniera. </s>
<s>Hor uediamone la proua.<emph.end type="italics"/></s></p><p type="main">
<s>Se la facciata doue &longs;i deue fare il Tempio &longs;arà per farlo di quattro colonne, parti&longs;ca&longs;i <lb/>in parti undici, & meza, la&longs;ciando fuori da i lati i margini, & gli &longs;porti de i ba&longs;amenti. </s>
<s><lb/>Se deue e&longs;&longs;er di &longs;ei colonne, &longs;i partirà in diciotto: &longs;e di otto, in uentiquattro, & meza. </s>
<s><lb/>Di que&longs;te parti, &longs;ia il Tempio di quattro, o di &longs;ei, o di otto colonne in fronte, ne piglie­<lb/>rai una, & quella farà il modulo. </s>
<s>La gro&longs;&longs;ezza delle colonne &longs;arà d'un modulo, & ogni <lb/>intercolunnio, eccetto quello di mezo, &longs;ia di due moduli, & d'un quarto. </s>
<s>L'intercolun­<lb/>nio di mezo, sì dinanzi, come di dietro, &longs;ia di tre moduli: l'altezza delle colonne &longs;ia di <lb/>otto moduli, & mezo. </s>
<s>& a que&longs;to modo per quella diui&longs;ione gli &longs;pacij, che &longs;ono tra le <lb/>colonne & le altezze delle colonne haueranno la giu&longs;ta ragione. </s>
<s>Noi di que&longs;to non <lb/>hauemo e&longs;&longs;empio in Roma, ma nell'A&longs;ia in Theo è il Tempio del padre Baccho di ot­<lb/>to colonne in fronte. </s></p><p type="main">
<s><emph type="italics"/>Vitruuio ci rende conto della bella maniera detta Eu&longs;tilos, la quale è quando i uani tra le co­<lb/>lonne &longs;ono di due te&longs;te, & un quarto, & il uano di mezo è di tre. </s>
<s>Con que&longs;ta ragione egli rego­<lb/>la quelle &longs;ei forme d'a&longs;petto dette di &longs;opra, la&longs;ciando la faccia in pila&longs;tri, perche ella è rinchiu&longs;a, <lb/>& non ha portico dinanzi. </s>
<s>Que&longs;to &longs;i comprende beni&longs;&longs;imo dalle parole di Vitru.
perche egli di­<lb/>mo&longs;tra cia&longs;cuna di quelle figure dal numero delle colonne, & però in uece di dire pro&longs;tilos, & am <lb/>phiprostilos, cioè facciata in colonne, o ambe le te&longs;te in colonne, egli dice tetra&longs;tilos, cioè quat <lb/>tro colonne. </s>
<s>& in uece di dire peripteros, egli dice e&longs;a&longs;tilos, cioè di &longs;ei colonne. </s>
<s>& in uece di di­<lb/>re p&longs;eudodipteros, o dipteros, egli dice, e&longs;a&longs;tilo cioè di &longs;ei colonne in fronte. </s>
<s>Hauendo adunque di­<lb/>me&longs;trato in confu&longs;o le maniere de gli a&longs;petti, hora egli uuole regolarle. </s>
<s>Et prima &longs;econdo la bel­<lb/>la maniera dello &longs;patio giu&longs;to, & &longs;cielto, & poi &longs;econdo le altre, che hanno piu &longs;tretti, o piu li­<lb/>beri interualli. </s>
<s>Regola adunque il pre&longs;tilos, & l'amphipro&longs;tilos con una &longs;ola regola, perche <lb/>l'uno a&longs;petto, & l'altro è di quattro colonne. </s>
<s>Piglia lo &longs;patio della fronte del Tempio, & ne fa un­<lb/>dici parti & meza, una delle quali deue e&longs;&longs;er il modulo, cioè quella mi&longs;ura, che è regolatrice di <lb/>tutte le parti dell' opera. </s>
<s>Ecco qui l'ordine, del quale detto hauemo nel primo libro, al terzo Ca­<lb/>po. <!-- KEEP S--></s>
<s>La gro&longs;&longs;ezza adunque della colonna &longs;arà d'un modulo, & e&longs;&longs;endo quattro celonne u'ande­<lb/>ranno quattro moduli: la&longs;ciando però gli orli, & gli &longs;porti delle ba&longs;e, che &longs;ono &longs;opra le canto-<emph.end type="italics"/><pb pagenum="131"/><emph type="italics"/>nate, che Vitr.
dice prœter crepidines, & proiecturas: cioè oltra le margini, & gli &longs;porti. </s>
<s>& <lb/>perche i uani &longs;ono un meno delle colonne, ui &longs;aranno tre uani, quello di mezo uuole tre moduli, <lb/>che con i primi quattro delle gro&longs;&longs;ezze, delle colonne fanno &longs;ette. </s>
<s>I due uani haueranno quattro <lb/>moduli, & mezo; dando a cia&longs;cuno due moduli, & un quarto. </s>
<s>& co&longs;i &longs;aranno regolati i uani <lb/>della facciata in colonne, & dello Amphipro&longs;tilos. <!-- KEEP S--></s>
<s>Similmente &longs;i regola il peripteros, cioè ala­<lb/>to a torno, perche hausndo&longs;i a porre &longs;ei colonne per te&longs;ta, &longs;i ha da partire la facciata in parti di <lb/>ciotto: una delle quali &longs;arà il modulo: cinque &longs;aranno date a i uani: &longs;ei alle gro&longs;&longs;ezze delle colon <lb/>ne: il uano di mezo tre: i quattro due per banda: noue, a due moduli, & un quarto per interco­<lb/>lunnio, che po&longs;ti in&longs;ieme fanno diciotto. </s>
<s>Similmente &longs;i regola il finto alato doppio, & il doppio <lb/>alato, perche e&longs;&longs;endo l'uno, & l'altro nelle te&longs;te di otto colonne, egli &longs;i partirà la fronte in parti <lb/>uentiquattro & meza, l'una delle quali &longs;arà il modulo. </s>
<s>Otto moduli adunque andaranno alle <lb/>gro&longs;&longs;ezze delle colonne, tre nel uano di mezo, che &longs;ono undici. </s>
<s>& perche re&longs;tano tre uani per <lb/>banda, che &longs;ono &longs;ei, andandoui due te&longs;te, & un quarto per uano, ui andranno tredici moduli, & <lb/>mezo, che aggiunti a gli undici, fanno uentiquattro & mezo. </s>
<s>Et que&longs;to è quello, che Vitr.
ci in <lb/>&longs;egna, & ci regola anche l'altezza delle colonne, & uuole, che in ogni maniera di a&longs;petto rego­<lb/>lato &longs;econdo la &longs;cielta diui&longs;ione de i uani, l'altezza delle colonne &longs;ia di otto moduli & mezo et qui­<lb/>ui accenna la maniera Ionica, della quale egli dice ragionar nel pre&longs;ente libro.<emph.end type="italics"/></s></p><p type="main">
<s>Et quelle ri&longs;pondenze di mi&longs;ure ordinò Hermogene; il quale anche fu il primo nel trouar <lb/>la ragione del Tempio d'otto colonne, ouero finto a&longs;petto doppio. </s>
<s>perche dalla &longs;imme­<lb/>tria del Dipteros, egli leuò gli ordini interiori di trenta colonne, & con quella ragione, & <lb/>della &longs;pe&longs;a, & della fatica fece guadagno. </s>
<s>Que&longs;ti nel mezo d'intorno la cella fece un lar­<lb/>ghi&longs;simo &longs;pacio da pa&longs;&longs;eggiare, & non leuò alcuna co&longs;a dello a&longs;petto, ma &longs;enza di&longs;iderio <lb/>di co&longs;e &longs;uperflue con&longs;eruò l'autorità con la di&longs;tributione di tutta l'opera. </s>
<s>Percioche la ra <lb/>gione delle ale, & delle colonne d'intorno al Tempio è &longs;tata ritrouata, accioche lo a&longs;pet <lb/>to per l'a&longs;prezza de gli intercolunnij haue&longs;&longs;e riputatione, & anche &longs;e per le pioggie la for­<lb/>za dell'acqua tene&longs;&longs;e occupata, & rinchiu&longs;a la moltitudine delle genti, pote&longs;&longs;ero hauer <lb/>nel Tempio, & d'intorno la cella con largo &longs;patio libera dimora. </s>
<s>Et tutto que&longs;to &longs;i truo <lb/>ua e&longs;pedito nelle di&longs;po&longs;itioni del P&longs;eudodipteros. <!-- KEEP S--></s>
<s>Il che pare, che Hermogene fatto hab <lb/>bia con acuta, & gran &longs;olertia gli effetti delle opere, & che habbia la&longs;ciato i fonti, d'onde <lb/>i po&longs;teri pote&longs;&longs;ero trarre le ragioni delle di&longs;cipline, & gli ammae&longs;tramenti dell'Arte. <!-- KEEP S--></s></p><p type="main">
<s><emph type="italics"/>Leuando&longs;i dal Dipteros le colonne di dentro, ponendoui quelle delle te&longs;te, &longs;i leuano trenta co­<lb/>lonne, come per la pianta &longs;i puo uedere. </s>
<s>Hermogene per i&longs;paragno di &longs;pe&longs;a, & di fatica leuò l'or <lb/>dine di dentro, la&longs;ciò i portichi piu &longs;pacio&longs;i, non tol&longs;e alcuna co&longs;a dallo a&longs;petto, perche nelle fron <lb/>ti re&longs;tarono le otto colonne, & dalli fianchi &longs;e ne uedeuano quindici. </s>
<s>Et però que&longs;to a&longs;petto &longs;i chia <lb/>ma fal&longs;o dipteros, perche fa la mo&longs;tra del dipteros, ma non è. </s>
<s>Da que&longs;to luogo &longs;i comprende, che <lb/>Vitru.
ha regolati gli a&longs;petti, &longs;e bene egli non gli ha nominati, perche chiaramente egliper octa­<lb/>stilo ha inte&longs;o il Dipteros, & il P&longs;eudodipteros. <!-- KEEP S--></s>
<s>dicendo di Hermogene que&longs;te parole.<emph.end type="italics"/></s><s> Il quale <lb/>anche fu il primo a ritrouar la ragione del Tempio di otto colonne, ouero P&longs;eudo­<lb/>dipteros. </s></p><p type="main">
<s><emph type="italics"/>Dimo&longs;tra anche chiaramente la &longs;ua intentione nel proemio del quarto, nel quale egli di­<lb/>ce, quanto è &longs;tato e&longs;&longs;equito nel terzo, dicendo d'hauer detto delle di&longs;tributioni, che &longs;ono in <lb/>cia&longs;cuna maniera, cioè ne i principij della cognitione de i Tempij, quanto a gli a&longs;petti, & <lb/>delle cinque maniere, che trattano de gli &longs;patij, che &longs;ono tra le colonne. </s>
<s>Ma qui potrebbe na&longs;ce­<lb/>re un dubbio, come &longs;ia, che Vitr.
non habbia fatto mentione del Tempio ritondo, & come egli <lb/>non habbia regolata la maniera de i Tempij &longs;coperti, che hanno dalle te&longs;te dieci colonne? </s>
<s>Al pri <lb/>mo dico, che Vitr.
ragiona de i Tempij ritondi nel quarto, & for&longs;e gli mette nel numero de gli <lb/>a&longs;petti, che &longs;ono di liberi intercolunnij, come anche i To&longs;cani, & ha la&longs;ciato di trattarne, &longs;egui <lb/>tando in que&longs;to luogo quelli a&longs;petti, che per alcuna aggiunta uanno cre&longs;cendo. </s>
<s>Al &longs;econdo &longs;i di-<emph.end type="italics"/><pb pagenum="132"/><emph type="italics"/>ce, che è co&longs;a facile dalle &longs;oprapo&longs;te regole compartire anche il Tempio &longs;coperto detto hipethros, <lb/>&longs;econdo la bella maniera: però &longs;e'l Tempio &longs;arà in fronte di dieci colonne; egli &longs;i partirà la fronte in <lb/>parti trent auna, una delle quali &longs;arà il modulo, la gro&longs;&longs;ezza delle colonne &longs;arà d'un modulo. </s>
<s>& <lb/>però a dieci colonne &longs;i daranno dieci moduli. </s>
<s>allo &longs;pacio di mezo tre, che &longs;ono tredici, a i uani da i <lb/>lati, che &longs;ono quattro per banda, che fanno otto uani, &longs;e ne daranno diciotto, che gionti alli tre <lb/>dici, &longs;ommano trentuno. </s>
<s>La pianta, & lo in piè di que&longs;ta forma è &longs;egnata col nome &longs;uo.<emph.end type="italics"/></s></p><p type="main">
<s>Ne i Tempij Areo&longs;tili, doue &longs;ono gli &longs;pacij liberi tra le colonne, deon&longs;i fare le colonne <lb/>in que&longs;to modo, che la gro&longs;&longs;ezza di quelle &longs;ia l'ottaua parte dell'altezza. </s>
<s>Et nella forma <lb/>Dia&longs;tilos, &longs;i deue mi&longs;urare l'altezza in que&longs;to modo, che &longs;ia diui&longs;a in parti otto, & meza <lb/>& di una parte &longs;ia fatta la gro&longs;&longs;ezza delle colonne. </s>
<s>Nella maniera Si&longs;tilos egli &longs;i ha a diui <lb/>dere l'altezza in noue parti, & meza, & di quelle darne una alla gro&longs;&longs;ezza. </s>
<s>Nella manie­<lb/>ra picno&longs;tilos, l'altezza è diui&longs;o in dieci parti, & d'una &longs;i fa la gro&longs;&longs;ezza della colonna. </s>
<s><lb/>Nella maniera Eu&longs;tilos, &longs;i &longs;erua la ragione della Dia&longs;tilos, cioè, che l'altezza della colon <lb/>na &longs;i diuide in otto parti & meza, & una &longs;i dona alla gro&longs;&longs;ezza. </s>
<s>Et a que&longs;to modo &longs;i da <lb/>per la rata parte la ragione de gli &longs;pacij tra le colonne: perche, &longs;i come cre&longs;ceno gli &longs;patij <lb/>tra le colonne, co&longs;i &longs;i deono con proportioni accre&longs;cere le gro&longs;&longs;ezze de i loro fu&longs;ti, per­<lb/>che &longs;e nella maniera areo&longs;tilos la gro&longs;&longs;ezza della colonna &longs;arà la nona, ouero la decima <lb/>parte, ella ci parerà tenue, & &longs;ottile, perche per la larghezza de i uani l'aere con&longs;uma, & <lb/>&longs;minui&longs;ce la gro&longs;&longs;ezza dello a&longs;petto de i tronchi delle colonne. </s>
<s>per lo contrario &longs;e nella <lb/>forma picno&longs;tilos &longs;arà la gro&longs;&longs;ezza l'ottaua parte dell'altezza, per l'angu&longs;tia, & &longs;trettezza <lb/>de gli &longs;patij, farà un'a&longs;petto gonfio, & &longs;enza garbo, & però bi&longs;ogna &longs;eguire la conuen ien <lb/>za delle mi&longs;ure &longs;econdo la maniera dell'opera, & co&longs;i per que&longs;to &longs;i deono fare le colonne, <lb/>che &longs;tanno &longs;u le cantonate, piu gro&longs;&longs;e una cinquante&longs;ima parte del loro diametro, perche <lb/>&longs;ono dallo aere circon&longs;tante tagliate, & piu &longs;ottili paiono a i riguardanti: & però quello <lb/>che in ganna gli occhi deue con la ragione e&longs;&longs;ere e&longs;&longs;equito. </s></p><p type="main">
<s><emph type="italics"/>Hauendo Vitru.
