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version 1.4, 2004/01/06 13:19:32

version 1.5, 2004/06/13 21:27:43

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<!DOCTYPE archimedes SYSTEM "../dtd/archimedes.dtd" >

<info>

<author>Vitruvius Pollio</author>

<title>I dieci libri dell'architettura</title>

<place>Venice</place>

<translator>Daniele Barbaro</translator>

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</info> <text> <front> </front> <body> <chap><pb xlink:href="045/01/001.jpg"/><pb xlink:href="045/01/002.jpg"/><figure id="id.045.01.002.1.jpg" xlink:href="045/01/002/1.jpg"/><pb xlink:href="045/01/003.jpg" id="p.0003"/>

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<chap>

<s id="s.000001">ALLO ILLVSTRISSIMO,ET REVERENDISSIMO <lb/>CARDINAL DI FERRAR A <lb/>D. HIPPOLITO DA ESTE,<lb/>DANIEL BARBARO ELETTO <lb/>D'AQVILEGGIA S.</s>

<s id="s.000002"><emph type="italics"/>TVTTE le belle opere, Illustrißimo, & Re<lb/>uerendißimo Signore, piu che &longs;ono guarda<lb/>te, et contemplate da gli huomini, piu &longs;cuo<lb/>preno la belleZza loro, 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 riguardanti. </s>

<s id="s.000003">ilche è &longs;egno manife<lb/>&longs;to, che in quelle &longs;empre &longs;i &longs;cuopra maggior bellezza. </s>

<s id="s.000004">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 id="s.000005">imperoche le fal <lb/>&longs;e al primo guardo fanno di&longs;e mo&longs;tra allegrißima, & &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 id="s.000006">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 id="s.000007">la doue i po&longs;&longs;editori di quelle, &longs;coprendoci<emph.end type="italics"/><pb xlink:href="045/01/004.jpg"/><emph type="italics"/>ogni giorno piu uagheZza, & piu uerità, piu le appreZza<lb/>no, &' piu le ammirano. </s>

<s id="s.000008">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 id="s.000009"><lb/>Come è auuenuto a me nella fatica fatta &longs;opra Uitru<lb/>uio gia dedicata a Uo&longs;tra Signoria Illu&longs;trißima, & Reueren<lb/>dißima: 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 id="s.000010">& 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 id="s.000011">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;oauißimi frutti, in u na notte ritrouati, anzi <lb/>delle ualli u&longs;citi i monti, & ne i monti di durißime rocche <lb/>fatto i letti a i fiumi, & aperta la pietra per dar luogo alle ac<lb/>que, & allagato il&longs;ecco terreno, & irrigato di fonti, et diri-<pb xlink:href="045/01/005.jpg"/>ui correnti, et di pe&longs;chiere rari&longs;sime; dellequali co&longs;e hanno <lb/>fatto honorato giudicio huomini piu intelligenti di me. </s>

<s id="s.000012">però <lb/>non anderò piu oltre, la&longs;ciando in ognuno un de&longs;iderio arden<lb/>ti&longs;simo di uederle. </s>

<s id="s.000013">et contentandomi della &longs;ua buona gratia, <lb/>allaquale humilmente mi riccomando. </s>

<s id="s.000014">Di Uinetia del <lb/>M D LXVII.<emph.end type="italics"/></s>

<s id="s.000015">FRANCESCO DE FRANCESCHI SANESE</s>

<s id="s.000016">A I LETTORI.</s>

<s id="s.000017">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 id="s.000018">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 id="s.000019">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. </s>

<s id="s.000020">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 id="s.000021">& 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 xlink:href="045/01/007.jpg"/>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 id="s.000022">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. </s>

<s id="s.000023"><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. </s>

<s id="s.000024">& 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. </s>

<s id="s.000025"><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 id="s.000026">Vitruuio dice, che lo Architetto deue e&longs;&longs;er ornato del<lb/>la cognitione di molte arti, & di molte &longs;cienze. </s>

<s id="s.000027">ben ho io tali orna<lb/>menti? </s>

<s id="s.000028">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 id="s.000030">le cono&longs;co io o tutte, o molte, o niuna di <lb/>quelle? </s>

<s id="s.000031">Vitruuio dice, che lo Architetto, è Architetto, per l'Ordi<lb/>ne, per la Di&longs;po&longs;itione, per la Simmetria, per lo Decoro, per la Di-<pb xlink:href="045/01/008.jpg"/>&longs;tributione, per la gratio &longs;a maniera. </s>

<s id="s.000033">ho io l'habito di que&longs;te <lb/>co&longs;e nella mente? </s>

<s id="s.000034">& 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, & altri be<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 id="s.000035">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>

<s id="s.000036">IL PRIMO LIBRO <lb/>DELL' ARCHITETTVRA<lb/>DI M. VITRVVIO.</s>

<s id="s.000037">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. </s>

<s id="s.000038">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 id="s.000039">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 id="s.000040">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: ma il tutto è di &longs;ua gratia bi&longs;o<lb/>gneuole. </s>

<s id="s.000041">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>

<s id="s.000042">VITA DI M. VITRVVIO.</s>

<s id="s.000043"><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 id="s.000044">Fu di &longs;tatura me <lb/>diocre, & de beni di fortuna non molto accommodato. </s>

<s id="s.000045">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 altra memoria 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 id="s.000046">& prima nella dedicatione dell' opera <lb/>dice.<emph.end type="italics"/></s>

<s id="s.000047"> Ma hauendo il concilio de i Dei, quello 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" xlink:href="045/01/010.jpg"/>re&longs;tando fermo, in te ogni fauore tenne raccolto. </s>

<s id="s.000048">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 id="s.000049">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 id="s.000050">Et però e&longs;&longs;endo io per <lb/>quel beneficio 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>

<s id="s.000051">Et però io grandi&longs;sime, & infinite gratie rendo a i miei progenitori, i quali approuan<lb/>do la legge de gli A thenie&longs;i, mi hanno nelle Arti ammae&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>

<s id="s.000052">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>

<s id="s.000053"><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 certißimi della bontà dell' animo, & <lb/>dell' innocenza della uita. </s>

<s id="s.000054">Scri&longs;&longs;e dieci libri 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 id="s.000055">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 id="s.000056"><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 id="s.000057">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 id="s.000058"><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 id="s.000059">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 id="s.000060">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 id="s.000061">Quelle ci in&longs;egnarebbeno molto, & non ci la&longs;ciarebbeno il ca<lb/>rico di piu pre&longs;to indouinare, che approuare la uerità delle co&longs;e. </s>

<s id="s.000062">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 id="s.000063">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 id="s.000064">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 cre&longs;ce: a che peruenga. </s>

<s id="s.000065">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"/></s>

<s id="s.000066"><emph type="italics"/>PROEMIO.<emph.end type="italics"/></s>

<s id="s.000067"><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 id="s.000068">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 id="s.000069">Sot<lb/>to il predetto nome, ogni &longs;cientia, ogni arte, ogni uirtu, & ogni uitio &longs;i comprende. </s>

<s id="s.000070">Da que<lb/>&longs;ta cognitione lo intelletto trahe due co&longs;e. </s>

<s id="s.000071">L'una è, che egli cono&longs;ce la importanza di apprende-<emph.end type="italics"/><pb pagenum="3" xlink:href="045/01/011.jpg"/><emph type="italics"/>re piu uno habito, che un' altro. </s>

<s id="s.000072">L'altra è, che non co&longs;i agecuolmente 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 id="s.000073">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 id="s.000074">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 id="s.000075">Gli habiti dello intelletto &longs;ono ditre manie<lb/>re. </s>

<s id="s.000076">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 id="s.000077">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 id="s.000078">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 id="s.000079">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 id="s.000080">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 id="s.000081">Il Vero nece&longs;&longs;ario è quello, che per uera, & certa ragione &longs;i con <lb/>chiude. </s>

<s id="s.000082">& 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 id="s.000083">& fi<lb/>nalmente uero nece&longs;&longs;ario è quello, che della proua, & della co&longs;a prouata è compo&longs;to. </s>

<s id="s.000084">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 id="s.000085">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 id="s.000086"><lb/>La &longs;econda è detta Intelletto, che è habito de i principij, & delle proue, & ritiene il nome della <lb/>potenza dell' anima, nella quale egli &longs;i truoua: la onde è nominato, Intelletto. </s>

<s id="s.000087">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 id="s.000088">Però Dan<lb/>te chiama il cono&longs;cimento di que&longs;to uero, prima notitia. </s>

