Alberti, Leone Battista
,
Architecture
,
1755
Text
Text Image
Image
XML
Thumbnail overview
Document information
None
Concordance
Figures
Thumbnails
Table of figures
<
1 - 30
31 - 60
61 - 90
91 - 92
[out of range]
>
<
1 - 30
31 - 60
61 - 90
91 - 92
[out of range]
>
page
|<
<
of 320
>
>|
<
archimedes
>
<
text
>
<
body
>
<
chap
>
<
p
type
="
main
">
<
s
>
<
pb
xlink:href
="
003/01/264.jpg
"
pagenum
="
188
"/>
Wood; let his Incruſtations or outward Coat
<
lb
/>
be adorned with plain Figures in Stuc, or with
<
lb
/>
ſome ſlight Painting, and his Cornices at moſt
<
lb
/>
of common Marble. </
s
>
<
s
>Not that he muſt abſo
<
lb
/>
lutely reject the moſt precious Materials; but
<
lb
/>
he ſhould place them only in the moſt honour
<
lb
/>
able Parts, like Gems in a Crown. </
s
>
<
s
>But to give
<
lb
/>
my Opinion of the whole Matter in one Word,
<
lb
/>
I think that a ſacred Edifice ſhould be adorned
<
lb
/>
in ſuch a Manner, that it ſhould be impoſſible
<
lb
/>
to add any Thing that can conduce either to
<
lb
/>
Majeſty, Beauty or Wonder: Whereas a pri
<
lb
/>
vate Structure ſhould be ſo contrived, that it
<
lb
/>
ſhall be impoſſible to take any Thing from it,
<
lb
/>
without leſſening its Dignity. </
s
>
<
s
>Other Buildings,
<
lb
/>
that is to ſay, the Profane of a publick Nature,
<
lb
/>
ſhould obſerve the Medium between theſe two
<
lb
/>
Extremes. </
s
>
<
s
>Buildings of a private Sort ſhould
<
lb
/>
keep ſtrictly to the Ornaments proper to them,
<
lb
/>
only they may be made uſe of here with ſome
<
lb
/>
what more Freedom. </
s
>
<
s
>For Inſtance, if the Co
<
lb
/>
lumns be of rather a ſmaller Diameter, or elſe
<
lb
/>
more turgid, or if the Diminution of the Top
<
lb
/>
of the Shaft be greater than the exact Propor
<
lb
/>
tions for publick Structures, they ought not
<
lb
/>
here to be condemned, provided they do not
<
lb
/>
look deformed or unſightly. </
s
>
<
s
>And whereas in
<
lb
/>
publick Works not the leaſt Deviation is allow
<
lb
/>
ed from the exacteſt Laws of Proportion, in
<
lb
/>
private Works ſuch a Deviation is often hand
<
lb
/>
ſome and commendable. </
s
>
<
s
>Thus we may ob
<
lb
/>
ſerve with what a beautiful Effect ſome of the
<
lb
/>
more lively Architects uſed in the Doors of
<
lb
/>
Halls, inſtead of Jambs to place huge Statues
<
lb
/>
of Slaves, which ſupported the Lintel on their
<
lb
/>
Heads; and to make Columns, eſpecially in the
<
lb
/>
Porticoes of their Gardens, with Knots in the
<
lb
/>
Shafts, in Imitation of Trees that had their
<
lb
/>
Branches cut off, or girded round with a Cinc
<
lb
/>
ture of Boughs, or with their whole Shaft
<
lb
/>
wreathed and enriched with Leaves, Birds, and
<
lb
/>
Channels: or where they would make the
<
lb
/>
Work extremely ſtrong, we find them erect
<
lb
/>
ing ſquare Columns, fortified with a half Co
<
lb
/>
lumn on each Side; which inſtead of Capitals
<
lb
/>
had either Baskets full of Vine Branches laden
<
lb
/>
with Fruit, or the Head of a Palm-tree riſing
<
lb
/>
up and full of Leaves, or a Knot of Serpents