regolati gli a&longs;petti con la piu &longs;cielta, & bella maniera de gli intercolunnij, <lb/>detta Eu&longs;tilos, hora egli ci in&longs;egna, come &longs;i hanno a regolare gli a&longs;petti delle allre maniere, che <lb/>&longs;ono le altre quattro, la &longs;tretta, detta picno&longs;tilos; la larga, detta &longs;i&longs;tilos; la rila&longs;ciata, detta dia <lb/>&longs;tilos; & la &longs;pacio&longs;a, & libera, detta areo&longs;tilos. </s>
<s>La &longs;omma della &longs;ua intentione è que&longs;ta, che <lb/>noi douemo con&longs;iderare gli &longs;patij, che &longs;ono tra colonna, & colonna in cia&longs;cuna delle dette forme, <lb/>& doue trouaremo tra le colonne e&longs;&longs;ere &longs;pacio maggiore, douemo a proportione fare piugro&longs;&longs;a la <lb/>colonna: & la ragione è que&longs;ta, perche &longs;e fu&longs;&longs;ero le colonne &longs;ottili doue &longs;ono i uani maggiori, <lb/>molto &longs;i leuarebbe dello a&longs;petto, imperoche lo aere è quello, che toglie della gro&longs;&longs;ezza delle co­<lb/>lonne, & fa parere quelle piu &longs;ottili, come la i&longs;perianza ci dimo&longs;tra. </s>
<s>Doue adunque è piu di ua­<lb/>no, & di &longs;pacio, iui entra piu l'aere, il quale e&longs;&longs;endo d'intorno taglia del uiuo; Et però con buo­<lb/>na ragione la distanza de gli intercolunnij regola la gro&longs;&longs;ezza delle colonne. </s>
<s>La onde Vitr.
uo­<lb/>lendoci confermare con altra i&longs;perienza, & ragione quello, che ci ha propo&longs;to, uuole, che le co <lb/>lonne, che stanno &longs;u gli anguli delle fabriche, che hanno portichi d'intorno, &longs;iano piu gro&longs;&longs;e al­<lb/>quanto delle altre, che &longs;ono tra quelle, perche d'intorno le colonne angulari &longs;i rauna maggior <lb/>quantità di aere, & di luce, che le uiene a mangiare della lor gro&longs;&longs;ezza, doue pareno piu &longs;ottili <lb/>delle altre, & però in rimedio di quello, che leua la luce, & lo aere, &longs;e le da la cinquante&longs;ima <lb/>parte del diametro di piu delle altre. </s>
<s>il che &longs;erue a quella digni&longs;&longs;ima parte, che nel primo libro è <lb/>detta Eurithmia. <!-- KEEP S--></s>
<s>Vitr.
adunque ha detto del numero delle colonne de gli a&longs;petti, detto ha delle di <lb/>&longs;tanze loro nelle cinque maniere: & poi ha detto delle grandezze di quelle: & co&longs;i è di&longs;ce&longs;o a po­<lb/>co a poco dall'uniuer&longs;ale al particolare, & ha distinto le co&longs;e confu&longs;e &longs;econdo l'ordine della huma <lb/>na cognitione. </s>
<s>& anchora diuiene a piu particolar notitia, & tratta delle contrattioni, & ra­<lb/>stremamenti, che &longs;i fanno nel &longs;ommo della colonna, & &longs;imilmente della gonfiatura, che &longs;i fa nel <lb/>mezo. </s>
<s>& dice.<emph.end type="italics"/></s></p><pb pagenum="133"/><p type="main">
<s>Le diminutioni, che &longs;i fanno nella parte di &longs;opra delle colonne &longs;otto i collarini detti hy <lb/>potrachelij, &longs;i deueno fare in que&longs;to modo, che &longs;e la colonna &longs;arà di quindici piedi almeno, <lb/>&longs;ia diui&longs;a la gro&longs;&longs;ezza del fu&longs;to da ba&longs;&longs;o in &longs;ei parti, & di cinque di quelle &longs;i faccia la gro&longs;­<lb/>&longs;ezza di &longs;opra, & di quella colonna, che &longs;arà alta da quindici a uenti piedi, il fu&longs;to da ba&longs;&longs;o <lb/>&longs;ia diui&longs;o in &longs;ei parti & meza, & di quelle &longs;iano date cinque & meza alla gro&longs;&longs;ezza di &longs;opra. <lb/></s>
<s>&longs;imilmente di quelle, che &longs;aranno da uenti fin'a trenta piedi, la pianta &longs;i partirà in &longs;ette par <lb/>ti, & in &longs;ei di quelle &longs;i farà la diminutione di &longs;opra. </s>
<s>ma quella, che &longs;arà da trenta fin qua­<lb/>ranta piedi, dal ba&longs;&longs;o piede hauerà &longs;ette & mezo, & dal di &longs;opra &longs;ei, & mezo la ragione <lb/>del &longs;uo ra&longs;tremamento: Et co&longs;i quella, che &longs;arà alta da quaranta &longs;in cinquanta piedi, e&longs;­<lb/>&longs;endo dal ba&longs;&longs;o diui&longs;a in otto parti, &longs;arà &longs;ette di &longs;opra nel Collarino: Et quelle, che &longs;aran­<lb/>no piu alte, con la i&longs;te&longs;&longs;a ragione per la rata parte &longs;i faranno piu &longs;ottili. </s>
<s>Ma quelle per la <lb/>di&longs;tanza dell'altezza ingannano la ui&longs;ta, che a&longs;cende: Et però &longs;i aggiugne il temperamen­<lb/>to alle gro&longs;&longs;ezze, poi che la ui&longs;ta no&longs;tra &longs;eguita mirabilmente la gratia, & la bellezza. </s>
<s>al <lb/>cui piacere, &longs;e noi non con&longs;entimo lu&longs;ingando con la proportione, & con la aggiunta de <lb/>i moduli, accioche quello, di che ella è ingannata, & defraudata, con bello temperamen­<lb/>to &longs;i accre&longs;ca, dalle opere &longs;arà rimandato adietro l'a&longs;petto di quelle, &longs;enza gratia, & &longs;en­<lb/>za proportione di bellezza. </s></p><p type="main">
<s><emph type="italics"/>Faceuano gli antichi la &longs;ommità della colonna piu &longs;ottile, che la parte di &longs;otto; faceuano &longs;imil <lb/>mente nel mezo una gonfiezza, & tumidezza molto dolce, & tenera, che gentilmente &longs;i uolge <lb/>ua, che le daua molto del buono. </s>
<s>La ragione, perche co&longs;i faceuano, era, perche le co&longs;e na&longs;cen <lb/>ti dalla terra, come &longs;ono gli alberi, piu che &longs;i leuano, piu s'a&longs;&longs;ottigliano, & gli huomini piu ag <lb/>gra<gap/>ati da i pe&longs;i, piu s'ingro&longs;&longs;ano nel mezo. </s>
<s>però imitando gli alberi &longs;i ra&longs;tremano le colonne di <lb/>&longs;opra, & imitando lo effetto del carico, &longs;i gonfiano nel mezo. </s>
<s>&longs;i come adunque cre&longs;cendo in lar <lb/>ghezza iuani, Vitr.
ha uoluto, che a proportione cre&longs;ca la gro&longs;&longs;ezza delle colonne, co&longs;i uuole <lb/>hora per la i&longs;te&longs;&longs;a ragione, che quanto è piu alia la colonna, tanto meno &longs;ia ra&longs;tremata di &longs;opra, <lb/>perche cre&longs;cendo in altezza, fa lo e&longs;&longs;etto da &longs;e &longs;te&longs;&longs;a & di cio ne dà lo e&longs;&longs;empio, la regola, & la <lb/>ragione, il che è facile. </s>
<s>Ma come &longs;i faccia, & doue comincia que&longs;ta diminutione, & con che <lb/>garbo &longs;i tiri la gonfiatura nel mezo, Vitr.
non ci dimo&longs;tra, benche egli prometta in fine del libro <lb/>darci il di&longs;egno, & dice.<emph.end type="italics"/></s></p><p type="main">
<s>Ma della aggiunta, che &longs;i fa nel mezo della colonna, che enta&longs;i &longs;i chiama, nel fine del <lb/>libro &longs;arà formata la &longs;ua ragione, come dolce, & conueniente &longs;i faccia. </s></p><p type="main">
<s><emph type="italics"/>Credo io, che que&longs;to &longs;tia in di&longs;cretione, & de&longs;trezza, piu pre&longs;to, che in arte o regola: ben­<lb/>che il Serl<gap/>o, & altri ne trouino alcuni modi, a i q uali mi riporto. </s>
<s>Di&longs;idero bene, che &longs;i auuer <lb/>ti&longs;ca, che l'huomo non prenda ammiratione, &longs;e mi&longs;urando le antichità di Roma, non ritroua &longs;pe&longs; <lb/>&longs;o le mi&longs;ure delle colonne a punto, perche &longs;e egli &longs;i pote&longs;&longs;e uedere tutto il corpo della fabrica, l'huo <lb/>mo non &longs;i marauiglierebbe della grandezza, o picciolezza de i membri, ma ritrouando un piede, <lb/>oucro un braccio &longs;eparato, non puo dire, que&longs;to piede è grande, o picciolo; dico ri&longs;petto del cor­<lb/>po. </s>
<s>&longs;e adunque cio uale nel corpo humano, perche non deue ualere nel corpo d'una fabrica, o d'al <lb/>tra co&longs;a artificio&longs;a? </s>
<s>perche uolemo far giudicio d'una colonna, non &longs;apendo come ella era po&longs;ta <lb/>in opera, che &longs;pacio era tra una colonna, & l'altra, in che maniera era collocata, per quale acci <lb/>dente era co&longs;i compartita: che effetto, in che luogo faceua, & altri &longs;imili ri&longs;petti? </s>
<s>che danno, <lb/>che dire a que&longs;ti di&longs;egnatori, che tutto di uanno mi&longs;urando le parti & le particelle, &longs;enza con&longs;ide <lb/>ratione del tutto, & &longs;e ne fanno regole, & precetti inuiolabili: & dicono, che non &longs;i troua in Ro <lb/>ma co&longs;a fatta &longs;econdo le regole di Vitr.
