TH E F I R S T A N D C H I E F

G RO UN D E S o
f
A R C H I T E C T UR E
T H E F I R ST C H I E F G RO U N D E S
OF A RC H I T E C T U R E BY
J
OHN SH U T E ,
P AY N T E R A N D
A R C H YT E C T E F I R ST P R I N T E D
IN 1 6
5 3

A FA C S I MI L E O F TH E F I R ST
E D I T I ON WIT H A N I NT R O
DUCTION BY L A WR E N C E
WE AV E R F S A H
,
. . on .

I
P U BL SH E D BY C O U NT R Y I
L FE L I MI T E D
20 ,
I
T A V STO C K ST R E E T , C O V E NT GA R D E N ,

LO NDO N M C M XI I .
 S/z n te s
’

Jrcbiz ectn re
‘
.

T BL E OF C ON

S/ mte a nd H is Book 7
— 1
5

'

Z lzonza:
‘
W a rs / w, tlze P rinter

Descrzptzon
Bibliog raphica l f
‘
[1 1 7 1
9

A M te on th eF a cs im ile R eprint

M k : a nd R eferences 2 1

f
o tbe F irft E dition o f 1 6
5 3 2
3
— 8 0
 edito r s I n tro du ctio n
’
. 7

I .
—J
OH N S H U TE AN D H IS BOO K .

OH N S H UTE desc rib es

him s e l o n th e title p ag e o f his b o o k as p aynte r f
f
-

an d arc h y te c te H is c laim to arc h ite c tu ral am e re s ts s o lely o n h is

.

au th o rsh ip o f th e f irs t E n glish b o o k o n arch ite c ture b ut th at is c laim ,

e n o ugh H e s ays o f h is o w n w o rk th at it is a m o re am ple dis co urs e th an

T
.

hith e rto h ath b een s e t o u t by any o th er his m ay b e re a d to m e an th at s o m e

E
.

pre vio u s b o o k in n glish had app eare d b ut n o n e such is kn o w n an d d o ub tle ss

h e h ad in m in d th e w o rk o f o reign au th o rs f
h is o rb e ars an d o f th e d ate o f
,

. Of f ,

h is birth n o th in g is k n o w n H e is s aid to h av e b ee n b o rn at Cullo m p to n

. ,

B ev o n l
,
b u t v e rific atio n o f this s tatem e n t is lac k in g S hu te is d e sc rib e d a s .

P ain ter s ta i n er pitaph and it is p rac tic ally c e rtain th at h e b elo n g e d to

in his
f P f
-

th e W
,

o rsh ip u l C o m p a n y o f ain te r S tain e rs U n o rtun ately th e re c o rds o f th e .

m e m b e rsh ip o f th at C o m p an y do no t go b ac k e arlie r th an 1 6 2 3 Th e p arish

2

E
.

re g is te rs o f S t dm un d K ing an d M artyr L o m b ard S tre e t w h ere h e w as burie d

(

J
.
, , , ,

yie ld n o info rm atio n o f o h n Shu te o r o f anyo n e o f th e nam e F ew facts ab o u t

We learn th at h e w as
.

his c aree r c an b e g ath e re d save w h at h e se ts d o w n

R
.

se rv a nt u n to the ight H o n o urable D u k e o f N o rthu m b e rlan d in

H is p atro n s e n t him to I taly an d th e re m ain tain e d him to c o n e r w ith th e f
f
do in ge s o f th e s k il ul m aisters in architec tu r an d als o to ie w su ch an c ie n t V
M o n um en te s h e reo as are ye t ex tant f ro b ab ly h e w a s ab ro ad fo r tw o o r .
”
P ,

th re e y e a rs in tho s e d ays o f leisurely trav el .

Th e ac tu al d ate o f his I talian visit is no t kn o w n b ut in 1 5 5 0 h e h ad a h o use ,

in L o n d o n An e xtan t d e e d no t hith erto q u o te d give s us this kn o w le dg e

3
On
J
. .

D e c em b e r 6 th 1 5 5 0 o hn Do dm o re grante d a le as e to Nich o las Ch o w n e o f a

, ,

b ierb re w h o u s e an d s elle r late o fS ir R au lfe Do dm o re in Graun tham L an e

J
,

in th e p aris h o f All H allo w e s th e m o re ab u ttin g o n th e n ew e h o us e o f

‘
o hn
’ ‘

T
,

S hu te p aynte r o n the n o rth an d th e h am e s o n th e so u th

’
w ith a ,

s e lle r u n d e r th e h alle o f th e g re a te te n em e n t
‘

n o w in th e te n ure o f

J
the said o h n S hu te T
h o u g h this m an m ay n o t h av e b ee n o ur au th o r it i s n o t
J f
.
,

lik ely th e re w e re tw o o hn S hu te s p ain te rs Th e re e re n ce to th e n ew e h o u s e

J f
.

s u gg e s ts th a t o h n S h ute h a d b ee n e x e rc is in g h im s e l in th e art ab o ut w h ic h h e

w as to w rite I t is p o ssible th at in 1 5 5 0 h e c am e b ac k ro m I taly an d s e ttle d f

do W f
.

n in this h o use to p ro e s sio n al p rac tic e a s p ain te r a n d arc hite c t Th e

“

de sc rip tio n in th e leas e an d o th e r e viden c e e n able its p o sitio n to b e d e term ine d

4

T
.

w ith a c c u rac y I ts site o n th e s o u th sid e o f U pp e r h am es S tre e t is n o w c o v e re d

.
, ,

by th e Do w gate D o c k an d City w areh o u s es b elo n ging to M es srs Spic e r B ro th e rs

f ,
.
.

Lim ite d at th e b o tto m o f B re w er s L an e o rm e rly c alle d Gran th am s L an e It ’ ’

P
, ,
.

is o f in te re s t to o b s erv e th at S hu te s h o m e w as v ery n ear th e H all o f th e ainte r

’

S tain ers C o m p an y (s e e N o te 2 p
’

Wh en Shu te re turn ed w ith his p o rt o lio s ull o f draw ings tric ks an d f f

.
,

d evic e s as h e c alls th em ) n o t o nly o f s culpture an d p aintin g b ut also o f , ,

 S hu te s A rchitectu re I n tro du ctio n
’
8 -

arc hite c ture , J o hn D udle y Duk e o f N o rthum b erland sho w e d th em to dw ard VI E

,

J ,

J
.

On th e d e ath o f th e K ing in uly 1 5 5 3 the D u ke p ro claim e d L ady ane Gre y

f
, ,

T h n sp irac y a g ain s t Q u ee n M ary aile d an d in Au gus t th e D uk e w as

Q
f
u e e n
. e c o ,

e x e c u te d fo r h igh treaso n I t w as d o ub tless due to th e lo ss o f his p o w e r ul

S
.

p atro n that hute did n o t publish his b o o k until 1 5 63 w h en h e d e dic ate d it to

Q E liz b th I n th e s am e y e ar h e d ie d
5
H e w as b u rie d in th e C hurc h o f
“
,

E
u ee n a e . . .

S aint dm un d L o m b ard S tre e t and a h an dso m e s m all M o num e nt w as se t

, ,
‘

u p to h is m em o ry o n th e n o rth s id e o f th e c h an cel I t disappeare d at the . .

_
.

d e struc tio n o f th e church in the F ire Of L o n do n b ut h appily the e pitaph

h ad b een tran s crib e d as o llo w s
6
f , , ,

This Mo num en t declares

that here the co r s
p do e lye

Of him that s o ught in S ci ence sight

to pu blish pru den tly ,

(A m o n g he rest o f things
t ,

the w hi ch he pu t i n ure) 7

That an cient practi ce an d pro fo und ,

that height o f Architectu re .

A K n o w ledge m eet fo r tho s e

that bu ildings do e erect
W
,

As by his o rk es at large set f o rth , ,

is shew n e the full efiect .

All fo r the lo ve he bare

to this his n ative L an d :
Y et tho u gh he dyed his deeds do e live
“

, ,

a n d F am e in them do th s tan d
W
ho lik es therefo re to w inn e
s u ch f am e as he hath w o n n e .

Let them tak e care fo r Co m m o n w eale -

aS her I O H N S H U TE hath do n e
'

W
ho s e so ule w e ho pe lo b e
in faithfull ABR AH AM S brest
’

W
ith Go ds elect and cho sen flo ck e .

f o r ever th ere to res t

-

W
is edo m e an d S ci en ce
a bo ve each o ther thin g

Are vertu es fro m the w hi ch

all F a m e do th spring .

JH N O S H U TE , Pa
in ter stain er; -

dyed the 2 5 o f S eptem ber ,

AN NO DOMI N I 1 5 6 3 .

T f
h is is p o o r as p o e try an d n o t as in o rm in g as w e c o uld w ish Th e re e re n c e t o f
f O
.

w o rk e s,
a t lar g e se t o rt h is t an t alis in g n ly o n e w o rk is k n
. o w n .

th e b o o k n o w re p rin te d T. h e e p it a p h d o e s n o t s ay w h e th e r h e d esig n e d

a ny b u ild in g s ,
a n d t h e p re s um p ti o n is t h a t h e d id n o t fo r its c laim fo r ,
 On the Fu n ctio n s f
o an d rc bitect . 9

him is th at publish p rud en tly

he gh t Mo re o v er h e is d es c rib e d
to
f
. so u . .
,

at th e oot as p ainter stain er o nly n o t as p aynter and arch yte c te

Wyatt P ap w o rth lam en ts that his b o o k gives n o re erenc es to c o n tem p o rary f
-
.
,

E n glish buildin gs o r architec ts an d d o es no thing to cle ar up su c h

m y s te ries as th e w o rk an d p e rso n ality o f o hn o f ad u a
,

I t m ay als o b e J P .

re g re tte d th a t S hu te h ad n o t th e e n o f a C e llin i o r a V as ari o th erw ise w e m ig h t

p ,

h av e h ad s o m e brillian t sid elights o n th e six tee n th c en tury arc h itec ts Wh o m

h e m us t h av e m e t in I taly W ath d id S h t p b b ly t h in 1 55 0 ?

R
u e ro a s
. ee e re
.

Vigno la w h o h ad m ade a clo s e stu dy o f the o m an an tiquitie s in 1 5 3 7 w as

J P P R
, ,

buildin g the Vigna ulia o uts id e th e o rta d ell o p o lo at o m e C ap raro la .

,

b e gun in 1 5 47 w o uld be o n Sh ute s ro ad th ere Mic he lan gelo w as at ’

P
.
,

w o rk o n S t an d h ad s tarte d th e s id e p alac es o f th e C ap ito l in 1 5 4 2

’
ete r s

V R
. .
,

P alladio s is it to an d h e h a d b e g un his m as te rp iece

’

o m e w as i n 1 5 4 6 ,
th e ,

B asilic a o f Vic en z a in 1 5 49 B en venu to C e llin i o n h is retu rn fro m the C o u rt

f
.
, ,

o f F ran c is th e F irs t h ad b e e n a t w o rk in F lo re n c e s in c e 1 5 5 S h u t t h
, 4 e e re o re .

h a d o pp o rtun itie s o f c o n tac t w ith th e o rigin ato rs o f th e las t p h ase o f th e

R e n ais san c e in I taly a n d th e e n u m e ratio n o f th e s e m e n an d th eir w o rk s b rin g s

h o m e to u s th e hun dre d y ears in te rv al b e tw ee n

,

n glan d an d I taly in th e d ay s
’
E
of E liz ab e th
We turn to th e b o o k its el w ith th e c ertainty th at th e lo ving f
.

an d frein dly rea d e rs w ill be asc in ate d by Shute s phras es f Th e .

’
.

c h ie fe gro u n des w ill b e en te re d w ith d eligh t by all th o s e w h o app re c ia te

s tate ly an d o rd e re d lan gu ag e e n shrinin g m an y artis tic an d lite rary

f an c ies .

F ew things k ble th an th e c o ntras t b e tw een this tre atise o f

P
are m o re rem ar a

1 5 6 3 an d th at o f alladio p ublish e d at V enice in 1 5 70 S hu te s first p aragraph ’

T O
.
,

o n th e u sc an rd e r d e alin g w ith p e d e s tals se rv e s a s an e x am p le Y e sh all

f
.

m ak e a o ure s q u are s to n e lik e u n to a d e th e q u an tity o f th e s q u a re a s g reat

a s ye w il a c c o rd in g to y o u r p u rp o s e
y
his e x tra c t ro m th e w h o le p ass ag e T ,

f
,

J
.

h as th e q u ality o f th e ac o b e an v ersio n o f th e Mo s aic b o o k s C o m p are With it

P
.

th e tec hnic al b re vity o f alladio : Th e p e d estals plac e d u n d e r th e c o lu m n o f

this O
rd e r are to b e m a d e p lain an d o n e m o du le in h e ig h t
(W t n l ti n)
’

O
a re s r a s a o .

Th e Q u d tu P f t d ly i ib d i S h t p l t f th d i
’

f P
a ra m e r ec u m u n sc r e n u e s a e o e r e r s

n o t to b e o u n d in th at o f alla dio .

