VITRUVIUS

 THE TEN BOOKS ON ARCHITECTURE

 TRANSLATED BY MORRIS HICKY MORGAN, PH. D. , LL. D. LATE PROFESSOR OF CLASSICAL PHILOLOGY IN HARVARD UNIVERSITY

 WITH ILLUSTRATIONS AND ORIGINAL DESIGNS PREPARED UNDER THE DIRECTION OF HERBERT LANGFORD WARREN, A. M. NELSON ROBINSON JR. PROFESSOR OF ARCHITECTURE IN HARVARD UNIVERSITY CAMBRIDGE HARVARD UNIVERSITY PRESS LONDON: HUMPHREY MILFORD OXFORD UNIVERSITY PRESS 1914 COPYRIGHT, HARVARD UNIVERSITY PRESS

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PREFACE

During the last years of his life, Professor Morgan had devoted muchtime and energy to the preparation of a translation of Vitruvius, whichhe proposed to supplement with a revised text, illustrations, and notes. He had completed the translation, with the exception of the last fourchapters of the tenth book, and had discussed, with Professor Warren, the illustrations intended for the first six books of the work; thenotes had not been arranged or completed, though many of them wereoutlined in the manuscript, or the intention to insert them indicated. The several books of the translation, so far as it was completed, hadbeen read to a little group of friends, consisting of Professors Sheldonand Kittredge, and myself, and had received our criticism, which had, attimes, been utilized in the revision of the work. 

After the death of Professor Morgan, in spite of my obvious incompetencyfrom a technical point of view, I undertook, at the request of hisfamily, to complete the translation, and to see the book through thepress. I must, therefore, assume entire responsibility for thetranslation of the tenth book, beginning with chapter thirteen, andfurther responsibility for necessary changes made by me in the earlierpart of the translation, changes which, in no case, affect any theoryheld by Professor Morgan, but which involve mainly the adoption ofsimpler forms of statement, or the correction of obvious oversights. 

The text followed is that of Valentine Rose in his second edition(Leipzig, 1899), and the variations from this text are, with a fewexceptions which are indicated in the footnotes, in the nature of areturn to the consensus of the manuscript readings. 

The illustrations in the first six books are believed to besubstantially in accord with the wishes of Professor Morgan. Thesuggestions for illustrations in the later books were incomplete, anddid not indicate, in all cases, with sufficient definiteness to allowthem to be executed, the changes from conventional plans and designsintended by the translator. It has, therefore, been decided to includein this part of the work only those illustrations which are known tohave had the full approval of Professor Morgan. The one exception tothis principle is the reproduction of a rough model of the Ram ofHegetor, constructed by me on the basis of the measurements given byVitruvius and Athenaeus. 

It does not seem to me necessary or even advisable to enter into a longdiscussion as to the date of Vitruvius, which has been assigned tovarious periods from the time of Augustus to the early centuries of ourera. Professor Morgan, in several articles in the _Harvard Studies inClassical Philology_, and in the _Proceedings of the American Academy_, all of which have been reprinted in a volume of _Addresses and Essays_(New York, 1909), upheld the now generally accepted view that Vitruviuswrote in the time of Augustus, and furnished conclusive evidence thatnothing in his language is inconsistent with this view. In revising thetranslation, I met with one bit of evidence for a date before the end ofthe reign of Nero which I have never seen adduced. In viii, 3, 21, thekingdom of Cottius is mentioned, the name depending, it is true, on anemendation, but one which has been universally accepted since it wasfirst proposed in 1513. The kingdom of Cottius was made into a Romanprovince by Nero (cf. Suetonius, _Nero_, 18), and it is inconceivablethat any Roman writer subsequently referred to it as a kingdom. 

It does seem necessary to add a few words about the literary merits ofVitruvius in this treatise, and about Professor Morgan's views as to thegeneral principles to be followed in the translation. 

Vitruvius was not a great literary personage, ambitious as he was toappear in that character. As Professor Morgan has aptly said, "he hasall the marks of one unused to composition, to whom writing is a painfultask. " In his hand the measuring-rod was a far mightier implement thanthe pen. His turgid and pompous rhetoric displays itself in theintroductions to the different books, where his exaggerated effort tointroduce some semblance of style into his commonplace lectures on thenoble principles which should govern the conduct of the architect, orinto the prosaic lists of architects and writers on architecture, iseverywhere apparent. Even in the more technical portions of his work, alike conscious effort may be detected, and, at the same time, a lack ofconfidence in his ability to express himself in unmistakable language. He avoids periodic sentences, uses only the simpler subjunctiveconstructions, repeats the antecedent in relative clauses, and, notinfrequently, adopts a formal language closely akin to that ofspecifications and contracts, the style with which he was, naturally, most familiar. He ends each book with a brief summary, almost a formula, somewhat like a sigh of relief, in which the reader unconsciouslyshares. At times his meaning is ambiguous, not because of grammaticalfaults, which are comparatively few and unimportant, but because, whenhe does attempt a periodic sentence, he becomes involved, and finds itdifficult to extricate himself. 

Some of these peculiarities and crudities of expression Professor Morganpurposely imitated, because of his conviction that a translation shouldnot merely reproduce the substance of a book, but should also give asclear a picture as possible of the original, of its author, and of theworking of his mind. The translation is intended, then, to be faithfuland exact, but it deliberately avoids any attempt to treat the languageof Vitruvius as though it were Ciceronian, or to give a false impressionof conspicuous literary merit in a work which is destitute of thatquality. The translator had, however, the utmost confidence in thesincerity of Vitruvius and in the serious purpose of his treatise onarchitecture. 

To those who have liberally given their advice and suggestions inresponse to requests from Professor Morgan, it is impossible for me tomake adequate acknowledgment. Their number is so great, and my knowledgeof the indebtedness in individual cases is so small, that each must becontent with the thought of the full and generous acknowledgment whichhe would have received had Professor Morgan himself written thispreface. 

Personally I am under the greatest obligations to Professor H. L. Warren, who has freely given both assistance and criticism; to ProfessorG. L. Kittredge, who has read with me most of the proof; to the Syndicsof the Harvard University Press, who have made possible the publicationof the work; and to the members of the Visiting Committee of theDepartment of the Classics and the classmates of Professor Morgan, whohave generously supplied the necessary funds for the illustrations. 

ALBERT A. HOWARD. 

CONTENTS

BOOK I

PREFACE 3

THE EDUCATION OF THE ARCHITECT 5

THE FUNDAMENTAL PRINCIPLES OF ARCHITECTURE 13

THE DEPARTMENTS OF ARCHITECTURE 16

THE SITE OF A CITY 17

THE CITY WALLS 21

THE DIRECTIONS OF THE STREETS; WITH REMARKS ON THE WINDS 24

THE SITES FOR PUBLIC BUILDINGS 31

BOOK II

INTRODUCTION 35

THE ORIGIN OF THE DWELLING HOUSE 38

ON THE PRIMORDIAL SUBSTANCE ACCORDING TO THE PHYSICISTS 42

BRICK 42

SAND 44

LIME 45

POZZOLANA 46

STONE 49

METHODS OF BUILDING WALLS 51

TIMBER 58

HIGHLAND AND LOWLAND FIR 64

BOOK III

INTRODUCTION 69

ON SYMMETRY: IN TEMPLES AND IN THE HUMAN BODY 72

CLASSIFICATION OF TEMPLES 75

THE PROPORTIONS OF INTERCOLUMNIATIONS AND OF COLUMNS 78

THE FOUNDATIONS AND SUBSTRUCTURES OF TEMPLES 86

PROPORTIONS OF THE BASE, CAPITALS, AND ENTABLATURE IN THEIONIC ORDER 90

BOOK IV

INTRODUCTION 101

THE ORIGINS OF THE THREE ORDERS, AND THE PROPORTIONS OF THECORINTHIAN CAPITAL 102

THE ORNAMENTS OF THE ORDERS 107

PROPORTIONS OF DORIC TEMPLES 109

THE CELLA AND PRONAOS 114

HOW THE TEMPLE SHOULD FACE 116

THE DOORWAYS OF TEMPLES 117

TUSCAN TEMPLES 120

CIRCULAR TEMPLES AND OTHER VARIETIES 122

ALTARS 125

BOOK V

INTRODUCTION 129

THE FORUM AND BASILICA 131

THE TREASURY, PRISON, AND SENATE HOUSE 137

THE THEATRE: ITS SITE, FOUNDATIONS, AND ACOUSTICS 137

HARMONICS 139

SOUNDING VESSELS IN THE THEATRE 143

PLAN OF THE THEATRE 146

GREEK THEATRES 151

ACOUSTICS OF THE SITE OF A THEATRE 153

COLONNADES AND WALKS 154

BATHS 157

THE PALAESTRA 159

HARBOURS, BREAKWATERS, AND SHIPYARDS 162

BOOK VI

INTRODUCTION 167

ON CLIMATE AS DETERMINING THE STYLE OF THE HOUSE 170

SYMMETRY, AND MODIFICATIONS IN IT TO SUIT THE SITE 174

PROPORTIONS OF THE PRINCIPAL ROOMS 176

THE PROPER EXPOSURES OF THE DIFFERENT ROOMS 180

HOW THE ROOMS SHOULD BE SUITED TO THE STATION OF THEOWNER 181

THE FARMHOUSE 183

THE GREEK HOUSE 185

ON FOUNDATIONS AND SUBSTRUCTURES 189

BOOK VII

INTRODUCTION 195

FLOORS 202

THE SLAKING OF LIME FOR STUCCO 204

VAULTINGS AND STUCCO WORK 205

ON STUCCO WORK IN DAMP PLACES, AND ON THE DECORATION OFDINING ROOMS 208

THE DECADENCE OF FRESCO PAINTING 210

MARBLE FOR USE IN STUCCO 213

NATURAL COLOURS 214

CINNABAR AND QUICKSILVER 215

CINNABAR (_continued_) 216

ARTIFICIAL COLOURS. BLACK 217

BLUE. BURNT OCHRE 218

WHITE LEAD, VERDIGRIS, AND ARTIFICIAL SANDARACH 219

PURPLE 219

SUBSTITUTES FOR PURPLE, YELLOW OCHRE, MALACHITE GREEN, ANDINDIGO 220

BOOK VIII

INTRODUCTION 225

HOW TO FIND WATER 227

RAINWATER 229

VARIOUS PROPERTIES OF DIFFERENT WATERS 232

TESTS OF GOOD WATER 242

LEVELLING AND LEVELLING INSTRUMENTS 242

AQUEDUCTS, WELLS, AND CISTERNS 244

BOOK IX

INTRODUCTION 251

THE ZODIAC AND THE PLANETS 257

THE PHASES OF THE MOON 262

THE COURSE OF THE SUN THROUGH THE TWELVE SIGNS 264

THE NORTHERN CONSTELLATIONS 265

THE SOUTHERN CONSTELLATIONS 267

ASTROLOGY AND WEATHER PROGNOSTICS 269

THE ANALEMMA AND ITS APPLICATIONS 270

SUNDIALS AND WATER CLOCKS 273

BOOK X

INTRODUCTION 281

MACHINES AND IMPLEMENTS 283

HOISTING MACHINES 285

THE ELEMENTS OF MOTION 290

ENGINES FOR RAISING WATER 293

WATER WHEELS AND WATER MILLS 294

THE WATER SCREW 295

THE PUMP OF CTESIBIUS 297

THE WATER ORGAN 299

THE HODOMETER 301

CATAPULTS OR SCORPIONES 303

BALLISTAE 305

THE STRINGING AND TUNING OF CATAPULTS 308

SIEGE MACHINES 309

THE TORTOISE 311

HEGETOR'S TORTOISE 312

MEASURES OF DEFENCE 315

NOTE ON SCAMILLI IMPARES 320

INDEX 321

LIST OF ILLUSTRATIONS

CARYATIDES FROM TREASURY OF CNIDIANS, DELPHI 6

CARYATIDES OF ERECHTHEUM, ATHENS 6

CARYATID IN VILLA ALBANI, ROME 6

CARYATIDES 7

PERSIANS 9

CONSTRUCTION OF CITY WALLS 23

TOWER OF THE WINDS, ATHENS 26

DIAGRAM OF THE WINDS 29

DIAGRAM OF DIRECTIONS OF STREETS 30

VITRUVIUS' BRICK-BOND 44

TRAVERTINE QUARRIES, ROMAN CAMPAGNA 49

EXAMPLE OF OPUS INCERTUM, CIRCULAR TEMPLE, TIVOLI 51

OPUS RETICULATUM, THERMAE OF HADRIAN'S VILLA, TIVOLI 52

EXAMPLE OF OPUS RETICULATUM, DOORWAY OF STOA POECILE, HADRIAN'SVILLA 52

MAUSOLEUM AT HALICARNASSUS, RESTORED 54

CLASSIFICATION OF TEMPLES ACCORDING TO ARRANGEMENTS OF COLONNADES 76

HYPAETHRAL TEMPLE OF VITRUVIUS COMPARED WITH PARTHENON ANDTEMPLE OF APOLLO NEAR MILETUS 77

CLASSIFICATION OF TEMPLES ACCORDING TO INTERCOLUMNIATION 79

EUSTYLE TEMPLE OF VITRUVIUS COMPARED WITH TEMPLE OF TEOS 81

VITRUVIUS' RULES FOR DIAMETER AND HEIGHT OF COLUMNS COMPAREDWITH ACTUAL EXAMPLES 83

DIMINUTION OF COLUMNS IN RELATION TO DIMENSIONS OF HEIGHT 85

ENTASIS OF COLUMNS 87

FRA GIOCONDO'S IDEA OF "SCAMILLI IMPARES" 89

IONIC ORDER ACCORDING TO VITRUVIUS COMPARED WITH ORDER OFMAUSOLEUM AT HALICARNASSUS 91

COMPARISON OF IONIC ORDER ACCORDING TO VITRUVIUS WITH ACTUALEXAMPLES AND WITH VIGNOLA'S ORDER 95

BASILICA AT POMPEII 104

CORINTHIAN CAPITAL OF VITRUVIUS COMPARED WITH MONUMENTS 105

VITRUVIUS' DORIC ORDER COMPARED WITH TEMPLE AT CORI AND THEATREOF MARCELLUS 111

VITRUVIUS' TEMPLE PLAN COMPARED WITH ACTUAL EXAMPLES 115

VITRUVIUS' RULE FOR DOORWAYS COMPARED WITH TWO EXAMPLES 119

TUSCAN TEMPLE ACCORDING TO VITRUVIUS 121

CIRCULAR TEMPLE, TIVOLI 123

MAISON CARRÉE, NÎMES 123

PLAN OF TEMPLE, TIVOLI 123

PLAN OF TEMPLE OF VESTA, ROME 123

PLAN OF CIRCULAR TEMPLE ACCORDING TO VITRUVIUS 124

FORUM, TIMGAD 131

FORUM, POMPEII 133

PLAN OF BASILICA, POMPEII 134

VITRUVIUS' BASILICA, FANO 135

ROMAN THEATRE ACCORDING TO VITRUVIUS 147

THEATRE AT ASPENDUS 149

THEATRE PORTICO ACCORDING TO VITRUVIUS 152

TEPIDARIUM OF STABIAN BATHS, POMPEII 157

APODYTERIUM FOR WOMEN, STABIAN BATHS, POMPEII 157

STABIAN BATHS, POMPEII 158

PALAESTRA, OLYMPIA, AND GREEK PALAESTRA ACCORDING TO VITRUVIUS 161

PLANS OF HOUSES, POMPEII 176

PLAN OF HOUSE OF SILVER WEDDING, POMPEII 177

PLAN OF TYPICAL ROMAN HOUSE 178

PERISTYLE OF HOUSE OF THE VETTII, POMPEII 179

PLAN OF HOUSE OF THE VETTII, POMPEII 179

PLAN OF VILLA RUSTICA, NEAR POMPEII 183

PLAN OF VITRUVIUS' GREEK HOUSE 186

PLAN OF GREEK HOUSE, DELOS 187

PLAN OF GREEK HOUSE DISCOVERED AT PERGAMUM 188

RETAINING WALLS 191

CONSTRUCTION OF THE ANALEMMA 271

CONSTRUCTION OF WATER SCREW 295

WATER SCREW 296

HEGETOR'S RAM AND TORTOISE 312

 1. From sixteenth century MS. 

 2. From model by A. A. Howard. 

 * * * * *

 VITRUVIUS

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BOOK I

PREFACE

1. While your divine intelligence and will, Imperator Caesar, wereengaged in acquiring the right to command the world, and while yourfellow citizens, when all their enemies had been laid low by yourinvincible valour, were glorying in your triumph and victory, --while allforeign nations were in subjection awaiting your beck and call, and theRoman people and senate, released from their alarm, were beginning to beguided by your most noble conceptions and policies, I hardly dared, inview of your serious employments, to publish my writings and longconsidered ideas on architecture, for fear of subjecting myself to yourdispleasure by an unseasonable interruption. 

2. But when I saw that you were giving your attention not only to thewelfare of society in general and to the establishment of public order, but also to the providing of public buildings intended for utilitarianpurposes, so that not only should the State have been enriched withprovinces by your means, but that the greatness of its power mightlikewise be attended with distinguished authority in its publicbuildings, I thought that I ought to take the first opportunity to laybefore you my writings on this theme. For in the first place it was thissubject which made me known to your father, to whom I was devoted onaccount of his great qualities. After the council of heaven gave him aplace in the dwellings of immortal life and transferred your father'spower to your hands, my devotion continuing unchanged as I rememberedhim inclined me to support you. And so with Marcus Aurelius, PubliusMinidius, and Gnaeus Cornelius, I was ready to supply and repairballistae, scorpiones, and other artillery, and I have received rewardsfor good service with them. After your first bestowal of these upon me, you continued to renew them on the recommendation of your sister. 

3. Owing to this favour I need have no fear of want to the end of mylife, and being thus laid under obligation I began to write this workfor you, because I saw that you have built and are now buildingextensively, and that in future also you will take care that our publicand private buildings shall be worthy to go down to posterity by theside of your other splendid achievements. I have drawn up definite rulesto enable you, by observing them, to have personal knowledge of thequality both of existing buildings and of those which are yet to beconstructed. For in the following books I have disclosed all theprinciples of the art. 

CHAPTER I

THE EDUCATION OF THE ARCHITECT

1. The architect should be equipped with knowledge of many branches ofstudy and varied kinds of learning, for it is by his judgement that allwork done by the other arts is put to test. This knowledge is the childof practice and theory. Practice is the continuous and regular exerciseof employment where manual work is done with any necessary materialaccording to the design of a drawing. Theory, on the other hand, is theability to demonstrate and explain the productions of dexterity on theprinciples of proportion. 

2. It follows, therefore, that architects who have aimed at acquiringmanual skill without scholarship have never been able to reach aposition of authority to correspond to their pains, while those whorelied only upon theories and scholarship were obviously hunting theshadow, not the substance. But those who have a thorough knowledge ofboth, like men armed at all points, have the sooner attained theirobject and carried authority with them. 

3. In all matters, but particularly in architecture, there are these twopoints:--the thing signified, and that which gives it its significance. That which is signified is the subject of which we may be speaking; andthat which gives significance is a demonstration on scientificprinciples. It appears, then, that one who professes himself anarchitect should be well versed in both directions. He ought, therefore, to be both naturally gifted and amenable to instruction. Neither naturalability without instruction nor instruction without natural ability canmake the perfect artist. Let him be educated, skilful with the pencil, instructed in geometry, know much history, have followed thephilosophers with attention, understand music, have some knowledge ofmedicine, know the opinions of the jurists, and be acquainted withastronomy and the theory of the heavens. 

4. The reasons for all this are as follows. An architect ought to be aneducated man so as to leave a more lasting remembrance in his treatises. Secondly, he must have a knowledge of drawing so that he can readilymake sketches to show the appearance of the work which he proposes. Geometry, also, is of much assistance in architecture, and in particularit teaches us the use of the rule and compasses, by which especially weacquire readiness in making plans for buildings in their grounds, andrightly apply the square, the level, and the plummet. By means ofoptics, again, the light in buildings can be drawn from fixed quartersof the sky. It is true that it is by arithmetic that the total cost ofbuildings is calculated and measurements are computed, but difficultquestions involving symmetry are solved by means of geometrical theoriesand methods. 

5. A wide knowledge of history is requisite because, among theornamental parts of an architect's design for a work, there are many theunderlying idea of whose employment he should be able to explain toinquirers. For instance, suppose him to set up the marble statues ofwomen in long robes, called Caryatides, to take the place of columns, with the mutules and coronas placed directly above their heads, he willgive the following explanation to his questioners. Caryae, a state inPeloponnesus, sided with the Persian enemies against Greece; later theGreeks, having gloriously won their freedom by victory in the war, madecommon cause and declared war against the people of Caryae. They tookthe town, killed the men, abandoned the State to desolation, and carriedoff their wives into slavery, without permitting them, however, to layaside the long robes and other marks of their rank as married women, sothat they might be obliged not only to march in the triumph but toappear forever after as a type of slavery, burdened with the weight oftheir shame and so making atonement for their State. Hence, thearchitects of the time designed for public buildings statues of thesewomen, placed so as to carry a load, in order that the sin and thepunishment of the people of Caryae might be known and handed down evento posterity. 

[Illustration: Photo. H. B. Warren CARYATIDES OF THE ERECHTHEUM ATATHENS]

[Illustration: CARYATIDES FROM THE TREASURY OF THE CNIDIANS AT DELPHI]

[Illustration: Photo. Anderson CARYATIDES NOW IN THE VILLA ALBANI ATROME]

[Illustration: CARYATIDES (From the edition of Vitruvius by FraGiocondo, Venice, 1511)]

6. Likewise the Lacedaemonians under the leadership of Pausanias, son ofAgesipolis, after conquering the Persian armies, infinite in number, with a small force at the battle of Plataea, celebrated a glorioustriumph with the spoils and booty, and with the money obtained from thesale thereof built the Persian Porch, to be a monument to the renown andvalour of the people and a trophy of victory for posterity. And therethey set effigies of the prisoners arrayed in barbarian costume andholding up the roof, their pride punished by this deserved affront, that enemies might tremble for fear of the effects of their courage, and that their own people, looking upon this ensample of their valourand encouraged by the glory of it, might be ready to defend theirindependence. So from that time on, many have put up statues of Persianssupporting entablatures and their ornaments, and thus from that motivehave greatly enriched the diversity of their works. There are otherstories of the same kind which architects ought to know. 

7. As for philosophy, it makes an architect high-minded and notself-assuming, but rather renders him courteous, just, and honestwithout avariciousness. This is very important, for no work can berightly done without honesty and incorruptibility. Let him not begrasping nor have his mind preoccupied with the idea of receivingperquisites, but let him with dignity keep up his position by cherishinga good reputation. These are among the precepts of philosophy. Furthermore philosophy treats of physics (in Greek [Greek: physiologia])where a more careful knowledge is required because the problems whichcome under this head are numerous and of very different kinds; as, forexample, in the case of the conducting of water. For at points of intakeand at curves, and at places where it is raised to a level, currents ofair naturally form in one way or another; and nobody who has not learnedthe fundamental principles of physics from philosophy will be able toprovide against the damage which they do. So the reader of Ctesibius orArchimedes and the other writers of treatises of the same class will notbe able to appreciate them unless he has been trained in these subjectsby the philosophers. 

8. Music, also, the architect ought to understand so that he may haveknowledge of the canonical and mathematical theory, and besides be ableto tune ballistae, catapultae, and scorpiones to the proper key. For tothe right and left in the beams are the holes in the frames throughwhich the strings of twisted sinew are stretched by means of windlassesand bars, and these strings must not be clamped and made fast until theygive the same correct note to the ear of the skilled workman. For thearms thrust through those stretched strings must, on being let go, strike their blow together at the same moment; but if they are not inunison, they will prevent the course of projectiles from being straight. 

[Illustration: PERSIANS

(From the edition of Vitruvius by Fra Giocondo, Venice, 1511)]

9. In theatres, likewise, there are the bronze vessels (in Greek [Greek:êcheia]) which are placed in niches under the seats in accordance withthe musical intervals on mathematical principles. These vessels arearranged with a view to musical concords or harmony, and apportioned inthe compass of the fourth, the fifth, and the octave, and so on up tothe double octave, in such a way that when the voice of an actor fallsin unison with any of them its power is increased, and it reaches theears of the audience with greater clearness and sweetness. Waterorgans, too, and the other instruments which resemble them cannot bemade by one who is without the principles of music. 

10. The architect should also have a knowledge of the study of medicineon account of the questions of climates (in Greek [Greek: klimata]), air, the healthiness and unhealthiness of sites, and the use ofdifferent waters. For without these considerations, the healthiness of adwelling cannot be assured. And as for principles of law, he should knowthose which are necessary in the case of buildings having party walls, with regard to water dripping from the eaves, and also the laws aboutdrains, windows, and water supply. And other things of this sort shouldbe known to architects, so that, before they begin upon buildings, theymay be careful not to leave disputed points for the householders tosettle after the works are finished, and so that in drawing up contractsthe interests of both employer and contractor may be wiselysafe-guarded. For if a contract is skilfully drawn, each may obtain arelease from the other without disadvantage. From astronomy we find theeast, west, south, and north, as well as the theory of the heavens, theequinox, solstice, and courses of the stars. If one has no knowledge ofthese matters, he will not be able to have any comprehension of thetheory of sundials. 

11. Consequently, since this study is so vast in extent, embellished andenriched as it is with many different kinds of learning, I think thatmen have no right to profess themselves architects hastily, withouthaving climbed from boyhood the steps of these studies and thus, nursedby the knowledge of many arts and sciences, having reached the heightsof the holy ground of architecture. 

12. But perhaps to the inexperienced it will seem a marvel that humannature can comprehend such a great number of studies and keep them inthe memory. Still, the observation that all studies have a common bondof union and intercourse with one another, will lead to the belief thatthis can easily be realized. For a liberal education forms, as it were, a single body made up of these members. Those, therefore, who fromtender years receive instruction in the various forms of learning, recognize the same stamp on all the arts, and an intercourse between allstudies, and so they more readily comprehend them all. This is what ledone of the ancient architects, Pytheos, the celebrated builder of thetemple of Minerva at Priene, to say in his Commentaries that anarchitect ought to be able to accomplish much more in all the arts andsciences than the men who, by their own particular kinds of work and thepractice of it, have brought each a single subject to the highestperfection. But this is in point of fact not realized. 

13. For an architect ought not to be and cannot be such a philologian aswas Aristarchus, although not illiterate; nor a musician likeAristoxenus, though not absolutely ignorant of music; nor a painter likeApelles, though not unskilful in drawing; nor a sculptor such as wasMyron or Polyclitus, though not unacquainted with the plastic art; noragain a physician like Hippocrates, though not ignorant of medicine; norin the other sciences need he excel in each, though he should not beunskilful in them. For, in the midst of all this great variety ofsubjects, an individual cannot attain to perfection in each, because itis scarcely in his power to take in and comprehend the general theoriesof them. 

14. Still, it is not architects alone that cannot in all matters reachperfection, but even men who individually practise specialties in thearts do not all attain to the highest point of merit. Therefore, ifamong artists working each in a single field not all, but only a few inan entire generation acquire fame, and that with difficulty, how can anarchitect, who has to be skilful in many arts, accomplish not merely thefeat--in itself a great marvel--of being deficient in none of them, butalso that of surpassing all those artists who have devoted themselveswith unremitting industry to single fields?

15. It appears, then, that Pytheos made a mistake by not observing thatthe arts are each composed of two things, the actual work and the theoryof it. One of these, the doing of the work, is proper to men trained inthe individual subject, while the other, the theory, is common to allscholars: for example, to physicians and musicians the rhythmical beatof the pulse and its metrical movement. But if there is a wound to behealed or a sick man to be saved from danger, the musician will notcall, for the business will be appropriate to the physician. So in thecase of a musical instrument, not the physician but the musician will bethe man to tune it so that the ears may find their due pleasure in itsstrains. 

16. Astronomers likewise have a common ground for discussion withmusicians in the harmony of the stars and musical concords in tetradsand triads of the fourth and the fifth, and with geometricians in thesubject of vision (in Greek [Greek: logos optikos]); and in all othersciences many points, perhaps all, are common so far as the discussionof them is concerned. But the actual undertaking of works which arebrought to perfection by the hand and its manipulation is the functionof those who have been specially trained to deal with a single art. Itappears, therefore, that he has done enough and to spare who in eachsubject possesses a fairly good knowledge of those parts, with theirprinciples, which are indispensable for architecture, so that if he isrequired to pass judgement and to express approval in the case of thosethings or arts, he may not be found wanting. As for men upon whom naturehas bestowed so much ingenuity, acuteness, and memory that they are ableto have a thorough knowledge of geometry, astronomy, music, and theother arts, they go beyond the functions of architects and become puremathematicians. Hence they can readily take up positions against thosearts because many are the artistic weapons with which they are armed. Such men, however, are rarely found, but there have been such at times;for example, Aristarchus of Samos, Philolaus and Archytas of Tarentum, Apollonius of Perga, Eratosthenes of Cyrene, and among SyracusansArchimedes and Scopinas, who through mathematics and natural philosophydiscovered, expounded, and left to posterity many things in connexionwith mechanics and with sundials. 

17. Since, therefore, the possession of such talents due to naturalcapacity is not vouchsafed at random to entire nations, but only to afew great men; since, moreover, the function of the architect requires atraining in all the departments of learning; and finally, since reason, on account of the wide extent of the subject, concedes that he maypossess not the highest but not even necessarily a moderate knowledge ofthe subjects of study, I request, Caesar, both of you and of those whomay read the said books, that if anything is set forth with too littleregard for grammatical rule, it may be pardoned. For it is not as a verygreat philosopher, nor as an eloquent rhetorician, nor as a grammariantrained in the highest principles of his art, that I have striven towrite this work, but as an architect who has had only a dip into thosestudies. Still, as regards the efficacy of the art and the theories ofit, I promise and expect that in these volumes I shall undoubtedly showmyself of very considerable importance not only to builders but also toall scholars. 

CHAPTER II

THE FUNDAMENTAL PRINCIPLES OF ARCHITECTURE

1. Architecture depends on Order (in Greek [Greek: taxis]), Arrangement(in Greek [Greek: diathesis]), Eurythmy, Symmetry, Propriety, andEconomy (in Greek [Greek: oikonomia]). 

2. Order gives due measure to the members of a work consideredseparately, and symmetrical agreement to the proportions of the whole. It is an adjustment according to quantity (in Greek [Greek: posotês]). By this I mean the selection of modules from the members of the workitself and, starting from these individual parts of members, constructing the whole work to correspond. Arrangement includes theputting of things in their proper places and the elegance of effectwhich is due to adjustments appropriate to the character of the work. Its forms of expression (Greek [Greek: ideai]) are these: groundplan, elevation, and perspective. A groundplan is made by the propersuccessive use of compasses and rule, through which we get outlines forthe plane surfaces of buildings. An elevation is a picture of the frontof a building, set upright and properly drawn in the proportions of thecontemplated work. Perspective is the method of sketching a front withthe sides withdrawing into the background, the lines all meeting in thecentre of a circle. All three come of reflexion and invention. Reflexionis careful and laborious thought, and watchful attention directed to theagreeable effect of one's plan. Invention, on the other hand, is thesolving of intricate problems and the discovery of new principles bymeans of brilliancy and versatility. These are the departments belongingunder Arrangement. 

3. Eurythmy is beauty and fitness in the adjustments of the members. This is found when the members of a work are of a height suited to theirbreadth, of a breadth suited to their length, and, in a word, when theyall correspond symmetrically. 

4. Symmetry is a proper agreement between the members of the workitself, and relation between the different parts and the whole generalscheme, in accordance with a certain part selected as standard. Thus inthe human body there is a kind of symmetrical harmony between forearm, foot, palm, finger, and other small parts; and so it is with perfectbuildings. In the case of temples, symmetry may be calculated from thethickness of a column, from a triglyph, or even from a module; in theballista, from the hole or from what the Greeks call the [Greek:peritrêtos]; in a ship, from the space between the tholepins [Greek:(diapêgma)]; and in other things, from various members. 

5. Propriety is that perfection of style which comes when a work isauthoritatively constructed on approved principles. It arises fromprescription [Greek: (thematismô)], from usage, or from nature. Fromprescription, in the case of hypaethral edifices, open to the sky, inhonour of Jupiter Lightning, the Heaven, the Sun, or the Moon: for theseare gods whose semblances and manifestations we behold before our veryeyes in the sky when it is cloudless and bright. The temples ofMinerva, Mars, and Hercules, will be Doric, since the virile strength ofthese gods makes daintiness entirely inappropriate to their houses. Intemples to Venus, Flora, Proserpine, Spring-Water, and the Nymphs, theCorinthian order will be found to have peculiar significance, becausethese are delicate divinities and so its rather slender outlines, itsflowers, leaves, and ornamental volutes will lend propriety where it isdue. The construction of temples of the Ionic order to Juno, Diana, Father Bacchus, and the other gods of that kind, will be in keeping withthe middle position which they hold; for the building of such will be anappropriate combination of the severity of the Doric and the delicacy ofthe Corinthian. 

6. Propriety arises from usage when buildings having magnificentinteriors are provided with elegant entrance-courts to correspond; forthere will be no propriety in the spectacle of an elegant interiorapproached by a low, mean entrance. Or, if dentils be carved in thecornice of the Doric entablature or triglyphs represented in the Ionicentablature over the cushion-shaped capitals of the columns, the effectwill be spoilt by the transfer of the peculiarities of the one order ofbuilding to the other, the usage in each class having been fixed longago. 

7. Finally, propriety will be due to natural causes if, for example, inthe case of all sacred precincts we select very healthy neighbourhoodswith suitable springs of water in the places where the fanes are to bebuilt, particularly in the case of those to Aesculapius and to Health, gods by whose healing powers great numbers of the sick are apparentlycured. For when their diseased bodies are transferred from an unhealthyto a healthy spot, and treated with waters from health-giving springs, they will the more speedily grow well. The result will be that thedivinity will stand in higher esteem and find his dignity increased, allowing to the nature of his site. There will also be natural propriety inusing an eastern light for bedrooms and libraries, a western light inwinter for baths and winter apartments, and a northern light for picturegalleries and other places in which a steady light is needed; for thatquarter of the sky grows neither light nor dark with the course of thesun, but remains steady and unshifting all day long. 

8. Economy denotes the proper management of materials and of site, aswell as a thrifty balancing of cost and common sense in the constructionof works. This will be observed if, in the first place, the architectdoes not demand things which cannot be found or made ready without greatexpense. For example: it is not everywhere that there is plenty ofpitsand, rubble, fir, clear fir, and marble, since they are produced indifferent places and to assemble them is difficult and costly. Wherethere is no pitsand, we must use the kinds washed up by rivers or by thesea; the lack of fir and clear fir may be evaded by using cypress, poplar, elm, or pine; and other problems we must solve in similar ways. 

9. A second stage in Economy is reached when we have to plan thedifferent kinds of dwellings suitable for ordinary householders, forgreat wealth, or for the high position of the statesman. A house in townobviously calls for one form of construction; that into which stream theproducts of country estates requires another; this will not be the samein the case of money-lenders and still different for the opulent andluxurious; for the powers under whose deliberations the commonwealth isguided dwellings are to be provided according to their special needs:and, in a word, the proper form of economy must be observed in buildinghouses for each and every class. 

CHAPTER III

THE DEPARTMENTS OF ARCHITECTURE

1. There are three departments of architecture: the art of building, themaking of timepieces, and the construction of machinery. Building is, inits turn, divided into two parts, of which the first is the constructionof fortified towns and of works for general use in public places, andthe second is the putting up of structures for private individuals. There are three classes of public buildings: the first for defensive, the second for religious, and the third for utilitarian purposes. Underdefence comes the planning of walls, towers, and gates, permanentdevices for resistance against hostile attacks; under religion, theerection of fanes and temples to the immortal gods; under utility, theprovision of meeting places for public use, such as harbours, markets, colonnades, baths, theatres, promenades, and all other similararrangements in public places. 

2. All these must be built with due reference to durability, convenience, and beauty. Durability will be assured when foundations arecarried down to the solid ground and materials wisely and liberallyselected; convenience, when the arrangement of the apartments isfaultless and presents no hindrance to use, and when each class ofbuilding is assigned to its suitable and appropriate exposure; andbeauty, when the appearance of the work is pleasing and in good taste, and when its members are in due proportion according to correctprinciples of symmetry. 

CHAPTER IV

THE SITE OF A CITY

1. For fortified towns the following general principles are to beobserved. First comes the choice of a very healthy site. Such a sitewill be high, neither misty nor frosty, and in a climate neither hot norcold, but temperate; further, without marshes in the neighbourhood. Forwhen the morning breezes blow toward the town at sunrise, if they bringwith them mists from marshes and, mingled with the mist, the poisonousbreath of the creatures of the marshes to be wafted into the bodies ofthe inhabitants, they will make the site unhealthy. Again, if the townis on the coast with a southern or western exposure, it will not behealthy, because in summer the southern sky grows hot at sunrise and isfiery at noon, while a western exposure grows warm after sunrise, is hotat noon, and at evening all aglow. 

2. These variations in heat and the subsequent cooling off are harmfulto the people living on such sites. The same conclusion may be reachedin the case of inanimate things. For instance, nobody draws the lightfor covered wine rooms from the south or west, but rather from thenorth, since that quarter is never subject to change but is alwaysconstant and unshifting. So it is with granaries: grain exposed to thesun's course soon loses its good quality, and provisions and fruit, unless stored in a place unexposed to the sun's course, do not keeplong. 

3. For heat is a universal solvent, melting out of things their power ofresistance, and sucking away and removing their natural strength withits fiery exhalations so that they grow soft, and hence weak, under itsglow. We see this in the case of iron which, however hard it maynaturally be, yet when heated thoroughly in a furnace fire can be easilyworked into any kind of shape, and still, if cooled while it is soft andwhite hot, it hardens again with a mere dip into cold water and takes onits former quality. 

4. We may also recognize the truth of this from the fact that in summerthe heat makes everybody weak, not only in unhealthy but even in healthyplaces, and that in winter even the most unhealthy districts are muchhealthier because they are given a solidity by the cooling off. Similarly, persons removed from cold countries to hot cannot endure itbut waste away; whereas those who pass from hot places to the coldregions of the north, not only do not suffer in health from the changeof residence but even gain by it. 

5. It appears, then, that in founding towns we must beware of districtsfrom which hot winds can spread abroad over the inhabitants. For whileall bodies are composed of the four elements (in Greek [Greek:stoicheia]), that is, of heat, moisture, the earthy, and air, yet thereare mixtures according to natural temperament which make up the naturesof all the different animals of the world, each after its kind. 

6. Therefore, if one of these elements, heat, becomes predominant in anybody whatsoever, it destroys and dissolves all the others with itsviolence. This defect may be due to violent heat from certain quartersof the sky, pouring into the open pores in too great proportion to admitof a mixture suited to the natural temperament of the body in question. Again, if too much moisture enters the channels of a body, and thusintroduces disproportion, the other elements, adulterated by the liquid, are impaired, and the virtues of the mixture dissolved. This defect, inturn, may arise from the cooling properties of moist winds and breezesblowing upon the body. In the same way, increase or diminution of theproportion of air or of the earthy which is natural to the body mayenfeeble the other elements; the predominance of the earthy being due toovermuch food, that of air to a heavy atmosphere. 

7. If one wishes a more accurate understanding of all this, he need onlyconsider and observe the natures of birds, fishes, and land animals, andhe will thus come to reflect upon distinctions of temperament. One formof mixture is proper to birds, another to fishes, and a far differentform to land animals. Winged creatures have less of the earthy, lessmoisture, heat in moderation, air in large amount. Being made up, therefore, of the lighter elements, they can more readily soar away intothe air. Fish, with their aquatic nature, being moderately supplied withheat and made up in great part of air and the earthy, with as little ofmoisture as possible, can more easily exist in moisture for the veryreason that they have less of it than of the other elements in theirbodies; and so, when they are drawn to land, they leave life and waterat the same moment. Similarly, the land animals, being moderatelysupplied with the elements of air and heat, and having less of theearthy and a great deal of moisture, cannot long continue alive in thewater, because their portion of moisture is already abundant. 

8. Therefore, if all this is as we have explained, our reason showing usthat the bodies of animals are made up of the elements, and thesebodies, as we believe, giving way and breaking up as a result of excessor deficiency in this or that element, we cannot but believe that wemust take great care to select a very temperate climate for the site ofour city, since healthfulness is, as we have said, the first requisite. 

9. I cannot too strongly insist upon the need of a return to the methodof old times. Our ancestors, when about to build a town or an army post, sacrificed some of the cattle that were wont to feed on the siteproposed and examined their livers. If the livers of the first victimswere dark-coloured or abnormal, they sacrificed others, to see whetherthe fault was due to disease or their food. They never began to builddefensive works in a place until after they had made many such trialsand satisfied themselves that good water and food had made the liversound and firm. If they continued to find it abnormal, they argued fromthis that the food and water supply found in such a place would be justas unhealthy for man, and so they moved away and changed to anotherneighbourhood, healthfulness being their chief object. 

10. That pasturage and food may indicate the healthful qualities of asite is a fact which can be observed and investigated in the case ofcertain pastures in Crete, on each side of the river Pothereus, whichseparates the two Cretan states of Gnosus and Gortyna. There are cattleat pasture on the right and left banks of that river, but while thecattle that feed near Gnosus have the usual spleen, those on the otherside near Gortyna have no perceptible spleen. On investigating thesubject, physicians discovered on this side a kind of herb which thecattle chew and thus make their spleen small. The herb is thereforegathered and used as a medicine for the cure of splenetic people. TheCretans call it [Greek: hasplênon]. From food and water, then, we maylearn whether sites are naturally unhealthy or healthy. 

11. If the walled town is built among the marshes themselves, providedthey are by the sea, with a northern or north-eastern exposure, and areabove the level of the seashore, the site will be reasonable enough. Forditches can be dug to let out the water to the shore, and also in timesof storms the sea swells and comes backing up into the marshes, whereits bitter blend prevents the reproductions of the usual marshcreatures, while any that swim down from the higher levels to the shoreare killed at once by the saltness to which they are unused. An instanceof this may be found in the Gallic marshes surrounding Altino, Ravenna, Aquileia, and other towns in places of the kind, close by marshes. Theyare marvellously healthy, for the reasons which I have given. 

12. But marshes that are stagnant and have no outlets either by riversor ditches, like the Pomptine marshes, merely putrefy as they stand, emitting heavy, unhealthy vapours. A case of a town built in such a spotwas Old Salpia in Apulia, founded by Diomede on his way back from Troy, or, according to some writers, by Elpias of Rhodes. Year after yearthere was sickness, until finally the suffering inhabitants came with apublic petition to Marcus Hostilius and got him to agree to seek andfind them a proper place to which to remove their city. Without delay hemade the most skilful investigations, and at once purchased an estatenear the sea in a healthy place, and asked the Senate and Roman peoplefor permission to remove the town. He constructed the walls and laid outthe house lots, granting one to each citizen for a mere trifle. Thisdone, he cut an opening from a lake into the sea, and thus made of thelake a harbour for the town. The result is that now the people of Salpialive on a healthy site and at a distance of only four miles from the oldtown. 

CHAPTER V

THE CITY WALLS

1. After insuring on these principles the healthfulness of the futurecity, and selecting a neighbourhood that can supply plenty of foodstuffs to maintain the community, with good roads or else convenientrivers or seaports affording easy means of transport to the city, thenext thing to do is to lay the foundations for the towers and walls. Digdown to solid bottom, if it can be found, and lay them therein, going asdeep as the magnitude of the proposed work seems to require. They shouldbe much thicker than the part of the walls that will appear aboveground, and their structure should be as solid as it can possibly belaid. 

2. The towers must be projected beyond the line of wall, so that anenemy wishing to approach the wall to carry it by assault may be exposedto the fire of missiles on his open flank from the towers on his rightand left. Special pains should be taken that there be no easy avenue bywhich to storm the wall. The roads should be encompassed at steeppoints, and planned so as to approach the gates, not in a straight line, but from the right to the left; for as a result of this, the right handside of the assailants, unprotected by their shields, will be next thewall. Towns should be laid out not as an exact square nor with salientangles, but in circular form, to give a view of the enemy from manypoints. Defence is difficult where there are salient angles, because theangle protects the enemy rather than the inhabitants. 

3. The thickness of the wall should, in my opinion, be such that armedmen meeting on top of it may pass one another without interference. Inthe thickness there should be set a very close succession of ties madeof charred olive wood, binding the two faces of the wall together likepins, to give it lasting endurance. For that is a material which neitherdecay, nor the weather, nor time can harm, but even though buried in theearth or set in the water it keeps sound and useful forever. And so notonly city walls but substructures in general and all walls that requirea thickness like that of a city wall, will be long in falling to decayif tied in this manner. 

4. The towers should be set at intervals of not more than a bowshotapart, so that in case of an assault upon any one of them, the enemy maybe repulsed with scorpiones and other means of hurling missiles from thetowers to the right and left. Opposite the inner side of every tower thewall should be interrupted for a space the width of the tower, and haveonly a wooden flooring across, leading to the interior of the tower butnot firmly nailed. This is to be cut away by the defenders in case theenemy gets possession of any portion of the wall; and if the work isquickly done, the enemy will not be able to make his way to the othertowers and the rest of the wall unless he is ready to face a fall. 

5. The towers themselves must be either round or polygonal. Squaretowers are sooner shattered by military engines, for the battering ramspound their angles to pieces; but in the case of round towers they cando no harm, being engaged, as it were, in driving wedges to theircentre. The system of fortification by wall and towers may be madesafest by the addition of earthen ramparts, for neither rams, normining, nor other engineering devices can do them any harm. 

[Illustration: CONSTRUCTION OF CITY WALLS

(From the edition of Vitruvius by Fra Giocondo, Venice, 1511)]

6. The rampart form of defence, however, is not required in all places, but only where outside the wall there is high ground from which anassault on the fortifications may be made over a level space lyingbetween. In places of this kind we must first make very wide, deepditches; next sink foundations for a wall in the bed of the ditch andbuild them thick enough to support an earth-work with ease. 

7. Then within this substructure lay a second foundation, far enoughinside the first to leave ample room for cohorts in line of battle totake position on the broad top of the rampart for its defence. Havinglaid these two foundations at this distance from one another, buildcross walls between them, uniting the outer and inner foundation, in acomb-like arrangement, set like the teeth of a saw. With this form ofconstruction, the enormous burden of earth will be distributed intosmall bodies, and will not lie with all its weight in one crushing massso as to thrust out the substructures. 

8. With regard to the material of which the actual wall should beconstructed or finished, there can be no definite prescription, becausewe cannot obtain in all places the supplies that we desire. Dimensionstone, flint, rubble, burnt or unburnt brick, --use them as you findthem. For it is not every neighbourhood or particular locality that canhave a wall built of burnt brick like that at Babylon, where there wasplenty of asphalt to take the place of lime and sand, and yet possiblyeach may be provided with materials of equal usefulness so that out ofthem a faultless wall may be built to last forever. 

CHAPTER VI

THE DIRECTIONS OF THE STREETS; WITH REMARKS ON THE WINDS

1. The town being fortified, the next step is the apportionment of houselots within the wall and the laying out of streets and alleys withregard to climatic conditions. They will be properly laid out ifforesight is employed to exclude the winds from the alleys. Cold windsare disagreeable, hot winds enervating, moist winds unhealthy. We must, therefore, avoid mistakes in this matter and beware of the commonexperience of many communities. For example, Mytilene in the island ofLesbos is a town built with magnificence and good taste, but itsposition shows a lack of foresight. In that community when the wind issouth, the people fall ill; when it is northwest, it sets them coughing;with a north wind they do indeed recover but cannot stand about in thealleys and streets, owing to the severe cold. 

2. Wind is a flowing wave of air, moving hither and thitherindefinitely. It is produced when heat meets moisture, the rush of heatgenerating a mighty current of air. That this is the fact we may learnfrom bronze eolipiles, and thus by means of a scientific inventiondiscover a divine truth lurking in the laws of the heavens. Eolipilesare hollow bronze balls, with a very small opening through which wateris poured into them. Set before a fire, not a breath issues from thembefore they get warm; but as soon as they begin to boil, out comes astrong blast due to the fire. Thus from this slight and very shortexperiment we may understand and judge of the mighty and wonderful lawsof the heavens and the nature of winds. 

3. By shutting out the winds from our dwellings, therefore, we shall notonly make the place healthful for people who are well, but also in thecase of diseases due perhaps to unfavourable situations elsewhere, thepatients, who in other healthy places might be cured by a different formof treatment, will here be more quickly cured by the mildness that comesfrom the shutting out of the winds. The diseases which are hard to curein neighbourhoods such as those to which I have referred above arecatarrh, hoarseness, coughs, pleurisy, consumption, spitting of blood, and all others that are cured not by lowering the system but by buildingit up. They are hard to cure, first, because they are originally due tochills; secondly, because the patient's system being already exhaustedby disease, the air there, which is in constant agitation owing to windsand therefore deteriorated, takes all the sap of life out of theirdiseased bodies and leaves them more meagre every day. On the otherhand, a mild, thick air, without draughts and not constantly blowingback and forth, builds up their frames by its unwavering steadiness, andso strengthens and restores people who are afflicted with thesediseases. 

4. Some have held that there are only four winds: Solanus from due east;Auster from the south; Favonius from due west; Septentrio from thenorth. But more careful investigators tell us that there are eight. Chief among such was Andronicus of Cyrrhus who in proof built the marbleoctagonal tower in Athens. On the several sides of the octagon heexecuted reliefs representing the several winds, each facing the pointfrom which it blows; and on top of the tower he set a conical shapedpiece of marble and on this a bronze Triton with a rod outstretched inits right hand. It was so contrived as to go round with the wind, alwaysstopping to face the breeze and holding its rod as a pointer directlyover the representation of the wind that was blowing. 

5. Thus Eurus is placed to the southeast between Solanus and Auster:Africus to the southwest between Auster and Favonius; Caurus, or, asmany call it, Corus, between Favonius and Septentrio; and Aquilo betweenSeptentrio and Solanus. Such, then, appears to have been his device, including the numbers and names of the wind and indicating thedirections from which particular winds blow. These facts being thusdetermined, to find the directions and quarters of the winds your methodof procedure should be as follows. 

6. In the middle of the city place a marble amussium, laying it true bythe level, or else let the spot be made so true by means of rule andlevel that no amussium is necessary. In the very centre of that spot setup a bronze gnomon or "shadow tracker" (in Greek [Greek: skiathêras]). At about the fifth hour in the morning, take the end of the shadow castby this gnomon, and mark it with a point. Then, opening your compassesto this point which marks the length of the gnomon's shadow, describe acircle from the centre. In the afternoon watch the shadow of your gnomonas it lengthens, and when it once more touches the circumference ofthis circle and the shadow in the afternoon is equal in length tothat of the morning, mark it with a point. 

[Illustration: THE TOWER OF THE WINDS AT ATHENS]

7. From these two points describe with your compasses intersecting arcs, and through their intersection and the centre let a line be drawn to thecircumference of the circle to give us the quarters of south and north. Then, using a sixteenth part of the entire circumference of the circleas a diameter, describe a circle with its centre on the line to thesouth, at the point where it crosses the circumference, and put pointsto the right and left on the circumference on the south side, repeatingthe process on the north side. From the four points thus obtained drawlines intersecting the centre from one side of the circumference to theother. Thus we shall have an eighth part of the circumference set outfor Auster and another for Septentrio. The rest of the entirecircumference is then to be divided into three equal parts on each side, and thus we have designed a figure equally apportioned among the eightwinds. Then let the directions of your streets and alleys be laid downon the lines of division between the quarters of two winds. 

8. On this principle of arrangement the disagreeable force of the windswill be shut out from dwellings and lines of houses. For if the streetsrun full in the face of the winds, their constant blasts rushing in fromthe open country, and then confined by narrow alleys, will sweep throughthem with great violence. The lines of houses must therefore be directedaway from the quarters from which the winds blow, so that as they comein they may strike against the angles of the blocks and their force thusbe broken and dispersed. 

9. Those who know names for very many winds will perhaps be surprised atour setting forth that there are only eight. Remembering, however, thatEratosthenes of Cyrene, employing mathematical theories and geometricalmethods, discovered from the course of the sun, the shadows cast by anequinoctial gnomon, and the inclination of the heaven that thecircumference of the earth is two hundred and fifty-two thousand stadia, that is, thirty-one one million five hundred thousand paces, andobserving that an eighth part of this, occupied by a wind, is threemillion nine hundred and thirty-seven thousand five hundred paces, theyshould not be surprised to find that a single wind, ranging over so widea field, is subject to shifts this way and that, leading to a variety ofbreezes. 

10. So we often have Leuconotus and Altanus blowing respectively to theright and left of Auster; Libonotus and Subvesperus to the right andleft of Africus; Argestes, and at certain periods the Etesiae, on eitherside of Favonius; Circias and Corus on the sides of Caurus; Thracias andGallicus on either side of Septentrio; Supernas and Caecias to the rightand left of Aquilo; Carbas, and at a certain period the Ornithiae, oneither side of Solanus; while Eurocircias and Volturnus blow on theflanks of Eurus which is between them. There are also many other namesfor winds derived from localities or from the squalls which sweep fromrivers or down mountains. 

11. Then, too, there are the breezes of early morning; for the sun onemerging from beneath the earth strikes humid air as he returns, and ashe goes climbing up the sky he spreads it out before him, extractingbreezes from the vapour that was there before the dawn. Those that stillblow on after sunrise are classed with Eurus, and hence appears to comethe Greek name [Greek: euros] as the child of the breezes, and the wordfor "to-morrow, " [Greek: aurion], named from the early morning breezes. Some people do indeed say that Eratosthenes could not have inferred thetrue measure of the earth. Whether true or untrue, it cannot affect thetruth of what I have written on the fixing of the quarters from whichthe different winds blow. 

[Illustration: DIAGRAM OF THE WINDS (From the edition of Vitruvius byFra Giocondo, Venice, 1511)]

12. If he was wrong, the only result will be that the individual windsmay blow, not with the scope expected from his measurement, but withpowers either more or less widely extended. For the readierunderstanding of these topics, since I have treated them with brevity, it has seemed best to me to give two figures, or, as the Greeks say, [Greek: schêmata], at the end of this book: one designed to show theprecise quarters from which the winds arise; the other, how by turningthe directions of the rows of houses and the streets away from theirfull force, we may avoid unhealthy blasts. Let A be the centre of aplane surface, and B the point to which the shadow of the gnomon reachesin the morning. Taking A as the centre, open the compasses to the pointB, which marks the shadow, and describe a circle. Put the gnomon backwhere it was before and wait for the shadow to lessen and grow againuntil in the afternoon it is equal to its length in the morning, touching the circumference at the point C. Then from the points B and Cdescribe with the compasses two arcs intersecting at D. Next draw a linefrom the point of intersection D through the centre of the circle to thecircumference and call it E F. This line will show where the south andnorth lie. 

[Illustration]

13. Then find with the compasses a sixteenth part of the entirecircumference; then centre the compasses on the point E where the lineto the south touches the circumference, and set off the points G and Hto the right and left of E. Likewise on the north side, centre thecompasses on the circumference at the point F on the line to the north, and set off the points I and K to the right and left; then draw linesthrough the centre from G to K and from H to I. Thus the space from G toH will belong to Auster and the south, and the space from I to K will bethat of Septentrio. The rest of the circumference is to be dividedequally into three parts on the right and three on the left, those tothe east at the points L and M, those to the west at the points N andO. Finally, intersecting lines are to be drawn from M to O and from Lto N. Thus we shall have the circumference divided into eight equalspaces for the winds. The figure being finished, we shall have at theeight different divisions, beginning at the south, the letter G betweenEurus and Auster, H between Auster and Africus, N between Africus andFavonius, O between Favonius and Caurus, K between Caurus andSeptentrio, I between Septentrio and Aquilo, L between Aquilo andSolanus, and M between Solanus and Eurus. This done, apply a gnomon tothese eight divisions and thus fix the directions of the differentalleys. 

CHAPTER VII

THE SITES FOR PUBLIC BUILDINGS

1. Having laid out the alleys and determined the streets, we have nextto treat of the choice of building sites for temples, the forum, and allother public places, with a view to general convenience and utility. Ifthe city is on the sea, we should choose ground close to the harbour asthe place where the forum is to be built; but if inland, in the middleof the town. For the temples, the sites for those of the gods underwhose particular protection the state is thought to rest and forJupiter, Juno, and Minerva, should be on the very highest pointcommanding a view of the greater part of the city. Mercury should be inthe forum, or, like Isis and Serapis, in the emporium: Apollo and FatherBacchus near the theatre: Hercules at the circus in communities whichhave no gymnasia nor amphitheatres; Mars outside the city but at thetraining ground, and so Venus, but at the harbour. It is moreover shownby the Etruscan diviners in treatises on their science that the fanes ofVenus, Vulcan, and Mars should be situated outside the walls, in orderthat the young men and married women may not become habituated in thecity to the temptations incident to the worship of Venus, and thatbuildings may be free from the terror of fires through the religiousrites and sacrifices which call the power of Vulcan beyond the walls. As for Mars, when that divinity is enshrined outside the walls, thecitizens will never take up arms against each other, and he will defendthe city from its enemies and save it from danger in war. 

2. Ceres also should be outside the city in a place to which people neednever go except for the purpose of sacrifice. That place should be underthe protection of religion, purity, and good morals. Proper sites shouldbe set apart for the precincts of the other gods according to the natureof the sacrifices offered to them. 

The principle governing the actual construction of temples and theirsymmetry I shall explain in my third and fourth books. In the second Ihave thought it best to give an account of the materials used inbuildings with their good qualities and advantages, and then in thesucceeding books to describe and explain the proportions of buildings, their arrangements, and the different forms of symmetry. 

BOOK II

INTRODUCTION

1. Dinocrates, an architect who was full of confidence in his own ideasand skill, set out from Macedonia, in the reign of Alexander, to go tothe army, being eager to win the approbation of the king. He took withhim from his country letters from relatives and friends to the principalmilitary men and officers of the court, in order to gain access to themmore readily. Being politely received by them, he asked to be presentedto Alexander as soon as possible. They promised, but were rather slow, waiting for a suitable opportunity. So Dinocrates, thinking that theywere playing with him, had recourse to his own efforts. He was of verylofty stature and pleasing countenance, finely formed, and extremelydignified. Trusting, therefore, to these natural gifts, he undressedhimself in his inn, anointed his body with oil, set a chaplet of poplarleaves on his head, draped his left shoulder with a lion's skin, andholding a club in his right hand stalked forth to a place in front ofthe tribunal where the king was administering justice. 

