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ID	Title	Author	Corrected Date of Publication (TCP Date of Publication)	STC	Words	Pages
A11922	The first booke of architecture, made by Sebastian Serly, entreating of geometrie. Translated out of Italian into Dutch, and out of Dutch into English; Tutte l'opere d'architettura. English	Serlio, Sebastiano, 1475-1554.; Peake, Robert, Sir, 1592?-1667.	1611 (1611)	STC 22235; ESTC S117091	201,482	411

The first Booke of Architecture made by Sebastian Serly entreating of Geometrie Translated out of Jtalian into Dutch and out of Dutch into English LONDON Printed for Robert Peake and are to be sold at his shop neere Holborne conduit next to the Sunne Tauerne ANNO DOM. 1611. TO THE HIGH AND MIGHTIE PRINCE HENRY Prince of VVales SJR NO vaine ambition of mine owne Desire much lesse presumption of my none Desert incited me to present this Volume to your Princely view but rather the gracious Countenance which euen from your Childehood you haue euer daigned to all good endeauours invited Mee also after so many others to offer at the high-Altar of your Highnesse fauour this new-Naturalized VVorke of a learned Stranger Not with pretence of Profit to your Highnesse who want not more exquisite Tutors in all excellent Sciences but vnder the Patronage of your powerfull Name to benefite the Publicke and conuay vnto my Countrymen especially Architects and Artificers of all sorts these Necessary Certaine and most ready Helps of Geometrie The ignorance and want whereof in times past in most parts of this Kingdome hath left vs many lame VVorkes with shame of many VVorkemen which for the future the Knowledge and vse of these Instructions shall happily preuent if the euent but answere in any measure to that Hope of mine which alone both induced this Desire and produced this Designe VVherein I must confesse my part but small sauing my great aduenture in the Charge and my great Good-will to doe Good All which together with my best Seruices I humbly prostrate at your Princely feete as beseemes Your Highnesse most humble Seruant Robert Peake To the Louers of Architecture OVr learned Author Sebastian Serly hauing great foresight to shew and explaine the common rules of Architecture did first publish his Fo●r●h Booke entreating of Architecture and after his Third Booke declaring excellent Antiquities Fearing that if hee had begunne with Geometrie and Perspectiue common workmen would haue thought that the two sornter although small had not beene so needefull to studie and practise as the other Which friendly Reader considered hindered mee long either from Translating or Publishing the two former being perswaded by sundry friends and workemen to haue desisted my purpose both from translating or publishing The which J had surely effected if I had beene ouer-ruled by their requests and perswasions alleadging strong reasons that the common Workemen of our time little regarded or esteemed to Worke with right Simmetrie the which is confused and erronious in the iudgement of the Learned Architect if they will follow the Order of Antiquities hereafter ensuing Wherefore least my good meaning together with my Labour in Translating and Publishing should not be regarded and esteemed as worthie considering it not onely tendeth to the great profit of the Architect or Workeman but also generally to all other Artificers of our Nation I aduise all generally not to deceiue themselues nor to be selfe-conceited in their owne workes but well vnderstand this my labour tending to common good and be perswaded that who so shall follow these rules hereafter set downe shall not onely haue his Worke well esteemed of the common people but also generally commended and applauded of all workemen and men of iudgement Vale. ¶ The first Booke of Architecture made by Sebastian Serly entreating of Geometrie ¶ The first Chapter HOw needfull and necessary the most secret Art of Geometrie is for euery Artificer and Workeman as those that for a long time haue studied and wrought without the same can sufficiently witnesse who since that time haue attained vnto any knowledge of the said Arte doe not onely laugh and smile at their owne former simplicities but in trueth may very well acknowledge that all whatsoeuer had bene formerly done by them was not worth the looking on Seeing then the learning of Architecture comprehendeth in it many notable Artes it is necessary that the Architector or workeman should first or at the least if he cannot attaine vnto any more know so much thereof as that hee may vnderstand the principles of Geometrie that he may not be accompted amongst the number of stone-spoilers who beare the name of workmen and scarce know how to make an answere what a Point Line Plaine or Body is and much lesse can tell what harmonie or correspondencie meaneth but following after their owne minde or other blinde conductors that haue vsed to worke without rule or reason they make bad worke which is the cause of much vncut or vneuen workemanship which is found in many places Therfore seeing that Geometrie is the first degree of all good Art to the