I t is n o t d iffi c ult to im agin e th at th e b o o k w as an im m e diate su cce s s fo r th e ,

c ultiv ate d c lasse s w e re a g o g to g ath e r u b f t h le arn in g a n d

E T
a n c ru m s o e n ew
p y
n ew tas te th at w e re s o firm ly e stab lis hin g th em s elv es in n glan d h eir id e a
f
.

o f an arc hitec t hith e rto c o v e re d th e u n c tio n s o f a m aster b u ild e r b u t S h u te

f f
-

m ad e h as te in h is p re ace to m ag n i y his o f fice Surely su ch e is th e am plitu d e

f
.

an d largn es ( I m ay w ell say p er e c tio n ) o f this fac u ltie th at w ith o u t s um ,

a c q u ain tau n c e w ith m an y o th e r artes e s h ll n o t e n te r in to th e d e p e se c re tes

y a

fo r it h ath a n atu ral s o c ie tie an d as it w e re by a s e rtain e kin re d an d affi n itie is

knit un to all the Math em atic alle s w hich scien c es an d k n o w le dg es are fren des , ,

an d a m ain ta n e r o f div e rs ratio n al] artes g fi ”

O th t f t h t
f
y u r a u o r o es o n o a r m a.

n o n e o f th e c ra ts s u c h as m aso n ry , em b ro id ery an d c arvin g c an o b tain an y

, ,

w o rth y p rais e at all w ith o u t a rig h t u n d e rstan d in g o f th e g e n e ral s c ie n c e s an d

arts . I t am o unts to a c laim fo r un ity in d esign an d a sc ie n tifi c an d learn e d ,

 S bu te s A rchitectu re I n tro du ction
’
I 0 ( .

b asis fo r it in stead p arative ly h aph a zard c o m radeshi p o f c ra tsm en

f th e f
E
, o co m

w hic h w as th e m ain s p rin g o f th e eld er b uildin g tra ditio n s o f n gland

f f f
.

A te r th e p re ac e th e re o llo w s a D isc o urs e o n th e b e gin nin gs o f Arc hitec ture .

Shute lo s es n o tim e in g ettin g to th e first en teraun ce into th e w ritin g o f

th is arte as n o t o nly h e an d his co n te m p o raries b ut s u cc e e din g g en eratio n s o f
,

arc hitec ts fo r ab o u t tw o hun dre d a n d fi ty y ears u n d e rs to o d it th e fi n e an tiq uef ,

pillers ”
H e se ts d o w n th e e n c h an tin g o ld s to rie s as to th e o rigin s o f the rde rs
. O ,

o n w hic h it w o uld b e ras c ally to d g

p u t h l t f hi h r c ritic ism

f
o r e c o s r e am s o a e .

D o rus is the le gen dary archite c t w h o to o k the length o f his o o t as o n e sixth o f

T
-

his h e ight an d s o m e asure d all p arts o f th e p illar h e s e pro p o rtio n s w ere first
T O T
, .

u s e d in th e em p le o f Ap o llo an d thu s w as b o rn th e D o ric rd e r h e n w as

"

T
.
,

b egun the em ple o f D ian a fo r w hich th e y d evise d an o th ers ym m etry an d

f ashio n e d th e co lum n afte r th e j u s te m easure o f a w o m an
,

ad din g
,

in th e steade o f h e r sh o o w e (sh o e ) th at w hich Vitruvius n am e th spira (t e th e .

b ase) an d in the capitel w as set V o luta in the steade o f h er h eare

,

I t is h o w e v er w hen the C o rin thian

, , rd e r is re ach e d th at th ere e n te rs O
,

in to th e n arrative an e lem e n t o f ro m an c e as ten d er as it is e n g agin g

f
.

A te r that th e in v e n tio n o f th e I o nic o rd er) in th e Citie o f C o rin th e w as

burie d a certain e m aiden a ter w h o s e burial h er n o urish e (w h o lam en te d m uch f
h e r de ath ) kn o w in g h er deligh tes to h av e b en e in p re tye c up p e s an d su ch e lik e
f
c o n c eyte s in h er li e tim e w ith m an y o th er p ro p e r th in es ap erta nin ge o n ely
, g p y
to th e ple asure o f th e eye to k e th em an d b rak e th em an d p ut them in to a littell , ,

at i b k tt d di d tt t h b k t h g v d v d th b k t
T
p r e e as e e a n s e e e a s
, e o n e r ra e an c o e r e e as e ,

w ith a s q u are p avin ge s to n e h at d o n e w ith w o p in g te are s s he s ay de L e t

P
.
,

leasure go w yth pleasure an d so th e n o urish e (nurse ) de p arte d I t c h aun ce d

‘

.
,

th at th e b as k e t w as s e t u p o n a c ertain ro o te o f an h e rb e c alle d Acan thus in fre n ch e ,

Branc k ursin e o r b eare fo te w ith us n o w in th e sp rin g tim e o f th e y e re w h e n e v ery

,

f
ro o te s p rea d e th o urth h is leav es in th e e n c reasin g th e y did ro nn e u p b y th e sid es ,
, ,

o f th e b as k e t un till th e y c o ulde ryse n o high e r fo r th e s to ne th at c o v e re d th e

,

b ask et w hich e b ein g s qu are an d castin ge his o ure c o rn ers o ver the s yd es o f the
, f ,

ro u n d e b as k e t co n s train e d th e b raun c h es o f th e h erb e to d raw do w n w ardes again e

w ith a se rtain e c o m p as s e an d so gre w to th e ashio n th at Vitruvius c alle th

, f ,

V o luta In this e y tie o n e Calim ac hus an e x ce lle n t Arc hi te ctur p assyn g

’

.
, ,

or g o ing e th e re b y re g ar d in g e t h e b eaw tif u,ll w o r k e o f n a t u r e h e ,

se t th e Cap ite ll th e w hic h h e b add e s en e up o n th e to m b e o f th e m ayden

th e w hi ch e g arnish e d b eatifully th e W
, ,

h o le pillo r an d nam e d it
C o rinthia
We scarcely kn o w w hether to b e m o st grate ul to the m aiden w ho m the f
.

le g e n d h as s acrifi c e d to m ak e the ric hest o f th e Greek rd e rs o r to th e nurs e O , ,

to Calim ac h u s

f
or .

A te r this surv e y o f the m yth o lo gy o f architec ture Shu te pro c ee d s to d esc rib e
W O
h at th e ffi ce o r Due tie is o f hi m th at w yll b e a P erfec te Arch ite c te o r M ayster
,

o f b u yldi n gs
”
f
I all th e p er e c tio ns dem an de d w ere essential th ere are few f
f ,
.

w h o w o uld v e n ture o n so e x ac tin g a p ro essio n I t is w ell to n o te th e s tre ss .

laid by Sh ute o n th e lite rary s id e o f th e arc hitec t s e d uc atio n an d th e relian c e to

’

b e place d o n b o o k s H e d o e s n o t sen d th e stu d ent to th e buildings th em s elve s

,
.
_

o r e xh o rt him to s tu dy th e p rac tical trad itio n s w hic h m ak e a m an in h is o w n ,

 The M ytho logy o/ Jrc b itec tu r e .
I I

phras e yster o f b uyldings He f alls b ac k Vitruvius

’

an d q u o te s him
S
a m a . on ,

thu s : An arc h ite c t m u s t be h arp e o f u n de rs tan din ge an d b o th q uic k e an d

p te to c o n cei ve I nstru c tio n s an d m eaninges o f th em th at h av e w ritten

th e trew
f T f
a e

th ere o h en o llo w s a c atalo gu e o f ac c o m plish m en ts w h ic h re c alls th e s o n g

P
.

c o m p o s e d by e pys in p raise o f a lib e ral g e n iu s to all s tu dies an d ple asu res .

Gram m ar c o m es firs t th e n draw in g g eo m etry an d o p tic s

,
I n Arith m e tick e
,
.

h e m us t b e v e ry p arfac t an d in his to rie s sin gulerly w ell s ee n e h e m ust

h av e a g o o d sigh te in Musy c k e
,

in hilo s o p hie v e ry e xp e rte To P

f
.

in sist th at o u r arc hite c ts sh all b e tun e ul philo so ph ers see m s a th o u ght u n reaso n
a b le ; b ut o f Phisic k e (o r as w e sh o u ld s ay n atural sc ien c e ) w e m ay w e ll
, ,

c laim th at th e y sh all h av e s o m e k n o w la ig e F ro m th ese ab s trac t q u es tio n s .

Shu te p ass es to prac tic al advice ab o u t th e asp e c ts o f h o us es w ith w hic h th e

'
,

m o d e rn n ee d n o t a g re e Th e te rro r o f s o u th w in d s w as n atural e n o u gh in s o m e
E f
.

“
p arts o f I taly ; b u t in n glan d at le ast th e y are n o t o u n d gre v o u s an d c o n
tagio us an d als o g re at w as te rs o f all k in d e o f b u ildin g e s I t is th is kin d o f
f
.

th o u gh tle s s ac ce p tan c e o f o re ig n w ay s w h ic h re du ce d th e v alu e o f th e

w ritin g s o f S hu te 5 g en e ratio n
’

When w e turn to his tre atises o n th e rders w e see that the great s ervic e O
.

th at S hute did to R
e n aissan ce arc h ite c tu re in n glan d w as to sh o w h is E
c o n te m p o rarie s th e w a y to I talian e x am ples H is b o o k is b ase d ch ie fly o n
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.

Vitruvius S e rlio an d hilan der an d lac k s th e in divid u al o utlo o k o n th e art

9

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h ilib e rt de l Orm e 10 ’

th at w e fi n d in
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.

o hn S hu te re v els in h is h ard ly ac q u ire d g lo s s ary Lim bus siv e Ap o p h ygis

-
.

is as m uc h j o y to h im as are th e n ice ties o f lan gu ag e in siste d u p o n by th e

p e dan ts in Sh ak e sp e are s plays S hute clo s es his d esc rip tio n o f e ach rd e r w ith
’
O
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.

a re p e titio n o f te rm s as state ly as a H o m e ric c atalo g u e o f sh ip s o r le a d e rs

f T
.

e e l it w as to h im as th e ro llin g o f o live s un d e r th e to n gue his attitu d e o f

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.

m in d is a cc o m p an ie d by a Sp e n se rian lo v e o f p e rso n ifi c atio n Th e fi v e rd ers .

a pp e ale d to him lik e fi v e c h arac te rs in a m as q u e I n his d e s c rip tio n s as in h is .

,

plates the y are p o e tic an d pic to rial c o n cep tio n s m uc h m o re th an s culp tu ral
,

o r a rc h ite c tu ral elem en ts Th e s am e s ym b o lism app ears in h is p ro p o rtio n s

.
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se e m s e v id e n t th at h e w an te d to s e e k o u t an d se t in o rd e r a s e q u e n c e o f 6 7

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re p eate d tw ice I t is tru e th at S e rlio g iv es 6 diam e te rs fo r th e u sc an b u t

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Vitruviu s Vign o la and alladio all give 7 F o r th e D o ric 7 diam e te rs w o uld

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b e v e ry e x c e p tio n al an d 8 an d 9 are us e d
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C i th i d C p it l y F th i h r p ec ia l h e igh t
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o r n a n a n o m o s e a re a w a s 1 0 u r e r n c ase s w e e s .
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te n din g to ele g an c e o f th e o b e rt Ad am typ e is d e sire d 1 0 to 1 1 app ro ac h in g , , ,

e v e n to 1 2 in p ilas te rs h av e b een attem p te d

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.
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o in ts lik e this g iv e ris e to s p ec ulatio n s as to o h n S h u te s ac tu al ac q u ain t

’

an ce w ith b uildin g w o rk ; b ut w e m ay fi rs t c o n sid e r w h e th e r this b o o k

f 6 t h fi t f t f p tt t — i n t p art o n ly
o 1 5 3 e r s r u es o m y o o re a e m p es s o a

o f a m o re am b itio u s s c h em e o n lin e s lik e V itru v iu s o r Alb erti s te n B o o k s o f

’

Architec ture p u blish e d in 1 5 0 0 o r th e fi v e b o o ks o f S eb astian S e rlio I t w ill

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.