2. His strange appearance made the people turn round, and this ledAlexander to look at him. In astonishment he gave orders to make way forhim to draw near, and asked who he was. "Dinocrates, " quoth he, "aMacedonian architect, who brings thee ideas and designs worthy of thyrenown. I have made a design for the shaping of Mount Athos into thestatue of a man, in whose left hand I have represented a very spaciousfortified city, and in his right a bowl to receive the water of all thestreams which are in that mountain, so that it may pour from the bowlinto the sea. "

3. Alexander, delighted with the idea of his design, immediatelyinquired whether there were any fields in the neighbourhood that couldmaintain the city in corn. On finding that this was impossible withouttransport from beyond the sea, "Dinocrates, " quoth he, "I appreciateyour design as excellent in composition, and I am delighted with it, butI apprehend that anybody who should found a city in that spot would becensured for bad judgement. For as a newborn babe cannot be nourishedwithout the nurse's milk, nor conducted to the approaches that lead togrowth in life, so a city cannot thrive without fields and the fruitsthereof pouring into its walls, nor have a large population withoutplenty of food, nor maintain its population without a supply of it. Therefore, while thinking that your design is commendable, I considerthe site as not commendable; but I would have you stay with me, becauseI mean to make use of your services. "

4. From that time, Dinocrates did not leave the king, but followed himinto Egypt. There Alexander, observing a harbour rendered safe bynature, an excellent centre for trade, cornfields throughout all Egypt, and the great usefulness of the mighty river Nile, ordered him to buildthe city of Alexandria, named after the king. This was how Dinocrates, recommended only by his good looks and dignified carriage, came to be sofamous. But as for me, Emperor, nature has not given me stature, age hasmarred my face, and my strength is impaired by ill health. Therefore, since these advantages fail me, I shall win your approval, as I hope, bythe help of my knowledge and my writings. 

5. In my first book, I have said what I had to say about the functionsof architecture and the scope of the art, as well as about fortifiedtowns and the apportionment of building sites within the fortifications. Although it would next be in order to explain the proper proportions andsymmetry of temples and public buildings, as well as of private houses, I thought best to postpone this until after I had treated the practicalmerits of the materials out of which, when they are brought together, buildings are constructed with due regard to the proper kind of materialfor each part, and until I had shown of what natural elements thosematerials are composed. But before beginning to explain their naturalproperties, I will prefix the motives which originally gave rise tobuildings and the development of inventions in this field, following inthe steps of early nature and of those writers who have devotedtreatises to the origins of civilization and the investigation ofinventions. My exposition will, therefore, follow the instruction whichI have received from them. 

CHAPTER I

THE ORIGIN OF THE DWELLING HOUSE

1. The men of old were born like the wild beasts, in woods, caves, andgroves, and lived on savage fare. As time went on, the thickly crowdedtrees in a certain place, tossed by storms and winds, and rubbing theirbranches against one another, caught fire, and so the inhabitants of theplace were put to flight, being terrified by the furious flame. After itsubsided, they drew near, and observing that they were very comfortablestanding before the warm fire, they put on logs and, while thus keepingit alive, brought up other people to it, showing them by signs how muchcomfort they got from it. In that gathering of men, at a time whenutterance of sound was purely individual, from daily habits they fixedupon articulate words just as these had happened to come; then, fromindicating by name things in common use, the result was that in thischance way they began to talk, and thus originated conversation with oneanother. 

2. Therefore it was the discovery of fire that originally gave rise tothe coming together of men, to the deliberative assembly, and to socialintercourse. And so, as they kept coming together in greater numbersinto one place, finding themselves naturally gifted beyond the otheranimals in not being obliged to walk with faces to the ground, butupright and gazing upon the splendour of the starry firmament, and alsoin being able to do with ease whatever they chose with their hands andfingers, they began in that first assembly to construct shelters. Somemade them of green boughs, others dug caves on mountain sides, and some, in imitation of the nests of swallows and the way they built, madeplaces of refuge out of mud and twigs. Next, by observing the sheltersof others and adding new details to their own inceptions, theyconstructed better and better kinds of huts as time went on. 

3. And since they were of an imitative and teachable nature, they woulddaily point out to each other the results of their building, boasting ofthe novelties in it; and thus, with their natural gifts sharpened byemulation, their standards improved daily. At first they set up forkedstakes connected by twigs and covered these walls with mud. Others madewalls of lumps of dried mud, covering them with reeds and leaves to keepout the rain and the heat. Finding that such roofs could not stand therain during the storms of winter, they built them with peaks daubed withmud, the roofs sloping and projecting so as to carry off the rain water. 

4. That houses originated as I have written above, we can see forourselves from the buildings that are to this day constructed of likematerials by foreign tribes: for instance, in Gaul, Spain, Portugal, andAquitaine, roofed with oak shingles or thatched. Among the Colchians inPontus, where there are forests in plenty, they lay down entire treesflat on the ground to the right and the left, leaving between them aspace to suit the length of the trees, and then place above theseanother pair of trees, resting on the ends of the former and at rightangles with them. These four trees enclose the space for the dwelling. Then upon these they place sticks of timber, one after the other on thefour sides, crossing each other at the angles, and so, proceeding withtheir walls of trees laid perpendicularly above the lowest, they buildup high towers. The interstices, which are left on account of thethickness of the building material, are stopped up with chips and mud. As for the roofs, by cutting away the ends of the crossbeams and makingthem converge gradually as they lay them across, they bring them up tothe top from the four sides in the shape of a pyramid. They cover itwith leaves and mud, and thus construct the roofs of their towers in arude form of the "tortoise" style. 

5. On the other hand, the Phrygians, who live in an open country, haveno forests and consequently lack timber. They therefore select a naturalhillock, run a trench through the middle of it, dig passages, and extendthe interior space as widely as the site admits. Over it they build apyramidal roof of logs fastened together, and this they cover with reedsand brushwood, heaping up very high mounds of earth above theirdwellings. Thus their fashion in houses makes their winters very warmand their summers very cool. Some construct hovels with roofs of rushesfrom the swamps. Among other nations, also, in some places there arehuts of the same or a similar method of construction. Likewise atMarseilles we can see roofs without tiles, made of earth mixed withstraw. In Athens on the Areopagus there is to this day a relic ofantiquity with a mud roof. The hut of Romulus on the Capitol is asignificant reminder of the fashions of old times, and likewise thethatched roofs of temples or the Citadel. 

6. From such specimens we can draw our inferences with regard to thedevices used in the buildings of antiquity, and conclude that they weresimilar. 

Furthermore, as men made progress by becoming daily more expert inbuilding, and as their ingenuity was increased by their dexterity sothat from habit they attained to considerable skill, their intelligencewas enlarged by their industry until the more proficient adopted thetrade of carpenters. From these early beginnings, and from the fact thatnature had not only endowed the human race with senses like the rest ofthe animals, but had also equipped their minds with the powers ofthought and understanding, thus putting all other animals under theirsway, they next gradually advanced from the construction of buildings tothe other arts and sciences, and so passed from a rude and barbarousmode of life to civilization and refinement. 

7. Then, taking courage and looking forward from the standpoint ofhigher ideas born of the multiplication of the arts, they gave up hutsand began to build houses with foundations, having brick or stonewalls, and roofs of timber and tiles; next, observation and applicationled them from fluctuating and indefinite conceptions to definite rulesof symmetry. Perceiving that nature had been lavish in the bestowal oftimber and bountiful in stores of building material, they treated thislike careful nurses, and thus developing the refinements of life, embellished them with luxuries. Therefore I shall now treat, to the bestof my ability, of the things which are suitable to be used in buildings, showing their qualities and their excellencies. 

8. Some persons, however, may find fault with the position of this book, thinking that it should have been placed first. I will therefore explainthe matter, lest it be thought that I have made a mistake. Being engagedin writing a complete treatise on architecture, I resolved to set forthin the first book the branches of learning and studies of which itconsists, to define its departments, and to show of what it is composed. Hence I have there declared what the qualities of an architect shouldbe. In the first book, therefore, I have spoken of the function of theart, but in this I shall discuss the use of the building materials whichnature provides. For this book does not show of what architecture iscomposed, but treats of the origin of the building art, how it wasfostered, and how it made progress, step by step, until it reached itspresent perfection. 

9. This book is, therefore, in its proper order and place. 

I will now return to my subject, and with regard to the materials suitedto the construction of buildings will consider their natural formationand in what proportions their elementary constituents were combined, making it all clear and not obscure to my readers. For there is no kindof material, no body, and no thing that can be produced or conceived of, which is not made up of elementary particles; and nature does not admitof a truthful exploration in accordance with the doctrines of thephysicists without an accurate demonstration of the primary causes ofthings, showing how and why they are as they are. 

CHAPTER II

ON THE PRIMORDIAL SUBSTANCE ACCORDING TO THE PHYSICISTS

1. First of all Thales thought that water was the primordial substanceof all things. Heraclitus of Ephesus, surnamed by the Greeks [Greek:skoteinos] on account of the obscurity of his writings, thought that itwas fire. Democritus and his follower Epicurus thought that it was theatoms, termed by our writers "bodies that cannot be cut up, " or, bysome, "indivisibles. " The school of the Pythagoreans added air and theearthy to the water and fire. Hence, although Democritus did not in astrict sense name them, but spoke only of indivisible bodies, yet heseems to have meant these same elements, because when taken bythemselves they cannot be harmed, nor are they susceptible ofdissolution, nor can they be cut up into parts, but throughout timeeternal they forever retain an infinite solidity. 

2. All things therefore appear to be made up and produced by the comingtogether of these elements, so that they have been distributed by natureamong an infinite number of kinds of things. Hence I believed it rightto treat of the diversity and practical peculiarities of these things aswell as of the qualities which they exhibit in buildings, so thatpersons who are intending to build may understand them and so make nomistake, but may gather materials which are suitable to use in theirbuildings. 

CHAPTER III

BRICK

1. Beginning with bricks, I shall state of what kind of clay they oughtto be made. They should not be made of sandy or pebbly clay, or of finegravel, because when made of these kinds they are in the first placeheavy; and, secondly, when washed by the rain as they stand in walls, they go to pieces and break up, and the straw in them does not holdtogether on account of the roughness of the material. They should ratherbe made of white and chalky or of red clay, or even of a coarse grainedgravelly clay. These materials are smooth and therefore durable; theyare not heavy to work with, and are readily laid. 

2. Bricks should be made in Spring or Autumn, so that they may dryuniformly. Those made in Summer are defective, because the fierce heatof the sun bakes their surface and makes the brick seem dry while insideit is not dry. And so the shrinking, which follows as they dry, causescracks in the parts which were dried before, and these cracks make thebricks weak. Bricks will be most serviceable if made two years beforeusing; for they cannot dry thoroughly in less time. When fresh undriedbricks are used in a wall, the stucco covering stiffens and hardens intoa permanent mass, but the bricks settle and cannot keep the same heightas the stucco; the motion caused by their shrinking prevents them fromadhering to it, and they are separated from their union with it. Hencethe stucco, no longer joined to the core of the wall, cannot stand byitself because it is so thin; it breaks off, and the walls themselvesmay perhaps be ruined by their settling. This is so true that at Uticain constructing walls they use brick only if it is dry and made fiveyears previously, and approved as such by the authority of a magistrate. 

3. There are three kinds of bricks. First, the kind called in GreekLydian, being that which our people use, a foot and a half long and onefoot wide. The other two kinds are used by the Greeks in theirbuildings. Of these, one is called [Greek: pentadôron], the other[Greek: tetradôron]. [Greek: Dôron] is the Greek for "palm, " for inGreek [Greek: dôron] means the giving of gifts, and the gift is alwayspresented in the palm of the hand. A brick five palms square is called"pentadoron"; one four palms square "tetradoron. " Public buildings areconstructed of [Greek: pentadôra], private of [Greek: tetradôra]. 

4. With these bricks there are also half-bricks. When these are used ina wall, a course of bricks is laid on one face and a course ofhalf-bricks on the other, and they are bedded to the line on each face. The walls are bonded by alternate courses of the two different kinds, and as the bricks are always laid so as to break joints, this lendsstrength and a not unattractive appearance to both sides of such walls. 

[Illustration: VITRUVIUS' BRICK-BOND ACCORDING TO REBER]

In the states of Maxilua and Callet, in Further Spain, as well as inPitane in Asia Minor, there are bricks which, when finished and dried, will float on being thrown into water. The reason why they can floatseems to be that the clay of which they are made is like pumice-stone. So it is light, and also it does not, after being hardened by exposureto the air, take up or absorb liquid. So these bricks, being of thislight and porous quality, and admitting no moisture into their texture, must by the laws of nature float in water, like pumice, no matter whattheir weight may be. They have therefore great advantages; for they arenot heavy to use in building and, once made, they are not spoiled by badweather. 

CHAPTER IV

SAND

1. In walls of masonry the first question must be with regard to thesand, in order that it may be fit to mix into mortar and have no dirt init. The kinds of pitsand are these: black, gray, red, and carbuncular. Of these the best will be found to be that which crackles when rubbed inthe hand, while that which has much dirt in it will not be sharp enough. Again: throw some sand upon a white garment and then shake it out; ifthe garment is not soiled and no dirt adheres to it, the sand issuitable. 

2. But if there are no sandpits from which it can be dug, then we mustsift it out from river beds or from gravel or even from the sea beach. This kind, however, has these defects when used in masonry: it driesslowly; the wall cannot be built up without interruption but from timeto time there must be pauses in the work; and such a wall cannot carryvaultings. Furthermore, when sea-sand is used in walls and these arecoated with stucco, a salty efflorescence is given out which spoils thesurface. 

3. But pitsand used in masonry dries quickly, the stucco coating ispermanent, and the walls can support vaultings. I am speaking of sandfresh from the sandpits. For if it lies unused too long after beingtaken out, it is disintegrated by exposure to sun, moon, or hoar frost, and becomes earthy. So when mixed in masonry, it has no binding power onthe rubble, which consequently settles and down comes the load which thewalls can no longer support. Fresh pitsand, however, in spite of all itsexcellence in concrete structures, is not equally useful in stucco, therichness of which, when the lime and straw are mixed with such sand, will cause it to crack as it dries on account of the great strength ofthe mixture. But river sand, though useless in "signinum" on account ofits thinness, becomes perfectly solid in stucco when thoroughly workedby means of polishing instruments. 

CHAPTER V

LIME

1. Sand and its sources having been thus treated, next with regard tolime we must be careful that it is burned from a stone which, whethersoft or hard, is in any case white. Lime made of close-grained stone ofthe harder sort will be good in structural parts; lime of porous stone, in stucco. After slaking it, mix your mortar, if using pitsand, in theproportions of three parts of sand to one of lime; if using river orsea-sand, mix two parts of sand with one of lime. These will be theright proportions for the composition of the mixture. Further, in usingriver or sea-sand, the addition of a third part composed of burnt brick, pounded up and sifted, will make your mortar of a better composition touse. 

2. The reason why lime makes a solid structure on being combined withwater and sand seems to be this: that rocks, like all other bodies, arecomposed of the four elements. Those which contain a larger proportionof air, are soft; of water, are tough from the moisture; of earth, hard;and of fire, more brittle. Therefore, if limestone, without beingburned, is merely pounded up small and then mixed with sand and so putinto the work, the mass does not solidify nor can it hold together. Butif the stone is first thrown into the kiln, it loses its former propertyof solidity by exposure to the great heat of the fire, and so with itsstrength burnt out and exhausted it is left with its pores open andempty. Hence, the moisture and air in the body of the stone being burnedout and set free, and only a residuum of heat being left lying in it, ifthe stone is then immersed in water, the moisture, before the water canfeel the influence of the fire, makes its way into the open pores; thenthe stone begins to get hot, and finally, after it cools off, the heatis rejected from the body of the lime. 

3. Consequently, limestone when taken out of the kiln cannot be as heavyas when it was thrown in, but on being weighed, though its bulk remainsthe same as before, it is found to have lost about a third of its weightowing to the boiling out of the water. Therefore, its pores being thusopened and its texture rendered loose, it readily mixes with sand, andhence the two materials cohere as they dry, unite with the rubble, andmake a solid structure. 

CHAPTER VI

POZZOLANA

1. There is also a kind of powder which from natural causes producesastonishing results. It is found in the neighbourhood of Baiae and inthe country belonging to the towns round about Mt. Vesuvius. Thissubstance, when mixed with lime and rubble, not only lends strength tobuildings of other kinds, but even when piers of it are constructed inthe sea, they set hard under water. The reason for this seems to be thatthe soil on the slopes of the mountains in these neighbourhoods is hotand full of hot springs. This would not be so unless the mountains hadbeneath them huge fires of burning sulphur or alum or asphalt. So thefire and the heat of the flames, coming up hot from far within throughthe fissures, make the soil there light, and the tufa found there isspongy and free from moisture. Hence, when the three substances, allformed on a similar principle by the force of fire, are mixed together, the water suddenly taken in makes them cohere, and the moisture quicklyhardens them so that they set into a mass which neither the waves northe force of the water can dissolve. 

2. That there is burning heat in these regions may be proved by thefurther fact that in the mountains near Baiae, which belongs to theCumaeans, there are places excavated to serve as sweating-baths, wherethe intense heat that comes from far below bores its way through theearth, owing to the force of the fire, and passing up appears in theseregions, thus making remarkably good sweating-baths. Likewise also it isrelated that in ancient times the tides of heat, swelling andoverflowing from under Mt. Vesuvius, vomited forth fire from themountain upon the neighbouring country. Hence, what is called"sponge-stone" or "Pompeian pumice" appears to have been reduced byburning from another kind of stone to the condition of the kind which wesee. 

3. The kind of sponge-stone taken from this region is not producedeverywhere else, but only about Aetna and among the hills of Mysia whichthe Greeks call the "Burnt District, " and in other places of the samepeculiar nature. Seeing that in such places there are found hot springsand warm vapour in excavations on the mountains, and that the ancientstell us that there were once fires spreading over the fields in thosevery regions, it seems to be certain that moisture has been extractedfrom the tufa and earth, by the force of fire, just as it is fromlimestone in kilns. 

4. Therefore, when different and unlike things have been subjected tothe action of fire and thus reduced to the same condition, if afterthis, while in a warm, dry state, they are suddenly saturated withwater, there is an effervescence of the heat latent in the bodies ofthem all, and this makes them firmly unite and quickly assume theproperty of one solid mass. 

There will still be the question why Tuscany, although it abounds in hotsprings, does not furnish a powder out of which, on the same principle, a wall can be made which will set fast under water. I have thereforethought best to explain how this seems to be, before the question shouldbe raised. 

5. The same kinds of soil are not found in all places and countriesalike, nor is stone found everywhere. Some soils are earthy; othersgravelly, and again pebbly; in other places the material is sandy; in aword, the properties of the soil are as different and unlike as are thevarious countries. In particular, it may be observed that sandpits arehardly ever lacking in any place within the districts of Italy andTuscany which are bounded by the Apennines; whereas across the Apenninestoward the Adriatic none are found, and in Achaea and Asia Minor or, inshort, across the sea, the very term is unknown. Hence it is not in allthe places where boiling springs of hot water abound, that there is thesame combination of favourable circumstances which has been describedabove. For things are produced in accordance with the will of nature;not to suit man's pleasure, but as it were by a chance distribution. 

6. Therefore, where the mountains are not earthy but consist of softstone, the force of the fire, passing through the fissures in the stone, sets it afire. The soft and delicate part is burned out, while the hardpart is left. Consequently, while in Campania the burning of the earthmakes ashes, in Tuscany the combustion of the stone makes carbuncularsand. Both are excellent in walls, but one is better to use forbuildings on land, the other for piers under salt water. The Tuscanstone is softer in quality than tufa but harder than earth, and beingthoroughly kindled by the violent heat from below, the result is theproduction in some places of the kind of sand called carbuncular. 

[Illustration: TRAVERTINE QUARRIES ON THE ROMAN CAMPAGNA

1. 2. Ancient quarries. 3. A similar modern quarry. 

The top of the rock shows the original ground level. The present groundlevel shows the depth to which the rock has been removed. ]

CHAPTER VII

STONE

1. I have now spoken of lime and sand, with their varieties and pointsof excellence. Next comes the consideration of stone-quarries from whichdimension stone and supplies of rubble to be used in building are takenand brought together. The stone in quarries is found to be of differentand unlike qualities. In some it is soft: for example, in the environsof the city at the quarries of Grotta Rossa, Palla, Fidenae, and of theAlban hills; in others, it is medium, as at Tivoli, at Amiternum, or Mt. Soracte, and in quarries of this sort; in still others it is hard, as inlava quarries. There are also numerous other kinds: for instance, inCampania, red and black tufas; in Umbria, Picenum, and Venetia, whitetufa which can be cut with a toothed saw, like wood. 

2. All these soft kinds have the advantage that they can be easilyworked as soon as they have been taken from the quarries. Under coverthey play their part well; but in open and exposed situations the frostand rime make them crumble, and they go to pieces. On the seacoast, too, the salt eats away and dissolves them, nor can they stand great heateither. But travertine and all stone of that class can stand injurywhether from a heavy load laid upon it or from the weather; exposure tofire, however, it cannot bear, but splits and cracks to pieces at once. This is because in its natural composition there is but little moistureand not much of the earthy, but a great deal of air and of fire. Therefore, it is not only without the earthy and watery elements, butwhen fire, expelling the air from it by the operation and force of heat, penetrates into its inmost parts and occupies the empty spaces of thefissures, there comes a great glow and the stone is made to burn asfiercely as do the particles of fire itself. 

3. There are also several quarries called Anician in the territory ofTarquinii, the stone being of the colour of peperino. The principalworkshops lie round the lake of Bolsena and in the prefecture ofStatonia. This stone has innumerable good qualities. Neither the seasonof frost nor exposure to fire can harm it, but it remains solid andlasts to a great age, because there is only a little air and fire in itsnatural composition, a moderate amount of moisture, and a great deal ofthe earthy. Hence its structure is of close texture and solid, and so itcannot be injured by the weather or by the force of fire. 

4. This may best be seen from monuments in the neighbourhood of the townof Ferento which are made of stone from these quarries. Among them arelarge statues exceedingly well made, images of smaller size, and flowersand acanthus leaves gracefully carved. Old as these are, they look asfresh as if they were only just finished. Bronze workers, also, makemoulds for the casting of bronze out of stone from these quarries, andfind it very useful in bronze-founding. If the quarries were only nearRome, all our buildings might well be constructed from the products ofthese workshops. 

5. But since, on account of the proximity of the stone-quarries ofGrotta Rossa, Palla, and the others that are nearest to the city, necessity drives us to make use of their products, we must proceed asfollows, if we wish our work to be finished without flaws. Let the stonebe taken from the quarry two years before building is to begin, and notin winter but in summer. Then let it lie exposed in an open place. Suchstone as has been damaged by the two years of exposure should be used inthe foundations. The rest, which remains unhurt, has passed the test ofnature and will endure in those parts of the building which are aboveground. This precaution should be observed, not only with dimensionstone, but also with the rubble which is to be used in walls. 

[Illustration: Photo. Moscioni

EXAMPLE OF OPUS INCERTUM. THE CIRCULAR TEMPLE AT TIVOLI]

CHAPTER VIII

METHODS OF BUILDING WALLS

1. There are two styles of walls: "opus reticulatum, " now used byeverybody, and the ancient style called "opus incertum. " Of these, thereticulatum looks better, but its construction makes it likely to crack, because its beds and builds spread out in every direction. On the otherhand, in the opus incertum, the rubble, lying in courses and imbricated, makes a wall which, though not beautiful, is stronger than thereticulatum. 

2. Both kinds should be constructed of the smallest stones, so that thewalls, being thoroughly puddled with the mortar, which is made of limeand sand, may hold together longer. Since the stones used are soft andporous, they are apt to suck the moisture out of the mortar and so todry it up. But when there is abundance of lime and sand, the wall, containing more moisture, will not soon lose its strength, for they willhold it together. But as soon as the moisture is sucked out of themortar by the porous rubble, and the lime and sand separate anddisunite, the rubble can no longer adhere to them and the wall will intime become a ruin. 

3. This we may learn from several monuments in the environs of the city, which are built of marble or dimension stone, but on the inside packedwith masonry between the outer walls. In the course of time, the mortarhas lost its strength, which has been sucked out of it by the porousnessof the rubble; and so the monuments are tumbling down and going topieces, with their joints loosened by the settling of the material thatbound them together. 

4. He who wishes to avoid such a disaster should leave a cavity behindthe facings, and on the inside build walls two feet thick, made of reddimension stone or burnt brick or lava in courses, and then bind them tothe fronts by means of iron clamps and lead. For thus his work, being nomere heap of material but regularly laid in courses, will be strongenough to last forever without a flaw, because the beds and builds, allsettling equally and bonded at the joints, will not let the work bulgeout, nor allow the fall of the face walls which have been tightlyfastened together. 

5. Consequently, the method of construction employed by the Greeks isnot to be despised. They do not use a structure of soft rubble polishedon the outside, but whenever they forsake dimension stone, they laycourses of lava or of some hard stone, and, as though building withbrick, they bind the upright joints by interchanging the direction ofthe stones as they lie in the courses. Thus they attain to a perfectionthat will endure to eternity. These structures are of two kinds. One ofthem is called "isodomum, " the other "pseudisodomum. "

6. A wall is called isodomum when all the courses are of equal height;pseudisodomum, when the rows of courses do not match but run unequally. Both kinds are strong: first, because the rubble itself is of closetexture and solid, unable to suck the moisture out of the mortar, butkeeping it in its moist condition for a very long period; secondly, because the beds of the stones, being laid smooth and level to beginwith, keep the mortar from falling, and, as they are bonded throughoutthe entire thickness of the wall, they hold together for a very longperiod. 

7. Another method is that which they call [Greek: emplekton], used alsoamong us in the country. In this the facings are finished, but the otherstones left in their natural state and then laid with alternate bondingstones. But our workmen, in their hurry to finish, devote themselvesonly to the facings of the walls, setting them upright but filling thespace between with a lot of broken stones and mortar thrown in anyhow. This makes three different sections in the same structure; twoconsisting of facing and one of filling between them. The Greeks, however, do not build so; but laying their stones level and buildingevery other stone length-wise into the thickness, they do not fill thespace between, but construct the thickness of their walls in one solidand unbroken mass from the facings to the interior. Further, atintervals they lay single stones which run through the entirethickness of the wall. These stones, which show at each end, are called[Greek: diatonoi], and by their bonding powers they add very greatly tothe solidity of the walls. 

[Illustration: Photo. Moscioni

OPUS RETICULATUM FROM THE THERMAE OF HADRIAN'S VILLA AT TIVOLI]

[Illustration: Photo. Moscioni

EXAMPLE OF OPUS RETICULATUM FROM THE DOORWAY OF THE STOA POECILE. VILLAOF HADRIAN AT TIVOLI]

8. One who in accordance with these notes will take pains in selectinghis method of construction, may count upon having something that willlast. No walls made of rubble and finished with delicate beauty--no suchwalls can escape ruin as time goes on. Hence, when arbitrators arechosen to set a valuation on party walls, they do not value them at whatthey cost to build, but look up the written contract in each case andthen, after deducting from the cost one eightieth for each year that thewall has been standing, decide that the remainder is the sum to be paid. They thus in effect pronounce that such walls cannot last more thaneighty years. 

9. In the case of brick walls, however, no deduction is made providedthat they are still standing plumb, but they are always valued at whatthey cost to build. Hence in some states we may see public buildings andprivate houses, as well as those of kings, built of brick: in Athens, for example, the part of the wall which faces Mt. Hymettus andPentelicus; at Patras, the cellae of the temple of Jupiter and Hercules, which are brick, although on the outside the entablature and columns ofthe temple are of stone; in Italy, at Arezzo, an ancient wallexcellently built; at Tralles, the house built for the kings of thedynasty of Attalus, which is now always granted to the man who holds thestate priesthood. In Sparta, paintings have been taken out of certainwalls by cutting through the bricks, then have been placed in woodenframes, and so brought to the Comitium to adorn the aedileship of Varroand Murena. 

10. Then there is the house of Croesus which the people of Sardis haveset apart as a place of repose for their fellow-citizens in theretirement of age, --a "Gerousia" for the guild of the elder men. AtHalicarnassus, the house of that most potent king Mausolus, thoughdecorated throughout with Proconnesian marble, has walls built of brickwhich are to this day of extraordinary strength, and are covered withstucco so highly polished that they seem to be as glistening as glass. That king did not use brick from poverty; for he was choke-full ofrevenues, being ruler of all Caria. 

11. As for his skill and ingenuity as a builder, they may be seen fromwhat follows. He was born at Melassa, but recognizing the naturaladvantages of Halicarnassus as a fortress, and seeing that it wassuitable as a trading centre and that it had a good harbour, he fixedhis residence there. The place had a curvature like that of the seats ina theatre. On the lowest tier, along the harbour, was built the forum. About halfway up the curving slope, at the point where the curvedcross-aisle is in a theatre, a broad wide street was laid out, in themiddle of which was built the Mausoleum, a work so remarkable that it isclassed among the Seven Wonders of the World. At the top of the hill, inthe centre, is the fane of Mars, containing a colossal acrolithic statueby the famous hand of Leochares. That is, some think that this statue isby Leochares, others by Timotheus. At the extreme right of the summit isthe fane of Venus and Mercury, close to the spring of Salmacis. 

12. There is a mistaken idea that this spring infects those who drink ofit with an unnatural lewdness. It will not be out of place to explainhow this idea came to spread throughout the world from a mistake in thetelling of the tale. It cannot be that the water makes men effeminateand unchaste, as it is said to do; for the spring is of remarkableclearness and excellent in flavour. The fact is that when Melas andArevanias came there from Argos and Troezen and founded a colonytogether, they drove out the Carians and Lelegans who were barbarians. These took refuge in the mountains, and, uniting there, used to makeraids, plundering the Greeks and laying their country waste in a cruelmanner. Later, one of the colonists, to make money, set up awell-stocked shop, near the spring because the water was so good, andthe way in which he carried it on attracted the barbarians. So theybegan to come down, one at a time, and to meet with society, and thusthey were brought back of their own accord, giving up their rough andsavage ways for the delights of Greek customs. Hence this water acquiredits peculiar reputation, not because it really induced unchastity, butbecause those barbarians were softened by the charm of civilization. 

[Illustration: THE MAUSOLEUM AT HALICARNASSUS AS RESTORED BY FRIEDRICHADLER]

13. But since I have been tempted into giving a description of thisfortified place, it remains to finish my account of it. Corresponding tothe fane of Venus and the spring described above, which are on theright, we have on the extreme left the royal palace which king Mausolusbuilt there in accordance with a plan all his own. To the right itcommands a view of the forum, the harbour, and the entire line offortifications, while just below it, to the left, there is a concealedharbour, hidden under the walls in such a way that nobody could see orknow what was going on in it. Only the king himself could, in case ofneed, give orders from his own palace to the oarsmen and soldiers, without the knowledge of anybody else. 

14. After the death of Mausolus, his wife Artemisia became queen, andthe Rhodians, regarding it as an outrage that a woman should be ruler ofthe states of all Caria, fitted out a fleet and sallied forth to seizeupon the kingdom. When news of this reached Artemisia, she gave ordersthat her fleet should be hidden away in that harbour with oarsmen andmarines mustered and concealed, but that the rest of the citizens shouldtake their places on the city wall. After the Rhodians had landed at thelarger harbour with their well-equipped fleet, she ordered the people onthe wall to cheer them and to promise that they would deliver up thetown. Then, when they had passed inside the wall, leaving their fleetempty, Artemisia suddenly made a canal which led to the sea, brought herfleet thus out of the smaller harbour, and so sailed into the larger. Disembarking her soldiers, she towed the empty fleet of the Rhodians outto sea. So the Rhodians were surrounded without means of retreat, andwere slain in the very forum. 

15. So Artemisia embarked her own soldiers and oarsmen in the ships ofthe Rhodians and set forth for Rhodes. The Rhodians, beholding their ownships approaching wreathed with laurel, supposed that theirfellow-citizens were returning victorious, and admitted the enemy. ThenArtemisia, after taking Rhodes and killing its leading men, put up inthe city of Rhodes a trophy of her victory, including two bronzestatues, one representing the state of the Rhodians, the other herself. Herself she fashioned in the act of branding the state of the Rhodians. In later times the Rhodians, labouring under the religious scruple whichmakes it a sin to remove trophies once they are dedicated, constructed abuilding to surround the place, and thus by the erection of the "GrecianStation" covered it so that nobody could see it, and ordered that thebuilding be called "[Greek: abaton]. "

16. Since such very powerful kings have not disdained walls built ofbrick, although with their revenues and from booty they might often havehad them not only of masonry or dimension stone but even of marble, Ithink that one ought not to reject buildings made of brick-work, provided that they are properly "topped. " But I shall explain why thiskind of structure should not be used by the Roman people within thecity, not omitting the reasons and the grounds for them. 

17. The laws of the state forbid that walls abutting on public propertyshould be more than a foot and a half thick. The other walls are builtof the same thickness in order to save space. Now brick walls, unlesstwo or three bricks thick, cannot support more than one story; certainlynot if they are only a foot and a half in thickness. But with thepresent importance of the city and the unlimited numbers of itspopulation, it is necessary to increase the number of dwelling-placesindefinitely. Consequently, as the ground floors could not admit of sogreat a number living in the city, the nature of the case has made itnecessary to find relief by making the buildings high. In these tallpiles reared with piers of stone, walls of burnt brick, and partitionsof rubble work, and provided with floor after floor, the upper storiescan be partitioned off into rooms to very great advantage. Theaccommodations within the city walls being thus multiplied as a resultof the many floors high in the air, the Roman people easily findexcellent places in which to live. 

18. It has now been explained how limitations of building spacenecessarily forbid the employment of brick walls within the city. Whenit becomes necessary to use them outside the city, they should beconstructed as follows in order to be perfect and durable. On the top ofthe wall lay a structure of burnt brick, about a foot and a half inheight, under the tiles and projecting like a coping. Thus the defectsusual in these walls can be avoided. For when the tiles on the roof arebroken or thrown down by the wind so that rainwater can leak through, this burnt brick coating will prevent the crude brick from beingdamaged, and the cornice-like projection will throw off the drops beyondthe vertical face, and thus the walls, though of crude brick structure, will be preserved intact. 

19. With regard to burnt brick, nobody can tell offhand whether it is ofthe best or unfit to use in a wall, because its strength can be testedonly after it has been used on a roof and exposed to bad weather andtime--then, if it is good it is accepted. If not made of good clay or ifnot baked sufficiently, it shows itself defective there when exposed tofrosts and rime. Brick that will not stand exposure on roofs can neverbe strong enough to carry its load in a wall. Hence the strongest burntbrick walls are those which are constructed out of old roofing tiles. 

20. As for "wattle and daub" I could wish that it had never beeninvented. The more it saves in time and gains in space, the greater andthe more general is the disaster that it may cause; for it is made tocatch fire, like torches. It seems better, therefore, to spend on wallsof burnt brick, and be at expense, than to save with "wattle and daub, "and be in danger. And, in the stucco covering, too, it makes cracks fromthe inside by the arrangement of its studs and girts. For these swellwith moisture as they are daubed, and then contract as they dry, and, bytheir shrinking, cause the solid stucco to split. But since some areobliged to use it either to save time or money, or for partitions on anunsupported span, the proper method of construction is as follows. Giveit a high foundation so that it may nowhere come in contact with thebroken stone-work composing the floor; for if it is sunk in this, itrots in course of time, then settles and sags forward, and so breaksthrough the surface of the stucco covering. 

I have now explained to the best of my ability the subject of walls, andthe preparation of the different kinds of material employed, with theiradvantages and disadvantages. Next, following the guidance of Nature, Ishall treat of the framework and the kinds of wood used in it, showinghow they may be procured of a sort that will not give way as time goeson. 

CHAPTER IX

TIMBER

1. Timber should be felled between early Autumn and the time whenFavonius begins to blow. For in Spring all trees become pregnant, andthey are all employing their natural vigour in the production of leavesand of the fruits that return every year. The requirements of thatseason render them empty and swollen, and so they are weak and feeblebecause of their looseness of texture. This is also the case with womenwho have conceived. Their bodies are not considered perfectly healthyuntil the child is born; hence, pregnant slaves, when offered for sale, are not warranted sound, because the fetus as it grows within the bodytakes to itself as nourishment all the best qualities of the mother'sfood, and so the stronger it becomes as the full time for birthapproaches, the less compact it allows that body to be from which it isproduced. After the birth of the child, what was heretofore taken topromote the growth of another creature is now set free by the deliveryof the newborn, and the channels being now empty and open, the body willtake it in by lapping up its juices, and thus becomes compact andreturns to the natural strength which it had before. 

2. On the same principle, with the ripening of the fruits in Autumn theleaves begin to wither and the trees, taking up their sap from the earththrough the roots, recover themselves and are restored to their formersolid texture. But the strong air of winter compresses and solidifiesthem during the time above mentioned. Consequently, if the timber isfelled on the principle and at the time above mentioned, it will befelled at the proper season. 

3. In felling a tree we should cut into the trunk of it to the veryheart, and then leave it standing so that the sap may drain out drop bydrop throughout the whole of it. In this way the useless liquid which iswithin will run out through the sapwood instead of having to die in amass of decay, thus spoiling the quality of the timber. Then and nottill then, the tree being drained dry and the sap no longer dripping, let it be felled and it will be in the highest state of usefulness. 

4. That this is so may be seen in the case of fruit trees. When theseare tapped at the base and pruned, each at the proper time, they pourout from the heart through the tapholes all the superfluous andcorrupting fluid which they contain, and thus the draining process makesthem durable. But when the juices of trees have no means of escape, theyclot and rot in them, making the trees hollow and good for nothing. Therefore, if the draining process does not exhaust them while they arestill alive, there is no doubt that, if the same principle is followedin felling them for timber, they will last a long time and be veryuseful in buildings. 

5. Trees vary and are unlike one another in their qualities. Thus it iswith the oak, elm, poplar, cypress, fir, and the others which are mostsuitable to use in buildings. The oak, for instance, has not theefficacy of the fir, nor the cypress that of the elm. Nor in the case ofother trees, is it natural that they should be alike; but the individualkinds are effective in building, some in one way, some in another, owingto the different properties of their elements. 

6. To begin with fir: it contains a great deal of air and fire with verylittle moisture and the earthy, so that, as its natural properties areof the lighter class, it is not heavy. Hence, its consistence beingnaturally stiff, it does not easily bend under the load, and keeps itsstraightness when used in the framework. But it contains so much heatthat it generates and encourages decay, which spoils it; and it alsokindles fire quickly because of the air in its body, which is so openthat it takes in fire and so gives out a great flame. 

7. The part which is nearest to the earth before the tree is cut downtakes up moisture through the roots from the immediate neighbourhood andhence is without knots and is "clear. " But the upper part, on account ofthe great heat in it, throws up branches into the air through the knots;and this, when it is cut off about twenty feet from the ground and thenhewn, is called "knotwood" because of its hardness and knottiness. Thelowest part, after the tree is cut down and the sapwood of the samethrown away, is split up into four pieces and prepared for joiner'swork, and so is called "clearstock. "

8. Oak, on the other hand, having enough and to spare of the earthyamong its elements, and containing but little moisture, air, and fire, lasts for an unlimited period when buried in underground structures. Itfollows that when exposed to moisture, as its texture is not loose andporous, it cannot take in liquid on account of its compactness, but, withdrawing from the moisture, it resists it and warps, thus makingcracks in the structures in which it is used. 

9. The winter oak, being composed of a moderate amount of all theelements, is very useful in buildings, but when in a moist place, ittakes in water to its centre through its pores, its air and fire beingexpelled by the influence of the moisture, and so it rots. The Turkeyoak and the beech, both containing a mixture of moisture, fire, and theearthy, with a great deal of air, through this loose texture take inmoisture to their centre and soon decay. White and black poplar, as wellas willow, linden, and the agnus castus, containing an abundance offire and air, a moderate amount of moisture, and only a small amount ofthe earthy, are composed of a mixture which is proportionately ratherlight, and so they are of great service from their stiffness. Althoughon account of the mixture of the earthy in them they are not hard, yettheir loose texture makes them gleaming white, and they are a convenientmaterial to use in carving. 

10. The alder, which is produced close by river banks, and which seemsto be altogether useless as building material, has really excellentqualities. It is composed of a very large proportion of air and fire, not much of the earthy, and only a little moisture. Hence, in swampyplaces, alder piles driven close together beneath the foundations ofbuildings take in the water which their own consistence lacks and remainimperishable forever, supporting structures of enormous weight andkeeping them from decay. Thus a material which cannot last even a littlewhile above ground, endures for a long time when covered with moisture. 

11. One can see this at its best in Ravenna; for there all thebuildings, both public and private, have piles of this sort beneaththeir foundations. The elm and the ash contain a very great amount ofmoisture, a minimum of air and fire, and a moderate mixture of theearthy in their composition. When put in shape for use in buildings theyare tough and, having no stiffness on account of the weight of moisturein them, soon bend. But when they become dry with age, or are allowed tolose their sap and die standing in the open, they get harder, and fromtheir toughness supply a strong material for dowels to be used in jointsand other articulations. 

12. The hornbeam, which has a very small amount of fire and of theearthy in its composition, but a very great proportion of air andmoisture, is not a wood that breaks easily, and is very convenient tohandle. Hence, the Greeks call it "zygia, " because they make of it yokesfor their draught-animals, and their word for yoke is [Greek: zyga]. Cypress and pine are also just as admirable; for although they containan abundance of moisture mixed with an equivalent composed of all theother elements, and so are apt to warp when used in buildings on accountof this superfluity of moisture, yet they can be kept to a great agewithout rotting, because the liquid contained within their substanceshas a bitter taste which by its pungency prevents the entrance of decayor of those little creatures which are destructive. Hence, buildingsmade of these kinds of wood last for an unending period of time. 

13. The cedar and the juniper tree have the same uses and goodqualities, but, while the cypress and pine yield resin, from the cedaris produced an oil called cedar-oil. Books as well as other thingssmeared with this are not hurt by worms or decay. The foliage of thistree is like that of the cypress but the grain of the wood is straight. The statue of Diana in the temple at Ephesus is made of it, and so arethe coffered ceilings both there and in all other famous fanes, becausethat wood is everlasting. The tree grows chiefly in Crete, Africa, andin some districts of Syria. 

14. The larch, known only to the people of the towns on the banks of theriver Po and the shores of the Adriatic, is not only preserved fromdecay and the worm by the great bitterness of its sap, but also itcannot be kindled with fire nor ignite of itself, unless like stone in alimekiln it is burned with other wood. And even then it does not takefire nor produce burning coals, but after a long time it slowly consumesaway. This is because there is a very small proportion of the elementsof fire and air in its composition, which is a dense and solid mass ofmoisture and the earthy, so that it has no open pores through which firecan find its way; but it repels the force of fire and does not letitself be harmed by it quickly. Further, its weight will not let itfloat in water, so that when transported it is loaded on shipboard or onrafts made of fir. 

15. It is worth while to know how this wood was discovered. The divineCaesar, being with his army in the neighbourhood of the Alps, and havingordered the towns to furnish supplies, the inhabitants of a fortifiedstronghold there, called Larignum, trusting in the natural strength oftheir defences, refused to obey his command. So the general ordered hisforces to the assault. In front of the gate of this stronghold therewas a tower, made of beams of this wood laid in alternating directionsat right angles to each other, like a funeral pyre, and built high, sothat they could drive off an attacking party by throwing stakes andstones from the top. When it was observed that they had no othermissiles than stakes, and that these could not be hurled very far fromthe wall on account of the weight, orders were given to approach and tothrow bundles of brushwood and lighted torches at this outwork. Thesethe soldiers soon got together. 

16. The flames soon kindled the brushwood which lay about that woodenstructure and, rising towards heaven, made everybody think that thewhole pile had fallen. But when the fire had burned itself out andsubsided, and the tower appeared to view entirely uninjured, Caesar inamazement gave orders that they should be surrounded with a palisade, built beyond the range of missiles. So the townspeople were frightenedinto surrendering, and were then asked where that wood came from whichwas not harmed by fire. They pointed to trees of the kind underdiscussion, of which there are very great numbers in that vicinity. Andso, as that stronghold was called Larignum, the wood was called larch. It is transported by way of the Po to Ravenna, and is to be had in Fano, Pesaro, Ancona, and the other towns in that neighbourhood. If there wereonly a ready method of carrying this material to Rome, it would be ofthe greatest use in buildings; if not for general purposes, yet at leastif the boards used in the eaves running round blocks of houses were madeof it, the buildings would be free from the danger of fire spreadingacross to them, because such boards can neither take fire from flames orfrom burning coals, nor ignite spontaneously. 

17. The leaves of these trees are like those of the pine; timber fromthem comes in long lengths, is as easily wrought in joiner's work as isthe clearwood of fir, and contains a liquid resin, of the colour ofAttic honey, which is good for consumptives. 

With regard to the different kinds of timber, I have now explained ofwhat natural properties they appear to be composed, and how they wereproduced. It remains to consider the question why the highland fir, asit is called in Rome, is inferior, while the lowland fir is extremelyuseful in buildings so far as durability is concerned; and further toexplain how it is that their bad or good qualities seem to be due to thepeculiarities of their neighbourhood, so that this subject may beclearer to those who examine it. 

CHAPTER X

HIGHLAND AND LOWLAND FIR

1. The first spurs of the Apennines arise from the Tuscan sea betweenthe Alps and the most distant borders of Tuscany. The mountain rangeitself bends round and, almost touching the shores of the Adriatic inthe middle of the curve, completes its circuit by extending to thestrait on the other shore. Hence, this side of the curve, slopingtowards the districts of Tuscany and Campania, lies basking in the sun, being constantly exposed to the full force of its rays all day. But thefurther side, sloping towards the Upper Sea and having a northernexposure, is constantly shrouded in shadowy darkness. Hence the treeswhich grow on that side, being nourished by the moisture, not onlythemselves attain to a very large size, but their fibre too, filled fullof moisture, is swollen and distended with abundance of liquid. Whenthey lose their vitality after being felled and hewn, the fibre retainsits stiffness, and the trees as they dry become hollow and frail onaccount of their porosity, and hence cannot last when used in buildings. 

2. But trees which grow in places facing the course of the sun are notof porous fibre but are solid, being drained by the dryness; for the sunabsorbs moisture and draws it out of trees as well as out of the earth. The trees in sunny neighbourhoods, therefore, being solidified by thecompact texture of their fibre, and not being porous from moisture, arevery useful, so far as durability goes, when they are hewn into timber. Hence the lowland firs, being conveyed from sunny places, are betterthan those highland firs, which are brought here from shady places. 

3. To the best of my mature consideration, I have now treated thematerials which are necessary in the construction of buildings, theproportionate amount of the elements which are seen to be contained intheir natural composition, and the points of excellence and defects ofeach kind, so that they may be not unknown to those who are engaged inbuilding. Thus those who can follow the directions contained in thistreatise will be better informed in advance, and able to select, amongthe different kinds, those which will be of use in their works. Therefore, since the preliminaries have been explained, the buildingsthemselves will be treated in the remaining books; and first, as dueorder requires, I shall in the next book write of the temples of theimmortal gods and their symmetrical proportions. 

BOOK III

INTRODUCTION

1. Apollo at Delphi, through the oracular utterance of his priestess, pronounced Socrates the wisest of men. Of him it is related that he saidwith sagacity and great learning that the human breast should have beenfurnished with open windows, so that men might not keep their feelingsconcealed, but have them open to the view. Oh that nature, following hisidea, had constructed them thus unfolded and obvious to the view! For ifit had been so, not merely the virtues and vices of the mind would beeasily visible, but also its knowledge of branches of study, displayedto the contemplation of the eyes, would not need testing byuntrustworthy powers of judgement, but a singular and lasting influencewould thus be lent to the learned and wise. However, since they are notso constructed, but are as nature willed them to be, it is impossiblefor men, while natural abilities are concealed in the breast, to form ajudgement on the quality of the knowledge of the arts which is thusdeeply hidden. And if artists themselves testify to their own skill, they can never, unless they are wealthy or famous from the age of theirstudios, or unless they are also possessed of the public favour and ofeloquence, have an influence commensurate with their devotion to theirpursuits, so that people may believe them to have the knowledge whichthey profess to have. 

2. In particular we can learn this from the case of the sculptors andpainters of antiquity. Those among them who were marked by high stationor favourably recommended have come down to posterity with a name thatwill last forever; for instance, Myron, Polycletus, Phidias, Lysippus, and the others who have attained to fame by their art. For they acquiredit by the execution of works for great states or for kings or forcitizens of rank. But those who, being men of no less enthusiasm, natural ability, and dexterity than those famous artists, and whoexecuted no less perfectly finished works for citizens of low station, are unremembered, not because they lacked diligence or dexterity intheir art, but because fortune failed them; for instance, Teleas ofAthens, Chion of Corinth, Myager the Phocaean, Pharax of Ephesus, Boedasof Byzantium, and many others. Then there were painters like Aristomenesof Thasos, Polycles and Andron of Ephesus, Theo of Magnesia, and otherswho were not deficient in diligence or enthusiasm for their art or indexterity, but whose narrow means or ill-luck, or the higher position oftheir rivals in the struggle for honour, stood in the way of theirattaining distinction. 

3. Of course, we need not be surprised if artistic excellence goesunrecognized on account of being unknown; but there should be thegreatest indignation when, as often, good judges are flattered by thecharm of social entertainments into an approbation which is a merepretence. Now if, as Socrates wished, our feelings, opinions, andknowledge gained by study had been manifest and clear to see, popularityand adulation would have no influence, but men who had reached theheight of knowledge by means of correct and definite courses of study, would be given commissions without any effort on their part. However, since such things are not plain and apparent to the view, as we thinkthey should have been, and since I observe that the uneducated ratherthan the educated are in higher favour, thinking it beneath me to engagewith the uneducated in the struggle for honour, I prefer to show theexcellence of our department of knowledge by the publication of thistreatise. 

4. In my first book, Emperor, I described to you the art, with itspoints of excellence, the different kinds of training with which thearchitect ought to be equipped, adding the reasons why he ought to beskilful in them, and I divided up the subject of architecture as a wholeamong its departments, duly defining the limits of each. Next, as waspreëminent and necessary, I explained on scientific principles themethod of selecting healthy sites for fortified towns, pointed out bygeometrical figures the different winds and the quarters from which theyblow, and showed the proper way to lay out the lines of streets and rowsof houses within the walls. Here I fixed the end of my first book. Inthe second, on building materials, I treated their various advantages instructures, and the natural properties of which they are composed. Inthis third book I shall speak of the temples of the immortal gods, describing and explaining them in the proper manner. 

CHAPTER I

ON SYMMETRY: IN TEMPLES AND IN THE HUMAN BODY

1. The design of a temple depends on symmetry, the principles of whichmust be most carefully observed by the architect. They are due toproportion, in Greek [Greek: analogia]. Proportion is a correspondenceamong the measures of the members of an entire work, and of the whole toa certain part selected as standard. From this result the principles ofsymmetry. Without symmetry and proportion there can be no principles inthe design of any temple; that is, if there is no precise relationbetween its members, as in the case of those of a well shaped man. 

2. For the human body is so designed by nature that the face, from thechin to the top of the forehead and the lowest roots of the hair, is atenth part of the whole height; the open hand from the wrist to the tipof the middle finger is just the same; the head from the chin to thecrown is an eighth, and with the neck and shoulder from the top of thebreast to the lowest roots of the hair is a sixth; from the middle ofthe breast to the summit of the crown is a fourth. If we take the heightof the face itself, the distance from the bottom of the chin to theunder side of the nostrils is one third of it; the nose from the underside of the nostrils to a line between the eyebrows is the same; fromthere to the lowest roots of the hair is also a third, comprising theforehead. The length of the foot is one sixth of the height of the body;of the forearm, one fourth; and the breadth of the breast is also onefourth. The other members, too, have their own symmetrical proportions, and it was by employing them that the famous painters and sculptors ofantiquity attained to great and endless renown. 

3. Similarly, in the members of a temple there ought to be the greatestharmony in the symmetrical relations of the different parts to thegeneral magnitude of the whole. Then again, in the human body thecentral point is naturally the navel. For if a man be placed flat on hisback, with his hands and feet extended, and a pair of compasses centredat his navel, the fingers and toes of his two hands and feet will touchthe circumference of a circle described therefrom. And just as the humanbody yields a circular outline, so too a square figure may be found fromit. For if we measure the distance from the soles of the feet to the topof the head, and then apply that measure to the outstretched arms, thebreadth will be found to be the same as the height, as in the case ofplane surfaces which are perfectly square. 

4. Therefore, since nature has designed the human body so that itsmembers are duly proportioned to the frame as a whole, it appears thatthe ancients had good reason for their rule, that in perfect buildingsthe different members must be in exact symmetrical relations to thewhole general scheme. Hence, while transmitting to us the properarrangements for buildings of all kinds, they were particularly carefulto do so in the case of temples of the gods, buildings in which meritsand faults usually last forever. 

5. Further, it was from the members of the body that they derived thefundamental ideas of the measures which are obviously necessary in allworks, as the finger, palm, foot, and cubit. These they apportioned soas to form the "perfect number, " called in Greek [Greek: teleion], andas the perfect number the ancients fixed upon ten. For it is from thenumber of the fingers of the hand that the palm is found, and the footfrom the palm. Again, while ten is naturally perfect, as being made upby the fingers of the two palms, Plato also held that this number wasperfect because ten is composed of the individual units, called by theGreeks [Greek: monades]. But as soon as eleven or twelve is reached, thenumbers, being excessive, cannot be perfect until they come to ten forthe second time; for the component parts of that number are theindividual units. 

6. The mathematicians, however, maintaining a different view, have saidthat the perfect number is six, because this number is composed ofintegral parts which are suited numerically to their method ofreckoning: thus, one is one sixth; two is one third; three is one half;four is two thirds, or [Greek: dimoiros] as they call it; five is fivesixths, called [Greek: pentamoiros]; and six is the perfect number. Asthe number goes on growing larger, the addition of a unit above six isthe [Greek: ephektos]; eight, formed by the addition of a third part ofsix, is the integer and a third, called [Greek: epitritos]; the additionof one half makes nine, the integer and a half, termed [Greek:hêmiolios]; the addition of two thirds, making the number ten, is theinteger and two thirds, which they call [Greek: epidimoiros]; in thenumber eleven, where five are added, we have the five sixths, called[Greek: epipemptos]; finally, twelve, being composed of the two simpleintegers, is called [Greek: diplasios]. 

7. And further, as the foot is one sixth of a man's height, the heightof the body as expressed in number of feet being limited to six, theyheld that this was the perfect number, and observed that the cubitconsisted of six palms or of twenty-four fingers. This principle seemsto have been followed by the states of Greece. As the cubit consisted ofsix palms, they made the drachma, which they used as their unit, consistin the same way of six bronze coins, like our _asses_, which they callobols; and, to correspond to the fingers, divided the drachma intotwenty-four quarter-obols, which some call dichalca others trichalca. 

8. But our countrymen at first fixed upon the ancient number and madeten bronze pieces go to the denarius, and this is the origin of the namewhich is applied to the denarius to this day. And the fourth part of it, consisting of two asses and half of a third, they called "sesterce. " Butlater, observing that six and ten were both of them perfect numbers, they combined the two, and thus made the most perfect number, sixteen. They found their authority for this in the foot. For if we take twopalms from the cubit, there remains the foot of four palms; but the palmcontains four fingers. Hence the foot contains sixteen fingers, and thedenarius the same number of bronze _asses_. 

9. Therefore, if it is agreed that number was found out from the humanfingers, and that there is a symmetrical correspondence between themembers separately and the entire form of the body, in accordance with acertain part selected as standard, we can have nothing but respect forthose who, in constructing temples of the immortal gods, have soarranged the members of the works that both the separate parts and thewhole design may harmonize in their proportions and symmetry. 

CHAPTER II

CLASSIFICATION OF TEMPLES

1. There are certain elementary forms on which the general aspect of atemple depends. First there is the temple in antis, or [Greek: naos enparastasin] as it is called in Greek; then the prostyle, amphiprostyle, peripteral, pseudodipteral, dipteral, and hypaethral. These differentforms may be described as follows. 

2. It will be a temple in antis when it has antae carried out in frontof the walls which enclose the cella, and in the middle, between theantae, two columns, and over them the pediment constructed in thesymmetrical proportions to be described later in this work. An examplewill be found at the Three Fortunes, in that one of the three which isnearest the Colline gate. 

3. The prostyle is in all respects like the temple in antis, except thatat the corners, opposite the antae, it has two columns, and that it hasarchitraves not only in front, as in the case of the temple in antis, but also one to the right and one to the left in the wings. An exampleof this is the temple of Jove and Faunus in the Island of the Tiber. 

4. The amphiprostyle is in all other respects like the prostyle, but hasbesides, in the rear, the same arrangement of columns and pediment. 

5. A temple will be peripteral that has six columns in front and six inthe rear, with eleven on each side including the corner columns. Letthe columns be so placed as to leave a space, the width of anintercolumniation, all round between the walls and the rows of columnson the outside, thus forming a walk round the cella of the temple, asin the cases of the temple of Jupiter Stator by Hermodorus in thePortico of Metellus, and the Marian temple of Honour and Valourconstructed by Mucius, which has no portico in the rear. 

[Illustration: THE CLASSIFICATION OF TEMPLES ACCORDING TO THEARRANGEMENTS OF THE COLONNADES]

[Illustration: THE HYPAETHRAL TEMPLE OF VITRUVIUS COMPARED WITH THEPARTHENON AND THE TEMPLE OF APOLLO NEAR MILETUS]

6. The pseudodipteral is so constructed that in front and in the rearthere are in each case eight columns, with fifteen on each side, including the corner columns. The walls of the cella in front and in therear should be directly over against the four middle columns. Thus therewill be a space, the width of two intercolumniations plus the thicknessof the lower diameter of a column, all round between the walls and therows of columns on the outside. There is no example of this in Rome, butat Magnesia there is the temple of Diana by Hermogenes, and that ofApollo at Alabanda by Mnesthes. 

7. The dipteral also is octastyle in both front and rear porticoes, butit has two rows of columns all round the temple, like the temple ofQuirinus, which is Doric, and the temple of Diana at Ephesus, planned byChersiphron, which is Ionic. 

8. The hypaethral is decastyle in both front and rear porticoes. Ineverything else it is the same as the dipteral, but inside it has twotiers of columns set out from the wall all round, like the colonnade ofa peristyle. The central part is open to the sky, without a roof. Folding doors lead to it at each end, in the porticoes in front and inthe rear. There is no example of this sort in Rome, but in Athens thereis the octastyle in the precinct of the Olympian. 

CHAPTER III

THE PROPORTIONS OF INTERCOLUMNIATIONS AND OF COLUMNS

1. There are five classes of temples, designated as follows: pycnostyle, with the columns close together; systyle, with the intercolumniations alittle wider; diastyle, more open still; araeostyle, farther apart thanthey ought to be; eustyle, with the intervals apportioned just right. 

[Illustration: THE CLASSIFICATION OF TEMPLES ACCORDING TOINTERCOLUMNIATION]

2. The pycnostyle is a temple in an intercolumniation of which thethickness of a column and a half can be inserted: for example, thetemple of the Divine Caesar, that of Venus in Caesar's forum, and othersconstructed like them. The systyle is a temple in which the thicknessof two columns can be placed in an intercolumniation, and in which theplinths of the bases are equivalent to the distance between two plinths:for example, the temple of Equestrian Fortune near the stone theatre, and the others which are constructed on the same principles. 