<s id="s.000089">& quel uero, primo uero. </s>

<s id="s.000090">i Filo&longs;ofi, <lb/>primi concetti, o Dignità, o Ma&longs;&longs;ime &longs;ogliono chiamare. </s>

<s id="s.000091">Da que&longs;to habito detto intelletto, han<lb/>no hauuto uigore, & forza &longs;pecialmente le Mathematice. </s>

<s id="s.000092">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 id="s.000093">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 id="s.000094">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 id="s.000095">La terza maniera è detta Sapienza, che è pronta & i&longs;pedita cognitione delle <lb/>proue alle conchiu&longs;ioni applicate. </s>

<s id="s.000096">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 id="s.000097">Hora uediamo &longs;e tra gli habiti, che &longs;ono d'intorno <lb/>al uero Contingente &longs;i troua l'Arte. </s>

<s id="s.000098">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 id="s.000099">& altre di quelle &longs;ono pertinenti alla unione, & conuer&longs;atione, al<lb/>tre conuengono all utilità, & commodo uniuer&longs;ale. </s>

<s id="s.000100">La regola di quelle è nominata Pruden<lb/>za, che è habito moderatore delle attioni humane, & ciuili. </s>

<s id="s.000101">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 id="s.000102">& &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. </s>

<s id="s.000103">Dalle gia<emph.end type="italics"/><pb pagenum="4" xlink:href="045/01/012.jpg"/><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 id="s.000104">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 id="s.000105">Ma la&longs;ciamo a dietro 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 id="s.000106">Na&longs;ce ogni arte <lb/>da i&longs;perienza. </s>

<s id="s.000107">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. </s>

<s id="s.000108">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 id="s.000109">Eccoti l'e&longs;&longs;empio. </s>

<s id="s.000110">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 id="s.000111">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 conferito 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 id="s.000112">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 id="s.000113">La i&longs;perienza adunque <lb/>è &longs;imile all' orma, che ci dimo&longs;tra le fiere. </s>

<s id="s.000114">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 id="s.000115"><lb/>ma che differenza &longs;ia tra la i&longs;perienza, & l'Arte, &longs;i uede in que&longs;to modo. </s>

<s id="s.000116">Certo è, che quan <lb/>to all' operare non è dall' Arte la i&longs;perienza differente: percioche tanto in que&longs;ta, quanto in quel<lb/>la uenendo&longs;i all' effetto, &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 difel ti della materia, laquale molte fiate non ri&longs;ponde alla intentione <lb/>dell' Arte. </s>

<s id="s.000117">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 id="s.000118">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 id="s.000119">La onde l'Arte è alla &longs;apienza, che è habito nobili&longs;&longs;imo, piu uici<lb/>na. </s>

<s id="s.000120">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 id="s.000121">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 id="s.000122">& &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 id="s.000123">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 id="s.000124">Dal che &longs;i com<lb/>prende e&longs;&longs;er due maniere di i&longs;perienza. </s>

<s id="s.000125">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 id="s.000126">Io faccio i&longs;perienza, & uoglio prouare, &longs;emi rie&longs;ce al<lb/>cuna co&longs;a: & que&longs;to ècome fonte a fiume quanto all' Arte. </s>

<s id="s.000127">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 id="s.000128"><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" xlink:href="045/01/013.jpg"/><emph type="italics"/>s'acqui&longs;tano per inuentione, che a quelle, che s'imparano per ammae&longs;tramento. </s>

<s id="s.000129">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 di farne 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 id="s.000130">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 id="s.000131">& 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 id="s.000132">Et qui &longs;ia detto a ba&longs;tanza d'intorno alla origine, diffinitione, accre&longs;cimen<lb/>to, et perfettione dell' Arte. </s>

<s id="s.000133">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 id="s.000134">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 id="s.000135">La&longs;cierò a dietro quella &longs;i<lb/>gnificatione uniuer&longs;ale di que&longs;to uocabolo, che abbraccia l'Arti liberali, delle quali tre &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. </s>

<s id="s.000136">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. </s>

<s id="s.000137">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 id="s.000138">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 id="s.000139">prima come di&longs;correno, & con uie ragioneuoli trouando uanno le ragioni, & le <lb/>regole dell' operare. </s>

<s id="s.000140">dapoi come con prontezza di mano s'affaticano di ponere in alcuna materia <lb/>e&longs;teriore, quello che era ripo&longs;to nella mente. </s>

<s id="s.000141">Donde na&longs;ce che alcune Arti hanno piu della &longs;cien<lb/>za, & altre meno. </s>

<s id="s.000142">& a cono&longs;cere l'Arti piu degne, que&longs;ta è la uia. </s>

<s id="s.000143">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 abbandonata i&longs;perienza. </s>

<s id="s.000144">Et quiui apparirà la di<lb/>gnità dell' Architettura, laquale approua è giudica le opere, che dalle altre Arti &longs;i fanno. </s>

<s id="s.000145">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. </s>

<s id="s.000146">& 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 id="s.000147">Dedicando adunque ad Ottauio Au<lb/>&longs;to dice in que&longs;to modo.<emph.end type="italics"/></s>

<s id="s.000148">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/>&longs;ieme col &longs;enato fuori d'ogni timore, da i tuoi alti&longs;simi 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" xlink:href="045/01/014.jpg"/>mi, incorrefsi nell' offe&longs;a dell' animo tuo. </s>

<s id="s.000149">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 id="s.000150">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 id="s.000151">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 id="s.000152">Adunque con M. Aurelio, Pub. Minidio, & Gn. Cornelio fui &longs;opra <lb/>l'apparecchio delle Bali&longs;te, & de gli Scorpioni. </s>

<s id="s.000153">& 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 id="s.000154">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>

<s id="s.000155"><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 id="s.000156">& 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 id="s.000157"><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 id="s.000158">Fu adottiuo figliuolo di Giulio Ce&longs;are: nacque di Accia, & di Ottauio. </s>

<s id="s.000159">Al <lb/>co&longs;tui tempo nacque no&longs;tro Signore. </s>

<s id="s.000160">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 id="s.000161">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 id="s.000162">Et tanto &longs;ia det<lb/>to, d'intorno la dedicatione dell' opera. </s>

<s id="s.000163">Egli &longs;i legge in alcuni te&longs;ti non Minidio, ma Numidio, & <lb/>in alcuni Numidico. </s>

<s id="s.000164">Io non truouo altra fede, che piu ad uno, che altro modo &longs;i debbia legge<lb/>re. </s>

<s id="s.000165">Benche in alcune Medaglie &longs;i legga e&longs;&longs;ere &longs;tato &longs;opra la Cecca un L. Mu&longs;idio. </s>

<s id="s.000166">ma que&longs;to po<lb/>co c'importa. </s>

<s id="s.000167">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 id="s.000168">nè &longs;i deue (per quanto &longs;timo io) confondere l'ordine delle <lb/>co&longs;e. </s>

<s id="s.000169">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 id="s.000170"> 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>

<s id="s.000171"><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 id="s.000172">Architettura è nome, che dal <lb/>greco derriua; & è di due uoci compo&longs;to. </s>

<s id="s.000173">La prima &longs;ignifica principale, & capo; La &longs;econda <lb/>fabbro, ò artefice. </s>

<s id="s.000174">Et chi uole&longs;&longs;e bene e&longs;primere uolgarmente la forza del detto nome, direbbe <lb/>capo mae&longs;tra. </s>

<s id="s.000175">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" xlink:href="045/01/015.jpg"/><emph type="italics"/>te à quelli, che gli fanno. </s>

<s id="s.000176">La doue potremo dire l'Architetto non e&longs;&longs;er Fabro, non mae&longs;tro di <lb/>legname, non muratore, 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 id="s.000177">Sopra&longs;tando adunque di<lb/>mo&longs;tra, di&longs;egna, di&longs;tribui&longs;ce, ordina, & comanda. </s>

<s id="s.000178">& 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 id="s.000179"><lb/>perche &longs;ola intende le cagioni; &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 id="s.000180">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 id="s.000181">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 id="s.000182">& 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 id="s.000183">& però foggiugne Vitr.<emph.end type="italics"/> {<emph type="italics"/>Di molte di&longs;cipline, & <lb/>di diuer&longs;i ammae&longs;tramenti 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 id="s.000184">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 id="s.000185">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 id="s.000186">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. </s>

<s id="s.000187">percioche il giudicare le opere compiute dal <lb/>le Arti, è proprio di lei, & non d'altre. </s>

<s id="s.000188">L'oratore s'adorna di molte Arti, & di&longs;cipline, & <lb/>quelle grandi&longs;&longs;ime, &longs;ono, & belli&longs;&longs;ime. </s>