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b e n o tic e d fo r in stan c e in th e p aragraph d ealin g w ith th e use o f th e th ree rd ers

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s u p e rp o se d th at S hu te say s As it is y e t to b e s e n e in th e Am p h itiatrum n am e d
Co llo sse um in R
o m e w h o s e e x c e lle n t an d p raise w o rth y d o in g s h all b e m o re p lain ly
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ro .

set f o urth h ere a te r f T

his ho w e v e r is alm o s t th e las t p ag e a n d n o thin g urthe r f
f
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is g iv e n to ulfi l his p ro m is e I t w o uld acc o un t v e ry w ell fo r th e lim ite d sc o p e o f

.

th e w o rk if it is re g ard e d as p art o nly o f an in ten d e d m agn um o pus

T S
.

h ere are p ass ag es w hic h s e rv e to ho w th at S hute h ad m a d e g enuin e

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o b s e rv atio n s o f b uildin gs in I taly H e b rin gs to his su bj ec t s o m e in de p en de nt

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th o u gh t as in his p ass ag e o n th e dim inu tio n o f rd e rs u p w ard s H e c le arly

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e lt th a t th e e xp res sio n o f c h a rac te r in b uildin g w as as n ec essary as

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th e rd e rs th e m s e lv e s alth o u gh h e se ts o u t to illustrate th em as th e fi rst

an d c hie f ,

gro un ds o f architec ture H e w o uld like a building to b e D o ric

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,

I o nic o r Co rinthian in ch arac te r rath er th an to b e an e xhibitio n o f all th e rders

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.

h en a ddi n g a s p ec ial plin th lik e th e m o uld e d ris e r o f a s te p un d er th e

c o m ple te p e d e stals o f th e I o n ic an d C o rin thian h e j u s tifi e s h im s el as
,

o llo w s : f f ,

Th o u gh e this pillo r an d al o th e r p illo rs if it w e re s o th at th e y h ad d o uble

li t h it h u ld t b ith u t g d u fo r th e an tiq u es h a v e m ad e th ree

f
p n u s s , o n o e w o o o c a se ,

li t h u b v th th i h i th i t h t th th h ld
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p n s o n e ,a o e a n o e r e o c c a s o n w e reo s
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s a e e ar e s o u ,

n o t o v e rgro w e th e b as e o f th e P e de s tale an d so h yd e th e chie thinge w he re u p o n

,

do re s te th e w h o le o rde n au n c e s y ea an d in m an y o th er places th e y are n e c e ss ary ,

th e w hic h al Archite c te s an d m asters o f b uildin ge s o u gh t to k n o w e an d m an y m o o

, ,

o f th o s e an d s u ch o th e r o u gh t to b e k n o w e n o f th em o f n ece ssitie N e c es sity

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.

h e re stan d s fo r th e p rac tic al p o in t o f iew Ag ain dif erin g ro m S e rlio o n th e .

,

pro j e ctio n o f th e D o ric c apital h e says : N ev e rth eles I h av e sen e in s o m e

plac es in I talie it sh o uld b e th e re o re th e m o re c o m ely
,

f
Bu t
f
.

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y e t o f t h e se tw o w a y es le t u s t a k e t h e m o s te aire S i d e lig h t s o f thi s c h a ra c te r .

m ak e h is b o o k n o tably re ad able in s pite o f his rule s an d m e asu re s an d h is

f
lo v e o f th e far e tc h e d in n o m e n clature M u ch as h e claim s to h ave n o te d
,

f O
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.

fo r him sel in I taly a c o m p aris o n o f his rd e rs w ith th o se o f S e rlio s w o rk

’

o f 1 5 5 1 d em o n s trates th at h e h ad alw a ys th at c o m p re h e n siv e tre atise b e o re f

h im . f
Tw o s p ecial e atures th e p eculiar c appin g m o uldin g o f th e D o ric ,

p e destal an d th e c o rb el lik e c o n so les in th e C o m p o site en tablature , n eith e r

P
-

o f w hic h app e ar in V ig n o la o r alla dio c an b e trac e d b ac k to S erlio s diag ram s

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f P
.
,

A re e ren ce to th e F ro n tin u s Vitru vius o f 1 5 2 3 an d th e hilan d er De Archite c

tura Ann o tatio n es o f 1 557 ( Ven ic e ) sh o w s th at tho u gh re e rre d to in Shute s
, f ’

as au th o rities n eith er o f th e s e w o rk s in L atin did as c o m p are d w ith S e rlio m o re

, , ,

fo r him pro b ably th an to supp ly s o m e o f th o s e term s w ith w hich he lo v e d to

, ,

a d o rn h is p ag e .

Shute h as th e delight o f a p ain ter in c arvm g an d o f a sc ulp to r in figure w o rk

an d a fi n e disreg ard fo r c o n s id e ratio n s o f s c ale I n to th e rie z e o f th e C o rinthian f ,

O f
.

rd e r h e h as c ro w d e d a b attle sc e n e w ith c av alry an d in an try glo rio usly

f
n e gle c t ul o f its e asibility f
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.
,

arc h itec ts u s e th e m o cc u rs in his p e d es tals u n d e r th e C ary atid e s

, Th e latte r .

figures are purely picto rial To c o ntrast th em w ith th e n o ble w o m e n o f th e

J
.

C ary atides o f th e Ere c the um o r w ith th o s e by ean Go u j o n in th e L o u vre is to

tak e a le sso n in th e sc ulp to r s art w h e n se en in c o m b in atio n w ith arch ite c ture
’

I t is a c urio us p o in t th at S h ute s eem s to tak e th e s q uare c o lum n use d in ,

lo ggias an gles o f p o rtic o s an d th e lik e places in c o n j un c tio n w ith ro un d p illars

,

to b e a se p arate rd e r O E
vid en tly h e h ad little id a o f th e s ubj ec t o f in
.

e
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an tis ,
w hic h is an arc h ite c tu ral c h ap te r by its e lf .
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S hu te s I nfl u en ce d S o u rces K ledg e
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an
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o now .
1
3

I t is im p o rtan t to n o tic e th at Shu te is a w itness to th e essen tially direc t

in fluen ce o f I taly o n n glan d E
A s fo r prac tis e an d e xp e rien ce o f th ese thin g e s
.

w h ich e I te ac h e I ass ure th e m o s te g e n tle re ad e r an d all o th e r th at s h alb e r

,
e a d e rs

o f th is m
y litt e l w o rk e th a t I h a v e p u t n o title in an y p a rt th e re o f co c e rn in g y e

pro p o rtio n an d sim e try to u se th e accusto m e d te rm e o f th e arte o f th e fo rn am e d

c o lum b es w h ic h e I h av e n o t as w e ll s e e n e an d m e a su re d in I talie ro m w h e n c e th e y f
c am fi rs t u n to u s am o n g e s t th e An tiq u e w o Ork es as re a d an d stu die d in n glan d
,

E
in th e Au te n tiq u e w riters th at I m igh t w ith s o m u ch e m o re p e r e ctio n w rite o f
,
f
th em as b o th th e re a din g o f th e thin g e an d s e in g e it in d e d e is m o re th an o n ely
b are re din g o f it .

As e vid e n c e o f su c h s tu dy th e c o rnice to th e e n tab latu re o f th e C o rin th ian

O rd e r in f ,

its ully c arv e d pro fi le lo o k s lik e a g en uin e o b s erv atio n o f an ac tu al

R
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late o m an e x am ple In th e s am e w ay in Sh u te s rem ark s o n flu tin gs h e s ee m s

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.
, ,

a c tu ally to h av e c o u n te d an d n o te d th e s e c tio n o f so m e th at h e d e s c rib e s .

It m u s t b e o b se rv e d h o w e v er th at S e rlio giv e s a d raw in g o f th e s e v e ry fl ute s

fro m th e Pan th eo n .
,
’
,

Shu te s p e d estal w ith tw o c o ffe r lik e p an els seem s to b e a -

p erso n al to uch .

The F irst an d Chi efGro un des is pre c is ely th e b o o k to b e e xp e c te d fro m th e h an d

o f a p ain te r w h o h ad tra v e lle d an d h ad in te re s te d h im se l in arc h ite c tu re It do e s f
f
.

n o t b ear th at c le ar e v id en ce o f fi rs t h an d ac q u ain tan ce w ith th e ac ts o f b u ildin g -

w h ich is re v e ale d o n e v e ry p a g e o f de l Orm e N o n e th e le ss S h u te is en title d to

’
.
,

th e re v e ren c e du e to th e p io n ee r an d th ere is e v e ry re aso n to b elie v e th at his

f
b oo k h ad a m ark e d e f e ct o n th e d e v elo pm en t o f de sign in th e latter p art o f th e
,
“

six te e n th c e n tu ry Mr R
Ph en é Sp iers h as b o rn e w itn e ss to th e larg e in fl u e n c e
11

E
. . .

n glish arch ite c tu re o f S h u te s b o o k H e h as o b s erv e d in his e x am in atio n o f

’

f
on .

m an y b u ildin g s o f th e las t h al o f th e s ix te e n th c e n tu ry d e tails b o rro w e d dire c tly

f it I n o n e p o in t h o w e v e r it is diffi c ult to o llo w Mr Sp ie rs H e s ay s f

f
ro m .
, ,
. .
,

L o n gleat H o u se seem s to h av e b e e n tak e n v ery larg ely ro m it in d e tail F o r

O
.

in stan c e in S hu te s D o ri c rd er th e m o u ldin g s o f th e p e d e s tal w o u ld s e em

’

,
to
b e h is o w n c o n c e p tio n as I h a ve n o t b e e n ab le to trac e an y re s e m b lan c e to th em
R E
,

in o m an o r I talian w o rk s I h av e seen in n glan d m an y ins tan c e s w h e re th at

O
.

m o uldin g is c o p ie d w h ic h sh o w s it Shu te s D o ric rd er) m us t h av e b e en th e ’

,
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m o d e l o n w hic h th o s e b u ildin g s w e re ere c te d

O
.

I t is th e fac t h o w e ve r th at th e m o uldin g s o f S h ute s D o ric rd e r app e are d

’

first in S erlio While it is p er ectly c o nc eiv able th at S hu te s b o o k m ay h av e

.
, ,

f ’

b een in th e h an ds o f th e d e sign er o f L o n gleat it c an n o t b e tak en literally th at

th e O rd ers are dire c tly tran s c rib e d ro m Shute o r e v en ro m S erlio The purity f ,

,
f .

o f th e d e tail o f L o n gleat is v e ry re m ark ab le w h e n its e arly d ate is c o n s id e re d ,

b u t it is n o t n ec e s s ary to assum e th at it w as th e w o rk o f an I talian arc h ite c t

f
,

w h o — to tak e o n e p o in t alo n e — w o u ld h ardly h av e aile d to d im inish th e p ilas te rs

O
.

N o n e o f th e th re e rd e rs at L o n gle at is s o tre ate d as h as b e e n c are fu lly an d

e xp re ssly as ce rtain e d fo r th e p urp o s e o f th e se n o tes h e re is als o a fre e e le m e n t .
,

T
o f v ariatio n w h e re th e s p ac in g o f p ilas te rs is m a d e w i d e r to tak e m u llio n e d

w in d o w s o f fo u r ligh ts in s tea d o f th e th ree ligh ts u s e d e ls e w h e re in th e b uildin g

O
.
,

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O f E
,

an d th e to p C o rin th ian rd er is ran k ly c u t d o w n to ac c o rd w ith n glish id e as

o f h e igh ts fi ttin g fo r b e d ro o m s in o u r c lim ate A few gro te s q u e to u ch e s h av e .

 I 4 S bu te s
’

Jrcbitectu re I n tro du ctio n .

p t in to th e c arvin gs o n th e u pp er p e d es tals e tc I t is n o table th at in th e c ase

'

O
c re ,
.

o f th e D o ric rd e r th e re is a larg e p ro j e c tin g p an e l o fs to n e w hic h lo o k s ra th e r lik e

f f
m as o n ry le t fo r u tu re c arvin g s u c h as th e a rm o u r th a t S h u te g iv e s in h is plate
,

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T f
.

h ere is the c ap m o uldin g alre a dy re e rre d to ; als o th e b as e m o uldin g b elo w

is o f ab o ut th e s am e s e c tio n Th e e n tablature is th e plain o n e sh o w n o n h is plate
.
,

b u t w ith th e d eco rate d c apital th e re are ro s ette s h o w e v e r in th e n ec k in g w hic h

T
, ,

a re n o t sh o w n by S h u te h e re is a te c hn ic al p o in t in th e c lu m s y m an ag em en t
.

o f th e c app in g m o uldin gs o v e r th e triglyp h s th e s e are v ery o b sc ure ly e xp re s s e d

in th e plate w h ic h m igh t ve ry w ell lead to c o n usio n in th e w o rk suc h as is f
s e e n in th is a c tu al in s tan ce
,

I n th e I o n ic rd e r th e p lain n tablature s e c tio n O ,

f e
.

is o llo w e d b ut th e c ap h as a n e c k in g an d th e re are n o flu te s Th e p edestal

'

O
.
, ,

b ase m o ulds are sim p ler Th e I o nic is th e re ally do m in an t rder as th e,

,

greater h eight o f the D o ric is m ainly in the p e d estal w hich h o w ev er is , , ,

disc o unte d by b ein g th e b asem e n t o f th e buildin g

O f
.

I n th e C o rin thian rd e r th e p lain e n tab lature m ay b e said to b e o llo w e d

if a re aso n able i n te rp re tatio n o f S h u te s b e d m o u ld is assum e d Th e L o n gleat

’
.

C o rin thian c apital is rath er p o o rly d o n e Th e b est e x e cu te d c arvin g is in th e

O
.

lo w e r rd e rs w h e re e gg s a n d to n g u e s an d b e a d s are v e ry w e ll re n d e re d Th e
f
.
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siz es ta k e n as a c c u rately as is p o ss ib le w ith o u t a sc a f o ld s h o w th at th e L o n gle at

O ,

rd ers do n o t a cc o rd v ery ac c urate ly w ith th e s ys tem o f S hu te th o u gh th e re are

,

c o in c id e n c e s as th e c u rio u s e n q uire r m ay w o rk o u t fo r h im s el
,
ro m the m ain
,

ff
dim ensio n s giv e n in th e n o tes 12

f
.