3. These two kinds have practical disadvantages. When the matrons mountthe steps for public prayer or thanksgiving, they cannot pass throughthe intercolumniations with their arms about one another, but must formsingle file; then again, the effect of the folding doors is thrust outof sight by the crowding of the columns, and likewise the statues arethrown into shadow; the narrow space interferes also with walks roundthe temple. 

4. The construction will be diastyle when we can insert the thickness ofthree columns in an intercolumniation, as in the case of the temple ofApollo and Diana. This arrangement involves the danger that thearchitraves may break on account of the great width of the intervals. 

5. In araeostyles we cannot employ stone or marble for the architraves, but must have a series of wooden beams laid upon the columns. Andmoreover, in appearance these temples are clumsy-roofed, low, broad, andtheir pediments are adorned in the Tuscan fashion with statues ofterra-cotta or gilt bronze: for example, near the Circus Maximus, thetemple of Ceres and Pompey's temple of Hercules; also the temple on theCapitol. 

6. An account must now be given of the eustyle, which is the mostapproved class, and is arranged on principles developed with a view toconvenience, beauty, and strength. The intervals should be made as wideas the thickness of two columns and a quarter, but the middleintercolumniations, one in front and the other in the rear, should be ofthe thickness of three columns. Thus built, the effect of the designwill be beautiful, there will be no obstruction at the entrance, and thewalk round the cella will be dignified. 

[Illustration: THE EUSTYLE TEMPLE OF VITRUVIUS COMPARED WITH THE TEMPLEOF TEOS]

7. The rule of this arrangement may be set forth as follows. If atetrastyle is to be built, let the width of the front which shall havealready been determined for the temple, be divided into eleven parts anda half, not including the substructures and the projections of thebases; if it is to be of six columns, into eighteen parts. If anoctastyle is to be constructed, let the front be divided intotwenty-four parts and a half. Then, whether the temple is to betetrastyle, hexastyle, or octastyle, let one of these parts be taken, and it will be the module. The thickness of the columns will be equal toone module. Each of the intercolumniations, except those in the middle, will measure two modules and a quarter. The middle intercolumniations infront and in the rear will each measure three modules. The columnsthemselves will be nine modules and a half in height. As a result ofthis division, the intercolumniations and the heights of the columnswill be in due proportion. 

8. We have no example of this in Rome, but at Teos in Asia Minor thereis one which is hexastyle, dedicated to Father Bacchus. 

These rules for symmetry were established by Hermogenes, who was alsothe first to devise the principle of the pseudodipteral octastyle. Hedid so by dispensing with the inner rows of thirty-eight columns whichbelonged to the symmetry of the dipteral temple, and in this way he madea saving in expense and labour. He thus provided a much wider space forthe walk round the cella between it and the columns, and withoutdetracting at all from the general effect, or making one feel the lossof what had been really superfluous, he preserved the dignity of thewhole work by his new treatment of it. 

9. For the idea of the pteroma and the arrangement of the columns rounda temple were devised in order that the intercolumniations might givethe imposing effect of high relief; and also, in case a multitude ofpeople should be caught in a heavy shower and detained, that they mighthave in the temple and round the cella a wide free space in which towait. These ideas are developed, as I have described, in thepseudodipteral arrangement of a temple. It appears, therefore, thatHermogenes produced results which exhibit much acute ingenuity, andthat he left sources from which those who came after him could deriveinstructive principles. 

[Illustration: VITRUVIUS' RULES FOR THE DIAMETER AND HEIGHT OF COLUMNSIN THE DIFFERENT CLASSES OF TEMPLE COMPARED WITH ACTUAL EXAMPLES]

10. In araeostyle temples, the columns should be constructed so thattheir thickness is one eighth part of their height. In the diastyle, theheight of a column should be measured off into eight and a half parts, and the thickness of the column fixed at one of these parts. In thesystyle, let the height be divided into nine and a half parts, and oneof these given to the thickness of the column. In the pycnostyle, theheight should be divided into ten parts, and one of these used for thethickness of the column. In the eustyle temple, let the height of acolumn be divided, as in the systyle, into nine and a half parts, andlet one part be taken for the thickness at the bottom of the shaft. Withthese dimensions we shall be taking into account the proportions of theintercolumniations. 

11. For the thickness of the shafts must be enlarged in proportion tothe increase of the distance between the columns. In the araeostyle, forinstance, if only a ninth or tenth part is given to the thickness, thecolumn will look thin and mean, because the width of theintercolumniations is such that the air seems to eat away and diminishthe thickness of such shafts. On the other hand, in pycnostyles, if aneighth part is given to the thickness, it will make the shaft lookswollen and ungraceful, because the intercolumniations are so close toeach other and so narrow. We must therefore follow the rules of symmetryrequired by each kind of building. Then, too, the columns at the cornersshould be made thicker than the others by a fiftieth of their owndiameter, because they are sharply outlined by the unobstructed airround them, and seem to the beholder more slender than they are. Hence, we must counteract the ocular deception by an adjustment of proportions. 

[Illustration: THE DIMINUTION OF COLUMNS IN RELATION TO THEIR DIMENSIONSOF HEIGHT]

12. Moreover, the diminution in the top of a column at the necking seemsto be regulated on the following principles: if a column is fifteen feetor under, let the thickness at the bottom be divided into six parts, and let five of those parts form the thickness at the top. If it is fromfifteen feet to twenty feet, let the bottom of the shaft be divided intosix and a half parts, and let five and a half of those parts be theupper thickness of the column. In a column of from twenty feet to thirtyfeet, let the bottom of the shaft be divided into seven parts, and letthe diminished top measure six of these. A column of from thirty toforty feet should be divided at the bottom into seven and a half parts, and, on the principle of diminution, have six and a half of these at thetop. Columns of from forty feet to fifty should be divided into eightparts, and diminish to seven of these at the top of the shaft under thecapital. In the case of higher columns, let the diminution be determinedproportionally, on the same principles. 

13. These proportionate enlargements are made in the thickness ofcolumns on account of the different heights to which the eye has toclimb. For the eye is always in search of beauty, and if we do notgratify its desire for pleasure by a proportionate enlargement in thesemeasures, and thus make compensation for ocular deception, a clumsy andawkward appearance will be presented to the beholder. With regard to theenlargement made at the middle of columns, which among the Greeks iscalled [Greek: entasis], at the end of the book a figure and calculationwill be subjoined, showing how an agreeable and appropriate effect maybe produced by it. 

CHAPTER IV

THE FOUNDATIONS AND SUBSTRUCTURES OF TEMPLES

1. The foundations of these works should be dug out of the solid ground, if it can be found, and carried down into solid ground as far as themagnitude of the work shall seem to require, and the whole substructureshould be as solid as it can possibly be laid. Above ground, let wallsbe laid under the columns, thicker by one half than the columns are tobe, so that the lower may be stronger than the higher. Hence they arecalled "stereobates"; for they take the load. And the projections of thebases should not extend beyond this solid foundation. The wall-thicknessis similarly to be preserved above ground likewise, and the intervalsbetween these walls should be vaulted over, or filled with earth rammeddown hard, to keep the walls well apart. 

[Illustration: THE ENTASIS OF COLUMNS

1. The entasis as given by Fra Giocondo in the edition of 1511. 

2. The entasis from the temple of Mars Ultor in Rome compared withVignola's rule for entasis. ]

2. If, however, solid ground cannot be found, but the place proves to benothing but a heap of loose earth to the very bottom, or a marsh, thenit must be dug up and cleared out and set with piles made of charredalder or olive wood or oak, and these must be driven down by machinery, very closely together like bridge-piles, and the intervals between themfilled in with charcoal, and finally the foundations are to be laid onthem in the most solid form of construction. The foundations having beenbrought up to the level, the stylobates are next to be put in place. 

3. The columns are then to be distributed over the stylobates in themanner above described: close together in the pycnostyle; in thesystyle, diastyle, or eustyle, as they are described and arranged above. In araeostyle temples one is free to arrange them as far apart as onelikes. Still, in peripterals, the columns should be so placed that thereare twice as many intercolumniations on the sides as there are in front;for thus the length of the work will be twice its breadth. Those whomake the number of columns double, seem to be in error, because then thelength seems to be one intercolumniation longer than it ought to be. 

4. The steps in front must be arranged so that there shall always be anodd number of them; for thus the right foot, with which one mounts thefirst step, will also be the first to reach the level of the templeitself. The rise of such steps should, I think, be limited to not morethan ten nor less than nine inches; for then the ascent will not bedifficult. The treads of the steps ought to be made not less than a footand a half, and not more than two feet deep. If there are to be stepsrunning all round the temple, they should be built of the same size. 

5. But if a podium is to be built on three sides round the temple, itshould be so constructed that its plinths, bases, dies, coronae, andcymatiumare appropriate to the actual stylobate which is to be under thebases of the columns. 

[Illustration: FRA GIOCONDO'S IDEA OF THE "SCAMILLI IMPARES"

(From his edition of Vitruvius, Venice, 1511)]

The level of the stylobate must be increased along the middle by thescamilli impares; for if it is laid perfectly level, it will look to theeye as though it were hollowed a little. At the end of the book a figurewill be found, with a description showing how the scamilli may be madeto suit this purpose. 

CHAPTER V

PROPORTIONS OF THE BASE, CAPITALS, AND ENTABLATURE IN THE IONIC ORDER

1. This finished, let the bases of the columns be set in place, andconstructed in such proportions that their height, including the plinth, may be half the thickness of a column, and their projection (called inGreek [Greek: ekphora]) the same. [1] Thus in both length and breadth itwill be one and one half thicknesses of a column. 

[Note 1: Reading _aeque tantam_ as in new _Rose. _ Codd. _sextantem;_Schn. _quadrantem. _]

2. If the base is to be in the Attic style, let its height be so dividedthat the upper part shall be one third part of the thickness of thecolumn, and the rest left for the plinth. Then, excluding the plinth, let the rest be divided into four parts, and of these let one fourthconstitute the upper torus, and let the other three be divided equally, one part composing the lower torus, and the other, with its fillets, thescotia, which the Greeks call [Greek: trochilos]. 

3. But if Ionic bases are to be built, their proportions shall be sodetermined that the base may be each way equal in breadth to thethickness of a column plus three eighths of the thickness; its heightthat of the Attic base, and so too its plinth; excluding the plinth, letthe rest, which will be a third part of the thickness of a column, bedivided into seven parts. Three of these parts constitute the torus atthe top, and the other four are to be divided equally, one partconstituting the upper trochilus with its astragals and overhang, theother left for the lower trochilus. But the lower will seem to belarger, because it will project to the edge of the plinth. The astragalsmust be one eighth of the trochilus. The projection of the base will bethree sixteenths of the thickness of a column. 

[Illustration: THE IONIC ORDER ACCORDING TO VITRUVIUS COMPARED WITH THEORDER OF THE MAUSOLEUM AT HALICARNASSUS

The difference between the Roman and the Greek relation of thebaluster-side of the capital to the echinus is to be noted. ]

4. The bases being thus finished and put in place, the columns are to beput in place: the middle columns of the front and rear porticoesperpendicular to their own centre; the corner columns, and those whichare to extend in a line from them along the sides of the temple to theright and left, are to be set so that their inner sides, which facetoward the cella wall, are perpendicular, but their outer sides in themanner which I have described in speaking of their diminution. Thus, inthe design of the temple the lines will be adjusted with due regard tothe diminution. 

5. The shafts of the columns having been erected, the rule for thecapitals will be as follows. If they are to be cushion-shaped, theyshould be so proportioned that the abacus is in length and breadthequivalent to the thickness of the shaft at its bottom plus oneeighteenth thereof, and the height of the capital, including thevolutes, one half of that amount. The faces of the volutes must recedefrom the edge of the abacus inwards by one and a half eighteenths ofthat same amount. Then, the height of the capital is to be divided intonine and a half parts, and down along the abacus on the four sides ofthe volutes, down along the fillet at the edge of the abacus, linescalled "catheti" are to be let fall. Then, of the nine and a half partslet one and a half be reserved for the height of the abacus, and let theother eight be used for the volutes. 

6. Then let another line be drawn, beginning at a point situated at adistance of one and a half parts toward the inside from the linepreviously let fall down along the edge of the abacus. Next, let theselines be divided in such a way as to leave four and a half parts underthe abacus; then, at the point which forms the division between the fourand a half parts and the remaining three and a half, fix the centre ofthe eye, and from that centre describe a circle with a diameter equal toone of the eight parts. This will be the size of the eye, and in it drawa diameter on the line of the "cathetus. " Then, in describing thequadrants, let the size of each be successively less, by half thediameter of the eye, than that which begins under the abacus, andproceed from the eye until that same quadrant under the abacus isreached. 

7. The height of the capital is to be such that, of the nine and a halfparts, three parts are below the level of the astragal at the top of theshaft, and the rest, omitting the abacus and the channel, belongs toits echinus. The projection of the echinus beyond the fillet of theabacus should be equal to the size of the eye. The projection of thebands of the cushions should be thus obtained: place one leg of a pairof compasses in the centre of the capital and open out the other to theedge of the echinus; bring this leg round and it will touch the outeredge of the bands. The axes of the volutes should not be thicker thanthe size of the eye, and the volutes themselves should be channelled outto a depth which is one twelfth of their height. These will be thesymmetrical proportions for capitals of columns twenty-five feet highand less. For higher columns the other proportions will be the same, butthe length and breadth of the abacus will be the thickness of the lowerdiameter of a column plus one ninth part thereof; thus, just as thehigher the column the less the diminution, so the projection of itscapital is proportionately increased and its breadth[2] iscorrespondingly enlarged. 

[Note 2: Codd. _altitudo_. ]

8. With regard to the method of describing volutes, at the end of thebook a figure will be subjoined and a calculation showing how they maybe described so that their spirals may be true to the compass. 

The capitals having been finished and set up in due proportion to thecolumns (not exactly level on the columns, however, but with the samemeasured adjustment, so that in the upper members there may be anincrease corresponding to that which was made in the stylobates), therule for the architraves is to be as follows. If the columns are atleast twelve feet and not more than fifteen feet high, let the height ofthe architrave be equal to half the thickness of a column at the bottom. If they are from fifteen feet to twenty, let the height of a column bemeasured off into thirteen parts, and let one of these be the height ofthe architrave. If they are from twenty to twenty-five feet, let thisheight be divided into twelve and one half parts, and let one of themform the height of the architrave. If they are from twenty-five feet tothirty, let it be divided into twelve parts, and let one of them formthe height. If they are higher, the heights of the architraves are to beworked out proportionately in the same manner from the height of thecolumns. 

9. For the higher that the eye has to climb, the less easily can it makeits way through the thicker and thicker mass of air. So it fails whenthe height is great, its strength is sucked out of it, and it conveys tothe mind only a confused estimate of the dimensions. Hence there mustalways be a corresponding increase in the symmetrical proportions of themembers, so that whether the buildings are on unusually lofty sites orare themselves somewhat colossal, the size of the parts may seem in dueproportion. The depth of the architrave on its under side just above thecapital, is to be equivalent to the thickness of the top of the columnjust under the capital, and on its uppermost side equivalent to the footof the shaft. 

10. The cymatium of the architrave should be one seventh of the heightof the whole architrave, and its projection the same. Omitting thecymatium, the rest of the architrave is to be divided into twelve parts, and three of these will form the lowest fascia, four, the next, andfive, the highest fascia. The frieze, above the architrave, is onefourth less high than the architrave, but if there are to be reliefsupon it, it is one fourth higher than the architrave, so that thesculptures may be more imposing. Its cymatium is one seventh of thewhole height of the frieze, and the projection of the cymatium is thesame as its height. 

11. Over the frieze comes the line of dentils, made of the same heightas the middle fascia of the architrave and with a projection equal totheir height. The intersection (or in Greek [Greek: metopê]) isapportioned so that the face of each dentil is half as wide as itsheight and the cavity of each intersection two thirds of this face inwidth. The cymatium here is one sixth of the whole height of this part. The corona with its cymatium, but not including the sima, has the heightof the middle fascia of the architrave, and the total projection of thecorona and dentils should be equal to the height from the frieze to thecymatium at the top of the corona. 

[Illustration: A COMPARISON OF THE IONIC ORDER ACCORDING TO VITRUVIUSWITH ACTUAL EXAMPLES AND WITH VIGNOLA'S ORDER

A: Showing the orders reduced to equal lower diameters. B: Showing theorders to a uniform scale. ]

And as a general rule, all projecting parts have greater beauty whentheir projection is equal to their height. 

12. The height of the tympanum, which is in the pediment, is to beobtained thus: let the front of the corona, from the two ends of itscymatium, be measured off into nine parts, and let one of these parts beset up in the middle at the peak of the tympanum, taking care that it isperpendicular to the entablature and the neckings of the columns. Thecoronae over the tympanum are to be made of equal size with the coronaeunder it, not including the simae. Above the coronae are the simae (inGreek [Greek: epaietides]), which should be made one eighth higher thanthe height of the coronae. The acroteria at the corners have the heightof the centre of the tympanum, and those in the middle are one eighthpart higher than those at the corners. 

13. All the members which are to be above the capitals of the columns, that is, architraves, friezes, coronae, tympana, gables, and acroteria, should be inclined to the front a twelfth part of their own height, forthe reason that when we stand in front of them, if two lines are drawnfrom the eye, one reaching to the bottom of the building and the otherto the top, that which reaches to the top will be the longer. Hence, asthe line of sight to the upper part is the longer, it makes that partlook as if it were leaning back. But when the members are inclined tothe front, as described above, they will seem to the beholder to beplumb and perpendicular. 

14. Each column should have twenty-four flutes, channelled out in such away that if a carpenter's square be placed in the hollow of a flute andturned, the arm will touch the corners of the fillets on the right andleft, and the tip of the square may keep touching some point in theconcave surface as it moves through it. The breadth of the flutes is tobe equivalent to the enlargement in the middle of a column, which willbe found in the figure. 

15. In the simae which are over the coronae on the sides of the temple, lion's heads are to be carved and arranged at intervals thus: First onehead is marked out directly over the axis of each column, and then theothers are arranged at equal distances apart, and so that there shall beone at the middle of every roof-tiling. Those that are over the columnsshould have holes bored through them to the gutter which receives therainwater from the tiles, but those between them should be solid. Thusthe mass of water that falls by way of the tiles into the gutter willnot be thrown down along the intercolumniations nor drench people whoare passing through them, while the lion's heads that are over thecolumns will appear to be vomiting as they discharge streams of waterfrom their mouths. 

In this book I have written as clearly as I could on the arrangements ofIonic temples. In the next I shall explain the proportions of Doric andCorinthian temples. 

BOOK IV

INTRODUCTION

1. I have observed, Emperor, that many in their treatises and volumes ofcommentaries on architecture have not presented the subject withwell-ordered completeness, but have merely made a beginning and left, asit were, only desultory fragments. I have therefore thought that itwould be a worthy and very useful thing to reduce the whole of thisgreat art to a complete and orderly form of presentation, and then indifferent books to lay down and explain the required characteristics ofdifferent departments. Hence, Caesar, in my first book I have set forthto you the function of the architect and the things in which he ought tobe trained. In the second I have discussed the supplies of material ofwhich buildings are constructed. In the third, which deals with thearrangements of temples and their variety of form, I showed the natureand number of their classes, with the adjustments proper to each formaccording to the usage of the Ionic order, one of the three whichexhibit the greatest delicacy of proportion in their symmetricalmeasurements. In the present book I shall speak of the established rulesfor the Doric and Corinthian orders, and shall explain their differencesand peculiarities. 

CHAPTER I

THE ORIGINS OF THE THREE ORDERS, AND THE PROPORTIONS OF THE CORINTHIANCAPITAL

1. Corinthian columns are, excepting in their capitals, of the sameproportions in all respects as Ionic; but the height of their capitalsgives them proportionately a taller and more slender effect. This isbecause the height of the Ionic capital is only one third of thethickness of the column, while that of the Corinthian is the entirethickness of the shaft. Hence, as two thirds are added in Corinthiancapitals, their tallness gives a more slender appearance to the columnsthemselves. 

2. The other members which are placed above the columns, are, forCorinthian columns, composed either of the Doric proportions oraccording to the Ionic usages; for the Corinthian order never had anyscheme peculiar to itself for its cornices or other ornaments, but mayhave mutules in the coronae and guttae on the architraves according tothe triglyph system of the Doric style, or, according to Ionicpractices, it may be arranged with a frieze adorned with sculptures andaccompanied with dentils and coronae. 

3. Thus a third architectural order, distinguished by its capital, wasproduced out of the two other orders. To the forms of their columns aredue the names of the three orders, Doric, Ionic, and Corinthian, ofwhich the Doric was the first to arise, and in early times. For Dorus, the son of Hellen and the nymph Phthia, was king of Achaea and all thePeloponnesus, and he built a fane, which chanced to be of this order, inthe precinct of Juno at Argolis, a very ancient city, and subsequentlyothers of the same order in the other cities of Achaea, although therules of symmetry were not yet in existence. 

4. Later, the Athenians, in obedience to oracles of the Delphic Apollo, and with the general agreement of all Hellas, despatched thirteencolonies at one time to Asia Minor, appointing leaders for each colonyand giving the command-in-chief to Ion, son of Xuthus and Creusa (whomfurther Apollo at Delphi in the oracles had acknowledged as his son). Ion conducted those colonies to Asia Minor, took possession of the landof Caria, and there founded the grand cities of Ephesus, Miletus, Myus(long ago engulfed by the water, and its sacred rites and suffragehanded over by the Ionians to the Milesians), Priene, Samos, Teos, Colophon, Chius, Erythrae, Phocaea, Clazomenae, Lebedos, and Melite. This Melite, on account of the arrogance of its citizens, was destroyedby the other cities in a war declared by general agreement, and in itsplace, through the kindness of King Attalus and Arsinoe, the city of theSmyrnaeans was admitted among the Ionians. 

5. Now these cities, after driving out the Carians and Lelegans, calledthat part of the world Ionia from their leader Ion, and there they setoff precincts for the immortal gods and began to build fanes: first ofall, a temple to Panionion Apollo such as they had seen in Achaea, calling it Doric because they had first seen that kind of temple builtin the states of the Dorians. 

6. Wishing to set up columns in that temple, but not having rules fortheir symmetry, and being in search of some way by which they couldrender them fit to bear a load and also of a satisfactory beauty ofappearance, they measured the imprint of a man's foot and compared thiswith his height. On finding that, in a man, the foot was one sixth ofthe height, they applied the same principle to the column, and rearedthe shaft, including the capital, to a height six times its thickness atits base. Thus the Doric column, as used in buildings, began to exhibitthe proportions, strength, and beauty of the body of a man. 

7. Just so afterwards, when they desired to construct a temple to Dianain a new style of beauty, they translated these footprints into termscharacteristic of the slenderness of women, and thus first made a columnthe thickness of which was only one eighth of its height, so that itmight have a taller look. At the foot they substituted the base inplace of a shoe; in the capital they placed the volutes, hanging down atthe right and left like curly ringlets, and ornamented its front withcymatia and with festoons of fruit arranged in place of hair, while theybrought the flutes down the whole shaft, falling like the folds in therobes worn by matrons. Thus in the invention of the two different kindsof columns, they borrowed manly beauty, naked and unadorned, for theone, and for the other the delicacy, adornment, and proportionscharacteristic of women. 

8. It is true that posterity, having made progress in refinement anddelicacy of feeling, and finding pleasure in more slender proportions, has established seven diameters of the thickness as the height of theDoric column, and nine as that of the Ionic. The Ionians, however, originated the order which is therefore named Ionic. 

The third order, called Corinthian, is an imitation of the slendernessof a maiden; for the outlines and limbs of maidens, being more slenderon account of their tender years, admit of prettier effects in the wayof adornment. 

9. It is related that the original discovery of this form of capital wasas follows. A free-born maiden of Corinth, just of marriageable age, wasattacked by an illness and passed away. After her burial, her nurse, collecting a few little things which used to give the girl pleasurewhile she was alive, put them in a basket, carried it to the tomb, andlaid it on top thereof, covering it with a roof-tile so that the thingsmight last longer in the open air. This basket happened to be placedjust above the root of an acanthus. The acanthus root, pressed downmeanwhile though it was by the weight, when springtime came round putforth leaves and stalks in the middle, and the stalks, growing up alongthe sides of the basket, and pressed out by the corners of the tilethrough the compulsion of its weight, were forced to bend into volutesat the outer edges. 

[Illustration: Photo. Sommer

THE BASILICA AT POMPEII]

[Illustration: THE CORINTHIAN CAPITAL OF VITRUVIUS COMPARED WITH THEMONUMENTS]

10. Just then Callimachus, whom the Athenians called [Greek:katatêxitechnos] for the refinement and delicacy of his artisticwork, passed by this tomb and observed the basket with the tenderyoung leaves growing round it. Delighted with the novel style and form, he built some columns after that pattern for the Corinthians, determinedtheir symmetrical proportions, and established from that time forth therules to be followed in finished works of the Corinthian order. 

11. The proportions of this capital should be fixed as follows. Let theheight of the capital, including its abacus, be equivalent to thethickness of the base of a column. Let the breadth of the abacus beproportioned so that diagonals drawn from one corner of it to the othershall be twice the height of the capitals, which will give the properbreadth to each face of the abacus. The faces should curve inwards, byone ninth of the breadth of the face, from the outside edge of thecorners of the abacus. At the bottom the capital should be of thethickness of the top of the column omitting the congé and astragal. Theheight of the abacus is one seventh of the height of the capital. 

12. Omitting the height of the abacus, let the rest be divided intothree parts, of which one should be given to the lowest leaf. Let thesecond leaf occupy the middle part of the height. Of the same heightshould be the stalks, out of which grow leaves projected so as tosupport the volutes which proceed from the stalks, and run out to theutmost corners of the abacus; the smaller spirals between them should becarved just under the flower which is on the abacus. The flowers on thefour sides are to be made as large as the height of the abacus. On theseprinciples of proportion, Corinthian capitals will be finished as theyought to be. 

There are other kinds of capitals set upon these same columns and calledby various names, but they have no peculiarities of proportion of whichwe can speak, nor can we recognize from them another order of columns. Even their very names are, as we can see, derived with some changes fromthe Corinthian, the cushion-shaped, and the Doric, whose symmetricalproportions have been thus transferred to delicate sculptures of novelform. 

CHAPTER II

THE ORNAMENTS OF THE ORDERS

1. Since the origin and invention of the orders of columns have beendescribed above, I think it not out of place to speak in the same wayabout their ornaments, showing how these arose and from what originalelements they were devised. The upper parts of all buildings containtimber work to which various terms are applied. And not only in itsterminology but actually in its uses it exhibits variety. The main beamsare those which are laid upon columns, pilasters, and antae; tie-beamsand rafters are found in the framing. Under the roof, if the span ispretty large, are the crossbeams and struts; if it is of moderateextent, only the ridgepole, with the principal rafters extending to theouter edge of the eaves. Over the principal rafters are the purlines, and then above these and under the roof-tiles come the common rafters, extending so far that the walls are covered by their projection. 

2. Thus each and every detail has a place, origin, and order of its own. In accordance with these details, and starting from carpenter's work, artists in building temples of stone and marble imitated thosearrangements in their sculptures, believing that they must follow thoseinventions. So it was that some ancient carpenters, engaged in buildingsomewhere or other, after laying the tie-beams so that they projectedfrom the inside to the outside of the walls, closed up the space betweenthe beams, and above them ornamented the coronae and gables withcarpentry work of beauty greater than usual; then they cut off theprojecting ends of the beams, bringing them into line and flush with theface of the walls; next, as this had an ugly look to them, they fastenedboards, shaped as triglyphs are now made, on the ends of the beams, where they had been cut off in front, and painted them with blue wax sothat the cutting off of the ends of the beams, being concealed, wouldnot offend the eye. Hence it was in imitation of the arrangement of thetie-beams that men began to employ, in Doric buildings, the device oftriglyphs and the metopes between the beams. 

3. Later, others in other buildings allowed the projecting principalrafters to run out till they were flush with the triglyphs, and thenformed their projections into simae. From that practice, like thetriglyphs from the arrangement of the tie-beams, the system of mutulesunder the coronae was devised from the projections of the principalrafters. Hence generally, in buildings of stone and marble, the mutulesare carved with a downward slant, in imitation of the principal rafters. For these necessarily have a slanting and projecting position to let thewater drip down. The scheme of triglyphs and mutules in Doric buildingswas, therefore, the imitative device that I have described. 

4. It cannot be that the triglyphs represent windows, as some haveerroneously said, since the triglyphs are placed at the corners and overthe middle of columns--places where, from the nature of the case, therecan be no windows at all. For buildings are wholly disconnected at thecorners if openings for windows are left at those points. Again, if weare to suppose that there were open windows where the triglyphs nowstand, it will follow, on the same principle, that the dentils of theIonic order have likewise taken the places of windows. For the term"metope" is used of the intervals between dentils as well as of thosebetween triglyphs. The Greeks call the seats of tie-beams and rafters[Greek: opai], while our people call these cavities columbaria(dovecotes). Hence, the space between the tie-beams, being the spacebetween two "opae, " was named by them [Greek: metopê]. 

5. The system of triglyphs and mutules was invented for the Doric order, and similarly the scheme of dentils belongs to the Ionic, in which thereare proper grounds for its use in buildings. Just as mutules representthe projection of the principal rafters, so dentils in the Ionic are animitation of the projections of the common rafters. And so in Greekworks nobody ever put dentils under mutules, as it is impossible thatcommon rafters should be underneath principal rafters. Therefore, ifthat which in the original must be placed above the principal rafters, is put in the copy below them, the result will be a work constructed onfalse principles. Neither did the ancients approve of or employ mutulesor dentils in pediments, but only plain coronae, for the reason thatneither principal nor common rafters tail into the fronts of pediments, nor can they overhang them, but they are laid with a slope towards theeaves. Hence the ancients held that what could not happen in theoriginal would have no valid reason for existence in the copy. 

6. For in all their works they proceeded on definite principles offitness and in ways derived from the truth of Nature. Thus they reachedperfection, approving only those things which, if challenged, can beexplained on grounds of the truth. Hence, from the sources which havebeen described they established and left us the rules of symmetry andproportion for each order. Following in their steps, I have spoken aboveon the Ionic and Corinthian styles, and I shall now briefly explain thetheory of the Doric and its general appearance. 

CHAPTER III

PROPORTIONS OF DORIC TEMPLES

1. Some of the ancient architects said that the Doric order ought not tobe used for temples, because faults and incongruities were caused by thelaws of its symmetry. Arcesius and Pytheos said so, as well asHermogenes. He, for instance, after getting together a supply of marblefor the construction of a Doric temple, changed his mind and built anIonic temple to Father Bacchus with the same materials. This is notbecause it is unlovely in appearance or origin or dignity of form, butbecause the arrangement of the triglyphs and metopes (lacunaria) is anembarrassment and inconvenience to the work. 

2. For the triglyphs ought to be placed so as to correspond to thecentres of the columns, and the metopes between the triglyphs ought tobe as broad as they are high. But in violation of this rule, at thecorner columns triglyphs are placed at the outside edges and notcorresponding to the centre of the columns. Hence the metopes next tothe corner columns do not come out perfectly square, but are too broadby half the width of a triglyph. Those who would make the metopes allalike, make the outermost intercolumniations narrower by half the widthof a triglyph. But the result is faulty, whether it is attained bybroader metopes or narrower intercolumniations. For this reason, theancients appear to have avoided the scheme of the Doric order in theirtemples. 

3. However, since our plan calls for it, we set it forth as we havereceived it from our teachers, so that if anybody cares to set to workwith attention to these laws, he may find the proportions stated bywhich he can construct correct and faultless examples of temples in theDoric fashion. 

Let the front of a Doric temple, at the place where the columns are putup, be divided, if it is to be tetrastyle, into twenty-seven parts; ifhexastyle, into forty-two. One of these parts will be the module (inGreek [Greek: embatês]); and this module once fixed, all the parts ofthe work are adjusted by means of calculations based upon it. 

4. The thickness of the columns will be two modules, and their height, including the capitals, fourteen. The height of a capital will be onemodule, and its breadth two and one sixth modules. Let the height of thecapital be divided into three parts, of which one will form the abacuswith its cymatium, the second the echinus with its annulets, and thethird the necking. The diminution of the column should be the same asdescribed for Ionic columns in the third book. The height of thearchitrave, including taenia and guttae, is one module, and of thetaenia, one seventh of a module. The guttae, extending as wide as thetriglyphs and beneath the taenia, should hang down for one sixth of amodule, including their regula. The depth of the architrave on its underside should answer to the necking at the top of the column. Above thearchitrave, the triglyphs and metopes are to be placed: the triglyphsone and one half modules high, and one module wide in front. They are tobe arranged so that one is placed to correspond to the centre of eachcorner and intermediate column, and two over each intercolumniationexcept the middle intercolumniations of the front and rear porticoes, which have three each. The intervals in the middle being thus extended, a free passage will be afforded to those who would approach the statuesof the gods. 

[Illustration: VITRUVIUS' DORIC ORDER COMPARED WITH THE TEMPLE AT CORIAND THE DORIC ORDER OF THE THEATRE OF MARCELLUS]

5. The width of the triglyph should be divided into six parts, and fiveof these marked off in the middle by means of the rule, and two halfparts at the right and left. Let one part, that in the centre, form a"femur" (in Greek [Greek: mêros]). On each side of it are the channels, to be cut in to fit the tip of a carpenter's square, and in successionthe other femora, one at the right and the other at the left of achannel. To the outsides are relegated the semichannels. The triglyphshaving been thus arranged, let the metopes between the triglyphs be ashigh as they are wide, while at the outer corners there should besemimetopes inserted, with the width of half a module. 

In these ways all defects will be corrected, whether in metopes orintercolumniations or lacunaria, as all the arrangements have been madewith uniformity. 

6. The capitals of each triglyph are to measure one sixth of a module. Over the capitals of the triglyphs the corona is to be placed, with aprojection of two thirds of a module, and having a Doric cymatium at thebottom and another at the top. So the corona with its cymatia is half amodule in height. Set off on the under side of the corona, verticallyover the triglyphs and over the middle of the metopes, are the viae instraight lines and the guttae arranged in rows, six guttae broad andthree deep. The spaces left (due to the fact that the metopes arebroader than the triglyphs) may be left unornamented or may havethunderbolts carved on them. Just at the edge of the corona a lineshould be cut in, called the scotia. All the other parts, such astympana and the simae of the corona, are to be constructed as describedabove in the case of the Ionic order. 

7. Such will be the scheme established for diastyle buildings. But ifthe building is to be systyle and monotriglyphic, let the front of thetemple, if tetrastyle, be divided into nineteen and a half parts; ifhexastyle, into twenty-nine and a half parts. One of these parts willform the module in accordance with which the adjustments are to be madeas above described. 

8. Thus, over each portion of the architrave two metopes and twotriglyphs[3] will be placed; and, in addition, at the corners half atriglyph and besides a space large enough for a half triglyph. At thecentre, vertically under the gable, there should be room for threetriglyphs and three metopes, in order that the centre intercolumniation, by its greater width, may give ample room for people to enter thetemple, and may lend an imposing effect to the view of the statues ofthe gods. 

[Note 3: That is: two metopes with a triglyph between them, and halfof the triglyph on either side. ]

9. The columns should be fluted with twenty flutes. If these are to beleft plane, only the twenty angles need be marked off. But if they areto be channelled out, the contour of the channelling may be determinedthus: draw a square with sides equal in length to the breadth of thefluting, and centre a pair of compasses in the middle of this square. Then describe a circle with a circumference touching the angles of thesquare, and let the channellings have the contour of the segment formedby the circumference and the side of the square. The fluting of theDoric column will thus be finished in the style appropriate to it. 

10. With regard to the enlargement to be made in the column at itsmiddle, let the description given for Ionic columns in the third book beapplied here also in the case of Doric. 

Since the external appearance of the Corinthian, Doric, and Ionicproportions has now been described, it is necessary next to explain thearrangements of the cella and the pronaos. 

CHAPTER IV

THE CELLA AND PRONAOS

1. The length of a temple is adjusted so that its width may be half itslength, and the actual cella one fourth greater in length than in width, including the wall in which the folding doors are placed. Let theremaining three parts, constituting the pronaos, extend to the antaeterminating the walls, which antae ought to be of the same thickness asthe columns. If the temple is to be more than twenty feet in width, lettwo columns be placed between the two antae, to separate the pteromafrom the pronaos. The three intercolumniations between the antae and thecolumns should be closed by low walls made of marble or of joiner'swork, with doors in them to afford passages into the pronaos. 

2. If the width is to be more than forty feet, let columns be placedinside and opposite to the columns between the antae. They should havethe same height as the columns in front of them, but their thicknessshould be proportionately reduced: thus, if the columns in front are inthickness one eighth of their height, these should be one tenth; if theformer are one ninth or one tenth, these should be reduced in the sameproportion. For their reduction will not be discernible, as the air hasnot free play about them. Still, in case they look too slender, when theouter columns have twenty or twenty-four flutes, these may havetwenty-eight or thirty-two. Thus the additional number of flutes willmake up proportionately for the loss in the body of the shaft, preventing it from being seen, and so in a different way the columnswill be made to look equally thick. 

[Illustration: VITRUVIUS' TEMPLE PLAN COMPARED WITH ACTUAL EXAMPLES]

3. The reason for this result is that the eye, touching thus upon agreater number of points, set closer together, has a larger compass tocover with its range of vision. For if two columns, equally thick butone unfluted and the other fluted, are measured by drawing lines roundthem, one line touching the body of the columns in the hollows of thechannels and on the edges of the flutes, these surrounding lines, eventhough the columns are equally thick, will not be equal to each other, because it takes a line of greater length to compass the channels andthe flutes. This being granted, it is not improper, in narrow quartersor where the space is enclosed, to use in a building columns of somewhatslender proportions, since we can help out by a duly proportionatenumber of flutings. 

4. The walls of the cella itself should be thick in proportion to itssize, provided that their antae are kept of the same thickness as thecolumns. If the walls are to be of masonry, let the rubble used be assmall as possible; but if they are to be of dimension stone or marble, the material ought to be of a very moderate and uniform size; for thelaying of the stones so as to break joints will make the whole workstronger, and their bevelled edges, standing up about the builds andbeds, will give it an agreeable look, somewhat like that of a picture. 

CHAPTER V

HOW THE TEMPLE SHOULD FACE

1. The quarter toward which temples of the immortal gods ought to faceis to be determined on the principle that, if there is no reason tohinder and the choice is free, the temple and the statue placed in thecella should face the western quarter of the sky. This will enable thosewho approach the altar with offerings or sacrifices to face thedirection of the sunrise in facing the statue in the temple, and thusthose who are undertaking vows look toward the quarter from which thesun comes forth, and likewise the statues themselves appear to be comingforth out of the east to look upon them as they pray and sacrifice. 

2. But if the nature of the site is such as to forbid this, then theprinciple of determining the quarter should be changed, so that thewidest possible view of the city may be had from the sanctuaries of thegods. Furthermore, temples that are to be built beside rivers, as inEgypt on both sides of the Nile, ought, as it seems, to face the riverbanks. Similarly, houses of the gods on the sides of public roads shouldbe arranged so that the passers-by can have a view of them and pay theirdevotions face to face. 

CHAPTER VI

THE DOORWAYS OF TEMPLES

1. For the doorways of temples and their casings the rules are asfollows, first determining of what style they are to be. The styles ofportals are Doric, Ionic, and Attic. 

In the Doric, the symmetrical proportions are distinguished by thefollowing rules. Let the top of the corona, which is laid above thecasing, be on a level with the tops of the capitals of the columns inthe pronaos. The aperture of the doorway should be determined bydividing the height of the temple, from floor to coffered ceiling, intothree and one half parts and letting two and one half[4] thereofconstitute the height of the aperture of the folding doors. Let this inturn be divided into twelve parts, and let five and a half of these formthe width of the bottom of the aperture. At the top, this width shouldbe diminished, if the aperture is sixteen feet in height, by one thirdthe width of the door-jamb; if the aperture is from sixteen totwenty-five feet, let the upper part of it be diminished by one quarterof the jamb; if from twenty-five to thirty feet, let the top bediminished by one eighth of the jamb. Other and higher apertures should, as it seems, have their sides perpendicular. 

[Note 4: Codd. _duae. _]

2. Further, the jambs themselves should be diminished at the top by onefourteenth of their width. The height of the lintel should be equivalentto the width of the jambs at the top. Its cymatium ought to be one sixthof the jamb, with a projection equivalent to its height. The style ofcarving of the cymatium with its astragal should be the Lesbian. Abovethe cymatium of the lintel, place the frieze of the doorway, of thesame height as the lintel, and having a Doric cymatium and Lesbianastragal carved upon it. Let the corona and its cymatium at the top ofall be carved without ornamentation, and have a projection equal to itsheight. To the right and left of the lintel, which rests upon the jambs, there are to be projections fashioned like projecting bases and jointedto a nicety with the cymatium itself. 

3. If the doorways are to be of the Ionic style, the height of theaperture should be reached in the same manner as in the Doric. Let itswidth be determined by dividing the height into two and one half partsand letting one of them form the width at the bottom. The diminutionsshould be the same as for Doric. The width of the faces of the jambsshould be one fourteenth of the height of the aperture, and the cymatiumone sixth of the width. Let the rest, excluding the cymatium, be dividedinto twelve parts. Let three of these compose the first fascia with itsastragal, four the second, and five the third, the fasciae with theirastragals running side by side all round. 

4. The cornices of Ionic doorways should be constructed in the samemanner as those of Doric, in due proportions. The consoles, otherwisecalled brackets, carved at the right and left, should hang down to thelevel of the bottom of the lintel, exclusive of the leaf. Their width onthe face should be two thirds of the width of the jamb, but at thebottom one fourth slenderer than above. 

Doors should be constructed with the hinge-stiles one twelfth of thewidth of the whole aperture. The panels between two stiles should eachoccupy three of the twelve parts. 

5. The rails will be apportioned thus: divide the height into fiveparts, of which assign two to the upper portion and three to the lower;above the centre place the middle rails; insert the others at the topand at the bottom. Let the height of a rail be one third of the breadthof a panel, and its cymatium one sixth of the rail. The width of themeeting-stiles should be one half the rail, and the cover-joint twothirds of the rail. The stiles toward the side of the jambs should beone half the rail. If the doors have folds in them, the height willremain as before, but the width should be double that of a single door;if the door is to have four folds, its height should be increased. 

[Illustration: VITRUVIUS' RULE FOR DOORWAYS COMPARED WITH TWO EXAMPLES]

6. Attic doorways are built with the same proportions as Doric. Besides, there are fasciae running all round under the cymatia on the jambs, andapportioned so as to be equal to three sevenths of a jamb, excluding thecymatium. The doors are without lattice-work, are not double but havefolds in them, and open outward. 

The laws which should govern the design of temples built in the Doric, Ionic, and Corinthian styles, have now, so far as I could arrive atthem, been set forth according to what may be called the acceptedmethods. I shall next speak of the arrangements in the Tuscan style, showing how they should be treated. 

CHAPTER VII

TUSCAN TEMPLES

1. The place where the temple is to be built having been divided on itslength into six parts, deduct one and let the rest be given to itswidth. Then let the length be divided into two equal parts, of which letthe inner be reserved as space for the cellae, and the part next thefront left for the arrangement of the columns. 

2. Next let the width be divided into ten parts. Of these, let three onthe right and three on the left be given to the smaller cellae, or tothe alae if there are to be alae, and the other four devoted to themiddle of the temple. Let the space in front of the cellae, in thepronaos, be marked out for columns thus: the corner columns should beplaced opposite the antae on the line of the outside walls; the twomiddle columns, set out on the line of the walls which are between theantae and the middle of the temple; and through the middle, between theantae and the front columns, a second row, arranged on the same lines. Let the thickness of the columns at the bottom be one seventh of theirheight, their height one third of the width of the temple, and thediminution of a column at the top, one fourth of its thickness at thebottom. 

[Illustration: THE TUSCAN TEMPLE ACCORDING TO VITRUVIUS. ]

3. The height of their bases should be one half of that thickness. Theplinth of their bases should be circular, and in height one half theheight of the bases, the torus above it and congé being of the sameheight as the plinth. The height of the capital is one half thethickness of a column. The abacus has a width equivalent to thethickness of the bottom of a column. Let the height of the capital bedivided into three parts, and give one to the plinth (that is, theabacus), the second to the echinus, and the third to the necking withits congé. 

4. Upon the columns lay the main beams, fastened together, to a heightcommensurate with the requirements of the size of the building. Thesebeams fastened together should be laid so as to be equivalent inthickness to the necking at the top of a column, and should be fastenedtogether by means of dowels and dove-tailed tenons in such a way thatthere shall be a space two fingers broad between them at the fastening. For if they touch one another, and so do not leave airholes and admitdraughts of air to blow between them, they get heated and soon begin torot. 

5. Above the beams and walls let the mutules project to a distance equalto one quarter of the height of a column; along the front of them nailcasings; above, build the tympanum of the pediment either in masonry orin wood. The pediment with its ridgepole, principal rafters, andpurlines are to be built in such a way that the eaves shall beequivalent to one third of the completed roof. 

CHAPTER VIII

CIRCULAR TEMPLES AND OTHER VARIETIES

1. There are also circular temples, some of which are constructed inmonopteral form, surrounded by columns but without a cella, whileothers are termed peripteral. Those that are without a cella have araised platform and a flight of steps leading to it, one third of thediameter of the temple. The columns upon the stylobates are constructedof a height equivalent to the diameter taken between the outer edges ofthe stylobate walls, and of a thickness equivalent to one tenth of theirheight including the capitals and bases. The architrave has the heightof one half of the thickness of a column. The frieze and the other partsplaced above it are such as I have described in the third[5] book, onthe subject of symmetrical proportions. 

[Illustration: _Photo. Anderson_

THE CIRCULAR TEMPLE AT TIVOLI]

[Illustration: THE MAISON CARRÉE AT NÎMES, A PSEUDO-PERIPTERAL TEMPLE]

[Note 5: 1 Codd. _quarto. _]

[Illustration: TEMPLE AT TIVOLI]

[Illustration: _From Durm_

PLAN OF THE TEMPLE OF VESTA AT ROME]

2. But if such a temple is to be constructed in peripteral form, let twosteps and then the stylobate be constructed below. Next, let the cellawall be set up, recessed within the stylobate about one fifth of thebreadth thereof, and let a place for folding doors be left in the middleto afford entrance. This cella, excluding its walls and the passageround the outside, should have a diameter equivalent to the height of acolumn above the stylobate. Let the columns round the cella be arrangedin the symmetrical proportions just given. 

3. The proportions of the roof in the centre should be such that theheight of the rotunda, excluding the finial, is equivalent to one halfthe diameter of the whole work. The finial, excluding its pyramidalbase, should have the dimensions of the capital of a column. All therest must be built in the symmetrical proportions described above. 

[Illustration: _From Durm_

THE CIRCULAR TEMPLE ACCORDING TO VITRUVIUS]

4. There are also other kinds of temples, constructed in the samesymmetrical proportions and yet with a different kind of plan: forexample, the temple of Castor in the district of the Circus Flaminius, that of Vejovis between the two groves, and still more ingeniously thetemple of Diana in her sacred grove, with columns added on the right andleft at the flanks of the pronaos. Temples of this kind, like that ofCastor in the Circus, were first built in Athens on the Acropolis, andin Attica at Sunium to Pallas Minerva. The proportions of them are notdifferent, but the same as usual. For the length of their cellae istwice the width, as in other temples; but all that we regularly find inthe fronts of others is in these transferred to the sides. 

5. Some take the arrangement of columns belonging to the Tuscan orderand apply it to buildings in the Corinthian and Ionic styles, and wherethere are projecting antae in the pronaos, set up two columns in a linewith each of the cella walls, thus making a combination of theprinciples of Tuscan and Greek buildings. 

6. Others actually remove the temple walls, transferring them to theintercolumniations, and thus, by dispensing with the space needed for apteroma, greatly increase the extent of the cella. So, while leaving allthe rest in the same symmetrical proportions, they appear to haveproduced a new kind of plan with the new name "pseudoperipteral. " Thesekinds, however, vary according to the requirements of the sacrifices. For we must not build temples according to the same rules to all godsalike, since the performance of the sacred rites varies with the variousgods. 

7. I have now set forth, as they have come down to me, all theprinciples governing the building of temples, have marked out underseparate heads their arrangements and proportions, and have set forth, so far as I could express them in writing, the differences in theirplans and the distinctions which make them unlike one another. Next, with regard to the altars of the immortal gods, I shall state how theymay be constructed so as to conform to the rules governing sacrifices. 

CHAPTER IX

ALTARS

Altars should face the east, and should always be placed on a lowerlevel than are the statues in the temples, so that those who are prayingand sacrificing may look upwards towards the divinity. They are ofdifferent heights, being each regulated so as to be appropriate to itsown god. Their heights are to be adjusted thus: for Jupiter and all thecelestials, let them be constructed as high as possible; for Vesta andMother Earth, let them be built low. In accordance with these ruleswill altars be adjusted when one is preparing his plans. 

Having described the arrangements of temples in this book, in thefollowing we shall give an exposition of the construction of publicbuildings. 

BOOK V

INTRODUCTION

1. Those who have filled books of unusually large size, Emperor, insetting forth their intellectual ideas and doctrines, have thus made avery great and remarkable addition to the authority of their writings. Icould wish that circumstances made this as permissible in the case ofour subject, so that the authority of the present treatise might beincreased by amplifications; but this is not so easy as it may bethought. Writing on architecture is not like history or poetry. Historyis captivating to the reader from its very nature; for it holds out thehope of various novelties. Poetry, with its measures and metrical feet, its refinement in the arrangement of words, and the delivery in verse ofthe sentiments expressed by the several characters to one another, delights the feelings of the reader, and leads him smoothly on to thevery end of the work. 

2. But this cannot be the case with architectural treatises, becausethose terms which originate in the peculiar needs of the art, give riseto obscurity of ideas from the unusual nature of the language. Hence, while the things themselves are not well known, and their names not incommon use, if besides this the principles are described in a verydiffuse fashion without any attempt at conciseness and explanation in afew pellucid sentences, such fullness and amplitude of treatment will beonly a hindrance, and will give the reader nothing but indefinitenotions. Therefore, when I mention obscure terms, and the symmetricalproportions of members of buildings, I shall give brief explanations, sothat they may be committed to memory; for thus expressed, the mind willbe enabled to understand them the more easily. 

3. Furthermore, since I have observed that our citizens are distractedwith public affairs and private business, I have thought it best towrite briefly, so that my readers, whose intervals of leisure are small, may be able to comprehend in a short time. 

Then again, Pythagoras and those who came after him in his schoolthought it proper to employ the principles of the cube in composingbooks on their doctrines, and, having determined that the cube consistedof 216[6] lines, held that there should be no more than three cubes inany one treatise. 

[Note 6: Codd. _CC. & L. _]

4. A cube is a body with sides all of equal breadth and their surfacesperfectly square. When thrown down, it stands firm and steady so long asit is untouched, no matter on which of its sides it has fallen, like thedice which players throw on the board. The Pythagoreans appear to havedrawn their analogy from the cube, because the number of lines mentionedwill be fixed firmly and steadily in the memory when they have oncesettled down, like a cube, upon a man's understanding. The Greek comicpoets, also, divided their plays into parts by introducing a choralsong, and by this partition on the principle of the cubes, they relievethe actor's speeches by such intermissions. 

5. Since these rules, founded on the analogy of nature, were followed byour predecessors, and since I observe that I have to write on unusualsubjects which many persons will find obscure, I have thought it best towrite in short books, so that they may the more readily strike theunderstanding of the reader: for they will thus be easy to comprehend. Ihave also arranged them so that those in search of knowledge on asubject may not have to gather it from different places, but may find itin one complete treatment, with the various classes set forth each in abook by itself. Hence, Caesar, in the third and fourth books I gave therules for temples; in this book I shall treat of the laying out ofpublic places. I shall speak first of the proper arrangement of theforum, for in it the course of both public and private affairs isdirected by the magistrates. 

CHAPTER I

THE FORUM AND BASILICA

1. The Greeks lay out their forums in the form of a square surrounded byvery spacious double colonnades, adorn them with columns set ratherclosely together, and with entablatures of stone or marble, andconstruct walks above in the upper story. But in the cities of Italy thesame method cannot be followed, for the reason that it is a customhanded down from our ancestors that gladiatorial shows should be givenin the forum. 

[Illustration: _From Gsell_

FORUM AT TIMGAD

A, Forum. B, Basilica. C, Curia. C', Official Building. D, Small Temple. E, Latrina. F, Atrium. ]

2. Therefore let the intercolumniations round the show place be prettywide; round about in the colonnades put the bankers' offices; and havebalconies on the upper floor properly arranged so as to be convenient, and to bring in some public revenue. 

The size of a forum should be proportionate to the number ofinhabitants, so that it may not be too small a space to be useful, norlook like a desert waste for lack of population. To determine itsbreadth, divide its length into three parts and assign two of them tothe breadth. Its shape will then be oblong, and its ground planconveniently suited to the conditions of shows. 

3. The columns of the upper tier should be one fourth smaller than thoseof the lower, because, for the purpose of bearing the load, what isbelow ought to be stronger than what is above, and also, because weought to imitate nature as seen in the case of things growing; forexample, in round smooth-stemmed trees, like the fir, cypress, and pine, every one of which is rather thick just above the roots and then, as itgoes on increasing in height, tapers off naturally and symmetrically ingrowing up to the top. Hence, if nature requires this in things growing, it is the right arrangement that what is above should be less in heightand thickness than what is below. 

4. Basilicas should be constructed on a site adjoining the forum and inthe warmest possible quarter, so that in winter business men may gatherin them without being troubled by the weather. In breadth they should benot less than one third nor more than one half of their length, unlessthe site is naturally such as to prevent this and to oblige analteration in these proportions. If the length of the site is greaterthan necessary, Chalcidian porches may be constructed at the ends, as inthe Julia Aquiliana. 

5. It is thought that the columns of basilicas ought to be as high asthe side-aisles are broad; an aisle should be limited to one third ofthe breadth which the open space in the middle is to have. Let thecolumns of the upper tier be smaller than those of the lower, as writtenabove. The screen, to be placed between the upper and the lower tiers ofcolumns, ought to be, it is thought, one fourth lower than the columnsof the upper tier, so that people walking in the upper story of thebasilica may not be seen by the business men. The architraves, friezes, and cornices should be adjusted to the proportions of the columns, aswe have stated in the third book. 

[Illustration: _From Mau_

FORUM AT POMPEII

A, Forum. B, Basilica. C, Temple of Apollo. D, D', Market Buildings. E, Latrina. F, City Treasury. G, Memorial Arch. H, Temple of Jupiter. I, Arch of Tiberius. K, Macellum (provision market). L, Sanctuary of theCity Lares. M, Temple of Vespasian. N, Building of Eumachia. O, Comitium. P, Office of the Duumvirs. Q, The City Council. R, Office ofthe Aediles. ]

6. But basilicas of the greatest dignity and beauty may also beconstructed in the style of that one which I erected, and the buildingof which I superintended at Fano. Its proportions and symmetricalrelations were established as follows. In the middle, the main roofbetween the columns is 120 feet long and sixty feet wide. Its aisleround the space beneath the main roof and between the walls and thecolumns is twenty feet broad. The columns, of unbroken height, measuringwith their capitals fifty feet, and being each five feet thick, havebehind them pilasters, twenty feet high, two and one half feet broad, and one and one half feet thick, which support the beams on which iscarried the upper flooring of the aisles. Above them are otherpilasters, eighteen feet high, two feet broad, and a foot thick, whichcarry the beams supporting the principal raftering and the roof of theaisles, which is brought down lower than the main roof. 

[Illustration: _From Durm_

PLAN OF THE BASILICA AT POMPEII]

7. The spaces remaining between the beams supported by the pilasters andthe columns, are left for windows between the intercolumniations. Thecolumns are: on the breadth of the main roof at each end, four, including the corner columns at right and left; on the long side whichis next to the forum, eight, including the same corner columns; on theother side, six, including the corner columns. This is because the twomiddle columns on that side are omitted, in order not to obstruct theview of the pronaos of the temple of Augustus (which is built at themiddle of the side wall of the basilica, facing the middle of the forumand the temple of Jupiter) and also the tribunal which is in the formertemple, shaped as a hemicycle whose curvature is less than a semicircle. 

[Illustration: VITRUVIUS' BASILICA AT FANO]

8. The open side of this hemicycle is forty-six feet along the front, and its curvature inwards is fifteen feet, so that those who arestanding before the magistrates may not be in the way of the businessmen in the basilica. Round about, above the columns, are placed thearchitraves, consisting of three two-foot timbers fastened together. These return from the columns which stand third on the inner side to theantae which project from the pronaos, and which touch the edges of thehemicycle at right and left. 

9. Above the architraves and regularly dispersed on supports directlyover the capitals, piers are placed, three feet high and four feet broadeach way. Above them is placed the projecting cornice round about, madeof two two-foot timbers. The tie-beams and struts, being placed abovethem, and directly over the shafts of the columns and the antae andwalls of the pronaos, hold up one gable roof along the entire basilica, and another from the middle of it, over the pronaos of the temple. 

10. Thus the gable tops run in two directions, like the letter T, andgive a beautiful effect to the outside and inside of the main roof. Further, by the omission of an ornamental entablature and of a line ofscreens and a second tier of columns, troublesome labour is saved andthe total cost greatly diminished. On the other hand, the carrying ofthe columns themselves in unbroken height directly up to the beams thatsupport the main roof, seems to add an air of sumptuousness and dignityto the work. 

CHAPTER II

THE TREASURY, PRISON, AND SENATE HOUSE

1. The treasury, prison, and senate house ought to adjoin the forum, butin such a way that their dimensions may be proportionate to those of theforum. Particularly, the senate house should be constructed with specialregard to the importance of the town or city. If the building is square, let its height be fixed at one and one half times its breadth; but if itis to be oblong, add together its length and breadth and, having got thetotal, let half of it be devoted to the height up to the cofferedceiling. 

2. Further, the inside walls should be girdled, at a point halfway uptheir height, with coronae made of woodwork or of stucco. Without these, the voice of men engaged in discussion there will be carried up to theheight above, and so be unintelligible to their listeners. But when thewalls are girdled with coronae, the voice from below, being detainedbefore rising and becoming lost in the air, will be intelligible to theear. 

CHAPTER III

THE THEATRE: ITS SITE, FOUNDATIONS AND ACOUSTICS

1. After the forum has been arranged, next, for the purpose of seeingplays or festivals of the immortal gods, a site as healthy as possibleshould be selected for the theatre, in accordance with what has beenwritten in the first book, on the principles of healthfulness in thesites of cities. For when plays are given, the spectators, with theirwives and children, sit through them spell-bound, and their bodies, motionless from enjoyment, have the pores open, into which blowing windsfind their way. If these winds come from marshy districts or from otherunwholesome quarters, they will introduce noxious exhalations into thesystem. Hence, such faults will be avoided if the site of the theatre issomewhat carefully selected. 

