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Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
nature_n	frame_v	good_a	great_a	333	4	2.0852	3	false

Text snippets containing the quad

ID	Title	Author	Corrected Date of Publication (TCP Date of Publication)	STC	Words	Pages
A54729	The first book of architecture, by Andrea Palladio. Translated out of Italian: with an appendix touching doors and windows, by Dr Le Muet architect to the French King: translated out of French by G.R. Also rules and demonstrations, with several designs for the framing of any manner of roofs either above pitch or under pitch, whether square or bevel, never published before. With designes of floors of variety of small pieces of wood, lately made in the pallace of the Queen Mother, at Sommerset-House; a curiosity never practiced in England before; Quattro libri dell'architettura. English	Palladio, Andrea, 1508-1580.; Le Muet, Pierre, 1591-1669. Divers traictez d'architecture pour l'art de bien bastir. aut; Richards, Godfrey.	1668 (1668)	Wing P205; ESTC R220416	50,205	249

Pedestal bigger for the one Order then for another although this part much adds to the Beauty and Ornament when it is made with discretion and proportion to the other parts To the end that the Architects may take notice and serve themselves upon occasion and know that they made them sometimes square that is to say as long as broad as in the Arch Di Lioni at Verona And these I have assigned to the Dorick Order because it requires Solidity Sometimes they are made taking the measure from the light of the Arch as in the Arch of Titus at Sancta Maria Nova in Rome and in that of Trajan on the gate of Ancona where the Pedestal is half the height of the light of the Arch and of that kind of Pedestal I have put to the Ionick Order and sometimes they took the measure from the height of the Column as is seen at Susa a City scituate at the foot of the Mountain which divides Italy from France In an Arch made to the honor of Augustus Caesar and in the Arch of Pola a City of Dalmatia and in the Amphitheatre of Rome In the Ionick and Corinthian Order in which buildings the Pedestal is the fourth part of the height of the Column as I have made in the Corinthian Order In Verona in the Arch Di Castel Vecchio which is very beautiful the Pedestal is a third of the height of the Column as I have put in the Composita Order And these are the handsomest formes of Pedestals and have the best proportion with their other parts And when Vitruvius discoursing of Theatres makes mention of the Poggio you may know that the Poggio is the same with the Pedestal which is the third of the length of the Column put for Ornament of the Scene But of Pedestals which exceed a third of the Column such are seen at Rome in the Arch of Constantine where the Pedestals are two parts and half of the height of the Column And almost in all the Ancient Pedestals the Bases are observed to have been made twice as big as the Cimacium as is seen in my Book of Arches CHAP. XX. Of Errours HAving set down the Ornaments of the Architecture that is to say the Five Orders and shewed how they are made and laid down the Profiles of each of their parts which I found that the Ancients did observe It seems to me not unfit here to acquaint the Reader of many abuses which being brought in by the Barbarous are yet observed to the end that the studious in this art may avoid them in their own Workes and understand them in others I say then that Architecture as all other arts are being Imitatrix of Nature accounts nothing tollerable which is estranged and differs from that which is natural Wherefore we see that those Ancient Architects who built with Timber when they began to build with stone directed that the Columns might be lesse at the top then at the foot taking example from Trees which are all lesse at the top then in the trunk and near the root Likewise because it is very convenient that those things upon which any great weight is put should be pressed under the Column they put a Base which with their Torus and Seetia seem by the burthen over them to be swelled so also in the Cornices they bring in the Triglifes Modiglions and the Dentills which should represent the heads of the Joices which in the sealing are placed to bear up the Roof The same may be observed in all other parts if you are curious And being so you cannot but blame that form of building which deviates from that which Nature instructeth and from that simplicity which is directed in things by her produced framing as it were another nature and departs from the true good and handsome manner of building For which reason you ought not instead of Columns or Pillasters which are to bear up some great weight to place Cartouches which are certain Scroles which to the intelligent seem deformed and to the ignorant rather confusion then pleasure nor do they produce other effects then incrcese the charge of the Builders Likewise you must not make any of those Cartonches come out of the Cornice for it is requisite that all the parts of the Cornice be made to some end and to make appear what it would be if the work were framed of Timber And besides being it is convenient that to uphold a great weight somthing solid and fit to support that weight be required questionlesse those Cartouches are altogether superfluous because it is impossible that any Timber whatever could really perform what these seem for feigning it self to be soft and gentle I know not by what rule they put them under any thing heavy and hard But that which in my opinion imports much is the abuse in making Frontispieces of Doores Windowes and Galleries divided in the middle because they were made to defend the inhabitants from rain I know nothing more contrary to natural reason then to divide and open that part which the Ancients instructed by necessity it self did make whole and raised in the middle to shew that it ought to serve to defend the inhabitants of the house and those that enter therein from Rain Snow and Haile And although Variety and Novelty should please all yet we are not to go against the precepts of Art and that which Reason demonstrates Whence we see that although the Ancients did vary yet never departed from the general and necessary Rules of Art as may be seen in my Book of Antiquities Also concerning the projecture of the Cornice and other Ornaments 't is no small abuse in making them come too forward because when they exceed that which according to Reason is fit for them especially if they be in a close place they seem narrow and uncomely and put fear in those which stand underneath threatning alwayes to fall you ought as much to avoid making the Cornice disproportionable to the Column putting great Cornices upon little Columns or upon great Columns little Cornices who doubts but that such a building will seem very ill favoured Besides to make the Columns seem to be of several parts making rings and wreathings about them as it were to hold them together ought as much as may be to be avoided because how much the more intire and strong the Columns appear so much the more they perform the design for which they are placed which is to render the work above secure and firm Many other like abuses might be reckoned up as of some members which in the Cornices are made disproportionable to the other which by what I have shewed before and by that which is now said may be easily known it remains now to come to the disposing of the particular and principal parts of the building CHAP. XXI Of Galleries Entries Halls Anti-Chambers and Chambers and of their proportions GAlleries for the most part are wont to be made on the