end I may shew the Architector so much thereof as that he may thereby be able with good skill to giue some reason of his worke Touching the speculations of Euclides and other Authors that haue written of Geometrie I will leaue them and onely take some flowers out of their Garden that therewith by the shortest way that I can I may entreat of diuers cutting through of Lines with some demonstrations meaning so plainely and openly to set downe and declare the same both in writing and in figures that euery man may both conceiue and vnderstand them aduertizing the Reader not to proceed to know the second figure before he hath well vnderstood and found out the first and so still proceeding hee shall at last attaine vnto his desire A Poynt FIRST you must vnderstand that a poynt is a priche made with a Pen or Compasse which can not bee deuided into any parts because it conteineth neither length nor bredth in it A Line A Line is a right consecutiue imagination in length beginning at a poynt and endeth also at a point but it hath no bredth Parable When two Lines are set or placed of a little wydenesse one from the other those two lines according to the Latine phrase are called Parable and by some men they are named Equidistances Superficies When those two Equidistances aforesayd are at each end closed together by another Line it is then called a Superficies and in like sort all spaces in what manner soeuer they are closed and shut vp are called Superficies or plainnes Perpendicular Straight corners When there is a straight vpright Line placed in the middle of a crosse straight line then it is called a Perpendicular or Catheta Line and the ends of the crosse or straight Line on both sides of the Perpendicular are called Straight corners Obtusus Acutus When a leaning or straight Line is placed vpon a straight Line without Compasse or equalitie as much as the same Line bendeth so much shall the corner of the straight Line be narrower below and the other so much broader then a right or euen corner and the straight corner in Latine is called Acutus which signifieth sharpe and the wider corner Obtusus which signifieth dull Piramidal A corner or point called Piramidal and also Acutus in Latine is when two euen long straight

go vp downe so that in short time the Amphitheater was filled with a great number of men without hindrance one of another You may also sée in the outward part how the thicknes of the Pilasters and the walles vpwards lessened which on the inside are drawne in and being so drawne in giueth the building great strength and to shew it to be true you may sée there at this day some part of the Facies without yet whole from the top to the bottome and yet the inward parts are decayed and that hath the drawing inward of the Centrée dens which made the worke slighter taking as it were a forme of a Piramides But this is not obserued in the common building in Venice but rather the contrary because the walles without are in Perpendicular maner and lessen inwards and this they doe for want of ground to get the more space vpwards but that which helpeth such buildings is that there are no Arches in it nor Roofes of any maner that force the walles to giue out but the number of Bea●● which are layd and fastned in the walles bind the walles and the roomes of the house together and so such buildings stand fast so long as the Beames indure which men from time to time renue neuerthelesse these kinds of buildings last not so long as the ancient buildings did made in such order as you sée in the Colisco whereof I will speake agayne And withall as I sayd the innermost part being so ruinous that men sée no part of the innermost worke which is cut off by the line that hath Shafts or Arrowheads at the ends and for that you sée no parts thereof at all whether that the vppermost parts of the highest steps vpwards to the top were all couered with double Galleries or that the Porticus was alone and the other left open therefore I haue made it in two maner of wayes the one is as you see in the same Profill ioyned with all the worke and the other maner is which standeth without the degrées or steps which order also agréeth with the other if you set it so that the two Lists in the Pedestals méete each with the other but for that you sée some remaynders of the crossed Roofes which yet hang within on the walles as the fourth ground sheweth the which I iudge was onely a Porticus and that the other part was vncouered to receiue the people and being so must receiue them better then if the Galleries had béene double Now to turne to the beginning of the degrées or steps that I leaue nothing vntouched as néere as I can I say by meanes of the ruines and filling vp with matter fallen the playne or the place in the middle is so filled vp that a man cannot marke how high the first degrées of the playne were eleuated but by the instructions of those that haue séene the end the first degrée was so high that the wild and vntamed Beasts could not hurt the beholders and there was also a Borstwering and other stréetes of a reasonable bredth to go round about as it is shewed where