2. We must also beware that it has not a southern exposure. When the sunshines full upon the rounded part of it, the air, being shut up in thecurved enclosure and unable to circulate, stays there and becomesheated; and getting glowing hot it burns up, dries out, and impairs thefluids of the human body. For these reasons, sites which are unwholesomein such respects are to be avoided, and healthy sites selected. 

3. The foundation walls will be an easier matter if they are on ahillside; but if they have to be laid on a plain or in a marshy place, solidity must be assured and substructures built in accordance with whathas been written in the third book, on the foundations of temples. Abovethe foundation walls, the ascending rows of seats, from thesubstructures up, should be built of stone and marble materials. 

4. The curved cross-aisles should be constructed in proportionaterelation, it is thought, to the height of the theatre, but not higherthan the footway of the passage is broad. If they are loftier, they willthrow back the voice and drive it away from the upper portion, thuspreventing the case-endings of words from reaching with distinct meaningthe ears of those who are in the uppermost seats above the cross-aisles. In short, it should be so contrived that a line drawn from the lowest tothe highest seat will touch the top edges and angles of all the seats. Thus the voice will meet with no obstruction. 

5. The different entrances ought to be numerous and spacious, the uppernot connected with the lower, but built in a continuous straight linefrom all parts of the house, without turnings, so that the people maynot be crowded together when let out from shows, but may have separateexits from all parts without obstructions. 

Particular pains must also be taken that the site be not a "deaf" one, but one through which the voice can range with the greatest clearness. This can be brought about if a site is selected where there is noobstruction due to echo. 

6. Voice is a flowing breath of air, perceptible to the hearing bycontact. It moves in an endless number of circular rounds, like theinnumerably increasing circular waves which appear when a stone isthrown into smooth water, and which keep on spreading indefinitely fromthe centre unless interrupted by narrow limits, or by some obstructionwhich prevents such waves from reaching their end in due formation. Whenthey are interrupted by obstructions, the first waves, flowing back, break up the formation of those which follow. 

7. In the same manner the voice executes its movements in concentriccircles; but while in the case of water the circles move horizontally ona plane surface, the voice not only proceeds horizontally, but alsoascends vertically by regular stages. Therefore, as in the case of thewaves formed in the water, so it is in the case of the voice: the firstwave, when there is no obstruction to interrupt it, does not break upthe second or the following waves, but they all reach the ears of thelowest and highest spectators without an echo. 

8. Hence the ancient architects, following in the footsteps of nature, perfected the ascending rows of seats in theatres from theirinvestigations of the ascending voice, and, by means of the canonicaltheory of the mathematicians and that of the musicians, endeavoured tomake every voice uttered on the stage come with greater clearness andsweetness to the ears of the audience. For just as musical instrumentsare brought to perfection of clearness in the sound of their strings bymeans of bronze plates or horn [Greek: êcheia], so the ancients devisedmethods of increasing the power of the voice in theatres through theapplication of harmonics. 

CHAPTER IV

HARMONICS

1. Harmonics is an obscure and difficult branch of musical science, especially for those who do not know Greek. If we desire to treat of it, we must use Greek words, because some of them have no Latin equivalents. Hence, I will explain it as clearly as I can from the writings ofAristoxenus, append his scheme, and define the boundaries of the notes, so that with somewhat careful attention anybody may be able tounderstand it pretty easily. 

2. The voice, in its changes of position when shifting pitch, becomessometimes high, sometimes low, and its movements are of two kinds, inone of which its progress is continuous, in the other by intervals. Thecontinuous voice does not become stationary at the "boundaries" or atany definite place, and so the extremities of its progress are notapparent, but the fact that there are differences of pitch is apparent, as in our ordinary speech in _sol_, _lux_, _flos_, _vox_; for in thesecases we cannot tell at what pitch the voice begins, nor at what pitchit leaves off, but the fact that it becomes low from high and high fromlow is apparent to the ear. In its progress by intervals the opposite isthe case. For here, when the pitch shifts, the voice, by change ofposition, stations itself on one pitch, then on another, and, as itfrequently repeats this alternating process, it appears to the senses tobecome stationary, as happens in singing when we produce a variation ofthe mode by changing the pitch of the voice. And so, since it moves byintervals, the points at which it begins and where it leaves off areobviously apparent in the boundaries of the notes, but the intermediatepoints escape notice and are obscure, owing to the intervals. 

3. There are three classes of modes: first, that which the Greeks termthe enharmonic; second, the chromatic; third, the diatonic. Theenharmonic mode is an artistic conception, and therefore execution in ithas a specially severe dignity and distinction. The chromatic, with itsdelicate subtlety and with the "crowding" of its notes, gives a sweeterkind of pleasure. In the diatonic, the distance between the intervals iseasier to understand, because it is natural. These three classes differin their arrangement of the tetrachord. In the enharmonic, thetetrachord consists of two tones and two "dieses. " A diesis is a quartertone; hence in a semitone there are included two dieses. In thechromatic there are two semitones arranged in succession, and the thirdinterval is a tone and a half. In the diatonic, there are twoconsecutive tones, and the third interval of a semitone completes thetetrachord. Hence, in the three classes, the tetrachords are equallycomposed of two tones and a semitone, but when they are regardedseparately according to the terms of each class, they differ in thearrangement of their intervals. 

4. Now then, these intervals of tones and semitones of the tetrachordare a division introduced by nature in the case of the voice, and shehas defined their limits by measures according to the magnitude of theintervals, and determined their characteristics in certain differentways. These natural laws are followed by the skilled workmen who fashionmusical instruments, in bringing them to the perfection of their properconcords. 

[Illustration]

5. In each class there are eighteen notes, termed in Greek [Greek:phthongoi], of which eight in all the three classes are constant andfixed, while the other ten, not being tuned to the same pitch, arevariable. The fixed notes are those which, being placed between themoveable, make up the unity of the tetrachord, and remain unaltered intheir boundaries according to the different classes. Their names areproslambanomenos, hypate hypaton, hypate meson, mese, nete synhemmenon, paramese, nete diezeugmenon, nete hyperbolaeon. The moveable notes arethose which, being arranged in the tetrachord between the immoveable, change from place to place according to the different classes. They arecalled parhypate hypaton, lichanos hypaton, parhypate meson, lichanosmeson, trite synhemmenon, paranete synhemmenon, trite diezeugmenon, paranete diezeugmenon, trite hyperbolaeon, paranete hyperbolaeon. 

[Illustration]

6. These notes, from being moveable, take on different qualities; forthey may stand at different intervals and increasing distances. Thus, parhypate, which in the enharmonic is at the interval of half a semitonefrom hypate, has a semitone interval when transferred to the chromatic. What is called lichanos in the enharmonic is at the interval of asemitone from hypate; but when shifted to the chromatic, it goes twosemitones away; and in the diatonic it is at an interval of threesemitones from hypate. Hence the ten notes produce three different kindsof modes on account of their changes of position in the classes. 

7. There are five tetrachords: first, the lowest, termed in Greek[Greek: hypaton]; second, the middle, called [Greek: meson]; third, theconjunct, termed [Greek: synêmmenon]; fourth, the disjunct, named[Greek: diezeugmenon]; the fifth, which is the highest, is termed inGreek [Greek: hyperbolaion]. The concords, termed in Greek [Greek:symphôniai], of which human modulation will naturally admit, are six innumber: the fourth, the fifth, the octave, the octave and fourth, theoctave and fifth, and the double octave. 

8. Their names are therefore due to numerical value; for when the voicebecomes stationary on some one note, and then, shifting its pitch, changes its position and passes to the limit of the fourth note fromthat one, we use the term "fourth"; when it passes to the fifth, theterm is "fifth. "[7]

[Note 7: The remainder of this section is omitted from thetranslation as being an obvious interpolation. ]

9. For there can be no consonances either in the case of the notes ofstringed instruments or of the singing voice, between two intervals orbetween three or six or seven; but, as written above, it is only theharmonies of the fourth, the fifth, and so on up to the double octave, that have boundaries naturally corresponding to those of the voice: andthese concords are produced by the union of the notes. 

CHAPTER V

SOUNDING VESSELS IN THE THEATRE

1. In accordance with the foregoing investigations on mathematicalprinciples, let bronze vessels be made, proportionate to the size of thetheatre, and let them be so fashioned that, when touched, they mayproduce with one another the notes of the fourth, the fifth, and so onup to the double octave. Then, having constructed niches in between theseats of the theatre, let the vessels be arranged in them, in accordancewith musical laws, in such a way that they nowhere touch the wall, buthave a clear space all round them and room over their tops. They shouldbe set upside down, and be supported on the side facing the stage bywedges not less than half a foot high. Opposite each niche, aperturesshould be left in the surface of the seat next below, two feet long andhalf a foot deep. 

2. The arrangement of these vessels, with reference to the situations inwhich they should be placed, may be described as follows. If the theatrebe of no great size, mark out a horizontal range halfway up, and in itconstruct thirteen arched niches with twelve equal spaces between them, so that of the above mentioned "echea" those which give the note netehyperbolaeon may be placed first on each side, in the niches which areat the extreme ends; next to the ends and a fourth below in pitch, thenote nete diezeugmenon; third, paramese, a fourth below; fourth, netesynhemmenon; fifth, mese, a fourth below; sixth, hypate meson, a fourthbelow; and in the middle and another fourth below, one vessel giving thenote hypate hypaton. 

3. On this principle of arrangement, the voice, uttered from the stageas from a centre, and spreading and striking against the cavities of thedifferent vessels, as it comes in contact with them, will be increasedin clearness of sound, and will wake an harmonious note in unison withitself. 

But if the theatre be rather large, let its height be divided into fourparts, so that three horizontal ranges of niches may be marked out andconstructed: one for the enharmonic, another for the chromatic, and thethird for the diatonic system. Beginning with the bottom range, let thearrangement be as described above in the case of a smaller theatre, buton the enharmonic system. 

[Illustration]

4. In the middle range, place first at the extreme ends the vesselswhich give the note of the chromatic hyperbolaeon; next to them, thosewhich give the chromatic diezeugmenon, a fourth below; third, thechromatic synhemmenon; fourth, the chromatic meson, a fourth below;fifth, the chromatic hypaton, a fourth below; sixth, the paramese, forthis is both the concord of the fifth to the chromatic hyperbolaeon, andthe concord[8] of the chromatic synhemmenon. 

[Note 8: Codd. _diatessaron_, which is impossible, paramese beingthe concord of the fourth to the chromatic meson, and identical with thechromatic synhemmenon. ]

5. No vessel is to be placed in the middle, for the reason that there isno other note in the chromatic system that forms a natural concord ofsound. 

In the highest division and range of niches, place at the extreme endsvessels fashioned so as to give the note of the diatonic hyperbolaeon;next, the diatonic diezeugmenon, a fourth below; third, the diatonicsynhemmenon; fourth, the diatonic meson, a fourth below; fifth, thediatonic hypaton, a fourth below; sixth, the proslambanomenos, a fourthbelow; in the middle, the note mese, for this is both the octave toproslambanomenos, and the concord of the fifth to the diatonic hypaton. 

6. Whoever wishes to carry out these principles with ease, has only toconsult the scheme at the end of this book, drawn up in accordance withthe laws of music. It was left by Aristoxenus, who with great abilityand labour classified and arranged in it the different modes. Inaccordance with it, and by giving heed to these theories, one can easilybring a theatre to perfection, from the point of view of the nature ofthe voice, so as to give pleasure to the audience. 

7. Somebody will perhaps say that many theatres are built every year inRome, and that in them no attention at all is paid to these principles;but he will be in error, from the fact that all our public theatres madeof wood contain a great deal of boarding, which must be resonant. Thismay be observed from the behaviour of those who sing to the lyre, who, when they wish to sing in a higher key, turn towards the folding doorson the stage, and thus by their aid are reinforced with a sound inharmony with the voice. But when theatres are built of solid materialslike masonry, stone, or marble, which cannot be resonant, then theprinciples of the "echea" must be applied. 

8. If, however, it is asked in what theatre these vessels have beenemployed, we cannot point to any in Rome itself, but only to those inthe districts of Italy and in a good many Greek states. We have also theevidence of Lucius Mummius, who, after destroying the theatre inCorinth, brought its bronze vessels to Rome, and made a dedicatoryoffering at the temple of Luna with the money obtained from the sale ofthem. Besides, many skilful architects, in constructing theatres insmall towns, have, for lack of means, taken large jars made of clay, butsimilarly resonant, and have produced very advantageous results byarranging them on the principles described. 

CHAPTER VI

PLAN OF THE THEATRE

1. The plan of the theatre itself is to be constructed as follows. Having fixed upon the principal centre, draw a line of circumferenceequivalent to what is to be the perimeter at the bottom, and in itinscribe four equilateral triangles, at equal distances apart andtouching the boundary line of the circle, as the astrologers do in afigure of the twelve signs of the zodiac, when they are makingcomputations from the musical harmony of the stars. Taking that one ofthese triangles whose side is nearest to the scaena, let the front ofthe scaena be determined by the line where that side cuts off a segmentof the circle (A-B), and draw, through the centre, a parallel line (C-D)set off from that position, to separate the platform of the stage fromthe space of the orchestra. 

2. The platform has to be made deeper than that of the Greeks, becauseall our artists perform on the stage, while the orchestra contains theplaces reserved for the seats of senators. The height of this platformmust be not more than five feet, in order that those who sit in theorchestra may be able to see the performances of all the actors. Thesections (cunei) for spectators in the theatre should be so divided, that the angles of the triangles which run about the circumference ofthe circle may give the direction for the flights of steps between thesections, as far as up to the first curved cross-aisle. Above this, theupper sections are to be laid out, midway between (the lower sections), with alternating passage-ways. 

3. The angles at the bottom, which give the directions for the flightsof steps, will be seven in number (C, E, F, G, H, I, D); the other fiveangles will determine the arrangement of the scene: thus, the angle inthe middle ought to have the "royal door" (K) opposite to it; the anglesto the right and left (L, M) will designate the position of the doorsfor guest chambers; and the two outermost angles (A, B) will point tothe passages in the wings. The steps for the spectators' places, wherethe seats are arranged, should be not less than a foot and a palm inheight, nor more than a foot and six fingers; their depth should befixed at not more than two and a half feet, nor less than two feet. 

[Illustration: THE ROMAN THEATRE ACCORDING TO VITRUVIUS]

4. The roof of the colonnade to be built at the top of the rows ofseats, should lie level with the top of the "scaena, " for the reasonthat the voice will then rise with equal power until it reaches thehighest rows of seats and the roof. If the roof is not so high, inproportion as it is lower, it will check the voice at the point whichthe sound first reaches. 

5. Take one sixth of the diameter of the orchestra between the loweststeps, and let the lower seats at the ends on both sides be cut away toa height of that dimension so as to leave entrances (O, P). At the pointwhere this cutting away occurs, fix the soffits of the passages. Thustheir vaulting will be sufficiently high. 

6. The length of the "scaena" ought to be double the diameter of theorchestra. The height of the podium, starting from the level of thestage, is, including the corona and cymatium, one twelfth of thediameter of the orchestra. Above the podium, the columns, includingtheir capitals and bases, should have a height of one quarter of thesame diameter, and the architraves and ornaments of the columns shouldbe one fifth of their height. The parapet above, including its cyma andcorona, is one half the height of the parapet below. Let the columnsabove this parapet be one fourth less in height than the columns below, and the architraves and ornaments of these columns one fifth of theirheight. If the "scaena" is to have three stories, let the uppermostparapet be half the height of the intermediate one, the columns at thetop one fourth less high than the intermediate, and the architraves andcoronae of these columns one fifth of their height as before. 

[Illustration: _From Durm_

THE THEATRE AT ASPENDUS]

7. It is not possible, however, that in all theatres these rules ofsymmetry should answer all conditions and purposes, but the architectought to consider to what extent he must follow the principle ofsymmetry, and to what extent it may be modified to suit the nature ofthe site or the size of the work. There are, of course, some thingswhich, for utility's sake, must be made of the same size in a smalltheatre, and a large one: such as the steps, curved cross-aisles, theirparapets, the passages, stairways, stages, tribunals, and any otherthings which occur that make it necessary to give up symmetry so as notto interfere with utility. Again, if in the course of the work any ofthe material fall short, such as marble, timber, or anything else thatis provided, it will not be amiss to make a slight reduction oraddition, provided that it is done without going too far, but withintelligence. This will be possible, if the architect is a man ofpractical experience and, besides, not destitute of cleverness andskill. 

8. The "scaena" itself displays the following scheme. In the centre aredouble doors decorated like those of a royal palace. At the right andleft are the doors of the guest chambers. Beyond are spaces provided fordecoration--places that the Greeks call [Greek: periaktoi], because inthese places are triangular pieces of machinery ([Greek: D, D]) whichrevolve, each having three decorated faces. When the play is to bechanged, or when gods enter to the accompaniment of sudden claps ofthunder, these may be revolved and present a face differently decorated. Beyond these places are the projecting wings which afford entrances tothe stage, one from the forum, the other from abroad. 

9. There are three kinds of scenes, one called the tragic, second, thecomic, third, the satyric. Their decorations are different and unlikeeach other in scheme. Tragic scenes are delineated with columns, pediments, statues, and other objects suited to kings; comic scenesexhibit private dwellings, with balconies and views representing rows ofwindows, after the manner of ordinary dwellings; satyric scenes aredecorated with trees, caverns, mountains, and other rustic objectsdelineated in landscape style. 

CHAPTER VII

GREEK THEATRES

1. In the theatres of the Greeks, these same rules of construction arenot to be followed in all respects. First, in the circle at the bottomwhere the Roman has four triangles, the Greek has three squares withtheir angles touching the line of circumference. The square whose sideis nearest to the "scaena, " and cuts off a segment of the circle, determines by this line the limits of the "proscaenium" (A, B). Parallelto this line and tangent to the outer circumference of the segment, aline is drawn which fixes the front of the "scaena" (C-D). Through thecentre of the orchestra and parallel to the direction of the"proscaenium, " a line is laid off, and centres are marked where it cutsthe circumference to the right and left (E, F) at the ends of thehalf-circle. Then, with the compasses fixed at the right, an arc isdescribed from the horizontal distance at the left to the left hand sideof the "proscaenium" (F, G); again with the centre at the left end, anarc is described from the horizontal distance at the right to the righthand side of the "proscaenium" (E, H). 

2. As a result of this plan with three centres, the Greeks have aroomier orchestra, and a "scaena" set further back, as well as a stageof less depth. They call this the [Greek: logeion], for the reason thatthere the tragic and comic actors perform on the stage, while otherartists give their performances in the entire orchestra; hence, fromthis fact they are given in Greek the distinct names "Scenic" and"Thymelic. " The height of this "logeum" ought to be not less than tenfeet nor more than twelve. Let the ascending flights of steps betweenthe wedges of seats, as far up as the first curved cross-aisle, be laidout on lines directly opposite to the angles of the squares. Above thecross-aisle, let other flights be laid out in the middle between thefirst; and at the top, as often as there is a new cross-aisle, thenumber of flights of steps is always increased to the same extent. 

[Illustration: THE GREEK THEATRE ACCORDING TO VITRUVIUS]

CHAPTER VIII

ACOUSTICS OF THE SITE OF A THEATRE

1. All this having been settled with the greatest pains and skill, wemust see to it, with still greater care, that a site has been selectedwhere the voice has a gentle fall, and is not driven back with a recoilso as to convey an indistinct meaning to the ear. There are some placeswhich from their very nature interfere with the course of the voice, asfor instance the dissonant, which are termed in Greek [Greek:katêchountes]; the circumsonant, which with them are named [Greek:periêchountes]; again the resonant, which are termed [Greek:antêchountes]; and the consonant, which they call [Greek: synêchountes]. The dissonant are those places in which the first sound uttered that iscarried up high, strikes against solid bodies above, and, being drivenback, checks as it sinks to the bottom the rise of the succeeding sound. 

2. The circumsonant are those in which the voice spreads all round, andthen is forced into the middle, where it dissolves, the case-endings arenot heard, and it dies away there in sounds of indistinct meaning. Theresonant are those in which it comes into contact with some solidsubstance and recoils, thus producing an echo, and making theterminations of cases sound double. The consonant are those in which itis supported from below, increases as it goes up, and reaches the earsin words which are distinct and clear in tone. Hence, if there has beencareful attention in the selection of the site, the effect of the voicewill, through this precaution, be perfectly suited to the purposes of atheatre. 

The drawings of the plans may be distinguished from each other by thisdifference, that theatres designed from squares are meant to be used byGreeks, while Roman theatres are designed from equilateral triangles. Whoever is willing to follow these directions will be able to constructperfectly correct theatres. 

CHAPTER IX

COLONNADES AND WALKS

1. Colonnades must be constructed behind the scaena, so that when suddenshowers interrupt plays, the people may have somewhere to retire fromthe theatre, and so that there may be room for the preparation of allthe outfit of the stage. Such places, for instance, are the colonnadesof Pompey, and also, in Athens, the colonnades of Eumenes and the faneof Father Bacchus; also, as you leave the theatre, the music hall whichThemistocles surrounded with stone columns, and roofed with the yardsand masts of ships captured from the Persians. It was burned during thewar with Mithridates, and afterwards restored by King Ariobarzanes. AtSmyrna there is the Stratoniceum, at Tralles, a colonnade on each sideof the scaena above the race course, and in other cities which have hadcareful architects there are colonnades and walks about the theatres. 

2. The approved way of building them requires that they should bedouble, and have Doric columns on the outside, with the architraves andtheir ornaments finished according to the law of modular proportion. Theapproved depth for them requires that the depth, from the lower part ofthe outermost columns to the columns in the middle, and from the middlecolumns to the wall enclosing the walk under the colonnade, should beequal to the height of the outer columns. Let the middle columns be onefifth higher than the outer columns, and designed in the Ionic orCorinthian style. 

3. The columns will not be subject to the same rules of symmetry andproportion which I prescribed in the case of sanctuaries; for thedignity which ought to be their quality in temples of the gods is onething, but their elegance in colonnades and other public works is quiteanother. Hence, if the columns are to be of the Doric order, let theirheight, including the capital, be measured off into fifteen parts. Ofthese parts, let one be fixed upon to form the module, and inaccordance with this module the whole work is to be developed. Let thethickness of the columns at the bottom be two modules; anintercolumniation, five and a half modules; the height of a column, excluding the capital, fourteen modules; the capital, one module inheight and two and one sixth modules in breadth. Let the modularproportions of the rest of the work be carried out as written in thefourth book in the case of temples. 

4. But if the columns are to be Ionic, let the shaft, excluding base andcapital, be divided into eight and one half parts, and let one of thesebe assigned to the thickness of a column. Let the base, including theplinth, be fixed at half the thickness, and let the proportions of thecapital be as shown in the third book. If the column is to beCorinthian, let its shaft and base be proportioned as in the Ionic, butits capital, as has been written in the fourth book. In the stylobates, let the increase made there by means of the "scamilli impares" be takenfrom the description written above in the third book. Let thearchitraves, coronae, and all the rest be developed, in proportion tothe columns, from what has been written in the foregoing books. 

5. The space in the middle, between the colonnades and open to the sky, ought to be embellished with green things; for walking in the open airis very healthy, particularly for the eyes, since the refined andrarefied air that comes from green things, finding its way in because ofthe physical exercise, gives a clean-cut image, and, by clearing awaythe gross humours from the eyes, leaves the sight keen and the imagedistinct. Besides, as the body gets warm with exercise in walking, thisair, by sucking out the humours from the frame, diminishes theirsuperabundance, and disperses and thus reduces that superfluity which ismore than the body can bear. 

6. That this is so may be seen from the fact that misty vapours neverarise from springs of water which are under cover, nor even from waterymarshes which are underground; but in uncovered places which are open tothe sky, when the rising sun begins to act upon the world with itsheat, it brings out the vapour from damp and watery spots, and rolls itin masses upwards. Therefore, if it appears that in places open to thesky the more noxious humours are sucked out of the body by the air, asthey obviously are from the earth in the form of mists, I think there isno doubt that cities should be provided with the roomiest and mostornamented walks, laid out under the free and open sky. 

7. That they may be always dry and not muddy, the following is to bedone. Let them be dug down and cleared out to the lowest possible depth. At the right and left construct covered drains, and in their walls, which are directed towards the walks, lay earthen pipes with their lowerends inclined into the drains. Having finished these, fill up the placewith charcoal, and then strew sand over the walks and level them off. Hence, on account of the porous nature of the charcoal and the insertionof the pipes into the drains, quantities of water will be conductedaway, and the walks will thus be rendered perfectly dry and withoutmoisture. 

8. Furthermore, our ancestors in establishing these works providedcities with storehouses for an indispensable material. The fact is thatin sieges everything else is easier to procure than is wood. Salt caneasily be brought in beforehand; corn can be got together quickly by theState or by individuals, and if it gives out, the defence may bemaintained on cabbage, meat, or beans; water can be had by diggingwells, or when there are sudden falls of rain, by collecting it from thetiles. But a stock of wood, which is absolutely necessary for cookingfood, is a difficult and troublesome thing to provide; for it is slow togather and a good deal is consumed. 

9. On such occasions, therefore, these walks are thrown open, and adefinite allowance granted to each inhabitant according to tribes. Thusthese uncovered walks insure two excellent things: first, health in timeof peace; secondly, safety in time of war. Hence, walks that aredeveloped on these principles, and built not only behind the "scaena"of theatres, but also at the temples of all the gods, will be capable ofbeing of great use to cities. 

[Illustration: _Photo. Brooklyn Institute_

THE TEPIDARIUM OF THE STABIAN BATHS AT POMPEII]

[Illustration: _Photo. Brooklyn Institute_

APODYTERIUM FOR WOMEN IN THE STABIAN BATHS AT POMPEII]

As it appears that we have given an adequate account of them, next willfollow descriptions of the arrangements of baths. 

CHAPTER X

BATHS

1. In the first place, the warmest possible situation must be selected;that is, one which faces away from the north and northeast. The roomsfor the hot and tepid baths should be lighted from the southwest, or, ifthe nature of the situation prevents this, at all events from the south, because the set time for bathing is principally from midday to evening. We must also see to it that the hot bath rooms in the women's and men'sdepartments adjoin each other, and are situated in the same quarter; forthus it will be possible that the same furnace should serve both of themand their fittings. Three bronze cauldrons are to be set over thefurnace, one for hot, another for tepid, and the third for cold water, placed in such positions that the amount of water which flows out of thehot water cauldron may be replaced from that for tepid water, and in thesame way the cauldron for tepid water may be supplied from that forcold. The arrangement must allow the semi-cylinders for the bath basinsto be heated from the same furnace. 

2. The hanging floors of the hot bath rooms are to be constructed asfollows. First the surface of the ground should be laid with tiles afoot and a half square, sloping towards the furnace in such a way that, if a ball is thrown in, it cannot stop inside but must return of itselfto the furnace room; thus the heat of the fire will more readily spreadunder the hanging flooring. Upon them, pillars made of eight-inch bricksare built, and set at such a distance apart that two-foot tiles may beused to cover them. These pillars should be two feet in height, laidwith clay mixed with hair, and covered on top with the two-foot tileswhich support the floor. 

[Illustration: The Stabian Baths at Pompeii

S, S. Shops. B. Private Baths. A-T. Men's Bath. A'-T'. Women's Baths. E, E'. Entrances. A, A'. Apodyteria. F. Frigidarium. T, T'. Tepidarium. C, C. Caldarium. K, K, K. Kettles in furnace room. P. Piscina. ]

3. The vaulted ceilings will be more serviceable if built of masonry;but if they are of framework, they should have tile work on the underside, to be constructed as follows. Let iron bars or arcs be made, andhang them to the framework by means of iron hooks set as close togetheras possible; and let these bars or arcs be placed at such distancesapart that each pair of them may support and carry an unflanged tile. Thus the entire vaulting will be completely supported on iron. Thesevaults should have the joints on their upper side daubed with clay mixedwith hair, and their under side, facing the floor, should first beplastered with pounded tile mixed with lime, and then covered withpolished stucco in relief or smooth. Vaults in hot bath rooms will bemore serviceable if they are doubled; for then the moisture from theheat will not be able to spoil the timber in the framework, but willmerely circulate between the two vaults. 

4. The size of the baths must depend upon the number of the population. The rooms should be thus proportioned: let their breadth be one third oftheir length, excluding the niches for the washbowl and the bath basin. The washbowl ought without fail to be placed under a window, so that theshadows of those who stand round it may not obstruct the light. Nichesfor washbowls must be made so roomy that when the first comers havetaken their places, the others who are waiting round may have properstanding room. The bath basin should be not less than six feet broadfrom the wall to the edge, the lower step and the "cushion" taking uptwo feet of this space. 

5. The Laconicum and other sweating baths must adjoin the tepid room, and their height to the bottom of the curved dome should be equal totheir width. Let an aperture be left in the middle of the dome with abronze disc hanging from it by chains. By raising and lowering it, thetemperature of the sweating bath can be regulated. The chamber itselfought, as it seems, to be circular, so that the force of the fire andheat may spread evenly from the centre all round the circumference. 

CHAPTER XI

THE PALAESTRA

1. Next, although the building of palaestrae is not usual in Italy, Ithink it best to set forth the traditional way, and to show how they areconstructed among the Greeks. The square or oblong peristyle in apalaestra should be so formed that the circuit of it makes a walk of twostadia, a distance which the Greeks call the [Greek: diaulos]. Let threeof its colonnades be single, but let the fourth, which is on the southside, be double, so that when there is bad weather accompanied by wind, the drops of rain may not be able to reach the interior. 

2. In the three colonnades construct roomy recesses (A) with seats inthem, where philosophers, rhetoricians, and others who delight inlearning may sit and converse. In the double colonnade let the rooms bearranged thus: the young men's hall (B) in the middle; this is a veryspacious recess (exedra) with seats in it, and it should be one thirdlonger than it is broad. At the right, the bag room (C); then next, thedust room (D); beyond the dust room, at the corner of the colonnade, thecold washing room (E), which the Greeks call [Greek: loutron]. At theleft of the young men's hall is the anointing room (F); then, next tothe anointing room, the cold bath room (G), and beyond that a passageinto the furnace room (H) at the corner of the colonnade. Next, butinside and on a line with the cold bath room, put the vaulted sweatingbath (I), its length twice its breadth, and having at the ends on oneside a Laconicum (K), proportioned in the same manner as abovedescribed, and opposite the Laconicum the warm washing room (L). Insidea palaestra, the peristyle ought to be laid out as described above. 

3. But on the outside, let three colonnades be arranged, one as youleave the peristyle and two at the right and left, with running-tracksin them. That one of them which faces the north should be a doublecolonnade of very ample breadth, while the other should be single, andso constructed that on the sides next the walls and the side along thecolumns it may have edges, serving as paths, of not less than ten feet, with the space between them sunken, so that steps are necessary in goingdown from the edges a foot and a half to the plane, which plane shouldbe not less than twelve feet wide. Thus people walking round on theedges will not be interfered with by the anointed who are exercising. 

[Illustration: I. THE PALAESTRA AT OLYMPIA; II. THE GREEK PALAESTRAACCORDING TO VITRUVIUS]

4. This kind of colonnade is called among the Greeks [Greek: xystos], because athletes during the winter season exercise in covered runningtracks. Next to this "xystus" and to the double colonnade should be laidout the uncovered walks which the Greeks term [Greek: paradromides] andour people "xysta, " into which, in fair weather during the winter, theathletes come out from the "xystus" for exercise. The "xysta" ought tobe so constructed that there may be plantations between the twocolonnades, or groves of plane trees, with walks laid out in them amongthe trees and resting places there, made of "opus signinum. " Behind the"xystus" a stadium, so designed that great numbers of people may haveplenty of room to look on at the contests between the athletes. 

I have now described all that seemed necessary for the properarrangement of things within the city walls. 

CHAPTER XII

HARBOURS, BREAKWATERS, AND SHIPYARDS

1. The subject of the usefulness of harbours is one which I must notomit, but must explain by what means ships are sheltered in them fromstorms. If their situation has natural advantages, with projecting capesor promontories which curve or return inwards by their naturalconformation, such harbours are obviously of the greatest service. Roundthem, of course, colonnades or shipyards must be built, or passages fromthe colonnades to the business quarters, and towers must be set up onboth sides, from which chains can be drawn across by machinery. 

2. But if we have a situation without natural advantages, and unfit toshelter ships from storms, it is obvious that we must proceed asfollows. If there is no river in the neighbourhood, but if there can bea roadstead on one side, then, let the advances be made from the otherside by means of walls or embankments, and let the enclosing harbour bethus formed. Walls which are to be under water should be constructed asfollows. Take the powder which comes from the country extending fromCumae to the promontory of Minerva, and mix it in the mortar trough inthe proportion of two to one. 

3. Then, in the place previously determined, a cofferdam, with its sidesformed of oaken stakes with ties between them, is to be driven down intothe water and firmly propped there; then, the lower surface inside, under the water, must be levelled off and dredged, working from beamslaid across; and finally, concrete from the mortar trough--the stuffhaving been mixed as prescribed above--must be heaped up until the emptyspace which was within the cofferdam is filled up by the wall. This, however, is possessed as a gift of nature by such places as have beendescribed above. 

But if by reason of currents or the assaults of the open sea the propscannot hold the cofferdam together, then, let a platform of the greatestpossible strength be constructed, beginning on the ground itself or on asubstructure; and let the platform be constructed with a level surfacefor less than half its extent, while the rest, which is close to thebeach, slopes down and out. 

4. Then, on the water's edge and at the sides of the platform, letmarginal walls be constructed, about one and one half feet thick andbrought up to a level with the surface above mentioned; next, let thesloping part be filled in with sand and levelled off with the marginalwall and the surface of the platform. Then, upon this level surfaceconstruct a block as large as is required, and when it is finished, leave it for not less than two months to dry. Then, cut away themarginal wall which supports the sand. Thus, the sand will be underminedby the waves, and this will cause the block to fall into the sea. Bythis method, repeated as often as necessary, an advance into the watercan be made. 

5. But in places where this powder is not found, the following methodmust be employed. A cofferdam with double sides, composed of charredstakes fastened together with ties, should be constructed in theappointed place, and clay in wicker baskets made of swamp rushes shouldbe packed in among the props. After this has been well packed down andfilled in as closely as possible, set up your water-screws, wheels, anddrums, and let the space now bounded by the enclosure be emptied anddried. Then, dig out the bottom within the enclosure. If it proves to beof earth, it must be cleared out and dried till you come to solid bottomand for a space wider than the wall which is to be built upon it, andthen filled in with masonry consisting of rubble, lime, and sand. 

6. But if the place proves to be soft, the bottom must be staked withpiles made of charred alder or olive wood, and then filled in withcharcoal as has been prescribed in the case of the foundations oftheatres and the city wall. Finally, build the wall of dimension stone, with the bond stones as long as possible, so that particularly thestones in the middle may be held together by the joints. Then, fill theinside of the wall with broken stone or masonry. It will thus bepossible for even a tower to be built upon it. 

7. When all this is finished, the general rule for shipyards will be tobuild them facing the north. Southern exposures from their heat producerot, the wood worm, shipworms, and all sorts of other destructivecreatures, and strengthen and keep them alive. And these buildings mustby no means be constructed of wood, for fear of fire. As for their size, no definite limit need be set, but they must be built to suit thelargest type of ship, so that if even larger ships are hauled up, theymay find plenty of room there. 

I have described in this book the construction and completion of allthat I could remember as necessary for general use in the public placesof cities. In the following book I shall consider private houses, theirconveniences, and symmetrical proportions. 

BOOK VI

INTRODUCTION

1. It is related of the Socratic philosopher Aristippus that, beingshipwrecked and cast ashore on the coast of the Rhodians, he observedgeometrical figures drawn thereon, and cried out to his companions: "Letus be of good cheer, for I see the traces of man. " With that he made forthe city of Rhodes, and went straight to the gymnasium. There he fell todiscussing philosophical subjects, and presents were bestowed upon him, so that he could not only fit himself out, but could also provide thosewho accompanied him with clothing and all other necessaries of life. When his companions wished to return to their country, and asked himwhat message he wished them to carry home, he bade them say this: thatchildren ought to be provided with property and resources of a kind thatcould swim with them even out of a shipwreck. 

2. These are indeed the true supports of life, and neither Fortune'sadverse gale, nor political revolution, nor ravages of war can do themany harm. Developing the same idea, Theophrastus, urging men to acquirelearning rather than to put their trust in money, states the case thus:"The man of learning is the only person in the world who is neither astranger when in a foreign land, nor friendless when he has lost hisintimates and relatives; on the contrary, he is a citizen of everycountry, and can fearlessly look down upon the troublesome accidents offortune. But he who thinks himself entrenched in defences not oflearning but of luck, moves in slippery paths, struggling through lifeunsteadily and insecurely. "

3. And Epicurus, in much the same way, says that the wise owe little tofortune; all that is greatest and essential is under the direction ofthe thinking power of the mind and the understanding. Many otherphilosophers have said the same thing. Likewise the poets who wrote theancient comedies in Greek have expressed the same sentiments in theirverses on the stage: for example, Eucrates, Chionides, Aristophanes, andwith them Alexis in particular, who says that the Athenians ought to bepraised for the reason that, while the laws of all Greeks require themaintenance of parents by their children, the laws of the Atheniansrequire this only in the case of those who have educated their childrenin the arts. All the gifts which fortune bestows she can easily takeaway; but education, when combined with intelligence, never fails, butabides steadily on to the very end of life. 

4. Hence, I am very much obliged and infinitely grateful to my parentsfor their approval of this Athenian law, and for having taken care thatI should be taught an art, and that of a sort which cannot be brought toperfection without learning and a liberal education in all branches ofinstruction. Thanks, therefore, to the attention of my parents and theinstruction given by my teachers, I obtained a wide range of knowledge, and by the pleasure which I take in literary and artistic subjects, andin the writing of treatises, I have acquired intellectual possessionswhose chief fruits are these thoughts: that superfluity is useless, andthat not to feel the want of anything is true riches. There may be somepeople, however, who deem all this of no consequence, and think that thewise are those who have plenty of money. Hence it is that very many, inpursuit of that end, take upon themselves impudent assurance, and attainnotoriety and wealth at the same time. 

5. But for my part, Caesar, I have never been eager to make money by myart, but have gone on the principle that slender means and a goodreputation are preferable to wealth and disrepute. For this reason, onlya little celebrity has followed; but still, my hope is that, with thepublication of these books, I shall become known even to posterity. Andit is not to be wondered at that I am so generally unknown. Otherarchitects go about and ask for opportunities to practise theirprofession; but I have been taught by my instructors that it is theproper thing to undertake a charge only after being asked, and not toask for it; since a gentleman will blush with shame at petitioning fora thing that arouses suspicion. It is in fact those who can grantfavours that are courted, not those who receive them. What are we tothink must be the suspicions of a man who is asked to allow his privatemeans to be expended in order to please a petitioner? Must he notbelieve that the thing is to be done for the profit and advantage ofthat individual?

6. Hence it was that the ancients used to entrust their work in thefirst place to architects of good family, and next inquired whether theyhad been properly educated, believing that one ought to trust in thehonour of a gentleman rather than in the assurance of impudence. And thearchitects themselves would teach none but their own sons or kinsmen, and trained them to be good men, who could be trusted without hesitationin matters of such importance. 

But when I see that this grand art is boldly professed by the uneducatedand the unskilful, and by men who, far from being acquainted witharchitecture, have no knowledge even of the carpenter's trade, I canfind nothing but praise for those householders who, in the confidence oflearning, are emboldened to build for themselves. Their judgment isthat, if they must trust to inexperienced persons, it is more becomingto them to use up a good round sum at their own pleasure than at that ofa stranger. 

7. Nobody, therefore, attempts to practise any other art in his ownhome--as, for instance, the shoemaker's, or the fuller's, or any otherof the easier kinds--but only architecture, and this is because theprofessionals do not possess the genuine art but term themselvesarchitects falsely. For these reasons I have thought proper to composemost carefully a complete treatise on architecture and its principles, believing that it will be no unacceptable gift to all the world. In thefifth book I have said what I had to say about the convenientarrangement of public works; in this I shall set forth the theoreticalprinciples and the symmetrical proportions of private houses. 

CHAPTER I

ON CLIMATE AS DETERMINING THE STYLE OF THE HOUSE

1. If our designs for private houses are to be correct, we must at theoutset take note of the countries and climates in which they are built. One style of house seems appropriate to build in Egypt, another inSpain, a different kind in Pontus, one still different in Rome, and soon with lands and countries of other characteristics. This is becauseone part of the earth is directly under the sun's course, another is faraway from it, while another lies midway between these two. Hence, as theposition of the heaven with regard to a given tract on the earth leadsnaturally to different characteristics, owing to the inclination of thecircle of the zodiac and the course of the sun, it is obvious thatdesigns for houses ought similarly to conform to the nature of thecountry and to diversities of climate. 

2. In the north, houses should be entirely roofed over and sheltered asmuch as possible, not in the open, though having a warm exposure. But onthe other hand, where the force of the sun is great in the southerncountries that suffer from heat, houses must be built more in the openand with a northern or north-eastern exposure. Thus we may amend by artwhat nature, if left to herself, would mar. In other situations, also, we must make modifications to correspond to the position of the heavenand its effects on climate. 

3. These effects are noticeable and discernible not only in things innature, but they also are observable in the limbs and bodies of entireraces. In places on which the sun throws out its heat in moderation, itkeeps human bodies in their proper condition, and where its path is veryclose at hand, it parches them up, and burns out and takes away theproportion of moisture which they ought to possess. But, on the otherhand, in the cold regions that are far away from the south, themoisture is not drawn out by hot weather, but the atmosphere is full ofdampness which diffuses moisture into the system, and makes the framelarger and the pitch of the voice deeper. This is also the reason whythe races that are bred in the north are of vast height, and have faircomplexions, straight red hair, grey eyes, and a great deal of blood, owing to the abundance of moisture and the coolness of the atmosphere. 

4. On the contrary, those that are nearest to the southern half of theaxis, and that lie directly under the sun's course, are of lowerstature, with a swarthy complexion, hair curling, black eyes, stronglegs, and but little blood on account of the force of the sun. Hence, too, this poverty of blood makes them over-timid to stand up against thesword, but great heat and fevers they can endure without timidity, because their frames are bred up in the raging heat. Hence, men that areborn in the north are rendered over-timid and weak by fever, but theirwealth of blood enables them to stand up against the sword withouttimidity. 

[Illustration]

5. The pitch of the voice is likewise different and varying in qualitywith different nations, for the following reasons. The terminatingpoints east and west on the level of the earth, where the upper andlower parts of the heaven are divided, seem to lie in a naturallybalanced circle which mathematicians call the Horizon. Keeping this ideadefinitely in mind, if we imagine a line drawn from the northern side ofthe circumference (N) to the side which lies above the southern half ofthe axis (S), and from here another line obliquely up to the pivot atthe summit, beyond the stars composing the Great Bear (the pole star P), we shall doubtless see that we have in the heaven a triangular figurelike that of the musical instrument which the Greeks call the"sambuca. "

6. And so, under the space which is nearest to the pivot at the bottom, off the southern portions of the line of the axis, are found nationsthat on account of the slight altitude of the heaven above them, haveshrill and very high-pitched voices, like the string nearest to theangle in the musical instrument. Next in order come other nations as faras the middle of Greece, with lower elevations of the voice; and fromthis middle point they go on in regular order up to the extreme north, where, under high altitudes, the vocal utterance of the inhabitants is, under natural laws, produced in heavier tones. Thus it is obvious thatthe system of the universe as a whole is, on account of the inclinationof the heaven, composed in a most perfect harmony through the temporarypower of the sun. 

7. The nations, therefore, that lie midway between the pivots at thesouthern and the northern extremities of the axis, converse in a voiceof middle pitch, like the notes in the middle of a musical scale; but, as we proceed towards the north, the distances to the heaven becomegreater, and so the nations there, whose vocal utterance is reduced bythe moisture to the "hypatès" and to "proslambanomenon, " are naturallyobliged to speak in heavier tones. In the same way, as we proceed fromthe middle point to the south, the voices of the nations therecorrespond in extreme height of pitch and in shrillness to the"paranetès" and "netès. "

8. That it is a fact that things are made heavier from being in placesnaturally moist, and higher pitched from places that are hot, may beproved from the following experiment. Take two cups which have beenbaked in the same oven for an equal time, which are of equal weight, andwhich give the same note when struck. Dip one of them into water and, after taking it out of water, strike them both. This done, there will bea great difference in their notes, and the cups can no longer be equalin weight. Thus it is with men: though born in the same general form andunder the same all-embracing heaven, yet in some of them, on account ofthe heat in their country, the voice strikes the air on a high note, while in others, on account of abundance of moisture, the quality oftones produced is very heavy. 

9. Further, it is owing to the rarity of the atmosphere that southernnations, with their keen intelligence due to the heat, are very free andswift in the devising of schemes, while northern nations, beingenveloped in a dense atmosphere, and chilled by moisture from theobstructing air, have but a sluggish intelligence. That this is so, wemay see from the case of snakes. Their movements are most active in hotweather, when they have got rid of the chill due to moisture, whereas atthe winter solstice, and in winter weather, they are chilled by thechange of temperature, and rendered torpid and motionless. It istherefore no wonder that man's intelligence is made keener by warm airand duller by cold. 

10. But although southern nations have the keenest wits, and areinfinitely clever in forming schemes, yet the moment it comes todisplaying valour, they succumb because all manliness of spirit issucked out of them by the sun. On the other hand, men born in coldcountries are indeed readier to meet the shock of arms with greatcourage and without timidity, but their wits are so slow that they willrush to the charge inconsiderately and inexpertly, thus defeating theirown devices. Such being nature's arrangement of the universe, and allthese nations being allotted temperaments which are lacking in duemoderation, the truly perfect territory, situated under the middle ofthe heaven, and having on each side the entire extent of the world andits countries, is that which is occupied by the Roman people. 

11. In fact, the races of Italy are the most perfectly constituted inboth respects--in bodily form and in mental activity to correspond totheir valour. Exactly as the planet Jupiter is itself temperate, itscourse lying midway between Mars, which is very hot, and Saturn, whichis very cold, so Italy, lying between the north and the south, is acombination of what is found on each side, and her preëminence is wellregulated and indisputable. And so by her wisdom she breaks thecourageous onsets of the barbarians, and by her strength of handthwarts the devices of the southerners. Hence, it was the divineintelligence that set the city of the Roman people in a peerless andtemperate country, in order that it might acquire the right to commandthe whole world. 

12. Now if it is a fact that countries differ from one another, and areof various classes according to climate, so that the very nations borntherein naturally differ in mental and physical conformation andqualities, we cannot hesitate to make our houses suitable in plan to thepeculiarities of nations and races, since we have the expert guidance ofnature herself ready to our hand. 

I have now set forth the peculiar characteristics of localities, so faras I could note them, in the most summary way, and have stated how weought to make our houses conform to the physical qualities of nations, with due regard to the course of the sun and to climate. Next I shalltreat the symmetrical proportions of the different styles of houses, both as wholes and in their separate parts. 

CHAPTER II

SYMMETRY, AND MODIFICATIONS IN IT TO SUIT THE SITE

1. There is nothing to which an architect should devote more thoughtthan to the exact proportions of his building with reference to acertain part selected as the standard. After the standard of symmetryhas been determined, and the proportionate dimensions adjusted bycalculations, it is next the part of wisdom to consider the nature ofthe site, or questions of use or beauty, and modify the plan bydiminutions or additions in such a manner that these diminutions oradditions in the symmetrical relations may be seen to be made on correctprinciples, and without detracting at all from the effect. 

2. The look of a building when seen close at hand is one thing, on aheight it is another, not the same in an enclosed place, stilldifferent in the open, and in all these cases it takes much judgment todecide what is to be done. The fact is that the eye does not always givea true impression, but very often leads the mind to form a falsejudgment. In painted scenery, for example, columns may appear to jutout, mutules to project, and statues to be standing in the foreground, although the picture is of course perfectly flat. Similarly with ships, the oars when under the water are straight, though to the eye theyappear to be broken. To the point where they touch the surface of thesea they look straight, as indeed they are, but when dipped under thewater they emit from their bodies undulating images which come swimmingup through the naturally transparent medium to the surface of the water, and, being there thrown into commotion, make the oars look broken. 

3. Now whether this appearance is due to the impact of the images, or tothe effusion of the rays from the eye, as the physicists hold, in eithercase it is obvious that the vision may lead us to false impressions. 

4. Since, therefore, the reality may have a false appearance, and sincethings are sometimes represented by the eyes as other than they are, Ithink it certain that diminutions or additions should be made to suitthe nature or needs of the site, but in such fashion that the buildingslose nothing thereby. These results, however, are also attainable byflashes of genius, and not only by mere science. 

5. Hence, the first thing to settle is the standard of symmetry, fromwhich we need not hesitate to vary. Then, lay out the ground lines ofthe length and breadth of the work proposed, and when once we havedetermined its size, let the construction follow this with due regard tobeauty of proportion, so that the beholder may feel no doubt of theeurythmy of its effect. I must now tell how this may be brought about, and first I will speak of the proper construction of a cavaedium. 

CHAPTER III

PROPORTIONS OF THE PRINCIPAL ROOMS

1. There are five different styles of cavaedium, termed according totheir construction as follows: Tuscan, Corinthian, tetrastyle, displuviate, and testudinate. 

In the Tuscan, the girders that cross the breadth of the atrium havecrossbeams on them, and valleys sloping in and running from the anglesof the walls to the angles formed by the beams, and the rainwater fallsdown along the rafters to the roof-opening (compluvium) in the middle. 

In the Corinthian, the girders and roof-opening are constructed on thesesame principles, but the girders run in from the side walls, and aresupported all round on columns. 

In the tetrastyle, the girders are supported at the angles by columns, an arrangement which relieves and strengthens the girders; for thus theyhave themselves no great span to support, and they are not loaded downby the crossbeams. 

[Illustration: _From Mau_

THE HOUSE OF THE SURGEON, POMPEII

Illustrating the Tuscan Atrium

1. Fauces2, 3. Shops4. Storage5. Atrium6. Chambers7. Tablinum8. Alae9, 10. Dining rooms13. Kitchen, _a_, hearth14. Rear Entrance16. Portico18. Stairs to rooms over the rear of the house20. Garden

]

[Illustration: _From Mau_

HOUSE OF EPIDIUS RUFUS AT POMPEII

Illustrating Corinthian Atrium]

2. In the displuviate, there are beams which slope outwards, supportingthe roof and throwing the rainwater off. This style is suitable chieflyin winter residences, for its roof-opening, being high up, is not anobstruction to the light of the dining rooms. It is, however, verytroublesome to keep in repair, because the pipes, which are intended tohold the water that comes dripping down the walls all round, cannot takeit quickly enough as it runs down from the channels, but get too fulland run over, thus spoiling the woodwork and the walls of houses of thisstyle. 

[Illustration: _From Mau_

HOUSE OF THE SILVER WEDDING AT POMPEII

Illustrating the Tetrastyle Atrium

_a. _ fauces_d. _ tetrastyle atrium_n. _ dining room_o. _ tablinum_p. _ andron_r. _ peristyle_w. _ summer dining room

]

The testudinate is employed where the span is not great, and where largerooms are provided in upper stories. 

3. In width and length, atriums are designed according to three classes. The first is laid out by dividing the length into five parts and givingthree parts to the width; the second, by dividing it into three partsand assigning two parts to the width; the third, by using the width todescribe a square figure with equal sides, drawing a diagonal line inthis square, and giving the atrium the length of this diagonal line. 

4. Their height up to the girders should be one fourth less than theirwidth, the rest being the proportion assigned to the ceiling and theroof above the girders. 

The alae, to the right and left, should have a width equal to one thirdof the length of the atrium, when that is from thirty to forty feetlong. From forty to fifty feet, divide the length by three and onehalf, and give the alae the result. When it is from fifty to sixty feetin length, devote one fourth of the length to the alae. From sixty toeighty feet, divide the length by four and one half and let the resultbe the width of the alae. From eighty feet to one hundred feet, thelength divided into five parts will produce the right width for thealae. Their lintel beams should be placed high enough to make the heightof the alae equal to their width. 

5. The tablinum should be given two thirds of the width of the atriumwhen the latter is twenty feet wide. If it is from thirty to forty feet, let half the width of the atrium be devoted to the tablinum. When it isfrom forty to sixty feet, divide the width into five parts and let twoof these be set apart for the tablinum. In the case of smaller atriums, the symmetrical proportions cannot be the same as in larger. For if, inthe case of the smaller, we employ the proportion that belong to thelarger, both tablina and alae must be unserviceable, while if, in thecase of the larger, we employ the proportions of the smaller, the roomsmentioned will be huge monstrosities. Hence, I have thought it best todescribe exactly their respective proportionate sizes, with a view bothto convenience and to beauty. 

[Illustration: _From Mau_

PLAN OF A TYPICAL ROMAN HOUSE]

6. The height of the tablinum at the lintel should be one eighth morethan its width. Its ceiling should exceed this height by one third ofthe width. The fauces in the case of smaller atriums should be twothirds, and in the case of larger one half the width of the tablinum. Let the busts of ancestors with their ornaments be set up at a heightcorresponding to the width of the alae. The proportionate width andheight of doors may be settled, if they are Doric, in the Doric manner, and if Ionic, in the Ionic manner, according to the rules of symmetrywhich have been given about portals in the fourth book. In theroof-opening let an aperture be left with a breadth of not less thanone fourth nor more than one third the width of the atrium, and with alength proportionate to that of the atrium. 

[Illustration: _Photo. Sommer_

THE PERISTYLE OF THE HOUSE OF THE VETTII AT POMPEII]

7. Peristyles, lying athwart, should be one third longer than they aredeep, and their columns as high as the colonnades are wide. Intercolumniations of peristyles should be not less than three nor morethan four times the thickness of the columns. If the columns of theperistyle are to be made in the Doric style, take the modules which Ihave given in the fourth book, on the Doric order, and arrange thecolumns with reference to these modules and to the scheme of thetriglyphs. 

[Illustration: _From Durm_

PLAN OF THE HOUSE OF THE VETTII, POMPEII]

8. Dining rooms ought to be twice as long as they are wide. The heightof all oblong rooms should be calculated by adding together theirmeasured length and width, taking one half of this total, and using theresult for the height. But in the case of exedrae or square oeci, letthe height be brought up to one and one half times the width. Picturegalleries, like exedrae, should be constructed of generous dimensions. Corinthian and tetrastyle oeci, as well as those termed Egyptian, shouldhave the same symmetrical proportions in width and length as the diningrooms described above, but, since they have columns in them, theirdimensions should be ampler. 

9. The following will be the distinction between Corinthian and Egyptianoeci: the Corinthian have single tiers of columns, set either on apodium or on the ground, with architraves over them and coronae eitherof woodwork or of stucco, and carved vaulted ceilings above the coronae. In the Egyptian there are architraves over the columns, and joists laidthereon from the architraves to the surrounding walls, with a floor inthe upper story to allow of walking round under the open sky. Then, above the architrave and perpendicularly over the lower tier of columns, columns one fourth smaller should be imposed. Above their architravesand ornaments are decorated ceilings, and the upper columns have windowsset in between them. Thus the Egyptian are not like Corinthian diningrooms, but obviously resemble basilicas. 

10. There are also, though not customary in Italy, the oeci which theGreeks call Cyzicene. These are built with a northern exposure andgenerally command a view of gardens, and have folding doors in themiddle. They are also so long and so wide that two sets of diningcouches, facing each other, with room to pass round them, can be placedtherein. On the right and left they have windows which open like foldingdoors, so that views of the garden may be had from the dining couchesthrough the opened windows. The height of such rooms is one and one halftimes their width. 

11. All the above-mentioned symmetrical relations should be observed, inthese kinds of buildings, that can be observed without embarrassmentcaused by the situation. The windows will be an easy matter to arrangeif they are not darkened by high walls; but in cases of confined space, or when there are other unavoidable obstructions, it will be permissibleto make diminutions or additions in the symmetrical relations, --withingenuity and acuteness, however, so that the result may be not unlikethe beauty which is due to true symmetry. 

CHAPTER IV

THE PROPER EXPOSURES OF THE DIFFERENT ROOMS

1. We shall next explain how the special purposes of different roomsrequire different exposures, suited to convenience and to the quartersof the sky. Winter dining rooms and bathrooms should have a southwesternexposure, for the reason that they need the evening light, and alsobecause the setting sun, facing them in all its splendour but withabated heat, lends a gentler warmth to that quarter in the evening. Bedrooms and libraries ought to have an eastern exposure, because theirpurposes require the morning light, and also because books in suchlibraries will not decay. In libraries with southern exposures the booksare ruined by worms and dampness, because damp winds come up, whichbreed and nourish the worms, and destroy the books with mould, byspreading their damp breath over them. 

2. Dining rooms for Spring and Autumn to the east; for when the windowsface that quarter, the sun, as he goes on his career from over againstthem to the west, leaves such rooms at the proper temperature at thetime when it is customary to use them. Summer dining rooms to the north, because that quarter is not, like the others, burning with heat duringthe solstice, for the reason that it is unexposed to the sun's course, and hence it always keeps cool, and makes the use of the rooms bothhealthy and agreeable. Similarly with picture galleries, embroiderers'work rooms, and painters' studios, in order that the fixed light maypermit the colours used in their work to last with qualities unchanged. 

CHAPTER V

HOW THE ROOMS SHOULD BE SUITED TO THE STATION OF THE OWNER

1. After settling the positions of the rooms with regard to the quartersof the sky, we must next consider the principles on which should beconstructed those apartments in private houses which are meant for thehouseholders themselves, and those which are to be shared in common withoutsiders. The private rooms are those into which nobody has the rightto enter without an invitation, such as bedrooms, dining rooms, bathrooms, and all others used for the like purposes. The common arethose which any of the people have a perfect right to enter, evenwithout an invitation: that is, entrance courts, cavaedia, peristyles, and all intended for the like purpose. Hence, men of everyday fortune donot need entrance courts, tablina, or atriums built in grand style, because such men are more apt to discharge their social obligations bygoing round to others than to have others come to them. 

2. Those who do business in country produce must have stalls and shopsin their entrance courts, with crypts, granaries, store-rooms, and soforth in their houses, constructed more for the purpose of keeping theproduce in good condition than for ornamental beauty. 

For capitalists and farmers of the revenue, somewhat comfortable andshowy apartments must be constructed, secure against robbery; foradvocates and public speakers, handsomer and more roomy, to accommodatemeetings; for men of rank who, from holding offices and magistracies, have social obligations to their fellow-citizens, lofty entrance courtsin regal style, and most spacious atriums and peristyles, withplantations and walks of some extent in them, appropriate to theirdignity. They need also libraries, picture galleries, and basilicas, finished in a style similar to that of great public buildings, sincepublic councils as well as private law suits and hearings beforearbitrators are very often held in the houses of such men. 

3. If, therefore, houses are planned on these principles to suitdifferent classes of persons, as prescribed in my first book, under thesubject of Propriety, there will be no room for criticism; for they willbe arranged with convenience and perfection to suit every purpose. Therules on these points will hold not only for houses in town, but alsofor those in the country, except that in town atriums are usually nextto the front door, while in country seats peristyles come first, andthen atriums surrounded by paved colonnades opening upon palaestrae andwalks. 