al quale doueriano credere, poi che egli &longs;te&longs;&longs;o, ci leua la <lb/>&longs;oper&longs;titione, l'obligo, & la &longs;eruitù con le ragioni manife&longs;te: Sono bene i termini delle co&longs;e, &longs;econ­<lb/>do il piu, & il meno, ma tra que termini, oue &longs;ia, chi uoglia procedere con ragione, non ha per <lb/>duto il modo di fermar&longs;i piu in uno, che in altro luogo, quando la occa&longs;ione gli dà di farlo.<emph.end type="italics"/></s></p><pb pagenum="134"/><p type="head">
<s><emph type="italics"/>Delle fondationi, & delle colonne, & loro ornamenti, & <lb/>di gli Architr aui tanto ne i luoghi &longs;odi, quanto <lb/>ne i mo&longs;si, & aggrumati. </s>
<s>Cap. III.<emph.end type="italics"/><!-- KEEP S--></s>
</p><p type="main">
<s>LE fondationi delle opere &longs;opradette di quanto &longs;ottera &longs;i ha da fare, &longs;i deo­<lb/>no cauare, &longs;e trouar &longs;i po&longs;&longs;ono, dal &longs;odo, & poi nel &longs;odo, quanto ci pare­<lb/>rà per la grandezza dell'opera, &longs;iano fatte, & quella fabrica, o &longs;truttura per <lb/>tutto il &longs;uolo quanto piu &longs;i faccia &longs;odi&longs;sima: & &longs;opra terra &longs;i facciano i muret­<lb/>ti &longs;otto le colonne per la metà piu gro&longs;si di quello, che &longs;aranno le colonne: accioche le <lb/>parti di &longs;otto &longs;iano piu ferme delle parti di &longs;opra (& que&longs;ti &longs;i po&longs;&longs;ono chiamare Stereo­<lb/>bata, qua&longs;i ferme piante, perche &longs;o&longs;tentano il pe&longs;o di tutto lo edificio) oltra di que&longs;to <lb/>gli &longs;porti delle &longs;pire, o delle ba&longs;e non deono u&longs;cire dal &longs;odo: & allo i&longs;te&longs;&longs;o modo deue <lb/>e&longs;&longs;ere &longs;eruata la gro&longs;&longs;ezza del muro, ma bene gli &longs;pacij deono e&longs;&longs;er fatti a uolte, ouero <lb/>&longs;ianolbene ra&longs;&longs;odati, & battuti, accioche &longs;iano bene rattenuti, & fermi. </s></p><p type="main">
<s><emph type="italics"/>Hauendo Vitruuio trattato di quelle co&longs;e, che da lontano in confu&longs;o, & di quelle, che piu di <lb/>&longs;tintamente, & d'appre&longs;&longs;o uedemo, accioche non paia, che &longs;iano &longs;olamente nello aere, & <lb/>che non habbiano piede, egli uuole trattare delle fondamenta di quelle, & con bell'ordine dal <lb/>fondamento peruiene fino alla cima, facendo na&longs;cere, & cre&longs;cere la fabrica. </s>
<s>Primier amente <lb/>adunque egli ci mostra quello, che deue &longs;tare &longs;otto le fabriche, & uucle, che imitiamo la na­<lb/>tura, che ne gli alberi fa le parti inferiori piu gro&longs;&longs;e, che le &longs;uperiori: percioche meglio &longs;i &longs;o­<lb/>&longs;tentano i pe&longs;i, & i carichi grandi. </s>
<s>Il piano adunque, doue &longs;i deue fabricare, è ouero duro, &longs;o­<lb/>do, & naturale, ouero tenero, molle, & di terreno portato & mo&longs;&longs;o. </s>
<s>diuer&longs;amente &longs;i deue <lb/>fondare nell'uno, & nell'altro: perche doue trouerai la terra &longs;oda, iui cauerai per fondare. <lb/></s>
<s>& farai la fo&longs;&longs;a tanto larga, quanto porta la ragione dell'opera, che dei fare. </s>
<s>&longs;e il ter­<lb/>reno &longs;arà molle, o &longs;arà tale nella &longs;operficie, ouero profonderà molto: &longs;e è nella &longs;operficie, ca­<lb/>ua in&longs;ino, che troui il &longs;odo, &longs;e profonderà, bi&longs;ognerà farle una palificata ben battuta, & <lb/>ra&longs;&longs;odata. </s>
<s>Il fondamento è detto &longs;ubstructione, che altro non <gap/>, che la fa<gap/>brica, che &longs;i fa &longs;ot­<lb/>terra, fin che &longs;i ueda. </s>
<s>Hora que&longs;ta fondatione deue e&longs;&longs;er di &longs;ott<gap/> larga, & piu che a&longs;cen­<lb/>de, piu &longs;i ua re&longs;tringendo. </s>
<s>Deue&longs;i cauare il terreno della fo&longs;&longs;a egualmente, & il fondo deue e&longs;­<lb/>&longs;er piano, & eguale per tutto, accioche il pe&longs;o della fabrica lo prema egualmente, nè i pareti fac­<lb/>ciano danno, o &longs;egno alcuno. </s>
<s>Le larghezze delle fo&longs;&longs;e per le fondamenta &longs;i deono fare dal giudi­<lb/>cio dell' Architetto, &longs;econdo le gro&longs;&longs;ezze delle mura, le grandezze delle fabriche, & le quali­<lb/>tà de i terreni: perche puo uenire occa&longs;ione o nel fare un gran palazzo, o un Tempio, ouero <lb/>un ponte, che &longs;i facciano le fondamenta intiere continuate per tutto il piano, di &longs;otto con per­<lb/>petua muratura. </s>
<s>Quando al pari del piano hauerai leuato la &longs;ottomuratura, & il fondamento <lb/>dei leuare alcuni muretti, che &longs;i chiamano Stereobati, & altroue &longs;tilobati, qua&longs;i &longs;odi, & <lb/>fermi piedi delle colonne: benche altroue Stereobata uoglian dire il ba&longs;amento di tutta la fabri­<lb/>ca, che in alcuni edificij, è fatto a &longs;carpa. </s>
<s>ma che quiui intenda il piede&longs;talo, &longs;i uede per quel­<lb/>le parole.<emph.end type="italics"/> {<emph type="italics"/>& &longs;otto terra &longs;i facciano i muretti &longs;otto le colonne.<emph.end type="italics"/>} <emph type="italics"/>cioè quando la fabrica co <lb/>mincia a &longs;coprir&longs;i, & ueder&longs;i. </s>
<s>I muretti &longs;otto le colonne altro non &longs;ono, che i piede&longs;tali, <lb/>che &longs;i doueriano dire piede&longs;tili, cioè piedi delle colonne, che &longs;arebbe parola compo&longs;ta del Gre <lb/>co, & del uolgare. </s>
<s>ma parliamo &longs;econdo l'u&longs;o. </s>
<s>que&longs;ti adunque doueriano e&longs;&longs;er piu gro&longs;&longs;<gap/> per la <lb/>metà del fu&longs;to delle colonne da ba&longs;&longs;o. </s>
<s>ecco la ragione. </s>
<s>La &longs;pira, & ba&longs;a della colonna non i&longs;por <lb/>ta piu in fuori per lo piu, che la metà della gro&longs;&longs;ezza della colonna, cioè per un quarto da un <lb/>lato, & per un quar to dall'altro; & que&longs;to nella Dorica: perche lo &longs;porto della ba&longs;a Ionica &longs;i<emph.end type="italics"/><pb pagenum="135"/><emph type="italics"/>fa d'una quarta, & ottaua della gro&longs;&longs;ezza della colonna, come anche della Corinthia. <!-- KEEP S--></s>
<s>Vuole <lb/>adunque Vitruuio che il piede&longs;talo, che è &longs;otto la colonna, &longs;ia per la met à piu gro&longs;&longs;o della colon­<lb/>na, che ui ua &longs;opra: & di piu uuole, che gli &longs;porti delle ba&longs;e, che &longs;ouo tanto, quanto la lar­<lb/>ghezza del zecco, non e&longs;chino del uiuo, cioè del quadrato del piede&longs;talo. </s>
<s>Egli &longs;i deue auuertire, <lb/>che per que&longs;to nome Stilobata, &longs;e bene s'intende quel muretto, che è &longs;otto le colonne, come pie­<lb/>de, & po&longs;amento, però &longs;ono anche i Stilobati congiunti uno con l'altro mediante quella aggiun­<lb/>ta, della quale parlerà Vitruuio qui &longs;otto: & però tutto quel ligamento, è detto anche Stereo­<lb/>bata, &longs;econdo la e&longs;po&longs;itione del nome, che detto hauemo: & tutta que&longs;ta fabrica è imme<emph.end type="italics"/><lb/><figure id="fig17"/><lb/><emph type="italics"/>diate &longs;opra terra, & &longs;i puo anche poggio no <lb/>minare: ma del poggio ne dirò qui &longs;otto. </s>
<s>Deue <lb/>&longs;i auertire, che i buoni antichi, &longs;e bene face­<lb/>uano il ba&longs;amento piu largo della fabrica di <lb/>&longs;opra, non però lo faceuano a &longs;carpa: ma in <lb/>modo di gradetti, come ci mo&longs;tra la figura qui <lb/>appre&longs;&longs;o. </s>
<s>Dice poi Vitruuio.<emph.end type="italics"/> {<emph type="italics"/>Et allo i&longs;te&longs;&longs;o <lb/>modo deue e&longs;&longs;er &longs;eruata la gro&longs;&longs;ezza del mu­<lb/>ro<emph.end type="italics"/>} <emph type="italics"/>cioè che la parte inferiore &longs;ia piu gro&longs;&longs;a <lb/>di quella di &longs;opra. </s>
<s>Ma gli &longs;pacij, che &longs;ono <lb/>tra un piede&longs;talo, & l'altro, cioè nelle fon­<lb/>damenta, &longs;i deono legare in que&longs;to modo, che <lb/>ouero &longs;i facciano a uolti, come è lo in piè d'un <lb/>Tempio di&longs;egnato nel primo libro, al cap.
&longs;e­<lb/>condo: ouer &longs;iano ra&longs;&longs;odati con palificate <lb/>ben battute & ferme: & a que&longs;to modo i le­<lb/>gamenti della fabrica &longs;aranno fermi<02>imi. </s>
<s>Que <lb/>&longs;ti uolti &longs;ono <gap/>ati ritrouati per &longs;cemar la &longs;pe­<lb/>&longs;a, & per a<02>icurar, che le colonne per lo pe&longs;o loro non fondino, & i uolti &longs;ono riuer&longs;ei: ma <lb/>che impedi&longs;ce, che non &longs;iano anche dritti, come è nell' e&longs;&longs;empio allegato? </s>
<s>Ma come &longs;i battino le <lb/>palificate, con gli in&longs;trumenti detti Fi&longs;tuce da latini, & Becchi da noi, non è alcuno, che non <lb/>lo &longs;appia: & que&longs;ta è la regola di fondare ne i luogbi, che hanno buono, & &longs;odo terreno, co­<lb/>me &longs;ono quelli di Candia tenaci&longs;&longs;imi, & fermi&longs;&longs;imi, ne i quali è gran fatica fare le cauationi. </s>
<s><lb/>Ma &longs;e i luoghi &longs;aranno di terreno mo&longs;&longs;o, ouero paludo&longs;o, o tenero come a Venetia, Vitruuio <lb/>ce in&longs;egna quello &longs;i deue fare, & dice.<emph.end type="italics"/></s></p><p type="main">
<s>Ma s'egli non &longs;i truoua il &longs;odo, & che il &longs;uolo &longs;ia mo&longs;&longs;o, ouero palu&longs;tre, allhora quel <lb/>luogho &longs;i deue cauare, & uotare, & con pali d'Alno, o di Oliuo, o di Rouere ar&longs;icciati <lb/>con&longs;iccare, & con le machine fatte a que&longs;to propo&longs;ito &longs;iano battute le palificate &longs;pe&longs;si&longs;si­<lb/>me, & gli &longs;pacij, che &longs;ono tra i pali-&longs;iano empiti di carboni, & le fondamenta &longs;iano empite <lb/>di &longs;odi&longs;sime murature: ma poi che le fondamenta &longs;aranno ben battute, deon&longs;i porre a li­<lb/>uello i piede&longs;tali, &longs;opra de i quali di&longs;ponerai le colonne (come s'è detto di &longs;opra): ouero <lb/>nella maniera di &longs;trette colonne, come ella ricerca, ouero nelle altre, come cia&longs;cuna ri <lb/>chiede, &longs;ia o rila&longs;ciata, o &longs;pacio&longs;a, o gratio&longs;a maniera, come di &longs;opra &longs;ono &longs;tate ordina­<lb/>te, & de&longs;critte, perche nelle areo&longs;tile è grande libertà di fare gli &longs;pacij, come piace a cia­<lb/>&longs;e uno. </s>
<s>bene egli &longs;i deue auuertire, che ne gli alati atorno, detti Peripteri, collocate &longs;iano <lb/>le colonne in modo, che quanti uani faranno nella fronte, tante due fiate &longs;iano ne i lati, <lb/>p erche co&longs;i &longs;arà doppia la lunghezza dell'opera alla larghezza; però che quelli, i quali <expan abbr="hãno">hanno</expan> <lb/>uoluto rad doppiar le colonne, & non i uani, pare che habbiano errato, perche pare, che <lb/>uno intercolunnio oltra quello che bi&longs;ogna, &longs;i &longs;tenda per la lunghezza. </s></p><p type="main">
<s><emph type="italics"/>Vitr.
ha detto nel Capo antecedente, che lo alato a torno detto Peripteros, haueua&longs;ei colon-<emph.end type="italics"/><pb pagenum="136"/><emph type="italics"/>ne in fronte; adunque haueua cinque uani; perche &longs;empre i uani &longs;ono un meno delle colonne: & <lb/>da i lati haueua undici colonne computando le angulari; adunque bauer à dieci uani: & quelli, che <lb/>hanno raddoppiato il numero delle colonne da i fianchi, hanno errato, perche non hanno computa <lb/>to nel numero delle colonne da i lati quelle, che &longs;tanno &longs;opra gli anguli, le quali &longs;erueno alla fron­<lb/>te, & a i lati; &longs;i che bi&longs;ogna raddoppiare i uani, & non le colonne. </s>
<s>& que&longs;ta regola è anche nel <lb/>le altre maniere, che hanno colonne a torno, che for&longs;e &longs;otto que&longs;to nome di periptere &longs;ono &longs;tate <lb/>tutte compre&longs;e, perche tutte hanno le ale a torno. </s>
<s>Fin qui adunque hauemo le &longs;ondamenta, hauemo <lb/>i piede&longs;tali, & la fabrica alzata da terra: hora &longs;i ragioner à de i gradi, per li quali &longs;i a&longs;cendeua <lb/>al Tempio. <!-- KEEP S--></s>
<s>que&longs;ti erano nelle fronti, come &longs;i uede in molte piante di &longs;opra, erano anche d'intorno, <lb/>come nella pianta del peripteros di &longs;ei colonne s' è po&longs;to: & con una i&longs;te&longs;&longs;a ragione &longs;i regola il nume <lb/>ro, l'altezza, & la larghezza de i gradi, & però dice Vitr.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s>I gradi nella fronte &longs;i deono formare in que&longs;to modo, che &longs;empre &longs;iano di&longs;pari, perche <lb/>&longs;alendo&longs;i al primo grado col piè de&longs;tro, lo i&longs;te&longs;&longs;o piede entrando&longs;i di &longs;opra nel Tempio &longs;a <lb/>rà po&longs;to: ma le gro&longs;&longs;ezze di quelli co&longs;i giudico io che debbiano e&longs;&longs;er terminate, che non <lb/>&longs;iano piu gro&longs;&longs;e di dieci dita, nè piu &longs;ottili di noue. </s>
<s>perche a que&longs;to modo non &longs;arà diffi­<lb/>cile il &longs;alire. </s>
<s>Le ritrattioni de i gradi, non &longs;iano meno d'un piede, & mezo, nè piu di <lb/>due: & &longs;e d'intorno al Tempio &longs;i deono fare i gradi, &longs;i faranno all'i&longs;te&longs;&longs;o modo. </s></p><p type="main">
<s><emph type="italics"/>Il piede nel &longs;alire prima &longs;i alza, poi s'allarg a: quella mi&longs;ura, che &longs;i fa alzando, è detta gro&longs;&longs;ez <lb/>za del grado: quella, che il piede calca, & s'allarga per &longs;alire allo altro grado, è detta da Vitr.
ri <lb/>trattione del grado. </s>
<s>io chiamerei quella, altezza, & que&longs;ta, larghezza del grado. </s>
<s>Qui non di­<lb/>ce Vitr.
che i gradi debbiano e&longs;&longs;ere piu tre, che cinque, piu cinque che &longs;ette. </s>
<s>ben è uero, che egli è <lb/>&longs;tato auuertito nelle fabriche antiche, che <expan abbr="nō">non</expan> s' è pa&longs;&longs;ato il numero di noue. </s>
<s>et &longs;e pure &longs;i pa&longs;&longs;aua, egli <lb/>&longs;i faceua un piano, & una ritrattione larga, che noi chiamamo requie, &longs;opra la quale &longs;i ripo&longs;a­<lb/>uano gli huomini, dapoi la &longs;alita. </s>
<s>Deono e&longs;&longs;ere i gradi non piu alti di dieci parti d'un piede, nè <lb/>meno di noue, ma &longs;e fu&longs;&longs;ero noue parti a punto, o meno di dieci &longs;ariano piu commodi. </s>
<s>Pone adun <lb/>que Vitr.