I t is s a e to c o n c lu d e th at w hile th e arc h ite c t o f L o n gle at m ay h av e h ad

Shu te s o r S e rlio s b o o k as a re e ren c e h e w as a m an w h o to o k his o w n line an d
’ ’
f ,

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w as n o slav is h a d h e re n t o f p rec e d e n t H is d esign is a sin gularly fi n e re n d e rin g

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.

o f Italian an d n glish id e as an d q uite th e b e s t o f th e n um e ro u s attem p ts o f its

,

a g e to w e ld n e w an d o ld in to a h arm o n io u s c o m b in atio n

P R
.

e g in ald Blo m fi e d l w h e n w ritin g o f L o n gleat th o u gh t

1 3
ro fe s s o r

it p ro b able th at it w as th e w o rk o f an
,

n g lish m an w h o h ad trav elle d in I taly E ,

su c h fo r in stan c e as o h n Shu te
, ,
J .
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h is d o es n o t tak e in to acc o un t h o w e ve r T ,
,

th at S h u te d ie d in 1 5 6 3 an d th at L o n gle at as it s tan ds to day w as n o t b e gun

T f
-

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h o u gh n o bu ildin g c an b e trac e d to S hu te s d esign it is air to

’

u n til

e m p h asis e h is o w n c laim w hic h app e ars in h is d e d ic ation to

Q u e en liz ab e th :
,

E
I do fo llo w e n o t o n elye th e w ritinges o f learn e d m en b ut als o do gro un d ,

m ys e lfe o n m y o w n e e xp e rie n c e an d p ra c tis e g ath ere d by th e s ight o i the

'

M o num en te s in I talie
P
.

ap w o rth n o tes h o w far S hu te w as in a dvan c e o f th e id e as s h o w n in th e

J
v o lu m e o f draw in g s m ade by o h n h o rp e I t n e e d e d s o m e thin g m o re th an a T
f R E
.

b o o k h o w e v er to b rin g th e ull tide o f th e e n aissan c e to n glish sh o res It

J f
.
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is tru e th a t I n ig o o n e s c am e b ac k ro m his s ec o n d j o urn e y to I taly w ith a c o p y

‘

o f P alla dio s w o rk in h is p o c k e t ; b ut it is to th e g en iu s o f J
'
’
o n e s an d n o t to

P
-

P alla dio s b o o k th at w e o w e th e B an q u e tin g H all o f W

,

Th e
’

,
hite h all alac e .

w rite r o n m atters artis tic m ay stim u late b u t it is th e c reativ e artis t w h o c o u n ts ,

in th e lo n g las t .

I n th e fi eld o f p e rso n al artistic ac h ie v em en t S h u te app e ars a s a p ain te r .

w h e n tre a ting o f lim n in g an d Of th e m ix tu re o f gu m s w ith

1 5
H ay d k eo c ,
 S hu te as P a in ter . an d Gng ra p e r ’
.

c o lo urs , ys
his w as m uc h us e d in T o rm e r tim e s in Churc h b o o k e s (as f
f
sa ,

is w ell k n o w n e ) as also in draw in g by th e li e in sm all m o d els d ealt in als o o f ,

late y e ars by s o m e o f o u r C o u n try m e n as S ho o te B e ttes & c b ut b ro u gh t to

f f
-

, ,

th e rare p e r ec tio n w e n o w s ee by th e m o s t in g e n io u s p ain e fu ll s k il ul] Ma ste r

Nich o las H illiard T

h is e s tablish es Sh u te as an em in en t m in iaturis t
W
. .

H o rac e alp o le q u o tes H aydOck e as ab o ve b ut a dds n o thin g to o u r k n o w

16

le dg e o f S h u te H e c o n triv e d h o w e v e r to all in to th e b lun d e r o f c o n u sin g f ,

f
J J
.
, ,

o hn S hu te th e arc h itec t w Th e latte r w as liv in g

ith o hn Shu te th e tran slato r
f
.

as la te as 1 5 73 an d c o n ce rn e d h im s e l with b o o k s o f trav e l an d th e o lo gy
, Mr . .

Lio n el Cust w rites th at alth o u gh S hu te w as o n e o f th e e arlie st n ativ e artis ts

17

a n d h e ld in e s te em by h is c o n tem p o rarie s n o w o rk o f his c an b e au th e n tic a te d ,

.

H e s tates th at S h u te w as fl o u rishin g b e tw e en 1 5 5 0 an d 1 5 70 u n m in d fu l o f h is ,

e p itap h d ate d 1 5 63

W
.

Dr Ge o rg e C
. illiam so n w ritin g as late ly as
. s aid th at n o thin g w as
,

kn o w n o f Shute s w o rk in m in iatures S ir Sidn e y C o lvin in his w o rk o n en gravin g

’
.
19
,

publish e d in 1 9 0 5 says th at S o m e m in iatures b earin g I S in m o n o gram h av e

W
.
,

b ee n attribu te d to S hu te w ith g o o d re as o n In 1 9 0 6 Dr illiam so n iden tifi e d

P
. .

h im w ith tw o e x am ples 20
On e o f th em p o rtrays D o h a M aria I n fan ta o f o rtu g al
P
. .
,

S h e s taye d m o re th an o n ce in aris an d S hu te is lik ely to h av e p as se d th ro u gh

W
,

F ran c e o n his I talian visit Dr illiam so n also attrib u tes to S h u te a m iniatu re

E E
. .

of dw ard VI n o w in th e p o ss essio n o f arl Beau ch am p S o m uch fo r S hu te

.
,
.

as p ain te r .

I t seem s reaso n able to assu m e th at h e m ight h a v e a dd e d to th e lis t o f

his q u alifi c atio n s th at o f e n grav er Th e firs t o ur plate s o f th e rd e rs in h is
. f O
b o o k w ere en grave d o n c o pp er S ir Sidn e y C o lvin n o te s o f th em th at th e y are
f f
.
,

n o t sla vish ly co pie d ro m th e c u ts in an y o re ign e ditio n o f Vitru viu s o r S erlio .

H e th in k s it lik ely th at S h u te d esign e d his o w n plate s w h ic h are am ate u rishly

en o u gh c u t o r s c ra tc h e d u p o n th e c o pp e r n o t w ith o u t e e lin g o r c h arac te r b u t ,

,

f
w ith v e ry little tech n ical s k ill Th e in tro d u c tio n o f th e p erso n ifi e d fig ure s is a
.

to u c h p e rso n al to Shu te an d th e re are o th e r en ric h m en ts alre ady n o te d w h ic h

f
are n o t o u n d in S e rlio
,

f E
.

Th e firs t prin t ro m a c o pp er plate pub lish e d in n glan d w as issu e d in 1 5 4 0

an d e n g ra v e d by a o reign e r f
Ge m inu s w h o pirate d th e plates o f V esaliu s w as
.
, ,
,

a Flem in g I f S h u te en grav e d his o w n p lates a th e o ry n ot im pro b ab le as th e

E
. _
,

re su lts are am ateu ris h h e m a

y h a v e b e en th e fi rs t
,
n glish m an to w o rk in th is
“
m e diu m I n his e pitap h o c c urs th e p h rase Am o n g th e re s t o f th in g s th e w hic h
E
.
, ,

h e p u t in ure n g ra vin g o n co pp er m a ll h v b e en o n e o f th em

f
.

y w e a e .

F o r v alu ab le s u gge s tio n s an d h e lp in w ritin g th e o re g o in g I am gre atly

in d e b te d to m y rie n d Mr Arth u r f B o lto n . T
w h o s e g re at le arnin g .
,

in all th at th e h isto r y o f arc h ite c tu re is w e ll kn o w n to nee d no

f
c o n ce rn s so as

praise ro m m e .
 S hu te s A rchitectu re I n tro du ctio n
’
.

I I —T H O M A
. S M AR SH E ,
TH E P RI NT ER .

ALTH U GH th e O greater p art o f o ur a dm iratio n is due to the au th o r o f th e first

En glish b o o k o n a rc hite c tu re , it is fittin g als o to ke f to th e
T
m a so m e re e re n c e

prin ter h o m as M arsh e w as o n e o f th e o rigin al m em b ers o f th e S tatio n ers

.
’

C o m p an y an d his n am e app ears in the lis t o f the Bro therh o o d d ate d 1 5 5 5 H e

,
.

h a d b e gu n p rin tin g in 1 5 5 4 w ith A ryghte ex cellen te treatis e o f Astro n o m i e H is

f S
‘

su b sc rip tio n s to v ario u s u n d s raise d fo r th e pu rp o s e s o f th e C o m p an y h o w him

to h av e b een ric h e r th an m o s t o f h is b ro th e r c ra ts m e n ?1
I n 1 5 5 8 it se e m s th at f
h e d e fi e d so m e rule o f th e C o m p an y fo r h e w as fin e d fo r d iso b e die n c e th e sum o f
fo rty shillin g s— a larg e am o un t in th o s e d a y s
,

H erb ert s ays h e w as n o table fo r

—
.

d iso rderly b eh av o ur The eg ste o th e C o m p an y b egin in th e y ear 1 5 5 7 5 8

i i f
f
r rs .
,

an d h e w as th e o u rth in o rd er to re c e iv e a lic e n c e fo r p rintin g th e w o rk b ein g ,

R u les an d R yghte am pleTo w chynge the u se an d practi se o f ye Co m m en

D o cum en tes

alm a n ache w hi ch ys caled ephem erydes D urin g the ye ar 1 5 6 1 —6 2 M arsh e w as taken

f
.

in to th e liv ery o f th e C o m p an y an d p aid his fee o f fi te en s hillin gs In 1 5 6 1 h e

,

f
.

re c e iv e d a lic e n ce fo r p rin tin g th e S to rye o f I taly Shu te s b o o k w as th ere o re ’

.

n o t his fi rs t c o n n e c tio n w ith an I talian s u bj ec t In th e re giste r fo r th e ye ar w hich

f J J f
.

uly 2 2 n d 1 5 6 2 to uly 2 2 n d 1 5 63 th e o llo w in g im p o rtan t en try

T
ran ro m , , , ,

app ears R ec e vy d o f h o m as m arsh e fo r h is lyce n s e fo r p ryn tin ge o f a b o k e

intitu le d the fyrste an d chefie gro undes o f the Archetectura fo r payn ting o r buylding .

vj d. I t is w o rth n o tin g th at th e title o f th e b o o k is giv e n in co rrec tly .

Sp ecial a tten tio n m ay b e draw n to the fi n e Ve n etian d esign o f th e title page -

w h ic h M arsh e us e d fo r S hute s b o o k I t b e ars in th e b o tto m

’
blo c k an
T
.

e lab o rate m o n o g ram h is is th e m ark o f Caw o o d a p rin ter c o n tem p o rary

.
,

w ith Marsh e I t s eem s th at h e m ust h av e len t Marsh e th e blo c k s fo r th e

J
.
l

title M arsh e b ecam e unio r C o llec to r o f th e S tatio n ers C o m p an y in 1 5 67 ’

R W W
.
,

e n ter in 1 5 68 U n de r , ard en in 1 575 an d U pp e r ard e n in H e n e ve r

re ac h e d th e M as te r s c h air In 1 5 77 a p e titio n w as presen te d by v ario u s prin te rs
’
.

c o m p lain in g o f th e p rivile g e s w hi c h h ad b e e n g ran te d to fav o u re d m em b e rs o f th e

c ra ft .Am o n g th e o bj ec tio n s raise d w as th at h o m as M ars h e h ath e a great

”
T
lic e n c e fo r latten bo o k es u sed in the Gram er S cho les o f E n glan d M arshe c o n tinue d .

prin tin g to 587 an d am o n g his b o o ks

v eral o n su bj ec ts akin to th at
T O
up 1 ,
w e re se

w h ic h o cc u p ie d S h u te grante d u nto him by

2
In 1 5 9 1 h o m as
.
3
rw in h ad ,

th e c o n se n t o f Edw M arshe th o se c o pies w hich did b elo n g to Th o M arsh e

f f
. .

d ece ased Th e lis t th at o llo w s 24

this e n try giv e s nin e ty o ur w o rk s an d
T
-
.
,

am o n g th e m a pp e ars A rcetecture in fo li o — d o u b tle s s Shute s w o rk ’

his
S P J
.
,

h o w th a t th o u gh th e title p ag e s ay s u blish e d by o h n S h u te
“
s e e m s to -

M arsh e w as th e pu blish er in th e m o dern sen se o f th e w o rd In an y c ase h e h e ld .

th e s to c k o f u n s o ld c o p ie s .
 S hu te s
’
J rc hitectu re I n tro du ctio n .
I
7
.

I I I —A . BI BL I OG R A P H I C AL D ES C RI PTI ON .

ON LY fi ve c o pies o f th e F irst an d Chi ef Gro u n des o f Architectu re are k n o w n to

e x is t All o f the m are o f th e firs t e ditio n o f 1 5 63
f
. .