I have now set forth the rules for houses in town so far as I coulddescribe them in a summary way. Next I shall state how farmhouses may bearranged with a view to convenience in use, and shall give the rules fortheir construction. 

CHAPTER VI

THE FARMHOUSE

1. In the first place, inspect the country from the point of view ofhealth, in accordance with what is written in my first book, on thebuilding of cities, and let your farmhouses be situated accordingly. Their dimensions should depend upon the size of the farm and the amountof produce. Their courtyards and the dimensions thereof should bedetermined by the number of cattle and the number of yokes of oxen thatwill need to be kept therein. Let the kitchen be placed on the warmestside of the courtyard, with the stalls for the oxen adjoining, and theircribs facing the kitchen fire and the eastern quarter of the sky, forthe reason that oxen facing the light and the fire do not getrough-coated. Even peasants wholly without knowledge of the quarters ofthe sky believe that oxen ought to face only in the direction of thesunrise. 

[Illustration: _From Mau_

THE VILLA RUSTICA AT BOSCOREALE NEAR POMPEII

_A. _ Court. _B. _ Kitchen. _C-F. _ Baths. _H. _ Stable. _J. _ Toolroom. _K, L, V, V. _ Bedrooms. _N. _ Dining Room. _M. _ Anteroom. _O. _ Bakery. _P. _ Room with two winepresses. _Q. _ Corridor. _B. _ Court for fermentation of wine. _S. _ Barn. _T. _ Threshing-floor. _Y. _ Room with oil press. 

]

2. Their stalls ought to be not less than ten nor more than fifteen feetwide, and long enough to allow not less than seven feet for each yoke. Bathrooms, also, should adjoin the kitchen; for in this situation itwill not take long to get ready a bath in the country. 

Let the pressing room, also, be next to the kitchen; for in thissituation it will be easy to deal with the fruit of the olive. Adjoiningit should be the wine room with its windows lighted from the north. In aroom with windows on any other quarter so that the sun can heat it, theheat will get into the wine and make it weak. 

3. The oil room must be situated so as to get its light from the southand from warm quarters; for oil ought not to be chilled, but should bekept thin by gentle heat. In dimensions, oil rooms should be built toaccommodate the crop and the proper number of jars, each of which, holding about one hundred and twenty gallons, must take up a space fourfeet in diameter. The pressing room itself, if the pressure is exertedby means of levers and a beam, and not worked by turning screws, shouldbe not less than forty feet long, which will give the lever man aconvenient amount of space. It should be not less than sixteen feetwide, which will give the men who are at work plenty of free space to dothe turning conveniently. If two presses are required in the place, allow twenty-four feet for the width. 

4. Folds for sheep and goats must be made large enough to allow eachanimal a space of not less than four and a half, nor more than six feet. Rooms for grain should be set in an elevated position and with anorthern or north-eastern exposure. Thus the grain will not be able toheat quickly, but, being cooled by the wind, keeps a long time. Otherexposures produce the corn weevil and the other little creatures thatare wont to spoil the grain. To the stable should be assigned the verywarmest place in the farmhouse, provided that it is not exposed to thekitchen fire; for when draught animals are stabled very near a fire, their coats get rough. 

5. Furthermore, there are advantages in building cribs apart from thekitchen and in the open, facing the east; for when the oxen are takenover to them on early winter mornings in clear weather, their coats getsleeker as they take their fodder in the sunlight. Barns for grain, hay, and spelt, as well as bakeries, should be built apart from thefarmhouse, so that farmhouses may be better protected against dangerfrom fire. If something more refined is required in farmhouses, they maybe constructed on the principles of symmetry which have been given abovein the case of town houses, provided that there is nothing in suchbuildings to interfere with their usefulness on a farm. 

6. We must take care that all buildings are well lighted, but this isobviously an easier matter with those which are on country estates, because there can be no neighbour's wall to interfere, whereas in townhigh party walls or limited space obstruct the light and make them dark. Hence we must apply the following test in this matter. On the side fromwhich the light should be obtained let a line be stretched from the topof the wall that seems to obstruct the light to the point at which itought to be introduced, and if a considerable space of open sky can beseen when one looks up above that line, there will be no obstruction tothe light in that situation. 

7. But if there are timbers in the way, or lintels, or upper stories, then, make the opening higher up and introduce the light in this way. And as a general rule, we must arrange so as to leave places for windowson all sides on which a clear view of the sky can be had, for this willmake our buildings light. Not only in dining rooms and other rooms forgeneral use are windows very necessary, but also in passages, level orinclined, and on stairs; for people carrying burdens too often meet andrun against each other in such places. 

I have now set forth the plans used for buildings in our native countryso that they may be clear to builders. Next, I shall describe summarilyhow houses are planned in the Greek fashion, so that these also may beunderstood. 

CHAPTER VII

THE GREEK HOUSE

1. The Greeks, having no use for atriums, do not build them, but makepassage-ways for people entering from the front door, not very wide, with stables on one side and doorkeepers' rooms on the other, and shutoff by doors at the inner end. This place between the two doors istermed in Greek [Greek: thyrôreion]. From it one enters the peristyle. This peristyle has colonnades on three sides, and on the side facing thesouth it has two antae, a considerable distance apart, carrying anarchitrave, with a recess for a distance one third less than the spacebetween the antae. This space is called by some writers "prostas, " byothers "pastas. "

[Illustration: PLAN OF VITRUVIUS' GREEK HOUSE ACCORDING TO BECKER]

2. Hereabouts, towards the inner side, are the large rooms in whichmistresses of houses sit with their wool-spinners. To the right and leftof the prostas there are chambers, one of which is called the"thalamos, " the other the "amphithalamos. " All round the colonnades aredining rooms for everyday use, chambers, and rooms for the slaves. Thispart of the house is termed "gynaeconitis. "

3. In connexion with these there are ampler sets of apartments with moresumptuous peristyles, surrounded by four colonnades of equal height, orelse the one which faces the south has higher columns than the others. Aperistyle that has one such higher colonnade is called a Rhodianperistyle. Such apartments have fine entrance courts with imposing frontdoors of their own; the colonnades of the peristyles are decorated withpolished stucco in relief and plain, and with coffered ceilings ofwoodwork; off the colonnades that face the north they have Cyzicenedining rooms and picture galleries; to the east, libraries; exedrae tothe west; and to the south, large square rooms of such generousdimensions that four sets of dining couches can easily be arranged inthem, with plenty of room for serving and for the amusements. 

4. Men's dinner parties are held in these large rooms; for it was notthe practice, according to Greek custom, for the mistress of the houseto be present. On the contrary, such peristyles are called the men'sapartments, since in them the men can stay without interruption from thewomen. Furthermore, small sets of apartments are built to the right andleft, with front doors of their own and suitable dining rooms andchambers, so that guests from abroad need not be shown into theperistyles, but rather into such guests' apartments. For when the Greeksbecame more luxurious, and their circumstances more opulent, they beganto provide dining rooms, chambers, and store-rooms of provisions fortheir guests from abroad, and on the first day they would invite them todinner, sending them on the next chickens, eggs, vegetables, fruits, andother country produce. This is why artists called pictures representingthe things which were sent to guests "xenia. " Thus, too, the heads offamilies, while being entertained abroad, had the feeling that they werenot away from home, since they enjoyed privacy and freedom in suchguests' apartments. 

[Illustration: _From Bull. De. Corr. Hell. 1895_

GREEK HOUSE AT DELOS]

5. Between the two peristyles and the guests' apartments are thepassage-ways called "mesauloe, " because they are situated midway betweentwo courts; but our people called them "andrones. "

This, however, is a very strange fact, for the term does not fit eitherthe Greek or the Latin use of it. The Greeks call the large rooms inwhich men's dinner parties are usually held [Greek: andrônes], becausewomen do not go there. There are other similar instances as in the caseof "xystus, " "prothyrum, " "telamones, " and some others of the sort. As aGreek term, [Greek: xystos] means a colonnade of large dimensions inwhich athletes exercise in the winter time. But our people apply theterm "xysta" to uncovered walks, which the Greeks call [Greek:paradromides]. Again, [Greek: prothyra] means in Greek the entrancecourts before the front doors; we, however, use the term "prothyra" inthe sense of the Greek [Greek: diathyra]. 

[Illustration: _From Mitt. D. Deutsch. Arch. Inst_. 

GREEK HOUSE DISCOVERED AT PERGAMUM IN 1903

13. Prothyron. 7. Tablinum. ]

6. Again, figures in the form of men supporting mutules or coronae, weterm "telamones"--the reasons why or wherefore they are so called arenot found in any story--but the Greeks name them [Greek: atlantes]. ForAtlas is described in story as holding up the firmament because, throughhis vigorous intelligence and ingenuity, he was the first to cause mento be taught about the courses of the sun and moon, and the lawsgoverning the revolutions of all the constellations. Consequently, inrecognition of this benefaction, painters and sculptors represent himas holding up the firmament, and the Atlantides, his daughters, whom wecall "Vergiliae" and the Greeks [Greek: Pleiades], are consecrated inthe firmament among the constellations. 

7. All this, however, I have not set forth for the purpose of changingthe usual terminology or language, but I have thought that it should beexplained so that it may be known to scholars. 

I have now explained the usual ways of planning houses both in theItalian fashion and according to the practices of the Greeks, and havedescribed, with regard to their symmetry, the proportions of thedifferent classes. Having, therefore, already written of their beautyand propriety, I shall next explain, with reference to durability, howthey may be built to last to a great age without defects. 

CHAPTER VIII

ON FOUNDATIONS AND SUBSTRUCTURES

1. Houses which are set level with the ground will no doubt last to agreat age, if their foundations are laid in the manner which we haveexplained in the earlier books, with regard to city walls and theatres. But if underground rooms and vaults are intended, their foundationsought to be thicker than the walls which are to be constructed in theupper part of the house, and the walls, piers, and columns of the lattershould be set perpendicularly over the middle of the foundation wallsbelow, so that they may have solid bearing; for if the load of the wallsor columns rests on the middle of spans, they can have no permanentdurability. 

2. It will also do no harm to insert posts between lintels and sillswhere there are piers or antae; for where the lintels and beams havereceived the load of the walls, they may sag in the middle, andgradually undermine and destroy the walls. But when there are posts setup underneath and wedged in there, they prevent the beams from settlingand injuring such walls. 

3. We must also manage to discharge the load of the walls by means ofarchings composed of voussoirs with joints radiating to the centre. Forwhen arches with voussoirs are sprung from the ends of beams, or fromthe bearings of lintels, in the first place they will discharge the loadand the wood will not sag; secondly, if in course of time the woodbecomes at all defective, it can easily be replaced without theconstruction of shoring. 

4. Likewise in houses where piers are used in the construction, whenthere are arches composed of voussoirs with joints radiating to thecentre, the outermost piers at these points must be made broader thanthe others, so that they may have the strength to resist when thewedges, under the pressure of the load of the walls, begin to pressalong their joints towards the centre, and thus to thrust out theabutments. Hence, if the piers at the ends are of large dimensions, theywill hold the voussoirs together, and make such works durable. 

5. Having taken heed in these matters to see that proper attention ispaid to them, we must also be equally careful that all walls areperfectly vertical, and that they do not lean forward anywhere. Particular pains, too, must be taken with substructures, for here anendless amount of harm is usually done by the earth used as filling. This cannot always remain of the same weight that it usually has insummer, but in winter time it increases in weight and bulk by taking upa great deal of rain water, and then it bursts its enclosing walls andthrusts them out. 

6. The following means must be taken to provide against such a defect. First, let the walls be given a thickness proportionate to the amount offilling; secondly, build counterforts or buttresses at the same time asthe wall, on the outer side, at distances from each other equivalent towhat is to be the height of the substructure and with the thickness ofthe substructure. At the bottom let them run out to a distancecorresponding to the thickness that has been determined for thesubstructure, and then gradually diminish in extent so that at thesurface their projection is equal to the thickness of the wall of thebuilding. 

[Illustration: RETAINING WALLS

(From the edition of Vitruvius by Fra Giocondo, Venice 1511)]

7. Furthermore, inside, to meet the mass of earth, there should besaw-shaped constructions attached to the wall, the single teethextending from the wall for a distance equivalent to what is to be theheight of the substructure, and the teeth being constructed with thesame thickness as the wall. Then at the outermost angles take a distanceinwards, from the inside of the angle, equal to the height of thesubstructure, and mark it off on each side; from these marks build up adiagonal structure and from the middle of it a second, joined on to theangle of the wall. With this arrangement, the teeth and diagonalstructures will not allow the filling to thrust with all its forceagainst the wall, but will check and distribute the pressure. 

8. I have now shown how buildings can be constructed without defects, and the way to take precautions against the occurrence of them. As forreplacing tiles, roof timbers, and rafters, we need not be so particularabout them as about the parts just mentioned, because they can easily bereplaced, however defective they may become. Hence, I have shown by whatmethods the parts which are not considered solid can be rendereddurable, and how they are constructed. 

9. As for the kind of material to be used, this does not depend upon thearchitect, for the reason that all kinds of materials are not found inall places alike, as has been shown in the first book. Besides, itdepends on the owner whether he desires to build in brick, or rubblework, or dimension stone. Consequently the question of approving anywork may be considered under three heads: that is, delicacy ofworkmanship, sumptuousness, and design. When it appears that a work hasbeen carried out sumptuously, the owner will be the person to be praisedfor the great outlay which he has authorized; when delicately, themaster workman will be approved for his execution; but when proportionsand symmetry lend it an imposing effect, then the glory of it willbelong to the architect. 

10. Such results, however, may very well be brought about when he allowshimself to take the advice both of workmen and of laymen. In fact, allkinds of men, and not merely architects, can recognize a good piece ofwork, but between laymen and the latter there is this difference, thatthe layman cannot tell what it is to be like without seeing it finished, whereas the architect, as soon as he has formed the conception, andbefore he begins the work, has a definite idea of the beauty, theconvenience, and the propriety that will distinguish it. 

I have now described as clearly as I could what I thought necessary forprivate houses, and how to build them. In the following book I shalltreat of the kinds of polished finish employed to make them elegant, anddurable without defects to a great age. 

BOOK VII

INTRODUCTION

1. It was a wise and useful provision of the ancients to transmit theirthoughts to posterity by recording them in treatises, so that theyshould not be lost, but, being developed in succeeding generationsthrough publication in books, should gradually attain in later times, tothe highest refinement of learning. And so the ancients deserve noordinary, but unending thanks, because they did not pass on in envioussilence, but took care that their ideas of every kind should betransmitted to the future in their writings. 

2. If they had not done so, we could not have known what deeds were donein Troy, nor what Thales, Democritus, Anaxagoras, Xenophanes, and theother physicists thought about nature, and what rules Socrates, Plato, Aristotle, Zeno, Epicurus, and other philosophers laid down for theconduct of human life; nor would the deeds and motives of Croesus, Alexander, Darius, and other kings have been known, unless the ancientshad compiled treatises, and published them in commentaries to be had inuniversal remembrance with posterity. 

3. So, while they deserve our thanks, those, on the contrary, deserveour reproaches, who steal the writings of such men and publish them astheir own; and those also, who depend in their writings, not on theirown ideas, but who enviously do wrong to the works of others and boastof it, deserve not merely to be blamed, but to be sentenced to actualpunishment for their wicked course of life. With the ancients, however, it is said that such things did not pass without pretty strictchastisement. What the results of their judgments were, it may not beout of place to set forth as they are transmitted to us. 

4. The kings of the house of Attalus having established, under theinfluence of the great charms of literature, an excellent library atPergamus to give pleasure to the public, Ptolemy also was aroused withno end of enthusiasm and emulation into exertions to make a similarprovision with no less diligence at Alexandria. Having done so with thegreatest care, he felt that this was not enough without providing forits increase and development, for which he sowed the seed. Heestablished public contests in honour of the Muses and Apollo, andappointed prizes and honours for victorious authors in general, as isdone in the case of athletes. 

5. These arrangements having been made, and the contests being at hand, it became necessary to select literary men as judges to decide them. Theking soon selected six of the citizens, but could not so easily find aproper person to be the seventh. He therefore turned to those whopresided over the library, and asked whether they knew anybody who wassuitable for the purpose. Then they told him that there was oneAristophanes who was daily engaged in reading through all the books withthe greatest enthusiasm and the greatest care. Hence, when the gatheringfor the contests took place, and separate seats were set apart for thejudges, Aristophanes was summoned with the rest, and sat down in theplace assigned to him. 

6. A group of poets was first brought in to contend, and, as theyrecited their compositions, the whole audience by its applause showedthe judges what it approved. So, when they were individually asked fortheir votes, the six agreed, and awarded the first prize to the poetwho, as they observed, had most pleased the multitude, and the second tothe one who came next. But Aristophanes, on being asked for his vote, urged that the poet who had least pleased the audience should bedeclared to be the first. 

7. As the king and the entire assembly showed great indignation, hearose, and asked and received permission to speak. Silence beingobtained, he stated that only one of them--his man--was a poet, and thatthe rest had recited things not their own; furthermore, that judgesought to give their approval, not to thefts, but to originalcompositions. The people were amazed, and the king hesitated, butAristophanes, trusting to his memory, had a vast number of volumesbrought out from bookcases which he specified, and, by comparing themwith what had been recited, obliged the thieves themselves to makeconfession. So, the king gave orders that they should be accused oftheft, and after condemnation sent them off in disgrace; but he honouredAristophanes with the most generous gifts, and put him in charge of thelibrary. 

8. Some years later, Zoilus, who took the surname of Homeromastix, camefrom Macedonia to Alexandria and read to the king his writings directedagainst the Iliad and Odyssey. Ptolemy, seeing the father of poets andcaptain of all literature abused in his absence, and his works, to whichall the world looked up in admiration, disparaged by this person, madeno rejoinder, although he thought it an outrage. Zoilus, however, afterremaining in the kingdom some time, sank into poverty, and sent amessage to the king, requesting that something might be bestowed uponhim. 

9. But it is said that the king replied, that Homer, though dead athousand years ago, had all that time been the means of livelihood formany thousands of men; similarly, a person who laid claim to highergenius ought to be able to support not one man only, but many others. And in short, various stories are told about his death, which was likethat of one found guilty of parricide. Some writers have said that hewas crucified by Philadelphus; others that he was stoned at Chios;others again that he was thrown alive upon a funeral pyre at Smyrna. Whichever of these forms of death befell him, it was a fittingpunishment and his just due; for one who accuses men that cannot answerand show, face to face, what was the meaning of their writings, obviously deserves no other treatment. 

10. But for my part, Caesar, I am not bringing forward the presenttreatise after changing the titles of other men's books and inserting myown name, nor has it been my plan to win approbation by finding faultwith the ideas of another. On the contrary, I express unlimited thanksto all the authors that have in the past, by compiling from antiquityremarkable instances of the skill shown by genius, provided us withabundant materials of different kinds. Drawing from them as it werewater from springs, and converting them to our own purposes, we find ourpowers of writing rendered more fluent and easy, and, relying upon suchauthorities, we venture to produce new systems of instruction. 

11. Hence, as I saw that such beginnings on their part formed anintroduction suited to the nature of my own purpose, I set out to drawfrom them, and to go somewhat further. 

In the first place Agatharcus, in Athens, when Aeschylus was bringingout a tragedy, painted a scene, and left a commentary about it. This ledDemocritus and Anaxagoras to write on the same subject, showing how, given a centre in a definite place, the lines should naturallycorrespond with due regard to the point of sight and the divergence ofthe visual rays, so that by this deception a faithful representation ofthe appearance of buildings might be given in painted scenery, and sothat, though all is drawn on a vertical flat façade, some parts may seemto be withdrawing into the background, and others to be standing out infront. 

12. Afterwards Silenus published a book on the proportions of Doricstructures; Theodorus, on the Doric temple of Juno which is in Samos;Chersiphron and Metagenes, on the Ionic temple at Ephesus which isDiana's; Pytheos, on the Ionic fane of Minerva which is at Priene;Ictinus and Carpion, on the Doric temple of Minerva which is on theacropolis of Athens; Theodorus the Phocian, on the Round Building whichis at Delphi; Philo, on the proportions of temples, and on the navalarsenal which was[9] at the port of Peiraeus; Hermogenes, on the Ionictemple of Diana which is at Magnesia, a pseudodipteral, and on that ofFather Bacchus at Teos, a monopteral; Arcesius, on the Corinthianproportions, and on the Ionic temple of Aesculapius at Tralles, which itis said that he built with his own hands; on the Mausoleum, Satyrus andPytheos who were favoured with the greatest and highest good fortune. 

[Note 9: Codd. _fuerat_. ]

13. For men whose artistic talents are believed to have won them thehighest renown for all time, and laurels forever green, devised andexecuted works of supreme excellence in this building. The decorationand perfection of the different façades were undertaken by differentartists in emulation with each other: Leochares, Bryaxis, Scopas, Praxiteles, and, as some think, Timotheus; and the distinguishedexcellence of their art made that building famous among the sevenwonders of the world. 

14. Then, too, many less celebrated men have written treatises on thelaws of symmetry, such as Nexaris, Theocydes, Demophilus, Pollis, Leonidas, Silanion, Melampus, Sarnacus, and Euphranor; others again onmachinery, such as Diades, Archytas, Archimedes, Ctesibius, Nymphodorus, Philo of Byzantium, Diphilus, Democles, Charias, Polyidus, Pyrrus, andAgesistratus. From their commentaries I have gathered what I saw wasuseful for the present subject, and formed it into one completetreatise, and this principally, because I saw that many books in thisfield had been published by the Greeks, but very few indeed by ourcountrymen. Fuficius, in fact, was the first to undertake to publish abook on this subject. Terentius Varro, also, in his work "On the NineSciences" has one book on architecture, and Publius Septimius, two. 

15. But to this day nobody else seems to have bent his energies to thisbranch of literature, although there have been, even among ourfellow-citizens in old times, great architects who could also havewritten with elegance. For instance, in Athens, the architectsAntistates, Callaeschrus, Antimachides, and Pormus laid the foundationswhen Peisistratus began the temple of Olympian Jove, but after his deaththey abandoned the undertaking, on account of political troubles. Henceit was that when, about four hundred years later, King Antiochuspromised to pay the expenses of that work, the huge cella, thesurrounding columns in dipteral arrangement, and the architraves andother ornaments, adjusted according to the laws of symmetry, were noblyconstructed with great skill and supreme knowledge by Cossutius, acitizen of Rome. Moreover, this work has a name for its grandeur, notonly in general, but also among the select few. 

16. There are, in fact, four places possessing temples embellished withworkmanship in marble that causes them to be mentioned in a class bythemselves with the highest renown. To their great excellence and thewisdom of their conception they owe their place of esteem in theceremonial worship of the gods. First there is the temple of Diana atEphesus, in the Ionic style, undertaken by Chersiphron of Gnosus and hisson Metagenes, and said to have been finished later by Demetrius, whowas himself a slave of Diana, and by Paeonius the Milesian. At Miletus, the temple of Apollo, also Ionic in its proportions, was the undertakingof the same Paeonius and of the Ephesian Daphnis. At Eleusis, the cellaof Ceres and Proserpine, of vast size, was completed to the roof byIctinus in the Doric style, but without exterior columns and with plentyof room for the customary sacrifices. 

17. Afterwards, however, when Demetrius of Phalerum was master ofAthens, Philo set up columns in front before the temple, and made itprostyle. Thus, by adding an entrance hall, he gave the initiates moreroom, and imparted the greatest dignity to the building. Finally, inAthens, the temple of the Olympion with its dimensions on a generousscale, and built in the Corinthian style and proportions, is said tohave been constructed, as written above, by Cossutius, no commentary bywhom has been found. But Cossutius is not the only man by whom we shouldlike to have writings on our subject. Another is Gaius Mucius, who, having great knowledge on which to rely, completed the cella, columns, and entablature of the Marian temple of Honour and Valour, insymmetrical proportions according to the accepted rules of the art. Ifthis building had been of marble, so that besides the refinement of itsart it possessed the dignity coming from magnificence and great outlay, it would be reckoned among the first and greatest of works. 

18. Since it appears, then, that our architects in the old days, and agood many even in our own times, have been as great as those of theGreeks, and nevertheless only a few of them have published treatises, Iresolved not to be silent, but to treat the different topicsmethodically in different books. Hence, since I have given an account ofprivate houses in the sixth book, in this, which is the seventh inorder, I shall treat of polished finishings and the methods of givingthem both beauty and durability. 

CHAPTER I

FLOORS

1. First I shall begin with the concrete flooring, which is the mostimportant of the polished finishings, observing that great pains and theutmost precaution must be taken to ensure its durability. If thisconcrete flooring is to be laid level with the ground, let the soil betested to see whether it is everywhere solid, and if it is, level it offand upon it lay the broken stone with its bedding. But if the floor iseither wholly or partly filling, it should be rammed down hard withgreat care. In case a wooden framework is used, however, we must seethat no wall which does not reach up to the top of the house isconstructed under the floor. Any wall which is there should preferablyfall short, so as to leave the wooden planking above it an unsupportedspan. If a wall comes up solid, the unyielding nature of its solidstructure must, when the joists begin to dry, or to sag and settle, leadto cracks in the floor on the right and left along the line of wall. 

2. We must also be careful that no common oak gets in with the winteroak boards, for as soon as common oak boards get damp, they warp andcause cracks in floors. But if there is no winter oak, and necessitydrives, for lack of this it seems advisable to use common oak boards cutpretty thin; for the less thick they are, the more easily they can beheld in place by being nailed on. Then, at the ends of every joist, nailon two boards so that they shall not be able to warp and stick up at theedges. As for Turkey oak or beech or ash, none of them can last to agreat age. 

When the wooden planking is finished, cover it with fern, if there isany, otherwise with straw, to protect the wood from being hurt by thelime. 

3. Then, upon this lay the bedding, composed of stones not smaller thancan fill the hand. After the bedding is laid, mix the broken stone inthe proportions, if it is new, of three parts to one of lime; if it isold material used again, five parts may answer to two in the mixture. Next, lay the mixture of broken stone, bring on your gangs, and beat itagain and again with wooden beetles into a solid mass, and let it be notless than three quarters of a foot in thickness when the beating isfinished. On this lay the nucleus, consisting of pounded tile mixed withlime in the proportions of three parts to one, and forming a layer notless than six digits thick. On top of the nucleus, the floor, whethermade of cut slips or of cubes, should be well and truly laid by rule andlevel. 

4. After it is laid and set at the proper inclination, let it be rubbeddown so that, if it consists of cut slips, the lozenges, or triangles, or squares, or hexagons may not stick up at different levels, but be alljointed together on the same plane with one another; if it is laid incubes, so that all the edges may be level; for the rubbing down will notbe properly finished unless all the edges are on the same level plane. The herring-bone pattern, made of Tibur burnt brick, must also becarefully finished, so as to be without gaps or ridges sticking up, butall flat and rubbed down to rule. When the rubbing down is completelyfinished by means of the smoothing and polishing processes, siftpowdered marble on top, and lay on a coating of lime and sand. 

5. In the open air, specially adapted kinds of floors must be made, because their framework, swelling with dampness, or shrinking fromdryness, or sagging and settling, injures the floors by these changes;besides, the frost and rime will not let them go unhurt. Hence, ifnecessity drives, we must proceed as follows in order to make them asfree from defects as possible. After finishing the plank flooring, lay asecond plank flooring over it at right angles, and nail it down so as togive double protection to the framework. Then, mix with new broken stoneone third the quantity of pounded tile, and let lime be added to themixture in the mortar trough in the proportion of two parts to five. 

6. Having made the bedding, lay on this mixture of broken stone, andlet it be not less than a foot thick when the beating is finished. Then, after laying the nucleus, as above described, construct the floor oflarge cubes cut about two digits each way, and let it have aninclination of two digits for every ten feet. If it is well put togetherand properly rubbed down, it will be free from all flaws. In order thatthe mortar in the joints may not suffer from frosts, drench it withoil-dregs every year before winter begins. Thus treated, it will not letthe hoarfrost enter it. 

7. If, however, it seems needful to use still greater care, lay two-foottiles, jointed together in a bed of mortar, over the broken stone, withlittle channels of one finger's breadth cut in the faces of all thejoints. Connect these channels and fill them with a mixture of lime andoil; then, rub the joints hard and make them compact. Thus, the limesticking in the channels will harden and solidify into a mass, and soprevent water or anything else from penetrating through the joints. After this layer is finished, spread the nucleus upon it, and work itdown by beating it with rods. Upon this lay the floor, at theinclination above described, either of large cubes or burnt brick inherring-bone pattern, and floors thus constructed will not soon bespoiled. 

CHAPTER II

THE SLAKING OF LIME FOR STUCCO

1. Leaving the subject of floors, we must next treat of stucco work. This will be all right if the best lime, taken in lumps, is slaked agood while before it is to be used, so that if any lump has not beenburned long enough in the kiln, it will be forced to throw off its heatduring the long course of slaking in the water, and will thus bethoroughly burned to the same consistency. When it is taken notthoroughly slaked but fresh, it has little crude bits concealed in it, and so, when applied, it blisters. When such bits complete their slakingafter they are on the building, they break up and spoil the smoothpolish of the stucco. 

2. But when the proper attention has been paid to the slaking, andgreater pains have thus been employed in the preparation for the work, take a hoe, and apply it to the slaked lime in the mortar bed just asyou hew wood. If it sticks to the hoe in bits, the lime is not yettempered; and when the iron is drawn out dry and clean, it will showthat the lime is weak and thirsty; but when the lime is rich andproperly slaked, it will stick to the tool like glue, proving that it iscompletely tempered. Then get the scaffolding ready, and proceed toconstruct the vaultings in the rooms, unless they are to be decoratedwith flat coffered ceilings. 

CHAPTER III

VAULTINGS AND STUCCO WORK

1. When vaulting is required, the procedure should be as follows. Set uphorizontal furring strips at intervals of not more than two feet apart, using preferably cypress, as fir is soon spoiled by decay and by age. Arrange these strips so as to form a curve, and make them fast to thejoists of the floor above or to the roof, if it is there, by nailingthem with many iron nails to ties fixed at intervals. These ties shouldbe made of a kind of wood that neither decay nor time nor dampness canspoil, such as box, juniper, olive, oak, cypress, or any other similarwood except common oak; for this warps, and causes cracks in work inwhich it is used. 

2. Having arranged the furring strips, take cord made of Spanish broom, and tie Greek reeds, previously pounded flat, to them in the requiredcontour. Immediately above the vaulting spread some mortar made of limeand sand, to check any drops that may fall from the joists or from theroof. If a supply of Greek reed is not to be had, gather slender marshreeds, and make them up with silk cord into bundles all of the samethickness and adjusted to the proper length, provided that the bundlesare not more than two feet long between any two knots. Then tie themwith cord to the beams, as above described, and drive wooden pegs intothem. Make all the other preparations as above described. 

3. Having thus set the vaultings in their places and interwoven them, apply the rendering coat to their lower surface; then lay on the sandmortar, and afterwards polish it off with the powdered marble. After thevaultings have been polished, set the impost mouldings directly beneaththem. These obviously ought to be made extremely slender and delicate, for when they are large, their weight carries them down, and they cannotsupport themselves. Gypsum should by no means be used in theircomposition, but powdered marble should be laid on uniformly, lestgypsum, by setting too quickly should keep the work from dryinguniformly. We must also beware of the ancients' scheme for vaultings;for in their mouldings the soffits overhang very heavily, and aredangerous. 

4. Some mouldings are flat, others in relief. In rooms where there hasto be a fire or a good many lights, they should be flat, so that theycan be wiped off more easily. In summer apartments and in exedrae wherethere is no smoke nor soot to hurt them, they should be made in relief. It is always the case that stucco, in the pride of its dazzling white, gathers smoke not only from its own house but also from others. 

5. Having finished the mouldings, apply a very rough rendering coat tothe walls, and afterwards, when the rendering coat gets pretty dry, spread upon it the layers of sand mortar, exactly adjusted in length torule and line, in height to the plummet, and at the angles to thesquare. The stucco will thus present a faultless appearance forpaintings. When it gets pretty dry, spread on a second coat and then athird. The better the foundation of sand mortar that is laid on, thestronger and more durable in its solidity will be the stucco. 

6. When not less than three coats of sand mortar, besides the renderingcoat, have been laid on, then, we must make the mixture for the layersof powdered marble, the mortar being so tempered that when mixed it doesnot stick to the trowel, but the iron comes out freely and clean fromthe mortar trough. After this powdered marble has been spread on andgets dry, lay on a medium second coat. When that has been applied andwell rubbed down, spread on a finer coat. The walls, being thus renderedsolid by three coats of sand mortar and as many of marble, will notpossibly be liable to cracks or to any other defect. 

7. And further, such walls, owing to the solid foundation given bythorough working with polishing instruments, and the smoothness of it, due to the hard and dazzling white marble, will bring out in brilliantsplendour the colours which are laid on at the same time with thepolishing. 

These colours, when they are carefully laid on stucco still wet, do notfade but are permanent. This is because the lime, having had itsmoisture burned out in the kiln, becomes porous and loses its strength, and its dryness makes it take up anything that may come in contact withit. On mixing with the seeds or elements that come from othersubstances, it forms a solid mass with them and, no matter what theconstituent parts may then be, it must, obviously, on becoming dry, possess the qualities which are peculiar to its own nature. 

8. Hence, stucco that is properly made does not get rough as time goeson, nor lose its colours when it is wiped off, unless they have beenlaid on with little care and after it is dry. So, when the stucco onwalls is made as described above, it will have strength and brilliancy, and an excellence that will last to a great age. But when only one coatof sand mortar and one of fine marble have been spread on, its thinlayer is easily cracked from want of strength, and from its lack ofthickness it will not take on the brilliance, due to polishing, which itought to have. 

9. Just as a silver mirror that is formed of a thin plate reflectsindistinctly and with a feeble light, while one that is substantiallymade can take on a very high polish, and reflects a brilliant anddistinct image when one looks therein, so it is with stucco. When thestuff of which it is formed is thin, it not only cracks but also soonfades; when, however, it has a solid foundation of sand mortar and ofmarble, thickly and compactly applied, it is not only brilliant afterbeing subjected to repeated polishings, but also reflects from itssurface a clear image of the beholder. 

10. The Greek stucco-workers not only employ these methods to make theirworks durable, but also construct a mortar trough, mix the lime and sandin it, bring on a gang of men, and beat the stuff with wooden beetles, and do not use it until it has been thus vigorously worked. Hence, somecut slabs out of old walls and use them as panels, and the stucco ofsuch panels and "reflectors" has projecting bevelled edges all round it. 

11. But if stucco has to be made on "wattle and daub, " where there mustbe cracks at the uprights and cross-sticks, because they must take inmoisture when they are daubed with the mud, and cause cracks in thestucco when they dry and shrink, the following method will prevent thisfrom happening. After the whole wall has been smeared with the mud, nailrows of reeds to it by means of "fly-nails, " then spread on the mud asecond time, and, if the first rows have been nailed with the shaftstransverse, nail on a second set with the shafts vertical, and then, asabove described, spread on the sand mortar, the marble, and the wholemass of stucco. Thus, the double series of reeds with their shaftscrossing on the walls will prevent any chipping or cracking from takingplace. 

CHAPTER IV

ON STUCCO WORK IN DAMP PLACES, AND ON THE DECORATION OF DINING ROOMS

1. Having spoken of the method by which stucco work should be done indry situations, I shall next explain how the polished finish is to beaccomplished in places that are damp, in such a way that it can lastwithout defects. First, in apartments which are level with the ground, apply a rendering coat of mortar, mixed with burnt brick instead ofsand, to a height of about three feet above the floor, and then lay onthe stucco so that those portions of it may not be injured by thedampness. But if a wall is in a state of dampness all over, construct asecond thin wall a little way from it on the inside, at a distancesuited to circumstances, and in the space between these two walls run achannel, at a lower level than that of the apartment, with vents to theopen air. Similarly, when the wall is brought up to the top, leaveairholes there. For if the moisture has no means of getting out by ventsat the bottom and at the top, it will not fail to spread all over thenew wall. This done, apply a rendering coat of mortar made with burntbrick to this wall, spread on the layer of stucco, and polish it. 

2. But if there is not room enough for the construction of a wall, makechannels with their vents extending to the open air. Then lay two-foottiles resting on the margin of the channel on one side, and on the otherside construct a foundation of pillars for them, made of eight-inchbricks, on top of each of which the edges of two tiles may be supported, each pillar being not more than a hand's breadth distant from the wall. Then, above, set hooked tiles fastened to the wall from bottom to top, carefully covering the inner sides of them with pitch so that they willreject moisture. Both at the bottom and at the top above the vaultingthey should have airholes. 

3. Then, whitewash them with lime and water so that they will not rejectthe rendering coat of burnt brick. For, as they are dry from the loss ofwater burnt out in the kiln, they can neither take nor hold therendering coat unless lime has been applied beneath it to stick the twosubstances together, and make them unite. After spreading the renderingcoat upon this, apply layers of burnt brick mortar instead of sandmortar, and finish up all the rest in the manner described above forstucco work. 

4. The decorations of the polished surfaces of the walls ought to betreated with due regard to propriety, so as to be adapted to theirsituations, and not out of keeping with differences in kind. In winterdining rooms, neither paintings on grand subjects nor delicacy ofdecoration in the cornice work of the vaultings is a serviceable kindof design, because they are spoiled by the smoke from the fire and theconstant soot from the lamps. In these rooms there should be panelsabove the dadoes, worked in black, and polished, with yellow ochre orvermilion blocks interposed between them. After the vaulting has beentreated in the flat style, and polished, the Greek method of makingfloors for use in winter dining rooms may not be unworthy of one'snotice, as being very inexpensive and yet serviceable. 

5. An excavation is made below the level of the dining room to a depthof about two feet, and, after the ground has been rammed down, the massof broken stones or the pounded burnt brick is spread on, at such aninclination that it can find vents in the drain. Next, having filled inwith charcoal compactly trodden down, a mortar mixed of gravel, lime, and ashes is spread on to a depth of half a foot. The surface havingbeen made true to rule and level, and smoothed off with whetstone, givesthe look of a black pavement. Hence, at their dinner parties, whateveris poured out of the cups, or spirted from the mouth, no sooner fallsthan it dries up, and the servants who wait there do not catch cold fromthat kind of floor, although they may go barefoot. 

CHAPTER V

THE DECADENCE OF FRESCO PAINTING

1. For the other apartments, that is, those intended to be used inSpring, Autumn, and Summer, as well as for atriums and peristyles, theancients required realistic pictures of real things. A picture is, infact, a representation of a thing which really exists or which canexist: for example, a man, a house, a ship, or anything else from whosedefinite and actual structure copies resembling it can be taken. Consequently the ancients who introduced polished finishings began byrepresenting different kinds of marble slabs in different positions, andthen cornices and blocks of yellow ochre arranged in various ways. 

2. Afterwards they made such progress as to represent the forms ofbuildings, and of columns, and projecting and overhanging pediments; intheir open rooms, such as exedrae, on account of the size, they depictedthe façades of scenes in the tragic, comic, or satyric style; and theirwalks, on account of the great length, they decorated with a variety oflandscapes, copying the characteristics of definite spots. In thesepaintings there are harbours, promontories, seashores, rivers, fountains, straits, fanes, groves, mountains, flocks, shepherds; in someplaces there are also pictures designed in the grand style, with figuresof the gods or detailed mythological episodes, or the battles at Troy, or the wanderings of Ulysses, with landscape backgrounds, and othersubjects reproduced on similar principles from real life. 

3. But those subjects which were copied from actual realities arescorned in these days of bad taste. We now have fresco paintings ofmonstrosities, rather than truthful representations of definite things. For instance, reeds are put in the place of columns, fluted appendageswith curly leaves and volutes, instead of pediments, candelabrasupporting representations of shrines, and on top of their pedimentsnumerous tender stalks and volutes growing up from the roots and havinghuman figures senselessly seated upon them; sometimes stalks having onlyhalf-length figures, some with human heads, others with the heads ofanimals. 

4. Such things do not exist and cannot exist and never have existed. Hence, it is the new taste that has caused bad judges of poor art toprevail over true artistic excellence. For how is it possible that areed should really support a roof, or a candelabrum a pediment with itsornaments, or that such a slender, flexible thing as a stalk shouldsupport a figure perched upon it, or that roots and stalks shouldproduce now flowers and now half-length figures? Yet when people seethese frauds, they find no fault with them but on the contrary aredelighted, and do not care whether any of them can exist or not. Theirunderstanding is darkened by decadent critical principles, so that it isnot capable of giving its approval authoritatively and on the principleof propriety to that which really can exist. The fact is that pictureswhich are unlike reality ought not to be approved, and even if they aretechnically fine, this is no reason why they should offhand be judged tobe correct, if their subject is lacking in the principles of realitycarried out with no violations. 

5. For instance, at Tralles, Apaturius of Alabanda designed with skilfulhand the scaena of the little theatre which is there called the [Greek:ekklêsiastêrion], representing columns in it and statues, Centaurssupporting the architraves, rotundas with round roofs on them, pedimentswith overhanging returns, and cornices ornamented with lions' heads, which are meant for nothing but the rainwater from the roofs, --and thenon top of it all he made an episcaenium in which were painted rotundas, porticoes, half-pediments, and all the different kinds of decorationemployed in a roof. The effect of high relief in this scaena was veryattractive to all who beheld it, and they were ready to give theirapproval to the work, when Licymnius the mathematician came forward andsaid that (6. ) the Alabandines were considered bright enough in allmatters of politics, but that on account of one slight defect, the lackof the sense of propriety, they were believed to be unintelligent. "Intheir gymnasium the statues are all pleading causes, in their forum, throwing the discus, running, or playing ball. This disregard ofpropriety in the interchange of statues appropriate to different placeshas brought the state as a whole into disrepute. Let us then beware lestthis scaena of Apaturius make Alabandines or Abderites of us. Which ofyou can have houses or columns or extensive pediments on top of histiled roof? Such things are built above the floors, not above the tiledroofs. Therefore, if we give our approval to pictures of things whichcan have no reason for existence in actual fact, we shall be voluntarilyassociating ourselves with those communities which are believed to beunintelligent on account of just such defects. "

7. Apaturius did not venture to make any answer, but removed thescaena, altered it so that it conformed to reality, and gavesatisfaction with it in its improved state. Would to God that Licymniuscould come to life again and reform the present condition of folly andmistaken practices in fresco painting! However, it may not be out ofplace to explain why this false method prevails over the truth. The factis that the artistic excellence which the ancients endeavoured to attainby working hard and taking pains, is now attempted by the use of coloursand the brave show which they make, and expenditure by the employerprevents people from missing the artistic refinements that once lentauthority to works. 

8. For example, which of the ancients can be found to have usedvermilion otherwise than sparingly, like a drug? But today whole wallsare commonly covered with it everywhere. Then, too, there is malachitegreen, purple, and Armenian blue. When these colours are laid on, theypresent a brilliant appearance to the eye even although they areinartistically applied, and as they are costly, they are made exceptionsin contracts, to be furnished by the employer, not by the contractor. 

I have now sufficiently explained all that I could suggest for theavoidance of mistakes in stucco work. Next, I shall speak of thecomponents as they occur to me, and first I shall treat of marble, sinceI spoke of lime at the beginning. 

CHAPTER VI

MARBLE FOR USE IN STUCCO

Marble is not produced everywhere of the same kind. In some places thelumps are found to contain transparent grains like salt, and this kindwhen crushed and ground is extremely serviceable in stucco work. Inplaces where this is not found, the broken bits of marble or "chips, " asthey are called, which marble-workers throw down as they work, may becrushed and ground and used in stucco after being sifted. In still otherplaces--for example, on the borderland of Magnesia and Ephesus--thereare places where it can be dug out all ready to use, without the need ofgrinding or sifting, but as fine as any that is crushed and sifted byhand. 

CHAPTER VII

NATURAL COLOURS

As for colours, some are natural products found in fixed places, and dugup there, while others are artificial compounds of different substancestreated and mixed in proper proportions so as to be equally serviceable. 

1. We shall first set forth the natural colours that are dug up as such, like yellow ochre, which is termed [Greek: ôchra] in Greek. This isfound in many places, including Italy, but Attic, which was the best, isnot now to be had because in the times when there were slaves in theAthenian silver mines, they would dig galleries underground in order tofind the silver. Whenever a vein of ochre was found there, they wouldfollow it up like silver, and so the ancients had a fine supply of it touse in the polished finishings of their stucco work. 

2. Red earths are found in abundance in many places, but the best inonly a few, for instance at Sinope in Pontus, in Egypt, in the Balearicislands of Spain, as well as in Lemnos, an island the enjoyment of whoserevenues the Senate and Roman people granted to the Athenians. 

3. Paraetonium white gets its name from the place where it is dug up. The same is the case with Melian white, because there is said to be amine of it in Melos, one of the islands of the Cyclades. 

4. Green chalk is found in numerous places, but the best at Smyrna. TheGreeks call it [Greek: theodoteion], because this kind of chalk wasfirst found on the estate of a person named Theodotus. 

5. Orpiment, which is termed [Greek: arsenikon] in Greek, is dug up inPontus. Sandarach, in many places, but the best is mined in Pontus closeby the river Hypanis. 

CHAPTER VIII

CINNABAR AND QUICKSILVER

1. I shall now proceed to explain the nature of cinnabar. It is saidthat it was first found in the Cilbian country belonging to Ephesus, andboth it and its properties are certainly very strange. First, beforegetting to the vermilion itself by methods of treatment, they dig outwhat is called the clod, an ore like iron, but rather of a reddishcolour and covered with a red dust. During the digging it sheds, underthe blows of the tools, tear after tear of quicksilver, which is at oncegathered up by the diggers. 

2. When these clods have been collected, they are so full of moisturethat they are thrown into an oven in the laboratory to dry, and thefumes that are sent up from them by the heat of the fire settle down onthe floor of the oven, and are found to be quicksilver. When the clodsare taken out, the drops which remain are so small that they cannot begathered up, but they are swept into a vessel of water, and there theyrun together and combine into one. Four pints of it, when measured andweighed, will be found to be one hundred pounds. 

3. If the quicksilver is poured into a vessel, and a stone weighing onehundred pounds is laid upon it, the stone swims on the surface, andcannot depress the liquid, nor break through, nor separate it. If weremove the hundred pound weight, and put on a scruple of gold, it willnot swim, but will sink to the bottom of its own accord. Hence, it isundeniable that the gravity of a substance depends not on the amount ofits weight, but on its nature. 

4. Quicksilver is a useful thing for many purposes. For instance, neither silver nor copper can be gilded properly without it. And whengold has been woven into a garment, and the garment becomes worn outwith age so that it is no longer respectable to use, the pieces of clothare put into earthen pots, and burned up over a fire. The ashes are thenthrown into water and quicksilver added thereto. This attracts all thebits of gold, and makes them combine with itself. The water is thenpoured off, and the rest emptied into a cloth and squeezed in the hands, whereupon the quicksilver, being a liquid, escapes through the loosetexture of the cloth, but the gold, which has been brought together bythe squeezing, is found inside in a pure state. 

CHAPTER IX

CINNABAR (_continued_)

1. I will now return to the preparation of vermilion. When the lumps ofore are dry, they are crushed in iron mortars, and repeatedly washed andheated until the impurities are gone, and the colours come. When thecinnabar has given up its quicksilver, and thus lost the natural virtuesthat it previously had, it becomes soft in quality and its powers arefeeble. 

2. Hence, though it keeps its colour perfectly when applied in thepolished stucco finish of closed apartments, yet in open apartments, such as peristyles or exedrae or other places of the sort, where thebright rays of the sun and moon can penetrate, it is spoiled by contactwith them, loses the strength of its colour, and turns black. Among manyothers, the secretary Faberius, who wished to have his house on theAventine finished in elegant style, applied vermilion to all the wallsof the peristyle; but after thirty days they turned to an ugly andmottled colour. He therefore made a contract to have other coloursapplied instead of vermilion. 

3. But anybody who is more particular, and who wants a polished finishof vermilion that will keep its proper colour, should, after the wallhas been polished and is dry, apply with a brush Pontic wax melted overa fire and mixed with a little oil; then after this he should bring thewax to a sweat by warming it and the wall at close quarters withcharcoal enclosed in an iron vessel; and finally he should smooth it alloff by rubbing it down with a wax candle and clean linen cloths, justas naked marble statues are treated. 

4. This process is termed [Greek: ganôsis] in Greek. The protecting coatof Pontic wax prevents the light of the moon and the rays of the sunfrom licking up and drawing the colour out of such polished finishing. 

The manufactories which were once at the mines of the Ephesians have nowbeen transferred to Rome, because this kind of ore was later discoveredin Spain. The clods are brought from the mines there, and treated inRome by public contractors. These manufactories are between the templesof Flora and Quirinus. 

5. Cinnabar is adulterated by mixing lime with it. Hence, one will haveto proceed as follows, if one wishes to prove that it is unadulterated. Take an iron plate, put the cinnabar upon it, and lay it on the fireuntil the plate gets red hot. When the glowing heat makes the colourchange and turn black, remove the plate from the fire, and if thecinnabar when cooled returns to its former colour, it will be proved tobe unadulterated; but if it keeps the black colour, it will show that ithas been adulterated. 

6. I have now said all that I could think of about cinnabar. Malachitegreen is brought from Macedonia, and is dug up in the neighbourhood ofcopper mines. The names Armenian blue and India ink show in what placesthese substances are found. 

CHAPTER X

ARTIFICIAL COLOURS. BLACK

1. I shall now pass to those substances which by artificial treatmentare made to change their composition, and to take on the properties ofcolours; and first I shall treat of black, the use of which isindispensable in many works, in order that the fixed technical methodsfor the preparation of that compound may be known. 

2. A place is built like a Laconicum, and nicely finished in marble, smoothly polished. In front of it, a small furnace is constructed withvents into the Laconicum, and with a stokehole that can be verycarefully closed to prevent the flames from escaping and being wasted. Resin is placed in the furnace. The force of the fire in burning itcompels it to give out soot into the Laconicum through the vents, andthe soot sticks to the walls and the curved vaulting. It is gatheredfrom them, and some of it is mixed and worked with gum for use aswriting ink, while the rest is mixed with size, and used on walls byfresco painters. 

3. But if these facilities are not at hand, we must meet the exigency asfollows, so that the work may not be hindered by tedious delay. Burnshavings and splinters of pitch pine, and when they turn to charcoal, put them out, and pound them in a mortar with size. This will make apretty black for fresco painting. 

4. Again, if the lees of wine are dried and roasted in an oven, and thenground up with size and applied to a wall, the result will be a coloureven more delightful than ordinary black; and the better the wine ofwhich it is made, the better imitation it will give, not only of thecolour of ordinary black, but even of that of India ink. 

CHAPTER XI

BLUE. BURNT OCHRE

1. Methods of making blue were first discovered in Alexandria, andafterwards Vestorius set up the making of it at Puzzuoli. The method ofobtaining it from the substances of which it has been found to consist, is strange enough. Sand and the flowers of natron are brayed together sofinely that the product is like meal, and copper is grated by means ofcoarse files over the mixture, like sawdust, to form a conglomerate. Then it is made into balls by rolling it in the hands and thus boundtogether for drying. The dry balls are put in an earthern jar, and thejars in an oven. As soon as the copper and the sand grow hot and uniteunder the intensity of the fire, they mutually receive each other'ssweat, relinquishing their peculiar qualities, and having lost theirproperties through the intensity of the fire, they are reduced to a bluecolour. 

2. Burnt ochre, which is very serviceable in stucco work, is made asfollows. A clod of good yellow ochre is heated to a glow on a fire. Itis then quenched in vinegar, and the result is a purple colour. 

CHAPTER XII

WHITE LEAD, VERDIGRIS, AND ARTIFICIAL SANDARACH

1. It is now in place to describe the preparation of white lead and ofverdigris, which with us is called "aeruca. " In Rhodes they put shavingsin jars, pour vinegar over them, and lay pieces of lead on the shavings;then they cover the jars with lids to prevent evaporation. After adefinite time they open them, and find that the pieces of lead havebecome white lead. In the same way they put in plates of copper and makeverdigris, which is called "aeruca. "

2. White lead on being heated in an oven changes its colour on the fire, and becomes sandarach. This was discovered as the result of anaccidental fire. It is much more serviceable than the natural sandarachdug up in mines. 

CHAPTER XIII

PURPLE

1. I shall now begin to speak of purple, which exceeds all the coloursthat have so far been mentioned both in costliness and in thesuperiority of its delightful effect. It is obtained from a marineshellfish, from which is made the purple dye, which is as wonderful tothe careful observer as anything else in nature; for it has not thesame shade in all the places where it is found, but is naturallyqualified by the course of the sun. 

2. That which is found in Pontus and Gaul is black, because thosecountries are nearest to the north. As one passes on from north to west, it is found of a bluish shade. Due east and west, what is found is of aviolet shade. That which is obtained in southern countries is naturallyred in quality, and therefore this is found in the island of Rhodes andin other such countries that are nearest to the course of the sun. 

3. After the shellfish have been gathered, they are broken up with irontools, the blows of which drive out the purple fluid like a flood oftears, and then it is prepared by braying it in mortars. It is called"ostrum" because it is taken from the shells of marine shellfish. Onaccount of its saltness, it soon dries up unless it has honey pouredover it. 

CHAPTER XIV

SUBSTITUTES FOR PURPLE, YELLOW OCHRE, MALACHITE GREEN, AND INDIGO

1. Purple colours are also manufactured by dyeing chalk with madder rootand with hysginum. Other colours are made from flowers. Thus, whenfresco painters wish to imitate Attic yellow ochre, they put driedviolets into a vessel of water, and heat them over a fire; then, whenthe mixture is ready, they pour it onto a linen cloth, and squeeze itout with the hands, catching the water which is now coloured by theviolets, in a mortar. Into this they pour chalk and bray it, obtainingthe colour of Attic yellow ochre. 

2. They make a fine purple colour by treating bilberry in the same wayand mixing it with milk. Those who cannot use malachite green on accountof its dearness, dye blue with the plant called dyer's weed, and thusobtain a most vivid green. This is called dyer's malachite green. Again, for want of indigo, they dye Selinusian or anularian chalk with woad, which the Greeks call [Greek: isatis], and make an imitation of indigo. 

3. In this book I have written down, so far as I could recall them, themethods and means of attaining durability in polished finishings, howpictures that are appropriate should be made, and also the naturalqualities of all the colours. And so, having prescribed in seven booksthe suitable principles which should govern the construction of allkinds of buildings, I shall treat in the next of water, showing how itmay be found in places where it is wanting, by what method it may beconducted, and by what means its wholesomeness and fitness may betested. 

BOOK VIII

INTRODUCTION

1. Among the Seven Sages, Thales of Miletus pronounced for water as theprimordial element in all things; Heraclitus, for fire; the priests ofthe Magi, for water and fire; Euripides, a pupil of Anaxagoras, andcalled by the Athenians "the philosopher of the stage, " for air andearth. Earth, he held, was impregnated by the rains of heaven and, thusconceiving, brought forth the young of mankind and of all the livingcreatures in the world; whatever is sprung from her goes back to heragain when the compelling force of time brings about a dissolution; andwhatever is born of the air returns in the same way to the regions ofthe sky; nothing suffers annihilation, but at dissolution there is achange, and things fall back to the essential element in which they werebefore. But Pythagoras, Empedocles, Epicharmus, and other physicists andphilosophers have set forth that the primordial elements are four innumber: air, fire, earth, and water; and that it is from their coherenceto one another under the moulding power of nature that the qualities ofthings are produced according to different classes. 

2. And, in fact, we see not only that all which comes to birth isproduced by them, but also that nothing can be nourished without theirinfluence, nor grow, nor be preserved. The body, for example, can haveno life without the flow of the breath to and fro, that is, unless anabundance of air flows in, causing dilations and contractions in regularsuccession. Without the right proportion of heat, the body will lackvitality, will not be well set up, and will not properly digest strongfood. Again, without the fruits of the earth to nourish the bodilyframe, it will be enfeebled, and so lose its admixture of the earthyelement. 

3. Finally, without the influence of moisture, living creatures will bebloodless and, having the liquid element sucked out of them, willwither away. Accordingly the divine intelligence has not made what isreally indispensable for man either hard to get or costly, like pearls, gold, silver, and so forth, the lack of which neither our body nor ournature feels, but has spread abroad, ready to hand through all theworld, the things without which the life of mortals cannot bemaintained. Thus, to take examples, suppose there is a deficiency ofbreath in the body, the air, to which is assigned the function of makingup the deficiency, performs that service. To supply heat, the mighty sunis ready, and the invention of fire makes life more secure. Then again, the fruits of the earth, satisfying our desires with a more thansufficient store of food stuffs, support and maintain living beings withregular nourishment. Finally, water, not merely supplying drink butfilling an infinite number of practical needs, does us services whichmake us grateful because it is gratis. 

4. Hence, too, those who are clothed in priesthoods of the Egyptianorders declare that all things depend upon the power of the liquidelement. So, when the waterpot is brought back to precinct and templewith water, in accordance with the holy rite, they throw themselves uponthe ground and, raising their hands to heaven, thank the divinebenevolence for its invention. 

Therefore, since it is held by physicists and philosophers and prieststhat all things depend upon the power of water, I have thought that, asin the former seven books the rules for buildings have been set forth, in this I ought to write on the methods of finding water, on thosespecial merits which are due to the qualities of localities, on the waysof conducting it, and how it may be tested in advance. For it is thechief requisite for life, for happiness, and for everyday use. 

CHAPTER I

HOW TO FIND WATER

1. This will be easier if there are open springs of running water. Butif there are no springs which gush forth, we must search for themunderground, and conduct them together. The following test should beapplied. Before sunrise, lie down flat in the place where the search isto be made, and placing the chin on the earth and supporting it there, take a look out over the country. In this way the sight will not rangehigher than it ought, the chin being immovable, but will range over adefinitely limited height on the same level through the country. Then, dig in places where vapours are seen curling and rising up into the air. This sign cannot show itself in a dry spot. 

2. Searchers for water must also study the nature of differentlocalities; for those in which it is found are well defined. In clay thesupply is poor, meagre, and at no great depth. It will not have the besttaste. In fine gravel the supply is also poor, but it will be found at agreater depth. It will be muddy and not sweet. In black earth someslight drippings and drops are found that gather from the storms ofwinter and settle down in compact, hard places. They have the besttaste. Among pebbles the veins found are moderate, and not to bedepended upon. These, too, are extremely sweet. In coarse grained graveland carbuncular sand the supply is surer and more lasting, and it has agood taste. In red tufa it is copious and good, if it does not run downthrough the fissures and escape. At the foot of mountains and in lava itis more plentiful and abundant, and here it is also colder and morewholesome. In flat countries the springs are salt, heavy-bodied, tepid, and ill-flavoured, excepting those which run underground from mountains, and burst forth in the middle of a plain, where, if protected by theshade of trees, their taste is equal to that of mountain springs. 