itermini del piu, & del meno: ma a di no&longs;tri &longs;i fanno minori, il che non laudarei, per­<lb/>che poi non hanno grandezza, &longs;e bene fu&longs;&longs;ero piu commodi alla &longs;alita. </s>
<s>Il piede è partito in dodici <lb/>oncie, come hauemo eletto. </s>
<s>de&longs;tante &longs;ono dieci oncie, dodrante noue, & le oncie anche &longs;ono det <lb/>te dita. </s>
<s>Ma &longs;e egli &longs;i uorrà fare il poggio da tre lati, Vitr.
dice quello douemo o&longs;&longs;eruare.<emph.end type="italics"/></s></p><p type="main">
<s>Ma s'egli &longs;i uorrà fare il poggio da tre lati, bi&longs;ognerà guardare, che i quadretti, le ba&longs;e <lb/>i tronchi, le cornici, & le gole conuenghino col piede&longs;talo, ch'è &longs;otto le &longs;pire delle co­<lb/>lonne. <emph type="italics"/>Cioè &longs;e'l piede&longs;talo hauerà quadretti, li&longs;telle, tronchi, gole, cornici, & ba&longs;e, ouero <lb/>altri membrelli, i mede&longs;imi &longs;iano anche nel poggio, come dimo&longs;tra lo in piè del tempio &longs;eguente, <lb/>che ha il poggio. </s>
<s>Ma perche il piede&longs;tale, &longs;oprail quale era la colonna, u&longs;ciua del dritto, del <lb/>poggio, & per que&longs;to il poggio era ritratto in entro per lo &longs;pacio, che era tra un piede&longs;talo, & <lb/>l'altro, & faceua una certa concauità, che Vitr.
chiama alueolato: però era nece&longs;&longs;ario, che <lb/>Vitr.
ci de&longs;&longs;e la regola di agguagliare, & pareggiare i piede&longs;tali, accioche &longs;i &longs;ape&longs;&longs;e quanto ha­<lb/>ueuano adu&longs;cir fuori del dritto del poggio, & però dice.<emph.end type="italics"/></s></p><p type="main">
<s>Et a que&longs;to modo bi&longs;ogna, che il piede&longs;talo &longs;ia pareggiato, che egli habbia per mezo <lb/>l'aggiunta per gli &longs;camilli impari; perche &longs;e egli fu&longs;&longs;e drizzato a linea, egli &longs;i uederebbe <lb/>con l'occhio il letto, & cauo. </s>
<s>ma come a far que&longs;to &longs;i facciano gli &longs;camilli conuenienti, <lb/>come dell'altre co&longs;e, co&longs;i di que&longs;ta &longs;arà de&longs;critto nel fine del libro, la forma, & la di­<lb/>mo&longs;tratione. </s></p><p type="main">
<s><emph type="italics"/>Deono i piede&longs;tali u&longs;cir del poggio, & que&longs;ta ri&longs;alita Vitr.
chiama aggiunta, & la parte del <lb/>poggio, che &longs;i ritira a dietro, è detta alueolato. </s>
<s>Il nome di &longs;camilli in uero non &longs;i troua, ( che io &longs;ap­<lb/>pia) nè latino, nè dedutto dal Greco. <!-- KEEP S--></s>
<s>& quando bene uole&longs;&longs;e dire camillum, quando &longs;i dice&longs;&longs;e ca <lb/>millus nel genere del ma&longs;chio, io direi, che la intentione di Vitr.
fu&longs;&longs;e, come io ho detto, perche <lb/>camillus, nel quarto libro, è una ca&longs;&longs;a, o forma, o telaro, che egli chiama loculamentum. </s>
<s>Le<emph.end type="italics"/><pb pagenum="137"/><emph type="italics"/>ca&longs;elle, o celle delle api &longs;i chiamano camilli, & tutto quello, che &longs;epara una co&longs;a dall'altra, come<emph.end type="italics"/><lb/><figure id="fig18"/><lb/><emph type="italics"/>in ca&longs;&longs;a, è con questo nome chiamato. </s>
<s>Quando adunque &longs;ia, che i piedi&longs;tali &longs;eparano una parte<emph.end type="italics"/><pb pagenum="138"/><emph type="italics"/>del poggio dall' altra, perche non &longs;i po&longs;&longs;ono dire camilli cia&longs;cuno di que &longs;pacij, &longs;eparato da i piede.<emph.end type="italics"/><lb/><figure id="fig19"/><pb pagenum="139"/><emph type="italics"/>&longs;tali? </s>
<s>che uengono in fuori, & non uanno continuando, ma rompeno la drittura del poggio: &<emph.end type="italics"/><lb/><figure id="fig20"/><pb pagenum="140"/><emph type="italics"/>con licenza egli &longs;i u&longs;i que&longs;to nome del genere del ma&longs;chio, che è neutro.<emph.end type="italics"/> I<emph type="italics"/>l &longs;en&longs;o è dunque, co­<lb/>me ho detto, ilche proucrò anche di &longs;otto. </s>
<s>Et &longs;e &longs;camillus uiene da &longs;camnum, per diminutione, <lb/>& che &longs;i traduca &longs;cabelli, perche i piedi&longs;tali &longs;ono come &longs;cabelli trauer&longs;i, non s'impedirebbe il no <lb/>&longs;tro &longs;entimento. </s>
<s>il quale però è confirmato per alcune parole, che Vitr.
dirà qui &longs;otto. </s>
<s>Ma la pian <lb/>ta, & lo in piè del Tempio fatto col poggio &longs;ono fatte di &longs;opra. </s>
<s>a carte<emph.end type="italics"/> 137. 138. <emph type="italics"/>&<emph.end type="italics"/> 139. </s></p><p type="main">
<s><emph type="italics"/>Conuengono tutte le fabriche nelle fondamenta, o naturali, o artificiali, che &longs;iano. </s>
<s>delle ar­<lb/>tificiali &longs;e ne è ragionato a ba&longs;tanza. </s>
<s>&longs;opra le fondamente, o gradi, o poggi, che &longs;i facciano, &longs;ene <lb/>è dato la regola di &longs;opra. </s>
<s>hora &longs;i dirà de i piedi&longs;tali, i quali &longs;ono di due modi. </s>
<s>prima tutto il ba&longs;a­<lb/>mento d'una fabrica &longs;i puo chiamare piede&longs;tale; che in Greco &longs;tereobata, & anche &longs;tilobata &longs;i <lb/>chiamano le parti prime &longs;opra terra, piu gro&longs;&longs;e che i pareti; perche con perpetua, & conti<gap/>nuata <lb/>&longs;odezza legano la fabrica d'intorno. </s>
<s>l'e&longs;&longs;empio è nelle piante d'alcuni Tempij &longs;opra po&longs;ti, come <lb/>nella pianta del dipteros, doue &longs;i uede, che corre quel legamento intorno, &longs;opra il quale è po&longs;to il <lb/>colonnato. </s>
<s>& nella parte dinanzi &longs;ono i gradi &longs;errati tra quel legamento, che è fatto per leuare <lb/>la fabrica da terra, & per darle &longs;odezza, & mae&longs;tà, & per ornamento. </s>
<s>& &longs;pe&longs;&longs;o gli antichi ui <lb/>poneuano delle &longs;tatue nelle fronti, la doue da una parte, & l'altra erano del ba&longs;amento, che <lb/>u&longs;ciua dell' ordine delle colonne dinanziper legare i gradi, & que&longs;to poteua e&longs;&longs;er per la quarta <lb/>parte della colonna in altezza. </s>
<s>i piede&longs;tali da &longs;e, & &longs;eparati dal ba&longs;ameno, non &longs;i danno per <lb/>quanto &longs;i legge, nè alle opere To&longs;cane, nè alle Doriche. <!-- KEEP S--></s>
<s>però que lli, che danno mi&longs;ure de piede&longs;ta <lb/>li, pare, che s'habbiano formato di loro capo le mi&longs;ure di quelli, in que generi, doue non &longs;i tro­<lb/>uano. </s>
<s>Ma nello Ionico, Corinthio, & composto, &longs;e ne truouano. </s>
<s>come nel pre&longs;ente libro, & <lb/>nel quinto doue &longs;i ragiona del poggio della &longs;cena, &longs;i uede chiaramente. </s>
<s>& molti e&longs;<gap/>empi, ne &longs;ono <lb/>in Roma, ne gli archi, Tempij, & Theatri. <!-- KEEP S--></s>
<s>Que&longs;ti hanno diuer&longs;e mi&longs;ure, & tutte però &longs;i ca­<lb/>uano dall'altezza della colonna con la &longs;ua ba&longs;a, & capitello, perche altri&longs;ono la terza parte, <lb/>come quelli dell'arco fatto al ca&longs;tel uecchio di Verona, d'opera Corinthia &longs;ommamente lodata. </s>
<s><lb/>Altri&longs;ono per la quarta parte, come &longs;ono quelli del Coli&longs;eo: altri &longs;ono d'una quarta & meza, <lb/>come nell'arco fatto da Traiano in memoria della uittoria di Dacia, &longs;ul porto d' Ancona: & è ope­<lb/>ra Corinthia bella & &longs;chietta. </s>
<s>Altri della quinta, come &longs;i è o<02>eruato. </s>
<s>& que&longs;ta diuer&longs;ità na­<lb/>&longs;ce, perche con diuer&longs;e intentioni l' Architetto &longs;opplire intende alla grandezza, o bellezza delle <lb/>fabriche, Vitruuio ragionando nel quinto, del poggio della &longs;cena, fa il piede&longs;talo d'uno terzo, <lb/>proportionando, & il poggio, & le colonne al diametro dell'Orche&longs;tra; & è belli&longs;&longs;ima forma. </s>
<s>i <lb/>piedi&longs;tali ad unque, per le fatte o&longs;&longs;eruationi, &longs;i partirano in otto parti nella loro altezza. </s>
<s>di que­<lb/>&longs;te una ua per gli ornamenti, o membrelli di &longs;opra, che &longs;ono come un capitello del piede&longs;talo: due &longs;i <lb/>danno alla ba&longs;a, il re&longs;to al dado, o tronco di mezo. </s>
<s>La ba&longs;a &longs;i parte in tre parti, due &longs;i danno al <lb/>zocco, l'altra all'altre parti. </s>
<s>&longs;i che gli ornamenti di &longs;otto, o membrelli che &longs;iano, &longs;ono doppij in <lb/>altezza a gli ornamenti, o membrelli di &longs;opra, che Vitru.
