Vitruvius Pollio, I dieci libri dell?architettura, 1567

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                  <s id="s.002640">
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                  bellezza a gli occhi. </s>
                  <s id="s.002641">però Vitr. diſtingue le ſpecie de i Tempij ſecondo gli interualli, che ſono tra
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                  colonna, & colonna; non inquanto al numero, ma inquanto alla grandezza loro; & dice, che
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                  la prima ſpecie, è detta Picnoſtilos, cioè di ſpeſſe, & riſtrette colonne, quando una colonna è
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                  molto appreſſo l'altra. </s>
                  <s id="s.002642">La ſeconda Siſtilos, quando i uani ſono piu larghi, perche allhora le co­
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                  lonne ſono piu diſtanti. </s>
                  <s id="s.002643">La terza è detta, Diaſtilos, che anchora con piu larghi ſpacij ſi diſegna. </s>
                  <s id="s.002644">
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                  La quarta Areoſtilos, che è quando oltra quello, che biſogna, diſtanti ſi fanno gli inter colunnij,
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                  cioè gli ſpacij, che ſono tra colonna & colonna. </s>
                  <s id="s.002645">La quinta Eustilos, che ragioneuolmente, &
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                  con diletto comparte i uani. </s>
                  <s id="s.002646">& ſe licito fuſſe darei a queſte ſpecie gli infra ſcritti nomi, Stretta,
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                  Larga, Rilaſciata, Spacioſa, & Giuſta colonnatura. </s>
                  <s id="s.002647">Diffiniſce poi Vitru. ciaſcuna ſpecie, &
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                  uuole, che la ristretta ſpecie detta Picnoſtilos, ſia quella doue gli ſpacij tra le colonne ſi poſſono
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                  fare della groſſezza d'una colonna & meza. </s>
                  <s id="s.002648">La ſpecie, & maniera larga detta Siſtilos, è quando
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                  ſi puo ponere tra due colonne la groſſezza, o diametro di due colonne; ma uuole Vitru. che i zoc­
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                  chi detti Plinthides, che ſono i zocchi, & le parti inferiori delle baſe, ſiano tanto diſtanti, quan­
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                  to lo ſpacio, & uano, che è poſto tra due zocchi. </s>
                  <s id="s.002649">Del Theatro di pietra intende il Filandro
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                  il Theatro di Pompeio, i cui ueſtigij ſono in campo di Fiore. </s>
                  <s id="s.002650">nè ualſe al buon Pompeio, che egli
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                  ui poneſſe ogni ſtudio per farlo eterno, facendolo di pietra, perche troppo grande è la forza del
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                  tempo, & la ingiuria che egli fa alle coſe. </s>
                  <s id="s.002651">ma quali non gli ſono ſoggette? </s>
                  <s id="s.002652">il tempo iſteſſo con il
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                  tempo ſi conſuma, & quello che con il tempo prende uita, & uigore, col tempo s'indeboliſce, &
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                  ha fine. </s>
                  <s id="s.002653">perche lo eſſer del tempo è ſempre naſcere, & ſempre morire, & mentre ſi uiue, al­
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                  tro non ſi fa, che riceuere le ingiurie del tempo. </s>
                  <s id="s.002654">alle quali quanto ſi puo l'arte cerca di reme­
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                  diare; ma infine il tempo auanza l'arte. </s>
                  <s id="s.002655">Lo eßempio della ſpecie detta Picnoſtilos è notato nella
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                  pianta; & il Siſtilos è nella pianta detta Dipteros, poſta di ſopra.
                    <emph.end type="italics"/>
                  </s>
                </p>
                <p type="main">
                  <s id="s.002656">Le due antedette maniere hanno l'uſo loro difettoſo, perche le matrone aſcendendo
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                  per gradi alle ſupplicationi loro non poſſono andare al pari tra gli intercolunij; ma biſo­
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                  gna che paſsino a fila. </s>
                  <s id="s.002657">L'altro difetto è che le porte, & gli ornamenti loro per la ſtrettez­
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                  za delle colonne non ſi uedeno. </s>
                  <s id="s.002658">& finalmente per la ſtrettezza de gli ſpacij, il caminar d'in­
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                  torno al Tempio è impedito. </s>
                </p>
                <p type="main">
                  <s id="s.002659">
                    <emph type="italics"/>
                  Egli ſi potrebbe dire, ſe l'uſo, l'aſpetto, & il paſſeggiare è impedito dalle due predette ma­
                    <lb/>
                  niere, a che fine Vitr. ce le ha propoſte? </s>
                  <s id="s.002660">Dico io, che ſi come non ſi deue laſciare a dietro al­
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                  cuna forma del dire per eſſer men bella, perche è tempo, che la oſcurità ci uiene a propoſito, &
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                  la confuſione, che ſono forme oppoſte alla chiarezza, & eleganza del dire. </s>
                  <s id="s.002661">coſi non doueua
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                  Vitru. laſciare forma alcuna, che ſia men commoda, & meno gioconda all' aſpetto. </s>
                  <s id="s.002662">perche hora
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                  è che nell'animo de riguardanti per gli occhi ſi ha da poner diletto, & piacere, hora meraui­
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                  glia, & horrore, ſecondo il biſogno; & queſtonon ſi puo fare commodamente da chi non ſa lo ef­
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                  fetto, che fanno diuerſe maniere di fabriche. </s>
                  <s id="s.002663">& ſe egli ſi diceſſe, che ſi deue porre anche le ma­
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                  niere difettoſe, per darci ad intendere, come ſi deueno ſchifare, forſe, che non ſarebbe fuori di
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                  propoſito. </s>
                  <s id="s.002664">ma chi uoleſſe fare le colonne tanto groſſe, che quando tra colonna, & colonna ui
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                  andaſſe bene due groſſezze, ci ſarebbe ſpacio conueniente di poter andare di pari, queſti non ha­
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                  ueria conſideratione, che l'altezza grande paſſarebbe i termini, & che piu di due matrone doueua
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                  no andar a pari. </s>
                  <s id="s.002665">& che i zocchi nella maniera Siſtilos occupariano lo ſpacio tra le colonne, & fa­
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                  riano nè piu nè meno impedimento al caminare. </s>
                  <s id="s.002666">& ſimilmente le porte, che deono riſpondere a
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                  proportione, ſariano impedite, come prima.
                    <emph.end type="italics"/>
                  </s>
                </p>
                <p type="main">
                  <s id="s.002667">La compoſitione del Diaſtilos, è quando noi potremo traporre nello intercolun­
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                  nio la groſſezza di tre colonne, come nel Tempio di Apollo, & di Diana. </s>
                  <s id="s.002668">ma que­
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                  ſt a diſpoſitione tiene queſta difficultà, che gli Architraui per la grandezza de gli ſpa­
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                  cij, ſi ſpezzano. </s>
                </p>
                <p type="main">
                  <s id="s.002669">
                    <emph type="italics"/>
                  O quanto deue eſſere auuertito lo Architetto non ſolamente riſpetto alla forma, & ragione,
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                  che nello animo, & mente ſua con modi artificioſi riuolge, ma quanto alla materia, i cu difetti i
                    <emph.end type="italics"/>
                  </s>
                </p>
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