<s id="s.000189">Il &longs;imigliante fa il Medico; ma l'uno, & l'altro hanno <lb/>diuer&longs;i intendimenti. </s>

<s id="s.000190">l'Oratore s'adorna per potere per&longs;uadere, cioè indurre opinione in ogni ma<lb/>teria propo&longs;ta. </s>

<s id="s.000191">Il Medico per indurre, ò con&longs;eruare la &longs;anità. </s>

<s id="s.000192">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. </s>

<s id="s.000193"><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 id="s.000194">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 id="s.000195">Et per ammaeftramenti, quello <lb/>che i mae&longs;tri in&longs;egnano. </s>

<s id="s.000196">il parlare è in&longs;trumento dello in&longs;egnare, & l'udire dello imparare. </s>

<s id="s.000197">La dot<lb/>trina comincia nel concetto di colui, che in&longs;egna, & &longs;i e&longs;tende &longs;ino alle parole. </s>

<s id="s.000198">la di&longs;ciplina co<lb/>mincia nell'udito di colui, che impara, & termina nel concetto. </s>

<s id="s.000199">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 eccellentißima, & 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 id="s.000200">Approua adunque l'Architettura, l'opere fatte dalle altre arti. </s>

<s id="s.000201">Opera è quello artificio<emph.end type="italics"/>, <pb pagenum="8" xlink:href="045/01/016.jpg"/><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 id="s.000202">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 id="s.000203">Et qui &longs;ia fine alla <lb/>diffinitione dell'Architettura. </s>

<s id="s.000204">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 id="s.000205">& 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 id="s.000206">Virtualmente contenere intendo poter produrre una co&longs;a, come il &longs;eme contiene in uirtu il <lb/>frutto. </s>

<s id="s.000207">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 id="s.000208">& la ragione è, perche la diffinitione del &longs;oggetto è principio della di<lb/>mo&longs;tratione. </s>

<s id="s.000209">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 id="s.000210">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 id="s.000211">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 id="s.000212">La conformità è po&longs;ta nella <lb/>uirtu predetta di produrre. </s>

<s id="s.000213">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 id="s.000214">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 id="s.000215">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 id="s.000216">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 id="s.000217">nè &longs;olamente è uero que&longs;to principio, <lb/>ma di ualore grandi&longs;&longs;imo. </s>

<s id="s.000218">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 id="s.000219">Stando adunque cio, che s'è detto, ne <lb/>&longs;eguita quello, che dirà Vitr. dell'Architettura. </s>

<s id="s.000220">& prima del &longs;uo na&longs;cimento, & poi delle &longs;ue <lb/>conditioni. </s>

<s id="s.000221">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;equenza non <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 materia, che <lb/>per dar forma all'opera propo&longs;ta &longs;i richiede, con le mani &longs;i compie. </s>

<s id="s.000222">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 id="s.000223"><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 id="s.000224">Que&longs;ti come gente trauiata & folle, &longs;i denno la&longs;ciare da parte. </s>

<s id="s.000225">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 id="s.000226">& allegano <lb/>non le ragioni, ma le opere loro, dicendo co&longs;i feci io, co&longs;i ordinai nel tal pallazzo, & nella tal<emph.end type="italics"/><pb pagenum="9" xlink:href="045/01/017.jpg"/><emph type="italics"/>chie&longs;a. </s>

<s id="s.000227">& 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 id="s.000228">Egli bi&longs;ogna adunque hauere e&longs;&longs;ercitio, & <lb/>fabrica; bi&longs;ogna di&longs;cor&longs;o. </s>

<s id="s.000229">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. </s>

<s id="s.000230">Volendo adunque fabricare, fa di me&longs;tieri hauerc co<lb/>no&longs;cimento del fine. </s>

<s id="s.000231">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 id="s.000232">& truoua che il principio &longs;i con&longs;ide<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 id="s.000233">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 id="s.000234">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 id="s.000235">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 id="s.000236">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 id="s.000237"><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 id="s.000238">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. </s>

<s id="s.000239">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 id="s.000240">Bi&longs;ogna adunque e&longs;&longs;er u&longs;o di continuamente pen&longs;are al fi<lb/>ne. </s>

<s id="s.000242"> 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>

<s id="s.000243"><emph type="italics"/>Et da que&longs;te parole &longs;i dimo&longs;tra la utilità che era conditione dell'Arte. </s>

<s id="s.000244">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 id="s.000245">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 id="s.000246">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 id="s.000247"> 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>

<s id="s.000248"><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 id="s.000249">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 id="s.000250">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 id="s.000251">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 id="s.000252">Perche anche <lb/>non &longs;i potrebbe dire e&longs;&longs;ere un'Arte diuina che regge, & con&longs;erua il mondo? </s>

<s id="s.000253">una Cele&longs;te che re<lb/>gola i mouimenti de i cieli? </s>

<s id="s.000254">una Mondana, che tramuta gli elementi? </s>

<s id="s.000255">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 id="s.000256">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" xlink:href="045/01/018.jpg"/><emph type="italics"/>gna &longs;olertia. </s>

<s id="s.000257">Solertia non è altro, che &longs;ubita, & pronta inuentione del mezo. </s>

<s id="s.000258">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 id="s.000259">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 id="s.000260">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 id="s.000261">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'ufficio dello Architetto <lb/>approuare le co&longs;e ragioneuoli. </s>

<s id="s.000262">Ma &longs;ia quale &longs;i uoglia il &longs;en&longs;o, tutto è conforme al uero. </s>

<s id="s.000263">piu &longs;e<lb/>creta intelligenza &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 id="s.000264">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 id="s.000265">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 id="s.000266">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 id="s.000267">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 id="s.000268">dice adunque.<emph.end type="italics"/></s>

<s id="s.000269"> 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 id="s.000270">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>

<s id="s.000271"><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 id="s.000272">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 id="s.000273">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 id="s.000274">non potrebbe ogni manoale (dirò co&longs;i) rimprouerargli, & dirgli <lb/>che fai tu? </s>

<s id="s.000275">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 id="s.000276">& 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 id="s.000277">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 id="s.000278">perche adun<lb/>que i puri pratichi non hanno acqui&longs;tato credito? </s>

<s id="s.000279">perche l'Architettura na&longs;ce da di&longs;cor&longs;o. </s>

<s id="s.000280">per<lb/>che &longs;olo i letterati? </s>

<s id="s.000281">percioche l'Architettura na&longs;ce da Fabrica. </s>

<s id="s.000282">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 id="s.000283">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 id="s.000284">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 id="s.000285">& non in quanto non appareno. </s>

<s id="s.000286">& que&longs;to auuie<lb/>ne per la con&longs;uetudine, perche le genti non &longs;ono auezze a di&longs;correre. </s>

<s id="s.000287">& però l'accorto Vitr. non<emph.end type="italics"/><pb pagenum="11" xlink:href="045/01/019.jpg"/><emph type="italics"/>afferma, che i letterati 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 id="s.000288">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. </s>

<s id="s.000289">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 id="s.000290">& 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 id="s.000291">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 id="s.000292"> 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 id="s.000293">Quella, che &longs;igni&longs;ica è la proua, & il <lb/>perche di quella, con mae&longs;treuole ragione di dottrina e&longs;pre&longs;&longs;o, & dichiarito. </s>

<s id="s.000294"><emph type="italics"/>Trale Arti ne &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 id="s.000295">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 id="s.000296">Come è l'arte del &longs;uonare, & del &longs;al<lb/>tare, & altre &longs;imiglianti. </s>

<s id="s.000297">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 id="s.000298">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 id="s.000299">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. </s>

<s id="s.000300">Con tutte le predette <lb/>Artianzi &longs;opra tutte è l'Architettura, come giudice, ch'ella è di cia&longs;cuna. </s>

<s id="s.000301">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 id="s.000302"><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 id="s.000303">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 id="s.000304">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 id="s.000305">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 id="s.000306">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 id="s.000307">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 id="s.000308">De i &longs;egni alcuni &longs;ono co&longs;i adentro, che ueramente &longs;ono <lb/>come cagioni delle co&longs;e. </s>

<s id="s.000309">Altri fanno una &longs;oper&longs;iciale, & debile i&longs;timatione di quelle. </s>

<s id="s.000310">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>

<s id="s.000311">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>

<s id="s.000312"><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 id="s.000313">Tre &longs;ono gli agenti, Diuino, Naturale, Artificiale: cioè Iddio, la natura, l'huo<lb/>mo. </s>