chiama, quadre, corone, li&longs;is. </s>
<s>Sole­<lb/>uano gli antichi &longs;otto la ba&longs;a del piede&longs;talo porre uno, o due zocchi, non meno alti di tutta la ba­<lb/>&longs;a del piede&longs;talo. </s>
<s>& que&longs;to per dar fermezza, & grandezza alle opere. </s>
<s>&longs;oleuano anche &longs;otto l'or­<lb/>lo della ba&longs;a della colonna porre un'altro zocco, ilche &longs;pecialmente u&longs;auano di fare ne gli archi. <lb/></s>
<s>& tutta la ba&longs;a, col detto zocco era d'un pezzo, perche la fu&longs;&longs;e piu atta, a &longs;o&longs;tener i pe&longs;i, come <lb/>&longs;i uede nell'arco d' Ancona, ne gli archi di Settimio, & di Tito, & di Con&longs;tantino in Roma, & <lb/>in altri luoghi d'Italia. <!-- KEEP S--></s>
<s>Ma prima, che io de&longs;criua co&longs;a alcuna, mi pare conueniente e&longs;ponere l'o­<lb/>rigine, & ragione de i uocaboli, & nomi po&longs;ti alle parti, & membri delle fabriche; accioche <lb/>&longs;empre non &longs;i habbia a tornar da capo. </s>
<s>Fu la colonna (come s'è detto) ritrouata per &longs;o&longs;tenere <lb/>i pe&longs;i. </s>
<s>& prima cra di legno, & ritonda. </s>
<s>crebbe poi il di&longs;iderio della grandezza, & perpetui­<lb/>tà con la concorrenza de gli huomini, d'onde la terra fu &longs;ollecitata, & dalle ui&longs;cere di quella fu­<lb/>rono cauate le pietre, & i marmi. </s>
<s>la onde hebbero luogo le colonne di marmo, ma in modo, che <lb/>tene&longs;&longs;ero qualche &longs;imiglianza con le colonne di legno, lequali, accioche per li pe&longs;i non &longs;i fende&longs;­<lb/>&longs;ero, haueuano dalle te&longs;te alcuni cerchi di ferro, & alcune anella, che re&longs;trigneuano i capi di<emph.end type="italics"/><pb pagenum="141"/><emph type="italics"/>que tronchi. </s>
<s>doue gli Architetti ad imitatione di quelle, indu&longs;&longs;ero le fa&longs;cie di &longs;opra, & di &longs;otto <lb/>i fu&longs;ti delle colonne, & accrebbero poi quelle parti, di modo, che la parte di &longs;opra chiamarono <lb/>capitello, & quella di &longs;otto nominarono ba&longs;a. </s>
<s>Nella ba&longs;a o<02>eruarono, che la larghezza &longs;ua <lb/>fu&longs;&longs;e maggiore dell'altezza, dapoi, che &longs;porta<02>e alquanto piu del fusto della colonna, ad imita­<lb/>tione del piede humano: & co&longs;i anche l'infima parte della ba&longs;a fu&longs;&longs;e alquanto piu larga di quel­<lb/>la di &longs;opra; &longs;i come era il piede&longs;talo piu largo della ba&longs;a: & il fondamento piu largo del piede­<lb/>&longs;talo, ad imitatione della natura, come hauemo detto. </s>
<s>Ba&longs;a è nome Greco, in latino &longs;i chiama <lb/>&longs;pira. </s>
<s>perche &longs;pira &longs;ignifica giro, o uoluta: & le ba&longs;e erano ritonde, imitando i cerchi, & le anel­<lb/>la. </s>
<s>ma i Greci chiamano ba&longs;e con miglior comparatione, perche ba&longs;is, uuol dire piede: & la ba­<lb/>&longs;a è piede della colonna. </s>
<s>& però anche i nomi delle parti delle ba&longs;e, da Greci &longs;ono &longs;tati po&longs;ti <lb/>con que&longs;to ri&longs;petto del piede humano, & d'altre parti, & anche del &longs;uo calzare, perche fanno <lb/>le ba&longs;e di membri co&longs;i chiamat, come &longs;ono Plinthus, Torus, Scocia, Trochilus, Quadra, Su­<lb/>percilium, A&longs;tragali. <!-- KEEP S--></s>
<s>Plinthus è nome Greco, &longs;ignifica mattone, laterculum, ouero cata&longs;trum: <lb/>& da uulgari è detto orlo: perche zocco è quello, che è &longs;otto la ba&longs;a; che io chiamerei piu pre­<lb/>&longs;to &longs;ottoba&longs;a, che zocco: & Plinthus chiamerei zocco, o quadrello. </s>
<s>Torus è uno membrello <lb/>ritondo, che ua&longs;opra l'orlo, è detto in Greco &longs;tiuas: & &longs;i chiama Torus, perche è come una <lb/>gonfiezza carno&longs;a, ouero come uno piumazzetto. </s>
<s>noi perche è ritondo lo chiamamo ba&longs;tone: & <lb/>France&longs;i, bozel, per la i&longs;te&longs;&longs;a ragione. </s>
<s>Scocia è Greco, & &longs;ignifica ombro&longs;o, & o&longs;curo; per­<lb/>che è un membro cauo, che fa ombra; però i no&longs;tri lo chiamano cauetto. </s>
<s>altri &longs;corza, perche è <lb/>come la &longs;corza di mezo ba&longs;tone: France&longs;i chiamano il cauetto contrabozel. </s>
<s>Trochilus da Gre­<lb/>ci, orbiculus, da latini è detto, perche a&longs;&longs;imiglia una rotella, che &longs;opra il taglio habbia un cana­<lb/>le, come hanno i raggi delle taglie, &longs;opra liquali uanno le funi. </s>
<s>Quadra, & li&longs;tella, & filette <lb/>in France&longs;e, che è la gro&longs;&longs;ezza d'alcuni membrelli, & è un pianuzzo & regola quadra di &longs;opra <lb/>il cauetto, come è il &longs;opraciglio a gli A&longs;tragali. <!-- KEEP S--></s>
<s>A&longs;tragalus è co&longs;i detto dalla forma di quell'o&longs;­<lb/>&longs;o, che è nella giontura del collo del piede; latinamente è detto Talus; che uolgarmente &longs;i chia­<lb/>ma talone, ma gli Architetti pure dalla forma il chiamano tondino, et nelle ba&longs;e &longs;e ne fanno due. </s>
<s><lb/>I di&longs;egni di que&longs;ti membrelli, &longs;aranno qui &longs;otto, con le loro lettere, & nomi partitamente di<02>e­<lb/>gnati. </s>
<s>Noi po&longs;cia poneremo tutti gli ordini di&longs;tintamente prima, che &longs;i uenga al te&longs;to di Vitru. <!-- REMOVE S--><lb/>accioche, con la imitatione del Filandro facciamo chiara tutta la pre&longs;ente materia. </s>
<s>laquale ha <lb/>bi&longs;ogno di que&longs;ta ordinatione. </s>
<s>& &longs;atisfaremo anche a quelli, che non &longs;i curano di tanta Filo&longs;ofia, <lb/>& che ci fanno oppo&longs;itione di troppo alti concetti, & di&longs;cor&longs;i, con i quali io non uoglio &longs;cu&longs;ar­<lb/>mi, perche dubiterei di non gli credere, et non di dare ad intendere a me &longs;te&longs;&longs;o che fu&longs;&longs;e uero, che <lb/>o fu&longs;&longs;e piu Theorico, che pratico.<emph.end type="italics"/></s></p><figure/><p type="main">
<s><emph type="italics"/>A. Plinthus, Laterculus, uel lata&longs;trum. </s>
<s>Orlo.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s><emph type="italics"/>B. Thorus, &longs;tiuas. </s>
<s>rondbozel. </s>
<s>ba&longs;tone.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>C. Scotia, cauetto, &longs;corza. </s>
<s>cont<gap/>abozel. </s>
<s>orbiculus. </s>
<s>Trochilus.<emph.end type="italics"/></s></p><pb pagenum="142"/><p type="main">
<s><emph type="italics"/>D. <!-- KEEP S--></s>
<s>A&longs;trag alus. </s>
<s>Talus. </s>
<s>tondino.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>E. Quadra. <!-- KEEP S--></s>
<s>li&longs;tello. </s>
<s>Filette.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>F. è quella parte doue termina il fu&longs;to della colonna, detta cimbia, ouero annulo, o le&longs;tello <lb/>dell'Apofige, della quale &longs;i dir à dapoi.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>La ba&longs;a To&longs;cana ha di que&longs;te parti, l'orlo, & il ba&longs;tone. </s>
<s>la mi&longs;ura dt<gap/> que&longs;ta è, che e&longs;&longs;er deue <lb/>alta quanto è la metà del diametro della colonna. </s>
<s>Que&longs;ta altezza &longs;i diuide in due parti, l'una &longs;i <lb/>da all' orlo, ilquale in que&longs;ta ba&longs;a è fatto a &longs;e&longs;ta. </s>
<s>l'altra &longs;i dà al ba&longs;tone, con quella parte, che &longs;i <lb/>chiama apofige, & apothe&longs;i; che &longs;ono certe piegature dalle teste de i fu&longs;ti dellc colonne, che dan­<lb/>no gratia mirabile, quando &longs;ono ben fatte. </s>
<s>& pare, che fuggino, & &longs;iano ritratte. </s>
<s>però hanno <lb/>in Greco que&longs;te nominanze, apothe&longs;i, & apofige. </s>
<s>quella di &longs;opra è detta collarino, & quella di <lb/>&longs;otto, cimbia, & &longs;ono in modo, che &longs;e amendue fu&longs;&longs;ero congiunte in&longs;ieme farebbeno la forma del <lb/>cauetto. </s>
<s>Lo &longs;porto dell' orlo è per la terza parte dell' altezza della ba&longs;a. </s>
<s>il ba&longs;tone ha tanto di <lb/>&longs;porto, quanto l'orlo. </s>
<s>et &longs;i fa con la &longs;e&longs;ta; benche qui pare quadro, però &longs;i cono&longs;ce dal &longs;uo fon­<lb/>damento. </s>
<s>il &longs;emidiametro del ba&longs;tone, è termine della cimbia, perche ella non pa&longs;&longs;a piu oltre il <lb/>&longs;egno a. <!-- REMOVE S-->laqual cimbia, è l'ottaua parte alta dell' altezza di tutta la ba&longs;a. </s>
<s>que&longs;ta nelli generi Do­<lb/>rico, Ionico, et Corinthio è parte della colonna, ma nel To&longs;cano è parte della ba&longs;a, et &longs;i fa a &longs;e&longs;ta <lb/>in que&longs;to modo. </s>
<s>Cada una linea dal dritto della colonna apiombo &longs;opra l'orlo, et quella parte, <lb/>che &longs;porta oltra il dritto della colonna &longs;iapartita in tre parti eguali<emph.end type="italics"/> 1. 2. 3. <emph type="italics"/>et uiene portata <lb/>in fuori dallo e&longs;tremo della cimbia. </s>
<s>dal punto a. <!-- REMOVE S-->al punto b. <!-- REMOVE S--></s>
<s>et allargata la &longs;esta dal punto a. <!-- REMOVE S-->al <lb/>punto e. <!-- REMOVE S--></s>
<s>&longs;opra'l quale cade il dritto della colonna, &longs;i ferma l'un piede in b. <!-- REMOVE S-->et con l'altro &longs;i fa il <lb/>punto d. <!-- REMOVE S--></s>
<s>ilquale deue e&longs;&longs;ere centro di quel giro, che regge la piega della cimbia. </s>
<s>&longs;imilmente con <lb/>quella &longs;e&longs;ta co&longs;i allargata &longs;i piglia la di&longs;tanza da, e, à c. <!-- REMOVE S-->&longs;opra il fu&longs;to della colonna. </s>
<s>et po&longs;ta <lb/>la &longs;e&longs;ta in c. <!-- REMOVE S-->&longs;i taglia il punto d. <!-- REMOVE S--></s>
<s>ilquale è centro dell' Apofige, o cimbia che &longs;i dica. </s>
<s>la figura <lb/>è qui&longs;otto. </s>
<s>A. B. C. nella pianta &longs;ono &longs;egni delle parti della ba&longs;a. </s>
<s>A. ri&longs;ponde alla cimbia <lb/>detta Apofige. <!-- KEEP S--></s>
<s>B. al ba&longs;tone detto Torus. <!-- KEEP S--></s>
<s>C. all' orlo, detto Plinthus, che nella ba&longs;a To&longs;ca­<lb/>na, è fatto a &longs;esta, come s'è detto. </s>
<s>La colonna deue e&longs;&longs;er alta&longs;ette teste con la ba&longs;a, & il capi­<lb/>tello. </s>
<s>ma rastremata la quarta parte della' gro&longs;&longs;ezza da piedi, cioè uno ottauo per parte. </s>
<s>Nel <lb/>capitello To&longs;cano ci&longs;ono queste parti, Abaco Echino, Hipotrachelio, & Apofige. <!-- KEEP S--></s>
<s>Tutti i ca­<lb/>pitelli conuengono in que&longs;to membro, che &longs;i chiama Abaco. <!-- REMOVE S-->ilquale è una tauola quadra, detta <lb/>operculum da Leone, & Dado da no&longs;tri. </s>
<s>perche è di forma quadrangulare, & nel To&longs;cano &longs;i <lb/>puo chiamar zocco, & Plinthus. </s>
<s>Conuengono tutti i capitelli, che tutti &longs;i po&longs;ano, & s'incon­<lb/>trano con le lin<gap/>e cia&longs;cuno della colonna &longs;ua, nel fusto di &longs;opra, doue è fatta la contrattione, & <lb/>diminutione della colonna. </s>
<s>Le mi&longs;ure del capitello To&longs;cano &longs;onoque&longs;te. </s>
<s>Prima egli è alto quan­<lb/>to la ba&longs;a, cioè per la metà della gro&longs;&longs;ezza della colonna da piedi. </s>
<s>Que&longs;ta altezza &longs;i diuide in <lb/>tre parti, l'una &longs;i dà all' Abaco, o zocco, o dado, che uogliamo chiamare. </s>
<s>quella di mezo al­<lb/>l'Echino, cioè ouolo, del quale &longs;i dirà hora, che co&longs;a uuol dire. </s>
<s>La terza &longs;i re&longs;trigne all' hypotra­<lb/>chelio, o collarino, & apofige. </s>
<s>Echino &longs;ignifica il riccio di ca&longs;tagna, il riccio animale d'acqua, <lb/>& diterra. </s>
<s>chiama&longs;i que&longs;ta parte Echino, perche in e&longs;&longs;a &longs;i &longs;colpiuano iricci di ca&longs;tagna. </s>
<s>doue­<lb/>mo imaginarci molti ricci di castagna l'uno appre&longs;&longs;o dell' altro aperti, & che mo&longs;trino le ca&longs;ta­<lb/>gne quando &longs;ono mature. </s>
<s>que&longs;ti fanno un bel uedere, & adornano mirabilmente. </s>
<s>Que&longs;ta par­<lb/>te Vitru.
chiama Encarpi, parlando del capitello Ionico: perche erano ornati di frutti, & di <lb/>foglie, come &longs;i uede in molti capitelli antichi. </s>
<s>i moderni chiamano que&longs;ta parte Ouolo, non &longs;apen <lb/>do l'origine, & parendo loro, che &longs;iano oua &longs;colpite. </s>
<s>Encarpi &longs;i po&longs;&longs;ono chiamare, fe&longs;toni. </s>
<s><lb/>Hipotrachelio, è una &longs;ottogola, alla &longs;imiglianza del collo dell' huomo. </s>
<s>Faccia&longs;i adunque il da­<lb/>do, o Plinto, per uno &longs;e&longs;to della gro&longs;&longs;ezza della colonna, che uiene a e&longs;&longs;er un terzo della metà <lb/>del diametro. </s>
<s>L'ouolo occupa la parte di mezo. </s>
<s>Questi accioche &longs;ia tirato a &longs;e&longs;ta, bi&longs;ogna <lb/>tirar una linea dal dritto della colonna di&longs;opra, fin all' Abaco, & diuidere in due parti eguali <lb/>quello &longs;porto dell' Abaco che auanza, & di quelle riportarne una in dentro, & far punto. </s>
<s>a.<emph.end type="italics"/><pb pagenum="143"/><figure id="fig21"/><pb pagenum="144"/><emph type="italics"/>& po&longs;ta la &longs;e&longs;ta &longs;opra l'e&longs;tremo li&longs;tello, che ua&longs;otto l'ouolo (che è alto la &longs;e&longs;ta parte di quella, <lb/>che ua all' hipotrachelio) allargata al punto, a. <!-- REMOVE S-->&longs;i &longs;a un poco di giro. </s>
<s>& dall' c&longs;tremità dello aba­<lb/>co &longs;i &longs;a il mede&longs;imo, & nello incrocciamento &longs;i pone la &longs;esta, & &longs;i tira l'Ouolo leggiadramente, <lb/>la&longs;ciando all' Abaco alquanto di prominenza per garbo. </s>
<s>lo Hipotrachelio, o &longs;ottogola, &longs;i fa <lb/>al modo che &longs;i fa l'Apofige: & è alto il doppio del li&longs;tello &longs;otto l'ouolo. </s>
<s>la &longs;ua cimbia è alta la me­<lb/>tà, cioè tanto, quanto il listello &longs;otto l'ouolo. </s>
<s>il tondo &longs;porta oltra lo &longs;porto del detto listello, per­<lb/>che la&longs;ciando cadere una linea a piombo dalla estremità del listello, doue è il punto. </s>
<s>g. <!-- REMOVE S-->&longs;opra quella <lb/>&longs;arà il centro di fare il giro & tondo predetto, ma la piegatura &longs;otto la cimbia, &longs;i fa al &longs;opradetto <lb/>modo. </s>
<s>facendo il centro, come &longs;i è detto la doue è h. <!-- REMOVE S-->& l.<emph.end type="italics"/><!-- REMOVE S--></s>
</p><p type="main">
<s><emph type="italics"/>E. Abacus, Plinthuo, dado.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>F. Echinus, ouero Ouolo.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>G. Annulus, Listello.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>H. I. K. L. <!-- KEEP S--></s>
<s>Hypotrachelium con Apofigi. <!-- REMOVE S-->cioè parte contratta alla &longs;ottogola, con <lb/>la cimbia.<emph.end type="italics"/></s>
</p><p type="main">
<s><emph type="italics"/>Sopra'l capitello &longs;i pone l'architraue, con quelle ragioni, che porta la ragione dell' opera, &longs;e­<lb/>condo, che dirà Vitr.