3. In the kinds of soil described above, signs will be found growing, such as slender rushes, wild willows, alders, agnus castus trees, reeds, ivy, and other plants of the same sort that cannot spring up ofthemselves without moisture. But they are also accustomed to grow indepressions which, being lower than the rest of the country, receivewater from the rains and the surrounding fields during the winter, andkeep it for a comparatively long time on account of their holding power. These must not be trusted, but the search must be made in districts andsoils, yet not in depressions, where those signs are found growing notfrom seed, but springing up naturally of themselves. 

4. If the indications mentioned appear in such places, the followingtest should be applied. Dig out a place not less than three feet squareand five feet deep, and put into it about sunset a bronze or leaden bowlor basin, whichever is at hand. Smear the inside with oil, lay it upsidedown, and cover the top of the excavation with reeds or green boughs, throwing earth upon them. Next day uncover it, and if there are dropsand drippings in the vessel, the place will contain water. 

5. Again, if a vessel made of unbaked clay be put in the hole, andcovered in the same way, it will be wet when uncovered, and alreadybeginning to go to pieces from dampness, if the place contains water. Ifa fleece of wool is placed in the excavation, and water can be wrung outof it on the following day, it will show that the place has a supply. Further, if a lamp be trimmed, filled with oil, lighted, and put in thatplace and covered up, and if on the next day it is not burnt out, butstill contains some remains of oil and wick, and is itself found to bedamp, it will indicate that the place contains water; for all heatattracts moisture. Again, if a fire is made in that place, and if theground, when thoroughly warmed and burned, sends up a misty vapour fromits surface, the place will contain water. 

6. After applying these tests and finding the signs described above, awell must next be sunk in the place, and if a spring of water is found, more wells must be dug thereabouts, and all conducted by means ofsubterranean channels into one place. 

The mountains and districts with a northern exposure are the best spotsin which to search, for the reason that springs are sweeter, morewholesome, and more abundant when found there. Such places face awayfrom the sun's course, and the trees are thick in them, and themountains, being themselves full of woods, cast shadows of their own, preventing the rays of the sun from striking uninterruptedly upon theground and drying up the moisture. 

7. The valleys among the mountains receive the rains most abundantly, and on account of the thick woods the snow is kept in them longer by theshade of the trees and mountains. Afterwards, on melting, it filtersthrough the fissures in the ground, and thus reaches the very foot ofthe mountains, from which gushing springs come belching out. 

But in flat countries, on the contrary, a good supply cannot be had. Forhowever great it is, it cannot be wholesome, because, as there is noshade in the way, the intense force of the sun draws up and carries offthe moisture from the flat plains with its heat, and if any water showsitself there, the lightest and purest and the delicately wholesome partof it is summoned away by the air, and dispersed to the skies, while theheaviest and the hard and unpleasant parts are left in springs that arein flat places. 

CHAPTER II

RAINWATER

1. Rainwater has, therefore, more wholesome qualities, because it isdrawn from the lightest and most delicately pure parts of all thesprings, and then, after being filtered through the agitated air, it isliquefied by storms and so returns to the earth. And rainfall is notabundant in the plains, but rather on the mountains or close tomountains, for the reason that the vapour which is set in motion atsunrise in the morning, leaves the earth, and drives the air before itthrough the heaven in whatever direction it inclines; then, when once inmotion, it has currents of air rushing after it, on account of the voidwhich it leaves behind. 

2. This air, driving the vapour everywhere as it rushes along, producesgales and constantly increasing currents by its mighty blasts. Whereverthe winds carry the vapour which rolls in masses from springs, rivers, marshes, and the sea, it is brought together by the heat of the sun, drawn off, and carried upward in the form of clouds; then these cloudsare supported by the current of air until they come to mountains, wherethey are broken up from the shock of the collision and the gales, turninto water on account of their own fulness and weight, and in that formare dispersed upon the earth. 

3. That vapour, mists, and humidity come forth from the earth, seems dueto the reason that it contains burning heat, mighty currents of air, intense cold, and a great quantity of water. So, as soon as the earth, which has cooled off during the night, is struck by the rays of therising sun, and the winds begin to blow while it is yet dark, mistsbegin to rise upward from damp places. That the air when thoroughlyheated by the sun can make vapours rise rolling up from the earth, maybe seen by means of an example drawn from baths. 

4. Of course there can be no springs above the vaultings of hotbathrooms, but the atmosphere in such rooms, becoming well warmed by thehot air from the furnaces, seizes upon the water on the floors, andtakes it up to the curved vaultings and holds it up there, for thereason that hot vapour always pushes upwards. At first it does not letthe moisture go, for the quantity is small; but as soon as it hascollected a considerable amount, it cannot hold it up, on account of theweight, but sprinkles it upon the heads of the bathers. In the same way, when the atmospheric air feels the heat of the sun, it draws themoisture from all about, causes it to rise, and gathers it into clouds. For the earth gives out moisture under the influence of heat just as aman's heated body emits sweat. 

5. The winds are witnesses to this fact. Those that are produced andcome from the coolest directions, the north and northeast winds, blow inblasts that are rarefied by the great dryness in the atmosphere, but thesouth wind and the others that assail us from the direction of the sun'scourse are very damp, and always bring rain, because they reach us fromwarm regions after being well heated there, and licking up and carryingoff the moisture from the whole country, they pour it out on the regionsin the north. 

6. That this is the state of the case may be proved by the sources ofrivers, the majority and the longest of which, as drawn and described ingeographies of the world, are found to rise in the north. First inIndia, the Ganges and Indus spring from the Caucasus; in Syria, theTigris and Euphrates; in Pontus in Asia, the Dnieper, Bug, and Don; inColchis, the Phasis; in Gaul, the Rhone; in Celtica, the Rhine; on thisside of the Alps, the Timavo and Po; in Italy, the Tiber; in Maurusia, which we call Mauretania, the Dyris, rising in the Atlas range andrunning westerly to Lake Heptagonus, where it changes its name and iscalled Agger; then from Lake Heptabolus it runs at the base of barrenmountains, flowing southerly and emptying into the marsh called[10]... It surrounds Meroë, which is a kingdom in southern Ethiopia, and fromthe marsh grounds there, winding round by the rivers Astansoba andAstoboa and a great many others, it passes through the mountains to theCataract, and from there it dashes down, and passes to the north betweenElephantis and Syene and the plains of Thebes into Egypt, where it iscalled the Nile. 

[Note 10: Here something is lost, as also in chapter III, sections 5and 6. ]

7. That the source of the Nile is in Mauretania is known principallyfrom the fact that there are other springs on the other side of theAtlas range flowing into the ocean to the west, and that ichneumons, crocodiles, and other animals and fishes of like nature are foundthere, although there are no hippopotamuses. 

8. Therefore, since in descriptions of the world it appears that allrivers of any size flow from the north, and since in the plains ofAfrica, which are exposed to the course of the sun in the south, themoisture is deeply hidden, springs not common, and rivers rare, itfollows that the sources of springs which lie to the north or northeastare much better, unless they hit upon a place which is full of sulphur, alum, or asphalt. In this case they are completely changed, and flow insprings which have a bad smell and taste, whether the water is hot orcold. 

9. The fact is, heat is not at all a property of water, but when astream of cold water happens upon a hot place, it boils up, and issuesthrough the fissures and out of the ground in a state of heat. Thiscannot last very long, but in a short time the water becomes cold. If itwere naturally hot, it would not cool off and lose its heat. Its taste, however, and its smell and colour are not restored, because it hasbecome saturated and compounded with these qualities on account of therarity of its nature. 

CHAPTER III

VARIOUS PROPERTIES OF DIFFERENT WATERS

1. There are, however, some hot springs that supply water of the besttaste, which is so delightful to drink that one does not think withregret of the Fountain of the Muses or the Marcian aqueduct. These hotsprings are produced naturally, in the following manner. When fire iskindled down beneath in alum or asphalt or sulphur, it makes the earthimmediately over it very hot, and emits a glowing heat to the partsstill farther above it, so that if there are any springs of sweet waterfound in the upper strata, they begin to boil in their fissures whenthey are met by this heat, and so they run out with their tasteunimpaired. 

2. And there are some cold springs that have a bad smell and taste. They rise deep down in the lower strata, cross places which are on fire, and then are cooled by running a long distance through the earth, comingout above ground with their taste, smell, and colour spoiled; as, forinstance, the river Albula on the road to Tivoli and the cold springs ofArdea, which have the same smell and are called sulphur springs, andothers in similar places. Although they are cold, yet at first sightthey seem to be hot for the reason that when they happen upon a burningspot deep down below, the liquid and the fire meet, and with a greatnoise at the collision they take in strong currents of air, and thus, swollen by a quantity of compressed wind, they come out at the springsin a constant state of ebullition. When such springs are not open butconfined by rocks, the force of the air in them drives them up throughthe narrow fissures to the summits of hills. 

3. Consequently those who think that they have excavated sources ofsprings at the height of such hills find themselves mistaken when theyopen up their excavations. Suppose a bronze vase filled not to the verylips, but containing two thirds of the quantity of water which forms itscapacity, and with a cover placed upon it. When it is subjected to avery hot fire, the water must become thoroughly heated, and from therarity of its nature it greatly expands by taking in the heat, so thatit not only fills the vase but raises its cover by means of the currentsof air in it, and swells and runs over. But if you take the cover off, the expanding forces are released into the open air, and the watersettles down again to its proper level. So it is with the sources ofsprings. As long as they are confined in narrow channels, the currentsof air in the water rush up in bubbles to the top, but as soon as theyare given a wider outlet, they lose their air on account of the raritypeculiar to water, and so settle down and resume their proper level. 

4. Every hot spring has healing properties because it has been boiledwith foreign substances, and thus acquires a new useful quality. Forexample, sulphur springs cure pains in the sinews, by warming up andburning out the corrupt humours of the body by their heat. Aluminoussprings, used in the treatment of the limbs when enfeebled by paralysisor the stroke of any such malady, introduce warmth through the openpores, counter-acting the chill by the opposite effect of their heat, and thus equably restoring the limbs to their former condition. Asphaltic springs, taken as purges, cure internal maladies. 

5. There is also a kind of cold water containing natron, found forinstance at Penne in the Vestine country, at Cutiliae, and at othersimilar places. It is taken as a purge and in passing through the bowelsreduces scrofulous tumours. Copious springs are found where there aremines of gold, silver, iron, copper, lead, and the like, but they arevery harmful. For they contain, like hot springs, sulphur, alum, asphalt, ... And when it passes into the body in the form of drink, andspreading through the veins reaches the sinews and joints, it expandsand hardens them. Hence the sinews, swelling with this expansion, arecontracted in length and so give men the cramp or the gout, for thereason that their veins are saturated with very hard, dense, and coldsubstances. 

6. There is also a sort of water which, since it contains... That arenot perfectly clear, and it floats like a flower on the surface, incolour like purple glass. This may be seen particularly in Athens, wherethere are aqueducts from places and springs of that sort leading to thecity and the port of Piraeus, from which nobody drinks, for the reasonmentioned, but they use them for bathing and so forth, and drink fromwells, thus avoiding their unwholesomeness. At Troezen it cannot beavoided, because no other kind of water at all is found, except what theCibdeli furnish, and so in that city all or most of the people havediseases of the feet. At the city of Tarsus in Cilicia is a river namedCydnus, in which gouty people soak their legs and find relief from pain. 

7. There are also many other kinds of water which have peculiarproperties; for example, the river Himera in Sicily, which, afterleaving its source, is divided into two branches. One flows in thedirection of Etruria and has an exceedingly sweet taste on account of asweet juice in the soil through which it runs; the other runs through acountry where there are salt pits, and so it has a salt taste. AtParaetonium, and on the road to Ammon, and at Casius in Egypt there aremarshy lakes which are so salt that they have a crust of salt on thesurface. In many other places there are springs and rivers and lakeswhich are necessarily rendered salt because they run through salt pits. 

8. Others flow through such greasy veins of soil that they areoverspread with oil when they burst out as springs: for example, atSoli, a town in Cilicia, the river named Liparis, in which swimmers orbathers get anointed merely by the water. Likewise there is a lake inEthiopia which anoints people who swim in it, and one in India whichemits a great quantity of oil when the sky is clear. At Carthage is aspring that has oil swimming on its surface and smelling like sawdustfrom citrus wood, with which oil sheep are anointed. In Zacynthus andabout Dyrrachium and Apollonia are springs which discharge a greatquantity of pitch with their water. In Babylon, a lake of very greatextent, called Lake Asphaltitis, has liquid asphalt swimming on itssurface, with which asphalt and with burnt brick Semiramis built thewall surrounding Babylon. At Jaffa in Syria and among the Nomads inArabia, are lakes of enormous size that yield very large masses ofasphalt, which are carried off by the inhabitants thereabouts. 

9. There is nothing marvellous in this, for quarries of hard asphalt arenumerous there. So, when a quantity of water bursts its way through theasphaltic soil, it carries asphalt out with it, and after passing out ofthe ground, the water is separated and so rejects the asphalt fromitself. Again, in Cappadocia on the road from Mazaca to Tyana, there isan extensive lake into which if a part of a reed or of some other thingbe plunged, and withdrawn the next day, it will be found that the partthus withdrawn has turned into stone, while the part which remainedabove water retains its original nature. 

10. In the same way, at Hierapolis in Phrygia there is a multitude ofboiling hot springs from which water is let into ditches surroundinggardens and vineyards, and this water becomes an incrustation of stoneat the end of a year. Hence, every year they construct banks of earth tothe right and left, let in the water, and thus out of theseincrustations make walls for their fields. This seems due to naturalcauses, since there is a juice having a coagulating potency like rennetunderground in those spots and in that country. When this potencyappears above ground mingled with spring water, the mixture cannot butbe hardened by the heat of the sun and air, as appears in salt pits. 

11. There are also springs which issue exceedingly bitter, owing to abitter juice in the soil, such as the river Hypanis in Pontus. For aboutforty miles from its source its taste is very sweet; then it reaches apoint about one hundred and sixty miles from its mouth, where it isjoined by a very small brook. This runs into it, and at once makes thatvast river bitter, for the reason that the water of the brook becomesbitter by flowing through the kind of soil and the veins in which thereare sandarach mines. 

12. These waters are given their different flavours by the properties ofthe soil, as is also seen in the case of fruits. If the roots of trees, vines, or other plants did not produce their fruits by drawing juicesfrom soil of different properties, the flowers of all would be of thesame kind in all places and districts. But we find in the island ofLesbos the protropum wine, in Maeonia, the catacecaumenites, in Lydia, the Tmolian, in Sicily, the Mamertine, in Campania, the Falernian, between Terracina and Fondi, the Caecuban, and wines of countlessvarieties and qualities produced in many other places. This could not bethe case, were it not that the juice of the soil, introduced with itsproper flavours into the roots, feeds the stem, and, mounting along itto the top, imparts a flavour to the fruit which is peculiar to itssituation and kind. 

13. If soils were not different and unlike in their kinds of juices, Syria and Arabia would not be the only places in which the reeds, rushes, and all the plants are aromatic, and in which there are treesbearing frankincense or yielding pepper berries and lumps of myrrh, norwould assafoetida be found only in the stalks growing in Cyrene, buteverything would be of the same sort, and produced in the soil of allcountries. It is the inclination of the firmament and the force of thesun, as it draws nearer or recedes in its course, that make thesediversities such as we find them in different countries and places, through the nature of the soil and it's juices. And not only in the caseof the things mentioned, but also in that of sheep and cattle. Thesediversities would not exist if the different properties of soils andtheir juices were not qualified by the power of the sun. 

14. For instance, there are in Boeotia the rivers Cephisus and Melas, inLucania, the Crathis, in Troy, the Xanthus, and certain springs in thecountry of the Clazomenians, the Erythraeans, and the Laodiceans. Whensheep are ready for breeding at the proper season of the year, they aredriven every day during that season to those rivers to drink, and theresult is that, however white they may be, they beget in some placeswhity-brown lambs, in other places gray, and in others black as a raven. Thus, the peculiar character of the liquid, entering their body, produces in each case the quality with which it is imbued. Hence, it issaid that the people of Ilium gave the river Xanthus its name becausereddish cattle and whity-brown sheep are found in the plains of Troynear that river. 

15. Deadly kinds of water are also found, which run through soilcontaining a noxious juice, and take in its poisonous quality: forinstance, there is said to have been a spring at Terracina, called thespring of Neptune, which caused the death of those who thoughtlesslydrank from it. In consequence, it is said that the ancients stopped itup. At Chrobs in Thrace there is a lake which causes the death not onlyof those who drink of it, but also of those who bathe in it. In Thessalythere is a gushing fount of which sheep never taste, nor does any sortof creature draw near to it, and close by this fount there is a treewith crimson flowers. 

16. In Macedonia, at the place where Euripides is buried, two streamsapproach from the right and left of his tomb, and unite. By one ofthese, travellers are in the habit of lying down and taking luncheon, because its water is good; but nobody goes near the stream on the otherside of the tomb, because its water is said to be death-dealing. InArcadia there is a tract of land called Nonacris, which has extremelycold water trickling from a rock in the mountains. This water is called"Water of the Styx, " and no vessel, whether of silver, bronze, or iron, can stand it without flying to pieces and breaking up. Nothing but amule's hoof can keep it together and hold it, and tradition says that itwas thus conveyed by Antipater through his son Iollas into the provincewhere Alexander was staying, and that the king was killed by him withthis water. 

17. Among the Alps in the kingdom of Cottius there is a water those whotaste of which immediately fall lifeless. In the Faliscan country on theVia Campana in the Campus Cornetus is a grove in which rises a spring, and there the bones of birds and of lizards and other reptiles are seenlying. 

Some springs are acid, as at Lyncestus and in Italy in the Veliancountry, at Teano in Campania, and in many other places. These when usedas drinks have the power of breaking up stones in the bladder, whichform in the human body. 

18. This seems to be due to natural causes, as there is a sharp and acidjuice contained in the soil there, which imparts a sharpness to thesesprings as they issue from it; and so, on entering the body, theydisperse all the deposits and concretions, due to the use of otherwaters, which they find in the body. Why such things are broken up byacid waters we can see from the following experiments. If an egg is leftfor some time in vinegar, its shell will soften and dissolve. Again, ifa piece of lead, which is very flexible and heavy, is put in a vase andvinegar poured over it, and the vase covered and sealed up, the leadwill be dissolved and turn into white lead. 

19. On the same principle, copper, which is naturally more solid, willdisperse and turn into verdigris if similarly treated. So, also, apearl. Even rocks of lava, which neither iron nor fire alone candissolve, split into pieces and dissolve when heated with fire and thensprinkled with vinegar. Hence, since we see these things taking placebefore our very eyes, we can infer that on the same principle evenpatients with the stone may, in the nature of things, be cured in likemanner by means of acid waters, on account of the sharpness of thepotion. 

20. Then there are springs in which wine seems to be mingled, like theone in Paphlagonia, the water of which intoxicates those who drink ofthe spring alone without wine. The Aequians in Italy and the tribe ofthe Medulli in the Alps have a kind of water which causes swellings inthe throats of those who drink it. 

21. In Arcadia is the well-known town of Clitor, in whose territory is acave with running water which makes people who drink of it abstemious. At this spring, there is an epigram in Greek verses inscribed on stoneto the effect that the water is unsuitable for bathing, and alsoinjurious to vines, because it was at this spring that Melampus cleansedthe daughters of Proetus of their madness by sacrificial rites, andrestored those maidens to their former sound state of mind. Theinscription runs as written below:

 Swain, if by noontide thirst thou art opprest When with thy flocks to Cleitor's bounds thou'st hied, Take from this fount a draught, and grant a rest To all thy goats the water nymphs beside. But bathe not in't when full of drunken cheer, Lest the mere vapour may bring thee to bane; Shun my vine-hating spring--Melampus here From madness once washed Proetus' daughters sane, And all th' offscouring here did hide, when they From Argos came to rugged Arcady. 

22. In the island of Zea is a spring of which those who thoughtlesslydrink lose their understanding, and an epigram is cut there to theeffect that a draught from the spring is delightful, but that he whodrinks will become dull as a stone. These are the verses:

 This stone sweet streams of cooling drink doth drip, But stone his wits become who doth it sip. 

23. At Susa, the capital of the Persian kingdom, there is a littlespring, those who drink of which lose their teeth. An epigram is writtenthere, the significance of which is to this effect, that the water isexcellent for bathing, but that taken as drink, it knocks out the teethby the roots. The verses of this epigram are, in Greek, as follows:

 Stranger, you see the waters of a spring In which 'tis safe for men their hands to lave; But if the weedy basin entering You drink of its unpalatable wave, Your grinders tumble out that self-same day From jaws that orphaned sockets will display. 

24. There are also in some places springs which have the peculiarity ofgiving fine singing voices to the natives, as at Tarsus in Magnesia andin other countries of that kind. Then there is Zama, an African city, which King Juba fortified by enclosing it with a double wall, and heestablished his royal residence there. Twenty miles from it is thewalled town of Ismuc, the lands belonging to which are marked off by amarvellous kind of boundary. For although Africa was the mother andnurse of wild animals, particularly serpents, yet not one is ever bornin the lands of that town, and if ever one is imported and put there, itdies at once; and not only this, but if soil is taken from this spot toanother place, the same is true there. It is said that this kind of soilis also found in the Balearic Islands. The above mentioned soil has astill more wonderful property, of which I have learned in the followingway. 

25. Caius Julius, Masinissa's son, who owned all the lands about thattown, served with Caesar the father. He was once my guest. Hence, in ourdaily intercourse, we naturally talked of literary subjects. During aconversation between us on the efficacy of water and its qualities, hestated that there were springs in that country of a kind which causedpeople born there to have fine singing voices, and that consequentlythey always sent abroad and bought handsome lads and ripe girls, andmated them, so that their progeny might have not only fine voices butalso beautiful forms. 

26. This great variety in different things is a distribution due tonature, for even the human body, which consists in part of the earthy, contains many kinds of juices, such as blood, milk, sweat, urine, andtears. If all this variation of flavours is found in a small portion ofthe earthy, we should not be surprised to find in the great earth itselfcountless varieties of juices, through the veins of which the waterruns, and becomes saturated with them before reaching the outlets ofsprings. In this way, different varieties of springs of peculiar kindsare produced, on account of diversity of situation, characteristics ofcountry, and dissimilar properties of soils. 

27. Some of these things I have seen for myself, others I have foundwritten in Greek books, the authorities for these writings beingTheophrastus, Timaeus, Posidonius, Hegesias, Herodotus, Aristides, andMetrodorus. These men with much attention and endless pains showed bytheir writings that the peculiarities of sites, the properties ofwaters, and the characteristics of countries are conditioned by theinclination of the heaven. Following their investigations, I have setdown in this book what I thought sufficient about different kinds ofwater, to make it easier, by means of these directions, for people topick out springs from which they can conduct the water in aqueducts forthe use of cities and towns. 

28. For it is obvious that nothing in the world is so necessary for useas water, seeing that any living creature can, if deprived of grain orfruit or meat or fish, or any one of them, support life by using otherfoodstuffs; but without water no animal nor any proper food can beproduced, kept in good condition, or prepared. Consequently we musttake great care and pains in searching for springs and selecting them, keeping in view the health of mankind. 

CHAPTER IV

TESTS OF GOOD WATER

1. Springs should be tested and proved in advance in the following ways. If they run free and open, inspect and observe the physique of thepeople who dwell in the vicinity before beginning to conduct the water, and if their frames are strong, their complexions fresh, legs sound, andeyes clear, the springs deserve complete approval. If it is a springjust dug out, its water is excellent if it can be sprinkled into aCorinthian vase or into any other sort made of good bronze withoutleaving a spot on it. Again, if such water is boiled in a bronzecauldron, afterwards left for a time, and then poured off without sandor mud being found at the bottom of the cauldron, that water also willhave proved its excellence. 

2. And if green vegetables cook quickly when put into a vessel of suchwater and set over a fire, it will be a proof that the water is good andwholesome. Likewise if the water in the spring is itself limpid andclear, if there is no growth of moss or reeds where it spreads andflows, and if its bed is not polluted by filth of any sort but has aclean appearance, these signs indicate that the water is light andwholesome in the highest degree. 

CHAPTER V

LEVELLING AND LEVELLING INSTRUMENTS

1. I shall now treat of the ways in which water should be conducted todwellings and cities. First comes the method of taking the level. Levelling is done either with dioptrae, or with water levels, or withthe chorobates, but it is done with greater accuracy by means of thechorobates, because dioptrae and levels are deceptive. The chorobates isa straightedge about twenty feet long. At the extremities it has legs, made exactly alike and jointed on perpendicularly to the extremities ofthe straightedge, and also crosspieces, fastened by tenons, connectingthe straightedge and the legs. These crosspieces have vertical linesdrawn upon them, and there are plumblines hanging from the straightedgeover each of the lines. When the straightedge is in position, and theplumblines strike both the lines alike and at the same time, they showthat the instrument stands level. 

2. But if the wind interposes, and constant motion prevents any definiteindication by the lines, then have a groove on the upper side, five feetlong, one digit wide, and a digit and a half deep, and pour water intoit. If the water comes up uniformly to the rims of the groove, it willbe known that the instrument is level. When the level is thus found bymeans of the chorobates, the amount of fall will also be known. 

3. Perhaps some reader of the works of Archimedes will say that therecan be no true levelling by means of water, because he holds that waterhas not a level surface, but is of a spherical form, having its centreat the centre of the earth. Still, whether water is plane or spherical, it necessarily follows that when the straightedge is level, it willsupport the water evenly at its extremities on the right and left, butthat if it slopes down at one end, the water at the higher end will notreach the rim of the groove in the straightedge. For though the water, wherever poured in, must have a swelling and curvature in the centre, yet the extremities on the right and left must be on a level with eachother. A picture of the chorobates will be found drawn at the end of thebook. If there is to be a considerable fall, the conducting of the waterwill be comparatively easy. But if the course is broken by depressions, we must have recourse to substructures. 

CHAPTER VI

AQUEDUCTS, WELLS, AND CISTERNS

1. There are three methods of conducting water, in channels throughmasonry conduits, or in lead pipes, or in pipes of baked clay. If inconduits, let the masonry be as solid as possible, and let the bed ofthe channel have a gradient of not less than a quarter of an inch forevery hundred feet, and let the masonry structure be arched over, sothat the sun may not strike the water at all. When it has reached thecity, build a reservoir with a distribution tank in three compartmentsconnected with the reservoir to receive the water, and let the reservoirhave three pipes, one for each of the connecting tanks, so that when thewater runs over from the tanks at the ends, it may run into the onebetween them. 

2. From this central tank, pipes will be laid to all the basins andfountains; from the second tank, to baths, so that they may yield anannual income to the state; and from the third, to private houses, sothat water for public use will not run short; for people will be unableto divert it if they have only their own supplies from headquarters. This is the reason why I have made these divisions, and also in orderthat individuals who take water into their houses may by their taxeshelp to maintain the conducting of the water by the contractors. 

3. If, however, there are hills between the city and the source ofsupply, subterranean channels must be dug, and brought to a level at thegradient mentioned above. If the bed is of tufa or other stone, let thechannel be cut in it; but if it is of earth or sand, there must bevaulted masonry walls for the channel, and the water should thus beconducted, with shafts built at every two hundred and forty feet. 

4. But if the water is to be conducted in lead pipes, first build areservoir at the source; then, let the pipes have an interior areacorresponding to the amount of water, and lay these pipes from thisreservoir to the reservoir which is inside the city walls. The pipesshould be cast in lengths of at least ten feet. If they are hundreds, they should weigh 1200 pounds each length; if eighties, 960 pounds; iffifties, 600 pounds; forties, 480 pounds; thirties, 360 pounds;twenties, 240 pounds; fifteens, 180 pounds; tens, 120 pounds; eights, 100 pounds; fives, 60 pounds. The pipes get the names of their sizesfrom the width of the plates, taken in digits, before they are rolledinto tubes. Thus, when a pipe is made from a plate fifty digits inwidth, it will be called a "fifty, " and so on with the rest. 

5. The conducting of the water through lead pipes is to be managed asfollows. If there is a regular fall from the source to the city, withoutany intervening hills that are high enough to interrupt it, but withdepressions in it, then we must build substructures to bring it up tothe level as in the case of channels and conduits. If the distance roundsuch depressions is not great, the water may be carried roundcircuitously; but if the valleys are extensive, the course will bedirected down their slope. On reaching the bottom, a low substructure isbuilt so that the level there may continue as long as possible. Thiswill form the "venter, " termed [Greek: Koilia] by the Greeks. Then, onreaching the hill on the opposite side, the length of the venter makesthe water slow in swelling up to rise to the top of the hill. 

6. But if there is no such venter made in the valleys, nor anysubstructure built on a level, but merely an elbow, the water will breakout, and burst the joints of the pipes. And in the venter, watercushions must be constructed to relieve the pressure of the air. Thus, those who have to conduct water through lead pipes will do it mostsuccessfully on these principles, because its descents, circuits, venters, and risings can be managed in this way, when the level of thefall from the sources to the city is once obtained. 

7. It is also not ineffectual to build reservoirs at intervals of 24, 000feet, so that if a break occurs anywhere, it will not completely ruinthe whole work, and the place where it has occurred can easily befound; but such reservoirs should not be built at a descent, nor in theplane of a venter, nor at risings, nor anywhere in valleys, but onlywhere there is an unbroken level. 

8. But if we wish to spend less money, we must proceed as follows. Claypipes with a skin at least two digits thick should be made, but thesepipes should be tongued at one end so that they can fit into and joinone another. Their joints must be coated with quicklime mixed with oil, and at the angles of the level of the venter a piece of red tufa stone, with a hole bored through it, must be placed right at the elbow, so thatthe last length of pipe used in the descent is jointed into the stone, and also the first length of the level of the venter; similarly at thehill on the opposite side the last length of the level of the ventershould stick into the hole in the red tufa, and the first of the riseshould be similarly jointed into it. 

9. The level of the pipes being thus adjusted, they will not be sprungout of place by the force generated at the descent and at the rising. For a strong current of air is generated in an aqueduct which bursts itsway even through stones unless the water is let in slowly and sparinglyfrom the source at first, and checked at the elbows or turns by bands, or by the weight of sand ballast. All the other arrangements should bemade as in the case of lead pipes. And ashes are to be put in beforehandwhen the water is let in from the source for the first time, so that ifany of the joints have not been sufficiently coated, they may be coatedwith ashes. 

10. Clay pipes for conducting water have the following advantages. Inthe first place, in construction:--if anything happens to them, anybodycan repair the damage. Secondly, water from clay pipes is much morewholesome than that which is conducted through lead pipes, because leadis found to be harmful for the reason that white lead is derived fromit, and this is said to be hurtful to the human system. Hence, if whatis produced from it is harmful, no doubt the thing itself is notwholesome. 

11. This we can exemplify from plumbers, since in them the naturalcolour of the body is replaced by a deep pallor. For when lead issmelted in casting, the fumes from it settle upon their members, and dayafter day burn out and take away all the virtues of the blood from theirlimbs. Hence, water ought by no means to be conducted in lead pipes, ifwe want to have it wholesome. That the taste is better when it comesfrom clay pipes may be proved by everyday life, for though our tablesare loaded with silver vessels, yet everybody uses earthenware for thesake of purity of taste. 

12. But if there are no springs from which we can construct aqueducts, it is necessary to dig wells. Now in the digging of wells we must notdisdain reflection, but must devote much acuteness and skill to theconsideration of the natural principles of things, because the earthcontains many various substances in itself; for like everything else, itis composed of the four elements. In the first place, it is itselfearthy, and of moisture it contains springs of water, also heat, whichproduces sulphur, alum, and asphalt; and finally, it contains greatcurrents of air, which, coming up in a pregnant state through the porousfissures to the places where wells are being dug, and finding menengaged in digging there, stop up the breath of life in their nostrilsby the natural strength of the exhalation. So those who do not quicklyescape from the spot, are killed there. 

13. To guard against this, we must proceed as follows. Let down alighted lamp, and if it keeps on burning, a man may make the descentwithout danger. But if the light is put out by the strength of theexhalation, then dig air shafts beside the well on the right and left. Thus the vapours will be carried off by the air shafts as if throughnostrils. When these are finished and we come to the water, then a wallshould be built round the well without stopping up the vein. 

14. But if the ground is hard, or if the veins lie too deep, the watersupply must be obtained from roofs or higher ground, and collected incisterns of "signinum work. " Signinum work is made as follows. In thefirst place, procure the cleanest and sharpest sand, break up lava intobits of not more than a pound in weight, and mix the sand in a mortartrough with the strongest lime in the proportion of five parts of sandto two of lime. The trench for the signinum work, down to the level ofthe proposed depth of the cistern, should be beaten with wooden beetlescovered with iron. 

15. Then after having beaten the walls, let all the earth between thembe cleared out to a level with the very bottom of the walls. Havingevened this off, let the ground be beaten to the proper density. If suchconstructions are in two compartments or in three so as to insureclearing by changing from one to another, they will make the water muchmore wholesome and sweeter to use. For it will become more limpid, andkeep its taste without any smell, if the mud has somewhere to settle;otherwise it will be necessary to clear it by adding salt. 

In this book I have put what I could about the merits and varieties ofwater, its usefulness, and the ways in which it should be conducted andtested; in the next I shall write about the subject of dialling and theprinciples of timepieces. 

BOOK IX

INTRODUCTION

1. The ancestors of the Greeks have appointed such great honours for thefamous athletes who are victorious at the Olympian, Pythian, Isthmian, and Nemean games, that they are not only greeted with applause as theystand with palm and crown at the meeting itself, but even on returningto their several states in the triumph of victory, they ride into theircities and to their fathers' houses in four-horse chariots, and enjoyfixed revenues for life at the public expense. When I think of this, Iam amazed that the same honours and even greater are not bestowed uponthose authors whose boundless services are performed for all time andfor all nations. This would have been a practice all the more worthestablishing, because in the case of athletes it is merely their ownbodily frame that is strengthened by their training, whereas in the caseof authors it is the mind, and not only their own but also man's ingeneral, by the doctrines laid down in their books for the acquiring ofknowledge and the sharpening of the intellect. 

2. What does it signify to mankind that Milo of Croton and other victorsof his class were invincible? Nothing, save that in their lifetime theywere famous among their countrymen. But the doctrines of Pythagoras, Democritus, Plato, and Aristotle, and the daily life of other learnedmen, spent in constant industry, yield fresh and rich fruit, not only totheir own countrymen, but also to all nations. And they who from theirtender years are filled with the plenteous learning which this fruitaffords, attain to the highest capacity of knowledge, and can introduceinto their states civilized ways, impartial justice, and laws, thingswithout which no state can be sound. 

3. Since, therefore, these great benefits to individuals and tocommunities are due to the wisdom of authors, I think that not onlyshould palms and crowns be bestowed upon them, but that they should evenbe granted triumphs, and judged worthy of being consecrated in thedwellings of the gods. 

Of their many discoveries which have been useful for the development ofhuman life, I will cite a few examples. On reviewing these, people willadmit that honours ought of necessity to be bestowed upon them. 

4. First of all, among the many very useful theorems of Plato, I willcite one as demonstrated by him. Suppose there is a place or a field inthe form of a square and we are required to double it. This has to beeffected by means of lines correctly drawn, for it will take a kind ofcalculation not to be made by means of mere multiplication. Thefollowing is the demonstration. A square place ten feet long and tenfeet wide gives an area of one hundred feet. Now if it is required todouble the square, and to make one of two hundred feet, we must ask howlong will be the side of that square so as to get from this the twohundred feet corresponding to the doubling of the area. Nobody can findthis by means of arithmetic. For if we take fourteen, multiplicationwill give one hundred and ninety-six feet; if fifteen, two hundred andtwenty-five feet. 

5. Therefore, since this is inexplicable by arithmetic, let a diagonalline be drawn from angle to angle of that square of ten feet in lengthand width, dividing it into two triangles of equal size, each fifty feetin area. Taking this diagonal line as the length, describe anothersquare. Thus we shall have in the larger square four triangles of thesame size and the same number of feet as the two of fifty feet eachwhich were formed by the diagonal line in the smaller square. In thisway Plato demonstrated the doubling by means of lines, as the figureappended at the bottom of the page will show. 

6. Then again, Pythagoras showed that a right angle can be formedwithout the contrivances of the artisan. Thus, the result whichcarpenters reach very laboriously, but scarcely to exactness, with theirsquares, can be demonstrated to perfection from the reasoning andmethods of his teaching. If we take three rules, one three feet, thesecond four feet, and the third five feet in length, and join theserules together with their tips touching each other so as to make atriangular figure, they will form a right angle. Now if a square bedescribed on the length of each one of these rules, the square on theside of three feet in length will have an area of nine feet; of fourfeet, sixteen; of five, twenty-five. 

7. Thus the area in number of feet made up of the two squares on thesides three and four feet in length is equalled by that of the onesquare described on the side of five. When Pythagoras discovered thisfact, he had no doubt that the Muses had guided him in the discovery, and it is said that he very gratefully offered sacrifice to them. 

This theorem affords a useful means of measuring many things, and it isparticularly serviceable in the building of staircases in buildings, sothat the steps may be at the proper levels. 

8. Suppose the height of the story, from the flooring above to theground below, to be divided into three parts. Five of these will givethe right length for the stringers of the stairway. Let four parts, eachequal to one of the three composing the height between the upper storyand the ground, be set off from the perpendicular, and there fix thelower ends of the stringers. In this manner the steps and the stairwayitself will be properly placed. A figure of this also will be foundappended below. 

9. In the case of Archimedes, although he made many wonderfuldiscoveries of diverse kinds, yet of them all, the following, which Ishall relate, seems to have been the result of a boundless ingenuity. Hiero, after gaining the royal power in Syracuse, resolved, as aconsequence of his successful exploits, to place in a certain temple agolden crown which he had vowed to the immortal gods. He contracted forits making at a fixed price, and weighed out a precise amount of gold tothe contractor. At the appointed time the latter delivered to the king'ssatisfaction an exquisitely finished piece of handiwork, and it appearedthat in weight the crown corresponded precisely to what the gold hadweighed. 

10. But afterwards a charge was made that gold had been abstracted andan equivalent weight of silver had been added in the manufacture of thecrown. Hiero, thinking it an outrage that he had been tricked, and yetnot knowing how to detect the theft, requested Archimedes to considerthe matter. The latter, while the case was still on his mind, happenedto go to the bath, and on getting into a tub observed that the more hisbody sank into it the more water ran out over the tub. As this pointedout the way to explain the case in question, without a moment's delay, and transported with joy, he jumped out of the tub and rushed homenaked, crying with a loud voice that he had found what he was seeking;for as he ran he shouted repeatedly in Greek, "[Greek: Eurêka, eurêka]. "

11. Taking this as the beginning of his discovery, it is said that hemade two masses of the same weight as the crown, one of gold and theother of silver. After making them, he filled a large vessel with waterto the very brim, and dropped the mass of silver into it. As much waterran out as was equal in bulk to that of the silver sunk in the vessel. Then, taking out the mass, he poured back the lost quantity of water, using a pint measure, until it was level with the brim as it had beenbefore. Thus he found the weight of silver corresponding to a definitequantity of water. 

12. After this experiment, he likewise dropped the mass of gold into thefull vessel and, on taking it out and measuring as before, found thatnot so much water was lost, but a smaller quantity: namely, as much lessas a mass of gold lacks in bulk compared to a mass of silver of the sameweight. Finally, filling the vessel again and dropping the crown itselfinto the same quantity of water, he found that more water ran over forthe crown than for the mass of gold of the same weight. Hence, reasoningfrom the fact that more water was lost in the case of the crown than inthat of the mass, he detected the mixing of silver with the gold, andmade the theft of the contractor perfectly clear. 

13. Now let us turn our thoughts to the researches of Archytas ofTarentum and Eratosthenes of Cyrene. They made many discoveries frommathematics which are welcome to men, and so, though they deserve ourthanks for other discoveries, they are particularly worthy of admirationfor their ideas in that field. For example, each in a different waysolved the problem enjoined upon Delos by Apollo in an oracle, thedoubling of the number of cubic feet in his altars; this done, he said, the inhabitants of the island would be delivered from an offence againstreligion. 

14. Archytas solved it by his figure of the semi-cylinders;Eratosthenes, by means of the instrument called the mesolabe. 

Noting all these things with the great delight which learning gives, wecannot but be stirred by these discoveries when we reflect upon theinfluence of them one by one. I find also much for admiration in thebooks of Democritus on nature, and in his commentary entitled [Greek:Cheirokmêta], in which he made use of his ring to seal with soft wax theprinciples which he had himself put to the test. 

15. These, then, were men whose researches are an everlastingpossession, not only for the improvement of character but also forgeneral utility. The fame of athletes, however, soon declines with theirbodily powers. Neither when they are in the flower of their strength, nor afterwards with posterity, can they do for human life what is doneby the researches of the learned. 

16. But although honours are not bestowed upon authors for excellence ofcharacter and teaching, yet as their minds, naturally looking up to thehigher regions of the air, are raised to the sky on the steps ofhistory, it must needs be, that not merely their doctrines, but eventheir appearance, should be known to posterity through time eternal. Hence, men whose souls are aroused by the delights of literature cannotbut carry enshrined in their hearts the likeness of the poet Ennius, asthey do those of the gods. Those who are devotedly attached to the poemsof Accius seem to have before them not merely his vigorous language buteven his very figure. 

17. So, too, numbers born after our time will feel as if they werediscussing nature face to face with Lucretius, or the art of rhetoricwith Cicero; many of our posterity will confer with Varro on the Latinlanguage; likewise, there will be numerous scholars who, as they weighmany points with the wise among the Greeks, will feel as if they werecarrying on private conversations with them. In a word, the opinions oflearned authors, though their bodily forms are absent, gain strength astime goes on, and, when taking part in councils and discussions, havegreater weight than those of any living men. 

18. Such, Caesar, are the authorities on whom I have depended, andapplying their views and opinions I have written the present books, inthe first seven treating of buildings and in the eighth of water. Inthis I shall set forth the rules for dialling, showing how they arefound through the shadows cast by the gnomon from the sun's rays in thefirmament, and on what principles these shadows lengthen and shorten. 

CHAPTER I

THE ZODIAC AND THE PLANETS

1. It is due to the divine intelligence and is a very great wonder toall who reflect upon it, that the shadow of a gnomon at the equinox isof one length in Athens, of another in Alexandria, of another in Rome, and not the same at Piacenza, or at other places in the world. Hencedrawings for dials are very different from one another, corresponding todifferences of situation. This is because the length of the shadow atthe equinox is used in constructing the figure of the analemma, inaccordance with which the hours are marked to conform to the situationand the shadow of the gnomon. The analemma is a basis for calculationdeduced from the course of the sun, and found by observation of theshadow as it increases until the winter solstice. By means of this, through architectural principles and the employment of the compasses, wefind out the operation of the sun in the universe. 

2. The word "universe" means the general assemblage of all nature, andit also means the heaven that is made up of the constellations and thecourses of the stars. The heaven revolves steadily round earth and seaon the pivots at the ends of its axis. The architect at these points wasthe power of Nature, and she put the pivots there, to be, as it were, centres, one of them above the earth and sea at the very top of thefirmament and even beyond the stars composing the Great Bear, the otheron the opposite side under the earth in the regions of the south. Roundthese pivots (termed in Greek [Greek: poloi]) as centres, like those ofa turning lathe, she formed the circles in which the heaven passes onits everlasting way. In the midst thereof, the earth and sea naturallyoccupy the central point. 

3. It follows from this natural arrangement that the central point inthe north is high above the earth, while on the south, the regionbelow, it is beneath the earth and consequently hidden by it. Furthermore, across the middle, and obliquely inclined to the south, there is a broad circular belt composed of the twelve signs, whosestars, arranged in twelve equivalent divisions, represent each a shapewhich nature has depicted. And so with the firmament and the otherconstellations, they move round the earth and sea in glittering array, completing their orbits according to the spherical shape of the heaven. 

4. They are all visible or invisible according to fixed times. While sixof the signs are passing along with the heaven above the earth, theother six are moving under the earth and hidden by its shadow. But thereare always six of them making their way above the earth; for, corresponding to that part of the last sign which in the course of itsrevolution has to sink, pass under the earth, and become concealed, anequivalent part of the sign opposite to it is obliged by the law oftheir common revolution to pass up and, having completed its circuit, toemerge out of the darkness into the light of the open space on the otherside. This is because the rising and setting of both are subject to oneand the same power and law. 

5. While these signs, twelve in number and occupying each one twelfthpart of the firmament, steadily revolve from east to west, the moon, Mercury, Venus, the sun, as well as Mars, Jupiter, and Saturn, differingfrom one another in the magnitude of their orbits as though theircourses were at different points in a flight of steps, pass throughthose signs in just the opposite direction, from west to east in thefirmament. The moon makes her circuit of the heaven in twenty-eight daysplus about an hour, and with her return to the sign from which she setforth, completes a lunar month. 

6. The sun takes a full month to move across the space of one sign, thatis, one twelfth of the firmament. Consequently, in twelve months hetraverses the spaces of the twelve signs, and, on returning to the signfrom which he began, completes the period of a full year. Hence, thecircuit made by the moon thirteen times in twelve months, is measuredby the sun only once in the same number of months. But Mercury andVenus, their paths wreathing around the sun's rays as their centre, retrograde and delay their movements, and so, from the nature of thatcircuit, sometimes wait at stopping-places within the spaces of thesigns. 

7. This fact may best be recognized from Venus. When she is followingthe sun, she makes her appearance in the sky after his setting, and isthen called the Evening Star, shining most brilliantly. At other timesshe precedes him, rising before day-break, and is named the MorningStar. Thus Mercury and Venus sometimes delay in one sign for a good manydays, and at others advance pretty rapidly into another sign. They donot spend the same number of days in every sign, but the longer theyhave previously delayed, the more rapidly they accomplish their journeysafter passing into the next sign, and thus they complete their appointedcourse. Consequently, in spite of their delay in some of the signs, theynevertheless soon reach the proper place in their orbits after freeingthemselves from their enforced delay. 

8. Mercury, on his journey through the heavens, passes through thespaces of the signs in three hundred and sixty days, and so arrives atthe sign from which he set out on his course at the beginning of hisrevolution. His average rate of movement is such that he has aboutthirty days in each sign. 

9. Venus, on becoming free from the hindrance of the sun's rays, crossesthe space of a sign in thirty days. Though she thus stays less thanforty days in particular signs, she makes good the required amount bydelaying in one sign when she comes to a pause. Therefore she completesher total revolution in heaven in four hundred and eighty-five days, andonce more enters the sign from which she previously began to move. 

10. Mars, after traversing the spaces of the constellations for aboutsix hundred and eighty-three days, arrives at the point from which hehad before set out at the beginning of his course, and while he passesthrough some of the signs more rapidly than others, he makes up therequired number of days whenever he comes to a pause. Jupiter, climbingwith gentler pace against the revolution of the firmament, travelsthrough each sign in about three hundred and sixty days, and finishes ineleven years and three hundred and thirteen days, returning to the signin which he had been twelve years before. Saturn, traversing the spaceof one sign in twenty-nine months plus a few days, is restored aftertwenty-nine years and about one hundred and sixty days to that in whichhe had been thirty years before. He is, as it appears, slower, becausethe nearer he is to the outermost part of the firmament, the greater isthe orbit through which he has to pass. 

11. The three that complete their circuits above the sun's course do notmake progress while they are in the triangle which he has entered, butretrograde and pause until the sun has crossed from that triangle intoanother sign. Some hold that this takes place because, as they say, whenthe sun is a great distance off, the paths on which these stars wanderare without light on account of that distance, and so the darknessretards and hinders them. But I do not think that this is so. Thesplendour of the sun is clearly to be seen, and manifest without anykind of obscurity, throughout the whole firmament, so that those veryretrograde movements and pauses of the stars are visible even to us. 

12. If then, at this great distance, our human vision can discern thatsight, why, pray, are we to think that the divine splendour of the starscan be cast into darkness? Rather will the following way of accountingfor it prove to be correct. Heat summons and attracts everything towardsitself; for instance, we see the fruits of the earth growing up highunder the influence of heat, and that spring water is vapourised anddrawn up to the clouds at sunrise. On the same principle, the mightyinfluence of the sun, with his rays diverging in the form of a triangle, attracts the stars which follow him, and, as it were, curbs andrestrains those that precede, not allowing them to make progress, butobliging them to retrograde towards himself until he passes out intothe sign that belongs to a different triangle. 

13. Perhaps the question will be raised, why the sun by his great heatcauses these detentions in the fifth sign from himself rather than inthe second or third, which are nearer. I will therefore set forth whatseems to be the reason. His rays diverge through the firmament instraight lines as though forming an equilateral triangle, that is, tothe fifth sign from the sun, no more, no less. If his rays were diffusedin circuits spreading all over the firmament, instead of in straightlines diverging so as to form a triangle, they would burn up all thenearer objects. This is a fact which the Greek poet Euripides seems tohave remarked; for he says that places at a greater distance from thesun are in a violent heat, and that those which are nearer he keepstemperate. Thus in the play of Phaethon, the poet writes: [Greek: kaieita porrô, tangythen d eukrat echei]. 

14. If then, fact and reason and the evidence of an ancient poet pointto this explanation, I do not see why we should decide otherwise than asI have written above on this subject. 

Jupiter, whose orbit is between those of Mars and Saturn, traverses alonger course than Mars, and a shorter than Saturn. Likewise with therest of these stars: the farther they are from the outermost limits ofthe heaven, and the nearer their orbits to the earth, the sooner theyare seen to finish their courses; for those of them that have a smallerorbit often pass those that are higher, going under them. 

15. For example, place seven ants on a wheel such as potters use, havingmade seven channels on the wheel about the centre, increasingsuccessively in circumference; and suppose those ants obliged to make acircuit in these channels while the wheel is turned in the oppositedirection. In spite of having to move in a direction contrary to that ofthe wheel, the ants must necessarily complete their journeys in theopposite direction, and that ant which is nearest the centre must finishits circuit sooner, while the ant that is going round at the outer edgeof the disc of the wheel must, on account of the size of its circuit, be much slower in completing its course, even though it is moving justas quickly as the other. In the same way, these stars, which struggle onagainst the course of the firmament, are accomplishing an orbit on pathsof their own; but, owing to the revolution of the heaven, they are sweptback as it goes round every day. 

16. The reason why some of these stars are temperate, others hot, andothers cold, appears to be this: that the flame of every kind of firerises to higher places. Consequently, the burning rays of the sun makethe ether above him white hot, in the regions of the course of Mars, andso the heat of the sun makes him hot. Saturn, on the contrary, beingnearest to the outermost limit of the firmament and bordering on thequarters of the heaven which are frozen, is excessively cold. Hence, Jupiter, whose course is between the orbits of these two, appears tohave a moderate and very temperate influence, intermediate between theircold and heat. 

I have now described, as I have received them from my teacher, the beltof the twelve signs and the seven stars that work and move in theopposite direction, with the laws and numerical relations under whichthey pass from sign to sign, and how they complete their orbits. I shallnext speak of the waxing and waning of the moon, according to theaccounts of my predecessors. 

CHAPTER II

THE PHASES OF THE MOON

1. According to the teaching of Berosus, who came from the state, orrather nation, of the Chaldees, and was the pioneer of Chaldean learningin Asia, the moon is a ball, one half luminous and the rest of a bluecolour. When, in the course of her orbit, she has passed below the discof the sun, she is attracted by his rays and great heat, and turnsthither her luminous side, on account of the sympathy between light andlight. Being thus summoned by the sun's disc and facing upward, herlower half, as it is not luminous, is invisible on account of itslikeness to the air. When she is perpendicular to the sun's rays, allher light is confined to her upper surface, and she is then called thenew moon. 

2. As she moves on, passing by to the east, the effect of the sun uponher relaxes, and the outer edge of the luminous side sheds its lightupon the earth in an exceedingly thin line. This is called the secondday of the moon. Day by day she is further relieved and turns, and thusare numbered the third, fourth, and following days. On the seventh day, the sun being in the west and the moon in the middle of the firmamentbetween the east and west, she is half the extent of the firmamentdistant from the sun, and therefore half of the luminous side is turnedtoward the earth. But when the sun and moon are separated by the entireextent of the firmament, and the moon is in the east with the sun overagainst her in the west, she is completely relieved by her still greaterdistance from his rays, and so, on the fourteenth day, she is at thefull, and her entire disc emits its light. On the succeeding days, up tothe end of the month, she wanes daily as she turns in her course, beingrecalled by the sun until she comes under his disc and rays, thuscompleting the count of the days of the month. 

3. But Aristarchus of Samos, a mathematician of great powers, has left adifferent explanation in his teaching on this subject, as I shall nowset forth. It is no secret that the moon has no light of her own, butis, as it were, a mirror, receiving brightness from the influence of thesun. Of all the seven stars, the moon traverses the shortest orbit, andher course is nearest to the earth. Hence in every month, on the daybefore she gets past the sun, she is under his disc and rays, and isconsequently hidden and invisible. When she is thus in conjunction withthe sun, she is called the new moon. On the next day, reckoned as hersecond, she gets past the sun and shows the thin edge of her sphere. Three days away from the sun, she waxes and grows brighter. Removingfurther every day till she reaches the seventh, when her distance fromthe sun at his setting is about one half the extent of the firmament, one half of her is luminous: that is, the half which faces toward thesun is lighted up by him. 

4. On the fourteenth day, being diametrically across the whole extent ofthe firmament from the sun, she is at her full and rises when the sun issetting. For, as she takes her place over against him and distant thewhole extent of the firmament, she thus receives the light from the sunthroughout her entire orb. On the seventeenth day, at sunrise, she isinclining to the west. On the twenty-second day, after sunrise, the moonis about mid-heaven; hence, the side exposed to the sun is bright andthe rest dark. Continuing thus her daily course, she passes under therays of the sun on about the twenty-eighth day, and so completes theaccount of the month. 

I will next explain how the sun, passing through a different sign eachmonth, causes the days and hours to increase and diminish in length. 

CHAPTER III

THE COURSE OF THE SUN THROUGH THE TWELVE SIGNS

1. The sun, after entering the sign Aries and passing through one eighthof it, determines the vernal equinox. On reaching the tail of Taurus andthe constellation of the Pleiades, from which the front half of Taurusprojects, he advances into a space greater than half the firmament, moving toward the north. From Taurus he enters Gemini at the time of therising of the Pleiades, and, getting higher above the earth, heincreases the length of the days. Next, coming from Gemini into Cancer, which occupies the shortest space in heaven, and after traversing oneeighth of it, he determines the summer solstice. Continuing on, hereaches the head and breast of Leo, portions which are reckoned asbelonging to Cancer. 

2. After leaving the breast of Leo and the boundaries of Cancer, thesun, traversing the rest of Leo, makes the days shorter, diminishing thesize of his circuit, and returning to the same course that he had inGemini. Next, crossing from Leo into Virgo, and advancing as far as thebosom of her garment, he still further shortens his circuit, making hiscourse equal to what it was in Taurus. Advancing from Virgo by way ofthe bosom of her garment, which forms the first part of Libra, hedetermines the autumn equinox at the end of one eighth of Libra. Herehis course is equal to what his circuit was in the sign Aries. 

3. When the sun has entered Scorpio, at the time of the setting of thePleiades, he begins to make the days shorter as he advances toward thesouth. From Scorpio he enters Sagittarius and, on reaching the thighs, his daily course is still further diminished. From the thighs ofSagittarius, which are reckoned as part of Capricornus, he reaches theend of the first eighth of the latter, where his course in heaven isshortest. Consequently, this season, from the shortness of the day, iscalled bruma or dies brumales. Crossing from Capricornus into Aquarius, he causes the days to increase to the length which they had when he wasin Sagittarius. From Aquarius he enters Pisces at the time when Favoniusbegins to blow, and here his course is the same as in Scorpio. In thisway the sun passes round through the signs, lengthening or shorteningthe days and hours at definite seasons. 

I shall next speak of the other constellations formed by arrangements ofstars, and lying to the right and left of the belt of the signs, in thesouthern and northern portions of the firmament. 

CHAPTER IV

THE NORTHERN CONSTELLATIONS

1. The Great Bear, called in Greek [Greek: arktos] or [Greek: helikê], has her Warden behind her. Near him is the Virgin, on whose rightshoulder rests a very bright star which we call Harbinger of theVintage, and the Greeks [Greek: protrygêtês]. But Spica in thatconstellation is brighter. Opposite there is another star, coloured, between the knees of the Bear Warden, dedicated there under the name ofArcturus. 

2. Opposite the head of the Bear, at an angle with the feet of theTwins, is the Charioteer, standing on the tip of the horn of the Bull;hence, one and the same star is found in the tip of the left horn of theBull and in the right foot of the Charioteer. Supported on the hand ofthe Charioteer are the Kids, with the She-Goat at his left shoulder. Above the Bull and the Ram is Perseus, having at his right... [11] withthe Pleiades moving beneath, and at his left the head of the Ram. Hisright hand rests on the likeness of Cassiopea, and with his left heholds the Gorgon's head by its top over the Ram, laying it at the feetof Andromeda. 

[Note 11: From this point to the end of section 3 the text is oftenhopelessly corrupt. The translation follows, approximately, themanuscript reading, but cannot pretend to be exact. ]

3. Above Andromeda are the Fishes, one above her belly and the otherabove the backbone of the Horse. A very bright star terminates both thebelly of the Horse and the head of Andromeda. Andromeda's right handrests above the likeness of Cassiopea, and her left above the NorthernFish. The Waterman's head is above that of the Horse. The Horse's hoofslie close to the Waterman's knees. Cassiopea is set apart in the midst. High above the He-Goat are the Eagle and the Dolphin, and near them isthe Arrow. Farther on is the Bird, whose right wing grazes the head andsceptre of Cepheus, with its left resting over Cassiopea. Under the tailof the Bird lie the feet of the Horse. 

4. Above the Archer, Scorpion, and Balance, is the Serpent, reaching tothe Crown with the end of its snout. Next, the Serpent-holder grasps theSerpent about the middle in his hands, and with his left foot treadssquarely on the foreparts of the Scorpion. A little way from the head ofthe Serpent-holder is the head of the so-called Kneeler. Their heads arethe more readily to be distinguished as the stars which compose them areby no means dim. 

5. The foot of the Kneeler rests on the temple of that Serpent which isentwined between the She-Bears (called Septentriones). The littleDolphin moves in front of the Horse. Opposite the bill of the Bird isthe Lyre. The Crown is arranged between the shoulders of the Warden andthe Kneeler. In the northern circle are the two She-Bears with theirshoulder-blades confronting and their breasts turned away from oneanother. The Greeks call the Lesser Bear [Greek: kynosoura], and theGreater [Greek: elikê]. Their heads face different ways, and their tailsare shaped so that each is in front of the head of the other Bear; forthe tails of both stick up over them. 

6. The Serpent is said to lie stretched out between their tails, and init there is a star, called Polus, shining near the head of the GreaterBear. At the nearest point, the Serpent winds its head round, but isalso flung in a fold round the head of the Lesser Bear, and stretchesout close to her feet. Here it twists back, making another fold, and, lifting itself up, bends its snout and right temple from the head of theLesser Bear round towards the Greater. Above the tail of the Lesser Bearare the feet of Cepheus, and at this point, at the very top, are starsforming an equilateral triangle. There are a good many stars common tothe Lesser Bear and to Cepheus. 

