Fréart, Roland; Evelyn, John; Alberti, Leon Battista; Wotton, Henry [Editor]: A parallel of the ancient architecture with the modern: in a collection of ten principal authors who have written upon the five orders viz. Palladio and Scamozzi, Serlio and Vignola, D. Barbaro and Cataneo, L. B. Alberti and Viola, Bullant and De Lorme, compared with one another ; the three Greek orders, Doric, Ionic, and Corinthian, comprise the first part of this treatise ; and the two Latin, Tuscan and Composita, the latter (London, 1733)

The Elements of Arc bite dure. xxxj
son, why some exact Sym met rists have been blamed for being too true as
near as I can deliver my Conceit. And so much touching the Choice of
(pifture and Sculpture : The next is, the Application of both to the beautify-
ing of Fabricks.
Firfl, therefore* touching sitlure, there doth occur a very pertinent Doubt,
which hath been parted over too slightly not only by some Men, but by
some Nations 5 namely, whether this Ornament can well become the Out-
side of Houses 5 wherein the Germans have made so little Scruple, that their
besl Towns are the mo st painted, as Augufta and Noremberg. To determine
this Question in a Word : It is true, that a Story well set out with a good
Hand, will every where take a judicious Eye : But yet withal it is as true,
that various Colours on the Out-Walls of Buildings have always in them
more Delight than Dignity: Therefore I would there admit no Paintings
but in Black and White, nor even in that kind any Figures (if the Room
be capable, under nine or ten Foot high, which will require no ordinary
Artizan $ because the Faults are more visible than in small Designs, In unfi-
gurcd Paintings, the noblest is the Imitation of Marbles, and of Architecture
it self, as Arches, Freezes, Columns, and the like*
Now for the Inside, here grows another Doubt, whether Grotefca (as the
Italians) or Antique Work (as we call it) should be received againss: the ex-
press Authority of VitruYius himself, Lib. 7. Cap, 5. where PiBura (saith he)
sit ejus, quod eft, feu poteft ejfe 5 excluding by this severe Definition, all Fi-
gures composed of different Natures or Sexes < so as a Syreneor a Centaur had
been intolerable in his Eye : But in this we must take leave to depart from
our Master, and the rather, because he spake out of his own Profession, al-
lowing Painters (who have ever been as little limited as Poets) a less Scope
in their Imaginations even than the gravest Philofophers, who sometimes do
serve themlelves of Inslances that have no Existence in Nature ,* as we
see in Plato's Ampbisboena, and Ariftotles Hirco-CerVus. And (to settle this
Point) what was indeed more common and familiar among the Romans
themselves, than the Picture and Statue of Terminus, even one of their Dei-
ties ? which yet, if we will consider, is but a Piece of Grotefca. I am
for these Reasons unwilling to impoverissi that Art, though I could with
such medly and motly Designs consined only to the Ornament of Freezes
and Borders, their properest Place. As for other storied Works upon Walls,
I doubt our Clime is too yielding and moist for such Garnissiment$ there-
fore leaving it to the Dweller's Discretion, according to the Quality of his
Seat, I will only add a Caution or two about the disposing of Pictures within.
Firft, That no Room be furnished with too many, which, in truth, were
a Surseit of Ornament, unless they be Galleries, or some peculiar Reposu
tory for Rarities of Art.
Next, that the bess: Pieces be placed not where there is the least, but where
there are the fewest Lights 3 therefore not only Rooms windowed on both
Ends, which we call thorough-lighted, but with two or more Windows on
the samt Side, are Enemies to this Art 5 and sure it is, that no Painting can.
be seen in full Perfection, but (as all Nature is illuminated) by a iingte

Light.

Thirdly^