Th e fi rs t an d b es t kn o w n c o py w as p urc h as e d ro m a b o o k selle r by

P f
-

W yatt apw o rth in May 1 8 79 H e p aid fi ve p o u n ds fOr it an d tran s erre d

R
.
, ,

o y al I n s titute o f B ritish Arc hitec ts a t th e s am e p ric e 25

it to th e It
R
.

h ad th en re ce n tly b e e n b o un d by iviere Th e siz e o f th e le tte rpre ss p ag e .

is ten an d se v e n eigh th s in c h es high an d se v e n an d th ree q u arte r in c h e s w id e ;

- -

th e p late s b ein g thirte e n an d thre e q u arte r by n in e an d a q u arte r in c h e s are

f
- ~

, ,

o ld e d Co m pa o c o py w ith th e o th e rs sh o w s th at it h a s b e e n co n
i
i f th i
f O
. r s n o s -

s ide rab ly c u t d o w n b u t in o th er resp ec ts its c o n d itio n is p e r e c t

, w in g to th e .

th in n ess o f th e p ap e r th e typ e h as p rin te d th ro u g h rath e r m ark e dly Th e b o o k

f
“
.
,
”
is p rin te d in o urs w ith th e s h e e ts le tte re d A to F 2 F o lio i is B 1 b u t th e fi rs t
f f
.
, .
,

printe d o lio n um b er is o lio v i e CI F o lio iiii h as b e en add e d by h an d The

O
. . . . . .
, ,

large plate s o f th e rd e rs are p artic ularly in te re s tin g F o u r o f th em are e n grav e d

T f T
.

c o pp er an d p ri n te d in b ro w n in k h e y are place d as o llo w :

f f f f
on , u s c an .

ac in g B4 D o ric ac in g C2 Io n ic acin g C4 an d C o rinthian acin g D3 Th e

O ,

f
.
,

plate w ith th e C o m p o site rde r is p rin te d ro m a w o o d blo c k o n th e v ers o o f E 1

an d facin g E 2

Of
.

Th e s eco n d c o py is at th e B o dle ian Lib rary x o rd Th e letterpress

T
.
,

p ages do n o t seem to have b een c ut in an y w ay h e y m easu re thirtee n .

in c h e s in h eigh t an d eigh t an d th re e q uarte r in c h es in w i d th Th e c o n ditio n

f
-
.

o f th e c o py is les s s atis ac to ry th an th at o f th e c o py an d

s o m e o f th e e dg es are c o n s id e rab ly ray e d Th e blan k p ag e A4 h as b ee n f .

, ,
,

re m o ve d Th e plates h av e b een cut d o w n in all c ases by th e rem o v al o f th e

f
.

titles at th e o o t s o th at th e y c o u ld b e b o un d in to th e b o o k w ith o u t fo lds

,
.

As th e ir w id th is g re ate r th an th at o f th e letterpress p ag e s ab o ut thre e ,

q u arters o f an in ch o f each plate has b een p aste d to th e m argi n o f th e

“

o pp o site p ag e f
H al w ay d o w n the right h an d m argin o f th e title p age is - -

W
.

affix e d H o race alp o le s sm all b o o k p late Th e b o o k w as ac q uire d at th e

’

f
-

S traw b erry H ill s ale fo r fi ve p o un ds 26

Th e m o st n o table eature o f th e
O
.

B o dleian co py is th at th e title p ag e th e larg e plates o f th e -

rd e rs ,

a n d th e sm all w o o d c u ts in th e te x t h av e all b e e n c o lo u re d by h an d Th e .

tin ts em p lo y e d are v ario u s b u t th e y are s o m e w h at c ru d e an d no t v ery

T O
, ,

a pp ro p ria te I n th e c as e o f th e
. u s c an rd e r th e fl esh o f th e figure is
in n atu ral h ues an d th e c o lum n in gre en Th e title p ag e is c o lo u re d in g re e n
T
-

.
, ,

bro w n an d d ark blu e h e re is n o reas o n to d o ub t th at th is w o rk w as

f
.

c o n te m p o rary an d m a h a v e b e e n d o n e by S h u te h im s e l to a dd to th e b e a u ty
y ,

o f a p resen tatio n c o py fo r s o m e im p o rtan t p ers o n a g e I n th e B o dle ian c o py

f f T
.

th e p lac in g o f th e p lates d if e rs sligh tly ro m th e c o py Th e u s c an .

plate fac e s th e v e rso o f B4 th e D o ric plate th e v ers o o f C2 th e I o n ic plate th e

‘

,
 I 8 S hu te s
’
« A rchitectu re I n tro du ctio n .

vers o C o rin thian plate is in th e s am e plac e The plate o f th e Co m

f C4 Th e
O
o . .

p o site rd e r is p u zzlin g As in th e c o py it is p rin te d o n th e v e rs o o f

P
.
,

p ag e E 1 an d this prin t is un co lo ure d

, as te d o v e r i t s o m ew h at ro u ghly an d .
, ,

a d h erin g o n ly in p la c e s is an o th e r c o py o f th e plate w hic h h as b e e n c o lo ure d lik e

th e o th e rs
,

I t sh o w s a dif e ren t state o f th e w o o d blo c k ro m w hic h it w as prin te d

. f ,

f ,

an d m u ch o f th e le tte rin g h as b een add e d by h an d S o m e o f th e w o rds w hic h .

a pp ear in th e un c o lo ure d plate un d e rn eath h a d n o t b e e n e n g rav e d o n th e w o o d

w h e n th e p late a te rw ard s c o lo u re d w as tru c k o ff

s , f
I t Is diffic ult to gu e s s w h e th e r ,
.

th e c o lo u re d plate s h o w s an e arlie r s tate Of th e o rigin al w o o d b lo c k b u t this s e em s

T
-

a p ro b able s o lu tio n Th e b o o k is b o un d in lim p v ellum h ere h as b ee n s o m e

f f
. .

le tte rin g in in k o n th e ro n t c o v er un o rtu n ately n o w ille gible On th e to p , .

m argin o f th e v e rs o o f s h e e t C 2 is w ritten in a c o n te m p o rary h an d —Nic h o las

“

, ,
l

Allin gh am p ro b ably th e n am e o f an early o w n er

Wyatt apw o rth P
.
,

Th e third c o py is in th e U n ive rsity L ib rary at C am b ri dg e

“

ro e ss o r W P f
.

h as n o te d 27
th at th e late illis w as b elie v e d to h av e p o s ses se d a
c o py o f S hu te s Architectu re Th e C am b ridg e Lib rary b o u gh t m an y o f W
’
illis
’
.

b o o ks an d this am o n g th em Th e size o f th e letterpre ss p ages is tw elve

,
.

an d th re e — q uarte rs by eight an d three q uarter in ch es It is c o m plete b u t s o m e -

.
,

c o rn ers h av e b ee n dam age d an d re p aire d I t w as reb o un d in 1 90 0 All th e

f T
. .

plates are unc o lo ure d an d o ld e d Th e uscan plate is prin te d in gre en ink ; th e .

-

D o ric I o nic an d Co rin thian in grey ; an d th e Co m p o site w ith th e te xt in blac k

f
.
, , ,

All are p lac e d as in th e c o py e x ce p t th at th e C o rin th ian plate aces ,

th e v e rs o o f D2 in s tea d o f th e re c to o f D3 I t is at th e s am e o p en in g . .

S o m e o f th e plates are c o nsiderably d am ag e d an d all are cut d o w n Th e B o dleian ,

.

c o py is a q u arte r o f an in c h talle r th an th e C am b ridg e c o py b ut th e le tte rp re s s

o f th e latte r is place d h igh e r o n th e p a g e s o th a t th e to p m arg in is h al an in c h ,

-
,

-
f
s m alle r an d th e lo w e r m arg in a q u arter o f an in ch larg e r

f T
.
,

Th e o urth c o p y is in th e lib rary o f rinity C o lle g e D u blin an d is b oun d , ,

w ith se v e ral o th er p ie c es un d e r p re s s m ark S d I O N o 3 I ts siz e is ele v e n an d . . . . . .

fi fteen six tee n th s by s e v e n an d s ev en eigh th s in ch e s Th e plate o f th e

O f
- -

C o m p o site rd e r h as b een b adly cut d o w n in bin din g On th e le t side o f

f
.

o lio x vi w hich is E4 app ears th e righ t h an d p art o f th e C o m p o site plate w h ich

O f
-

.
, , ,

alo n e o f th e fi v e plate s o f th e rd ers w as p rin te d ro m a w o o d b lo c k w ith th e -

te x t an d w as to o w id e to go o n th e p a ge Th e last six tee n le av es h av e w o rm

f
.
,

h o les b e ginn in g w ith fi v e o n th e last le a an d dim inishin g in s iz e an d n um b e r as

,

th e y g o b ac k u n til o n o lio v ii th e re is o n ly o n e p in h o le f
Th e m o st in te re s tin g
“

f
-

. .

fe ature o f th is c o py is th at o lio s V to viii i e CI to C4 an d fo lio s ix to x ii

f f f
. . . . . .
, , , ,

t e D I to D4 are in du plic ate th e o rm e r s e t o llo w in g o lio v iii an d th e latte r

f f f
.
. .
, , ,

o llo w in g o lio x ii Th e im p e r e c tio n s o f im p ressio n an d in k in g v ary fro m th o se

R
.

in th e I B A c o py an d in dee d these variatio n s in the fi v e e x tan t c o p ies are

. . . .
,

very m arke d
f
.

Th e fi th c o py b elo n g s to th e D uk e o f D e vo n shire an d is p res e rv e d in ,

th e lib rary at Ch atsw o rth Th e siz e o f th e le tte rp re ss p a ge s is th irtee n an d .

a q u arte r by s e v en a q u arte r
'

an d in ch e s i e little talle r th an th e
f
-
a -

,
.

B o dleian c o py b ut m uc h n arro w er The fi ve plate s are o lde d at th e

,
.

s id e b u t o u t to p and b o tto m to th e s am e s iz e as th e le tte rp res s p a ge s

T
.
,

h e ir w id th v aries b u t av e rag e s e igh t in c h e s The blan k p ag e A4 is

,
.
 20 S hu te s
’
Jrchitectu re I n tro du ction .

IV . A N OTE ON TH E FA C S I MI L E R E P RI N T .

MY es p e cial k
th an s 31
are du e to th e P
resid e n t an d C o u n c il o f th e o y al R
In s titute o f B ritish Arc hitec ts fo r p erm issio n to u se th eir c o py o f S hu te as a

b asis fo r f f
this re p ro duc tio n an d fo r th e ull acilitie s ac c o rd e d fo r ph o to g rap hin g
,

its p ag e s
f R
.

It s eem e d
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by three q uarters o f an inch b o th in h eigh t an d w idth his sligh t v ariatio n

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this a s to u t p ap er h as b ee n u se d I n all o th er resp ec ts the aim h as b e e n to give

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aith ul re p ro d uc tio n o f th e fi rs t nglis h b o o k o n th e art o f arc hitec tu re

’

a .

L AWR E N CE W EAVE R .

Refo rm Club ,

J un e I st, I 91 2 .
 S hu te s A rchitectu re I n tro du ctio n
’
2 1
.

V .
—
N OT ES AN D R E E R E N ES
F C .

U nder thi s he a di ng a re gi ve n further p a rtic ula rs tha t elu cida te s ta te m en ts i n th e tex t , as well a s f
re e re nces to

a u tho ri ties quo ted .

PAGE 7 .

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PAGE
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PAGE 9
Wy
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9
P ap w in The B u ilder, Augus t
’
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PAGE
S h u te
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17
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PAGE 8 1 .

27
The Builder, August 1 0 th , 1 8 78 .

PAGE
23
1 9
Typ
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PAGE
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I n all
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°

< gp
/ o o re ahtlit ie a n d g oo d
e hut m o l hrt l a nd l
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c handclow che w rit

to e, hothin am e
fi fl
m o/lex cellent hath

it he/l neither w ith

5po/ita, The treati/e oft/oe/epillersfl s it

in it m oj ldelefla tio n andplea/itrein the heaw tie andco m /ines ofthe ab o rkm att a
ppe

i nto them h u h at the he innin a he m in ledw itha li ttella eritie andas it w ere
fi
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71m
g l [ g
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hitternes for the dtflcullle andharanes “ t herw ithas ho th prince alles a ndal o o ther
/
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p
e

m ahle z rc
fl
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chS eha lian

p oinfl es do iii o
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fln éhi w / in o u r

muffi n m any pla ces ofhis w orkes learnedly do w hat

o euer in any thin ’ em edned dlthe o inion a m eanin o the a d

é[ fi g f [ e ex erte w riter S cha
I

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anas hero andthere a f o w her I thou ht m eete 1 haae ioy nedthe m inde and in
f l i l g dgem en t o
f
o ne Guliel ra as P hil ander a notahl e m an w hi che a ho at they ere o o nre lorde 1
f 5 4 6 w ro te

k
. .

i nto the f renche in Anotacio ns laJ on Vi truaia concernin this m atter o r i che lika N ow
“
fi
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g / g g
es w hichare nece aril re uiredto the o enin o at he m atters 1 [
tch cl
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M ile cite
s

5
3 w he re th eea
-

5 1
) the w hole ro c e o this
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t hem [
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f gj p p
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to we the aeeuflom ed term e nam ed eolnm hes hiehe 1 hauenot

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arteo t
f
ene anam eaj nredin Ital iefi om w hence the
fi fifl
‘

y c am r b nt o 19: am e e m oor.