it is marked with C. The two open places the least and the greatest Arch were to bring in light The places standing vp about the degrées or steps which are couered and marked A. are D●●res whereby men went without vp the Stayres to the Theater The Profill of the Amphitheater of Rome THE outward part that is the Orthographie of the Romish Coliscco is made of foure stories and the first story next aboue the ground is made after the manner of Dorica and although there are in the Freese neither Tr●gliphes nor Metophes nor yet guts in the Epistolie or Architraue neither Fulmines and guts vnder the crowne yet it may be called Dorica The second Order is after the manner of Ionica and although the Columnes be not fluited yet in effect they may be called Ionica The third Story is after the manner of Corinthia but firme worke without cutting vnlesse it be the Capitals the which with their height are not exquisitely made The fourth Story is Composita other call it Latina because it was inuented by the Romanes some others call it Italica But it may well be called Composita were it but for the mutiles which stand in the Fréese for that no other Story haue their mutiles in the Fréese but that Many men aske why the Romanes made this Building of foure Orders and made it not all of one forme or order as many others are as that of Verona which is all of rusticall worke and that of Pola also A man may answere thereunto that the old Romanes as rulers ouer al especially of those people from whence the thrée former Orders had their beginning would set those 3. generations one aboue another aboue all those orders the Composita as found by themselues thereby signifying that they as tryumphers ouer those people would also tryumph with their workes placing and mingling them at their pleasures But omitting these reasons we will procéed to the measures of the outtermost parts and Orthographie This Building was eleuated from the earth two degrées the second degrée was fiue Palmes broad and the first two Palms the height was little lesse then a Palme the Base of the Columne was not two Palmes no more is the Dorica the Columne is foure Palmes thicke and two minutes the height is 38. Palms and 5. minutes with Base and Capitall the height of the Capitall is about two Palmes the Pilasters on eyther side of the Columnes are thrée Palmes and thrée minutes the widenesse of the Arch is twenty Palmes and the height is 33. Palmes from vnder the Arch to the Architraue is fiue Palmes and sixe minutes the height of the Architraue is two Palmes and eyght minutes the height of the Fréese is thrée Palmes and two minutes the Cornice as much The Pedestall of the second Order is eyght Palmes and ten minutes high the height of the Columnes with Bases and Capitals is fiue and thirty Palmes the thicknesse is foure Palmes the Pilasters and Arches are like those beneath but the height of the Arch is thirty Palmes from vnder the Arch to vnder the Architraue is fiue Palmes and sixe minutes the height of the Architraue is thrée Palmes the height of the Fréese is two Palmes and nine minutes the height of the Cornice is thrée Palmes and nine minutes The Pedestall of the fourth Order called Composita héere our Author hath forgotten the third Order but howsoeuer it differeth not much from the Ionica the Pedestall of the Composita is twelue Palmes high the vnder-Base thereof is foure Palmes the height of the Pillars with Bases and Capitals is thirty eyght Palmes and sixe minutes the height of the Architraue Fréese and Cornice is about ten Palmes deuided in thrée one part for the Cornice the second for the Fréese wherein the Mutiles stand and the third for the Architraue But for what cause or reason

eyther side are halfe a foot thicke the Architraue is 7. ounces and an halfe the Fréese is 6. ounces high the height of the Cornice without the Scima is 4. ounces the height of the Timpanum of the Frontispice is 8. ounces Aboue these Tabernacles are small tablets with other Cornices the which tablets are two foot broad and hold one foot in height the height of each Cornice is 11. ounces the height of the opennesse of the Arch although it be somewhat dig●●d below is yet twise higher then broad for the widenesse thereof is 10. foote and a quarter and the height is 25. foote and an halfe The Capitall vnder the Arch is as high as broad the worke of this Arch is Composita and brauely set out with Images of Marble and Copper as you may perceaue in the voyd places This is the ground of the Arch following THis forme of the Arch Tryumphant of Castel Vecchio in Verona is made as it is here set downe and although from the Freeses vpwards there are no signes of ornaments neuerthelesse it did stand so And for that the parts hereof are o●mall that you can hardly vnderstand them in the next side they shall bee for downe in a greater and playner form This Arch tryumphant by that which is found written within the inner parts thereof by some is sayd that Vitruuius caused it to be made but I beleeue it not and that for two reasons or causes First that I see not in the Inscription that it saith Vitruuius Polio