nel quarto. </s>
<s>al qual luogo io mi riporto. </s>
<s>Ma uenire è nece&longs;&longs;ario al genere <lb/>Dorico, &longs;e noi uogliamo &longs;eguitare l'ordine propo&longs;to. </s>
<s>però diremo in&longs;ieme con Vitr.
che il Dorico <lb/>non ha ba&longs;a propria, ma alcuna fiata &longs;e le dà la ba&longs;a Attica, la quale &longs;i forma di queste parti, <lb/>Plinthus, torus inferior, quadrœ, torus, &longs;uperior, &longs;cotia. </s>
<s>Que&longs;te parti gia &longs;ono dichiarite qua­<lb/>li &longs;iano. </s>
<s>ha dunque la detta ba&longs;a, l'orlo, due ba&longs;toni, uno cauetto tra quelli, con i&longs;uoi quadret­<lb/>ti, li&longs;telli, o gradetti, che &longs;i dichino l'uno di &longs;opra il cauetto, & l'altro di &longs;otto. </s>
<s>La mi&longs;ura di <lb/>que&longs;ta ba&longs;a è, che ella è alta la metà della gro&longs;&longs;ezza della colonna, la lungezza è per una gro&longs;­<lb/>&longs;ezza & meza. </s>
<s>Si diuide poi la gro&longs;&longs;ezza della colonna in tre parti, l'una &longs;i dà all' altezza del­<lb/>l'orlo, il re&longs;tante &longs;i partirà in quattro parti, una delle quali &longs;i darà al ba&longs;tone di &longs;opra, le altre <lb/>tre &longs;i partiranno in due parti eguali, l'una &longs;i darà al ba&longs;tone di &longs;otto, l'altra al cauet­<lb/>to con li &longs;uoi gradetti. </s>
<s>que&longs;ta parte del cauetto &longs;i diuide in &longs;ei parti, una delle quali &longs;i dà al <lb/>gradetto di &longs;opra, l'altra al gradetto di &longs;otto. </s>
<s>Le quattro re&longs;tano al cauetto. </s>
<s>lo &longs;porto del basto <lb/>ne di &longs;otto, ua di pari con l'orlo, & &longs;i fa il &longs;uo giro a &longs;e&longs;ta, come s'è detto. </s>
<s>lo &longs;porto del gradetto <lb/>di &longs;otto ua di pari col &longs;emidiametro del ba&longs;tone di &longs;otto. </s>
<s>lo &longs;porto del gradetto di &longs;opra, ua di pa­<lb/>ri della cimbia. </s>
<s>La cimbia di pari del &longs;emidiametro del ba&longs;tone di &longs;opra. </s>
<s>Il quale &longs;emidiametro, <lb/>è oltra il dritto della colonna, la terza parte dello &longs;porto dell' orlo oltra il dritto della colonna. </s>
<s><lb/>Lo &longs;mu&longs;&longs;o, o giro dell' Apophige, &longs;i fa a que&longs;to modo. </s>
<s>La&longs;cia cadere dal dritto della colonna una <lb/>linea &longs;opra la cimbia, & partirai quello &longs;patio, che è rinchiu&longs;o tra la detta linea, & lo &longs;porto <lb/>della cimbia, in due parti, & una di quelle allungherai oltra lo &longs;porto della cimbia, & piglia con <lb/>la &longs;e&longs;ta tutta quella mi&longs;ura, che è contenuta &longs;otto le tre parti dallo dritto della colonna, & farai <lb/>lo incrocciamento, come s'è detto. </s>
<s>Il cauetto &longs;i tira congiudicio, benche &longs;i puo fare tirando una <lb/>linea dallo e&longs;tremo del gradetto di&longs;opra allo e&longs;tremo del gradetto di &longs;otto, & facendo il centro <lb/>&longs;opra quella linea, & tirando il giro dall' uno, & l'altro e&longs;tremo de i gradetti, & rie&longs;ce bene.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>A. Abacus, orlo.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>B. </s>
<s>Torus inferior, bastone di &longs;otto.<emph.end type="italics"/></s></p><p type="main">
<s>2. <emph type="italics"/>Quadre, li&longs;telle, o gradetti.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>C. Scotia.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>D. <!-- KEEP S--></s>
<s>Torus &longs;uperior. </s>
<s>ba&longs;tone di &longs;opra.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>E F. apophigis. </s>
<s>cimbia. </s>
<s>&longs;mu&longs;&longs;o.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>La colonna Dorica è alta &longs;ette te&longs;te, & &longs;i contragge &longs;econdo la ragione dell' altezza &longs;ua, come <lb/>&longs;i dirà poi. </s>
<s>Il capitello Dorico. <!-- KEEP S--></s>
<s>ha queste parti, Plinthus, Cymatium, Echinus cum annulis, <lb/>pars, quœ hypotrachelio contrahitur columnæ, cioè zocco, o dado, cima&longs;a, ouer ouolo, annel­<lb/>la, collarino, delle quali s'è detto la origine, & deriuatione. </s>
<s>Ma le mi&longs;ure &longs;ono queste.<emph.end type="italics"/></s></p><pb pagenum="145"/><p type="main">
<s><emph type="italics"/>La gro&longs;&longs;ezza del capitello è per la metà della gro&longs;&longs;ezza della colonna. </s>
<s>La larghèzza è per <lb/>tutta la gro&longs;&longs;ezza della colonna, & di piu uno &longs;e&longs;to; &longs;econdo Vitruuio. <!-- KEEP S--></s>
<s>Ma nell' antico &longs;i truoua, <lb/>& rie&longs;ce meglio un quinto per parte. </s>
<s>Diuiderai la gro&longs;&longs;ezza del capitello in tre parti, delle quali <lb/>una &longs;i dà al zocco con la &longs;ua Cima&longs;a, l'altra all' ouolo con le anella, l'altra &longs;i contragge al collarino <lb/>della colonna. </s>
<s>Di modo che la larghezza, o gro&longs;&longs;ezza del capitello è due quinti piu della gro&longs;&longs;ez <lb/>za della colonna. </s>
<s>l'altezza del zocco, o dado, &longs;i diuide in cinque parti, tre delle quali &longs;i danno <lb/>al zocco, & due alla &longs;ua Cima&longs;a. <!-- KEEP S--></s>
<s>& quelle due &longs;i diuideno in tre parti; due delle quali &longs;i danno al <lb/>la Cima&longs;a, & una al quadretto. </s>
<s>Finito il zocco, & la cima&longs;a, &longs;eguita l'ouolo, & le anella &longs;ue. </s>
<s><lb/>l'altezza dell' ouolo &longs;i diuide in tre parti, due delle quali, &longs;i danno all' ouolo, una alle anella <lb/>Que&longs;ti &longs;ono tre, & &longs;ono alti tanto l'uno quanto l'altro. </s>
<s>Sporta il primo oltra il dritto della colon <lb/>na di &longs;opra la metà dell' altezza &longs;ua: & il &longs;econdo &longs;porta oltra il primo, anch'egli la metà della <lb/>&longs;ua gro&longs;&longs;ezza; & il terzo, che è di &longs;opra, fa il &longs;imile oltra il &longs;econdo. </s>
<s>ma non &longs;arebbe male, che <lb/>cia&longs;cuno &longs;porta&longs;&longs;e tanto, quanto è l'altezza &longs;ua. </s>
<s>l'ouolo &longs;i fa a &longs;e&longs;ta, pigliando&longs;i con la &longs;e&longs;ta la <lb/>di&longs;tanza, che è dallo e&longs;tremo dell' ultimo anello, fin &longs;otto l'abaco, & facendo&longs;i lo incrocciamen­<lb/>to da quello e&longs;tremo, & anche &longs;otto l'abaco, & ponendo&longs;i la &longs;e&longs;ta nello taglio dello incrocciamen <lb/>to. </s>
<s>Seguita la parte, che &longs;i contragge alla &longs;ottogola, che da alcuni &longs;i chiama fregio. </s>
<s>que&longs;ta con <lb/>la &longs;ua bella piega peruiene fin' alla cimbia. </s>
<s>& a&longs;tragalo, o tondino, che &longs;i dica, & &longs;i uiene ad <lb/>incontrare col dritto della colonna di &longs;opra. </s>
<s>Il tondino è alte, quanto &longs;ono tutte tre le anella, & <lb/>la metà di uno, porge in fuori quanto l'ouolo. </s>
<s>La cimbia è alta per la metà del tondino. </s>
<s>porge a <lb/>piombo del &longs;emidiametro del tondino: il re&longs;to &longs;i fa al modo &longs;opra detto. </s>
<s>Gli antichi &longs;oleuano pone <lb/>re &longs;opra il capitello una aggiunta non molto alta, che po&longs;aua &longs;u'l zocco, al dritto della colonna <lb/>di &longs;opra; & que&longs;to faceuano, perche lo architraue &longs;i po&longs;a&longs;&longs;e &longs;u'l uiuo del capitello, & della co­<lb/>lonna, & non rompe&longs;&longs;e gli &longs;porti. </s>
<s>L'architraue detto trabs, conle parti di quello, che gli &longs;ta <lb/>&longs;opra, ha que&longs;te parti, che &longs;i dicono in latino, Epi&longs;tilium, Tenia, Guttœ, trigliphi, metopœ, re <lb/>gula, capitula, canales, femora, cimacium, corona, Timpanum, acroteria, &longs;ima. </s>
<s>Le &longs;ignifi <lb/>cationi delle quali co&longs;e &longs;ono que&longs;te. </s>
<s>Epi&longs;tilium è tutto quello, che ua &longs;opra le colonne; & capitel <lb/>li, per nome generale: ma propriamente è la traue mae&longs;tra, che architraue uolgarmente &longs;i chia <lb/>ma; Epi&longs;tilium uuol dire impo&longs;ta di colonne. </s>
<s>que&longs;ti nel genere Dorico ha una fa&longs;cia, ouero ben­<lb/>da, che &longs;i chiama tenia, &longs;otto la quale con una regoletta &longs;ono intagliate le goccie, che fanno lo <lb/>effetto delle goccie dell' acqua, che cade, & &longs;ono &longs;ei di numero, per ogni testa di traue, che è <lb/>rappre&longs;entata per li trigliphi. </s>
<s>la origine de i quali è que&longs;ta. </s>
<s>Nelle fabriche di legno &longs;oleuano &longs;por <lb/>tare le te&longs;te delle traui, le quali &longs;i chiamauano, ope, & lo &longs;pacio, che era tra una te&longs;ta, & l'al­<lb/>tra, metopa, &longs;i diceua. </s>
<s>perche poi non pareuano bene quelle te&longs;te co&longs;i nude, & &longs;coperte, gli an <lb/>tichi le copriuano con certe tauolette, & quelle con cera di diuer&longs;i colori dipigneuano. </s>
<s>Ma quel <lb/>li, che non di legno, ma di pietra magnificamente lauorauano, imitando quelle te&longs;te, fecero quel <lb/>li membri, che Triglifi chiamarono, qua&longs;i Tri&longs;olci, perche &longs;ono tagliati in tre canali, due intie­<lb/>ri, & uno mezo per lato. </s>
<s>da que&longs;ti canali pare, che cadino le goccie gia de<gap/>te. </s>
<s>Cli&longs;patij, che &longs;o <lb/>no tra i canali, &longs;i chiamano femora, noi per altri ri&longs;petti potemo nominarli piani. </s>
<s>i Triglifi han­<lb/>no i loro capitelli &longs;opra i quali è la cornice, che &longs;i chiama corona, perche cigne lo ediftcio come <lb/>corona. </s>
<s>Moderni la chiamano gocciolatoio, perche da quella gocciolano le acque cele&longs;ti, & <lb/>&longs;ono gettate lontane dallo edificio. </s>
<s>Que&longs;ta cornice ha due cima&longs;e, o gole, una di&longs;otto, & l'altra <lb/>di &longs;opra; & &longs;ono adornamenti &longs;uoi. </s>
<s>Sopra la cornice è il Fa&longs;tigio, che noi chiamamo Fronti&longs;pi­<lb/>cio, che ha un piano nel mezo, che &longs;i chiama Timpano, perche è cinto da i mede&longs;imi membri del <lb/>la corona, & da una gola &longs;chiacciata, che &longs;i chiama &longs;ima, a &longs;imiglianza del na&longs;o delle capre. </s>
<s><lb/>Oltra di que&longs;to il Fronti&longs;picio ha da i lati, & nel mezo di &longs;opra gli acroterij, che &longs;ono alcuni pi­<lb/>la&longs;trelli, &longs;opra i quali, &longs;i poneuano le &longs;tatue: & quelli da i lati moriuano nel tetto, & quello di <lb/>mezo era libero. </s>
<s>Hora ueniamo alle mi&longs;ure. </s>
<s>La grandezza dello architraue in altezza con la <lb/>benda, & goccie&longs;ue, è per la metà della gro&longs;&longs;ezza della colonna. </s>
<s>que&longs;ta metà hora chiameremo<emph.end type="italics"/><pb pagenum="146"/><emph type="italics"/>modulo. </s>
<s>La benda, fa&longs;cia, o Tenia, che &longs;i dica, è per la &longs;ettima parte del modulo. </s>
<s>le goccie <lb/>con la regoletta la &longs;e&longs;ta. </s>
<s>que&longs;ta regoletta ua &longs;opra le goccie, & di tre parti, ne occupa una, di <lb/>quella &longs;e&longs;ta parte. </s>
<s>La larghezza dello Architraue, cioè il piano di &longs;otto, che &longs;i po&longs;a &longs;opra'l capi <lb/>tello, e&longs;&longs;er deue tanto, quanto il collarino della colonna di &longs;opra; perche co&longs;i uenirà a po&longs;ar&longs;i <lb/>&longs;u'l uiuo. </s>
<s>L'altezza de i Triglifi è per un modulo & mezo, larghi nella fronte un modulo. </s>
<s>que&longs;ta <lb/>fronte ha due canali nel mezo intieri, & due mezi dalle parti, & &longs;ono tagliati in modo, che lo <lb/>angulo della &longs;quadra u'entri nel mezo, & le braccia della &longs;quadra facciano le &longs;ponde. </s>
<s>& accio­<lb/>che &longs;iano giu&longs;ti, &longs;i diuide la larghezza del Triglifo in &longs;ei parti, & &longs;ene la&longs;cia meza parte per ban <lb/>da per li mezi canali, dopo i quali, &longs;ene la&longs;cia una per parte, per li pianuzzi, che Vitr.