[m ay readand/inchedin Eng land tenti n e W riters th ht with m uche

fig
” “
q
m o reperfifi ion w rite ofthem as hath the read ing ofthe thing e andfiinge it in dede is m ore
'

then one!) hare reding ofit Thts [ m alland im /e treatt/eo ngvne I can no t tall w hitherw ith
[p f
k
.

li efilieitie broug ht to hisparfifl ion a: w ithno[

e
m al llahoureand[ indiefor this tim e ended]
t m eete at thefi /te meet o my oore attem ptes w indeuo rs to lent at a due t
eh r [ f p y e
a dette ofm e to he made,andthat w ellreceinea ’
llm en allthin/( em;
m ,
and f of p
i n ot a l
l er/é zze t J a a t th e a
f t e at h e
enter: andaeee ttr: o otherm eanes di l
p f g
i ence an

com e to ,
ho th l d o
f my lahoures at th

m3 » natura l! Lonntrim tn

m oreen coura ed herea terto attem te reaterthin

g f p g
t
e

Thus alm ightie Godprqerne the

in o t” x eereiee: to his
g ) e

f orener Am en:
T I ME H OT / VB H S T I S CI E N C E
o fi rehitefl nre inerea ed
f j .

N the hegin ld, N ature h e itie a d t att

nin
cg f h
o t e w or ) n ec
fl b fifl ef en ?
tonertteres o r hon/esfo rthepeo le to inhah
‘

fl g
ranne m aner o
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the eol
p p gy l
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b hen

m o re an dm o re J
et he ia

J
kingee nanze aneltheft
c
 Thc chicfc Gro undc s
i t in Greeia he b re
pie, “they h a a
f
l ene /
k
.

deredho m e to m a e a itiflSJ m etn ea ha

’
 The chiefe Gro undc s
'

fi rb them hk
a now and p hrceine h g he
as t o u suc :w e in a lo
h king glafi é ) the thing es,
c

d { N h i it hathhen w ithdraw nandh

d g ef h
'

l e
'

t
hatte henej é nea n o e a n m a e or b r e en er e s

l é h h h j h h
as alm oj i aiothe kno w g fi l f f
“

e r a o n a o n a t en e t r o n
g
( r a s
g c

h ll i d l i h h n
to pafi e h he iniar i
fn ti t a t a [ e e n c es a n e a r n n
g em e e
‘

t e o t e
-

y ,

ken ofi nj o m u ch th a t a t t his d aj e th e r e a r e m a n y w h ic h n a m e th i s o r d er c
f h u ileli n
g to h e
of
the nw f aa onfi nt it can not h e n e w -

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th a t h a t h[ ny
o m a a n ei en t A u t h o rs a n ti m a fl
t e rs t he r e
. é

l h N l l
'

f l h P li yj h i j t
f i i tio n th ‘
t
fi
h ; w hen: ,n m y
t t t o r e e m a a r
f a e t e o
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? e w r i e r o r n o r n ya n
gc
a

theirfi kehe hh r h l h t l
yf h t h e ritt e
l g g gfi
o r n h it r 'th i n ztclhe m e n o t
‘

n t
e d t e mg r e a a a u w n a n e z o a

n d fl f h h k h i i fi aectal i o
h f[ g a h
‘

nam ea the
’ h r i b t ey t e t n n en t on e c e re a t
'
a e r
‘

t o s a n m a e r s o w m i

k
a

anclb n/pe k
'
a ah le w o rk e pf w h ic t t h e h-
o n o u r an d fi j
z m e h a t h h en e a
fi n n ch W ri t e th e m a e r th e?

e But no w o t/ e thin es w ehe me

that lat/edt
e to he m aal .

f ti g
herfo re/peakefi) o t he w ort
f h yn es o
f fit h is ze n ee
p n d
e
o
f th }
e

VVb at t he O ffi ce: and D uet ie is o fhim i

t het vv
yllhea

Pc rfc étc Arclm c étc o rMayflc t o fb u yldm g s

’
’

hrong ltt f
rom
p l
ace to l
p n
at e

es pro erl called er/ eS ia e

p y p p
ex r lh y hich
p g S eha
fl ”
ia n
 O fArchite fi urc .

TVS CA N J .

3t i
i ll ill d h i i h fi
H e m aneranilfa r m e o
f fi p p p
t h e n e rin e a ar s a n

h
t e r
p r o
p er n am es w t a

d h t he l n a na l
y h eir
fi ttin
g in t e ir in
] ? p la ce s [
9 ’ the o rd e r
h i es t er a o n
g gz

k
n
p
S
t e r co m ou

i d d ith t he lett e rs A B C w h e r an t o is m ad e
a ndrul fy e tr a a n m a r e w .
m
. .

eo ,

i i d j t d lm a d e 19 : th I i
th is
p illar Tu
f ca n a as t s re n ue n e an a e on a ns
,

7 m the z
p Sm et ri e fl i en ezo ed a n d
nesand o f
k
ta ethhis nam e.
 The chiefe Gro un dc s

T V S C JN J!

an d ahle to heare the a rt? ofitlthe

ma k f
ea oure [
q uare j i
‘
an

andalo the raiefi uret

j p or e k Thus I ld
conc u e an en

his m ed/ares ;
'

or S P I RJI ‘
.

0m bpan the Pedcflalm hichis m arkedw ith Ay n /ha ty ater Bafip r ate of
‘ ‘
the .
’

o urhein in hei ht ha
l the thicknes a the i llar an
pil g g lf f p lld enid e

k
,

intaz partes Getee onepart vnta P linthus w hichoug ht to he raunde , andts m ar ed

r

k
.
. .

w iththis letterfl) The co nd arte ene b nto the he hte o To rus m a r ed w ith E w ith
fi ig‘ f
‘

p g .
, . .

his Apaphzgisy hiche Vi traains calleth L im hm This Proiefl are o this

'

c
llflati de
o at on either ide o thepillar, a m ucha s the one com as is reater then the at er If is he o re
j f p g { f
rehet din m a in o t
fl
’

g f ghe k
rotende lo tte in the 7ede a l
p
’
fi lc
<

S CA TVS . or COL VMN /I .

P fl f p ,
f an the h illar direflly i
o te o t e
ey b pr h t/ et S p
ea ns h fi h i E h h i h
5
y o m a c e s t e w c
2
.
l

S ap , i h h dy of h illo r andis 9 12 tersj n he ht that is to a

c ns s t e o a t e
p :rn e ,
ig j .

[y g t im es s

his thee/(ne t in height The w hit h thicknes fi nderat the [ i

ow
e/ p a rt e o
f S ca
p Jn s o w
.

j hal
l deuide i nta 4 pa rtes , w hero a t the heado the ta as ha/he
.

f f p [ 3 S o
[b a ll t S
he P i110 r j nr
derthe Capita lt he clem ent/hedthefinerthparte: w hea ras althe o ther
. .

’
,

thefi x tepart Fo rthe w hi chpillo r I hane anndorinueiztedan other

.

f
 Thc chic fc Gro u ndc s
w ho k i K the 7raiefiureo rhii
’
h a h efi) m uche as the il laris dim ini S
fi m ar e s in
g g /
o tterl
eche deyhe w hich is carr / o ndent to the thicknes o S capus heneth Thus w riteth S cha
p / h ed an

fi ep f .
.

j l a n:Serl ins, o the roiet lure o this Ca ital

f f lN euertheles l hant /ent in o ne l
j
‘
i p p p c si I t l
t a e n e
a i

k
.

that t he 7ro ie8 ure, ha ue hene li e to their hei ht h au/i the illar is lo m uche d h
’
i i edit
t
p /
»
g y y m n .

[ b oul d h fi
e there i re them are ( fir
m ly t o h a ue th e
g r eate r ? i o ie8 ur '
e a n dy et
j h a ll th o/ e ty o
k
,

”m uche onefrom the o ther Bu t y et afthe tw o W

”
w aye s not di
fi fi let Ds ta e the m
”
i
“

/
’

a
y t s
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.
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o e

airel haue a l o ene this i ha t it ha thhene Q h h

f // i ig h
'

p m t t
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sa e e r i n e e er
7 .
,
w e a s

u o rtedno o therpi llo rs his o w ne Trahiacians S o endeth th o rm e andntea ures o

he [ pp ej / f
ztul
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theG J
p um

L
.

E 7 I S T I I VM
)

um yiam edala Trahes call

fi
r tE
pfl s ili /\ edin oure

the w hi ch is m arked w i th L a ndis a m odulus in

Ifthe thi ckn

has onepa rte,andt he m e2
p m
‘

tes b nto

To rus,andthe thirdpa rt deuide al/o to S ana andthe thirdparte

ene the ed e w i de rSiina S a a/i s o r fi t: i b o n the w hich
h
y [ g ll [, p
‘

e a
g
-
 d : ahoeeea w e he he ht ar
w ardes t l h f at is
ig d
'

t t
p raw er
row nc com a s

W
-

on the m hic e ha
ndeth Z o hom s
j e Coronix the

W
p t ,

the W res, hut that in thisfi de C j m atiti m is et Mi ler Co m e

, j

o ther 14 ts/et l mder b ronafiein ofone he hte This done

C g i
g .

J
.

accordin to thi rule o endeththe m t sres and am ghm ente ofthe 1

[t p
’
g fi g i illar ca
g

14
7 .

'
adin how e allthe aetes o this il
h that o u ha216 wader
as m oc e as
y fi a g p f p c
lor w
o the illars that halhe, hath the t zi res m atures ,andifi
f p j y m
y “p tam es

out o fl nog raphia org roundplot v a rdes to the ver o o t

y p f
f t

ht itg o odfi r the m o reperfefi ion and ex ercifis oftheg ent -

to vi a/te e
’

l o al l the a rtes andpaflelles do w nw ardes

fi f f
eher al
p
phia w here be I an r ? th /e he the nam es T
g fi] e Q / f B
(
E I 0 N 1 8 Cy m atittm
a
T .

m a a f o ro na m a r 0 T em a m a r T e m
r i n E pfli y lium

I L
. . .
, ,

m rL
a C A P
(
T V I P
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lint hm E t A n n ie/lies m a rl f l
iy a

L
.
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z

otrachelittm m ar H C0 VMN A m ar E Aflrag a lus m a rked Gg

p
I
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,
o

Ap p g f
o h i e s upe rio r U in
fi rio r S ?
‘

R fi A ue A 3 I S T o m s

T
.

L E Pl
r
inthii s m ar TL 0 6 XT f Tetziapro
C
. . .

Corom ce m ar Tem a pro fi afis m ar lchnog rae

'

. .

p hia m ar fl bein the ar efi e

g p f [
. .

qt/a re o r

rom a lo t the be innin and

’

g p g g
ation o this W atkt
el
f /
 Thechiefe Graundcs
H E RE F OL OVVE T H T H E MA N E R A N D F OQ ME
f [ p ar t alled{Dorica hein a crihedto H er
o the é caw z d ill
g f eu les and Mars , '
,
orhis ren th aceardin e to the rule a rt j de
f fi g , g fi fi ‘
.

H ispiller called® orita,f halhe 7 f Diam eters in heighty iththe Bafe, and
. .

(apitallN o w if ;y e Will/ct S tylohata o r1 ede/lalfl mdery our pillar thus

’

e ha lhe in Fi /i y ou hallm a e
y j g r j k
k
.

the w hichts in mj re m ar edw ith J a nelthen dra w a jl ne ouert hw art

fig u

r om the one corne r to the o ther W h t hline is calledDy e: onal

f i is an d i
‘

g s m a r

W
, , c

k edw ith fi andthat l y n

-
e h ein
g d ir efl l
y r
i h
g jt e t o ne en d e
/ h a / he t he

han g ht o the na re o rhad

f ] o
f t he 7 °
ed e
fl a ll m ar ed w it h C m e a /u re
a zi dk
d eu id e th a t h e
ig ht .

into 5 partes t e w hichheight ofthe 7 3a/e, ofthe Pedeflii ll lhe as m uche, as ene ofthe 5
( '

. . .
.

a rts: w hiche is m ankedw ith fl andadm itte a l o a nuche 7m m the Co ronix o the ? éd ld lle
ffi f €/
p
m arked w it h'
E j b t h a t t he P e d e/ia le is
7fi i c he
p a rtes in h g
ei h t li e fb nto the ill
p ar w hk his k
k
.
,

m eters, i nheightf f e hei ht o the 7 3a is o the Pea e la le w hichis m ar ed w ith f)

(
7a .
h g f j ’f l / .

e deuidedintoz pa rtes the lo w e r7linthus, m a rhed w ith F the t ound art

f h alh fl p a rt is
fi fi p .

deuide into ftes Three ofthofi partes eue l mto Torus, m arkedw i thO the o ther 2 ar
g p a

k
. . . .
.

t s/ h lh d id d i es b nto j
fi g ra al d i h H h h i d
‘

e a e eu e n to
3p a rt es
.
,g
.en e 2
p a r t . . u s,
m a r e w t t e t r

eth e ula the ? roie&ure a eche de o the

p arte is lifte fisrthe ed e w hichVit ruuius t al
g
r
i Rg , f fi f
Ba[ e,ofthe Peddiallas Vitam insfizieth ha[ he hal fe a Modulus ha t the anti ue; haue m ade q ’

k k
,

their@roie&ures li e bnto theirheighten Then deuide the height ofCo ronix m ar edw ith E
‘

a m arkedW
'

ra alusm ithhis R e ul l) I the athen

into rtes eue one b nto A fl g
‘
l t
g g i
p a r es

k
.
,
.
c

adm itin 2 of tho/e artes to (J anatium m a r ed w ith

ileuide g p K a nd th e t h ir d e

k
. . .
,

vho/e m arhe is L the P roifi i ures o the ante is li e wnto

f
fi Rg i al
/ [
‘ ‘
e r a i .

s endeth the Ped /lale o r

'

8 71 014 S I VE 93 4 3 13
3
.

