DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.1670#0031
►■ of ArchiteHure. 11
take the following for surfaces to which, as the questions may be dated, the third proportional
numbers may, be annexed; i : i, 1:2, 1:3. 1:4, 1 : 5, 1:6, &c. or 2:3, 3:4, 4 : 5»
e : 6, or 3 : 5, 5 : 7> 7 : 9. &c. to make choice os the bell: proportions In different cases, the real use
and intention of what is to be determined mull be considercd, and then the questlon mud be asked
which dimension mould prevail? height, breadth or depth, or whether they may all be equal,
which is the cubic proportion for a familiar example take a door way; the meaned should be
hio-h enough for a man to pass under without {looping, therefore its height may be juslly fixed at
iix seet; now as the height of a man walking with his arms at liberty, is nearly twice his own
breadth, the breadth of the door Way must be to its height as 1 : z, that is, three feet wide to six
reet high: in all other indances it will condantly turn out that the mosl beautiful proportions are
likewise the mosl useful, the mosl convenient and the slrongesl.
Eurythmy (b) is the perfect consonance of all the relative measures throughout all the propor-
tioned parts. De Laet's explanation is very elegant; aptatur autetn here vox cufais rei decent}, concimict,
apta, corpori, numero, grefsui feu moftii, vod. Videtur autem ea diSiione expritmquod Italice dtcimust
garbato, Graztofo. The word was not only used by the undent architects, but likewise by their
poets and musicians; by the sormer to signify the jusl cadences of their verses, and by the latter
to express the agreeable melody of their notes 1 hence proceeded that invincible power os pathetic
accents over the soul!
■Such was the bard whosc heavenly (trains of old>
Appeas'd the fiend of melancholy Saul;
Such was, if old and heathen fame say true,
The man who bade the Theban domes ascend.
And tam'd the savage nations with his song;
And such the Thracian whose harmonious lyre,
Tun'd to sost woe, made all the mountains weep*
Scoth'd even th' inexorable powers of Hell,
And half redcem'd his lost Eurydice,
Armstrong. Art if preserring health.
By Symmetry (c) is underslood the parity and equality of the right and left parts of an edifice,
os the high and low ones in the same front; in figure, in size, in situation, in every point that
may render the correspondent parts similar and equal. The human visage is not more dissigured
by a wen, than a building is by any irregular excrescence that at once deslroys the beautisul effects
os symmetry.
To conclude ; although it is true that the proportions and forms of architecture are, in somc
degree arbitrary, and not of the number of those things, which have a natural precise and posuive
beauty like the concords of musical tones, ccc, yet as they are cslablislied upon principles long
* since received, and likewise by what among the artists is called cos.ume, the eye once familiarised
with them is shocked at anyessential deviations, their beauties becoming very dislinctand forcible;
add to this, that for above these two thousand years, it has been beyond the power os human abili-
ties, not only to introduce a new order, but even the lead moulding or member whereof the pattern
is not already given.
ithe
aW
{b) Eurythmia est veriusta spec'ies, commodusquc in compositionibus membrorum aspe&us. Hiec efficitur cum membra
opens convenienlia sunt, ahitudinis ad lamudinem, latitudiuis ad lengitudinem, & yd summam omnia rciponJeant sus sym-
metiix. Lib. I.e. 2.
Uti norrsit considerantibus aspestus eurythmia: dubius. Lib. VI. c. 2.
(t) Symmetriaest ex ipsius operis, merobris conveniens consensus ex pjstibusiaue separaris ad universie sigurre speciem, rat.-c
partis responsus. Lib, I. c. 2,
take the following for surfaces to which, as the questions may be dated, the third proportional
numbers may, be annexed; i : i, 1:2, 1:3. 1:4, 1 : 5, 1:6, &c. or 2:3, 3:4, 4 : 5»
e : 6, or 3 : 5, 5 : 7> 7 : 9. &c. to make choice os the bell: proportions In different cases, the real use
and intention of what is to be determined mull be considercd, and then the questlon mud be asked
which dimension mould prevail? height, breadth or depth, or whether they may all be equal,
which is the cubic proportion for a familiar example take a door way; the meaned should be
hio-h enough for a man to pass under without {looping, therefore its height may be juslly fixed at
iix seet; now as the height of a man walking with his arms at liberty, is nearly twice his own
breadth, the breadth of the door Way must be to its height as 1 : z, that is, three feet wide to six
reet high: in all other indances it will condantly turn out that the mosl beautiful proportions are
likewise the mosl useful, the mosl convenient and the slrongesl.
Eurythmy (b) is the perfect consonance of all the relative measures throughout all the propor-
tioned parts. De Laet's explanation is very elegant; aptatur autetn here vox cufais rei decent}, concimict,
apta, corpori, numero, grefsui feu moftii, vod. Videtur autem ea diSiione expritmquod Italice dtcimust
garbato, Graztofo. The word was not only used by the undent architects, but likewise by their
poets and musicians; by the sormer to signify the jusl cadences of their verses, and by the latter
to express the agreeable melody of their notes 1 hence proceeded that invincible power os pathetic
accents over the soul!
■Such was the bard whosc heavenly (trains of old>
Appeas'd the fiend of melancholy Saul;
Such was, if old and heathen fame say true,
The man who bade the Theban domes ascend.
And tam'd the savage nations with his song;
And such the Thracian whose harmonious lyre,
Tun'd to sost woe, made all the mountains weep*
Scoth'd even th' inexorable powers of Hell,
And half redcem'd his lost Eurydice,
Armstrong. Art if preserring health.
By Symmetry (c) is underslood the parity and equality of the right and left parts of an edifice,
os the high and low ones in the same front; in figure, in size, in situation, in every point that
may render the correspondent parts similar and equal. The human visage is not more dissigured
by a wen, than a building is by any irregular excrescence that at once deslroys the beautisul effects
os symmetry.
To conclude ; although it is true that the proportions and forms of architecture are, in somc
degree arbitrary, and not of the number of those things, which have a natural precise and posuive
beauty like the concords of musical tones, ccc, yet as they are cslablislied upon principles long
* since received, and likewise by what among the artists is called cos.ume, the eye once familiarised
with them is shocked at anyessential deviations, their beauties becoming very dislinctand forcible;
add to this, that for above these two thousand years, it has been beyond the power os human abili-
ties, not only to introduce a new order, but even the lead moulding or member whereof the pattern
is not already given.
ithe
aW
{b) Eurythmia est veriusta spec'ies, commodusquc in compositionibus membrorum aspe&us. Hiec efficitur cum membra
opens convenienlia sunt, ahitudinis ad lamudinem, latitudiuis ad lengitudinem, & yd summam omnia rciponJeant sus sym-
metiix. Lib. I.e. 2.
Uti norrsit considerantibus aspestus eurythmia: dubius. Lib. VI. c. 2.
(t) Symmetriaest ex ipsius operis, merobris conveniens consensus ex pjstibusiaue separaris ad universie sigurre speciem, rat.-c
partis responsus. Lib, I. c. 2,