DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.26532#0132
54 OF THE ELEMENTS OF
knowledge and judgment; applying them to the five regular
Orders in such a manner that the just proportion is to ascer-
tained, and so gracefully appropriated to each particular co-
lumn, that we distinguilh with the greatest ease at first sight
each individual member. Wherefore, in gratitude to his ser-
vices, we will pass by other Writers, and cheerfully follow his
footsteps.
Nor would we restrain the architect by laws so rigid, as ne-
ver to depart from the striCtness of rules. For Architecture)
as well as her sitter Arts, Painting and Poetry, claims some in-
dulgences, and may be permitted to ufe them, when compatible
with taste and elegance. Variety has here an ample range; and
so many are the models extant, which though differing from one
another, yet are all graceful in themselves, that it becomes a
difficult talk either to prescribe with accuracy, or to seleCt with
judgment. Nevertheless the Architect will obtain a sufficient
knowledge of each precept and rule, if he pays an earnest at-
tention to the following detail.
§. 2. I. Remote antiquity propped the rooss of their houses
with the trunks of trees, their extremities being girded with
iron to prevent their splitting, sometimes the iron was dou-
bled ; they often put under them a stone, or a tile or two,
to keep them dry. They placed regularly upon these trunks
beams of greater or smaller size ; rafters, beams, f upright
or transverse, joists, 5tc. parts that were necesiary to a roof
or ssoor (which is a kind of horizontal roof.) The Art in its
advanced state imitated these parts by sculpture in marble :
the pedestal represented the stone ; the plinth the tile ; the
column the trunk of the tree; the sculpture of the base and
capital the iron braces ; the architrave the beams placed upon
the trees; the freeze the extremities os the rafters, with the
intermediate spaces: the remaining parts are imitated by the
4 See Baldi’s Vocabulary for a further explanation of the terms. Art. T'empla,
Asseres, &c.
cornice.
knowledge and judgment; applying them to the five regular
Orders in such a manner that the just proportion is to ascer-
tained, and so gracefully appropriated to each particular co-
lumn, that we distinguilh with the greatest ease at first sight
each individual member. Wherefore, in gratitude to his ser-
vices, we will pass by other Writers, and cheerfully follow his
footsteps.
Nor would we restrain the architect by laws so rigid, as ne-
ver to depart from the striCtness of rules. For Architecture)
as well as her sitter Arts, Painting and Poetry, claims some in-
dulgences, and may be permitted to ufe them, when compatible
with taste and elegance. Variety has here an ample range; and
so many are the models extant, which though differing from one
another, yet are all graceful in themselves, that it becomes a
difficult talk either to prescribe with accuracy, or to seleCt with
judgment. Nevertheless the Architect will obtain a sufficient
knowledge of each precept and rule, if he pays an earnest at-
tention to the following detail.
§. 2. I. Remote antiquity propped the rooss of their houses
with the trunks of trees, their extremities being girded with
iron to prevent their splitting, sometimes the iron was dou-
bled ; they often put under them a stone, or a tile or two,
to keep them dry. They placed regularly upon these trunks
beams of greater or smaller size ; rafters, beams, f upright
or transverse, joists, 5tc. parts that were necesiary to a roof
or ssoor (which is a kind of horizontal roof.) The Art in its
advanced state imitated these parts by sculpture in marble :
the pedestal represented the stone ; the plinth the tile ; the
column the trunk of the tree; the sculpture of the base and
capital the iron braces ; the architrave the beams placed upon
the trees; the freeze the extremities os the rafters, with the
intermediate spaces: the remaining parts are imitated by the
4 See Baldi’s Vocabulary for a further explanation of the terms. Art. T'empla,
Asseres, &c.
cornice.