Spirem hichis the te o r Baf the pillo rand is

w e
of
p
artes one o
f

he eitheroft
y entb art o that hole
p f
M hi l
m p
at n eche id
j ,e and

s e w e rs em s co m u .

70113
Bafi ofthepillary efliedj et Seapus m ariledw ith h h
e R t e tra
k
,

ni e o rhod o /
se tll
y ft p orthe w hichis in height 6 ®iam et ers Thet e il
p . . .

t the ote is deuidedinto 6 artes:andb nder the Ca itaI it is dim i i hedone

fl p
‘

p ,
. .
n/
i the G artes that isha a arte on
f w .

lfp a th er d
fi ge nd th e
51) artes w hichrem a ne
ig , . .
 O fAschitcfi ufcr
‘

Fb lio m
‘
. t

h
o uert w arte

'

w ith 1 one Tnder the (apitall, is draw e ndow ne on hot e h

k
. .

the hai com h che is alo m ar ed w ithone Then

f p i /
'

as, w .

w hiche is dra w in ouerthw arte the illar a t the to

2 .

p ppe

kd
m ar e w ith A th
J
Canalico ls (Benethat
us is o at the to
al
f pp ,
e a

( A q I T ofL
»
.

' llo rhedde o the l

P p h
on t e to
pp f
eo
f pilarm arked
 The chiefe Gro undcs
w h iche rem ainethg eae to C
y ntatium p ndhis rule o r Rg h
e u t, w hich e ulu hal
Rg ”/ h e t h e t hi r d e
h C l T h
'

Pa rs e of th a t,
w hi ch r em a in e th an d l ie th a t t h e ta
pp e of t e afi ita e . e P r a ie ti u r e a
f th is

f h P li h h j f p ,h ll
l ,fl
[h /f d i h h p i t t t i
‘

t t
C;aa ita e r a e co i r e o n a n t w t t e ro e a r e o t e n u s}
a e h o te o t e a r

a nd is m a r k e d w it h N t.h e w
'

hic h e 7 ’
r aief l re, /
u i sa h e r u ed o
f th e A n tiq j
u es n t h e E
[y p ,
t d ill o r

dfi / i h e d d i d h h H h i V i i h i h d f h i
w hich is a [
r e a y n a n
j a n e t ] .aw e t,
i tr a u u s w r te t t to e m a e a te r t s

[ar e
t w it g
t h at t h e 73
ro i
e f i u re
af t h e
C a
p ita le
j h a l h e t he tw e la eth a n dfi x te
p a r te
f
a a M o

dulw lT h u s C a
p ita le w ith a l
l h is T ra ie fl u r es
'
.

E 71 8 TTL I V M
3
.

i
rtedw it hA the heigth therafj halhe a
.

eat Teniafina rked w ith the

“

k
dante m ar edw ithCthe/ix tepart
,

4p
.
fi
artes eueg . l m ta Guttapendant
orR ulaj n Epyiy lia fi nderTenia
num ber,th rt h art
y /
_
h eg .

Z 0 TH 0 R
‘
V S .

nari<e dw ithfl w hofi ht m ufle he

Jand tha t

ht to he made a
fi i j
re ha ane

urth the he

BE A T I ON I S,

Itruuius he a Madu[ as ,andthatJ aw

inta 5 part s, Geue x taC

'
. .
e
y . .
 O fArc hitc fl m é -

. Fo lio m u.

he nam her 6 thé one w ay andgthe ouer Nfethopa m flntiques T/edto cut fl
‘

k
.
. . .

in Co ro na Iupiter s m a r ofthe thunder halte Thus endeththe opinion o Vi truuius in the/e

-

f
hl
ea e rt e es asy e m ay
p /
er eue h] them ailer o r Co ronitis

lande in the
he[
r h are a crihed b nto him landin in the lace o Mars
fl g [ / [ g f
’

on m ea ure
p
hefiandeth w iththe o therpi llars he is li k e l mta Minerua an d therfart haue re/fefi e unto
”

hisplace

H as hau allthe m ea i res end

fi ing no w ai t h i a TC A 3 E A
e/ f R :

TI 0N p fl
am e al the artes and a r els
p eirm a rkes w hereh y is

kno w en the thing that is w righten arfpoken afto the cleat nes o r opening afm atters,
/f k
andan ex cerci e b rthe reader to no w the nam es [ 9 1 hauem o re a t l
a
g jh
r e oké o this m at
f
'
:

T I
3

t er in the endi n o the Tu/canpi/ler, ther o re I hallhig ine in 73 T 0 N S

g f f j R A E A I
R EG V L J .
v i S )
k
m a m ar edw ith I C ym a tiii fl o Co r
. ona Jm y
'
f
a rkedw ith H ( m atiii in erio r
‘

la andGutta, m arkedw ithC CA 7 1 3 s

I k k
.

T VL ) m a rkedw ith s m ar edw ith IfEchinus m ar ed 1h

OL VM N / i o rS Cfl P S Ab a
f V
.

S P o r {13 AS I S , m arked
Q R
’
I
’
A
S k
.
.

0 Q eg ula co tia m ar ed w ith Q\ Q eg ala To ries

S T k
. .
.

rkedw ith N T I L 0 93 A A Co ranix m ar ed . ,

.

'

us m arkedw ithl to the

,
m arkedw ith Afl g ,
ra al
c
.

anti l/aris addedCo ro na ,Regula,andS sm a, Q uadratum , Diag anium , m arkedw ith

k I
he diag onallline m ar edB chnag raphia, arg roundplat m arkedw ith A
‘

SIS k k
.

a, A ra al us, m ar ed w ith H
f
Bxi m ar edw ithD
Rg
‘
e ul
fl g
"

k k
.
c

Torus, m ar ed G Tlinthas m a r ed F in thefini/hedp

SI
.
.

S is at fh llaw eth Reg ula Cym atium re

(
or (
BA c

E i! Q eg ula plinthus
ng ula S im
d f
k
,

w hichm a ethan endf o rthis il

l
p er
 Thc chictc Gro unds s
TH E M/{ N ER F OQ ME AN D
’
'

S
a the y m etriaJ
/
‘

o rm ea ii re o
/ f I
ani ca w hiche w as deu
,

I anians andj et in the tem ple 0f Diana

“

8 Diam
. . eters w itht e
h
thi rd efl am e .

w it hicknes ofthepillarin t thus w ri;

tethVitruuius inhis thirdhooke d third(hapiter e

.
 O fArchite fi u sc . l o 5o
3

BA IS S .

'

halhea Modulus in height

H e fi aflsp rfite ofthepillar[ hichis m arkedwithM: w

heio htj auj haldeuide into gpartes,g eue onepart wntoTIinthus m ar edw ith N . .
k
tha t w hi ch rem ainethdeuide in to To rus m a rkedw ith 0 the ao
J . .

an dthefix
B/ f p
z ie o t h e i llar an d cl o t h a n
fi ver

helw ith the[ ro fi d l o t Th

oi
fi dg / p
i .

h decla ratm n ofl i truuius

f [to he a Mb dulus anclthat hei ht deu
’
ro n t e

thet a/ ) g 0 2 a rtes w hero

p , fg eu e T ltn th u s o n
p ,
e art .
.

i e ore is ta” / 7! h V i T hen tha t w hich rem aineth deuide ala s w heraf
as l / g c
y i tr u u u s
,
.
/ rte ,

h e enen to To rus the o the r 2 a rts w hichrem aine deuide ei thero thg
the hig her l
/p j a rt ha l
g c ; p , f
into 6 parts w herofthe highefi A/irag alus ( 7 his rule accupieth xpart, the w hichrule is hal f
“
.
.

ei ht o fl/irag a Ing a /[ b the e eahat l eth bnderTarus ha lhe hal a art in het htfl nd
fp
g f dg i /
‘

cg

that w hichrem aineth isf o r Tro chilus u erio r w herw ith ni heth the i a rtes.N ow e
[p fi / fifl p 6 .

ene a l ) spa rt to t he lo w er fI/lraga l us a ndhis Ed e The low c ed e that ia ndet h

(g fi .
, g c fl g f
f l h h lh h ig h h al a a rt the 4 a rtes a nda ha l tha t rem aine ha l
fp f ,/
h l/ i fi h
t u s
/ a e tn e t
, p .e e
-
r t e

Trachilus in erio r The Praieflare o the Pl are reher/ed, hut hecau/Z this To rus
f f nthusas hef
(
. i ’

i[
s k le nd er e r th e n th a t ,
th e w hichVitra uius
/ p eake th afl it hr in
g eth a m o re hew tif u ln e s to the

(ir
’
r o ie li u r e
)
w h i h c f
an n o t h e here ex re ?edas an
p ] y m a n o
f k n o w la
ige w ill can
/d ie .

s cn s f
.

l/et S capusgnarkedw ith IQ D ameters in hei ht ar

( ?
.
7 i g e “

hheight ofS capusJ /e hal

f i c

i nto
gp a r tes b on the third arte m a e hal é a cam as then deuide t he thieo
p .

p /
‘

p , k
m s of thepillarhenethinta; 6 pa the thiknes ofthe illar o r S eas
p
S
.

ag a t the toppe, that is hal a pa rt dim ini

f fh ed, one either de
fi of p
ca as
, f
ro m then
p
dow ne rio ht o ne hathj ides p nta the thirdparte ofthepillar b pon the w hichis m ade the half e

ines m akethz croffes b ppon the ha l co m as, Then m ea i

h e w hiche z l
f p / f re rom the
“

i
p
c om as . . .

daw new a rdes euen a longe hy thefi de ofthe hal/e carnpas, thatj laadethwpon the third ,

a rte o t he il lardenidin it infa 6 a rtes and dra w s t he/e li nes o uerthw art the ha/[
p f p g p e co m a

k
. .

asandm arke the a ne w ith t and a m ar e daw new ardes the nex t w ithz and ) w ith
p yp/ yer li [ .
fi “ .

h h d i f
d h / i
e/ f h h f p p
l d
'

h fl f /l 4 6 t t b o
‘

t 5 t n eu ro m e o e a c o m as w a r es n
3 e e w
e as it aw e o e
t e ri . . . . .

to the tap e o the illar I mder the api tal/, al

p f p C fi intatS a rtes draw in them o uerthw arte the
' ‘

p
‘

g
il l k th l
/ d d th 4 5 6 r deu tde it in to
[a m any a rts
p
p ar a m r e em a o ow n e w a r es w i
g o ,
. . . . .

aic? ery o u /ha lldim im /hey aur pi llar Then ha l

a sy anw ill the m o o, the hetterg theparf j
‘
y e
'
y

k
,

Zri e (g cra/ e, w hich

hg m e after this m aner a draw frii thefirike z daw n w ardes b ntathe[
“
ir
r
-

0 d am a
 The chiefe Gro undc s
is draw ers auerthw arte the hal f p ,
e com as andis a l m arkedw itha and draw e ala
f a ffi am t he
'
.

'
t ra st m a de v o n the hal e ca
fl gri ke j xw hic hha f f p , f a s dra w in b w ardes mnta lrike
j/
‘

p g p
k
m ar edw itlygt he w hichis dra w n o uerthw a rt thepil larahouexy j o draw efi om 4 ta 4 rom
f
‘

. . .
» .

1 0 5 hadf ro m 6 ta 6 The l i ne i m der the a ita l l h h l

5 . .
Cp .a
‘
t t e ta
pp e o f t e
pil a r m a rke d w it h I . .

rom ihence dra w e w itha rule daw new a r d s to the ende o the b r hte line w hich aieth at
f f p ig , fl:

the auerthw a rt li ne m a rkedz cla i

/5 p j l
f
a the ide a the il
p la r a nd f ram 2 t d
'

n w new a r
.
o
3 a . a
-

.
,
.

m m ! ) Then is that de ii ll inx heel

deg andal/o [ m m gfl m ta 4 f f 5
and rom
fi f j /
'
ram 4 1 m m 7
5
S
. . . . .

a ndm ade 7
p f f p j
9 m ht / 1t the o ote o ca us s a li ttell m a l
/ led g /iandin fi s ran To rus w ho
g g n/ f
h
e
k
.
,

height/halhe t e ninthepa rt ofMadulus§w herofhis I raIeHure/ha [

‘

J he ofli e height d l j o at .

the toppe ofs hepill or li ethAflrag a las,andhisfillet heing ha l f/ ga hi h as the I ira alus e?
(/ g
a lo aho ue the fl /ira a lus,is a li ttelE ej hew hich hi l an eth to t he
Cp ahThem ea/are o
/ g dg g a it
f
his Aflragalusftndhis Ed g g p f
eao hich helon eth bnto ca us is oiido ut he the l i telcii a
/ 9 0 5
”
l S '
'

ist he eye ofVolutaQ w ho/e m arke is X s/thepillarj halheg arni/hedw ith ( ana li ao li ther/ha l
c ‘

. .

he in aum herz aunde ahaut thep illaror S ca p us, and eue

r y fo th em d euide into
5p a rtes 4 .
. . .

oftha/i partes is the hredthafCa nalscali,andthefifthparte is fo rS tria, w hicha re alfa called

Fem ora Theg roundplat te theraf/ia ndethhefidthe pillar w hichi s m a rkedw ith 9 w herinj e
. . .

m ay ee the m anero r m aki

/ o
fC a nalicali cam as m w a rdes the w h che i
p flfi
g
.
,

rethf li rfi an) the o rder of o rica,a s it appereth our round lattexThus endeth the m a
g p
k S
.

ca as W i thh s at ii res
tterandm a i
g f p i e/
'

n o ,
.