<s id="s.000314">Noi parleremo dell'huomo. </s>

<s id="s.000315">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 id="s.000316">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 id="s.000317">Et benche di natura diuina è colui, che da &longs;e troua, & impara, non è però di<emph.end type="italics"/><pb pagenum="12" xlink:href="045/01/020.jpg"/><emph type="italics"/>poca lode, 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 id="s.000318">Que&longs;te buone conditioni &longs;ono da Vitr. nelle dette parole compre&longs;e.<emph.end type="italics"/></s>

<s id="s.000319">Donde adiuiene, che chi fa profe&longs;sione d'Architetto pare che nell'una & l'altra parte e&longs;<lb/>&longs;er debbia effercitato 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>

<s id="s.000320">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>

<s id="s.000321"><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 id="s.000322">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 id="s.000323">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 id="s.000324">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 id="s.000325">prime chiamo l'Arithmetica, la Geometria, & l'altre di&longs;cipline. </s>

<s id="s.000326">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 id="s.000327">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>

<s id="s.000328">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>

<s id="s.000329"><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 id="s.000330"><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 id="s.000331">Difficilmente &longs;i truoua ingegno eleuato, & man&longs;ue<lb/>to. </s>

<s id="s.000332">Vitruuio hebbe acuto ingegno, & &longs;offerente: però dice.<emph.end type="italics"/></s>

<s id="s.000333"> Et dilettandomi delle co<lb/>fe pertinenti al parlare, & alle arti, & delle &longs;critture de'commentarij. </s>

<s id="s.000334">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>

<s id="s.000335"><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 id="s.000336">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. </s>

<s id="s.000337">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 id="s.000338">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 id="s.000339"> 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>

<s id="s.000340"><emph type="italics"/>Poi che Vitruuio ha detto quante, & quali co&longs;e &longs;ono neceßarie 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>

<s id="s.000341">Ma perche co&longs;i bi&longs;ogno &longs;ia, que&longs;ta è la ragione. </s>

<s id="s.000342">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>

<s id="s.000343"><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 id="s.000344">Le co&longs;e &longs;eguite per memoria &longs;i hanno, però è neceßario a quell' ufficio di giudi-<emph.end type="italics"/><pb pagenum="13" xlink:href="045/01/021.jpg"/><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/>habbia la prima arte, detta cognitione di lettere, cioè del parlare, & dello &longs;criuere drittamente. </s>

<s id="s.000345"><lb/>Egli &longs;i ferma adunque la memoria con la lettione de'commentarij. </s>

<s id="s.000346">il nome i&longs;teßo lo dimo&longs;tra, per<lb/>cioche Commentario è detto, come quello, che alla mente commetta le co&longs;e, & è breue, & &longs;uc<lb/>cinta narratione di co&longs;e; la doue con la breuita &longs;ouuiene alla memoria. </s>

<s id="s.000347">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 id="s.000348">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 id="s.000349">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 id="s.000350">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 id="s.000351">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 id="s.000352"> 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>

<s id="s.000353"><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 id="s.000354">Sotto l'A&longs;tronomia è la nauigatione. </s>

<s id="s.000355">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 id="s.000356">Sotto <lb/>la Geometria è la perticatione, & l'arte di mi&longs;urarei terreni. </s>

<s id="s.000357">Sono anche altre arti nate da piu <lb/>di una delle predette, come è la pratica della pro&longs;pettiua. </s>

<s id="s.000358">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 id="s.000359">& però quanto al di&longs;egno uuole che habbiamo facilità, & pratica, & <lb/>la mano pronta a tirar dritte linee. </s>

<s id="s.000360">& 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 id="s.000361">il cui ufficio è di pre&longs;criuere a gli edificij luogo atto, numero certo, modo degno, & or <lb/>dine grato. </s>

<s id="s.000362">Que&longs;ta ragione non ua dietro alla materia, ma è la i&longs;te&longs;&longs;a in ogni materia. </s>

<s id="s.000363">perche <lb/>la ragione del circolo, è la mede&longs;ima nel ferro, nel piombo, in cielo, m terra, & nell'Abi&longs;&longs;o. </s>

<s id="s.000364">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 id="s.000365">La quale in <lb/>quel modo &longs;erue alle arti predette, che le Mathematiche &longs;erueno alla Filo&longs;ofia. </s>

<s id="s.000366">Que&longs;ta peritia <lb/>contiene la dimen&longs;ione, & la terminatione delle co&longs;e, cioè la grandezza, & i contorni. </s>

<s id="s.000367">la gran<lb/>dezza s'ha per le &longs;quadre, & per le regole, che in piedi, & once di&longs;tinte &longs;ono. </s>

<s id="s.000368">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 grandezza di 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 id="s.000369">Bi&longs;ogna adunque, che lo Architetto habbia di&longs;egno. </s>

<s id="s.000370">Ilche &longs;i uede per le co&longs;e dette <lb/>nel quinto libro al &longs;e&longs;to capo, della conformatione del Theatro. </s>

<s id="s.000371">Similmente all'ottauo del detto li<lb/>bro, doue &longs;itratta della di&longs;crittione delle &longs;cene. </s>

<s id="s.000372">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/>corpi regolari, & 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 id="s.000373">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>

<s id="s.000374"><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" xlink:href="045/01/022.jpg"/><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 id="s.000375">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 id="s.000376">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 id="s.000377">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 id="s.000378">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 id="s.000379">& a quefto modo la Geometria è nece&longs;&longs;aria allo Architetto. </s>

<s id="s.000380">& <lb/>que&longs;ta hebbe Vittr. come appare in molti luoghi, & &longs;pecialmente nel vi. </s>

<s id="s.000382">libro.<emph.end type="italics"/></s>

<s id="s.000383"> Per la <lb/>Pro&longs;pettiua anche nelle fabriche &longs;i pigliano i lumi da certe & determinate parti del Cielo. </s>

<s id="s.000384"><emph type="italics"/>Pro&longs;pettiua è nome del tutto, & nome della parte. </s>

<s id="s.000385">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 id="s.000386">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 id="s.000387">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 id="s.000388">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 id="s.000389">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 id="s.000390">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 id="s.000391">& <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 id="s.000392">Vuole altroue che le colonne canellate appa<lb/>rino piu gro&longs;&longs;e, che le &longs;chiette. </s>

<s id="s.000393">& 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 id="s.000394">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 id="s.000395"> 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>

<s id="s.000396"><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 id="s.000397">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 id="s.000398">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" xlink:href="045/01/023.jpg"/><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 id="s.000399">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. 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 id="s.000400"><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 id="s.000401">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 id="s.000402">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 id="s.000403">Ma perche cagione Vitr. tocca di que&longs;te cognitioni & le &longs;peculatine, & le <lb/>pratiche? </s>

<s id="s.000404">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 id="s.000405">et che in ogni arte è la co&longs;a &longs;ignificata, et la &longs;ignificante.<emph.end type="italics"/></s>

<s id="s.000406">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>

<s id="s.000407">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 id="s.000408">& &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 id="s.000409">Caria Città della Morea &longs;i congiun&longs;e con Per&longs;iani contra la Grecia. </s>

<s id="s.000410"><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>

<s id="s.000411"><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 id="s.000412">come &longs;te&longs;&longs;ero &longs;otto i pe&longs;i quel <lb/>le matrone Vitr. non dichiara. </s>

<s id="s.000413">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 id="s.000414">Ma <lb/>non ci douemo obligare a credere che &longs;olamente le Cariati &longs;te&longs;&longs;ero in quella maniera. </s>

<s id="s.000415">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>

<s id="s.000416">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 id="s.000417">& 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" xlink:href="045/01/024.jpg"/>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 id="s.000418">Di &longs;imiglianti altre <lb/>ne &longs;ono, delle quali bi&longs;ogna che lo Architetto ne &longs;ia bene informato. </s>

<s id="s.000419"><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 id="s.000420">egli &longs;i ha nel primo libro di Tucidide Pau&longs;ania Spartano figliuolo di Cleom-<emph.end type="italics"/><lb/><figure id="id.045.01.024.1.jpg" xlink:href="045/01/024/1.jpg"/><lb/><emph type="italics"/>broto capitano de Greci. </s>

<s id="s.000421">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. </s>

<s id="s.000422">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" xlink:href="045/01/025.jpg"/><emph type="italics"/>madre lo la&longs;ciò in&longs;epolto. </s>

<s id="s.000423">Que&longs;to dice Plutarco diuer&longs;amente da Tucidide. </s>

<s id="s.000424">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 id="s.000425">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 id="s.000426">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 id="s.000427">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>

