Alberti, Leone Battista
,
Architecture
,
1755
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Shaſt. </
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<
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>But from that natural Inſtinct or Senſe
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in the Mind by which, as we have already ob
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ſerved, we judge of Beauty and Gracefulneſs,
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they found, that one of theſe was too thick and
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the other too ſlight; for which Reaſon they
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altered them both, rightly ſuppoſing that the
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Truth muſt lie in ſome Medium between theſe
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two vitious Extremes. </
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<
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>Accordingly, with the
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Help of the Rules of the Arithmeticians, they
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joined their two Numbers together, and divid
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ed the Total in half, and then they found that
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the mean Number between ſix and ten was
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eight: Whereupon they made the Height of
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their Column eight Times the Diameter of the
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Bottom of the Shaft; and this they called the
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Ionic.
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<
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> They alſo formed their
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Doric
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Column,
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which is proper for Buildings of greater Solidi
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ty, by the ſame Rules. </
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<
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>For Example, they
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joined the ſmaller Number before-mentioned,
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which was ſix, with the
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Ionic
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mean, which was
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eight, whereof the Total was fourteen; this
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Total they divided into two equal Parts, and
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this gave them the Number ſeven, which they
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took for their
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Doric
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Column, making its Length
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ſeven Times the Diameter of the Bottom of the
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Shaft. </
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>Laſtly, they made their thinneſt Order,
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which they called the
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Corinthian,
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from the
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Ionic
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mean Number joined to the greateſt of the for
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mer Numbers, and ſo taking the Half as
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before; for the
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Ionic
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mean Number was eight,
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and the greateſt Number was ten, which add
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ed together made eighteen, the Half whereof
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was nine, whence they made the Height of
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their
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Corinthian
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Column nine Times the Dia
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meter of the Bottom of its Shaft, as they did
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the
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Ionic
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eight, and the
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Doric
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ſeven: Of which
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we need ſay no more in this Place. </
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>We are
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now to ſay ſomething of the Collocation, which
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relates to the Situation of the ſeveral Parts;
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and this is much eaſier to conceive where it is
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ill done, than it is to lay down exact Rules for
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the doing it: Becauſe indeed it is chiefly to be
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referred to the natural Judgment which we
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have formerly obſerved to be innate in the
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Mind of Man, though it may in ſome Mea
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ſure be derived from the foregoing Rules for
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the Finiſhing. </
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<
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>However, we ſhall juſt men
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tion a few general Remarks upon this Head.
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>The very ſmalleſt Parts or Members of the
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Work, if they are ſet in their right Places, add
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to the Beauty of the whole; if they are placed
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in mean or improper Situations, though excel
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lent in themſelves, they become mean. </
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>We
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ſee the very ſame Thing in the Works of Na
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ture: As for Inſtance, if a Dog had one Ear
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like that of an Aſs, or if a Man had one Foot
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bigger than the other, or one Hand very large,
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and the other very ſmall, we ſhould immedi
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ately pronounce ſuch a one deformed; or to
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ſee even an Horſe with one Eye grey, and the
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other black, is very offenſive: So agreeable it
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is to Nature, that the Members on the right
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Side ſhould exactly anſwer the left: Wherefore
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the very firſt Thing we are to take Care of
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muſt be, that every Part, even the moſt Incon
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ſiderable, lie duly to the Level and Plum-line,
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and be diſpoſed with an exact Correſpondence
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as to the Number, Form and Appearance; ſo
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that the Right may anſwer to the Left, the
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High to the Low, the Similar to the Similar, ſo
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as to form a correſpondent Ornament in that
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Body whereof they are Parts. </
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<
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>Even Statues,
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Pictures, or any other Ornaments of that Sort
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with which we embelliſh our Work, muſt be ſo
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diſpoſed as to ſeem to have ſprung up naturally
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in their propereſt Places, and to be Twins. </
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<
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>The
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Ancients were ſo punctual in this mutual Cor
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reſpondence of the Parts, that even in fixing
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up their Scantlings of Marble, they uſed to
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make them anſwer each other exactly to a
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Size, Quality, Angles, Situation and Colour:
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And eſpecially in thoſe moſt beautiful Orna
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ments, Statues, wherein the Ancients were ſuch
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great Maſters, and in which I ſo much admire
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the Excellence of Art, they were careful in fix
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ing them up, as well on Pediments of their
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Temples, as elſewhere, that thoſe on one Side
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ſhould not differ from thoſe on the other, in
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the ſmalleſt Particular either of Deſign or Ma
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terial. </
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<
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>We ſee Statues of two or four Horſes,
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and of their Drivers and Lookers on ſo exact
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ly like to each other, that Art in them may be
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ſaid to have exceeded Nature, in whoſe Works
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we hardly ever ſee one Feature ſo exactly like
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the other. </
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<
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>Thus we have ſhewn what is Beauty,
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and wherein it conſiſts, and with what Num
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bers and Finiſhing the Ancients uſed to erect
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their Structures.</
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