Cxi 7 I T/ l )
L
Irefily andright flipan the top of tapas uj hallfet this Capita llfi llow ing S
k Diam etcrahehredthofthe Aha
s m ar edw ith T heing iii height the thirdpa rt ofa (
k
.

s V
cu m ar edw ith is a fi ram e rfl y therta a la
te
j adde
,
f
. the ei hteneth ar
g p t
f
o a Dig :

'
the copasy e
( f f / 7
l/et bthe other
p o nj l
in e fi nde r th e d h
ate o
a cus g g “ ha

then ta m e the co m pas a ho ut e (7 draw e daw new a rdes tm to the [ aw e ? o tho e s a r tes he ld
] f / ;
‘

'
p .

n to Valu tafllk ltlj e com e to t he l

ine m her at the l m et a achha n a ndthere a w ith tha t
a
g g pa fl)
‘

'
g '

aw l? o the ch a s rin the other poi/ti? of t het opas daw n c b ponflaw t

f p h flfl rike o
f li l 5
'

p g ) t e (

a g w hichis m arked a a Thé turne

h
a eds}? low e l o m fi o the c E as b nttl e com e to
’

/ f
“
p p p .

p j } hid
a ] he o ther ateye /hid et b o t he lrike m a rked
in ) (inefi vhery e al[
fl f
,

l w [ p / hein i hi } ?
’

t
g s g g
v
w “ n .

li tle ccaL Thecépafi ing aho ut eh hig hef ipa rt i t he t a as dow nw a rds m i til
f
'

e c é e a a in ea
p y g
t he han m
g g
 O fAscbizc aute . Fo lia x .

b rem ane the bl h h a rt o the com as sttin it on the rike 4 w ithin the
hig ing line and[ g dp f p / g fi
‘

e
.

'

ht/e com pas, anddraw e ppw ardes w ith the o therpointi c ofthe cbpas bnttlly e cam et o the per
‘ '

endtculer ling/lain a am e there ,a nd then t t he otherf

p ; g fi oo te o the co m as ri ht b
f p g pp a n t h e

i rike m a rkedw ith 5 a 7 a bein w ithin the Iitle cam as, a nddra w e daw ne w a rdes a ame 7mm
f . .

/ g p g
t hefi rfitj de line, e ndf o e t the h he
/ tg flp ainf i f
o the com as b h j i ik e m arkedw ith 6
‘
t
p
‘

p p a n e r . 5

hetng al o 1 m hin the litle com o s Then dra w e w ith the o ther oinfl o f he
j p .
p t .

a a in w hichdo th inclo/e the

g
l r Then [ hal l
f o w e .
y pe er c eu

brle com as; w htch is the eye _

that Va uta w as m ade w i th

E h h h i b g h S h j i h /
h t n c inu w j c
/ t n a t 0 afl e t
g J r U ‘
w e s a u s a r s r ew e a
e a
p
k
.

ts a l o n ede u l l h o brm e (s
h r ed th e o
/j f j o r ro n t (y [ of
a c e t h e a
p tt a l lt / / t o . n o w o w t
f fi ta o n
'

the[ i f
d h it ll T h ( [ a c i o n t h r a
f / ia n d ct h b e tw ix t tha z illers The Aha
p
o t e a
p a i m a n e r 7 e

k
e ,
.

at l h r he Traiefture is as m uche
fi
i
'

cusj ha t l et hi Vo luta ,” x / 4 [ u l q u a r t i .
e to a t re n c e
g
a o
s n e of t h e 1
9 p
. a r t e s o n c c h e [ a/
i d e t h e J h a t u s
f r o m th e w hi ch e halldra w do w ne thez
y [ .

e z Ed es tha t la ndon « he ende o the

fi d es a Va/ata w
f h i c h i s t h o
/e
p a r te s
,
th
g [ . .

f R o lls: o r
Valutaj hall Il PJpart betw ix t them bo th Thetake a paire af
'

pfl
ch a e w
/ e t t h e o ne oint? o
p f
k
.

the c p t th e la m
e/ i a n d in n er
pa r te
/ o
f t h e in k e dg e m ar ed w i th t a n d b r i n
g th e o th e r
k
o m a s a . .

h h h
i i ? o f t h p t o t h e m n e rm
fl
o co r n e r o
f t e o t e r e dg e w h i c e is m a r e d 15 2 d r a w :
k
p a n t e c om a s m . .

utthem e do w ni w a rdes to t he e aint? a nine in the l

flo ' fig u re t h p g p a ce m ar edw ithz ;

(9 d r a w e w i th the o t her o i nt? o t he ( h as do w ne to this i ure

p f p f g
-

3 4 aine andit ha llm o e a

g , [ k
J
. .

’
cra tj oppo n t ha t crof se et the ane ainfi o t he cam in w ithj : ather o i nt? o the com as
fl p f p g ?
p f p
d r a w
/ r am th e
[l r lk e m a rked fi x p nto the o t her ri e m a rk ed w i th 2
i ‘
.

fl .
( it ” D illk
! h
[ je w o a . .
7

the dim ini hing ofVo luta in the m sddel thrau h W h tCh d m ins hm a l erceti e the endes
j / g / p h
‘

w
g
S
. f
,

o the (
f a n a lt cu lt a d o n e t h e
f f
tde o t he C a
p ita l/a s tw
i/ /
e a ht oa de as it is in [ 2 8
2
1 1 1 l
‘
P r aie

k S
.

h l '
fl are of E c i n us
j s i e a n d (
q u a /lw i t h th e T r o se fl u r e o
f R t
g u la a t th e
f i
sate o
f ( o us a n
p d
t ende the 7raiet 7
’ ‘
ures nd m e ures o t his a ita ll a l a the / Inti ues in diuers o their edi
f i / f (p f f
‘

p q
»

fi cei, hath m a de Echinusg o he m Trai eti ure is e l mto j hacns k .

E PI S TI L I VM
'
‘
.

ha lfit Epifiilium p r Architraue w ho e m ark!

Var the Capita lo r hedofthepillery e[ /
is flt he hei ht thet of h e a Mo dulus ,a ndtha t he hty e ha ll descide m to
/ al h ig“ /
h k
.
,

tes o ne oft o ey e ha ll ene l m ta C Jm o tium m a r ed w ith h

/ j g i ‘
s roieci ure
p
‘

he: ht The athe r 6 pa rtesj ej ha ldem de into lz partes geue l m ta the low e/lFit/( it:
‘

k
. . .

m a rkedw it ( a ted the/ecandFa ( ia m a r ed11;

/ /3 g ‘
a lo eti e b nto the thirdFi t ( id
/
‘

g
es w hi ch rem aineth t he w hichis m a rked113 E W
‘

t he h
5p
.
a r
.
t
/
a e 7r0tet lure or ha n in
g g o ne?

j halhe ri ht a nd E ua l! w ith the thicknes o thf lllf f h

f p h a haue the fi a
fi N ander»
g n et e d ’
y o w
q
-

[la ndtha t the Proiefiur

(

Tpo n the o n e/ide 7m dcr

p ) [
a rt ll d id i t
W
o u ha eu e n o
9 . .

raiefl ure he o ther 4 a rt

} p . .

withfi ahe [
“
e j fi
aw /lFa i taJ n
 T he c hi efe C ro u n dc s
Z 0 7 H 0 RV S
3
.

P h Eptfliltfl,)
‘ on t e e ha[
l
] / et Z
p
oho rus , Whith i
‘
iledin our Ei g ht/he
s (a

en o r t u t/ hen it ou ht to hei o urth

'

g f
(ii/ha1i'fl ife he thef
v
onrth

w ith F m to z varice on e
'
.
; a
are he a l/o fi n ite/w a s hes

s E
fh al h e the e htp art hi:her then C
ig y nth his
O
o ronam a ni? (97hi
d ge a t the to
p p e tot e ehe
.

S i x tepart ofS im a added therto l the 7r0i et7ure to he like 7nto his heig ht and[
3
o ende ththe
'
‘ ‘

y
m ee ures o fIm eta

H its haue ye endidat hitlipart o/Traheattonis w ho] ? m a k e is H

fi gguht

the e e o S tm a m air edL C

dg / yk
m a tium
fi ron , m a rked
.
a K addedoue x the

w o m ii his Need I Z ophorsts, m arkeci F

S k
. .

Cim atiii m arkcdG ETI 171; IVMm arkedXf im atitt m ar edfi Eafiti z
'
-
. t

m are

m at e

being added bnto the Biz/eofthepede/iallfii rto increa/e his height

'

i
‘
r or

o ther ar os m o n f 14 ndo n tht round

h p fl effi j f p /
e ar i the illar ’

g t

e a tinder the edt a l

andno
fip p fl l in thew hiehho

ed ail is dem on E
p e fl / rated chno ra hia w her
g p ,
e I
I
in heg ane anda m a e an ende k
 Xi
'

O FAtcbitefl hre g Fo lio g

H E Q E BEGIN ETH
' ‘

TH E TI L L O Q
that w as aunde in f o rinthta
f h ( ll
im ae hius the ex y
cellent a

Architeéi of Corinthe

enter t us h Theflat tee

I oniea, Thé deitide Co ronix fit a rkedw ith int o lq gartes Gene b nto (ij m atitan ahotte ntars
"
‘ '
-
.

Redw ithJ3 pa rtes ofthe w hi t h hisfilletj hal/hatseJpart Then adm it al f p

o 2 artes to C o n
‘

k
. . . . .

t onafl a rkedw ith anda lo a artes fini to S dh i fi ll

K f p j m a h a s et o r ed e m ar ed w i th L the
g
k
.

o thera artes ene 3 m to Cy n e m ar edw ith M and ee tenth arte ad

'

atittm w ithhis e
d fl i
'

p g t
g p m t
fi mt flr g
o ri a alu s
Rg ,
(
eg i el
a m a n /
( ed w i th N f b nd e r C y m a tin m
g h e G 7 rozeé¥ nr ey e halm a e
f k
k
li e iinto their heig ht [
i astin oizeg
g
“

y f o ron a ,
w h ic he o
'

h t ti e 2 third arees m o re
’ '

p
r . .

{ be he a
a fi e f
sm t o t h ew ho le o r o nix an e nd eth t he m ea
fi {
i res y

@t oiefi ures, therunto helorg ing .

Ow j de the m eaj itres ofthe thi cknes ofthepillo r,w hich is the Diam eter, “
e[ha

do t hredthe ofthe hoddye ofthe fi edefbfl into 6 1 mrees, w herofthe

’

f p [
eter o r thicknes o the si/er ha /he 4
diam ach arts h ei ht o the itlor ha
f ’p j ih
’

/ p
’
‘

. .
e
® i zeters w hero the Ca ita
f l/ h ! h tte r Q iam eter o r his he
f ig h h h h
ig f
’

( U
'

a t
“

n t t
‘

9 o
p
‘
a a i a e e o

k
J
.
,
.

the fl afi: ha the hal } a( D h i r é 0 j h j ha i

f f ia m e te e h i c [ d / e is m a ed s w h o e e
ig h ty e / d e ttid e in t o .

41 ) artes w hero t he ? l
f in h i ; h d h e h T h o h r d id i 5
”

t w t p t p t t gp t i 5
‘

ts m a r e i o ccu i a a r e e a r e s e t e n 0

k
. .

rts Gene ) 9nt o To rits, ahone w hichis m ar edw ith To rnsfieneth/ha[

'

.
'
he
j f p g h ” T / h R h h h h h etw e
’

b rt a r ea te r the th e o rus (th on g i s m a r { e d w i t t at w it r e m a in et n

k
.

rns deitide highej ipaN y e/ha 11m a e Tro chi/as, m arhed w ithS
J
.

w hero the A n cte ai t , andhis ed e ha lhe hal his he htJ h e other

f fi g a alns /qa [ he the
fio p g j f ig t e
d e
g
-

t hat iiethfi nderthe highe To rnt a/he in height the thirdparte m o re the the hei
"

g h f
t o t se -

o ther ed e The /eeond a rt that rem a inethis o r the nethernz o/i Tro chi/us orS co tia , m ar
f
'
’ ‘

g p a

Redw ith T w hofi Afi rag aiQ/hallal o he in he ht the e part o/Tro ehi/ns andhis ed e
’
j i fi x t
g
g
.

e ha l e his hei ht , the o ther ed e that [ set 5 on the nether m o ? To rus ha [ e in hei ht 2
[h a[ h f g g ] ,j
h g
I
. .

‘
third artes o the hei ht ofA/i fa a li the Proiet iitre o this ha[
( this pillorflande
p f f e is t hus
f
'

g g
k
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I MP R I N T
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