<s id="s.000428">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" xlink:href="045/01/026.jpg"/>ueramente &longs;i può fare. </s>

<s id="s.000429">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>

<s id="s.000430"><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. </s>

<s id="s.000431">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 id="s.000432">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 id="s.000433">&longs;ia piaceuole sì nell'udire, & &longs;atisfa<lb/>re alle dimande de gli imperiti, sì nel &longs;opportare i loro difetti. </s>

<s id="s.000434">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 id="s.000435">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 id="s.000436">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 id="s.000437">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"/></s>

<s id="s.000438">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 id="s.000439">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 id="s.000440">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>

<s id="s.000441"><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 id="s.000442">l'i&longs;toria è &longs;implice narratione de gli effetti di natura. </s>

<s id="s.000443">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 id="s.000444">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 id="s.000445">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 id="s.000446">tanto l'i&longs;toria, quanto la &longs;cienza <lb/>naturale, è utile allo Architetto. </s>

<s id="s.000447">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 id="s.000448"> 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>

<s id="s.000449"><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 id="s.000450">La Canonica appartiene alle orecchie, come la pro&longs;pettiua a gli occhi. </s>

<s id="s.000451">& è pre&longs;a da Mu <lb/>&longs;ici pratichi, come fondamento della loro arte u&longs;itata. </s>

<s id="s.000452">& è quclla, che mi&longs;ura le altezze, & <lb/>le lunghezze delle uoci. </s>

<s id="s.000453">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 id="s.000454">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 id="s.000455">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 id="s.000456">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 id="s.000457">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 id="s.000458"> 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>

<s id="s.000459">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 id="s.000460"><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 id="s.000461">La do<lb/>ue &longs;e non &longs;aranno di pari tuoni impediranno il tirare drittamente. </s>

<s id="s.000462"><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 id="s.000463">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 id="s.000464"> 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>

<s id="s.000465"><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 id="s.000466">ma noi nel quinto libro faremo, quanto per noi &longs;i potrà, chiara ogni parola di Vitruuio.<emph.end type="italics"/></s>

<s id="s.000467">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 id="s.000468">della quale ingenio&longs;amente ne tratta Vitr. nel decimo libro.<emph.end type="italics"/></s>

<s id="s.000469">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 id="s.000470">& 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>

<s id="s.000471"><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 id="s.000472">Vitruuio ueramente hebbe<emph.end type="italics"/><pb pagenum="20" xlink:href="045/01/028.jpg"/><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 id="s.000473"> 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 id="s.000474">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>

<s id="s.000475"><emph type="italics"/>Qui Vitr. dichiara quello, che egli ha detto di &longs;opra appartenere alla fedeltà & giu&longs;titia dello <lb/>Architetto. </s>

<s id="s.000476">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 id="s.000477">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 id="s.000478">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 id="s.000479">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 id="s.000480">Per le quali tutte co <lb/>&longs;e l'huomo è ba&longs;teuole a &longs;e &longs;te&longs;&longs;o. </s>

<s id="s.000481">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 id="s.000482">& 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 id="s.000483">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 id="s.000484">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 id="s.000485">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 id="s.000486">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 id="s.000487">&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 id="s.000488">& finalmente &longs;otto altri capi, che lungo &longs;arebbe a nominarli. </s>

<s id="s.000489">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 id="s.000490">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 id="s.000491">Ma pin <lb/>alto &longs;alire bi&longs;ogna per bene&longs;icio de gli huomini, & però dice Vitruuio.<emph.end type="italics"/></s>

<s id="s.000492">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>

<s id="s.000493"><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 neceßarie 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. </s>

<s id="s.000494">Quanto ueramente appartiene à quella parte, che da gli a&longs;cendenti nel na-<emph.end type="italics"/><pb pagenum="21" xlink:href="045/01/029.jpg"/><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 id="s.000495">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, eßer ueggiamo. </s>

<s id="s.000496">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. </s>

<s id="s.000497">& però conchiude in que <lb/>&longs;to modo, dicendo.<emph.end type="italics"/></s>

<s id="s.000498">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. </s>

<s id="s.000499"><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'haueße 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;teßo haueria contradetto; & in que&longs;to ca&longs;o di pari con gli ignoranti re&longs;tato <lb/>&longs;arebbe. </s>

<s id="s.000500">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 eßere con la &longs;apienza, & con la prudenza paragonata, & per le operationi tra le arti come <lb/>Heroica uirtu & regina chiaramente riluce. </s>

<s id="s.000501">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 id="s.000502">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>

<s id="s.000503">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>

<s id="s.000504"><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 id="s.000505">Scioglie Vitr. la predetta dubitatione in que&longs;to modo.<emph.end type="italics"/></s>

<s id="s.000506">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>

<s id="s.000507"><emph type="italics"/>Il dubbio &longs;i puo formare in que&longs;to modo. </s>

<s id="s.000508">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 id="s.000509">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 id="s.000510">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 id="s.000511">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" xlink:href="045/01/030.jpg"/><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 id="s.000512">& 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 id="s.000513">Vedremo di &longs;otto per e&longs;empio quello, che hora s'è detto. </s>

<s id="s.000514">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 id="s.000515">dice adunque.<emph.end type="italics"/></s>

<s id="s.000516">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 id="s.000517">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 id="s.000518">Nè come Ari&longs;toxeno Mu&longs;ico, ma non lontano dalla Mu&longs;ica. </s>

<s id="s.000519">nè pittore co= <lb/>me Apelle, pure habbia di&longs;egno. </s>

<s id="s.000520">nè qual Mirone &longs;tatuario, o Policleto lauoratore di &longs;tuc <lb/>chi, ma non ignorante di tale Arte. </s>

<s id="s.000521">nè di nuouo Medico come Hippocrate, ma non &longs;enza <lb/>ragione di Medicina. </s>

<s id="s.000522">nè nelle altre dottrine &longs;ingularmente eccellente, ma in que&longs;te non <lb/>&longs;ia nuouo, & imperito. </s>

<s id="s.000523">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 id="s.000524">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 id="s.000525">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 id="s.000526">& 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>

<s id="s.000527"><emph type="italics"/>Le parole &longs;econdo la interpretatione &longs;ono chiare. </s>

<s id="s.000528">proua con argomenti, non e&longs;&longs;er uero il detto <lb/>di Pythio. </s>

<s id="s.000529">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 id="s.000530">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 id="s.000531">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 diße, che nell'Architettura, <lb/>come in ogni altra peritia erano due co&longs;e da eßer 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>

<s id="s.000532">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 id="s.000533">& <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 id="s.000534">l'altra è commune con tutti i dotti, cioè la ragione. </s>

<s id="s.000535"><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 id="s.000536">dice adunque.<emph.end type="italics"/></s>

<s id="s.000537"> 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 id="s.000538">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" xlink:href="045/01/031.jpg"/>chie prendino la dolcezza, & dilettation &longs;ua. </s>

<s id="s.000539"><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 id="s.000540">La Mu&longs;ica, & La Medicina &longs;o<lb/>no &longs;cienze, o Arti che uogliamo. </s>

<s id="s.000541">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 id="s.000542">in que&longs;ti ufficij, & effetti &longs;ono differenti, ma nelle ragioni po&longs;&longs;ono e&longs;&longs;er <lb/>conformi. </s>

<s id="s.000543">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 id="s.000544">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 id="s.000545">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 id="s.000546">dico diuer&longs;amente con<lb/>forme; percioche il principio è uno; come &longs;e io diceßi. </s>

<s id="s.000547">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 id="s.000548">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"/></s>

<s id="s.000549"> 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>

<s id="s.000550"><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 id="s.000551">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 influßi, hanno pigliato alcune figure di Geometria tra &longs;e proportionate, & ri&longs;ponden<lb/>ti. </s>

<s id="s.000552">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 id="s.000553">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 id="s.000554">Dico dapoi, che gli antichi chiamauano Aße ogni co&longs;a intiera atta ad eßer mi&longs;urata, o <lb/>partita, & la diuideuano in dodici parti. </s>

<s id="s.000555">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 id="s.000556">Le tre, quadrante, perche entrauano quattro fiate nel<lb/>l'Aße. </s>

<s id="s.000557">Le quattro triente, perche u'intrauano tre fiate. </s>

<s id="s.000558">& 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 id="s.000559">Ma le &longs;ei erano dette &longs;emißes, qua&longs;i la metà dell'Aße. le &longs;ette, &longs;ettunce, per lai&longs;teßa <lb/>ragione delle cinque. </s>

