CHAf.

IL
PRINCIPLES OF PROPORTIOX. 959
A building, tbongn enbrdj dermd of atnament, maty be rendeied bemtifbl by die
justness of its proportion, and tbe richest ettifiee wanting in this never can excite admiia-
tioo : &9ades having but height and breadth, these two dimensaoos most be eqnal to each
uther, if ve adopt the symmetrical proportions prescribed by Tiuuvius, fiir be olHerves
~
the square includes the human figure either lying don or standing in an erect posture^
the arms being stretched out.* Temples, triumiriial arches and other bwildii^ left as fay^
the Greeks and Ramans veie decidedly dedgned upon this prinople, as were most of Ae
facades of the religions stractnres erected since die dl of the Roman eaqiire.
In the
"
Songe de Poliphile,* originaUy published in Italian by A!dgs in the year 1499^
are some observations oo setting oat a &fade.
which convey stmie idea of the pdmciples
adopted fix- the fiarmation of a perfect and hannaaioas design on die revival of Roman
architeetDre.
-
Draw a square figure, dirided by three petpecfcnlar and diree butiiuMlal fines, at
equal distances from eadi odier, farming saxtewn squares
;
on the tufi of the square add a
half square, whidi. similaily divided, makes altogedier twnty-lbur squaws : in die lowcs'
square draw two diagonals, cmssii^ eaght squares in the same mannpr ; dwn fimn a looBei^e
abo^e the great square, tracing within it four lines cm the firar principal points that separate
the four sides of the vwd."
After uiuleistanding this figure, I thought within myselfwhat can modemardiitects do^
who esteem thonsdves so learned without letters or principles? They neither know roles
rior dimensions, and dierefore corrupt and defenn all sorts of Imildii^^ bodi pubiie and
private, despisii:^ nature, who teaches them to do widl if they wonld imitate her:
^uod workmen, besides their science,may enrich dieir work atber by adding to or dfanintshii^
thereftom, the better to please die eye, but the mass dmuld remain entire, with which all
should be made to harmootse. By the mass is understood the body ofthe edifice, which,
without any ornament, shows the knowled^ and spirit of the master, fitr it cs easy to
embellish afto- any invention ; the distribution and arrangement <c the parts is also a matter
f consideration
;
hence vre may condude that any workmen or dieir apprentices know
bow to ornament a wiKk, bat to invent lies ouly in the heads ofthe wise.
Taking from tbe square and a halC the knenge and the diagonal lines lenes die dirve
perpendicular and the three horirontal, except that in the middli^ which terminates in the
centre of the perpendicular, catting it into faur parts or pottians ; by this rale will befiMond
two perfect squares, one above and one below, each containing fiwr small squares, which
iorm the openi:^ or docurway
;
now if you take die diagonal ofdie lower square, it wiO ^bcw
roa what thickness must be given to the centre of the portioo
;
if you cany it straight, the
line will sore to denote the ardiitrave : and the pcunt of die centre of the upper squane
will show you the centre of the ardi or ctirve to be given to the door
;
twnmig a semiorcfte
it will rest on the transnose lin^ which cuts the square and a haM' into tvo equal parts
;
but
if done by any othar means 1 do not esteem it perfect. This method was invented by an-
stent and expt masons, and ofasened in dieir ardies and vaults, to give them both grace
nd solidity ; the pedestal oo whidi the columns rest cwmmenciK at the level of the ptav>e-
ment by a
pUnth^
arid the whole is a faot hi^ fiamrAed with mooldiiiigs ; one portioa
is divided into ardutrave, frieae, and conuce, die latter bong sometiiii^ more dian the
othos ; that is to say, if the architrave and frieze eoafcuned five paorts, the eoraioe dinald
be six. xTbe whole twenty-four squares fimn a square and a half; then divide the aqpper
half into six parts by five horimntal and five perpendGcolar fines, and draw a line from the
centre of the fifth transverse to the corner of the great perfect square, where die ardtitrave
eommoices ; then draw it pmpendicular on the key of the ardiivult, and it will show ytou
the height to he given to die frwatz^iece above^ die extremities of wbidi sfamld unitie and
relate to die projectkxi of the cymatinm and its inoa]hfii^&.
^^
Gemerai iVcacrjiies.It would appear that all the principal KOcnan triumpkal'arelKS widi
ni^le openings were a squarei, (ather compriai^ or exdudiii^ tbor attics : that the eentre
from whence the ardiivolt was strudc was the centre of the square, or if the fei(de was
more than a square, as the arch of Tkajan at Aneooa. then where the two dia^wals erassed
the centre was fixed. The width of the opetung is generally half die entire extent^ sone-
times three pans out of seven.
These triumphal ardies were generally surmounted by a groap of figur^^ or tlae car and
horses of the cooqueror, accompanied by ids eompanioDS in arms and the tnaphks obtained
trom the enemy ; these, as duown on several medals, appear to be equal in he%ht to
|
of
:be mitire efifiee upon vrfaich they are plaeed, die attic and entablature representing
^
and
the columns and pedestals the other
|;
and as the fixmer are nearly equal in dteirhe^ht, it
follows that the horse and hcs rider, or the car and its triumphant beni), weie doable the
height of the pedestal on whidi they were placed* far so we waacy consider the atdc
wlucfa eootained the inscription, the body of the arch beii^ a perfect sqiuarei, and in cane&
proportion, widtout the attic. The depdis of dMse arches varied
;
dut of Cowstanriiae aft
Rome is nearly the same as the width of the great centre opanii^; many the
others are kss than that ptoptKtion; but it seexKS that the cube was dae anea^ue that