Vitruvius Pollio, I dieci libri dell?architettura, 1567

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                <p type="main">
                  <s id="s.000742">
                    <pb pagenum="34" xlink:href="045/01/042.jpg"/>
                    <emph type="italics"/>
                  to, ſi nelle coſe immobili, come in quelle, che ſi moueno.
                    <emph.end type="italics"/>
                  </s>
                </p>
                <p type="main">
                  <s id="s.000743">Il compartimento, & riſpondenza delle miſure detto ſimmetria, è conueneuole con
                    <lb/>
                  ſentimento da i membri dell'opera, & dalle parti ſeparate alla forma di tutta la figura, ſe
                    <lb/>
                  condo la rata portione come ſi uede nel corpo humano, il quale con il cubito, co'l pie­
                    <lb/>
                  de, col palmo, col dito, & con le altre parti è commiſurato, coſi adiuiene nelle per­
                    <lb/>
                  fettioni dell'opere. </s>
                  <s id="s.000744">Et prima ne i ſacri tempij dalle groſſezze delle colonne, ouero
                    <lb/>
                  dal Triglifo. poi nel forame della baliſta quella coſa, che ui entra, detta Peritriton. </s>
                  <s id="s.000745">
                    <lb/>
                  Simigliantemente nelle naui dallo ſpacio, che è tra un ſchelmo all'altro, che per eſſer di
                    <lb/>
                  miſura di due cubiti, ſi chiama, dipichaichi, & coſi nelle altre opere da i membri lo
                    <lb/>
                  ro ſi troua la ragione delle ſimmetrie, & de i compartimenti. </s>
                </p>
                <p type="main">
                  <s id="s.000746">
                    <emph type="italics"/>
                  La ſimmetria è la bellezza dell'ordine, come è la Eurithmia la bellezza della diſpoſi­
                    <lb/>
                  tione. </s>
                  <s id="s.000747">Non è a baſtanza ordinare le miſure una dopo l'altra, ma neceſſario è, che quelle miſu­
                    <lb/>
                  re habbiano conuenienza tra ſe, cioè ſiano in qualche proportione; & però doue ſarà propor
                    <lb/>
                  tione, iui non puo eſſere coſa ſuperflua. </s>
                  <s id="s.000748">& ſi come il maeſtro della natural proportione, è lo inſtin
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                  to della natura, coſi il maeſtro dell'Artificiale è l'habito dell'Arte: d'onde ne naſce, che la pro­
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                  portione è propria della forma, & non della materia: & doue non ſono parti, non può eſſere pro­
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                  portione: perche eſſa naſce dalle parti compoſte, & dalla relatione di eſſe, & in ogni rela­
                    <lb/>
                  tione è neceßario almeno, che ſiano due termini, come s'è detto: ne ſi può lodare a ba­
                    <lb/>
                  ſtanza lo effetto della proportione, nella quale è poſta la gloria dello Architetto, la bellez­
                    <lb/>
                  za dell'opera, la merauiglia dello artificio. </s>
                  <s id="s.000749">come ſi uederà chiaramente quando noi ragio­
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                  naremo delle proportioni, & apriremo i ſecreti di queſt'Arte, dimoſtrando qual riſpetto è
                    <lb/>
                  nella proportione, quali termini, qual uſo, & quanti effetti, & di che forza ella faccia parere
                    <lb/>
                  le coſe: però mi riporto al ſuo luogo. </s>
                  <s id="s.000750">Vitruuio fin tanto dà lo eſſempio di quello, che egli ha det­
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                  to
                    <emph.end type="italics"/>
                  {
                    <emph type="italics"/>
                  Secondo la rata portione,
                    <emph.end type="italics"/>
                  }
                    <emph type="italics"/>
                  dicendo.
                    <emph.end type="italics"/>
                  {
                    <emph type="italics"/>
                  Come ſi uede nel corpo humano.