but it is possible that it was another Vitruuius that caused it to be made The second reason is this that Vitruuius Polio in his writing of Architecture doeth vtterly condemne and reiect Mutiles and Dentiles standing together in one Cornice and such a Cornice is found in this Arch. And therefore I conclude that Vitruuius the great and learned Architector made it not but bee it as it will this Arch hath a good forme and proportion These letters are vnder the Tabernacle in the Pedestall C. GAVIO C. F. STRABONI These letters are cut in she inward side of the Arch. L. VITRVVIVS LL. CERDO ARCHITECTVS These letters are also in the Pedestall of the Tabernacle M. GAVIO C. F. MACRO BEcause I haue not fully written the particular measures of the members of the aforesayd Arch neither haue I shewed it in such forme that a man may conceaue the particular measures therefore you may sée them here set out in greater forme and in such sort as they are and first the height of the Plinthus vnder the Base of the Pedestall marked G. is a foote and thrée ounces The height of the Base abous vpon it is 6. ounces The flat of the Pedestall marked F. is 4. foot 3. ounces and an halfe high The Cornice vpon it is 10. ounces and an halfe high The Base of the Columne is one foote high The Plinthus of this Base turneth into a Corona lisis which me thinkes is very pleasant for that I haue two some Gréeke Pedestals so The Columne is strycked chanelled or hollowed from the toy to the bottom The height of the Capitall of this Columne is one foot 4. ounces and an halfe but the forme is not here because it is shewed in the beginning of the Order of Composita which Capitall in effect is Composita although the Arch may be wholly accompted to bee Corinthia and this Capitall standeth in that place maked C. Also in the same place you see the Capitall of the impost of the Arch which is marked with D. But the little Capitall of the Tabernacle betweene the Columnes is here marked H. And the Cornice also with the Ease marked E. is that which is vnder the Tabernacle The Figure C. is the table aboue the sayd Tabernacles and the Figure marked D. is the Architraue Fréese and Cornice of the Frontispicium of the Tabernacle The Figure marked with B. is the worke which goeth about the Arch the Cornice marked A. is the principall Cornice aboue the Arch the which in effect is very comely and well wrought yet it is vicious as I haue often sayd that is the Mutiles and the Dentiles therein are by Vitruuius reiected with many strong reasons But in this many men affirme that fithence Vitruuius time many workemen haue made Mutiles with Dentiles in most places of Italy and there round about so that now there is no question made thereof but euery man hath libertie to make that in his worke which he findeth and séeth in Antiquities whereunto I answere that disprouing the same they haue prooued their cause to be good But if they will acknowledge Vitruuius for a learned Architector as most workemen affirme then reading Vitruuius with good iudgement they must confesse and acknowledge that they haue done amisse therein The halfe of the foot wherewith the Ichnographie and the Orthographie together with the ornaments of this Building are measured IN Verena at the Gate Dei Leoni there is a Tryumphant Arch with two like goings through which I neuer saw in any other place besides but many with 3. Arches which building although it hath the figure of 6. windowes yet go they not through neyther yet very déepe in the wall whereby you may iudge that some round Images stoode in them Aboue the first Cornice this building is hollow in maner of a Nich or seate but not very déepe in the wall but yet with helpe of the proiecture or striking out of the Cornice men might stand there to doe some thing or other while the Triumph lasted but for that this concerneth the workeman very little I will speake of the measures And first the opening of the 1. Arch is 11. foote wide and 18. foote high the Blocke vnder the Pedestall is one foote high the Base of the Pedestall is 3. Ounces the flat of the Pedestall is 2. foote and one Ounce high and the Cornice is 3. Ounces the height of the Bases of the Columnes is 8. Ounces and a halfe the height of the Columnes without Bases or Capitals is 12. foote and 1. third part their thicknes is 1. foot 4. Ounces the height of the Capitall is 1. foote 8. Ounces the height of the Architraue is one foote 5. Ounces the height of the Fréese is one foote 8. Ounces and so much is the height of the Cornices from the Cornices to the second Roofe is 3. foote and a halfe whereon there are certayne Mutiles whereupon Images had stoode made fast to the 7. Pilasters betwéene which little windowes beautified with small pillars stand but not much bearing out the widenes of a window is 2. foote 2. Ounces their height is 4. foot 3 Ounces the height of the greatest Columnes is 5. foote 4. Ounces with Bases and Capitals which are flat not not much raysed vp The height of the second Architraue is 6. Ounces and a halfe the height of the Fréese is one foot and a halfe the height of the Cornice is 10. Ounces and