<
lb
/>
wreathed together, or an Eagle with its Wings
<
lb
/>
expanded in Token of Pleaſure, or a
<
emph
type
="
italics
"/>
Meduſa
<
emph.end
type
="
italics
"/>
's
<
lb
/>
Head with the Snakes hiſſing at each other, or
<
lb
/>
any other Fancy of the ſame Kind; to enu
<
lb
/>
merate all which, would be endleſs. </
s
>
<
s
>But in all
<
lb
/>
theſe Liberties the Architect muſt be as care
<
lb
/>
ful as poſſible to keep the ſeveral Parts within
<
lb
/>
the Terms of the regular Lines and Angles, and
<
lb
/>
not ſuffer his Work to want a due Proportion
<
lb
/>
in its ſeveral Members: So that the Beholder
<
lb
/>
may immediately find, that his Deſign was to
<
lb
/>
be wanton in theſe Particulars, and to indulge a
<
lb
/>
Freedom of Invention. </
s
>
<
s
>And as of the Parlours,
<
lb
/>
Paſſages and Apartments, ſome are more pub
<
lb
/>
lick, ſome more concealed, and as it were hid
<
lb
/>
den; the former may be allowed ſomewhat
<
lb
/>
more of the Splendor of a publick Structure,
<
lb
/>
but yet ſo as not to create Envy; and in the
<
lb
/>
latter we may allow ourſelves more Liberty in
<
lb
/>
departing out of the common Road, and con
<
lb
/>
triving ſomething new.</
s
>
</
p
>
<
p
type
="
head
">
<
s
>CHAP. II.</
s
>
</
p
>
<
p
type
="
head
">
<
s
>
<
emph
type
="
italics
"/>
Of the Adorning of private Houſes, both in City and Country.
<
emph.end
type
="
italics
"/>
</
s
>
</
p
>
<
p
type
="
main
">
<
s
>But as of the Houſes of private Perſons,
<
lb
/>
ſome are in the City, and ſome in the
<
lb
/>
Country, we muſt ſay ſomething of the Orna
<
lb
/>
ments proper to each of theſe. </
s
>
<
s
>Between a
<
lb
/>
Houſe in Town and a Houſe in the Country,
<
lb
/>
there is this further Difference, beſides what we
<
lb
/>
took notice of in the laſt Book, that the Orna
<
lb
/>
ments, for that in Town ought to be much
<
lb
/>
more grave than thoſe for a Houſe in the Coun
<
lb
/>
try, where all the gayeſt and moſt licentious
<
lb
/>
Embelliſhments are allowable. </
s
>
<
s
>There is an
<
lb
/>
other Difference too between them, which is,
<
lb
/>
that in Town you are obliged to moderate
<
lb
/>
yourſelves in ſeveral Reſpects according to the
<
lb
/>
Privileges of your Neighbour; whereas you have
<
lb
/>
much more Liberty in the Country. </
s
>
<
s
>In Town
<
lb
/>
you muſt not raiſe your Platform or Baſement
<
lb
/>
too high above your Neighbours, nor let your
<
lb
/>
Portico project too far forwards from the Line
<
lb
/>
of the adjacent Buildings. </
s
>
<
s
>The Thickneſs and
<
lb
/>
Height of the Walls at
<
emph
type
="
italics
"/>
Rome
<
emph.end
type
="
italics
"/>
anciently were
<
lb
/>
not ſuffered to be according to every Man's
<
lb
/>
particular Fancy, but by an old Law were all
<
lb
/>
to be made according to a certain Standard;
<
lb
/>
and
<
emph
type
="
italics
"/>
Julius Cæſar,
<
emph.end
type
="
italics
"/>
upon account of the Miſ
<
lb
/>
chiefs that might happen from bad Foundati</
s
>
</
p
>
</
chap
>
</
body
>
</
text
>
</
archimedes
>