<s id="s.000560">le otto, beßem, perche alli &longs;ei ne aggiugneno duc. </s>

<s id="s.000561">Le noue dodrante, le dieci <lb/>De&longs;tante, & le undeci deunce, perche in quelle non era moltiplicatione, nè aggiunta, che egual<lb/>mente entraße a finire le dodici. </s>

<s id="s.000562">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 id="s.000563">lo an-<emph.end type="italics"/><pb pagenum="24" xlink:href="045/01/032.jpg"/><emph type="italics"/>gulo del quadrato per e&longs;&longs;er giu&longs;to, & intiero &longs;arà detto A&longs;&longs;e. </s>

<s id="s.000564">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 id="s.000565">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 id="s.000566">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="id.045.01.032.1.jpg" xlink:href="045/01/032/1.jpg"/><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 id="s.000567">& que&longs;to &longs;ia detto <lb/>per quello, che apartiene all'A&longs;trologia. </s>

<s id="s.000568">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 id="s.000569">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 id="s.000570">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 id="s.000571">le regole adunque <lb/>dell'Arithmetica &longs;ono quelle, che fanno la Mu<lb/>&longs;ica unita con l'A&longs;trologia. </s>

<s id="s.000572">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>

<s id="s.000573">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 id="s.000574">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>

<s id="s.000575"><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 id="s.000576">& 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 id="s.000577">prende il &longs;uo &longs;oggetto la pro&longs;pettiua da due &longs;cienze, dalla<emph.end type="italics"/><pb pagenum="25" xlink:href="045/01/033.jpg"/><emph type="italics"/>Geometria la linea: dalla naturale la ueduta: & ne fa una &longs;ola, che io chiamerei Raggio. </s>

<s id="s.000578">ma <lb/>que&longs;te co&longs;e altroue ci &longs;aranno manife&longs;te. </s>

<s id="s.000579">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>

<s id="s.000580">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>

<s id="s.000581"><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 fuße po&longs;&longs;ibile non è conueniente. </s>

<s id="s.000582">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>

<s id="s.000583">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>

<s id="s.000584"><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 id="s.000585">&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 id="s.000586">& 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 id="s.000587">& per que&longs;to Ari&longs;totele non come Filo&longs;ofo naturale di&longs;puta contra Parmenide, & Melißo, i <lb/>quali negauano i principij della Filo&longs;ofia naturale: ma come Dialettico, & &longs;opra naturale. </s>

<s id="s.000588">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 ragionaße 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 poßono &longs;aluare con auantagio.<emph.end type="italics"/></s>

<s id="s.000589">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 id="s.000590">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 id="s.000591">perche non come &longs;om<pb pagenum="26" xlink:href="045/01/034.jpg"/>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>

<s id="s.000592"><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 id="s.000593">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;teße 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 id="s.000594"> 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>

<s id="s.000595"><emph type="italics"/>Pareua la promeßa 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 id="s.000596">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 id="s.000597">& però &longs;enza dub<lb/>bio con grandi&longs;&longs;ima autorità oßerua le promeße, percioche come &longs;auio Architetto fonderà l'Ar<lb/>te &longs;ua &longs;opra ueri, efficaci, utili, & conformi precetti. </s>

<s id="s.000598">Et tanto detto &longs;ia &longs;opra il primo capo.<emph.end type="italics"/></s>

<s id="s.000599"><emph type="italics"/>Di quali co&longs;e è composta l'Architettura. </s>

<s id="s.000600"><lb/>Cap.

II.<emph.end type="italics"/></s>

<s id="s.000601">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>

<s id="s.000602"><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. </s>

<s id="s.000603">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/>eßa; 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 id="s.000604">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 id="s.000605">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 id="s.000606">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 id="s.000607">Altre hanno rilatione, & ri&longs;petto, & &longs;enza non &longs;tarebbeno. </s>

<s id="s.000608">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 id="s.000609">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 id="s.000610">&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 id="s.000611">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 eßer padre comincia da chi genera, & termina in chi <lb/>è generato. </s>

<s id="s.000612">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 id="s.000613">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 id="s.000614">In<emph.end type="italics"/><pb pagenum="27" xlink:href="045/01/035.jpg"/><emph type="italics"/>que&longs;te comparationi di co&longs;e &longs;peßo 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 id="s.000615">&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 id="s.000616">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 id="s.000617">percioche tutte &longs;ono <lb/>comparationi, & relationi, come &longs;i uederà qui &longs;otto. </s>

<s id="s.000618">Hauendo adunque Vitru.

<s>ALLO ILLVSTRISSIMO,ET REVERENDISSIMO <lb/>CARDINAL DI FERRAR A <lb/>D. HIPPOLITO DA ESTE,DANIEL BARBARO ELETTO <lb/>D'AQVILEGGIA S.</s><figure id="id.045.01.003.1.jpg" xlink:href="045/01/003/1.jpg"/>

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 id="s.000619">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><emph type="italics"/>TVTTE le belle opere, Illustrißimo, & Re<lb/>uerendißimo Signore, piu che &longs;ono guarda<lb/>te, et contemplate da gli huomini, piu &longs;cuo<lb/>preno la belleZza loro, 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 riguardanti. </s>

<s id="s.000620">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 id="s.000621">nel primo è l'ordine, nel &longs;econdo è la di&longs;po&longs;itione. </s>

<s>ilche è &longs;egno manife<lb/>&longs;to, che in quelle &longs;empre &longs;i &longs;cuopra maggior bellezza. </s>

<s id="s.000622">& 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. </s>

<s id="s.000623">Eurithmia, della quale &longs;i dirà poi. </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 id="s.000624">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 id="s.000625">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>imperoche lefal <lb/>&longs;e al primo guardo fanno di&longs;e mo&longs;tra allegrißima, & &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 id="s.000626">& 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 id="s.000627">Noi la chiamamo compartimento, i latini &longs;i &longs;erueno del nome <lb/>Greco. </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 id="s.000628">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>

<s>la doue i po&longs;&longs;editori di quelle, &longs;coprendoci<emph.end type="italics"/><pb xlink:href="045/01/004.jpg"/><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 id="s.000629"><emph type="italics"/>Noi di&longs;tintamente ragioneremo di cia&longs;cuna parte, & prima dell'ordine.<emph.end type="italics"/></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;trißima, & Reueren<lb/>dißima: 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 id="s.000630">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>

<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;oauißimi frutti, in u na notte ritrouati, anzi <lb/>delle ualli u&longs;citi i monti, & ne i monti di durißime 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 xlink:href="045/01/005.jpg"/>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 id="s.000631"><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 id="s.000632">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>però <lb/>non anderò piu oltre, la&longs;ciando in ognuno un de&longs;iderio arden<lb/>ti&longs;simo di uederle. </s>

<s id="s.000633">come &longs;i uede al<emph.end type="italics"/><pb pagenum="28" xlink:href="045/01/036.jpg"/><emph type="italics"/>pre&longs;ente, nelle dette diffinitioni, & prima nella diffinitione dell'ordine. </s>

<s id="s.000634">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>et contentandomi della &longs;ua buona gratia, <lb/>allaquale humilmente mi riccomando. </s>

<s id="s.000635">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 id="s.000636">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>Di Uinetia del <lb/>M D LXVII.<emph.end type="italics"/></s><pb xlink:href="045/01/006.jpg"/>

<s id="s.000637">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 id="s.000638"><lb/>Dico di piu che la comparatione è di quelle, che &longs;ono nella di&longs;aguaglianza. </s>

<s>FRANCESCO DE FRANCESCHI SANESE</s>

<s id="s.000639">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 id="s.000640">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>AILETTORI.</s>

<s id="s.000641">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/>riguarda 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 id="s.000642">nell'ordine adunque applicato all'Architettura, &longs;i truoua il prima, <lb/>& il poi. </s>

<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 id="s.000643">& 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 id="s.000644">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>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 id="s.000645">Dice inquanto a que&longs;to <lb/>ordine. </s>

<s id="s.000646">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>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. </s>

<s id="s.000647">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 id="s.000648">Lo e&longs;&longs;empio è que&longs;to. </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 id="s.000649">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 id="s.000650">& con que&longs;to dice. <lb/></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 xlink:href="045/01/007.jpg"/>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 id="s.000651">&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 id="s.000652">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>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. </s>

<s id="s.000653">& 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 id="s.000654">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><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. </s>

<s id="s.000655">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 id="s.000656">& 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>& 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. </s>

<s id="s.000657">Nelle machine anchora, & nelle altre opere &longs;i uede o&longs;&longs;eruato <lb/>quanto s'è detto. </s>