chia­<lb/>ma femora. </s>
<s>dopo i piani, &longs;ono i canaletti uno per banda, & &longs;ono intieri, occupando cia&longs;cuno <lb/>una parte delle &longs;ei, & nel mezo i due canali u'è il &longs;uo piano, che occupa la &longs;e&longs;ta parte. </s>
<s>Bi&longs;ogna <lb/>auuertire, che'l mezo del Triglifo &longs;ia &longs;opra'l mezo del quadro della colonna. </s>
<s>Le metope &longs;ono qua <lb/>dre perfette, cioè tanto alte, quanto larghe: & quelle metope, che &longs;ono &longs;opra gli anguli, &longs;ono <lb/>meze, ma non a punto, ma meno delle metà, perche co&longs;irie&longs;ce il compartimento; come &longs;i uederà <lb/>nel quarto libro. </s>
<s>Soprai<emph.end type="italics"/> T<emph type="italics"/>riglifi &longs;ono i capitelli loro, alti la &longs;e&longs;ta parte d'un modulo: & &longs;oprai <lb/>capitelli è la corona o gocciolatio, alta o gro&longs;&longs;a con le &longs;ue cima&longs;e mezo modulo. </s>
<s>que&longs;ta altezza <lb/>&longs;i diuide in quattro parti, l'una &longs;i dà alla cima&longs;a di &longs;opra, la una alla cima&longs;a di &longs;otto, due allo <lb/>&longs;pacio, ch'è tra una cima&longs;a, & l'altra. </s>
<s>la cima&longs;a ha il &longs;uo li&longs;tello, alto un terzo, & gli altri due <lb/>&longs;i danno alla piegatura della &longs;ua gola. </s>
<s>La corona &longs;porta per la metà, & uno &longs;e&longs;to d'un modulo, <lb/>& ha alcuni tagli come dentelli di &longs;otto, accioche cadendo le goccie, non po&longs;&longs;ano uenire longo <lb/>il muro, ouero le colonne, & gua&longs;tarle; & per que&longs;ta parte for&longs;e è detta gocciolatio, & quella par <lb/>te è detta da Vitr.
mento dalla corona, et que luoghi, &longs;cotia, ouero cauetti. </s>
<s>le gole del gocciolatoio <lb/>&longs;ono una al contrario dell' altra, come &longs;i uede nella figura. </s>
<s>Cli antichi ornauano gli &longs;patij delle me <lb/>tope <expan abbr="cō">com</expan> te&longs;te di bue ben date, con le patine de' &longs;acrificij, et altre co&longs;e, doue io laudo la <expan abbr="inuētione">inuentione</expan> del <lb/>San&longs;ouino, che nelle metope de i portichi &longs;otto la libreri a publica ha collocato le in&longs;egne della Re <lb/>publica col farui la parte dinanzi del Leone alato. </s>
<s>Similmente, &longs;otto il piano della cornice alla <lb/>parte, che guarda in giu, & &longs;porta in fuori, &longs;i &longs;colpiuano alcune goccie &longs;opra i Trigli­<lb/>fi, & alcune ro&longs;e &longs;opra le metope, le goccie ri&longs;pondeuano alle goccie, che &longs;ono &longs;otto i Triglifi, <lb/>& erano ritonde, & &longs;e ne poneuano &longs;ei per parte. </s>
<s>& diciotto per largo, & la figura lo dimo­<lb/>&longs;tra. </s>
<s>Del fronti&longs;picio diremo nel genere Ionico.<emph.end type="italics"/></s></p><p type="table">
<s>TABELLE WAR HIER<!-- KEEP S--></s></p><p type="main">
<s>Le parti del capitello <lb/>Dorico. <!-- KEEP S--></s></p><p type="main">
<s>Le parti dello Architraue Dorico, & della cornice, <lb/>& del fronti&longs;picio. </s></p><p type="table">
<s>TABELLE WAR HIER<pb pagenum="147"/><figure id="fig22"/><!-- KEEP S--></s></p><pb pagenum="148"/><figure/><pb pagenum="149"/><p type="main">
<s><emph type="italics"/>La ba&longs;a Ionica &longs;i forma a que&longs;to modo. </s>
<s>&longs;ia la larghezza &longs;ua per ogni uer&longs;o tanto, quanto è la <lb/>gro&longs;&longs;ezza della colonna, & di piu tanto quanto è un quarto, & un'ottauo della detta gro&longs;&longs;ez­<lb/>za, cioè &longs;e diuiderai il diametro della colonna in &longs;edici parti, &longs;ia tanto allungato, che ne hab­<lb/>bia uentidue: et que&longs;ta &longs;ia la larghezza della ba&longs;a. </s>
<s>l'altezza è per la metà della gro&longs;&longs;ezza della co <lb/>lonna. </s>
<s>L'orlo è la terza parte dell' altezza. </s>
<s>il re&longs;tante &longs;i diuide in &longs;ette parti, tre delle quali &longs;i danno <lb/>al ba&longs;tone di &longs;opra, due &longs;i danno al cauetto con il &longs;uo tondino, & &longs;opraciglio, & due al cauetto di <lb/>&longs;otto con il &longs;uo &longs;opraeiglio. </s>
<s>i tondini &longs;i fanno per l'ottaua parte del cauetto. </s>
<s>Ma ben parerà, che'l <lb/>cauetto di &longs;otto &longs;ia maggiore, percioche egli &longs;porterà fin allo e&longs;tremo dell'orlo. </s>
<s>Lo &longs;porto di &longs;o­<lb/>pra, oltra la gro&longs;&longs;ezza della colonna &longs;i fa a que&longs;to modo. </s>
<s>piglia tre parti della diui&longs;ione del dia­<lb/>metro, che &longs;ono la ottaua, & &longs;e&longs;ta decima parte, & quelle diuiderai per mezo, & tanto &longs;arà lo <lb/>&longs;porto, cioè d'una parte et meza, dalla de&longs;tra, & dalla &longs;ini&longs;tra; et tanto è lo &longs;porto della &longs;pira, <lb/>doue &longs;i fa la cimbia con le ragioni dette di &longs;opra. </s>
<s>l'altezza della cimbia è per un terzo dell' al­<lb/>tezza del ba&longs;tone, il centro del quale è &longs;opra la linea, che di&longs;cende dallo &longs;porto della cimbia. </s>
<s><lb/>i tondini deono e&longs;&longs;er toccati da una linea, che &longs;i parte dallo e&longs;tremo &longs;opraciglio, allo e&longs;tremo <lb/>del li&longs;tello, che è &longs;opra l'orlo, et &longs;otto il cauetto inferiore. </s>
<s>i cauetti &longs;i fanno al modo &longs;opra <lb/>detto. </s>
<s>et que&longs;ta è la de&longs;crittione della ba&longs;a Ionica. <!-- KEEP S--></s>
<s>l'altezza della colonna in diuer&longs;e maniere di <lb/>fabriche, è diuer&longs;a. </s>
<s>I &longs;uoi ra&longs;trenamenti&longs;ono regolati da Vitr.
&longs;econdo le altezze &longs;ue, però &longs;i di <lb/>ra del capitello.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>Tira una linea che &longs;ia tanto lunga quanto è gro&longs;&longs;a la colonna da piedi. </s>
<s>Que&longs;ta diuiderai in <lb/>parti dieciotto, et ne aggiungnerai una di e&longs;&longs;e, &longs;i che &longs;arà in tutto parti diecinoue. </s>
<s>hora tutta <lb/>que&longs;ta &longs;arà la lunghezza, et larghezza del capitello. </s>
<s>Ma l'altezza con le uolute &longs;arà per la <lb/>metà, cioè parti noue, et mezo: dico con le uolute, perche la gro&longs;&longs;ezza del capitello, è un ter <lb/>zo della gro&longs;&longs;ezza delle colonne, et le uolute &longs;ono ornamenti, et non parti del capitello, & uan <lb/>no piu in giu del capitello. </s>
<s>Manderai dunqne a ba&longs;&longs;o de gli e&longs;tremi di que&longs;ta linea i catheti. </s>
<s><lb/>cioè linee a piombo, tanto lunghe, quanto &longs;ono le noue parti et meza, cioè la metà della lun­<lb/>ghezza. </s>
<s>que&longs;te linee ci &longs;eruiranno poi. </s>
<s>re&longs;tino però &longs;egnate le noue parti et meza, ma &longs;cancel <lb/>lati i primi &longs;egni delle diui &longs;ioni della linea della lunghezza, et larghezza del capitello: perche <lb/>&longs;i deue diuiderla in uenti parti, et <gap/>retirar&longs;i in entro dalle e&longs;tremità della linea detta, una parte, <lb/>et un quarto delle uenti, et mandar giu de gli altri catheti di pani alli primi. </s>
<s>con le i&longs;te&longs;&longs;e diui&longs;io <lb/>ni, in que&longs;te linee ritirate &longs;arà il centro dell' occhio, &longs;i fermeranno le uolute, et &longs;i regolerà tut <lb/>to il re&longs;tante del capitello. </s>
<s>Leone chiama l'occhio della uoluta ciclo. </s>
<s>la uoluta è uno inuoglio ad <lb/>imitatione delli cincinni de i capelli muliebri, i uolgari la chiamano cartoccio. </s>
<s>Delle noue parti <lb/>di que&longs;te linee &longs;e ne danno all' orlo, o abaco una, & meza, l'una è per la gola dello abaco, <lb/>che è fatto in forma della lettera S. ma tirata con gratia, & la meza &longs;i da al &longs;uo li&longs;tello. </s>
<s>le uo <lb/>lute &longs;i formano a que&longs;to modo. </s>
<s>restando &longs;otto l'abaco parti otto, &longs;i fa un punto la doue termina­<lb/>no le quattro & meza, & &longs;opra quello po&longs;to un piede della &longs;esta, &longs;i fa un giro, il cui diametro <lb/>tiene una di quelle parti, & tre ne re&longs;tano di &longs;otto, & quattro di &longs;opra. </s>
<s>que&longs;to cerchio o giro è <lb/>l'occhio delle uolute, nel quale hanno ad e&longs;&longs;ere dodici centri, che formano le uolute a &longs;e&longs;ta, nè <lb/>po&longs;&longs;ono e&longs;&longs;er meno, perche fariano la uoluta sgarbata, & con pochi giri, & non &longs;alua la lettera <lb/>di Vitruuio. <!-- KEEP S--></s>
<s>Io non dirò de gli inuentori di questo modo per non metter molti huomini da bene al <lb/>le mani. </s>
<s>io confe&longs;&longs;o d'hauerla imparata, & ne tengo obligo alli mae&longs;tri. </s>
<s>I&longs;eppo Saluiati pitto­<lb/>re eccellente, me ne dedicò uno trattatello, & lo fece &longs;tampare. </s>
<s>&longs;e quelli, i quali me l'hanno <lb/>dimo&longs;trata prima, l'habbiano pigliata dal Saluiati, io non lo sò. </s>
<s>per formare adunque la uoluta <lb/>bi&longs;ogna mandare a ba&longs;&longs;o una linea per banda egualmente di&longs;tante alla linea, &longs;opra laquale è il <lb/>centro dell'occhio, di&longs;tante da quella, quel quarto, che nol dicemmo, che era d'una parte, & <lb/>un quarto, perche que&longs;ta linea poi che haueremo tirato il diametro dell' occhio caderà a punto &longs;o <lb/>pra il ditto diametro, & ci darà la regola di formare un quadro nell'occhio, &longs;opra le cui diagona­<lb/>li &longs;aranno i dodici centri predetti: per che quanto &longs;arà dal taglio, che fa que&longs;ta linea &longs;opra il<emph.end type="italics"/><pb pagenum="150"/><emph type="italics"/>diametro dell' occhio, al centro dell' occhio, tanto &longs;i riporterà, & di &longs;otto, et di &longs;opra la linea del det <lb/>to centro, dal centro i&longs;te&longs;&longs;o, & tanto anche dall' altra parte dell' occhio &longs;opra il diametro, & que <lb/>&longs;ti quattro punti &longs;aranno i mezi de i lati d'uno quadrato dentro l'occhio, da gli anguli del quale &longs;i <lb/>tireranno le diagonali, & &longs;opra quelle dal centro, a gli angoli &longs;i far anno tre parti eguali per o­<lb/>gni uer&longs;o, lequali &longs;aranno i dodici centri predetti, doue po&longs;ta la &longs;e&longs;ta &longs;opra l'angulo interiore <lb/>di &longs;opra nel quadrato, & allargata la &longs;e&longs;ta fin &longs;otto l'abaco, &longs;i tirerà un giro fin al diame­<lb/>tro nella parte e&longs;teriore. </s>
<s>indi &longs;i uenirà all' altro angulo di &longs;opra, che è di fuori nel quadrato: & <lb/>po&longs;ta iui la &longs;e&longs;ta, & di&longs;te&longs;a al termine del primo giro, &longs;i continuerà il giro fin al catheto di &longs;ot­<lb/>to, & iui &longs;i farà punto. </s>
<s>il &longs;imile &longs;i farà ponendo la &longs;e&longs;ta &longs;opra l'angulo e&longs;teriore di &longs;otto: & con <lb/>tinuando il &longs;econdo giro, &longs;i farà il terzo fin al diametro, dalquale poi &longs;i uenirà fin &longs;otto l'abaco <lb/>con un giro, il centro del quale &longs;arà il quarto angulo di dentro, & a que&longs;to modo &longs;i finirà il pri­<lb/>mo giro della uoluta col &longs;cemare per ogni quarta la metà dell' occhio, come uuole Vitr.