I have now mentioned the constellations which are arranged in the heavento the right of the east, between the belt of the signs and the north. Ishall next describe those that Nature has distributed to the left of theeast and in the southern regions. 

CHAPTER V

THE SOUTHERN CONSTELLATIONS

1. First, under the He-Goat lies the Southern Fish, facing towards thetail of the Whale. The Censer is under the Scorpion's sting. The foreparts of the Centaur are next to the Balance and the Scorpion, and heholds in his hands the figure which astronomers call the Beast. Beneaththe Virgin, Lion, and Crab is the twisted girdle formed by the Snake, extending over a whole line of stars, his snout raised near the Crab, supporting the Bowl with the middle of his body near the Lion, andbringing his tail, on which is the Raven, under and near the hand of theVirgin. The region above his shoulders is equally bright. 

2. Beneath the Snake's belly, at the tail, lies the Centaur. Near theBowl and the Lion is the ship named Argo. Her bow is invisible, but hermast and the parts about the helm are in plain sight, the stern of thevessel joining the Dog at the tip of his tail. The Little Dog followsthe Twins, and is opposite the Snake's head. The Greater Dog follows theLesser. Orion lies aslant, under the Bull's hoof; in his left handgrasping his club, and raising the other toward the Twins. 

3. At his feet is the Dog, following a little behind the Hare. The Whalelies under the Ram and the Fishes, and from his mane there is a slightsprinkling of stars, called in Greek [Greek: harpedonai], regularlydisposed towards each of the Fishes. This ligature by which they hang iscarried a great way inwards, but reaches out to the top of the mane ofthe Whale. The River, formed of stars, flows from a source at the leftfoot of Orion. But the Water, said to pour from the Waterman, flowsbetween the head of the Southern Fish and the tail of the Whale. 

4. These constellations, whose outlines and shapes in the heavens weredesigned by Nature and the divine intelligence, I have describedaccording to the view of the natural philosopher Democritus, but onlythose whose risings and settings we can observe and see with our owneyes. Just as the Bears turn round the pivot of the axis without eversetting or sinking under the earth, there are likewise stars that keepturning round the southern pivot, which on account of the inclination ofthe firmament lies always under the earth, and, being hidden there, theynever rise and emerge above the earth. Consequently, the figures whichthey form are unknown to us on account of the interposition of theearth. The star Canopus proves this. It is unknown to our vicinity; butwe have reports of it from merchants who have been to the most distantpart of Egypt, and to regions bordering on the uttermost boundaries ofthe earth. 

CHAPTER VI

ASTROLOGY AND WEATHER PROGNOSTICS

1. I have shown how the firmament, and the twelve signs with theconstellations arranged to the north and south of them, fly round theearth, so that the matter may be clearly understood. For it is from thisrevolution of the firmament, from the course of the sun through thesigns in the opposite direction, and from the shadows cast byequinoctial gnomons, that we find the figure of the analemma. 

2. As for the branch of astronomy which concerns the influences of thetwelve signs, the five stars, the sun, and the moon upon human life, wemust leave all this to the calculations of the Chaldeans, to whombelongs the art of casting nativities, which enables them to declare thepast and the future by means of calculations based on the stars. Thesediscoveries have been transmitted by the men of genius and greatacuteness who sprang directly from the nation of the Chaldeans; first ofall, by Berosus, who settled in the island state of Cos, and thereopened a school. Afterwards Antipater pursued the subject; then therewas Archinapolus, who also left rules for casting nativities, based noton the moment of birth but on that of conception. 

3. When we come to natural philosophy, however, Thales of Miletus, Anaxagoras of Clazomenae, Pythagoras of Samos, Xenophanes of Colophon, and Democritus of Abdera have in various ways investigated and left usthe laws and the working of the laws by which nature governs it. In thetrack of their discoveries, Eudoxus, Euctemon, Callippus, Meto, Philippus, Hipparchus, Aratus, and others discovered the risings andsettings of the constellations, as well as weather prognostications fromastronomy through the study of the calendars, and this study they setforth and left to posterity. Their learning deserves the admiration ofmankind; for they were so solicitous as even to be able to predict, longbeforehand, with divining mind, the signs of the weather which was tofollow in the future. On this subject, therefore, reference must be madeto their labours and investigations. 

CHAPTER VII

THE ANALEMMA AND ITS APPLICATIONS

1. In distinction from the subjects first mentioned, we must ourselvesexplain the principles which govern the shortening and lengthening ofthe day. When the sun is at the equinoxes, that is, passing throughAries or Libra, he makes the gnomon cast a shadow equal to eight ninthsof its own length, in the latitude of Rome. In Athens, the shadow isequal to three fourths of the length of the gnomon; at Rhodes to fivesevenths; at Tarentum, to nine elevenths; at Alexandria, to threefifths; and so at other places it is found that the shadows ofequinoctial gnomons are naturally different from one another. 

2. Hence, wherever a sundial is to be constructed, we must take theequinoctial shadow of the place. If it is found to be, as in Rome, equalto eight ninths of the gnomon, let a line be drawn on a plane surface, and in the middle thereof erect a perpendicular, plumb to the line, which perpendicular is called the gnomon. Then, from the line in theplane, let the line of the gnomon be divided off by the compasses intonine parts, and take the point designating the ninth part as a centre, to be marked by the letter A. Then, opening the compasses from thatcentre to the line in the plane at the point B, describe a circle. Thiscircle is called the meridian. 

3. Then, of the nine parts between the plane and the centre on thegnomon, take eight, and mark them off on the line in the plane to thepoint C. This will be the equinoctial shadow of the gnomon. From thatpoint, marked by C, let a line be drawn through the centre at the pointA, and this will represent a ray of the sun at the equinox. Then, extending the compasses from the centre to the line in the plane, markoff the equidistant points E on the left and I on the right, on the twosides of the circumference, and let a line be drawn through the centre, dividing the circle into two equal semicircles. This line is called bymathematicians the horizon. 

[Illustration]

4. Then, take a fifteenth part of the entire circumference, and, placingthe centre of the compasses on the circumference at the point where theequinoctial ray cuts it at the letter F, mark off the points G and H onthe right and left. Then lines must be drawn from these (and the centre)to the line of the plane at the points T and R, and thus, one willrepresent the ray of the sun in winter, and the other the ray in summer. Opposite E will be the point I, where the line drawn through the centreat the point A cuts the circumference; opposite G and H will be thepoints L and K; and opposite C, F, and A will be the point N. 

5. Then, diameters are to be drawn from G to L and from H to K. Theupper will denote the summer and the lower the winter portion. Thesediameters are to be divided equally in the middle at the points M and O, and those centres marked; then, through these marks and the centre A, draw a line extending to the two sides of the circumference at thepoints P and Q. This will be a line perpendicular to the equinoctialray, and it is called in mathematical figures the axis. From these samecentres open the compasses to the ends of the diameters, and describesemicircles, one of which will be for summer and the other for winter. 

6. Then, at the points at which the parallel lines cut the line calledthe horizon, the letter S is to be on the right and the letter V on theleft, and from the extremity of the semicircle, at the point G, draw aline parallel to the axis, extending to the left-hand semicircle at thepoint H. This parallel line is called the Logotomus. Then, centre thecompasses at the point where the equinoctial ray cuts that line, at theletter D, and open them to the point where the summer ray cuts thecircumference at the letter H. From the equinoctial centre, with aradius extending to the summer ray, describe the circumference of thecircle of the months, which is called Menaeus. Thus we shall have thefigure of the analemma. 

7. This having been drawn and completed, the scheme of hours is next tobe drawn on the baseplates from the analemma, according to the winterlines, or those of summer, or the equinoxes, or the months, and thusmany different kinds of dials may be laid down and drawn by thisingenious method. But the result of all these shapes and designs is inone respect the same: namely, the days of the equinoxes and of thewinter and summer solstices are always divided into twelve equal parts. Omitting details, therefore, --not for fear of the trouble, but lest Ishould prove tiresome by writing too much, --I will state by whom thedifferent classes and designs of dials have been invented. For I cannotinvent new kinds myself at this late day, nor do I think that I ought todisplay the inventions of others as my own. Hence, I will mention thosethat have come down to us, and by whom they were invented. 

CHAPTER VIII

SUNDIALS AND WATER CLOCKS

1. The semicircular form, hollowed out of a square block, and cut underto correspond to the polar altitude, is said to have been invented byBerosus the Chaldean; the Scaphe or Hemisphere, by Aristarchus of Samos, as well as the disc on a plane surface; the Arachne, by the astronomerEudoxus or, as some say, by Apollonius; the Plinthium or Lacunar, likethe one placed in the Circus Flaminius, by Scopinas of Syracuse; the[Greek: pros ta historoumena], by Parmenio; the [Greek: pros pan klima], by Theodosius and Andreas; the Pelecinum, by Patrocles; the Cone, byDionysodorus; the Quiver, by Apollonius. The men whose names are writtenabove, as well as many others, have invented and left us other kinds:as, for instance, the Conarachne, the Conical Plinthium, and theAntiborean. Many have also left us written directions for making dialsof these kinds for travellers, which can be hung up. Whoever wishes tofind their baseplates, can easily do so from the books of these writers, provided only he understands the figure of the analemma. 

2. Methods of making water clocks have been investigated by the samewriters, and first of all by Ctesibius the Alexandrian, who alsodiscovered the natural pressure of the air and pneumatic principles. Itis worth while for students to know how these discoveries came about. Ctesibius, born at Alexandria, was the son of a barber. Preëminent fornatural ability and great industry, he is said to have amused himselfwith ingenious devices. For example, wishing to hang a mirror in hisfather's shop in such a way that, on being lowered and raised again, itsweight should be raised by means of a concealed cord, he employed thefollowing mechanical contrivance. 

3. Under the roof-beam he fixed a wooden channel in which he arranged ablock of pulleys. He carried the cord along the channel to the corner, where he set up some small piping. Into this a leaden ball, attached tothe cord, was made to descend. As the weight fell into the narrow limitsof the pipe, it naturally compressed the enclosed air, and, as its fallwas rapid, it forced the mass of compressed air through the outlet intothe open air, thus producing a distinct sound by the concussion. 

4. Hence, Ctesibius, observing that sounds and tones were produced bythe contact between the free air and that which was forced from thepipe, made use of this principle in the construction of the first waterorgans. He also devised methods of raising water, automaticcontrivances, and amusing things of many kinds, including among them theconstruction of water clocks. He began by making an orifice in a pieceof gold, or by perforating a gem, because these substances are not wornby the action of water, and do not collect dirt so as to get stopped up. 

5. A regular flow of water through the orifice raises an inverted bowl, called by mechanicians the "cork" or "drum. " To this are attached a rackand a revolving drum, both fitted with teeth at regular intervals. Theseteeth, acting upon one another, induce a measured revolution andmovement. Other racks and other drums, similarly toothed and subject tothe same motion, give rise by their revolution to various kinds ofmotions, by which figures are moved, cones revolve, pebbles or eggsfall, trumpets sound, and other incidental effects take place. 

6. The hours are marked in these clocks on a column or a pilaster, and afigure emerging from the bottom points to them with a rod throughout thewhole day. Their decrease or increase in length with the different daysand months, must be adjusted by inserting or withdrawing wedges. Theshutoffs for regulating the water are constructed as follows. Two conesare made, one solid and the other hollow, turned on a lathe so that onewill go into the other and fit it perfectly. A rod is used to loosen orto bring them together, thus causing the water to flow rapidly or slowlyinto the vessels. According to these rules, and by this mechanism, waterclocks may be constructed for use in winter. 

7. But if it proves that the shortening or lengthening of the day isnot in agreement with the insertion and removal of the wedges, becausethe wedges may very often cause errors, the following arrangement willhave to be made. Let the hours be marked off transversely on the columnfrom the analemma, and let the lines of the months also be marked uponthe column. Then let the column be made to revolve, in such a way that, as it turns continuously towards the figure and the rod with which theemerging figure points to the hours, it may make the hours short or longaccording to the respective months. 

8. There is also another kind of winter dial, called the Anaphoric andconstructed in the following way. The hours, indicated by bronze rods inaccordance with the figure of the analemma, radiate from a centre on theface. Circles are described upon it, marking the limits of the months. Behind these rods there is a drum, on which is drawn and painted thefirmament with the circle of the signs. In drawing the figures of thetwelve celestial signs, one is represented larger and the next smaller, proceeding from the centre. Into the back of the drum, in the middle, arevolving axis is inserted, and round that axis is wound a flexiblebronze chain, at one end of which hangs the "cork" which is raised bythe water, and at the other a counterpoise of sand, equal in weight tothe "cork. "

9. Hence, the sand sinks as the "cork" is raised by the water, and insinking turns the axis, and the axis the drum. The revolution of thisdrum causes sometimes a larger and sometimes a smaller portion of thecircle of the signs to indicate, during the revolutions, the properlength of the hours corresponding to their seasons. For in every one ofthe signs there are as many holes as the corresponding month has days, and a boss, which seems to be holding the representation of the sun on adial, designates the spaces for the hours. This, as it is carried fromhole to hole, completes the circuit of a full month. 

10. Hence, just as the sun during his passage through the constellationsmakes the days and hours longer or shorter, so the boss on a dial, moving from point to point in a direction contrary to that of therevolution of the drum in the middle, is carried day by day sometimesover wider and sometimes over narrower spaces, giving a representationof the hours and days within the limits of each month. 

To manage the water so that it may flow regularly, we must proceed asfollows. 

11. Inside, behind the face of the dial, place a reservoir, and let thewater run down into it through a pipe, and let it have a hole at thebottom. Fastened to it is a bronze drum with an opening through whichthe water flows into it from the reservoir. Enclosed in this drum thereis a smaller one, the two being perfectly jointed together by tenon andsocket, in such a way that the smaller drum revolves closely but easilyin the larger, like a stopcock. 

12. On the lip of the larger drum there are three hundred and sixty-fivepoints, marked off at equal intervals. The rim of the smaller one has atongue fixed on its circumference, with the tip directed towards thosepoints; and also in this rim is a small opening, through which waterruns into the drum and keeps the works going. The figures of thecelestial signs being on the lip of the larger drum, and this drum beingmotionless, let the sign Cancer be drawn at the top, with Capricornusperpendicular to it at the bottom, Libra at the spectator's right, Ariesat his left, and let the other signs be given places between them asthey are seen in the heavens. 

13. Hence, when the sun is in Capricornus, the tongue on the rim touchesevery day one of the points in Capricornus on the lip of the largerdrum, and is perpendicular to the strong pressure of the running water. So the water is quickly driven through the opening in the rim to theinside of the vessel, which, receiving it and soon becoming full, shortens and diminishes the length of the days and hours. But when, owing to the daily revolution of the smaller drum, its tongue reachesthe points in Aquarius, the opening will no longer be perpendicular, andthe water must give up its vigorous flow and run in a slower stream. Thus, the less the velocity with which the vessel receives the water, the more the length of the days is increased. 

14. Then the opening in the rim passes from point to point in Aquariusand Pisces, as though going upstairs, and when it reaches the end of thefirst eighth of Aries, the fall of the water is of medium strength, indicating the equinoctial hours. From Aries the opening passes, withthe revolution of the drum, through Taurus and Gemini to the highestpoint at the end of the first eighth of Cancer, and when it reaches thatpoint, the power diminishes, and hence, with the slower flow, its delaylengthens the days in the sign Cancer, producing the hours of the summersolstice. From Cancer it begins to decline, and during its return itpasses through Leo and Virgo to the points at the end of the firsteighth of Libra, gradually shortening and diminishing the length of thehours, until it comes to the points in Libra, where it makes the hoursequinoctial once more. 

15. Finally, the opening comes down more rapidly through Scorpio andSagittarius, and on its return from its revolution to the end of thefirst eighth of Capricornus, the velocity of the stream renews once morethe short hours of the winter solstice. 

The rules and forms of construction employed in designing dials have nowbeen described as well as I could. It remains to give an account ofmachines and their principles. In order to make my treatise onarchitecture complete, I will begin to write on this subject in thefollowing book. 

BOOK X

INTRODUCTION

1. In the famous and important Greek city of Ephesus there is said to bean ancient ancestral law, the terms of which are severe, but its justiceis not inequitable. When an architect accepts the charge of a publicwork, he has to promise what the cost of it will be. His estimate ishanded to the magistrate, and his property is pledged as security untilthe work is done. When it is finished, if the outlay agrees with hisstatement, he is complimented by decrees and marks of honour. If no morethan a fourth has to be added to his estimate, it is furnished by thetreasury and no penalty is inflicted. But when more than one fourth hasto be spent in addition on the work, the money required to finish it istaken from his property. 

2. Would to God that this were also a law of the Roman people, notmerely for public, but also for private buildings. For the ignorantwould no longer run riot with impunity, but men who are well qualifiedby an exact scientific training would unquestionably adopt theprofession of architecture. Gentlemen would not be misled into limitlessand prodigal expenditure, even to ejectments from their estates, and thearchitects themselves could be forced, by fear of the penalty, to bemore careful in calculating and stating the limit of expense, so thatgentlemen would procure their buildings for that which they hadexpected, or by adding only a little more. It is true that men who canafford to devote four hundred thousand to a work may hold on, if theyhave to add another hundred thousand, from the pleasure which the hopeof finishing it gives them; but if they are loaded with a fifty per centincrease, or with an even greater expense, they lose hope, sacrificewhat they have already spent, and are compelled to leave off, broken infortune and in spirit. 

3. This fault appears not only in the matter of buildings, but also inthe shows given by magistrates, whether of gladiators in the forum or ofplays on the stage. Here neither delay nor postponement is permissible, but the necessities of the case require that everything should be readyat a fixed time, --the seats for the audience, the awning drawn overthem, and whatever, in accordance with the customs of the stage, isprovided by machinery to please the eye of the people. These mattersrequire careful thought and planning by a well trained intellect; fornone of them can be accomplished without machinery, and without hardstudy skilfully applied in various ways. 

4. Therefore, since such are our traditions and established practices, it is obviously fitting that the plans should be worked out carefully, and with the greatest attention, before the structures are begun. Consequently, as we have no law or customary practice to compel this, and as every year both praetors and aediles have to provide machineryfor the festivals, I have thought it not out of place, Emperor, since Ihave treated of buildings in the earlier books, to set forth and teachin this, which forms the final conclusion of my treatise, the principleswhich govern machines. 

CHAPTER I

MACHINES AND IMPLEMENTS

1. A machine is a combination of timbers fastened together, chieflyefficacious in moving great weights. Such a machine is set in motion onscientific principles in circular rounds, which the Greeks call [Greek:kyklikê kinêois]. There is, however, a class intended for climbing, termed in Greek [Greek: akrobatikon], another worked by air, which withthem is called [Greek: pneumatikon], and a third for hoisting; this theGreeks named [Greek: baroulkos]. In the climbing class are machines sodisposed that one can safely climb up high, by means of timbers set upon end and connected by crossbeams, in order to view operations. In thepneumatic class, air is forced by pressure to produce sounds and tonesas in an [Greek: organon]. 

2. In the hoisting class, heavy weights are removed by machines whichraise them up and set them in position. The climbing machine displays noscientific principle, but merely a spirit of daring. It is held togetherby dowels and crossbeams and twisted lashings and supporting props. Amachine that gets its motive power by pneumatic pressure will producepretty effects by scientific refinements. But the hoisting machine hasopportunities for usefulness which are greater and full of grandeur, andit is of the highest efficacy when used with intelligence. 

3. Some of these act on the principle of the [Greek: mêchanê], others onthat of the [Greek: organon]. The difference between "machines" and"engines" is obviously this, that machines need more workmen and greaterpower to make them take effect, as for instance ballistae and the beamsof presses. Engines, on the other hand, accomplish their purpose at theintelligent touch of a single workman, as the scorpio or anisocycli whenthey are turned. Therefore engines, as well as machines, are, inprinciple, practical necessities, without which nothing can beunattended with difficulties. 

4. All machinery is derived from nature, and is founded on the teachingand instruction of the revolution of the firmament. Let us but considerthe connected revolutions of the sun, the moon, and the five planets, without the revolution of which, due to mechanism, we should not havehad the alternation of day and night, nor the ripening of fruits. Thus, when our ancestors had seen that this was so, they took their modelsfrom nature, and by imitating them were led on by divine facts, untilthey perfected the contrivances which are so serviceable in our life. Some things, with a view to greater convenience, they worked out bymeans of machines and their revolutions, others by means of engines, andso, whatever they found to be useful for investigations, for the arts, and for established practices, they took care to improve step by step onscientific principles. 

5. Let us take first a necessary invention, such as clothing, and seehow the combination of warp and woof on the loom, which does its work onthe principle of an engine, not only protects the body by covering it, but also gives it honourable apparel. We should not have had food inabundance unless yokes and ploughs for oxen, and for all draughtanimals, had been invented. If there had been no provision ofwindlasses, pressbeams, and levers for presses, we could not have hadthe shining oil, nor the fruit of the vine to give us pleasure, andthese things could not be transported on land without the invention ofthe mechanism of carts or waggons, nor on the sea without that of ships. 

6. The discovery of the method of testing weights by steelyards andbalances saves us from fraud, by introducing honest practices into life. There are also innumerable ways of employing machinery about which itseems unnecessary to speak, since they are at hand every day; such asmills, blacksmiths' bellows, carriages, gigs, turning lathes, and otherthings which are habitually used as general conveniences. Hence, weshall begin by explaining those that rarely come to hand, so that theymay be understood. 

CHAPTER II

HOISTING MACHINES

1. First we shall treat of those machines which are of necessity madeready when temples and public buildings are to be constructed. Twotimbers are provided, strong enough for the weight of the load. They arefastened together at the upper end by a bolt, then spread apart at thebottom, and so set up, being kept upright by ropes attached at the upperends and fixed at intervals all round. At the top is fastened a block, which some call a "rechamus. " In the block two sheaves are enclosed, turning on axles. The traction rope is carried over the sheave at thetop, then let fall and passed round a sheave in a block below. Then itis brought back to a sheave at the bottom of the upper block, and so itgoes down to the lower block, where it is fastened through a hole inthat block. The other end of the rope is brought back and down betweenthe legs of the machine. 

2. Socket-pieces are nailed to the hinder faces of the squared timbersat the point where they are spread apart, and the ends of the windlassare inserted into them so that the axles may turn freely. Close to eachend of the windlass are two holes, so adjusted that handspikes can befitted into them. To the bottom of the lower block are fastened shearsmade of iron, whose prongs are brought to bear upon the stones, whichhave holes bored in them. When one end of the rope is fastened to thewindlass, and the latter is turned round by working the handspikes, therope winds round the windlass, gets taut, and thus it raises the load tothe proper height and to its place in the work. 

3. This kind of machinery, revolving with three sheaves, is called atrispast. When there are two sheaves turning in the block beneath andthree in the upper, the machine is termed a pentaspast. But if we haveto furnish machines for heavier loads, we must use timbers of greaterlength and thickness, providing them with correspondingly large bolts atthe top, and windlasses turning at the bottom. When these are ready, let forestays be attached and left lying slack in front; let thebackstays be carried over the shoulders of the machine to some distance, and, if there is nothing to which they can be fastened, sloping pilesshould be driven, the ground rammed down all round to fix them firmly, and the ropes made fast to them. 

4. A block should then be attached by a stout cord to the top of themachine, and from that point a rope should be carried to a pile, and toa block tied to the pile. Let the rope be put in round the sheave ofthis block, and brought back to the block that is fastened at the top ofthe machine. Round its sheave the rope should be passed, and then shouldgo down from the top, and back to the windlass, which is at the bottomof the machine, and there be fastened. The windlass is now to be turnedby means of the handspikes, and it will raise the machine of itselfwithout danger. Thus, a machine of the larger kind will be set inposition, with its ropes in their places about it, and its staysattached to the piles. Its blocks and traction ropes are arranged asdescribed above. 

5. But if the loads of material for the work are still more colossal insize and weight, we shall not entrust them to a windlass, but set in anaxle-tree, held by sockets as the windlass was, and carrying on itscentre a large drum, which some term a wheel, but the Greeks call it[Greek: amphiesis] or [Greek: perithêkion]. 

6. And the blocks in such machines are not arranged in the same, but ina different manner; for the rows of sheaves in them are doubled, both atthe bottom and at the top. The traction rope is passed through a hole inthe lower block, in such a way that the two ends of the rope are ofequal length when it is stretched out, and both portions are held thereat the lower block by a cord which is passed round them and lashed sothat they cannot come out either to the right or the left. Then the endsof the rope are brought up into the block at the top from the outside, and passed down over its lower sheaves, and so return to the bottom, andare passed from the inside to the sheaves in the lowest block, and thenare brought up on the right and left, and return to the top and roundthe highest set of sheaves. 

7. Passing over these from the outside, they are then carried to theright and left of the drum on the axle-tree, and are tied there so as tostay fast. Then another rope is wound round the drum and carried to acapstan, and when that is turned, it turns the drum and the axle-tree, the ropes get taut as they wind round regularly, and thus they raise theloads smoothly and with no danger. But if a larger drum is placed eitherin the middle or at one side, without any capstan, men can tread in itand accomplish the work more expeditiously. 

8. There is also another kind of machine, ingenious enough and easy touse with speed, but only experts can work with it. It consists of asingle timber, which is set up and held in place by stays on four sides. Two cheeks are nailed on below the stays, a block is fastened by ropesabove the cheeks, and a straight piece of wood about two feet long, sixdigits wide, and four digits thick, is put under the block. The blocksused have each three rows of sheaves side by side. Hence three tractionropes are fastened at the top of the machine. Then they are brought tothe block at the bottom, and passed from the inside round the sheavesthat are nearest the top of it. Then they are brought back to the upperblock, and passed inwards from outside round the sheaves nearest thebottom. 

9. On coming down to the block at the bottom, they are carried round itssecond row of sheaves from the inside to the outside, and brought backto the second row at the top, passing round it and returning to thebottom; then from the bottom they are carried to the summit, where theypass round the highest row of sheaves, and then return to the bottom ofthe machine. At the foot of the machine a third block is attached. TheGreeks call it [Greek: epagôn], but our people "artemon. " This blockfastened at the foot of the machine has three sheaves in it, round whichthe ropes are passed and then delivered to men to pull. Thus, three rowsof men, pulling without a capstan, can quickly raise the load to thetop. 

10. This kind of machine is called a polyspast, because of the manyrevolving sheaves to which its dexterity and despatch are due. There isalso this advantage in the erection of only a single timber, that bypreviously inclining it to the right or left as much as one wishes, theload can be set down at one side. 

All these kinds of machinery described above are, in their principles, suited not only to the purposes mentioned, but also to the loading andunloading of ships, some kinds being set upright, and others placedhorizontally on revolving platforms. On the same principle, ships can behauled ashore by means of arrangements of ropes and blocks used on theground, without setting up timbers. 

11. It may also not be out of place to explain the ingenious procedureof Chersiphron. Desiring to convey the shafts for the temple of Diana atEphesus from the stone quarries, and not trusting to carts, lest theirwheels should be engulfed on account of the great weights of the loadand the softness of the roads in the plain, he tried the following plan. Using four-inch timbers, he joined two of them, each as long as theshaft, with two crosspieces set between them, dovetailing all together, and then leaded iron gudgeons shaped like dovetails into the ends of theshafts, as dowels are leaded, and in the woodwork he fixed rings tocontain the pivots, and fastened wooden cheeks to the ends. The pivots, being enclosed in the rings, turned freely. So, when yokes of oxen beganto draw the four-inch frame, they made the shaft revolve constantly, turning it by means of the pivots and rings. 

12. When they had thus transported all the shafts, and it becamenecessary to transport the architraves, Chersiphron's son Metagenesextended the same principle from the transportation of the shafts to thebringing down of the architraves. He made wheels, each about twelve feetin diameter, and enclosed the ends of the architraves in the wheels. Inthe ends he fixed pivots and rings in the same way. So when thefour-inch frames were drawn by oxen, the wheels turned on the pivotsenclosed in the rings, and the architraves, which were enclosed likeaxles in the wheels, soon reached the building, in the same way as theshafts. The rollers used for smoothing the walks in palaestrae willserve as an example of this method. But it could not have been employedunless the distance had been short; for it is not more than eight milesfrom the stone-quarries to the temple, and there is no hill, but anuninterrupted plain. 

13. In our own times, however, when the pedestal of the colossal Apolloin his temple had cracked with age, they were afraid that the statuewould fall and be broken, and so they contracted for the cutting of apedestal from the same quarries. The contract was taken by one Paconius. This pedestal was twelve feet long, eight feet wide, and six feet high. Paconius, with confident pride, did not transport it by the method ofMetagenes, but determined to make a machine of a different sort, thoughon the same principle. 

14. He made wheels of about fifteen feet in diameter, and in thesewheels he enclosed the ends of the stone; then he fastened two-inchcrossbars from wheel to wheel round the stone, encompassing it, so thatthere was an interval of not more than one foot between bar and bar. Then he coiled a rope round the bars, yoked up his oxen, and began todraw on the rope. Consequently as it uncoiled, it did indeed cause thewheels to turn, but it could not draw them in a line straight along theroad, but kept swerving out to one side. Hence it was necessary to drawthe machine back again. Thus, by this drawing to and fro, Paconius gotinto such financial embarrassment that he became insolvent. 

15. I will digress a bit and explain how these stone-quarries werediscovered. Pixodorus was a shepherd who lived in that vicinity. Whenthe people of Ephesus were planning to build the temple of Diana inmarble, and debating whether to get the marble from Paros, Proconnesus, Heraclea, or Thasos, Pixodorus drove out his sheep and was feeding hisflock in that very spot. Then two rams ran at each other, and, eachpassing the other, one of them, after his charge, struck his hornsagainst a rock, from which a fragment of extremely white colour wasdislodged. So it is said that Pixodorus left his sheep in the mountainsand ran down to Ephesus carrying the fragment, since that very thing wasthe question of the moment. Therefore they immediately decreed honoursto him and changed his name, so that instead of Pixodorus he should becalled Evangelus. And to this day the chief magistrate goes out to thatvery spot every month and offers sacrifice to him, and if he does not, he is punished. 

CHAPTER III

THE ELEMENTS OF MOTION

1. I have briefly set forth what I thought necessary about theprinciples of hoisting machines. In them two different things, unlikeeach other, work together, as elements of their motion and power, toproduce these effects. One of them is the right line, which the Greeksterm [Greek: eutheia]; the other is the circle, which the Greeks call[Greek: kyklôtê]; but in point of fact, neither rectilinear withoutcircular motion, nor revolutions, without rectilinear motion, canaccomplish the raising of loads. I will explain this, so that it may beunderstood. 

2. As centres, axles are inserted into the sheaves, and these arefastened in the blocks; a rope carried over the sheaves, drawn straightdown, and fastened to a windlass, causes the load to move upward fromits place as the handspikes are turned. The pivots of this windlass, lying as centres in right lines in its socket-pieces, and the handspikesinserted in its holes, make the load rise when the ends of the windlassrevolve in a circle like a lathe. Just so, when an iron lever is appliedto a weight which a great many hands cannot move, with the fulcrum, which the Greeks call [Greek: hupomochlion], lying as a centre in aright line under the lever, and with the tongue of the lever placedunder the weight, one man's strength, bearing down upon the head of it, heaves up the weight. 

3. For, as the shorter fore part of the lever goes under the weight fromthe fulcrum that forms the centre, the head of it, which is farther awayfrom that centre, on being depressed, is made to describe a circularmovement, and thus by pressure brings to an equilibrium the weight of avery great load by means of a few hands. Again, if the tongue of an ironlever is placed under a weight, and its head is not pushed down, but, onthe contrary, is heaved up, the tongue, supported on the surface of theground, will treat that as the weight, and the edge of the weight itselfas the fulcrum. Thus, not so easily as by pushing down, but by motion inthe opposite direction, the weight of the load will nevertheless beraised. If, therefore, the tongue of a lever lying on a fulcrum goes toofar under the weight, and its head exerts its pressure too near thecentre, it will not be able to elevate the weight, nor can it do sounless, as described above, the length of the lever is brought toequilibrium by the depression of its head. 

4. This may be seen from the balances that we call steelyards. When thehandle is set as a centre close to the end from which the scale hangs, and the counterpoise is moved along towards the other arm of the beam, shifting from point to point as it goes farther or even reaches theextremity, a small and inferior weight becomes equal to a very heavyobject that is being weighed, on account of the equilibrium that is dueto the levelling of the beam. Thus, as it withdraws from the centre, asmall and comparatively light counterpoise, slowly turning the scale, makes a greater amount of weight rise gently upwards from below. 

5. So, too, the pilot of the biggest merchantman, grasping the steeringoar by its handle, which the Greeks call [Greek: oiax], and with onehand bringing it to the turning point, according to the rules of hisart, by pressure about a centre, can turn the ship, although she may beladen with a very large or even enormous burden of merchandise andprovisions. And when her sails are set only halfway up the mast, a shipcannot run quickly; but when the yard is hoisted to the top, she makesmuch quicker progress, because then the sails get the wind, not whenthey are too close to the heel of the mast, which represents thecentre, but when they have moved farther away from it to the top. 

6. As a lever thrust under a weight is harder to manage, and does notput forth its strength, if the pressure is exerted at the centre, buteasily raises the weight when the extreme end of it is pushed down, sosails that are only halfway up have less effect, but when they getfarther away from the centre, and are hoisted to the very top of themast, the pressure at the top forces the ship to make greater progress, though the wind is no stronger but just the same. Again, take the caseof oars, which are fastened to the tholes by loops, --when they arepushed forward and drawn back by the hand, if the ends of the blades areat some distance from the centre, the oars foam with the waves of thesea and drive the ship forward in a straight line with a mighty impulse, while her prow cuts through the rare water. 

7. And when the heaviest burdens are carried on poles by four or sixporters at a time, they find the centres of balance at the very middleof the poles, so that, by distributing the dead weight of the burdenaccording to a definitely proportioned division, each labourer may havean equal share to carry on his neck. For the poles, from which thestraps for the burden of the four porters hang, are marked off at theircentres by nails, to prevent the straps from slipping to one side. Ifthey shift beyond the mark at the centre, they weigh heavily upon theplace to which they have come nearer, like the weight of a steelyardwhen it moves from the point of equilibrium towards the end of theweighing apparatus. 

8. In the same way, oxen have an equal draught when their yoke isadjusted at its middle by the yokestrap to the pole. But when theirstrength is not the same, and the stronger outdoes the other, the strapis shifted so as to make one side of the yoke longer, which helps theweaker ox. Thus, in the case of both poles and yokes, when the strapsare not fastened at the middle, but at one side, the farther the strapmoves from the middle, the shorter it makes one side, and the longer theother. So, if both ends are carried round in circles, using as a centrethe point to which the strap has been brought, the longer end willdescribe a larger, and the shorter end a smaller circle. 

9. Just as smaller wheels move harder and with greater difficulty thanlarger ones, so, in the case of the poles and yokes, the parts where theinterval from centre to end is less, bear down hard upon the neck, butwhere the distance from the same centre is greater, they ease the burdenboth for draught and carriage. As in all these cases motion is obtainedby means of right lines at the centre and by circles, so also farmwaggons, travelling carriages, drums, mills, screws, scorpiones, ballistae, pressbeams, and all other machines, produce the resultsintended, on the same principles, by turning about a rectilinear axisand by the revolution of a circle. 

CHAPTER IV

ENGINES FOR RAISING WATER

1. I shall now explain the making of the different kinds of engineswhich have been invented for raising water, and will first speak of thetympanum. Although it does not lift the water high, it raises a greatquantity very quickly. An axle is fashioned on a lathe or with thecompasses, its ends are shod with iron hoops, and it carries round itsmiddle a tympanum made of boards joined together. It rests on postswhich have pieces of iron on them under the ends of the axle. In theinterior of this tympanum there are eight crosspieces set at intervals, extending from the axle to the circumference of the tympanum, anddividing the space in the tympanum into equal compartments. 

2. Planks are nailed round the face of it, leaving six-inch apertures toadmit the water. At one side of it there are also holes, like those of adovecot, next to the axle, one for each compartment. After being smearedwith pitch like a ship, the thing is turned by the tread of men, andraising the water by means of the apertures in the face of the tympanum, delivers it through the holes next to the axle into a wooden trough setunderneath, with a conduit joined to it. Thus, a large quantity of wateris furnished for irrigation in gardens, or for supplying the needs ofsaltworks. 

3. But when it has to be raised higher, the same principle will bemodified as follows. A wheel on an axle is to be made, large enough toreach the necessary height. All round the circumference of the wheelthere will be cubical boxes, made tight with pitch and wax. So, when thewheel is turned by treading, the boxes, carried up full and againreturning to the bottom, will of themselves discharge into the reservoirwhat they have carried up. 

4. But, if it has to be supplied to a place still more high, a doubleiron chain, which will reach the surface when let down, is passed roundthe axle of the same wheel, with bronze buckets attached to it, eachholding about six pints. The turning of the wheel, winding the chainround the axle, will carry the buckets to the top, and as they passabove the axle they must tip over and deliver into the reservoir whatthey have carried up. 

CHAPTER V

WATER WHEELS AND WATER MILLS

1. Wheels on the principles that have been described above are alsoconstructed in rivers. Round their faces floatboards are fixed, which, on being struck by the current of the river, make the wheel turn as theymove, and thus, by raising the water in the boxes and bringing it to thetop, they accomplish the necessary work through being turned by the mereimpulse of the river, without any treading on the part of workmen. 

2. Water mills are turned on the same principle. Everything is the samein them, except that a drum with teeth is fixed into one end of theaxle. It is set vertically on its edge, and turns in the same plane withthe wheel. Next to this larger drum there is a smaller one, also withteeth, but set horizontally, and this is attached (to the millstone). Thus the teeth of the drum which is fixed to the axle make the teeth ofthe horizontal drum move, and cause the mill to turn. A hopper, hangingover this contrivance, supplies the mill with corn, and meal is producedby the same revolution. 

CHAPTER VI

THE WATER SCREW

1. There is also the method of the screw, which raises a great quantityof water, but does not carry it as high as does the wheel. The method ofconstructing it is as follows. A beam is selected, the thickness ofwhich in digits is equivalent to its length in feet. This is madeperfectly round. The ends are to be divided off on their circumferencewith the compass into eight parts, by quadrants and octants, and let thelines be so placed that, if the beam is laid in a horizontal position, the lines on the two ends may perfectly correspond with each other, andintervals of the size of one eighth part of the circumference of thebeam may be laid off on the length of it. Then, placing the beam in ahorizontal position, let perfectly straight lines be drawn from one endto the other. So the intervals will be equal in the directions both ofthe periphery and of the length. Where the lines are drawn along thelength, the cutting circles will make intersections, and definite pointsat the intersections. 

[Illustration: CONSTRUCTION OF THE WATER SCREW]

[Illustration: THE WATER SCREW

(From the edition of Vitruvius by Fra Giocondo, Venice, 1511)]

2. When these lines have been correctly drawn, a slender withe ofwillow, or a straight piece cut from the agnus castus tree, is taken, smeared with liquid pitch, and fastened at the first point ofintersection. Then it is carried across obliquely to the succeedingintersections of longitudinal lines and circles, and as it advances, passing each of the points in due order and winding round, it isfastened at each intersection; and so, withdrawing from the first to theeighth point, it reaches and is fastened to the line to which its firstpart was fastened. Thus, it makes as much progress in its longitudinaladvance to the eighth point as in its oblique advance over eightpoints. In the same manner, withes for the eight divisions of thediameter, fastened obliquely at the intersections on the entirelongitudinal and peripheral surface, make spiral channels whichnaturally look just like those of a snail shell. 

3. Other withes are fastened on the line of the first, and on thesestill others, all smeared with liquid pitch, and built up until thetotal diameter is equal to one eighth of the length. These are coveredand surrounded with boards, fastened on to protect the spiral. Thenthese boards are soaked with pitch, and bound together with strips ofiron, so that they may not be separated by the pressure of the water. The ends of the shaft are covered with iron. To the right and left ofthe screw are beams, with crosspieces fastening them together at bothends. In these crosspieces are holes sheathed with iron, and into thempivots are introduced, and thus the screw is turned by the treading ofmen. 

4. It is to be set up at an inclination corresponding to that which isproduced in drawing the Pythagorean right-angled triangle: that is, letits length be divided into five parts; let three of them denote theheight of the head of the screw; thus the distance from the base of theperpendicular to the nozzle of the screw at the bottom will be equal tofour of those parts. A figure showing how this ought to be, has beendrawn at the end of the book, right on the back. 

I have now described as clearly as I could, to make them better known, the principles on which wooden engines for raising water areconstructed, and how they get their motion so that they may be ofunlimited usefulness through their revolutions. 

CHAPTER VII

THE PUMP OF CTESIBIUS

1. Next I must tell about the machine of Ctesibius, which raises waterto a height. It is made of bronze, and has at the bottom a pair ofcylinders set a little way apart, and there is a pipe connected witheach, the two running up, like the prongs of a fork, side by side to avessel which is between the cylinders. In this vessel are valves, accurately fitting over the upper vents of the pipes, which stop up theventholes, and keep what has been forced by pressure into the vesselfrom going down again. 

2. Over the vessel a cowl is adjusted, like an inverted funnel, andfastened to the vessel by means of a wedge thrust through a staple, toprevent it from being lifted off by the pressure of the water that isforced in. On top of this a pipe is jointed, called the trumpet, whichstands up vertically. Valves are inserted in the cylinders, beneath thelower vents of the pipes, and over the openings which are in the bottomsof the cylinders. 

3. Pistons smoothly turned, rubbed with oil, and inserted from aboveinto the cylinders, work with their rods and levers upon the air andwater in the cylinders, and, as the valves stop up the openings, forceand drive the water, by repeated pressure and expansion, through thevents of the pipes into the vessel, from which the cowl receives theinflated currents, and sends them up through the pipe at the top; and sowater can be supplied for a fountain from a reservoir at a lower level. 

4. This, however, is not the only apparatus which Ctesibius is said tohave thought out, but many more of various kinds are shown by him toproduce effects, borrowed from nature, by means of water pressure andcompression of the air; as, for example, blackbirds singing by means ofwaterworks, and "angobatae, " and figures that drink and move, and otherthings that are found to be pleasing to the eye and the ear. 

5. Of these I have selected what I considered most useful and necessary, and have thought it best to speak in the preceding book abouttimepieces, and in this about the methods of raising water. The rest, which are not subservient to our needs, but to pleasure and amusement, may be found in the commentaries of Ctesibius himself by any who areinterested in such refinements. 

CHAPTER VIII

THE WATER ORGAN

1. With regard to water organs, however, I shall not fail with allpossible brevity and precision to touch upon their principles, and togive a sufficient description of them. A wooden base is constructed, andon it is set an altar-shaped box made of bronze. Uprights, fastenedtogether like ladders, are set up on the base, to the right and to theleft (of the altar). They hold the bronze pump-cylinders, the moveablebottoms of which, carefully turned on a lathe, have iron elbows fastenedto their centres and jointed to levers, and are wrapped in fleeces ofwool. In the tops of the cylinders are openings, each about three digitsin diameter. Close to these openings are bronze dolphins, mounted onjoints and holding chains in their mouths, from which hang cymbal-shapedvalves, let down under the openings in the cylinders. 

2. Inside the altar, which holds the water, is a regulator shaped likean inverted funnel, under which there are cubes, each about three digitshigh, keeping a free space below between the lips of the regulator andthe bottom of the altar. Tightly fixed on the neck of the regulator isthe windchest, which supports the principal part of the contrivance, called in Greek the [Greek: kanôn mousikos]. Running longitudinally, there are four channels in it if it is a tetrachord; six, if it is ahexachord; eight, if it is an octachord. 

3. Each of the channels has a cock in it, furnished with an iron handle. These handles, when turned, open ventholes from the windchest into thechannels. From the channels to the canon there are vertical openingscorresponding to ventholes in a board above, which board is termed[Greek: pinax] in Greek. Between this board and the canon are insertedsliders, pierced with holes to correspond, and rubbed with oil so thatthey can be easily moved and slid back into place again. They close theabove-mentioned openings, and are called the plinths. Their going andcoming now closes and now opens the holes. 

4. These sliders have iron jacks fixed to them, and connected with thekeys, and the keys, when touched, make the sliders move regularly. Tothe upper surface of the openings in the board, where the wind findsegress from the channels, rings are soldered, and into them the reeds ofall the organ pipes are inserted. From the cylinders there areconnecting pipes attached to the neck of the regulator, and directedtowards the ventholes in the windchest. In the pipes are valves, turnedon a lathe, and set (where the pipes are connected with the cylinders). When the windchest has received the air, these valves will stop up theopenings, and prevent the wind from coming back again. 

5. So, when the levers are raised, the elbows draw down the bottoms ofthe cylinders as far as they can go; and the dolphins, which are mountedon joints, let the cymbals fall into the cylinders, thus filling theinteriors with air. Then the elbows, raising the bottoms within thecylinders by repeated and violent blows, and stopping the openings aboveby means of the cymbals, compress the air which is enclosed in thecylinders, and force it into the pipes, through which it runs into theregulator, and through its neck into the windchest. With a strongermotion of the levers, the air is still more compressed, streams throughthe apertures of the cocks, and fills the channels with wind. 

6. So, when the keys, touched by the hand, drive the sliders forward anddraw them back regularly, alternately stopping and opening the holes, they produce resonant sounds in a great variety of melodies conformingto the laws of music. 

With my best efforts I have striven to set forth an obscure subjectclearly in writing, but the theory of it is not easy, nor readilyunderstood by all, save only those who have had some practice in thingsof this kind. If anybody has failed to understand it, he will certainlyfind, when he comes to know the thing itself, that it is carefully andexquisitely contrived in all respects. 

CHAPTER IX

THE HODOMETER

1. The drift of our treatise now turns to a useful invention of thegreatest ingenuity, transmitted by our predecessors, which enables us, while sitting in a carriage on the road or sailing by sea, to know howmany miles of a journey we have accomplished. This will be possible asfollows. Let the wheels of the carriage be each four feet in diameter, so that if a wheel has a mark made upon it, and begins to move forwardfrom that mark in making its revolution on the surface of the road, itwill have covered the definite distance of twelve and a half feet onreaching that mark at which it began to revolve. 

2. Having provided such wheels, let a drum with a single toothprojecting beyond the face of its circumference be firmly fastened tothe inner side of the hub of the wheel. Then, above this, let a case befirmly fastened to the body of the carriage, containing a revolving drumset on edge and mounted on an axle; on the face of the drum there arefour hundred teeth, placed at equal intervals, and engaging the tooth ofthe drum below. The upper drum has, moreover, one tooth fixed to itsside and standing out farther than the other teeth. 

3. Then, above, let there be a horizontal drum, similarly toothed andcontained in another case, with its teeth engaging the tooth fixed tothe side of the second drum, and let as many holes be made in this(third) drum as will correspond to the number of miles--more or less, itdoes not matter--that a carriage can go in a day's journey. Let a smallround stone be placed in every one of these holes, and in the receptacleor case containing that drum let one hole be made, with a small pipeattached, through which, when they reach that point, the stones placedin the drum may fall one by one into a bronze vessel set underneath inthe body, of the carriage. 

4. Thus, as the wheel in going forward carries with it the lowest drum, and as the tooth of this at every revolution strikes against the teethof the upper drum, and makes it move along, the result will be that theupper drum is carried round once for every four hundred revolutions ofthe lowest, and that the tooth fixed to its side pushes forward onetooth of the horizontal drum. Since, therefore, with four hundredrevolutions of the lowest drum, the upper will revolve once, theprogress made will be a distance of five thousand feet or one mile. Hence, every stone, making a ringing sound as it falls, will givewarning that we have gone one mile. The number of stones gathered frombeneath and counted, will show the number of miles in the day's journey. 

5. On board ship, also, the same principles may be employed with a fewchanges. An axle is passed through the sides of the ship, with its endsprojecting, and wheels are mounted on them, four feet in diameter, withprojecting floatboards fastened round their faces and striking thewater. The middle of the axle in the middle of the ship carries a drumwith one tooth projecting beyond its circumference. Here a case isplaced containing a drum with four hundred teeth at regular intervals, engaging the tooth of the drum that is mounted on the axle, and havingalso one other tooth fixed to its side and projecting beyond itscircumference. 

6. Above, in another case fastened to the former, is a horizontal drumtoothed in the same way, and with its teeth engaging the tooth fixed tothe side of the drum that is set on edge, so that one of the teeth ofthe horizontal drum is struck at each revolution of that tooth, and thehorizontal drum is thus made to revolve in a circle. Let holes be madein the horizontal drum, in which holes small round stones are to beplaced. In the receptacle or case containing that drum, let one hole beopened with a small pipe attached, through which a stone, as soon as theobstruction is removed, falls with a ringing sound into a bronze vessel. 

7. So, when a ship is making headway, whether under oars or under a galeof wind, the floatboards on the wheels will strike against the water andbe driven violently back, thus turning the wheels; and they, revolving, will move the axle, and the axle the drum, the tooth of which, as itgoes round, strikes one of the teeth of the second drum at eachrevolution, and makes it turn a little. So, when the floatboards havecaused the wheels to revolve four hundred times, this drum, havingturned round once, will strike a tooth of the horizontal drum with thetooth that is fixed to its side. Hence, every time the turning of thehorizontal drum brings a stone to a hole, it will let the stone outthrough the pipe. Thus by the sound and the number, the length of thevoyage will be shown in miles. 

I have described how to make things that may be provided for use andamusement in times that are peaceful and without fear. 

CHAPTER X

CATAPULTS OR SCORPIONES

1. I shall next explain the symmetrical principles on which scorpionesand ballistae may be constructed, inventions devised for defence againstdanger, and in the interest of self-preservation. 

The proportions of these engines are all computed from the given lengthof the arrow which the engine is intended to throw, and the size of theholes in the capitals, through which the twisted sinews that hold thearms are stretched, is one ninth of that length. 

2. The height and breadth of the capital itself must then conform to thesize of the holes. The boards at the top and bottom of the capital, which are called "peritreti, " should be in thickness equal to one hole, and in breadth to one and three quarters, except at their extremities, where they equal one hole and a half. The sideposts on the right andleft should be four holes high, excluding the tenons, and five twelfthsof a hole thick; the tenons, half a hole. The distance from a sidepostto the hole is one quarter of a hole, and it is also one quarter of ahole from the hole to the post in the middle. The breadth of the postin the middle is equal to one hole and one eighth, the thickness, to onehole. 

3. The opening in the middle post, where the arrow is laid, is equal toone fourth of the hole. The four surrounding corners should have ironplates nailed to their sides and faces, or should be studded with bronzepins and nails. The pipe, called [Greek: syrigx] in Greek, has a lengthof nineteen holes. The strips, which some term cheeks, nailed at theright and left of the pipe, have a length of nineteen holes and a heightand thickness of one hole. Two other strips, enclosing the windlass, arenailed on to these, three holes long and half a hole in breadth. Thecheek nailed on to them, named the "bench, " or by some the "box, " andmade fast by means of dove-tailed tenons, is one hole thick and seventwelfths of a hole in height. The length of the windlass is equalto... [12] holes, the thickness of the windlass to three quarters of ahole. 

[Note 12: The dots here and in what follows, indicate lacunae inthe manuscripts. ]

4. The latch is seven twelfths of a hole in length and one quarter inthickness. So also its socket-piece. The trigger or handle is threeholes in length and three quarters of a hole in breadth and thickness. The trough in the pipe is sixteen holes in length, one quarter of a holein thickness, and three quarters in height. The base of the standard onthe ground is equal to eight holes; the breadth of the standard where itis fastened into the plinth is three quarters of a hole, its thicknesstwo thirds of a hole; the height of the standard up to the tenon istwelve holes, its breadth three quarters of a hole, and its thicknesstwo thirds. It has three struts, each nine holes in length, half a holein breadth, and five twelfths in thickness. The tenon is one hole inlength, and the head of the standard one hole and a half in length. 

5. The antefix has the breadth of a hole and one eighth, and thethickness of one hole. The smaller support, which is behind, termed inGreek [Greek: antibasis], is eight holes long, three quarters of a holebroad, and two thirds thick. Its prop is twelve holes long, and has thesame breadth and thickness as the smaller support just mentioned. Abovethe smaller support is its socket-piece, or what is called the cushion, two and a half holes long, one and a half high, and three quarters of ahole broad. The windlass cup is two and seven twelfths holes long, twothirds of a hole thick, and three quarters broad. The crosspieces withtheir tenons have the length of... Holes, the breadth of three quarters, and the thickness of two thirds of a hole. The length of an arm is sevenholes, its thickness at its base two thirds of a hole, and at its endone half a hole; its curvature is equal to two thirds of a hole. 

6. These engines are constructed according to these proportions or withadditions or diminutions. For, if the height of the capitals is greaterthan their width--when they are called "high-tensioned, "--somethingshould be taken from the arms, so that the more the tension is weakenedby height of the capitals, the more the strength of the blow isincreased by shortness of the arms. But if the capital is lesshigh, --when the term "low-tensioned" is used, --the arms, on account oftheir strength, should be made a little longer, so that they may bedrawn easily. Just as it takes four men to raise a load with a leverfive feet long, and only two men to lift the same load with a ten-footlever, so the longer the arms, the easier they are to draw, and theshorter, the harder. 

I have now spoken of the principles applicable to the parts andproportions of catapults. 

CHAPTER XI

BALLISTAE

1. Ballistae are constructed on varying principles to produce anidentical result. Some are worked by handspikes and windlasses, some byblocks and pulleys, others by capstans, others again by means of drums. No ballista, however, is made without regard to the given amount ofweight of the stone which the engine is intended to throw. Hence theirprinciple is not easy for everybody, but only for those who haveknowledge of the geometrical principles employed in calculation and inmultiplication. 

2. For the holes made in the capitals through the openings of which arestretched the strings made of twisted hair, generally women's, or ofsinew, are proportionate to the amount of weight in the stone which theballista is intended to throw, and to the principle of mass, as incatapults the principle is that of the length of the arrow. Therefore, in order that those who do not understand geometry may be preparedbeforehand, so as not to be delayed by having to think the matter out ata moment of peril in war, I will set forth what I myself know byexperience can be depended upon, and what I have in part gathered fromthe rules of my teachers, and wherever Greek weights bear a relation tothe measures, I shall reduce and explain them so that they will expressthe same corresponding relation in our weights. 

3. A ballista intended to throw a two-pound stone will have a hole offive digits in its capital; four pounds, six digits; and six pounds, seven digits; ten pounds, eight digits; twenty pounds, ten digits; fortypounds, twelve and a half digits; sixty pounds, thirteen and a halfdigits; eighty pounds, fifteen and three quarters digits; one hundredpounds, one foot and one and a half digits; one hundred and twentypounds, one foot and two digits; one hundred and forty pounds, one footand three digits; one hundred and sixty pounds, one foot and a quarter;one hundred and eighty pounds, one foot and five digits; two hundredpounds, one foot and six digits; two hundred and forty pounds, one footand seven digits; two hundred and eighty pounds, one foot and a half;three hundred and twenty pounds, one foot and nine digits; three hundredand sixty pounds, one foot and ten digits. 

4. Having determined the size of the hole, design the "scutula, " termedin Greek [Greek: peritrêtos], ... Holes in length and two and one sixthin breadth. Bisect it by a line drawn diagonally from the angles, andafter this bisecting bring together the outlines of the figure so thatit may present a rhomboidal design, reducing it by one sixth of itslength and one fourth of its breadth at the (obtuse) angles. In thepart composed by the curvatures into which the points of the angles runout, let the holes be situated, and let the breadth be reduced by onesixth; moreover, let the hole be longer than it is broad by thethickness of the bolt. After designing the scutula, let its outline beworked down to give it a gentle curvature. 

5. It should be given the thickness of seven twelfths of a hole. Theboxes are two holes (in height), one and three quarters in breadth, twothirds of a hole in thickness except the part that is inserted in thehole, and at the top one third of a hole in breadth. The sideposts arefive holes and two thirds in length, their curvature half a hole, andtheir thickness thirty-seven forty-eighths of a hole. In the middletheir breadth is increased as much as it was near the hole in thedesign, by the breadth and thickness of... Hole; the height by onefourth of a hole. 

6. The (inner) strip on the "table" has a length of eight holes, abreadth and thickness of half a hole. Its tenons are one hole and onesixth long, and one quarter of a hole in thickness. The curvature ofthis strip is three quarters of a hole. The outer strip has the samebreadth and thickness (as the inner), but the length is given by theobtuse angle of the design and the breadth of the sidepost at itscurvature. The upper strips are to be equal to the lower; thecrosspieces of the "table, " one half of a hole. 

7. The shafts of the "ladder" are thirteen holes in length, one hole inthickness; the space between them is one hole and a quarter in breadth, and one and one eighth in depth. Let the entire length of the ladder onits upper surface--which is the one adjoining the arms and fastened tothe table--be divided into five parts. Of these let two parts be givento the member which the Greeks call the [Greek: chelônion], its breadthbeing one and one sixth, its thickness one quarter, and its lengtheleven holes and one half; the claw projects half a hole and the"winging" three sixteenths of a hole. What is at the axis which istermed the... Face... The crosspieces of three holes?

8. The breadth of the inner slips is one quarter of a hole; theirthickness one sixth. The cover-joint or lid of the chelonium isdove-tailed into the shafts of the ladder, and is three sixteenths of ahole in breadth and one twelfth in thickness. The thickness of thesquare piece on the ladder is three sixteenths of a hole, ... Thediameter of the round axle will be equal to that of the claw, but at thepivots seven sixteenths of a hole. 

9. The stays are... Holes in length, one quarter of a hole in breadth atthe bottom, and one sixth in thickness at the top. The base, termed[Greek: eschara], has the length of... Holes, and the anti-base of fourholes; each is one hole in thickness and breadth. A supporter is jointedon, halfway up, one and one half holes in breadth and thickness. Itsheight bears no relation to the hole, but will be such as to beserviceable. The length of an arm is six holes, its thickness at thebase two thirds of a hole, and at the end one half a hole. 

I have now given those symmetrical proportions of ballistae andcatapults which I thought most useful. But I shall not omit, so far as Ican express it in writing, the method of stretching and tuning theirstrings of twisted sinew or hair. 

CHAPTER XII

THE STRINGING AND TUNING OF CATAPULTS

1. Beams of very generous length are selected, and upon them are nailedsocket-pieces in which windlasses are inserted. Midway along theirlength the beams are incised and cut away to form framings, and in thesecuttings the capitals of the catapults are inserted, and prevented bywedges from moving when the stretching is going on. Then the bronzeboxes are inserted into the capitals, and the little iron bolts, whichthe Greeks call [Greek: epizygides], are put in their places in theboxes. 

2. Next, the loops of the strings are put through the holes in thecapitals, and passed through to the other side; next, they are put uponthe windlasses, and wound round them in order that the strings, stretched out taut on them by means of the handspikes, on being struckby the hand, may respond with the same sound on both sides. Then theyare wedged tightly into the holes so that they cannot slacken. So, inthe same manner, they are passed through to the other side, andstretched taut on the windlasses by means of the handspikes until theygive the same sound. Thus with tight wedging, catapults are tuned to theproper pitch by musical sense of hearing. 