                    <emph.end type="italics"/>
                  }
                    <emph type="italics"/>
                  Hauendo
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                  Hercole miſurato il corſo, & lo ſpacio di Piſa, & trouatolo di piedi ſeicento de i ſuoi, & eſſen­
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                  doſi poi nelle altre parti della Grecia fatti quegli ſpacij da correre di piedi ſeicento, ma piu breui. </s>
                  <s id="s.000751">
                    <lb/>
                  il buon Pithagora comparando quelli corſi l'uno con l'altro, ritrouò il piede di Hercole eſſere
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                  ſtato maggiore de i piedi, con i quali i Greci haueuano miſurato gli altri ſpacij. </s>
                  <s id="s.000752">& ſapendo qua­
                    <lb/>
                  le doueua eſſer la proportione del piede alla giuſta grandezza dell'huomo, compreſe la ſtatura di
                    <lb/>
                  Hercole eſſere ſtata tanto maggiore della ſtatura de gli altri huomini, quanto il corſo miſurato da
                    <lb/>
                  Hercole eccedeua gli altri corſi della Grecia. </s>
                  <s id="s.000753">Quando adunque le miſure ſeranno accommoda­
                    <lb/>
                  te alle maniere, non ha dubbio, che dalla grandezza d'una parte non ſi conoſca la miſura del­
                    <lb/>
                  l'altra, & conſeguentemente la grandezza del tutto.
                    <emph.end type="italics"/>
                  {
                    <emph type="italics"/>
                  Et prima ne i ſacri tempij.
                    <emph.end type="italics"/>
                  }
                    <emph type="italics"/>
                  Queſto
                    <lb/>
                  ho dichiarito di ſopra, che dalla groſſezza delle colonne, che ci daua il modulo, ſi pigliauano gli
                    <lb/>
                  ſpacij tra le colonne, & le altezze di quelle.
                    <emph.end type="italics"/>
                  {
                    <emph type="italics"/>
                  Ouero dal Triglipho.
                    <emph.end type="italics"/>
                  }
                    <emph type="italics"/>
                  queſto è un membrello,
                    <lb/>
                  che ha tre canellature come canali, donde prende il nome, & ſi mette ſopra l'Architraue nelle
                    <lb/>
                  opere Doriche, dal quale ſi miſura l'opera Dorica, ſi come al terzo capo del quarto libro ci ſa­
                    <lb/>
                  rà dichiarito.
                    <emph.end type="italics"/>
                  {
                    <emph type="italics"/>
                  Poi nel foro della Baliſta.
                    <emph.end type="italics"/>
                  }
                    <emph type="italics"/>
                  Nella Baliſta, che è inſtrumento da trarre, egli
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                  ſi fa i fori dalle teſte, ne i quali entra il capo della corda. </s>
                  <s id="s.000754">i fori ſi cauano dal peſo della pietra: &
                    <lb/>
                  da i fori ſi caua la miſura di quello, che Vitr. chiama ſcutula. </s>
                  <s id="s.000755">nel decimo al cap. XVII. & qui
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                  Peritriton. </s>
                  <s id="s.000756">come dalla palla ſi piglia la miſura del pezzo dell'artigliaria,
                    <emph.end type="italics"/>
                  {
                    <emph type="italics"/>
                  ſimigliantemente
                    <lb/>
                  nelle naui, da gli ſchelmi, cioè dallo ſpacio, che è tra il ligamento d'un remo & l'altro, ſi piglia
                    <lb/>
                  quella miſura, che regola tutto il corpo della galera,
                    <emph.end type="italics"/>
                  }
                    <emph type="italics"/>
                  coſi trouo che ſi oſſerua nel fabricar le
                    <lb/>
                  galere, & per queſto io ho eſpoſto Vitruuio in queſto modo. </s>
                  <s id="s.000757">ma ſeguitiamo.
                    <emph.end type="italics"/>
                  </s>
                </p>
                <p type="main">
                  <s id="s.000758">Decoro è aſpetto ſenza menda dell'opera prouato per le coſe compoſte con autorità. </s>
                </p>
                <p type="main">
                  <s id="s.000759">
                    <emph type="italics"/>
                  Io eſponerò decoro per le coſe che ſegueno, ma in uero Vitr. lo abbraccia ſotto nome di orna­
                    <lb/>
                  mento, quando egli dice,
                    <emph.end type="italics"/>
                  {
                    <emph type="italics"/>
                  aſpetto ſenza menda,
                    <emph.end type="italics"/>
                  }
                    <emph type="italics"/>
                  benche nella ſeconda parte ſi tegna al
                    <lb/>
                  decoro, quando dice,
                    <emph.end type="italics"/>
                  {
                    <emph type="italics"/>
                  prouato per le coſe compoſte con autorità.
                    <emph.end type="italics"/>
                  }
                    <emph type="italics"/>
                  & lo eſſempio di Vitru.
                    <emph.end type="italics"/>
                  </s>
                </p>
              </subchap2>
            </subchap1>
          </chap>
        </body>
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    </archimedes>
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