<s id="s.000658">Ordine adunque è comparatione di di&longs;aguaglianza, che comincia in una pri-<emph.end type="italics"/><pb pagenum="29" xlink:href="045/01/037.jpg"/><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><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 id="s.000659"> 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>

<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 id="s.000660"><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>ben ho io tali orna<lb/>menti? </s>

<s id="s.000661">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 id="s.000662"> 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>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 id="s.000663"><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 id="s.000664">Due maniere ci fa la di&longs;po&longs;itione, l'una dal ca&longs;o procede, o dalla neceßità, & l'altra <lb/>dall'artificio, o dal &longs;apere. </s>

<s id="s.000665">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 id="s.000666"> 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>le cono&longs;co io o tutte, o molte, o niuna di <lb/>quelle? </s>

<s id="s.000667">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>

<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 xlink:href="045/01/008.jpg"/>&longs;tributione, per la gratio &longs;a maniera. </s>

<s id="s.000668"><emph type="italics"/>Come fa Vitruuio nella di&longs;po&longs;itione delle Ba&longs;iliche, nel quinto libro.<emph.end type="italics"/></s>

<s>ho io l'habito di que&longs;te <lb/>co&longs;e nella mente? </s>

<s id="s.000669">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 id="s.000670">nelle quali co&longs;e è opera di grande inge <lb/>gno &longs;apere prendere partito. </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><pb xlink:href="045/01/009.jpg"/>

<s id="s.000671"><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 id="s.000672"> 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>IL PRIMO LIBRO <lb/>DELL' ARCHITETTVRADI M. VITRVVIO.</s>

<s id="s.000673">& 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 id="s.000674">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>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. </s>

<s id="s.000675">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>

<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 id="s.000676"><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>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 id="s.000677">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 id="s.000678">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>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 id="s.000679">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 id="s.000680">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>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>

<s id="s.000681">& però <lb/>dice, &longs;cielto effetto, cioè sbrigato, netto, di&longs;tinto. </s>

<s id="s.000682">Alla di&longs;po&longs;itione s'oppone il &longs;uperfluo come <lb/>all'ordine s'oppone la confu&longs;ione. </s>

<s>VITA DI M. VITRVVIO.</s>

<s id="s.000683">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 id="s.000684"> Leidee della di&longs;po&longs;itione &longs;ono que&longs;te la pianta, lo in piè, il profilo. <pb pagenum="30" xlink:href="045/01/038.jpg"/>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><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 id="s.000685">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 id="s.000686">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>

<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 id="s.000687"><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 id="s.000688">alche fare ci uuole un moderato u&longs;o della &longs;e&longs;ta, & della regola. </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 xlink:href="045/01/010.jpg" pagenum="2"/>re&longs;tando fermo, in te ogni fauore tenne raccolto. </s>

<s id="s.000689">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 id="s.000690">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>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 id="s.000691">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 id="s.000692">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>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 id="s.000693">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 id="s.000694">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. </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>

<s id="s.000695">&longs;i uede nell'ordine, <lb/>quanto commoda &longs;ia l'Arithmetica. </s>

<s id="s.000696">& 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>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>

<s id="s.000697">L'in piè è imagine della fronte. </s>

<s id="s.000698">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>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>

<s id="s.000699">Vitruuio ha chiamato fronte ogni co&longs;a, che dritta <lb/>&longs;i uede. </s>

<s id="s.000700">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><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 certißimi della bontà dell' animo, & <lb/>dell' innocenza della uita. </s>

<s id="s.000701">Que&longs;ta utilità del profilo mi muoue ad interpretare &longs;ciografia, & <lb/>non &longs;cenografia. </s>

<s id="s.000702">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>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 id="s.000703">Altri uogliono, che s'intenda il modello. </s>

<s id="s.000704">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>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 id="s.000705">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 id="s.000706">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><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 id="s.000707">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" xlink:href="045/01/039.jpg"/><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 id="s.000708">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>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 id="s.000709"><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="id.045.01.039.1.jpg" xlink:href="045/01/039/1.jpg"/><lb/><emph type="italics"/>lo &longs;cielto è sbrigato effetto nel componimento, & &longs;i uede una atta collocatione delle co&longs;e. </s>

<s id="s.000710">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" xlink:href="045/01/040.jpg"/><emph type="italics"/>ne della &longs;ciografia addotta da Vitr. accenni la diffinitione della pro&longs;pettiua. </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 id="s.000711">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 id="s.000712">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>

<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 id="s.000713">Que&longs;te na&longs;ceno da pen&longs;amento, & da Inuentione. </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 id="s.000714">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>

<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 id="s.000715"><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>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 id="s.000716">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 id="s.000717">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>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 id="s.000718">& 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 id="s.000719">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" xlink:href="045/01/041.jpg"/><emph type="italics"/>ghezza delle pitture, & ne i giocondi oggctti de i no&longs;tri &longs;entimenti. </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"/></s>

<s id="s.000720">& 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. & 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 id="s.000721">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><emph type="italics"/>PROEMIO.<emph.end type="italics"/></s>

<s id="s.000722">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 id="s.000723">& u&longs;a alcune particelle, che <lb/>dimo&longs;trano il modo dello interrogare, & di richiederne la ri&longs;po&longs;ta. </s>

<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 id="s.000725">&longs;ei tu buono o no? </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 id="s.000726"><lb/>che co&longs;a è bontà? </s>

<s id="s.000727">d'onde uiene? </s>

<s>Sot<lb/>to il predetto nome, ogni &longs;cientia, ogni arte, ogni uirtu, & ogni uitio &longs;i comprende. </s>

<s id="s.000728">a chi peruiene? </s>

<s id="s.000729">& 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>Da que<lb/>&longs;ta cognitione lo intelletto trahe due co&longs;e. </s>

<s id="s.000730"> Il bel numero detto Eurithmia, è a&longs;petto gratio&longs;o, & commoda <lb/>forma nelle compo&longs;itioni de i membri. </s>

<s id="s.000731">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>

<s>L'una è, che egli cono&longs;ce la importanza di apprende-<emph.end type="italics"/><pb xlink:href="045/01/011.jpg" 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 id="s.000732"><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 id="s.000733">& 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.

<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>

& all'ul <lb/>timo, & nel &longs;e&longs;to al &longs;econdo. </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 id="s.000734">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 id="s.000735">& 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>Gli habiti dello intelletto &longs;ono ditre manie<lb/>re. </s>

<s id="s.000736">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 id="s.000737">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>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 id="s.000738">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 id="s.000739">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>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 id="s.000740">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 id="s.000741">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>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 id="s.000742">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" xlink:href="045/01/042.jpg"/><emph type="italics"/>to, &longs;i nelle co&longs;e immobili, come in quelle, che &longs;i moueno.<emph.end type="italics"/></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 id="s.000743">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>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 id="s.000744">Et prima ne i &longs;acri tempij dalle gro&longs;&longs;ezze delle colonne, ouero <lb/>dal Triglifo. poi nel forame della bali&longs;ta quella co&longs;a, che ui entra, detta Peritriton. </s>

<s id="s.000745"><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>

<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 id="s.000746"><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 id="s.000747">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>& fi<lb/>nalmente uero nece&longs;&longs;ario è quello, che della proua, & della co&longs;a prouata è compo&longs;to. </s>

<s id="s.000748">& &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 neceßario 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 id="s.000749">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>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 id="s.000750">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 id="s.000751"><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>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 id="s.000752">& &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. </s>

<s id="s.000753">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><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 id="s.000754">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 id="s.000755">nel decimo al cap. XVII. & qui <lb/>Peritriton. </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 id="s.000756">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 id="s.000757">ma &longs;eguitiamo.<emph.end type="italics"/></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 id="s.000758">Decoro è a&longs;petto &longs;enza menda dell'opera prouato per le co&longs;e compo&longs;te con autorità. </s>

<s>i Filo&longs;ofi, <lb/>primi concetti, o Dignità, o Ma&longs;&longs;ime &longs;ogliono chiamare. </s>

<s id="s.000759"><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" xlink:href="045/01/043.jpg"/><emph type="italics"/>molto bene ce lo dimo&longs;tra.<emph.end type="italics"/></s>

<s>Da que&longs;to habito detto intelletto, han<lb/>no hauuto uigore, & forza &longs;pecialmente le Mathematice. </s>

<s id="s.000760"> 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 id="s.000761">Percioche noi uedemo le forme, & gli effetti pre&longs;enti <lb/>nello aperto, & lucente mondo. </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 id="s.000762">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 id="s.000763">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>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 id="s.000764">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>

<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 id="s.000765"><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>La terza maniera è detta Sapienza, che è pronta & i&longs;pedita cognitione delle <lb/>proue alle conchiu&longs;ioni applicate. </s>

<s id="s.000766">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 id="s.000767">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>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 id="s.000768">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 id="s.000769">Ma non &longs;i deue cre<lb/>dere, che &longs;olamente habbiano ad e&longs;&longs;ere tre maniere di opere, perche Vitru.