&longs;imilmente <lb/>uolendo poi fare il &longs;econdo giro della uoluta, &longs;i ponerà per ordine la &longs;e&longs;ta &longs;opra gli altri punti delle <lb/>diagonali, cominciando da quello, che è uicino al primo, doue s'incominciò il primo giro: & &longs;e <lb/>guitando &longs;i farà di quadrante in quadrante tutto il &longs;econdo giro, il quale &longs;i come il primo per ogni <lb/>quadrante &longs;cemaua la metà dell' occhio: co&longs;i que&longs;to &longs;cemerà un terzo, & l'ultimo &longs;ceme­<lb/>rà un &longs;e&longs;to del diametro dell' occhio: & co&longs;i in tre giri la uoluta hauerà &longs;cemato quattro dia­<lb/>metri dell' occhio, & riu&longs;cirà bella, & è nece&longs;&longs;ario, che co&longs;i &longs;ia, perche &longs;e la uoluta deue dolce­<lb/>mente andar &longs;opra la cima&longs;a, che è uero membro del capitello, bi&longs;ogna, che le &longs;ue pieghe habbia­<lb/>no que&longs;ta proportione, che detto hauemo: & que&longs;to non &longs;i puo fare con quattro punti, o centri &longs;o <lb/>li, come uuole colui, che ha fatto i piede&longs;tali a botte, per uno e&longs;empio, che gli è stato detto di ri­<lb/>trouar&longs;i in luogo non celebre, & in opera non eccellente. </s>
<s>Tirata la uoluta al modo &longs;opra detto, <lb/>con la i&longs;te&longs;&longs;a ragione di dodici c entri, che &longs;iano gli i&longs;te&longs;&longs;i: &longs;i tirerà la fa&longs;cia, o larghezza di e&longs;&longs;a uo­<lb/>luta &longs;tringendo la &longs;e&longs;ta per la metà dell' occhio dal primo giro: & a que&longs;to modo è fornita <lb/>la uoluta, laquale è piu pre&longs;to ornamento, che membro del capitello. </s>
<s>Ha la uoluta il &longs;uo <lb/>canale, che è una cauatura di dentro delle fa&longs;cie della uoluta. </s>
<s>que&longs;to canale occupa <lb/>uno diametro, & mezo dell' occhio, & è tanto profondo, quanto la duodecima parte <lb/>dell' altezza della uoluta, cioè una duodecima parte delle otto, che re&longs;tauano &longs;otto l'orlo, o abaco. </s>
<s><lb/>Tagliato adunque il canale resta la cima&longs;a, che uolgari chiamano ouolo, Greci cimatio, che pa­<lb/>re un'onda picciola, & latini Echinus, per le foglie, & frutti di castagne, che &longs;i &longs;colpiuano &longs;o­<lb/>pra. </s>
<s>que&longs;ta è alta due parti, & un quarto delle otto gia dette, & lo &longs;uo &longs;porto oltra il dritto <lb/>dell' abaco, & della grandezza del diametro dell' occhio, & per que&longs;ta ragione noi facemmo ca­<lb/>dere le linee a piombo da gli e&longs;tremi dell' abaco. </s>
<s>La uolta della cima&longs;a &longs;i fa a &longs;e&longs;ta. </s>
<s>Tirato lo <lb/>&longs;porto &longs;uo &longs;otto il canale quanto è il diametro dell' occhio fuori dello &longs;porto dell' abaco, &longs;i piglia con <lb/>la &longs;e&longs;ta la &longs;ua altezza. </s>
<s>la quale (come ho detto) è due parti, & un quarto delle otto, del cathe <lb/>to &longs;otto l'abaco, & la &longs;ua linea di &longs;otto termina nel catheto, doue comincia l'A&longs;tragalo, o ton­<lb/>dino. </s>
<s>& po&longs;to un piede nella detta catheto, &longs;i tira una parte di circonferenza, poi &longs;i ferma la &longs;e­<lb/>sta nell' e&longs;tremo della cima&longs;a di &longs;opra, & &longs;i fa una incrocciatura &longs;opra la tirata circonferenza, <lb/>& nel taglio di quelle &longs;i ferma la &longs;e&longs;ta, & &longs;i tira la uolta della cima&longs;a, &longs;opra la quale s'inuolge <lb/>la uoluta dolcemente. </s>
<s>La cima&longs;a s'intaglia con quelle ouola, o ricci a que&longs;to modo, che tra una <lb/>uoluta, & l'altra ne &longs;iano tre intieri, de quali uno ne &longs;ia nel mezo, & uno dalla de&longs;tra, & l'al­<lb/>tro dalla &longs;ini&longs;tra, & e&longs;chino alcune foglie dalla uoluta, che gli abbraccino, che uolgari chiama <lb/>no baccelli, &longs;otto la Cima&longs;a è lo A&longs;tragalo, il quale occupatre quarti d'una delle otto. </s>
<s>il centro <lb/>di e&longs;&longs;o è nel catbeto. </s>
<s>co&longs;i finito il tondino, &longs;i fa il li&longs;tello dell' apophige, o collarino, che &longs;i dica, il <lb/>quale non i&longs;porta oltra il catheto, & è alto per la metà dell' altezza del tondino, & &longs;iriduce con <lb/>la &longs;ua piega al rastremamento della colonna di &longs;opra, col modo &longs;opra detto. </s>
<s>Et perche imagina­<lb/>mo, che la uoluta &longs;ia un piumazzetto riuolto &longs;opra un bastone, & legato nel mezo, però Vitr.
ci <lb/>da la gro&longs;&longs;ezza di quel ba&longs;tone, che egli chiama a&longs;&longs;e, & dice, che egli, è gro&longs;&longs;o tanto quanto il<emph.end type="italics"/><pb pagenum="151"/><emph type="italics"/>diametro dell' occhio, & che le cinte, che egli chiama baltei, che &longs;ono nel mezo da i lati tra le <lb/>uolute, non &longs;portino piu della cima&longs;a, di modo, che po&longs;to il piede della &longs;e&longs;ta nel mezo del quadro <lb/>del capitello, & allargato allo &longs;porto della cima&longs;a, raggirando&longs;i tocchi l'e&longs;tremità delle cinte, co <lb/>me &longs;i uede nella pianta tirando&longs;i un giro &longs;opra'l centro &longs;uo fin alla circonferenza dell'ouolo. </s>
<s>Cli <lb/>architraui &longs;i fanno &longs;econdo l'altezza delle colonne, accioche per lo accre&longs;cimento, che &longs;i da a <lb/>quelliper l'altezza, ne &longs;egua piu certa all'occhio la mi&longs;ura loro. </s>
<s>Quanto adunque debbiano cre­<lb/>&longs;cere lo ponerà Vur. <!-- REMOVE S-->qui &longs;otto. </s>
<s>Ma poniam ca&longs;o, che la colonna &longs;ia alta quindici piedi, dico, <lb/>che lo architraue &longs;arà alto per la metà del diametro della colonna da piedi. </s>
<s>la larghezza di &longs;ot­<lb/>to, che &longs;i po&longs;a &longs;opra il capitello, &longs;arà tanto quanto la gro&longs;&longs;ezza della colonna di &longs;opra, accioche <lb/>&longs;tia &longs;ul uiuo: & que&longs;ta è regola generale. </s>
<s>ma la &longs;ommità dello architraue, cioè il piano di&longs;opra <lb/>&longs;ia tanto quanto è la gro&longs;&longs;ezza da piedi della colonna. </s>
<s>La cima&longs;a dello architraue &longs;i fa per la &longs;et <lb/>tima parte dell' altezza dell' architraue, & deue &longs;portare tanto, quanto è alta, & lo &longs;porto &longs;i <lb/>mi&longs;ura da quella linea, che uiene dal ra&longs;tremamento della colonna. </s>
<s>il re&longs;tante &longs;otto la cima&longs;a, &longs;i <lb/>diuide in dodici parti, & tre &longs;e ne danno alla fa&longs;cia di &longs;otto, quattro alla di mezo, & cinque al­<lb/>la di &longs;opra. </s>
<s>Oltra l'architraue ui ua il fregio, che Vitr.
chiama zophoro, perche in quello s'in­<lb/>tagliauano alcune figurine d'animali. </s>
<s>que&longs;ti è un quarto meno mi&longs;urando l'altezza dello archi­<lb/>traue con la &longs;ua cima&longs;a: & que&longs;ta altezza &longs;i &longs;erua, quando nel fregio non &longs;ono intagli, perche <lb/>quando ui &longs;ono, egli &longs;i fa un quarto piu alto dell' Architraue, accioche meglio &longs;i goda lo intaglio. </s>
<s><lb/>L'altezza del fregio &longs;i diuide in &longs;ette parti, & d'una di quelle &longs;i fa la cima&longs;a, che ui ua &longs;opra, & <lb/>&longs;opra la cima&longs;a ua il dentello, detto latinamente denticulus, dalla &longs;imiglianza, che ha con il den <lb/>te. </s>
<s>l'origine del dentello è pre&longs;a dalle opere di legno, &longs;i come il triglifo nell' ordine Dorico era pre <lb/>&longs;o dalle teste delle traui, che &longs;portauano nella fronte, co&longs;i il dentello è pre&longs;o da gli a&longs;&longs;eri, (come <lb/>&longs;i dirà nel quarto libro.) Bi&longs;ogna adunque &longs;apere, che il fregio è il luogo, che tiene le te&longs;te del­<lb/>la trauatura. </s>
<s>Il dentello, è alto quanto la fa&longs;cia di mezo dello architraue. </s>
<s>lo &longs;porto del dentel­<lb/>lo è tanto, quanto l'altezza&longs;ua. </s>
<s>la larghezza detta, metochi, da Grect, & inter&longs;ectio, da lati <lb/>ni, è per la metà dell' altezza del dentello. </s>
<s>il cauo, cioè lo &longs;pacio da un dentello all' altro, che <lb/>anche meto pa &longs;i chiama, & cauo colombario (come dice Vitr.
nel quarto) è per due terzi del­<lb/>la larghezza del dentello. </s>
<s>La cima&longs;a del dentello è per la festa parte dell' altezza &longs;ua. </s>
<s>La corni <lb/>ce con la cima&longs;a, è alta quanto la fa&longs;cia di mezo. </s>
<s>lo &longs;porto della cornice col &longs;uo dentello o taglio <lb/>nel mento, dene e&longs;&longs;er tanto, quanto è alto lo &longs;patio dal fregio alla &longs;ommità della gola, o cima&longs;a <lb/>della cornice: & que&longs;to &longs;porto &longs;i piglia della linea, che uiene dalla e&longs;tremità della cima&longs;a del fre <lb/>gio. </s>
<s>que&longs;to dentello della cornice &longs;i fa, accioche l'acque, che uengono giu, non gua&longs;tino le fabri­<lb/>che. </s>
<s>In fino a que&longs;to luogo della cornice, o gocciolatoio, le fabriche uanno egualmente distanti <lb/>dal piano. </s>
<s>Hora &longs;i leua il fronti&longs;picio, che Vitr.
chiama fastigio. </s>
<s>il quale ha le &longs;ue cornici corri­<lb/>&longs;pondenti alli membrelli della cornice, & di piu ha le &longs;ue gole, che &longs;i chiamano, &longs;ime, & da Greci, <lb/>Epitichide, dalla aggiunta impo&longs;ta &longs;opra le cornici del fronti&longs;picio. </s>
<s>que&longs;te &longs;ono piu alte un'otta <lb/>ua parte dell' altezza delle cornici. </s>
<s>&longs;otto delle quali è il timpano alto la nona parte della lunghez <lb/>za della cornice, mi&longs;urando dalla e&longs;tremità delle gole della cornice. </s>
<s>il piano del timpano deue ri <lb/>po&longs;are &longs;ul uiuo, cioè chi la&longs;cia&longs;&longs;e andar giu una linea a piombo, ella batterebbe prima &longs;u l'archi­<lb/>traue, poi &longs;ul collarino delle colonne, & &longs;ul uiuo. </s>
<s>i pila&longs;trelli detti acroterij, deono e&longs;&longs;er alti tan <lb/>to, che &longs;i po&longs;&longs;ino uedere le figure, che ui uanno &longs;opra. </s>
<s>gli angulari deono morir nel tetto & co­<lb/>minciare al dritto delle colonne, & entrar tanto in entro, quanto porta la ragione della ueduta <lb/>perche in alcune fabriche uanno piu adentro perche &longs;ono ba&longs;&longs;e. </s>
<s>& deono e&longs;&longs;er tanto alti quanto <lb/>la &longs;ommità del timpano, ma quello dimezo e&longs;&longs;er deue un'ottaua di piu de gli angulari.<emph.end type="italics"/></s></p><pb pagenum="152"/><p type="main">
<s>Per la Ba&longs;a. <!-- REMOVE S--><emph type="italics"/>A. Pliathus. </s></p><p type="main">
<s>Orlo.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s><emph type="italics"/>B. Scotiœ. </s>
<s>Cauetti.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s>1. 1. <emph type="italics"/>A&longs;tragali, tondini.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>C. Torus. <!-- REMOVE S-->Ba&longs;tone.<emph.end type="italics"/><!-- REMOVE S--></s>
</p><p type="main">
<s><emph type="italics"/>f. <!-- KEEP S--></s>
<s>Apophygis. <!-- REMOVE S-->Cimbie.<emph.end type="italics"/><!-- KEEP S--></s>
</p><p type="main">
<s><emph type="italics"/>a b c o. <!-- KEEP S--></s>
<s>Termini da fare la cimbia.<emph.end type="italics"/></s></p><p type="main">
<s>Per lo Capitello. <!-- KEEP S--></s></p><p type="main">
<s><emph type="italics"/>o. <!-- KEEP S--></s>
<s>La pianta del Capitello.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s><emph type="italics"/>e. <!-- KEEP S--></s>
<s>Contractio columœ. </s>
<s>Il ra&longs;tremamento della colonna, & la cimbia di &longs;opra.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>A h. <!-- KEEP S--></s>
<s>Abacus, il dado.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>n. <!-- KEEP S--></s>
<s>La larghezza della uoluta.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>m. <!-- KEEP S--></s>
<s>Canalis. <!-- KEEP S--></s>
<s>Il canale.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>l. <!-- REMOVE S-->Cymatium. <!-- KEEP S--></s>
<s>La cima&longs;a.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>p. <!-- KEEP S--></s>
<s>Oculus uolutœ. </s>
<s>L'occhio della uoluta con i &longs;uoi centri.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>g d e. <!-- KEEP S--></s>
<s>La cimbia di &longs;opra.<emph.end type="italics"/></s></p><p type="main">
<s>Per l'Architraue, fregio, & cornice. </s></p><p type="main">
<s><emph type="italics"/>A. <!-- KEEP S--></s>
<s>Trabs Epi&longs;tylium. </s>
<s>Architraue.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s>1. <emph type="italics"/>prima fa&longs;cia.<emph.end type="italics"/></s></p><p type="main">
<s>2. <emph type="italics"/>Seconda fa&longs;cia.<emph.end type="italics"/></s></p><p type="main">
<s>3. <emph type="italics"/>Terzafa&longs;cia.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>B. </s>
<s>Cymatium Epi&longs;tylij. </s>
<s>La cima&longs;a, o gola dell' Architraue.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s><emph type="italics"/>C. Zophorus. </s>
<s>Il fregio.<emph.end type="italics"/></s></p><p type="main">
<s><emph type="italics"/>D. <!-- KEEP S--></s>
<s>Cymatium Zophori. </s>
<s>La cima&longs;a, o gola del Fregio.<emph.end type="italics"/><!-- KEEP S--></s></p><p type="main">
<s