On these things I have said what I could. There is left for me, in thematter of sieges, to explain how generals can win victories and citiesbe defended, by means of machinery. 

CHAPTER XIII

SIEGE MACHINES

1. It is related that the battering ram for sieges was originallyinvented as follows. The Carthaginians pitched their camp for the siegeof Cadiz. They captured an outwork and attempted to destroy it. Buthaving no iron implements for its destruction, they took a beam, and, raising it with their hands, and driving the end of it repeatedlyagainst the top of the wall, they threw down the top courses of stones, and thus, step by step in regular order, they demolished the entireredoubt. 

2. Afterwards a carpenter from Tyre, Bright by name and by nature, wasled by this invention into setting up a mast from which he hung anothercrosswise like a steelyard, and so, by swinging it vigorously to andfro, he threw down the wall of Cadiz. Geras of Chalcedon was the firstto make a wooden platform with wheels under it, upon which heconstructed a framework of uprights and crosspieces, and within it hehung the ram, and covered it with oxhide for the better protection ofthe men who were stationed in the machine to batter the wall. As themachine made but slow progress, he first gave it the name of thetortoise of the ram. 

3. These were the first steps then taken towards that kind of machinery, but afterwards, when Philip, the son of Amyntas, was besiegingByzantium, it was developed in many varieties and made handier byPolyidus the Thessalian. His pupils were Diades and Charias, who servedwith Alexander. Diades shows in his writings that he invented moveabletowers, which he used also to take apart and carry round with the army, and likewise the borer, and the scaling machine, by means of which onecan cross over to the wall on a level with the top of it, as well as thedestroyer called the raven, or by others the crane. 

4. He also employed the ram mounted on wheels, an account of which heleft in his writings. As for the tower, he says that the smallest shouldbe not less than sixty cubits in height and seventeen in breadth, butdiminishing to one fifth less at the top; the uprights for the towerbeing nine inches at the bottom and half a foot at the top. Such atower, he says, ought to be ten stories high, with windows in it on allsides. 

5. His larger tower, he adds, was one hundred and twenty cubits high andtwenty-three and one half cubits broad, diminishing like the other toone fifth less; the uprights, one foot at the bottom and six digits atthe top. He made this large tower twenty stories high, each story havinga gallery round it, three cubits wide. He covered the towers withrawhide to protect them from any kind of missile. 

6. The tortoise of the battering ram was constructed in the same way. Ithad, however, a base of thirty cubits square, and a height, excludingthe pediment, of thirteen cubits; the height of the pediment from itsbed to its top was seven cubits. Issuing up and above the middle of theroof for not less than two cubits was a gable, and on this was reared asmall tower four stories high, in which, on the top floor, scorpionesand catapults were set up, and on the lower floors a great quantity ofwater was stored, to put out any fire that might be thrown on thetortoise. Inside of this was set the machinery of the ram, termed inGreek [Greek: kriodochê], in which was placed a roller, turned on alathe, and the ram, being set on top of this, produced its greateffects when swung to and fro by means of ropes. It was protected, likethe tower, with rawhide. 

7. He explained the principles of the borer as follows: that the machineitself resembled the tortoise, but that in the middle it had a pipelying between upright walls, like the pipe usually found in catapultsand ballistae, fifty cubits in length and one cubit in height, in whicha windlass was set transversely. On the right and left, at the end ofthe pipe, were two blocks, by means of which the iron-pointed beam, which lay in the pipe, was moved. There were numerous rollers enclosedin the pipe itself under the beam, which made its movements quicker andstronger. Numerous arches were erected along the pipe above the beamwhich was in it, to hold up the rawhide in which this machine wasenveloped. 

8. He thought it needless to write about the raven, because he saw thatthe machine was of no value. With regard to the scaling machine, termedin Greek [Greek: epibathra], and the naval contrivances which, as hewrote, could be used in boarding ships, I have observed that he merelypromised with some earnestness to explain their principles, but that hehas not done so. 

I have set forth what was written by Diades on machines and theirconstruction. I shall now set forth the methods which I have learnedfrom my teachers, and which I myself believe to be useful. 

CHAPTER XIV

THE TORTOISE

1. A tortoise intended for the filling of ditches, and thereby to makeit possible to reach the wall, is to be made as follows. Let a base, termed in Greek [Greek: eschara], be constructed, with each of its sidestwenty-one feet long, and with four crosspieces. Let these be heldtogether by two others, two thirds of a foot thick and half a footbroad; let the crosspieces be about three feet and a half apart, andbeneath and in the spaces between them set the trees, termed in Greek[Greek: hamaxopodes], in which the axles of the wheels turn in ironhoops. Let the trees be provided with pivots, and also with holesthrough which levers are passed to make them turn, so that the tortoisecan move forward or back or towards its right or left side, or ifnecessary obliquely, all by the turning of the trees. 

2. Let two beams be laid on the base, projecting for six feet on eachside, round the projections of which let two other beams be nailed, projecting seven feet beyond the former, and of the thickness andbreadth prescribed in the case of the base. On this framework set upposts mortised into it, nine feet high exclusive of their tenons, onefoot and a quarter square, and one foot and a half apart. Let the postsbe tied together at the top by mortised beams. Over the beams let therafters be set, tied one into another by means of tenons, and carried uptwelve feet high. Over the rafters set the square beam by which therafters are bound together. 

3. Let the rafters themselves be held together by bridgings, and coveredwith boards, preferably of holm oak, or, this failing, of any othermaterial which has the greatest strength, except pine or alder. Forthese woods are weak and easily catch fire. Over the boardings let therebe placed wattles very closely woven of thin twigs as fresh as possible. Let the entire machine be covered with rawhide sewed together double andstuffed with seaweed or straw soaked in vinegar. In this way the blowsof ballistae and the force of fires will be repelled by them. 

CHAPTER XV

HEGETOR'S TORTOISE

[Illustration: HEGETOR'S RAM AND TORTOISE

1. From a MS. Of the sixteenth century (Wescher's Poliorcétique desGrecs). 

2. From a model made by A. A. Howard. ]

1. There is also another kind of tortoise, which has all the otherdetails as described above except the rafters, but it has round it aparapet and battlements of boards, and eaves sloping downwards, andis covered with boards and hides firmly fastened in place. Above thislet clay kneaded with hair be spread to such a thickness that firecannot injure the machine. These machines can, if need be, have eightwheels, should it be necessary to modify them with reference to thenature of the ground. Tortoises, however, which are intended forexcavating, termed in Greek [Greek: oryktides], have all the otherdetails as described above, but their fronts are constructed like theangles of triangles, in order that when missiles are shot against themfrom a wall, they may receive the blows not squarely in front, butglancing from the sides, and those excavating within may be protectedwithout danger. 

2. It does not seem to me out of place to set forth the principles onwhich Hegetor of Byzantium constructed a tortoise. The length of itsbase was sixty-three feet, the breadth forty-two. The corner posts, fourin number, which were set upon this framework, were made of two timberseach, and were thirty-six feet high, a foot and a quarter thick, and afoot and a half broad. The base had eight wheels by means of which itwas moved about. The height of these wheels was six and three quartersfeet, their thickness three feet. Thus constructed of three pieces ofwood, united by alternate opposite dovetails and bound together bycold-drawn iron plates, they revolved in the trees or amaxopodes. 

3. Likewise, on the plane of the crossbeams above the base, were erectedposts eighteen feet high, three quarters of a foot broad, two thirds ofa foot thick, and a foot and three quarters apart; above these, framedbeams, a foot broad and three quarters of a foot thick, held the wholestructure together; above this the rafters were raised, with anelevation of twelve feet; a beam set above the rafters united theirjoinings. They also had bridgings fastened transversely, and a flooringlaid on them protected the parts beneath. 

4. It had, moreover, a middle flooring on girts, where scorpiones andcatapults were placed. There were set up, also, two framed uprightsforty-five feet long, a foot and a half in thickness, and three quartersof a foot in breadth, joined at the tops by a mortised crossbeam and byanother, halfway up, mortised into the two shafts and tied in place byiron plates. Above this was set, between the shafts and the crossbeams, a block pierced on either side by sockets, and firmly fastened in placewith clamps. In this block were two axles, turned on a lathe, and ropesfastened from them held the ram. 

5. Over the head of these (ropes) which held the ram, was placed aparapet fitted out like a small tower, so that, without danger, twosoldiers, standing in safety, could look out and report what the enemywere attempting. The entire ram had a length of one hundred and eightyfeet, a breadth at the base of a foot and a quarter, and a thickness ofa foot, tapering at the head to a breadth of a foot and a thickness ofthree quarters of a foot. 

6. This ram, moreover, had a beak of hard iron such as ships of warusually have, and from the beak iron plates, four in number, aboutfifteen feet long, were fastened to the wood. From the head to the veryheel of the beam were stretched cables, three in number and eight digitsthick, fastened just as in a ship from stem to stern continuously, andthese cables were bound with cross girdles a foot and a quarter apart. Over these the whole ram was wrapped with rawhide. The ends of the ropesfrom which the ram hung were made of fourfold chains of iron, and thesechains were themselves wrapped in rawhide. 

7. Likewise, the projecting end of the ram had a box framed andconstructed of boards, in which was stretched a net made of rather largeropes, over the rough surfaces of which one easily reached the wallwithout the feet slipping. And this machine moved in six directions, forward (and backward), also to the right or left, and likewise it waselevated by extending it upwards and depressed by inclining itdownwards. The machine could be elevated to a height sufficient to throwdown a wall of about one hundred feet, and likewise in its thrust itcovered a space from right to left of not less than one hundred feet. One hundred men controlled it, though it had a weight of four thousandtalents, which is four hundred and eighty thousand pounds. 

CHAPTER XVI

MEASURES OF DEFENCE

1. With regard to scorpiones, catapults, and ballistae, likewise withregard to tortoises and towers, I have set forth, as seemed to meespecially appropriate, both by whom they were invented and in whatmanner they should be constructed. But I have not considered it asnecessary to describe ladders, cranes, and other things, the principlesof which are simpler, for the soldiers usually construct these bythemselves, nor can these very machines be useful in all places nor inthe same way, since fortifications differ from each other, and so alsothe bravery of nations. For siege works against bold and venturesome menshould be constructed on one plan, on another against cautious men, andon still another against the cowardly. 

2. And so, if any one pays attention to these directions, and byselection adapts their various principles to a single structure, he willnot be in need of further aids, but will be able, without hesitation, todesign such machines as the circumstances or the situations demand. Withregard to works of defence, it is not necessary to write, since theenemy do not construct their defences in conformity with our books, buttheir contrivances are frequently foiled, on the spur of the moment, bysome shrewd, hastily conceived plan, without the aid of machines, as issaid to have been the experience of the Rhodians. 

3. For Diognetus was a Rhodian architect, to whom, as an honour, wasgranted out of the public treasury a fixed annual payment commensuratewith the dignity of his art. At this time an architect from Aradus, Callias by name, coming to Rhodes, gave a public lecture, and showed amodel of a wall, over which he set a machine on a revolving crane withwhich he seized an helepolis as it approached the fortifications, andbrought it inside the wall. The Rhodians, when they had seen this model, filled with admiration, took from Diognetus the yearly grant andtransferred this honour to Callias. 

4. Meanwhile, king Demetrius, who because of his stubborn courage wascalled Poliorcetes, making war on Rhodes, brought with him a famousAthenian architect named Epimachus. He constructed at enormous expense, with the utmost care and exertion, an helepolis one hundred andthirty-five feet high and sixty feet broad. He strengthened it with hairand rawhide so that it could withstand the blow of a stone weighingthree hundred and sixty pounds shot from a ballista; the machine itselfweighed three hundred and sixty thousand pounds. When Callias was askedby the Rhodians to construct a machine to resist this helepolis, and tobring it within the wall as he had promised, he said that it wasimpossible. 

5. For not all things are practicable on identical principles, but thereare some things which, when enlarged in imitation of small models, areeffective, others cannot have models, but are constructed independentlyof them, while there are some which appear feasible in models, but whenthey have begun to increase in size are impracticable, as we can observein the following instance. A half inch, inch, or inch and a half hole isbored with an auger, but if we should wish, in the same manner, to borea hole a quarter of a foot in breadth, it is impracticable, while one ofhalf a foot or more seems not even conceivable. 

6. So too, in some models it is seen how they appear practicable on thesmallest scale and likewise on a larger. And so the Rhodians, in thesame manner, deceived by the same reasoning, inflicted injury and insulton Diognetus. Therefore, when they saw the enemy stubbornly hostile, slavery threatening them because of the machine which had been built totake the city, and that they must look forward to the destruction oftheir state, they fell at the feet of Diognetus, begging him to come tothe aid of the fatherland. He at first refused. 

7. But after free-born maidens and young men came with the priests toimplore him, he promised to do it on condition that if he took themachine it should be his property. When these terms had been agreedupon, he pierced the wall in the place where the machine was going toapproach it, and ordered all to bring forth from both public and privatesources all the water, excrement, and filth, and to pour it in front ofthe wall through pipes projecting through this opening. After a greatamount of water, filth, and excrement had been poured out during thenight, on the next day the helepolis moving up, before it could reachthe wall, came to a stop in the swamp made by the moisture, and couldnot be moved forwards, nor later even backwards. And so Demetrius, whenhe saw that he had been baffled by the wisdom of Diognetus, withdrewwith his fleet. 

8. Then the Rhodians, freed from the war by the cunning of Diognetus, thanked him publicly, and decorated him with all honours anddistinctions. Diognetus brought that helepolis into the city, set it upin a public place, and put on it an inscription: "Diognetus out of thespoils of the enemy dedicated this gift to the people. " Therefore, inworks of defence, not merely machines, but, most of all, wise plans mustbe prepared. 

9. Likewise at Chios, when the enemy had prepared storming bridges ontheir ships, the Chians, by night, carried out earth, sand, and stonesinto the sea before their walls. So, when the enemy, on the next day, tried to approach the walls, their ships grounded on the mound beneaththe water, and could not approach the wall nor withdraw, but piercedwith fire-darts were burned there. Again, when Apollonia was beingbesieged, and the enemy were thinking, by digging mines, to make theirway within the walls without exciting suspicion, and this was reportedby scouts to the people of Apollonia, they were much disturbed andalarmed by the news, and having no plans for defence, they lost courage, because they could not learn either the time or the definite place wherethe enemy would come out. 

10. But at this time Trypho, the Alexandrine architect, was there. Heplanned a number of countermines inside the wall, and extending themoutside the wall beyond the range of arrows, hung up in all of thembrazen vessels. The brazen vessels hanging in one of these mines, whichwas in front of a mine of the enemy, began to ring from the strokes oftheir iron tools. So from this it was ascertained where the enemy, pushing their mines, thought to enter. The line being thus found out, heprepared kettles of hot water, pitch, human excrement, and sand heatedto a glow. Then, at night, he pierced a number of holes, and pouring themixture suddenly through them, killed all the enemy who were engaged inthis work. 

11. In the same manner, when Marseilles was being besieged, and theywere pushing forward more than thirty mines, the people of Marseilles, distrusting the entire moat in front of their wall, lowered it bydigging it deeper. Thus all the mines found their outlet in the moat. Inplaces where the moat could not be dug they constructed, within thewalls, a basin of enormous length and breadth, like a fish pond, infront of the place where the mines were being pushed, and filled it fromwells and from the port. And so, when the passages of the mine weresuddenly opened, the immense mass of water let in undermined thesupports, and all who were within were overpowered by the mass of waterand the caving in of the mine. 

12. Again, when a rampart was being prepared against the wall in frontof them, and the place was heaped up with felled trees and works placedthere, by shooting at it with the ballistae red-hot iron bolts they setthe whole work on fire. And when a ram-tortoise had approached to batterdown the wall, they let down a noose, and when they had caught the ramwith it, winding it over a drum by turning a capstan, having raised thehead of the ram, they did not allow the wall to be touched, and finallythey destroyed the entire machine by glowing fire-darts and the blows ofballistae. Thus by such victory, not by machines but in opposition tothe principle of machines, has the freedom of states been preserved bythe cunning of architects. 

Such principles of machines as I could make clear, and as I thought mostserviceable for times of peace and of war, I have explained in thisbook. In the nine earlier books I have dealt with single topics anddetails, so that the entire work contains all the branches ofarchitecture, set forth in ten books. 

 FINIS

 * * * * *

SCAMILLI IMPARES (BOOK III, ch. 4)

 No passage in Vitruvius has given rise to so much discussion or been the subject of such various interpretations as this phrase. The most reasonable explanation of its meaning seems to be that of Émile Burnouf, at one time Director of the French School at Athens, published in the _Revue Générale del' Architecture_ for 1875, as a note to a brief article of his on the explanation of the curves of Greek Doric buildings. This explanation was accepted by Professor Morgan, who called my attention to it in a note dated December 12, 1905. It has also quite recently been adopted by Professor Goodyear in his interesting book on _Greek Refinements_. 

 Burnouf would translate it _nivelettes inégales_, "unequal levellers. " He states that in many parts of France in setting a long course of cut stone the masons make use of a simple device consisting of three pointed blocks of equal height used as levellers, of which two are placed one at each extremity of the course, while the third is used to level the stones, as they are successively set in place, by setting it upon the stone to be set and sighting across the other two levellers. If two "levellers" of equal height are used with a third of less height placed at the centre of the course, with perhaps others of intermediate height used at intermediate points, it would obviously be equally easy to set out a curved course, as, for instance, the curved stylobate of the Parthenon which rises about three inches in its length of one hundred feet. By a simple calculation any desired curve could be laid out in this way. The word scamillus is a diminutive of _scamnum_, a mounting-block or bench. 

 Practically the same explanation is given by G. Georges in a memoir submitted to the Sorbonne in April, 1875. Georges adds an interesting list, by no means complete, of the various explanations that have been offered at different times. 

Philander (1522-1552). Projections of the stylobate or pedestals. 

Barbaro (1556-1690). The same. 

Bertano (1558). Swellings of the die of the stylobate or bosses in the stylobate or the frieze of the entablature. 

Baldus (1612). Sub-plinths placed under the bases of the columns. 

Perrault (1673-1684). Projection of the stylobate. 

Polleni (1739). The same. 

Galiani (1758-1790). Projection of the stylobate with hypothesis of embossments on the stylobates and the bases of the columns. 

Tardieu and Coussin (1837) and Mauffras (1847). Projection of the stylobates. 

Aurès (1865). Steps or offsets between the stylobate and the columns. 

 The list of Georges is wholly French and Italian. 

 Fra Giocondo's interpretation is indicated in our reproduction of the illustration in his edition of 1511. 

 Hoffer (1838) and afterwards Pennethorne (1846) and Penrose (1851) gave measurements showing the curvatures in the Parthenon and the temple of Theseus in Athens. Penrose and most writers who followed him supposed the "scamilli impares" to be projections or offsets on the stylobate required on account of the curves to bring the column into relation with the architraves above, and similar offsets of unequal or sloping form were supposed to be required above the abaci of the capitals, but such offsets, although sometimes existing, have no obvious connection with the passage in Vitruvius. C. Bötticher (1863) and more recently Durm have denied the original intention of the curves and ascribe them to settlement, a supposition which hardly accords with the observed facts. Reber, in the note on this passage in his translation of Vitruvius (1865), thinks the scamilli were sloping offsets on the stylobate to cause the inclination of the columns, but admits that nothing of the kind has been found in the remains so far examined. It may be added that this is at variance with the statement of the purpose of the scamilli which Vitruvius gives. 

 Assuming, as I think we must, that the horizontal curvature of the stylobate in such buildings as the Parthenon was intended and carefully planned, Burnouf's explanation fits the case precisely and makes this passage of Vitruvius straightforward and simple. This can be said of no other explanation, for all the others leave the passage obscure and more or less nonsensical. Durm's attempt to refer the passage to the case of the temple with a podium which has just been spoken of by Vitruvius is somewhat forced, or at least unnecessary. Clearly the passage refers to stylobates in general; but Reber also so translates and punctuates as to make the use of the "scamilli impares" refer only to the case of temples built in the Roman manner with the podium. His resulting explanation still leaves the passage obscure and unsatisfactory. One may finally refer to the ingenious but improbable explanation of Choisy, who translates it echelons impairs, and explains them as offsets arranged according to the odd numbers, _nombres impairs_, i. E. , offsets varying at equal intervals in the proportion of 1, 3, 5, 7, 9, etc. , and which he claims was applied also to the entasis of columns. 

 H. L. WARREN. 

INDEX

Abacus, 92, 106, 110, 122. 

[Greek: Abaton], 56. 

Abdera, 212, 269. 

Acanthus pattern, origin of, 104. 

Accius, 255. 

Acoustics, of the site of a theatre, 153 _f. _

Acroteria, 96. 

Aequians have springs which produce goitre, 239. 

Aeruca (verdigris), 219. 

Aeschylus, 198. 

Aesculapius, proper site for temple of, 15; temple of, at Tralles, 198. 

Aetna, 47. 

Africa, 240. 

Agatharcus, 198. 

Agesistratus, 199. 

Agger (river), 231. 

Agnus castus (tree), 60 _f. _, 296. 

[Greek: Akrobatikon], 283. 

Alabanda, 212; temple of Apollo at, 78. 

Alae, of house, 177; of temples, 120. 

Albula (river), 233. 

Alder, 61. 

Alexander, 35 _f. _, 195, 310. 

Alexandria, 36, 196, 197, 218; length of shadow of gnomon at, 270. 

Alexis (poet), 168. 

Altars, 125 _f. _

Altino, 21. 

Aluminous springs, 234. 

Amiternum, stone quarries of, 49. 

Ammon, 235. 

Amphiprostyle, 75. 

Amphithalamos, 186. 

Amyntas, 310. 

Analemma, 257; its applications, 270 _ff. _

Anaphoric dial, 275. 

Anaxagoras, 195, 198, 225, 269. 

Ancona, 63. 

Andreas, 273. 

Andromeda (constellation), 266. 

Andron of Ephesus, 70. 

Andrones, 187. 

Andronicus of Cyrrhus, 26. 

Antae, 114, 120, 186; temple in antis, 75. 

Antiborean (sun dial), 273. 

Antimachides, 199. 

Antiochus, 199. 

Antipater, 238, 269. 

Antistates, 199. 

Apaturius, 212. 

Apelles, 11. 

Apollo, 69, 102, 103, 196; Panionion, 103, 255; colossal statue of, 289; temple of, at Alabanda, 78; at Miletus, 200; at Rome, 80; site of temple of, 80. 

Apollonia, 235; siege of, 317 _f. _

Apollonius, 273. 

Apollonius of Perga, 12. 

Aqueducts, 244 _ff. _; Marcian, 232. 

Aquileia, 21. 

Arabia, 235, 237. 

Arachne (sun dial), 273. 

Aradus, 315. 

Araeostyle temples, 78, 80; proportions of columns in, 84. 

Aratus, 269. 

Arcadia, 238. 

Arcesius, 109, 198. 

Arched substructures, 190. 

Archer (constellation), 266. 

Archimedes, 8, 12, 199, 243; detects a theft of gold by a contractor, 253 _f. _

Archinapolus (astrologer), 269. 

Architecture, fundamental principles of, 13 _ff. _; departments of, 16 _ff. _

Architrave, 94, 288. 

Archytas of Tarentum, 12, 199, 255. 

Arcturus (star), 266. 

Ardea, 233. 

Arevanias, 54. 

Arezzo, ancient wall of brick at, 53. 

Argo (constellation), 268. 

Argolis, precinct of Juno at, 102. 

Argos, 54. 

Ariobarzanes, 154. 

Aristarchus, 11. 

----of Samos, 12, 263, 273. 

Aristides, 241. 

Aristippus, shipwreck of, 167. 

Aristomenes of Thasos, 70. 

Aristophanes, 168; grammaticus, 196. 

Aristotle, 195, 251. 

Aristoxenus, 11, 140, 145. 

Armenian blue, 213, 217. 

[Greek: Harpedonai] (star group), 268. 

Arrow (constellation), 266. 

Arsenal, naval, at Peiraeus, 198. 

Arsinoe, 103. 

Artemisia, 55 _f. _

Artemon ([Greek: Epagôn]), 287. 

Asphalt, 235; asphaltic springs, 234; lake Asphaltitis, 235. 

[Greek: Asplênon], 20. 

Assafoetida grown in Cyrene, 237. 

Astansoba (river), 231. 

Astoboa (river), 231. 

Astragals, 90. 

Astrology, 269 _ff. _

Athens, 26, 40, 53, 78, 124, 199, 200, 234; colonnades at, 154; temple of Minerva at, 198; length of shadow of gnomon at, 257, 270. 

Athos, Mt. , 35. 

[Greek: Atlantes], 188. 

Atlantides, 189. 

Atlas, 188, 231. 

Atrium, 185, 210; proportions of, 176 _f. _

Attalus, 53, 103, 195. 

Attic doorways, 120. 

Aurelius, Marcus, 3. 

Aventine, 216. 

Babylon, 24, 235. 

Bacchus, proper site for temple of, 31; Ionic order appropriate to, 15; temple of, at Teos, 82, 109, 198. 

Baiae, 46, 47. 

Bakeries, 184. 

Balance (constellation), 266. 

Balconies in forum, 131. 

Balearic Isles, 214, 240. 

Ballistae, rules for making, 305 _ff. _

Bankers' offices, 131. 

Barns, 184. 

[Greek: Baroulkos], 283. 

Bases, Ionic, 90 _ff. _

Basilica, 132 _ff. _; of Vitruvius at Fano, 134 _ff. _

Bathrooms, 180; of farmhouse, 183. 

Baths, 157 _ff. _

Beast (constellation), 268. 

Bedrooms, 181. 

Beech, 60. 

Berosus, 262, 269, 273. 

Bilbery, used to make purple, 220. 

Bird (constellation), 266. 

Black, 217 _f. _

Block (_rechamus_), 285 _ff. _

Blue, 218 _f. _

Body, proportions of, 72. 

Boedas of Byzantium, 70. 

Boeotia, 237. 

Bolsena, lake of, 50. 

Boscoreale, villa rustica at, 183. 

Bowl (constellation), 268. 

Breakwaters, 162 _ff. _

Brick, 42 _ff. _; test of, 57. 

Bright (Pephrasmenos), inventor of battering ram, 309. 

Bryaxis, 199. 

Bucket-pump, 294. 

Bug (river), 231. 

Bull (constellation), 266. 

Burnt-ochre, 218 _f. _

Buttresses, 190 _f. _

Byzantium, 310. 

Cadiz, 309. 

Caecuban (wine), 236. 

Caesar, Julius, 62 _f. _, 240. 

Callaeschrus, 199. 

Callias of Aradus, 315. 

Callimachus ([Greek: katatêxitechnos]), 104. 

Callippus, 269. 

Campania, 48, 64, 236, 238. 

Campus Cornetus, 238. 

Canon of water organ, 299. 

Canopus (star), 268. 

Capitals, Ionic, 92 _ff. _; Corinthian, 102, 104 _f. _; Doric, 110; of triglyphs, 112. 

Capitol, hut of Romulus on, 40; temple on, 80. 

Cappadocia, 235. 

Carpion, 198. 

Carthage, 235. 

Caryae, 6 _f. _

Caryatides, 6 f_f. _

Casius (town in Egypt), 235. 

Cassiopea (constellation), 266. 

Castor, temple of, 124. 

Catacecaumenites (wine), 236. 

Catapults, 303 _ff. _; stringing and tuning of, 308 _f. _

Cataract of Nile, 231. 

Catheti, 92. 

Caucasus, 231. 

Cavaedium, 176 _ff. _

Cedar, 62. 

Ceilings of baths, 158. 

Cella, 114 _ff. _, 120; of circular temple, 123. 

Celtica, 231. 

Censer (constellation), 267. 

Centaur (constellation), 267. 

Cepheus (constellation), 266. 

Cephisus, 237. 

Ceres, temple of 80, 200; site of temple of, 32. 

Chalcedon, 309. 

Chaldeans, 262. 

Charias, 199, 310. 

Charioteer (constellation), 266. 

[Greek: Cheirokmêta] of Democritus, 255. 

Chersiphron, 78, 198, 200, 288. 

Chion of Corinth, 70. 

Chionides, 168. 

Chios, 103, 197; siege of, 317. 

Chorobates, levelling instrument, 242 _f. _

Chrobs, poisonous lake at, 237. 

Chromatic mode, 140. 

Cibdeli, 234. 

Cicero, 256. 

Cilbian country, 215. 

Cilicia, 235. 

Cinnabar, 215 _ff. _; adulteration of, 217. 

Circular temples, 122 _ff. _

Circumference of earth, 27 _f. _

Circumsonant sites of theatres ([Greek: periêchountes]), 153. 

Circus, Flaminius, 124, 273; Maximus, 80. 

Cisterns, 244 _ff. _

City, site of, 17 _ff. _; walls, 21 _f. _

Classification of temples, 75 _ff. _, 78 _ff. _

Clazomenae, 103, 269. 

Clearstock of fir, 60. 

Climate determines the style of houses, 170. 

Clitor, spring at, 239. 

Colchis, 231. 

Colline Gate, 75. 

Colonnades, 131, 154, 155, 156 _f. _, 160 _f. _

Colophon, 103, 269. 

Colours, 214 _ff. _; natural, 214 _f. _; artificial, 217; manufactured from flowers, 220; how applied to stucco, 207. 

Columbaria ([Greek: opai]), 108. 

Columns, proportions of, in colonnades, 154; in forums, 132; in basilicas, 132;

Corinthian, 102; diminution in top of, 84 _f. _; Ionic order, 90 _ff. _; arrangement of, 114. 

Conarachne (sun dial), 273. 

Concords in music, 142. 

Concrete floors, 202. 

Cone (sun dial), 273. 

Conical Plinthium (sun dial), 273. 

Consonancies in music, 142. 

Consonant sites of theatres ([Greek: synêchountes]), 153. 

Constellations, northern, 265 _ff. _; Southern, 267 _ff. _

Consumptives, resin of larch good for, 63. 

Corinth, 145. 

Corinthian cavaedium, 176. 

Corinthian order, 15; origin of, 102 _f. _; proportions of, 106 _f. _; treatise on, by Arcesius, 198. 

Cornelius, Gnaeus, 3. 

Corona, 102, 107, 112. 

Cos, island of, 269. 

Cossutius, 200. 

Courage dependent on climate, 173. 

Counterforts, 190. 

Courtyards, 183. 

Crab (constellation), 268. 

Crathis (river), 237. 

Crete, 20, 62. 

Creusa, 103. 

Croesus, 195; house of, at Sardis, 53. 

Cross-aisles in theatre, 138, 146; in Greek theatre, 151. 

Crown (constellation), 266. 

Ctesibius, 8, 198, 273 _f. _; pump of, 297 _f. _

Cube, properties of, 130. 

Cubit equals six palms or twenty-four fingers, 74. 

Cumae, 162. 

Cunei in theatre, 146. 

Cutiliae, 234. 

Cyclades, 214. 

Cydnus, 234. 

Cymatium, 94, 110; Doric, 112. 

Cypress, 59, 61. 

Cyrene, 27, 237, 255. 

Daphnis of Miletus, 200. 

Darius, 195. 

Decorations of walls, 209 _f. _

Defence, measures for, 315 _ff. _

Delos, problem enjoined upon, by Apollo, 255. 

Delphi, Round Building at, 198. 

Demetrius of Phalerum, 200. 

Demetrius Poliorcetes, 316. 

Demetrius (slave of Diana), 200. 

Democles, 199. 

Democritus, 42, 195, 251, 255, 269; his study of perspective, 198. 

Demophilus, 199. 

Denarius, 74. 

Dentils, 94, 102, 108. 

Departments of architecture, 16 _f. _

Diades, 199; inventor of siege machines, 310. 

Dials arranged to show hours of varying length, 274 _ff. _

Diana, temple of Ionic order, 15, 78; temple of, at Ephesus, 78, 103, 198, 200, 288 _f. _; at Rome, 80, 124; at Magnesia, 78, 198; statue of, 62. 

Diatonic mode, 140. 

Diastyle temples, 78, 80; proportions of columns in, 84; Doric, 113. 

[Greek: Diathyra], 188. 

Dichalca, 74. 

Diesis, 140. 

Diminution in top of column, 84, 110. 

Dining rooms, proportions of, 179, 181, 186; Cyzicene, 186; winter, 209 _f. _

Dinocrates, 35 _f. _

Diognetus, Rhodian architect, 315 _ff. _

Diomede, 21. 

Dionysodorus, 273. 

Dioptra, 242. 

Diphilus, 199. 

Dipteral temple, 75, 78. 

Displuviate cavaedium, 177. 

Dissonant sites of theatres ([Greek: katêchountes]), 153. 

Dnieper, 231. 

Dog (constellation), 268. 

Dolphin (constellation), 266. 

Don (river), 231. 

Doors, of temples, 118 _f. _; of dwellings, 178; in theatres, 146. 

Doorways of temples, proportions of, 117 _ff. _

Doric order, 15; proportions of, 109 _ff. _; doorways, 117; temples of, 198. 

Dorus, 102. 

Drachma, 74. 

Dyer's weed, 220. 

Dyris (river), 231. 

Dyrrachium, 235. 

Eagle (constellation), 266. 

Echea ([Greek: êcheia]), 9, 143 _ff. _

Echinus, 93, 110, 122. 

Economy, 16. 

Education of the architect, 5 _ff. _, 168 _f. _

Egypt, 214, 231, 235, 269. 

[Greek: Ekphora], 90. 

Elements ([Greek: stoicheia]) and their proportions, 18 _ff. _, 225. 

Elephantis, 231. 

Eleusis, 200. 

[Greek: Helikê], 267. 

Elpias of Rhodes, 21. 

Empedocles, 225. 

[Greek: Emplekton], 52. 

Engines, 283; for raising water, 293 _ff. _

Enharmonic mode, 140. 

Ennius, 255. 

[Greek: Entasis] of columns, 86. 

Eolipiles, 25. 

Ephesus, 103, 214, 215, 281; temple of Diana at, 78, 198, 200. 

Epicharmus, 225. 

Epicurus, 42, 167, 195. 

Epimachus, 316. 

Equestrian Fortune, temple of, 80. 

Eratosthenes of Cyrene, 12, 27, 28, 255. 

Erythrae, 103. 

Ethiopia, 231, 235. 

Etruria (Tuscany), 48, 64, 235. 

Eucrates, 168. 

Euctemon, 269. 

Eudoxus, 269, 273. 

Eumenes, colonnades of, 154. 

Euphranor, 199. 

Euphrates, 231. 

Euripides, 225; buried in Macedonia, 238; "Phaethon" of, 261. 

Eurythmy, 14. 

Eustyle temples, 78, 80 _f. _; proportions of columns in, 84. 

Exedrae, 160, 179, 186, 211. 

Exposure, proper for rooms, 180, _f. _

Faberius, 216. 

Falernian (wine), 236. 

Fano, 63; basilica at, 134 _ff. _

Farmhouses, 183 _f. _

Fascia, 94; of Attic doorway, 120. 

Fauces, their dimensions, 178. 

Faunus temple on the Island of the Tiber, 75. 

Femur ([Greek: mêros]), 112. 

Ferento, 50. 

Fidenae, stone quarries at, 49. 

Fir, qualities of, 60; highland and lowland, 64 _f. _

Fire, origin of, 38. 

Fishes (constellation), 266. 

Flaminius circus, 124. 

Floors, 202 _ff. _; Greek method of making, 210; of baths, 157, _f. _

Flora, temple of Corinthian order, 15. 

Flutes of columns, 96; Doric, 113. 

Folds for sheep and goats, 184. 

Fondi, 236. 

Foot equals four palms, or sixteen fingers, 74. 

Fortune, temple of Equestrian, 80; Three Fortunes, 75. 

Forum, 131 _ff. _

Foundations of temples, 86 _ff. _; of houses, 189 _ff. _

Fresco painting, decadence of, 210 _ff. _

Frieze, 94, 123. 

Fuficius (architect), 199. 

Fulcrum ([Greek: hypomochlion]), 290. 

Ganges, 231. 

[Greek: Ganôsis], 217. 

Gaul, 220, 231. 

Geras, inventor of shed for battering ram, 309. 

Gilding, 215. 

Gnomon, 257; length of shadow at different places, 270. 

Gnosus, 20, 200. 

Gorgon's head (star group), 266. 

Gortyna, 20. 

Grain rooms, 184. 

Greater Dog (constellation), 268. 

Great Bear, 257; ([Greek: arktos] or [Greek: helikê]), 265. 

Grecian Station, 56. 

Greek houses, 185 _ff. _

Green chalk ([Greek: theodoteion]), 214. 

Grotta Rossa, stone quarries at, 49. 

Guttae, 102, 110, 112. 

Gynaeconitis, 186. 

Gypsum not to be used for stucco work, 206. 

Halicarnassus, 53, 54. 

Harbinger of the Vintage (star), 265. 

Harbours, 162 _ff. _

Harmonics, 139 _ff. _

Hegesias, 241. 

He-Goat (constellation), 266. 

Helepolis of Epimachus, 316 _f. _

Hellen, 102. 

Hemisphere (sun dial), 273. 

Heptabolus, lake, 231. 

Heptagonus, lake, 231. 

Heraclea, 289. 

Heraclitus of Ephesus, 42, 225. 

Hercules, Doric order appropriate to, 15; site of temple of, 31; cellae of temple of, 53; Pompey's temple of, 80. 

Hermodorus, temple of Jupiter Stator, 78. 

Hermogenes, 109; temple of Diana by, 78; determined rules of symmetry for eustyle temples, 82. 

Herodotus, 241. 

Herring-bone pattern, 203. 

Hierapolis, boiling springs at, 236. 

Hiero, 253 _f. _

Hinge-stiles, 118. 

Hipparchus, 269. 

Hippocrates, 11. 

Hodometer, 301 _ff. _

Hoisting machines, 285. 

Homer, 197. 

Hornbeam, 61. 

Horse (constellation), 266. 

Hostilius, Marcus, 21. 

Hot springs, 232; healing properties of, 233 _f. _

Hours, how marked by clocks, 274. 

House, origin of, 38 _f. _; early types of, 39 _f. _; style of, determined by climate, 170 _f. _

Hypaethral temple, 14, 75, 78. 

Hypanis, 214, 236. 

Hysginum, 220. 

Ictinus, 198, 200. 

Iliad and Odyssey, 197. 

Ilium, 237. 

Incertum opus, 51. 

India, 231. 

India ink, 217, 218. 

Indigo, substitute for, 220. 

Indus, 231. 

Iollas, 238. 

Ion, 103. 

Ionic order, 15; proportions of, 90 _ff. _; doorways of, 118; temples of, 198, 200. 

Isis, site of temple of, 31. 

Ismuc, 240. 

Isodomum, 52. 

Isthmian games, 251. 

Italy, 48, 53, 131, 145, 173, 214, 231, 239. 

Jaffa, 235. 

Jambs, proportions of, 117. 

Juba, King, 240. 

Julius, Caius, son of Masinissa, 240. 

Juno, Ionic order appropriate to, 15; site for temple of, 31; precinct at Argolis, 102; Doric temple of, in Samos, 198. 

Jupiter, temple of, 14, 199; site for temple of, 31; cellae of temple, 53; temple on Island of the Tiber, 75; altars of, 125. 

Jupiter (planet), 258, 260, 261, 262. 

Kids (constellation), 266. 

Kitchen, 183. 

Kneeler (constellation), 266. 

Knotwood, 60. 

[Greek: Kynosoura], 267. 

Lacedaemonians, 7. 

Laconicum, 159. 

Lacunar (sun dial), 273. 

Language, origin of, 38. 

Larch, 62 _f. _

Larignum, 62, 63. 

Law governing architects at Ephesus, 281. 

Lead pipes poisonous, 247. 

Lebedos, 103. 

Lemnos, 214. 

Leochares, 54, 199. 

Leonidas, 199. 

Lesbos, 25, 236. 

Levelling instruments, 242 _f. _

Lever, explanation of, 290 _f. _

Libraries, 181, 186. 

Licymnius, 212 _f. _

Lighting of rooms, how to test, 185. 

Lime, 45 _f. _; slaking of, for stucco, 204. 

Linden, 60. 

Lintels, height of, 117. 

Lion (constellation), 268. 

Liparis (river), 235. 

Little Dog (constellation), 268. 

Liver examined to determine site of towns, 20. 

[Greek: Logeion], scenic and thymelic, 151; dimensions of, 151. 

Logotomus, 272. 

Lucania, 237. 

Lucretius, 256. 

Lyncestus, acid springs of, 238. 

Lyre (constellation), 267. 

Lysippus, 69. 

Macedonia, 217, 238. 

Machines, 283 _ff. _; for defence, 315 _ff. _

Maeonia, wine of, 236. 

Magi, 225. 

Magnesia, 78, 214, 240; temple of Diana at, 198. 

Malachite green, 213; where found, 217; substitute for, 220. 

Mamertine (wine), 236. 

Marble, powdered for stucco work, 206, 213 _f. _; where quarried, 289. 

Marius' temple of Honour and Valour, 78. 

Mars, temple should be Doric, 15; site of temple of, 31. 

Mars (planet), 259 _f. _, 262. 

Marseilles, siege of, 318. 

Maurusia (Mauretania), 231. 

Mausoleum, 54, 199. 

Mausolus, 53 _ff. _

Mazaca, lake near, petrifies reeds, etc. , 235. 

Medicine, architect should know, 10. 

Medulli have springs which produce goitre, 239. 

Melampus, 199, 239. 

Melas of Argos, 54. 

Melas (river), 237. 

Melassa, 54. 

Melian white, 214. 

Melite, 103. 

Melos, 214. 

Menaeus, 272. 

Mercury, site of temple of, 31; temple of, 54. 

Mercury (planet), 258, 259. 

Meroë, 231. 

Mesauloe, 187. 

Metagenes, 198, 200, 288. 

Metellus, portico of, 78. 

Meto, 269. 

Metopes ([Greek: metopê]), 94, 108, 110; size of, 112; arrangement of, in Doric temples, 113. 

Metrodorus, 241. 

Miletus, 103, 200, 269. 

Milo of Croton, 251. 

Minerva, temple should be Doric, 15; site of temple, 31; temple at Sunium, 124; at Priene, 11, 198; at Athens, 198. 

Minidius, Publius, 3. 

Mithridates, 154. 

Modes of music, 140 _ff. _

Moon, 258; phases of, 262 _f. _

Mortar, consistency of, for stucco work, 206 _f. _; of burnt brick, 209. 

Motion, elements of, 290 _ff. _

Mouldings for stucco work, 206. 

Mucius, C. , temple of Honour and Valour, 78, 200. 

Mummius, Lucius, 145. 

Muses, 253; fountain of, 232. 

Music useful to architect, 8. 

Mutules, 102, 108; of Tuscan temples, 122. 

Myager the Phocaean, 70. 

Myron, 11, 69. 

Mysia the "Burnt District, " 47. 

Mytilene, 25. 

Myus, 103. 

Nemean games, 251. 

Neptune, spring of, 237. 

Nexaris, 199. 

Nile, 36, 231; temples on, should face the river, 117. 

Nonacris, "Water of the Styx, " 238. 

Notes, names of, 141 _f. _

Number, perfect, 73 _f. _

Nymphodorus, 199. 

Nymphs, temple of Corinthian order, 15. 

Oak, 60; in floors, 202. 

Obols, 74. 

Ochre ([Greek: ôchra]), 214. 

Oeci, distinction between Corinthian and Egyptian, 179; Cyzicene, 180. 

Oil room, 184. 

Olympian games, 251. 

[Greek: Opai], 108. 

Opus incertum, 51; reticulatum, 51; Signinum, 247 _f. _

Orchestra, reserved for senators, 146; of Greek theatre, 151. 

Order appropriate to temples, 15; origin of different orders, 102 _ff. _

Organ, water, 299 _f. _

[Greek: Organon], 283. 

Orientation of streets, 24 _ff. _; of temples, 116 _f. _

Orion (constellation), 268. 

Ornaments of the orders, 107 _ff. _

Orpiment ([Greek: arsenikon]), 214. 

Ostrum, source of purple dye, 220. 

Paconius, 289. 

Paeonius of Ephesus, 200. 

Palaestra, 159 _ff. _

Palla, stone quarries at, 49. 

Panels of doors, 118. 

Paphlagonia, intoxicating springs of, 239. 

[Greek: Paradromides], 188. 

Paraetonium, 235; white, 214. 

Parapet of theatre, dimensions of, 148. 

Parmenio, 273. 

Paros, 289. 

Pastas, 186. 

Patras, cellae of temple built of brick, 53. 

Patrocles, 273. 

Pausanias, son of Agesipolis, 7. 

Peiraeus, 234; naval arsenal at, 198. 

Peisistratus, 199. 

Pelecinum (sun dial), 273. 

Penne, 234. 

Pentaspast (hoisting machine), 285. 

Pergamus, 196. 

Peripteral temple, 75 _f. _

Peristyle, 186; decorations of, 210 _f. _; proportions of, 179; Rhodian, 186. 

Peritreti, 303 _f. _

Perseus (constellation), 266. 

Persian Porch, 7. 

Persians, statues of, 8 _f. _

Perspective, commentaries on by Agatharcus, Anaxagoras, and Democritus, 198. 

Pesaro, 63. 

Pharax of Ephesus, 70. 

Phasis, 231. 

Phidias, 69. 

Philippus (physicist), 269. 

Philip son of Amyntas, 310. 

Philo, 198, 200; of Byzantium, 199. 

Philolaus of Tarentum, 12. 

Philosophy, why useful to architect, 8. 

Phocaea, 103. 

Phrygia, 236. 

Phthia, 102. 

Picenum, 49. 

Picture galleries, 179, 186. 

Piles, of alder, 61; olive, or oak, 88. 

[Greek: Pinax] of water organ, 299. 

Pine, 61. 

Pixodorus discovers marble near Ephesus, 289; his name changed to Evangelus, 290. 

Planets, 257 _ff. _; their retrograde movement, 260 _f. _

Plataea, battle of, 7. Plato, 195, 251; rule for doubling the square, 252. 

[Greek: Pleiades], 189. 

Plinthium (sun dial), 273. 

[Greek: Pneumatikon], 283. 

Po, 231. 

Podium of theatre, height of, 148. 

Pollis, 199. 

[Greek: Poloi] (pivots of heaven), 257. 

Polus (star), 267. 

Polycles of Ephesus, 70. 

Polyclitus, 11, 69. 

Polyidus, 199, 310. 

Polyspast (hoisting machine), 288. 

Pompeian pumice, 47. 

Pompey, colonnades of, 154; temple of Hercules, 80. 

Pontic wax, 216, 217. 

Pontus, 214, 220, 231, 236. 

Poplar, 60. 

Pormus, 199. 

Posidonius, 241. 

Pothereus (river), 20. 

Pozzolana, 46 _f. _

Praxiteles, 199. 

Pressing room, 183 _f. _

Priene, 103; Temple of Minerva at, 11, 198. 

Primordial substance, 42. 

Prison, location of, 137. 

Proconnesus, 289. 

Pronaos, 114 _ff. _, 120. 

Proportions, 72, 174 _f. _; of circular temples, 123 _f. _; of colonnades, 154 _f. _; of columns and intercolumniations, 78 _ff. _, 116; of the Corinthian order, 106 _f. _; of doorways of temples, 117 _ff. _; of Doric temples, 109 _ff. _; of the Ionic order, 90 _ff. _; of rooms, 176 _ff. _

Propriety, 14 _ff. _

Proscaenium of Greek theatre, 151. 

Proserpine temple of Corinthian order, 15; temple of, 200. 

[Greek: Pros pan klima] (sun dial), 273. 

[Greek: Pros ta historoumena] (sun dial), 273. 

Prostas, 186. 

Prostyle, 75. 

Proteus, daughters of, 239. 

Prothyra, 188. 

Protropum (wine), 236. 

[Greek: Protrygêtês] (star), 265. 

Pseudisodomum, 52. 

Pseudodipteral temple, 75, 78, 82. 

Pseudoperipteral temples, 125. 

Pteroma, 82, 114, 125. 

Ptolemy, 196, 197; Philadelphus, 197. 

Public buildings, sites of, 31 _f. _

Pump of Ctesibius, 297 _f. _

Purple, 213, 219; substitutes for, 220 _f. _

Puzzuoli, 218. 

Pycnostyle temples, 78 _f. _; proportions of columns in, 84. 

Pyrrus, 199. 

Pythagoras, 42, 130, 225, 251, 269; right triangle of, 252 _f. _

Pytheos, 11, 109, 198, 199. 

Pythian games, 251. 

Quarries of Grotta Rosa, Palla, Fidenae, Campania, Umbria, Picenum, Tivoli, Amiternum, Venetia, Tarquinii, Lake of Bolsena, Ferento, 49, 50. 

Quicksilver, 215 _ff. _

Quirinus, temple of, 78. 

Quiver (sun dial), 273. 

Rainwater, 229 _ff. _

Ram, battering, 309 _f. _; Hegetor's, 314 _f. _

Ram (constellation), 266. 

Raven (constellation), 268. 

Raven, a machine of no value, 310 _f. _

Ravenna, 21, 61, 63. 

Reduction of columns, 114. 

Refraction explained, 175. 

Resin, soot of, used to make black, 218. 

Resonant sites of theatres ([Greek: antêchountes]), 153. 

Retaining walls, 190 _f. _

Reticulatum opus, 51. 

Retrogression of planets, 261. 

Rhine, 231. 

Rhodes, 55 _f. _, 167, 219, 220; length of shadow of gnomon at, 270; siege of, 316 _f. _

Rhone, 231. 

River (constellation), 268. 

Rivers rise in the north, 231. 

Rome, 63, 64, 78, 80, 145, 217; site of, determined by divine intelligence, 174; length of shadow of gnomon at, 270. 

Romulus, hut of, 40. 

Roofs, of mud, 39 _f. _; timbers of, 107; of Tuscan temples, 122; of circular temples, 124. 

Rooms, proportions of, 176 _ff. _; proper exposure for, 180 _f. _; should be suited to station of the owner, 181 _f. _

Round Building at Delphi, 198. 

Salmacis, spring of, 54. 

Salpia in Apulia, 21. 

Sambuca illustrates effect of climate on voice, 171. 

Samos, 12, 103, 263, 269, 273; Doric temple of Juno in, 198. 

Sand, 44 _f. _, 48. 

Sandarach, 214; made from white lead, 219. 

Sardis, 53. 

Sarnacus, 199. 

Saturn (planet), 260, 261, 262. 

Satyrus, 199. 

Scaena of theatre, 146; dimensions of, 148; scheme of, 150; decorations of, 150; of theatre at Tralles, 212. 

Scale, musical, 141. 

Scaling machine, 311. 

Scamilli impares, 89, 155, 320. 

Scaphe (sun dial), 273. 

Scopas, 199. 

Scopinas, 12, 273. 

Scorpion (constellation), 266. 

Scorpiones, rules for making, 303 _ff. _

Scotia, 90, 112. 

Scutula of ballistae, 306 _f. _

Seats in theatre, dimensions of, 148. 

Selinusian chalk ([Greek: isatis]), 220. 

Semiramis, 235. 

Senate house, location of, 137. 

Septentriones (She-Bears), 267. 

Septimius, P. , 199. 

Serapis, site of temple of, 31. 

Serpent (constellation), 266. 

Serpent-holder (constellation), 266. 

Sesterce, 74. 

She-Goat (constellation), 266. 

Ship, motion of, explained, 291. 

Shipyards, 164. 

Sicily, 236. 

Siege machines, 309 _ff. _

Signinum work, 247 _f. _

Signs of the Zodiac, 258; sun's course through, 264 _f. _; shown on dials, 276 _f. _

Silanion, 199. 

Silenus, on the proportions of Doric structures, 198. 

Simae ([Greek: epaietides]), 96, 108. 

Sinope, 214. 

Smyrna, 197, 214; Stratoniceum at, 154. 

Snake (constellation), 268. 

Socrates, 69, 70, 195. 

Soli, 235. 

Soracte, stone quarries of, 49. 

Sounding vessels in the theatre, 143 _ff. _

Southern Fish (constellation), 267. 

Spain, 214; cinnabar mines of, 217. 

Sparta, paintings on brick walls at, 53. 

Spica (star), 265. 

Stables, 184, 186. 

Statonia, 50. 

Steelyard, description of, 291. 

Steps of temples odd in number, 88. 

Stereobates, 88. 

Stone, 48, 49 _f. _

Stratoniceum, 154. 

Streets, directions of, 24. 

Stucco, 204 _ff. _; in damp places, 208 _ff. _

Stucco-workers, Greek, 208. 

Stylobates, 88. 

Substructures of houses, 189 _ff. _

Sulphur springs, 233 _f. _

Sun, 258 _f. _; course of, through the twelve signs, 264 _f. _

Sundials, 273 _ff. _; how designed, 270 _ff. _

Sunium, temple of Pallas at, 124. 

Susa, spring at, 240. 

Syene, 231. 

Symmetry, 14; in temples and in the human body, 72 _f. _; modifications to suit site, 174 _ff. _

Syracuse, 273. 

Syria, 231, 235, 237. 

Systyle temples, 78 _f. _; proportions of columns in, 84; Doric, 113. 

Tablinum, proportions of, 178. 

Tarentum, 12, 255; length of shadow of gnomon at, 270. 

Tarquinii, 50. 

Tarsus, 234, 240. 

Teano, acid springs of, 238. 

Telamones, 188. 

Teleas of Athens, 70. 

[Greek: Teleion] (perfect number), 73 _f. _

Tempering of iron, 18. 

Temples, classification of, 75 _ff. _; circular, 122 _ff. _; Corinthian, 102 _f. _; Doric, 109 _ff. _; Ionic, 90 _ff. _; Tuscan, 120; foundations of, 86 _ff. _; orientation of, 116 _f. _; proportion of columns of, 78 _ff. _; sites of, 31 _f. _; Aesculapius, 15, 198; Apollo, 31, 78, 80, 200; Bacchus, 15, 31, 82, 109, 198; Castor, 124; Ceres, 32, 80, 200; Diana, 15, 78, 80, 103, 124, 198, 200, 288 _f. _; Equestrian Fortune, 80; Faunus, 75; Flora, 15; Three Fortunes, 75; Hercules, 15, 31, 53, 80; Isis, 31; Juno, 15, 31, 198; Jupiter, 14, 31, 53, 75, 199; Honour and Valour, 78, 200; Mars, 15, 31; Mercury, 31, 54; Minerva, 11, 15, 31, 124, 198; Nymphs, 15; Proserpine, 15, 200; Quirinus, 78; Serapis, 31; Vejovis, 124; Venus, 15, 31, 54; Vulcan, 31. 

Teos, 103; temple of Bacchus at, 82, 198. 

Terracina, 236, 237. 

Testudinate cavaedium, 177. 

Tetrachords, 140 _ff. _

Tetrastyle cavaedium, 176. 

Thalamos, 186. 

Thales, 42, 195, 225, 269. 

Thasos, 289. 

Theatre, 137 _ff. _; site of, 137; foundations of, 138 _f. _; entrances to, 138, 148; plan of Roman, 146 _ff. _; plan of Greek, 151 _ff. _; sounding vessels in, 143 _f. _; acoustics of site of, 153 _ff. _

Thebes in Egypt, 231. 

Themistocles, colonnade of, 154. 

Theo of Magnesia, 70. 

Theocydes, 199. 

Theodorus, 198. 

Theodorus the Phocian, 198. 

Theodosius, 273. 

Theodotus, 214. 

Theophrastus, 167, 241. 

Thessaly, 237. 

Thrace, 237. 

[Greek: Thyrôreion], 186. 

Tiber, 231. 

Tigris, 231. 

Timaeus, 241. 

Timavo, 231. 

Timber, 58 _ff. _

Timotheus, 54, 199. 

Tivoli, 233; stone quarries of, 49. 

Tortoise, 311 _ff. _; of battering ram, 310; Hegetor's, 312 _ff. _

Torus, 90. 

Towers, construction of, 22 _f. _; dimensions of moveable, 310. 

Tralles, 212; palace of brick at, 53; colonnades at, 154; temple of Aesculapius at, 198. 

Treasury, location of, 137. 

Trichalca, 74. 

Triglyphs, origin of, 107 _ff. _; arrangement of, 109 _f. _, 113; size of, 112. 

Trispast (hoisting machine), 285. 

[Greek: Trochilos] (scotia), 90. 

Troezen, 54, 234. 

Troy, 195, 211, 237. 

Trypho, Alexandrine architect, 317 _f. _

Tufa, its qualities, 49. 

Tuscan, cavaedium, 176; temples, 120 _f. _

Twins (constellation), 266. 

Tyana, 235. 

Tympanum, 96, 122; water tympanum, 293. 

Tyre, 309. 

Ulysses, 211. 

Universe, definition of, 257. 

Varro, M. Terentius, 199, 256. 

Vaultings, 205 _ff. _

Vejovis, temple of, 124. 

Velian country, acid springs of, 238. 

Venter ([Greek: koilia]), 245. 

Venus, Corinthian order appropriate to, 15; site of temple of, 31; temple of, 54. 

Venus (planet), 259. 

Verdigris, 219. 

Vergiliae, 189. 

Vermilion, 213, 215; preparation of, 216. 

Vesta, altar of, 125. 

Vestorius, 218. 

Vesuvius, 46, 47. 

Via Campana, 238. 

Vinegar a solvent of rocks, 239. 

Violets used for purple colour, 220. 

Virgin (constellation), 265. 

Vitruvius, education, 13, 168; personal appearance, 36; method of writing, 197 _ff. _; military service, 3; his basilica at Fano, 134 _ff. _

Voice, defined, 138 _f. _; pitch of, determined by climate, 171. 

Volutes, 93. 

Voussoirs, 190. 

Vulcan, site of temple of, 31. 

Walks, how to be constructed, 156; serve practical purpose, 156. 

Walls, material for, 24; methods of building, 51 _ff. _, 56; of brick are durable, 53; of rubble, 53. 

Warden (constellation), 265. 

Water (constellation), 268. 

Water, 225 _ff. _; indispensable, 226; how to find, 227 _ff. _; properties of, 232 _ff. _; tests of good, 242; methods of conducting, 244 _ff. _

Water clocks, 273 _ff. _

Waterman (constellation), 266. 

Water organ, 299 _f. _

Water pipes, 244 _ff. _

Water screw, 295 _ff. _

Water wheels, 294. 

Wattle and daub, 57 _f. _

Weather prognostics, 269 _ff. _

Wells, 244 _ff. _

Whale (constellation), 267. 

Wheel (treadmill), 286 _f. _

White lead, 219, 238 _f. _

Willow, 60. 

Winds, names and number of, 26 _ff. _; diagrams of, 29 _f. _; orientation of cities with reference to, 24 _ff. _

Wine, given its flavour by soil and water, 236; lees used to make black, 218. 

Wine rooms, 184. 

Xanthus, 237. 

Xenia, 187. 

Xenophanes, 195, 269. 

[Greek: Xystos], 161, 188. 

Xuthus, 103. 

Xysta ([Greek: paradromides]), 161, 188. 

Yellow ochre, 220. 

Zacynthus, 235. 

Zama, 240. 

Zea, spring at, 239 _f. _

Zeno, 195. 

Zodiac, 257 _ff. _

Zoilus (Homeromastix), 197.