<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. </s>

<s>Dalle gia<emph.end type="italics"/><pb xlink:href="045/01/012.jpg" 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. </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. </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. </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 xlink:href="045/01/013.jpg" 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. </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. </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. </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. </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>

<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 xlink:href="045/01/014.jpg" 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. Minidio, & Gn. Cornelio fui &longs;opra <lb/>l'apparecchio delle Bali&longs;te, & de gli Scorpioni. </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>

<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. </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>

<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 xlink:href="045/01/015.jpg" 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. </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. </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 eccellentißima, & 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 xlink:href="045/01/016.jpg" 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. </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. </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 xlink:href="045/01/017.jpg" 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. </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. </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"/></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>

<s><emph type="italics"/>Et da que&longs;te parole &longs;i dimo&longs;tra la utilità che era conditione dell'Arte. </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>

<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 xlink:href="045/01/018.jpg" 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>

<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 xlink:href="045/01/019.jpg" 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. </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>

<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. </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>

<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>

<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 xlink:href="045/01/020.jpg" 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>

<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>

<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>

<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>

<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>

<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>

<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. </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>

<s><emph type="italics"/>Poi che Vitruuio ha detto quante, & quali co&longs;e &longs;ono neceßarie 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>

<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>

<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 neceßario a quell' ufficio di giudi-<emph.end type="italics"/><pb xlink:href="045/01/021.jpg" 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;teßo 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>

<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. </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. </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. </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>

<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 xlink:href="045/01/022.jpg" 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. </s>

<s>& <lb/>que&longs;ta hebbe Vittr. come appare in molti luoghi, & &longs;pecialmente nel vi. </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. </s>

<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>

<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 xlink:href="045/01/023.jpg" 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. 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>

<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>

<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. </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>

<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>

<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 xlink:href="045/01/024.jpg" 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>

<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="id.045.01.024.1.jpg" xlink:href="045/01/024/1.jpg"/><lb/><emph type="italics"/>broto capitano de Greci. </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. </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 xlink:href="045/01/025.jpg" 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><figure id="id.045.01.025.1.jpg" xlink:href="045/01/025/1.jpg"/>

<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 xlink:href="045/01/026.jpg" 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>

<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. </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"/></s>

<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>

<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. </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><pb xlink:href="045/01/027.jpg" pagenum="19"/>

<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>

<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>

<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>

<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"/></s>

<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>

<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>

<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 xlink:href="045/01/028.jpg" 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>

<s><emph type="italics"/>Qui Vitr.

dichiara quello, che egli ha detto di &longs;opra appartenere alla fedeltà & giu&longs;titia dello <lb/>Architetto. </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"/></s>

<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>

<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 neceßarie 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. </s>

<s>Quanto ueramente appartiene à quella parte, che da gli a&longs;cendenti nel na-<emph.end type="italics"/><pb xlink:href="045/01/029.jpg" 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, eßer 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. </s>

<s>& però conchiude in que <lb/>&longs;to modo, dicendo.<emph.end type="italics"/></s>

<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. </s>

<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'haueße 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;teßo 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 eßere 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>

<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>

<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>

<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>

<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 xlink:href="045/01/030.jpg" 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>

<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. </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. </s>

<s>nè di nuouo Medico come Hippocrate, ma non &longs;enza <lb/>ragione di Medicina. </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>

<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. </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 diße, che nell'Architettura, <lb/>come in ogni altra peritia erano due co&longs;e da eßer 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>

<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>

<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.

<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 xlink:href="045/01/031.jpg" pagenum="23"/>chie prendino la dolcezza, & dilettation &longs;ua. </s>

<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 diceßi. </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"/></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>

<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 influßi, 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 Aße ogni co&longs;a intiera atta ad eßer 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'Aße. </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;emißes, qua&longs;i la metà dell'Aße. le &longs;ette, &longs;ettunce, per lai&longs;teßa <lb/>ragione delle cinque. </s>

<s>le otto, beßem, 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 entraße 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 xlink:href="045/01/032.jpg" pagenum="24"/><emph type="italics"/>gulo del quadrato per e&longs;&longs;er giu&longs;to, & intiero &longs;arà detto A&longs;&longs;e. </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="id.045.01.032.1.jpg" xlink:href="045/01/032/1.jpg"/><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>

<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>

<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.

<s>prende il &longs;uo &longs;oggetto la pro&longs;pettiua da due &longs;cienze, dalla<emph.end type="italics"/><pb xlink:href="045/01/033.jpg" 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>

<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>

<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 fuße 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>

<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>

<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, & Melißo, 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 ragionaße 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 poßono &longs;aluare con auantagio.<emph.end type="italics"/></s>

<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 xlink:href="045/01/034.jpg" 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>

<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;teße 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>

<s><emph type="italics"/>Pareua la promeßa 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 oßerua le promeße, 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>

<s><emph type="italics"/>Di quali co&longs;e è composta l'Architettura. </s>

<s><lb/>Cap.

II.<emph.end type="italics"/></s>

<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>

<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. </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/>eßa; 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 eßer 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 xlink:href="045/01/035.jpg" pagenum="27"/><emph type="italics"/>que&longs;te comparationi di co&longs;e &longs;peßo 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.

<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. </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. </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><figure id="id.045.01.035.1.jpg" xlink:href="045/01/035/1.jpg"/>

<s><emph type="italics"/>Noi di&longs;tintamente ragioneremo di cia&longs;cuna parte, & prima dell'ordine.<emph.end type="italics"/></s>

<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>

<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 xlink:href="045/01/036.jpg" 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/>riguarda 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 xlink:href="045/01/037.jpg" 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>

<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 neceßità, & 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>

<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>

<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>

<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>

<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 xlink:href="045/01/038.jpg" 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>

<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. </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 xlink:href="045/01/039.jpg" 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="id.045.01.039.1.jpg" xlink:href="045/01/039/1.jpg"/><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 xlink:href="045/01/040.jpg" 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><figure id="id.045.01.040.1.jpg" xlink:href="045/01/040/1.jpg"/>

<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>

<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 xlink:href="045/01/041.jpg" 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. & 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>&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>

<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 xlink:href="045/01/042.jpg" 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>

<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. poi nel forame della bali&longs;ta quella co&longs;a, che ui entra, detta Peritriton. </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>

<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 neceßario 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. </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. </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>

<s>Decoro è a&longs;petto &longs;enza menda dell'opera prouato per le co&longs;e compo&longs;te con autorità. </s>

<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 xlink:href="045/01/043.jpg" 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>

<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>

<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. 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>

<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. 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>

<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 xlink:href="045/01/044.jpg" 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>

<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>

<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>

<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. <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>

<s><emph type="italics"/>Delle parti dell' Architettura. </s>

<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="trattam&emacr;to">trattamento</expan> dell' Arte. </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 riguarda<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 xlink:href="045/01/046.jpg" 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: eßendo 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 xlink:href="045/01/047.jpg" 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;teßo, <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 neceßario 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 eßer 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. </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 xlink:href="045/01/048.jpg" 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. </s>

<s>dice adunqne Vitruuio diuidendo l'Architettura.<emph.end type="italics"/></s>

<s>Le parti dell' Architettura &longs;ono tre, Edificatione, Gnomonica, & Machinatione. </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>

<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. </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>

<s>Della religione è la collocatione de i tempij, & delle &longs;acre ca&longs;e, de gli immortal Dei. <pb xlink:href="045/01/049.jpg" 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>

<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>

<s><emph type="italics"/>Delle elettione de i luoghi &longs;ani, & quali co&longs;e nuocono alla <lb/>&longs;anità. </s>

<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>

<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 xlink:href="045/01/050.jpg" 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. </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>

<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 xlink:href="045/01/051.jpg" 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. </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 xlink:href="045/01/052.jpg" 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. </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>

<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. </s>

<s>Municipium, gli Spagnuoli dicono Villa con giuriditione, & Ca&longs;trum, Villa cercada.<emph.end type="italics"/></s>

<s><emph type="italics"/>Delle fondamenta delle muraglie, et delle <lb/>torri. </s>

<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>

<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&